Just as a bar’s allure resides not in its efficient exchange of money for alcohol, but in its ability to be a pleasant setting for individuals to be together, a gallery’s strength resides in its ability to become a social space, where the art becomes a campfire around which people can mingle, chat, and maybe even have fun. Yet, from the ugly sterility of the[…..]

With galleries in Zurich, London, Somerset, and New York, the Hauser & Wirth enterprise has inaugurated their newest outpost in Los Angeles, Hauser Wirth & Schimmel, with the exhibition Revolution in the Making: Abstract Sculpture by Women, 1947–2016. Curated by Jenni Sorkin and Paul Schimmel, the show sprints through seventy years of art history with nearly one hundred works by thirty-four women. Sorkin and Schimmel[…..]

In 2013, Kota Ezawa once gave a presentation at the California College of the Arts about a man in Japan. As he explained it, Ezawa saw a man talking on CNN, with the name of “Kota Ezawa” printed in the bumper graphic at the bottom of the screen. This onscreen Ezawa was a scientist, and as Ezawa watched the interview, he became intrigued. The name[…..]

Following World War I and the humiliating terms of the Treaty of Versailles, the Weimar Constitution was ratified, establishing Germany’s first democracy. It ushered in a thriving cultural climate: Expressionism came to an end, the Dadaists engaged in anti-art activities, the Bauhaus school was established, and in particular, Neue Sachlichkeit, or “New Objectivity,” emerged. The movement was an alternative realism, endemic to post–WWI Germany, and[…..]

It’s not too often that whatever MoMA-inspired freak-outs occurring in New York reverberate out to the West Coast. Recently, New Yorkers and Californians alike displayed the kind of commotion around procuring Kraftwerk tickets that a child normally reserves for their first trip to Disneyland. Rain Room and its hype, which had its moment at MoMA, has now also found its way to the West Coast,[…..]

Michael Waugh’s first solo exhibition in Los Angeles, Boom, is currently on view at Von Lintel Gallery. Using ink on Mylar, Waugh reimagines an assortment of 19th-century tableaux, depicting quaint scenes of countryside estates and horse stables, as well as turn-of-the-century buildings on New York City streets. These representational drawings consist wholly of handwritten text: Scribbled sentences produce the contour lines of buildings as they[…..]

For the next three years, the estimable Underground Museum, co-founded by husband and wife Noah and Karon Davis, will bring artworks from Museum of Contemporary Art’s (MOCA) permanent collection to its unassuming storefront in the largely black and Latino working-class neighborhoods of West Adams and Crenshaw. Reciprocally, MOCA presents Noah Davis’ Imitation of Wealth, which was first exhibited at the Underground Museum, in its new[…..]