Twice a year in Venice, Los Angeles, during the mid-century revival of the bohemian enclave, an artist couple organized an outdoor market on Abbot Kinney Boulevard to sell their ceramic wares. For Michael Frimkess, that meant stylized sculptures drawn from classical forms that he fired in a homemade kiln. By the late 1970s, however, Magdalena Suarez Frimkess was on to something much stranger. Exhibited in 'The Finest Disregard', at the Los Angeles County Museum of Art, there's Mickey (2004), a lumpen, discoloured mouse, and Donald Tea Pot (2014), with the Disney duck rendered awkwardly on a wobbly, misshapen vessel. Pueblo kachinas recur, as do Mayan warriors who disembowel their enemies with obsidian clubs.
The exhibition is Suarez Frimkess's first museum survey, and it contextualizes the Caracas-born, Los Angeles-based artist's eclectic…
