A Fond Farewell to Ratio 3 for KQED
Animals in repose are disturbed by passages of mottled hues that refuse to settle into familiar, nameable shades.
Daisy May Sheff’s Hid it Well in the Walnut Shell for Artforum
at once innocuous and chilling, the viewer learns that an image can be split from its cultural position. A symbol’s authenticity can be interrupted, shaken loose by new association.
Christy Chan: Who’s Coming to Save You, an Exhibition Text for Chan’s solo show at the Utah Museum of Contemporary Art
the distorted film stock undulates through colors and levels of opacity, sometimes so damaged by time that the picture is nothing more than varying densities of light
Talking Back: Zineb Sedira’s Voice-Over for Art Papers
Breast milk in a sardine can, breast milk colored by a saturated tea bag, breast milk next to a crumpled paper napkin
All the Strings that Bind: Patty Chang at Friends Indeed and Cushion Works, for Variable West
Solar Cry, is heard by feeling, like a hand gently resting on someone’s throat that understands meaning not by language but by way of a trembling in the neck.
Lydia Ourahmane’s صرخة شمسية Solar Cry, for Art Papers
Finger paintings swirl in an aura of anti-staleness. The hand movements of toddlers, fossilized in pigment, graph their own vocabulary
In Rhoda Kellogg’s World Every Child is an Artist, for KQED arts
Gene Berry’s New Mythic Visualizations at Cushionworks, for Artforum
With tenderness and a phenomenologist’s sensitivity, Cogan portrays gently sloped streets and frequented neighborhood stores
Kim Cogan’s Evergreen at Hashimoto Contemporary, for Artforum
While both artists' work suggests intensive studies of the natural, there is also a brutality to the way each prunes away unwanted wildness
Tadaaki Kuwayama and Rakuko Naito at Adrian Rosenfeld, for Artforum
Lydia Ourahmane’s low relief, for Artforum