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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...