REVIEWS

/ JOANNA FIDUCCIA
David von Schlegell

CHINA ART OBJECTS, Los Angeles

David von Schlegell, Five Birds, 1988.
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Joanna Fiduccia

Whatever their intentions, posthumous gallery exhibitions rarely feel sincerely elegiac. Even the most reverential show can make the cynic in us suspect efforts to stoke the market for the master’s remnants. This is not the case here. In contrast to the citywide retrospection of “Pacific Standard Time,” the current bonanza... continue reading
Amalia Pica, Endymion’s Journey,  2011.
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Joanna Fiduccia

When the term “romantic conceptualism” reached its apotheosis several years ago, the touchstone appeared, almost unanimously, to be Bas Jan Ader’s I’m Too Sad to Tell You (1971). Gushing affect, it also self-reflexively performed the romantic artist’s predicament: the subjectivity romanticism gives license to profess proves, alas, incommunicable. Consistently and... continue reading
“The Lifestyle Press”

CHERRY AND MARTIN, Los Angeles

Sam Lewitt, Darkness Elsewhere, 2007.
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Joanna Fiduccia

“The Lifestyle Press,” a group exhibition curated by Gil Blank, opened with its ambitions foreclosed. Just days before, Blank had been informed that the publication which was to accompany the show, a mock junk-mail circular with coupons that could be used toward the purchase of artworks, would not be printed... continue reading
Eli Hansen’s "Next time, they’ll know it’s us" at The Company, L.A.
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Joanna Fiduccia

A clear glass valve on a strand of silver party beads beckons from the entrance to Eli Hansen’s exhibition, "Next time, they’ll know it’s us." Dangling from a nail, it gives off a felonious pong, like those signs of a subculture that pass under the noses of the majority while remaining indecipherable. What lies beyond this subversive gesture, in Hansen’s second solo show at The Company, consists of a number of sculptural works of delicate blown glass paired with... continue reading

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Friedrich Petzel
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Gallery Ernst Hilger