• Monika Sosnowska, Stairs, 2016, steel, paint, 3' 11 1/4“ x 5' 87⁄8” x 34' 93/8".

    Monika Sosnowska

    Hauser & Wirth | Los Angeles

    Monika Sosnowska’s crumpled, hulking sculptures often manifest a fossil-like quality. Resting solemnly in Hauser & Wirth’s cavernous space, a shiny black-steel carcass bisected the opening gallery, its studded spine rising and falling atop a tangle of twisted ribs. But the thirty-five-foot-long piece was in fact a twisted industrial staircase (correspondingly titled Stairs, 2016): Its front rested partially and helplessly on its stringer while its back balanced precariously on splayed treads. Installed nearby, Handrail, 2016, consisted of loop after torqued loop of a cochineal ribbon of PVC

    Read more
  • William E. Jones, Villa Iolas (Paul Thek, Lucio Fontana, Takis, Harold Stevenson, René Magritte, Egyptian Sculpture), 1982/2017, hand-coated ink-jet print, 16 x 20".

    William E. Jones

    David Kordansky Gallery

    William E. Jones first met the legendary Greek art dealer Alexander Iolas (1907–1987) in 1982, in the bedroom of the latter’s house in Athens, where the gallerist was readying himself for the day as his chauffeur lay in bed. He first spoke to Jones in French (a language the artist did not know) and followed up in English, asking the young Midwestern boy—fresh from his first year at Yale—whether he knew of the poetry of Constantine Cavafy, adding, “He is one of us.” This question, the large Harold Stevenson watercolor of a column/phallus (COLUMN, ca. 1965) hanging next to the dealer’s

    Read more
  • View of “Fleeting Impressions and Abundance of Detail,” 2017.

    “Fleeting Impressions and Abundance of Detail”


    In 2013, Tif Sigfrids opened her idiosyncratic gallery in Los Angeles with a solo show occurring exclusively in her right ear. During the opening hours of her otherwise empty space, visitors could ask to see Joe Sola’s micro-paintings, executed with acupuncture needles, hanging in a tiny white cube that had been custom-fitted to Sigfrids’s ear (and is now in the collection of the Hammer Museum in Los Angeles, a gift of Ed Ruscha). A subsequent Sola show so filled Sigfrids’s space gallery with perilously balanced wooden chairs as to make it impenetrable. More recently, when Los Angeles philosopher

    Read more