Kavior Moon

  • Henry Flynt

    A philosopher, musician, and artist, Henry Flynt has been making interdisciplinary work since dropping out of college and moving to New York in 1960. Once there, he befriended and collaborated with other protean figures such as La Monte Young, George Maciunas, and Walter De Maria. Well-versed in mathematics, analytic philosophy, and music theory, Flynt drew from those fields to create the genre of “concept art” in 1961. Unlike text-based works of Conceptual art, Flynt’s concept art was intended to be an “object critique of logic or mathematics or objective structure.” On the one hand, Flynt’s

  • Pablo Rasgado

    Walls have been a recurring motif in the works of Mexico City–based artist Pablo Rasgado. In his ongoing “Extractions” series, 2006–, Rasgado produces found paintings by lifting off sections of splattered, graffitied, or scuffed walls in outdoor urban spaces using a centuries-old fresco restoration technique called strappo. Unlike other artists who have also taken surfaces found in the streets as subject matter—for example, Brassaï, who made uncanny photographs of scratched drawings and pockmarked surfaces in the streets of midcentury Paris—Rasgado extracts physical segments of facades,

  • Rey Akdogan

    New York–based artist Rey Akdogan recently described her practice as motivated by a fundamental interest in “motion, our everyday lives, and how we move through space.” Although these concerns were not immediately evident in her latest solo show at Hannah Hoffman, the more time one spent immersed in the exhibition, the more conscious one became of the dynamic relationships between one’s own moving body, the installed objects, and the surrounding architecture of the rooms. The experience was an intensely phenomenological one, as mundane objects that would have normally remained hidden in plain

  • Tony Oursler

    The fringe world of alien believers and self-proclaimed “contactees” was the subject of “Unidentified,” Tony Oursler’s recent exhibition at Redling Fine Art, his first show in Los Angeles in more than a decade. Oursler’s investigation into the emergence of ufo culture could be viewed as an offshoot of his “Imponderable Archive,” a historical collection of more than twenty-five hundred photographs, drawings, publications, documents, and other objects from the eighteenth century to the present related to a variety of occult practices and accounts of paranormal phenomena. (Amassed by the artist

  • Allan Sekula

    For more than forty years, Allan Sekula worked intently to uncover the ways in which forces of production shape social relations—to reveal what Marx called “the contradictions of material life”—in a world structured by the increasingly globalized markets of advanced capitalism. Photography held a particular attraction for Sekula, whose eloquent writings on the medium’s history are as notable as his photo-based works. With characteristic clarity, Sekula outlined some of the appealing yet problematic features intrinsic to photography, including “its unavoidable social referentiality,

  • Betye Saar

    Institutional interest in Betye Saar’s work, particularly her groundbreaking assemblages from the late 1960s and ’70s, has never been greater: Within the past year and a half, the Black Arts Movement veteran has had retrospectives at the De Domijnen in the Netherlands and the Fondazione Prada in Milan, and has participated in group exhibitions at the Whitney Museum of American Art, the Studio Museum in Harlem, and the Museum of Modern Art, all in New York, as well as at the newly inaugurated Smithsonian National Museum of African American History and Culture in Washington, DC. Saar has noted

  • Mira Schor

    The problems of painting, language, and gendered power relations have long animated the work of New York–based artist and writer Mira Schor, who graduated from CalArts in 1973 and participated in its Feminist Art Program. In a preface to her 1997 book of essays titled Wet: On Painting, Feminism, and Art Culture, Schor noted that her goal has been to make political paintings in the “full sense of both terms”—artworks whose political content is enhanced by their seductive medium. “Painting not as ‘eye candy,’” she wrote, “but as a synergetic honey-trap for contemporary discourse.” This

  • John Miller

    When one thinks of John Miller’s work, excrement is one of the first things to come to mind. Miller gained notoriety in the mid-1980s and early ’90s for his series of paintings and sculptural works thickly coated with smears of chocolate-brown acrylic impasto. Fellow artist Roy Arden quipped, “So much did the substance come to unify and symbolize his oeuvre that ‘John Miller Brown’ or ‘J.M.B.’ became a trademark of sorts . . . a materialist antidote to the I.K.B. or ‘International Klein Blue’ of Yves Klein’s cosmic monochromes.” Whereas Klein had cunningly sought to capture (and market) experiences

  • Jessi Reaves and Sophie Stone

    For their first exhibition in Los Angeles, New York–based artists Jessi Reaves and Sophie Stone furnished Del Vaz Projects with works that slyly confused the boundary between the so-called “fine” and “applied” arts. Slouching against walls and scattered across the floor were large, irregularly woven textiles and idiosyncratic furniture pieces that served an aesthetic purpose as much as a utilitarian one. The works fit seamlessly into the exhibition space, given that the gallery is also a lived-in apartment. (The venue housed the artists while they created, in the building’s garage, most of the

  • David Snyder

    Manic humor pervades David Snyder’s immersive installations. In his previous solo exhibitions at Michael Benevento, Snyder altered the gallery’s architecture to create eerie, fun-house-like settings. In “Face Forward,” 2011, the viewer walked through a passage of wall-size, face-like facades, each paired with a distinctive, disembodied voice—imbuing the gallery space with a schizo character. In “Ectoplasms,” 2013, a false ceiling in one corner of the gallery would suddenly shake, triggered by a motion sensor when one approached the paintings hung below it. Portrait of Nugose, 2013, an

  • Mustafa Hulusi

    One encountered “Recollections of Underdevelopment,” an arresting exhibition of new photo-based works by Mustafa Hulusi, before even setting foot in the gallery. Eye-catching photographs of bloodred pomegranates on newsprint lined the insides of the space’s windowpanes, making a colorful wall of images visible from the sidewalk. The fruits in the British artist’s “Pomegranate” series, 2014–, are depicted in various states of ripeness and decay. In some pictures, pomegranates appear on parched patches of dirt amid desiccated leaves. In others, images of the fruit are twice removed: These photographs

  • Rodney McMillian

    For more than a decade, Rodney McMillian has employed various media to interrogate the intersections of race, class, gender, and cultural history in relation to the body. His poured paintings, stitched fabric constructions, and sculptures of postconsumer objects impart a visceral sense of disquiet, while his performances and videos explore the construction of political subjectivity through spoken language. This double-venue endeavor will provide a rich overview of McMillian’s work: The Studio Museum’s “Views of Main Street” will present some twenty pieces

  • “Let Power Take a Female Form”

    Among the underrecognized histories to emerge from the sweeping 2011–12 Getty exhibition series “Pacific Standard Time: Art in L.A. 1945–1980” (PST) was that of the groundbreaking work done by a handful of women gallery owners in Los Angeles in the 1960s and ’70s to support Conceptual, performance, or otherwise nonconventional artistic practices. Contributing to this narrative was the 2012 “PST”-affiliated exhibition “Perpetual Conceptual: Echoes of Eugenia Butler.” An LA-based art dealer, Butler was notorious for the avant-garde artworks she exhibited at her eponymous gallery, as well as for

  • “From All Sides: Tansaekhwa on Abstraction”

    Reified as the officially sanctioned face of modern Korean art in the late 1970s and ’80s, tansaekhwa, which literally translates as “monochrome painting,” recently received a much-needed reassessment. Having run concurrently with “The Art of Dansaekhwa” at Kukje Gallery in Seoul (dansaekhwa is the revised-romanization spelling of the term) and on the heels of a modestly sized show on the same subject at Alexander Gray Associates in New York last spring, “From All Sides” constituted the first large-scale overview devoted to tansaekhwa in the United States. Included were more than forty sizable