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Christopher Knight: “Lauren Halsey’s 'we still here, there,' on view downtown through the summer at the Museum of Contemporary Art, locates the shifting shadows and perceptual conundrums of Plato’s cave in the backyard and garage of her grandmother’s house in South Los Angeles, where the artist built the show’s big grotto. Tepid the installation is not. Absorbing it is.” Read Christopher Knight’s review of @summaeverythang’s exhibition we still here, there in the @LAtimes! Halsey’s work will also be featured at the @Hammer_Museum as a part of Made in L.A. 2018. (Link in bio) [Installation view of Lauren Halsey: we still here, there, March 4–September 3, 2018 at MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Zak Kelley]


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Catherine Opie: “This is what artists do: they challenge and create discourse that create history in relationship to their ideas about their work.” #fromthearchive [Catherine Opie, Idexa 2, 1993, Chromogenic print, Frame (Wood): 21 3/8 x 17 x 2 in. (54.29 x 43.18 x 5.08 cm)]


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Barbara Bloom: “When I think about my favorite writers, particularly Nabokov, I realize that everything can be said about a person without directly pointing to those facts. That’s how he writes. You feel that you know everything about this person without him spelling it all out for you.” Barbara Bloom’s mixed media installation The Reign of Narcissism is currently on view at MOCA Pacific Design Center as a part of Décor: Barbara Bloom, Andrea Fraser, Louise Lawler! [Installation view of Décor: Barbara Bloom, Andrea Fraser, Louise Lawler, April 28–July 15, 2018 at MOCA Pacific Design Center, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Zak Kelley]


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Mike Kelley: “Monstrosity is fascinating and attractive-although I don’t think of my work as being specifically concerned with the monstrous. I think my work is more about structural interplay-I entertain many kinds of subjects in it.” #fromthearchive [Mike Kelley, Manly Craft #3, 1989, Yarn animals, 25 x 10 x 5 in. (63.5 x 25.4 x 12.7 cm)]


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Lauren Halsey (@summaeverythang): “Moving through oppressive architecture and space—I think it’s very powerful—the idea of building one’s space and living in it, embodying and moving through it and building it for one’s community and generating community as opposed to relying on the oppressive space-making that is forced on us, like schools that look like prisons or jails. ” Lauren Halsey: we still here, there, is currently on view at MOCA Grand! [Installation view of Lauren Halsey: we still here, there, March 4–September 3, 2018 at MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Zak Kelley]


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Bendix Harms: “I love artists’ late works—when they display a completely free style because it no longer matters whether their work will earn them applause or a rap over the knuckles. They’re beyond all concepts. And I love artists who anticipate their late work.” #fromthearchive [Bendix Harms, Der Fütterer, 2004, Oil on canvas, 77 x 83 x 1 in. (195.58 x 210.82 x 2.54 cm)]


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Claes Oldenburg: “I don’t do abstract art because I don’t find it as interesting as I do subjects and depictions.” #fromthearchive [Claes Oldenburg, Hamburger with Pickle and Olive, 1962, Muslin soaked in plaster over wire frame, painted with enamel, 7 x 9 x 9 in. (17.8 x 22.9 x 22.9 cm)]


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Lynda Benglis: “I called them ‘frozen gestures’ when I was pouring with polyurethane. Prior to that I poured with latex rubber, but the gesture got lost in the flow because I was sometimes thinning it down with water. Rubber has a memory; it bounces back like a rubber band. When I threw the rubber, I felt like it was alive.” Benglis’ Night Sherbert is currently on view at MOCA Grand! [Lynda Benglis, Night Sherbet, 1969, Poured polyurethane foam, 9 x 97 x 62 in. (22.86 x 246.38 x 157.48 cm)]


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Felix Gonzalez-Torres: “Someone’s agenda [has] been enacted to define ‘public’ and ‘private’. We’re really talking about private property because there is no private space anymore. Our intimate desires, fantasies, and dreams are ruled and interpreted by the public sphere.” #fromthearchive [Felix Gonzalez-Torres, Untitled (A Corner of Baci), 1990, Endless supply of Baci chocolates individually wrapped in silver foil, overall dimensions vary with installation, ideal weight: 42 lb, Dimensions variable]


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Mike Kelley (1995): “Fahlström undermines the notion that a popular lexicon implies a homogeneous audience. He presents a dizzying and conflicted array of factual material in the conventionalized language of cartoons, but uses this language in an unnatural way.” #fromthearchive [Öyvind Fahlström, 108 Dollar Bill, 1973, One color silkscreen, 12 x 9 in. (30.5 x 22.9 cm) Frame (Black/Wood): 14 5/8 x 11 5/8 x 1 1/2 in. (37.15 x 29.53 x 3.81 cm)]


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Lauren Halsey (@summaeverythang): “Part of my archiving process and moving through the world, wherever, in L.A., and having this commitment [is] to gather ephemera, voices – that’s ephemera, too – images, narratives, and then, literally reintroducing them or repurposing them in whatever form.” [Installation view of Lauren Halsey: we still here, there, March 4–September 3, 2018 at MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Zak Kelley]


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“What if we imagined a project whose effects were spread out over two thousand years, so no spectator or curator could check on it?... Wouldn’t that be an elegant final gesture before we start disappearing?” Adrián Villar Rojas: The Theater of Disappearance closes today at MOCA Geffen. [Installation view of Adrián Villar Rojas: The Theater of Disappearance, October 22, 2017–May 13, 2018 at The Geffen Contemporary at MOCA, image courtesy of the artist, kurimanzutto, Mexico City and Marian Goodman Gallery, New York / Paris / London, photo by Studio Michel Zabé]


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