The Weekly Footnote

Your weekly newssource for the latest in contemporary art and culture in Los Angeles

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Reviews

  • LACMA’s new David Geffen GalleryApril 22, 2026
  • New(ish) kids on the blockApril 15, 2026
  • Langley Fox Hemingway at SadeMarch 25, 2026
  • Daniel Dove’s Show at Philip Martin Does Not Need To ExistMarch 18, 2026
  • Our impressions on LA Art Week 2026March 4, 2026
  • Barry and friendsFebruary 25, 2026
  • Zero Risk and Plenty of Water February 18, 2026
  • Joseph Klahr and Amanda Ross-Ho at Leroy’sFebruary 4, 2026
  • Susan Chen at Night Gallery: Making granny paintings in her mid 30sJanuary 28, 2026
  • Zoe Alameda at Cheremoya: A Memory of A MemoryJanuary 21, 2026
  • Money buys bad ideasJanuary 14, 2026
  • Beeple’s New Vistas of SuckDecember 24, 2025
  • Saying A Little With A Lot—Tavares Strachan at LACMADecember 17, 2025
  • I Guess Because Photographs Are Easier To Sell? December 10, 2025
  • The Lamp Show by AUTOBODY autobodyNovember 19, 2025
  • Pretty Shallow: New Marilyn Minter Documentary Hints At Depths It Refuses To ExploreNovember 5, 2025
  • MONUMENTS at MOCA GeffenOctober 29, 2025
  • Robert Rauschenberg at Gemini G.E.L.October 15, 2025
  • Off Of One Canvas And Onto Another: Lee Moriarty at Night GalleryOctober 8, 2025
  • Should We Let There Be A Review of Let There Be Gwar?October 1, 2025
  • You Saved Your Belly Dancer And No-One CaresSeptember 24, 2025
  • Frank Bowling Strays Fruitfully From His LaneSeptember 17, 2025
  • Chimeras at Nonaka HillSeptember 10, 2025
  • What Does Claire Colette Have On The Night Gallery?August 20, 2025
  • Maggie West: Lost In Her Own FunhouseAugust 13, 2025
  • Trees as Contemporary ArtAugust 6, 2025
  • VHS Dreams at Beyond the StreetsJuly 30, 2025
  • Voodoo Dolls at the Los Angeles MakeryJuly 23, 2025
  • Kelly Johnson at Luis de JesusJuly 16, 2025
  • Glawr at Hanna HoffmanJuly 9, 2025
  • Beryl Odette at Track 16July 2, 2025
  • Jason Fox at David Kordansky GalleryJune 19, 2025
  • Clowns in an AlleyJune 12, 2025
  • Mary Weatherford at KordanskyMay 21, 2025
  • Jeffrey Gibson at the BroadMay 14, 2025
  • Male Portraiture This Spring in Los AngelesApril 23, 2025
  • Thank God Gallerists Are Getting SmarterApril 3, 2025
  • The Rise of Nouveau Conceptual Art March 12, 2025
  • A Tribute to Alice Coltrane at (For Some Reason) The Hammer MuseumFebruary 12, 2025
  • The Painting Without Qualities: Anna Glantz at Chris Sharp GalleryFebruary 5, 2025
  • Curtis Stone, What Happened?January 15, 2025
  • Advanced Camp: Dynasty HandbagNovember 13, 2024
  • Barking Up The Wrong Tree: Matthew Lax at Human ResourcesNovember 6, 2024
  • Nate Lowman at Zwirner Gallery, Los AngelesOctober 30, 2024
  • Yaki on my TeppanOctober 16, 2024
  • Luminex Is A Screensaver-MartSeptember 25, 2024
  • OPEN at MOCA L.A.September 18, 2024
  • On A Nonexistent Review of At Home: Alice Neel in the Queer World curated by Hilton Als.September 11, 2024
  • Rokusho—Hollywood’s Hip New Japanese Restaurant Has A Way With Beef—And Little ElseSeptember 4, 2024
  • Material SexAugust 28, 2024
  • Punk Does Not Live At Subliminal GalleryJuly 18, 2024
  • The Portrait of King Charles Is Bad, But Is It Good That It’s Bad?May 14, 2024
  • The Parts of the Latest Documentary on Anselm Keifer That I Was Awake ForMarch 12, 2024
  • The New Whimsy: Felix Art Fair Embraces The CuteMarch 6, 2024
  • Luna Luna Is Like A Bait and SwitchFebruary 28, 2024

Recent articles

  • LACMA’s new David Geffen Gallery
    Review

    LACMA’s new David Geffen Gallery

    April 22, 2026
  • New(ish) kids on the block
    Review

    New(ish) kids on the block

    April 15, 2026
  • Subtle images for a more modest art world?
    Essay

    Subtle images for a more modest art world?

    April 8, 2026

The Weekly Footnote celebrates the very best in Los Angeles art and culture. Through the online content we publish, we share our opinions and thoughts on what is happening in Los Angeles now.

    • About
    • Contact
    • Editorial Policy
    • Essays
    • Interviews
    • News / Stories
    • Reviews