Barely Living with Art:
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She Wanted Adventure:
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The Languages of
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On Eclipses:
When Language
and Photography FailJessica Simmons
Interview with
Hamza WalkerJulie Wietz
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at Smart Objects
Paul Mpagi Sepuya
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Ravi Jackson
at Richard Telles
Tactility of Line
at Elevator Mondays
Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
Launch PartyNovember 18, 2017
at the Landing
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick JacksonLindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
ReviewsRegen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
Art for Art’s Sake:
L.A. in the 1990sAnthony Pearson
A Dialogue in Two
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SOGTFO
at François GhebalyJonathan Griffin
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Mateo Tannatt
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Jibade-Khalil Huffman
Launch PartyCarla Issue 1
Slow View:
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Pat O'Niell
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A New Rhythm
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Unwatchable Scenes and
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Henry Taylor
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Skin Ego (installation view) (2016). Image courtesy of the artists and Skibum MacArthur. Photo: Brica Wilcox.
Skin Ego at Skibum MacArthur is smartly arranged. Pops of color and artwork bound to both floor and air wrestle for your eye. A mirrored text piece by Andrew Emard (To You: But Not A Specific You, A General You: Part 1, 2015) on the floor glints in the afternoon sunlight, daring you to attempt to read the vapid poem etched on its surface. Bodily-colored silicone pieces by Maxfield Miles slink around the periphery, slithering along electrical tracks or looping around the rafters.
In this nine-person show, Graham Landin anchors the exhibition with five (of the 15) works presented. While his sculptural assemblages are towered by a nearby Dywer Killcollin column, they hold their own with unassuming nonchalance. The Punky Hairdo My Father Advised Against (2016) is a grafted cactus—it’s base, strong and stable, is soon interrupted by a flowering prickly pear. Punky indeed. Landin’s Venus of the Isle (Mimi) (2016) is a pit-fired clay vessel à la Amy Bessone. A subtle torso can be made out as one walks around and notices the unmistakable backside; the pot’s handles become its knowing arms, resting on the hips.
With the upswing of breezy summer group shows, Skin Ego does stand out in its coherency. Like so many grafted plants, the works in the exhibition wiggle into their newly-found shared context, accepting it well. The tentative, emotive quality that many of the works exude is momentarily lost in Jefferey Cortland Jones’ dry geometric wall works—though, perhaps it is only in this active context that his works become the wallflowers at the disco. The double edged sword of such an active group show is that someone is bound to be left out.
Skin Ego runs from June 26–August 7, 2016 at Skibum MacArthur (712 S. Grand View St., #204, Los Angeles, CA 90057).
Graham Landin, The Self in a State of Ever Becoming (2016) and Our Little House (2016), and Maxfield Miles, Soft Adaptive (2016). Image courtesy of the artists and Skibum MacArthur. Photo: Brica Wilcox.
Chelsea McCarthy, Bivalve (Wall Relief) (2016), and Andrew Emard, To You: But Not A Specific You, A General You: Part 1 (2015). Image courtesy of the artists and Skibum MacArthur. Photo: Brica Wilcox.
Skin Ego (installation view) (2016). Image courtesy of the artists and Skibum MacArthur. Photo: Brica Wilcox.
Jeffery Cortland Jones, Murk (To Step Aside) (2016) and Some speculation (2016); Wyatt Miles, The Circle Is Not Round (2016); Dwyer Killcolin, Capital (column I) (2016). Image courtesy of the artists and Skibum MacArthur. Photo: Brica Wilcox.