The works of Meksin, Sack, and DeMuro are introspective, thought-provoking, and push against some of the boundaries that the curators sought to explore. However, I thought that Kati Gegenheimer’s drawings, although pleasing in their own right, did not fit in.
Read MoreWick’s work invokes feelings about the earth we inhabit, about our fragility and vulnerability, about our fears and our passions, and about what we are doing to the earth and to each other.
Read MoreHouse of Escaping Forms is a project of the Los Angeles-based collaborating couple, Chris Johanson and Johanna Jackson, who actually live in a hilltop abode populated, of necessity and by choice, with their functional, found-object creations and hand-made objects.
Read MoreTanner’s works on paper are initially gorgeous, a respite for the senses. But fragile, awkward moments point to uncomfortable relationships between forms.
Read MoreInspired by Mexican muralist Jose Clemente Orozco’s “The Epic of American Civilization,” Shaw decided to create his own interpretation of the American story. He’s been working on the project for seven years.
Read MoreAndrea Kirsh reviews a traveling exhibition by Mel Edwards, who has been creating sculptural commentary on black civil rights since the 1960s.
Read MoreAmong other things, and perhaps these are for another movie, I’d like to know what the role of DIA Art Foundation is in Land art — they have a big commitment to the works of Walter De Maria. How did they get involved? How about Gagosian Gallery, which shows (and sells) Michael Heizer’s works today? And it would be nice to hear from Michael Govan, who championed Heizer’s works when he ran DIA and continues to do so as Director of LACMA.
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