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Spiritual aspirations present this fundamental dilemma: we exist as physical beings in a material world of far more palpable empirical reality than anything incorporeal, with pragmatic demands inevitably more urgent than intangibles. Without surplus resources, how...
Lynda Benglis' sculptures are motley in makeup, manifold in their evocations of natural features and visceral gestures. Variously forged of steel, bronze, polyurethane, chicken wire, handmade paper, glitter and clay, her splanchnic forms droop, lean, ooze, peel,...
Admirers of feminist artist Miriam Schapiro’s (1923-2015) work may be surprised to learn that this influential woman who founded the Feminist Art program at CalArts with artist Judy Chicago and helped organize Womanhouse (1972), an installation project with over 25...
So often is the label Surrealism tacked onto fantasy art that, in descriptions of contemporary work, it's become practically synonymous with utopian scenes or lowbrow. Kelly McLane's loose dystopic pictures are the opposite of such reductionistic definitions; yet she...
In her first exhibition in Los Angeles, Winnipeg-based artist Wanda Koop investigates the idea of dislocation. This dislocation is reflected in the exhibition title, In Absentia, and results from the fact that Koop’s paintings of New York City where actually created...
In a corridor just inside Ghebaly Gallery, a faded sign, barely legible for its low contrast, reads "Déjà Vu." This isn't merely a placard bearing the title of Sayre Gomez' show; it's an integral painting whose dual function niftily preludes the awaiting parade of...
USC Fisher Museum's "James hd Brown: Life and Work in Mexico" is one of the few PST: LA/LA shows devoted to a SoCal-born expatriate. Born in Glendale in 1951, Brown settled in Oaxaca in 1995 after having lived in Europe and New York. This exhibition is ingrained with...
It’s often said that the victor writes the history, and I don’t think it’s a stretch to say that men, and society in general, have been victorious in writing an exclusionary narrative after ignoring women for centuries. Art history books, museums and other established...
The singularly remarkable thing about Ken Gonzales-Day’s re-creation of his breakthrough 1993-96 photographic project, “Bone-Grass Boy: The Secret Banks of the Conejos River,” is the infinitely expansive temporal envelope it seems to occupy. This is more than...
Much like the Jorge Luis Borges book after which it is named, the 18th Street Arts Center’s PST: LA/LA exhibition addresses history and its delineations, whether entirely or partially fictitious, in order to question the role of master narratives in general, and...