The one large abstract drawing here, wedged precisely in between the ceiling and floor, explores a relationship between geometric form and explorative mark-making. The light touch is enticing, but the sketchy linework feels too beholden to the diagonal lines and ovals...
The central piece here is four split-flap displays showing AI-generated text and a large HD TV displaying images based on those texts. The problem is that AI images are already familiar enough to be corny. The upscale production values do not help, and the jokey...
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...
In her still-young career, Aria Dean has shown a remarkable knack for giving the institution exactly what it wants: shrewd work that stings the nerve of the moment without quite stabbing it. In activating the virtual as a conduit for Black radical thought, Dean’s...
This show at Wonzimer Gallery, organized by contributing artist Marcie Begleiter, is inspired by the Voynich Manuscript, a work that constitutes a parallel exhibition to the show she curated. The Voynich is a mysterious codex from around the year 1410 by an unknown...
In the early years of cinema, actors were treated as crew members working the conveyor belt of industrialized studio systems. But by the silent-film era of the 1910s, the star system had begun to take hold, with close-ups articulating a visual language of desire...
![The Harrison Studio [Newton and Helen Mayer Harrison] Survival Piece #1: Air, Earth Water, Interface or Annual Hog Pasture Mix (1970-71) at Various Small Fires](https://artillerymag.com/wp-content/uploads/2024/11/HAR007_Survival-Piece-2_1971_24x36_Install-View-01.jpg)
Organized in concert with the Getty’s PST ART initiative, this re-mounting of Survival Piece #1: Air, Earth, Water Interface or Annual Hog Pasture Mix (1970–71) — in keeping with the entirety of the Harrison collective’s output — is less about a “collision” (per PST’s...
At dusk on September fifteenth, nearly 5,000 spectators gathered on the field of the Los Angeles Coliseum to view WE ARE: EXPLOSION EVENT FOR PST ART, a monumental daytime fireworks display by Cai Guo-Qiang* and his custom artificial intelligence model cAI™....
I’ll admit that before attending a press walkthrough for Nate Lowman’s “Parking” at David Zwirner a few weeks ago, I wasn’t familiar with Lowman’s oeuvre. The paintings first appeared to me thumbnail-size, attached to my iPhone invitation. I noted glowing, riparian...
To experience lack is to be reminded of the boundaries of the self, of others. Lacking realizes the unassailable distance between you and everything you don’t and won’t ever have. Therein to lack enlivens desire, or does desire require a lack of something? Kang’s...
Butler’s threadbare saffron works-on-silk line the perimeter of the back gallery, floating forward and back, filling and falling as if breathing. Suspended by invisible supports and backlit, the delicate veils with their enigmatic marks and hand-drawn symbols...
Houshiary's mesmeric abstract canvases depose our human perception of scope and scale, engaging the macro and microscopic; they connect a single breath to the breadth of the sea, carbon's molecular structure to the structural integrity of a star. The intricate pencil...
Grouping art by medium is always too obvious, even when the medium in question has the pizzazz of electric light. This exhibition focuses on the years 1964-1970 but does not, otherwise, establish a clear throughline. Experiments with electric light were, indeed,...
Most figurative painting is terrible but these are surprisingly good. Brisco’s restrained brushwork produces a flat clarity that recalls Alex Katz but with harsh moody colors and lonesome figures which echo Edward Hopper’s sadsacks. Suburban homes appear as...
These paintings have a slight hamfistedness, which suggests distance from their alternately whimsical, mystical, Modernist, and Premodern sources. The allusions and references here—like Lipke’s interpolation of Neolithic-era petroglyphs into Kandinsky-esque painting –...
With scraped knees, tangled sheets, and yesterday’s discarded clothes strewn across the floor, Larry Madrigal’s new evocative paintings at Nicodim showcase the artist at his strongest. In moments where his fluid and textured style strives to move beyond the sexual...
I never feel hotter or more detached (indeed, more American) than in a car, windows down in the August heat. It’s an exercise in movement, longing on an unremarkable plane of asphalt. Each lane is a pulse, where everyone seeks a false salvation. Jane Dickson’s new...
Looking at Darya Diamond’s limp latex sculpture, In Every Dream Home a Heartache (2024), I think of bruised skin, frail shoulders: a tired body collapsed on the floor — phallic, deflated, stamped with marks like a trampled body bag. Throughout “Sugartown,” intimacy...
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