ALL–IN | ISSUE 2 — Harmony

The second issue of ALL–IN is about bringing people together. Everyone has a right to be heard — all we need is the space and time to hear one another. It’s more than you, me, or them. It’s about us.

Durk Dehner IN CONVERSATION WITH Richard Hawkins


ALL ARTWORK COURTESY OF Tom of Finland Foundation



176 pages



“Me, Myself, I” | 16th July | LA


Seven Artists Who Use Aspects of the Self as Artistic Material

Moyra Davey
LaToya Ruby Frazier
Richard Hawkins
Heinz Peter Knes
Sean Landers
Emily Mae Smith

Frances Stark

Organized by John Morace



This group uses the self not only as a subject, as found in self-portraiture or autobiography, but rather as a basic building block to create artistic works.

Opening Reception Saturday from 6 to 8p

Exhibition Runs Through 20th August




Richard Hawkins : “New Work” | 24th October | LA





Richard Hawkins draws upon aspects of visual culture that indulge in the pleasures and taboos of looking at the human body. In his work, the body frequently happens to be young, male, and exotic. Hawkins’ subjects span centuries and continents, including Classical Greek and Roman statuary, 19th-century literature, 1980s teen pop heartthrobs, Thai sex tourism (in a series he refers to as a “Viagra overdose”), avant-garde Japanese dance, and the paintings of Gustave Moreau. His mediums and style also vary widely, having encompassed painting, sculpture, digital art, and drawing. The basis of his practice, however, is collage: it was the first medium in which he made mature work, and it has since become his analogy for the act of looking and understanding.


In a new series of polychromed ceramics and mixed media collages, Hawkins mines the post-electroshock drawings of Antonin Artaud for imagery and evidence of a mind set free to wander into the darkly erotic domain of the preternatural. Witchy shamans, gynandromorphic idols, shitting plague-rats, acephalic succubi and “daughters of the heart, unborn” populate a body of shrine-like wall works which rework and compound Artaudian interplays between the primitive, the sacred, the execrable and the hallucinatory.