At Kandis Williams’ studio, sparse and white with tall ceilings and drywall divisions, her studio neighbor Orion Martin and I sit and talk with her about contemporary intimacy. I am struggling as to whether I should revive a Tinder account in an act of hysteria spawning from a relationship that cut far too deep for its brevity. Williams shakes her head, empathetic and saddened. Williams is at...
In the mainstream, queerness has a way of being pushed into the shadows, forced back into the closet. It happens all around us, especially in communities of color, spaces which still oftentimes say that queerness does not belong here. It was a bit of a surprise then to see queerness so unabashedly out this fall as part of Pacific Standard Time: LA/LA, the massive exhibition series funded by the...
Just as there is a certain metaphysical link between acknowledging one’s existence and looking in the mirror, there exists a similar link between the acknowledgement of a culture’s experienced reality and its representation in media. When a cultural group lacks representation, the variety of their experiences is suppressed. At times, then, they are fueled to create an artistic response outside...
Years before the Getty’s “Pacific Standard Time: LA/LA” was initiated, the Museum of Latin American Art was exploring Latin and Latino culture. Its previous 2011–12 PST, “Mex/L.A. ‘Mexican’ Modernism(s) in Los Angeles, 1930–1985,” explored the relationship between artists and supporters on both sides of the border, and included murals by José Clemente Orozco and David Alfaro Siqueiros. Yet in...
China had its first major avant-garde exhibition in 1989, which was also the year of the Tiananmen protests. The exhibition “Art and China after 1989: Theater of the World” (through Jan. 7, 2018) at the Solomon R. Guggenheim Museum, New York, acknowledges that sea change, and ambitiously tries to track the major sociopolitical changes in post-Mao China with its contemporary art. “No nation in...
And we’re back… back to communing for art’s sake. If you’re looking for something intimate and off the trodden path, there’s Caleb Stein’s exhibition "Down by the Hudson." It’s a focused collection of subdued, low-contrast, black-and-white photographs featuring water...
Just as Diego Velázquez’s "Las Meninas" (1656) troubled differentiations between life and painting, Paul Mpagi Sepuya confuses the boundaries that separate life and photography, questioning what is intended to be seen and concealed. In his recent exhibition at...
Since I first saw Olivia Hill’s solo exhibition “Strike-Slip” at Bel Ami, I’ve found myself returning to one work in particular—one of the smallest in the show, a sunset-hued rendering of sandy terrain. Entitled Tire Mark in Yucca Valley 34°12’27.9″N 116°26’17.2″W...
In swirls of citrus yellow and lipstick red, a neon sign just inside the entrance proclaimed: My Body My Choice, Her Body Her Choice. The words of protest—framed by recycled cardboard to echo the font’s curvaceous forms—seemed to flash a prescient warning the day the...
“Working Together: Louis Draper and the Kamoigne Workshop” is a photography exhibition on view at the Getty Museum that chronicles the history of an extraordinary partnership of Black photographers. Founded in 1972 by Louis Draper, the Kamoigne Workshop was a...