The Editorial Magazine

Sayre Gomez loves to drive. In the 14 years living in Los Angeles, he’s woven a vast tire tread web around his Boyle Heights studio. Gomez is observant, porous to the spillage of upper-case exclamations and neighbourhood changes that perpetuate his commute.

Painter Cassi Nomada explores moonlit motifs of joy-pain (the unavoidable presence of both together), family and cosmic connectivity.

Edges tremble in static technicolour, defeated by shards of shadow, drifting into a dreamland haze in Cody Critcheloe’s “Chips”

In Freetown Veranda, artist Muzae Sesay paves roads and plants trees, closes the curtains and skirts the dock, furnishing each scene in scolding and rhapsodic hues.

Rute Merk’s paintings are glitchy visions of consumerism, a search engine result for “fashion.” Smudge-faced androgynous models walk a psychedelic runway in Balenciaga, we can’t quite make them out. They’re shoddy memory implants, furnished with product placements.

Photos by Theo Christelis Review by Molly Cranston Soft Opening debuts their new gallery space on Minerva Street with a contemplative group show. In Eigenheim, the artists fill the former tattoo studio with objects and talismans of past lives, fretful prophecies and “spaces that invoke…

The NIAD art center provides studio space and mentorship for adult artists with disabilities. Working with textiles, clay, and paint, the artists at NIAD acquire artistic and independent living skills, profiting off their work and building connections with contemporary art galleries.

I can look at Angela Heisch’s paintings for a long time. Her sense of colour and depth draw the viewer into a quiet state. Her practice shifts away from the turbulent, high-speed world that we inhabit, offering a pathway to introspection.

Care Not Cages began as an artist relief fund for incarcerated artists, organized by Crenshaw Dairy Mart, an artist collective advocating through the lens of abolition and healing in Inglewood, California. Ten incarcerated artists applied for the fund and all ten received relief. Now six of those artists, Ras Allen, Mesro the Human Sun, Ronell Draper, Miguel Flores AKA Smoke, Orlando Smith, and Larry White, are exhibiting their work in Care Not Cages: Processing a Pandemic on Gallery Platform LA.

As ever Parsons’ mastery of “LA colours” is cinematic and irresistible. In sugar deep and fading shades of pink, black and blue she pays homage to a city of Neo-Noir melodrama and 90s music video romance.

Impressionistic in the truer sense of the word, immediacy, color and feeling take precedence over application and technique. Billy White’s paintings are full of life, vibrant layers of paint and thick, confident lines register from afar.

Melanie Ebenhoch sets the scene with a pun. As a full moon rises gently through a pair of bare, marble-smooth legs, illuminating the fog of Old Hollywood below, we consider the act of ‘mooning’, both as an act of self-exposure and innocent intimacy.

We’re very excited to announce the release our new project. This is Volume 1. of Editorial Magazine’s literary supplement, Total Pet, a publication focusing on poetry and fiction.

Queer Thoughts presents “Bitch, You Gone Die,” at Art Basel, a selection of work by Diamond Stingily that contemplates debt as a moral and spiritual concern.

Tenebrous and at times murky, Lewis Hammond’s solo exhibition, Still life, on view at Lulu in Mexico City, is nonetheless scored by a consistent pulse of luminosity. A soundtrack, or maybe the heartbeat of one of his smudge-hewn protagonists.

The six works presented in Clifford Prince King’s current exhibition, “Want 2 Love U,” currently on view at Launch F18, capture the tenderness and intimacy of people coming together. Over the past few years, the self-taught LA-based photographer has cultivated a recognizable sense of style, subject matter, and richness in palette.