Claudia Ross

1 week ago | hyperallergic.com | Claudia Ross

LOS ANGELES – I remember when the smoke plume from the Palisades and Eaton fires left LA in January, its black veil drifting out to sea like a hand loosening its grip. Recently, it feels like the smoldering mass has returned as an ICE-shaped fist tightening from the coast to the San Fernando Valley. Fire and smoke have become a symbol of civic uprising, from incinerated Waymos and cop cars to the gray clouds that burst out of the LAPD’s tear gas canisters and munitions.

3 weeks ago | artforum.com | Claudia Ross

Privacy Preference CenterWhen you visit any website, it may store or retrieve information on your browser, mostly in the form of cookies. This information might be about you, your preferences or your device and is mostly used to make the site work as you expect it to. The information does not usually directly identify you, but it can give you a more personalized web experience. Because we respect your right to privacy, you can choose not to allow some types of cookies.

1 month ago | artreview.com | Claudia Ross

From Yorgos Lanthimos to David Lynch, Jim Jarmusch to Harmony Korine, a growing number of filmmakers are turning their hand to exhibitions of visual art. What could go wrong? Yorgos Lanthimos’s Poor Things (2023) has been dubbed ‘an awe-striking visual feast’, Wes Anderson named ‘one of America’s most unique cinematic voices’, and Sean Baker’s Oscar-winning Anora (2024) likened to ‘a rich Tchaikovskian symphony’.

1 month ago | hyperallergic.com | Claudia Ross

LOS ANGELES — When I was in graduate school for an MFA in writing, a professor told me something harrowing. “Most people here aren’t artists,” she said. “They’re students.” The judgment was implicit: Students go to school, and artists make art. At the time, I deeply wanted to be an artist, and not a student — but after viewing graduate art exhibitions across Los Angeles, I believe the latter to be the superior category.

1 month ago | artreview.com | Claudia Ross

Lang’s newest artwork, like his clothing, explores the uncanny ways that industrial refuse can interact with and even evoke human fleshIn 1998 Helmut Lang shifted the New York presentation of his Spring/Summer collection from November to September, hoping to pre-empt other major fashion houses’ runways. Instead, the entire fashion world followed suit, debuting their own Manhattan shows to correspond with Lang’s – a calendar shift that remains to this day.