Articles

NEEDLEWORK IN THE SERVICE OF SUBVERSION
"Iron Halo" by Sal Salandra

For the past few weeks, Iron Halo, a catalog of Sal Salandra’s art, has occupied my coffee table, stopping everyone who sees it in their tracks. The cover is a detail from a work called Human Ashtray: an ultramarine background surrounds a bearded man wearing a dog collar, his head restrained by a disembodied hand. Two cigars flick ashes into his salivating mouth. But it’s not the shocking nature...

FABRICS OF CONSCIOUSNESS
Ahree Lee Weaves Seamlessly Between Art and Technology

by William Moreno

Multidisciplinary Los Angeles–based artist Ahree Lee started her career focused on video work. In 2001, she took on her first major long-term project employing the repetitive and somewhat pedestrian habit of taking a daily selfie. The resulting images were transformed into a mesmerizing visual diary, Me, 2001, which became a prescient viral YouTube sensation. Envisioned as a lifetime effort, it...

Metro Art
THROUGH A GLASS LIGHTLY

by Scarlet Cheng

Visiting the three new Downtown LA Metro stations recently, I found myself intrigued with how artists commissioned by Metro Art use the transparency of glass to design artworks. The street level of the stations is enclosed by glass, both to allow natural light in and to show people outside what is inside, and vice versa. It creates a certain built-in welcome to pedestrians, both those planning...

ON TOP OF THE WORLD
Mercedes Dorame Reverses Power Structures With Spirituality

by Bianca Collins

At the Getty Center, Los Angeles’ world-famous “treasure box on the hill” bearing the name of oil tycoon J. Paul Getty, a monumental shift is underway. I chatted with Tongva artist Mercedes Dorame, whose art is at the center of it all. “Mercedes Dorame: Woshaa’axre Yang’aro (Looking Back),” the inaugural installation for the Getty’s Rotunda Commission series, marks the museum’s first solo...

COMMITMENT TO SOCIAL ENGAGEMENT
"Redaction" by Reginald Dwayne Betts and Titus Kaphar

by Sarah Sargent

A powerful indictment of the American legal system, “Redaction,” a collaboration between poet Reginald Dwayne Betts and visual artist Titus Kaphar, began its life as a 2019 exhibition at MoMA PS1 in New York. As a follow-up to the show, the artists, who are both Black, decided to produce a book version of the same name, published by W. W. Norton, to attain wider distribution, particularly among...

FUCKING WITH AUTOBIOGRAPHY
The Films of Martine Syms

by Cat Kron

How do we tell our stories? Martine Syms is rewriting the terms. In addition to sculptures, installations and text-based projects, the polymath Angeleno artist has made a string of ambitious films. Her work in FAV extends as far back as her solo show at MoMA in 2017, where the then 29-year-old artist debuted her first feature-length film, Incense Sweaters & Ice, as part of the exhibition...

MALKA GERMANIA
Yael Bartana's Jungian Journey Into the Past and Present

by Liz Goldner

In an age when so much gratuitous violence pervades our screens, the three-channel film Malka Germania presents a gentle Jungian perspective on the effects of the Holocaust on today’s German citizens. The film alludes to collective trauma about war and subjugation, while transforming that trauma into manna. Malka Germania (Queen Germania in Hebrew), created by Israeli native/Berlin resident Yael...

The Complex Stuff is the Best
Keith Haring at The Broad

by Tucker Neel

“Children know something that most people have forgotten.” —Keith Haring’s journal entry from July 7, 1986. In the spirit of Keith Haring’s retrospective, “Art Is For Everybody,” I decided to seek a child’s perspective on his work, enlisting my friend’s eight-year-old son, Oscar Forbes, to get his thoughts about the exhibition. After setting up tickets for our visit, the museum’s PR team emailed...

New Art in the Metro System

by Scarlet Cheng

With the opening of Metro’s Regional Connector on June 16, three new Downtown Los Angeles stations have site-responsive art installations by eight artists in them. The artists were carefully chosen through a multi-stage process, and their designs became integral parts of the station’s architecture—whether part of solid walls or glass panels. What I’ve found particularly interesting is that Metro...

THE BURDEN OF MISREPRESENTATION
Documentaries Trumped by Biopics

by Scarlet Cheng

Artists and the art world are a source of endless fascination for the movies. They seem inherently romantic or scandalous—or both—and in the past these movies usually featured white guys such as Michelangelo, van Gogh or Jackson Pollock in postures of tragic genius. Fortunately, we’ve moved away from the Great White Male Artist trope, especially as some neglected women artists have been...

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Reviews

Oshay Green
at C L E A R I N G

I’m not sure I completely understand Oshay Green’s obliquely-named sculptures made of deconstructed leather couches, or how they relate to a series of embossed wooden slabs and a haunting wall work that imposes itself over the gallery like a giant spider. A legible...

Post Human
at Jeffrey Deitch

Jeffrey Deitch reimagines his 1992 exhibition, “Post Human,” with a dialogue between the 90s works and newer ones, presenting dueling visions for the future of humanity and the self. The show is an opportunity to see Paul McCarthy's The Garden (1991-1992) and Charles...

Rema Ghuloum
at Philip Martin Gallery

This show has some of the best paintings that Rema Ghuloum has made, but that might be a problem. She’s honed this language—obsessively detailed, rainbow-hued, color field paintings—past the point of perfection. These paintings glow, but the unfinished, muddy, and...

Carter Potter
at as-is.la

Sometimes art can just be a weird, cool thing that happened one time. Like, what if you took apart a three-part sectional, stacked it vertically, and poured eight gallons of house paint through it. This is a dumb idea, but dumb stuff can be fun. With art, one plus one...

Andrew Schoultz
at Guerrero Gallery

The word trippy comes to mind here, but it might not actually apply. The quasi-mythological take on nature and the vibrating, prismatic color naturally suggest psychedelia but, overall, these are too controlled to be visionary. They feel, at times, like a collision of...

Austin Lee
at Jeffrey Deitch

Austin Lee’s haunting soft-focus paintings are what I imagine my nightmares would look like if rendered in claymation and run through an AI algorithm. The artist’s digital/analog hybrids are creepy—a good kind of creepy, my kind of creepy. In the video Starers (2024),...

“signifying the impossible song”
at Southern Guild

At the entrance of the gallery, viewers are confronted by a massive wall work by Moffat Takdiwa, bhiro ne bepa (pen and paper) (2023), constructed from the detritus of late-stage capitalism and post-colonialist society. The artist embraces the texture and materiality...

Becky Tucker
at Steve Turner

I love seeing an artist push the boundaries of the medium. Becky Tucker does exactly that with stoneware creations that are —FIRE. They look like Clive Barker created the Cenobites from Hellraiser in a kiln lit by hell’s inferno. The most imposing pieces are a trio of...

Liz Larner
at Regen Projects

Liz Larner’s wall works evoke the weathered, mysterious exteriors of unearthed petrified wood. Suspended layers of obsidian, sage, amber, and indigo feel almost magnetized, capable of reshaping the viewer the way magnetic forces reshape landforms. The tautly stretched...

Julia Weist
at Moskowitz Bayse

Julia Weist’s “Private Eye” is like a neo-noir where the investigator investigates themselves and invites us along. The work traffics in suburban paranoia: messages on vanity plates and yard signs asking us to believe. Today, the taboo of surveillance has faded, and...

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