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Bubblegum colors and an interest in the mundane are threads that unite the seemingly unrelated pieces in “Pizza, Bagpipe, Carburetor” by Meg Cranston. The show’s conceptual gambit—subject matter selected by Cranston using an internet-hosted random noun generator, an I...
Erwin Wurm’s "One Minute Sculptures" at The MAK Center is crammed with critically disruptive content, though at first glance there’s not much to look at. In a literalized enactment of the Duchampian observation that “the viewer completes the art,” visitors to Wurm’s...
Aaron Curry’s “STARFUKER” at David Kordansky Gallery seemingly comprises fragmented collisions of space debris tearing through a parallel universe. The two-part exhibition contains a series of paintings on variously shaped canvases in one room and large-scale aluminum...
In August 2015, 25 years after the still unsolved heist at Boston’s Isabella Stewart Gardner Museum (where thirteen works of art including three Rembrandts and a Vermeer disappeared), a videotape from the day before the robbery was released. Using this newly released...
Like a modern-day Ishmael, Steven Hull spent the last few years sailing and seeing the watery part of the world. Hull’s enthusiasm for his new hobby unmistakably influenced his current exhibition of painting, sculpture and sound installation at Rosamund Felsen. The...
Light affects perception in ways typically taken for granted: the ability to see and function; moods; sense of time. In lenticular photographs from the series “Day & Night” and “Frolic” (all works 2015), George Legrady recontextualizes family snapshots to blend...
“The Space Between Us,” Claudia Parducci’s first solo exhibition at Ochi Projects, represents the artist’s commitment to understanding and investigating the darkest sides of human nature. This intense examination is largely atmospheric and abstracted, though the...
The whimsically titled three person exhibition “The Ocelots of Foothill Boulevard” featuring works by Mark Dion, Jessica Rath and Dana Sherwood, investigates the site of an abandoned infirmary located on land that is now a biological research field station. In the 40...
Kim Schoenstadt’s approach to visual art conflates two and three dimensions, crawling up the wall and on the floor, gelling into freestanding objects even as it elaborates on a kind of drawing-in-space that seems at once to leak from and to enmesh the sculptural, even...
“69,”Aaron Wrinkle’s exhibition of drawing, painting and related constructions must be considered in the context of what Night Gallery calls “the mausoleum” that frames it. Initially one might think of it as a pavilion, albeit of a hand-hewn urban rusticity that bears...