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February 28, 2010
Reviews by David Pagel (D.P.) and Leah Ollman (L.O.). Compiled by Grace Krilanovich. Critics' Choices John Baldessari: Blue Line (Holbein) One of the most sharply focused shows of recent memory. It's also one of the most moving. Its two pieces, installed in three galleries, reveal a side of the 78-year-old artist often overshadowed by the irreverent wit and gee-whizzing of Baldessari's hilariously deadpan pictures. Mortality and memory take center stage while leaving plenty of room for humor and happenstance.
April 24, 2014 | By Deborah Vankin
December 25, 2012 | By Craig Nakano
It has become an end-of-year tradition among the Times home staff: We compile a list of our most-viewed features on, then nod (and occasionally smack our heads) over which stories clicked most with readers online. Oh, the brutal truths of Web metrics. PHOTO GALLERY: Most viewed homes of 2012 Our biggest reader-pleaser online has always been the home pictorial - the photo gallery of a house, condo or apartment that embodies our times, whether that means the design challenges of everyday living, the trends of an ever-evolving culture or simply the aspirations of those who love to dream of what might be, someday.
April 17, 2014 | By David Pagel
Right now, the most beautiful place in all of Los Angeles may very well be the center gallery of Gary Lang's exhibition at Ace Gallery Beverly Hills. Eleven big, circular paintings, each a candy-colored rainbow of concentric rings, fill the space with enough visual warp and woof to make repeat visits thrilling. The setup is symmetrical: three dazzling paintings on each of three long walls and two more flanking the door through which you entered. The size of Lang's paintings matters, and it's measured in feet: 6, 9½, 11 and 13 at their diameters.
March 18, 2007 | Valli Herman, Times Staff Writer
Artists throughout the ages have faithfully preserved and even improved upon the fashions of each era, and today is no different. This month and next, three artists -- two photographers and a painter -- are staging showings of works that capture unique moments in the evolution of fashion.
February 24, 1989 | KRISTINE MCKENNA
L.A. artist Craig Stecyk has a reputation for making socially conscious art that's a little too weird for conventional art world transactions. His current project, an elaborate multi-media installation, titled "Northwest Passage" (referring to the migratory path that ducks follow on the Pacific Flyway), is an inquiry into power, victims and victimizers as symbolized by the precarious existence of our friend the duck.
December 8, 1989 | JANE APPLEGATE
If you think owning an art gallery means holding elegant Champagne receptions for sophisticated clients and fascinating artists every day, think again. Owning a fine art gallery is like running any other small business: It's risky, expensive and challenging. "Too many people go into this business because they think it's going to be fun," said Karl Borenstein, who owns a 7-year-old Santa Monica art gallery bearing his name.
September 22, 2000 | Vivian LeTran
The AAA Electra 99 Co-Op Art Museum and Gallery in Newport Beach--a 26 person co-op of musicians, performing artists and visual artists--is looking for a new location. "We found a spot in Orange that we might be able to afford but we haven't signed a lease," said gallery owner Richard Johnson. We don't know if we can stay in Orange County and we're thinking of Long Beach or Santa Monica." AAA Electra is housed in a '60s office building across from John Wayne Airport.
April 7, 2007 | Suzanne Muchnic
Eungie Joo, curator and director of the Gallery at REDCAT since its inception in 2003, has accepted a position as director and curator of education and public programs at the New Museum of Contemporary Art in New York, effective July 1. Joo has presided over a lively contemporary art program that presents five exhibitions and publishes two books each year. Clara Kim, associate curator of the gallery, will serve as acting director and curator during a search for Joo's successor.
The 5-year-old Works art gallery in the Crystal Court shopping mall will be closed by the start of next month, largely because of waning sales, gallery director Richard Iri said Wednesday. Over the past two years, sales have dropped about 40%, Iri said, attributing the decline to general economic doldrums and not to the level in Orange County of art collectors' sophistication.
April 9, 2014 | By Leah Ollman
It's not uncommon for museums to encroach upon what used to be the exclusive turf of galleries, to indulge in a bit of reputation inflation by showcasing recent MFAs rather than waiting for them to season and mature. In turn, some galleries, driven by a different set of credibility-attuned motives, have assumed museum-like practices, mounting historically significant exhibitions, complete with scholarly publications. Kayne Griffin Corcoran's John Tweddle show is of this ilk. It's guest-curated by Alanna Heiss, founder of PS1 (now MoMA PS1)
April 4, 2014 | By Sharon Mizota
April 3, 2014 | By Robert Lloyd, Los Angeles Times Television Critic
March 28, 2014 | By Ryan Ritchie
March 22, 2014 | By Lauren Beale
March 12, 2014 | By David Pagel
The lines in Bart Exposito's new paintings at Thomas Solomon Gallery do things the lines in his old paintings didn't: slip away from the shapes they demarcate to float in spaces that are more atmospheric than anything the artist has painted since he began exhibiting 15 years ago. This transformation may have something to do with Exposito's recent move from Los Angeles to Santa Fe and his commute to Albuquerque, where he teaches. Like the landscape he drives through, most of his new works are horizontal.
October 30, 2007 | From the Associated Press
The late British supermarket tycoon Simon Sainsbury left 18 paintings worth as much as $200 million to Tate Britain and the National Gallery in a bequest that the two galleries described as the most significant in memory. The paintings, including works by Claude Monet, Edgar Degas, Thomas Gainsborough and Francis Bacon, came from Sainsbury's private collection. He died last year at age 76. The Tate will receive 13 works and the National Gallery will receive five paintings.
July 23, 1990
In reference to Eli Broad's July 9 Counterpunch article, much of what he has to say is true. Yet, there is far more to collecting and showing art than he states. Public museums, private museums, foundations and private collectors buy and/or exhibit art for myriad reasons. Some do it as a public service or for the sheer love of art and some, I suspect, for tax benefits or ego justification. Then there are those who buy and sell for a profit. Yet collectively, very little art by younger artists is purchased or exhibited by those entities or individuals.
February 27, 2014 | By Christopher Knight, Los Angeles Times art critic
The annex at Michael Benevento Gallery holds three large paintings of three-masted sailing ships at sea, the kind that proliferated during the colonizing age of exploration that began half a millennium ago. Shown in various states of full and partial sail, and largely drawn in black acrylic on white painted canvas, these are the vessels whose sailors scanned the globe during their unprecedented journeys. In the main gallery a few doors away, painter Mark Roeder continues a similar scan in what could be called full sail.
Anticipation is an undercurrent running through recent work by New York-based artist Rory Devine -- anticipation and imminent loss, if not exactly dread. Two-dozen paintings on canvas and paper, plus one video showing only a fellow absent-mindedly riffing chords on an electric guitar, employ motifs both figurative and abstract, recognizable and allusive. Devine's art is determined to focus on present experience instead of promises of future reward, a point well-taken. Dour but not bleak, the work could still benefit from even greater immediacy of engagement.
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