Jonathan Griffin

Criticism and essays on art and culture

Tag: aram moshayedi

Shahryar Nashat

8762 Holloway Drive, Los Angeles

Shahryar Nashat, “THEY COME TO TOUCH”, 2021.
Courtesy of the artist; David Kordansky Gallery, Los Angeles; and Gladstone Gallery, New York. Photo by Elon Schoenholz.

I still do not really know what color the fitted carpet is that runs through the three floors of 8762 Holloway Drive in West Hollywood. Some shade of sage green, I’d guess, but it could be more lime, maybe more grass, maybe more gold. I do not know because Shahryar Nashat has covered every window in the building with a pink film (again, hard for my dazzled eyes to calibrate) that suffuses the space in a discombobulating, low-contrast pall—akin to the pulsing non-color that appears when you face into the sun with your eyes closed. 

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‘Stories of Almost Everyone’

Hammer Museum, Los Angeles

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Kapwani Kiwanga, Flowers for Africa, 2014. Installation view, Hammer Museum, Los Angeles. Photo: Joshua White.

In 1997, artist and scholar Rhonda Roland Shearer published a paper alleging that each and every one of Marcel Duchamp’s readymades was in fact meticulously handmade: in other words, a fake. Though the idea of Duchamp perpetrating such an elaborate (and quintessentially Duchampian) hoax is an appealing one, Shearer’s theory gained little traction within the academic community. (‘If she’s right,’ sniffed Arthur Danto, ‘I have no interest in Duchamp.’) It came to my mind, again, in ‘Stories of Almost Everyone’, organized by Hammer Museum curator Aram Moshayedi, which elaborates not so much on the subject of craft but of craftiness, and on the integral untrustworthiness of the readymade as an artistic form. Read the rest of this entry »

Made in L.A.: a, the, though, only

Hammer Museum, Los Angeles

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Huguette Caland, installation view, Hammer Museum, Los Angeles. Photograph: Jonathan Griffin

One of the best things about ‘Made in L.A. 2016: a, the, though, only’, is that – title notwithstanding – it is quite possible to forget that the work in the exhibition was made in LA. Now in its third edition, the biennial is still finding its purpose, torn as it is in different directions. Tasked with showcasing emerging and under-recognized artists, each iteration’s curators are widely expected to reflect back at the city an image of itself that is, at once, recognizably authentic but also unfamiliar, transcendent and subjective. Read the rest of this entry »