LOS ANGELES — Benjamin Lord’s grossly delectable photographs, on view in his exhibition The New Retail Mycology at Monte Vista Projects, invite viewers to closely consider the social construction of a landscape.
LOS ANGELES — Artist Jennifer Moon is not the first or the last to experiment with self-surveillance, documenting selfies of her every moment for anyone and no one.
LOS ANGELES — Sometimes the best scenes and characters come to writers and performance artists through improvisation.
LOS ANGELES — K-HOLE members speak in a pseudo corporate-y performative language, using terms like “onboard” in a way that is cringe-inducing, serious, and ambiguously funny.
LOS ANGELES — In Gillian Wearing’s work, the artist serves as a conduit for other peoples’ confessions while concealing her own subjectivity. In this exhibition, everyone becomes a stranger — both the visitors to the gallery and the people involved in making the work.
LOS ANGELES — Jacolby Satterwhite’s solo exhibition How lovly is me being as I am is born out of a maternal virtual hive mind.
LOS ANGELES — Behind every face there is a mask. In Ray Anthony Barrett’s solo exhibition Word is Bond at Diane Rosenstein Fine Arts in Hollywood, the artist investigates American cultural identities through the use of anthropomorphized masks.
LOS ANGELES — “Who is Tony Longo?” my editor inquired, after I pitched her on this piece about Thom Andersen’s new short film “The Tony Longo Trilogy” (2014).
LOS ANGELES — There is a new mutant form emerging, pushing its way past the thin layer that separates the interior and exterior world.
LOS ANGELES — It took a while for me to actually sit down and stop flipping through the channels and start leafing through Sara Cwynar’s gorgeous book, The Kitsch Encyclopedia.
LOS ANGELES — The name Andy Warhol is synonymous with Pop art, a movement often written off as apolitical and shallow in its engagement with American culture. Reflections of this assumption are all contained in Little Red Book #296, an album of 18 images that was recently gifted to Tulsa’s Philbrook Museum of Art.
LOS ANGELES — Laura Parnes’s four-disk video series Blood and Guts in Hollywood exposes the idealized teenage dream for what it is: A boring, vapid fantasy of “love” that is marketed and sold to an audience of young dreamers searching for their soulmate in the illusions of silver screens and false idols.