My friends reached out to me last-minute; they were starting a project in the backyard -- installing an outdoor kitchen and a new hardscape. When we met, I knew that what they were about to do was not going to be much of an improvement; it lacked clarity, was way too obvious.
To Hide To Show is a group exhibition at MAMA, one of the newest contemporary art galleries taking Los Angeles by storm. The exhibition title is derived from the loose English translation of a contemporary French social anthropological study entitled "Montrer / Occulter."
By incorporating found objects and autobiographical artifacts like old photographs or rusted tools, Grasso is both evoking and evading narrative. Deracinated from function or context, familiar objects and his own identity are equally drafted into the abstract universe he is mapping.
Kill Your Selfie by Annie Terrazzo is more than just solid, if caustic, advice for mental health and self-respect -- it's also the name of her new pop-up art show, opening Friday, January 16 at Red Pipe in Chinatown.
Kelly-Ramirez's creative background includes the parade world. She loves a good masquerade, and that certain intimate, artfully scientific way a makeup artist has of studying faces. She is rarely far from a makeup kit.
"Love is Power. Power is Life. Life is Beautiful." The words are scrawled in red, encircling a cut out of a large, purple cactus flower. Pasted to the wall, the flower is surrounded by hundreds of other natural desert elements, with hand-written messages.
Krysa is an accomplished selector of detail, in both her own artwork and her efforts to champion other artists. Her joy in making and sharing art is evident in Collage -- the pieces in this book are playful, inventive, and utterly inspiring.
The photo-collages in Vikky Alexander's first show at Wilding Cran Gallery, titled Theatergarden Bestiarium, are spare. In each, one or more cutout images of toy animals are overlaid onto a photo of a sumptuous historical site devoid of people.
The exhibition's color scheme is gaudy and disjunctive like the colors of a thrift store's multiplicity of objects. The Claytons' palette is skillfully mismatched in a tongue-in-cheek nod to the untrained chromatic discord of paintings found in secondhand stores.