There’s no trick of the moonlight at Rhea Dillon’s show, “Gestural Poetics.” Inside and out, each work happens twice. Dillon’s drawings, nestled in sapele mahogany boxes within the white cube gallery, enact two histories at once. While the moniker "sapele" hails from...
Dear Reader, In the early Artillery days, I assigned a writer to critique the films and videos that were showing in the sprawling 2007 MOCA exhibition, “WACK!: Art and the Feminist Revolution.” There were more than 20 films and videos included, mostly viewed on the...
For his untitled exhibition at Gaylord Apartments, Brad Kronz created what looked like a kind of deinstallation—the last few items left in an apartment before moving out, things you don’t know whether to leave or to stack on top of an already packed car: an auxiliary...
“Self is source. Self is pure positive energy. Self is worthy. Self is full of vitality. Self is healthy. Self is eager about life. Self is amazing.” One might imagine this incantation spoken in a low, meditative tone, as though by uttering the words with enough...
As a Korean-born queer person who was adopted at nine months by a conservative white Christian family in the Tennessee Bible Belt, Se Oh struggled for years with the trauma of rejection, including from their adoptive parents who believed that homosexuals don’t make it...
Zizipho Poswa’s monumental ceramic and bronze sculptures hold court like an enclave of demigods. While not figurative per se, they are anthropomorphic in the way all ceramic vessels are: All are additionally crowned with towering, ornate objects that radiate...
Long before it was called out as a public nuisance, the phenomenon of manspreading was exhaustively, perhaps definitively, documented by the German feminist artist Marianne Wex (1937–2020) in a wide-ranging collection of images titled “Let’s Take Back Our Space”...
Don’t be fooled by the name: The Pit in Atwater Village is a snake-free, gleaming, new 13,000 square-foot space, zippy with colorful work. After the first two galleries, there was a huge room devoted to “Cognitive Surge: Coach Stage,” a striking, memorable show of...
An escapist, fantasizing indulgence reverberated throughout Marc Camille Chaimowicz’s solo exhibition “Emma Dreaming of California.” Just as Gustave Flaubert’s Madame Bovary—from which Chaimowicz extracted his protagonist, recontextualizing Emma Bovary within...
At the retrospective “Judithe Hernández: Beyond Myself, Somewhere, I Wait for My Arrival,” mounted by The Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum, the full spectrum of an artistic career of more than 50 years was on view. Beyond...
The precarious balance of society and nature, and man’s place within the magnetism of both is the central theme of Stephen Seemayer’s “Dark Side of Paradise” at Bermudez Projects. The collection of 26 paintings and nine studies are an ode to the shadow self and the...
The New York Times recently ran an article with the headline “Art Isn’t Supposed to Make You Comfortable”—Margaret Lazzari’s series of works devoted to her traumatic struggle with breast cancer, “The Cancer Series,” fits right into that category. More than 30 works of...
Absorbing and jocular, Stars’ current exhibition, “Janet Olivia Henry’s Recent Academic Abstractions,” is where tableaux dioramas become the central force and unique vantage point from which deliberate performance emerges from assemblage and sculpture. In Wrought:...
Thank you to everyone who submitted their documentary photographs to the Code Orange column over the past eight years. A special thanks goes out to Tulsa Kinney, editor of Artillery and staff, my assistant, Ceci Arana, the Robert Berman Fine Art gallery and staff for...
In “Biel Lieb,” Olivia van Kuiken’s inaugural exhibition at Château Shatto, oil paintings of untamed, bold color and mark-making swing between styles of ink wash, graphic novel, pixel and gestures on the verge of becoming scripture, spellbinding the gallery. Fuchsia,...
Last week, an abandoned home in the hills of Mt. Washington, once infested by raccoons and possums, transformed into "Revel Hall," a temporary exhibition space showcasing Amelia Lockwood's raw, altar-like and talismanic ceramics alongside Chris Lux's admirably crooked...
Dear Reader, I admit to being a Luddite when it comes to preferring a paintbrush to the computer. So, when artists gained access to AI-generating tools, I wasn’t that impressed, nor alarmed. There seemed to be a lot of hoopla and fearmongering about the prospect of...
The title of Griselda Rosas’ exhibition, “Donde pasó antes (Where it happened before),” recalls the classic fairy tale preamble, “Once upon a time...,” but also suggests a cautionary sense of place, a reference to location that doesn’t frame so much as foreground the...
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