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Reviews

CAROLINE TUFENKIAN FINE ARTS, GLENDALE (NOVEMBER 8—DECEMBER 10, 2015) Over the past few years, the Yerevan-born, Berlin-based Sam Grigorian has generated a remarkable body of collage—remarkable not only for the delicacy of its tonality and the power of its non-objective imagery, but for its dramatic engagement of

SEYHOUN GALLERY, WEST HOLLYWOOD Brothers of Turkish extraction living and working in Iran, Ali Alizadeh and Ebrahim Mohammadian do very different types of work. Alizadeh is a sculptor, specializing in elegant stone or bronze renditions of animals, especially bulls, that in their elegant stylizations brim with

LAUNCH LA, Los Angeles (NOVEMBER 14—DECEMBER 5, 2015) With their reconfigured pudding-like puddles of blossoming color interlaced with psychedelic delectability, Marion Lane’s paintings are a sort of contemporary hybrid of the poured creations of Lynda Benglis and dazzling op-art innuendos – all accompanied by mysterious echoes of

MACHINE PROJECT, LOS ANGELES (OCTOBER 2—DECEMBER 14, 2015) Machine Project always sets the bar high for ambiguous, whimsical programming, but Patrick Michael Ballard’s Return to Foreverhouse was one of its more intensely immersive installations. For one hour, the viewer and five close friends (or curious strangers) were

Center for the Art of Performance at UCLA (October 16-17, 2015) Nothing could be more opposite than Umusuna—Memories Before History, the latest work by the acclaimed Japanese Butoh company Sankai Juku, founded by Ushio Amagatsu in 1975. This is a cosmic work of visual theater that encompasses