The Editorial Magazine

There’s an irony underneath Elmizadeh’s paintings. The vague compositions are taken from paintings on the opposite side of the spectrum, miniature paintings that are so complex and detailed that they’re sometimes painted with a single hair from a squirrel.

Interview by Emma Cohen Oysters, a bouquet of lilies, bright silk. Beautiful things usually invoke a class status. But acquiring these things through roundabout means—a dinner invitation, a slip into an exclusive party, a thank you gift—allow their consumer to see these objects for what…

Nora Rosenthal on the eroticism of road movies and the joy of being a passenger.

To celebrate our favourite holiday this year we joined forces with Red Bull Arts to bring you videos from artists whose practices both commemorate and complicate the spirit of Halloween. Using ghosts, monsters, costumes and the uncanny as strategies to remember the faithfully and unfaithfully departed, disinterring themes of family, colonialism, camp, and terror.

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.