Although we can survive 40 days without food and three days without water, we apparently can't go but 35 seconds before we need to make sense of something (threats, social interactions, things in a museum) around us. That's the problem with "Rudy's Ramp of Remainders."
Last weekend, I went with friends to check out several promising exhibitions at various L.A. galleries. At three of those galleries, we were fortunate enough to meet the artists and talk with them about their work.
The career of any artist of distinction is always full of battles, many of them won, some of them inevitably lost. I would like to know what you think of this exhibition of Mickalene Thomas and her risky dialogue with Big Boys of art's past.
On 9/11, my survival instinct suggested that a celebration of good art is ultimately the best way to focus on the light at the end of the tunnel. Even if the tunnel is long and dark, and the light is, at first, rather difficult to perceive.
"Through the Grapevine: Streams of Transit in Southern California's Great Pass" explores the stretch of land, from the far edge of Los Angeles to the Central Valley, that serves as an artery for the transit of goods and people,