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By Melanie Chapman Timed in conjunction with the Taschen publication "My Education," the first book-form retrospective of photographer Bruce Weber's multi-decade career, the new exhibition now on view at Fahey Klein Gallery, Bruce Weber: Try a Little Tenderness, is worth more than one visit. Likely due to Weber's genre-defining success as a fashion photographer for Calvin Klein, GQ, Vogue, etc., particularly at its height in the 1980s and '90s, the line for the recent gallery

By Barbara Patterson Zarina Van Ranzow's debut solo exhibition featuring work from her ongoing series Let it Bleed and Music for Lovers opened on May 8 at STONE/AGE Studios in East Los Angeles. Drawing from archival photographs of the artist's family and portraits of a variety of musicians, the series adapts photographic content into oil and airbrush paintings that pick up where the camera leaves off. Diffusing the harsh, resolute forms that photography's understanding of the

By Mary Singh Los Angeles has been in a prolonged conversation about monuments. Co-organized by The Museum of Contemporary Art and The Brick, and co-curated by Hamza Walker, Kara Walker, and Bennett Simpson, earlier this year, "MONUMENTS" brought ten decommissioned Confederate statues into the Geffen Contemporary's vast industrial space, placing them in direct dialogue with contemporary works by nineteen artists. Praised by the Los Angeles Times as "the most significant show

By Lacey Argus It's easy to miss the bite-sized rainbows orbiting around the travertine surfaces of The Getty Center's Main Entrance. Some people breeze by them, eager to visit the various galleries that lie just beyond them. Others dash through them as they rush into a crowded bathroom line. Some briefly glance upward at the towering glass light prisms suspended from the atrium enclosing the space. But not children. If you spend an afternoon amongst these rainbows, you're su

By Melanie Chapman Let the Art (and the Artist) Speak for Itself Outside of the art world, painter Celeste Dupuy-Spencer may not yet be as familiar a name as Jean-Michel Basquiat or Vincent Van Gogh, but to those who followed her artistic growth over the past ten years, she was on her way. Perhaps therein lay the problem. For those who knew Celeste personally and/or had the opportunity to work with her professionally, there is still a profound sense of loss permeating most co

By Coral Pereda Serras Among established and other art spaces in Melrose Hill, sits 1028 N. Western Ave., home to Western Avenue Collective artists studios. This 1922 building hosts 22 artist spaces among which is El Nido, an artist-run curatorial and research space by VC Projects. El Nido, borrowing from its Spanish name, is nested in this distinctly LA courtyard and through "Photography Into Sculpture: An Homage and An Update," emerges as a portal into the imagined memories

By Lorraine Heitzman Erik Otsea's show, Clever Animals & Static at Alto Beta is a menagerie of a different sort. His tabletop ceramic sculptures are quirky but solemn hand-built industrial shapes that suggest machine parts found in abandoned factories or as models for obscure patent applications. They conjure Soviet-style brutalist architecture and futuristic inventions, all simple geometric forms that hint at a bygone time when we believed that life could be improved through

By William Moreno The painter constructs, the photographer discloses. Susan Sontag, “On Photography” William Camargo’s current exhibit of twenty-four plus works, dated 2019 through 2025, reads as a mini survey, with photographic images and installations thematically placed throughout the modest gallery. It’s his largest showing of works to date. Early in his career, the Anaheim native considered fashion and product photography, photojournalism and conflict reportage, findin

By Nancy Spiller Alec Egan's painting "Dawn House," in his show "Groundskeeper" at Vielmetter Los Angeles, is tender, serene, and calm — a lavender and peach sky sheltering the triangular top of a house flanked by two palm trees and the tip of a cypress. In its companion painting, "Night House," the sky takes a sinister turn with layers of dark blue, sunset orange, and a roiling strip indicative of flames mixed with what might be smoke. It hints at something of what Egan, his