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.
LOS ANGELES — The summer months are a time of slowing down, going out, hitting the beach, and drinking far too many iced coffee beverages. And yes, I even remember you., a five-person group show at Aran Cravey Gallery curated by Eric Kim, wraps up the summer season nicely, reminding visitors of the slippery line between personal stories and broader histories.
It’s one thing to take a #museumselfie with a work of art, as if to say, “yes, I was here with this artwork” or “yes, here is my reflection in the surface of this piece.” It’s another thing to make Greco-Roman statues look like they were chiseled specifically for selfie-shooting moments.