Ikechukwu Onyewuenyi

  • picks September 18, 2018

    Mark Bradford

    Wars are often predicated on a surrounded visual and politics: We aggress when we are circled in. Outward expansion conceivably mitigates reoccurrences of enclosure. Still, borders remain. Histories get written. And, ultimately, what gets remembered is determined by who is surrounded or paints the picture as such.

     

    Mark Bradford is attuned to all this. He finds something “troubling” about the vainglory of the American Civil War, particularly Pickett’s Charge—the battle on July 3, 1863, that swung the tide for the Union North over the Confederate South. That historic battle occasioned Paul

  • “ROBERT PRUITT: DEVOTION”

    “White people know that God is a spook,” declared Sun Ra, the free-jazz pioneer and leader of Afrofuturism. By reappropriating a racist slur synonymous with ghost, Sun Ra linked black people to spirits and divinity. Yet Afrofuturist thought often focuses on technoculture and interplanetary escape with nary a mention of religiosity. Robert Pruitt has waded into these end-of-time waters, and his first museum exhibition in Los Angeles will be devoted to his upbringing in a devout household. On view will be twelve of his celebrated charcoal-and-conté-crayon portraits of

  • picks August 17, 2018

    BLESS

    Modernist “house museums” across the world—for example, Villa Savoye, the Barcelona Pavilion—are billed as architectural pilgrimage sites. The Neutra VDL House II is no exception. Having served as both lodge and laboratory for the late architect Richard Neutra, the resurrected structure (the first VDL House burned down in 1963) overlooking Silver Lake Reservoir (itself drained and refilled) is a meditation on survival through design. This ethos now encompasses curatorial interventions in the space, with the maverick design duo BLESS—Desiree Heiss and Ines Kaag—moving in and setting up the house

  • picks July 03, 2018

    Ian Markell

    In 1977, Douglas Crimp explicated a turn in pictorial signification—a gradual distancing of image from context that freed up the imaginary. In this distance, both psychological and material, the caption takes on a solemnity, as these spectral pictures—resistant to meaning, hospitable to vagaries—now house secrets. Social media has since changed our relationship to pictures, with captions facilitating not just meaning but, increasingly, monetization. Moments of secrecy are all the more noteworthy for their evasion of capitalist mechanisms.

    Ian Markell seems indebted to secrets, the dispossessed