December 28, 1991
One doesn't know whether to be more astonished than indignant, more baffled than surprised, by Susan Kandel's Dec. 13 review of Matt Mullican's recent show at Richard Kuhlenschmidt Gallery in Santa Monica ("Matt Mullican's Clever but Static Project"). Her evaluation is nasty, brutish, and short, though scarcely short enough for her not to have uttered a farrago of illogical nonsense. When Kandel characterizes the career of this rising and quite young artist as immanent with "fascism," it is necessary to protest.
July 24, 1987 |
On a bad day one is tempted to suspect the more esoteric sorts of art of being little more than a species of aesthetic drill sergeant, barking incoherent orders to get the naive recruits to do mental calisthenics that they essentially make up themselves. One knows from experience this is not true, but a theme show like "Topology" reawakens the sleeping philistine. "Topology" is a nice vague topic made foggier by seven artists doing widely disparate work and some quite awkwardly at that.
December 13, 1991 |
I've always been uncomfortable with Matt Mullican's project--with its authoritarianism, its solipsism, the surety underlying its cleverly designed but utterly static cosmology.
May 1, 1994 |
L.A. has a bad rep for not preserving its own history; its art and culture dwell in the forever-changing present. But two new works attempt to change that by evoking the city's past. On the floors and walls of an L.A. Convention Center concourse are two enormous granite triptychs. One pays tribute to such Southern California landmarks as the original Brown Derby, the Central Library, Hollywood Bowl, Watts Towers, Chinese Theater and the freeway system.
November 17, 1989 |
Matt Mullican's "Untitled (Bath Stone)" is a vast, low-lying swath of limestone slabs carved with the plan of a model city, a metaphysical construct that has preoccupied the artist throughout this decade. (The title refers to the English city in which the piece was carved.) Two oval areas on this plan contain incised clusters of images.
December 18, 1988 |
A strong visual identity will be created for the Los Angeles Convention Center with its anticipated expansion, targeted for completion in early 1992. The $390-million project, expected to generate $504 million annually in economic benefits for the local economy by 1994, will add 2.5 million square feet of total space to the center's existing 1.5 million square feet, including parking.