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The article discusses the aftermath of the COVID-19 pandemic and its impact on art and healing. It acknowledges that while the United Nations World Health Organization declared an end to the global health emergency, the virus remains a persistent danger. The article explores the normalization of the threat posed by COVID-19 and the concept of habituation to trauma. It also examines the relationship between art and healing, as well as the themes of motherhood and social justice that have emerged during the pandemic. The authors challenge readers to critique and resist the notion of an "after" and to remember the inequities exposed by the global response to the pandemic. [Extracted from the article]

Curated by Francesca Bertolotti-Bailey and Lauren Mackler, 'The Conscientious Objector' burrowed into Public Fiction's host institution, the Schindler House--an erstwhile modernist's home and studio in West Hollywood, the heart of [...]

On a low, mirrored tabletop reflecting the ceiling, Shana Lutker set out more than three hundred leather gloves that, despite their superficial anonymity, constitute something like a group portrait. Each [...]

In a press release for a 2008 show at Andrew Kreps Gallery in New York that transcended the largely gratuitous genre, Ruth Root offered a page of source images absent [...]

The article reflects on the works of a visual artist Jay DeFeo. It mentions that she carved its ever-denser paint encrustations into concentrated relief, a vertiginous topography of grooves and gashes radiating from the center. In the late 1950s, photographs documenting its ever-penultimate stages began circulating in catalogues, including the one for "Sixteen Americans," and in art magazines.

The article offers a review of Elaine Reichek's exhibition "Frock-Conscious" at the Shoshana Wayne Gallery in Los Angeles, highlighting her exploration of textiles, gender, and art history through a collection of works that translate fabric into paint and back into fabric.

The article discusses the artist Blythe Bohnen and her "Brushstroke" series, which she began in 1968, focusing on her unique approach to using brushstrokes as a form of investigation rather than a sign, and how her work evolved over time. It also discusses the significance of the grid in her art and its connection to feminist issues and personal experiences, ultimately highlighting the enduring impact of her work.

Last spring, Sara Gernsbacher showed hanging sculptures of silicone, acrylic, and canvas at the Franklin Parrasch Gallery in New York. In her home base of Los Angeles, she offered a [...]

Despite having had a full-dress retrospective at the Whitney Museum of American Art in New York in 2013, Jay DeFeo is still best known for a single work, The Rose, [...]

It was in Los Angeles that James Turrell first recognized the kinds of perceptual acuity possible in smoggy, irradiated air. His first light projects--experiments with incandescence filtering through jerry-rigged apertures [...]

Kim Schoen MOSKOWITZ BAYSE An open book on an angular asymmetrical plinth partially submerged beneath granules of sand: This tableau was the first thing one encountered in Kim Schoen's 'Hawaii,' [...]

Theaster Gates REGEN PROJECTS For his first show at Regen Projects, 'But to Be a Poor Race,' Theaster Gates installed within the gallery's many rooms a sampling of clay vessels, [...]

Kathryn Andrews's 'Black Bars' opened at David Kordansky Gallery mere days before the US presidential election. It followed by almost exactly a year the artist's solo exhibition at the Museum [...]

Barbara T. Smith THE BOX Expanding on her previous three shows at the Box, each of which offered a tight grouping of related work (early paintings, performance documentation, and experiments [...]

The article discusses an exhibition titled "Woven Histories: Textiles and Modern Abstraction" at the Los Angeles County Museum of Art. The exhibition explores the connection between textiles and modern abstraction, emphasizing the intergenerational re-motivation of technique and form. The exhibition showcases over 150 objects, highlighting the role of weaving and its traditions in the development of abstract art. The article also touches on the themes of craft, cultural appropriation, and the potential for textiles to express community and kinship. The exhibition aims to prompt critical recognition of embodiment as difference. [Extracted from the article]

Hanna Hur's recent show in Los Angeles, titled "Two Angels," featured twinned paintings installed on opposing walls, creating a symmetrical and immersive experience for viewers. The paintings, titled "Angel" and "Angel," were hung with a slight gap between them, forcing viewers to choose which direction to face. Hur's large-scale works, characterized by vibrant colors and meticulous planning, evoke a sense of somatic engagement and challenge the viewer's perception. The artist's process involves starting with drawings that incorporate grids and patterns, which are then translated onto the canvas. The paintings invite viewers to contemplate the relationship between illusionism and abstraction, and Hur's use of angelic imagery suggests a connection to spiritual and ancestral beliefs. Overall, the exhibition offers a visually striking and thought-provoking experience. [Extracted from the article]

LOS ANGELES Billy Al Bengston SAMUEL FREEMAN The outsize personality of Billy Al Bengston looms large in the prescribed historical narrative of Southland art--all wan sunshine and Ferus Gallery machismo--and [...]

Benjamin Carlson PARK VIEW If press releases have largely become baroque exercises in obscurantist prose, the text announcing Benjamin Carlson's solo show in Los Angeles was refreshingly straightforward, even laconic, [...]

Orr Herz and Roni Shneior CHIN'S PUSH As if enacting a Venn diagram of independent and collaborative art-making, Orr Herz and Roni Shneior partnered for 'Please Please Please Let Me [...]

The article presents a brief profile of U.S. painter Deborah Remington, who was included in the art exhibition "Art '65: Lesser Known and Unknown Painters: Young American Sculpture—East to West" in the American Express Pavilion at New York's World's Fair. It mentions Remington had studied with Clyfford Still and Elmer Bischoff at the California School of Fine Arts; and Remington's acheiropoietic shapes are prescient of a later media landscape and its extension into contemporary painting.

For Alison Saar's most recent show at L.A. Louver, 'Topsy Turvy,' she took as her muse the character of Topsy from Harriet Beecher Stowe's Uncle Tom's Cabin, recasting the slave [...]

'ELLEN GALLAGHER: NU-NILE' Power Plant June 23-September 3 Curated by Carolin Kochling and Justine Kohleal For more than two decades, Ellen Gallagher has navigated the fluid geographies of realms both [...]

MARY CORSE Whitney Museum of American Art June 8--November 25 Curated by Kim Conaty Given Mary Corse's consistent, multi-decade creative output, this museum survey, the artist's first, is 'long overdue'--really [...]

Vija Celmins's show at Matthew Marks Gallery was her first exhibition of new work in Los Angeles in more than forty years. It represented a kind of homecoming for an [...]

Frederick Hammersley epitomizes hard-edge midcentury Los Angeles painting, his reputation having been established in Jules Langsner's legendary 1959 show 'Four Abstract Classicists.' Hammersley lived in LA until 1968, when he [...]

Haus der Kunst February 2-June 3 Curated by Petra Giloy-Hirtz The first major European survey of the German-born artist's oeuvre, this show promises a capacious and medium-traversing exhibition spanning three [...]

For 'The weapon soup boils over, as stocks in metaphors plummet,' George Egerton-Warburton's first solo show in Los Angeles, the Australian artist showed three kinetic sculptures--Sisyphean motors powering nothing--and a [...]

Helen Pashgian and Brian Wills TOTAH A two-person show of Helen Pashgian and Brian Wills, 'Transient' modeled the visual volatility characteristic of many 1960s Southland art practices. Despite its moorings [...]

LOS ANGELES 'The Ocular Bowl' KAYNE GRIFFIN CORCORAN The three-person show 'The Ocular Bowl' took its name from 'The Line and the Light,' a 1964 essay by Jacques Lacan in [...]

LOUISE NEVELSON Moderna Museet September 9, 2017-January 14, 2018 Curated by Jo Widoff Nevelson had been working seriously as an artist for more than thirty years before she received significant [...]

Ken Price PARRASCH HEIJNEN GALLERY The inaugural exhibition at Parrasch Heijnen Gallery was clearly the result of a herculean effort. Not for nothing was the show titled 'Ken Price: A [...]

David Muenzer RESERVE AMES To announce his first show at Reserve Ames, a Craftsman-style house-cum-gallery, David Muenzer offered a 2016 photograph reminiscent of James Welling's early phyllo-dough abstractions, in which [...]

SAN DIEGO 'Atmospheric Abstraction' QUINT GALLERY The title of this group show, 'Atmospheric Abstraction,' neatly suggested the historical lineage of a collection of contemporary nonfigurative work by Los Angeles-based artists [...]

Alex Hubbard MACCARONE Alex Hubbard's latest show, which christened Michele Maccarone's new Los Angeles space--and which, as so much initial press detailed, opened in tandem with the Broad Museum nearby--serves [...]

Michaela Eichwald OVERDUIN & CO. Michaela Eichwald's first solo show in Los Angeles bore a gnomic title-'quo vadis gnothi sauton and cui bono'--that was the result of three phrases in [...]

Anne Truitt MATTHEW MARKS GALLERY With only five works filling two rooms that could have readily absorbed many more, 'Anne Truitt '62-'63' proved exemplary in its economy. The three sculptures--the [...]

The article reviews the exhibition by Franklin Williams at the Parker Gallery in Los Angeles, California.

Robert Overby MARC SELWYN FINE ART Twenty-some years after his death at the age of fifty-six, Robert Overby is finally getting his due--both in Los Angeles, where he spent most [...]

LOS ANGELES Betty Woodman DAVID KORDANSKY GALLERY 'Illusions of Domesticity,' Betty Woodman's first solo show at David Kordansky Gallery, was also her first one-person exhibition on the West Coast in [...]

Rachelle Sawatsky HARMONY MURPHY GALLERY Last spring, Rachelle Sawatsky mounted five pastel-hued unglazed ceramics and one large, aqueous cerulean canvas to the walls of the Finley Gallery in the Los [...]

Dwyer Kilcollin M + B/LAXART For three days in early November, on a hillside on the east side of Los Angeles, Dwyer Kilcollin erected a freestanding metal fence on which [...]