Micol Hebron

  • picks May 07, 2013

    Marilyn Minter

    The five paintings in Marilyn Minter’s current solo exhibition, her second at this gallery, appear to be wet—oozing, drooling, splashing, sweating, cumming, dripping, glistening. Each work is classic Minter: Overly made-up eyes and the backs of heels in stilettos are pictured behind glass marred with radial cracks and obstructed with pastel swirls that look something like the tags of graffiti. Derived from composites of dozens of photographs, these images are placed behind glass, rephotographed, and then transferred to canvas. Though her paintings appear photorealistic from a distance—the artist

  • picks October 22, 2012

    Tony de los Reyes

    Tony de los Reyes’s exhibition “Border Theory” is the inaugural show at Grand Central Art Center under John Spiak’s new directorship. In a daring foray into nonrepresentational imagery, de los Reyes’s fourteen new paintings efficaciously raise the specter of the notably apolitical movement of midcentury American abstraction. They are a brow-raising departure from his eight-year run of representational, Melville-inspired works about Moby Dick.

    Here de los Reyes presents visual allegories for border politics and immigration by fusing the formalist bipartisanism of the hard-edge (read: hard-line

  • picks May 17, 2011

    Jared Steffensen

    Surrounded by a crown of enormous mountains, and boasting the dictum “This is the place,” Salt Lake City compels artistic sublimation of the monumental landscape that surrounds this place and dwarfs its residents. “Lofty Peaks and Wide Streets,” Jared Steffensen’s first solo exhibition at Nox Contemporary, offers up twenty-one pieces in various media that inventory the experience of place, and toy with American nostalgia for the Western frontier. Steffensen jockeys the intimate and the inventive, presenting low-tech configurations of material that seek to reconcile the human scale of personal

  • picks December 03, 2010

    Hilja Keading

    In The Bonkers Devotional, 2010, Hilja Keading presents a four-channel video installation that deftly weaves together allegories of archetype and absurdity, all informed by her interest in nature. The exterior walls of a room within the gallery are disguised by projections of golden aspens, their leaves fluttering in the wind. Inside, the ceiling is covered with a canopy of military camouflage netting, while projections fill two adjacent walls with offset views of the interior of a small room not unlike the one in which viewers sit.

    In the video, Keading herself is seated on a bed, uncomfortably

  • picks May 21, 2010

    Michael Dopp

    The thirteen monochromatic paintings in Michael Dopp’s first solo exhibition, “Dilate,” form an intelligent and poetic meditation on archetypal dialogues of abstraction, with a self-conscious playfulness that inserts elements of language and corporeality within retinal formalism. The works recall psychologist George Henry Lewes’s definition of emergence, wherein “every resultant is either a sum or a difference of the co-operant forces.” Here, Dopp frames his “forces” in categories that correspond to four deliberate series––“Kites,” “Vanishing Points,” “Anemic Paintings,” and “Variations on a

  • picks March 23, 2010

    Stanya Kahn

    Stanya Kahn’s first solo exhibition at this gallery features three thirty- to forty-minute videos that smack of YouTube vernacular: handheld camera; on-camera mic; footage of friends, family, and little kids playing piano. Closer observation reveals masterful application of Eisensteinian editing, with meticulously choreographed sound tracks and threads of epistemological ruminations that indicate a philosophical conscientiousness that’s often overlooked in conversations about Kahn’s work. Each video canvasses the concerns and coping mechanisms of a contemporary subject who is forging her way

  • picks January 22, 2010

    Joe Sola

    As Joe Sola would have it, art is a culture industry that is simultaneously ridiculous and totally irresistible. His works relate to the field like an overenthusiastic child who squeezes the cute kitten to death. An LA art-world veteran, Sola’s first solo exhibition at this gallery features six watercolors and a short video, each presenting weighty humor about the politics of looking and posturing.

    The watercolors depict phalluses and fallacies while embracing and chiding the mechanisms of visual culture. Yes Missile and No Missile (all works 2010) are succinct summaries of power. The positive

  • picks December 02, 2009

    China Adams

    My mail carrier faithfully delivers folios of third-class penny-savers and other spammy annoyances, while across the city, with equal frequency, China Adams finds free art supplies in her mailbox. For her second solo show at Steve Turner, titled “White Flags and Silent Chimes,” Adams has transformed the gallery into a reverent, navelike space with all works made from recycled junk mail. The conversion of eminently discardable advertisements into objets d’art might be a dubious gesture if the result weren’t so seductive and smart. Adams’s practice has long been that of a benevolent Rumpelstiltskin,

  • picks October 08, 2009

    Rachel Khedoori

    In Rachel Khedoori’s first solo exhibition in Los Angeles, the iconic installation Iraq Book Project (all works 2009) explores what we know and record about the Iraq war, which is now in its seventh year and counting. Sixty-six massive books are laid open on nine long wooden tables. The tomes contain a chronological compilation of English-language international news articles, found by Khedoori on the Internet, that include the word Iraq, Iraqi, or Baghdad in their titles. The articles date from the war’s inception in March 2003 through the end of 2008. But as combat continues, the gallery

  • picks February 27, 2009

    Elisabeth Higgins O’Connor

    Elisabeth Higgins O’Connor’s debut solo show in Los Angeles aptly fulfills the Promethean artist-as-alchemist role through an installation of ten large mixed-media sculptures that feature fastidious transmogrifications of twine, lace, tarps, and other textiles into large anthropomorphic animals. Her source materials are perfect fodder for nostalgia and the uncanny as they recall the discomfiting familiarity of dismantled thrift-store furniture, geriatric home decor, and discarded stuffed animals. The embodiments of an ordered chaos, these creatures are remarkably well composed, with skeletal

  • picks January 28, 2009

    Holly Andres

    Holly Andres’s first solo exhibition at this gallery features fifteen large LightJet prints distinguished by their luscious palette and meticulous mise-en-scènes. The images recall an unlikely combination of sources, such as Sofia Coppola, Gregory Crewdson, and Nancy Drew, and depict a quartet of girls––perhaps cousins, sisters, or BFFs––making extraordinary discoveries within a middle-class suburban home. Andres’s scenes conjure plotlines and allegories from familiar fairy tales and proverbs, but they are unsentimental and not excessive in their girlishness. The protagonists appear simultaneously

  • picks January 15, 2009

    Erin Cosgrove

    Artists have long infused social and political commentary into caricatures and cartoons; take Honoré Daumier, Art Spiegelman, and Keith Haring, to name a few. The latest addition to this list is Erin Cosgrove and her animation What Manner of Person Art Thou?, 2004–2008, a daring, postmodern depiction of quintessential philosophical themes. Over an hour long, the idiosyncratic work is a creation myth, a parable of good and evil, love and learning, faith and ideology, and a tour de force of traditional storytelling with an encyclopedic collage of visual and aural references. Cosgrove references