Carmen Argote’s exhibition at Commonwealth and Council suggests that she has no money left after participating in Made in LA, displaying work that resists any potential role as pricey art objects.
We have seen these men before; they are oafish and hapless, yet dangerous. They are Philip Guston’s Klansmen, back from the dead to ruin us.
Bradford’s new paintings tell us how much we don’t know.
Katherine Bradford and Jen DeNike remind me how much more there is to water in their gem-like show at AE2.
In Home Work, Ann Toebbe and Sarah McEneaney posit two different visions of middle-class domestic space.
Emily Marchand’s and Lena Wolek’s clay works at NowSpace are funny and grim, dystopian yet joyous.
What separates Ken Gonzales-Day’s exhibition Bone-Grass Boy from the mass of artwork addressing the politics of representation is its investment in intimate autobiography.
The Useful and the Decorative at the Landing explores the relationship between fine art and design, and how the lines blur between them.
Kysa Johnson represents nebula, neutron stars, and star clouds using the spiraling paths of the tiniest particles.
In her solo show at Acme, Heather Rasmussen turns her own body into an allegory of desire.
The artist’s depiction of landscape is a subjective experience of the outdoors, a cultural and psychological construct.
If painting maps the mind, then Steve DiBenedetto must be a very interesting guy to hang out with.