Visual Art Source Articles

by David S. Rubin Diane Rosenstein Gallery, Los Angeles Continuing through July 11, 2026 Terran Last Gun, “Gathering of Distinguished Knowledge Holders,” 2025, ink and colored pencil on antique “The Tisch-Hine Co., Grand Gapids, Mich.” Accounting ledger sheet (dated 1924); Watermark: Waverly Ledger, 1922, 16 5/8 x 13 3/4”. All images courtesy of Diane Rosenstein Gallery, Los Angeles. As an enrolled citizen of the Piikani Nation, Santa Fe-based Indigenous artist Terran Last Gu

by Jody Zellen Craig Krull Gallery, Santa Monica Continuing through July 4, 2026 Ayin Es, “Disorderly Conduct,” 2022, oil on gesso board, 16 x 20”. All images courtesy of Craig Krull Gallery, Santa Monica. The paintings in Ayin Es’ “Relative Strangers” exhibition highlight infrequently seen components of their work. Perhaps this signals a new aesthetic direction, but they shake things up, at least, in terms of style and media. Using vintage family photographs as a point of de

by Lynn Trimble Phoenix Art Museum, Phoenix Continuing through June 28, 2026 Cara Romero, “The Last Indian Market,” sublimated fabric print, 94 × 321”. All images courtesy of the artist. Thirteen Indigenous artists and intellectuals sit together at a long table, as depicted in a large-scale photograph mounted high on a wall overlooking a central space at the Phoenix Art Museum. Their elevated presence counters demeaning stereotypes of Indigenous peoples promulgated through ar

by Matthew Kangas The Seattle Light Room, Seattle Continues through June 27, 2026 Ellen Sollod, “Fleurs Francaises,” altered French-Latin dictionary with photo transfers, 6 x 34” (when opened). All images courtesy of The Seattle Light Room, Seattle. Best known as a maker of artist’s books and art-in-public-places projects, Ellen Sollod’s photographs have rarely been exhibited prior to “La Flâneuse, Le Jardin et Les Fleurs.” After spending years in Lyon, France as co-director

by Matthew Kangas Seattle Art Museum, Seattle Continues through August 2, 2026 Leo Kenney, “The Inception of Magic,” 1945, egg tempera on composite board, 36 1/8 x 24 1/8”. Courtesy of the Seattle Art Museum. Photo: Elizabeth Mann. Following major surveys in 1978 and 2014, “Beyond Mysticism: the Modern Northwest” amplifies the scope of the Northwest School (including the Big Four of Guy Irving Anderson, Kenneth Callahan, Morris Graves, and Mark Tobey), appending ancillary fig

Henry Art Gallery, University of Washington, Seattle by T.s. FLock Continuing through October 25, 2026 Eric-Paul Riege “ojo|-|ólǫ́” installation view, Henry Art Gallery, University of Washington, Seattle. 2026. Photo: Jueqian Fang. What still distinguishes museums from privately owned galleries is the possibility, fragile and ever-threatened, of a non-transactional encounter with objects, in which value is understood in terms of intensity of attention and depth of experience.

by Jody Zellen Royale Projects, Los Angeles Continuing through June 6, 2026 Lynn Aldrich, “Grid Buster,” 1989, carpet padding, surge protectors, stereo arrangement of Gregorian Chant and vacuum cleaner noise, 10 x 17 feet. Courtesy of Royal Projects, Los Angeles. In many senses Lynn Aldrich's work is Duchampian. Her nuanced career spans more than forty years of witty and conceptually based works that ingeniously combine found materials, often including household objects, as w

by David S. Rubin Wönzimer, Los Angeles Continues through May 22, 2026 Lawrence Gipe, “In Commemoration of Gardi Sugdub (Vanishing Island),” 2024, oil on canvas, 72 x 96”. All images courtesy of Wönzimer. Art is political, it is often said, yet there are clearly artworks that are Political, with a capital ‘P’, where specific social and moral issues drive the art. Such is the case with the works of the thirteen artists in “DegreeZero: Utopia/Dystopia,” a thought-provoking exhi

by Matthew Kangas Greg Kucera Gallery, Seattle Continues through May 16, 2026 Norman Lundin, “Studio Floor and Wall,” 2025, oil on canvas mounted on archived panel, 19 1/2 x 30”. All images courtesy of Greg Kucera Gallery, Seattle. Subjectivity of vision is one qualifier for legitimate realism, and Norman Lundin’s new paintings express that in spades. Seen in an exhibition titled “Landscapes, Mostly, Other Things Too,” Lundin’s breadth of vision and subject matter has never b

by John Zotos Erin Cluley Gallery, Dallas, Texas Continuing through May 9, 2026 Anna Membrino, “Dew,” 2026, acrylic on canvas, 65 x 65”. All images courtesy of Erin Cluley Gallery, Dallas. In Anna Membrino’s approach, landscape painting starts with photographs of the natural world. Then, with a technique involving collage and digital alterations on a computer screen, she arrives at an image worthy of the intense shifts in scale, color, and surreal mystery that has defined her

by Jody Zellen David Kordansky Gallery, Los Angeles, California Continuing through April 25, 2026 Elizabeth Murray, “2.B.!,” 1990, oil, matchsticks, canvas and wood, 68 1/4 x 49 x 4 1/2”. All images courtesy of David Kordansky Gallery, Los Angeles. The surprising yet somehow inevitable pairing of Elizabeth Murray (1940 - 2007) and Betty Woodman (1930 - 2018), two artists whose beautiful, idiosyncratic works made them icons of their generation, opens up new avenues of discover

by Michael Shaw Perrotin, Los Angeles, California Continuing through April 25, 2026 JR, “The Wrinkles of the City, Istanbul, Hasan Saltik Eye, Turkey,” 2015. All images courtesy of the artist and Perrotin Los Angeles. Having never previously seen JR’s work in person, taking in his mini-retrospective, titled “Horizons,” I’ve still fallen short of experiencing the quintessential JR: a large-scale black & white mural. Most typically these are photographs of an individuals’ eyes,

by Liz Goldner Laguna Art Museum, Laguna Beach, California Continuing through September 20, 2026 Andy Moses, “The Deep,” 2005, acrylic on canvas over concave wood panel, 54 x 100 x 5”. All images courtesy of the artist. Viewing these dozen paintings by Andy Moses is to share in an aesthetic vision that looks at how art can affect and shape our own visual perceptions. The work addresses the relationship between abstraction and landscape, and is achieved through broad sweeping

by David S. Rubin Michael Kohn Gallery , Los Angeles, California Continuing through April 25, 2026 Bruce Conner, “NEON NIGHT, WICHITA, KANSAS,” 1963, ink on paper, 26 1/8 x 20”. All images courtesy of Michael Kohn Gallery, Los Angeles. The Beat Generation is currently having a moment in Los Angeles. Although the timing is partly coincidental, Marc Selwyn Fine Arts is exhibiting works on paper by Jay DeFeo, Parker Gallery and The Box are presenting a major Wally Hedrick retr

by Liz Goldner Long Beach Museum of Art , Long Beach, California Continuing through May 31, 2026 Robert Williams, “Heralding the Entry of King Infinitus,” 2021, oil on canvas, 30 x 36”. All images courtesy of the artist. The obsessively creative Robert Williams, now age 83, has spent a lifetime exercising a sensibility that embraces the apocalyptic, the grotesque, and the caustic. Much of Williams’ imagery springs from his dreams and memories of a difficult childhood spent

by Matthew Kangas Fountainhead Gallery , Seattle, Washington Continuing through March 28, 2026 Matthew Dennison, “Augrest Vestal,” 2025, oil on canvas, 48 x 48”. All images courtesy of Fountainhead Gallery, Seattle. Largely self-taught after a brief stint at the Portland Museum Art School, Matthew Dennison has carved out his own civilization of peculiar people. Set in hemmed-in indoor-outdoor spaces, Dennison’s scenes are deeply subjective conceptions free of anecdote, even a

by Matthew Kangas Portland Art Museum , Portland Continuing through February 28, 2027 Mark Rothko, “Woman Reading,” c.1933. The selection of paintings and works on paper assembled to commemorate the opening of the new Mark Rothko Pavilion at the newly expanded Portland Art Museum could also be titled “Rothko before Rothko.” It focuses on art made in Portland where his family, the Rothkowitzes, settled in a large Russian community after they fled Latvia in 1913. With loans fro

by Jody Zellen MAK Center , Hollywood Continuing through May 24, 2026 Nancy Holt, “Sunlight in Sun Tunnels,” 1976, inkjet print on archival rag paper; composite made by the artist from original 35mm transparencies 50 1/8 x 61 1/2”. © Holt/Smithson Foundation / Licensed by Artists Rights Society, New York. Courtesy of Sprüth Magers Gallery. Nancy Holt (1938-2014) is best known for her “Sun Tunnels” (1973-78), an earthwork placed on a piece of land she purchased in Great Basin

by Lynn Trimble Vision Gallery, Chandler, Arizona Continuing through March 21, 2026 Luke Watson, “A Vista,” 2025, oil on canvas. All images courtesy of Vision Gallery, Chandler, Arizona. Arizona-based Luke Watson draws us into his world immediately upon entering his exhibition, “Land Valuation,” with a large-scale concave painting that echoes the panoramic views often sought by tourists in national parks or other iconic settings. Soon enough it becomes apparent that Watson’s

by Andy Brumer We are posting Andy Brumer's final exhibition review for VAS with sadness. We take some pride in the relative handful of relationships that VAS, and for many years prior, ArtScene maintained with our contributors. Relationships and projects is such an important dynamic, more so for visual artists than most. It applies equally to writers. When Andy Brumer filed his review of Patrick Graham's current show nobody knew this would be his last. For many years he publ