Treating dance as a species of witchcraft, LA choreographer Nina McNeely brings New Age symbols, culturally diverse music, and staccato movement to her live performances and big-name music videos. …
“How would you make a smile?” a scientist asks an android in Mysterious Fires (2016), a video shown in Harry Dodge’s Armory Center exhibition. The scientist is played by an actor wearing a rubber…
“Do you want the cosmetic version or the real deal?” The title of the Los Angeles Poverty Department’s recent retrospective poses an opposition between surface aesthetics and lived experience, between…
A plastic dog nose peaks out from a black plastic bowl filled with oblong seeds and placed atop a tan particle-board podium. The objects form a concentric pattern: the brown seeds match the flecks in…
The minimal forms of Math Bass’s paintings and sculptures reflect a playful attitude toward philosophical questions about identity and bodily experience.
Joe Scanlan assigns the authorship of collages, sculptures, and shady conceptual gags to a character he invented, a Black woman named Donelle Woolford.
The Los Angeles-based artist, a veteran of live performance, discusses her use of visual, physical and verbal comedy in the deliberately lo-fi videos and drawings she now produces.
John Currin’s latest oil paintings, which basked in the gallery’s 20,000 square feet, chime eerily with Agraria’s aesthetic nostalgia for the lifestyles of the landed gentry. …
The surfaces shine. Maybe it’s sweat. Perhaps the walls, the floors, the chairs and anything that surrounds the figures present in Alex Chaves’s latest body of oils are perspiring with the labor of be…
Asher Hartman’s rambunctious theater piece Purple Electric Play! (PEP!), 2014, bounces between the thematic purples of protest, prose and psychedelics.