Artists Casey Kauffmann and John de Leon Martin have created a super-collage at Human Resources, Los Angeles. A messy collision of screens, drawings and passionfruit vines engulf the gallery space with the intention to bamboozle. The duet’s maximalist installation...
Having gone through a recent breakup, the theme of Sam Anderson's show, "Lunch Hour," felt all too familiar as the artist examines cyclical narratives of desire and disappointment. At first glance, the show at Tanya Leighton gallery feels like a departure for those...
The enchanting lure of a hole, the tender scuttle of a bug, the mysterious vibrations of the forest, the pungent bloom of a corpse flower, the mutability of our fleshy bodies in decay—these are things that have fascinated and bonded my years of friendship with Geena...
At the ICA Los Angeles, curators Marcelle Joseph and Legacy Russell have assembled 25 artists whose practices engage with the construction of identity and the self as subject –or, as Judith Butler puts it, The Condition of Being Addressable. This international and...
A grotesque feeling of excitement and misery shivers through me whenever I encounter Mika Rottenberg’s work. Her stories of monstrous mechanisms of hypercapitalism are infused with a queasy comedy that reminds me of Julia Kristeva’s “laughter of the apocalypse”...
Octavia E. Butler's speculative fictional imagining of Los Angeles seems to inch closer and closer to nonfiction as our apocalyptic reality grows louder and hotter by the day. At REDCAT, the exhibition of new work by American Artist shows how Butler’s words are so...
Cold sheets of perforated metal gnaw quietly at severed plaster limbs inside Matthew Brown’s La Brea gallery. Despite the unsettling horrors this description might conjure, Jeffrey Meris’ exhibition, "be ever wonderful," is deceptively healing and hopeful. A series...
As my feet touch the terrain of compact, glittering soil that covers the floor of the Hammer Projects space, it feels as if I’m stepping into another realm, another planet even. Kiyan Williams’ solo exhibition, "Between Starshine and Clay," curated by Erin...
Fawn Rogers' exhibition "Your Perfect Plastic Heart" at Wilding Cran Gallery presents a series of paintings depicting oysters and their gooey erotic membranes. At first glance, these works struck me as a cross between Marylin Minter and Chloe Wise–glittery...
Vibrant matter dances and pulsates in vortical pools and currents. Artist Kevin Beasley petrifies matter in states of motion, submerging and emerging materials form dynamic topographies that embody personal and collective histories and significations. I remember my...
It’s all I can think about. It’s all I can think about. It’s all I… Since the news broke revealing the Supreme Court’s green light to overturn Roe vs. Wade, it’s all I can think about. It is tremendously difficult to avoid feeling the progress forged by decades of...
Love lingers in memories of past embraces, in y(our) shared moments of agony and affection. The pains of past love form bruises–tender and swollen kinks that excite and sting. Sophia Stevenson’s MFA thesis exhibition is personal, as is our relationship (she is a...
Architectural remnants of cardboard and porcelain stand scattered across Bel Ami gallery, like elegant queer ruins. "Import Imprint", curated by Talia Heiman, is CFGNY’s inaugural exhibition in Los Angeles. Daniel Chew, Ten Izu, Kristen Kilponen and Tin Nguyen form...
The title of Farley Aguilar’s exhibition “Phantom Limb” refers to the corporeal sensation of a limb that has been severed from the body–memories scratch and ache, haunted by the historical traumas of slavery that manifest in transgenerational pain and psychic...
A series of precious objects rendered in oil paint requires your intimate proximity. Tiny tactile paintings of levitating furs, beaded coin purses, costume jewelry and sequin fabrics depict trompe-l'oeil images of feminine objects commonly associated with glam,...
Southern trees bear a strange fruit. Billie Holiday's iconic song “Strange Fruit” serves as a haunting metaphor for racial violence, evoking the historical and ongoing pain of Black Americans. The song was originally written by Abel Meeropol in 1937 in the form of an...
A series of curious doors assembled in neat parallel lines resemble haunted monuments or an uncanny labyrinth of portals to seemingly familiar spaces. Fiona Connor’s solo exhibition, "My muse is my memory, an archive of Closed Down Clubs" is an ongoing series that...
Nancy Youdelman’s Button Dress from 1972 hangs in the window of a nondescript gallery on Fountain Avenue. The garment represents early feminist strategies that confronted and subverted domestic roles and “feminine” mediums traditionally prescribed to women and labeled...
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