They say when the economy is in a downturn, it’s the best time for artists to be working. Since no one is buying – they reason – artists don’t have to focus on what sells and are, instead, free to communicate from their hearts. If that’s the case, it’s not obvious at the LA Art Show. There are still too many images with Marilyn Monroe and too many artists not breaking free from the constraints of the market. That’s why works like Nancy Larrew’s Crossing Over at bG Gallery about the Syrian refugees and Jeffrey Gillette’s Desert Debris Dismayland Castle definitely stand out as powerful representations of contemporary society.
Is the LA Art Show a good measurement of what is happening in the art world? The Los Angeles art scene is diverse and multi-talented, and yet the LA Art Show seems more about eye candy, with its color, glitter, shine and size. Of course, the gallery system is mostly about the collector, so this comes as no surprise. While I love Justin Bower, Gary Lang, Desire Obtain Cherish, Ben Jones and Kazuhiro Tsuji I appreciated Jana Cruder’s The Way Of the Modern Man public installation and Catherine Coan’s taxidermy installation presented by the Downtown Art Walk. Littletopia also didn’t disappoint with it’s down to earth work that recycled materials such as cardboard and plywood. It was also the sweetest place with Scott Hove’s Cake Installation and Daniel Rolnick with John Kilduff’s Bakery.
So while I see a lot of pandering to the market and collectors, I do see some powerful glimmers of the great work that is more representative of LA’s scene.
