“This, ultimately, is what makes the show seem so revolutionary... this is art that makes the viewer look, and more importantly, makes the viewer feel." —David Freedlander

"For every chapter of Bay Area bohemianism there was Ariel, carving her own channels between 'Beat then Hip, then Rock, Love, the Natural World.'"—Zully Adler

“Finding beauty in the place that gave them so much suffering was a defiant act of creativity, sanctuary from the ardors of their life." —Lydia Nakashima Degarrod

“Ruscha’s body of work captures something quintessential about the American experience that is almost as intangible as electricity itself” —Marius Sosnowski

“Lambert's vision of the city—which drew out the incongruities and refused to lampoon them—helped him become one of the great chroniclers of LA” —Scott Saul

"The 1860 Leaves of Grass praises 'California life' for 'the stanch California friendship' and 'the sweet air.'"—Brandon James O'Neil

"By accentuating these often painful histories, the exhibit further legitimized the emotional landscape as a relevant form of social dialogue"—Zara Kand

"Mailer repelled reductive, singular definitions and it’s his extravagance of spirit that is clearly the film’s guiding light."—Marius Sosnowski

"There’s something reverent, even religious, about all these layers. The screen’s protector—its image—is elevated to the status of artwork."—Sky O'Brien

"Art for the People showcases a unique period in American art history... seemingly impossible to imagine today."—Julian Harake

"There’s even an argument to be made that Van Gogh effectively ended painting’s landscape genre with these last works"—Jamie Aylward

"Through the use of color and shape and his eye for light, Biberman endowed the built environment with a sense of mystery"—Marius Sosnowski

Christopher Nolan's "Oppenheimer," as discussed by the editors and friends of Dispatches magazine—rants, raves, reviews and more.

"This latest presentation of Butterworth’s distinctive and sometimes daunting works has bolstered an already formidable underground reputation."—Zara Kand

"As a painter, I’m always trying to ask, How can I say the most with the least amount... How do you edit things out? " —Susan Chen

"California artists remained steadfast in their vision of incorporating discarded, everyday items in their artwork."—Paris Cotz

by Hannah Fagin. Moses in the City doubles as a fully-functioning Haggadah and a radical reimagining of the Book of Exodus.

“A recent exhibition in Paris focuses on the 1930s when the painter’s output reached new peaks"—Jamie Aylward

“Wang’s feminine characters take on the guise of warriors with metal swords as an empowering symbol... to challenge the status quo." —Xixi Wang

"'Joan Didion: What She Means,' curated by New Yorker theater critic Hilton Als... is a striking survey of the many nouns that make up a moment in time"

“Like Nixon, Dick’s views were shaped by the Cold War... Few of his contemporaries managed such razor-sharp satire of the times.” —Jeff Hewitt

"There’s no such thing as postwar. War is the mother of the modern state... haunting the present like an after-hours ghost." —Sky O'Brien

"...Perl and Lefebvre’s writing ultimately bears directly on an aspect of the discourse that can get lost in the din: the art itself."

"Without Ruscha’s naming it, the apartment the artist settles into in his dream is the city’s most easily recognizable architectural achievements..."

“Today, this overwhelming exhibit still begs the question—what was in the air back then? Maybe trauma, debauchery, or nihilism?"—Jamie Aylward

"A lot of it is about showing up, and building trust... Relationship building has to be a priority and that ultimately shapes the work."

Chantal Akerman, From the Other Side, an "exhibition as absorbing as seeing the original films on the big screen"—Jamie Aylward

"The first few frames of Wes Anderson’s new film, The French Dispatch, show an unpeopled printing plant in action..."

“The Academy Museum has the potential to be a beacon for the artform—if it can just own its place in the culture." —Marius Sosnowski

“An exhibition of recent works by 32 Los Angeles-based artists, designers, architects, and creative practitioners...inspired by Neutra VDL's numerous structures."—Zara Kand

“Hours later, lying in bed half-drunk, I...thought: ‘the intimacy of architecture has been surmounted by sociability.'" —Julian Harake

Three films on urbanism: Pretend It's a City, News From Home, Twilight City.

Daisy Silver heads to San Marino's Huntington Museum and Gardens to check out LA's Biennial, Made in L.A.:A Version.

A Biennale installation travels to Venice and is transfigured by 2020 along the way.

"I was completely alone standing out front, waiting to be admitted to the San Francisco Art Institute for their 150th anniversary exhibition featuring the work of 'disruptive' alumni, faculty, and staff."

In the early 1970s, Sim Van der Ryn and his crew revolutionized California architecture.

“With installations spread across miles of the desert landscape, strategic selection is key." —Paris Cotz

“But what if companies can have dancers change the molds of things? We do contemporary and classical work. We are trained in both of them”

“Albers learned to make weavings under the aegis of a professional workshop, a return to slowness, craft, and the handmade in 20th century Germany.” —Paris Cotz

“The downstairs galleries of San Francisco’s de Young Museum are overflowing with a nearly indigestible amount of artworks.” —Paris Cotz

“The core concept of group exhibitions is the pursuit of thematic cohesion. When executed well they accommodate a plurality of experiences through a singular vision.” —Daisy Silver

“Enzo Mari's Autoprogettazione was conceived as a ‘practical-critical exercise’ in raising awareness for the design process behind common consumer items.” —Francesco Milan