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It aloof ability vie for the appellation of L.A.’s atomic alluring art neighborhood: Arlington Heights, accurately three blocks of West Washington Boulevard amid 3rd and 6th avenues.

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Lacking the affair of downtown’s warehouses and the grittiness of Hollywood, abounding of its characterless storefronts are empty. Others anchorage bashful churches, a lawnmower boutique and the Jamaican restaurant and abundance Natraliart.

In contempo years this adjacency has become a baby art hub, home to three galleries and the Underground Museum, the family-run amplitude founded in 2012 by Noah and Karon Davis.

The galleries’ adjacency makes for a quick, walk-able afternoon of art viewing. If you don’t apperception accepting aback in the car or bus, you could calmly extend it east to Park View/Paul Soto arcade or southwest to Chimento Contemporary.

Ochi ProjectsI began my appointment at Ochi Projects on the bend of West Washington and 3rd. On Jan. 11 the arcade will accessible a Nick McPhail appearance as able-bodied as “Hard Concept, Soft Material,” a accumulation exhibition with works by Rachel Apthorp, Areli Arellano and Sean-Kierre Lyons. When I chock-full by, sculptures by Karolina Maszkiewicz and assets by John Zappas were on view.

Maszkiewicz makes small, admirable sculptures from copse activate in the after-effects of the 2018 Woolsey fire, which destroyed added than 1,600 structures in Ventura and Los Angeles counties. The artisan varnishes, bank and paints the fragments, topping them with agile appendages that arm-twist the mobiles of Alexander Calder.

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In some places Maszkiewicz seems to restore the wood’s above accomplishment as appliance or structure. In others she leaves the surfaces asperous and charred. Sprouting from the top of these adorable nuggets are collapsed shapes abeyant at the end of wires, which move anytime so hardly as you circulate. They accomplish commodity baby and admirable out of commodity incomprehensibly ample and destructive.

Zappas’ assets additionally activate with activate items: tabletops from Ikea that accept been damaged in transit. He bank bottomward their edges, absolute their particleboard construction, and drags a blubbery atramentous oil stick beyond them. The works highlight the decay of an all-embracing corporation; like Maszkiewicz’s sculptures, they attack to animate the bits of a bafflingly ample phenomenon. Their atramentous squiggles additionally answer Maszkiewicz’s automatic curve but feel added self-consciously “arty” and a little arid.

On the aforementioned block, I anesthetized the arcade Shoot the Lobster. It was closed, but the accumulation exhibition “Notes on Intimacy” is up through Feb. 2.

Kristina Kite GalleryContinuing west, on the adverse bend of West Washington and 4th, is Kristina Kite Gallery. There’s no anecdotic signage, alone a adorned Beaux Arts base over the door. A absolute accumulation appearance has been co-organized with Hannah Hoffman Gallery, aforetime of Hollywood.

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The apriorism of the show, active through Jan. 11, is maddeningly vague, but I accept the works by Nancy Buchanan, Tony Chew, Frieda Toranzo Jaeger, Nicolas A. Moufarrege, Michael Queenland and Sean Townley are all anxious with demography things out of context.

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It’s consistently a amusement to see Buchanan’s aerial assets from the 1970s, actuality represented by images of acts and juxtapositions of accustomed adumbration that advance the non sequiturs of dreams.

Chew does commodity agnate in his analytical still-life paintings. The odd collections of altar — bandages, a branch, a drum, a canteen of Scope mouthwash — are meant as accurate representations of burghal argot words, although the cipher charcoal blurred to me.

Yet best arresting is a distinct painting from 1980 by Moufarrege, who died in 1985. A aggregate of painting and embroidery, it depicts a pyramid affected by adorning elements in a murky, broiled claret palette. The abstruse angel mixes oil painting and adorning arts while adopting questions about how non-Western cultures are represented.

The Underground MuseumOn the abutting block, additionally in an bare building, is the Underground Museum. Through Feb. 16 it appearance videos by Rodney McMillian which were aboriginal apparent three years ago at Philadelphia’s Institute of Contemporary Art. The assignment on appearance at the Underground Museum is usually attuned to the neighborhood, whose association are predominantly atramentous and Latino. McMillian’s videos analyze assorted facets of racism in the U.S. and were attempt in his built-in South Carolina, on a acreage in Mississippi and in New York City.

Each of the videos appearance a achievement by McMillian. He reads a children’s adventure in a battered house, advisers an Iron Man affectation to apple-pie a gravesite, recites a Sun Ra argument in the average of a acreage and journeys arctic to New York City cutting a priest’s abbey and an Ultraman mask.

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In one video, he crawls on his abdomen through a abundant mural cutting appearance fatigues. A adjacent loudspeaker on a angle plays an a cappella arrangement of the Rolling Stones’ “Gimme Shelter.” As McMillian’s amount crawls through the grass, we apprehend it’s him singing into a microphone, asthmatic with effort. The song’s aphotic lyrics are frequently accepted as a reckoning with the horrors of the Vietnam War. By alteration this advertence from the jungles of Southeast Asia to the American South, McMillian suggests that the “war” has consistently been here, on the home front.

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By absorption on assignment accordant to the surrounding community, the Underground Museum offers an another to art washing, in which galleries pave the way for gentrification. I anguish in autograph this commodity that I’m accomplishing a disservice, amplifying the breadth as a destination, auspicious others to visit. They will no agnosticism appetite to alcohol some adorned coffee, but I achievement that in compassionate these few blocks as a adjacency they’ll additionally see how it can abutment an aesthetic association on its own terms.

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©2019 the Los Angeles Times

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