Many conceptual artists employ sign painting techniques, but few execute such craftsmanship on their own. That’s partly what renders Norm Laich so intriguing. Overlapping shows at ICA LA and AWHRHWAR complement one another to provide insight into Laich’s work as artist, collaborator and sign painter extraordinaire. “This Brush For Hire: Norm Laich and Many Other Artists,” the title of ICA LA’s exhibition, aptly encapsulates co-curators John Baldessari and Meg Cranston’s perspective on Laich as designer and ghost for LA art stars. Just as film industry stuntmen avail their talents to more famous actors, Laich lends his creativity and skill to big-name artists requiring assistance in realizing their embryonic visions. Pauline Stella Sanchez’ insightful brief documentary illuminates Laich’s role in creating the displayed artworks. Featuring works by Baldessari, Mike Kelley, Alexis Smith, Barbara Kruger, et al, the ICA show leaves out Laich’s own art, save one single painting, in favor of highlighting his collaborations, leaving visitors wondering about his work as an independent artist. Fortunately, AWHRHWAR’s diminutive retrospective, “Norm Laich: CONDEMNED,” offers a four-painting peek into his oeuvre as conceptual painter in his own right. Laich’s slick commercial manner of portraying disintegrating emblems harbors cynical built-in satire. The crumbling Parthenon appears beside the Windows logo in Microsoft/Acropolis (1992); while Condemned (2000, pictured above) incongruously advertises foreclosure. A piceous burst of calligraphic strokes evokes a dismal firework or a sooty palm tree in Black 5th (2002). These sharply limned paintings offer cutting commentary on corporative America.

ICA LA
1717 E. 7th St.
Los Angeles, CA 90021
Show runs through Sept. 2

AWHRHWAR
6074 York Blvd.
Los Angeles, CA 90042
Show runs through Jul. 28 with Thu. & Sat. hrs; through Aug. 11 by appt.