reviews

  • View of “Patrick Jackson,” 2013.

    Patrick Jackson

    Ghebaly Gallery

    The best things tend to be hidden underground: The tiered, tripartite structure that Patrick Jackson created for his latest show (the last at the gallery’s Culver City location) prompted a Freudian read in which the upstairs hovered as the superego, the street level lined up with the ego, and the id lay repressed below in the cellar. Jackson’s layered space paralleled the stratified logic of his previous “Tchotchke Stacks,” 2009–10, insinuating an ornamental role for viewers to play in relation to the art.

    The solitary figure of a teenage boy, Black Statue (all works 2013), was stationed on the

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  • Emilie Halpern, October 26th 2013, 4:03pm, gold leaf, 25' x 15' 6“ x 12' 1”.

    Emilie Halpern

    Pepin Moore

    Opening on the fall equinox and closing on the winter solstice, Emilie Halpern’s third solo show at Pepin Moore seemed more in sync with cosmological rhythms than with the mundane cycles of the art world. Halpern took her show’s title and tripartite arrangement from the shōka style of ikebana, which symbolizes the balance between ten (earth), chi (heavens), and jin (human). Each monthlong “phase” of her exhibition took on a stark, elemental character: The first consisted entirely of rough rocks with fluorescent properties, placed on the gallery floor. A blend of daylight and black light lent

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  • John Divola, Forced Entry, Site 29, Interior View A, 1975, gelatin silver print, 20 x 16". From the series “LAX/Noise Abatement Zone,” 1975–76.

    John Divola

    Santa Barbara Museum of Art/Los Angeles County Museum of Art/Pomona College Muse

    It is only fitting that photographer John Divola’s midcareer survey, “As Far as I Could Get,” would be spread across three California museums in three different counties. Those who have managed to see it all surely didn’t see it all in a day, and this insertion of ellipses into the viewer’s experience seems apt for a body of work concerned with temporalities, the photographic suspension of movement and stasis, and the poetics of presence and absence.

    The show’s curators, Britt Salvesen, Karen Sinsheimer, and Kathleen Howe, eschewed chronology and threaded Divola’s thematic interests throughout

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