Gladstone Gallery - 24 St.

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Confrontational Aesthetics: Choirboys Sing Insults in Allora & Calzadilla Performance

by Art Vidrine
The Earth breaks along fault lines. Mountains are pushed up; buildings crumble. Active faults are sites of extreme subterranean tension that operate on an unpredictable timeline with potentially devastating environmental, economic, and social aftershocks. To live near a fault is to live with unending uncertainty. Entire cities and nations have suffered when the earth shudders along her lines. All of this would seem like ample fodder for the socially and politically minded artists Allora &... [more]
Posted by Art Vidrine on 10/2/14

Loyal Royals

by Lee Ann Norman
Like earlier works that deal with the power dynamics inherent in politics, culture, and aesthetics such as  (1993) and Women of Allah (1994), Shirin Neshat once again turns to text as a tool of the subversive in “The Book of Kings,” her fifth solo exhibition at Gladstone. The new series of gelatin silver prints is accompanied by a version of her Performa 11 commissioned piece Overruled, seen here as a three-channel video installation. Although Neshat often focuses on issues specific to her... [more]
Posted by Lee Ann Norman on 1/23/12

Breaking In

by Emily Nathan
  Sharon Lockhart’s photographs and films are not only the products of but are contingent upon intimate, studied involvement with her chosen subject; Lunch Break, an exhibition of new work which closes on January 30, is no exception.  This time, she focuses exclusively on the few haloed personal minutes that constitute lunch break for the laborers of Bath Ironworks in Bath, Maine, and the ritual’s various locations and accoutrement.  Lunchboxes are photographed from a variety of angles... [more]
Posted by Emily Nathan on 1/24/10

Anish Kapoor's Funhouse

by Keith Miller
How to describe Anish Kapoor’s new show? In the language of the movie pitch, you might say the funhouse mirror meets Richard Serra (downsized). But that would take out the rush of excitement so unique to almost any new work by Kapoor. Even though one issue here is also scale, and this show does have its own mini tilted arc, the comparison stops there because unlike Serra’s monumentality, Kapoor’s scale is ambiguous. In front of the four pieces in this new addition to the Chelsea... [more]
Posted by Keith Miller on 8/3/08
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