Fabrik
Home2018January

January 2018

The Critical Eye by Phil Tarley The ninth edition of Art Los Angeles Contemporary at the Barker opened Thursday night. The VIP preview brought out crowds of collectors artists and enthusiasts.  Federico Solmi’s wildly political, anti-Trump, and hotly color saturated video boxes were one of the massive hits of

The death of William Dailey in an auto accident just before Christmas robbed the Los Angeles art and literary worlds of a singular figure, one admired for his erudition, appreciated for his bibliophilic endeavors and adored for his close and nurturing relationships with others of

In order to support transcendent sources of truth and reality, we find strategies to dispose of the clutter of authoritarian ideological garbage that automatically collects in our normal, well-adjusted minds. Doing so allows us to experience and appreciate the myriad beings around us, rather than

Roberta Gentry’s paintings are modestly-scaled gems that begin on a gridded ground and extrapolate outward into self-described “impossible structures.” Every composition is—obsessively—symmetrical. As an abstract practitioner, Gentry is on the Agnes Martin side: she doesn’t like disorder in any form. She gains great satisfaction from