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Charles (or Chuck) Arnoldi has been a mainstay in Los Angeles art since the early 1970s, proposing a kind of material grittiness that is, if anything, the inverse of the finely tooled polish practiced by his finish/fetish friends. Arnoldi is, in fact, every bit as...
Evoking life's inconstancy, little is certain in Gracie DeVito's paintings, which seem to shift in the blink of an eye from abstraction to representation and back again. Even the edges of her shaped canvases seem to sway, slump, wiggle and distend as though struggling...
The urgency of revisiting an archive is found in challenging its presumed objectivity and totalizing vision, thus exposing cracks, biased ideologies, contradictions and gaps to make way for fracturing, reinterpreting, enlarging or otherwise revising our understanding....
Perusing the 37 paintings by various Ghanaian artists in “Praise Portraits from Ghana: The Good, the Bad and the Ugly...!” feels like peering into an exotic parallel dimension of popular culture. At a glance, these depictions of mostly American actors, singers,...
Whitney Bedford’s landscapes and oceanic vistas were emotional, elusive, uncommon, sometimes based in story, or sweetly teetering on the verge of collapse. Her relationship to the paintings—and by extension ours—was both dualistic and deeply personal. Precisely drawn...
Tomashi Jackson’s new solo exhibition, Forever My Lady, is an exploration of propaganda, democracy and civil rights in the United States. Her collaged, sculptural objects combine elements from American and Greek elections—candidate signs, ballots, campaign buttons—and...
I Am Shelley DuVall frames the inimitable ‘80s actress as a queer icon, whose tragic life and captivating personality has always vacillated between human and extraterrestrial planes. The exhibition functions as a hybridized gallery/clothing store that also raises...
The first work one sees upon entering Jibade-Khalil Huffman’s solo exhibition at Anat Ebgi is a monochromatic print of the ocean—the hazy sky fading endlessly into the sea like a Rothko color field painting. The print offers a moment of reprieve, the calm before the...
Well known for creating full-size replicas of his dwelling spaces, South Korean artist Do Ho Suh has “moved in” at the Los Angeles County Museum of Art’s Resnick Pavilion. The installation, 348 West 22nd Street, is both ephemeral and immersive, a seemingly delicate...
The path through this darkened labyrinth is reminiscent of the Haunted House; the viewer is made to follow a path through concocted fear toward anticipated relief. Chiron, Adelita Husni-Bey’s immersive environment, however, refuses to allow the visitor to leave so...