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When Hannah Black wrote in her open letter to the Whitney Biennial curators “it is not acceptable for a white person to transmute Black suffering into profit and fun, though the practice has been normalized for a long time,” she did more than bolster a national debate...
The subject of appearances and disappearances is not new to Edgar Arceneaux – in fact it might be considered a through-line in his work over the years. But Arceneaux is always acutely conscious of the sea-changes of time and history and the chain of causality...
Kristen Morgin’s recent works at Marc Selwyn Fine Art break all the rules, and Los Angeles, the city she’s called home for over 30 years, is her muse and partner-in-crime. Abandoning traditional techniques, the artist creates delicate sculptures with painted, unfired...
A black rain cloud hangs at the doorstep of Shulamit Nazarian’s compelling group show, "Broken Language." The rain cloud—No Pressure (2016) by Wendy White—is a flat, aluminum-composite cartoon of a cloud that hovers at waist-height from the ceiling by nylon rope and...
Kerry James Marshall’s current retrospective at MoCA is less a ‘Pick-of-the-Week’ than a Must of the Year. Regardless of the particulars of each individual’s experience, it is a show that compels serious reevaluation of the historical canon of Western painting (and...
In his latest video installation “Weed Killer” (2017), Patrick Staff approaches the topic of identity by juxtaposing the cancer patient’s experience with that of the transgender person’s and examining the ravaging effects that pharmaceuticals can have upon the...
Periodically, we hear complaints (or alternatively, sighs of gratitude) from one quarter or another that painting is dead; or sometimes more specifically, that abstract painting is dead. At this point it’s far more likely the planet will die before abstract painting....
Simultaneously familiar and unfamiliar, utopian and dystopian, Dean Byington's complex canvases are the result of a meticulously refined process that is both digital and analog. Byington begins by collaging photocopies of his own drawings in parallel with fragments...
Mercifully averted, the television writers’ strike was urgent news in Los Angeles, where total triviality-immersion is our raison d’être, and its media coverage was breathless. This would have wryly charmed Neil Postman, author of Amusing Ourselves to Death. His 1985...
There’s an enormous tension between the two shows currently on view at the Craft & Folk Art Museum; yet each resonates all the more powerfully for the juxtaposition. While Material As Metaphor is emphatically abstract, and Keepin’ It Clean explicitly grounded in...