Like a thesis hidden in a footnote, a small projection in one corner of an exhibition of junkyard complexity shows a loop from John Ford’s The Man Who Shot Liberty Valance (1962), starring John Wayne and James Stewart. In the scene, Stewart’s character, a lawyer in the frontier town of...
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On September 19, 2017, Mexico City was hit by one of the most destructive earthquakes in the country’s history. Gallery Weekend Mexico City was originally scheduled to open September 21, by which time everyone who could was out in the streets clearing rubble and handing out food and water. The...
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Spaces is a feature of art-agenda that proposes a thematic examination of exhibition spaces based on the analysis of their physical and spatial configurations. Every two months, art-agenda publishes a new reflection on galleries’ architecture, identity, and relation with their historical and geographical context. The latest instalment of Spaces considers...
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Where to begin? Where else but at this stage? A cotton boll embalmed in a bell jar like the Disney rose in Beauty and the Beast (1991): Aria Dean’s Dead Zone (1) (2017) gives the rose’s place to a white commodity once harvested by black people made commodities. The cotton...
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Word on the street is they got the Crenshaw Cowboy. Into a gallery, that is. Anyone who has turned onto the westbound I-10 at Crenshaw Boulevard has likely noticed him, an itinerant junk-assemblage artist who shows his sculptures at the top of the onramp. He also gives advice on fame...
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In a shallow bay window facing 2nd St., a ledge overflows with studio clutter: a couple dozen euros in coins between a few dying plants; a bowl filled with loose earrings and studs; a keycard from the Waldorf Astoria; a castle of used tea candles, Red Bull cans, and tiny...
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