Posts Tagged ‘Los Angeles’

Jimmie Durham: At the Center of the World at the Hammer Museum

Jimmie Durham: At the Center of the World, installation view, Hammer Museum, Los Angeles, January 29 – May 7, 2017. Photo: Brian Forrest.

Among obsidian stones, an upturned police barricade, a beat-up refrigerator, and cow vertebrae, the detail that lingers longest in Jimmie Durham’s retrospective, on view at the Hammer Museum, is Durham’s absence. Born in Arkansas in 1940, Durham left the United States thirty years ago for Europe and has largely refrained from exhibiting in the U.S. since, giving a provocative tone to the retrospective’s title, At[…..]

Jibade-Khalil Huffman: Kush Is My Cologne at Anat Ebgi

Jibade-Khalil Huffman. By The Author of Another Country and Nobody Knows My Name, 2017; transparencies in double light box; 35 x 31 x 6 1/8 in. Courtesy of Anat Ebgi. Photo: Michael Underwood.

Jibade-Khalil Huffman’s solo exhibition at Anat Ebgi, Kush Is My Cologne, lifts its title from a track on Gucci Mane’s 2009 major label debut, The State vs. Radric Davis. The allusion is one of many in Huffman’s exhibition that indicate his fixation with the popular nodes that drive contemporary cultural production, particularly, the profundity and cultural insistence of hip-hop in a world that often refuses[…..]

Breaking News: Turning the Lens on Mass Media at the Getty Center

Catherine Opie. Terry Schiavo and Pope John Paul from the series Close to Home, 2004–2005; dye diffusion prints; 15 1/2 x 14 in. Courtesy of the Artist and Regen Projects, Los Angeles.

Journalism is experiencing a crisis of confidence as of late, with long-running mainstream sources being labeled “fake news,” while extremist propaganda mills are hailed as harbingers of the truth. Although this specific quandary may be unprecedented, the concept that the news should be viewed with a healthy skepticism—considering from where and whom it comes—is nothing new. People living under regimes that lack a free press[…..]

#Hashtags: Between Truth and Fiction

ruby onyinyechi amanze. Kindred, 2014; graphite, ink, pigment, enamel, photo transfers, glitter on paper; 80 x 78 inches. Photo courtesy of Tiwani Contemporary, London and the artist.

#truth #history #narrative #Afropolitan #multiculturalism #future In an age when fact and falsehood are often indistinguishable, The Ease of Fiction is a title that gives pause. The exhibition, now at the California African American Museum in Los Angeles, was curated by Dexter Wimberly for the Contemporary Art Museum in Raleigh, North Carolina. Having been invited to participate in the exhibition’s collateral programming as a speaker[…..]

Best of 2015 – Jennifer Moon, Jemima Wyman, and Robby Herbst at Commonwealth & Council

Jemima Wyman. Conjuring Radical Openness, 2015; Bronze; 20 x 19 x 9 in.; Unique edition of 3 + 1 A.P. Courtesy the artist and Commonwealth & Council, Los Angeles.

Jemima Wyman. Conjuring Power, 2015; DIY fabric-prints on cotton poplin, painted steel rods; Site-specific installation; dimensions variable. Courtesy the artist and Commonwealth & Council, Los Angeles.

As part of our ten-year anniversary celebrations, we’re considering the best of a decade of arts criticism. Today’s selection comes from the editor in chief of our sister publication, Art Practical: Kara Q. Smith opines, “It’s not easy to write about three shows in 1,000 words, but what I love about this review by Matt Stromberg is his ability to nod to the [California] art history that[…..]

Best of 2010 – L.A. Expanded: Sunday Boys

Andy Warhol, Dennis Hopper, Screen Tests Reel #4, 1964-65.

We’re looking back over a decade of Daily Serving’s greatest hits, and today’s selection comes from Shotgun Reviews editor Emily Holmes: “The column L.A. Expanded: Notes from the West Coast was started in 2010 by Catherine Wagley, who wrote about the multifaceted Los Angeles scene from an approachable, personal voice. One of her finest pieces in that first year explored masculinity and the politics of gendered[…..]

Hashtags: House of Horrors

Pedro Reyes. Doomocracy (Voting Room), 2016.

#privatization #gentrification #immigration #violence #history #freedom At the time of this writing, Pedro Reyes’ Doomocracy installation at the Brooklyn Army Terminal feels like a relic of a bygone era. Just one week after the project’s close, it is difficult for this writer to remember what it felt like to laugh at a funhouse of political horrors, featuring privatized national parks, designer oxygen boutiques, anti-abortion pep rallies, and[…..]