Articles
SEPTEMBER, 2015

 

 

 

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 September, 2015.

 
FRANK GEHRY

 

Frank Gehry, "Fondation Louis Vuitton Final Design Model,' 2005–14, Paris, France, Gehry Partners, LLP, Los Angeles. © 2015 Gehry Partners, LLP.

 

 

September 13, 2015 - January 31, 2016, at Los Angeles County Museum of Art [LACMA], Miracle Mile

by Diane Calder

 

 

When Frank Gehry utilized rough plywood panels, chain link fencing and corrugated steel to construct an augmentation to the Dutch colonial style residence he purchased in the 1970’s, the rugged entrapment of the original structure was not unequivocally appreciated by his Santa Monica neighbors. But as the architect’s deconstructed home gained recognition as a groundbreaking project, Gehry’s wrapped subversion of the residence served to promote his innovative approach to common utilitarian materials. This gave the Canadian born, Los Angeles based architect an edge in procuring the commission for MOCA’s early 1980’s repurposing of a former warehouse near little Tokyo into the initially interim exhibition space that took on the nickname of “The Temporary Contemporary.” The 55,000 square-foot facility captivated artists and visitors with its accessibility. It’s informality and lack of pretension offered enormous latitude for the exhibition of innovative works such as Chris Burden’s institutional critique and literal dig, “Exposing the Foundations of Art.”

 

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MARILYN LOWEY

 

Marilyn Lowey, “Santuary”

 

 

September 12 - October 9, 2015, at Gallery 825, Los Angeles Art Association, West Hollywood

by Bill Lasarow

 

 

When the early Light and Space movement emerged in Southern California, it came from a group of artists who worked their way through the crucible of 50s-era painting and sculpture. They deliberately sought to dematerialize the art object while intensifying visual experience. Light entering the eye registers the objects that we see; why not just stick with pure light? The simple act of cutting a shape in a wall led to deep encounters with contemporary media (eg., plastic resins) and technology (eg., advanced light fixtures) and one of the 20th century’s key aesthetic breakthroughs was born.

 

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SARAH AWAD

 

Sarah Awad, “Desert Comfort”

 

 

September 12 - October 10, 2015, at Diane Rosenstein Fine Art, Hollywood

by Andy Brumer

 

 

Wrought iron gates of varying degrees of design complexity and artistic quality lace Southern California’s residential landscape so ubiquitously that their presence tends to go unnoticed by motorists and pedestrians alike. However, as this exhibition attests, they’ve been anything but overlooked or unconsidered by the Pasadena born and L.A.-based painter Sarah Awad. In the body of work that comprises “Gate Paintings,” the artist certainly soars beyond the blind spots of one’s hometown comfort zone and enters a rarified painterly atmosphere shared by the likes of Richard Diebenkorn’s "Ocean Park” series and David Hockney’s "Mulholland Drive" paintings.

 

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MARK STEVEN GREENFIELD and THINH NGUYEN

 

Mark Steven Greenfield, “Hey, Hey It’s Your Birthday”

 

 

September 13 - October 11, 2015, at Offramp Gallery, Pasadena

by Elenore Welles

 

 

The ethnically diverse ethos of Southern California is reflected in the artistic instincts of both Mark Steven Greenfield and Thinh Nguyen. Although both artists are receptive to current situations, their individual aesthetics provide valuable insights into their respective cultures.

 

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RUSSELL CROTTY

 

Russell Crotty, “Outpost Three”

 

 

September 5 - October 31, 2015, at Shoshana Wayne Gallery, Santa Monica

by Scarlet Cheng

 

 

Russell Crotty’s new show “Another Green World” signals a turn in his concerns as well as his style. For many years he has been known for his tightly detailed drawings of stars, solar systems and other astronomical phenomena on paper and on three-dimensional globes. These were made with archival ball point pen, and were done by direct observation through telescopes. However, severe tendinitis as a result of such hand-intensive activity forced him to find other methods in order to continue making art. He experimented with small branches dipped in black ink, to make line drawings, and found that he liked the results.

 

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CONTINUED AND RECOMMENDED, SEPTEMBER 2015

 

David Hockney, “A Bigger Card Players,” 2015, photographic drawing printed on paper, mounted on aluminum, 72 3/4 x 70”, is currently on view at L.A. Louver

 

 

It goes without saying that any David Hockney exhibition grabs our attention, mostly because Hockney is such an inventive artist that it would be a shame to miss his latest foray into something new. Usually he delivers. "Painting and Photography" is a beautifully installed and subtle exhibition that examines the relationship between the two mediums, a subject that has occupied Hockney's interest for many years. The exhibition opens with a painting of a chair that is positioned in the corner of the gallery, posing questions about how we see and how we translate what we see into art. How many moments can be displayed at the same time? Dating from at least the time of Cubism, this is not a new aesthetic issue. Nor is it recent in Hockney's practice. Yet the thesis is so precisely illustrated here that the viewer can’t help but leave the show with a clearer understanding of these complex relationships. Hockney is a deft painter and skilled with digital technologies. He has the ability to integrate where these two disciplines inform and play off each other. In his own words: “Painters have always known there is something wrong with perspective. The problem is the foreground and the vanishing point ... Well not now. Digital photography can free us from a chemically imposed perspective that has lasted for 180 years” (L.A. Louver Gallery, Venice).

Jody Zellen

 

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JULY/AUGUST, 2015

 

 

 

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 July/August, 2015.

 
PETRA CORTRIGHT

 

Petra Cortright, still from “Niki, Lucy, Lola, Viola,” 2015, video.

 

 

July 9 - September 19, 2015 at Depart Foundation, West Hollywood

by Michael Shaw

 

 

When is a GIF more than a GIF? Petra Cortright makes digitally-produced paintings, animated paintings and Flash animations. She has a YouTube channel for her CGI-inflected selfie videos, mines the crossroads of mass-consumed video ephemera, high art and just a touch of soft porn. For "NIKI, LUCY, LOLA, VIOLA" she will show Flash animations and animated paintings ('paintings' on screens that is). Based on the GIFs included in the press material it will be titillating in only the way that screensaver software mixed with virtual strippers can be.

 

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RICK OGINZ

 

Rick Oginz, “Port of Oakland,”

 

 

July 29 - August 22, 2015 at L.A. Artcore, Union Center, Downtown

by Liz Goldner

 

 

Sculptor and illustrator Rick Oginz mines his imagination, his observations and his personal issues before he ever puts a pen to paper or a chisel to wood. He constructs most pieces first as illustrations and then as hand-crafted 3-dimensional sculptures. In ”The Thinking Brain,” composed of diverse mediums, he combines an old-fashioned hand-carved wooden rolling cart with a 20-inch wide blue Fiberglas brain, the latter jutting out of it. When you push the cart, the right and left lobes of the brain move up and down oppositionally. He remarks that our understanding of the brain, which used to be the repository of thoughts and memories, is perceived today as independent, particularly as we read and hear that the brain can be altered with medication. He adds that the brain in this new age doesn’t really need a body.

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