David Amico has been pursuing non-serial abstract painting since the early 1980s. The forms, shapes, and linear elements found in the recent abstract paintings of Amico’s Drift-Trace series are derived from the urban detritus drifting through the streets of the Skid Row neighborhood that surround the artist’s studio. more...
Michael Brewster
Michael Brewster is a visual artist who works with sound’s spatial effects to promote sculptural sensations of space. He has been making sound art since 1970. His two main series, the Sonic Drawings and the Acoustic Sculptures, both use sound in space to generate expanded experiences of drawing and sculpture ideas. more...
Rachel Lachowicz
Rachel is known for turning her witty eye on the masculine-centric world of Modernism and for making radical incursions into the canon of art history by reconfiguring famous works. She falls under a multitude of headings: feminist, appropriationist, post minimalist, conceptual artist, and conceptual sculptor. more...
David Pagel
David Pagel is an art critic who writes regularly for the Los Angeles Times. He is an adjunct curator at the Parrish Art Museum in Southampton, NY. more...
Anne Bray
Specifically she directs Freewaves, a non-profit arts organization presenting a decentralized video and new media festival every two years at art venues in Los Angeles, on web, public TV, and video billboards.
Her work has always been concerned with hybrid techniques, approaching sculpture from the perspective of the expanded field. For many years she has been working with photographic imagery in her sculptures.
I've always been troubled by the term "natural history." Doesn't it seem as though the processes which transform nature are too indifferent to constitute the kind of narrative we call "history?" On the other hand, those processes are so incredibly patterned. Doesn't that orderliness indicate an action that is organized and directed?
