reviews

  • Calvin Marcus, Automatic Drawing #18, 2015, oil crayon and Flashe paint on linen, 48 × 96". From the series “Automatic Drawings,” 2014–.

    Calvin Marcus

    David Kordansky Gallery

    Calvin Marcus’s first major solo show in Los Angeles was titled “Malvin Carcus,” suggesting, somewhat perversely for this painter just embarking on his professional career, that the works on view were traceable to an alter ego, and, moreover, to one that might be deceased—a carcass. The transposition of letters in Marcus’s name could be interpreted as a revealing slip of the tongue, a spoonerism, but one performed consciously, to both acknowledge the morbid specters that haunt all talk of painting and to get them out of the way. Or it could be read as perfectly meaningless but nonetheless

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  • Ericka Beckman, Cinderella Game 1–4, 2015, four C-prints, overall 32 × 40".

    Ericka Beckman

    Cherry and Martin

    Ericka Beckman’s Cinderella, 1986, a 16-mm rendering of the fairy tale, is an Atari-like musical in which the title character staggers through various levels of narrative as if in a video game. As the centerpiece of a spellbinding exhibition, this rarely screened film demonstrated the staying power of Beckman’s work thirty years on. Mostly employing the artist’s signature palette of bold primary colors against black backgrounds, the stylized film resembles the classic tale only insofar as a female protagonist is put through the wringer of some odd gender socialization: Cinderella toils at an

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  • View of “Ken Price,” 2016. From left: The Slouch, 2005; Rebuncular, 1988; Untitled (Geometric), 1980; Untitled (Red Mound), 1960–61; Untitled, 1967–69.

    Ken Price

    Parrasch Heijnen Gallery

    The inaugural exhibition at Parrasch Heijnen Gallery was clearly the result of a herculean effort. Not for nothing was the show titled “Ken Price: A Career Survey, 1961–2008”; its ambition and temporal spread rivaled the artist’s 2012–13 touring show, which originated at the Los Angeles County Museum of Art. While the latter assembled considerably more objects than were on view here, this retrospective, economic in its selections, nevertheless demonstrated the fecundity of Price’s continual sculptural redefinitions, while hewing to the media in which his material and procedural experimentation

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