ForYourArt, Ooga Booga, and Mexico City-based Fundación Alumnos47 will host the third iteration of Artists’ Books and Cookies, an event series devoted to artists’ books and encouraging the collection of and community around them.
Going Beyond the Photo-Archive The Significance of Fantasy and Photo-Reflexivity in Zoe Crosher’s The Michelle duBois Project by Yonit Aronowicz (2019)“Crosher’s handling of the archive is neither documentary nor investigative; she never intended to use the photos to give an accounting of her subject’s life” (Ross, web). Rather, for Crosher, the archive becomes another subversive means to exemplify the very impossibility of making sense of an individual’s identity through an accumulation of self-portraits, that is, according to Crosher, the very fictional aspect of the documentary photography. “Accumulation”, she stresses, “does not equal clarity – but in fact it compromises fiction” (Crosher qtd. in Blalock, “Part 1”). In this respect, one may realize how Crosher’s formulation of duBois’ archive is not only in keeping with the postmodern concepts of the constructed-unstable self, but also with what Marlene Manoff called “the postmodern suspicion of the historical record” (Manoff 14). - Yonit Aronowicz
Rooms With a View | L.A.Weekly | Steffie Nelson (2018)“Hopefully I’ll never go back to LAX,” says Crosher happily as we head home in the diamond lane. Fleetwood Mac is on the radio, and the San Gabriel mountains rise clearly in the distance. “This day has the same feel as when I first moved to L.A., the same kind of promise,” Crosher enthuses. “Oh, look at that!” She points to the blue sky. “I think my next project’s gonna be helicopters.”
“Grounded” – Divola, Crosher at ESMoA (2018)The two bodies of work, Divola’s and Crosher’s, while starkly different, do orbit the same sun, which in this instance is the incidental but sociological history and legacy of LAX, and as Colin Westerbeck aptly noted, ESMoA is the perfect venue for this exhibition.
It's Palm Saturday, Aspen Daily News (2017)Palm Fronds, is an investigation of impermanence. We see representations of the last remnants of what will slowly fade with age: the fronds of the palm trees that are nearing the end of their life spans in Los Angeles. Cast in bronze, they are delicate reminders of the gold prospectors sought in California or, taken with a wider vision, what we can mine for in our own environments, be they physical, psychic or otherwise.
Carla Snap review - Virago at Hilde by Jennifer Remenchick (2017)"There is an imbalance present in the meaning of the word virago; a feeling that perhaps, like many women, real and imagined, she too has been unfairly simplified and misunderstood. Virago lends a variety of alternatives to that narrative through exhibiting works that complicate and individualize their subject matter, leaving the archetype right where it should be: unresolved and complex."
‘Wanderlust’ examines action, exploration outside the studio (2017)“Wanderlust: Actions, Traces, Journeys 1967-2017,” a 50-year survey exhibition that considers the themes of action and exploration outside of the studio and how artists engage this theme in various ways, opens Sept. 7 at both locations of the UB Art Galleries.
It will be on view through Dec. 31 and then travel to the Des Moines Art Center, where it will open on Feb. 18.
Artists go large on Los Angeles’s billboards (2017)“It’s a wonderful medium,” says Shamim Momin, the co-founder of Land (Los Angeles Nomadic Division), who co-organised with the artist Zoe Crosher the Manifest Destiny Billboard Project from 2013 to 2015, spanning ten cities along Interstate 10 from Florida to California. “It’s an extraordinary way to have millions of people see a project, even if they are not consciously wanting to see it. It’s an insertion of the visual into everyday experience.”
Zoe Crosher: The New LA-LIKE by Chelsea Withers, The Magazine (2016)“But instead of lurid tabloid photos, Crosher is channeling cool Ed Ruscha. Her photographs catalogue places simply and straightforwardly; you wouldn’t even know what you were looking at if it weren’t for Crosher’s titles, which function like commemorative plaques.” - Chelsea Withers, The Magazine
“Madames Electrics” at The Pit on Contemporary Art Daily (2016)"Dear Madames,
Madames Electrics is a group exhibition and a book that came together through convoluted collusion, a polluted process of one thing leading to another. A show of lamps became a show of figures, and vice versa. Close and farflung friends came together with strangers, old art and new objects, electric and nonelectric, etc. In the end, light was shed on some hands and not others, some rights and some lefts. Something and some things were lost along the way, but what comes together is still something, it’s something else: Madames Electrics."
LA-LIKE: Transgressing the Pacific, by Kate Sutton - Bookforum (2016)In Los Angeles, a town of making or breaking it, a third option is just to disappear. The California dream of reinvention is propped up by vanishing acts both real and scripted. A thousand last breaths are drawn every day across Hollywood. Most are staged, which makes it all the more spectacular when a star’s real death follows cinematic convention …
Bay Watch, SF MoMA ArtBash - Artforum, Scene & Herd (2016)The artist crowd—which included Trevor Paglen, Tacita Dean, Barry McGee, Takeshi Murata, Zoe Crosher, and Julie Mehretu—drifted in and out of Tom Marioni’s The Act of Drinking Beer with Friends is the Highest Form of Art, which was telling it like it is from the third-floor sculpture terrace.
My Business Card Says ‘Enthusiast’ - Zocalo Public Square (2016)Zoe Crosher is the co-creator of the Manifest Destiny Billboard Project, a series of 100 artist-designed billboards that spanned the United States along Interstate 10. Before joining a Zócalo/Smithsonian “What It Means to Be American” panel discussion about creativity in America—“What Does American Ingenuity Look Like?”—she talked in the green room about the eclectic mediums she works in, D.C. punk rock, and that time Bill Nye flirted with her.
A World-Class Garden on the California Coast, by Christopher Wyrick - DuJour (2016)A new residency program is opening up the garden to great creative minds, and it’s already bearing fruit. The first project will feature Los Angeles artist Zoe Crosher, whose career has brought her exhibitions at MoMA and LACMA. She has selected plants from the grounds to bronze, turning the ephemeral—sometimes even endangered—into something that will endure.
Must-see Public Artworks of Summer 2015 on Artspace (2016)There is no better time of year to enjoy public artworks than the summer, and this year's crop of populace-pleasers will surely be one to remember. From Zoe Crosher's Los Angeles billboards to Ragnar Kjartansson's Central Park boat, these thought-provoking works are already popping up around the country.
Openness Is the Mother of Invention (2015)Crosher added nuance to the idea by noting that it’s not that there are no hierarchies here—the politics of the art world, for instance, are “very bizarre, and exist in all sorts of irrational ways that all have to do with the market.” It’s that even in hierarchical fields, often there are ways to work around the established order, she said. The project she was recognized for, which commissioned artists to design works for billboards across the country, was sponsored by LAND (Los Angeles Nomadic Division), an arts nonprofit organization that she describes as a “really radical outlet.”
The Amazing Self-Repairing Technique - Flaunt Magazine (2015)The most arresting of the images is a series by Zoe Crosher, which, depending on which way you walk around the gallery space, will either reveal or obscure an image of a woman in a hotel room posing for glamour photos in what turns out to be Guam.
Sunshine and Noir, by Ed Ruscha - Metropolis Magazine (2015)Both Sides of Sunset: Photographing Los Angeles (Metropolis Books, 2015), edited by Jane Brown and Marla Hamburg Kennedy, explores the many contradictions within the City of Angels. In his foreword, renowned artist Ed Ruscha examines how these photographs capture the romance and grit of L.A.
Ideas Series: The Otherside of Closeness (2013)Encouraging us to examine the images more closely, Ishuck’s manipulations raise flickers of doubt about the authenticity of the source images. Is that really the same dad in the later scenes? Are the more formal party images actually staged? A number of artists including Eva Stenram, Zoe Crosher and Walid Raad work with found (or allegedly found) photographs in related ways. A common thread running through their very different projects is an unreliable author/narrator whose interventions may not always be entirely logical…Crosher rephotographs and re-frames the eccentric archive of an individual/persona called Michelle duBois, exploring the construction of feminine identity through photography.
Village Voice (2006)The Village Voice - 11.22.06 Best in Show / In her photographs, Crosher flash-blasts the interiors of hotel rooms around LAX, making garish drapes and generic furnishings as bright as the Los Angeles sky beyond the windows, each of which frames a landing or ascending plane. The compositions include out-of-focus air conditioner grills, water bottles, and takeout cups, their blurriness emphasizing the jet-lagged ennui of the transient.
Studio 360 - Jan 1, 2005 / LAX, Pico Iyer, Sontag (2005)Studio 360 - Jan 1, 05 - LAX, Pico Iyer, Sontag / Kurt Andersen and writer Pico Iyer hear about an airport that hired jugglers and mariachi bands to calm frazzled travelers waiting in line. Artist Zoe Crosher tries to make sense of Los Angeles by taking pictures of LAX from window seats in arriving planes and windows in surrounding motels. And a graphic designer falls in love with arural airport and turns it into his personal studio.Plus,Kurt rememberssocial criticSusan Sontag.