Michael G. Bauer on artforum.com

Gallery News January 3, 2010 Katie Herzog on Daily Serving December 20, 2009 Justin Hansch one of top shows of 2009 LA Times! November 27, 2009 Christopher Russell Book Release, Sun. Nov. 29 November 20, 2009 Dawn Kasper performs at Leo Koenig. Nov. 20 November 11, 2009 Steven Bankhead, Location Location Location reviewed in Artillery Magazine November 11, 2009 Margie Schnibbe at the Echo Park Film Center - Nov. 13 October 18, 2009 The Hills are Alive, opens Oct. 24 curated by Laurie Steelink. Featuring Kate Harding, Aaron Noble, Chris Wilder October 17, 2009 Ami Tallman on The Flog October 14, 2009 Jason Yates reviewed in Artreview Magazine October 14, 2009 Ami Tallman on Saatchi On Line

May 16, 2007 Michael G. Bauer's show Meditational Love Drawings is reviewed on Artforum.com by Sarah Lehrer-Graiwer. http://www.artforum.com/picks/section=la#picks15325 "Obsessive and labor-intensive, Michael G. Bauer’s “Meditational Love Drawings” spell out LOVE with manic zeal, the word writ small over and over again until the continuous strands of repeated cursive cumulatively form intricate patterns and overlapping tonal fields. Scrawled in ballpoint pen and pencil, Bauer’s line is compulsively scripted into language that makes love stutter and spin in circles. Words go through acrobatics, running upside down and backward across the twenty-seven drawings on display, speaking of solitude, breakdown, infatuation, and grace simultaneously. Through repetition, language is rendered unfamiliar, its meaning distorted into near illegibility. With each word running into the next, LOVE becomes OVEL, VELO, and ELOV; elsewhere, LIBERATEYOURSELF nonsensically contains FLIBERATEYOU. Like an optical mantra, Bauer’s use of text verges on the hallucinatory and often performs the visual equivalent of orchestrated white noise. Out of palimpsest come unexpected forms. From a distance, organic forms with bulbous growths, petals, and tentacles appear. Geometrically diagrammed configurations like aerial patterns and crop circles come into view; concentric rings echo throughout like rippling sound waves (the written word invoking the spoken voice). The delicate text pictures evoke the ornamental extravagances of illuminated manuscripts. Recalling parchment, pale yellows dominate, especially where the drawings are tinted in places with tea stains. The palette appears particularly warm installed above the blond wood floors of John Knuth’s new gallery, which is perhaps the ideal setting for this body of work, not least because the gallery is housed in the former warehouse of a local gay-porn business, a circumstance ghosting the drawings’ otherwise-tender recitations of love with a nymphomaniacal thrust and an ejaculatory potential." —Sarah Lehrer-Graiwer