Christopher Knight

ColumnistWriter

Christopher Knight is art critic for the Los Angeles Times. He is a three-time finalist for the Pulitzer Prize in criticism (1991, 2001 and 2007). Knight received the 1997 Frank Jewett Mather Award for distinction in art criticism from the College Art Assn., becoming the first journalist to win the award in more than 25 years. He has appeared on CBS’ “60 Minutes,” PBS’ “NewsHour,” NPR's “Morning Edition” and “All Things Considered” and CNN and was featured in the 2009 documentary movie about the controversial relocation of the Barnes Foundation’s art collection, “The Art of the Steal.”

Recent Articles

  • Jimmie Durham's art throws some well-aimed stones

    Jimmie Durham's art throws some well-aimed stones

    Given deplorable declarations of American xenophobia now splashed across newspaper front pages, clogging social media outlets and upending television news shows, there could be no more impeccable a moment for a retrospective of Jimmie Durham’s art. With nearly 200 sculptures, drawings, collages...

  • A vast landscape unfolds in bands of color: Emily Davis Adams at CB1 Gallery

    A vast landscape unfolds in bands of color: Emily Davis Adams at CB1 Gallery

    Light is both a particle and a wave in 24 small, abstract paintings by Brooklyn artist Emily Davis Adams. Wholly non-figurative images turn out to be representational, yet classical distinctions between those two terms readily dissolve into emanations of colored light. Their intimacy demands close...

  • Douglas Tausik Ryder's curious wood sculptures at Jason Vass Gallery

    Douglas Tausik Ryder's curious wood sculptures at Jason Vass Gallery

    Woodworking goes digital in large-scale sculptures by Douglas Tausik Ryder. The human hand meets the alphanumeric ether, while the insistent evidence of tools and machinery acts as interlocutor. Constantin Brancusi is an obvious inspiration for many abstracted forms in five complicated wood sculptures...

  • From brash Pop to a more complicated mix: Peter Saul at CB1-G

    From brash Pop to a more complicated mix: Peter Saul at CB1-G

    A canned good here, a super hero there — and isn’t that Olive Oyl (or perhaps her doppelganger) opening the door to 1961’s “Refrigerator #3,” lined with jiggly rows of identical soda bottles from the supermarket? In a painting like this, it’s easy to see why Peter Saul was received as a brash,...

  • The Lucas Museum of Narrative Art is a bad idea. Here's why

    The Lucas Museum of Narrative Art is a bad idea. Here's why

    The ginned-up contest between Los Angeles and San Francisco to lure filmmaker George Lucas  and his long-aborning Lucas Museum of Narrative Art is done. Los Angeles lost by winning.  The announcement came this month that the museum would indeed be coming here, one day to fill a couple of parking...

  • The Lucas Museum of Narrative Art is a bad idea. Here's why

    The Lucas Museum of Narrative Art is a bad idea. Here's why

    The ginned-up contest between Los Angeles and San Francisco to lure filmmaker George Lucas  and his long-aborning Lucas Museum of Narrative Art is done. Los Angeles lost by winning.  The announcement came this month that the museum would indeed be coming here, one day to fill a couple of parking...

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