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Jud Fine and Barbara McCarren’s And/Or show at the University Art Museum, Cal State University Long Beach channels us toward Keats’ notion of negative capability, or a fertile surrender to paradox and uncertainty, by way of two colliding currents. One induces...
Jeffrey Vallance was already something of a legend when I first became acquainted with his work – an ‘interventionist’ style of conceptual art in which the performance became a kind of deconstructed cultural inquiry. My first impression came by way of captioned...
If you missed this artist’s 2014 “Light Invisible” installation at LACMA, “Golden Ratio,” a new show at Peter Blake Gallery presents the opportunity to view Helen Pashgian’s colorless elliptical columns. In this exhibition of Pashgian’s continued exploration of light...
I’m looking at Second Sight (2016) by Christina McPhee, which carries the same title as her solo exhibition currently on view at Cerritos Art Gallery. This work is an abstract, dense and expressive work on paper: there are marks upon marks, which create a layered...
Sometimes the bravest show can be one that parses its meanings seemingly by millimeters in the sheer sense structures to be elucidated between one work and the next. This is in pronounced contrast to the relatively unfiltered cascades of sensation that dominate many...
"A Noiseless Patient Spider" at Vacancy is an experimental mix of sculpture, painting, assemblage, and installation. It’s surprising for a show in such a small space to pull off so many varying aspects, yet "Patient Spider" does just that. Linnea Kniaz interacts with...
Exiting Electric Earth, Doug Aitken’s immersive, multichannel narrative installation first presented in 1999 and immediately confronting Twilight (2016), an eerie, translucent ghost-like freestanding replica of a now obsolete pay phone that pulsates from light to dark...
Henry Taylor has described his figurative painting, which is not infrequently straight portraiture, as landscape; and to press the point, he has taken the further step of mounting the work within a gallery prepared from the floor up, in effect treating the space as...
Visual affinities extend throughout Sam Falls’ solo exhibition at Hannah Hoffman, suggesting relationships between natural phenomena and man-made objects, while also developing a thematic unity for Falls’ heterogeneous production. A pair of texturally rich photographs...
A descendent of samurai-era Bizen sword makers, Miya Ando was first introduced to metalworking as a child while living in a Japanese Buddhist Temple. In homage to her ancestral heritage, she has since looked to this medium (whose impermanent properties convey the...