Emma Christ

2 weeks ago | artillerymag.com | Emma Christ

Those of us who have dreamed—which I pray is everyone reading this—know how it goes: A cacophony of vignettes rattle through your unconscious, some a single flash, some endless, though in reality, they’re all only a few seconds in duration. No matter their absurdity, what we see in our dreams is largely what we’ve seen in real life, consciously or subconsciously registered, though often distorted or removed from context.

2 weeks ago | artillerymag.com | Emma Christ

It seems heaven is butter scented. Or at least La Loma Projects is butter scented. And who knew the Pearly Gates were actually in Highland Park? Walking through those gallery doors, you’re hit with a bright light that really does feel like a scene out of a movie where the character dies, only to be welcomed in the blazing light and mist of a divine eternity by Saint Peter or, in this case, Joe Sola.

2 weeks ago | artillerymag.com | Emma Christ

Kyle Dunn celebrates the languid vibe of siesta culture through figurative and still-life pieces. The works on view use acrylic to replicate the luminosity of the Old Masters’ oils, giving Vermeer illuminated by the harsh New York summer sun. Siesta (2024) depicts two naked, reclining Asian men napping beside an unfinished plate of cut cantaloupe. More details emerge upon further observation: a burning newspaper and a tiny dog that peers down from the top of the stairs.

2 weeks ago | artillerymag.com | Emma Christ

Throughout day three of the Los Angeles Festival of Movies, whenever I told someone I wrote for Artillery, I followed it up by saying that if they told me something really funny it would end up in the article. But nothing made my ears perk up quite like a statement from Max, a gaffer on Dennis Cooper and Zac Farley’s Room Temperature, which had its world premiere last night.

2 weeks ago | artillerymag.com | Emma Christ

baseball caps, tote bags, and round-rimmed glasses, Adrian Anderson, writer-director of Pomp & Circumstance (2023), remarked: “40% of people here would take a bullet for Mubi.” It was unmistakable that we were at 2220 Arts + Archives on day 2 of the Los Angeles Festival of Movies. Shuffling between screenings and milling around the lobby, I was struck by how familiar I was with the crowd, as if the same 10 to 15 people were going to each film.