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The Box

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Living Inside-Out

by Christina Catherine Martinez
A girl snaps her own photo in a dressing room, each mirror perfectly angled to show every surface at once. The back and sides are hanging out with the front; her eyes are multiplied to better see the new multitude of herself. She's peeled and spread out, projected onto the picture plane of her phone like those flattened globe maps that make the earth look like a bubbly 'M' scrawled on a middleschooler's notebook. There's something almost folk-arty about it, isn't there? Depiction that doesn't care about vision or perception or reality, just finding the angle that offers the maximal amount of d... [more]
Posted by Christina Catherine Martinez on 5/21/14
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Talking May Only Ruin It

by Sarah Lehrer-Graiwer
I usually avoid qualifiers and hedging, but let me briefly say this: I know it can be done, and will be done, but at the moment it feels like a shame to have to talk about such a pleasurably complete, beautiful, tight, surprising, weird, subtle, restrained, and resistant show. Its sense of humor might be a place to start talking. The title of Lisa Williamson and Sarah Conaway’s superb collaborative exhibition, “Weird Walks Into A Room (Comma),” reads like the set up for a joke. But, instead of gags or one-liners, we find paintings, sculptures, and photographs governed by wit and a... [more]
Posted by Sarah Lehrer-Graiwer on 6/14/11
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Sitings 5: War’s a Dick

by Kate Wolf
“I consciously wanted to make the ugliest paintings I could. I wanted them to be as ugly and horrifying as the war was,” said artist Judith Bernstein during an informal panel last weekend at Chinatown’s The Box, in honor of her current show there, “Fuck Vietnam.” Comprised of a series of explosive, explicit paintings Bernstein made between 1966-67, the works are being exhibited only now for the first time, almost fifty years later. In the hour-long discussion between Bernstein, her gallerist Mara McCarthy and the gallerist’s father and longtime friend of Bernstein, artist Paul McCarthy, both Bernstein... [more]
Posted by Kate Wolf on 5/16/11
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A Misinterpreted Past Resonates in the Present

by Andrew Berardini
One wonders how an artist can so firmly seem to enter history and yet so quietly seem to leave it. The late Robert Mallary, the current subject of an exhibition at The Box, seems to be just such an artist. Some of his contemporaries were more lucky in their late recoveries, like Lee Bontecou, who lived to see her own reconsideration. Unfortunately Mallary, who died in 1997, did not survive to see this moment’s attempt at revival. The artist’s obituary, penned by New York Times art critic, Roberta Smith, calls Mallary a “Junk Artist Behind the Growth of Sculpture.” And this was the epithet that... [more]
Posted by Andrew Berardini on 3/2/10
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Work in a Range of Mediums

by Andrew Berardini
Simon Forti has danced through the last forty years of contemporary art like a Zelig of modern movement. After studying with Anna Halprin, Merce Cunningham, and Martha Graham and becoming a pioneering member of the Judson Dance Theater, Forti went on to become a rare choreographer who’s variety of activities led to her contributing to Artforum, performing Dance Constructions in Yoko Ono’s loft, and collaborating with minimalist composer Charlemagne Palestine. Her practice always worked between so many forms at once: writing, dance, installation, and sound, that it’s become impossible to set the... [more]
Posted by Andrew Berardini on 7/6/09
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Stan Vanderbeek at the Box

by Vera Neykov
        Stan Vanderbeeks' first solo exhibition in Los Angeles is nothing short of spectacular. On view at the Box are a selection of Vanderbeek’s collages and prints that were used in his films as moving images. The collages are breathtaking: they are stylish, smart and beautifully rendered pen on photographs, clippings of Greek and Roman sculptures and tear-outs of fashion magazines. Upstairs in the gallery, the collages are accompanied by a re-creation Vanderbeek’s “Panels for the Walls of the World, Telephone/Fax Mural” (1970) which uses an overhead projector and a fax, constantly moving and... [more]
Posted by Vera Neykov on 4/13/09
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Bodyscapes

by Catherine Wagley
Naotaka Hiro covered the front windows of The Box gallery with plywood in order to better control the light in his installation. The plywood planks are surprisingly lyrical. Their grain complements the bodily, earthy hue of Hiro's work and the covered windows make the space feel like a makeshift, underground theatre. Bodily fluids and body parts in art used to be risqué. But nothing about Hiro's show is scandalous. In Hiro's work, bodies are enthralling because of their uncertain, rhythmic qualities and because of their sense of time and space. In her essay Atlanta, Miranda July talks abo... [more]
Posted by Catherine Wagley on 6/1/08