los-angeles

View of “All of This and Nothing,” 2011. Foreground: Jorge Macchi, Vidas paralelas (Parallel Lives), 1998. Background: Jorge Macchi, Vanishing Point, 2005.

“All of This and Nothing”

Hammer Museum

View of “All of This and Nothing,” 2011. Foreground: Jorge Macchi, Vidas paralelas (Parallel Lives), 1998. Background: Jorge Macchi, Vanishing Point, 2005.

Jointly curated by Anne Ellegood and Douglas Fogle, the most recent installment of the Hammer Invitational (that museum’s biannual contemporary group show, which typically has a local focus) featured an impressive lineup of seven young and midcareer Los Angeles–based artists together with an equal number of their American and international peers. “All of This and Nothing” championed introverted artistic practices that are chronically unmoored by the metaphysical force of self-doubt and the ineffable, even as they are grounded in an economy of means, formal simplicity, fragmentation, slowness, abstraction, and (as has been duly addressed at New York’s New Museum) the unmonumental.

Taken as a whole, the exhibition essentially attempted to describe a current conception of “the poetic” as an ascendant critical term characterizing a strain of contemporary art production that is fixated,

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