• Kirsten Everberg, Bar, 2003, oil and enamel on canvas over panel.

    Kirsten Everberg, Bar, 2003, oil and enamel on canvas over panel.

    The Undiscovered Country

    Hammer Museum
    10899 Wilshire Boulevard
    October 3, 2004–January 16, 2005

    Taking its cue from Hamlet’s description of the afterlife as a place “from whose bourn no traveler returns,” this show examines the current resurgence of figuration in art as only the latest communiqué from that parallel universe of the “lifelike.” Further, this renewed figurative drive suggests that photography and painting are locked in a dialectical process that is much more give than take, in opposition to notions of historical rupture. In this selection of over forty paintings spanning the past five decades, figures like Fairfield Porter, Gerhard Richter, and John Baldessari act as parental enablers to a younger generation—among them, Jochen Klein, Thomas Eggerer, and Mari Eastman—that once more gives vent to the “mimetic impulse,” and without even a vestigial trace of the old ambivalence.

  • Robbert Flick, Along Central, 2000, c-prints

    Robbert Flick, Along Central, 2000, c-prints

    Robbert Flick

    Los Angeles County Museum of Art (LACMA)
    5905 Wilshire Boulevard
    September 12, 2004–January 9, 2005

    Since the mid-’70s, Robbert Flick has played a crucial role in the growth of Southern California’s photographic culture and its conversion into art-world currency. In the most traditional documentary sense, his practice is determined by subject or genre, specifically the transformation of the urban landscape over time. Accordingly, he provides a complex record for posterity, typically unfolding in sequential, gridded arrangements that suggest the mobile point of view of cinema and point inward as much as out. Ostensibly consistent, each work (and site) is in fact subjected to a markedly different structural principle. The eighty-seven prints and photographic groups on view in this, his first retrospective, may finally allow us to measure the aging of our cities and suburbs against that of Flick’s conceptual system(s).