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Armory Center for the Arts

Venue  |  Exhibitions  |  Reviews
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What Do Artists Eat? Studio Cooking Serves Up Performance, Art, and Your Next Meal

by Andrea Alessi
In 1990, Rirkrit Tiravanija dished out Pad Thai to visitors at the opening of his exhibition at Paula Allen Gallery in New York. It was a meal, and it was art—dematerialized and suspended in a web of social interactions. Today that ephemeral meal-artwork has achieved almost mythical status, living on as the standard bearer of what came to be known as Relational Aesthetics. More than 20 years later, food, and the acts of making and consuming it, continues to be a site of meaning and relationships. We all need to eat, after all, and we find meals across the art world: from its biggest, most vis... [more]
Posted by Andrea Alessi on 11/9/15
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Painting Machines and Destructive Drives

by Jared Baxter
Appropriately enough, the first thing one sees is Richard Jackson's signature. A series of miniscule points, scored into drywall with small pieces of lead in a presumably tool-intensive application process, form the cursive letters of the name, evoking a playful and dual irony. On the one hand, there's the use of industrial-strength equipment to reproduce the typically effortless and everyday act of signing one's name; on the other, the very hubris of the gesture is deflated by the white expanse of wall that surrounds it, isolating it from the other works in the exhibition. As a standalone piece,... [more]
Posted by Jared Baxter on 3/31/12
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Tongued

by Jared Baxter
It seems appropriate, if almost certainly fortuitous, that at this early though nonetheless media-saturated stage of the election season the Pasadena Armory should choose to foreground the linguistic element of Wallace Berman and Robert Heinecken's work of the 60s and 70s, presented here in dialogue with each other for the first time. Although the show's title specifically references glossolalia, its three subdivisions—Code, Narrative, and Gesture—emphasize the two artists' shared attentions to the rhetoric of the visual image, arresting post-war consumerism's deluge of implicitly and explici... [more]
Posted by Jared Baxter on 1/17/12
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Lifelines, curated by Betty Ann Brown

Lies, Marks & Matter in John White’s Art"We all know that art is not truth. Art is a lie that makes us realize truth, at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies."       Pablo PicassoLie, noun. Golf. The relative position of a ball with reference to the advantage it offers the player.John M. White conflated two very different meanings of the word “lie” in Misreading Picasso, a performance in which he “mis-read” one of Picasso’s Women of Algiers paintings as a golf course diagram. The performance was cr... [more]
Posted by John M. White on 5/5/11
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Raymond Pettibon and Yoshua at the Armory Center for the Arts

by Catherine Wagley
Raymond Pettibon and Yoshua Okon work together seamlessly. Hipnostasis, their collaborative installation at the Armory, is a one-minded project. Yet it’s more opaque than work I’ve seen either artist do on his own. Pettibon’s raw scrawl is there without its pop-infused narrative and Okon’s unpretentious social commentary has become mythological.I first saw Hipnostasis through a chain-link gate. I had to ask to be let in, and while I know the gate exists to secure the video monitors, I still think about what it means to have this thin strip of a gallery with industrial carpeting, occupied by... [more]
Posted by Catherine Wagley on 6/29/09