reviews

  • Betty Woodman, The Red Window, 2014, glazed earthenware, epoxy resin, lacquer, and acrylic on canvas, 85 × 82 × 13".

    Betty Woodman

    David Kordansky Gallery

    “Illusions of Domesticity,” Betty Woodman’s first solo show at David Kordansky Gallery, was also her first one-person exhibition on the West Coast in a decade—the latter landmark made all the more remarkable by the recent visibility of ceramics in the area, with shows featuring the work of Peter Voulkos and Ken Price, among others. Yet while these efforts to showcase ceramics (and thus to retroactively rectify its omission from standard twentieth-century narratives, which privileged painting and sculpture) have primarily been retrospective in their purview, detailing the place of pottery

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  • View of “N. Dash,” 2014–15. From left: Untitled, 2014; Untitled, 2014.

    N. Dash

    Hammer Museum

    N. Dash’s first solo museum exhibition was staged in the Hammer’s distinctive Vault Gallery; with its diminutive, bullet-shaped floor plan and arched ceiling, the chamber is one of the museum’s more unusual spaces, and the room’s obdurate layout underscored the role of architecture within Dash’s incisive painting practice. Here the artist mounted five untitled paintings, all 2014. A series of unframed photographs depicting frayed, curling fabric were interspersed between the seductive planar compositions, and similar images were embedded, marquee-like, within the backlit panels dotting the

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  • Liz Magic Laser, The Thought Leader, 2015, video, color, sound, 9 minutes 22 seconds. Alex Ammerman.

    Liz Magic Laser

    Various Small Fires

    Over the past five years, Liz Magic Laser has become known for bringing into critical view—through performance, video, and, increasingly, installation and sculpture—the aesthetic codes of public discourse, both rhetorical and choreographic. By illuminating the intellectual and emotional manipulation at play in political speech, TV newscasting, and corporate-focus groupthink, she proposes a model of institutional critique that treats the performance of public discourse as the immaterial cornerstone of American democracy-cum-oligarchy.

    The videos and sculptures featured in Laser’s second

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