Articles

The Take Room
First impressions on LA Art Week 2026

At the tail-end of LA Art Week 2026, Artillery presented The Take Room at Wilshire Online where LA's cleverest writers and critics delivered and discussed their impressions on what they saw and heard during art week. Critics included Matt Stromberg, Janelle Zara, Keith J. Varadi, Brittany Menjivar, Paige Greco, Sampson Ohringer, Renee Reizman and NiggaCorp. [video width="720"...

AT HOME IN THE CHAOS
In the studio with Zak Smith

by Casey Ash, with additional reporting by Artillery Staff

What do CNN chief international correspondent Clarissa Ward, three-time Adult Video News All-Girl Performer of the Year Charlotte Stokely, and art-world rising star landscape painter Emma Webster all have in common? They’ve all posed for Zak Smith. The Ward portrait was one of his earliest works, back when her hair was riot grrrl red instead of Peabody-winning blonde, the commissioned portrait...

MONUMENTAL GRAFFITI & GLITTERACY
RETNA's indecipherable language of pop power

by Eddy Gibb

The glittering paintings wouldn’t be out of place in Giza or Athens or Persepolis. RETNA’s bold scripts are the kind that shout down at you from the tops of ancient monuments. Sometimes elements of the painted characters resemble ancient Egyptian hieroglyphs, sometimes Arabic calligraphy, sometimes a more European-looking, Knights Templar-esque code of crosses and keys. The texts of RETNA’s...

DUELLING REVIEWS: MARILYN MINTER
at Regen Projects

by Janelle Zara, Peter Frank

ARTIST TAKEOVER: DEIRDRE O’DWYER & MOLLY ZUCKERMAN-HARTUNG

by Deirdre O'Dwyer, Molly Zuckerman-Hartung

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Reviews

Amelia Lockwood (quick review)
at Morán Morán

Amelia Lockwood’s ceramics push up against the natural constraints of their medium in novel ways. Rather than the earthbound, closed forms associated with this medium, we get vine-like, open lattices, expanding outward from a central axis. These echo Rococo decorative...

Terry Powers (quick review)
at Guerrero Gallery

Powers’ paintings—which range from landscapes to still lives to paintings of mechanical detritus—recall Impressionism, albeit in its most restrained instances: more Pissarro than Monet. That is, there’s a withholding quality towards light and a painterly restraint...

Zoe Alameda (quick review)
at Cheremoya

The centerpiece of this show is From Here On Out (2025): a large, ramshackle, free-standing, scrap-wood armature supporting two plexiglass panels, embedded with four small assemblage-paintings, themselves containing collaged, miscellaneous photographic imagery...

DUELLING REVIEWS: MARILYN MINTER
at Regen Projects

R. CRUMB
at David Zwirner

R. Crumb’s “tales” (even filtered through psychedelics and cannabinoids) weren’t always so paranoid—though they were frequently calamitous. The street-hip graphic domain Crumb freely improvised during the 1960s and 1970s across densely cross-hatched black-andwhite...

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