Illustration

Flavr Savr* at the Pit

Lynn Hershman Leeson. GMO Animals, Crops, Labs (The Infinity Engine), 2014; wallpaper; dimensions variable. Courtesy of the Artist and the Pit.

The Pit, a small artist-run gallery, sits semi-hidden in a commercial and industrial neighborhood north of Los Angeles. Artists Devon Oder and Adam Miller founded the gallery in 2014, exhibiting emerging artists in tightly curated group shows alongside at least one well-established artist. The Pit, located in a converted car mechanic’s garage, has the same anonymously beige exterior as the neighboring businesses. But its out-of-the-way[…..]

“The Accursed Share” at Artspeak

Deborah Edmeades. Blinking and Other Involuntary Portals, 2016; rocks, wood, paint, false eyelashes, galvanized wire, polyester resin, electromagnetic circuits, solar panels, mount board, monitors, cameras, glass. Courtesy of Artspeak. Photo: Blaine Campbell

The first thing I encounter upon entering “The Accursed Share” at Artspeak is a scent. “A fancy grandma’s house,” my gallery companion assesses. The scent emits from Aleesa Cohene’s You, Dear (2014), in which a large bunch of faux grapes is placed on the floor. Upon closer inspection, the decorative fruit is something much more elegant—in fact, it’s opulent. Each grape is made from the[…..]

Eric Yahnker: Noah’s Yacht at Zevitas Marcus

Eric Yahnker. Abe Lincorn, 2015; colored pencil on paper. Pierced Piety, 2015, colored pencil on paper. Shell Game, 2015 (detail); 314 Purell hand sanitizer bottles, spire seashells. Courtesy of the Artist and Zevitas Marcus.

Eric Yahnker’s large-scale colored pencil drawings are often satirical, social, and political in nature. The Los Angeles–based artist, who has worked both for South Park and as a journalist, views himself as a political cartoonist in the often patronizing and self-involved art world. Many of his previous shows have felt like incredible, offbeat, anarchic versions of the very best in political cartoons or Dadaist reinterpretations[…..]

Fan Mail: Ville Andersson

Ville Andersson. Transition (My Little Empire series), 2013; pencil on paper; 11.6 x 8.2 in. Courtesy of the Artist.

At the heart of Ville Andersson’s art practice is his early childhood desire to become an art collector. For the Helsinki-based artist, his childhood was the primer for what would become an encyclopedic passion for art. In his hometown on the remote southern coast of Finland, in an art library compiled by his mother, an art teacher, Andersson discovered a realm of imagination far beyond[…..]

Kota Ezawa: Gardner Museum Revisited at Christopher Grimes Gallery

Kota Ezawa. Gardner Museum Revisited, installation view, 2016. Courtesy of the artist and Christopher Grimes Gallery.

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[…..]

Lewd at JOY Gallery

Alaina Varrone. Untitled, 2010; embroidery; 9 x 5 in. Courtesy of the Artist and JOY Gallery, San Francisco.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Ariel Zaccheo reviews Lewd at JOY Gallery in San Francisco. Like the best hedonistic pleasure palaces, JOY Gallery is a bit off the beaten path. Located in San Francisco’s[…..]

Del Kathryn Barton: The Highway Is a Disco at ARNDT Singapore

Del Kathryn Barton. The highway is a disco, 2015; Acrylic on French linen; 240 × 180 cm. Courtesy of the Artist and Arndt Singapore.

Framed against a starlit sky, two female figures with feathered hair and large, limpid eyes sit astride blue and purple kangaroos. Their lush, naked bodies are stark white against a vibrant canvas of marks, lines, and dots. They stare out of pictorial space into an unknown distance, with their detached gazes separated from the viewer’s own perusal of them. Disengaged from us, their distance forms[…..]