With her “Untitled Film Stills,” Cindy Sherman played with the idea of the Hollywood sex symbol; she disappeared into one role after another, showing how art and film noir convention could collude to create sex appeal from the trappings of innocence and repression—and...
THAT WAS THEN THIS IS NOW. Ed Ruscha’s lithograph and the banner image for his 40-year survey at Gagosian Madison Avenue says it all: it was a different art world when Ruscha arrived in Los Angeles in 1956. Now, he’s blue chip and according to my editor, a...
"Opening Reception hosted by the Los Angeles Municipal Art Gallery Associates. Sunday, May 4 Photos by Lynda Burdick" From C.O.L.A. @ L.A. Municipal Art Gallery. Posted by Artillery Magazine on 6/30/2014 (22 items) Elena Rosa Carole Ann Klonarides, Jordan Biren Carole...
In a recent documentary called $ellebrity, we are treated to the spectacle celebrities face every time they try to leave their abodes. If a good shot of a celebrity can fetch a high price, there might be 50 photographers yelling insults to get a dirty look. Such an...
Art fame is a weird fame: I know artists whose work has been seen by millions who can’t pay the rent. I know artists with unrecognizable names who could pay rent for a year with half a piece.Unlike the film or music industry, fine art isn’t based on selling lots of...
Editor’s Note: With the highly-coveted Pritzer-Prize awarded this year to architect Shigeru Ban—known just as much for his disaster relief projects and elegant, temporary paper-tube architecture as for his commercial and institutional works—we asked Martina to weigh...
The image of “the road” is one of the metaphors most deeply embedded in the American cultural landscape, perhaps most poignantly for the inter-war generation that produced both Dennis Hopper (born 1936) and Jack Kerouac (born 1922) among so many others.Beginning in...
Contact: Melinda Machado Media Contact,National Museum of American History T: (202) 633-3129The National Museum of American History to Exhibit Artworks by Presidents Dwight D. Eisenhower, Ronald Reagan, and George W. BushThe National...
The rigorous simplicity of Alice Aycock’s early architecturally-based land art, as well as the exuberant complexity and cosmological grandeur toward which she has steadily moved, were both well represented in “Alice Aycock Drawings: Some Stories are Worth Repeating,”...
When Pouya Afshar was a young boy in Tehran, his grandfather gave him a gun and told him to kill the crow that was eating the fruit off the trees in the garden. The young boy did as he was told. Later his grandfather told him the crow might have been a mother feeding...
Panoramic history paintings depict all encompassing views, often creating a cinematic effect, and require active participation from the viewer, who is surrounded by the imagery. Meleko Mokgosi’s much lauded, multi-panel paintings exhibit a technical mastery that he...
With 21 new photographs in her second solo show at Angles Gallery, Augusta Wood resumes where she left off in her 2010 body of work, “I have only what I remember,” by delving deeply into personal history. Wood constructs her photographs from multiple images selected...
The Los Angeles Museum of Art is a DIY structure approximately 100 square-feet situated in the corner of a paved yard in Eagle Rock. Founded and run by the artist Alice Könitz, LAMOA continues in the long line of LA-based artist-run spaces that crop up regularly but...
Death becomes her, there really is no better way to describe Andra Ursuta’s first solo show in the US. Ursuta’s work has been dark, conceptual, sexually-charged and fueled by a death obsession; now fear is the impetus for creating a fictional graveyard in the Hammer...
While painters are often primarily concerned with light effects and the visual, Berkeley-based Judith Belzer’s work also resonates with a haptic sense. Her imagery is felt in the body, in the hands and feet. Recently awarded a Guggenheim Fellowship, Belzer explores...
“Rainbow Girls” at Cheim & Read continues Ghada Amer’s inventive strategy of using thread as paint, and needle as paintbrush, but with a marked difference. Bold embroidered stenciled text covers her canvas. Women’s rights and Amer’s stance are as forthright as her...
The overt theme of “Damage Control: Art and Destruction since 1950,” curated by Terry Brougher and Russell Ferguson, is the presence of destructive force(s) in art since World War II—a trajectory of investigation whose origins in the war (especially its nuclear finale...
John MillsJohn Mills’ recent exhibition at Rosamund Felsen Gallery is compositionally complex and visually challenging. As the title suggests, High On Signs represents the artist’s love affair with line and shape and more importantly perhaps, the iconographic...
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