Though unequivocally a monographic show, Rerun is clearly the product of many (fresh and youthful) voices, much to its benefit.
The new pack of 50 stickers is based on a series of ceramic sculptures Owens made based on the beloved facial icons.
Laura Owens, Keltie Ferris, Rachel Rossin, and Trudy Benson are exploring hybrid paintings that rival sculpture in their tactility, illusion, and physical depth.
Owens’s mid-career works feel completely sterile, mainstream, and middlebrow — with just enough insider info to flatter the viewer who knows something about Roland Barthes.
In an extensive response to last week’s protest at the Whitney Museum, the artist offered her take on the current situation in Boyle Heights.
An alliance of activists from Los Angeles and New York highlighted the role of the artist and her dealer, Gavin Brown, in artwashing the gentrification of working-class neighborhoods.
As news of art fairs and Bjork took the spotlight earlier this month, I lingered on the Museum of Modern Art’s The Forever Now: Contemporary Painting in an Atemporal World, up through early April.
The Forever Now: Contemporary Painting in an Atemporal World, the new exhibition at the Museum of Modern Art, prompted thoughts of Elizabeth Kübler-Ross’s five stages of grief: denial, anger, bargaining, depression and acceptance, though I’m not sure how much acceptance there is in the end.