Suzanne Hudson

  • Raymond Pettibon, No Title (Life Without Parole.), 2020, ink, acrylic, and graphite on paper, 23 × 30".

    Raymond Pettibon

    Certain recurring iconography is quintessential Raymond Pettibon: breaking waves and other emblems of SoCal surf culture, along with superheroes, dogs, racehorses, Hollywood, and the endlessly malleable Gumby and, as the old theme song for the green guy’s TV show went, his “pony pal Pokey, too.” The new drawings and collages in the artist’s eleventh solo outing here, more than half of which were made in 2020, included mainstays but also addressed the myriad traumatic events coincident with their making. Pettibon’s familiar skewering of American venality and imperialism became even more stringent

  • J. Parker Valentine, Untitled, 2020, ink, graphite, water-soluble colored pencil, and thread on canvas, 68 3/4 × 68 3/4".

    J. Parker Valentine

    For “Year of the Sphere,” J. Parker Valentine’s solo exhibition at Park View / Paul Soto, the artist presented five untitled paintings, all made this year, comprised of rounded forms—as the title unambiguously suggests. Each canvas was unprimed, unstretched, cut up, and then reassembled by hand with needle and thread; taken as a whole, the show felt like a singly authored exquisite corpse. The reattached panels—circular and rectangular, contiguous and overlapping—were adumbrated by washes of ink, graphite, water-soluble colored pencils, and liquid graphite, which give these objects a hazy,

  • Sharif Farrag, Sore Eyes, Tasting Strawberries, 2020, glazed porcelain, 13 1⁄2 × 10 × 10".

    Sharif Farrag

    For his first show at François Ghebaly, in late 2019, Sharif Farrag debuted pots sprouting arms and gargantuan, technically improbable vases cleaved to expose orifices. Overall, their anthropomorphism was unapologetically libertine, their sensibility underscored by glistening coats of lavish glaze: Sometimes it dripped down the clay contours as an independent, physicalized entity; at others it became nearly selfsame with the forms. Six months later, Farrag presented new porcelain and stoneware works, one of which he made in quarantine, alongside related works on paper. (The drawing Signal Hill

  • Claire Tabouret, Tegyu in his soccer outfit, 2020, acrylic on panel, 48 × 36".

    Claire Tabouret

    Where some of Claire Tabouret’s older paintings represented groups (of debutantes as well as refugees) and couples (pairs of lovers, wrestling children), those hanging in her second show at Night Gallery mostly framed a single sitter in her signature loose, assertive strokes. With captivating immediacy, these works apprehend the mutability of expression as it plays across a face, registering pursed lips and shafts of light animating a cheek just so. “The Pull of the Sun” consisted of so many profiles of the artist’s partner and friends, who seemed to pivot, instinctually, to the source of

  • Helène Aylon, Vertical Form Diffused, 1977, linseed oil on paper on Masonite, 68 × 45". From the series “Pouring Formations,” 1977.

    Helène Aylon

    In 2012, Helène Aylon published Whatever Is Contained Must Be Released: My Jewish Orthodox Girlhood, My Life as a Feminist Artist, which gives some indication of both where her life started (she was born in 1931, raised within the ultra-Orthodox Jewish community of Borough Park in Brooklyn, and later married to and widowed from a rabbi) and where she has ended up. In between, Aylon produced significant series, process-oriented material abstractions that gave way to, among other things, large and fiercely accusatory installations stemming from her antinuclear protests. As was true last year in

  • Sylvia Fein, Kite Eye (or Eye Kite), 2006, egg tempera on board, 5 × 7".

    Sylvia Fein

    Born in 1919 in Milwaukee and engaged early on with a circle of artists associated with the University of Wisconsin, Madison, Sylvia Fein moved to California in the late 1940s after a yearslong stay in Mexico and received her MFA from the University of California, Berkeley, in 1951. She has long since been based in and associated with the East Bay (where she still resides, in Martinez, cultivating an orchard of olive trees that appears in some of her paintings). Yet her work has willfully eluded such paradigms as Abstract Expressionism or, closer to home, Bay Area Figuration. Instead, her

  • Christine Frerichs, The news today, 2018, oil, graphite, and wax on paper, 16 1⁄4 × 12 1⁄2".

    Christine Frerichs

    Christine Frerichs’s “interior portraits” are diminutive, closely observed paintings on paper that frame her home and studio, sites of domesticity and labor. They are much smaller than the canvases on which she has often worked, whose larger scales summon landscapes and climates as well as emotions. Indeed, she began making the pieces shown here under the exhibition title “Viewfinder” in 2018 as interim compositions of light and mood, adjacent to the other work; they are now a project of their own, an ongoing chronicle of place and a mnemonic device for the things—often exterior—that come to be

  • View of “Kevin McNamee-Tweed,” 2019.

    Kevin McNamee-Tweed

    For his solo debut in Los Angeles, the Iowa City–based artist Kevin McNamee-Tweed clustered dozens of objects—many small enough to hold in your palm, and all solicitous of visual if not tactile intimacy—into wall-mounted vignettes. Shelflike relief sculptures made of found wood braced diminutive glazed ceramics. Alongside these altar-like installations were carefully considered arrangements of his earthenware paintings (flat panels the size of a book or a tablet), acrylics on muslin with bilateral symmetry (hence their designation as the “Butterfly Series,” 2019–), drawings, and ephemera. Despite

  • 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