Blue is the predominant color on our planet, universally symbolizing peace, tranquility, and inspiration. Its infinite hues, shades, and tints feel innately empathetic, and the color has a transcendent and spiritual quality, making it accessible to all. The air above us and the oceans covering this planet come to life in blue, and in some regard, our futures are linked to this staying true.  

If blue were to take the form of a dream, it would ideally spring forth as a blissful euphoria that is hopeful and open, like a celestial sky. But in the wrong state of mind or circumstances, blue dreams and feelings can easily sway across the divide, coming to life as visions of despair and sadness. In either manifestation, these dreams generally have a surreal and otherworldly edge.

The exhibition Blue Dream highlights artworks by twelve artists united by cerulean palettes that drift towards the softer, more boundless, and buoyant side of this monochromatic spectrum. Some artists featured in the show reflect on the long history of a color so deeply revered and explored by artists throughout the ages; others delve into the more psychological and emotional implications of such a vast color. A few directly highlight the political connections and connotations of blue, given the show’s intentional proximity to the 2024 United States presidential election.

Each artist leans into the beauty and promise of this color with visions and imagery that push toward a brighter future. However, despite existing in this hopeful blue realm, their works are also tinged with an awareness of the darker, less romantic potential of feeling blue and the reality that the freedoms tied to this color are no longer a given. 

Image: Caroline Absher, Blue Hour

Blue Dream

SHRINE

In her paintings, Eleanor Swordy untethers figuration from its historically constrictive role of subject matter and instead imaginatively repurposes it as a formal device. Round and sculptural, her bodies exist in dynamic space; uninhibited by conventional anatomy, perspective, and scale, they ground each composition and conform to each paintings’ inner architecture, cutting a path for the viewers’ eye to travel across the picture plane. Figures often move toward the outer edges of the frame as if by magnetic push, repeated reminders of her medium’s essential finitude.


Eleanor Swordy: Message Received 

Moskowitz Bayse

Rachael Browning’s practice, sliding between photography, sculpture, and drawing, uses humor, tension, and hardware to compose and effect solutions to self-devised problems. In 'This Way Up', photographs and corresponding drawings consider the constancies and discrepancies of form across directly; each photograph, a pseudo-document of a temporary sculptural intervention that the artist makes expressly for the image, positions industrial materials in tension–principally hardware, rope, PVC piping, and plywood–in her studio. The drawings fully abstract each composition, suggesting that materials, rich with potential meaning, may simply be means to an end.

Rachael Browning: This Way Up

This year has brought a lot of important shifts at home and in the world, where art may have felt like an indulgence, a luxury, or guilty pleasure rather than a necessity. So we wanted to take a moment to pause, and allow space for joy and inspiration, a chance to reflect on the year through art. For us, it's a way to express our deep gratitude for all the amazing artists who have shown with us this year, and to give a glimpse of what's ahead. We've highlighted pieces that are our staff favorites, or personally poignant, and we invite you to put aside everything else for just a few moments to luxuriate and reflect through art.

The exhibition is an invitation to look at the work with fresh eyes, and to revisit shows by artists who we feel are all stars.

MADE OF STARS: Holiday Exhibition and Boutique

KP Projects

Night Gallery is pleased to announce the beautiful, an exhibition of new work by Elise Rasmussen, presented in conjunction with PST Art: Art & Science Collide and made possible in part by the Canada Council for the Arts and the Puffin Foundation. This is the artist’s debut solo exhibition at Night Gallery and follows the gallery’s screening of the artist’s 2020 film, The Year Without a Summer, and her participation in Blue State, a formative group exhibition in 2018.

Grief permeates Elise Rasmussen’s solo show the beautiful. Her photographs, shot on medium- format film in and around national parks of the American West, respond both to climate change and to the narrative of stolen land that cannot be uncoupled from the origin stories of our national parks. Rasmussen captures sites of creativity, preservation, climate emergency, and imperialist violence. How to reconcile the undeniable beauty of the landscapes, evidenced in Rasmussen’s photographs, with America’s fraught past—and present? In this suite, Rasmussen offers an elegy both cultural and ecological, macro and micro, as she depicts a changing western landscape.

Many of the photographs include images of fire, an apt visual metaphor for this series, with its evocations of cremation and funeral pyres. Rasmussen traveled by car throughout the West with her terrier Clementine, making regular stops to shoot at national parks and adjacent BLM (Bureau of Land Management) land. She camped just outside the parks’ limits so that she could light unrestricted campfires before bedding down; two photographs shown here capture flames dwarfed by twilit desert skies. Fire also figures in works like last breaths (Sequoias) (2024), which depicts the struggling gasps of a tree in the aftermath of the 2021 KNP Complex Fire, which decimated California’s Sequoia National Forest.

During her road trip, Rasmussen hit iconic “photo-ops” such as the Old Faithful geyser in Yellowstone Park and Robert Smithson’s famed land artwork Spiral Jetty on the shore of Utah’s Great Salt Lake. These sites are so frequently photographed that they are seared into the “American” consciousness, but Rasmussen expertly presents them from new vantages, in some instances using collage to create continuous landscapes.

Although Rasmussen's work advocates for preservation, it also acknowledges another truth: We constantly lose what we once believed to be constant. We can never fully protect or restore it, only acknowledge its fleeting gorgeousness.

—Cat Kron

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Night Gallery is pleased to announce The Lemon, an exhibition of new paintings by Cynthia Daignault. This is Daignault’s second solo show with the gallery, following Elegy (2019).

Daignault is a painter of life. She depicts the natural world around her, but also the photographs, documents, and screens that permeate everyday life. On November 23, concurrently with The Lemon, she will debut a new commission of paintings in the group show Ordinary People: Photorealism and the Work of Art since 1968 at The Museum of Contemporary Art (MOCA) Los Angeles, organized by Anna Katz, Senior Curator, with Paula Kroll, Curatorial Assistant. For that show, Daignault presents a monumental 486-panel artwork, Twenty-Six Seconds, that reconsiders each frame of the Zapruder film, the home-movie that captured the assassination of John F. Kennedy in 1963. Both exhibitions continue and deepen Daignault’s interest in history painting, exploring how images and media shape our shared consciousness.

##########

The Lemon takes its name from Le Citron, a still-life of a lemon on a dark plate, painted by Édouard Manet in 1880. I’ve come to feel that the act of painting is like walking in a heavy snow. At times I am by myself. The path is so quiet, cumbersome and lonely. But at other times, I find a line of footprints in the snow and walk for a while inside the indentations of someone else’s shoes. Like this, I accidentally run into other painters when I’m working. I see traces of them in a brushstroke, a color, or an idea. Or I purposefully go after them in copies and allusions, trying to commune with them. In truth, I am rarely alone. Collective consciousness exists outside of time.

The only poster in my bedroom as a young child was Monet’s The Artist's Garden at Vétheuil (1881). I bought the print myself at The National Gallery, and I remember telling people that it was my favorite painting. I was always drawn to French painting, and why years later I took my first painting classes in Paris. As a student, teachers often told me that I shared certain innate sensibilities with Manet—in brushwork and color mixing—and I used to imagine an unbroken thread connecting us. It’s moving to remember that painting is a vocation stretching back to very start of human history. In many ways, this show is an attempt to understand the weight of influence. Of history. Of love. Where does one person ends and another begin? After all, just as ideas and works repeat over time and space, so too with people. Aren’t people all just versions and copies as well?

And what are the boundaries of an artwork—where one begins and another ends? In this age of screens and social media, we often think of a painting as its digital image alone, but the nature of any one work stretches far beyond its four sides. Viewership. Historical context. Scholarship. Provenance. A poster on a bedroom wall. Think about music. When does a song end? Does it end when the track stops, and the needle drags across the diameter of a record label? But what of the echo in your mind? Long after the last note has sounded, the melody carries on for hours, like a wave crossing the ocean toward the shore. And what if you teach it to someone else? Does a song end when the last person on earth who ever heard it dies and passes away? But isn’t it still there in the air itself? A desert wind, blowing across the tops of a few bottles could pick out the melody again, even if there was no one there to hear it. Does a song ever end? Or does it just hover unseen in the air, where it always was and always will be, just waiting to play again one more time before the universe explodes?

—Cynthia Daignault, 2024 

Image: Elise Rasmussen, Montana, 2024, archival pigment prints mounted on velvet in walnut frame, 27 1/4 x 36 3/4 in (69.2 x 93.3 cm)

Elise Rasmussen: the beautiful | Cynthia Daignault: The Lemon

Night Gallery North

5-7pm: Opening reception
4pm: Umar Rashid and Mika Yoshitake in conversation
5:30pm: Gold Amidst Dust, Contemporary Dance related to Kaifan Wang

BLUM is pleased to present SZTUKĄ DIABŁA TŁUKĄ, Warsaw-based artist Agata Słowak’s first solo exhibition with the gallery. 

Alison M. Gingeras, curator and writer based in New York and Warsaw, sits down with Agata Słowak to discuss the influences and themes that have shaped her latest works.

Alison M. Gingeras: 
Last time I was in your studio, right before you sent the paintings to Los Angeles, I was simultaneously impressed by the new elements in your work and the consistent through-line of self-portraiture that you continue to practice. With each canvas, you’re pushing the genre further, which I think will be quite evident in the grouping of eight you will show in LA. One thing that I noticed was your collection of porn magazines you had spread all over the floor. These aren’t just any old porn magazines—they are super specific to Poland’s history and to the radical social changes that took place during the transition from Communism to Capitalism in the early 1990s. Why did you start collecting those? How have those images transpired upon your new works? Why are they compelling for you? So many of your new dynamic narrative compositions are perhaps coming from those magazines?

Agata Słowak: 
These are not randomly selected magazines! These Polish erotic magazines from the 1990s interest me on several levels. What fascinates me is a certain kind of nostalgia (I was a child during this transition period, so obviously, I wasn’t aware of its gravity). These magazines are aesthetically and distinctively pre-internet, so they’re noteworthy. More significantly, they were being published at a moment when people began talking about sexuality in Poland. In the times of the Communist Polish People’s Republic, Poles’ sexuality was suppressed and superficial, an important social trend that was reinforced by the dominance of the Polish Catholic Church. These porno mags are also incredibly interesting visually, due to their naturalism and the limitations of resources at the end of the last century; there is no retouching, no plastic surgery, and virtually no access to professional make-up artists. The photo editorials depict “real” people, paradoxically, somewhat escaping the patriarchal canon of beauty. They’re a wonderful time capsule, bearing imperfections at different ages, social structures, and sexual orientations. And apart from this type of inspiration, these magazines make great reference material for models! We find expressive ready-made body arrangements that are fantastic for dressing up in compositions and painting these photos are not easy to find on the internet today. The images are very niche and have a strong character of time and place, making them unique.

AG: Another striking departure in this work is the appearance of more direct symbolism. Can you talk a bit about the Polish Eagle that appears in one of your self-portrait nudes, Polka / Jaki kraj taka Prometeusza // Pole / Such a Country Such a Prometheusess (2024)? There have always been some sly elements of Polish identity in your works—very codified landscapes, Catholic references, rural settings—but the Polish Eagle is such a monumental and official signifier. I’m wondering what prompted you to insert such a loaded symbol into one of your recent tableaus.

AS: The work with the eagle was created during the holidays, when I was visiting the region where I grew up. I came across the small village of Zalipie, where I discovered wooden houses painted by a women’s guild. One of them had an eagle made of pinecones—it was all based on a strong sense of Polish identity; I felt something native about it, something unique. I also don’t like it when symbols related to patriotism are appropriated by the conservative side, nationalists, and right-wingers. I believe that representatives of minorities also have a civil right to these symbols.

AG: There are so many indelible images that stuck with me during our studio visit. The lady humping a cactus, pictured in Down in Mexico (2024), was one of the most memorable images that haunted me. Can you tell me about this picture? Who is she? I feel this is an allegory, but I would love to hear your narration around this stunning work.

AS: In a way, it’s about the strength of this woman; I wanted to visualize the increasing desire for a certain insatiability and think about the limits of the strongest orgasm. Is there a limit? This cactus can express something seemingly strong, giving strength and security, such as a man with a strong position, a prize in a competition, and such. This painting is actually not quite my style— the Mexican atmosphere is a real departure, but I just wanted to paint this strong motif.

AG: The appearance of “non-finito” is a new element in your forthcoming show. I very much liked these deliberately unfinished, rather gestural paintings. And I particularly liked seeing them hanging side by side with your more “classical” signature style of this renaissance technique, deploying layers of underpainting that you usually utilize. The tension is super interesting, and to me, the images feel a bit like the remnants of dreams...how one remembers strong dream-images without recalling the storyline or only fragments that float in the haze of your memory when you wake up. Is that something you were thinking about at all?

AS: I’ve long been drawn to the unfinished, as a conscious decision. Both in the contrast of the detail, such as a portrait and the background, as well as in a certain type of gestural painting technique. I don’t want to give up on overworked narratives that have many layers and are built slowly on the canvas—but expressive, intentionally unfinished works allow the concept to remain fleeting and have a dreamlike expression. The concept of combining this gesture with sleep is beautiful and seems extremely accurate to me. What remains from intense sleep is essence and fragmentation.

AG: Dream space is a major trope in your work, not only in these hazy, fractured images but also in the sense that certain themes and symbols reoccur frequently. One such theme that is in this new body of work, and also very present in previous works, is the question of reproduction. The possibility of procreation, your internal struggle with potential motherhood, the desire and repulsion of childbirth, the visceral depiction of the body as a potential vehicle for reproduction: the question of having a child seems to haunt you. And like with dreams, the recurrence of childbirth imagery is both consistent and shifting in your work, from painting to painting. It is as if reproductive justice and the maternal compulsion seem to be in conflict in your work—just as they are in our socio-political sphere?

AS: You’re right that painting can emerge from that part of consciousness as dream fantasies. There are people and motifs that come back to us from the subconscious, relationships and themes that seem to organize our lives, hanging over us like ghosts. The topic of reproduction is extremely vivid and topical for me, and I’m not just talking about the current political fight for abortion rights, just personal dilemmas arising from the opportunity my own body potentially gives me. How many life-shaping decisions resulted from the very fact that such a choice is a viable option? We feel the pressure of a ticking clock. Since it doesn’t happen passively, how should one make a decision? When? With whom? And how, so as not to miss out on commitments and work? On the one hand, one can be a mother of art and treat it as one’s relationship and offspring, accepting that perhaps there are other things one is called to do, opposed to most people. On the other, there’s the feeling that one is giving up such an intense experience in life. Freedom and independence have their weak points here. Painting only perpetuates this lack of answers. On the one hand, the atmosphere of the family home is a simple expectation of a physical extension of life. On the other, there’s the devastating fear that accompanies a late period—that despite being sexually driven, the person isn’t ready for parenthood, and that the creative state would be ruined.

Agata Słowak (b. 1994, Busko-Zdrój, Poland) paints audacious pictorial narratives with a disarming, Old Master-stylistic flair. Whether appearing alone or in group tableaus, Słowak’s youthful mien engages the viewer with the same defiant yet serene gaze. The artist is almost always the protagonist of her scenes that surpass conventional self-portraiture and tasteful subject matter with their allegorical density. Perfumed with a radical strain of feminism, her compositions are overloaded with Catholic iconography, Neoclassical art allusions, visceral bodily fluids, and graphic sexual acts. Her canvases manifest a relentless need to probe the intersection of her personal desires and collective political struggles. Słowak has received recognition since her recent arrival on the international art scene. Her work has been presented at the Zachęta National Gallery of Art (2022) and the Museum of Modern Art, Warsaw (2021, 2019), among other institutions and galleries.

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Opening Day Event: Umar Rashid and Mika Yoshitake in Conversation, 4pm

As part of PST ART: Art & Science Collide, BLUM is pleased to present Los Angeles-based artist Umar Rashid’s third solo exhibition with the gallery, The Kingdom of the Two Californias. La Época del Totalitarismo Part 2. This second installment of Rashid’s Epoch of Totalitarianism series rejoins the artist’s fictional Frenglish conquerors in the 1800s as they attempt to maintain a stronghold in the Americas. Bearing an undeniable resemblance to the history of the Spanish Empire in the Californias, the monstrous power of colonialism is emphasized by Rashid as he portrays the Frenglish with otherworldly militant advantages from the science fiction genre.

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Opening Day Event: Gold Amidst Dust contemporary dance performance by artists Gema Galiana and Emily Meister, 5:30pm

BLUM is pleased to present One Piece, Berlin-based artist Kaifan Wang’s first solo exhibition with the gallery.

There is a nomadic underpinning to the way that Wang thinks—this mindset sentimentally unifies the artist’s practice as well as this exhibition. Born in Hohhot, China, an area with a long cultural history that has been buried by rapid urban development, and living in Berlin, Wang is a masterful and worldly storyteller with the unique ability to find overlap between the histories of the Chinese diaspora and the preexisting narratives embedded within the places where he lives or works. For Wang, migration is a means of traversing cultural references across time and space to find meaning in the now. 

The artist draws out disparate references and discursively relates them to one another in surprising ways. Wang nods, for instance, to emigrants from Inner Mongolia through the movement and gestures in his paintings—some strokes moving along the pull of gravity or the natural flow of the composition and others moving against. Bearing in mind the stark contrast between the history of Chinese and Western abstract painting, Wang’s style ruminates on fractured cultural identities and the fluidity of human migration through flowing gestures and plumes of oil, oil stick, and acrylic on canvas—offering conclusions at once intellectual and emotive on a topic that is otherwise quite slippery.

While doing research for One Piece, Wang visited Gustav Klimt’s Beethoven Frieze (1901–1902), a mural commissioned for the Secession Building in Vienna, Austria in which Klimt depicted Wagner’s literary interpretation of the swelling crescendos and opulence of Beethoven’s 9th Symphony as an expression of desire. As though with a gold thread, Wang draws unlikely parallels between the gold of Klimt’s goldleaf, the sandstorms of the artist’s childhood, and the gold rush that drew in the first generation of Chinese migrants to the United States. Here, gold becomes the intersection of desire and personal memories.

Wang’s painting Gum Shan (2024), for instance, takes its title from a Cantonese name given to San Francisco that translates to “gold mountain.” Gum Shan captures Wang’s vivid visions of the glimmer of hope that might motivate nineteenth Chinese prospectors arriving in California to mine gold—encouraged to marry and have children, sometimes just months away from their departure dates, they were meant to work hard and send their profits back home. As Wang puts it, “The inherent contradiction in the relationship between searching and desire is bondage.” The yearning for happiness can be a yoke along the path to autonomy.  

One Piece, a Japanese manga and animation, is a story of risk-taking, adventurous seafarers, each representing different civilizations and spirits. All characters in this tale are driven to find the ultimate treasure of a fabled prize known as the one piece—although its nature is shrouded in mystery, this treasure unifies the characters in a common trajectory. This idea pervades Wang’s practice, apparent in the fusion of his vast array of references as well as each individual story. Reverse Mountain (2024) is a surrealist landscape. Its water flows upward along a golden mountain range toward the important gateway to the New World. Calm Belt (2024) is the impediment posed toward those who want to enter this same world. In this peaceful vignette, there is neither wind nor currents that could propel a ship toward successful passage to the coveted destination. 

One Piece coincides with the release of Kaifan Wang’s first monograph. Eponymously titled, this in-depth exploration of the artist’s practice features essays by Xiaoyu Weng, Martin Herbert and Marta Gnyp.

Kaifan Wang (b. 1996, Hohhot, China) lives and works in Berlin, Germany. He studied in Shanghai and Florence before completing his Fine Arts education at the Universität der Künste, Berlin, Germany in 2022. Wang has exhibited his work in prominent group exhibitions, including Supercrowds/Super community, TANK Shanghai, China (2024); Bordercrossing: Possibilities and Interactions, Yuz Museum, Shanghai, China (2023); Briefly Gorgeous, Songwon Art Center, Seoul, South Korea (2023); Temporary Chapter, Wilhelm Hallen, Berlin, Germany (2022); Caused BY Hair, Shanghai Himalayas Museum, Shanghai, China (2019); and FLUXUS+Studios, FLUXUS+ Museum, Potsdam, Germany (2019). Wang was featured in Influential 2023: Forbes China Contemporary Young Artists and won the Ivan Juritz Prize 2022, funded by King’s College London and Mahler & LeWitt Studios in Spoleto, Italy. He also received the HVB KunstCUBEs One-Year Artist Grant. The first monograph of his work will be released in October 2024. 

About BLUM
BLUM represents more than sixty artists and estates from seventeen countries worldwide, nurturing a diverse roster of artists at all stages of their practices with a range of global perspectives. Originally opened as Blum & Poe in Santa Monica in 1994, the gallery has been a pioneer in its early commitment to Los Angeles as an international arts capital. The gallery has been acclaimed for its groundbreaking work in championing international artists of postwar and contemporary movements, such as CoBrA, Dansaekhwa, Mono-ha, and Superflat, and for organizing museum-caliber solo presentations and historical survey exhibitions across its spaces in Los Angeles, Tokyo, and New York. Often partnering with celebrated curators and scholars such as Cecilia Alemani, Alison M. Gingeras, Sofia Gotti, Joan Kee, and Mika Yoshitake, the gallery has produced large-scale exhibitions focusing on the Japanese Mono-ha school (2012); the Korean Dansaekhwa monochrome painters (2014); the European postwar movement CoBrA (2015); Japanese art of the 1980s and 1990s (2019); a rereading of Brazilian Modernism (2019); a revisionist take on the 1959 MoMA exhibition, New Images of Man (2020); and a survey of portraiture through a democratic and humanist lens (2023); among others. BLUM’s wide-reaching program includes exhibitions, lectures, performance series, screenings, video series, and an annual art book fair at its base in Los Angeles. BLUM Books, the gallery’s publishing division, democratically circulates its program through original scholarship and accessible media ranging from academic monographs, audio series, magazines, to artists’ books. Across the three global locations, BLUM prioritizes environmental and community stewardship in all operations. In 2015, it was certified as an Arts:Earth Partnership (AEP) green art gallery in Los Angeles and consequently became one of the first green certified galleries in the United States. The gallery is also a member of the Gallery Climate Coalition, which works to facilitate a more sustainable commercial art world and reduce the industry’s collective carbon footprint. BLUM is committed to fostering inclusive and equitable communities both in its physical and online spaces and believes that everybody should have equal access to creating and engaging with contemporary art.

Press Inquiries

Nicoletta Beyer
Communications and Editorial Director, New York
nicoletta@blum-gallery.com

Christie Hayden
Communications and Social Media Editor, Los Angeles
christie@blum-gallery.com

Agata Słowak: SZTUKĄ DIABŁA TŁUKĄ | Umar Rashid: The Kingdom of the Two Californias. La Época del Totalitarismo Part 2 | Kaifan Wang: One Piece

BLUM

Steve Turner is pleased to present Fasti, a solo exhibition featuring new paintings by Valencia-based Marina Iglesias that are inspired by the first century poem of the same title by Ovid which relates to the Roman calendar and holidays. Iglesias’ four paintings represent Ovid’s four focus on the months of January, February, April and June and they are stylistically inspired by Ovid’s words as well as medieval and Renaissance painting and tapestries, tarot cards and ancient scientific illustrations. Iglesias composed verdant landscapes as the setting for Ovid’s and her fantastical scenes.

Marina Iglesias (born in 1991, Puerto Real, Cádiz, Spain) earned a BA in Fine Arts and an MA in Artistic Production at the Universitat Politècnica de València. She has had solo exhibitions at Eligere, Seoul (2023); Steve Turner, Los Angeles (2022) and Tuesday to Friday Gallery, Valencia (2021).

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Steve Turner is pleased to present Amalgama, a solo exhibition by Joaquín Boz featuring new paintings which incorporate dynamic juxtapositions of scale, color, material and processes to create eye-dazzling compositions. The paintings range in size, from just 12 x 16 inches all the way to 10 x 15 feet. The juxtaposition of a small painting next to a large one, of one that is densely painted near to one that is sparsely painted, is part of Boz’s vision of creating harmony out of chaos. He carefully combined improvisation and thoughtful editing as he simultaneously worked on all of the paintings over several months. Larger patches of color were reduced in size as new colors were added while some areas were entirely overpainted. One passage might be glossy while another is flat. Some have lines of texture formed by the edge of a knife while others have irregular scratch marks. The overall amalgam is akin to confetti entirely filling the sky.

Joaquín Boz (born 1987) studied at Universidad Torcuato Di Tella, Buenos Aires under the direction of Jorge Macchi and has had solo exhibitions with Perrotin, Seoul (2023); Barro, Buenos Aires (2018 and 2022); Barro, New York (2024) and Steve Turner, Los Angeles (2015, 2017, 2018, 2020 and 2022). Boz lives and works in Buenos Aires.

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Steve Turner is pleased to present My Garden, a solo exhibition by London-based Tang Shuo featuring new paintings that are inspired by the remote and primitive Chinese village where Shuo spent his youth. According to the artist, Before I left, my entire world was this small village. My core values and worldview were shaped there. As I look back, I see it as the garden of my childhood, the place where I grew up, witnessing joy and sadness as well as good and evil. With my paintings I retrace the footsteps of ancestors who endured decades of turmoil in China. I aim to convey their struggle and their strength.

Tang Shuo (b. 1987, Guilin, China) graduated from Guangxi Arts University with a bachelor’s degree in Mural Painting and later studied Experimental Art at Central Academy of Fine Arts, Beijing. He has had solo exhibitions at Konig Gallery, Berlin; Beers, London (2024); Fabienne Levy Gallery, Geneva (2023); Ojiri Gallery, London (2023). This is his first exhibition with Steve Turner.

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Steve Turner is pleased to present High Rez, a solo exhibition by Tyrrell Tapaha featuring new weavings that focus on the fluidity and adaptability of Diné (Navajo) weaving for the artist’s remix of Diné culture and history with their own experiences. Using hand-processed materials and traditional iconography, Tapaha adds new symbols and ideas to those that precede them.

Tyrrell Tapaha (Diné, born 2001, Goat Springs, Arizona) is a multi-disciplinary artist whose practice is centered around weaving, textiles, and fiber arts. They grew up on the Navajo Nation, where intergenerational pastoral living was passed down by their grandfather, great-grandmother, and other relatives. Working as a sheepherder, Tapaha’s process begins with the raising of sheep and ends with a weaving made on a loom. Their textiles are made with raw natural animal and plant fibers, hand-spun and hand-dyed with pigments made from local flora. Their compositions interweave their feelings, memories and experiences with the rich history and imagined future of their community.

Tapaha earned a BA at Northern Arizona University and has had solo exhibitions at The Valley, Taos (2024) and Coconino Center for the Arts, Flagstaff, Arizona (2022). Their work has also been included in group exhibitions at Kasmin Gallery, New York (2024); New Image, West Hollywood (2024); James Fuentes, New York (2023); Museum of Indian Arts and Culture, Santa Fe (2023); Bard Graduate Center, New York (2023); Idyllwild Arts Academy, Idyllwild, California (2022) and Museum of Contemporary Arts, Flagstaff, Arizona (2021). Tapaha continues to live and work in the Four Corners Region of New Mexico and this is their debut solo exhibition with Steve Turner, Los Angeles.



Marina Iglesias: Fasti | Joaquín Boz: Amalgama | Tang Shuo: My Garden | Tyrrell Tapaha: High Rez

Steve Turner 

Sydney Acosta, Raghvi Bhatia, Molly Bounds, Daniel Crews-Chubb, Anthony Cudahy, Lenz Geerk, Rose Haserodt, Zoe Koke, Becky Kolsrud, Molly Larkey, Audrey Leshay, Kristy Luck, Erica Mahinay, Suchitra Mattai, Chris Oh, AJ Pineda, Otis Kwame Kye Quaicoe, mosie river, Betye Saar, Ian Stanton, Erin Wright and Brenna Youngblood.

Roberts Projects is pleased to present On Alchemy, a group exhibition that engages alchemy’s rich history and visual language to re-evaluate artistic production of the 21st century. Bringing together more than 20 individuals working in painting, sculpture and mixed-media, this exhibition positions artists as the alchemists of our era to generate new perspectives on contemporary art and meaningful insight into the creative process.

With origins dating back to ancient Egypt, the centuries-long pursuit of alchemists can be distilled into a singular objective: to perfect the human mind, body and soul by harnessing the power of forces beyond our understanding. This desire was represented in the form of the Philosopher’s Stone, an unknown, mythical substance with the ability to cure any disease, transmute base metals into gold and produce the elixir of immortality. While alchemy was demoted to a pseudo-science during the 18th century, its lasting impact on human civilization—and countless artists across generations—can still be measured in the multitude of belief systems that emerged in its wake, including astronomy, philosophy, psychology, theosophy and transcendentalism.

Like shining light on a prism, new and recent works by participating artists reveal the vast spectrum of alchemy’s contributions throughout time. The process of chrysopoeia is mirrored in works that transform everyday images, objects and materials into proverbial “gold.” Sculptures of metal and clay—created with methods that can be traced back to the Neolithic Age—convey sentiments that are wholly contemporary. Oil, water and crushed stones are manipulated into representations of (un)reality, indexes of observation and accumulations of gesture.

Together, the artists in On Alchemy embrace and uphold aesthetic innovation, material investigation and conceptual risk-taking as crucial acts of creative self-determination. By preserving the enduring spirit of this ancient tradition, we may yet find the answers that will carry us into a brighter future.

For additional information, please visit robertsprojectsla.com or contact Alexandria Ryahl, Associate Director at alexandria@robertsprojectsla.com or 323-549-0223.

Image: AJ Pineda, Raphael’s Ascent, 2024. Oil on canvas, 48 x 60 in (121.9 x 152.4 cm).

On Alchemy

Roberts Projects

Baert Gallery is pleased to anounce Twofold Vision, an exhibition of new oil paintings by London-based artist Sophie Birch, in her first solo show with the gallery.
Built up in veils of abraded colour, Birch’s layered compositions make visible their construction. She uses an array of implements – brushes, cloths, palette knives, sandpaper – to apply paint and scrape or grind it away until what remains are unstill records of addition and removal, revelation and obscurity, delicacy and force, thought and touch. Overlaid translucencies and textures appear like membranes between interior and exterior realms; their interactions producing moments of optical anomaly and disturbance, invoking stumbling fugue states, through which constellations of images merge and overlap.

Sophie Birch: Twofold Vision

Baert Gallery

We are excited to celebrate the incredible talent within our gallery at our upcoming exhibition, Dazzling Glamor of Creative Pursuit. This exhibition is a testament to the diversity and depth of artistic expression that we have fostered.

We understand that not everyone in the art community has had the chance to attend all our previous exhibitions. This carefully curated selection presents a unique opportunity to engage with the richness of our collective art history while experiencing a fresh and vibrant display. More than just a standalone event, this exhibition celebrates the culmination of past showcases at Mash Gallery, highlighting the enduring beauty and exceptional craftsmanship of each piece. It reflects the dedication and passion of the Mash artists who have poured their hearts into their work, capturing the timeless stories and artistic journeys that have unfolded within our walls.

Art and curation collide in this visionary exhibition. By selecting remarkable pieces from our extensive pool of previously exhibited artwork, we explore how the arrangement and placement of these creations can foster fresh interpretations and ignite new appreciation. Each artwork will be juxtaposed in thoughtfully curated settings that breathe new life into their narratives.

At Mash Gallery, we are deeply passionate about showcasing art for the sake of art, prioritizing creative expression over commercial considerations. Every piece featured in this exhibition has been meticulously handpicked from our artist roster, with many created exclusively for our gallery. This commitment to authenticity is a cornerstone of our mission, allowing us to celebrate the artistry and dedication of our featured creators.

This exhibition will feature a remarkable array of conceptual mixed media pieces, figurative works, along with unique sculptural creation that embodies tactile beauty and complexity of three dimensional art. A vibrant palette will be at the heart of this exhibition, as we explore the drama and intensity of bold, vibrant hues as well as the understated elegance of more muted tones. From the eye-catching and daring to the serene and contemplative, both the seasoned art lover and the general art community will enjoy the diverse variety of styles.

We look forward to welcoming you to Dazzling Glamor of Creative Pursuit and sharing in this extraordinary celebration of creativity.

Participating artists:

Christie Hopkins
Ramona Stelzer
Jon Pannier
Andy Harwood
Didem Yagci
Carrie Fell
Nelly Zagury
Ernesto Guevara
Jose Cacho
Emmanuel Meneses
Marko Gavrilović
Morgane Clavaud
Frank Hyder
Dual
David Jester
Jenny Vinter
Layda Rodriguez
Toni Martin
Jill Daniels
Massimo Damico
Maurizio Battifora
Anthony Liggins
Cabell Melina
Johannes Wessmark
Amanza Smith
Lola Okunola
Ivan Madrigal
Trew Love
Eva Carzul
Alberto Sanchez
Haleh Mashian
Julia Hacker

Dazzling Glamor of Creative Pursuit

Mash Gallery

A simple thematic change in Bagayan's artwork transports the view into alien worlds with big-eyed cosmic children. Bagayan coins this style 'Futurealism'. This series of portraits are painted with an eerie glitch effect. 3D glasses will be provided at the opening for enhanced viewing.

Ana Bagayan: Futurealism

La Luz De Jesus Gallery

Augmented Reality Exhibition
AR OPEN
At the Venice Public Art Walls

AR Open invites you to immerse yourself in the world of augmented reality artworks blending into the scenic views of Venice Beach – all with your own cell phone. AR OPEN features artworks by Anne Duk Hee Jordan, Jeewi Lee, Pixelated Realities, Dennis Rudolph, Benedikt Terwiel, Jonas Wendelin, and others.

At the heart of the exhibition stands the piece DIDDLE MY SKITTLE (LA), commissioned by the Goethe-Institut Los Angeles. This AR sculpture delves into themes of gender, power, and alternative world orders, transporting the world-famous Hollywood sign to Venice Beach. It serves as the backdrop for this unique, interactive, site-specific art experience. Jordan's work confronts traditional male dominance, featuring a flying manta ray-like creature that symbolizes female empowerment and resistance against patriarchal structures. Initially inspired by the Russian invasion of Ukraine, the piece has evolved to address broader issues of gender inequity and the male gaze in cities such as Moscow, Berlin, Hollywood, and beyond.

PLEASE NOTE: 
The site-specific installation is only accessible on location at the Venice Public Art Walls. This is a web-based project viewed via an AR-enabled smartphone or tablet (2017 or newer) using mobile data.
Attendees must bring their own smartphone or tablet.
No apps are needed to access the installation.
Upon arrival at the Venice Public Art Walls, open www.ar-open.com on your compatible smartphone or tablet.

The map and the works and further instructions on how to view all installations can only be found on the mobile version of the project: www.ar-open.com
All artworks are part of Augmented Studies, an AR program exploring the potential of augmented reality for contemporary art. Based in Berlin and operating internationally, Augmented Studies has produced numerous public art projects and has been running the exhibition series AR OPEN in Al-Zawraa Park in Baghdad since 2021 and in Berlin's Tiergarten since 2022. 

Tag us if you take screenshots of the Installations: IG @goetheinstitut_losangeles
THANKS!


AR OPEN Augmented Reality Exhibition

AR Open @ Venice Public Art Walls

Robert Longo: Shadows & Silhouettes launches Eikon, an ongoing series at Hamilton-Selway that celebrates the works of iconic artists who have left a lasting impact on the art world.

For decades, Robert Longo has explored the realms of hyperrealism and surrealism, crafting powerful visuals that blur the boundaries between shadow and light. Known for his mastery of charcoal—once describing his technique as “making images of paintings out of dust”—Longo’s work captivates viewers with its striking contrasts and profound depth. His dynamic compositions invite us to look beyond the surface and engage with the subtleties of silhouette, shadow, and motion he so vividly brings to life.

This show, Shadows & Silhouettes, centers on Longo’s drawings and lithographs, encouraging viewers to explore what lies beyond the visible. In his Men in the Cities series, isolated figures are captured mid-motion, suspended in expressive, almost sculptural poses that defy gravity. In his wave series, Longo draws us into the crashing power of water, its force amplified by stark contrasts of light and shadow. His animal works, like the striking image of a tiger, reveal a raw, almost mythic quality, rendering creatures with dynamic detail that conveys both grace and strength. Through these artworks, Longo continues to engage us with his mastery of movement, shadows, and silhouettes.

Join us at Hamilton-Selway Fine Art for the debut of Eikon: Robert Longo on November 14th, 2024, from 5-8 pm. RSVP today at gallery@hamiltonselway.com to be among the first to experience Shadows & Silhouettes—and to acquire an iconic artwork for your collection.



Robert Longo: Shadows and Silhouettes 

Hamilton Selway

William Wray like you’ve never seen him!  Think paint by numbers on steroids. It’s a conceptual art show that is sure to please and delight all. 

William will also be showing some of his signature pieces. Opening the day after Thanksgiving. Friday November 29th at 7pm. Be our guest and be inspired. 

William Wray: The Dumb Show

Baldwin Avenue Gallery

Emil Rutenberg bronze sculptures and figurative drawings in “NOT FADE AWAY…the 4th sequel,” Bright, Pop-style Collages in “Sans Concept” by Wendy Tigerman, and “Nothing Artificial: A Rebuke of AI" experiential fine art photographs in light by Thomas Wheeler

TAG December Exhibition Dates: Dec 4, 2024 – Jan 3, 2025
Solo Artists Gallery and small artworks Reception: Sat Dec 7, 5 – 8 pm
Solo Artists Walkthroughs: Sat Dec 14, 2 – 4 pm
TAG Celebrates 100 Years of Surrealism Awards Reception: Fri Dec 13, 5 – 8 pm 

With studios in L.A. and Cape Town, South Africa, Emil Rutenberg’s NOT FADE AWAY...the 4th sequel, includes bronze sculptures and figurative drawings and will brighten two galleries this December. Debuting in her first solo at TAG, Wendy Tigerman’s unforgettable collages in Sans Concept will keep viewers occupied. "Nothing Artificial" A Rebuke of AI is Tom Wheeler’s experiential fine art photographs, which are also detailed landscape studies that capture the essence of SoCal.
 
The shows open Wednesday, December 4, and the gallery reception is Saturday, December 7, from 5 – 8 pm. Artists will be in attendance, and this reception is also a preview for TAG’s celebration and tribute to 100 Years of Surrealism Echoes of the Unconscious, curated by Seta Injeyan. Many TAG Artists will attend, presenting small artworks 2024 in the Sky Gallery, gift-sized artworks available to take home immediately.
 
Emil Rutenberg’s NOT FADE AWAY...the 4th sequel represents Rutenberg’s perception of the human spirit through the human form in all mediums, whether sculpting, sketching, or painting. Emil Rutenberg is a South African-born artist who settled in Los Angeles in 1983. Renowned Artist and Teach Joe Blaustein remarked, “Emil’s sketches are a powerful and rich blending of skill with intuitive and spontaneous strength. His works exhibit a freshness, a beguiling charge. And are a pleasure to see.”
 
Wendy Tigerman is a mostly retired copywriter, graphic designer, comedy broadcast producer, and creative director in advertising and entertainment. Sans Concept is a solo show of her visual work. “First thought, best thought” guides me, and I celebrate the mundane as spiritual. I plunk down an image, respond to that, and then respond to that until the collage makes me nod and exhale deeply." 
 
Tom Wheeler's “Nothing Artificial” A Rebuke of AI, documents surreal objects in the rugged and often remote ‘wilds’ of the western U.S. that act as Tom’s studio: “The unspoiled deserts, mountains, and forests of spectacular wilderness areas, public parklands and in some cases, private tracts, offer a myriad of photo opportunities, while the deep, dark nighttime in these places offer even more: solace, awe, and something akin to a private showing of the majestic natural world that is offered to us.”
 
 “TAG presents three superb solo shows by new and returning TAG members. TAG small artworks are immediately available to gift or take home, and don’t miss TAG’s Celebration of 100 Years of Surrealism, a unique juried invitational in the South Gallery, curated by artist Seta Injeyan,” said Mark Bade, Senior Gallerist, The Artists Gallery. “December promises to be a memorable month for TAG’s exhibition history,” Bade said.

Emil Rutenberg: NOT FADE AWAY…the 4th sequel | Wendy Tigerman: Sans Concept | Thomas Wheeler: Nothing Artificial: A Rebuke of AI

The Artists' Gallery (TAG)

NOON Projects is honored to present “Emotional Alchemy,” a solo exhibition featuring a selection of abstract landscapes by Gail Factor, drawn from her extensive career spanning over five decades.

Gail Factor (1942–2013) was a pioneering painter whose landscapes were deeply inspired by her surroundings in Carmel, California, the Big Sur Peninsula, and later, Santa Fe, New Mexico. Her oeuvre reflects distinct periods shaped by personal experiences, the natural world, and significant historical events.

In the 1960s, Factor studied painting and drawing at the University of Southern California, where her signature artistic style began to emerge. An emotive and introspective artist, she channeled her observations and reflections into her abstract work, using painting and drawing as a medium to process profound personal and societal emotions. Throughout her life, Factor’s practice navigated various phases marked by relationships, wars, her physical location, and internal challenges, translating these experiences into vibrant, transcendent canvases.

“Emotional Alchemy” features a selection of small pastel drawings created in the 1960s during her time at the University of Southern California. Inspired by a burgeoning community of mid-century artists in Los Angeles, these pieces depict her developing artistic style and mark the beginning of her exploration into non-representation.

Factor's unique approach to abstraction draws from a rich tapestry of influences. In 1963, she was awarded a fellowship to study in Europe, absorbing classical painting, Impressionism, and the emerging post-war abstraction movement. Back in California, she worked alongside the artists of the Bay Area Figurative Movement of the 1950s and '60s, among contemporaries Richard Diebenkorn and Henri Villierme. Upon relocating to Santa Fe, she became part of the artistic lineage of luminaries like Georgia O'Keeffe and members of the Transcendental Painting Group.

"Emotional Alchemy" highlights significant periods in Factor's 50-year career, showcasing her evolution from early pastels in the 1960s to pieces inspired by the Gulf War and her expansive work in Santa Fe. While her paintings primarily focus on landscapes, they were not created en plein air but instead emerged from her inner landscape, reflecting emotional depth and transcendence. Factor's career is defined by distinct periods and styles, yet her distinctive hand and approach to abstraction remains constant. Factor’s paintings transform the splendor and complexity of the human experience into something beautiful and sublime, inviting viewers to explore and immerse themselves in her vision of heaven and earth.

Gail Factor: Emotional Alchemy

October 26 – December 21, 2024
Opening Reception: Saturday, October 26, 2025 6–9 PM

508 Chung King Court, Los Angeles CA 90012

For more information email info@noon-projects.com


Gail Factor: Emotional Alchemy

NOON Projects (2nd Location)

Diane Rosenstein Gallery announces Apparitions a solo exhibition of new paintings by Los Angeles-based multimedia artist Marty Schnapf. Since 2019, Schnapf has developed a unique visual language with deconstructed compositions anchored in the figure and the natural world. Created in his Chinatown studio, these mostly large-scale paintings foreground figures in elaborately articulated pastoral landscapes and vibrant architectural interiors. This is Marty Schnapf's third solo exhibition with our gallery.

Schnapf’s paintings evoke sensual and psychological space: figures overlap, or a single figure assumes various irreconcilable positions. Apparitions continues an ongoing body of work of emotionally complex tableaus which explore the fluid interplay between the physical and psychological dimensions of human connection, isolation, and independence.

This artist describes his painting practice as a way to communicate with people closely and enter into empathic relationships. “I think of apparitions as an externalization of the innumerable selves we carry within. In much of my work over the last few years I have considered the aspect of these selves that represent our past and future potential. Here, I'm more focused on the arrival of a being that is at once of us and at the same time wholly apart from anything we understand about ourselves.”

Marty Schnapf works in a variety of visual and time-based disciplines, but in recent years has focused on his “foundation” in painting and drawing. Having spent several years developing performance-based installations and events, his investigations in these mediums, particularly dance, continue to inform his work today. Cognizant of the audience’s role in the activation of meaning, he builds multi-layered works that unfold slowly, rewarding prolonged viewing with ever-changing revelations. Schnapf regards his paintings as time-based works. He believes, “there is no better avenue by which to approach the inconstant emotional and psychological space experienced in dream, desire, memory, and premonition.”

Born in Indiana, Marty Schnapf (USA, b. 1977) earned a Bachelor of Fine Arts from Wittenburg University in 1999, specializing in Painting, Printmaking, and Sculpture. He has received solo exhibitions with Diane Rosenstein Gallery, Los Angeles; PERROTIN, Shanghai; Wilding Cran Gallery, Los Angeles; UNIT LONDON and Alice Black Gallery, both in London, UK. He was a recent artist-in-residence at XENIA Creative Retreat, Hampshire, UK (2023). Schnapf’s paintings have been included in group exhibitions with Wilding Cran Gallery, Los Angeles (2024); GAVLAK Gallery, Los Angeles (2023); PLATFORM (in partnership with David Zwirner Gallery, 2022); and A.MORE, Milan, IT, among others. In Taiwan, he installed a public sculpture at the Soulangh Cultural Park in Tainan City (2018); and he received the 2016 Rema Hort Mann Foundation ACE Grant for “Night Fever,” a sculptural installation in downtown Los Angeles. The artist lives in Highland Park, CA, with his partner, the sculptor Cammie Staros.

____

Diane Rosenstein Gallery announces Assembly — a solo exhibition by Connecticut-based artist Carl D'Alvia (USA, b. 1965). A selective overview of figurative sculpture, installed here in two gallery spaces, Assembly reunites a body of work created over the past decade. This is D’Alvia’s inaugural exhibition with our gallery and his solo debut in Los Angeles.

Carl D’Alvia is a deep lover of art history, and he works in a sculptural idiom that is decidedly hyper-visual, meticulously handmade, and labor intensive. His naturalistic forms -- marble and bronze birds, dogs, magical characters, and even aged timber -- possess an energetic essence that we recognize and relate to real world analogs. ‘There is a fascination with surfaces and the leveling and transformation of totems old and new…into D’Alvia’s unique Minimalist-inflected Baroque-Surrealist language,’ observed curator and writer Dan Nadel (2016).

We are tempted to stroke Barboncino, 2019, a white marble tabletop work shrouded in elaborately carved fur that obscures any dog features like a nose or tail. ‘Every sculpture lives…carpeted in a dizzying surface,’ writes gallerist Lauren Wittels in her 2022 catalogue essay. Especially Rocket, 2022, a bronze birdlike sculpture that appears to be fully enveloped or clad in leaves rather than feathers. Each vein is detailed adding a graphic, Neo-Baroque energy to the surface. Like Barboncino, we do not see explicitly avian features, talons or a beak, but sense the enfolded wings, and imagine that Rocket is destined to take flight. The manifest energy under the veiled exterior is palpable and at times painful.

D’Alvia explains that he is ‘very compelled by this idea of veiling, and this sort of paradox of giving a surfeit of rich visual information on the exterior, but then in the end obscuring the interior of the piece [and] this led to a major theme in my work, that of contradiction or opposition.’ More than a harmonious object the ideal for Carl D’Alvia is an appropriately contradictory one, energized dialectically by its opposites. Drawing on sources that include megalithic monuments, toy design and the Baroque, the work encapsulates seemingly antithetical motifs such as minimal/ornate, industrial/handmade, comic/tragic, progress/destruction and attraction/repulsion.

Carl D’Alvia (USA, b. 1965) was awarded the Rome Prize for Visual Arts (2012-2013) from the American Academy in Rome, IT; and he received a B.F.A. from the Rhode Island School of Design (1987). Recent solo shows include Hesse Flatow, Nathalie Karg, and Regina Rex, in NY; and in Paris at Galerie Hussenot and Galerie Papillon. D’Alvia’s sculpture was included in exhibitions at Anton Kern Gallery, The Journal Gallery, The RISD Museum, Yerba Buena Art Center, and Feature Inc. The artist lives and works in West Cornwall, CT.

Marty Schnapf: Apparitions | Carl D’Alvia: Assembly

Diane Rosenstein Gallery

The City of Glendale’s Library, Arts & Culture Department, in collaboration with the Jet Propulsion Laboratory (JPL), an operating division of Caltech and a Federally Funded Research and Development Center for NASA, is pleased to present a new exhibition titled Blended Worlds: Experiments In Interplanetary Imagination, at the Brand Library & Art Center. 
 
Through a series of art and science collaborations, Blended Worlds explores the landscape of human relationships with our ever-expanding environment. The exhibition includes artists collaborating with a team of JPL scientists and engineers to present a vision of the future that invites the viewer to consider the impact of greater connectedness with nature and its ability to foster a renewed sense of wonder and curiosity with our planet and the cosmos. Spanning a range of multimedia and cross-disciplinary works from 11 artists, Blended Worlds features contributions from David Bowen, Darel Carey, Ekene Ijeoma, Annette Lee, Ada Limón, Bruce Mau, Viktoria Modesta, Shane Myrbeck, Moon Ribas, Raffi Joe Wartanian and Saskia Wilson-Brown.

The exhibition will be on view September 21, 2024 – January 4, 2025. For more information, visit: BrandLibrary.org/Gallery
 
Blended Worlds is among more than 70 exhibitions and programs presented as part of PST ART. Returning in September 2024 with its latest edition, PST ART: Art & Science Collide, this landmark regional event explores the intersections of art and science, both past and present. PST ART is presented by Getty. For more information about PST ART: Art & Science Collide, please visit pst.art.

JPL acknowledges the generous support of the Glendale Arts & Culture Commission and the Glendale Library, Arts & Culture Trust.

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Image: Bruce Mau, Mosaic Manifesto (detail), from A Letter to the XO Planets series, 2024. Courtesy of Factum Arte and Bruce Mau Studio.
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Free, limited parking is available in Brand Park. An accessible entrance and accessible parking for cars with a disabled parking placard or license plate is located on the East side of Brand Library.

For additional information about this event, please contact Brand Library & Art Center at (818) 548-2051 or send us an email at Info@BrandLibrary.org.


Blended Worlds: Experiments In Interplanetary Imagination

Brand Library & Art Center

‘L.A. Story’ is a group exhibition inspired by the 1991 romantic comedy in which Steve Martin's character searches for meaning in a city famously clichéd as a cultural vacuum. Referencing specific scenes from the film and enduring tropes of Los Angeles, the exhibition will feature artworks by iconic and contemporary Los Angeles artists. ‘L.A. Story’ is realized in dialogue with Steve Martin. 

Join us for the opening reception on Thursday, 12 September, 6 – 8 pm.

L.A. Story

Hauser & Wirth | WEHO

A Prologue for Chicago
November 16, 2024 – January 4, 2025

de boer (Los Angeles) is delighted to present "A Prologue for Chicago," which serves as an introduction to the diverse and dynamic artists living and working in Chicago, Illinois. This exhibition features the works of eight Chicago-based artists—Rachael Bos, Salvador Dominguez, Tali Halpern, Noelia Towers, Cameron Spratley, Marina Ross, Liza Jo Eilers, Maeve Coughlin, and Jeffly Gabriela Molina—setting a critical tone and establishing an intellectual context that invites viewers to engage with the complex narratives that characterize the contemporary art scene in the city.

Salvador Dominguez, Noelia Towers, and Jeffly Gabriela Molina have embraced Chicago as their adopted creative sanctuary. Towers, who hails from Barcelona, Dominguez, originally from Zacatecas, Mexico, and Molina, from Venezuela, draw profound inspiration from their lived experiences, weaving intricate connections between their personal histories while evoking memories, daydreams, and reflections on the past. Tali Halpern, with her generational ties to Chicago, further enriches this exhibition by providing valuable insights into the city's evolving identity. 

Cameron Spratley’s dense paintings critically engage the violence of American life through combined languages sourced from media and graffiti. Similarly, Liza Jo Eiliers' “Wet T-Shirt” paintings use a lens of nostalgia - American culture from the 80s and 90s - ultimately contemplating and re-positioning the surrounding cultural impact of celebrity, sex, and media. Rachael Bos’ oil paintings tap into the fascination of organized sports, reflecting her interest in how systems and culture shape our identities and understanding of the world. 

Maeve Coughlin and Marina Ross both dissect the idea of identity. Coughlin’s sublimation prints on chiffon are built into hand-made monoliths. The materials of wood, nails, and stains are reminiscent of folk art, while the contrasting imagery illustrates ephemeral queries constituting self. Ross’ oil paintings co-opt imagery from the American fairytale The Wizard of Oz (1939) as a foil to earnestly explore the connection between loss, home, and belonging. 

"A Prologue for Chicago" invites visitors to immerse themselves in the narratives presented by these artists, fostering reflection on their diverse backgrounds and artistic trajectories. This exhibition transcends the mere display of individual works; it serves as an invitation to engage with the broader narrative of contemporary art in Chicago.

__________________________________________________________

Screening at de boer, Los Angeles
Marc Horowitz: Extremely Limited
November 16 - January 4, 2025

de boer (Los Angeles) is excited to present a screening of Extremely Limited. The video documents a site-specific public performance by Los Angeles-based artist Marc Horowitz. Screened in de boer gallery’s west gallery the video will be on view along with a single oil painting from November 16, 2024 through January 4, 2025.

“Extremely Limited” interrogates the pressures of time and productivity in contemporary society, exploring themes of chaos, control, loss, and recuperation. Inspired by Byung-Chul Han’s critique of burnout culture, the performance examines the struggle to maintain positivity and maximize achievement amid hustle culture. Through humor and improvisation, Horowitz challenges conventional notions of art and audience engagement, creating an immersive experience that reflects the relentless demands of modern life and encourages reflection on time, productivity, and human experience.

Marc Horowitz’s site-specific public performance, “Extremely Limited,” was part of LUMINEX 3.0 in downtown Los Angeles. The performance occurred in a confined 10’x 10’ room in a parking lot, featuring a large fan on one side and a serving window on the other. Horowitz’s task was to complete a small sculpture within three minutes, package it, and serve it through the window to a ‘customer.’ Failure to do so triggers the fan, causing chaos until the artwork is delivered. This process repeats throughout the performance.

*Image: Tali Halpern, blood runs throu, 2024, handwoven fabrics on a TC2, wool, beads and rhinestones, 30 x 27 in. / 76.20 x 68.58 cm.

A Prologue For Chicago | Screening of Marc Horowitz: Extremely Limited

De Boer Gallery

Gallery Luisotti is thrilled announce its fall Pacific Standard Time exhibition, Mark Ruwedel: Los Angeles, Landscapes of Four Ecologies. September 20 – November 23, 2024. This exhibition will celebrate Ruwedel’s decade long project, which has never before been shown in all four parts.

Mark Ruwedel’s Los Angeles, Landscapes of Four Ecologies includes photographs and handdrawn maps, capturing the Los Angeles Basin’s distinct natural environments. Ruwedel’s photographs find evidence of fires, floods, landslides, and coastal erosion, all entangled within the city’s urban infrastructure. Landscapes of Four Ecologies takes its name from Reyner Banham’s 1971 publication, Los Angeles: The Architecture of Four Ecologies, yet surveys those interstitial spaces Banham downplayed: the river, the coast, the hills and canyons, and that which is“haunted by the desert” (in Joan Didion’s words.)

In this Pacific Standard Time exhibit of nearly three dozen carefully crafted pictures, one will find many scenes containing fragments of long-forgotten endeavors. Like an archaeologist, Ruwedel does his best to tread lightly so that others might have the experience of uncovering for themselves faint traces of that which precedes and may still survive us. If we look intently, we might be struck by how brief and small – though still consequential – is our time on earth. The ultimate beauty in these pictures may be the way they, like the writings of Carey Mc Williams, Joan Didion, Mike Davis, Jared Farmer etc., leave us with a deeper and less settled sense of our complex habitat.  

Image: Mark Ruwedel, Pacific Palisades #5, 2015 

Mark Ruwedel: Los Angeles, Landscapes of Four Ecologies

Gallery Luisotti

Rusha & Co. is proud to present 'When It Rains, I Pour' a group exhibition curated by Keziah Toscano.

Artists Featured: Pui Tiffany Chow, Chloe Diaz, Eric Dwight Hancock, Gwen Hollingsworth, Chris Johst, Kate Harlowe Jones, Humberto Maldonado, Lyndsey Marko, Jean Nagai, Rebekah Rubalcava, Ari Salka , Sienna Shields, Zoe Toscano, Natalie Wadlington, & Daniel Wang.

When It Rains, I Pour

Rusha & Co

The Mirror Cycle

Every day has its spectrum. 
Even still the unwilling narcissist. 
I may see some, I may be one.
I see myself in every face and figure.
Human kind - real or imagined.
Turn the lice down low.

Spent the last two years painting everyday. 
So much time to myself I became selfish. 
So much time with figure & faces I mirror myself into them or from them. 
A daily cycle. 
Tonic for toxic. 
I can hide my tensions into this reality.  
Mirror toxic.
I can reflect my friction onto a different face. 
Mirror tonic.
Hours self-reflecting nagging negs to resemble what I find beautiful. 

I am outrunning a beast. 
Echo is calling and repeating the opiate echoic trumpet. 
I can stop to face the mirror, however absorbed, to keep me here.

- Tim Presley

TIM PRESLEY // THE MIRROR CYCLE // GALLERY SADE LOS ANGELES // DECEMBER 14 2024 - JANUARY 5 2025

THE WORKS WILL BE ON VIEW EVERY SATURDAY AND SUNDAY FROM 1-6PM UNTIL JANUARY 5TH + BY PRIVATE VIEWING APPOINTMENTS AT ALL OTHER TIMES

FOR INQUIRIES + PRESS + PRIVATE VIEWING APPOINTMENTS CONTACT SADE-LA@SADE-LA.COM

GALLERY SADE LOS ANGELES IS LOCATED AT 204 S AVENUE 19, LOS ANGELES, CALIFORNIA, 90031

@SADELOSANGELES  @TM_PRESLEY


TIM PRESLEY: THE MIRROR CYCLE

SADE

The Hammer Museum at UCLA is delighted to announce Christina Ramberg: A Retrospective, the first comprehensive survey in 30 years devoted to the unequivocally distinctive, female-focused work of American artist Christina Ramberg (1946–1995). Organized by the Art Institute of Chicago, where it was on view earlier this year, the exhibition presents a rare opportunity for visitors to experience more than 100 works across a range of media including paintings, quilts, and archival ephemera. The exhibition will be presented at the Hammer from October 12, 2024, to January 5, 2025.

Ann Philbin, director of the Hammer Museum, said, “One hallmark of the Hammer Museum’s exhibition program is presenting retrospectives for previously under-recognized artists. Christina Ramberg, who died at the age of 49, had a brief but provocative and influential career. I am pleased that the Hammer will bring this artist’s work to West Coast audiences as the L.A. venue for this touring exhibition.”

Christina Ramberg: A Retrospective features several key pieces from public and private collections, many of which have never been on view prior to this exhibition. From intimate early paintings focused on the pattern and form of women’s hairstyles and garments, to mature work that pictures the body barely holding together, the exhibition presents Ramberg’s most iconic imagery while offering a rare opportunity to see all phases and elements of the artist’s 20-year career. 
 
Ramberg pushed boundaries with her paintings while questioning idealized body types and gender presentation. She is best known for these stylized paintings of fragmented female bodies, but she also experimented with quilting, printmaking, and drawing. Among her contemporaries, she served as an archivist, note-taker, slide-maker, collector, and diarist. Sketchbooks and 35mm slides from Ramberg’s informal archive of ephemera offer a fuller understanding of the artist’s practice and how she digested an enormous breadth of source material to create her edgy yet empathetic body of work. 

The exhibition is accompanied by a fully illustrated catalogue (published by the Art Institute of Chicago and distributed by Yale University Press), available at the Hammer Museum’s store.
 
CREDITS
Christina Ramberg: A Retrospective is organized by the Art Institute of Chicago. The exhibition is curated by Mark Pascale, Janet and Craig Duchossois Curator, and Thea Liberty Nichols, associate research curator. The presentation at the Hammer is organized by Paulina Pobocha, Robert Soros Senior Curator, with Ashton Cooper, curatorial assistant.
 
This exhibition is supported by Cartier.

Christina Ramberg: A Retrospective

Hammer Museum

Join us for a conversation with curator Hans Ulrich Obrist to celebrate the launch of the new publication ‘Gustav Metzger: Interviews with Hans Ulrich Obrist’ (2024) at Hauser & Wirth Downtown Los Angeles. 

On the occasion of ‘Gustav Metzger. And Then Came the Environment,’ the first-ever Los Angeles exhibition and the second major US presentation dedicated to Gustav Metzger’s oeuvre, please join us on Sunday 15 September at 11 am for a conversation with curator Hans Ulrich Obrist, Artistic Director of the Serpentine, and Kate Fowle, Curatorial Senior Director at Hauser & Wirth.  

The talk marks the launch of this new publication – ‘Gustav Metzger: Interviews with Hans Ulrich Obrist’ – on the occasion of the opening of the exhibition presented in conjunction with the Getty’s PST ART initiative, ‘Art & Science Collide.’ 

This event is free; however, reservations are recommended. Please register here: https://www.eventbrite.com/e/book-launch-and-talk-hans-ulrich-obrist-on-gustav-metzger-tickets-971283594377
 

About Hans Ulrich Obrist 
Hans Ulrich Obrist (b. 1968, Zurich, Switzerland) is Artistic Director of the Serpentine in London, and Senior Advisor at LUMA Arles. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show ‘World Soup’ (The Kitchen Show) in 1991, he has curated more than 350 shows. 

Obrist’s recent publications include ‘Ways of Curating’ (2015), ‘The Age of Earthquakes’ (2015), ‘Lives of the Artists, Lives of Architects’ (2015), ‘The Extreme Self: Age of You’ (2021), and ‘140 Ideas for Planet Earth’ (2021), ‘Edouard Glissant: Archipelago’ (2021), ‘James Lovelock: Ever Gaia’ (2023) ‘Remember to Dream’ (2023), and ‘Une vie in Progress’ (2023). 

About the Exhibition 
‘And Then Came the Environment’ presents a range of Metzger’s scientific works merging art and science from 1961 onward, highlighting his advocacy for environmental awareness and the possibilities for the transformation of society, as well as his latest creative experimental works, created in 2014. The exhibition title comes from Metzger’s groundbreaking 1992 essay ‘Nature Demised’ wherein he proclaims an urgent need to redefine our understanding of nature in relation to the environment. Metzger explains that the politicized term ‘environment’ creates a disconnect from the natural world, manipulating public perception to obscure pollution and exploitation caused by wars and industrialization, and that it should be renamed ‘Damaged Nature.’  

Exhibited for the first time in Los Angeles, works here include the earliest film documentation of Metzger’s bold chemical experiments on the South Bank in London (‘Auto-Destructive Art: The Activities of G. Metzger,’ directed by H. Liversidge, 1963); his first mechanized sculpture with Liquid Crystals—’Earth from Space’ (1966)—and the stunning, large-scale projection, ‘Liquid Crystal Environment’ (1966), one of the earliest public demonstrations of the material that makes Liquid Crystal Displays (LCDs), now omnipresent in our computer, telephone and watch screens.  

‘And Then Came the Environment’ also presents early kinetic projects Metzger developed in the Filtration Laboratory of the University College of Swansea in 1968 (‘Dancing Tubes’ and ‘Mica Cube’); various iterations of his projects against car pollution including the model ‘Earth minus Environment’ (1992); and the Light Drawing series (2014), using a plotter machine, a technology he first used in 1970, with fiber-optic light directed by air or hand. 

The exhibition will be complimented by a new short film created by artist Justin Richburg, who animated Childish Gambino’s 2018 hit ‘Feels like Summer,’ which references climate change. Richburg’s piece was inspired by and responds to Metzger’s 1992 essay ‘Nature Demised.’ The animation represents the first time Metzger’s ideas have been directly expressed through a new medium, thus reflecting his interests in ongoing transformation and his conviction that younger generations were the most essential, urgent audiences for his work. In 2012, five years before his death at the age of 90, Metzger wrote: 
 
‘The future of the world is what we are after. We start with the young and then when the young are twelve, fifteen, and then twenty-one, they can enter politics, and if they have got this initiation/introduction to key issues...it will make an enormous difference to the future of the world.’ 

‘And Then Came the Environment’ coincides with two major European institutional exhibitions devoted to Metzger’s oeuvre and contributions: ‘Gustav Metzger. All of Us Together,’ curated by Hans Ulrich Obrist, Vassilis Oikonomopoulos and Arthur Fouray, at LUMA, Arles, France (30 June 2024 – onwards) and ‘Gustav Metzger,’ curated by Susanne Pfeffer and Julia Eichler, at Museum für Moderne Kunst (MMK), Frankfurt, Germany (27 July 2024 – 5 January 2025). 

About the Publication 
On the occasion of the exhibition, Hauser & Wirth Publishers will release ‘Gustav Metzger: Interviews with Hans Ulrich Obrist.’ Drawing from more than two decades of conversations with curator Hans Ulrich Obrist, artistic director of the Serpentine, this richly illustrated volume offers a comprehensive overview of Metzger’s life, approach to art, and political activism. With a candor that comes from speaking to someone who knows him well, Metzger discusses his childhood in pre-Second World War Nuremberg, his participation in and co-organization of the 1966 Destruction in Art Symposium (DIAS) after his move to London, and his visionary thinking about environmental destruction, among many other topics. This panoramic book, which is complemented with a new, rigorously researched chronology, is a vital resource for Metzger scholars and newcomers alike. The publication is edited by Karen Marta with the support of Alexander Scrimgeour, managing editor and Michaela Unterdörfer, executive director of Hauser & Wirth Publishers.  

About PST ART 
Hauser & Wirth is part of PST ART as a Gallery Program Participant. Returning in September 2024 with its latest edition, 'PST ART: Art & Science Collide,' this landmark regional event explores the intersections of art and science, both past and present. PST ART is presented by Getty. For more information about 'PST ART: Art & Science Collide,' please visit pst.art. 

Book Launch and Talk: Hans Ulrich Obrist on Gustav Metzger

Hauser & Wirth DTLA

Born in Nuremberg to Polish-Jewish parents, Gustav Metzger (1926 – 2017) fled Nazi Germany to England via the ‘Kindertransport’ when he was 13. When he began his art studies in 1945, he entered a world inspired by scientific experimentation, just as the Atomic Age—in all its paradoxes—dawned. 

Over seventy years, through his writing, calls to action and art, Metzger wrestled with the contradictions of his time by championing how both ‘auto-destruction’ and ‘auto-creation’ in science, ecology, politics and art were equally important tactics to address the state of humanity. 

‘Gustav Metzger. And Then Came the Environment’ is the artist’s first solo exhibition in Los Angeles and his second major show in the US. The title comes from Metzger’s 1992 essay ‘Nature Demised’ where he proclaims an ‘urgent need to redefine notions of nature and the environment,’ because ‘environment’ is a term that ‘has been hijacked by the forces that are manipulating the world’ and it should be renamed ‘Damaged Nature.’ 

The show features seminal early experiments developed with scientists, such as ‘Dancing Tubes’ (1968) developed in the Filtration Laboratory of the University College of Swansea and ‘Liquid Crystal Environment’ (1965) which was one of the earliest public demonstrations of what would become Liquid Crystal Displays (LCD)—now omnipresent in our computer, telephone and watch screens. For the first time an animation has also been commissioned in response to Metzger’s writings. Artist Justin Richburg—who created the animation for Childish Gambino’s hit ‘Feels like Summer’—will produce a short in response to Metzger’s ‘Damaged Nature’ manifesto.  

The exhibition will be accompanied by a Hauser & Wirth Publishers book featuring decades of conversations between Metzger and curator Hans Ulrich Obrist.   
  
‘Gustav Metzger. And Then Came the Environment’ will be presented in conjunction with the Getty Museum’s citywide PST Art initiative, ‘Art & Science Collide.’ 

-

New York-based artist Firelei Báez has achieved wide acclaim for her paintings, drawings and immersive installations that explore the influences of the Afro-Caribbean diaspora against the backdrop of colonial histories and narratives.

This September, in her first exhibition with Hauser & Wirth, Báez will present ambitious large-scale canvases, drawings and her first-ever bronze sculpture at the gallery’s Downtown Arts District complex. In vivid and richly layered works, Báez depicts fantastical figures and alternative worlds. Femme figurations entwine with verdant plant life, intricate hair arrangements and elaborate textile designs that overlay found historical documents. Báez’s exuberant paintings imagine new worlds and narratives, drawing on beauty to reprocess the effects of violence and trauma. Destabilizing the categories of gender, race and nationality, she consistently pushes the boundaries of established histories and knowledge. A wide range of disciplines and cultural references are incorporated into her work, including art history, science fiction, pop culture, anthropology, folklore and fantasy.

The exhibition at Hauser & Wirth Downtown Los Angeles coincides with two museum surveys, ‘Trust Memory Over History,’ at Kunstmuseum Wolfsburg Germany (6 June – 13 October 2024) and ‘Firelei Báez,’ at Vancouver Art Gallery Canada (2 November 2024 – 16 March 2025), and follows the artist’s first UK exhibition ‘Sueño de la Madrugada (A Midnight’s Dream)’ at South London Gallery (28 June – 8 September 2024). 

Gustav Metzger: And Then Came the Environment | Firelei Báez:  The Fact That It Amazes Me Does Not Mean I Relinquish It

Los Angeles, CA) —The Hammer Museum is pleased to announce Breath(e): Toward Climate and Social Justice, a groundbreaking exhibition that centers environmental art practices addressing the climate crisis and anthropogenic disasters, and their inescapable intersection with issues of equity and social justice. Part of Getty’s region-wide initiative PST ART: Art & Science Collide, Breath(e) is curated by artist Glenn Kaino and guest curator Mika Yoshitake and features more than 100 artworks by 25 international artists. The sprawling exhibition will fill the majority of the Hammer’s galleries and outdoor spaces, and includes specially commissioned works by Mel Chin, Ron Finley, Cannupa Hanska Luger, Garnett Puett, and Lan Tuazon. The exhibition will be on view at the Hammer from September 14, 2024, through January 5, 2025, and is presented in partnership with Conservation International.
 
Hammer Museum director Ann Philbin said, “When I first began talking with Glenn Kaino and Mika Yoshitake about an exhibition that would respond to the climate crisis, it was 2020—at the peak of the COVID-19 pandemic and the racial reckoning in the United States in the wake of the murder of George Floyd. Both the metaphorical and the literal practice of breathing—the right to breathe—was at the top of our minds. Breath(e) poignantly and intelligently spotlights the work of artists who address the urgent concerns of climate and social justice.”

Breath(e) spotlights 25 intergenerational and transdisciplinary artists whose practices encompass photography, multimedia, augmented reality, painting, living organisms, and more. The exhibition seeks to address the existential dangers posed by the climate crisis and to advocate for a nonhierarchical worldview influenced by ancestral indigenous knowledge, which envisions all elements of nature as one family rather than as materials for use and exploitation by humankind.
 
A number of artists have created works commissioned specially for Breath(e):
Multidisciplinary artist and enrolled member of the Three Affiliated Tribes of Fort Berthold, Cannupa Hanska Luger’s site-specific, multi-part installation Sovereign relates to his ongoing Future Ancestral Technologies, which blends indigenous wisdom with science-fiction speculations.
Garnett Puett, a sculptor and fourth-generation beekeeper, creates “Apisculptures” in collaboration with a bee colony. Puett has created a structure in which visitors may safely enter and witness the bees’ gradual creation of a sculpture
Inspired by systems aesthetics, maintenance, and feminist ecological art of the 1960s, Filipino artist Lan Tuazon will present an outdoor installation made from five techniques of material invention using sculpture as a test-site of repair. Tuazon’s work considers how plastic waste operates within the circular economy and invites viewers to donate their own plastics to be shredded and made part of the installation. In this work, sustaining change can be a few acts that serve ecological beliefs.
Environmental activist Ron Finley, also known as the “Gangsta Gardener,” will present a large-scale garden installation outside of the museum’s bookstore and galleries.
Known for his commitment to making socially engaged conceptual art that addresses the most urgent issues of our time, Mel Chin’s project IOV (Interpretation of Vision, pronounced “eye of”) attempts to dismantle division and promote empathy, which he considers the first step in a collective undertaking to fight climate change and persistent social injustice. This multi-stage commission began with an open call for stories from people whose lives were changed by an extraordinary phenomenon, resulting in artworks derived not from the artist’s own vision, but instead honoring and elevating the experiences of the respondents.
Some works in the exhibition illustrate what scholar Rob Nixon calls “slow violence,” disastrous governmental or corporate practices which may not immediately reveal their impact on communities or ecosystems. Artist and activist LaToya Ruby Frazier’s photo series Flint is Family depicts the water crisis that affected Flint, Michigan, a city predominantly comprised of Black and Brown communities. Scientist and artist Brandon Ballengée makes portraits of marine species that have been driven to extinction by human-caused disasters such as the Deepwater Horizon oil spill, using the oil itself as his medium. Performance and installation artist Yangkura traces the migratory movement of trash and debris that originated in Southeast Asia and South Korea and washed ashore on Japan’s Tsushima Island—polluting their ultimate destination while leaving the originating waters clean. The artist creates “monsters” from the debris, who are trying to find their way back to their home. Vietnamese-American artist Tiffany Chung, herself a political and climate refugee, creates large-scale vernacular architectural models that consider forced migration and human displacement resulting from climate change—including projections that portions of Vietnam will be fully consumed by rising sea levels by 2050.
 
The exhibition further questions anthropocentric realities that are at the crux of modern life and imagines alternate modes of agency. Some of these works incorporate cutting-edge technology, such as Mika Tajima’s New Humans II, which utilizes machine learning to activate an undulating pool of black magnetic liquid, whose movement is produced by patterns based on data sets sourced at a scale beyond human comprehension. Los Angeles-based artist Rob Reynolds has created a massive rendering of an iceberg—viewed via augmented reality—affixed to the side of the office tower which abuts the museum and was once the headquarters of Occidental Petroleum. The iceberg upon which the work is modeled at one time had a footprint roughly the size of Westwood Village, where the Hammer is located; it now no longer exists. Michael Joo, in collaboration with digital artist Danil Krivoruchko and Snark.art, generated a collection of more than 10,000 NFTs modeled after the crystalline structure of coral reefs; the underlying algorithm was subsequently utilized by scientists at the University of Hawai’i to create 3D prints derived from calcite crystal formations, the basis of coral exoskeletons and reef structures, which they used to study the development of fish species reliant on coral reef habitats.
 
In conjunction with Breath(e), the Hammer is piloting the international Bizot Green Guidelines, which provides expanded climate condition standards for gallery temperature and humidity based on recent conservation research. Adoption of these updated protocols will significantly reduce the Hammer’s HVAC energy use, the largest component of its carbon footprint. The Hammer will continue to apply these guidelines for future exhibitions.
 
Breath(e) is presented in partnership with Conservation International, a global nonprofit dedicated to sustainability. Melanie Janin, Chief Communications & Marketing Officer at Conservation International, said, “Conservation International has a long history of partnering with organizations and unlikely allies such as the Hammer Museum for positive impact: taking risks that others deem too great; incubating ideas that others have not considered; and breaking down silos that others view as unavoidable. We are inspired by the courageous inquiry of the participating artists in Breath(e), and hopeful that audiences will be emboldened to conserve our planet through urgent action after experiencing this powerful exhibition at the Hammer.”

Breath(e): Toward Climate and Social Justice 

Freeways segregate our neighborhoods. Yet, there is more to the story of freeways than their socio-political impact. They are also aesthetic structures in the background of our lives. Our art puts them in the foreground, displaying how we are left negotiating the gaps between bumpers and the oddness of signage. Freeways post a set of propositions, testing certainty. They regulate us, encouraging our impulses as well. A freeway is close to us like the graffiti we ignore. Art is a re-awakening force when we translate a freeway into ink and paper and when we re-narrate a landscape that we occupy and carry in our heads like an alphabet. Our artwork is a narrative that hopefully leads to more storytelling. Freeways, superficial and profound, are more than their individual features, more than their comparison to other sites, and more than their differences. Freeways are more fragment-like and more about their intersections and sudden junctures and disruptions. They are intermediate places for negotiating among ourselves in discrete conditions. And too often, they are sites of dislocation and tragedy.

ARTISTS:  JUAN DELGADO + THOMAS MCGOVERN
CURATED BY: JUAN DELGADO + THOMAS MCGOVERN

CONTACT:  Xrstine Franco,  The LMF Gallery + Darkroom 
909.788.0176 txt / message or via email thelmfla@gmail.com

A Freeway’s Concrete Certainty 

The LMF Gallery & Darkroom

Ian Douglass, Joel Otterson, Jess Goehring, Cheyann Washington, Liv Aanrud, Brittany Kiertzner, Uzumaki Cepeda, Monica C. LoCascio, Kristin Reger, Renata Daina, Daniela Parhisi, Preston Douglas Boyer, Lucien Dante Lazar, Lissy Funk 

Wonzimer is proud to present Sometimes A Wind Blows, a group exhibition exploring the diverse possibilities of textile art. The title of the show, taken from David Lynch’s Blue Velvet soundtrack, reflects the sweeping, ephemeral meditation of material on display. 

Each artist showcases a wide range of techniques and media, from embroidery, weaving, painting, printing, and knitting to experimental manipulations of linen, velvet, or silk. Bringing together legacy artists with new generations of artists, this show explores the enduring appeal of textile art, as both tangibly luxurious and mysterious. 

Installation, sculpture, and the inherent relationship to the surface of painting are all invoked in this exhibition. The disparate works coalesce into a shared sense of this romantic freedom offered by textiles: of the ethereal yet deeply felt whisper of wind that we interface with through fabric. An explicit sense of craft pushed into novel forms, emerges as a crucial concern in this diverse field. 

From this expansive perspective, the works on display invite viewers to engage with the tactile nature of textiles, with shimmering significance in the contemporary zeitgeist. Exploring the environmental implications of material choices and through-lines of historical and cultural connection, Sometimes A Wind Blows offers a panoramic perspective on the world of textile art. 

Sometimes A Wind Blows

Wonzimer

Vielmetter Los Angeles is pleased to present Monday’s Child, Math Bass’s second solo exhibition with the gallery. The exhibition will be on view from November 16th, 2024, to January 11th, 2025.

In the exhibition, the artist presents a new selection of paintings, the latest iterations of their iconic Newz! Series. These paintings are activated and accompanied by sculptural translations of similar poetic themes in the form of a series of three apple sculptures, a concrete-coated sculpture entitled “Full Body Parentheses,” and a sound installation. Monday’s Child finds exuberance in ambiguity and asks the question: where might meaning lie in a field of unlimited language?

The nine paintings, all oil on linen, draw on the artist’s bespoke lexicon of symbols. These symbols resemble letters, bodily forms, architectural fragments, animals, bones, and other items.  Bass arranges and rearranges these symbols iteratively on each canvas. In the artist’s compositions, each symbol is an empty space of meaning, filled in by the context in which it finds itself. Repetition of these symbols, rather than codifying them into one solid signification, exposes the difference at the heart of each iteration; there is always a gap in meaning, something unnamable left out of and left over in the viewer’s reading.

In the selection of paintings in Monday’s Child, some compositions – the titular Monday’s Child, Thursday’s Child,  and About About Face – seem to toy with representation, approaching the revelation of a referent without fully going there. Yet others go in a different direction altogether, suggesting infinite space or expansion in an imaginary field.

The familiarity of the symbols in the Newz! series only heightens their uncanny quality. Indeed, familiarity is its own theme in the artist’s work, finding expression through eerie renditions of Americana, commercial nostalgia, and mid-century design.

Bass’s mother was a teacher, and apple forms were common in their childhood home, an everyday motif of growing up as well as the emblem of nearby New York City. The apple sculptures in Monday’s Child stand for both original sin and the infamous apple on the teacher’s desk. The tall concrete-coated sculpture, Full Body Parentheses, reimagines a form from a thrift store lamp in Palm Springs, transforming it into a larger, more abstract, and experiential piece that serves as punctuation for both the paintings and the bodies that enter the gallery. Meanwhile, the sound installation features field recordings of crows that the artist came upon during a walk in Los Angeles, adding a stark background to the themes of positive and negative space in the show.

Before the artist’s last exhibition at the gallery in 2021, their mother passed away, inflecting the work in that show with themes of loss. Prior to this exhibition, the artist found themselves expecting their first child, which brings a further sense of expansiveness, mystery, and anticipation into the current work. The two exhibitions together form a sort of yin and yang, representing two sections of a spiraling life cycle.

Math Bass: Monday's Child

Vielmetter Los Angeles

Lowell Ryan Projects is pleased to present Caitlin Carney’s first solo exhibition titled i would find you in any lifetime. Exploring the boundaries between representation and perception, this series of minimalist, color field paintings depict Carney’s study of the sky particularly at sunrise and sunset from her studio in Morongo Valley, CA. Informed by a ritualistic practice of observation, Carney’s works capture temporal movements of both light and emotion, longing and contentment.  

Having recently relocated her studio from Los Angeles to the Mojave Desert, the vastness of the sky and seasonal rhythms of the land have become a central focus of observation. With each painting Carney engages with a particular time of day—observing the white vapor her breath produces against the cold desert air as the first orange slivers of sunshine pierce the night sky or witnessing the light shifting to soft shades of blue as the sun sets behind the horizon line, her feet still feeling the warmth from the parched desert floor. A color palette emerges as a reflection of both the recorded visual image and the physicality of the experience. Carney pours swaths of color directly onto canvas in her outdoor studio—warm golds linger near pastel blues as they shift into pools of lavender and darken into deep magentas and Prussian blues. Each painting, cradled behind blond wood stretcher bars, is then wrapped in a translucent polymer scrim, producing a palpable sense of transience. 

The works in i would find you in any lifetime blur the line between the tangible and the ephemeral. Viewing these works from different angles and depths produces shifts in perception of color as well as changes in focus. While each piece marks a particular time and experience they are illusive in grasp, evoking a sensation of sentiment while avoiding the immutable. This series, created in homage to a loved one, captures a visual archive of the light during a particular period in Carney’s life, serving as both a documentation of the world around her and the emotion contained in that space. 

Caitlin Carney (b. 1994) is a California-based artist living and working in Los Angeles and Morongo Valley, CA. She received a Bachelor of Arts degree in Communication Studies from the University of San Diego in 2017 and a Master of Fine Arts degree from Otis College of Art and Design in 2022. She has exhibited her work in group exhibitions at galleries including The LODGE, Los Angeles, CA; Ki Smith Gallery, New York City, NY; and Soft Times Gallery, San Francisco, CA. This is Carney’s first exhibition with Lowell Ryan Projects. 

____

“Men come and go, cities rise and fall, whole civilizations appear and disappear—the earth remains, slightly modified. The earth remains, and the heartbreaking beauty where there are no hearts to break...I sometimes choose to think, no doubt perversely, that man is a dream, thought an illusion, and only rock is real. Rock and sun.” ― Edward Abbey, Desert Solitaire: A Season in the Wilderness

Lowell Ryan Projects is pleased to present Rock and Sun, an exhibition featuring recent plein-air paintings by artist Rachel Rickert. Inspired by the permanence of rock and the ephemeral nature of human existence, Rickert expands the narratives of her practice by utilizing handmade paints, which she meticulously crafts from rocks and sediments collected directly from the landscapes she depicts. The paintings in Rock and Sun embody her evolving exploration of her subject matter by intensifying the connection between the artwork and its origin. This is Rickert’s second solo exhibition with the gallery.

The works in this series are painted on-site in various locations throughout the Southwest region of the United States. Rickert’s approach begins with an intuitive observation of these environments. She instinctively gathers stones, appreciating their weight, texture, and natural hues, and imagining the unique colors they might yield. The rocks and sediments are then arduously ground by hand back at her studio, transforming them into pigments, before she returns to the site to capture a vision of the landscape that initially inspired her. The rugged, earthy tones of Santa Fe’s mesas, the serene, sweeping plains of Eagle Valley in Nevada, and the sprawling, sunlit vistas of California’s Mojave Desert become infused with their own unique, untamed beauty in the hand of Rickert’s painterly gestures.

With the utilization of her own handmade pigments, a blurring between the painted image and the physicality of the terrain emerges. This process allows the illusion of representation to dissolve, transforming the artist into a conduit between nature and its depiction. Each painting, small in scale, becomes a memory—a provocation of emotion and awe—standing as a testament to the magnificence and fragility of the natural world.

Rachel Rickert was born in 1990 in Bethesda, MD, and lives and works in Joshua Tree, CA. Rickert received her MFA from the New York Studio School in 2015, and her BFA from Washington University in St. Louis in 2012. She has exhibited with galleries including Lowell Ryan Projects, Los Angeles, CA; Danese/Corey, New York, NY; Vardan Gallery, Los Angeles, CA; Alice Gauvin Gallery, Portland, ME; Auxier Kline, New York, NY; Jill Newhouse Gallery, New York, NY; The Painting Center, New York, NY; and Capsule Shanghai, Shanghai, China. She has participated in residencies including ACI Artists, Writers and Scholars Residency, Corciano, Italy; Jentel Artist Residency, Banner, WY; and the Vermont Studio Center Residency, Johnson, VT. Her works are represented in public and private collections such as the Xiao Museum of Contemporary Art, Shandong, China, and the Boise City Department of Arts and History, Boise, ID. Rickert’s work has been reviewed and discussed in publications such as Two Coats of Paint, The Paris Review, Art Spiel, Canvas Rebel, The New Criterion, and Art Critical.

Caitlin Carney: i would find you in any lifetime | Rachel Rickert: Rock and Sun

Lowell Ryan Projects 

FOYER-LA is excited to share Patrick Lakey’s new project, END FALL NIGHT BURIAL, on
view December 7, 2024 – January 11, 2025.

“Four photographs, one of which is a double.
I began each of these works some years ago and returned to them during our pandemic. I used
that time and space to finish them, making each into what you see today.

I consider these artworks ‘singular’ as they are not part of a larger body of work, or conceptual
scheme. They each stand (or fall) on their own and do their thing. ‘Something is happening’ as
one says.

I thank you for taking the time to look.”
—Patrick Lakey, 2024

Patrick Lakey: END FALL NIGHT BURIAL

FOYER-LA

and spiral tines . 

December 7, 2024 – January 11, 2025. 

Nyke Shen, Talya Petrillo, Chinning Liu, Emory Hall. Group exhibition. 4478.

Opening Reception: Saturday, December 7, 6pm - 9pm.

_ _

If only a heart has its reasons. Instead, only signs: spires and flutters, sparks and shouts. Sighs and Good Timing. (And bad dreams.) Still more than the motion of bellies and brains. And with all the anti-gravitational effects of a marionette’s celestial movements. It’s happening right now. Linen bells ringing in the opposite direction of an open mouth. So still high-strung, with all that pulling teeth and plucking hair. Pinched, threaded, and wound. Like the mēkhanḗ, the deviced pulley and rope, that makes Iphigenia into a deer, or hangs Antigone in a cave—the suspended animation of taking flight (in order to survive). “Deus ex machina,” some machinations of a feather, floating stiff as a board. With the gizzard to match the gut feeling of grinding my bones to make your bread. Where fingers, nails; and spiral tines.

That’s why the birds are fed but you never see them eat. Because all the spikes sustain their hovering, the shells stave-off their silver lining. A loving antidote for pins and needles, for something drained coming-back to life. Or at least a little something to look at while staring at the photo you took. Watching the waters of an image. A nostalgia for the Last night. For morning in melancholia--That’s it, in what way names,

  , if only the Heart had its reasons,
    and spiral tines	
                               Pale, 	             when the Jello holds the motion of animals

    where bad habits are borrowed memories.

When a loose tooth, less teeth,,
                                                       —or a lump       (sum: 7yearsuntil. a breath)		
    
 and à cage to grow-up in, for flying still

                                       , those pearly whites
more ribs, lungs

Never share my teeth
never think my thoughts                                   
, whoever does this

Feeding birds with the sound of water sobbing,
							
after All,
when it’s always just drainage for angels
when blood waters,
                                Thicker than air. but, 
        what birds plunge through is not the intimate space

. or a paradise lost, or paradise next time

__________

Image: Emory Hall. "Half Shell." 2024. [Photo courtesy of the artist.]

______________________________

Library:

Myung Mi Kim. "[Exordium: ‘In what way names’]" Commons (University of California Press, 2002)

Pizarnik, Alejandra. “[All night I hear the noise of water sobbing.].” Translaated by Patricio Ferrari and Forrest Gander. See, from The Galloping Hour: French Poems. Copyright © 2018 by Myriam Pizarnik de Nesis.

Artaud, Antonin. Artaud le Mômo (1946-8). “Et ce fut toujours vidange pour ange,” (“And it was always drainage for angels,”).

Rilke, Rainer Maria. Untitled. Translated by Stephen Mitchell. (See, Paris Review: Issue 32, Winter 1981).


and spiral tines: Nyke Shen, Talya Petrillo, Chinning Liu, Emory Hall

Reisig and Taylor Contemporary

Michael Kohn Gallery is pleased to announce The river returns nothing of what it takes an exhibition of new works by London-based, Chinese artist Shiwen Wang. For her first solo exhibition with the gallery and in the United States, Wang presents a series of 10 new abstract compositions that piece together the artist’s recurring explorations of natural life and its impermanence. The exhibition will be on view from October 26 through December 20, 2024.

In The river returns nothing of what it takes, Wang engages with the relationship between humanity and the natural world, or as she describes it: “the unity of cosmic life.” The river functions as a metaphor for loss, fleeting time, and collapse intertwined with creation. There is a vanitas quality to the paintings; a subtle rot of human interference lurking beneath the iridescence. In the diptych Belakang Mati, an expansive blue is continued into a narrow rectangular panel below where the belly of a fish unseams open in putrefaction– the viewer bearing witness to its decay.

Wang’s dynamic picture planes emerge from her acute understanding of the fundamental fluidity between artificial and natural light. Her earth-toned and aquatic palettes summon an intuitive command of color, while layers of impastoed oils, powder pigment, beeswax, and fragile egg tempera approximate an aged patina. Her subject matter appropriates the familiar – fish, decaying leaves, a boat wreckage – and translates it into the unfamiliar. These recognizable, repetitive relics visualize the compression of time and create complex ecosystems which toggle between the natural and synthetic.

In spatial harmony, Wang’s work fuses together the relationship between the past and the present, and organic cycles of decay and rebirth. The artist explains the exhibition title references a line found in a novel, written by French author Sylvain Tesson, titled “A Life to Sleep Outside”《츱흼트퇀》: “The river returns nothing, not even the echoes of a cry.” Wang writes, “The violence and suffocating helplessness in the face of life’s impermanence aligns perfectly with the emotional landscape I aim to evoke in my paintings. The river is not just a natural element, but a container—both a tangible material and a symbol.”

Shiwen Wang: The river returns nothing of what it takes

Kohn Gallery

Buchanan and Rosler both work across several mediums yet maintain political engagement at the core of their practice, utilizing video, photography, sculpture, painting, and performance to highlight injustice and inequality throughout their bodies of work. The two artists connected in California in the early 1970s, recognizing in one another a distinct multidisciplinary approach to political artmaking and commitment to feminism. The exhibition includes works from two of Rosler’s major series – The Rewards of Money and Off the Shelf – alongside collage works, paintings, and drawings by Buchanan. In these works, both Buchanan and Rosler probe the decaying center of late-stage capitalism and the failed promise of the American dream.

Nancy Buchanan and Martha Rosler: Entropy 

Charlie James Gallery

Overduin & Co. is pleased to present the gallery’s first exhibition by Michael Bala.  

“The world is still deceived with ornament.”

With ornament. With the found object. With everyday patterns. With their associations, structures, and functions. With their shadows. Michael Bala’s first solo exhibition, Eye Comfort, references the early-twentieth century lighting system sold by the Chicago-based National X-Ray Reflector Company, a system that boasted the ability to illuminate retail and residential spaces by concealing lamps behind ornamental fixtures.

Bala, too, conceals his sources. Umbrellas, red oak balusters, and heads-up pennies are just a few of the materials Bala repurposes to assemble this fourteen-piece exhibition. Whether peeled off the pavement or salvaged from the dump, these objects resculpt relations to the world; for instance, bicycle horns become wall-mounted, their fluting bells flare vertically into illuminated sconces. Bala’s interest in and ambivalence toward perspective crafts new visual orders for these otherwise forgotten objects. Tricks of the eye give way to slips of sense. Bala’s deceitful decoration expands the gaze towards touch, a multisensory dialogue that pushes and pulls in more ways than one.

Knock, knock, knock. Eyes seem to rap on the wood providing structural and conceptual support to these artworks. More than a verification of materials, this inquiry is in line with the age-old apotropaic practice of knocking on wood. Offered in return is a warding and protective cast stimulated by the simple engagement with everyday objects, decorative architecture, or ornamental readymades. Here, crown molding plays the role of an exit sign acting as the threshold between what is in and out. Pinstripes accent the contours of the cornices’ bodywork, however for Bala, delineating what adorns and what composes is a futile exercise. Slick as Nails (exit #1), the first of three patterned emergency exits, takes its modified title from a Robert Pollard song. Eye Comfort heeds the song’s starting lines as instruction: “Be drawn to what's wrong and believe everyone / Go ahead touch your nose & off you go up and run.”

	- Isabel Casso, 2024

Michael Bala (b. 1994, Maui, HI) is a Los Angeles based artist working in sculpture. Bala received a BFA from the University of California, Los Angeles. Bala’s work centers around the reframing of found objects and salvaged architectural fragments. Overlaying structure and ornament, Bala’s material interventions construct a typology of ever mutable forms from society’s cast-offs. Bala’s work has been included in exhibitions presented by Clearing in Los Angeles, Clearing in New York, Castle in Los Angeles, Tiffany’s Door in Los Angeles, Et al. in San Francisco, and Paul Soto in Los Angeles.

For more information and images, please contact the gallery at office@overduinandco.com.     

Gallery hours are Tuesday through Saturday, 10 am to 5 pm, or by appointment.


Michael Bala: Eye Comfort

Overduin & Co.

Babst Gallery is pleased to announce "Sun and Its Living Shadow", a solo exhibition by Sophia Flood featuring paintings and works on paper. The exhibition will be on view from November 16, 2024 to January 11, 2025, at 413 South Fairfax, Los Angeles.
 
Flood’s works explore how the passage of time is both experienced by the body and made visible on a landscape. Late afternoon sunlight refracted on her studio floor, for example, or the space under a giant tree outside its door are moments embedded within her paintings, both in form and in feeling. This source material roots Flood’s paintings in the physical world even as it is abstracted and obscured. 

Turning an image over in her head, Flood works the canvas in search of forms associated with a core, embodied memory. Shapes and marks emerge as she slowly builds up and removes material. Past iterations of the painting reappear through her often subtractive process, helping to guide its evolution. As subtle shifts in color and texture convey the painting’s many stages, time is compressed into a rich, variegated surface. 

Once completed, these layered, tactile images are at once solid and fleeting, occupying both positive and negative space. In "Intertidal", Flood recalls a labyrinthine salt marsh riverbank at low tide. Using dry, opaque blue and clay- colored marks that weave in and out of linear blue stains, she conjures a subterranean world that is constantly shifting.
 
Sophia Flood (b. 1984, Ipswich, MA) lives and works in Los Angeles. Flood received her Bachelor of Fine Arts from the University of Massachusetts, Amherst, and her Master of Fine Arts from the University of Wisconsin-Madison. She was a 2016 participant at the Skowhegan School of Painting and Sculpture, and a 2017 resident at the Marble House Project in Dorset, VT. Her work has been exhibited at Shulamit Nazarian, Los Angeles, CA; Curve Line Space, Los Angeles, CA; Elsa Lee Bruno, Los Angeles, CA; Sadie Halie Projects, Minneapolis, MN and Brooklyn, NY; Torrance Shipman Gallery, New York, NY; and Herter Gallery, Amherst, MA. She has been written about in Two Coats of Paint, Hyperallergic, and The Coastal Post.

Sophia Flood: Sun and Its Living Shadow

Babst Gallery 

Anabel Juárez presents an installation of new ceramic and fused glass sculptures that pay homage to the labor of flower vendors who work everyday day selling bouquets on street corners across Los Angeles. The exhibition reflects on the ways in which both human and natural worlds are shaped by migration, adaptation, resilience, and survival.

____

Enveloping viewers with expansive solitude, the nine haunting landscapes in Quiet Days travel through a range of seasons, climates, and topographies. Sarah Lee’s moody scenes occur on one plane, presenting a whole story in a single image and evoking a sense of total completeness.

Anabel Juárez: From Sunrise to Sunset | Sarah Lee: Quiet Days

Anat Ebgi | Mid-Wilshire

Speedy Gallery is excited to invite you to the opening of our annual Holiday Group Show, featuring significant works from the past two years, and the launch of the Director’s Gallery, a unique curatorial project led by Anatalia Bianchi that showcases newly represented artists. This coinciding dual exhibition highlights both local and global artists, exploring spirituality, self-reflection, and the fragmented nature of existence through diverse mediums, from abstraction to portraiture.

Please join us on November 23rd, 2024, from 5:00 to 10:00PM for a chance to meet the artists and experience art with the community!

What to Expect:
5:00PM Doors Open – Enjoy a complimentary signature cocktail, red and white wine
Live Painting – Witness artist Magdalena Kluth in flow.
Live Jazz – Two 45-minute sets by a local funk jazz band, one at 6:30PM and the other at 8:00PM.
Dining Nearby
Birdie G’s – A fine dining restaurant with Eastern European and Jewish influences, offering unique specialty cocktails.
Le Great Outdoor – Outside dining with elevated casual eats, featuring a French flair on California cuisine and a distinct wine list.
Parking – Spaces are limited at Bergamot Station so ride share is highly encouraged.

Speedy Gallery Featured Artists:
Jessalyn Brooks – @jessalynbrooks
Sean Crim – @seancrimart
Makoto Egashira – @makotoegashira_artwork
Shinichi Hara – @shinichihara_art
Tae Hue – @taehue_
Sylvie Kettle – @kettlepaints
Moeko Maeda – @moekomaeda
Cheryl Molnar – @cherylmolnarart
Laura Rokas – @laurarokas
Serge Serum – @sergeserum
Kei Sugiyama – @sushiyama_kei
Hiro Sugiyama – @hiro_sugiyama_enlightenment

The Director’s Gallery Featured Artists:
Vivien Ebright Chung – @vivienpaints
Virginia Deaver – @virginia.deaver
Magdalena Kluth – @magdalenakluth
Allison Lu Wang – @awangggggg

Holiday Group Show & Launch of the Director's Gallery

Speedy Gallery 

Nüart Gallery is pleased to announce Form and Flux, a solo exhibition of new sculptures by Emmett Culligan, on view from December 7, 2024, through January 11, 2025, with an opening reception on Saturday, December 7, from 4:00 to 6:00 PM.

In Form and Flux, Emmett Culligan redefines the possibilities of steel, a material synonymous with permanence and rigidity, by transforming it into something pliable, fluid, and alive. Through an innovative process, Culligan inflates hollow steel forms in a kiln at approximately 1800 degrees Fahrenheit, creating sculptures that appear to expand, contract, and interact in a state of constant transformation. The result is a series of works that challenge perceptions of materiality and explore the tension between solidity and flux.

Culligan’s practice prioritizes form over material, using steel as a vessel to examine contrasts: strength and softness, permanence and transience, structure and transformation. These sculptures evoke a dynamic interplay between rigidity and motion, inviting viewers to consider the fluid nature of reality itself. Each piece captures a moment in flux, where boundaries blur, and steel—traditionally unyielding—becomes a symbol of change.

The artist’s exploration of material manipulation draws inspiration from the delicate balance between strength and fragility, akin to the process of glassblowing, though he works exclusively in steel. His method begins with conceptual drawings and foam models, focusing on form’s potential to communicate tension and harmony. The resulting sculptures evoke a figurative quality, reflecting the dynamics of human interaction and the ephemeral aspects of existence.

Culligan’s artistic journey began with a shift from painting to sculpture during his undergraduate studies, leading to a BFA in sculpture from the University of Colorado at Denver. His work spans public art installations and intimate gallery pieces, recognized nationally and internationally for its ability to transform everyday forms into profound reflections on the act of making and being.

Form and Flux is an invitation to contemplate the malleability of form, material, and meaning. Through these works, Culligan offers viewers a deeper connection to the physical world and the intangible energy that animates it.

Nüart Gallery is located at Bergamot Station, 2525 Michigan Avenue, Santa Monica, CA. Gallery hours are Tuesday through Saturday, 11 AM to 5 PM. For more information, high-resolution images, or interview inquiries, contact 424.900.3888 or email fineartla@nuartgallery.com.

Emmett Culligan: Form and Flux

Nüart Gallery

Exploring the uncanny within architectural spaces, Anna Freeman Bentley cuts through nostalgia with striking psychological intensity. The meta-fictional scenes of her paintings for this exhibition are the culmination of the past few years of work inspired by the artist’s visit to a film set, shot on location in an historic house museum in Jeddah, Saudi Arabia.

Anna Freeman Bentley: Complete Reality

Anat Ebgi | Fountain

Sean Kelly is pleased to present Europa / America, Candida Höfer’s first solo exhibition at the Los Angeles gallery, curated by renowned architects Sharon Johnston and Mark Lee of the Los Angeles-based firm Johnston Marklee. Inspired by German-Prussian architect Erich Mendelsohn’s 1929 publication, Russland Europa Amerika: Ein architektonischer Querschnitt (An Architectural Cross Section), Johnston and Lee have selected fourteen photographs taken by Höfer between 1993 and 2015. Through Höfer’s carefully composed photographs of interior spaces primarily intended for entertainment, study, and worship, Europa / America explores sites that convey social significance in North American and European society. This novel grouping reveals a compelling impulse throughout Höfer’s oeuvre: to capture how architecture illuminates the cultural histories of a particular time and place. There will be an opening reception on Saturday, November 16, from 5 to 7 PM. The artist will be present.

Europa / America builds upon Höfer’s 2023 exhibition at Sean Kelly, New York, Heaven on Earth, curated by architect Toshiko Mori. While Heaven on Earth probed the vertical relationship between architecture and its transcendent, otherworldly connotations, here, Johnston and Lee have established a linear dialogue. The works on view span from West to East, with the front half of the gallery featuring North American interiors, and the back half consisting of European locations. The geographic dichotomy and shift mirrors Höfer’s journey in documenting North American spaces, after years of focusing on her native Europe. Despite this dichotomy, the photographs are united by Höfer’s distinct attention to symmetry, lighting, and an evocation of both vastness and intimacy, transforming each location into its own, complex world.
Erich Mendelsohn’s monograph, Russland Europa Amerika: Ein architektonischer Querschnitt (An Architectural Cross Section), features images of architecture from New York City to Moscow after World War I accompanied by concise, poetic descriptions with a political bent. The works in Europa / America follow a similarly contemplative migration, a feeling that is heightened by their striking lack of human subjects. One of Höfer’s signature aesthetic choices, this absence inspires one to conceptualize the ways in which a space— whether a quiet library in Connecticut, or an ornate church in Düsseldorf—may inform the behaviors, movements, and psyches of its inhabitants over centuries.

The juxtapositions in Europa / America highlight one of Mendelsohn’s primary themes— that while economic, political, and social differences between Europe and North America persist, the societies are fundamentally intertwined, with one preceding another. Höfer’s Museum of Modern Art New York XII, 2001, and her Teatro Comunale di Carpi IV, 2011, exemplify this concept. The former, built in 1929, offers a glimpse into the quintessential modern American art institution, while the latter, a neoclassical Italian theatre constructed in 1860, evokes an older, more traditional cultural experience. The historical, transnational relationship is central to the exhibition, and to Höfer’s overall practice. With each photograph, the artist invites new eyes to witness places that will always be, in some way, of the past.

Höfer’s internationally recognized work has been featured in solo exhibitions at the Macao Museum of Art in China, the Kunsthistorisches Institut Bonn and the Schloss Derneburg Museum, Derneburg in Germany, the North Carolina Museum of Art, the Museo Amparo in Mexico, the Hermitage Museum, St. Petersburg in Russia, the Irish Museum of Modern Art, Dublin, the Kunsthalle Basel and the Kunstmuseum Luzerne in Switzerland and the Louvre in Paris amongst others. Her work has also appeared in group exhibitions at The Museum of Modern Art, New York; the Power Plant, Toronto; the Kunsthaus Bregenz, Germany; Museum Ludwig, Cologne; the Guggenheim Museum, Bilbao; and the Rollins Museum of Art, Florida. Höfer participated in Documenta XI and represented Germany at the 2003 Venice Biennale. In 2018, the Sony World Photography Awards recognized Candida Höfer for her outstanding contribution to photography and she was recently awarded the 2024 Käthe Kollwitz Prize. Her photographs are in major public and private collections worldwide.

Image: Candida Höfer, Pierpont Morgan Library New York IV 2001, C-print, paper: 59 13/16 x 73 5/16 inches © Candida Höfer, Köln / VG Bild-Kunst, Bonn 2024 Courtesy: the artist and Sean Kelly, New York/Los Angeles

Candida Höfer: Europa / America

Sean Kelly Los Angeles

Lisson Gallery is pleased to announce a new exhibition by multi-disciplinary artist Hiroshi Sugimoto, marking his first show in Los Angeles in over a decade. The presentation, titled Form is Emptiness, Emptiness is Form, showcases Sugimoto’s investigation of the visible and invisible world through the forms of photography, architecture, sculpture and the written word. At its core is the American debut of Brush Impression, Heart Sutra (2023), accompanied by iconic photographs from the artist’s Sea of Buddha series and a new mathematical model based on Kuen’s Surface.

Upon entering the space, visitors are immediately introduced to the rear side of a large-scale, curved wall, constructed of exposed lumber and visible studs, providing a contrasting and tactile introduction to the 288 unique gelatin prints of Kanji characters hung on its opposing side. Brush Impression, Heart Sutra (2023) presents The Heart Sutra, a central scripture of East Asian Buddhism —read from right to left, top to bottom –offering a powerful meditative experience that envelops viewers. The work features large-scale calligraphic strokes meticulously developed using photographic methods akin to Sugimoto’s traditional process. Though the piece lacks a camera in the conventional sense, the interaction of light and a photochemical reaction evokes the essence of photography itself. The exhibition’s title, Form is Emptiness, Emptiness is Form, is a direct quote from the Heart Sutra and refers to the transient nature of all things – nothing has inherent substance or permanence and form is no other than emptiness as emptiness is no other than form. This line is the most quoted of the Heart Sutra, and an apt verse through which to understand the work of Sugimoto which is about capturing that which is at the edge of perception, challenging what we understand as truth and giving form to the intangible.

Surrounding the monumental piece are seven works from Sugimoto’s Sea of Buddha series, six individual photographs and one large-scale central figure, capturing the Buddha statues from the revered Sanjūsangen-dō shrine in Kyoto. These statues, each unique, were photographed at dawn, using only natural light—a process that saw Sugimoto eliminate all late medieval to early modern embellishments and turn off the contemporary fluorescent lighting. This approach allows viewers to experience the Buddhas as they would have appeared centuries ago, bathed in morning light. The imagery evokes a spiritual timelessness, drawing connections between past and present, tradition and artistry.

Also in the gallery will be a new mathematical model, an extension of Sugimoto’s ongoing fascination with form and perception. In this work, the artist transforms mathematical equations for Kuen’s Surface into a tangible object made of pure stainless steel. The creation of these models is inspired by the legacy of figures like Isaac Newton, whose pioneering work in mathematics and investigations into humanity’s understanding of the world have been a source of guidance to Sugimoto throughout his career. During the 19th and early 20th centuries, mathematicians and artisans sought to give physical form to complex geometric ideas, crafting mathematical models by hand in plaster. Sugimoto’s new work continues this tradition through a modern technological lens, taking on a curvilinear horizontality that invites reflection on the convergence of abstract theory and material reality.

Hiroshi Sugimoto: Form is Emptiness, Emptiness is Form

Lisson Gallery

Laugh, Cry, Fight … with the Guerrilla Girls!
November 22, 2024 – January 14, 2025
BEYOND THE STREETS 434 N La Brea Ave, Los Angeles, CA 90036

BEYOND THE STREETS presents Laugh, Cry, Fight … with the Guerrilla Girls!, the iconic collective’s first solo West Coast exhibition. Opening November 22, 2024, the show features classic works and new pieces from the Guerrilla Girls, known for their bold, intersectional feminist activism in art, politics, and pop culture. Spanning posters, immersive installations, and more, this exhibition challenges gender and ethnic bias, offering visitors an interactive and thought-provoking experience.

Gallery hours: Wednesday – Saturday: 11AM – 6PM
For more info, visit beyondthestreets.com


Laugh, Cry, Fight … with the Guerrilla Girls!

Beyond The Streets

For Jason Rhoades, the car was a vehicle of artistic pursuit, both readymade sculpture and American idol. Starting 27 February, Hauser & Wirth Los Angeles will dedicate an entire gallery at its Downtown Arts District location to a yearlong exploration of Rhoades’ art via the subject of cars and car culture. Known for the driving imagination and ambition of his work, as well, at times, its reckless provocation and overwhelming materiality, Rhoades (1965–2006) was a world builder for whom the making of sculptures and the creation of narratives were intertwined. His epic-scaled installations made him a force of the international art world in the 1990s while he was based in Los Angeles. ‘DRIVE,’ will unfold over a series of thematic iterations, an ever-changing exhibition of Rhoades’ sculptures, drawings, videos and multiples—enriched by archival materials, public programs and contemporary perspectives.

Jason Rhoades: Drive

“Post Human was virtually a manifesto trumpeting a new art for a new breed of human,” wrote the art historian and curator Robert Rosenblum discussing the impact of the exhibition in the October 2004 issue of Artforum.

In 1992, Post Human, curated by Jeffrey Deitch, brought together the work of thirty-six young artists interested in technological advancement, social and aesthetic pluralism, and new frontiers of body and identity transformation. Through their art, these artists were exploring the same questioning of traditional notions of gender, sexuality and self-identity that was—and still is—taking place in the world at large. Capturing a developing social and scientific phenomenon, Post Human theorized a new approach to the construction of the self and interpretation of what defines being human. The exhibition set the agenda for the 1990s, and its influence on artists and philosophers led to a new field of academic study.

In her book Posthuman Feminism (2022), the philosopher and feminist theoretician Rosi Braidotti credits Deitch for capturing “the avant-garde spirit of the age by foregrounding the role of technology in blurring binary boundaries between subjects and objects, humans and non-humans.” She adds, “Post Human showed also that art assumed a much more central role as it merged with science, computerization and biotechnology in further re-shaping the human form and perfecting a flair for the artificial.”

The catalogue of the 1992 exhibition, with its visual essay and innovative design by the late Dan Friedman, also proved lasting relevance. Deitch’s influential essay predicted many of the scientific and sociological shifts that have since shaped our cultural and social environment, even the pandemic.

More than thirty years later, Post Human at Jeffrey Deitch, Los Angeles, revisits the theme of the exhibition, bringing the discourse into the present. The show includes several of the key figures who participated in the 1992 exhibition in dialogue with some of the most interesting artists continuing the exploration of these themes today. In keeping with the social and technological trends that
inspired it, the interest in figuration of the original artists and the younger generations presented in the show is conceptual rather than formal.

Much of the then-new figurative work was descriptive of the “real” world but cannot, in fact, be called “realistic” in the conventional sense. That is because so much of the “real” world the artists were reacting to had become artificial. With the concept of the real disintegrating through an acceptance of the multiplicity of reality models and the embrace of artificiality, Realism as it was once known was no longer possible. This new figurative art may have actually marked the end of Realism rather than its revival.

Fully integrated into our pop psychology, the term “posthuman” is now used in everyday conversations and has come to primarily identify with the trope of the cyborg. This exhibition, like the 1992 show, however, examines multiple declinations and aspects of the postmodern construction of personality and the engineering and transcendence of the human body. The artists in the exhibition embrace notions of plurality, metamorphosis and multi-beingness. Cyber-futuristic, surgically improved, commodified, stereotyped, and politicized, the “cultured body” lends itself to reflect on a variety of concerns that define our age.
Several works in the exhibition will embrace the biometrical aestheticization of the human body to address the decay paranoia, the social conflict over genetic engineering and the use of biotechnologies, and the conversation around the limits of “natural” life.” Artists have long engaged with the threats of biometric surveillance, the possibility of virtual reality overtaking our physical one, the accelerating real-time consumption of experience, and the automation of the workforce. As AI’s ability to fulfill our creative and specialized needs has reached mass fruition, artists are confronting the impact of what was once considered speculative science fiction, an everyday reality.

Post Human was first presented at FAE, Musée D’art Contemporain, Pully/Lausanne (June 14–September 13, 1992) and traveled to Castello di Rivoli—Museo d’Arte Contemporanea, Rivoli/Turin (October 1–November 22, 1992), Deste Foundation, House of Cyprus, Athens (December 3, 1992–February 14, 1993), Deichtorhallen Hamburg (March 12–May 9, 1993), Israel Museum, Jerusalem (June 23–October 10, 1993). A number of the works shown in 1992-1993 are now in international museum collections. Matthew Barney’s REPRESSIA (decline) (1991) is now in the collection of LACMA, where it was on view in 2023. Posthumanism has since been the subject of countless books, movies and high-profile exhibitions.

Post Human will be presented as part of the Participating Gallery Program for Getty’s PST Art: Art & Science Collide, joining in a dynamic exploration of the intersection of art and science this fall. The exhibition is curated by Jeffrey Deitch with Viola Angiolini, Senior Director, Research and Curatorial Projects.

Image: Cindy Sherman, Untitled #638, 2010/2023. Gelatin silver print
Unframed: 20 x 15.25 inches (50.8 x 38.7 cm)
Framed: 29.25 x 22.38 x 2 inches (74.3 x 56.8 x 5.1 cm) Edition 1 of 6, 1 AP. Courtesy of the artist and Hauser & Wirth. © Cindy Sherman

Post Human

Jeffrey Deitch | Orange

MODEST common and the Western Art Collective are thrilled to announce Expressions of Purposefulness: Types and Degrees (Scrapture 2.0), the second exhibition of work by Wes Jones in his ongoing development of the “scrapture”
series. An opening reception will be held 6-9pm Thursday 14 November at the
MODEST common space in Los Angeles.

As he describes it, “scrapture” is exactly what it sounds like: “sculpture made from re-animated scraps.” The “offcuts, discards, debris, leftovers” in the present show “re-compose the process waste from the build-out of the gallery and other
projects around downtown, into a demonstration of enigmatic purposefulness.”

This show marks the second time he has exhibited work of this sort. The current
pieces have doubled down on the expression of purposefulness, while preserving ambiguity, by including cannibalized elements—now second-generation scraps—of unplaced work from the previous show. Thus the work continues to
evolve as individual pieces mature, and unplaced works are shorn of their aura to become newly available starter assemblies for the next round of collage. Each exhibited piece thus embodies a worthy culmination of focused effort while
hinting at a springboard for continued exploration.

Jones is an architect and educator as well as an artist. He has maintained his art activity alongside his architecture practice throughout his career, but until the scrapture idea came up he lamented the dissociation of the two. Jones felt guilty that his two passions did not feed into each other the way the dual practices of
architects like Le Corbusier or John Hejduk did. Until now.

Jones’ architectural work is known for its imaginative engagement with technology, winning awards and recognition around the world. The art work has enjoyed a more private existence, with a difference audience, where its
divergence from the technological focus of his architecture was unremarkable. This new scrapture work on the other hand brings the two together with an ebullience that is driven by the same sophisticated “mechanical” spirit as the
building designs.

The “purposefulness” of the show’s title reflects the inherent legibility of mechanical intention, and the works demonstrate that. The “types and degrees” the title announces are evident in the range of the work reflecting this intention.
Some of the pieces gesture clearly toward possible mechanisms, while others are like traditional collages that just hint at that spirit through their compositional order. All of the work benefits from the essence of utility inherited through the provenance of its parts as scraps of other projects.

This new relationship between the dual practices is sweetened by the fact that the construction materials of his architecture are also the (no longer) raw materials of his art. In a way this makes for an even closer connection between
the dual practices than that visible in the works of either Le Corbusier or John Hejduk, or now Thom Mayne, whose art and architecture shared form but not material. What is shared in Jones’ case is attitude, not form (at least not very
much), so the art does not seem like models or sketches for architecture.

Because of this there is no implied hierarchy of importance between the buildings and the scraptures. The art would be happy to grace the walls and spaces of his buildings, but it is not the building’s ornament or mini me.

The sense of purposefulness varies. Everything made must be purposeful by definition, of course, but for some things that fact is remarkable. Not because the thing is unlikely, though it may be, or because its purpose is great, but because its making flaunts it. Some things want to be seriously noticed. Encountered in this way, purposefulness demands attention. The purposefulness of art is consumed in this experience. In this case the expression of such
intentionality is not the inadvertent result of productive intention aimed at accomplishing something else, it is the thing. The purpose of art is first to be noticed. After that it’s done. It might also convey some meaning or impart a
feeling but that’s outside its proper purview, and if it’s too obvious in that then it fails as art.

Scrapture is art in this sense because it is about being seen and has no productive use for the viewer beyond that. There is no meaning or feeling it suggests other than purpose itself, so it remains smugly intransitive. Done, move along. For the maker on the other hand it serves therapeutic and research interests. It happens after an initial purpose has been satisfied or thwarted, tidying up after success or picking up the pieces after failure. Scrapture offers
closure after either. As the end of the line for all the leavings and leftovers, the answer to what’s next when you can’t leave well enough alone but nothing more can be done, lemonade to lemons and the silver lining to cleanup.

Scrapture is therapy for the hoarder of construction leavings and research for those who notice cool shapes in discarded scraps. Its production soothes the insecure craftsman and challenges the obsessive fiddler, highlighting judgment over skill and shifting the value system from efficiency to expression.

The design process—is it right to say design when making art?—is a balancing act between the competing desires of mechanical or tectonic order and artistic freedom. Too much of the former and the result is just a crude sketch of a too obvious point, while too much of the latter makes the thing merely attractive, with
no bite. The sweetspot is where the object suggests a general purposefulness and wears a pleasing manner. In that case the potential programmatic intention—what the object is for, what it does—is hazy but present, while the
composition dances through that haze with teasing hints and mild contradictions.

The overt but obscure intentionality prevents that pleasing manner from being too artsy-fartsy, and the artistic license taken with the hints and contradictions keeps the purposefulness on its toes.

The process is collage, obviously. The scraps are just that, leftovers from some construction work, collected over a few years. The scraps are treated as found when possible, but do not resist modification when necessary. Which generates
more scraps. Most of the pieces in the show include many generations of scraps.
The present set began with the mounting panels, frames, and salvaged screws from a previous show. They carry the presentation dna from that former use into their current role, flavoring the purposefulness of these new pieces with a display sensibility.

It is not likely that all the present pieces will avoid eventual cannibalization and re-cycling into the scrap bins. This semi-tragic truth is an outcome of the process, which leaves a show’s unsold pieces behind where they become subject to the
needs of the next cycle of scrapture, while the chosen few make their new way out into the world. The sad, unloved bits left behind lurk in the maker’s peripheral vision, always seeming to beg for another shot. They recognize from experience that this means offering up their unappreciated form to the table saw,
surrendering their screws to some other scraps from two bins over and two shows back. Their own fragment of purposefulness smolders still, wanting release. They dream of bursting forth with blazing intensity in a novel juxtaposition of inevitable order and triumphant purpose. Meanwhile, the scrap bins multiply and overflow, with bits that didn’t even make it even that far. By now there are few first-generation scraps remaining. They hide out at the bottom of the bins, unaware of the potential for participation in a scrapture. They are buried beneath later generations of scraps that are keeping them in the dark, busy competing between themselves for a place.

Wes Jones: Expressions of Purposefulness: Types and Degrees (Scrapture 2.0),

MODEST common

Night Gallery is pleased to announce Form and Feeling, a group exhibition that includes paintings made by Tony Bluestone, Strauss Bourque-LaFrance, Tomashi Jackson, RJ Messineo, Marisa Takal, and Zoe Walsh and sculpture made by Sahar Khoury and Sarah Zapata, curated by Ashton Cooper.

This exhibition is animated by an impossible question: How does feeling make its way into form?

How are the sensations, emotions, and valences of consciousness reflected in material? Can observers perceive the residue of that feeling? Can it be drawn out by a kind slow looking or ekphrasis or thick description? Or does it exist outside of language? And how might we describe and understand our own affective responses to paint on ground or woven fiber or shaped clay?

Educated, as I was, in theories that foregrounded the constructedness of human life, sociality, and artistic production, I came to see these questions as not just irrelevant, but embarrassing, passé, unintellectual, and associated with bad politics. Still, in meandering ways, I found myself continually moving back toward them, wanting to take them seriously, wondering how to talk about embodied feeling and phenomenological experience without being suffocated by the foundational myth of the expressive artistic genius.

Could foregrounding artists’ and viewers’ affective relationships to materials and form change the kinds of stories we tell about contemporary art? In his “Notes of a Painter” from 1908, Henri Matisse wrote: “I am unable to distinguish between the feeling I have about life and my way of translating it.” Keeping in mind the well-elaborated critiques of art historical modernism, what would it mean to take this claim seriously as a theorization of how art represents and elicits affect? What would it mean to “attend to psychology and materiality at the level of affect and texture” as Eve Sedgwick put it in the introduction to Touching Feeling nearly 100 years later? What would it mean to hear artists talk about their feelings? What would it mean for observers to talk about theirs? Here is an invitation to move through the jumble of form and feeling.

—Ashton Cooper

Image: Strauss Bourque-LaFrance, Mercurial Decent, 2024, Flashe, acrylic, sea salt, 65 1/2 x 57 1/2 in (166.4 x 146.1 cm)

FORM AND FEELING

Night Gallery

Join us for the opening reception of Orbihedron at Fulcrum Art’s new gallery space!

Conceived during their 2016 Fulcrum Incubator residency at the Laser Interferometer Gravitational Wave Observatory (LIGO) at Caltech, Evelina Domnitch & Dmitry Gelfand’s Orbihedron explores how hydrodynamic modeling can be used to understand and visualize the properties and behaviors of one of our universe’s most enigmatic phenomena: the black hole. 

With a few simple tools—a laser and a motor—Orbihedron produces dark vortices in a water-filled basin that emit rotating bursts of prismatic light. Akin to a radiant ergosphere (the space surrounding a black hole’s event horizon), Orbihedron evokes the relativistic and quantum interpretation of gravity, the reconciliation of which is essential for understanding a black hole’s behavior and the origins of the cosmos. Featuring a score by composer William Basinski, Orbihedron offers a tangible model of warped spacetime.

Evelina Domnitch (1972) and Dmitry Gelfand (1974) create multi-sensory installations and performances that merge physics, chemistry and computer science with uncanny philosophical practices. Investigating questions of perception and perpetuity, their artworks exist as ever-transforming phenomena offered for observation. Because these exotic physical phenomena take place directly in front of the observer without being intermediated, they serve to vastly extend the sensory threshold. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion.

Orbihedron is presented as part of Fulcrum Festival 2024: Waves Upon Waves and will be on view October 16, 2024 – January 19, 2025.

Image: Evelina Domnitch & Dmitry Gelfand, Orbihedron, 2017. Photo credit D. Gelfand.


Evelina Domnitch & Dmitry Gelfand: Orbihedron

Fulcrum Arts

After the amazing unveiling of Dinosaur at the High Line in New York, Iván Argote is continuing his reflection about public space and the use of monuments. His seventh show with Perrotin, Impermanent showcases the artist’s humorous yet incisive interventions in which public fixtures such as statues and obelisks, rather than functioning as enduring symbols of power and conquest, are alternately displaced, deconstructed, rendered invisible, or recontextualized.

Opening Talk:
Iván Argote & Leslie Hewitt in conversation with Hamza Walker
Saturday, November 16, 4pm
5040 West Pico Blvd

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Perrotin Los Angeles is pleased to present artist Leslie Hewitt’s solo presentation New Waves. For her fifth show with Perrotin, and her first exhibition at the Los Angeles gallery, Hewitt brings together a selection of her acclaimed still life photographs, and places them in conversation with two other powerful works: a floor sculpture that pays homage to the lost outlines of everyday spaces and ancestral sites submerged by systematic oppression, eminent domain, and other forces often collapsing within anti-blackness; and a collaboration with artist Jamal Cyrus that functions as an open-ended event score. Taken together, these distinct bodies of work speak to the intersection of ordinary objects, lived spaces, and material associations as they exist within the larger context of social and political histories.

Iván Argote: Impermanent | Leslie Hewitt: New Waves

Perrotin


NOON Projects is honored to present "Slow Opening" by Jay Stern, the artist’s second solo exhibition with the gallery. This new body of work unveils a series of expressive, layered oil paintings that explore the intricate relationship between memory, time, and transformation. "Slow Opening" invites viewers into a space that feels both familiar and distant, capturing ephemeral moments of transition and quiet introspection. Much like memory, Stern assembles his compositions from fragmented elements into expansive forms, employing directional light to subtly evoke the emotion arising from the fleeting nature of information over time. The exhibition title reflects Stern’s fascination with the hidden layers of activity within what is considered 'still,' and the slow, unfolding blooms that emerge from looking.

Through rapid brushwork and built layering, Stern’s paintings balance domestic intimacy with the rawness of nature. He seeks to capture these instants just before the relentless tide of life carries them from the present into the past. Stern’s work meditates on the generosity of time, a concept symbolized through imagery of flowers and landscapes, and echoed in the words of curator Hilton Als: “Time can be very cruel, but it can also be very generous to artists who are paying attention.” The works urge viewers to appreciate the quiet beauty and respect the active nuances of daily life often overlooked, while emphasizing the majesty and conflict of each passing moment and encouraging reflection on how our identities are shaped by both presence and absence. 

Since moving to Maine in 2021, Stern has been inspired by the region’s landscapes and rich artistic history, while maintaining a conscious distance from idealized reverence or sentimental representation. Interested in presenting nature in a pure way, works like Roofline Sunset, Kezar Lake and Desire Destination find Stern making a deeper connection between man-made objects that often inform nature’s fluid sensibilities. This evolving queer perspective fosters a unique form of voyeurism that goes beyond the ordinary, shedding light on and celebrating the aspects of his surroundings that Stern finds most captivating. "Slow Opening" reflects Stern’s belief that memory, much like his paintings, is not a fixed point but a living, evolving entity—always in the process of becoming, reshaped by time, perception, and the quiet moments of transformation.

"Slow Opening" will be on view at NOON Projects from December 13, 2024, to January 25, 2025, with an opening reception on December 13, 2024, from 6–9 PM.

For more information email info@noon-projects.com or call +1-971-341-6648

Jay Stern: Slow Opening

NOON Projects

Gana Art LA is pleased to present the group exhibition How The Trees See The Stars. This gathering of artists illuminates visionary ways of seeing the world. The artists in this show explore our connection to nature, human- animal symbiosis, otherworldly landscapes, cosmic curiosity, and enigmatic mystical forms. Hypnotic, enchanted visual experiences are alive in works that evoke an animistic sense of life force that permeates all things.

Caris Reid (b. 1983) captures the ethereal in a pair of peacocks, adorned with intricate details in a lush landscape brimming with flowers beneath a star-studded sky. The majestic birds serve as intermediaries between the terrestrial and the celestial, becoming vessels to mine the spiritual and contemplative potential of painting.

Sarah Alice Moran’s (b. 1982) paintings offer a poetic, allegorical investigation of animal symbolism and feminine power. Her Red Knight is an atmospheric dream of a sword-wielding rider on a zebra, and her Star Gazer explores the tigress archetype in a star-dazzled nocturnal scene.

Ben Sanders’s (b. 1989) luminous canvases with meticulous paint handling suggest a hybridization of the botanical and the cosmic. His enigmatic forms evoke a familiar connection to nature, yet with a sci-fi or psychedelic otherworldliness, emitting an enchanted glow.

Andrew Schoultz (b. 1975) employs meditative, repetitive linework in vibrational optical paintings that pulse with energy. His depictions of owls, snakes, trees, and landscapes, informed by esoteric knowledge, provide a distinct and thrilling visual experience.

Hiejin Yoo’s (b. 1987) transforms personal records of daily life into paintings. Mundane events and experiences, selected according to the artist’s intention, unfold into semi-figurative paintings. Layers of starry sky, grass, and foliage merge in an interplay of shadow and light as the hands seem to weave an alternate reality.

Ross Simonini (b. 1981) presents joyous, hallucinatory scenes, incorporating sigils and eccentric techniques— such as painting with his foot rather than his hand —to propose art as a spiritual and mystical practice. Through an alchemy of life-source materials, egg tempera, and casein milk paint, his works breathe with an animistic energy.

Ceramicist Jude Pauli (b. 1971) stacks geometric forms into towering totemic sculptures, combining stoneware and steel. Like otherworldly figures, her sculptures also evoke an ancient enigmatic language like petroglyphs. The alchemy of earthy materials in her works suggest a living consciousness embedded within earth, stone, and clay.

Aaron Johnson (b. 1975) uses a color field stain technique, embracing paint’s fluid and unpredictable nature. This action-reaction process treats paint like a force of nature, revealing encounters with ethereal nature spirits, glowing from within with orbs of color and light.

This exhibition was curated by Aaron Johnson, in collaboration with Gana Art. Exhibition opens November 23rd and runs through January 5th.


How The Trees See The Stars

Gana Art Los Angeles

David Zwirner is pleased to present The Last Dyes, an exhibition of new dye-transfer prints by William Eggleston opening at the gallery’s 606 N Western Avenue location in Los Angeles. Eggleston pioneered the use of dye-transfer printing for art photography in the 1970s, and—as the title suggests—these photographs will be the final prints ever made of Eggleston’s images using this analog process. The presentation itself constitutes the last major group of photographs ever to be produced using this printing method, making it a unique opportunity to see a number of works by Eggleston in the format in which he originally presented them. The works on view are from Eggleston’s celebrated Outlands and Chromes series, as well as several images that were first shown in the artist’s groundbreaking exhibition of color photography at The Museum of Modern Art, New York, in 1976, and the concurrent publication William Eggleston’s Guide. William Eggleston: The Last Dyes is presented as part of PST ART: Art & Science Collide, a landmark regional event exploring the intersections of art and science, both past and present. PST ART is presented by Getty.

Image: William Eggleston, Untitled, 1970 (detail)


William Eggleston: The Last Dyes 

David Zwirner | Los Angeles

Southern Guild Los Angeles is pleased to present Methods of Flight, a dual presentation of mixed- media paintings by Zimbabwean artists Amanda Shingirai Mushate and Grace Nyahangare, opening on 21 November 2024 (until 1 February 2025). The exhibition platforms the artists’ distinct visual languages, each emerging from the exploration of self and art-making to reimagine modes of being from within a complex socio-political fabric.

Born in Bulawayo in 1995, Mushate studied fine art at the National Gallery of Zimbabwe Visual Arts Studio, graduating in 2016. Working primarily in oil, her practice operates from an abstracted, self-determined realm. Amorphous strands and spectres of diaphanous colour and light merge to build layered constructions. Mushate’s overlaid linework can be read as an ever-expanding topographical mapping of this space. These meandering pathways course the complexity of Zimbabwean life. The country’s history is punctuated with colonial violence, political disruption and threadbare attempts at post-independence reform. Her abstractions navigate not only the desire lines and avenues of survival within this overwrought context, but resolutely assert the necessity of beauty.

There is no discoverable beginning or end in Mushate’s paintings. Colour negotiates the gaps between and beneath her woven lines, as if seeking fertile opportunity to bloom. A current of disobedience runs through the body of work. In their generative, unburdened lyricality, her canvases do not allow us to be small. They insist on courage and beauty as twin flames. The artist tells us that splendour exists, that joy is real, not as a destination but as a way of being.

Building on a foundation of printmaking and photography, Grace Nyahangare’s monotypes combine oil and ink. Born in Harare in 1996, she graduated from the same institution a year after Mushate. Nyahangare’s practice has been catalysed by personal experiences of pain and growth, evolving through distilled processes of memory and emotional recall. In her early 20s, Nyahangare spent three years living and working in the UAE. After the failed promise of inclusion in a local art fair, she was driven to find work as a waitress. The job proved to be a form of enslavement. Her passport was confiscated and held for ransom while she worked 14-hour days and was subjected to racism and abuse. Devising a plan of escape, she returned to Zimbabwe with a new determination to succeed as an artist, as a woman and as a young mother.

Nyahangare’s paintings render her figures against horizonless fields of colour. Her subjects are hybrid, changeable creatures. Their floating bodies present as fluid, mythic in their undulating proportions and vibrant tones of pinks, blues and yellows. Some works present several figures as shared, chimeric organisms: an arm becomes the extended limb of another, splayed fingers suddenly read as tendrils of hair. Nyahangare’s works explore the physical self as a holding site for both trauma and transcendence. Often painting with her daughter present in studio, these kinetic explorations speak wholly to personhood, but more pointedly to the terror and ecstasy of inhabiting the female body.

Like Mushate, Nyahangare’s paintings manifest from a state of rapturous potentiality. Contemporary art emerging from Zimbabwe evinces a singular energetic verve. Mushate and Nyahangare are part of a generation shaped within a cyclical state of reinvention, shedding and active reclamation. Methods of Flight facilitates a space for new visual terms and poetries.

Image: Grace Nyahangare "Pandora's box"

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Southern Guild Los Angeles is pleased to present Mbare Opera, a solo exhibition of oil paintings by Zimbabwean artist Wycliffe Mundopa, opening on 21 November, 2024. The exhibition brings together major works produced over the past several years, articulating the spectrum of the painter’s prolific visual vocabulary. Focusing on the symbolic value of images and their contextual references to the sub-culture of Harare’s notorious high-density neighbourhood, Mbare, Mundopa has developed theatrical and idiomatic narratives about life in Zimbabwe.

Mundopa’s rhapsodic paintings are populated with an ensemble of women and children. Multiple bodies are presented within immense canvases of Fauvist colour. Dressed in carnivalesque attire – striped stockings, polka-dot dresses, farcical buckled heels – these figures occupy a Bacchanalian version of reality replete with the revelry, erotic agency and hedonism synonymous with Dionysian myth. Mundopa renders Harare’s most vulnerable social factions – women and children – with a liberated hand. His use of non-objective form and lurid flashes of abstraction and absurdity disrupts our perception of these bodies, agitating the prejudices embedded in our ways of seeing. Within Mundopa’s practice, the personal and political coalesce. Behind the flux and vibrancy of our initial reading of his work, the politics of representation hums at the core.

Pathos and satire take center-stage in this body of work. Mundopa’s personages enter and exit the frame, each with their own characterisation, building densely layered storytelling that immerses us in a world both scintillating and disturbing. His pictorial language is laden with the symbolic use of animal imagery: crocodiles, life-size frogs, technicolour fish and dogs are all recurring characters. These do not function merely as visual devices, but as manifestations of colloquial expressions that are part of a vital urban sub-culture on Mbare’s streets. This vernacular encodes grassroots criticisms of the broader social ills and grievances of the country’s societal fabric.

The artist’s employment of the human form suggests an amplified consciousness of the body as a corporeal instrument for pain, rest, expression and desire. For his subjects, the experience of pleasure becomes a ritual act of defiance. These figures assert claim to gratification, indulging in all the earthly delights canonically associated with the painting traditions of the West.

In System and Dialectics of Art, John Graham proposed, “The purpose of art in general is to reveal the truth and to reveal the given object or event; to establish a link between humanity and the unknown; to create new values; to put humanity face to face with a new event, a new marvel.” The essential role of the artist lies in this process of metabolising, distilling, abstracting and magnifying the vast experience of the world around them.

Mundopa’s paintings hold a mirror to the unravelling of contemporary Zimbabwean life and the wider disarray and moral relativism of our post-capitalist era. He makes no judgement of this debasement. Within his liberated tableaux, there is a sustained joy and affirmation of both humankind’s fragility and resilient changeability.

Art is not a space for linearity and didactics. Mundopa creates a realm where agency is afforded to all those involved: himself as the artist, his subjects and his audience – whoever they may be.

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Southern Guild Los Angeles is pleased to present Like a Fish in the Water, a solo exhibition by South African artist Terence Maluleke, opening on 21 November, 2024 (until 1 February, 2025). Marking his first solo exhibition in the US, this series of new paintings is a vivid development of Maluleke’s personal and religious symbology, exploring themes of self- determination, community, ritual and artistic freedom. Like a Fish in the Water is a reckoning with his faith and expression of the desire for a life inscribed with agency and meaning.

A visual storyteller whose pictorial language marries a graphic sensibility with elements of traditional figuration, Maluleke draws heavily on motifs from both Christian theology and indigenous African spirituality in this body of work. A golden halo that could also be read as a crown of thorns features prominently in many of the paintings, alongside copies of the Bible, a blue candle that his church gave to him as a child and various timber sculptures of fish. Alongside the association with Jesus and the miraculous catching of fish in the Gospels, the latter is deployed in homage to the visionary South African sculptor Jackson Hlungwani, with whom Maluleke shares a deep spiritual and artistic connection.

The two artists are of Tsonga heritage and trace their origins to nearby villages in Limpopo province. Maluleke’s father was baptised by Hlungwani and he visited the late sculptor’s studio
and compound as a child. The revered artist and pastor gave Maluleke’s family a large wooden carving of a fish, a subject he portrayed prolifically throughout his life as a representation of abundance, life and harmony between humans and nature. As a tribute to Hlungwani, Maluleke titled this body of work after the sculptor’s habitual reply when asked by arriving guests how he was: “Like a fish in the water,” he would respond.

In the starkness of their rendition, focus on foreground action against a flat background, and narrative impact, the works in this exhibition are reminiscent of traditional iconographic paintings. Maluleke’s palette is more subdued than earlier paintings, with a prevalence of golden/mustard hues, enlivened with an experimental approach to mark-making and inclusion of unconventional materials such as glitter. In contrast to the didacticism of religious art, however, he injects his own individual point of view and an ambiguous approach to meaning. He has cultivated a vocabulary of forms with personal significance that recur throughout his oeuvre – including calla lilies, which he describes as communicating the push and pull between strength and fragility; portraits of his sister Nozipho, whom he regards as an extension of himself; and the ‘lêkê’ plastic jelly sandal, which featured heavily in his first solo exhibition at Southern Guild, Grace in Grand-Bassam. All of these appear in this latest body of work alongside religious symbols and objects of contemporary relevance (including a VR headset), establishing the primacy and power of one’s own unique mythology in building a life of meaning.

Blue Dance depicts a crowd of worshippers clad in the blue and white uniforms of the Apostolic and African Zionist churches, surrounding a haloed figure. Inspired by the memory of physical energy experienced at a recent church service, the work transmutes the rhythmical pattern of colour and shape into movement and sound. The person in the middle, says Maluleke, is “the guider and the light”. He is intentionally depicted as an anchoring presence, grounded in his own centre, but the congregants are harder to read: they are moving in their own directions and it is not clear if they are attracted to or repelled from him.

A painting of a red-roofed house with a halo hovering above it also invites multiple readings. The work envisions the artist’s lifelong dream to build his own home – a place of refuge and warmth, blessed by divine intervention. The building in this work is intact but the paint drips down from its walls and windows, as if the structure is dissolving. Is the promise of sacred protection forsaken? Maluleke offers an alternative interpretation: “I like the idea of human fallibility and emotional dissolution living together with faith. Even when we are at our lowest, rather than close ourselves off from shame, we can still go to God.”

Birth, death, sacrifice, transcendence – Maluleke depicts the arc of human struggle and contemplates the pursuit of purpose and connection. His faith encompasses the creation of his own cosmology free from the strictures of doctrine and the confines of Western conceptions of formalised religion. His artistic practice is a pilgrimage of sorts, an insistence on the redemptive power of the imagination and a dreaming into being of his highest ideals.


Amanda Shingirai Mushate and Grace Nyahangare: Methods of Flight | Wycliffe Mundopa: Mbare Opera | Terence Maluleke: Like a Fish in the Water

Southern Guild 

David Zwirner is pleased to present Pearl Lines, the gallery’s first exhibition with Brooklyn-based artist Walter Price since the announcement of his representation earlier this year. Marking Price’s first solo exhibition in Los Angeles, Pearl Lines will include paintings from a new body of work that feature recurring motifs from his characteristic visual domain.

Price is known for his richly vibrant paintings and drawings, which bypass strict allegiances to representational or abstract modes. In his work, the artist sensitively employs an idiom of motifs that traverse the real world and the dream world, memory and collective history. Price’s paintings and works on paper not only experiment freely with color, line, and space but also reveal emphatic shifts in perspective, suggesting scenes and imagery that the artist ultimately leaves for viewers to absorb and contemplate on their own. He has given the title Pearl Lines to the majority of his solo presentations, suggesting that each exhibition expands beyond the confines of its own time and place, becoming part of a larger body of work.

In this Los Angeles presentation, Price pays homage to car culture, with its particular relationship to the city and its environs. Across his canvases, sleek automobiles are stamped into rows of busy traffic or delineated by the artist’s hand, their forms splintered and spectral. Trodden footsteps on surfaces bring to mind a foot on the gas pedal. Alternatively, they register a leisurely stroll or a labored gait. The vehicles are at times shrouded in billowing clouds of scumbled paint, other opalescent penumbrae, and showers of dancing stars. The shapes evoke further poetic links with Los Angeles’s other famous exports: Hollywood, its cast of personalities, and its production of artifice.

In Pearl Lines, Price merges points of view while playing with spatial depth. Overstuffed armchairs, contoured by the artist’s signature staccato lines, appear as ghosts from another world. The silhouettes of faces in profile conjure up headshots of enigmatic figures in the shadows. Scarlet flames lick nothing in particular, perhaps suggesting the aftermath of a car accident. A splash of red-orange paint overwhelms a canvas, recalling sunsets on the Pacific Ocean as seen from the freeway. 

These warm reds contrast sharply with the prominent blue palette featured in many of these works. Price mines the color’s multitude of timeless and timely associations, invoking such quixotic historical connections in Western art as early cyanotypes, International Klein Blue, artists’ blue periods, and the Virgin Mary’s mantle. The color summons a range of emotional responses like sadness and gloom, peace and calm, while also encompassing its applications in society and its appearance in nature. The obscenities and profanities of blue language. The potent hue of indigo dye. The azure of skies and the aquamarine of seas. The navy blue of the military. The blue-versus-red of conflicting political factions.

Price stretches and expands the bounds of blue as he layers, speckles, and scrapes the color onto his canvases in unorthodox applications, merging and abstracting its symbolism as well as its use in language. The artist quotes an observation from On Being Blue (1976) by the novelist and critic William H. Gass, who writes of the color:

"So a random set of meanings has softly gathered around the word the way lint collects. The mind does that. A single word, a single thought, a single thing, as Plato taught. We cover our concepts, like fish, with clouds of net. Cops and bobbies wear blue. We catch them and connect. Imagined origins reduce the sounds of clash and contradiction, as when one cries out blue murder in the street."

1  William H. Gass, On Being Blue (1976; repr., New York: New York Review of Books, 2014), p. 7.

Image: Walter Price, Both addicted and trapped, 2024. © Walter Price. Courtesy the artist and David Zwirner

Walter Price: Pearl Lines

Why do we love things that bear a glow of grime? Why are some so intensely somatic in their effect on us? As Jun'ichiro Tanizaki describes in his 1933 essay, In Praise of Shadows, we love that which is marked with "soot and weather, things that bespeak a sheen of antiquity that call to mind the past that made them." 1‍

Attuned to the thingness of things, Kati Kirsch envisions a vital materiality through which the experience of loss is conjured through surreal fragmentation—where cinders become unsettled, flickering with a suspicious nostalgia. Kirsch's paintings and ceramics often begin as meditations on found and familiar objects. A tender, playful sense of care is garnered in Kirsch's interest in didactic ephemera, embedded in the seemingly frivolous, ornate details and whimsical designs of found paper goods such as a bridge tally card, a children's how-to book, illustrated calendar cards, rose-contoured bookmarks.

These are objects that wear their purpose on their sleeves, organizational tools and emblems of "progress," instructing with a particular logic, which Kirsch relentlessly warps, teases, unravels. Her practice is alive with the residue of this process. A tattered towel, a pencil pouch, a weekly calendar: these are not afterthoughts but anchors, markers of a method that privileges the ordinary and insists on an inner vitality. In the compositions that emerge in this space, this process, a keepsake becomes a question, an object for meditation, an immanent thing that speaks, its “decorative” details bridging the timeless and urgent.

Hinting at multiple realms of interiority in the painting School zone Company Alphabet flashcards - the letter q (2024), a head peaks out of a checkered quilt, its translucent geometry revealing a strange infrastructure beneath, an intestinal jumble, warm and pulsating, illuminated by a rosy glow. Gridded motifs function as permeable, structural topographies bridging the seen and unseen, an interplay unfolding further in Days of the week (2024) in which an uncanny index of temporality is recorded on found flashcards and craft paper, resulting in a compartmentalized imagining of temporality.

Informed by a keen sense of materiality, Kirsch gathers both found and self-fabricated media into assemblages that feel both broken and reborn—shattered, unstitched, and veiled by molten patinas. Her work recalls the layered intricacy of a paper accordion doll—terrains of infinite depth emerge, inhabited by overlapping figures yearning to unfurl. These teeming, immanent forms resist the pull toward tidy resolution, offering compositions that remain, instead, elaborately intractable.

– Lauren Guilford


Kati Kirsch (b. 1999, Washington, D.C.) lives and works in New York. She received her BFA from Pratt Institute, Brooklyn, in 2022. Solo and two-person exhibitions: “Paper Goods,” Cheremoya, Los Angeles, 2024; “The Secret Life of Doubters” (two-person), Kaleidoscope, Brooklyn, 2024; “Wish Fulfillment Chart,” Bahnhof Gallery, New York (2023); “How Could it Be Once Wa”s (two-person), Pratt Institute, Brooklyn (2022). Selected group exhibitions: “Internet Personality Quiz,” Popgun, Brooklyn (2024); “Angel Tech,” Gern en Regalia, New York (2024); “Growing Down,” Known Studio, Los Angeles (2024); “Museum of I Love You So Much,” Quarters Gallery, Los Angeles (2023). Exhibitions as curator: “Ice Cream House,” The Alcove, Brooklyn (2024); “Cold Email”, Osseous Matter (online) (2023); “Selective Attention Test,” Private location, Brooklyn (2022). She has been a Teaching Artist in Residence at The Oxbow School, Napa, CA (2024) and a guest lecturer in Professional Practices at Pratt Institute, Brooklyn (2024). Paper Goods is the artist’s first solo exhibition on the West Coast and her debut with Cheremoya.


1 Tanizaki, Jun'ichiro, In Praise of Shadows (1977): 11.

Kati Kirsch: Paper Goods

Cheremoya

Paul McCarthy is known for his wide-ranging and often provocative works, which encompass performance, photography, film, multimedia installations, sculpture, drawing and painting.

Whether absent or present, the human figure has been a constant in his work, either through the artist’s performances or the array of characters he creates to mix high and low culture and provoke an analysis of our fundamental beliefs. These playfully oversized characters and objects critique the worlds from which they are drawn: Hollywood, politics, philosophy, science, art, literature and television. McCarthy’s work, thus, locates the traumas lurking behind the stage set of the American Dream and identifies their counterparts in the art historical canon.

Tomato Head (1994), one of Paul McCarthy’s most important works from the 1990s, creates a life- size, cartoon-like figure that explores the relationship between modern culture, consumerism and innocence.

In this work, McCarthy plays out the allegories of a beloved and immediately recognizable cast of characters ranging from Santa Claus and Pinocchio to Mr. Potato Head and Popeye. Tomato Head (Green) (1994) is both a nomenclative and visual play on the children’s toy “Mr. Potato Head.” Developed in 1949, the original “Mr. Potato Head” was the first toy ever to be advertised on television and has remained popular even today. This post-war symbol of children’s entertainment symbolizes the beginning of a new consumer-driven era in America.

Much like “Mr. Potato Head,” Tomato Head (Green) has holes in place of eyes, nose, mouth and ears, where various pegs affixed with these human parts could be inserted randomly to give the figure different appendages or expressions. Unlike the toy, however, there are holes in its groin and anus where pegs could also be inserted. The work suggests an ability to construct gender identity: making these changes and substitutions allows the figure to play with potential self-iterations and explore all the possible identities available to it. However, even though the figure has several items at its disposal with which to auto-configure, these are a prefabricated, predetermined set. This limitation speaks to the restricted number of identities and lifestyle choices available to individuals in normative contemporary culture. Raw, visceral, and deeply disturbing, McCarthy’s work unmasks the vile, dysfunctional truth behind the American Dream. Through these twisted perversions of American cultural icons, McCarthy undermines a central theme of the American myth of equal opportunity–– the notion that one can realize oneself to the fullest degree regardless of origins and social status, is here invalidated through the message that society mandates one’s options of choice. Thus, the idea of freedom of choice is turned on its head.

Paul McCarthy: Tomato Head is presented in conjunction with the exhibition Post Human, and it is accompanied by drawings and sketches that allow audiences to discover the thought process behind one of McCarthy’s most significant artworks. The exhibition will also presentbehind present Wolf-Pig (2024), an AI-generated video work that shows McCarthy’s latest interest and experimentation with new technologies.

Paul McCarthy: Tomato Head

Jeffrey Deitch | Santa Monica

Sidecar is pleased to present An Artificial Place, a presentation of new and recent works by 2024 Guggenheim Fellow Won Ju Lim, organized in collaboration with Parapet, St. Louis. The artist’s career retrospective, curated by Rory Padeken, will open at the Denver Art Museum in 2026. At Sidecar, collaborative work with artist Matthew Brannon will also be on view.

The title of this exhibition sets the scene for the audience in a seemingly straightforward manner. Galleries, it reminds us, are unnatural places, reserved for artifice. But there is more to those words, which in fact derive from literature, specifically the writings of Marcel Proust. They are resumed inside via a series of “magic lanterns” that Won Ju Lim has produced over the past three years, and which form the bulk of this show. When their titles are read in sequence, the textual fragment is rounded out:  

That sense of the complexity of the Bois de Boulogne which made it an artificial place and, in the zoological or mythological sense of the word, a Garden, I captured again, this year, as I crossed it on my way to Trianon, on one of those mornings, early in November, when in Paris, if we stay indoors, being so near and yet prevented from witnessing the transformation scene of autumn, which is drawing so rapidly to a close without our assistance, we feel a regret for the fallen leaves that becomes a fever, and may even keep us awake at night.

This meandering sentence comes from the novel Swann’s Way (1913), the first volume of Proust’s In Search of Lost Time. A monumental feat of remembrance, it looms large over the proceedings, plunging every work on view in the febrile uncertainty of the past tense. Arranged on gently rotating platforms are items of various sorts—handmade architectural models, hobby kit renditions of environmental details, and a wide assortment of domestic bric-a-brac gleaned from thrift-stores, swap meets, and estate sales—all pertaining to episodes from Proust’s grand adventure in introspection. Accordingly, one could say that these are things summoned from another time, infused with a mental atmosphere, perhaps mere figments of reverie. And yet, unlike the words that 

appear on the author’s pages and are so readily translatable into thought, these things constitute a phenomenal reality, available to our eyes here and now. Moreover, raked by the light of the small desk lamps at their side, they gain an uncanny sense of agency, projecting past their given form as shadows and reflections—images.

Also included is a new series of wall-hung works collectively titled Regained (2024) after the seventh and final volume of Lost Time, which are based on documentation of these objects in action. Every distinction between causal agents and their effects is here erased as the spatial depth of the source photographs compresses into delicately overlapping arrangements of colored shapes, screen-printed onto mirrored Plexiglas. At every step in this translation process, the Proustian point of origin grows more distant. That which initially took shape in perception, then memory, and then imagination was written down, was read, and was again memorized, reimagined. Words were congealed into objective sculptural forms, these subsequently captured by camera, and then reproduced as pictures beset by a whole host of remediations. What we see upon their surfaces is something from far away brought close, because the room we are in is there too, as are we, seeing ourselves seeing.  

In Casting II (2023), a 39-minute single-channel video also featured in the show, a voice-over narrator once again takes us to the novelistic scene of a garden. This work could be slotted into the “making of” category. In it, we observe Lim working on one of her shadow-play lightboxes, a genre she began exploring in 2003. An example hangs on the opposite wall, dominated by Man Ray’s famous portrait of Proust on his deathbed. One might wonder if he is still dreaming of his childhood; the video suggests as much. Throughout, the lights flicker on and off. At the extreme, a white screen suddenly turns black, but which is more full or empty from the perspective of memory? Hands move small objects across a tabletop stage where, caught up in a play of brightness and obscurity, they occasionally lock into virtual tableaux, only to again decompose into the stuff they actually are. In the drawn-out finale, which amounts to a kind of credit sequence, each “takes a bow.” These diverse things, already so steeped in memory and storytelling, double down on their illusionistic aspect, effectively representing “themselves” as imaginary entities, the flora and fauna of an artificial place.

—Jan Tumlir      

Won Ju Lim: An Artificial Place

Sidecar

 Transience to the Infinite: A Scientific Exploration of Time and Space Curated by Cynthia Penna
Opening: 5 pm-10 pm, Friday January 17th 2025
Dates of Show: January 17th - February 14th 2025
Wonzimer Gallery
341-B S Avenue 17 Los Angeles 90031 / wonzimerinfo@gmail.com
Featuring: Bonita Helmer, Laddie John Dill, Ann Weber, Alaïa Parhizi, Max Coppeta, Todd Williamson, Khang Nguyen, Amedeo Sanzone, Nurit Avesar, Lisa Bartleson
Transience to the Infinite brings together a diverse group of ten artists whose works offer unique perspectives on the ephemeral nature of existence and the boundless possibilities of the universe.
In “God, Science, Evidence: The Dawn of a Revolution”, Olivier Bonnassies, alongside Michel-Yves Bolloré, posits that contemporary scientific research inexorably points to the existence of a Creator God—an assertion that may seem provocative in the realm of empirical inquiry. The authors intertwine cosmology, physics, history, and theology in an ambitious attempt to bridge the oft- assumed divide between faith and reason. The premise is bold: "With the discovery of thermodynamics," they argue, "we learn that the universe is wearing down, heading toward thermal death. If the universe had a beginning... then there must be a God."
This concept hinges on three core scientific principles: first, the recognition that the universe is inextricably composed of time, space, and matter; second, the certainty that it had an absolute beginning; and third, that its fine-tuned laws seem almost tailored to allow for the emergence of complex life. With such findings, the authors claim that science itself defines what ancient philosophies and religions have long identified as God—a transcendent, external force that crafted the universe, ultimately allowing for human existence.
Yet, despite these weighty claims, the exhibition tied to this discourse does not seek to validate or refute the existence of such a divine entity. Rather, it aims to explore the nuanced intersection between human experience, daily struggles, and spiritual transcendence—where art becomes a means of navigating the liminal spaces between the physical and metaphysical.
The transcendental, often viewed as timeless and spaceless, resonates deeply with the core of artistic creation. Far from the strict boundaries of scientific inquiry, art ventures into those vast unknowns where metaphysics and human consciousness collide. This exhibition invites viewers to contemplate moments of "divine" revelation, not in the religious sense, but as profound instances in which the mind perceives beyond the material world, tapping into a realm that surpasses time and space.

 In art, humanity seeks such revelations—a desire to transcend the mundane and ascend to a higher, perhaps mystical, plane. This echoes across cultural and religious contexts, in which the ultimate goal is to connect with what is often referred to as GOD. The role of art in this quest for spirituality is fundamental. As a visual medium, art provides the vehicle for meditative introspection, offering viewers a window into higher truths.
Saint Paul’s assertion in his Sermon at the Areopagus of Athens that “God created man so that he might seek Him” resonates here, as art becomes the catalyst for such a search—an intimate and often silent dialogue between the viewer and the ineffable.
But what of mysticism in the contemporary era? Is there still space for such contemplation in our material-obsessed world? Wassily Kandinsky provides a prophetic answer. He once remarked on the "tragic collision between matter and spirit" in his era, foreseeing the rupture of a purely materialistic worldview. Kandinsky's words, spoken over a century ago, describe a cultural crisis that feels remarkably familiar today—a time marked by uncertainty, disorientation, and spiritual yearning.
His own artistic journey shifted from representing the objective world to delving into the inner Klang (the “inner sound” or “inner need”), striving for a spirituality and transcendence that go beyond the mere physical representation of reality.In this sense, Kandinsky’s message is uncannily relevant to our current moment. As we grapple with a world increasingly dominated by superficial material concerns, the existential questions of theearly 20th century resurface. His call for spiritual awakening, through art, suggests that refuge in the spiritual or even in art itself is insufficient on its own. Rather, what is required is a fundamental transformation of our way of being, rooted in introspection and a relentless pursuit of justice—both personal and collective.
This transformation begins with an acknowledgment of our own smallness within the vast, intricate mechanism of the universe. If we could pause to truly grasp the magnitude of what lies “OUT THERE” beyond our limited world, perhaps only then would we see art and introspective thought as the fragile but powerful tools they are: means of reconnecting with a broader, more profound sense of existence.
The exhibition thus calls on us to reflect on this urgency for change. It urges a recalibration of our behaviors, anchored in the realization of our finitude and insignificance in the grand cosmic design. And yet, it also reminds us that, within this immense scope, we have the capacity for profound insight, expression, and—through art—a connection to the infinite.
by Cynthia Penna


Transience to the Infinite

Marcus Leslie Singleton: Winter Atlantic Summer

The Journal Gallery

Murmurs is pleased to present Resurrectura, a solo exhibition of multimodal, kinetic sculptures by Sasha Fishman opening November 9, 2024 from 6-9pm. The works on view––composed largely of moving image, biomaterials, and running water––exemplify Fishman’s sustained engagement with an aesthetics of transcorporeality. Disgust, pleasure, identification, and desire commingle within the interstices of both Fishman’s material structures and the interspecies encounters they speak of.

Sasha Fishman is a NY based sculptor and researcher. She is particularly interested in marine biomaterials, toxicology and energy harvesting as points for critical analysis and mechanisms for sculpting. She is a recent MFA Sculpture graduate from Columbia University where she collaborated with labs on salmon, fountains, and carbon capture materials. Sasha is a 2024 Puffins Grant recipient and a current Artist in Residence at Smack Mellon.  

Fishman has exhibited her work at Below Grand (New York), Resort (Maryland), Hesse Flatow (New York), Bozomag (Los Angeles), ILY2 (Portland), The Jewish Museum (New York), and The Indian Ceramics Triennale (New Delhi, India). She has participated in residencies at Smack Mellon (New York), Art Ichol (India), Acre (Wisconsin), NAHR (Italy) and the High Desert Observatory (California). Fishman has presented her work and run workshops at Printed Matter (New York), Genspace (New York), Navel (Los Angeles), UCLA (Los Angeles), UDenver (Colorado), UColorado Boulder (Colorado), Kenyon College (Ohio), MICA (Maryland), Caltech (California), and CSULB (California). 

Sasha Fishman: Resurrectura

Murmurs

La Luz de Jesus Gallery is excited to announce the upcoming exhibition of Complicated Characters, a collaborative exhibition with Jon Langford as Father Drogo and Jim Sherraden as Bishop Biscuit and Sugar and Spice, a solo exhibition with Don Fritz. The exhibitions open February 7th and close March 2nd. The free to the public reception is Friday February 7th from 7pm to 11pm.

Master Printer Emeritus Jim Sherraden and prolific musician and visual artist Jon Langford have been collaborating since 2016. This exhibit, Complicated Characters, will be their fourth such show, featuring a blend of Sherraden’s woodcut artwork and Langford’s extraordinary drawing skills. The show’s title is a nod to the alter egos the artists took on during their collaborative process.

Don Fritz busts out two series of drawings that at first glance may seem congruent but only in Fritz’s iconic stylistic approach to composition. Often his drawings involve layers and layers of discombobulated iconography, figures and text, all hinting towards a larger story filled with many complexities and layers.

The first series is Sugar and Spice, based around a 50’s childhood juxtaposed against the background of a brewing Cold War sentiment, emerging neo-liberal ideals, and attempts at holding up fundamentalist traditions. Many of his children emulating the perky and innocence of a Precious Moments figurine than actual children, furthering this satirical difference.

The other series is Demon and Dolls, taking a dirtier turn as Don Fritz satirizes Mexican pulp fiction and comics. These comics, not unlike the lowbrow pulp of other countries, are beyond exaggerated, both in character design and plot.



Jon Langford & Jim Sherraden: Complicated Characters | Don Fritz: Sugar and Spice

Scientia Sexualis is an ambitious group survey of contemporary artists whose work confronts, dissolves, and reimagines sex and gender within the scientific apparatus. Organized by Jennifer Doyle (Professor of English, University of California, Riverside) and Jeanne Vaccaro (Assistant Professor of Transgender Studies and Museum Studies, University of Kansas), the exhibition will take place in fall 2024 as part of the ambitious collaboration across arts institutions throughout Southern California led by the Getty known as Pacific Standard Time, and will be accompanied by a major scholarly publication produced by ICA LA.

Scientia Sexualis centers research-driven interventions into raced and gendered assumptions that structure scientific disciplines governing our sense of the sexual body. The artists in this exhibition bring attention to the material, conceptual, and psychic forms of the lab and the clinic as aesthetics that operate across scientific and artistic discourses. The exhibition catalogue will feature new writing by leading interdisciplinary scholars who will map key concepts (sex, race, Indigeneity), materials (instruments, specimens, biomatter), and disciplines (psychiatry, anthropology, reproductive medicine) that the artists engage through their work. Together with the catalogue and related programming, Scientia Sexualis aims to examine and reconfigure the relationship between art and science and, in turn, to create an alternative access point to the history of science where sex, gender, and pleasure are concerned.

Scientia Sexualis takes its title from Michel Foucault’s landmark text, The History of Sexuality, Vol. 1 (1976), in which Foucault describes the nineteenth-century development of a “scientia sexualis”—the clinical pursuit of a “uniform truth of sex” as evidenced by an endless scanning of the body and a relentless cataloging of sexual types and deviations. In contrast, over the past 35 years, feminist and queer artists have approached sex and gender as sources of experimentation, knowledge production, medical management, and biotechnical information, resulting in a wide range of works that address difficult subjects such as the origins of modern gynecology and its ties to the torture of enslaved women; the pathologizing of the sexual body; the entanglement of colonization with sexual violence; and the nonconsensual gendering of trans and intersex people. The artists featured in Scientia Sexualis not only explore these painful histories through their artistic output, but they also work from its wake, reclaiming and redeploying scientific discourses to produce speculative technologies of transformation, map embodied forms of knowledge, and radicalize practices of healing and care.

While several major museum exhibitions have addressed issues of gender, sexuality, and representation, Scientia Sexualis is distinct for the coalitional possibilities it generates between Black, feminist, trans and decolonial approaches to these subjects. The project is intentionally heterogenous, situating Black feminist work that confronts the abuse of Black women’s bodies alongside decolonial interrogations of a settler colonial anthropology, trans reclamation of medical practices, and intersectional feminist interventions in reproductive medicine. As a whole, the exhibition addresses the aftermath of our encounters with scientific discourses and institutions as the featured artists surface the contradictory energies that circulate through the lab and the clinic, the library and the archive, exploring and re-constructing frameworks that tell us not only what sex and gender are, but what a body is and can be.

Featured artists include: Panteha Abareshi, Dotty Attie, Louise Bourgeois, Nao Bustamante, Andrea Carlson, Demian DinéYazhi’, Nicole Eisenman, El Palomar, dean erdmann, Jes Fan, Nicki Green, Oliver Husain & Kerstin Schroedinger, Xandra Ibarra, KING COBRA (documented as Doreen Lynette Garner), Joseph Liatela, Candice Lin, Carlos Motta, Wangechi Mutu, Young Joon Kwak & Gala Porras-Kim, Cauleen Smith, P. Staff, Joey Terrill, Chris E. Vargas, Millie Wilson, and Geo Wyex.

Image: Jes Fan

Scientia Sexualis

ICA LA

Joseph Beuys: In Defense of Nature will prominently highlight the artist’s “multiples.” Arranged thematically throughout the first-floor galleries, the multiples are editioned objects made to be sold or given away, more accessible than singular, large-scale pieces. Iconic works such as Sled (1969) and Felt Suit (1970) join lesser-known multiples such as Rhine Water Polluted (1981), a bottle of river water that exemplifies the artist’s approach to artmaking, using humble materials to draw attention to social conditions and environmental issues, such as the contamination of the Rhine River. This expansive array of historical works will show how Beuys transformed the medium of sculpture, with his political concerns at the forefront. 

This fall, in a multifaceted effort, The Broad will present a free collection exhibition, offsite public reforestation project, and series of programs connected with the legacy of Joseph Beuys’s art and environmental advocacy. The exhibition Joseph Beuys: In Defense of Nature is organized by The Broad’s curator Sarah Loyer with Beuys scholar Andrea Gyorody, director of the Frederick R. Weisman Museum of Art at Pepperdine University. It will coincide with a major reforestation initiative, Social Forest: Oaks of Tovaangar, as part of Getty’s landmark arts event PST ART: Art & Science Collide. These dual projects present Beuys’s work and practice as more urgent than ever before, as the planet’s climate continues to warm. 

The exhibition will present over 400 artworks that illuminate Beuys’s practice as a model for direct environmental action, drawing from the Broad’s extensive holdings of the artist’s work. The corresponding Social Forest initiative will echo the appeals for change seen within the exhibition, with an emphasis on the unique social and environmental context of current day Los Angeles. Undertaken in partnership with North East Trees and Tongva (Gabrielino) archaeologist Desireé Reneé Martinez and artist Lazaro Arvizu Jr., the project encompasses the planting of 100 native trees, primarily coast live oaks, in Elysian Park in Los Angeles and additional plantings at Kuruvungna Village Springs in West L.A. 


Joseph Beuys: In Defense of Nature

The Broad 

Please join us for the festive opening of El trineo, a sculpture by Enrique Martínez Celaya, in the Wende’s garden, with light refreshments and a speech by the artist.

About the artwork:

“On Christmas of 1967, my parents bought me a toy sleigh. In the Cuba of my childhood, where snow was as imaginary and foreign as Santa Claus, the sleigh represented the Land of Otherness. This land of Otherness was a place where people would go to and never come back, and where we would someday go as well. As such, the sleigh was a symbol of both our hope for a brighter future and a rejection of who we were. This duality between feeling-not-enough and hoping to be that other is a pervasive Caribbean ailment. Using my memories and biography as a point of departure, El trineo wavers between being a primary experience and being an allegory for the evolution of hopes and illusions that suggest connections between the personal, the familial, the political, and the physical.”

—Enrique Martínez Celaya

About the artist:

Enrique Martínez Celaya is an artist, author, and former physicist whose work has been exhibited and collected by major institutions worldwide. His notable projects and exhibitions include those at the State Hermitage Museum in St. Petersburg, Russia; The Phillips Collection in Washington, D.C.; the Museo Marino Marini in Florence, Italy; the Berliner Philharmonie in Berlin, Germany; the Museo Nacional de Bellas Artes in Havana, Cuba; and the Museum der bildenden Künste Leipzig in Germany. His work is held in over sixty public collections internationally, including the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Whitney Museum of American Art, the Moderna Museet in Stockholm, and The Museum of Fine Arts, Houston. Martínez Celaya is the first Provost Professor of Humanities and Arts in the history of the University of Southern California and a Montgomery Fellow at Dartmouth College, where he was also a Roth Family Distinguished Visiting Scholar. He is the author of nine books on art, art practice, philosophy, and poetry.

From April 26–October 19, 2025, the Wende Museum will present the exhibition Enrique Martínez Celaya: The Sextant.

Enrique Martínez Celaya: El Trineo

The Wende Museum

In recent decades, technological advances have supercharged surveillance. Online, personal data are automatically collected and analyzed on a mass scale. Algorithms watch, listen, track, and identify people, complementing and sometimes replacing human eyes and ears. Powerful combinations of surveillance software and hardware, such as surveillance cameras outfitted with real-time facial recognition, are conquering public spaces. These technologies are often misleadingly presented as though they were pure innovation and have no history.

The exhibition Counter/Surveillance traces the historical roots of such surveillance devices and methods, and the Cold War dynamics that shaped and spread them. It explores the precursors of current biometric surveillance in Cold War manuals for police, border guards and spies; in forensic portraiture; and in the little-known early history of computer facial recognition, revealing links between forensics, science, art, and popular culture. It also traces similarities between Cold War surveillance devices and methods used in East and West, from miniature cameras and listening devices to forensic composite kits. These not only point to a shared technical history, but are also indicative of exchange, inspiration, and imitation across the Iron Curtain. Technical exchanges with allies in the Global South ensured further international dissemination.

Then as now, the skills and tools of secret services were sometimes mirrored by the creativity of their targets. Throughout history, dissidents, activists, and artists have found ways to “watch the watchers” in order to evade, criticize, and expose them – sometimes using the very same surveillance methods and tools deployed against them, from covert photography to profiling and encryption. Others repurposed surveillance tools to make art or created artworks that correct and reclaim the distorted narratives that emerge from personal surveillance files. By showing the rich history of such acts of countersurveillance, the exhibition calls attention to the many ways in which people have reclaimed agency, it celebrates human ingenuity vis-à-vis state control, and it shows how art can be an inspirational signpost in the process. 

The exhibition includes artwork from Sadie Barnette, Paolo Cirio, Asya Dodina & Slava Polishchuk, Graham Fink, Ken Gonzales-Day, Damara Inglês, Yazan Khalili, Verena Kyselka, Gerhard Lang, Francisco Masó, Decebal Scriba, Liat Segal, Nedko Solakov, Xu Bing, Yang Jian, and Mail Art from the Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt, Berlin. 

Counter/Surveillance: Control, Privacy, Agency was curated by Wende Chief Curator Joes Segal and science historian Marieke Drost.

The exhibition is made possible with support from Getty through its PST ART: Art & Science Collide initiative. The Wende Museum is participating in the PST ART Climate Impact Program.

Counter/Surveillance: Control, Privacy, Agency

Luis De Jesus Los Angeles is pleased to present Lia Halloran: Night Watch, the artist’s fourth solo exhibition with the gallery and official PST Art: Art & Science Collide Gallery Program. The exhibition runs from November 9–December 21, 2024, with an opening reception, on Saturday, November 9, from 4–7 PM; and an Artist Talk, on Saturday, December 14, 2024, from 2–3 PM.

Lia Halloran: Night Watch presents a new series of paintings capturing the passage of time across multiple scales—whether through the movement of star trails, the changing of seasons, or the Earth’s steady orbit around the sun. The paintings create a visual dialogue between the mechanical and the natural, from the cyclical nature of the seasons and, the gradual transformation of landscapes, using colors and textures to evoke the season's changes. Referencing the iconic “Device” works of Jasper Johns, this series investigates the many mechanisms that symbolize the passage of time.

Using dynamic marks and textures, Halloran’s paintings envisage evolving landscapes, creating a dialogue between movement and change. Time is portrayed as cyclical and expansive, rather than linear, with each painting reflecting the interplay of visible and unseen forces that drive its passage. The compositions evoke a sense of fluidity, where time spirals, shifts, and expands, capturing the gradual changes in nature, celestial motion, and geological processes.

Halloran’s imagined landscapes transcend the visible, representing the ethereal and mysterious forces that move through nature and the cosmos. The non-representational color palette vibrates with the energy of these active macrocosms, emphasizing the inherent connection between time, light, and movement, provoking viewers to contemplate the rhythms and cycles that govern our world.

Lia Halloran (b.1977, Chicago, IL) lives and works in Los Angeles, CA. Halloran received a BFA from the University of California, Los Angeles in 1999 and an MFA in Painting and Printmaking from Yale University in 2001. She is the recipient of various awards including a C.O.L.A Master Art Fellowship in 2020; 2018 LUX Art Institute Artist Residency and exhibition, Encinitas, CA; 2018 Artist Residency at the American Natural History Museum Astrophysics Department, New York, NY; 2018 Pioneer Works Artist in Residency, Brooklyn, NY; and a 2016 Art Works Grant from the National Endowment of the Arts for the project Your Body is a Space that Sees. + KIP THORN BOOK? Halloran’s work is held in the public collections of the Solomon R. Guggenheim Museum, New York, NY; Center for Astrophysics l Harvard & Smithsonian, Cambridge, MA; Harvard College Observatory and Harvard Plate Stacks, Cambridge, MA; Escalette Permanent Collection of Art, Chapman University, Orange, CA; Art Museum of South Texas, Corpus Christi, TX; Speyer Family Collection, New York, NY; Progressive Art Collection, Cleveland, OH; Microsoft Art Collection, San Francisco, CA; Fidelity Investments Corporate Art Collection, Boston, MA; Simons Foundation, New York; among others. Solo exhibitions of Halloran’s work have been held at LAX Terminal 1 and Terminal 3, Los Angeles, CA; Exploratorium, San Francisco, CA; ArtCenter College of Design, Pasadena, CA; University of Maryland Art Gallery, College Park, MD; LUX Art Institute, Encinitas, CA; Cahill Center for Astronomy and Astrophysics at Caltech, Pasadena, CA (permanent installation); and the Schneider Museum of Art, Ashland, OR; among others.

Luis De Jesus Los Angeles is part of PST ART as a Gallery Program Participant. Returning in September 2024 with its latest edition, PST ART: Art & Science Collide, this landmark regional event explores the intersections of art and science, both past and present. PST ART is presented by Getty. For more information about PST ART: Art & Science Collide, please visit pst.art.

LIA HALLORAN: Night Watch

Luis De Jesus Los Angeles

Liang Fu (b. 1993, Sichuan, China) lives and works in Paris France. He received his BFA and MFA from National Fine Arts School of Nantes in Nantes, France. Fu’s practice centers around the intricate interplay of corporeal forms, geographical landscapes, and the passage of time. Rooted in a familial legacy of antique connoisseurship, Liang Fu’s artistic vision is enriched by a deep-seeded understanding of historical aesthetics. Exhibitions include Liang Fu, Chantal Khoury, Daniel Pitin, Nadia Waheed, Nicodim, Los Angeles (2024, forthcoming); Echoes of the Void, Hive Contemporary Art Center, Shanghai (2024, solo, forthcoming); X Collection 202: Portrait of a Man, X Museum, Beijing (2024); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); DISEMBODIED, curated by Ben Lee Ritchie Handler, Nicodim, Los Angeles (2024); Ash to ashes, Galeria Nicodim, Bucharest (2023, solo); Holographic Realm, Hive Contemporary, Shanghai (2023); Galeria Nicodim, Bucharest: 10 Years, Galeria Nicodim, Bucharest (2023);《星体燎原》corps célestes, Nicodim, New York (2022, solo); DISEMBODIED, curated by Ben Lee Ritchie Handler, Galeria Nicodim, Bucharest (2022); Intangible, Nicodim Upstairs, Los Angeles (2022, solo); petit beurre, Maia Muller Gallery, Paris, France (2021).


Chantal Khoury (b. 1986, New Brunswick, Canada) is of Lebanese descent and is based in Montreal. Her works examine cultural loss and presence in a postcolonial condition while questioning the meaning of the abstracted mark in painting. Building off scholars from the SWANA (Southwest Asia and North Africa) region, Khoury coopts traditional oil painting techniques to address displacement and diaspora through a contemporary methodology, leveraging paint’s versatility through the lens of abstraction. She was recently honoured with the prestigious 2023 Joe Plaskett Award in Painting (a national accolade awarded to an outstanding Canadian painter), and grants from the Canada Council for the Arts, the Ontario Arts Council, the Canadian Federation of University Women, and a spot in the ‘22/’23 RBC Emerging Artists Network at the Power Plant Contemporary Gallery. Permanent Collections include the Royal Bank of Canada, The Art Gallery of Guelph, and the University of New Brunswick, and notable exhibitions include Liang Fu, Chantal Khoury, Daniel Pitín, Nadia Waheed, Nicodim, Los Angeles (forthcoming, 2024); Plural Contemporary Art Fair, Montreal (2023); Art Toronto (Canada’s Art Fair, 2023); Feeling Without Touching, Nicodim, New York (2023); I TIE THEM LOOSELY, Nicodim Annex, Los Angeles (2023, solo); I had the same thought, TAP Art Space, Montreal (2023, two-person exhibition); Holding Echoes, Michael Gibson Gallery, London (2022, solo); Cloth and Feather, Birch Contemporary, Toronto (2021, solo); Other People’s Gardens, Beaverbrook Art Gallery, Fredericton (2020); Be/Longing, Gallery on Queen, New Brunswick (2018); Unstilled Egoes, University of New Brunswick (2014, solo). Khoury obtained her MFA from the University of Guelph (2021) and her BFA with Distinction from Concordia University (2012).

Daniel Pitín (b. 1977, Prague, Czech Republic) is a leading figure among the generation of artists to have emerged since the fall of communism in Central and Eastern Europe. He received his education from the Academy of Fine Arts, Prague, Czech Republic in 2001, and continues to live and work in Prague. Exhibitions include Liang Fu, Chantal Khoury, Daniel Pitín, Nadia Waheed, Nicodim, Los Angeles (2024, forthcoming); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); The Newcomers Association, hunt kastner, Prague (2024, solo); DISEMBODIED, Nicodim, Los Angeles (2024); Time Machine, Nicodim, New York (2023, solo); Galeria Nicodim, Bucharest: 10 Years, Galeria Nicodim, Bucharest (2023); Sommerkino, Czech Center, Berlin (2022, solo); A Race of Peeping Toms, Nicodim, Los Angeles (2020, solo); A Paper Tower, Galerie Rudolfinum, Prague (2019, solo); Formal Encounters, Galeria Nicodim, Bucharest (2018); Broken Windows, House of Art, České Budejovice (2018, solo); Grotto, Charim Gallery, Vienna (2018, solo); Crystal Gardens, GRIMM, Amsterdam (2017, solo); The Mechanical Flowers, Nicodim, Los Angeles (2017, solo). Pitín is collected by the the Los Angeles County Museum of Art and the Knoxville Museum of Art, and his solo institutional exhibitions include Cover Story, Boulder Museum of Contemporary Art (2012); and After the Fall, Hudson Valley Center for Contemporary Art, Peekskill and the Knoxville Museum of Art, Knoxville (2011).


Nadia Waheed (b. 1992, Saudi Arabia) lives and works in Austin, TX. She graduated with a BFA in Painting & Drawing from The School of the Art Institute of Chicago in 2015. Exhibitions include: Liang Fu, Chantal Khoury, Daniel Pitín, Nadia Waheed, Nicodim, Los Angeles (2024, forthcoming); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); VAMPIRE::MOTHER curated by Jasmine Wahi, Anat Ebgi, Los Angeles (2024); A Strange Icarus, Nicodim, Los Angeles (2023, solo); MATERNITY LEAVE: NONE OF WOMEN BORN, Nicodim in collaboration with the Green Family Foundation, Dallas (2023); DISEMBODIED, Nicodim, New York (2023); Wonder Women II, Jeffrey Deitch, Los Angeles (2022); Heavy Bend, Gallery 1957, London (2022, solo); YOU ME ME YOU, Nicodim, Los Angeles (2022); Wonder Women, Jeffrey Deitch, New York (2022); Madeleine Bialke, M. Florine Démosthène, Sahara Longe, Nadia Waheed, Alexander Berggruen, New York (2022); Am I Human Yet, Arsenal Contemporary New York (2021, solo); I Climb, I Backtrack, I Float, Mindy Solomon Gallery, Miami (2020, solo); Sacred Vessel (pt.2), Arsenal Contemporary, New York (2020); Crossroads, Patel Gallery, Toronto (2020).


Liang Fu, Chantal Khoury, Daniel Pitín, & Nadia Waheed

Nicodim Gallery

Gagosian is pleased to announce Frost, an exhibition of new abstract paintings by Sabine Moritz. This is the artist’s second exhibition with the gallery and her first on the West Coast. Moritz’s paintings, drawings, and prints envision moments suspended in time. In her earlier work,
the artist juxtaposes interpretations of her immediate surroundings and signifiers of the natural world with deconstructed documentary images; in many of her recent canvases, she adopts a more narrative approach, which she augments by using a horizontal format. 
Continually altering and deploying a wide range of abstract and symbolic motifs, Moritz explores the dynamics of transience and decay in works that locate personal experiences within broadly shared histories.

Since 2015, Moritz has increasingly worked in an abstract mode, creating paintings that she dubs “psychological landscapes,” titled after elements, locations, months, seasons, and mythological Gagosian to Exhibit New Paintings by Sabine Moritz in Beverly Hills Opening on November 8, Frost is Moritz’s First West Coast Exhibition Sabine Moritz, New World I, 2024, oil on canvas, 70 7/8 × 98 1/2 inches (180 × 250 cm) © Sabine Moritz. Photo: Georgios

In these works, overlapping brushstrokes are allied with chromatic contrasts in improvised compositions. Searching for primal sensory experience, Moritz avoids preliminary sketching, confronting the viewer instead with an unmediated dialogue between color and gesture that addresses recollection and history in a consciously oblique, ambiguous manner. In the twenty new canvases on view in Beverly Hills, Moritz presents dense arrays of painterly marks that harness the emotional power of color while retaining a consistent visual rhythm. With titles that refer to time and place, and to poetry—And the lovers lie abed, with all their griefs in their arms (D. T.) (2024) is taken from Dylan Thomas’s ars poetica “In My Craft or Sullen Art,” from his 1946 collection Deaths and Entrances—the works repay extended looking. Moritz applies pigment vigorously and in layers, sometimes as impasto, which is then scraped back to imbue the surface with a varied texture. Engineering collisions between shape and hue, she sometimes also suggests figures emerging from or disappearing into the works’ interlocking patterns. This establishes references to artists of different epochs who have integrated the human form into landscape paintings. Like frost, which seems suspended between liquid and solid conditions, Moritz’s figures exist in an enigmatic liminal state

Sabine Moritz

Gagosian

This holiday season, Toy Bin Art and Ace Tiger proudly announce their collaborative end-of-year exhibition, Art Within Reach 2024, featuring 37 artists. This marks the second annual Art Within Reach show by Toy Bin Art, held every year-end. This year's exhibition will take place at Ace Tiger, located at 24411 Hawthorne Blvd, Torrance, CA 90505, and will be open to the public from November 16 to December 21, 2024.

Join us for the opening reception on November 16, from 3-7 PM, to celebrate the artists and discover a curated selection of affordable, high-quality artworks—a perfect opportunity for holiday shoppers seeking meaningful, one-of-a-kind gifts.

Art Within Reach 2024 offers art lovers and collectors a chance to acquire unique, original pieces from emerging and mid-career artists at accessible prices. The exhibition includes a diverse array of styles and mediums—paintings, drawings, ceramics, sculptures, and textile art—designed to appeal to a wide range of tastes and preferences.

"Thank you to all participating artists for their generosity and commitment to making their works affordable, allowing more people to enjoy and take home incredible art," says curator Grace Kim of Toy Bin Art. “We’re thrilled to partner with Ace Tiger and create a space where art is within reach for everyone.”

Mark your calendars to support these amazing artists at Art Within Reach 2024! We look forward to welcoming art enthusiasts of all kinds to this festive showcase in Torrance.

Participating Artists:
Clarisse Abelarde, Michael Alten, Jack Avetisyan, Patrick Boyd, Michael Brunswick, Crescent Cheng, Trevor Coopersmith, Noah Gould, Phil Hayes, Eunsil Jeoung, JuJu, Beanie Kaman, Danni Kim, Dave Young Kim, Jiwon Lee, Heather Lowe, Adam Mars, Karena Massengill, Jasser Membreno, Randy Morales, Hung-Viet Nguyen, Kyong Boon Oh, Sihyeon Park, Nathaniel C. Praska, Samuelle Richardson, Robin Sarner, Peggy Sivert, Sung Hee Son, Sheri Ki Sun, Micke Tong, La Kristen Virgen, Andre Woodward, John Weston, Silvia Wagensberg, Randy Wheeler, Michael Freitas Wood, and HK Zamani.

Exhibition Details:
Dates: November 16 - December 21, 2024
Location: Ace Tiger, 24411 Hawthorne Blvd, Torrance, CA 90505

Opening Reception: November 16, 3-7 PM
Gallery Hours: Wednesday - Saturday, 12 - 6 PM, and by appointment                           Gallery Website : toybinart.com     Email: toybinart@gmail.com             