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56th Venice Biennial (Part 2): National Pavilions The 56th Venice Biennial (Part 1): All of the World’s Futures Postdate: Photography and Inherited History in India @ San Jose Museum of Art
 

56th Venice Biennial (Part 2): National Pavilions & Collateral Exhibitions

Part 2 of Mark Van Proyen's review.

The 56th Venice Biennial (Part 1): All of the World’s Futures

Okwui Enwezor's Biennale gestures toward a world in crisis. Mark Van Proyen reports.

Postdate: Photography and Inherited History in India @ San Jose Museum of Art

A brilliant reevaluation of India's photographic history, from the Colonial era to the present.

Todd Hido @ Casemore Kirkeby

21 July 2015

A painterly, Lynchian view of suburbia, replete with tawdry overtones.

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Tom Marioni @ b. sakata garo

28 June 2015

Marioni, a painter? Not to worry. It's a shtick -- a good one.

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Phillip Maisel @ Gregory Lind

24 June 2015

His photos of assemblages encourage contemplative, analytical engagement, placing viewers at the edge of confusion.

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Retrospective: the Paule Anglim Memorial Exhibition

21 June 2015

A sampling from a massively influential career and, quite possibly, the most important show you'll see in 2015.

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Sam Perry @ Sanchez Art Center

12 June 2015

Perry's sculpture harks to a time when Bay Area artists were drawing as much inspiration from craft as from European Modernism.

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Yisrael K. Feldscott @ b. sakata garo

27 May 2015

His electrifying Neo-Expressionist paintings delve the psychological aspects of global conflict.

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Doug Hall @ SFAI

26 May 2015

“The Terrible Uncertainty of the Thing Described” forces us to feel the terrible power of technology, a power usually concealed behind friendly veneers.

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John Meyer @ George Lawson

24 May 2015

For Meyer, meaning accrued from the energy given off by materials he selected and by his exacting manipulation of them.

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Doug Hall @ Rena Bransten

22 May 2015

The sex appeal of architecture? Hall finds it in a juxtaposition of images. Elwyn Palmerton reports.

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Richard Gilles @ Axis

16 May 2015

Home on the range? Not quite. Gilles uses the Central Valley as a prism through which to view California’s ongoing allure for suckers and scam artists.

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