reviews

  • Alex Hubbard, [To be titled], 2015, pigmented urethane, steel, 10' 3“ × 6' 3” × 1' 1/2".

    Alex Hubbard

    Maccarone | Los Angeles

    Alex Hubbard’s latest show, which christened Michele Maccarone’s new Los Angeles space—and which, as so much initial press detailed, opened in tandem with the Broad Museum nearby—serves as a prime example of the recent westward migration of New York galleries, and of a more general media interest in contemporary cultural production in LA’s Arts District. Hubbard’s “Basic Perversions,” the artist’s third outing with Maccarone (on view through December 19), has the additional distinction of marking the fifteenth anniversary of the gallery. Given Hubbard’s practice, which attends deftly

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  • Jack Goldstein, Burning Window, 1977/2015, wood, Plexiglas, acrylic paint, lights, dimensions variable.

    Jack Goldstein

    1301PE

    Exhibiting three of Jack Goldstein’s lesser-known works—his Burning Window installation, 1977/2015, and two sets of text-based Aphorisms (both dated 1982) painted on the gallery wall—this show distilled a tension within Goldstein’s practice between mundane observation and metaphysical introspection. Burning Window consists of a single window frame containing four panes of textured Plexiglas placed in the center of a gallery wall that has been painted bloodred. Behind this window, flickering red lights give the appearance of fire. But this faux flame produces no heat. Instead, Burning

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  • Howardena Pindell, Video Drawings: Football, 1976, C-print, 8 × 10". From the series “Video Drawings,” 1976–2007.

    Howardena Pindell

    Honor Fraser

    To legibly capture a television screen, a photographer must have both patience and a variety of technical tricks at her disposal, including a carefully calibrated shutter speed and an exposure time determined through trial and error. In addition to the motion of the video image, the analog photographer must also be sensitive to the friction between the camera’s straightforward light-capture process and the CRT monitor’s beams of magnetized electrons, which light up pixels within the screen to present a steady image to the human eye, but whose glow registers quite differently to the camera. This

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