Archive for March 2009


The Future of Paradise Past” imparts ambiguity and curiosity as the semantic trickery of the show’s title echoes a Proustian contradiction, one that arouses the viewer. However, they must also contend with works that question the state of nature — as if looking to the past from 50 years in the future. After the Deluge [...]

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Prefigured by John Divola’s series “Vandalism” created over thirty years ago in 1974, “Dark Star” continues in the artist’s practice of illegally entering abandoned houses and painting on every available surface- walls, the floor, doorways- armed with nothing but a can of spray paint and his camera. The concept behind Divola’s five large- scale color [...]

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The group show Shangri L.A.: Architecture as a State of Flux explores Shangri L.A. or Shangri Los Angeles, not to be confused with Shangri-la an earthly paradise sequestered from the outside world.  The main attraction of the show is James Rojas’ “Interactive 3D Model” a semi-circular table top on wheels made of entirely moveable parts.  [...]

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Marianne Mueller’s photographs present bodies and locations that are dislocated, disconnected, and bare.  Many of the photographs have been blown up to glossy poster-size and are pinned at odd heights on the gallery walls, presenting the viewer with an awkward vantage point and establishing a forced distance between the surveyor and the surveyed.  Mueller expresses [...]

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Video installation Mommy is Uri Nir’s first solo exhibition in the United States and re-acquaints viewers with one of the earliest conventions of cinema, the match-cut.  Nir’s cinematic concerns recall Salvador Dali and Luis Bunuel’s Un Chien Andalou, and Dziga Vertov’s Man with a Movie Camera.  The match-cut is rendered useless without the proper editing [...]

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Friends and contemporaries Melissa Brown and Mat Brinkman exhibit their new works on paper at M+B.  At first inspection, Brown’s playful manipulation of Technicolor discarded scratch lottery tickets and Brinkman’s often, frightening paintings of mutating monsters engage in separate dialogues with the viewer and in nearly no conversation with each other.  Brown’s calculated handling of [...]

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