Art Review

Two weeks ago housed a terrific cornucopia of refined contemporary art. By refined, I connote the distillation of artistry through the filters of commercial fine art galleries. Commerce is often seen to be a necessary evil with its marriage to artistry. For worse, it can corrupt the aim of art, which is to imitate reality

Rodrigo Branco held an opening titled Molding A Hard Rock at Lois Lambert Gallery. Aside from the bright-eyed, apple-dunking plunge into the primary color yellow which sparkled wonder because of its paradoxical audacity, the portraits Mr. Branco painted bring forward an unheralded technique: the broad brushstrokes of facial obscurity.   A post shared by Joseph

The 2017 Open Show held by the Los Angeles Artist Association brought an eclectic mix of contemporary artists out, most of whom were generous samplings of the pursuit of creative experimentation. It was not simply the innovative media used to impregnate the viewers with new textures, but also the symbolic expressions themselves which were overall

(Through December 23rd)   Plato was generally anti-artistic for the reason the arts, while rendering reality in an aesthetic manner, can distort it in such a way that its misrepresentation is duplicitous, merely serving the ends of the artist’s wishful ambitions for how reality appears as and not buttressing the affirmation of the human condition.

(Through January 18th 2018)   In this exhibition, Tomoharu Murakami introduces us most noticeably with bleakness. When we ask ourselves what is the meaning of bleak, we can connote a dimness; but there’s more. It is connected to our conception of what will become in the future, but in an assertively negative light. A dim