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Virtual Viewing has its Virtues

During these last three months art galleries have been tripping over themselves to create virtual viewing rooms and walkthroughs, and to join collective ventures in online selling such as GALLERYPLATFORM.LA and FAIR (from New Art Dealers Alliance or NADA). Meanwhile, Saatchi Art has already been an online marketplace for art since 2010. Although you won’t find a Banksy or Yayoi Kusama among the...

SHELTER-IN-PLACE: Remarks on Seafoam Green

by Eve Wood

Editor’s Note: In lieu of our usual reviews and gallery rounds, we will be running a special SHELTER-IN-PLACE series for the duration of social distancing. This series will focus on that which can be enjoyed from home: musings on stream-able films, online art, and memoiristic reflections on colors, permanent collections, and craft. Thanks for sheltering with Artillery, and we hope to see you at...

LA’s Strange Still Beauty
Dani Dodge and Diane Cockerill Tool Around the Empty Streets

by Genie Davis

Dani Dodge and Diane Cockerill are two very different artists, both working in the photographic medium during Los Angeles’ great exile inward from the onslaught of the COVID-19 virus. Their recording of this time is both surreal and sublime; capturing these frozen moments of stillness and making them sing songs of sadness, resilience and stark beauty. Shaping color images rife with a loneliness...

Building Bridges with Julian Bermudez

by Betty Ann Brown

I met Julian Bermudez at his gallery, Bermudez Projects, a spare, light-filled space in the Cypress Park area of Northeast Los Angeles. Bermudez was attired in art-world black and sported a thin, pointed mustache. He was bright, energetic and articulate. He started out by explaining, "I am a curator who believes in art and the artists who make it. I believe their art has the power to shape the...

The Met Loses $100 Million! A Mere Pittance

by Cole Sweetwood

The Metropolitan Museum of Art reported on March 12th that, as a result of closing until July due to the ongoing coronavirus pandemic, they would take up to a $100 million loss and are considering the furlough or layoff of many of its staff members. This, for many in the art community, was the first major sign of the crisis that has befallen us. As of April 13th, the vast majority of museums in...

Robert Rauschenberg’s Monogram, 1955–59

by Max King Cap

No wonder your president has to be an actor. He's gotta look good on television. Emmett Lathrop "Doc" Brown, Ph.D. Back to the Future, 1985 It stands triumphantly—a voracious junkyard goat surmounting a catafalque of the written word, a bier of gibberish, a babel of ancient symbols. Pen pals, gone; cursive gone, love letters now exchanged in childish icons. Having eaten everything...

The Online Life: Photos to Cringe By

by Colin Westerbeck

The day I sat down to write this opinion piece, I was moved to do so by a feature in The New York Times that both irritated and alarmed me. “Now Virtual and in Video, Museum Websites Shake Off the Dust” the headline read, and the text informed me that the Louvre, our National Gallery in Washington, the Courtauld Institute in London and the Metropolitan Museum of Art in New York were putting...

SHOPTALK

by Scarlet Cheng

Pomp & Zoom Spring usually heralds a spate of art-school grad ceremonies and shows—the equivalent of debutante balls for young artists and designers trained at our august art schools. This year with shelter-at-home and social-distancing mandates in place, there will be no crowds gathering in an auditorium or on a sun-speckled lawn, no mounting the dais as your name is called out,...

SHELTER-IN-PLACE: Remarks on Oxblood

by Eve Wood

Red is a color that should never be messed with, diluted, bastardized, cross-pollinated or otherwise appropriated, which calls into question the reason the color oxblood exists at all. If you cut open the belly of an ox, would the seepage of viscera reveal this sickly, mutant shade, like blood mixed with fecal matter? I imagine most ox would find this offensive. Blood is a substance that...

Movements: Battles and Solidarity

by Meher McArthur

On the weekend before everything locked down in Los Angeles, I was fortunate enough to catch the exhibition "To View a Plastic Flower" at the Los Angeles Municipal Art Gallery and to hear one of the featured artists, Vietnamese American artist T. Kim-Trang Tran, discuss her three-channel video installation, Movements: Battles and Solidarity. The installation coalesces three seemingly disparate...

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Reviews

Brian Cooper
Rory Devine Fine Art

Transforming the gallery into a performance space for his installation “Things Thinking,” Brian Cooper constructs an environment for contemplating the ideas of cognitive psychologist Donald D. Hoffman, whose theories posit that our perceptions of the world are mental...

Faith Ringgold
Jeffrey Deitch

Maya Angelou’s words You may shoot me with your words / You may cut me with your eyes, / You may kill me with your hatefulness, / But still, like air, I’ll rise speak to Faith Ringgold’s origins—as a college student in the 1940s, she was told by her professor that she...

Joni Sternbach
Von Lintel Gallery

In much of her work, New York–based photographer Joni Sternbach experiments with historical photographic processes, specifically tintypes, direct positive images created on thin pieces of metal. Tintypes were popular in late-19th-century photography studios since the...

Maria A. Guzmán Capron
Shulamit Nazarian

“Pura Mentira,” the title of Oakland-based artist Maria A. Guzmán Capron’s exhibition, is a statement on people’s propensity for multiplicity. Using textiles as her medium, Capron merges the figures in her pieces together, their bodies often winding together to create...

Linda Arreola
Avenue 50 Studio

Curated by Nicolas Orozco-Valdivia, Linda Arreola’s “Abstract Wanderings From the LA Borderlands: 2020–2023” comprises the artist’s strongest work to date. The presentation of nine paintings, some in multi-panel formats with varying scales, can scarcely be contained...

GALLERY ROUNDS: Ken Taylor Reynaga
at The Mistake Room

Ken Taylor Reynaga’s exhibition, “A Mano,” features a wide array of paintings and ceramics that speak to the personal and shared experience of cultural duality, and interrogate the belief that being multicultural places one in an identity limbo. Using his own...

PUBLISHER’S EYE: Laura Larraz
Chris Sharp

In these bright, gestural paintings, Laura Larraz explores ranging depictions of femininity, from notions of purity and domesticity to the idea of witches. At first glance, her paintings have a clear sense of humor; in Beware of Holy Whore, two pink cherubs hover over...

GALLERY ROUNDS: Myrlande Constant
The Fowler Museum at UCLA

“Lush” and “riveting” are words that best describe Haitian artist Myrlande Constant’s exhibition “The Work of Radiance” at The Fowler Museum. Constant creates astonishingly beautiful mosaics out of fabric and beads, leaning on skills she developed as a young girl...

OUTSIDE LA: Susan Chen
Rachel Uffner Gallery

After three years of experiencing artwork, exhibitions, podcasts, and news reports related to Covid-19, it seemed there could be nothing left to consume that is new, inspiring or even interesting. Enter Susan Chen. In a surprisingly refreshing and engaging solo show,...

PUBLISHER’S EYE: “Strong Winds Ahead”
François Ghebaly

In this expansive group show featuring the works of 18 artists, curator Lekha Jandhyala creates a strange, almost dystopian environment, both primordial and futuristic, of works that imply destruction and rebirth; in dialogue with each other, Ragini Bhow’s floor...

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