‘Is It Disgusting or Is It Beautiful?’: Sought-After L.A. Artist Alec Egan Taps Into the Theater of Artifice in His Maximalist Interiors

"In my work, there is a staging of that effect of pattern upon pattern. If I do it right, the work comes to a place where we wonder: Is it disgusting or is it beautiful? I like that kind of ad nauseam, confusing conceptual space, where beauty becomes more surreal and psychological.”  —Alec Egan

Joshua Petker | Let’s Talk About Paint

Subject matter aside, the compositions are astounding. The pieces create a visceral kaleidoscopic innervation. You almost don’t want to turn your back on some of them. They radiate. —Sage Vaughn

Artsy CEO Mike Steib Calls Out the Armory Artists to Watch | Alec Egan

I’ve been collecting Alec’s work and watching his incredible development for a few years now. The bright colors, the maximalist patterns, and the intense sunsets turn these traditionally domestic views into something striking. —Mike Steib

Gallery Moves: Making Melrose Hill Happen

NOW: Cosmo Whyte: Hush Now, Don’t Explain is on view through September 9.As an artist, Whyte’s interests in the energy, legacy, and conceptual framework, but also the literal actions of “the archive” have inspired him to explore myriad facets that intersect across his personal history and geopolitical circumstances. NEXT: Ming Ying opens September 23 – October 4. The U.S. debut of the Chinese-born, London-based painter will explore her evolving techniques with heavy impasto oil paint, to create romantic and psychedelic scenes of desire. —Shana Nys Dambrot

I Hate to Admit it, But I Loved the Armory Show

“Today, you need to have a story behind the art,” mused Isaac Stein, a New York-based collector, as we stared together at Jenny Morgan’s black-and-white painting of a spectral reclining woman at the booth of Anat Ebgi Gallery. —Valentina Di Liscia

New York Art Week: The Armory Show

Greeting visitors to The Armory Show is a stunning painting by Caleb Hahne Quintana in Anat Ebgi’s booth. Featuring a boxer who has just been knocked out, the work is in a long, horizontal format that pulls the viewer in and places the athlete’s prostrate body at eye height. —Annabel Keenan

How These Artists Learn From Each Other | Cosmo Whyte and Nari Ward

Whyte describes his new series as a collaboration with his late father — an architect who left behind an array of unfinished drawings that Whyte is working to complete. His latest work includes expansive steel structures on exhibit at the Anat Ebgi Gallery in Los Angeles. These structures echo his father’s affinity for creating domestic spaces with centralized public yards, an idea rooted in the West African vernacular of communal, multipurpose spaces that were at once private and public. —Pierre-Antoine Louis

Soumya Netrabile | Studio Visit

"The Anat Ebgi show is about how walking leads to reverie. The paintings are explorations of how the physical act of wandering is tied to the mental activity of wandering... I think most of the Anat Ebgi show was painted while listening to opera." —Soumya Netrabile

Lisa Edelstein: In The Den, Paintings At Anat Ebgi – Wilshire, Los Angeles

There were many aspects of her painting that I liked, not the least of which was the subject material, which was based on old photographs that showed family members and friends that communicated a particular time and place – East Coast Jewish suburban existence of a time and of a kind that seems to no longer exist, rendered in a very painterly fashion that paid attention to the geometry, patterns and colors at play in the works. There was something about Edelstein's work that reminded me of Leon Kossoff's paintings of his parents. —Tom Teicholz

In artist Cosmo Whyte’s hands, metal beaded curtains become sites of “archival explorations”

Whyte regards this show as being in conversation with his previous exhibitions, which have centered on themes of immigration, colonialism and civil disobedience, with Black figures depicted in scenes of protest, pageantry and solemnity. — Leigh-Ann Jackson

The Lisa Edelstein Method: Actress-Turned-Artist Finds Inspiration in Old Family Photos

"When I can, I paint eight to ten hours a day. I’m a bit obsessive when I work, especially because a lot of the pieces involve patterns and it’s hard to step away when you are in the middle of one. There’s a logic to them that I don’t want to forget. The larger pieces can take upwards of 60 hours of intense focus." —Lisa Edelstein

Marisa Adesman On Cutlery & More

Interview by Vrinda Jelinek & Louis Johnson