A two-person show of Helen Pashgian and Brian Wills, “Transient” modeled the visual volatility characteristic of many 1960s Southland art practices. Despite its moorings in a Los Angeles vernacular of Light and Spacethat likewise conjures a very specific horizon of military and commercial development and the coincident artistic appropriation of such technologiesthis occasion eschewed historical specificity in favor of a formal, phenomenological dilation of temporality licensed by the same origins. (The press release casts “light” as atemporal, “as old as the universe itself,” and also as site-specific cosmology: “Both artists’ subject is the proto-light of the West, that blue, harsh light . . . reflecting and refracting off surfaces, smog, mist, casting shadows, and at times flashing brilliant diamond white, bright as an atom bomb.”) This critical regionalism presented
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