The fact that I—like so many others—was oblivious to the extraordinary claims of “ethnic fraud” in Durham’s narrative raises troubling questions about who gets to write art history, about the effectiv…
Jimmie Durham's wryly humorous sculptures, paintings, and drawings can be seen as the composite self-portrait of a man with a contentious relationship to all ethnic and national identifiers. …
Vancouver-based artist Tamara Henderson’s exhibition “Seasons End: Panting [sic] Healer” drew on journeys both geographic and psychic, and had all the dislocating strangeness of a theater wardrobe or…
A wall-size photograph of the amphitheater welcomes visitors to the galleries of SITE Santa Fe, which has organized a biennial since it opened in 1995. “SITElines.2016: much wider than a line” is the…
Before there were art schools and galleries in Los Angeles, there were murals. The tradition has a long and distinguished history, dating from the city’s eighteenth-century Hispanic founders, and it c…
Type “Los Angeles” into the search box of iStockphoto.com and you will see over seventy thousand images, many of which look very much the same. For the works in a recent exhibition at Gagosian in Beve…
It is possible to argue—and, indeed, I heard it argued while visiting this exhibition—that Evan Holloway belongs to the first generation of artists in Los Angeles that did not look outside of Californ…
In Diana Thater's survey "The Sympathetic Imagination," organized by the National Gallery's Lynne Cooke and LACMA's Christine Y. Kim and gathering work made between 1992 and the present, the artist fl…
Large-scale historical shows, when done in a certain way, can be intellectual steamrollers.
Confusion, and, more pointedly, the inability to understand an artwork using a given set of cognitive tools, is the subject of this travelling exhibition curated by Anthony Huberman. The titular quota…
