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I was asked by the Rail to provide an L.A. perspective, and in order to do that, I wanted to do something unusual. I want to take the pressure off the New York/Los Angeles split, not worrying about describing what is going on in Los Angeles for those that may not know.
My relationship with artists and their work continues to be difficult, unruly, and uncertain. So often am I tepid, repulsed, seduced, lost, won-over, and forced to change my mind in reconsideration either for better or worse, that it becomes more and more difficult to stamp anything in art as certified or sealed.
Jo Nigoghossians four new sculptures crouch together at one end of a hallway-like space in Night Gallery, just east of L.A.s downtown. They are made of black steel: strips of sheet metal, tubing, and channel curve and twist into industrial hybrids of inanimate objects and expressive creatures.
I admit to being surprised when the theoretical equipment I received in graduate school came to be of little use when I started to go to art studios.
If we believe Adam Kirsch’s new book, Why Trilling Matters, remembering literary critic Lionel Trilling is to gain an idea of what it means to live a life in literature.