In two exhibitions spanning galleries some twenty-minutes apart depending on traffic, Larry Johnson presents his own work alongside that of two other gay artists of a certain age and a certain generation, who lived through the AIDS epidemic of the 1980s and early...
Oscar Tuazon’s activist art project LAWS: Los Angeles Water School combines high concept with a rigorous materiality. Machined folds and facets shape The Evening Redness in the West (2024) a C-print printed on an aluminum sheet that mimics the way coated analog photo...
I’m not sure I completely understand Oshay Green’s obliquely-named sculptures made of deconstructed leather couches, or how they relate to a series of embossed wooden slabs and a haunting wall work that imposes itself over the gallery like a giant spider. A legible...
Jeffrey Deitch reimagines his 1992 exhibition, “Post Human,” with a dialogue between the 90s works and newer ones, presenting dueling visions for the future of humanity and the self. The show is an opportunity to see Paul McCarthy's The Garden (1991-1992) and Charles...
Austin Lee’s haunting soft-focus paintings are what I imagine my nightmares would look like if rendered in claymation and run through an AI algorithm. The artist’s digital/analog hybrids are creepy—a good kind of creepy, my kind of creepy. In the video Starers (2024),...
At the entrance of the gallery, viewers are confronted by a massive wall work by Moffat Takdiwa, bhiro ne bepa (pen and paper) (2023), constructed from the detritus of late-stage capitalism and post-colonialist society. The artist embraces the texture and materiality...
I love seeing an artist push the boundaries of the medium. Becky Tucker does exactly that with stoneware creations that are —FIRE. They look like Clive Barker created the Cenobites from Hellraiser in a kiln lit by hell’s inferno. The most imposing pieces are a trio of...
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