Los Feliz


Lisa Adams
oil and spray paint on canvas
18 x 18"

The Usual Suspects has its artists posed in mug shots in a frame on the desk at Bedlam, which opens off Shin, where the chef is a real artiste and the prices are so modest you don’t know which branch of the establishment you’re in when you’re there.

Ali Blankley has three large paintings (pink, orange, lime) with vague forms in the lower right corner, ornamented with a black line figuration and a bit of calligraphy. Pretty as millinery on first inspection, when you walk in the gallery, then you step in closer and there’s a rabbit and a flower.

Emmeric J. Konrad takes two square plywood panels visibly screwed to wooden cradles and paints (like a distant cousin of Grosz) a boxer on them, life-size, lying on his back with his mouth bleeding and his eyes staring, quite a passionate thing in its comical way (the grain of the wood is the visible background), the title is Down.

Josef Albers is a continual preoccupation of Richard Godfrey’s. Here he applies physical colors rather than light to his theme, in built-up three-dimensional “homages to the rectangle” in various subtle nuances with a sculptural feel (Pallet Series).

Two of Lisa Adams’ gag paintings are here, having come over from the beach to edify the townsmen. “It’s not You, it’s the Viagra,” says a hole in the ground (She knows, he doesn’t). L.A. is just those two letters on two flowers made of white petals and lime sepals.

Lucky 3 is not content to apply a super-realist collage technique to neon signs and bathing beauties, it wants the truth of things (the artist is Richard Kessler).

Nathan Rohlander’s Shoes is quite admirable, legs and heels on a bed, with the paint applied forcefully as filler in patches, so that you stand back and it curves into space deceptively.

Michael Salerno’s Black Fields has built up enough calligraphy to consume enough canvas to catch the light and disperse it across its imbricating surface most ingeniously.

Abstractions by Richard Edson (Photograph, blue luminous forms in blackness) and Lilli Muller (red serpentines on white, large-scale, Entangled in Passion) pretty much tell the tale.