• John Miller, Untitled, 2016, acrylic on Gatorboard panel, 74 × 42 1/2 × 2".

    John Miller

    Richard Telles Fine Art

    When one thinks of John Miller’s work, excrement is one of the first things to come to mind. Miller gained notoriety in the mid-1980s and early ’90s for his series of paintings and sculptural works thickly coated with smears of chocolate-brown acrylic impasto. Fellow artist Roy Arden quipped, “So much did the substance come to unify and symbolize his oeuvre that ‘John Miller Brown’ or ‘J.M.B.’ became a trademark of sorts . . . a materialist antidote to the I.K.B. or ‘International Klein Blue’ of Yves Klein’s cosmic monochromes.” Whereas Klein had cunningly sought to capture (and market) experiences

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  • Mariah Garnett, Other & Father, 2016, two-channel HD video transferred from 16 mm, color, sound, 11 minutes. Installation view.

    Mariah Garnett

    ltd los angeles

    Titled “Other & Father,” Mariah Garnett’s first solo show at ltd los angeles revolved around a BBC television news feature shot in Belfast in 1971 that addressed the challenges faced by a young couple of different denominations at the start of the sectarian fray that came to be known as the Troubles. The Protestant half of this relationship happens to be Garnett’s father—a parent the artist would not meet until 2007, after a separation that lasted most of her life—here just inching past adolescence, sporting a very glam haircut and shown alongside his then girlfriend. Garnett was

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  • Roni Shneior, In the Back (detail), 2016, one element of a mixed-media installation, ceramic, pickles, cigarettes, 15 × 8 × 4".

    Orr Herz and Roni Shneior

    Chin’s Push

    As if enacting a Venn diagram of independent and collaborative artmaking, Orr Herz and Roni Shneior partnered for “Please Please Please Let Me Get What I Want” by each composing a single piece to exhibit and then joining together to complete a third. The three projects occupied distinct areas of the garden behind Chin’s Push, an artist-run project space, thus functioning as autonomous entities distinct from the primary gallery. The lush garden, cluttered with planting beds and numerous pots, chairs, and a picnic table, and anchored by a full-size vintage trailer, was the perfect site for Herz’s

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