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Kim Rugg at Mark Moore Gallery Kim Rugg dismantles and reassembles things—mostly words and images, including newspaper articles, magazines, cereal boxes, stamp and now maps. “Rendering their original content meaningless,” Rugg teases out new and sometimes...
Martin Mull, “State of the Union,” 2013. Oil on linen, 50 x 60in Martin Mull at Samuel Freeman Accurately representing the human experience in this day and age presents unusual complications—mainly because the business of being alive today is painful on a collective...
“Western Noir,” an exhibition featuring Eric Nash's newest paintings are currently on view at Skidmore Contemporary Art at Bergamot Station in Santa Monica. At first glance, his work brings to mind “Old Hollywood” featuring a youthful, yet noir-infused Los Angeles:...
In Scott Stark’s The Realist—fresh off premieres at the Toronto and New York film festivals, and screening later this month as part of a REDCAT nano-retrospective of Stark’s three-plus decades of tenacious experimentalism—a gaga pair of drop-dead gorgeous...
The title of Iva Gueorguieva’s show “Spill/Frame” seemed almost a naked admission of its strategies and ambition with a concomitant risk of crashing, careening failure. In almost all of the works on view there was both a willful, self-imposed notion of the edge or,...
Fragmented and contorted bodies in motion span the gallery as if onstage in Bettina Hubby’s exhibition “Pretty Limber.” Large-scale figures made of vinyl decals float across the space, wrapping around corners and emerging from the floor. Composited from numerous...
Through a process of intellectual, historical and geographic research, Alex Slade makes evident, and critiques thereby, the social forces that shape the American landscape. Landscape-oriented American photographers have been preoccupied with this issue since the...
The “Never Built” exhibition at the Architecture and Design (A+D) Museum on Wilshire unearths gems from Southern California’s architectural history. The idea originated in 2009, and its extensive research and carefully curated selection by Greg Goldin and Sam Lubell...
In Irene Hardwicke Olivieri’s Subterranean Family (2013), a large woman crouches, her body sinking into the earth, weighed down by a patchwork of introspective self-images. One curls in a sphinx-like pose, her feline tail circling behind her back, as she clutches a...
“Speaking Tongues (The material of communication)” introduces Duane Paul's considerable talent and ability in the artist's first solo exhibition. The show’s 12 works (all 2013) are divided into three sections or “dialect clusters:” six works on paper, two...