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December 7, 2012 | By Holly Myers
Viewed from a distance, Richard Bruland's paintings at Lora Schlesinger Gallery appear to be simple gradations of muted color, reminiscent of sky tones at dawn and dusk. At close range, however, they are anything but simple. Take a step or two in and their seemingly coherent hues dissolve into a chaotic mélange of multi-colored dots.  Take another step and these dots reveal themselves to be three-dimensional: not points at all but layers that have been unevenly applied, then painstakingly sanded down to reveal dipping and shifting strata of color.
July 13, 2013 | By Paresh Dave
Words such as “like,” “post” and “share” have taken on new meanings worldwide because of Facebook and its 1.1 billion users. But Venice artist Matthew LaPenta wants to remind people of the old meaning of those words, and he's turned to the easily recognizable blues and white of Facebook to send his message. LaPenta exhibited a series of paintings at FactoryLA during Thursday's downtown Los Angeles Art Walk. (View photos of them in the gallery above. Click "show captions" to see LaPenta's explanation of each piece.)
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.
December 24, 2013 | By Leah Ollman
The further you delve into the Lora Schlesinger Gallery, the better Mark Stock's show gets. What greets you up front might discourage deeper exploration. The centerpieces of "Hollywood: Uncovered" are bland encaustic paintings of individual letters of the famous hillside sign with photographs of vintage celebrities and news items embedded in the waxy mix. The landscape backgrounds are mostly generic afterthoughts and the works feel just a notch above kitschy souvenirs. Further back in the gallery are a few large, competently painted narrative tableaux.
March 28, 2013 | By Christopher Knight, Los Angeles Times Art Critic
Dan McCleary is one of the finest figure painters working today. Since 2010 he has also directed Art Division, an after school arts program for young adults. Now he is showing with Javier Carrillo and Emmanuel Galvez, talented former students at Art Division. Their recent paintings begin with a stylistic clarity and precision familiar from their teacher's example, while wholly transforming his precedent in distinctive ways. McCleary's three large genre paintings at Craig Krull depict simple scenes.
March 14, 2013 | By David Pagel
At a time when all sorts of artists are abandoning painting to make works that spill onto the floor and fill the room with all manner of stuff, it's exciting to see Laura Owens pack everything she's got onto a flat canvas. She's got a lot. At 356 S. Mission Road, “12 Paintings by Laura Owens” is exactly that: 12 gigantic canvases lined up on two long walls in a massive industrial space whose raw beauty has not been obliterated by overeager renovation. The first hometown solo show of paintings since Owens' survey at the Museum of Contemporary Art in 2003, her straightforward setup plays with space so effectively that every cubic foot of the gargantuan gallery matters.
August 16, 2012 | By Sharon Mizota
The first piece I saw by Charles Christopher Hill was a tiny, thickly painted striped canvas that, despite being less than 6 inches square, had an inexplicable presence. I assumed it dated from the reign of Minimalism in the 1970s, but it was actually created in 2009. Hill's latest exhibition at Leslie Sacks Contemporary provides a spare but intriguing back story for this apparent anachronism. The earliest works in the show, from the late 1970s, are among the best: large, torn paper collages, shot through with stitching.
October 23, 2012 | By David Pagel
Breathtaking beauty and stomach-turning ugliness get our attention in ways that ordinary stuff doesn't. At Western Project, Cole Case steers clear of extremes to make paintings both pedestrian and unforgettable, in style and subject. The combination amazes, moving viewers without hand-flapping theatrics or tempest-in-a-teacup selfishness. Case's subjects are simple: the concrete spillways that crisscross Los Angeles, a roadside field under a cloudy sky and loose bunches of flowers, arranged in glass vases or stuck in a gallon milk jug. Casual, unspectacular and matter of fact, Case's landscapes match similar scenes glimpsed by drivers on streets all over the city.
May 24, 2013 | By Barbara Isenberg
NEW YORK - As 1938 came to a close, painter Edward Hopper was a man on a mission. Again and again, he would pick up his sketchbook and head for a cluster of New York City movie theaters. Sometimes it was the Republic or the Palace, other times the Strand or the Globe, places where he could study the lobby, the auditorium, the curtained area off to the side. Back at home, he'd pose his wife, Josephine, as an usherette and draw her portrait. By the time he completed his monumental painting "New York Movie" several weeks later, Hopper had drawn 54 studies for it. Those 54 studies are among the highlights of "Hopper Drawing," which opened last week at the Whitney Museum of American Art. The first major museum exhibition focusing on Hopper's drawings and creative process, the show features many of the famed artist's paintings adjacent to the rarely seen drawings that preceded them.
May 3, 2012 | By Christopher Knight, Los Angeles Times Art Critic
Is a strain of recent abstract painting obsessed with revitalizing the celebrated tradition of the 1950s New York School? A peculiar new show at the Museum of Contemporary Art says yes, proposing that a vigorous revival of Jackson Pollock's drips, Mark Rothko's luminous clouds of color, Franz Kline's muscularity of forms and other painterly concerns from a half-century ago is underway - albeit with a notable twist. The old abstraction recorded the singular hand of the artist at work in the studio.
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