Wednesday, May 2nd, 2018

From the Ragged to the Glazed, the Distilled to the Distressed: A Survey of Ceramics in LA

“Melting Point” at the Craft & Folk Art Museum

Paul Lee, "Washcloth Weight," 2016. Bath towel, washcloth, ink, aluminum, and steel, 127 1/2 x 105 inches. Courtesy of the artist and Maccarone, Los Angeles.
Monday, July 4th, 2016

Making Glorious Something Slight: Paul Lee at Maccarone, Los Angeles

Lee’s abstract sculpture and painting reveal technological, social, and art historical allusions.

Wednesday, April 27th, 2016

The Common Methods of Commonwealths: An Exhibition by Alice Könitz

Interaction and collaboration build and use community at LA’s artist-run spaces.

Wednesday, November 4th, 2015

The Veil and Vault: The Broad Museum in Los Angeles

A report on its architecture and its inaugural exhibition.

Thursday, April 2nd, 2015

Women’s Work: Considering Feminist Art Through Three Recent Shows

Concurrent exhibitions in Los Angeles provide a lens for thinking about successive generations of feminism in art.

Thursday, March 26th, 2015

Show and Tell: John Currin at Gagosian Beverly Hills

The realist painter eschews explicit sex in a new solo show, but refers backwards to earlier tropes of subordination.

Wednesday, February 11th, 2015

In Colors: Farrah Karapetian at Von Lintel

In a solo exhibition at Von Lintel, the artist explores the interrelation of vision, music, and color.

Wednesday, July 16th, 2014

Multiple Layers of Significance: Mike Kelley at LA MoCA

The final stage of a two year retrospective is a prodigious homecoming.

Fran Siegel, detail of Navigation, 2010-2011, colored pencil, ink, and cyanotype on cut and folded papers. 116 x 116 x 4 inches. Courtesy of the artist and Lesley Heller Workspace.
Saturday, November 2nd, 2013

Mapping the City: Fran Siegel at Lesley Heller Workspace

Glimpses of anonymous buildings, vacant lots, parking lots, and the distant mountains

Sunday, October 5th, 2008

Julian Hoeber: All That is Solid Melts into Air at Blum & Poe

Collectively, these sculptures look like death masks cast from Aztec sacrifices. Each embodies the magical absurd-beyond-belief-because-it’s-so-true realism of Gabriel Garcia Marquez.