{"id":1182,"date":"2021-02-01T12:49:38","date_gmt":"2021-02-01T20:49:38","guid":{"rendered":"https:\/\/www.artandpractice.org\/?p=1182"},"modified":"2021-02-01T12:49:38","modified_gmt":"2021-02-01T20:49:38","slug":"critics-guide-los-angeles","status":"publish","type":"post","link":"https:\/\/artandpractice.org\/es\/news\/critics-guide-los-angeles\/","title":{"rendered":"Gu\u00eda del cr\u00edtico: Los \u00c1ngeles"},"content":{"rendered":"<p>&#039;A Shape That Stands Up&#039;, una exposici\u00f3n externa del Museo Hammer curada por Jamillah James, presenta un grupo de pinturas, dibujos y esculturas que se basan en la abstracci\u00f3n figurativa. Esto puede parecer un terreno muy trillado, pero aqu\u00ed hay dos aspectos llamativos que distinguen a la exposici\u00f3n: en primer lugar, la integraci\u00f3n de artistas conocidos y emergentes, y en segundo lugar, el sentido com\u00fan de carga que est\u00e1 presente entre las obras: una pesadez, un frenes\u00ed, un grotesco-ness.<\/p>\n\n\n\n<p>Matem\u00e1ticas de bajo&nbsp;<em>y su sombra<\/em>&nbsp;(2014), por ejemplo, una hoja de metal que se asemeja a una figura sin cabeza, se inclina pesadamente contra la pared. de Jamian Juliano-Villani&nbsp;<em>Vivir y Morir en Passaic<\/em>(2016), retrata una naranja parcialmente pelada que lleva su propia pulpa pesada a trav\u00e9s del lienzo sobre peque\u00f1as patas. Y la violenta mezcla de \u00f3rganos giratorios de dibujos animados de Sue Williams en&nbsp;<em>Democratizaci\u00f3n #3<\/em>&nbsp;(2006) est\u00e1 ambientado junto con los miembros incorp\u00f3reos de D&#039;Metrius &#039;DJ&#039; Rice que agarran y patean.&nbsp;<em>Ultim\u00e1tum\/Dig Me Out (Madurez)<\/em>&nbsp;(2015), una obra situada a medio camino entre la est\u00e9tica cruda de los fanzines punk y el duro realismo de Otto Dix.<\/p>\n\n\n\n<p>Lee el art\u00edculo completo&nbsp;<strong><a href=\"http:\/\/frieze.com\/article\/critics-guide-los-angeles\">aqu\u00ed<\/a><\/strong>.<\/p>","protected":false},"excerpt":{"rendered":"<p>\u2018A Shape That Stands Up\u2019, a Hammer Museum off-site exhibition curated by Jamillah James, features a group of paintings, drawings and sculptures that are founded in figurative abstraction. This may appear as well-trodden ground, but there are two striking aspects here that set the exhibition apart: firstly, the integration of both well-known and emerging artists, [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1182","post","type-post","status-publish","format-standard","hentry","category-contemporary-art"],"acf":[],"_links":{"self":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1182","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/comments?post=1182"}],"version-history":[{"count":3,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1182\/revisions"}],"predecessor-version":[{"id":1268,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1182\/revisions\/1268"}],"wp:attachment":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/media?parent=1182"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/categories?post=1182"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/tags?post=1182"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}