los-angeles

View of “Daniel Knorr,” 2013.

Daniel Knorr

Kayne Griffin Corcoran

View of “Daniel Knorr,” 2013.

Daniel Knorr’s Los Angeles debut was so conceptually tidy and neatly packaged as to seem pat, yet it opened onto divergent readings. The show’s fourteen brightly colored, polyurethane wall reliefs, titled “Depression Elevations,” 2013–, were cast from potholes in the streets of LA (with one piece molded from the cobblestones of Berlin, where Knorr is based). In addition, the artist roamed the city’s famously carcentric urban sprawl to collect all kinds of litter—from disposable floss toothpicks to license plates to snack bags—which he then had pressed between the pages of two hundred unique artists’ books, constituting the ninth edition of his Carte de Artiste publication series, 2007–, which documents the places where he has exhibited.

“Depression”: Potholes are signs of breakdown, decomposition, damaged property, economic downturn, neglect, being in the pits or in a

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