reviews

  • Lynn Hershman Leeson, Self Portrait as Another Person, 1965, wax, wig, glass eyes, makeup, tape recorder, Plexiglas, wood sensor, sound, 20 × 15 × 12".

    Lynn Hershman Leeson, Self Portrait as Another Person, 1965, wax, wig, glass eyes, makeup, tape recorder, Plexiglas, wood sensor, sound, 20 × 15 × 12".

    Lynn Hershman Leeson

    Altman Siegel

    “About Face” was an intimate, career-spanning exhibit, comprised of approximately forty pieces that explored Lynn Hershman Leeson’s passion for masks. The major tropes associated with her art—mirroring, replication, projection, cyborgs, screens, avatars, humor—were represented here, in a questioning of the divides between fantasy, the virtual, and the real. Arranged nonchronologically, each artifact acted as a sort of hologram that references the whole. This work suggested someone deeply familiar with ungroundedness. It exuded the brilliance and caginess of the hypervigilant. The artist’s rigorous

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  • Cathy Lu, Nüwa’s Hands, 2022, ceramic, gold luster, steel cable, 101 × 84 × 10".

    Cathy Lu, Nüwa’s Hands, 2022, ceramic, gold luster, steel cable, 101 × 84 × 10".

    Cathy Lu

    Chinese Culture Center of San Francisco

    “Interior Garden,” Cathy Lu’s exhibition here, offers a temporary respite from the empty promises of the American dream. Nestled on the third floor of the Hilton San Francisco Financial District hotel—a Brutalist monolith that borders the city’s Chinatown—Lu’s project is aptly served by the location. Four interconnected installations, all developed over the past two years, hug a corridor of floor-to-ceiling windows. The artist based each sculptural arrangement on elements commonly found in traditional Chinese gardens: rocks, waterfalls, ponds, and borrowed scenery. Together, Lu’s works demonstrate

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