Art Review

‘Abstract Icons’ @ Leslie Sacks Gallery

Onto the daring to consider, Abstract Icons @ Leslie Sacks Gallery seeks to inform the world with those impressions which are courageous in contemplation. That reduction, away from storytelling, to affirm nevertheless the same weight of marvel – is a difficult cross to bear. The chasm in appreciation among the common sense world of instant

Kenzi Shiokava @ Nonaka-Hill

What is that activity which is best? To change implies there is a beginning which is not perfect; for to move to an end freely is to experience what is not present; for if the best were present, one would not need to move to begin with. Unchanging is the idea ubiquitously expressed by the

‘Argon Farfish’ ft. Benjamin L. Turner and Gabriel Slavitt @ Babst Gallery

Finesse comes to mind with the quietly placed, tucked away from the exhibition itself, pretending to be an afterthought in curation; not another abstraction; Tray Laughter by the artist Benjamin L. Turner; at Babst Gallery in Los Angeles. Where is the adoration for gentle yet precise? Such a transcendental move; with mind coordinating body with a delicate

‘Small World’ by Valiente Pastel @ Craig Krull Gallery

Class A, prime rib eye, cheek. What a stupendous bravado! The childish plastique of the original impression of the human body, and all the spasmodic configurations the artist no doubt will continue to persist in representing in time – for how many different varieties of hilarity are there with his pink? – are a delight

Kate Petley @ Von Lintell Gallery

In an impressive extension of original technique, the form of the media captured titilates the otherwise bromidic acrylic shapes. There is, in other words, a reflectance which is wholly novel in what is photographed; with the appropriate “holographic” in beautiful realization. The colors are exquisite. I affirm the ungraspable dynamos contained through the photographic process.

’10 Years LA!’ @ Sprüth Magers

10 Years LA! At Sprüth Magers introduces a reminder of the efforts at immortality represented to the conscious lens in contemporary art history. From the blaring to the reticent, there is the optical impression of uniqueness. Most found for myself is the adorable excalamation point, Exclamation Point (Chartreuse) by Richard Artschwager. So sensitive to the

‘Material Memory’ with Randall Reid @ Nuart Gallery

In the return to industrial elements in the construction of the beautiful idea, Mr. Randall Reid imposes an appearance of the staunch quintessentially contained with the masculine. A grittiness in the wood-carved after contact with industrial certainty of goodness, to be reimagined onto the reliance of its use to a higher end: beauty. The sensations

‘Doubting Thomas’ ft. Michael Kelley @ Moskowitz Bayse

Mr. Michael (Mike) Kelley intimates to us that outward expression of creativity with this discovery of soft in the curved form with his exhibition at Moskowitz Bayse. The radical extension of an idea itself, say with Hidden Profile, nonetheless exhibits that consistency with the Untitled in oblong. Where the radical is sensitive to minute, while

‘Bespokeology’ by Julia Couzens & ‘Tipping Point’ by Sarah Amos @ Patricia Sweetow Gallery

In that fun of fabric, the need to extend its originality in human experience – what else is the expression? – welcomes the happy exuberance of Ms. Julia Couzens with her opening ‘Bespokeology’ at Patricia Sweetow Gallery. With petite (for my taste) compositions, dressed with other-worldly outlandishness, the demur from rebellion is perfectly balanced with

‘Will I Live Again’ by Justin Ortiz @ Babst Gallery

In the honest effort at representing true originality, a healthy break from reality is provided to us amply by Mr. Justin Ortiz, with his Babst Gallery opening show ‘Will I Live Again’. In the artist’s statement, with an unprovoked Yes, there is the sufficient base to the priming of a spectacular foray into imagination.

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