Art Review | Jonathan Griffin

Alice Tippit

Grice Bench, Los Angeles

Dress, 2019, Oil on canvas, 18 x 22 in, courtesy Grice Bench, Los Angeles

Groins abound in Alice Tippit’s exhibition of paintings and drawings at Grice Bench. They are not always easy to see, however – or rather, they disappear at second glance. What, you might ask yourself, is so crotchlike about that upside-down vase (Peer, all works 2019), that candle (Cinch), or that stick of dynamite (Safe)? Tippit is a master of the now-you-see-it, now-you-don’t school of visual innuendo, of drawing-room indecency, of wordplay that seems outrageously funny even if, on reflection, you can’t exactly say why.

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December 12, 2019

Lari Pittman

Hammer Museum, Los Angeles

Lari Pittman, ‘Declaration of Independence’, Hammer Museum, Los Angeles

You sense his ambition right from the get-go. Not career ambition, necessarily – though that must have been a part of it, and would even have been a political position for a queer Latino painter in 1980s Los Angeles – but an ambition to cover more ground in a single painting than had hitherto seemed possible, or desirable. Read the rest of this entry »

October 15, 2019

Mary Corse

Los Angeles County Museum of Art

Mary Corse: A Survey in Light, 2019 (installation view, Los Angeles County Museum of Art). © the artist and Museum Associates/LACMA

When good art looks bad in a particular exhibition space, do we fault the artist, the curator, the institution or the architect? Mary Corse’s retrospective A Survey in Light, which travelled from the Whitney Museum of American Art, New York, to the Los Angeles County Museum of Art, is an unsatisfying tribute to the Los Angeles-based painter, who over half a century has devoted herself to a deep but narrowly focused body of work. Read the rest of this entry »

September 28, 2019

Leo Mock

M+B, Los Angeles

“A thought that never changes”, 2019 signed, titled and dated verso oil, oil stick and charcoal on canvas 48 x 36 inches

Back in January 2018, in China Art Objects’ fair booth at Art Los Angeles Contemporary, I saw some paintings by an artist then unknown to me that I liked. I remember an island, moody cloudscapes, bruised colouration. I asked the gallerist Steve Hanson about them, and while I don’t recall much of his vague response, I do remember that he couldn’t help me identify the historical painting one of these reminded me of. (I worked it out later: it was Arnold Böcklin’s Isle of the Dead, 1880.) Read the rest of this entry »

March 15, 2019

D’Ette Nogle

Hannah Hoffman, Los Angeles

It’s easy to forget how tranquillisingly reassuring the standard commercial gallery format is until you are obliged to seek out exhibitions in other settings. D’Ette Nogle’s exhibition, titled D’Ette Nogle 2019, is mounted not in the not-yet-refurbished 1952 Paul Revere Williams-designed modernist villa that will soon be Hannah Hoffman’s new home, but in a public storage facility down the street. Access is via the loading bay, then up an unlit stairway. The exhibition is by appointment only, and on my visit, several other viewers shuffle uncertainly through a succession of four storage units separated by dim corridors of padlocked doors. It is like visiting a jail for art.

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July 12, 2018

Yoshua Okón

François Ghebaly Gallery, Los Angeles

Yoshua Okón, Oracle, 2015, courtesy François Ghebaly Gallery, Los Angeles

Despite the dismaying evidence of recent political discourse in the US, it is still hard to believe that people like this actually exist. In Yoshua Okón’s two-channel video installation Oracle (all works 2015), we are bouncing across the Arizona desert in a pickup truck with a portly man who looks a little like George H.W. Bush, and who interrupts his own demented diatribe about the consequences of messing with him with random bursts of one-handed automatic rifle fire, blindly out of the window. “Yeeee-haw!” he whoops. Read the rest of this entry »

April 26, 2018

Man Ray’s LA

Gagosian Beverly Hills

Man Ray, Igor Stravinsky with Juliet and Selma Browner, 1945, Vintage gelatin silver print, 9 15/16 × 7 3/4 inches © Man Ray Trust/ADAGP 2018

There he is, in the corner of the room: a dark, malevolent presence, glowering at the camera from under heavy lids, his crazily crooked nose and uneven eyes lending the photograph a quasi-Cubist appearance. It was an intense look that Man Ray often assumed in self-portraits. (An alternative guise was that of the debonair dandy, smoking in sharply tailored suits beside a sporty automobile.) Read the rest of this entry »

Jonathan Griffin

Category: Art Review

February 28, 2020