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.
In his new body of work, Mark Seliger, who is primarily a celebrity photographer, engages with the trans people in his own neighborhood.
UCLA’s Fowler Museum has organized the first solo museum show in the US for Belkis Ayón, a black Cuban artist who was a master of collography.
LOS ANGELES — Glenn Goldberg seizes worn-out clichés that would seem unable to support weight and uses them to unexpectedly launch himself into painting.
LOS ANGELES — The official Made in L.A. show is at the Hammer Museum, but a felicitous counterpoint is currently at Richard Telles in the Fairfax district.
LOS ANGELES — A Shape That Stands Up at Art + Practice (A+P) gallery, in partnership with the Hammer Museum, claims to “[examine] the space between figuration and abstraction” — a great starting point unless you have the sneaking suspicion that this space disappeared decades ago.
LOS ANGELES — Paintings about painting are really about life, proposals for how it might be lived.
I’ve never played Grand Theft Auto (GTA), but I have spent a decent amount of time watching a hacked — or, rather, “modded” — deer running through the GTA V live game, and I think this deer has something to tell us.
LOS ANGELES — There is no mistaking the depth of investment in Flight Risk, Robert Pruitt’s new show at Koplin Del Rio.
PHILADELPHIA — When I first saw William Pope.L’s “Claim” (2009), I was intrigued by its emphatic presence and endless detail. Created for the exhibition Ruffneck Constructivists at the Institute of Contemporary Art at the University of Pennsylvania, “Claim” is an enormous wall, about a foot thick, 36 feet wide, and 15 feet tall.