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Artillery Promo January/February Issue

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Laura London, Environmental Fires Sunset, Downtown Los Angeles, June 4, 2016

Code Orange

March/April Submissions; Deadline Feb 2, 2018

CODE ORANGE is a new Artillery feature, a web-based, issue-oriented photography contest curated by LA artist and photographer Laura London. Winning entries will be published…
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Liz Glynn, Avalanche of Consumer Goods, 2017, courtesy of the artist and Paula Cooper Gallery, photo by David Dashiell.

Liz Glynn at Mass MOCA

& Barbara Takenaga at Williams College Museum of Art

Artist Liz Glynn has been taking on increasingly ambitious projects by leaps and bounds, and lately more of it can be seen on the East…
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Merion Estes, Cautionary Tale, 2015, courtesy CB1 Gallery.

Merion Estes

CB1 Gallery

Ages-old art historical forces of the sublime and the picturesque battle it out across a suite of abstract landscapes, in about 20 fabulously chromatic, profoundly…
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Rubén Ortiz-Torres, Long Shopper (Limo) (2015), courtesy Royale Projects.

Rubén Ortiz-Torres

Royale Projects

A lowrider’s charisma lies in its transmogrification from prosaic to fabulous: an ordinary old automobile becomes a sparkling iridescent marvel that bounces like a carnival…
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Willys de Castro, Objeto ativo (cubo vermelho/branco) / Active Object (Red/white cube) (1962), courtesy Patricia Phelps de Cisneros.

Making Art Concrete

Getty Museum

“Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros” makes for a companion exhibition to the Palm Springs Art…
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Caetano Dias, Delírios de Catharina (The Ravings of Catherine), (2017), courtesy Caetano Dias, photo by Andrew Kemp

Axé Bahia

Fowler Museum at UCLA

In a 1994 Paris Review interview, the Nigerian writer Chinua Achebe famously quoted an Igbo proverb: “Until lions have their own historians, tales of the…
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Ruben Ochoa, SAMPLED y SURVEYED, photo by Joshua White

Ruben Ochoa

Art + Practice

Ruben Ochoa’s “SAMPLED y SURVEYED” illustrates the artist’s penchant for transforming basic construction materials into structural installations charged with meaning. Primarily working in wood, metals…
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Alejandro Almanza Pereda, Suit Makes the Man (RUA) (2017), courtesy the artist and Ibid Gallery, photo by Jeff McLane

Alejandro Almanza Pereda

Ibid Gallery

The objects in the image seem preternaturally still, pushed off to the left side of the frame: a liquefied elastic globule seems to pull down…
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Michael Lewis Miller, Sweep (1989–present), courtesy of the artist and Norco College.

Michael Lewis Miller

Norco College, Inland Empire

Care for a pickled egg? How about a mayonnaise sandwich? Or maybe you’d prefer apple butter? With these questions and a simple spread of food…
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Zarouhie Abdalian, To History, (2017), courtesy of the artist and Altman Siegel, San Francisco.

Zarouhie Abdalian

Altman Siegel Gallery, San Francisco

Known for her minimal interventions in public spaces, creating subtle shifts in environments, either visually or with sound, New Orleans-based Zarouhie Abdalian has garnered significant…
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Jesse Benson, Repainting 2 (Miracle Grow), (2017), courtesy Michael Benevento, Los Angeles and the artist, photo by Jeff McLane.

Jesse Benson

Michael Benevento

In his recent work, Jesse Benson uses appropriation to dismantle “appropriate” interpretation. But unlike other painters who might pursue this goal through dramatic, even offensive…
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Phyllis Green, Five Sheaths (2017), courtesy of the artist and Chimento Contemporary. Photo: Ruben Diaz.

Chimento Contemporary:

Phyllis Green

Spiritual aspirations present this fundamental dilemma: we exist as physical beings in a material world of far more palpable empirical reality than anything incorporeal, with…
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Ken Gonzales-Day, Untitled #15, 1996, courtesy of the artist and Luis De Jesus Los Angeles.

Ken Gonzales-Day

Luis De Jesus Los Angeles

The singularly remarkable thing about Ken Gonzales-Day’s re-creation of his breakthrough 1993-96 photographic project, “Bone-Grass Boy: The Secret Banks of the Conejos River,” is the…
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Josefina Guilisasti, Objetos Light, 2014, photo by Rubén Diaz, courtesy 18th StreetArts Center

A Universal History of Infamy: Virtues of Disparity

18th Street Arts Center

Much like the Jorge Luis Borges book after which it is named, the 18th Street Arts Center’s PST: LA/LA exhibition addresses history and its delineations,…
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Alejandro Cartagena, Carpoolers #50, 2015, courtesy Kopeikin Gallery.

Alejandro Cartagena

Kopeikin Gallery

“The Collective Memory of the Worst Place to Live in the World Today If You Are Not White” is a small but nicely arranged exhibition…
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