August 30, 2011 |
Fake-check scams have been around for a while. But here's the first one I've seen that specifically preys on artists. When not editing the magazine Tango Reporter — which, yes, covers the sultry world of tango aficionados — Carlos G. Groppa paints cheerful watercolor landscapes depicting cottages, gardens and other friendly subjects that one could easily imagine seeing on the wall of a hotel room or at the doctor's office. Groppa, 80, of West Hollywood, sells his original art online.
November 8, 2013 |
I dropped in at Regen Projects in Hollywood to see my friend Lari Pittman's new show, just installed and opening to the public on Saturday. The exhibition is very large - a whopping 92 paintings on canvas, panel and mostly paper - but the three mammoth works that anchor the main room dwarf everything. Titled as various “Flying Carpets,” each one is a boggling 10 feet high and 30 feet wide. No doubt there are many reasons for the daunting scale, which fits the work's overall theme of epic trauma - and equally epic possibility -- during what the artist has dubbed today's “Late Western Impaerium.” The spelling alone, with its Old World allusion to ancient Rome, reeks of life lived under crushing conditions of supreme power.
September 26, 2013 |
Cecily Brown seems as though she's belting it out in her large, athletically brushed paintings now at Gagosian. But instead of powerful and passionate, her voice comes across as detached. The volume is turned up, but the verve is on low. London-born and living in New York, Brown bases several of her recent paintings on a photograph of a large group of nude women that appeared on the British release of a 1968 Jimi Hendrix album. PHOTOS: Arts and culture in pictures by The Times Brown preserves the odd theatricality of the image, with all members of the ensemble facing us, seated or in semi-seductive forward leans.
May 17, 2013 |
No Entropic school of art has announced itself as such, but the concept seems to animate a good deal of drawn and painted work of the past decade or more -- images of intense and unpredictable energy, change and disorder. Julie Mehretu might be considered a chief practitioner. The speed and unwieldiness of the information age is one clear source for the vocabulary of charged, global fluidity; a post-9/11 tenor of physical and political uncertainty is likely another. The increasingly volatile collision of nature and culture, in the form of large-scale natural disasters, is yet another catalyst for this type of work.
March 21, 2013 |
Amid his pensive, engrossing paintings now at Roberts & Tilton, Noah Davis has planted something of a joke: a tight, U-shaped mini-exhibition space formed by temporary walls covered in scuffed gray fabric. Three small oil paintings hang within but are impossible to see well. "Stacked Cubicles/My Last Art Fair" offers an uncharacteristic moment of levity from Davis, a knowing poke at the crowded and often claustrophobic conditions of art fairs, a self-deprecating snicker at his allotted sliver of visibility.
March 20, 2014 |
Both the title and the contents of Keltie Ferris' show, "Doomsday Boogie," bring to mind Piet Mondrian, especially his acclaimed painting, "Broadway Boogie Woogie" (1942-3). The Brooklyn-based Ferris, too, trades in planar, geometric -- or at least loosely so -- shapes, arranged with a nod to the rhythms of urban life. Her paintings, made with sprayed oil pigments, feel like unkempt street versions of several more elegant precedents, not just the work of Mondrian but also Barnett Newman and Mark Rothko.