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Marc Selwyn Fine Art

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Vaseline on the Lens

by Sarah Lehrer-Graiwer
Having established himself in LA during the sixties as a highly successful and award-winning graphic designer with credits for huge companies like IBM, CBS, Boeing, and MGM (as well as LACMA), it wasn’t until 1969, in his mid-thirties, that Robert Overby switched gears away from advertising and decided to become an artist. When the switch happened it happened fast and opened a floodgate of parallel outpourings. The trigger was actually a job for CBS in which Overby was hired as an art-buyer. He immersed himself in the challenge but the budget was prohibitive for the kind and size of works he w... [more]
Posted by Sarah Lehrer-Graiwer on 5/22/12
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Color is part of reality

by Andrew Berardini
It is a game made with beautiful hunks of glass and written with chalk on the floor, some kind of conceptual art hopscotch. One probably shouldn't hop though. Each arrangement is a different play on numbers and markers, of how space works in fantastically simple reduction, a theory of sculpture, or so the title implies. I see it, and then I read it. Then I compare what I read to what I see. This a simple one. Glass and chalk. So basic, but with a beautiful simplicity that has that great gush of a good idea, clean and singular. Brancusi's Bird in Flight. Popeye's "I am what I am." Beckett's "... [more]
Posted by Andrew Berardini on 3/24/12
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Richard Misrach, Marc Selywn Gallery

by Ed Schad
    In the past, Richard Misrach was known for his commitment to “straight” photography, and his projects involved photographing the desert and beaches from severe, difficult vantage points to bring forth humanist content. For instance, his beach series, presenting isolated figures either floating in water or marooned on lonely sands, was Misrach’s grappling with September 11th. There was no way for the viewer to know the reference, of course, without reading a text, but the photos had an impact nonetheless, tapping into emotions we all have and all feel. Now, Misrach does manipulate the... [more]
Posted by Ed Schad on 10/19/08
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Objects for Everyone I Have Ever Known

by Nico Machida
When they were included in the New Museum's 2007 inaugural exhibition, Kristen Morgin's sculptures stood out as a kind of art which simultaneously adhered to the assemblage aesthetic very much in the ether and presented something more permanent, cerebral, old-fashioned than the trendy work all around it. Morgin understands the tremendous psychological and emotive capacity of freezing objects in the midst of obsolescence-- the way this speaks to Late Capitalism's greatest fears as well as timeless concerns over the integrity of the art object. In all of her work the thing itself has lost its l... [more]
Posted by Nico Machida on 7/28/08
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A Look at Marc Handelman

by Catherine Wagley
It’s hard to tell whether Marc Handelman’s work is coming or going. Handelman’s current exhibition seems to either move further into the abstract desolation that characterized Rothko’s gray paintings or into the transparency of corporate design. The deceivingly optimistic title of his show at Marc Selwyn Fine Art, Tomorrow’s Forecast: Strikingly Clear, suggests that Handelman’s work is indeed coming, moving into the flashy straightforwardness of industrial, corporate imagery. However, in Handelman’s world, clarity is no more desirable than fog.Today&r... [more]
Posted by Catherine Wagley on 4/6/08
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What Does a Portrait Do? by Nicholas Grider

by Nicholas Grider
Some Kind of Portrait is a large group show that explores the idea of what a portrait is and means. Though this is an interesting idea that could no doubt be expanded to fill large gallery spaces in a museum, Hensala and Watson do an excellent job of presenting a wide range of approaches to ‘the portrait’ in a small space, working with, rather than against, the intimacy of the gallery. With such a large group show, though, there’s always the danger of any intended theme getting lost among the variety of media and approaches. But Some Kind of Portrait is neither overstuffed nor unfocused, and... [more]
Posted by Nicholas Grider on 7/10/07
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Christenberry

The photograph as document, a tradition well-established in American art since Lewis Hine, Walker Evans, and the WPA, echoes with poignancy and haunting relevance at William Christenberry’s solo show at Marc Selwyn Fine Art. Featuring digital pigment prints, works on paper, and a few sculptures, this exhibition definitely highlights Christenberry’s skill for capturing the uniquely American paradox of simultaneous abundance and hollowness. The larger photographs were the most communicative to me, juxtaposing a rural home or storefront with the natural decay and decomposition that comes with neg... [more]
Posted by sara k on 2/6/07