“I’m gonna make him an offer he can’t refuse.” Don Vito Corleone to Johnny Fontane, The Godfather (Paramount, 1972) written by Francis Ford Coppola and Mario Puzo, from the novel by Mario Puzo, directed by Francis Ford Coppola. As visitors to this blog are aware,...
Ryan Trecartin and Lizzie Fitch seem to have channeled the Bauhaus’ Oskar Schlemmer—not an easy task, but one certainly worth considering. Working in the vein of sculptural theater, Fitch and Trecartin have created a strangely alluring alternate universe using “a...
Pitzer College's exhibition, "Racial Imaginary," the visual art component of a larger project that includes a book of essays, musings and poems, demonstrates the fecundity of race and identity for artists of all media and aesthetic proclivities. The featured artists...
"New Works: Paintings by Carole Bayer Sager at William Turner Gallery, September 18, 2014" From Carole Bayer Sager at William Turner Gall. Posted by Artillery Magazine on 11/17/2014 (13 items) Carole Bayer Sager New Works Katherine Ross and Michael Govan attend as the...
In case you didn’t notice, Hello Kitty invaded Los Angeles last month. If you were anywhere near Little Tokyo, you could scarcely escape the impression that not only that neighborhood, but half the population of this side of Los Angeles had been initiated into the...
During the summer of 2012, artists Eddie Rehm and Kenneth Ian Husband were enjoying something of a personal Golden Age in their tiny shared studio in Patchogue, a working class town on Long Island, New York. The studio itself was little more than a shed in the yard of...
Robert Olson was a colleague and fellow art world traveler. From the beginning his work was marked with a deep sense of isolation, and it this deeply private motivation that suffuses his retrospective at the Luckman Art Center. Spanning a twenty-year period, the show...
The center of the Los Angeles Philharmonic’s Friday evening program was a shimmering pulsation of musical color, both harmonic and timbral, in a field of black and white. Both Susan Graham’s rendering of a suite of Kurt Weill songs and Esa-Pekka Salonen’s own suite...
There was a moment between the late 1960s and early 1970s when mainstream American mass culture seemed to heave a collective sigh of relief. With the first major convulsions of the American civil rights movement and the trauma of recent political assassinations...
New York TimesA 40-foot banner was unfurled inside the central rotunda of the Solomon R. Guggenheim Museum on Wednesday evening.. . . READ MORE
![About town: scanning the remnants [Thomas Eggerer, Kim Kei, Luke Diiorio]](https://artillerymag.com/wp-content/uploads/2014/11/KimKeiMimesis7.jpg)
We all know what brought us to Los Angeles; the question is what makes us stay. I hate driving; but the one good thing about being pulled occasionally off the beaten path (inevitably by car in L.A.) is the opportunity to see what has changed (disconcertingly,...
From the beginning, the plans for the new Los Angeles County Museum of Art building have been a private collaboration between Director Michael Govan and the Swiss architect Peter Zumthor. This latest chapter in the quest for a new building for the county museum began at a preview I attended in the LACMA auditorium for the exhibition The Presence of the Past on June 3, 2013. More than a preview, it was a show of its own for a project that had advanced without public review, all the way to finalizing the mass, the shape and the exterior circulation of an apparently unconventional new building.
Ry Rocklen saved oyster shells, along with some rocks, then tried to unload them one day at a garage sale. “I didn’t sell a thing,“ he told me in an interview, about his boyhood collecting obsession. Decades later, he is still drawn to treasuring odd stuff: discarded...
Bodies are complicated. Choosing to work with the body as an artistic material complicates its complications. The resulting nest, where taisha paggett settles in to practice, can be thick and sticky. Paggett has grappled with the ways identity and environment are...
Is fashion the medium of the moment? I’m not talking about haute couture or luxury ready-to-wear fashion design. Since the ascendance of Conceptualism, the means of fabrication have been more or less beside the point in fine art; and so it would be here. This isn’t...
“I’m a hypocrite,” Linda Vallejo says, referring to her latest series “Make ’Em All Mexican.” “I grew up on Fred Flintstone and Frank Sinatra. I’m all American.” She adds, “I think we are all hypocrites in one way or another. We all have our prejudices and judge each...
Ross Rudel’s art has haunted my consciousness for a few years now. Encountering occasional works of his in group shows throughout Los Angeles, I would find myself consistently drawn in and hypnotized by what felt like a quiet, faraway presence filled with hidden potency. The LA–based artist’s sculptures and performances, carefully crafted and often employing found objects, exude deep mystery and deep purpose. Why does this work—sometimes so slight and minimal as to be barely noticeable in the gallery—have so much resonance? Where does this strange energy come from?
“There is no one authentic way to present Asian art and culture,” according to Christina Yu Yu, who was recently appointed as director of the USC Pacific Asia Museum in Pasadena, California. “Once you take a piece of art and place it in a case with a spotlight,” she explains, “you remove it from its original context.” Yu well understands the importance of context. Born in Wuhan in China’s Hubei province, she came to the United States as a student and trained in Asian art history here in the West. It was while in the U.S. that she began to appreciate the art of her own culture. “Sometimes it takes distance” she admits, “to learn about where you are really from.” Her point of view, both Eastern and Western, as well as her academic and professional background place her in a unique position to lead a museum of Asian art in the greater Los Angeles area, where, despite a growing population of transplanted Asians like herself, the art of the East is not widely appreciated.
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