Suzanne Hudson

  • Franklin Williams, Teddy Looking for Professor Emeritus, 2019, acrylic and collage on canvas, yarn, crochet thread, beads, handkerchief, 40 x 30".
    picks December 06, 2019

    Franklin Williams

    Franklin Williams recently retired from the California College of the Arts, where he taught for more than half a century and earned the honorific in this exhibition's title: “The Inimitable Professor Emeritus.” The ten fantastic paintings on view are collaged with past work and family mementos (sea shells and a Welsh love spoon among them); dotted with acrylic and so many swarming, glistening beads; laced with cherry-red yarn; and visually pieced together with tight sutures that become dimensional fringe-like extrusions. Several were completed after his tenure at CCA, and they evince his having

  • diary December 02, 2019

    High Water

    THE RAINS WERE BIBLICAL, justifiably accusatory. In a remarkable occurrence, the lagoon overtook most of the city, flooding the chamber on the Grand Canal where Veneto’s right-wing regional council had, minutes before, just rejected measures to fund renewable energy sources and minimize plastic use, among other climate-change proposals. Images of waterbuses beached near a drowned Saint Mark’s Square made the rounds, with some vessels conspicuously bearing bubblegum-pink ads for the fifty-eighth edition of the Venice Biennale: “May You Live in Interesting Times.” The Peggy Guggenheim Collection

  • Allison Miller, Hand, 2019, mixed media on canvas, 35 × 35".

    Allison Miller

    The six paintings in Allison Miller’s “C A P R R I U S,” her second solo outing at the Pit, preserve certain elements of her earlier work, spindly tracery and webs chief among them. Drips, black on black and goopy in the upper-left corner of Sister (Gemini) and in the upper right of Sister (Capricorn) (all works 2019), are a hallmark. So are arrows: Two, registered in thin black contours and ending in sharp tips, hold together the overlapping rectangular color blocks of Curl Arch like looping seams or the rings of a spiral notebook. Others—such as those that fill the round cartoon thought bubble

  • Veli-Matti Hoikka, Untitled (Devil take the hindmost), 2018, acrylic on paper, 22 5/8 x 30 1⁄4".
    picks October 14, 2019

    Jacinto Astiazarán and Veli-Matti Hoikka

    The Queens program template involves a larger show accompanied by a modest presentation in a flat file set into a gallery wall. This fall, Jacinto Astiazarán’s Red Saturn, or Images of a gratification that would dissolve the society which suppresses it, 2019, a two-channel video, holds the main space, cycling through cosmic and cellular imagery, pictures of homegrown tomatoes and emergent life, scenes of the Los Angeles sky fading into flashes of color with a propulsive force. It literally casts its light across the blacked-out space, edging toward the files.

    There, each of the five wide and

  • View of “Barbara Stauffacher Solomon,” 2019.

    Barbara Stauffacher Solomon

    In the span of a year, San Francisco–based designer and writer Barbara Stauffacher Solomon unveiled a new mural commissioned by the University of California, Berkeley Art Museum and Pacific Film Archive and was the subject of a solo presentation at the San Francisco Museum of Modern Art. Another large show, appropriately titled “Breaking All the Rules,” opens at the Palm Springs Art Museum Architecture and Design Center in California this month. Solomon was born in 1928, and her current West Coast visibility represents a recognition of her years of practice, the context of which is now being

  • Theaster Gates’s Stony Island Arts Bank library, Chicago, 2012 –. Photo: Tom Harris.


    Curated by Victoria Sung

    For his most significant US exhibition to date, Theaster Gates promises to transform the Walker galleries into a sprawling, monumental Gesamtkunstwerk: an immersive aggregation of objects that Gates gathered over the past decade through his work with his Dorchester Projects, 2009–, in Chicago. Fifteen thousand books, periodicals, items of furniture, and other ephemera from the Johnson Publishing Company Archives & Collections join some sixty thousand slides of art and architectural history from the University of Chicago collection of glass lantern slides, as well as a

  • Sam Gilliam, Untitled, 1970, watercolor on paper, 13 3⁄4 × 17 1⁄2".

    Sam Gilliam

    “Starting: Works on Paper 1967–1970” was a rare chance to see sixteen of Sam Gilliam’s early, never-before-exhibited works, shown alongside a typeset poem, ca. 1965. Each piece was small in size and expansive in metaphoric scale. The palette ranged from deep and muddy in the 1967 “Rock Creek” series to full-on electric in others. Untitled, 1968, seemed to figure an aurora borealis in an already Technicolor sky, its expansiveness belied by the modest physical dimensions of the vertical page. The overlapping splatters of blue, brown, and yellow in “Rock Creek,” especially in Untitled, 1967, were

  • View of “Allegiances and Convictions,” 2019.
    picks May 24, 2019

    June Edmonds

    Jasper Johns famously attributed the origin of his iconic painting of the American flag to a vision he had at night; likewise, June Edmonds arrived at her first stroke-by-stroke reconstitution of a flag through a dream she had in 2017, after she returned to her home town of Los Angeles from a residency in Paducah, Kentucky. In her case, though, it wasn't about the same stars and stripes; during her residency, while driving to Memphis, she had seen a wall-size Confederate flag—a looming, unapologetic beacon still standing on the Southern hillside—to which she later responded in a series of

  • Nancy Shaver, Flat Goods, 2006, wood, fabric, hand-knitted sock, 15 × 32 × 17 1⁄2".

    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


    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

  • View of “Gary Hume,” 2019. From left: The Beach, 2018; The Wonky Wheel (Blue), 2018; The Wonky Wheel (Lime Green), 2018; Water, 2018.

    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, Rigmarole, 2018, oil on panel in powder-coated steel frame with magnets, 52 × 41".

    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