Los Angeles

View of “Lisa Lapinski: The Fret and Its Variants,” 2008, Museum of Contemporary Art, Los Angeles. Foreground: Monty Python Precedes Dungeons and Dragons, 2008.

Lisa Lapinski

The Museum of Contemporary Art (MOCA)

LISA LAPINSKI MOVES regularly among media and craft traditions in her work, drawing from a wide variety of artistic and architectural lineages, models, and methodologies—often combining seemingly incompatible iconographies and motifs. As a result, the artist places enormous importance on the audience’s consideration not only of objects but also of the theoretical and cultural glues bonding disparate things together. In this regard, her aggregated output could be said to recall the concept of “systems esthetics,” articulated forty years ago in these pages by Jack Burnham. “We are now in transition from an object-oriented to a systems-oriented culture,” the writer and curator observed at the time, arguing that a radical change in art and its social context was emanating “not from things” but rather from “the way things are done.”

Yet, following from Burnham, one best discerns that

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