“Kairos” by Seline Burn at Baert Gallery features 10 large oil paintings on canvas and linen, all completed this year. Blues, yellows, and greens render female figures across landscapes and interior settings that blur the boundaries between inner and outer, self and...
When I look at Fred Lonidier’s show “Vacation Village Trade Show,” at Michael Benevento, my mind naturally goes to Antonioni’s Blow Up (1966). Much like Antonioni, whose film is about a photographer who inadvertently captures a murder, Lonidier is interested in the...
The R.M. Schindler House is unexpectedly quiet. Despite being smack-dab in the middle of West Hollywood, there’s a noticeable lack of noise around the house and grounds, as if the air is somehow thick enough to deaden dog barks and car horns. The silence somehow feels...
To prepare for his current show “Noir” at Gagosian, Alex Israel claims to have walked about fifteen thousand steps per day around Los Angeles. This is highly unusual and, honestly, suspect. As the saying goes, no one walks in LA. Yet Israel insists on it and says that...
There’s something in the Los Angeles air recently that’s been conjuring the ghost of Charles Manson. He has been coming up in conversation frequently (or maybe I am bringing him up). California’s back on the national stage for its hippie-turned-fascist tendencies....
We recognize the legacy Jacqueline Humphries is working from the moment we set foot in Matthew Marks’ two gallery spaces; yet something throws the viewer slightly off. It’s the echt gestural vocabulary of post-World War II art, but as if viewed through a scrim or...
It’s a matter of complete coincidence that Ramsey Alderson’s show “d’Or” at Tiffany’s—an East Hollywood artist-run garage space programmed by Adam Verdugo—coincides with the 17th anniversary of the notorious Emos vs. Punks Fight held in Mexico City’s Glorieta de Los...
I left Gregg Bordowitz’s recently-closed exhibition at The Brick, “This is Not a Love Song,” thinking the same thing as upon leaving The Brutalist: “I didn’t know it was going to be so Jewish.” In both, the artist’s Jewish identity weaves through a deep consideration...
I went in blind to David Hammons’ Concerto in Black and Blue (on view for the first time since its 2002 debut)—both literally and figuratively. When I pushed back the heavy curtain shrouding the gallery, darkness swallowed me. I couldn’t pull out my phone to navigate...
There is something a little chipper about the art world right now that belies the national mood. Palettes tend toward cheery hues and uncomplicated content. Not that there’s anything wrong with upbeat paintings, it just seems like there are other types of content...
The title of the two-person show at Cheremoya, “Conversion,” has a twofold implication: religious and material transformation. Calla Donofrio’s desaturated paintings depict acts of (sometimes sexual) violence that have been censored by parts of the image being blacked...
In Robert Russell’s solo show “Stateless Objects,” lush paintings of solitary vessels and kitchenware float like apparitions on the walls of Anat Ebgi. A mix of Judaica—challah platters, kiddush cups, and the like—alongside porcelain teacups produced in pre-Holocaust...
Situating her work at the juncture of word and image—an intermedial locus where, in her case, verbal content is at once borne and engulfed by complex painterly structures —Alexandra Grant has, in fact, had to struggle to achieve a coherent balance between her twinned...
The images in Yorgos Lanthimos’ first photography exhibition were captured while the filmmaker was shooting Kinds of Kindness (2024) and Poor Things (2023), but you wouldn’t be able to tell by looking at them. Except for the actress Hunter Schafer in one stark...
Teresa Murta’s hallucinatory fever dream of gestural abstraction is full of organic lines and undulating forms that made me feel like I was finding images in clouds that would begin to take a familiar form before disintegrating before my eyes. Is that a bouquet...
Those of us who have dreamed—which I pray is everyone reading this—know how it goes: A cacophony of vignettes rattle through your unconscious, some a single flash, some endless, though in reality, they’re all only a few seconds in duration. No matter their...
It seems heaven is butter scented. Or at least La Loma Projects is butter scented. And who knew the Pearly Gates were actually in Highland Park? Walking through those gallery doors, you’re hit with a bright light that really does feel like a scene out of a...
Kyle Dunn celebrates the languid vibe of siesta culture through figurative and still-life pieces. The works on view use acrylic to replicate the luminosity of the Old Masters’ oils, giving Vermeer illuminated by the harsh New York summer sun. Siesta (2024)...
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