Sean McFarland’s loosely gridded installation of fifteen black and white images at first appears as rather straightforward landscape photography. However, in various media and techniques McFarland employs alteration, duplication, and substitution to make the work deceptively complex.
Smartly modeled after a “mixed tape,” Tommy Becker presents an unevenly successful series composed of two sides and twenty-five tracks.
![[ 2nd floor projects ]](https://i1.wp.com/temporaryartreview.com/wp-content/uploads/2012/03/SQ2.jpg?resize=335%2C256&ssl=1)
Kota Ezawa’s seductive work uncannily draw his viewer into already familiar images, making the work about the act of looking, rather than just recognition.
The last in our series on buzz-genre “Witch House,” this charticle (yes, charticle) proposes speculative relationships between a series of interrelated conceptual pairs that float in, out, through, around and between some of the philosophical and material historical conditions that may have fostered this categorical impulse…
HungryMan Gallery was formed in Chicago in May of 2008 as an alternative space and, in 2010, opened a second location in the Mission District of San Francisco.
On a particularly fruitful day of viewing shows in the city, I found a cafe and started the Curiously Direct Facebook page. The goal is to review every show I attend, to try to say something concrete about why I feel this or that way about a show, and to fit that into the 420 character limit of a Facebook wall post.
In “Heterotopias/MATRIX 238,” at the University of California, Berkeley Art Museum (BAM), Desirée Holman addresses the fantasy and transformation that occur in virtual games such as Second Life.