Articles

China: Ai Weiwei on Alcatraz
On a clear sunny day there’s a press preview for the ambitious “@Large: Ai Weiwei on Alcatraz” exhibition. Famous for its former use as a prison, with notorious inhabitants such as Al Capone, George “Machine Gun” Kelly and Robert “The Bird Man” Stroud, its layered...

India: Hema Upadhyay
Artist Hema Upadhyay has been a force in Indian contemporary art for two decades. Still, her recent solo exhibition at Chemould Prescott Road in Mumbai in fall 2014 was a major event in both the artist’s trajectory and the landscape of Indian art today. “Fish in a...

Cambodia: Vuth Lyno
In a series of evocatively posed large photographic diptychs entitled Thoamada II, Vuth Lyno expands common frameworks of sexuality, family and memory. This work is an outgrowth of an earlier series of photographic and audio portraits of individual MSM (men who have...

Korea: Do Ho Suh
Do Ho Suh has a career that has yielded exhibitions at Tate Modern, the Serpentine Gallery, the Liverpool Biennial, the Gwangju Biennale, a retrospective show at the Seattle Art Museum, and the Venice Biennale where he represented his native South Korea. His practice...

Taiwan: Chun-yi Chang & Yinling Hsu
For Taiwanese artists Chun-yi Chang and Yinling Hsu—currently in residence at the International Studio and Curatorial Program for emerging to mid-career artists in New York—probing notions of temporality and human disconnectedness form the core of their practices....

Hong Kong: The Umbrella Report
When the Hong Kong police first used tear gas and rubber bullets on the crowd of young and unarmed demonstrators in front of the government building on Hong Kong island—the moment the so-called Umbrella Revolution started in earnest—I was just arriving in the lovely...

Guangzhou, China: Vitamin Creative Space
In an unassuming location next to a bus station and a shopping arcade in the huge Southern Chinese city of Guangzhou is Vitamin Creative Space, an experimental art space created to engage with contemporary China but “inspired by the confrontation between contemporary...

Japan: Yokohama Triennale 2014
The 5th Yokohama Triennale closing ceremony ended with the burning of the specially created book, “Moe Nai Ko To Ba,” ironically titled “Words That Can’t Be Burned,” an homage to Ray Bradbury’s novel, Fahrenheit 451. This custom one-of-a-kind book was a centerpiece of...

China: Lin Tianmiao
While contemporary Chinese artists such as Ai Weiwei and Cai Guo-Qiang often grab international headlines with their projects and exhibitions, there are very few women among them. Lin Tianmiao is one of the few. That is very much due to the strength of her work, the...

Blur and Conquer
In case you didn’t notice, Hello Kitty invaded Los Angeles in November. If you were anywhere near Little Tokyo, you could scarcely escape the impression that not only that neighborhood, but half the population of LA’s downtown and east side had been initiated into the...

Carole Bayer Sager at William Turner Gallery
"New Works: Paintings by Carole Bayer Sager at William Turner Gallery, September 18, 2014" From Carole Bayer Sager at William Turner Gall. Posted by Artillery Magazine on 11/17/2014 (13 items) Carole Bayer Sager New Works Katherine Ross and Michael Govan attend as the...

Hurricane Blues
During the summer of 2012, artists Eddie Rehm and Kenneth Ian Husband were enjoying something of a personal Golden Age in their tiny shared studio in Patchogue, a working class town on Long Island, New York. The studio itself was little more than a shed in the yard of...

The Guerilla in the Room
From the beginning, the plans for the new Los Angeles County Museum of Art building have been a private collaboration between Director Michael Govan and the Swiss architect Peter Zumthor. This latest chapter in the quest for a new building for the county museum began at a preview I attended in the LACMA auditorium for the exhibition The Presence of the Past on June 3, 2013. More than a preview, it was a show of its own for a project that had advanced without public review, all the way to finalizing the mass, the shape and the exterior circulation of an apparently unconventional new building.

Ry Rocklen’s Quotidian Bling
Ry Rocklen saved oyster shells, along with some rocks, then tried to unload them one day at a garage sale. “I didn’t sell a thing,“ he told me in an interview, about his boyhood collecting obsession. Decades later, he is still drawn to treasuring odd stuff: discarded...

Taisha Paggett Emphasizes Experience
Bodies are complicated. Choosing to work with the body as an artistic material complicates its complications. The resulting nest, where taisha paggett settles in to practice, can be thick and sticky. Paggett has grappled with the ways identity and environment are...

The Postconceptual Multimedia
Is fashion the medium of the moment? I’m not talking about haute couture or luxury ready-to-wear fashion design. Since the ascendance of Conceptualism, the means of fabrication have been more or less beside the point in fine art; and so it would be here. This isn’t...

Linda Vallejo Paints a New Color Scheme
“I’m a hypocrite,” Linda Vallejo says, referring to her latest series “Make ’Em All Mexican.” “I grew up on Fred Flintstone and Frank Sinatra. I’m all American.” She adds, “I think we are all hypocrites in one way or another. We all have our prejudices and judge each...

Conception to Resolution
Ross Rudel’s art has haunted my consciousness for a few years now. Encountering occasional works of his in group shows throughout Los Angeles, I would find myself consistently drawn in and hypnotized by what felt like a quiet, faraway presence filled with hidden potency. The LA–based artist’s sculptures and performances, carefully crafted and often employing found objects, exude deep mystery and deep purpose. Why does this work—sometimes so slight and minimal as to be barely noticeable in the gallery—have so much resonance? Where does this strange energy come from?

Eastern Exposure
“There is no one authentic way to present Asian art and culture,” according to Christina Yu Yu, who was recently appointed as director of the USC Pacific Asia Museum in Pasadena, California. “Once you take a piece of art and place it in a case with a spotlight,” she explains, “you remove it from its original context.” Yu well understands the importance of context. Born in Wuhan in China’s Hubei province, she came to the United States as a student and trained in Asian art history here in the West. It was while in the U.S. that she began to appreciate the art of her own culture. “Sometimes it takes distance” she admits, “to learn about where you are really from.” Her point of view, both Eastern and Western, as well as her academic and professional background place her in a unique position to lead a museum of Asian art in the greater Los Angeles area, where, despite a growing population of transplanted Asians like herself, the art of the East is not widely appreciated.

Cool Night
When I arrive at Night Gallery to meet gallerists Mieke Marple and Davida Nemeroff, behind the front desk are champagne bottles and other artifacts leftover from “Sexy Beast,” the Planned Parenthood Los Angeles (PPLA) benefit/art auction. The event, which took place...