Berlin

Ricarda Roggan

Photographers are often praised for their ability to work with light; with Ricarda Roggan, one might say that it is her talent for isolating darkness that distinguishes so many of

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Berkeley

Omer Fast

Omer Fast’s Nostalgia, 2009, produced by the South London Gallery, the Berkeley Art Museum, and the Nationalgalerie at the Hamburger Bahnhof, is a video installation in three par

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Los Angeles

William Powhida

Insider art-world jokes—as caricature, if not a kind of portraiture—speak volumes about the “contemporary” moment and often end up serving as important social and historica

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Moscow

Anna Jermolaewa

This solo exhibition by the Vienna-based Russian artist Anna Jermolaewa offers a single video projection: Der Weg nach oben (The Way Up), 2008, which shows a group of rats trapped

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Berlin

Nan Goldin

As a photographer, Nan Goldin has inspired a legion of imitators who tend to confuse certain lifestyle traits with artistic substance, a privileging of content over form with an ex

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New York

Siah Armajani

Siah Armajani’s latest exhibition takes up the brutal but largely invisible violence that erupted in the wake of this year’s contested Iranian presidential election. Although t

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New York

Sister Corita Kent

In 1967, Newsweek’s David Shirey dubbed Sister Mary Corita Kent the “hippest of all” nuns. The next year, after three decades of service, she left the religious order but kep

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Bangkok

Ohm Phanphiroj

Ohm Phanphiroj’s latest series of photographs, “The Disabled,” 2009, was shot at the “Male Disabled Center and Rehabilitation” in southeast Thailand. In these works, Phan

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Houston

Dieter Balzer

Precision in reductive-themed art is not merely essential but also the means and the end of such work. Dieter Balzer’s recent exhibition on view at Gallery Sonja Roesch exemplifi

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Istanbul

Sarkis

Sarkis’s exhibition at the Istanbul Modern emphasizes the empathic relationship that the artist has always established with the locations of his shows—his constant desire to in

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Berlin

Wieland Speck and Shelly Silver

One August afternoon in 1978, painter Per Lüke straddled the western end of the Berlin Wall and played a small harp. Filmmaker Wieland Speck (who would go on to make the 1985 quee

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Atlanta

“Undercover: Performing and Transforming Black Female Identities”

Physical representation of the black female is explored in this thoughtful and thematically rich exhibition. Curators Andrea Barnwell Brownlee and Karen Comer Lowe have brought tog

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