Larry Sultan, “My Mother Posing for Me” from “Pictures from Home,” 1984, chromogenic print, 28 1/2 x 34 7/16”, is currently on view at LACMA.



Rarely does work that is, for all intents and purposes, documentary photography, carry as much density, relevance and visual intensity as Larry Sultan’s. His most notorious work comes out of his circa-turn-of the- 21st -century series “The Valley,” within which he recorded the down-time moments on- and off-set of pornography films, shot in neighborhoods like Woodland Hills. Despite depicting, at least in theory, moments of banality (two crew members nap on either end of a couch, an actress in curlers posed nonchalantly between them), Sultan extracted every ounce of Baroqueness from them. Their inevitable proximity to the onset action, however contrived, permeates the vintage kitschy Valley environs. There are great non-porn images here as well, including an adolescent perched meditatively on a high-end suburban roof above a backyard expanse, his existence lying somewhere along the spectrum between impending suicide and private superhero-dom. Other attention-holding series include the late '70s/early '80s “Swimmers,” featuring dramatically surreal underwater portraits, and the relatively recent “Homeland,” with Latino men moving biblically through sweeping Bay Area landscapes. Yet the works arguably most associated with Sultan's oeuvre and eventual legacy are the photos he took of his parents — mostly separate, even when together — from the series “Pictures from Home” (1983-92). The vulnerability conveyed by these portraits, more implicit than explicit, can be cycled back to the artist himself as much as his aging retiree parental subjects, as their exposure, whether via carefully constructed repose or cinema verité, is, by necessity, also the artist's. It's a dynamic that recalls writer Philip Roth: family is where the gold is, but just what to expose or withhold remains a persistently tricky path to navigate (Los Angeles County Museum of Art [LACMA], Miracle Mile).

Michael Shaw




Anish Kapoor, “Gabriel, the Angel, stops and listens to the silence of the cave,” 2015, resin and earth, 116 1/8 x 182 1/4 x 94 1/2", is currently on view at Regen.



London based Anish Kapoor usually dazzles with his smooth surfaces and illusionist/vertiginous sculptures whose physicality, while minimal in form, are unsettling for their creation of depth. In this case, Kapoor juxtaposes large reflective stainless steel sculptures with new works that are gritty composites of earth and resin, some alluding to large pieces of raw meat. The red and brown coloration of these works connotes dirt and blood, subject matter not usually associated with Kapoor. The new works are an uncanny shift and, while technically intriguing, they are a confusing and unsettling point of departure (Regen Projects, Hollywood).

Jody Zellen




David Schafer, installation view of “Models of Disorder,” 2015, is currently on view at Diane Rosenstein.



David Schafer is a conceptualist whose sculptural and sound works add up to more than meets the eye. The works in “Models of Disorder” span 2002-2012 and while each project is a discreet investigation, collectively they become part of a larger experience. Walking around the installation requires time and concentration, as all the sounds do not play concurrently. It is necessary to move from piece to piece when the sound plays in order to experience each work in full. There is plenty to look at, as well as to read. A text informs a sculpture, which in turn contains sounds that flow from precisely chosen and placed speakers. Schafer is a scholar and an historian. While his works may reference the known — like Marcel Breuer’s Whitney Museum or Barnett Newman’s paintings — they venture toward the obscure, though not without wit and humor. Schafer’s works go beyond the surface and convincingly integrate the formal with the intellectual (Diane Rosenstein, Hollywood).





Marian Robertson, installation view of “The Photography Lovers’ Peninsula,” 2015, is currently on view at M+B Art.



Mariah Robertson's installation of large-scale, chemically-treated photo abstractions pushes the boundaries and context of photography from seemingly every direction. “The Photography Lovers' Peninsula” of the show's title is composed of 14 framed, chemically expressionistic pieces of exposed RA-4 photo paper — horizontals and verticals, the longest of which reaches up to over 11 feet — that wrap around the midpoint of the two galleries, complete with three-row, squared, bleacher-style benches on the walls of each space, implicitly for viewing. Robertson has carved a substantial niche within contemporary photography, and art, by extending her exposed photo-paper experiments into such formats as spiraling rolls that stand upright, and more over-the-top configurations that cascade from ceiling to floor and back up again. Though each piece here, on its own, potentially affords equitable levels of quasi-aesthetic engagement, with hottish pinks as well as cyans featured most prominently, their condensed collective cacophony, butting up against and on top of each other, pushes the experience of the work away from the visually contemplative and toward the ideas, which stem from rejections of prim photographic traditions. In that light, the show's title underlines yet another rejection of expectations in the photograph-to-viewer dynamic, as if to say, "Take that, tight-ass photo purists!" (M+B, West Hollywood)





Fiona Connor, “Community Notice Board (Green),” 2015, mixed media, is currently on view at 1301PE.



Fiona Connor's “Community Notice Boards” come from around the city — La Brea Avenue, Ladera Heights, Laurel Canyon and Frogtown — but they're not simply uprooted, collected and installed in the gallery. They're re-created, from the frames (whether aluminum or painted wood), to the corkboard, to the torn fliers, which are high-end photocopies rather than originals (in one case, the corkboard itself looks to be an elaborate photocopy). It's Duchamp stirred up with doses of melancholic flavoring, the detritus of the sad, marginal and/or forgotten (and to that end, it recalls a brief mini-art movement of the early '90s, dubbed "Pathetic," though Connor's work is far cooler, conceptual, and generally more measured than those offerings). Viewers can indulge in the details of the fliers — Arthritis Exercise via a synagogue's notice board, headshot ads via a café's, or on Ladera's, a hand-written business card that offers "I Buy Houses – Any Condition – Any Style" — take in the works more holistically, re-contextualized outside of their function. Of course we can just simply digest the process of the artist's loving and methodical re-crafting of these otherwise near-invisible objects. For visual purists, “Community Notice Board (Green),” a painted wood glass frame with mini-locked latches over the lower corners and a slab of gouged white foam corkboard with peeling wear showing toward the bottom (with no flyer nor single pin to speak of), provides the most blissfully succinct transport, both Duchampian and pathetic — this time sans the casualties (1301PE, Miracle Mile).





Kim Berman, “Mourning Our Future,” 2006, etching, is currently on view at Loyola Marymount.



"Artist Proof Studio:  A Journey of Reconciliation” focuses on works created by South African printmakers, specifically those associated with the Artist Proof Studio, which was founded in 1991 in Johannesburg by Kim Berman and Nhianhla Xaba.  The Studio continues to flourish, inspire and produce artworks while also remaining committed to and involved in education and community based services. The large exhibit showcases works on paper by 30 artists. The works, while not always political, more often than not depict and take a stand on social and global injustices (Loyola Marymount University, Laband Art Gallery, West Side).





Gregori Maiofis, “A Taste for Russian Ballet,” 2008, bromoil print a gelatin silver paper.



Stepping into Gregori Maiofis’ “A Taste for Russian Ballet” feels like entering a fairy tale or surreal dream. Furthermore, it reminds one of the Russian children’s movies shown during the Christmas season in Germany. When viewing Maiofis’ large-scale Bromoil prints (part of his “Proverb" series joined by newer works) with their lovely soft painterly quality, we know we are in the presence of an artist through and through. That’s not surprising, for the St. Petersburg-based artist comes from a family of artists (Maiofis’ father is a prominent graphic designer). The main part of his oeuvre deploys the image of a trained bear named Flunt. The bear is depicted from an active perspective in some images — he’s playing musical instruments and engaging in other human activities — but also from a passive perspective as an observer in other — as when he watches a Russian ballerina dance. But Flunt seems more than just a whimsical figure in some kind of a fairy-tale setting. Rather he appears to be a reference to the Russian bear, a widespread symbol of Russia, implying its geographical size and the impact it could have on the western world. Echoing a memorable detail from Steven Spielberg’s film “Schindler’s List”, which was shot in black-and-white with only one scene that shows a young girl in a red coat, Maiofis’ body of work contains only one image that stands out for its color, when Flunt is reading a bright red covered book (Peter Fetterman Gallery, Santa Monica).

Simone Kussatz




Ken Kitano, “Olancha, CA” from “Day Light,” 2013, color photograph, is currently on view at Rose.



Ken Kitano’s evocative and beautiful color photographs depict the distant hills and night skies above West Coast mountain landscapes. Using long exposures, often up to a full day, Kitano records what is imperceptible to the eye, such as the movement of the stars or the moon across the sky. Two series, “Day Light” and “Watching the Moon,” track the motion of the moon and the sun across the landscape. Because of the long exposure, the colors in the photographs are often surreal, as light streaks behind a stationary object — tree, mountain, or ocean. What is fascinating in these images is the relationship between the moving and the still and what changes from a fixed vantage point over time (Rose Gallery, Santa Monica).





Jennifer Bermon, “Untitled,” 2004, silver gelatin print, 14 x 11”, is currently on view at dnj.



“It’s hard for me to look at a picture of myself objectively. What I see is tainted by an image of myself as a child, a fat, shy girl with glasses. After having grown up being 'the fat girl' it’s hard to see much positive in the way I look now.” These are the handwritten words of a beautiful woman with shoulder length hair standing in a doorway, displayed beneath a photograph of her. This image is one of the 28 black-and-white photographs of Jennifer Bermon’s current show “Her | Self: Women in Their Own Words,” which portrays a diverse group of women, including an Emmy Award-winning television producer, a New York firefighter, a NASA scientist, a Southern Reverend and others fighting a poor self-image. And who cannot empathize with that, who lives in Los Angeles, the city obsessed with beauty in which one is prone to think one is not attractive enough? Hence the Los Angeles-based photographer, who studied at the International Center for Photography in New York and is a producer for major TV channels, picked a crucial topic for her artwork, which she started when she was still studying at Mills College in the Bay Area. Don’t expect to merely find the voices of unhappy women; instead be assured to find a pool of young and older women of different ethnicities and status, who are truly confident, joyous and serve as role-models for the ones who are still struggling to come to terms with what life has to offer (dnj Gallery, Santa Monica).





Roger Herman, “Untitled,” 2012, is currently on view at Santa Monica Art Studios.



Organized by Carl Berg, a sensitive curator with expansive knowledge of the local scene, “ges•ture” is a compelling selection of mixed media works that explore the way artists express and record movement in the creation of their works. While gesture is most often associated with abstract painting, Berg brings photographic as well as sculptural works into the mix. The seventeen artists in the show are represented by one or two works each. They are broadly connected by their commitment to process and how movement is integral to their methods of creation. The artists include: Skip Arnold, Joshua Aster, Claire Baker, Steven Bankhead, Barbara Berk, David DiMichele, Danny First, Gerald Giamportone, Roger Herman, Matthew May, Agapito Miniucchi  Donnie Molls, Nathan Redwood, Mira Schnedler, Jay Stuckey, Chris Trueman, H.K. Zamani (Santa Monica Art Studios, Arena 1 Gallery, Santa Monica).





Eric Wesley, “Some Work,” 2015, D’Cart X, is currently on view at 356 Mission.  Photo:  Brica Wilcox



This can be a daunting space to fill, but Eric Wesley does it with aplomb. He exhibits not only the expected — a monumental steel I beam, aptly named "I Beam U Channel," suspended low from the ceiling in the middle of the room — but also the unexpected — diminutive sleeping figures, lovingly cast in plastic and placed on top of pedestals throughout the space. There are also two stained glass windows featuring abstracted globular and serpentine shapes, a Pierre-Huyghe-style environment entitled "Plants of New Amsterdam" and Wesley's take on painting, which consists of splattered acrylic red, blue, and yellow paint on cloth, tacked up on beige canvasses. The artist associates the primary colors with the Cartesian coordinates of X, Y, and Z. Descartes, the philosophical father of the enlightenment, also pops up in works from the (pun obviously intended) “D'Carts" series, featuring actual carts sitting upright, turned over, or aloft on an extension mechanism, all referencing the Cartesian system. Wesley's use of space and frequent references to Descartes bring unity to the seemingly disparate works, asking viewers to contemplate the meaning behind the placement of objects in space as well as their own spatiality within this grid and those of the larger world (356 Mission, Downtown).

Kristen Osborne-Bartucca




Tom of Finland, “Untitled,” 1947, gouache on paper, 11 1/4 x 8 1/4”, is currently on view at David Kordansky.



Tom of Finland’s works are witty, graphic and exaggerated depictions of two male figures sexually entwined. Finland (1920-1991) drew cartoon-like muscled men engaged in homoerotic scenarios with confidence and skill. On view are early graphite drawings, gouaches and storyboards that have not been previously exhibited. The works, created between 1944 and 1970, illustrate the breadth of Finland’s oeuvre and bring these works to new audiences that may have been unaware of his talent or his influence on gay culture (David Kordansky Gallery, Miracle Mile).





Pamela Mower-Conner, “Sky: Water,” 2009, acrylic, 48 x 84” tryptich, is currently on view at La Galeria Gitana.



The city of San Fernando, a land locked section of the north-east Valley celebrated in years past for its deep wells, providers of water for acres of citrus and olive trees, recently enacted emergency conservation measures due to the state's drought conditions. Although that may make it an incongruous location for an exhibition entitled “Water: Precious and Alluring,” the fifty or so artists who have contributed work to the show address its theme with dedication and skill. Flowing rivers, tranquil harbors, and turbulent waterfalls are among the subjects represented in a variety of media. Robert Bassler uses textured brushstrokes of oil paint to energize rough, stony crags in works like “Rocky Cove 2” and “Cascade.” In contrast, the delicate handling of nearly opaque to translucent watercolors by Paula Diggs in “The Swell” lifts a bright yellow triangular sail against splashes of blue waves. While the majority of artists handle color effectively, Karol Blumenthal and Caryl Lightfoot achieve literally brilliant results with digital imagery, as does Norma Warden in her limited edition photograph, “Morro Sunset.” Another photograph, “Reflection” by Judith Mullan veers towards the abstract with riveting black, red and yellow rippling patterns. In contrast, “The Lagoon Through Reeds” by Annie Hoffman has a dream-like quality. In all, the diversity of physical and symbolic aspects of water on view here form a worthy tribute to water, that essential element on which the survival of all known forms of life depends (La Galeria Gitana, San Fernando Valley).

Diane Calder




Mirella Bentivoglio with Alessandro Alimonti, “Face Murate (Walled Faces),” 2005, 6 photographs, 11 1/8 x 7 3/8” each, is currently on view at Pomona College Museum.



Italian poet and artist Mirella Bentivoglio’s images and objects use words in quietly challenging ways. In this retrospective she often toys with the Italian letters E and O, that stand respectively for the English words "and" and “or." Using their imbedded meanings of inclusion and otherness as a jumping off point for images, she repeatedly pushes the letter forms into big three dimensional graphic shapes or into small unexpected fluxus-bred objects. They intrigue most when she reaches for the experience of words as an ongoing poetry of unfolding meanings that plays off the stuff of the real world. To do that she makes books out of everything from polished marble to dirt or flattened tin cans and collaged or photographic images that allude to everything from myth to history, commerce and oppression (Pomona College Museum of Art, Pomona).

Suvan Geer




Bruce Davidson, “London,” 1960, gelatin silver print, is currently on view at the Huntington Library, Art Collections and Botanical Gardens.

Henry Fuseli, “Haemon Discovering the Body of Antigone,” 1800, gray-brown wash over graphite, is currently on view at the Huntington Library, Art Collections and Botanical Gardens.



Send two esteemed Americans to photograph Britain and Ireland and what do you get? The short answer is “landscapes and a look at the locals at work and play.” But it’s more complex and compelling than that, as this exhibition of 128 black and white photographs in contrasting styles by Bruce Davidson and Paul Caponigro attests. Caponigro had a Guggenheim grant to travel to Egypt in 1966. When that destination was deemed unsafe, he declared that Ireland and Britain would become “his “Egypt.” Caponigro devoted himself to the study of pre-historic sites and their myths and returned repeatedly over the years to photograph archeological finds. His formalistically styled prints of Stonehenge, under a variety of climatic conditions and points of view, are iconic. Also on display here are Caponigro’s stark images of lesser known, isolated, churches, stone circles and other prehistoric markers in Scotland and Ireland. Frequently dramatized by stormy skies, these haunting images of man-made monuments only rarely include people. In contrast, landscapes, with the exception of smoky skies polluting the air drifting over a child in Wales, are not often the center of interest to Bruce Davidson. On assignment for the British magazine “The Queen” in the 1960’s, he worked like an anthropologist, preferring to capture young and old Brits at work and play. The duke of Argyll surveys his land. A coal miner washes grit out his hair over a bowl in a cramped Welsh interior. Rural audiences are entertained at “Duffy’s Circus, Ireland.” Tourists relax and catch the sun’s rays in “Blackpool.” A column of uniformed British soldiers in tall bearskin hats strut their stuff in “London.” The startling contrasts between the techniques and subject matter favored by the two artists could function as something akin to a Rorschach test, capable of interpreting not only the photographers’ preferences, but those of viewers as well.


The three demonic witches who drive Macbeth’s thirst for power with their prophesies early on in Shakespeare’s depiction of the tragic life of the king of Scotland became an intriguing subject for the Anglo-Swiss painter, Henry Fuseli (1741-1825). The old hags’ personification in a full-sized study by Fuseli is dramatically chilling. Lined up like soldiers, the hook nosed witches extend their bony index fingers towards Macbeth, (unseen on their left), while allowing their middle fingers to curl down towards the underworld as they make their predictions. The mannish looking, bearded trio’s hooded white shrouds dramatize the darkness engulfing them. The witches’ wild-eyed dynamism is imitated stylistically in “Time Disarming Love,” a drawing by James Jeffery in an adjacent gallery containing a selection of 30 Huntington-owned drawings made by Fuseli and selected contemporaries such as Jeffery and William Blake (Huntington Library, Art Collections and Botanical Gardens, Pasadena).





Peter Alexander, “Wedge 04,” 2014, urethane, 10 x 9 x 4 1/2”, is currently on view at Peter Blake.



Looking at Peter Alexander’s “Green Wave,” a translucent sculpture that is like looking into the ocean and its unfathomable depth, one might come to the conclusion that for many artists, including Alexander, looking back means moving forward. Alexander does not immerse himself into art history in general but courageously re-appraises his own by bringing past work back to life in a novel and even more engaging way. His early cast polyester resin Light and Space work inspired by the likes of Robert Irwin and Larry Bell put him on the map of the Light and Space movement but, however successful in the beginning, he abandoned the the medium as a health hazard.


As this selection of new work attests, he has perfected the medium that he re-embraced full tilt (and with appropriate safety measures). The recent works, such as “Blue Box,” are more luminous and also characterized by greater depth. It reminds one that Alexander grew up near the ocean, surfing and beginning his early education in architecture. “Blue Box” is made from polyurethane resin, a modern successor to polyester resin. Its interplay of light and darker shades of blue will satisfy anyone who demands that a work “speaks,” offering its secrets at the whim of the hours of day. “Pink Box,” on the other hand, appears light and airy, changing hue with the rising and fading of light. “Black Puff” is made more to be viewed during the small hours of night. “Wedge 04" is an eye-catching form in shades of green that seem to vibrate from within, and the vibration throughout this show is simply beautiful (Peter Blake Gallery, Orange County).

Daniella Walsh




Nobuhita Nishigawara, “Sakura: Cherry Blossom,” 2013, glazed ceramic, ink, 29 x 23 x 22", is currently on view at CSUF Grand Central Art Center.



An installation of 15 large ceramic sculptural pieces by Nobuhito Nishigawara their finishes running from shiny to rough hewn, are presented on pedestals and of varying heights. This projects the kind of nobility and spareness more generally found in exhibitions of ancient and iconic works. The lack of wall labels or identifying explanations, other than one general statement about the artist and his influences — a deliberate decision by the artist and curator — adds to the mystery of the individual pieces and to the exhibition as a whole. While the influences of these pieces include pre-Columbian, Middle Eastern and ancient Asian, there are also references to modern art and contemporary Japanese pop culture, the latter including J-Pop and manga cartoons. A four-foot-high shiny white sculpture could be a Pre-Columbian head if not for the cartoon face and holes for eyes. An enormous iron-coated clay head sports a carefully crafted Picasso-esque nose and a tall handle, the latter derived from Latin American sources. A few busts, some with eyes, others with holes for eyes, are reminiscent of some on view at the Getty Villa. A few naked, dull while female sculptures have their arms cut off. Other pieces, with shiny black finishes and merging cat heads with human bodies, are eerie distant cousins of characters in classic Disney cartoons. Nishigawara captures a profound sense of globalization and merging of disparate cultures and time periods (CSUF Grand Central Art Center, Orange Co.).





Kathleen Elliots, “When Plants and Animals Merge, Arctic Giraffe,” 2014, glass, 27 x 6 x 14”, is currently on view at Soka University.



As a graduate of the Pilchuck Glass School, Kathleen Elliot’s works differ from the its founder Dale Chihuly’s lookalikes who are common in the glass sculpture world. In “Eden Revisited” Elliot creates meticulous life-size glass sculptures of plants, flowers, vegetables and more. Using a flameworking technique, adding colored glass powders and chips, her “Natural Botanicals” possess the radiant nature of their real counterparts. But look deeper and these peppers, tomatoes, lilies and lotus flowers are so carefully wrought and luminous that many possess gem-like qualities. Having mastered the art and science of making works that mimic nature, Elliot looks beyond the real world to her creative imagination. A half decade ago, she began fashioning “Imaginary Botanicals,” fanciful pieces blending plants with animals and both with forces of nature. Others combine glass with throwaway materials. “En Pointe” is a bouquet of lilies on twisted roots, held up by four ballet shoe-clad feet. “When Plants and Animals Merge, Arctic Giraffe” is a giraffe-shaped structure held up by four pieces of fruit with a flower for a head. “Arctic Cyclone” is a clear glass vortex shaped sculpture with lilies sprouting from its top. “Angst” is a curving, twisted, mostly gray piece, sprouting imaginary fruits, flowers and leaves. The most intriguing piece in this series is “Questionable Food,” shaped like a vine growing fruit shaped forms, with each piece of fruit fashioned from discarded soda cans (Soka University, Founders Hall Art Gallery, Orange County).





Dennis Gilbert, “Wheaton, IL,” 1976, vintage gelatin silver print, 16 x 20”, is currently on view at Joseph Bellows.



Eight photographers, emerging and established, spanning several decades from the 1970’s to the present comprise the exhibition “Living Arrangements." As the title of the show implies, the content of the images relates to domestic sites, picturing developing and existing communities, tract homes, neighborhoods and multi-unit dwellings. The common ground of all the photographers is their straightforward, no frills, depiction of dwellings in their own particular environment and decade. There are no people, no pets, nor are there views of any interiors of the buildings. With the one exception by Scott Davis of nighttime views in Southern California creating a nocturnal ambiance, all are daylight depictions. Regardless of the decade, there is a certain quiet subtly and neutrality to the images. The photographers push us to form our own opinions about what we are seeing. There is no direct intent to let us in on their point of view. Reenie Barrow’s photographs from the 1970s offer curbside views of homes with trimmed hedges and formal compositions. Bevan Davies records apartment buildings and large-scale corner views of residential streets, also in the LA of the 1970s. Charles Johnstone’s small scale prints from the early 2000s depicts mobile homes of coastal communities. Douglas Gilbert's Midwest 70s-era suburban neighborhoods document natural landscapes transforming into residential subdivisions. Large format panoramic works by Gene Kennedy depict the development of track home communities in California during the 1980s. Michael Mulno’s symmetrical compositions of singular buildings taken in the last few years focus attention on the multi-unit buildings commonly seen in San Diego neighborhoods. Phel Steinmetz’s multi-panel panoramic photographs explore the rapid suburban development of the 1970s and 80s. A meditation on the dwellings which we call home, this exhibition takes nothing for granted (Joseph Bellows Gallery, La Jolla).

Cathy Breslaw




Thomas Glassford, “Solar Plexus,” 2015, installation, is currently on view at Quint.



Shiny reflective mirrored materials dominate in "Solar Plexus,” Thomas Glassford’s current exhibition of wall reliefs. The viewer is seduced into this work much the same way we might be when we enter a fancy dealership filled with slick-looking expensive sports cars. Glassford uses mirrored acrylic, anodized aluminum, holographic paper and fluorescent pigment that straddle the boundaries of painting and sculpture. Industrial in their overall appearance, the works portray organic radial patterns that weave together forms that range from animal stripes and leaf structures, to complex geometric systems of lines and shapes. The title references the complex sets of nerves located in the abdomen. The Sanskrit reference to the third chakra is defined as a beacon of light/energy radiating from the center of the body. Light definitely radiates outward as the viewer sees his/her own reflection as well as that of the surroundings of each work. Though complex in their design, there is a Minimalist feel as well as reference to the Op Art of the 1960s and 1970s. These rippling metal works share a depth of space within each relief  which is further enhanced by fluorescent hues that glow from the within the metal layers. Undeniably decorative and visually pleasurable, Glassford’s works are also elegantly crafted (Quint Contemporary Art, La Jolla).