Los Angeles

Haena Yoo, The Birth of Venus (detail), 2019, mixed media, 33 1⁄2 × 80 × 14 1⁄4".

Haena Yoo, The Birth of Venus (detail), 2019, mixed media, 33 1⁄2 × 80 × 14 1⁄4".

Erin Calla Watson and Haena Yoo

As It Stands

A tiny sculpture, resembling both an amulet and a mini crucifix, contained an image of a dog’s mutilated body, laser-etched into a heart-shaped hunk of dark crystal—the kind you might find at a Mexican five-and-dime around Valentine’s Day. The stone was attached to a rough-hewn pewter cast of a tongue depressor. Similarly crafted objects nearby depicted a nude woman holding her hand out to a dog and a row of bikini-clad models waiting to jump off a diving board.

These and other enigmatic works by Erin Calla Watson were on view in her two-person exhibition with Haena Yoo at As It Stands. Watson’s earlier pieces drew on the artist’s archive of her Playboy modeling days: Her photos were printed on ties and beach towels and other made-to-order goods in wry send-ups of consumerism and desire. Here, she turned from herself and complicated the critique. Watson tried to explain to me how the images

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