Although it was once relatively straightforward, the relationship between what we refer to as “Nature” and its inverted mirror-image “Culture” has become complicated and problematic. Indeed, the “default position” in the argument as to their reciprocal relationship is...
It is always a thrill to see the Annual City of LA (COLA) exhibition at the Los Angeles Municipal Art Gallery (LAMAG). The exhibition is a celebration of a year-long unrestricted fellowship awarded by the Los Angeles Department of Cultural Affairs to a small group of...
The aesthetics and content of we still here, there (2018), Lauren Halsey’s current installation at the Museum of Contemporary Art, Los Angeles, are deeply rooted in Afrofuturism—a cultural philosophy that merges magical realism, science fiction and technoculture to...
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...
A vague yet piercing look of confrontational horror animates the face of a woman, zaftig and underdressed, with piercing blue eyes, an exaggerated frown, and the upswept hair and ruddy complexion of a latter-day Vermeer milkmaid. Because of art history, and especially...
What does it mean for the life of an artwork when it can be experienced in dramatically different contexts, as a constellation rather than a point on a map? What happens when the legibility of a work is radically challenged by a shift in viewing conditions; do those...
There’s a fabulous tabula-rasa quality present in “The Shape of Cloth.” Leveraging her experience as a masterful furniture designer, Irish-expat Mary Little presents eight existing unbleached canvas sculptures and a single site-specific piece for her exhibition at...
The intimate scale of John O’Reilly’s photomontages belies the broadly ranging ambition and scope of his concerns. The 40-year survey of his work at Zevitas Marcus reveals a consistency of approach spanning the entirety of O’Reilly’s production. The artist, whose work...
Windows often appear in art, sometimes as framing devices, sometimes as apertures to other worlds. In her new photographic series “The In Between,” Alexandra Hedison has come upon a way to do both, using ready-made vignettes. While exploring the streets of Paris, a...
“Dark Landscapes for a White House,” Deborah Oropallo’s solo exhibition at Catharine Clark, presents a moody, dysfunctional picture of contemporary society in nine large-scale works in photomontage, pigment print, and paint on paper, complemented by a quartet of...
Two short films in “Solar Rhythms” at Tanya Bonakdar open Tomás Saraceno‘s proposal for thermodynamic collaboration and remaking human relationships to the Earth. The first, taken during Saraceno’s ambitious, record-setting flight in White Sands, New Mexico with his...
Promise of the past rudely collides with dread of the future in Alexa Gilweit's nostalgic Americana scenes viewed through dystopic lenses. Satirically titled "Big Winners," Gilweit's show at AM Gallery consists of paintings inspired by mid-century ads depicting...
Rafael Cardenas is known for his high-contrast, high-drama black and white street photography, but in “Backyard Tableaux,” his new exhibition at the Vincent Price Art Museum, his color photographs of quasi-urban backyard parties evoke the artistry of historical eras...
Mattea Perrotta abstracts figures and Jonathan Ryan abstracts architecture; their juxtaposition at The Landing educes the two painters' similar manners of distilling contemplative moods from their divergent subjects. Ryan's buildings frequently assume anthropomorphic...
While uneven in impact, Columbian-born, British-educated Daniel Silva’s exhibition, “WE ARE EXPERIENCING SOME TURBULENCE – PLEASE STOW AWAY YOUR ELECTRONIC DEVICES LHR | HND | BOG | LAX,” remains impressive for the evocative three-dimensional works that the artist has...
There is irony in donning a mass-produced item that ostensibly projects one's individuality via a saucy slogan coined by somebody else. Pippa Garner uses her art like a knife to cut straight to the revelatory heart of such prosaic absurdities. Under her satiric lens,...
Somewhere between the complex compositions of Cubism and Francis Bacon’s distorted imagery lies Nathaniel Mary Quinn’s distinct approach to portraiture. On view at M+B gallery, Quinn’s newest series looks to music as narrator. Aptly titled “Soundtrack,” the exhibition...
Alexandra Carter's current show, "All gods are hot," is a maze of artworks so tightly packed that one can hardly turn around without colliding with translucent paintings adorning the walls and hanging from the ceiling at Radiant Space. Even so, cramped quarters seem...
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