Daddy Says: Ed Ruscha in Other Words
Ed Ruscha is a great American art daddy, such that he has been called “the deadpan laureate of American art,” “the great American Pop…
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She Was Paying Attention: Remembering Alexis Smith
Satisfaction (2000) by the artist Alexis Smith is a collage that features a shabby reproduction of Hokusai’s The Great Wave placed within a glitzy…
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Learning as Supporting: Alternatives for Futures in Art Education
Artist Eliza Swann moved to Los Angeles in 2013, after the spirit of a raven told her, head west. Swann had been in the…
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Unsettling Borders: The “Greater West” Recolonized
In Anchorage, Alaska, a starry museum exhibition with decolonial aims baits an easy celebration; it’s tempting, if somewhat patronizing, to view the existence of…
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Mark Ruwedel’s Desert History, as Fugitive Present
“I’ll show you fear in a handful of dust.” – T.S. Eliot, The Wasteland …
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“I Think We’re Changing Into a Tribal Nation”: A Conversation with Dave Hickey on “25 Women”
When you have as many critics as Dave Hickey, you don’t hope to publish a book quietly so much as attract the right kind…
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Helen Molesworth Upends the Permanent Hang at MOCA LA
Ruth Asawa spent the summer of 1948 making buttermilk for her teachers, Josef and Anni Albers, in Asheville, North Carolina. She was enrolled at…
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All That Is Solid …: Alex McLeod Taps the Cult of the Canadian Sublime and Explodes the Digital
Alex McLeod’s most recent solo exhibition – his first at Division Gallery in Toronto – is aptly titled HONEYMOON, featuring a unique formal marriage…
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How To See a Sunset
First you pass through a canyon of glass bank towers, hugging the 110 on either side, concrete overpasses and underpasses, off-ramps and onramps, exits…
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