• Larry Johnson

    Patrick Painter, Inc

    It’s hard to see. White sans-serif type on white glossy field, the text of Larry Johnson’s Untitled (The Thinking Man’s Judy Garland) (all works 1999–2000)—“the / thinking / man’s / judy / garland”—almost fades from sight altogether. As white-on-white sheen, a photographic component, the words disappear unless you stand right in front of the thing itself. More than just an effect of the white text being not on but of the white surface (it is a photograph after all), the disappearance points to the obsolescence of Judy; of thinking (especially thinking about Judy); of photography; of garlands;

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  • Charles Garabedian

    L.A. Louver

    The old adage that art offers the viewer a glimpse inside the artist’s head isn’t all it’s cracked up to be. Often, a tour of an artist’s psyche feels like sitting in on a stranger’s therapy session or listening to a cocktail-party acquaintance recount last night’s dream—boring, even embarrassing. But when Charles Garabedian opens the door to his mind, it is an entirely different experience. In his first Los Angeles show since 1996, Garabedian’s twenty-three works on paper and canvas inspired not so much thoughts of escape as fears that the gallery might close too soon.

    Many of Garabedian’s new

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  • Richard Rezac

    Marc Foxx Gallery

    Richard Rezac’s arrangements seem at first like shelved maquettes for Minimalist sculpture, rejected plans for modernist buildings, or scrapped industrial-design prototypes. Each delivers the appropriate visual codes but seems to have lost all logic. His subtle works seduce the viewer into reconciling what appears orderly because it looks familiar with what seems out of whack but actually follows its own internal reasoning.

    Of the nine works in the show, two stood out in particular. Untitled (99-07), 1999, hangs from the ceiling at eye level, challenging the viewer to figure out its structure.

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