Los Angeles

Brian Kennon

Steve Turner

For centuries, the law of the grid—as an invisible system of horizontal and vertical lines that partition a page into a visually consistent structure—has dominated modular graphic design. For decades, the group show has held sway over summer gallery schedules. Brian Kennon’s solo exhibition “Group Shows,” on view this past summer at Steve Turner Contemporary, employed the rules of the former to reformulate the latter, demonstrating that the layout of an exhibition can be as prefab as a page layout. Kennon’s nine new works on paper—single-edition ink-jet prints that feature found images swiped from exhibition catalogues and Internet sites—reflect his ongoing interest in print media and its relationship to visual culture. But whereas Kennon’s past projects lifted iconic album covers and artwork (be it that of Nico, Ad Reinhardt, or Richard Hawkins) to subsume his own status as author, Kennon

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