reviews

  • Shana Lutker, a.k.a Public Opinion, 2017, leather, ink. From the series “Le ‘NEW’ Monocle: The History of the Fistfights of the Surrealists,” 2012–. Installation view. Photo: Robert Wedemeyer.

    Shana Lutker

    Susanne Vielmetter Los Angeles Projects

    On a low, mirrored tabletop reflecting the ceiling, Shana Lutker set out more than three hundred leather gloves that, despite their superficial anonymity, constitute something like a group portrait. Each glove in a.k.a. Public Opinion (all works 2017)—the fifth installment of her ongoing series “Le ‘NEW’ Monocle: The History of the Fistfights of the Surrealists,” begun in 2012—represents, in a winking metonymic sleight, a Los Angeles–based artist. The contributors sent Lutker a tracing of their nondominant hands, and Lutker then transformed the drawings’ contours into oversize gloves

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  • Channing Hansen, Index-Manifold, 2017, wool, casein, silk noils, tussah silk fibers, gold, holographic polymers, pearl dust, photoluminescent recycled polyester fibers, banana cellulose, bamboo, bamboo carbon fiber, rose cellulose, SeaCell, legume cellulose, redwood, 50 x 78".

    Channing Hansen

    Marc Selwyn Fine Art

    Here’s a joke: A topologist is a mathematician who can’t tell the difference between a coffee mug and a doughnut. To understand the gag you have to know what topology is: a branch of mathematics concerning spaces that are transformed through bending and stretching (but not severing or intersecting). Klein bottles and Möbius strips are examples of the kinds of subjects a topologist might invest her energies in. To a topologist, both a mug (a volume with a single hole, in its handle) and a doughnut (a volume with a single hole, in its middle) are tori—they only appear to be different, while

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  • Gary Simmons, Law of the Jungle, 2017, mixed media on canvas, 12' 1/4" X 18'.

    Gary Simmons

    Regen Projects

    Since the early 1990s, Gary Simmons has brandished the act of erasure as a means to visualize race and the history of its representation and misrepresentation. To employ this technique, the artist would first draw on a chalkboard, then smear the image, leaving faded traces of the drawing surrounded by chalky, gestural streaks. Although these marks seemed violent, the image refused to disappear.

    In his six large, mixed-media works at Regen Projects (all works 2017), Simmons built on his early chalkboard drawings, utilizing the formal aftereffects of erasure—forceful blurring—in the

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