LORA SCHLESINGER GALLERY The rhetorical but self-critical nostalgia that is Lawrence Gipe’s stock in trade has little to do thematically with Robin Cole Smith’s gentle paeans to nature. Indeed, Gipe’s thunderous, cinematic conjurations of an industrial modernism, seemingly glorifying the 20th century’s technological triumphalism, would seem
LAUNCH LA GALLERY Xi Hou’s abstract paintings are redolent of nature, light, and their interaction. Composed of myriad fluid segments, lines and color areas that interlock like jigsaw puzzle pieces but are shaped like raindrops and aqueous reflections, these canvases embody the vitality of the natural
CASA 0101 THEATER Born in Nagasaki, Hideo Sakata has worked in Los Angeles for almost four decades, but his sensibility remains thoroughly Japanese in its visual tenderness and its search for mindful repose—that is, a condition of perception at once aware of the real world and
SUSANNE VIELMETTER LOS ANGELES PROJECTS Shana Lutker’s demi-stages, rigorously designed quasi-architectural sites that at once frame and enact art-historical moments, would seem to have little to do with the eccentric geometries Bart Exposito paints and draws. But Exposito’s keenly described, looping (and loopy) lines and his
OCEANSIDE MUSEUM OF ART America’s love-hate relationship with modern art came to something of a head in the 1940s and ‘50s, when the middle class finally reached a level of security and could afford to exercise a modicum of intellectual curiosity (a modicum maintained with notable
