By Catherine Wagley
By Channing Sargent
By L.A. Weekly critics
By Amanda Lewis
By Catherine Wagley
By Carol Cheh
By Keegan Hamilton
By Bill Raden
Corey McCorkle and Kori Newkirk at MC
Two new works by Newkirk (L.A.) and McCorkle (N.Y.) deal with elements of the city that have both historical and cultural connotations. With Helix, Newkirk draws inspiration from the fire escape as a somewhat obsolete architectural element. Made completely out of plexiglass, his sculpture feels like a mega-sized ornament, a monument to an archaic mode of escape. Because it’s transparent it also recedes into the white space of the gallery, simultaneously catching the light. In Cul-de-sac, McCorkle takes on what feels like the opposite of the large but delicate sculpture by Newkirk, and uses an iconic N.Y. or European cobblestone to construct a sculpture resembling a barricade. Together, one floating and one weighted to the ground, they achieve a kind of harmonic balance.
6086 Comey Ave., Los Angeles | (323) 939-3777 | www.mckunst.com | Through November 22
Aaron Curry’s “Bank Robber” at David Kordansky Gallery
Those Tim Allen Shaggy Dog posters at bus stops completely freaked me out; my friends and I felt haunted by them, shuddering each time we passed one. Aaron Curry uses this image from pop culture along with modernist forms to create paintings and sculptures. He takes his palette from film, using black and white and literal Technicolor pigments such as bright pink, which is one way the sculptures and paintings interact with one another. The paintings themselves are a kind of mask, each based on the shape of the Shaggy Dog face but made into an abstract portrait devoid of features or expression, with blank spaces for the eyes and mouth. Having just celebrated Halloween, this seems like a timely show in that it’s both about subverting identity and creating something new out of the horrific.
510 Bernard St., Chinatown | (323) 222-1482 | www.davidkordanskygallery.com | Through November 18