Their paintings are similar enough to cause a moment of confusion when hung together. Hilary Pecis and Becky Suss, young artists working in Los Angeles and Philadelphia, respectively, both paint well-ordered interiors with plenty of books and no people. We can keep it all - and in fact, Modernism will only look sharper if, like Locke, we’re honest about its shadow. But you don’t have to throw out Albers or his “Homage to the Square” to say so.
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But you can’t step back, because there’s only so much cord, and the moment you lift your foot, the music stops.Īround the corner Locke opens the conversation by putting the shape of a slave auction block at the center of concentric-square color studies à la Josef Albers, in a series of small acrylics he calls his “Homage to the Auction Block.” Thinking about “color” without reference to race is a luxury not everyone gets in our society. (A 30,000 square foot former high school, The School has a number of galleries on three levels, all of them used for this show.) When you step on the amp’s attached wah-wah pedal, it plays the guitarist Frank Jauernick’s recreation of the Hendrix version loud enough to shake your sternum. She took her inspiration, and the show’s title, from a piece by Janet Cardiff and George Bures Miller, a large Marshall amplifier set close to the building’s entrance.
But Molesworth organizes the pieces less by content than by visual rhythm and contrast, creating deeply evocative undertones that subtly connect the works and highlight their nuances while making sure nothing is reduced to any pat political message. Most of the work deals in some way with race, sex, or color, though not all of it. WARNING: These products may contain chemicals known to the State of California to cause cancer and birth defects or other reproductive harm.įor more information go to something Helen Molesworth, the former chief curator of the Museum of Contemporary Art, Los Angeles, pulls off brilliantly in “Feedback,” a 21-artist knockout of a show she organized for The School, Jack Shainman Gallery’s upstate outpost. Not responsible for web site errors or omissions. Mesa Boogie™ is a registered trademark of MESA/Boogie™ Ltd.Ī and Studio Sound Electronics are not affiliated with these companies.Īll company names, logos and product names mentioned on these pages are trademarks of their respective owners.Ĭopyright ©2022 Studio Sound Electronics - All Rights Reserved Marshall™ is a registered trademark of Marshall™ Amplification Plc. Peavey™ is a registered trademark of Peavey™ Electronics Corporation. The distinctive headstock designs and the distinctive body designs of the Stratocaster™, Telecaster™, J.Bass™, P.Bass™ and Tele™ Bass are registered trademarks of Fender™ Musical Instruments Co. The replacement necks and bodies are for a Fender™ or Squier™ by Fender™ guitar or bass. Strat™, Stratocaster™, Esquire™, Telecaster™, Tele™, Jazzmaster™, Jaguar™, Mustang™, P.Bass™, J.Bass™ and Fender™ are registered trademarks of Fender™ Musical Instruments. Parts for Fender™ Frontman or FM model ampsįender™ Vintage Tube Amp Restoration Parts Parts for Fender™ '65 Princeton Reverb Reissue Parts for Fender™ '65 Super Reverb Reissue Parts for Fender™ '65 Deluxe Reverb Reissue Parts for Fender™ '65 Twin Reverb Reissue
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