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Sunday, January 5, 2025

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Genevieve Quick

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Genevieve Quick is an interdisciplinary artist and arts writer. Her writing has appeared in Artforum, cmagazine, and Art Practical.
Art Review

Amid community trauma, ‘Elegies’ at MoAD holds space for poignant beauty

Everyday objects take on meaning beyond the ordinary, bridging art history and contemporary culture to heal loss
Art Review

Unexpected reveries, as physical meets otherworldly in ‘Antidote’

Provocative group show at Aggregate Space Gallery features mechanically raked Zen garden, texture-mapped CGI women
Art Review

Enter Aimée Beaubien’s delightfully messy, exuberant ‘Matter in the Hothouse’

At SF Camerawork, the artist weaves and transforms her photographs into an immersive, otherworldly garden
Art

Review: In ‘Mothership,’ Afrofuturism blasts off from myriad launch pads

A global roster of artists claims space for the unfixed, fragmented, and hybridized at OMCA.
Art

Review: Merging codex and comics, Enrique Chagoya’s artist’s books enfold timelines

At Legion of Honor, accordions of 'reverse anthropology,' Pre-Colombian superheroes, and zigzagging planes of culture and history
Art

Review: ‘The Missing Circle’ delves into Latin America’s complex past

But who has the right to tell this story? New show at KADIST showcases vital work and raises questions
Art

Review: Face to face with Leonard Cohen’s choir in ‘I’m Your Man’

Candice Breitz's video "portrait" at the CJM creates a spatial experience of touching vulnerability and awkwardness.
Onstage

Review: In tackling white patriarchy, ‘The Dope Elf’ erodes life-fiction boundaries

Asher Hartman's experimental theater work at The Lab used planned messiness to provoke questions about the nature of the stage
Art

Review: Pyramids to Panthers, ‘Afro Hippie’ tracks Black Power through time and space

David Huffman locates his Bay Area activist upbringing within the swirling cosmos—an homage to leaders yet to come.
Art

Review: Afloat on the Bay, ‘Night Watch’ presented refugees as they are

Shimon Attie's quiet and simple videos, shown from a barge, refused to emotionally exploit their participants.
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