While Morton’s career spanned less than a decade (1968–1977), her work remains vital to questioning what it means to be a woman in art history and society.
In Kelly’s sculptures, manmade objects morph into new or composite forms that seem to verge on organic.
The exhibition includes both well-known and emerging artists and reaches across LA County’s varied neighborhoods.
Messy, anarchic, and sexualized, Went’s performances around Los Angeles from the late 1970s through the ’80s refused to be reduced to a single thing.
Churchman raises pointed philosophical and sociopolitical inquiries by coaxing viewers toward a position of otherness.
Throughout his career Jon Pylypchuk has confronted the most awkward and gut-wrenching parts of being human.
While Tatsumi Hijikata and Eikoh Hosoe reflected the countercultural mood of Japan’s postwar avant-garde, the trauma of World War II is inscribed in both artists’ aesthetics.
The Pleasure Principle at Maccarone wavers between issues of women’s representation and those of pornography and art, without fully committing to either.
Strau’s collage-paintings merge the word and the light, while positing the shared slipperiness of language and faith.
Kaari Upson’s work resonated with the excesses and liberties that characterize the relationship in Hollywood between powerful men and less powerful women.
The 2018 incarnation of Universal Eyes has been a moment to look forward to, and an opportunity to look back on the noise and experimental music scene that emerged in the 2000s in Michigan and the Midwest.
Douglas’s historical and new works, shown alongside pieces by younger artists, draw a line of influence between the two generations and establish a community of shared concerns.