I saw the sun saved and erased at the same time. In Zoe Koke’s recent paintings, oil becomes a way of holding sun. Here oil paint behaves like a desert light fixed in place, absorbing rather than illuminating. In one of her new paintings, Rainbow (2026), the desert...
At the tail-end of LA Art Week 2026, Artillery presented The Take Room at Wilshire Online where LA's cleverest writers and critics delivered and discussed their impressions on what they saw and heard during art week. Critics included Matt Stromberg, Janelle...
Amelia Lockwood’s ceramics push up against the natural constraints of their medium in novel ways. Rather than the earthbound, closed forms associated with this medium, we get vine-like, open lattices, expanding outward from a central axis. These echo Rococo decorative...
Powers’ paintings—which range from landscapes to still lives to paintings of mechanical detritus—recall Impressionism, albeit in its most restrained instances: more Pissarro than Monet. That is, there’s a withholding quality towards light and a painterly restraint...
The centerpiece of this show is From Here On Out (2025): a large, ramshackle, free-standing, scrap-wood armature supporting two plexiglass panels, embedded with four small assemblage-paintings, themselves containing collaged, miscellaneous photographic imagery...
What do CNN chief international correspondent Clarissa Ward, three-time Adult Video News All-Girl Performer of the Year Charlotte Stokely, and art-world rising star landscape painter Emma Webster all have in common? They’ve all posed for Zak Smith. The Ward portrait...
The glittering paintings wouldn’t be out of place in Giza or Athens or Persepolis. RETNA’s bold scripts are the kind that shout down at you from the tops of ancient monuments. Sometimes elements of the painted characters resemble ancient Egyptian hieroglyphs,...
R. Crumb’s “tales” (even filtered through psychedelics and cannabinoids) weren’t always so paranoid—though they were frequently calamitous. The street-hip graphic domain Crumb freely improvised during the 1960s and 1970s across densely cross-hatched black-andwhite...
I felt dizzy at mosie romney’s show “every Spiral has its law” at Sebastian Gladstone. I could chalk it up to external factors (fatigue, harsh gallery lighting), but I suspect that the work itself was the incubator of disorientation. My previous visits to the space,...
Entrusted to the sprawling Skirball Cultural Center in Brentwood by New York’s Jewish Museum, “Draw Them In, Paint Them Out” presents a handful of Philip Guston’s depictions of cowled Ku Klux Klan figures, alongside Trenton Doyle Hancock’s ambitious, mixed media...
150 years after the Civil War, it seems American art institutions are finally ready to discuss Confederate statuary. Seizing this opportunity, curator Hamza Walker (along with co-curators Bennett Simpson and Kara Walker) has gone to unusual lengths in his sprawling...
Ah, yes, the front room at Hauser & Wirth: the room you usually walk past on the way to the better shows in the back. There’s a certain type of painting one expects here: Blue Chip filler, the type of young artists who get mentioned in Vanity Fair articles. Where...
You get a brief shot of Matinée, a new project space thought up by Los Angeles-based artist Andrew J. Greene, at around minute one of a video posted by a daredevil urban explorer YouTuber, Davy, titled “EXPLORING THE ‘WARNER BROS’ THEATRE IN DOWNTOWN LOS ANGELES.” In...
Though I grew up with pets, I’ve never taken to them. As a boy, we had a beast of a dog, Soxy. She was scary and insane, except for when my older brother could tame her long enough to let me ride her around like a pony. My mother preferred fish, silent and remote,...
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