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2 weeks ago | 
artillerymag.com | Emma Christ
To get to Tony Cokes’ “All About Evil” at Hannah Hoffman, a show displaying 12 selected works from a period of nearly two decades (2006-2022), one must pass a sidewalk sign for the neighboring jewelry boutique Spinelli Kilcollin. Cokes’ HD videos feature large white Sans Serif text against bright, embarrassingly and overwhelmingly American colors: red, white, and blue.
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3 weeks ago | 
artillerymag.com | Emma Christ
Dario Argento’s 1977 film Suspiria left a lasting impression on me. It’s moments of indiscernibility, of looming disquiet, of eyes flashing against a blackened screen have stuck with me long since first watch.
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1 month ago | 
artillerymag.com | Emma Christ
“Kairos”by Seline Burn at Baert Gallery features 10 large oil paintings on canvas and linen, all completed this year. Blues, yellows, and greens render female figures across landscapes and interior settings that blur the boundaries between inner and outer, self and other, human and avian, dream state and waking life.
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1 month ago | 
artillerymag.com | Emma Christ
When I look at Fred Lonidier’s show “Vacation Village Trade Show,” at Michael Benevento, my mind naturally goes to Antonioni’s Blow Up (1966). Much like Antonioni, whose film is about a photographer who inadvertently captures a murder, Lonidier is interested in the camera, and by extension the photographer, as a knowing entity, both a clarifier and obscurer of reality. In “Vacation Village Trade Show,” Lonidier presents a sparse display of film strips paired with text.
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1 month ago | 
artillerymag.com | Emma Christ
In an unsurprising, though nonetheless upsetting, move, the National Endowment for the Arts (NEA) has rescinded funding for arts organizations across the United States. The decision follows the Trump administration’s publication of the 2026 Discretionary Budget Request, which proposed slashing—if not entirely cutting—federal funding for the NEA.
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1 month ago | 
artillerymag.com | Emma Christ
Sophie Madeline Dess, who has written clever short stories and perceptive pieces on Cormac McCarthy, Eva Hesse, and many other things for many prestigious and worthwhile publications, has produced a novel about Ava and Demetri, a critic and an artist. They are brother and sister, unusually close, with fates entirely entwined. That was a good idea. What remains of our creative class should inventory itself while it still can.
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1 month ago | 
artillerymag.com | Emma Christ
I came to the screening wearing the outfit compulsory for all such events: a faded and frayed sweater in a neutral color, sexless jeans, and a dirtied canvas tote. I had composed this outfit to signal my status as a true believer—my monkish intent to remain forever materially impoverished but spiritually rich.
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1 month ago | 
artillerymag.com | Emma Christ
The R.M. Schindler House is unexpectedly quiet. Despite being smack-dab in the middle of West Hollywood, there’s a noticeable lack of noise around the house and grounds, as if the air is somehow thick enough to deaden dog barks and car horns. The silence somehow feels borne of the house rather than its surroundings. As one of three Los Angeles headquarters for the MAK Center for Art and Architecture, the Schindler House—the namesake of architect Rudolph Schindler—feels like a break in time.
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1 month ago | 
artillerymag.com | Emma Christ
Thérésa Tallien, the French Revolution’s ‘it’ girl, knew how to manipulate perception. Once an emblem of revolutionary glamour, she played the game until it turned against her. Even in captivity, awaiting execution, she refused to become a simple object of pity. The mirror sent to her cell each day wasn’t punishment; it was a tool. Stripped of adornment, starved, pale, she studied herself—not to break, but to refine the performance.
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1 month ago | 
artillerymag.com | Emma Christ
Tell us who you are in 50 words or less:I live, collect, and breathe art. For the past ten years, I’ve run the La Brea Studio Artist Residency,The Cabin LA (according to ArtNewspaper: “Per square foot, the most influential gallery in LA”), and The Bunker LA. Two alternative exhibition spaces in LA. I also sculpt. What do you require from an artist you collect? Originality. Even if other artists heavily influence them. Favorite place to meet with an artist outside of their studio or your home?
