Bienalle Arte and Bienalle Danza, Venice 2022
By Allyn Aglaïa
Chest bound, lips sealed, I walked through Venice alone, quiet, and:
thought about narratives that bind
us
to
erotic binds
Transcendence Beyond Erasure in Mohammad Barrangi’s Dreamscape
at Advocartsy, Los Angeles (thru 5 November 2022)
Reviewed by Christopher Ian Lutz
Fantasy requires a symbolic vehicle to transport a character from the real world into the imaginary realm, where the laws of reality are subverted or obscured to justify an otherwise absurd event. The artist might depict the vehicle as a real object or an abstract phenomenon, but within the narrative context, a vehicle functionally serves as a symbol. The symbol is required because fantasy is not merely about the sensational physical immersion of the character but is more about the subjective experience the character undergoes while on their adventure. The otherworld represents the character’s unexplored subconscious mind and deeper emotional state. Furthermore, the entire narrative itself is symbolic for the audience. Within the narrative, the fictional “real” world and the fantastic world function as symbols to immerse the audience in their unmanifest subconscious. [Read more…]
An Interview with Idris Khan
The Pattern of Landscape, at Sean Kelly, Los Angeles (through 5 November 2022)
by Ricky Amadour
Opening on the corner of Highland and De Longpre Avenues in the heart of Hollywood, Idris Khan’s The Pattern of Landscape is the inaugural exhibition at Sean Kelly, Los Angeles. Khan investigates color theory, text, and musical concepts through new large-scale paintings, bronze sculptures, watercolors on paper, and photography. Khan’s first Los Angeles presentation features music and text, fitting for an area predominantly known for legendary recording studios and music venues. Based in London, the artist speaks about his meticulous artistic process, lyrical expression, and affinity to architecture.
Margaret Lazzari’s Luminous Breathing Space
at George Billis Gallery, Los Angeles (through 8 October 2022)
Reviewed by Nancy Kay Turner
“Things are not what they seem: nor are they otherwise.”
–Buddha
Margaret Lazzari’s luminous solo exhibition of paintings, entitled Breathing Space, were painted during the pandemic, and the exhibition title is indeed significant. It’s defined as a respite, a hiatus, or an interval where one takes time to recover. The paintings themselves shift seamlessly between abstraction and figuration, observation and invention evoking both delight and anxiety. Her painting process informs this ever-changing perspective that intrigues, confounds and compels the viewer upon sustained investigation of the images. [Read more…]
An Interview with Artist Eve Wood
Eve Wood: Hanging in There to Hang On
at Track 16 Gallery, Los Angeles (opening reception: Saturday, September 10, 7-10pm)
by Julie Adler
I met Eve Wood at Holly Matter, an art gallery on Heliotrope in East Hollywood, 22 years ago now. I recall she got up and read some of her poems. Incisive, cutting, direct, I thought, “wow, what a master,” and also “ouch,” but in a good way. We became friends there, and a few years later she brought out some drawings at a meal we were having, of people, animals with wide eyes, craggy lines. Sparse, comical and awkward, eyes staring back at you or away. Up until that point I had no idea Eve was also a visual artist. I had come from a performance art background but was also starting to get more engaged in 2 dimensions. She was eager to do a trade. It seemed we shared a similar concern for the human condition. And because we humans are funny in our grotesqueness, our derangement, our folly, we didn’t think it unusual to portray that. We also felt the comradery of being outsiders, even though we both grew up here in LA and went to art school here.
So, when Eve asked me to interview her for this publication, I did not hesitate. It’s been wonderful to burrow in with her on the ways and means of her process. She’s really not an outsider (nor am I.) She is as inside as it gets. [Read more…]
John Lurie’s The History of Bones
Reviewed by Cintra Wilson
The History of Bones: A Memoir
by John Lurie
Random House, 435 pp., $28.00
NYRB
It was 1989 when I saw John Lurie on TV in a late-night advertisement for the new Lounge Lizards album, Voice of Chunk, which was “not available in stores” and selling exclusively through an 800 number. Operators were standing by. It was a charming, homemade ad, shot on grainy video, full of beautiful women dressed in international garb like they were animatronic dolls in Disneyland’s It’s a Small World ride. [Read more…]
Marlene Dumas’ Masks of Inborn Gods
open-end, at Palazzo Grassi, Venice (through 8 January 2023)
Reviewed by Arabella Hutter von Arx
Four relatively small artworks greet the visitor in the first room of the Marlene Dumas exhibit, open-end, at Palazzo Grassi. D-rection shows a young man contemplating his rather large and purple erection. A bluish white face and a brown face unite for a kiss in a nearly abstract closeup, Kissed. The subject of a Turkish Girl exhibits her vulva by holding up her legs at an unlikely angle. Finally, in the small loose drawing About Heaven, unidentified objects are flanked by a Dumas poem about death and eroticism. The visitor is warned: the exhibition shows sexually explicit works, contemplates issues of our common humanity such as race, and does not shrink from the esoteric. Anyone seeking a comfortable experience better turn back. [Read more…]
Donna Ferrato’s Magnificent Holy
at Daniel Cooney Fine Art, NYC (through July 29 2022)
Reviewed by Phoebe Hoban
The small scale of Donna Ferrato’s snapshot-like black-and-white photographs belies their personal and political power. Whether they document the medical sinks and shelves in a now-shuttered Texas abortion clinic, or hone in on the badly bruised face of a domestic violence victim, they pack a sucker punch directly to the gut. [Read more…]
Magia Protetora: The Art of Luciana Lupe Vasconcelos and Darcilio Lima
at the Buckland Museum of Witchcraft and Magick, Cleveland OH (through 30 September 2022)
Curated by Stephen Romano Gallery
Reviewed by Christopher Ian Lutz
The extension of a lineage occurs not merely by the repetition of form, but by the intersection of conservation and revolution. Transformation is fundamental to preserving the essence of a given tradition’s rituals and symbols. Therefore, a symbol’s form or essence can outlive the original contextual boundaries that generated its living meaning. [Read more…]
An Artist at Work, An Artist in Life: Studio Visits with Nancy Kay Turner
July 2022, Los Angeles
by Margaret Lazzari
“An iceberg is 10% above water and 90% below. When we talk about our work, artists all talk about the stuff above water, but we never talk about all the stuff way beneath the work. Who knows what their work will be until they do it, until they do the investigation, until they get surprised?” –Nancy Kay Turner
This article is about the whole iceberg of Nancy Kay Turner’s artwork, discussing the 10% above but also illuminating some below, including the chance occurrences and unplanned upheavals that shaped her work just as much as her conscious intention form them. –ML [Read more…]
Conjuring a Divine Silence in Georganne Deen’s The Lyric Escape
at Rory Devine Fine Art, Los Angeles (through 6 August)
Reviewed by Eve Wood
Albert Camus once famously asked, “Should I kill myself, or have a cup of coffee?” One can only hope that this was a rhetorical question, yet however ironic, it is still a sentiment worth pondering, especially considering today’s current socio-political climate of daily hate crimes, bigotry and mass shootings. Let’s face it — if you happen to have been born into a corporeal, human existence, you will inevitably suffer some sort of trauma, either real or imagined, over the course of your lifetime. Hell, even the act of being born, is enough to scare any living creature back into the womb. Still, we persist because, in the end, as Camus suggests, we must all take solace in the smallest mundane tasks that frame our lives and make them bearable. It’s rare that an artist is a direct conduit to both grief and absurdity simultaneously, yet Georganne Deen is exactly that, relishing in the absolute bizarreness that often encompasses a life well lived. [Read more…]
The Haunt of One Yet Faintly Present: Noah Davis, Still at Home
Noah Davis, at the Underground Museum, Los Angeles
Reviewed by Ricky Amadour
Directly across from the entrance, an opening statement to Noah Davis, at the Underground Museum, reads “many of the paintings you are about to see were painted in this space.” Smudges, dribbles, and droplets on the floor embody the physical notion of Davis activating the now museological edifice. Until this very writing, The Underground Museum was the gathering space for black culture in greater Los Angeles. As a Delphic entity, Davis predates the popularity of figurative works that are today commonplace in the art world. One cannot escape the imagining of Davis negotiating his thought process, laboring to organize an institution, and sketching together a community that would build its own familiarity and create an indelible mark. Curated by Helen Molesworth and Justin Leroy, this exhibition morphs Noah Davis the man, the architecture, and his paintings, jointly as one indivisible existence. [Read more…]
The Supremely Humanistic Hand of Julian Schnabel
For Esmé – With Love and Squalor, at Pace Gallery, Los Angeles (through 21 May 2022)
Reviewed by Eve Wood
How does one represent, let alone quantify hope, hate, grief, love, joy, tragedy, or anything, for that matter, which stands in opposition to something else? Throughout his illustrious career, Julian Schnabel has always been one to take chances, both materially and metaphorically, and this, his newest exhibition at Pace Gallery, Los Angeles, is no exception. Working with molding paste, oil and spray paint on velvet, these thirteen largely abstract paintings function much like a scream under water, their metaphoric power mitigated by abstraction. The result is that, when looking at them, we experience a wide array of emotional responses while all-the-while the deeper hidden content somehow eludes us, yet it is this elusive quality specifically that makes these paintings so ambitious and so unnerving. They are at once abstract yet perniciously narrative. [Read more…]
In Full Surrender to the Wylie Eye
Rose Wylie: Which One, at David Zwirner, NYC (through 12 June)
Reviewed by David Salle
Rose Wylie: Which One
by Rose Wylie; with Barry Schwabsky, Judith Bernstein, and Hans Ulrich Obrist
David Zwirner Books, 196pp., $75.00
NYRB
Rose Wylie, who is now eighty-seven, has been painting in the same rural studio in Kent, England, since the late 1960s, but she has only recently shimmered into wide public view. Incredibly, the show of large-scale paintings held last spring at David Zwirner was only her third appearance in New York, and the first in a big-time gallery.
She who laughs last and all that. [Read more…]
Nicole Eisenman and the Moderns: Head, Kisses, Battles
at Fondation Vincent Van Gogh Arles, France (through 23 October 2022)
Reviewed by Eve Wood
Art is never made in a vacuum, as all visual iterations must derive from something: a momentary glimpse of refracted light, a train pulling out of the station, a woman lying languorously on a bed. Whatever it is we are witness to, at least in the context of art, it has been done before. The trick is to create a compelling conversation between the ‘now’ and the ‘then,’ to find threads of association, of understanding and celebration.
Nicole Eisenman has always been a renegade maker of things that are at once luminous and sardonic. She is an artist who asks the questions we are too afraid to ponder, and then she answers them for us – with wit, grace and infinite wisdom. Her answers may not always be what we want to hear, but rest assured they are true. Nicole Eisenman and the Moderns. Heads, Kisses, Battles establishes what the catalogue essay describes as an unprecedented dialogue between the artist’s own oeuvre and that of twenty-seven modern artists, including (and perhaps most importantly) Vincent Van Gogh. This, to be sure, is not an easy task, and it is one that could easily have slipped into sentimentality were it not for the fact that there is not one sentimental bone in Eisenman’s body. [Read more…]
Riot Material Speaks with Artist Joeun Kim Aatchim
JOEUN KIM AATCHIM
사자굴 [SAJAGUL] — THEN, OUT OF THE DEN
at MAKE ROOM LOS ANGELES (through June 4th 2022)
Rachel Reid Wilkie: There seems to be a shamanistic quality to your work. You summon your family members into the architectural space of your paintings and beckon them to dream with you, as a collective consciousness, as a collective dream-body. Did you journey together into the dreamscape? Or did you collect your family memories piece by piece?
Joeun Kim Aatchim: It was piece by piece, or more precisely, space by space, then object by object. [Read more…]
In Studio With Pavel Kraus
by Jill Conner
There is usually nothing to say in the wake of violent conflict. The history of forms is bound to the dynamic of time, as a rendering of thoughts on survival. Perceptions create and deconstruct what one sees and experiences before them. Sometimes essence is all that we are left with, because words and forms do not effectively inform one another. Within Pavel Kraus’s sculptures and paintings, there is no time like the present. Although his work has been inspired by the structural tenets of the Classical era and the dynasties of Europe, Kraus’s conceptually abstract artworks remain complex and stand as critical responses to the state of disillusion. While utilizing the visual language of abstraction, Kraus attempts to unwind the past. [Read more…]
Presence as Abstraction, as Beguiling Obfuscation, in the Works of Leon Kossoff
Leon Kossoff: A Life in Painting, at Mitchell-Innes & Nash, NYC (with concurrent exhibitions at LA Louver in Los Angeles, through 9 April 2022, and Annely Juda Fine Art in London)
Reviewed by Arabella Hutter von Arx
The first painting greeting us in the Mitchell-Innes & Nash exhibition is, aptly, a self portrait. Smaller than the other pieces in the show, monochromatic, it packs the power of dynamite. The man represented closeup looks aghast, terrified even. His eyes stare down with dismay at something off canvas, an abyss? Hell? Malleable, the face is agitated by a chaos of brushstrokes. The boundaries between the head and its surroundings are unclear, as if everything was made of the same substance: mud. Mud, here, is nicely symbolic not only for its biblical intimation — Man being dipped, thrown, trampled in and yanked from the “miry mud” — but the muddiness of mind is also equally appropriate. While his portraits often halted at an opacity in the sitter, Kossoff had a pretty good idea of what he was about: uncertain about everything. He could, he tells us, hold onto nothing solid, either on the outside or the inside. “The important thing is to somehow keep going. This is ‘the straw to which we cling.” This credo, shared in a rare interview, could serve as caption for all of his mature paintings. [Read more…]
The Ephemeral Palace: Alexey Titarenko’s City of Shadows
at Nailya Alexander Gallery Booth, Paris Photo 2021
by Allyn Aglaïa Aumand
The Ephemeral Palace
.
.
I walked across Paris to the Palais Éphémère to go to Paris Photo.
I walked
Across
Paris,
Dense with ghosts.
I walked between selves. I walked to the future. I walk. I walked.
Albert Pinkham Ryder: White Whale of American Art
by Christopher Benfey
A Wild Note of Longing: Albert Pinkham Ryder and a Century of American Art
at New Bedford Whaling Museum, MA
NYR
“American history is haunted by nightbirds in the nineteenth century,” Lewis Mumford wrote in The Brown Decades, his landmark 1931 study of Gilded Age culture. Chief among these nocturnal artists, for Mumford, was the painter Albert Pinkham Ryder, who was given to long, solitary nighttime walks in Lower Manhattan. Born in 1847, Ryder was a virtuoso of turbulent moonlit skies, ships lost at sea, and nightmare images—drawn from Poe, another nightbird, among other sources—that stick like burrs in the memory. In The Race Track (Death on a Pale Horse), inspired by a waiter who killed himself after making a bad wager, a skeletal figure armed with a scythe rides a pale horse, while a menacing snake monitors his progress. “One might call Ryder the Blake or the Melville or the Emily Dickinson of American painting,” Mumford mused, “and thus define, after a fashion, one or another phase of his art; but the fact is that Ryder was Ryder. Like every great artist, he belonged to that rare class of which there is only one example.” [Read more…]