print January/February 2021

Isabelle Albuquerque

The press release for Isabelle Albuquerque’s solo exhibition “Sextet” at Nicodim Gallery opens with a quote from David Wojnarowicz: “Inside my head I wished for years that I could separate into ten different people to give each person I loved a part of myself forever and also have some left over to drift, . . . and now I’m in danger of losing the only one of me that is around.” The artist’s six spellbinding sculptures here addressed the myriad conundrums of owning a body, among them the desire for one to become many in order to produce an endlessly proliferating circle of compassion and the

diary March 03, 2020

Berning Love

“COMBS ARE FOR PUSSIES!” declared comedian Sarah Silverman. “I’m trying not to use that word that way––it’s super negative. Combs are for McConnells!” Silverman, along with Black Lives Matter cofounder Patrisse Cullors, actor Dick Van Dyke, and yes, Chuck D of Public Enemy, gathered Sunday night with approximately fifteen thousand people at the Los Angeles Convention Center for one of the more unusual and weirdly dreamy lineups in political history, all there to stump for one tousled-hair Vermont senator ahead of the Super Tuesday primaries.

The day before the rally, a huge crowd joined writer

print March 2020

CLOSE-UP: INSIDE OUT

JOHN BOSKOVICH’S BOSKOSTUDIO was a darkling cave of wonders: twirling statues, concave mirrors, a carpet emblazoned with a pentagram, and walls painted colors I can only describe as poisonous. The artist said it was a “literalization” of Jean des Esseintes’s secret hideout in Joris-Karl Huysmans’s 1884 novel À rebours. A monument to the inward spiral, it was also, quite simply, Boskovich’s home, studio, and showroom in Los Angeles, a set he constructed between 1996 and his death in 2006 at the age of forty-nine. Except in the pages of Interior Design’s October 1997 issue, Boskostudio was rarely

diary February 25, 2020

Pleasure Dome

SMASHED BETWEEN adult-film star Sasha Grey, filmmaker-artist Miranda July, and underground legend Ian Svenonius in the space of Wolfgang Puck’s original Spago on the Sunset Strip, a weird claustrophobia set in. So I skipped outside to watch magickian-artist Brian Butler, sword in hand, hollering Luciferean incantations in a bloodred glow as the moon rose above him. I half expected a demon to leap out from the Hollywood sign and eat us all in a single, wet gulp. The second edition of Frieze Los Angeles launched last week, along with cluster of ride-along art fairs, from the long-standing Art Los

print February 2020

Alexis Smith

Alexis Smith’s oeuvre slips easily into this American life. Using language and literature, toys and glamour, ads and junk shop finds, Smith descends from the droll end of West Coast Conceptualism. She turns culture over and pokes at its squirming parts with an air of critical romance and a smile. If Sol Lewitt wrote sentences on Conceptual art and John Baldessari sang them, Smith’s wry retorts follow. (“I’m like a writer who makes art,” she told an interviewer for MOCATV in 2010.) Sometimes her asides feel like they’ve slipped out of a Tom Waits song or a Jack Kerouac novel more than from the

print January 2020

Lutz Bacher

Enigmatic, hilarious, disorienting, and almost mythic, the four decades’ worth of work by the artist pseudonymously known as Lutz Bacher is unparalleled in its raw wit. Bacher had been working with fellow artist (and University of California, Irvine, professor) Monica Majoli to plan this solo exhibition until this past May, when she suddenly died of a heart attack, leaving Majoli to complete the installation. It’s hard to believe it was Bacher’s last.

Four works were spread over multiple spaces on the University of California’s Irvine campus. Moskva (Moscow), 2019, in many ways felt the most

print December 2019

Dylan Mira

“The word in Korean for shaman means ‘ten thousand spirits,’ as in to be in conversation with. In Chinese, ‘ten thousand things’ means the infinite,” explained the artist Dylan Mira through a recording, her voice disembodied as if she were another ghost haunting this spectral space. In her first exhibition with Park View/Paul Soto in Los Angeles, Mira fluttered through time and space with personal tales, physics theories, mythology, and history, all wrapped into a video installation demonstrating (as she puts it in a recent biography) “bodies making language through the thickness of time.”

picks September 27, 2019

Lenz Geerk

“The color is repellant, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight. It is a dull yet lurid orange in some places, a sickly sulphur tint in others,” wrote Charlotte Perkins Gilman in 1892, in the story “The Yellow Wallpaper.” In the largest woeful painting in Lenz Geerk’s exhibition, Untitled, 2019, the walls’ hues may be just as lurid and maddening, ranging from sinister buttercup to jaundiced saffron, filling the room with a soft, staid menace. Edging away from the right edge of the canvas, a woman stands with one arm grasping the other in the

print Summer 2019

Alexa Guariglia

The lanky ladies in Alexa Guariglia’s paintings hover in swirling blossoms of color, caught either in the act of artmaking or aswim in paper or water. Their lithe contours seem to have been recorded with a single swipe of the artist’s brush, as in the elongated bodies of illustrated fashion models. Ensconced in writhing vegetation and clad in frenetic patterns, the figures look wholly lost in their own worlds: Stacks of canvases brick in their makers; arms knead a misshapen hunk of clay; faces bend toward paintings as if entranced by magical mirrors. The portraits’ easy lyricism and diaphanous

print March 2019

Jennifer Bolande

The stack of newspapers at the corner stand was once replenished regularly. The local bulletin board has lately stood bereft of announcements. Neither one has quite disappeared, but neither one accumulates or announces with the same sense of urgency. Jennifer Bolande meditated with subtle conceptual rigor on these two aging formats of communication in her latest exhibition. She avoided a polemic against erosion and erasure, offering instead an elegy on diminishing material forms. In the nearly forty-nine-minute video from which the exhibition took its title, The Composition of Decomposition,

previews January 2019

JONAS WOOD

Curated by Anna Katherine Brodbeck

In the clean sunlight beaming over every curling vine, fanning leaf, and flowerpot in the paintings and drawings of Jonas Wood, you can feel Southern California. For his first solo US museum exhibition in nearly a decade, featuring more than thirty works created between 2006 and the present, Wood brushes LA’s cool color into strange planes and stony angles. He pulls from the hard-edge spatial manipulations of Stuart Davis, the lush homes depicted by Sylvia Sleigh, and the late cutouts of Matisse, channeling an optimistic and elemental energy into compressed and

picks December 14, 2018

Max Hooper Schneider

In a tiny room with walls painted an unappetizing salmon color, above an off-gassing industrial gray carpet, four weird little worlds by Max Hooper Schneider cluster like apocalyptic toy sets. A model train chugs on a track that curves around a goopy pink faux-geologic landscape of blooming hard-ons in Utopia (all works 2018). Lady Marlene is housed in an aquarium, where starfish crawl, anemones pulsate, and other aquatic invertebrates skitter over a reef of off-white lingerie that has undergone plastination, leaving it ghostly and visceral and just a tiny bit lewd. The blackened, crumbling

Andrew Berardini