RECOMMENDED Curator of “Girl on Guy” Marci Rae McDade describes the exhibit as “a love letter to men,” but it could also be described as a feminist valentine—pink, red and surprisingly devoid of anger. Here the female gaze grants men the respect their female counterparts might ask for in return—gentle, thoughtful and thought-provoking appreciation that favors vulnerability without objectifying the subject of adoration. A red loveseat decked with twin headphones offers synchronized soundtracks for lovemaking. White plaster casts of rock-star penises appear delicate and shell-like upon a black surface. A series of larger-than-life color photos capture moments of ecstasy as ordinary guys jam out to beloved rock songs. Each piece begs further analysis, clueing us in to a unique world of perception. With the work of twenty-three artists on display, there are a lot of worlds to discover. D. Denenge Akpem is perhaps emblematic of the show’s microcosmic tendencies, as her multimedia installation, “Vaquera Serenade (Rise of La Cueruda Negra),” employs sound, video and props, and was further illustrated by the artist’s recent musical performance—one in a series of events meant to compliment the exhibit. Though other works on display may be more simply presented, each one provides an object of contemplation, whether taking the form of a revamped episode of “Sex and the City” or the whispering voice of a woman reciting personal ads. “Girl on Guy” is more than an expression of desire—it is also an exploration of female perception. (Cory Robertson) through November 3 at A+D Gallery
Words As Object: A Review of Jeff Perrone at Corbett vs. Dempsey "A Revolution Is Not a Dinner Party," features the works of late artist Jeff Perrone. Using his decorative roots, Perrone combines intrinsic designs of buttons, thread and mud cloth on canvas with text depicting powerful, revolutionary phrases.
Lost in Translation: A Review of Crip* at Gallery 400 The strongest works in the exhibition succinctly express the ways the artist relates to their own body while calling out how the artist’s body and body of work has been perceived or coded against norms or ideals.
