Allen Ruppersberg: The art of give and take

Installation View at SMMoA Allen Ruppersberg, “Poems and Placemats,” 2008, 48 x48″ each, mixed media. Courtesy Margo Leavin Gallery. On the LA Times blog, Christopher Knight reports that Allen Ruppersberg’s show at the Santa Monica Museum of Art is surprisingingly poignant. “Using the span of human lifetimes, including his own, Ruppersberg compiles printed matter of … read more… “Allen Ruppersberg: The art of give and take”

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The OC: Georgia O’Keeffe, Agnes Pelton, Agnes Martin and Florence Miller Pierce

Agnes Pelton,”Incarnation,” 1929 In the LA Times blog, Christopher Knight reports that “the kernel of a powerful idea resides within ‘Illumination,’ an exhibition of abstract paintings by four women who worked in the deserts of the American Southwest and whose careers pretty much spanned the 20th century. But the kernel never really pops.” Read more. … read more… “The OC: Georgia O’Keeffe, Agnes Pelton, Agnes Martin and Florence Miller Pierce”

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Art critic Christopher Knight wins LA Press Club award

LA Times art critic Christopher Knight just won a Los Angeles Press Club award for his review of the 2008 Bernini exhibition at the Getty Museum. Perhaps not accustomed to reading art criticism on a regular basis, the judges commented that the “crisp, clean words painted a picture in one’s mind of being at the … read more… “Art critic Christopher Knight wins LA Press Club award”

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Peter Saul: Genuinely scary

Long known for his acid-hued paintings melding cartoon imagery with biting social and political commentary, Peter Saul, 74, has influenced generations of contemporary artists. In the 60s, Saul was associated with a group of imagists in Chicago called the “Hairy Who” that disavowed the various New York styles and schools to focus on the human … read more… “Peter Saul: Genuinely scary”

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“Defiant sex suddenly mingles with mortality”

Christopher Knight’s review steps lightly describing many of the paintings in Marlene Dumas’ s show at the LA Museum of Modern Art. Does he like Dumas’s work or not? At one point he finally asserts that her seductive paint handling feels repetitive. “Dumas often paints children, for example, but she’s no Mary Cassatt — or … read more… ““Defiant sex suddenly mingles with mortality””

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Murakami’s marketing organism arrives in Brooklyn (yawn)

If you’re interested in the Murakami spectacle, check out the roundup of reviews TCOP ran when the show exploded in LA : The Takashi Murakami brand at Geffen Contemporary. Meanwhile, back in the present, in this week’s Village Voice, R.C Baker goes Murakami. “Having sold miniature versions of his sculptures as ‘snack toys,’ Murakami has … read more… “Murakami’s marketing organism arrives in Brooklyn (yawn)”

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Mark Bradford’s live feed in LA

IN the LA Times, Christopher Knight reports about a sign that went up over Steve Turner Contemporary, a Wilshire Boulevard gallery directly across the street from the new Broad Contemporary Art Museum at the Los Angeles County Museum of Art. “On black tarpaulin lying flat on the rooftop, capital letters in white paint implore, ‘HELP … read more… “Mark Bradford’s live feed in LA”

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Pathetic Fallacy (Second Version): Toby Ziegler in Santa Monica

In the LA Times, Christopher Knight reports that 35-year-old British artist Toby Ziegler skillfully mashes up art history and current technology with cheerful, pungent eccentricity in his first solo show in the US. “At once funny, ambitious and loaded with style, the work impresses by virtue of a disarming complexity. At the Patrick Painter Gallery, … read more… “Pathetic Fallacy (Second Version): Toby Ziegler in Santa Monica”

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More about “Some Paintings”

“Some Paintings: 2007 LA Weekly Annual Biennial,” curated by Doug Harvey. Track 16 Gallery, Santa Monica, CA. Through Feb.16. In the LA Times, Christopher Knight reports that the only thing missing from the exhibition is an exclamation mark at the title’s end. “A whopping 81 paintings by 80 artists, most made recently; here is a … read more… “More about “Some Paintings””

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LA painters work like there’s no tomorrow, er, I mean yesterday

In the LA Times, Christopher Knight (the art critic, not the former Brady Buncher) tries to make a case that LA painters have revived the medium that New York killed in the Seventies because they don’t have to contend with the historical baggage. “Unlike New York, Los Angeles never had an established reputation as a … read more… “LA painters work like there’s no tomorrow, er, I mean yesterday”

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