Through an assemblage of obliterated Xerox machines and fragmented typewriters, spray paint, resin and humming hued light, Phil Wagner introduces Obsolescence to the NO Gallery, a nihilistic dystopian reality amidst a mechanical purgatory.
Fueled by the visual rhetoric of Dada and Suprematism, Obsolescence articulates a dialogue of how technology that is viewed as archaic, mundane, and obsolete has become the catalyst of our demise as a society. As a result, sculptures, paintings, and installations create visceral shadows of shantytowns, monuments marred by riots, and laboratories hexed with confusion and absence. By implementing popular wood, anaesthetic architectural addition of the gallery, and site-specific sculpture, the NO Gallery transcends into a chapel of reflection; a memorial pieced together by survivors amongst the rubble.
To the degree that art expresses the zeitgeist, and that right now everything everywhere is a terrible, stupid dumpster fire of fear, loathing, and depression, then NO Gallery has a show for the times. Don’t Just Do Something, Sit There presents divergent works by three artists -- Jesse Draxler, Jordan Weber, and Mark Mulroney -- which achieve common ground in the mucky terrain of mental breakdown, demon-hunting, and gallows humour. It’s perfect, really.
Dark humor pervades provocative works by Jesse Draxler, Jordan Weber and Mark Mulroney in “Don’t Just Do Something, Sit There” at NO Gallery. These artists hail from different regions yet overlap in their hard-bitten manners of exploring mortality and contemporary unpleasantries.
No Gallery, a newly opened space in the La Brea pocket of Los Angeles — along with art spaces, ltd los angeles and David Kordansky Gallery — recently closed the doors on its summer exhibition, At Odds, which focused “on the normalization of violence and fetishization of guns in American culture.”
Exhibiting together for the first time, the nine LA artists in No Gallery's inaugural show each have distinctive practices that take unpredictable detours. In dialogue with one another, they exhibit the instinctive, restless drive of the city's most compelling culture-makers. Tapped into what is making us tick while holding fast to quixotic visions, they cut a clear path for the gallery to follow as it makes its place in LA.