REVIEWS

/ JONATHAN GRIFFIN
View of Terence Koh’s “sleeping in a beam of sunlight,” Moran Bondaroff, Los Angeles, 2017.
by

Jonathan Griffin

Over the decade and a half of his career to date, Terence Koh has generated so many myths that it is now nearly impossible to begin thinking about his work without first acknowledging the tales of his personal and professional decadence in New York during the pre-crash mid-aughts, or the... continue reading
Hanne Darboven

SPRüTH MAGERS, Los Angeles

Hanne Darboven, Erdkunde I, II, III (Geography I, II, III), 1986.
by

Jonathan Griffin

Rows of numbers instill in me a sickening panic. I got that feeling, familiar from childhood mathematics lessons and annual tax returns, in Hanne Darboven’s current exhibition at Sprüth Magers, Los Angeles. Perhaps there was no need for such histrionics. In 1973, the West German Darboven told the writer Lucy Lippard... continue reading
K.r.m. Mooney’s “Oscine”

RESERVE AMES, Los Angeles

K.r.m Mooney, Oscine I, 2016.
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Jonathan Griffin

Since it is impossible to say—in the work of K.r.m. Mooney just as in the world—where one thing ends and another begins, it seems appropriate to start by considering the structure that houses this exhibition. An ancient wooden shed, it was once a garage for the large Craftsman home it... continue reading
View of Janine Antoni’s “Turn,” Anthony Meier Fine Arts, San Francisco, February 27–April 3, 2015.
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Jonathan Griffin

Spaces is a feature of art-agenda that proposes a thematic examination of galleries based on the analysis of their physical and spatial configurations. Every two months, art-agenda publishes a new reflection on the spatial characteristics of galleries, their architecture, identity, and relation with their historical and geographical context. The second feature... continue reading
View of Sayre Gomez, “I’m Different,” François Ghebaly, Los Angeles, 2014.
by

Jonathan Griffin

Someone has cut a large hole in the chain-link fence that separates Los Angeles’s François Ghebaly Gallery and Night Gallery. Perhaps eight feet in diameter, it is large enough to drive a car through and at the opening of concurrent recent exhibitions by Sayre Gomez (at Ghebaly) and JPW3 (at... continue reading
View of Frances Stark’s “Bobby Jesus’s Alma Mater,” Marc Foxx, Los Angeles, 2014.
by

Jonathan Griffin

About three years ago, something unexpected happened in Frances Stark’s art. After two decades of making work about herself—about her anxieties and obsessions, her identity crises and motivational struggles—she started making work about other people. Stranger still, her subjects became, in most instances, young men of color. Stark’s current exhibition... continue reading

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GALLERY

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ARTIST

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Luisa Strina
Hilger
Marion
Kaleidoscope
Air the paris
Xavier Hufkens
Anton Kern Gallery
Afterimage
Aperture
flashart
e-flux iPad
Blum&Poe
ArtAsiaPacific