REVIEWS

/ ANDREW BERARDINI
View of Brian Bress’s “In Lieu of Flowers Send Memes,” Cherry and Martin, Los Angeles, 2017.
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Andrew Berardini

Here’s the latest Spring menswear line worn by the hottest male models of the twenty-eighth century, those jaunty scions of cyborg overlords. Our wetwear bodies found a hardware durability after we and our machines, long flirting, finally coupled. Moodily lit with mint and hot pink, humanoid bods sport flight jackets... continue reading
Marnie Weber, The Day of Forevermore, 2016.
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Andrew Berardini

During the day, Halloween masks look pretty cheesy. Hanging from the drugstore rack’s seasonal aisle under the terrible clarity of fluorescents and the afternoon sun, it’s hard to image these killer clowns and fat-cheeked Frankensteins frightening anyone. Their warped faces and weeping pustules, yellowed horns and sharpened teeth, all a... continue reading
Laida Lertxundi, 025 Sunset Red, 2016.
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Andrew Berardini

I’ve lost all my pride I’ve been to paradise And out the other side. With no one to guide me, Torn apart by a fiery wheel Inside me. –The West Coast Pop Art Experimental Band’s “I won’t hurt you” (1966), heard in Laida Lertxundi’s Vivir para Vivir / Live to Live (2015) In LA, everyone’s Marlon... continue reading
View of Simone Forti's "On An Iron Post," The Box, Los Angeles, 2015.
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Andrew Berardini

Dear Simone, Your performances are the jump and splash of a brook, the color of a found leaf, a painted flag wrapping a woman as the river dances around her. At 80, your nimble movements inspire. When I stop to read back about your lifetime of accomplishments and confluences, I can’t... continue reading
Sojourner Truth Parsons, saturday morning, 2015.
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Andrew Berardini

The soothing whispers of the song drift beneath the shift and chatter of the opening party like a lavender mist, velvety fingers. The next door gallery was open but not opening. Empty, its harsh white lights beam like a drugstore. But here, the light is softer. Everything is softer. Ooh baby... continue reading
View of Shanaynay at Paramount Ranch, Los Angeles, 2015.
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Andrew Berardini

No one intended it to begin with assfucking and passed out hippies. But there it was. Past freeways of traffic and a phalanx of security guards, I stepped into Art Los Angeles Contemporary (or the acronymical ALAC) last Thursday night and glanced to my right to see Milavepa, a 1966 painting... continue reading

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GALLERIA MASSIMODELUCA
galeria nara roesler
Spike
Peres Projects
Deweer
e-flux iPad
ArtAsiaPacific
Hilger
Art Monthly
P420
Afterimage
The Third Line
MIA Art Fair