6 Mark A. Rodriguez, Pushon , 2 0 1 9 . A

6 Mark A. Rodriguez, Pushon, 2019. Acrylic and oil-based enamel on wood. 94 1/2 × 32 1/2 in. Courtesy of the artist and Park View / Paul Soto, Los Angeles. out of Williams’s ending when you step the show’s title and with Cokes’s choice of interiority, starting the look and feel of credits to translate honors, fan art, and film remixes, samples, eulogies, reviving the ubiquitous forms of footnotes, like to House” examines what it means and looks their absence from casts and crews. “Della’s black people in their narratives as well as illustrate the vacuity of the portrayal of opening creditsofHollywoodmoviesto in theshow,chronologicallysamples Fade toBlack architect alsodesignedFrankSinatra’s. of a house designed for entertaining, whose distorted vocals, highlighting the acoustics from speakersblendingwithThomYorke’s spectator. eye yet decisively present to the acute with most of its content invisible to the Cokes’s inwardapproachtofilmmaking, words offer a fitting description of sees. I like designing both” — Williams’s of buildings because that’s what everyone architects like designing only the exterior which his clients could truly revel. “Some topographies andfordesigningspacesin equally knownforovercomingchallenging that made Williams a brilliant architect, soul, in short — the very characteristics the power of adaptation and imagination — States. The parable-like excerpts speak to as segregation still reigned in the United residences acrosstheAmericancontinent designing thousands of public buildings and Williams’s words as he describes his career remixes, injecting dread or joy into old Park View, even if caught these atthe But evenyou hadn’t up into puzzles. cardboard and carved policies, printed on looking life insurance mailers fordubious- Same with the framed at the gallery door. now playingbouncer folk-art confections simpering six-foot flowers before, know I’ve seen those altogether new. I show shouldbenot Rodriguez’s new that Mark A. It seems appropriate 6 design.

Meanwhile, Aretha’s voice emerges by EliDiner View, LosAngeles Paul Soto / Park MARK A. RODRIGUEZ be more than those pervasive images, (1990), the earliest work freestanding cutout figures made of painted Bichon Frise. Like the flowers, these are of dog so known — a portmanteau of Pug and ask. Apparently, though, there is a breed does notaddressthename,andIdidn’t fairytale windowtreatments. we’re talking about replicas of relics of that it doesn’t matter if it is or not when mean thathisstoryisapocryphal,just shutters. Which of course doesn’t have to an image search show no sign of Rodriguez’s the photos of the arena that that come up in Band danced their last waltz, but somehow is where Frampton came alive and where the (shuttered in 1978 and demolished in 1985) in theannalsofrockmusic,Winterland Grateful Dead fanatic.” A legendary venue Winterland Ballroombya“historianand original pair salvaged from San Francisco’s press release,arereproductionsofan fourteen in all — which, according to the mint green( of storybook window shutters painted Americana set askew. The swap-meetanxietydream:patinated the bummer and bounty of the thrift store. familiarity which the work preys upon. It’s you’d still catch a whiff of that carrion turned-wood tablelegsandtchotchkes, you’d never before laid eyes on Rodriguez’s from his own experience and black history, be —theyhavefrontsinstreaky,washy, wood. Blank in the back — as a sign should individual into a totalizing whole. Drawing mottled blues: running down through curving of the segregated, disenfranchised paintings. claustrophobic contexts: the insinuation claustrophobic contexts:theinsinuation Next up: the Pushons. The press release Among the new stuff, we find a collection Hammond’s vignettes reckon with such reterritorialization ofeverydaylife, imprisoning, the “outside” reads as antiquated. 7

forms, these might have a littoral or refuge, yet structurally binding or Given late capitalism’s Given latecapitalism’s even celestial bearing but for those ”The Keep” LEWIS HAMMOND reflective or representative as by AlexBennett Arcadia Missa,London to incarcerate prisoners. A space faces — saccharine, giggling, and keep had another historical usage: profoundly creepy faces. These of impending destruction. The of impendingdestruction.The — performs a last-ditch attempt at sanctuary. That this should braces against the possibility exist in the center of a castle Used as the final shelter, the might betheghostsofanold to castles of the Middle Ages to castlesoftheMiddleAges keep — a fortified tower popular banal. colloquialism, sinister and Will callcabin1 coalescesinLewis Hammond , 2019) — , 2019)— ’s ’s