“I understand and appreciate clean-made art, but what I’m mostly attracted to is something raw and more guttural. That’s what brought me to the outsider art world. Plus there’s no other gallery in LA that’s showcasing outsider art,” says Paige Wery, erstwhile golfer, art school dropout and part-time painter.Since opening The Good Luck Gallery in March 2014, Wery, a statuesque brunette, has...
The auction market, and in particular the salerooms of the two major auction houses, Sotheby’s and Christie’s, have long been a proving ground for the marketplace maturity of every kind of specialty commodity, including fine art. Auction houses have aggressively expanded their secondary market role in recent years, in their unrivaled capacity to match buyer and seller; and as the legacy segment...
When looking at art one considers line, shape, volume, the play of light across pigment. When looking at Los Angeles, one considers other lines. The stark divide between the haves and have-nots is as tangible as the freeways that divide one neighborhood from another. With the theatrical performance of big money that makes LA more destination than home, the art world can seem like just another...
An interview with Paris Photo LA’s new director, Florence Bourgeois, and the new artistic director, Christoph Wiesner, was the first thing on my agenda for the fair this year. I wanted to get from Bourgeois and Wiesner a sense of what changes or innovations they hope to bring to PPLA. Because this is the third year of the three-year commitment Paris Photo had made to be at Paramount Studio in...
Prestidigitator, composer, engineer and conceptual artist Nahum hails from Mexico City, has lived in London for many years after a degree from Goldsmith’s College, but really, he belongs anywhere. Recently he and eight other Mexican artists, along with a Mexican scientist, spent a day floating above our planet in zero gravity on a parabolic flight. Russians flying the huge Ilyushin 76 MDK...
IN THE BEGINNINGThere is something about abstraction. The concept of the non-pictorial, non-mimistic image is unique in art, and in the world. Sometimes it seems to me that there is abstract art, and then there is everything else. This is what Ad Reinhardt meant when he wrote that “Art is art-as-art and everything else is everything else.” It is an intriguing concept. Everything in the world...
Los Angeles painter James Hayward taught a USC graduate seminar in 1987. That was my introduction to him. He wasn’t much of a teacher, but he sure was a talker. He sat in a chair front and center in the classroom with his legs stretched wide open. When he would get excited by his own tall tales (which was most of the time), his long skinny legs would begin to flap back and forth wildly in rhythm...
Think about the differences between the long-standing practices of painting and sculpture, and clichés persist: Painting is “flat,” sculpture is not; paintings go on a wall, sculptures do not. In contemporary art these separate paths often intersect; some notable mid-20th century examples being Jasper Johns’ encaustic and plaster paintings, Lucio Fontana’s stabbed canvases, Robert Rauschenberg’s...
An acknowledgment of tradition coupled with a refusal to conform to established conventions makes Analia Saban an artist not easily categorized. Her work flows seamlessly across genre, concept and medium.A native of Argentina, Saban recalls arriving in California nearly a decade ago. “When I got to UCLA, I was confused because there was all this attention always going to painting. I thought, why...
I met Sheldon Figoten in San Francisco in the mid 1970s. We were just a couple of ambitious young artists from Los Angeles on sabbatical in California’s northern hemisphere at the time. After returning to SoCal, Figoten settled in Venice and over the years has become friends with many of its veteran abstract painters. Ed Moses, for one, is a longtime pal. Where Moses has had a storied career...
In his essay on photography entitled “The Decisive Moment,” Henri Cartier Bresson describes the intricacies of portraiture and the subject. He writes that the ideal portrait is a “true reflection of a person’s world – which is as much outside him as inside him.” We...
The two dozen or so paintings Bronx-based artist Tiffany Alfonseca made during a summer residency at the Mistake Room not only represent a kind of reimagined family photo album, but are intentionally rendered with fidelity to those source materials and their awkward...
Who is apologizing, and to whom? A large light installation on Victoria Square in Athens states: “We apologize for the discontent and stress that this may have caused you.” Who is included in—or excluded by—the ‘we’ and the ‘you’, respectively? What is ‘this’? Victoria is a heavily policed area, as it is home to many refugees, sex workers and substance users. It isn’t clear from the work itself if it’s apologizing to or for these populations, but the material consequence of the installation is an even heavier police presence in the area, resulting in increased harassment of the Square’s locals. On the official website for the artwork, a footnote reads: “Please accept our sincere apologies for any inconvenience that may arise from the presence of the installation in Victoria Square. We understand that even a small shift from our everyday itinerary and routine may be annoying…”. Brushing off increased policing as an “inconvenience” and a “small shift” demonstrates the disconnectedness of this supposedly socially engaged work of art, that’s based on research made “in collaboration with old and new residents from the Victoria Square neighborhood”. The piece is co-commissioned by Counterpoints Arts who, despite a focus on “arts, migration and cultural change,” evidently failed to recognize the threat that police violence poses to people within and beyond Victoria.
The Korean Peninsula is a region rooted in duality. It is a land both literally and ideologically split down the middle, a lasting result of Cold War-era proxy wars, Western imperialist action, and an on-going brutal dictatorship. And even before the interventions...
Three vastly different solo exhibitions make up the current exhibition at Gabba Gallery. Vivid and dense color is the keystone of Judy Ostro’s abstract patterned work in Never Too Late. Both mosaic and kaleidoscope, Ostro draws the eye and keeps viewers unbalanced in...
Grief comes in countless forms. There are as many ways to feel the peculiar sensation of loss as there are things to lose. One can lose another, something external, and just the same – or just as differently –one can lose oneself. With bereavement, there is no wrong...
Fragments of paper, cardboard, wire and foil have all been carefully orchestrated into a space that seems to float seamlessly and coalesce into a compelling quasi-geometric composition in “Collages 1957–1982” by Louise Nevelson. On closer inspection, it becomes clear...
Fairytales operate in a special place of human consciousness. They offer the building blocks of moralism and societal standards, for better or worse. Though folk stories, myths and fairytales are found throughout every culture, there are many common elements: simple...
Though at first seeming to depict ordinary, even prudish interior domestic scenes, upon closer inspection Anne Buckwalter’s paintings reveal provocative signs of sex, eroticism and sensuality. In Clean Linens, her first solo show at Rachel Uffner Gallery, Buckwalter...
When it comes to exploring concepts of Zen Buddhism and contemporary art, artists have used Modern and Contemporary art approaches like Minimalism, video, and Expressionism to convey these ideas to the viewer. What about Realism? Ernie Marjoram in his solo show...