I make no claim as to the comprehensiveness or objectivity of this selection. Nevertheless, to the extent that it reflects personal priorities, I believe most artists, if not the entire art community, both local and international, acknowledge the existential...
As we raked through ashes in California, reminded that we had already entered an anthro-obscene geological epoch, the most “important” of the Fall 2018 art auctions were already taking place, with records dropping every step of the way—Hopper, Hockney, Jack Whitten,...
The title of Sarah Awad’s recent show seems intended to encapsulate its scope, which is as expansive as the painting from which it’s borrowed. However appropriate it might be for that particular painting, applying it to the exhibition as a whole, though, seems...
Is it wrong to feel like dancing on a school night? The gent sitting next to me didn’t even get to cross that bridge—he had to exit early for a drive out to Malibu on a school-related mission. But whatever you thought of Leon Bridges’ laid-back-going-on-languid set,...
There is something delicious about the commingling of delight and horror, or really any opposition of sensations pushed to their extremes: confectionary sweetness with an aftertaste on the wrong side of savory—the foreshadowing of decay; the sweetness of...
When does an exhibition title effectively amount to a viewer advisory? I’m not sure Harry Dodge would consider the title of his current show at JOAN gallery, “Works of Love,” an instance of this. It’s not in any sense a caution, and the titles of the individual works...
Eileen Cowin’s work has been loosely categorized as mise-en-scène photography. But overall it is far more self-reflexive, deeply deconstructed and concerned with the relations of language to the apprehension and (re-)construction of reality. More recent work has...
As Karen Finley wisely counseled me some years ago, an excess of gratitude can strike you dumb (or simply annoyed speechless), which is never a good place to be, especially if you’re on a podium and expected to render judgment, offer smart advice or commentary, or...
It’s an uncharacteristically cool, rainy afternoon when I climb the steps to Judie Bamber’s home and studio in a neighborhood off Sunset. As I enter her studio—a surprisingly spare and self-contained space—a rectangle of golden light seems to float on an easel set up...
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...
As we move forward into 2018, we recognize a bit more concretely how our experiences in 2017 and immediately prior influenced and began to reshape our perception of the larger (and certainly the political) world. This is nothing new. Radical cultural change (or its...
The experience of art in Los Angeles is always both very specific to its localized encounter and acutely conscious of its engagement with the world. As political forces outside California moved to further isolate us in 2017, that dialogue and artists’ sensitivity to...
What are the contours of gender? Is there a range of conditions that determine gender along a curve or spectrum we can visualize or somehow represent, measure or analyze? Is there a focal point we can identify that will turn it in one direction or another? Most of us...
The singularly remarkable thing about Ken Gonzales-Day’s re-creation of his breakthrough 1993-96 photographic project, “Bone-Grass Boy: The Secret Banks of the Conejos River,” is the infinitely expansive temporal envelope it seems to occupy. This is more than...
Roughly four years ago, Paul McCarthy opened the sprawling installation “WS” at the Park Avenue Armory in New York, platforming (and rupturing) the domestic fantasy at the center of Disney’s Snow White fairy tale while playing out a vivisection of its narrative on...
I walked into the Resnick Pavilion and into the swirling world of color and fantasy that Marc Chagall created for the theatre and remembered again what made me want to live. Much of the work exhibited in this show was actually made in New York. But it’s...
As noted in an Artillery Pick quite recently, portraiture is the oldest form of ‘identity art’, and moreover, representation itself. It is ‘naming’ in the largest sense – placing, identifying, classifying, narrating, and implicitly conceptualizing, though without...
We read history for perspective on advancing and collapsing civilizations and their impacts on planetary life and (hopefully) an understanding of historical cycles and a sense of where we might all be headed (besides other planets). Art exhibitions, historical and...
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