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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...
“The Collective Memory of the Worst Place to Live in the World Today If You Are Not White” is a small but nicely arranged exhibition comprised of Alejandro Cartagena’s current and previous work, contrasting Santa Barbara, California with Monterrey, Mexico. The main...
Densely fretted and motion activated and crying out for every metaphorical use of the word string from art to design, music to physics, three new bodies of work by Brian Wills expand and deepen his relationship to his material muse—colored thread. A star in the...