Daniel Crews-Chubb’s paintings comprise enthralling convolutions of historic imagery, digital culture, and art historical modes of representation. Ancient iconography mingles with mid-century expressionism and contemporary smartphone self-portraiture in the British...
At first glance it appears as if there is nothing there. Then the eye is drawn to a faint shadow on the gallery wall. A silhouette appears, then it is gone. Where did this shadow come from? Is it an illusion? The answer is that the image on the wall is a faint...
Twenty-one years ago, Katherine Sherwood suffered a brain hemorrhage that left her without the use of her right hand. As described in a 2012 article she wrote for the journal Frontiers in Human Neuroscience, when she eventually returned to her studio, her practice...
Named after Pablo Neruda’s epic poem on the history of the Americas, Rodrigo Valenzuela’s own “General Song” harmonizes with its Lantinx perspective; his two series of photographs, “Barricades” and “Masks,” confront social issues like immigration and revolt while...
Pulau Bidong is a small island near Malaysia that was once a camp for more than 250,000 refugees from the Vietnam War—artist Tuan Andrew Nguyen and his family among them. It has gone feral since being closed in 1991, with dense jungle and crumbling earth...
The rough-hewn almost ungainly presence of the ceramic vessels that sit directly on the floor in the small space echoes the distinctly DIY atmosphere surrounding them. Festooned with motifs that draw on images ranging from decorative to topical and from historical to...
Greg Lindquist takes his brush to the largest coal electric plants in the United States with his “Ashes to Ashes” series of paintings. They are not, it appears, generating much in the way of energy. The structures look toxic and empty, their surroundings overrun by...
There’s a sense of irony in going to an arts space in a currently-gentrifying area of Philadelphia to watch a video populated largely by shots of neglected city streets. As Francis Fukuyama’s narration discusses globalization, economics, and citizenship, David Hartt’s...
April Bey is our cover artist in our May/June 2018 issue on Identity Art. Bey is interviewed by contributor Anise Stevens on page 36 in our print edition and on our website. Also catch April Bey in our upcoming panel discussion on Identity Art, at Bermudez Projects,...
At Alias Books East, in Atwater Village, hangs an unfinished piece of sky. The artist and musician Matt Fishbeck made it by scrabbling a piece of denim-colored stick of oil pastel onto a board. The painting hovers on Alias Books East’s west-facing “art wall” next to...
Lightning, volcanoes, geysers and ice floes possess hellish glory whose terror is facilely reduced to quaintness. Depicting these comely but deadly natural forces, Kelly Berg's artworks illustrate humans' relationship to the earth's crust as a labyrinthine blend of...
May marks half a century since the student and worker protests against rising unemployment and poverty under Charles de Gaulle’s conservative government in France. In May 1968, students and faculty at the L’ecole des Beaux-Arts took over the lithography studio and...
Laurie Anderson strolled onstage in a flowing orange cloak over black jacket and skinny pants—perhaps a character out of Harry Potter? “I’m sorry I’m wearing my bathrobe,” the multi-media artist quickly apologized as she sat down. “I caught the flu, and I’m still...
Fay Ray often says her work is about the construction of identity, which is something a lot of artists say. But in “I AM THE HOUSE” Ray takes that premise in sublime new directions, in a series of sculptures and photo-based works that through formal materials, actions...
As 356 Mission prepares to shutter, two unorthodox shows whet regulars' regret for the singular gallery's imminent finis. Closing April 22, Charlemagne Palestine's plush extravaganza is apposite to new artist Alake Shilling's outlandish show that will remain through...
Alison Saar’s “Topsy Turvy,” her new exhibition at LA Louver, looks to the sixties for strength: the 1860s. Painted on linen and canvas, carved in wood, and shaped from tin, Topsy the slave girl from Harriet Beecher Stowe’s Civil War era novel Uncle Tom’s Cabin looks...
Walking around the gallery it was impossible to escape a slightly ‘déjà vu all over again’ sort of feeling. No sooner had you passed a portrait in the new exhibition by David Hockney, then the same person would be passing by in the flesh—often attired in exactly the...
"Lorser Feitelson: Figure to Form" at Louis Stern Fine Arts is a small but insightful survey of the noted painter's transition from Post-Surrealism to Hard-Edge Abstraction. Including nine paintings Feitelson (1888-1978) completed between 1945 and 1962, this show...