November 1, 2013 |
Raw talent, restless energy and the sense that something has gone very wrong run every which way in Natalie Frank's new paintings, which turn themselves inside out with such wicked swiftness that it's hard to know up from down, good from bad, us from them. The New York painter is no purist. Titled “The Scene of a Disappearance,” her first solo show in Los Angeles, at Acme, is a big messy mix of people and beasts, their limbs, organs and torsos rearranged in ways that rival Picasso's wildest paintings while capturing the grisliness of crime-scene TV. Frank slices and dices like a food processor, chopping Francis Bacon's ghoulish humans and Lucian Freud's meaty people into bite-size chunks she then cooks into dishes that look delicious from a distance but monstrous up close.
April 19, 1987
William Wilson writes in his article about Van Gogh: "You can see madness trying to swallow the artist at Arles in his weird 'Night Cafe' and the frantic brush-work and whirl-pool space of many another picture," fueling the myth of the artist's "madness" ("The $40-Million Obscenity," April 5). Would Wilson so categorically see madness in Van Gogh's brush-strokes if the painter's unstable mental condition had not been so clearly documented? Can Wilson diagnose the mental state of other lesser known artists by their brush strokes?
February 19, 2012 |
Analia Saban went to art school at the height of the recent market boom, when it was not uncommon for students, particularly in UCLA's prestigious painting program, to be fielding offers from galleries and selling work directly out of their studios. It had a significant impact on the direction of her career, though not because she profited by it at the time. Indeed, she had a rough go of it. Raised in Buenos Aires, she came to Los Angeles in 2002 by way of a small college in New Orleans, where she studied video art primarily.
CALIFORNIA | LOCAL
February 1, 1993
I heard that Conrad was retiring and tears welled up in my eyes; a quiet, muffled curse slipped out between my lips, and an overwhelming sense of loss steamrolled over me. Other times when I had felt like this were when Hank Aaron retired, Muhammad Ali quit boxing, and Sandy Kofax left baseball. For like no other political cartoonist ever, Paul Conrad hit more home runs, threw more knockout blows and pitched more strikes at the hypocritical, the sententious and the unjust. He can say more with a few brush strokes than some reporters can with 5,000 words.
January 2, 1988
In discussing two of the Music Center Opera's productions of "Tristan und Isolde," Martin Bernheimer's review of David Hockney's sets ("Second Look at Music Center 'Tristan,' " Dec. 21) suffer from the perspective of viewing the proceedings on the stage too closely. I attended both performances critiqued by Bernheimer, but unlike him, I was sitting in the uppermost balcony for both performances, rows Q and N. Our differences in viewing the stage are like the different perspectives an art viewer gets when he or she looks at the brush strokes up close or stands back for an overall view.
October 10, 1986 |
George Page's constructions attempt to fuse elements of painting, sculpture and architecture in order to create a tension between the intuitive gesture of Expressionism and the rational geometry of linear forms in space. This conflict has become something of a staple since the heyday of the New York School, as artists struggle to synthesize the feverish transcendence of action painting with the formal purism of modernist abstraction.