GALLERIES

Reviews by Christopher Knight (C.K.), Sharon Mizota (S.M.), David Pagel (D.P.) and Leah Ollman (L.O.). Compiled

by Grace Krilanovich.

Critics’ Choices

Sam Falls In this multi-faceted show, Falls explores the intersection of color, perception, digital imagery, and natural processes such as fading and rust. Although his methods are sometimes convoluted, the results remind us to appreciate the immeasurable complexity of even the plainest phenomena (S.M.). MB Gallery, 612 N. Almont Drive, Los Angeles. Tues.-sat., 10 a.m.-6 p.m.; ends March 31. (310) 550-0050.

Daniel Pitin The recent history of Prague, Pitin’s native land, in particular the uneasy overlay of capitalist present atop communist past, factors into the tone and texture of the work, which reckons potently and at once with fact, fiction and memory (L.O.). Mihai Nicodim Gallery, 944 Chung King Road, L.A. Tue.-sat., noon-6 p.m.; ends March 24. (213) 621-2786.

Continuing

Clay’s Tectonic Shift: John Mason, Ken Price and Peter Voulkos, 19561968 Its conception of the “tectonic shift” is too narrow. The show essentially proposes that two things happened to make the revolution: Function was out and abstraction was in. Somehow that turned ceramics into sculptures (C.K.). Ruth Chandler Williamson Gallery, Scripps College, 1030 Columbia Ave., Claremont. Wed.Sun., 1-5 p.m.; ends April 8. (909) 6073397.

Ellsworth Kelly The exhibition inside of Kelly’s recent abstract paintings is not that exciting, but a 1966 painting — a black bar on top of a white rectangle — turns the building into something of a painting itself. (S.M.) Matthew Marks, 1062 N. Orange Grove, Los Angeles. Tue.-sat., 10 a.m.-6 p.m.; ends April 7. (323) 654-1830.

Jocelyn Foye The artist adds to a growing interest in cross-disciplinary collaboration with charcoal drawings created by dancers accompanied by an opera singer. The drawings and recorded soundtrack on view convey a vaguely funereal air but don’t tell us enough about the remarkable conditions of their creation (S.M.). Armory Center for the Arts, 145 N. Raymond Ave., Pasadena. Tue.-sun., noon-5 p.m.; ends May 13. (626) 792-5101. The History of Bruce: The Extraordinary Life & Times of Bruce of L.A., 1948-1974 The exhibition of more than 60 photographs and two vitrines full of memorabilia takes viewers to the golden age of Physique Photography. Back then, Bruce of L.A.’S photographs of handsome young men may have scandalized prudes. But today they seem sweet: utterly innocent and playfully wholesome (D.P.). Stephen Cohen Gallery, 7358 Beverly Blvd., L.A. Tue.-sat., 11 a.m.-5 p.m.; ends Sat. (323) 937-5525.

Pietro Roccasalva Through the lens of art history, Roccasalva’s U.S. solo debut explores the act of looking and the relationship between viewer and artwork. An installation depicting an over-sized still life feels unfocused, but a suite of paintings use art historical conventions to suggest a mutually reciprocal relationship (S.M.). David Kordansky Gallery, 3143 S. La Cienega Blvd. Unit A, Los Angeles; ends March 24. (323) 222-1482. Group Show: Breaking in Two, Visions of Motherhood There is much here about holding on and letting go, the intimate beauties and universal vexations of motherhood, the density and palpability of time as experienced by one generation reflecting upon another (L.O.). Arena 1 Gallery, 3026 Airport Ave., Santa Monica. Wed.Sat., noon-6 p.m.; ends April 14. (310) 397-7456. Group Show: Seven Young Los Angeles Painters I Like From its title to its sprightly array of modestly scaled works, the exhibition exudes refreshing honesty. There is no real agenda in play, but an aesthetic consensus forms around the sufficiency of paint on a flat surface. However self-evident that sounds, it’s a quietly invigorating experience to look at two dozen paintings by emerging artists who subscribe to “old media” and make it new (L.O.). George Lawson Gallery, 8564 Washington Blvd., Culver City; ends Sat. (310) 837-6900.