Suzanne Hudson

  • Nancy Shaver and Emi Winter

    “Gathering texture, following shape” featured Nancy Shaver’s sculptures and Emi Winter’s woven rugs and paintings. While the works’ vocabularies did not always rhyme, their joint installation set up a visual call-and-response that made itself at home in the many rooms of the Parker Gallery, located in a house. Both artists also share a sympathy for what Shaver has called “collective history,” perhaps more broadly understood as the lives and works of others, and the circumstances of their coming together.

    One especially eloquent room contained Shaver’s sandbox-like Blue Pool, 2018, a horizontal

  • ROBERT RYMAN

    I MET ROBERT RYMAN IN 2003, when I was a graduate student seeking out the would-be subject of my nascent dissertation. I had been curious, mostly, about the man whose ostensibly minimal paintings had already irrevocably altered my understanding of the medium. I was shocked to discover my West Village apartment was only a few blocks north of his studio, which was located in a tall, skinny building next to a then-empty parcel that I had long walked past without really noticing it. When I rang the buzzer, Bob appeared, bespectacled and well-groomed, framed through the window grille. I was a nervous

  • Gary Hume

    Spread across the Matthew Marks Gallery’s two locations in this city, Gary Hume’s first solo exhibition in Los Angeles in more than twenty-five years revealed the tenacity of certain long-standing concerns and the emergence of others. Among the eight recent paintings (enamel on aluminum or paper) and three painted-steel sculptures on view, a giant trompe l’oeil of vertical boards crisscrossed with super-glossy white x’s suggested the flattening of a barn’s side and the sliding plane of its door. Titled U.S.A., 2018, it recalled Hume’s other portals, the big rectangular slabs of the “Door”

  • Vanessa Maltese

    For a 2016 show at Cooper Cole in her native Toronto, Vanessa Maltese referenced the story of Zeuxis, painter of grapes so luscious that birds were wont to peck at them. At Night Gallery, for her first solo show in Los Angeles, she continued the theme with Duped by the grapes (all works 2018), a wryly fragmented scene that exuberantly plays up the fruit’s fictive status. As in the other six flatly graphic geometric oil paintings on view that evoked the bright, interlocking compositions of Memphis design, she employed trompe l’oeil drop shadows and visual cues for recession (space in her work is

  • Sara Gernsbacher

    Last spring, Sara Gernsbacher showed hanging sculptures of silicone, acrylic, and canvas at the Franklin Parrasch Gallery in New York. In her home base of Los Angeles, she offered a new group of the slippery-looking cutouts, which appear to be remnants imbued with purpose through lavish care. This set was colored with pigments and spray paint and set into interlocking plaited or abutted configurations. The represented shapes—including cavities (plugged with black silicone or open to the supporting wall); petals; and spindly, rodlike sticks—felt elemental, ever malleable, even as they were fixed

  • “3D: Double Vision”

    The mechanics of binocular vision—the method by which a single three-dimensional image emerges from the brain’s synthesis of two perceiving eyes—subtend human perception. In the 1830s, the process was, in effect, operationalized with the invention of the stereoscope, in which technological means were employed to harness biology in the service of illusionism (within the same decade, Louis Daguerre’s camera likewise debuted). “3D: Double Vision” is apparently the first survey of this nearly two-hundred-year history of 3-D objects and their apparatuses to be shown in a North American art

  • Jay DeFeo

    Despite having had a full-dress retrospective at the Whitney Museum of American Art in New York in 2013, Jay DeFeo is still best known for a single work, The Rose, 1958–66, on which she labored in a monumental and duly mythologized process, regularly applying pigment and scraping it off, carving a ground that had long since thickened into a sculptural relief. Measuring approximately ten feet by eight feet and weighing nearly a ton, the behemoth was finally extracted from her apartment via forklift, an outside wall sliced open for the occasion. If this remained one’s image of DeFeo, the smaller

  • slant October 31, 2018

    On the Ground: Pittsburgh

    PITTSBURGH IS A CITY OF THREE RIVERS and many more bridges, the latter cutting across steeply rising banks verdant and overgrown from a year of record rainfall. In many ways this is still Andrew Carnegie’s Appalachia, with the Carnegie International—this year sited exclusively in the institution if not the actual building that he opened in 1895—an emphatically historical bequest. Ingrid Schaffner, a Pittsburgh native, suggested as much in her opening remarks to the fifty-seventh edition, which she helmed, calling the show “august” and everywhere relating it to its place of becoming.

  • James Turrell

    It was in Los Angeles that James Turrell first recognized the kinds of perceptual acuity possible in smoggy, irradiated air. His first light projects—experiments with incandescence filtering through jerry-rigged apertures in his Santa Monica studio in 1966—were harbingers of his subsequent tests of the fugitive, natural environment in increasingly architectural terms. His long-standing embrace by the city is understandable, but his apotheosis will unfold elsewhere: in an extinct volcano in the Painted Desert northeast of Flagstaff, Arizona, for the forty-year project of Roden Crater,

  • Susan Cianciolo

    “RUN 12: God is a Jacket” was Susan Cianciolo’s first exhibition in Los Angeles since her 2016 survey of works from the 1990s to the then present at 356 S. Mission Rd. There, her kits—Fluxus-inspired cardboard boxes packed with handmade clothing and ephemera—featured prominently. Here, Cianciolo offered another means of retrospection in framing the show through RUN, the label she managed between 1995 and 2001. A willfully inefficient production system, predicated on improvisatory and seemingly ludic collaborations involving friends and family members with varying technical skills, it yielded

  • AMY SILLMAN

    Long-admired stateside for her deft, often euphoric take on the vivid and irrevocably desublimated legacy of the New York School, Amy Sillman is being given free rein over all three gallery spaces at Camden Arts Centre for her first institutional exhibition in the United Kingdom. This show—gathering a career-spanning selection of her defiantly feminist paintings, gestural drawings, digital and silk-screen prints, video animations, and incisive, gallows-humor-ridden publications—will feature thirty new works on canvas as well as a zine created especially for the CAC, which

  • Alison Saar

    For Alison Saar’s most recent show at L.A. Louver, “Topsy Turvy,” she took as her muse the character of Topsy from Harriet Beecher Stowe’s Uncle Tom’s Cabin, recasting the slave girl of the Civil War–era novel as a figure for our time. The “wooly hair . . . braided in sundry little tails” remained, but here became an emblem of implacable defiance. In ten new sculptures and six related paintings on variegated supports pieced together from indigo-dyed seed sacks, vintage linens, denim, and one found trunk, Saar rendered Topsy with dark and sometimes patinated skin (the sculptures comprise admixtures

  • “Ellen Gallagher: Nu-Nile”

    For more than two decades, Ellen Gallagher has navigated the fluid geographies of realms both imagined and terrifically real. This exhibition, her Canadian debut, encompasses drawings (from earlier works featuring midcentury glamour shots peddling pomade to new creations populated with coral spawn and seagrass) and paintings, including selections from her recent “Sea Bed” canvases, conjuring the Middle Passage and the wide, watery grave across which slave ships ferried human cargo. Films will also be on view, chief among them her and Edgar Cleijne’s

  • Mary Corse

    Given Mary Corse’s consistent, multi-decade creative output, this museum survey, the artist’s first, is “long overdue”—really a tired euphemism for the consequences of exclusionary gender politics (and a belated apotheosis of art from the Southland, and not just, though especially, for women). The exhibition promises to assemble exemplars from her early shaped canvases, freestanding sculptures, and light encasements made with Tesla-coil-based generators of Corse’s own design, as well as of the nontechnological but still perceptually fugitive White Light paintings, begun

  • Vija Celmins

    Vija Celmins’s show at Matthew Marks Gallery was her first exhibition of new work in Los Angeles in more than forty years. It represented a kind of homecoming for an artist once closely identified with the University of California, Los Angeles, and the beaches of Venice, which she perennially alludes to in her transcriptions of water into the surface tension of untitled, placeless waves. All eighteen of the paintings, sculptures, and works on paper in the show were made in the past decade, and seven of them were also shown at the New York gallery last spring for her first presentation of new

  • Frederick Hammersley

    Frederick Hammersley epitomizes hard-edge midcentury Los Angeles painting, his reputation having been established in Jules Langsner’s legendary 1959 show “Four Abstract Classicists.” Hammersley lived in LA until 1968, when he moved to Albuquerque, New Mexico. The following year he learned Art1, a new computer program written for artists by Katherine Nash and Richard Williams at the University of New Mexico. Hammersley used the program—entering designs in early IBM computers via punch cards—to make what he dubbed “computer drawings,” which were realized with line printers. Often consisting

  • Shana Lutker

    On a low, mirrored tabletop reflecting the ceiling, Shana Lutker set out more than three hundred leather gloves that, despite their superficial anonymity, constitute something like a group portrait. Each glove in a.k.a. Public Opinion (all works 2017)—the fifth installment of her ongoing series “Le ‘NEW’ Monocle: The History of the Fistfights of the Surrealists,” begun in 2012—represents, in a winking metonymic sleight, a Los Angeles–based artist. The contributors sent Lutker a tracing of their nondominant hands, and Lutker then transformed the drawings’ contours into oversize gloves

  • Ruth Root

    In a press release for a 2008 show at Andrew Kreps Gallery in New York that transcended the largely gratuitous genre, Ruth Root offered a page of source images absent of any explanative text. She instead arranged thumbnails in gridded rows, their tidiness belying a capaciousness of interest, showing beachy toilet-encircling bath mats and forlorn-looking ski socks interspersed with exemplary works by Josef Albers, Lygia Clark, and Blinky Palermo, among others. All added up to her eccentrically shaped paintings: wafer-thin enamel-on-aluminum compositions of shifting color planes within extruding

  • “Kiki Smith: Procession”

    The first major European survey of the German-born artist’s oeuvre, this show promises a capacious and medium-traversing exhibition spanning three decades of work in sculpture, drawing, etching, lithography, bookmaking, photography, and video. Illuminating Smith’s trajectory from her emergence amid the aids crisis to her more recent sympathy for nature, narrative, and myth in the contemporary world, the selection of works frames Smith’s deft evocation of the necessarily transitory experience of the somatic through material means: bronze and plaster, glass and beeswax.