los-angeles

View of “Bari Ziperstein,” 2018. From left: Be a man!, 2017; No, we didn’t reap or plough—we just had a picnic in the field, 2017; The price of glasses of wine, 2017. Photo: Lee Tyler Thompson.

Bari Ziperstein

View of “Bari Ziperstein,” 2018. From left: Be a man!, 2017; No, we didn’t reap or plough—we just had a picnic in the field, 2017; The price of glasses of wine, 2017. Photo: Lee Tyler Thompson.

Bari Ziperstein has a knack for turning the seemingly abstract geometry of ceramic sculptures into a framework for rich historical narratives. As a resident artist at the Wende Museum (which specializes in “Cold War art, culture, and history from the Soviet Bloc countries”) in Culver City, California, Ziperstein came into direct contact with artifacts of Soviet visual and material culture. That research underpins the visual language of her slab-built works for “Propaganda Pots.” Installed primarily on a long, chest-high U-shaped table, the twenty pots twisted and pressurized, obscured and revealed the artist’s Cold War references.

The historical material that supports Ziperstein’s show was first introduced via reproductions of propaganda posters and vintage photographs in the anteroom of the gallery. In one poster, a worker looks up at her raised hand, her green coveralls and red

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