Art. Word. Thought.
Leave of absence; Absence without leave
at Commonwealth & Council, Los Angeles
Reviewed by Christopher Michno
Kang Seung Lee’s two part exhibition at Commonwealth & Council reflects in part on photography’s documentary capacity by re-examining and reproducing photographs. Lee’s project grapples with the indexical nature of photography, but moves beyond merely exploring concerns surrounding what Roland Barthes called photography’s “evidential force.” [Read more…]
at REDCAT, Los Angeles
Reviewed by Ellen C. Caldwell
It is obvious from the map, an exhibition at REDCAT organized by Thomas Keenan and Sohrab Mohebbi, showcases a variety of maps, videos, archival material, and other multimedia ephemera that highlight migration, migrant rights, and social justice in both the twenty first century and the age of surveillance. This timely exhibit juxtaposes a variety of maps, ranging from hand-drawn maps passed and exchanged by migrants, to governmental maps used for tracking and surveillance purposes, to artistic renderings that visualize various migrants’ stories, to geospatial mappings. [Read more…]
An Interview with Umar Rashid
by Pancho Lipschitz
It would be easy to say that the alternative histories portrayed in the works of Umar Rashid are perfectly timed to reflect the era of “alternative facts” taking place in this historical moment. But the truth is, if you are going to make art intended to talk, both directly and indirectly, about the oppression of people of color and the suppression of their history, there is no time in the modern era when the work would not seem timely.
As Frohawk Two Feathers, and now Umar Rashid, the artist re-imagines 18th century history in images that recall traditional portraiture, folk art and Native American art but updated with details from the contemporary world. The mash-up allows him to speak simultaneously about the past and the present, accompanied by a complicated written narrative that must be read to fully understand the work. [Read more…]
By Joe Donnelly
I was on the phone with my father and I can’t remember exactly how we got to the part of the conversation we were destined to get to—the part of the conversation everyone was destined to get to—as we watched the unfathomable unfold on that morning of September 11, 2001. Two flights out of Boston bound, on paper anyway, for the city I was calling my father from on an otherwise normal Tuesday morning.
George W. Bush had been president for all of eight months. [Read more…]
at LA LOUVER, Los Angeles
Reviewed by Nancy Kay Turner
Charles Garabedian and His Contemporaries brings together a veritable Who’s Who of Southern California art stars, including Ed Moses, John Altoon, William Brice, John Mc Cracken, Tony Berlant, Robert Heinecken, John Chamberlain, Robert Irwin, Richard Diebenkorn, John McLaughlin, Vija Celmins, Don Suggs, Larry Bell, Sam Francis and Tom Wudl. It’s the dizzying equivalent of an art world “Greatest Hits” album, with the “A” side all Charles Garabedian (who died in 2016). A dozen of his paintings on paper and canvas, all looking as fresh as the day they were painted, range from 1966-2012. Garabedian’s work, though often playful, is beguiling and challenging with its dense literary and mythological allusions. [Read more…]
Fowler Museum, Los Angeles
Reviewed by Lorraine Heitzman
The recent show at The Fowler Museum, Nkame: A Retrospective of Cuban Printmaker Belkis Ayón, was the first major retrospective of Ayón’s powerful and emotional work in the United States and inarguably one of the most significant exhibitions that opened in Los Angeles last year. Nkame, meaning “greeting” or “praise” in the language of Abakuá, was a welcome homage to Ayón’s signature black and white prints and featured a comprehensive selection of her work never-before shown together outside of Cuba. [Read more…]
May Be Seen Moskowitz Bayse Gallery, Los Angeles Reviewed by Christopher Michno
Loosely speaking, Jack Hoyer is a painter of landscapes. May Be Seen, his debut exhibition at Moskowitz Bayse in Hollywood, expresses the hallmarks of modern landscape painting, identified by some historians as beginning with Gustave Courbet: eschewing romanticism in favor of empiricism and the conveyance of inner states of mind. Strictly speaking, only three of his seven oil-on-linen paintings are landscapes; the other four are scenes – places in Los Angeles, or unremarkable locations chosen by the artist on lengthy road trips – that include concrete, buildings and infrastructure. [Read more…]
An Interview With Jael Hoffmann
By Rachel Reid Wilkie
Jael Hoffmann is a metal sculpture artist living in the Northern Mojave Desert, just north of Los Angeles. Her rough, nearly primitive sculptures stand at highway’s edge like creatures in a mythic scene, their anointed god a sleepy chief who towers just west in the form of 12,132’ Olancha Peak. Large, wind-worn, lively on the land, they are in constant, animated banter with drivers who speed past, and all the more friendly and engaging for those who stop, stretch their legs, and stroll about the land. Rachel Reid Wilkie spoke with Jael on a gorgeous winter day following heavy snowfall in the Sierras. [Read more…]
Millions of marchers, worldwide, jammed streets and transit routes. In Los Angeles, the mood was jubilant and festive, with a family outing atmosphere. We waited for two and a half hours on the Metro platform, cheering one jammed train after another. Placards flat against the windows proclaimed every possible version of equal rights, reproductive choice, attention to the earth, and the need for health care. Solidarity was assumed, and spontaneous conversation broke out everywhere. [Read more…]
An Interview With Harry Gamboa Jr.
by Pancho Lipschitz
Harry Gamboa Jr. is best known as the co-founder of ASCO, the mas chingon performance art group to emerge from the 70’s and 80’s. But his post-ASCO output, in a wide variety of media, has continued to defy the boundaries of categorization and commodification. Working with a new group of performers he published the photo-novela Aztlángst 2, a poetic grito against corporate culture, constant wars, digital surveillance and the criminalization of “others”. [Read more…]
Reviewed by John Biscello
In many respects a window is a writer’s best friend. It can give the unrelenting “I” a break from inner-space-gazing, extend depth and perspective, offer slice-of-life unscripted cinema, frame the world in manageable portions. It is also the voyeur’s privileged peephole, and this is the spy-glass through which Ann Nietzke covers the whirligig waterfront of Venice, California. [Read more…]