The Los Angeles Art Scene Looks to the World
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Summary
As Travis Diehl, among the most perceptive young art critics in this rambling city, wrote in 2017, “NY thrills to style LA as a golden-hour dreamland that never quite wakes up; LA gladly concedes to NY the status of the overbearing and immutable reality it rejects.” They’re thoroughly codependent, New York and Los Angeles, and affirm their cultural identities by looking at the other with oscillating dismissal and envy. Is Los Angeles, in 2019, the equal of New York as a center for contemporary art? Or does it portend a flattening of Los Angeles into just another entrepôt of a single art system — one less and less distinct from New York? The highlight of its current programming is Robert Rauschenberg’s 190-panel assemblage “The 1/4 Mile or 2 Furlong Piece” (through June 9), though perhaps I am too sour a New Yorker to appreciate the wall of stills from Alfonso Cuarón’s “Roma,” which looked more like an Oscar campaign than an exhibition.[Read more about Robert Rauschenberg’s quarter-mile-long mural.]The Hammer Museum, currently hosting an important retrospective of the Los Angeles-trained artist Allen Ruppersberg (through May 12), is also set to expand. Downtown, the Institute of Contemporary Art, Los Angeles — a reboot of the Santa Monica Museum of Art — has put down roots; and the Broad continues to draw lines to its ultra-blue-chip permanent collection and to traveling shows like “Soul of a Nation,” arriving March 23. But I kept noticing how many young artists, notably artists of color, came out here or returned home after finishing East Coast art educations, including fellow Yalies like the painters Njideka Akunyili Crosby and Christina Quarles and the installation artist Lauren Halsey.Mr. Alekhuogie’s photographs are on view through Saturday at Commonwealth and Council, in Koreatown, one of the standouts of the city’s young gallery scene.
As said here by