“Craig Kauffman: A Retrospective of Drawings” begins with a whimper.
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In the late 1990s, a lot of American artists fancied themselves filmmakers.
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James Gobel’s big pictures of supersized guys have one foot firmly planted in the world of beefcake photography and the other in that of grandmotherly crafts – needlepoint, quilting, knitting and other hands-on activities that transform houses into homes by making a place for warm-and-fuzzy feelings.
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Jeff Whetstone spent a good part of 2007 underground, creeping through the caverns and passageways that form vast networks of caves in Tennessee and Alabama.
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There’s not a lot of space for art – especially sculpture – at Concrete Walls @ Café Back Door.
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In her second solo show in Los Angeles, Kristen Morgin strips away the sentimentality that made her earlier works look nostalgic – so obsessed with yesteryear that they seemed to have been made by someone with her heart set on turning the clock back.
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Los Angeles has long been known as one of the best places on Earth to be an artist just getting started.
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Juan Uslé makes the biggest little paintings around.
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In an upstairs hallway at the Armory Center for the Arts in Pasadena, a small show of photographs by Maria Teresa Fernandez focuses on the fence along the
U.S.-Mexico border that begins a couple of hundred feet out in the Pacific and ends about 60 miles inland, near El Centro, Calif.
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All the world may be a stage, but Gregory Crewdson’s big color photographs manage to flatten it into a backdrop for an overproduced photo shoot.
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