• Steven Pippin

    Regen Projects

    With magic hands and technological wizardry, Steven Pippin has transformed toilets, bathtubs, and, most recently, a trailer home, into fully functioning pinhole cameras. His recent show, “Interior,” consisted of three projects: one piece (a 40-foot photo mural and its accompanying camera) shared the show’s title and presented a twist on the century-old game of photographing the American West. Like Timothy O’Sullivan, who carted glass plates and tent darkrooms aboard the backs of uncomplaining donkeys in the late 1800s, Pippin also uses cumbersome equipment. But, unlike O’Sullivan, Pippin’s

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  • Judie Bamber

    Richard Telles Fine Art

    Meticulously rendered in a hyperrealist mode, each of Judie Bamber’s miniscule paintings depict, in the most explicit way possible, what should not be a subject for high art: the female sex. While the academic nude functions fetishistically, displacing masculine anxiety over the fullness (not the “lack”) of female genitalia, Bamber’s is the ultimate feminist gesture, representing as art what is normally relegated to the realm of pornography.

    Building on the interest in relating female experience through “central core” imagery, which characterized one strand of feminist art theory in the ’70s,

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  • Taro Chiezo, Michael Cohen, Louanne Greenwald, Charles LaBelle and Maria Lafia

    Domestic Setting

    Though quite a few commercial Los Angeles galleries have been forced to close their doors in the last few years, a growing number of innovative alternative spaces have sprung up in their place, such as Bill Radawec’s domestic setting, a “gallery” that is located in private homes sprinkled around West Los Angeles.

    This spring, Radawec arranged challenging and quirky works by an array of young artists in three separate “domestic settings.” The living and dining room of one home served as the site for a show of works (all 1993-94) by Charles LaBelle (including photographs documenting his blindfolded

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