Los Angeles

View of “Frances Scholz,” 2014.

View of “Frances Scholz,” 2014.

Frances Scholz


View of “Frances Scholz,” 2014.

The most coherent moments in Frances Scholz’s Trailer I and II, both 2014, ostensibly promo shorts for her as-yet-unmade film Amboy, are recurring snippets of writer (and friend of the gallery) Chris Kraus (re)delivering a lecture she once gave on Jason Rhoades. For Scholz’s project, Kraus has swapped Rhoades’s name for “Amboy,” the documentary’s doubtful subject, a fictional painter “you haven’t heard of”—resulting in phrases intended for Rhoades’s practice but here projected onto Scholz’s prolific every-artist. For example: “It was mostly just a bunch of people hanging around eating and drinking.” Projected at a wild angle that cut across two gallery walls, the videos were delirious, schizo—scenes and images strung together incoherently without plot, AMBOY and COMING SOON crawling up the screen every thirty seconds. But is it? Whereas Scholz’s previous exhibitions have

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