Craig Krull Gallery, Santa Monica
(March 5-April 9, 2016)
For almost 40 years, the art world has repeatedly and predictably equated challenging acts with spectacle and theatricality. Robin Mitchell’s work defies this shallow and repetitive trend; her paintings are unique for a modest scale that barely contains
Power identities and fetish roles outstrip partner selections, manifesting carnal knowledge of the nth degree in Kim Ye’s open source locker room politics. Her performances are corporeal prescriptions: sculptures of desire, paintings of allure, installations and video which are bondage lairs, irresistibly inviting booby traps
Dodge navigates through his intellectual obsessions with playful and absurd mixed media sculptures (and accompanying drawings), assembled from the found detritus of urban living. They are colorful, visceral, and fun, but a little threatening, like clowns or fools. And like the role fools traditionally inhabited,
Public intervention in a designed environment can animate surfaces, mobilize boundaries that unfold into immeasurable expansions in their use, and turn private space inside out into public domain. Nate Page investigates the intangible issues of psychological significance that tend to be ignored in environmental decisions.
Assimilations of constructed pitches waste away into an ad hoc arrangement of undifferentiated fields where wood, metal and any other material in percussionist Ted Byrnes’ striking range, weld, shred, transpose and invert into a microtonal cyclone that could undulate deadening silence. In what could be