Eileen Cowin’s work has been loosely categorized as mise-en-scène photography. But overall it is far more self-reflexive, deeply deconstructed and concerned with the relations of language to the apprehension and (re-)construction of reality. More recent work has...
A vague yet piercing look of confrontational horror animates the face of a woman, zaftig and underdressed, with piercing blue eyes, an exaggerated frown, and the upswept hair and ruddy complexion of a latter-day Vermeer milkmaid. Because of art history, and especially...
What does it mean for the life of an artwork when it can be experienced in dramatically different contexts, as a constellation rather than a point on a map? What happens when the legibility of a work is radically challenged by a shift in viewing conditions; do those...
There’s a fabulous tabula-rasa quality present in “The Shape of Cloth.” Leveraging her experience as a masterful furniture designer, Irish-expat Mary Little presents eight existing unbleached canvas sculptures and a single site-specific piece for her exhibition at...
The intimate scale of John O’Reilly’s photomontages belies the broadly ranging ambition and scope of his concerns. The 40-year survey of his work at Zevitas Marcus reveals a consistency of approach spanning the entirety of O’Reilly’s production. The artist, whose work...
Windows often appear in art, sometimes as framing devices, sometimes as apertures to other worlds. In her new photographic series “The In Between,” Alexandra Hedison has come upon a way to do both, using ready-made vignettes. While exploring the streets of Paris, a...
“Dark Landscapes for a White House,” Deborah Oropallo’s solo exhibition at Catharine Clark, presents a moody, dysfunctional picture of contemporary society in nine large-scale works in photomontage, pigment print, and paint on paper, complemented by a quartet of...
Two short films in “Solar Rhythms” at Tanya Bonakdar open Tomás Saraceno‘s proposal for thermodynamic collaboration and remaking human relationships to the Earth. The first, taken during Saraceno’s ambitious, record-setting flight in White Sands, New Mexico with his...
See our feature on Ry Rocklen and his Food Group project on page 30 in our July/August issue. Subscribe today!
Congratulations to our winner Jayme Odgers and our finalists. Jayme's photo is seen above and first in our photo gallery in the July/August 2018 online edition of Artillery. The following photographs are the finalists. Please see the info below on how to enter...
I’m becoming accustomed to conversations changing overnight over the last year or two; and certainly the context of those conversations is being altered more or less continuously. Less expected is when the perceptions of a set of issues or phenomena of any variety –...
This past weekend brought a summer feast of art exhibitions all over town, some with potent topical messages. The 11th annual "Diverted Destruction" exhibition at Loft at Liz’s featured works made of found, discarded or recycled items, and a found-object giveaway...
Promise of the past rudely collides with dread of the future in Alexa Gilweit's nostalgic Americana scenes viewed through dystopic lenses. Satirically titled "Big Winners," Gilweit's show at AM Gallery consists of paintings inspired by mid-century ads depicting...
June is LGBT+ Pride month, and it also marks the month of the third annual Los Angeles-based Queer Biennial, founded and curated by Ruben Esparza, which opened on June 1, titled “What if Utopia?" I have to admit that I am disappointed by this queer biennial, unlike...
Rafael Cardenas is known for his high-contrast, high-drama black and white street photography, but in “Backyard Tableaux,” his new exhibition at the Vincent Price Art Museum, his color photographs of quasi-urban backyard parties evoke the artistry of historical eras...
I love most animals, in fact pretty much all animals, including some species especially hostile to human life (maybe those most of all). But I’m not one to fetishize them – or many other things, either (I think). However, whether it’s because of social media or just...
The annual garden party fundraiser for SASSAS (Society for the Activation of Social Space through Art and Sound) had most things one would expect in a swanky fundraiser. The event took place in the private residence of Mary Blodgett and Carlton Calvin in the painfully...
Mattea Perrotta abstracts figures and Jonathan Ryan abstracts architecture; their juxtaposition at The Landing educes the two painters' similar manners of distilling contemplative moods from their divergent subjects. Ryan's buildings frequently assume anthropomorphic...
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