• Kerr + Malley

    Shea & Bornstein Gallery

    The collaborative team of Kerr + Malley produces art that wrestles with issues surrounding the oppression of women. Passionate and forthright, this duo’s photo-and research-based work is constructed to inform and activate viewers. The artists’ consistent strategy is to trace the sociohistorical roots of male-dominated power structures that control the conduct of women’s lives. In particular, Kerr + Malley expose ways in which church and state attempt to criminalize aspects of women’s sexuality and reproductive free choice.

    This installation’s title, Just Call Jane, 1991, was derived, as outlined

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  • Terry Allen

    L.A. Louver

    As bronze sculptures go, a male bust being whacked in the back of the head with a baseball bat is pretty appealing. This image becomes all the more pleasurable in the context of a gallery, where violence is usually kept safely at arm’s length—denounced as political atrocity, or repressed through earnest yammerings about gender and politics. Consider all the figures who have achieved the status of bronze or plaster bustdom and try and restrain yourself from taking a baseball bat to the back of at least one esteemed cortex. The striking of a skull also speaks of the need for art that takes viewers

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  • Constance Mallinson

    Los Angeles Municipal Art Gallery

    Constance Mallinson is concerned with the mediation of landscape painting by photography, specifically the idealized, picturesque vista commonly associated with National Geographic and Life magazines. During the ’80s her explorations took the form of large grids of small landscape vignettes appropriated from photographic sources and then restructured to form larger pictographic panoramas. Such arrangements forced us to recognize our view of the landscape as a received, ideological doxa, in which nature is not only framed for the delectation of monocular perspective but also made safe, via notions

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