Los Angeles Review of Books

Pain and Resilience: Philip Guston at the Crossroads

by Scott Timberg | 21 September 2019

‘In these wildly inventive and rudely satirical drawings, not only does he manage to skewer Nixon the man and the president, but in doing so, he plants many of the seeds of forms that are central to the paintings created during the rest of his life.’

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Philip Guston, Untitled, 1971. © The Estate of Philip Guston. Courtesy the Estate. Photo: Genevieve Hanso

The New Yorker

The Amy Sherald Effect

by Peter Schjeldahl | 16 September 2019

‘When art changes in the present, it changes in the past, too. I had a dizzy sensation at the Sherald show – which was so much better than I had expected – of ground shifting under my feet.’

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Amy Sherald, A single man in possession of a good fortune, 2019. © Amy Sherald. Courtesy the artist

Los Angeles Times

Review: If an artist sets up a homeless camp inside a blue-chip art gallery, does anyone care?

by Sharon Mizota | 18 June 2019

‘Hammons’ work exposes, indeed occupies, such gaps. Art is often a rarefied realm where quotidian experience is transformed, but Hammons’ practice also prods us to see the art in the everyday. It points out the door, toward life.’

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Installation view, ‘David Hammons’, Hauser & Wirth Los Angeles, 2019 © David Hammons. Courtesy the artist. Photo: Fredrik Nilsen Studio
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