REVIEWS

/ Los Angeles
Vincent Fecteau

MATTHEW MARKS GALLERY, Los Angeles

View of "Vincent Fecteau" at Matthew Marks Gallery, Los Angeles, 2018.
by

Fanny Singer

Nature has a habit of reproducing its best engineering––why reinvent the circuitry of veins if you have their blueprints in the roots and branches of trees, in the shapes of rivers flowing from tributaries? Fractal patterns are iterated everywhere: in succulents, cauliflowers, snail shells. Vincent Fecteau’s sculptures, too, feel borrowed... continue reading
Fernando Palma Rodríguez

GAGA, Los Angeles

View of Fernando Palma Rodríguez, House of Gaga / Reena Spaulings Fine Art, Los Angeles, 2018.
by

Jennifer Piejko

The coyote nods to himself, self-assuredly, keeping his eyes steady while his body shifts balance—the motion sensors make his gaze relentless. He brushes his limbs back until he is resting on his hind legs, bracing for a gallop. He retreats, his tail is taut, his front paws are winding up—literally—to... continue reading
Made in L.A. 2018

HAMMER MUSEUM, Los Angeles

View of “Made in L.A. 2018” at the Hammer Museum, Los Angeles, 2018. From Left: MPA, Faultline, 2018; MPA, Sunglasses (Left), 2018; MPA, 
Tableau, 2018.
by

Jonathan Griffin

Not so much a city as an unevenly populated, multi-centered megalopolis, and not so much a year as a point in an escalating concatenation of national and global crises, there might seem to be no possible way to get “Made in L.A. 2018” right. Add to that the divisions within... continue reading
View of Chris Kraus's "In Order to Pass: Films from 1982–1995" at Château Shatto, Los Angeles, 2018.
by

Patrick Steffen

Dear Chris, How sweet it was talking with you at the opening of your show. You allowed me to introduce myself, so I could share some words I have longed to tell you since I arrived in this city. I was introduced to Los Angeles through your writings: a primal, unfettered... continue reading
View of Peter Shire's "Drawings, Impossible Teapots, Furniture & Sculpture" at Kayne Griffin Corcoran, Los Angeles, 2018.
by

Andrew Berardini

Los Angeles is an unruly city. Under shaggy palm trees and the bruised purple blooms of jacarandas, roads snarl in mile upon mile of naked asphalt and concrete lined with buildings from every conceivable shape and era. Mostly there are low-slung, postwar ranch houses and bungalows with yards swollen with... continue reading
View of Dave Hullfish Bailey’s “Hardscrabble” at REDCAT, Los Angeles, 2018.
by

Travis Diehl

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... continue reading

AUTHOR

view all

GALLERY

view all
Abc
Bq
Kow
M+B
Non
Vw

ARTIST

view all
Hilger
Xavier Hufkens
e-flux iPad
art-agenda
The breeder
Tulips & Roses
Peres Projects
Friedrich Petzel
Luisa Strina
Deweer
Carolina Nitsch
Art Newspaper
flashart