Josh Jefferson, Picking a Crown (2017), courtesy of the artist and Zevitas Marcus.

Zevitas Marcus:

Josh Jefferson

Is a collage comprised of assembled painted canvases a collage, a painting, or assemblage art? Does the semantics even matter? “Jabberwocky,” Josh Jefferson’s exhibition at…
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details from Sergio O’Cadiz' Moctezuma, Fountain Valley Mural, 1974–76; destroyed 2001; Calle Zaragoza, Colonia Juarez, Fountain Valley.

Culture Coverup: L.A. Chicana/o Murals under Siege

Chicana/o Erasure and Endurance in Los Angeles

Just as there is a certain metaphysical link between acknowledging one’s existence and looking in the mirror, there exists a similar link between the acknowledgement…
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Lorna Simpson (American, born 1960). Waterbearer, 1986.
Gelatin silver print with vinyl lettering, 59 × 80 × 2¼ in. (149.9 ×
203.2 × 5.7 cm). Courtesy of Lorna Simpson. © 1986 Lorna


Black Radical Women

Rallying against overwhelmingly white, male perspectives in art history, “We Wanted a Revolution: Black Radical Women, 1965-85” at the California African American Museum (CAAM) is…
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installation view,
“Social Places” theme. Hammer Museum, Los Angeles, Photo: Brian Forrest.

Radical Women at the Hammer

Out From the Shadows

It’s often said that the victor writes the history, and I don’t think it’s a stretch to say that men, and society in general, have…
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photo courtesy of Carolina Restepo at La Mama Experimental Theater Club.

Karen Finley at REDCAT

Taking on the (Art) World

Karen Finley’s The Expanded Unicorn Gratitude Mystery unfolds similarly to a dream that makes complete logical sense when experiencing it, but is difficult to piece…
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Gallerygoers at Shulamit Nazarian gallery

Big Art & Big Bras

Parrasch Heijnen, Panel LA, Shulamit Nazarain

Any night of openings is success if it begins with free shrimp tacos, and boy did Parrasch Heijnen deliver. The relatively new gallery, tucked away…
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Jungle Fire at the Hammer.

Rad Art Opening

Radical Women: Latin American Art 1960-1985 at the Hammer Museum

It’s a little inside scoop that people who frequent art openings often call the Hammer openings “Hammer-ed” openings, and it’s no surprise. Armed with the…
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Akram Zaatari. Against photography. An annotated history of the Arab Image Foundation 
2017, Exhibition views
Foto: Miquel Coll

Off the Beaten Path in Barcelona

Going Underground On The Fly

I landed in Barcelona a little sweaty, slightly hung over, and very much lost. Much to my surprise, the discount tickets I purchased for $350…
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Irene-Iré, Abstenciones, Abscenciones e (In)Continencias (2017), courtesy of the artist and Coagula Curatorial.

Coagula Curatorial:

Manuel Ocampo & Irene Iré

Manuel Ocampo and Irene Iré accomplish the often-difficult task of formulating a joint show that appears cohesive without sacrificing the styles of either artist. Their…
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Afraid of Modern Living | World Imitation & Monitor 1977-1982, installation view, courtesy of These Days.

These Days:

Afraid of Modern Living

The unassuming These Days gallery, which lies on the second floor off an alleyway in downtown LA, currently houses an impressive installation titled, “Afraid of…
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Mike Diana’s “Boiled Angel”

Mike Diana’s “Boiled Angel”

at Superchief

If there’s one thing people know about Superchief it’s that they know how to throw a party. The opening on Saturday for “Boiled Angel” is…
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Mary Anna Pomonis and Allison Stewart at The Collectivists, Brand Library, photo by Simeon Soffer

Women on the Verge of a Cultural Breakthrough

Collective Hysteria

Kim Abeles’ studio doesn’t have enough chairs, so we have to sit in the adjacent gallery space at the front entrance of the building. Even…
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Heartbreak Hotel

Heartbreak Hotel

Karaoke at Human Resources

The initial idea of Human Resource’s Breaking Up With Amerikkka—a night to commiserate with friends, alcohol and music and get over the worst breakup ever…
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