A long time ago, abstract painters talked freely about freedom. They went into the studio to find it.
Then it seemed they needed some freedom from freedom. That word disappeared from discussions, replaced by ideas less burdensome, less portentous, less ambitious.
At Acme, 23 new paintings by Tomory Dodge sneak freedom back into the picture.
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Rather than declaring that freedom is their goal from the get-go, the L.A. painter’s dense oils on canvas let freedom seep, burble and fizz from the gaps between the irregular shapes and clashing planes that make up their vigorously worked surfaces.
Dodge’s paintings have one foot firmly planted in the mechanics of collage and the other in that of plate tectonics. Each canvas looks as if it has been cobbled together from cut-and-pasted fragments, all taken from long-lost sources.
Each also feels as if it’s under great pressure, its disparate slabs, chunks and slices relentlessly pushing into one another — and being pushed by others.
All of Dodge’s compositions consist of an impressive inventory of types of painterly application. It’s clear that brushes of various sizes, shapes and bristle-stiffness have been used. The same goes for palette knives, trowels, rags, hands and fingers.
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Branden Jacobs-Jenkins leaves a rehearsal of his play “Appropriate,” opening Oct. 4 at the Mark Taper Forum, to eat first with a reporter, then later with his agent and some unspecified Hollywood people, who presumably hope to lure him away from the field and city where he has experienced meteoric success in the last five years. Read more >>
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Soprano Abigail Fischer performs Oct. 7 in the opera “Songs from the Uproar” at REDCAT in Los Angeles.
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Malaviki Sarukkai performing at the Broad Stage in Santa Monica on July 19, 2015. Sarukkai is the best-known exponent of South Indian classical dance.
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Bramwell Tovey conducts the L.A. Phil with pianist Garrick Ohlsson in Rachmaninoff’s Piano Concerto No. 3 at the Hollywood Bowl on July 14, 2015.
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Argentine dancer Herman Cornejo performs in the West Coast premiere of “Tango y Yo” as part of the Latin portion of BalletNow.
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Jake Shears plays Greta in Martin Sherman’s play “Bent” at the Mark Taper Forum in Los Angeles through Aug. 23, 2015.
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Dancers rehearse a one-night-only performance choregraphed by Raiford Rogers, one of L.A.’s most-noted choreographers. This year the dance will be to a new original score by Czech composer Zbynek Mateju.
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Oscar-winning actor Ben Kingsley in Los Angeles on July 9, 2015.
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Mia Sinclair Jenness, left, Mabel Tyler and Gabby Gutierrez alternate playing the title role in the musical adaptation of Roald Dahl’s “Matilda” at the Ahmanson Theatre. The three are shown during a day at Santa Monica Pier on June 16, 2015.
(Christina House / For The Times) 12/28
American Contemporary Ballet Company members Zsolt Banki and Cleo Magill perform a dance routine originally done by Fred Astaire and Ginger Rogers. This performance was presented as part of “Music + Dance: L.A.” on Friday, June 19, 2015.
(Luis Sinco / Los Angeles Times) 13/28
Miguel, a Grammy-winning guitarist, producer, singer and lyricist, is photographed in San Pedro on Wednesday, June 10, 2015. His new album “Wildheart,” explores L.A.’s “weird mix of hope and desperation.”
(Christina House / For The Times) 14/28
Los Angeles-born artist Mark Bradford is photographed in front of “The Next Hot Line.” This piece is part of his show “Scorched Earth,” installed at the Hammer Museum in Westwood, June 11, 2015.
(Jay L. Clendenin / Los Angeles Times) 15/28
Paige Faure, center, plays Ella in “
Cinderella,” which opened at the Ahmanson Theater on March 18.
(Lawrence K. Ho / Los Angeles Times) 16/28
The Los Angeles Opera concluded its season with “The Marriage of Figaro,” with Roberto Tagliavini as Figaro and Pretty Yende as Susanna, at the Dorothy Chandler Pavilion.
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“Trinket,” a monumental installation by Newark-born, Chicago-based artist William Pope.L, features an American flag that is 16 feet tall and 45 feet long. The work is on display at the Geffen Contemporary at MOCA through June 28.
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Conductor
Gustavo Dudamel’s contract with the Los Angeles Philharmonic has been extended to mid-2022.
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Alex Knox, from left, Carolyn Ratteray, Lynn Milgrim and Paige Lindsey White in “Pygmalion” in spring 2015 at the Pasadena Playhouse.
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On March 17, Google celebrated the addition of more than 5,000 images to its Google Street Art project with a launch party at the Container Yard in downtown Los Angeles.
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Los Angeles architect Jon Jerde, who was outspoken about his opinions on the
state of public space, died on
Feb. 9. The CityWalk at Universal Studios is among his famous designs.
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Diana Vishneva as Princess Aurora in
American Ballet Theatre‘s production of “
Sleeping Beauty” that premiered at the Segerstrom Center for the Arts in March.
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Los Angeles Philharmonic assistant conductor
Mirga Grazinyte-Tyla leads the orchestra in her first L.A. Phil subscription concert at Walt Disney Concert Hall on March 1 in a program of Mozart, Beethoven and Stravinsky.
(Jay L. Clendenin / Los Angeles Times) 24/28
Rachele Gilmore as Alice and Christopher Lemmings as Mouse with supernumeraries in “
Alice in Wonderland.” Susanna Malkki conducted the Los Angeles Philharmonic in this collaboration with the L.A. Opera at Walt Disney Concert Hall.
(Lawrence K. Ho / Los Angeles Times) 25/28
Marcia Rodd, left, and Dick Cavett reprise their roles in “
Hellman v. McCarthy,” a play inspired by actual events on “The Dick Cavett Show,” at Theatre 40 in February. The production starred Cavett as himself and Rodd as literary celebrity Mary McCarthy.
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Irish playwright
Conor McPherson‘s latest play, “
The Night Alive,” ran at the Geffen Playhouse from Feb. 11 through March 15.
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Ric Salinas, left, Herbert Siguenza and Richard Montoya, of the three-man Latino theater group Culture Clash, brought their “Chavez Ravine: An L.A. Revival” to the Kirk Douglas Theatre to mark the group’s 30th anniversary. The play ran from Feb. 4 through March 1.
(Genaro Molina / Los Angeles Times) Some sections are brushed on thickly, the paint meaty. Other areas are atmospheric, made of thin washes. Handmade patterns play off of meandering lines. Scraped off passages expose earlier applications. Wet-on-wet blurs share space with monochrome blobs.
To look at any of Dodge’s rock-solid compositions is to see all kinds of ways of organizing reality. No single method adequately captures reality’s complexity. The magic happens in the gaps between the various sections. That’s where the mystery — and the freedom — resides.
Acme, 6150 Wilshire Blvd., (323) 857-5942, through Nov. 14. Closed Sundays and Mondays. www.acmelosangeles.com
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