Edouard Vuillard, “The Pastry Shop” from “Landscapes and Interiors,” 1899, color ink on paper, 16 x 13”.



October 16, 2015 - February 15, 2016 at Norton Simon Museum, Pasadena

by Mario Cutajar



The myth of an anti-bourgeois avant-garde that in Clement Greenberg’s formulation set itself apart (“emigrated”) from both society and the “markets of capitalism” is contradicted by numerous examples of 19th- and 20th-century modernists who were quite at home in upper-class circles and who would have achieved little recognition had they not enjoyed the steady support of their wealthy friends. Few, however, made their charmed milieu the subject matter of their oeuvre. Édouard Vuillard (1868-1940) did. What’s more, Vuillard’s careful observation of bourgeois interiors and denizens (aided after 1897 by the artist’s voluminous photographic records) was integral to his development as a painter of complex spatial arrangements affirming the flatness of the pictorial surface. In Vuillard’s paintings, and perhaps even more so in his prints, this tension is responsible for the peculiar fusion of naturalism and abstraction (or realism and symbolism) that is characteristic of his work.




Dirk De Bruycker, “Untitled,” 2015, 84 x 72”.



November 14, 2015 - January 9, 2016 at FP Contemporary, Culver City

by Bill Lasarow



Don’t waste your time looking for the subversive twist in Dirk De Bruycker’s color field paintings, you won’t find it. The man spent decades pushing liquid, flowingly liquid color media around canvases. The stuff blooms out at you, its flora scaled to our size, neither small enough to be consumed as a precious object, nor so large as to submerge us.




Lynn Aldrich, “The Universe in Captivity,” 2015, velvet, tulle, canvas, vinyl paint, puff balls, steel wire, brass, 60 x 13 x 13”.



October 24 - December 5, 2015 at Edward Cella Art & Architecture, Culver City

by Liz Goldner



In “More Light Than Heat,” Lynn Aldrich transforms Duchampian readymade materials bought in hardware, craft and office supply stores into constructions that have transcendent and spiritual qualities. The pieces in this show, all completed this year, represent an evolution for the artist, whose sculptural works of the past two decades have tended to possess more whimsical and homespun aspects.




Virginia Katz, "Breakdown"



October 24 - November 28, 2015 at Ruth Bachofner Gallery, Santa Monica

by Roberta Carasso



Traditional landscape painting just isn’t what it used to be. With the current global concern with climate change and the environmental challenges that it is ushering in, Virginia Katz’s perception of landscapes has evolved to where her paintings, always graphic, have become sculptural. With modern technology and focus on responsibilities of individuals to nurture the environment, it was inevitable that today’s artists would contemplate how to portray the environment, keeping in touch with current and scientific knowledge, but adding the artist’s sensitivity.




Jay Kvapil, untitled bowl



November 7 - December 23, 2015 by Couturier Gallery, Miracle Mile

by Kathy Zimmerer



Jay Kvapil’s new series of ceramic vessels comprise an elegant ode to the beauty of the clay surface. By creating a series of thrown vessels that are tightly formed and beautifully pure, the depth and luminosity of the glazes are able to shine; hence the title of his exhibit,  “Control and Chaos.”




Victor Hugo Zayas, “Grid Series 16”



November 1, 2015 - February 7, 2016 at Museum of Latin American Art [MoLAA], Long Beach

by Daniella Walsh



“I was born by the river,” intoned soul singer Sam Cooke some 50 years ago in  “A Change is Gonna Come.” Painter/sculptor Victor Hugo Zayas may not have been born by a river, but he has recorded the Los Angeles River’s constant evolution, from murky concrete ditch to roiling waterway to a sort of urban nature preserve filled with its own flora and fauna. Where some might see blight, others will see beauty and Zayas has captured that in countless sketches which then morph into a variety of paintings. Now his “River" paintings, accompanied by urbanscapes from his “Grid" series, comprise this selection of 40 recent works, curated by Eddie Hayes.




Mark Dion, “Cabinet of Marine Debris,” mixed media, is currently on view at USC.  Courtesy of Tanya Bonakdar Gallery



The timely and disturbing “Gyre:  The Plastic Ocean” has traveled from the Anchorage Museum with an art warning about something called a “gyre.” Although the mind immediately leaps to “Turning and turning in the widening gyre,” the message in this case is not from Yeats but from the sea. The Pacific Ocean churns between the Asian coast and the American coast in what is termed the North Pacific Gyre and here, in the heart of the ocean, the Great Garbage Patch is swirling endlessly. For years, artists have been attracted to this growing ecological disaster of waste and abandonment, an unintended consequence of a consumer culture. Presenting an assemblage of shopping bags, Dianna Cohen sums up the source of the garbage problem—I shop, I throw away.






Our current Previews feature our editors' and contributing writers' evaluations of exhibition that open or continue into the current month, so as to provide you with the opportunity to view those that are of interest to you.


To look up past articles you can go to our archive of Articles forward from April, 2010; or the ArtScene Articles Archive prior to April, 2010 will be called up from a database separate from those starting April, 2010, so you will experience differences in appearance and navigation.


Here are our Previews and Recommendations for October, 2015.



Ishiuchi Miyako, "ひろ / hiroshima #9”



October 6, 2015 - February 21, 2015 at the J. Paul Getty Museum, West Los Angeles

by Jody Zellen


Ishiuchi Miyako is a highly regarded Japanese photographer, if not well known in the United States. She is a contemporary of both Nobuyoshi Araki and Daido Moriyama, postwar photographers who came to prominence in the 1960s and 1970s. "Postwar Shadows" is the first comprehensive exhibition devoted to her work here. The exhibition traces a nuanced career that forms three phases, spanning from 1976 to 2011.




Ron Rizk, “Code of the West 3"



October 24 - December 5, 2015 at Lora Schlesinger Gallery, Bergamont Station, Santa Monica

by Shirle Gottlieb



Ron Rizk had been creating his own unique approach to painting that brings together the shallow space tromp l’oeil of John Peto and William Harnett with California assemblage since the late 1960s. By combining old, antique relics, out-moded inventions and long-forgotten toys with torn pieces of paper objects and photographs, he's able to make clever political and social criticism about contemporary affairs, national events and world happenings.


<< Start < Prev 1 2 3 4 5 6 Next > End >>

Page 1 of 6
Articles Archive | Older Articles prior to March 2010