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From the Editor Sept/Oct 2024; Volume 19, issue 1
Dear Reader, I have good news and bad news. Let’s start with the bad news: This, after 18 years, is my last editor’s letter. What an incredible journey it has been. Here’s the good news: Artillery will still carry on! More on that later. I started this magazine with...
Markus Lüpertz & Pierre Puvis de Chavannes Michael Werner
There is something inherently contentious about an exhibition juxtaposing the work of a contemporary artist with another whose work has some place within the art-historical canon, more particularly one of the most resonant antecedents of the late 19th- and early...
Bernard Cooper Gattopardo
If you’ve read any of Bernard Cooper’s books, you know about the care with which he constructs his sentences, how he gives each detail its own breathing room. (If not, Maps to Anywhere [1990] and his 2006 memoir The Bill from My Father are especially recommended.)...
Kyungmi Shin Craft Contemporary
In The Head in the Tiger’s Mouth (2021), the first composition in Kyungmi Shin’s kaleidoscopic exhibition, my eyes immediately landed on the luminous collection of swirls and stripes suggesting the calligraphic form of a tiger before catching on the colorful tableau...
Chris Eckert Long Beach Museum of Art
Incessant texts and social-media alerts are inescapable facets of contemporary life, and artist Chris Eckert attempts to make sense of this glut of seemingly endless data. Eckert has successfully melded backgrounds in the fields of mechanical engineering and...
Chiffon Thomas Michael Kohn Gallery
A church is a grand gesture to the community it serves and sustains. At its best it’s a hub, as well as a display of worship, tradition, sacrament and humility. A chapel by contrast is a modest little space—distinguished from the former by its size more than anything...
Uta Barth 1301PE
As part of her career-spanning 2022–23 survey, “Peripheral Vision” at the Getty, and in honor of the museum’s 20th anniversary, the German-American photographer Uta Barth presented an expansive commission entitled “…from dawn to dusk” (2022). Twice a month for a year,...
PICK OF THE WEEK: Covey Gong and Monique Mouton Bel Ami
The meeting of Covey Gong and Monique Mouton at Bel Ami is like watching the contact of two elements transforming one another. While their respective works are satisfying on their own, together, Mouton’s mixed media on paper and Gong’s tactful sculptures, spotlights a...
PICK OF THE WEEK: Matthew Barney Regen Projects
Somewhere between warfare and entertainment, sports as a spectacle is deeply rooted in the ways modern societies organize, present and consume events and expectations. Pacing through "SECONDARY: commencement," there is a sense of nostalgia that belongs to a media...
OUTSIDE LA: Margot Samel New York “Thank you, I’m rested now. I’ll have the lobster today, thank you”
Two galleries have teamed up to co-present the group exhibition, “Thank you, I’m rested now. I’ll have the lobster today, thank you,” borrowing its title from Karen Kilimnik’s 2016 collage of a Siamese cat poised on a Rococo-style bed. Margot Samel from New York and...
PICK OF THE WEEK: “Bruts” David Kordansky Gallery
In this group exhibition of 15 artists, Rashid Johnson splendidly arranges ablaze and brooding drawings, paintings and sculptures into a pristine playlist. From Huma Bhabha’s uneasy cork, wood and cardboard ancient being and Bill Traylor’s acutely simple and lyrical...
Opera as Double Fugue: The Comet / Poppea "Double Consciousness" and historical counterpoint
‘Man proposes, but [God] disposes’—or so went the biblical proverb as distilled more or less through various Christian medieval iterations. In this simultaneously sunlit and dark-star doubling of two operas—George Lewis’s and librettist Douglas Kearney’s dark...
From the Editor July/Aug Volume 18, issue 6
Dear Reader, As a kid, I didn’t get to do much traveling. The family trips we took were always by car to visit relatives, somehow miraculously fitting seven of us into a big two-toned Oldsmobile. My dad used to roll down the window, just a sliver, to blow out the...
Claire Chambless Carlye Packer
Transformation in its most expansive and contradictory sense was at work throughout Claire Chambless’ exhibition, “Role Play.” Both individually and taken as a choreographed ensemble, the work—while clearly influenced by such abstract surrealists as Miró and...
Nick Angelo Sebastian Gladstone
A big pharma scion funded the Tolkien exhibition at Rome’s National Gallery of Modern Art to normalize drug dependency by suggesting its correlation to Bilbo Baggins’ obsession with the One Ring. Or, hear me out, Whiskey Pete’s casino operates a mind-control project...
Alicja Kwade and Agnes Martin Pace Gallery
The sprinklers of Pace Gallery’s immaculate lawn activated as I entered its courtyard for “Alicja Kwade & Agnes Martin: Space Between the Lines.” One of them was installed only a few inches from Kwade’s Jo’s Snow (Group 2) (2023), a forlorn patch of cast white...
Melanie Pullen William Turner Gallery
Images of violence are so prevalent in today’s media landscape that news commentators now prompt us to look away, while social-media clips of police misconduct or war-ravaged bodies are shared and reposted, implying that we might take voyeuristic pleasure in viewing...
