reviews

  • Frederick Hammersley, JELLY CENTERS, #31, 1969, computergenerated drawing on paper, 11 x 15". © Frederick Hammersley Foundation.

    Frederick Hammersley

    The Huntington

    Frederick Hammersley epitomizes hard-edge midcentury Los Angeles painting, his reputation having been established in Jules Langsner’s legendary 1959 show “Four Abstract Classicists.” Hammersley lived in LA until 1968, when he moved to Albuquerque, New Mexico. The following year he learned Art1, a new computer program written for artists by Katherine Nash and Richard Williams at the University of New Mexico. Hammersley used the program—entering designs in early IBM computers via punch cards—to make what he dubbed “computer drawings,” which were realized with line printers. Often consisting

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  • Henry Flynt, Tritone Monochord, 1987, dulcimer tuning pin, brackets, screws, violin bridge, guitar string, permanent marker, wood, 48 x 40 1/2".

    Henry Flynt

    The Box

    A philosopher, musician, and artist, Henry Flynt has been making interdisciplinary work since dropping out of college and moving to New York in 1960. Once there, he befriended and collaborated with other protean figures such as La Monte Young, George Maciunas, and Walter De Maria. Well-versed in mathematics, analytic philosophy, and music theory, Flynt drew from those fields to create the genre of “concept art” in 1961. Unlike text-based works of Conceptual art, Flynt’s concept art was intended to be an “object critique of logic or mathematics or objective structure.” On the one hand, Flynt’s

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  • Caroline Walker, Adrift, 2017, oil on linen, 31 1/2 x 23 5/8".

    Caroline Walker

    ANAT EGBI

    “Goes to LA once” would be one way to describe “Sunset,” the Los Angeles debut of Scottish-born, London-based painter Caroline Walker, for its preoccupation with warm, reflective surfaces—but such an indictment may not be entirely warranted. Walker’s fixation on Southern California stretches back to 2016 at least, as manifested in her solo outing at Grimm Gallery in Amsterdam, “The Racquet Club,” for which the artist drew from Palm Springs to articulate her peculiar nostalgia for midcentury resort living. The banality that underwrites her ritzy panoramas decelerates her finish fetish, giving

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