Sohrab Mohebbi

  • picks January 25, 2015

    Sturtevant

    “Double Trouble” makes for a rare experience. Not only is it the first solo institutional presentation of Sturtevant in the United States since a small 1973 show in Syracuse, New York, it also allows one to see the artist’s work at the museum that holds many of the so-called iconic pieces that she has used as her working material: On one floor you stumble upon Marcel Duchamp’s Fresh Widow, 1920, a reduced scale French window, where the name of the artists’ female alter ego Rose Sélavy is inscribed as COPYRIGHT ROSE SELAVY 1920 at the base of the piece, while in another gallery seven of these

  • slant December 12, 2014

    Sohrab Mohebbi

    ORGANIZED BY Cabinet Gallery, the exhibition at the Airbnb’d Fitzpatrick-Leland House (a 1936 Schindler building) in Lauren Canyon perhaps was the closest you could get to a John Knight retrospective (February 2, 2014 to February 5, 2014). A take on the Los Angeles–based artist’s oeuvre was presented through a collection of his signature 8 x 10′′ exhibition catalogues, postcards, posters, photographs, a few editions and studies, and other ephemera, all part of the expanded site(s) of the works that locate them in the greater socioeconomic network of contemporary art. As the city is dealing with

  • picks April 10, 2013

    Meg Cranston

    In her latest installation, “Emerald City,” 2013, Meg Cranston has painted two walls of the gallery emerald green. A portrait of Kate Middleton is installed on one of the painted walls facing the entrance. The gallery’s third wall is left white, except for a small monochrome painted the same hue that beams across the room. Here, it’s as if Cranston has taken the color emerald green as a readymade.

    While the market economy used to rely on circulating goods through advertising, it is now more preoccupied with choreographing moods, gestures, and, inevitably, color. In December 2012, Pantone held

  • picks August 13, 2012

    Jay Chung and Q Takeki Maeda

    For a decade, rules and strategies—some self-imposed and some referring to strategies and conventions of Conceptualism—have been an essential component of the Berlin-based duo Jay Chung and Q Takeki Maeda’s practice. At times the artists directly address the vernaculars of their chosen discipline, as in their 2006 exhibition at Isabella Bortolozzi gallery, where they looked at the disparities between artworks and the supporting texts that describe them. And although they do not consider their relationship an artwork, they do see it, according to their brochure text, as a recurring theme that

  • picks March 11, 2012

    “Initial Points: Anchors of America’s Grid”

    Imagine a Situationist dérive, one beginning in 1785 on the north shore of the Ohio River and ending in 1956 on Umiat Mountain in Alaska, drifting across the previously uncharted landscape of the United States. Departing from what today is the tripoint where Ohio, Pennsylvania, and West Virginia meet, teams of land surveyors strode westward with sixty-six-foot measuring chains that ultimately drew the American cartographic grid. Expanded around thirty-seven initial points, this rectilinear network created the legal space within which ownership, transfer, and title to the American land could take