For Los Angeles-based Cammie Staros, Greek antiquities are an anchor and a point of departure from which to deconstruct visual language and forge alternative systems of representation. Staros uses the pot to talk about the way we relate to Western art history, to the context of the modern museum and to the departure from restrictive historical narratives. Text by Gabriella Sonabend
Viewing articles tagged with 'Los Angeles'
Hammer Museum, 10899 Wilshire Blvd, Los Angeles, CA 90024, United States
It’s a testament to the strength of the show that it not only introduces us to Pittman’s incredible range, but gives us enough depth to familiarise us with his recurring motifs and hallmarks, allowing us to find a thread through the galleries. Review by Deborah Krieger
Maurice and Paul Marciano Art Foundation, 4357 Wilshire Blvd, Los Angeles, CA 90010, USA
Donna Huanca’s ‘Obsidian Ladder’ is purposefully discomfiting, and almost too visceral and sensual to be absorbed fully in one go. Once you enter the cavernous main gallery of the Marciano Art Foundation, Huanca’s multimedia installation of paintings, sculpture, performance, sound, and scent threaten to overwhelm your senses. The combination makes for an unnerving, unsettling experience that ostensibly explores femininity and gender, but whose impact only comes across as such when you know the whole context of the work and can appreciate the importance of its site. Review by Deborah Krieger
Regen Projects, 6750 Santa Monica Blvd, Los Angeles, CA 90038, USA
‘But I Woke Jus’ Tha Same’ is a solo exhibition featuring Christina Quarles’ new paintings and drawings in which she explores how bodies interact in social environments. At first glance, her command of a rich artistic language—gestural and controlled, textured and flat, biomorphic and angular—makes her work immediately intriguing. Review by Vivian Chun-Wei Lin
The Geffen Contemporary At MOCA, 152 N Central Ave, Los Angeles, CA 90012, USA
MOCA presents Adrián Villar Rojas: The Theater of Disappearance, a site-specific installation inside The Geffen Contemporary at MOCA’s warehouse space. Villar Rojas (b. 1980, Rosario, Argentina) has built a singular practice by creating environments and objects that seem to be in search of their place in time. Villar Rojas’s interventions beckon viewers to consider fragments that exist in a slippery space between the future, the past, and an alternate reality in the present. With his post-human artworks, Villar Rojas posits the question: What happens after the end of art?
Commonwealth & Council, 3006 W 7th St #220 Los Angeles CA 90005
In her solo exhibition at Commonwealth & Council, Danielle Dean draws from Gold Coast trade history, YouTube self-branding, and Nike product reviews to examine media's role in upholding oppressive ideologies, revealing the pervasive thread of violence in history. From the press release.
Hannah Hoffman Gallery, 1010 N Highland Avenue, Los Angeles 90038
The exhibition, ‘A Change of Heart’, curated by Chris Sharp at Hannah Hoffman Gallery, examines and celebrates flowers and our natural fascination with them, focusing on artwork created from the 1960s onward. Review by Hyunjee Nicole Kim
Hammer Museum, 10899 Wilshire Blvd., Los Angeles, CA 90024
'UH-OH: Frances Stark 1991-2015' is the most comprehensive midcareer survey of the work of the Los Angeles–based artist and writer to date, featuring 125 drawings, collages, paintings, and video installations.
The Geffen Contemporary at MOCA, 152 North Central Avenue Los Angeles, CA 90012
Through Pope.L’s intervention, the trinket is situated as what is shared among us—clumsy or privileged, embodied or discarded; trinkets bind us together. Review by Rusty Van Riper
Susanne Vielmetter Los Angeles Projects, 6006 Washington Boulevard, Culver City, California 90232
Susanne Vielmetter Projects presents a series of new work by New York based Chloe Piene - an artist known for her evocative figurative drawings and powerful video work.
Los Angeles County Museum of Art, 5905 Wilshire Boulevard, Los Angeles, CA, 90036
In search of what the artist has termed a “non-knowledge zone,” Huyghe approaches an existing system—such as an institution, a situation, or an area of knowledge—and creates a speculative proposition: a “what could be.”