KP PROJECTS is pleased to announce a new exhibition of charcoal drawings by Eric Nash.

West of Heaven, is a series of photorealistic charcoals that capture the subtle, surreal, and subliminal allure of California culture. Nash’s signature visual vocabulary references the atmosphere and minimalism of the Light and Space Movement (originating in Southern California in the 1960’s), crafting an enticing drama that is born from the contrast between light and dark, the divine and the material. 

“West of the wealth, the action, prestige and glamour are lonely places that are overlooked or ignored. No roads paved in gold here but rather pawn shops that buy gold. It’s quietly beautiful. Simple desires, yearning, lust, and dreams transcend harsh realities. Small moments of truth are documented. This is where I live and what I draw in charcoal, the most elemental, ancient and dramatic of mediums. Here is the contrast of life and light in the shadows West of Heaven.” – Eric Nash

Nash’s creative process is ritualistic, a sacramental quality where the act of observing is felt. Each image originates as a photograph shot by the artist, which is then meticulously drawn in charcoal on thick, smooth, 33 x 44 inch sheets 120lb Stonehenge paper. Here, the mundane is celebrated and imbued with reverence.

“At a very young age, learned to see beauty and soul in the mundane. Years later my journey drew me to the California desert where I now live - a vast expanse of desire and dreams. I feel at home. These drawings are visual poems to these feelings and places, the reason I am an artist.” – Eric Nash

West of Heaven will be on view from November 22nd – December 27, 2025. Gallery Hours are Tuesday - Saturday, 12pm - 6pm.

Eric Nash: West of Heaven

KP Projects

Opening Reception 5 pm - 7 pm

DON’T LOOK Projects is pleased to present Ahí viene el Coco—an exhibition that invokes the metaphorical boogeyman, to critically examine the systemic violence of contemporary global polarization and the resulting monocultural, beige aesthetic of manufactured consensus. The exhibition asserts that the current retreat from inclusivity to apartheid is a psychological defense mechanism against the visible failure of prevailing economic models, which has led to the shattering of the meritocratic illusion.

Libertad Alcántara: Ahí viene el Coco / Here Comes the Boogeyman

DON’T LOOK Projects

AR OPEN
Augmented Reality Exhibition feat. "Diddle My Skittle" (LA) by German artist Anne Duk Hee Jordan

Venice Public Art Walls, Venice, CA
Free admission

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. 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.

FOR DETAILED INFO, PARTICIPATING ARTISTS AND A TUTORIAL HOW TO VIEW THE AR OPEN PLEASE VISIT: https://bit.ly/ARopenLA

PLEASE NOTE: 
The site-specific installation is only accesible on location at the Venice Public Art Walls
This is a web-based project viewed via 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. 


AR OPEN LA

AR Open @ Venice Public Art Walls

Augmented Reality Exhibition
AR OPEN
Sun, 02/25/2024 -Wed, 12/31/2025
Venice Public Art Walls

Anne Duk Hee Jordan, Diddle My Skittle (LA), 2024, AR Installation, Venice Beach
feat. Diddle My Skittle (LA) by German artist Anne Duk Hee Jordan

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 LA. 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 accesible on location at the Venice Public Art Walls
This is a web-based project viewed via 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. 

AR OPEN Augmented Reality Exhibition

She Who Holds the Sun is a tribute to the creative process that came after the 2025 Eaton Fire which destroyed an entire exhibition of Pomonis's paintings, over a half decade of work destroyed overnight a burst of potential born from the ashes of lost work. Each painting in the exhibition takes a burned painting as its starting point, evolving in form and color into a transformational composition that both holds its antecedent close and lovingly lets it go. 

_______

The exhibition opens in conjunction with Mary Anna Pomonis's solo show She Who Holds the Sun at Charlie James Gallery. Together, the two exhibitions form an interrelated dialogue about loss, renewal, and lineage, rooted in Pomonis’s personal experience of the 2025 Eaton Fire, which destroyed an entire body of her paintings. She Who Made Me serves as the conceptual and emotional foundation for this process of recovery. The exhibition brings together artists who have profoundly shaped Pomonis’s artistic practice, including teachers, peers, and collaborators whose work embodies the matrilineal networks of influence and mentorship that sustain creative life..


Mary Anna Pomonis: She Who Holds the Sun | She Who Made Me - Curated by Mary Anna Pomonis

Charlie James Gallery

A performance with custom built sets and live performers on Saturday 13th December from 6-8pm. The sets will remain in place thru the holidays and be open for viewing during gallery hours on Friday 2nd January and Saturday 3rd January. 

The Time Off Their Life, a new performance by Holly Harrell and Bryan Morello, begins with a mourning figure, a rocking chair made from memory, and an incomplete snowman on a mobile stage. A ghost story told through multiple accounts, by multiple ambassadors of grief, shifting perceptions of the truth until reality dissipates. Moving through a dreamlike sequence of introductions, possessions and reenactments, their stories unfold through a shifting tableaux of domestic hauntings and collapsing memory. Blurring the lines between performer and spectator, actuality and apparition, until all are gathered at Christmas dinner to discuss what just happened, as if waking from the same dream. 

Performance: 'The Time Off Their Lives' by Holly Harrell and Bryan Morello

Charlotte Call Gallery

Presented in collaboration with Munzón Gallery and as part of the 2025 SUR:biennial, Crossings brings together artists navigating their American identities while honoring ancestral roots. Featuring Los Angeles-based artists of Latin American descent alongside voices from AANHPI, Middle Eastern, and immigrant communities, the exhibition offers a compelling reflection on cultural preservation, adaptation, and belonging.

Photo Credit: Hely Omar González, Abuelita en Paraíso (2023), oil, acrylic, dye on canvas, 43 x 57 x 3 in.

Crossings

Brand Library & Art Center

Touching Grass to open at North Loop West, November 21, 2025. The exhibition features four contemporary artists whose work considers human relationships with non-human life. Exhibition will run from November 21, 2025 – January 3, 2026, and an opening reception will be held at the gallery on November 21 from 6-9pm.

North Loop West is delighted to present Touching Grass, an exhibition featuring four artists who explore human relationships with the natural world, opening November 21. In sculpture by Cameron Cameron, ceramics by Ryan Flores, paintings on silk by Benedict Scheuer, and wax pastel drawings by Pallavi Sen, nature emerges as teacher, metaphor, and source of personal and cultural meaning. Through distinct approaches, these artists conjure the natural world as a dynamic ground for relation and knowledge—one that invites acts of attention, creativity, and care.

Los Angeles-based ceramicist Ryan Flores translates flora encountered on his walks through the city into intricately detailed ceramic forms. Raised in Southern California, Flores draws on plants and produce that carry both personal and cultural significance—fruits and vegetables found at vendor stands that dot the city’s sidewalks, or cacti discovered on different hiking trails. His works conjure a simultaneous sense of abundance and decay: much of the plant life depicted are mottled with wilting and rot. Evoking the vanitas tradition of painting made famous by the 17th- century Dutch Golden Age, Flores uses these visual signs of perishing as metaphor for the impermanence of each living thing.

In new drawings, Pallavi Sen examines ecology—the interconnectedness of living things—via her gardening practice. The garden for Sen is an aesthetic pursuit, a site of care, and a space where relationships between nature and culture unfold. Living and teaching at Williams College in the Berkshires of northwestern Massachusetts, the artist cultivates meadows and gardens featuring plants that also thrive in her native Bombay, recalling the flora her mother once tended on their apartment terraces. Sen’s drawings depict moments from her most recent garden on campus— the viewer gets a glimpse into a dream-like night scene of corn stalks, the back of a woman’s patterned jacket enveloped by verdancy, as the artist conjures a sense of softness and human care necessary to build and care for a garden.

Columbus, OH-based Benedict Scheuer also takes up the site of the garden in their paintings on silk. Scheuer’s works are in active dialogue with living material: if weather permits, the artist paints outside, next to the garden they tend at their home studio. The two paintings on view, Flower and Summer, are an exploration of natural patterns witnessed in plants seen in their garden. Using a new technique of painting and dyeing, the flow of color seen in Summer evokes an organic process, where time and gravity allows drips and dye bleeds that ultimately dictate the final composition. Considering the patterns in their silk works as visual scores of their own breath, Scheuer mirrors their natural rhythms of breathing through brushwork—each stroke of pigment is tied to an inhale and an exhale. As the artist undergoes their own gender transition, the garden becomes teacher—a living metaphor for constant flux and transformation, and a source of creativity and wisdom where multispecies entanglements flourish.

Sculptor Cameron Cameron works with discarded materials from her studio and the streets of Los Angeles, reclaiming and remaking them with a slowness and care rarely given to such remnants. The arms of Cameron’s chandelier, on view in Touching Grass—created from a found object gifted by a friend—have been transformed into branch-like forms. Their thorn-covered surfaces are coated in a vivid blue enamel, achieved through layers of car paint, and host tiny metal ants that the artist meticulously sculpts by hand. Cameron refers to these small creatures as “my delicates…non-domesticated creatures whose lives intersect most intimately with our own: spiders in the shower, ants at the picnic table, hornets in the corner of the porch,” positioning them as agents that complicate boundaries between the domestic and the wild, the human and the nonhuman. Clocks like Windmill are composed of reshaped studio scraps of foam via a meditative process of molding and sanding. Their sky-blue, cloud-like resin surfaces evoke the atmosphere itself, grounding Cameron’s practice within a shared material and ecological context.

Across all four practices, nature is explored not as an abstract or distant ideal, but as a site of everyday mutualism and multi-species cohabitation. Touching Grass will be on view at 508 Chung King Road through January 3. Please join us for an opening reception on November 21 from 6- 9pm! For an exhibition preview or more information, please contact izzy@northloop.art.

ABOUT NORTH LOOP WEST
North Loop West is the LA-based outgrowth of a seasonal gallery project based in Williamstown, Mass. The gallery program fosters conversation between artists working in the LA area and those in the Northeast and highlights close collaboration with artists to encourage experimentation.
While the gallery’s primary location is now in Los Angeles, North Loop West will continue to host occasional programs in Williamstown, Mass.

Image: Benedict Scheuer, Summer, 2024, hand-dyed 16mm Habotai silk, 45 1/2 x 82 in. Image courtesy of the artist.


Touching Grass

North Loop West

de boer (Los Angeles) is pleased to present Advertisements and Other Pictures, a solo exhibition by London-based Murray Clarke, his first with the gallery. The exhibition brings together eight oil on canvas paintings that, on surface level, appear to emulate the look, thinking, and lifestyle of prep schools and high society. A complex and self-reflexive act, the paintings interrogate the systems that produce aesthetics, capital, and identity and the ways in which taste, beauty, and class are constructed, circulated, and consumed.

The gestural simplicity of his portraits, taken as a whole, makes up quite a complex of civil manners. In works such as Evening Red (2024), and Beach (2024), the textures of wool, cotton, and synthetic blends are immediate expressions of hierarchy and a repetitive system of visibility about whose bodies and desires are made visible, commodified, and erased. This reorients the exhibition as a whole to visual persuasion while addressing fantasies of selfhood.
In this way, Clarke’s paintings echo and embrace the circulatory logic of the market itself: images made to move endlessly, stripped of origin yet loaded with beautiful history. Made in a medium that defies the digital, and rooted in painstaking observation and slow accumulation, stands as a paradox for the speed and disposability of visual culture. The result is a playful intermingling revealing how the visual economies of the twentieth century still reverberate into the uncertain futures of the twenty-first.

Murray Clarke (b. 1992, London) lives and works in London, England. Clarke graduated from Kingston School of Art in 2019 with an MA in Fine Art. His work explores the dichotomy of emotions surrounding the mass marketing and consumption of fabrics and garments. Through his work, Clarke dissects and questions our attitudes and feelings towards such luxury goods, creating paintings that are at once warm and welcoming yet deceptively cold and superficial. Clarke has had solo exhibitions at Nahmad Projects, London, UK; WOAW Gallery, Singapore; Arden + White, New Cannan, CT; Moosey Gallery, Norwich, UK. Group shows include those at de boer, Los Angeles; MXM Galeria, Madrid, Spain; and Volery Gallery, Dubai.

Murray Clarke: Advertisements and Other Pictures

De Boer Gallery

"Well, here i am" is an immersive exploration into the world of Thalo Halo, a pop artist hailing from the Chicago area. His large hand-painted works on canvas function as a nostalgic odyssey through the lens of Pop Americana.

Thalo Halo: Well, here i am

The LMF Gallery & Darkroom

"Glitch" frames the error not merely as a malfunction, but as a definitive rupture. It is a sharp breach where hidden systems inadvertently reveal their presence. When a screen tears, a file corrupts, or a physical structure fractures under unseen stress, this rupture breaks the seamless illusion of control. It offers us a tangible glimpse into the complex architecture that governs our reality.

Featuring Joaquín Stacey-Calle, Jade Lucia Smrz, Kyle Slevira, Shirley Tse, Green Yoon, and Sydney Jung

Glitch

Cevera Yoon Gallery

Zachary Benson Friedberg hits the walls of La Luz de Jesus Gallery again this winter for the newest showcase of paintings titled "Yesterday's Tomorrow". Friedberg acknowledges the nostalgia for the disappearing architecture of Googie style diners across Southern California by mixing them with sci-fiction.

Zachary Benson Friedberg: Yesterday's Tomorrow

La Luz De Jesus Gallery

Nüart Gallery proudly presents “Structured Planes,” an exhibition featuring new works by celebrated abstract painters Rose Masterpol and Lloyd Martin, on view from December 13 through January 4 at the gallery’s Bergamot Station location. This compelling two-person exhibition brings together two artists who, through distinct sensibilities, explore the expressive potentials of geometry, color, and spatial clarity.

Masterpol’s contributions to the exhibition reveal a crisp, assertive visual language rooted in hard-edge abstraction. Her compositions unfold through sharply defined vectors, shifting planes, and chromatic contrasts that infuse her paintings with precision and energy. Each work balances structure and spontaneity, offering a dynamic interplay of controlled form and intuitive gesture.

Martin’s paintings approach structure from a different vantage point. Known for his luminous, layered grids and carefully modulated intervals, Martin builds compositions that evoke architectural rhythm and musical cadence. His surfaces pulse with subtle gradations of color, creating measured spaces that feel at once constructed and atmospheric. The works invite prolonged looking, revealing depth and complexity within their restrained vocabulary.

Together, Masterpol and Martin create a conversation centered on order, rhythm, and the emotive power of abstract form. “Structured Planes” highlights how geometry—handled with clarity and intention—can become a vehicle for thought, mood, and spatial experience. The exhibition underscores each artist’s ability to transform disciplined abstraction into something resonant, contemporary, and deeply human.

Join us for the opening reception on Saturday, December 13, from 3 to 5 PM.

Nüart Gallery
Bergamot Station, Santa Monica, CA
www.nuartgallery.com

For additional information, please contact the gallery at 424-900-3888.

Image: Rose Masterpol


Structured Planes: Rose Masterpol & Lloyd Martin

Nüart Gallery

7811 Gallery presents: This fall, acclaimed neo-expressionist painter Steven Terrell Cogle brings his dynamic solo exhibition Pop Culture Junkie: A Journey into Black Television, Cinema, and Experiences, 1974–1995 to Gallery 7811 in Los Angeles. This collection is a love letter to a cultural era that shaped Black identity, reinterpreted through the artist’s deeply personal lens and layered, expressive style.

Image: Steven Coogle Greased Lightning (Wendell’s Car), 2022, acrylic and oil stick on stretched canvas, 54” x 60 “ x 1.5. Courtesy of 7811 Gallery

Steven Terrell Cogle: POP CULTURE JUNKIE: A JOURNEY INTO BLACK TELEVISION, CINEMA, AND EXPERIENCES, 1975–1995

7811 Gallery

Michael Kohn Gallery is extremely proud to announce Dorian’s Gardens, an exhibition by New York-based artist Nir Hod. Dorian’s Gardens opens October 11, 2025, and will be on view through January 2026.

This new body of work expands upon Hod’s chrome and oil painting series, 100 Years is Not Enough, an ongoing study of various bodies of water rendered by Hod’s loose yet seductive impressionistic style and iconic chroming, mirror-like technique.

In addition to the new group of lustrous, pastoral landscapes, this exhibition will include intimate works on paper that appear as details of the much larger canvases, a rare realist portrait, a bronze figurative sculpture, and finally the artist’s self-portrait– a nod to both Édouard Manet and the mirror of the exhibition– Dorian Gray.
Most recently, Hod’s work debuted at the House of Dior’s newest flagship store on 57th St. in Manhattan, designed by architect Peter Marino.

In his nearly 30-year career, Hod has consistently delved into the duality of human nature as subject matter for his paintings. The dichotomous themes of beauty and death, flourish and decay, vanity, perfection, destruction, and the overall fragility of life permeate from his earliest bodies of work, such as the Genius and Mother portraits, to his most recent, reflective minimal canvases of the series 100 Years is Not Enough.

100 Years…, Hod’s recent chrome painting series, consists of gestural interpretations of flora floating over bodies of water, akin to a minimalist interpretation of Monet’s Waterlilies. These partially idealized works are not exact renditions of nature but impressions that hover between natural and representational beauty. Hod’s scattered mark-making is complemented by the illusion of shimmering water achieved by multiple applications of reflective metallic chrome. Each composition appears to create a singular ecosystem, a simulacrum of the natural world. Upon close inspection, the spectator finds their own likeness reflected in a painterly surface reminiscent of reality, a visual metaphor of vanity, illusion, and the human condition.

Appropriately titled after Oscar Wilde’s seminal novel The Portrait of Dorian Gray, Hod pays homage to the iconic character through the highly reflective chromed surface that allows the viewers to consider themselves within the background of Hod’s painting. The spectator is simultaneously a passive onlooker and an active participant in the physical space of the canvas. Nir Hod’s work is visually exquisite but, like Dorian Gray’s portrait, Hod’s painting ultimately betrays its true nature through rough gestures, ghostly traces of color, and a myriad of painterly “mistakes” that proudly reveal beauty and decay as one.

Equally present in Dorian’s Gardens is Hod’s affinity for art history. A palatial ambiance that recalls Old Masters is achieved through color palettes of deep turquoises, jewel- toned reds, and purples melded with black and brown tones. The relaxed brushwork of Life as a Memory, a portrait of a couple taking a stroll, recalls Claude Monet’s expressions. While Hod’s newest sculpture, Lonely girl with tiger, evocates allegoric bronzes from the Renaissance.
Dorian’s Gardens opens October 4, 2025, and will be on view through January 2026. 

ABOUT THE ARTIST
Nir Hod (b. 1970, Tel Aviv, Israel) lives and works in New York. He earned his BFA at Bezalel Academy of Art and Design, Jerusalem, and attended the Cooper Union School of Art in New York City in 1991. Hod has had several solo exhibitions in the United States and abroad with his first show in 1996 at Noga Gallery of Contemporary Art, Tel Aviv. He has had solo exhibitions at Tel Aviv Museum of Art, Tel Aviv, Israel; The Museum of Israeli Art, Ramat Gan, Israel; Michael Kohn Gallery, Los Angeles, CA; Jack Shainman Gallery in New York, NY; Paul Kasmin Gallery in New York, NY; Gavlak Gallery in Palm Beach, FL; and Michael Fuchs Gallery, Berlin, Germany, among others. His work has been in numerous group exhibitions nationally and internationally from New York to London, Berlin, Vienna, and Israel. These include the Tel Aviv Museum, Tel Aviv, Israel; Albright Knox Art Gallery, Buffalo, NY; The Jewish Historical Museum, Amsterdam, Netherlands; Martin-Gropius-Bau Museum, Berlin, Germany; Bard College, Annandale-on-Hudson, New York, NY; The Jewish Museum, New York, NY; The Vienna Jewish Museum, Vienna, Austria; The Israel Museum, Jerusalem, Israel; Yerba Buena Center for the Art, San Francisco, CA; Museum of Modern Art, Oostende, Belgium; The Flag Art Foundation, New York, NY; Marlborough Gallery, New York, NY; among others.

ABOUT THE GALLERY
Since its establishment in 1985 by Michael Kohn, Kohn Gallery has presented historically significant exhibitions in Los Angeles alongside exciting contemporary artists, creating meaningful contexts to establish links to a greater art historical continuum. Kohn Gallery represents important West Coast artists with long careers and rich histories such as Joe Goode, Lita Albuquerque, and Sharon Ellis, as well as the Estates of Bruce Conner, Wallace Berman, John Altoon and Martha Alf. Kohn Gallery boasts an expanding roster of emerging and mid-career artists including William Brickel, Alicia Adamerovich, Li Hei Di, Chiffon Thomas, Heidi Hahn, Jinbin Chen, Nir Hod, Siji Krishnan, Sophia Narrett, Shiwen Wang, Rosa Loy, and Mark Innerst. Visit kohngallery.com for the latest information on upcoming exhibitions.

Instagram: @KOHNGallery, @nirhod, #NirHod, #michaelkohngallery Press Contact: Elizabeth McNamara, emcnamara@fitzandco.com Gallery Contact: Karys Judd, karys@kohngallery.com

Image: Nir Hod, 100 Years is Not Enough, 2025, oil, chrome and patina on canvas, 72 x 90 inches

Nir Hod: Dorian’s Gardens

Kohn Gallery

Across I Know Her, Sarah Ann Weber locates apertures where the maternal, environmental, and imaginative converge, accumulating dualities that form an ecology of unruliness and resilience. The exhibition’s title gestures to multiple recognitions—the child, the mother, the landscape, the artist herself—each glimpsed, inhabiting a space of flux and perpetual renewal.

_____

Anat Ebgi is pleased to announce After Each Night We Are Emptier, including works by: Eve Biddle, Veronica Fernandez, Simon Haas, Hayv Kahraman, Ragen Moss, Veronika Pausova, Mary Ann Unger. 

Sarah Ann Weber: I Know Her | Group Show: After Each Night We Are Emptier

Anat Ebgi | Mid-Wilshire

Musichead Gallery is proud to present Jersey Poets, a group exhibition of photographs celebrating Bruce Springsteen and Patti Smith, two visionary artists who emerged from New Jersey to redefine the relationship between music, language, and image.

Featuring work by Adrian Boot, Allan Tannenbaum, Bob Gruen, Danny Clinch, David Gahr, David Rose, Frank Stefanko, Lynn Goldsmith, Neil Zlozower, Norman Seeff, Steve Rapport, and Terry O’Neill, the exhibition brings together portraits and performance photographs that explore how both artists transformed rock and roll into a form of storytelling, spiritual reflection, and personal expression.
While Springsteen and Smith share geographic and generational roots, their creative trajectories reveal distinct approaches to truth and transcendence. Springsteen’s narratives of working-class perseverance echo the rhythms of small-town America, while Smith’s poetic and avant-garde sensibility gave voice to the intellectual and emotional edges of punk. On view are photographs that trace their parallel journeys, capturing moments of performance, collaboration, and persona that illuminate the dynamic balance between realism and symbolism, individuality and community, sound and vision.

The exhibition coincides with the release of Bruce Springsteen’s biopic Deliver Us From Nowhere, the publication of Patti Smith’s memoir Bread of Angels, and her performance at Walt Disney Concert Hall. Both artists also mark the 50th anniversaries of their debut albums Greetings from Asbury Park, N.J. and Horses. Through these photographs, Jersey Poets invites viewers to reflect on how two singular voices continue to influence the cultural and visual language of modern music.

We invite you to experience Jersey Poets, where music and photography meet to tell the stories of Bruce Springsteen and Patti Smith, their roots, their visions, and their enduring impact on culture.

Jersey Poets: Bruce Springsteen & Patti Smith
On View: November 14, 2024 to January 10, 2025
Opening Reception: Friday, November 14, 2025 | 7:00 PM to 9:00 PM
Free with RSVP: https://opening-reception-jersey-poets.eventbrite.com

Metered parking is available on Sunset Boulevard. Ridesharing is encouraged due to limited space. The gallery entrance is wheelchair accessible. For accessibility accommodations, please contact Musichead Gallery in advance.

For additional information, please contact Musichead Gallery at (323) 876-0042 or info@musichead.com, or visit Musichead.com.

Jersey Poets: Bruce Springsteen & Patti Smith

Musichead Gallery

For the opening reception of Pink Morongo, Sara Marlowe Hall invites her husband, musician and composer Matthew Zuk (known as Zuk Zuk), to perform a live improvised composition in response to her paintings. The performance continues their ongoing collaboration Lovers Talk, a project that investigates the intersections of solar fields, composition, scale, space, color, and texture. Zuk Zuk employs synthesized loops, a fretless baritone guitar, and a twelve-string in new standard tuning to create layered soundscapes and textured melodies that accompany Hall’s paintings, translating visual elements into sound and blurring the boundary between painting and performance.

RSVP: https://www.eventbrite.com/e/opening-reception-and-live-performance-sara-marlowe-hall-and-zuk-zuk-tickets-1969972841800?aff=oddtdtcreator

Image: Sara Marlowe Hall
“Across the valley,” 2025
Oil on Linen
17 ⁵⁄₁₆" x 13 ¹⁄₄" x 2" [HxWxD] 
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox

Sara Marlowe Hall: Pink Morongo

Vielmetter Los Angeles

Sidecar is pleased to present Glastonbury, an exhibition organized by Conrad Guevara. The show features new paintings, sculptures, and photography by Night Gallery team members new and old: Adrian Carroll, Deondre Davis, Brian Faucette, Brett Flanigan, William Hathaway, Chip Hughes, Brittany Mack, Mickey Mackenna Dill, Acacia Marable, Nik Massey, Davida & Josh Creations, J Rivera Pansa, Jarret Rubin, Andrea Santos, Charlie Smith, Sebastian Smith, Buzz Szilagyi, Rae Tweed, and Marina Darcy Weiner. This is the final exhibition in our Sidecar space which will transition to becoming part of Night Gallery's main programming in 2026.

12th CENTURY AD: A fire decimates England’s Glastonbury Abbey. To raise rebuilding funds, monks invent a myth that King Arthur and Queen Guinevere are buried beneath the grounds.

2007-8: Amy Winehouse performs at Glastonbury Festival, solidifying her reputation as a troubled, once-in-a-generation icon. 

DECEMBER 2025: Conrad Guevara curates Glastonbury at Sidecar, a swan song to the pop-up gallery and to his curatorial program Kill Shelter Presents. 


In early 2023, Conrad Guevara, Night Gallery’s then-head-preparator, began presenting concise exhibitions at the back of NG North. He hung work by artist colleagues on the wall between the preps’ refrigerator and the gallery’s inventory racks. The back-of-house shows became gathering places for the talent that was, literally and figuratively, behind Night Gallery’s public-facing exhibitions. Guevara called the project Kill Shelter Presents (KSP). Management was not consulted about this enterprise.  

Nearly three years later, Guevara has moved on from his role and out of LA. He is handing over KSP to Buzz Szilagyi, now NG head prep. Night Gallery plans to sunset its Sidecar space, following two years of collaborative programming with galleries and curators from near and far. Glastonbury is an ode to the collegial spirit that has animated Sidecar and KSP alike, a graduation of sorts from behind-the-scenes to official exhibition. An intimate, guerilla ethos remains. 

Guevara notes that the Glastonbury music festival unites a broad range of bands, from the uber-famous to the unknown. In his show, he groups artists into three categories: performers, production, and crowd control. Jarret Rubin’s central painting The One (2025) features a singer looking out over a crowd. Buzz Szilagyi, Rae Tweed, and Deondre Davis contribute their own figurative works, side acts to this headliner. Brett Flanigan’s framed ceramic triangles resemble beams of stage lighting, while Chip Hughes’s psychedelic, carved-wood painting suggests a chemically altered, music festival state. Charlie Smith presents a wood “Sky Cabinet” sculpture that recalls refracted light and energy. Andrea Santos’ vibrational drawing conjures amplified sound. Davida Nemeroff, Seb Smith, and Marina Darcy Weiner make sculptures that evoke barricades and demarcate patterns of flow. Guevara himself serves as club promoter for this motley crew. 

Glastonbury celebrates the connections forged at the gallery, where disparate, creative personalities unite to ship, mount, promote, and sell show after show. Guevara notes the sea foam hue of Sidecar’s walls. “The green room,” he says, “is where everyone wants to be.”
 
—Alina Cohen

Image: Brittany Mack, Fornication, 2025. Photography by Nik Massey.

Conrad Guevara: Glastonbury

Sidecar

Shoshana Wayne Gallery is pleased to present Absinthe, Smoke, Sugar, Choice, an exhibition by Sabrina Gschwandtner. This is the artist’s fourth solo exhibition with the gallery. The exhibition will be on view from November 1, 2025 through January 10th, 2026, with an opening reception on November 1, from 4-6pm.

After the overturning of Roe v. Wade, Gschwandtner looked back to the “pre-Roe” era, drawing on early film and familial memory to explore how women have taken control of their bodies and lives. Working with black-and-white 35mm film, etching ink on film, thread, and video, she presents twelve film quilts and a single-channel video that expand the concept of “filmic suture” into a three-dimensional, materially embodied cinematic form. Through her research-based and materially grounded practice, the artist stitches together a lineage of bodily autonomy and resistance.

Two early films directed by women anchor the exhibition. The first, Alice Guy-Blaché’s 1906 film Madame’s Cravings, portrays a pregnant protagonist who gleefully disrupts social norms — stealing absinthe, tobacco, and candy while her partner tends to their child. Her untamed desires and public act of childbirth, captured more than a century ago, subvert prescribed ideals of maternal propriety and bodily control. Gschwandtner heightens this subversion by hand-painting passages of the film — green for absinthe, and yellow, red, and blue for the lollipop — transforming the protagonist’s cravings into vivid, material expressions of desire and agency. The second film, a 1931 documentary by Marvin Breckinridge, chronicles the Frontier Nursing Service, which delivered maternal care by horseback in rural Appalachia and dramatically reduced maternal and infant mortality rates. Together, these films challenge the omission of reproductive life on screen. After the implementation of the 1934 Hays Code, depictions of pregnancy and childbirth disappeared from American cinema for decades. By revisiting works made before this period, Gschwandtner recovers a visual history that resists the cultural erasure of reproductive experience.

This exhibition also debuts a new “video quilt,” a hybrid form the artist has developed over the last eight years. Resembling a patchwork quilt, the work interlaces archival film, handwritten text, and a recorded interview with the artist’s mother, who recounts obtaining an illegal abortion in the years before Roe v. Wade. The video models forms of agency, showing women asserting control over their bodies and narratives, even under restrictive and oppressive conditions.

Gschwandtner has exhibited internationally, at the Victoria & Albert Museum; Los Angeles County Museum of Art (LACMA), Smithsonian American Art Museum, and Crystal Bridges Museum of American Art, among many others. Her 8-channel video Later in Life, commissioned by the Skirball Cultural Center, is currently on view at the museum. Her work is held in the permanent collections of LACMA, the Walker Art Center, the Smithsonian American Art Museum; Museum of Fine Arts, Boston; the RISD Museum, and the Carl and Marilynn Thoma Art Foundation, among other public and private collections worldwide. She earned her BA from Brown University and her MFA from Bard College.

Sabrina Gschwandtner: Absinthe, Smoke, Sugar, Choice

Shoshana Wayne Gallery

In our gallery in East Hollywood, Track 16 presents a new body of work by Los Angeles-based artist Camilla Taylor. In the exhibition titled Unkindness, Taylor explores both the vacuum of loss and the emergence into a new world and new self – radically unlike the past. Multiple bronze works – representations of the body – suggest an emptiness, a blackout. Cast from hand-sculpted clay and wax, they function as preservations of something made then lost. Stray, a larger than life human mandible, uncannily imbues itself with uncertainty and, separated from its body, threatens like an omen. Stomach, a bronze lidded container, holds inside a scented wax that visitors may sample. Taylor designed the scent to mimic how people have described the smell of scientific clean rooms, where hallucinations are induced by the brain in response to the lack of olfactory stimulus. Adding a waterfall inside a bronze torso, a square bowl with the imprint of a breast, a glass ear, and a roped glass foot amplifies the richly enigmatic vocabulary of the body that has developed.

Taylor began 2025 with a residency at the Sitka Center for Art & Ecology in Oregon. Early morning, January 7, 2025, Taylor packed their car to return home. After more than a dozen hours on the road, their neighborhood came into sight along with a menacing glow behind it. Within moments of arriving home, Taylor, their partner, and four cats were fighting catastrophic winds to flee the approaching wildfire. This collection of bronze, copper, glass, and fabric sculptures was created in the aftermath of the Eaton Fire that destroyed Taylor’s home and studio in Altadena. Working out of borrowed studios, they salvaged, recreated, and conceived anew works for this exhibition, which had been planned since before the devastating fire. 

Recent residencies for Taylor had allowed deeper examination of the natural world. During a 2024 residency on Vashon Island in the Pacific Northwest, Taylor sculpted and cast bronze blackberry branches. Sanctuary – the only artwork in the current exhibition that survived and were blackened by the flames – are stacked into a triangular-shaped structure. In pagan witchcraft this is a symbol for fire or water, depending on the triangle’s orientation. Introduced to the Northwest in the 19th century, the thriving Himalayan blackberry is a bane and a bonus. The berries are everywhere to eat, but have effectively crowded out native plants and upset the balance of the ecosystem. That push-pull is reminiscent of fire in California, where, historically, it was a natural cycle for a healthy system. Contemporary suppression protects communities near the forests, but the build-up of fuel creates conditions for overwhelming destruction. 

While at the Sitka Artist Residency, they began a piece about the transformative consuming power of destructive rage, Harpy. A breastplate fashioned from etched copper feathers. Simultaneously to making this piece about rage, the deeply affecting experience of rescuing a wild bird, a Pacific loon, whose gentleness is evident in the delicate rendition of the feathers.

Describing themselves as having a “toxic Protestant work ethic,” Taylor spent the year in a string of donated studios forming this exhibition that addresses the emotions of loss, vulnerability, and the inevitability of change. What are we left with when our home, work, and surroundings are destroyed but soft human forms – which Taylor has made hard and frozen as objects. They lay bare the struggles of the human experience – using direct haunting language that questions mortality at the mercy of destructive forces, manmade and natural.

ABOUT THE ARTIST
Camilla Taylor is recognized for their monochromatic and intensely introspective works on paper and sculpture, which utilize figurative and architectural forms. Taylor’s artworks reflect the viewer’s internal lives as well as collective issues we experience as a society.
An accomplished artist exhibiting in traditional gallery spaces, they also create installations in intimate and unusual locations, such as site-specific works in a swimming pool, desert garden, and other locations. They are represented by Track 16 in Los Angeles and Kanda & Oliveira in Tokyo.

Raised in Provo, Utah, Taylor attended the University of Utah and received a BFA in 2006, and an MFA from California State University at Long Beach in 2011. 

Taylor lives in Los Angeles, CA, with their partner and 4 cats, and teaches at Occidental College and UCLA.

Camilla Taylor: Unkindness

Track 16 | East Hollywood

BEYOND THE STREETS presents SHEPARD FAIREY: OUT OF PRINT, a landmark exhibition celebrating the rebellious, democratic force of ink and paper. Featuring over 400 screen prints and new hybrid works, the show traces Fairey’s evolution across three decades—from guerrilla interventions to globally recognized icons—spotlighting his lifelong dialogue with printmaking and the power of mass communication.

Through posters, album art, stencils, and layered editions, OUT OF PRINT highlights how Fairey harnesses the language of advertising and propaganda to provoke thought and inspire action. The exhibition captures the tactile immediacy of print in an increasingly digital world—affirming that “printing still matters.”

Gallery Hours: Wednesday–Sunday, 11 AM–6 PM
More Information: https://beyondthestreets.com/blogs/articles/beyond-the-streets-presents-shepard-fairey-out-of-print 


SHEPARD FAIREY: OUT OF PRINT

Beyond The Streets

NOON Projects is honored to present "Corner Time," a solo exhibition of new paintings by Matt Lifson. Through careful engagement with the canon of narrative painting—particularly the social realists of the early 20th century—"Corner Time" presents a series of intimate portraits that reflect the social temperature and malaise of the present moment.

Lifson’s third exhibition with the gallery centers on his queer community in Los Angeles. His portraits capture friends he’s met over the past fifteen years, tracing the intimacy and trust that form his circle and revealing the shared tenderness at the heart of queer connection.

"Corner Time" also marks a significant development in Lifson’s painting practice and approach to exhibition-making. Whereas earlier bodies of work began with a preconceived concept and drew from screen-based media—horror films, vintage pornography, and digitally manipulated imagery—this series emerged quietly and organically. Lifson chose to create one painting at a time, working on an easel on smaller canvases in closer dialogue with the body. The source material for these works originated in one-on-one sessions between the artist and his subjects.

Looking to artists such as Vermeer, Cadmus, Wyeth, and Neel-with particular emphasis on Edward Hopper, Grant Wood, and the Social Realist painters who illuminated working-class life, Lifson draws on this lineage to frame the present. His portraits depict queer people at home, surrounded by the familiar objects of contemporary life: flat-pack furniture, safety-pin earrings, houseplants, trinkets, and souvenirs. Within these domestic spaces, he positions his subjects in the corner - a charged site historically associated with discipline, marginalization, and entrapment.

The resulting paintings capture unedited, candid moments within domestic spaces: a figure hunched over a lava lamp in a dimly lit room; a hazy Sunday morning in bed; a lover caught getting dressed through an open bathroom door. Lifson’s gaze peers behind the curtain of his subjects’ lives in a way that feels more ethnographic than voyeuristic. In doing so, he performs what artists have always been called to do: to look both within and without, observing, focusing, and faithfully depicting what he sees.

Unlike Vermeer’s portraits of the middle class, Lifson’s paintings focus on a queer class, rendered in the tones and textures of the current moment.  Lifson resists inflated optimism, instead offering an unembellished record of contemporary life. "Corner Time" punctuates the here and now without offering answers— instead offering an observation, dimly lit, in the corner, grounded in honesty. 

For more information email info@noon-projects.com

Matt Lifson: Corner Time

NOON Projects

Fulcrum Arts is pleased to present, Sam Shoemaker: Mushroom Boat, featuring works developed around the artist’s August 2025 crossing of the Catalina Channel in a kayak made of mushroom mycelium.  
 
Alongside the mushroom boat itself, the exhibition features large-scale projections, time-lapse videos, and soundscapes that immerse visitors in Shoemaker’s journey over 26 nautical miles of open ocean, where he passed through turbulent water, encountered wildlife, crossed a commercial shipping lane, and battled headwind.  
 
Visitors will also witness the artist’s process of constructing the mushroom boat.   
 
“Shoemaker’s work explores the potential of sustainable materials in unprecedented ways,” remarks Patrick J. Reed, curator at Fulcrum Arts. “His crossing of the Catalina Channel in a boat made of mushroom mycelium prompts us to recognize that innovative creative practices can guide our efforts toward ecologically responsible modes of inventing, exploring, and living our lives.”  
  
Additionally, Shoemaker is releasing an open-source compendium detailing his mycological research and methodologies. A hard copy will be exhibited and a digital version will be freely accessible. Shoemaker releases this document with the hope that others will carry his research forward, using fungi—an organic, versatile, and renewable resource—to pursue responsible technical and creative innovations.    
  
Mushroom Boat marks the first major exhibition held at Fulcrum Arts’ new headquarters in Pasadena, California.           

About the artist
Sam Shoemaker is a Los Angeles-based sculpture artist whose work is a collaboration between himself and species of mushrooms. Shoemaker’s work has been shown at Craft Contemporary, Armory Center for the Arts, Vielmetter, David Horvitz’s Garden, Make Room, Emma Gray HQ, and OCHI, among others. He was also included in World Without End: The George Washington Carver Project at the California African American Museum, an official exhibition of PST ART: Art & Science Collide presented by Getty. Shoemaker has been featured in many publications and news outlets, including the Los Angeles Times, Galerie Magazine, W Magazine, Contemporary Art Review Los Angeles, and Graphite. He lives and works in Los Angeles and is represented by OCHI.

www.samkshoemaker.com

Sam Shoemaker: Mushroom Boat is made possible with the generous support of the Andy Warhol Foundation for the Visual Arts, the Pasadena Art Alliance, the Perenchio Foundation, and the Pasadena Arts and Culture Commission and the City of Pasadena Cultural Affairs Division.

Sam Shoemaker: Mushroom Boat

Fulcrum Arts

Jeffrey Deitch is pleased to announce Still Life, a solo exhibition of new work by Los Angeles-based artist Kohshin Finley. Marking his most ambitious presentation to date, the exhibition brings together monumental oil portraits integrated with ceramic vessels, seamlessly merging painting, poetry, sculpture, and design into an immersive installation rooted in memory, material, and personal mythology.

Finley, whose Black-Mexican identity and upbringing in Los Angeles anchor his practice, returns to Jeffrey Deitch after his celebrated inclusion in Shattered Glass (2021). With Still Life, he deepens his commitment to portraying his community through a lens of tenderness and truth, presenting a series of life sized portraits framed in handcrafted walnut vitrines, which also house vessels of his own making. This exhibition extends his formal language of transparency and layering, allowing the understructure of charcoal, gesso, and gestural poetry to surface as both visual and emotional code. 

“My paintings hold moments of intimacy and care,” Finley states. “There’s poetry embedded in the underpainting, not always legible but always present, like the stories we carry in our bodies. The ceramics extend that language, they’re ancestral, functional, symbolic.”

Influenced by time spent in Los Angeles, Japan, Italy, and Mexico, Finley’s ceramics reflect a dialogue between contemporary portraiture and the timelessness of the vessel. The work honors craft traditions while asserting a distinctly modern narrative: the ceramic becomes a witness, a container, and a collaborator in portraiture.

Kohshin Finley, a native Angeleno, has been steeped in creative expression since childhood, raised by artist and fashion designer parents who nurtured his early immersion in the arts. Recent solo exhibitions include Hummingbird at Barbati Gallery (Venice, IT) and Eight Artworks at Various Small Fires (Dallas, TX). Last year, a career-defining work by Finley was acquired by the Hammer Museum for its permanent collection.

Finley’s work has been exhibited at institutions including the Los Angeles County Museum of Art, the Hammer Museum, Jeffrey Deitch Gallery, Jack Shainman Gallery, and CFHill in Stockholm. His paintings and sculptures are held in esteemed public collections, including the Dallas Museum of Art, Studio Museum in Harlem, Lincoln Center for the Performing Arts, Hammer Museum, Marciano Art Foundation and Los Angeles County Museum of Art. He and his work have been featured in the Los Angeles Times, Rolling Stone, Cultured, Essence, and The Cut, and was named one of Fine Art Connoisseur’s “Five to Watch." 

Kohshin Finley: Still Life

Jeffrey Deitch | Santa Monica

Jeffrey Deitch is pleased to present Walk on the Moon, an exhibition of new work by Alteronce Gumby, the artist’s first solo presentation with the gallery. Structured around four separate yet intertwined movements that incorporate each facet of Gumby’s ever-evolving practice—from painting, to sculpture, to installation and sound—Walk on the Moon presents the latest discoveries and innovations from his sustained research into and exploration of the material properties of color and how they shape human perception.

A pillar of Gumby’s work and primary vehicle for his experimentation with color has been a form of abstract painting entirely his own, one that incorporates mirrors and acrylics, colored glass and a vast array of gemstones, from agate to quartz, lapis to malachite. In a suite of six new square ‘tonal’ paintings, Gumby organizes his palette around a single color unique to each one, resulting in intensely concentrated expressions of a given hue or tonality. 

Placed throughout each composition are ‘organites’ that Gumby creates using gemstones, conductive metals and resin. Channeling the energetic properties of color into each organite, Gumby deploys them as magnifiers of that very energy. Though the shifting and shimmering surfaces of each painting change according to the available light in a given environment, several remain anchored by the presence of sacred geometry—the square, pyramid and circle—hovering within their compositions. Along with the inclusion of our mirrored reflection, these fundamental forms open up portals for the imagination.

Gumby’s expansive command of abstraction is further revealed by an eclectic group of paintings that accompany the tonal works. In three ‘Black-body’ paintings, Gumby manipulates and forms resin into strips of prismatic color that evoke the full spectrum of primary color that refracts through light. Four ‘falling rainbow’ paintings made of monochromatic resin with gemstones suspended within are affixed with naturally and synthetic dyed silks that flow down from the picture plane and pool onto the gallery floor, allowing Gumby to explore the transition of color from the material to the immaterial. 

In Color in Nature (2025) Gumby joins together five colored resin squares, with the palette and corresponding gemstone within each made to express both the idea and experience of the photographic image embedded within. Completing this movement is one of the largest shaped paintings Gumby has made yet, Dancing in the Milky Way (2025), that staggers two horizontal panels together, one atop the other—their radiant surfaces evoking the cosmos itself.

Continuing his investigation into the different ways color can be felt, seen or understood, Gumby has created new monolithic resin sculptures that reference the same color palette as the tonal paintings. Alternating between density and translucency, between opacity and luminosity, these hulking yet ethereal objects capture the way color is transfigured by passing through material. Each sculpture presents a concentrated expression of red, blue, green, yellow or violet and contains gemstones suspended within them.

The final movement of Walk on the Moon and one that synthesizes the preceding forays into color, material, experience and time, is an installation that harnesses the natural light that pours into the gallery via its skylights. Taking naturally and synthetic dyed silks and affixing them to the skylights to create what Gumby calls ‘light wells,’ these sculptural iterations of the ‘falling rainbow’ paintings reconsider the very materiality of color and its atmospheric or environmental quality. This room will also function as an experimental space where invited artists working with sound will stage one-day performances, offering their own vision of what color is and how it can be experienced. The fundamentally interdisciplinary nature of the installation demonstrates the boundlessness of Gumby’s practice as he endeavors to understand color as both an earthly fact and abstract idea.

Alteronce Gumby was born in Harrisburg, Pennsylvania and now resides in New York City. He received his BFA from Hunter College in 2013 and his MFA in Painting & Printmaking from Yale School of Art in 2016. He was a resident artist at the Rauschenberg Foundation in Captiva Island, Florida, in 2019. In 2017, he completed a residency as the Harriet Hale Woolley scholar at the Fondation des Etats-Unis in Paris. Solo exhibitions include Walk on the Moon, Jeffrey Deitch, Los Angeles (2025); If Herr Street Could Talk, Susquehanna Art Museum, Harrison, PA (2025); Prince of the Far Rainbow, Nicola Vassell Gallery, New York (2024); Dark Matter, Allentown Art Museum, Allentown, PA (2022); Cross Colours, Bode Projects, Berlin (2021); Alteronce Gumby: My Favorite Color is a Rainbow, Parrasch Heijnen Gallery, Los Angeles (2020) and Black(ness) is Beautiful, the Foundation des Etats-Unis, Paris (2017). Group exhibitions include The Abstract Future, Jeffrey Deitch, Los Angeles (2025); Social Abstraction, Gagosian, Los Angeles (2024); Alteronce Gumby | Charles Ross, Parrasch Heijnen gallery, Los Angeles (2024); The 100 years, Gagosian x Deitch Exhibition, Miami (2022) and For Freedoms, Pizzuti Collection of the Columbus Museum of Art, Columbus OH (2018). The artist’s work is held in the collections of the Los Angeles County Museum of Art, The Studio Museum in Harlem, Columbus Museum of Art, Solomon R. Guggenheim Museum, Williams College Museum of Art, Allentown Art Museum, and Memphis Brooks Museum of Art.

Image: Love Saves the Day, 2025, Red jasper, quartz, copper, resin, glass, and acrylic on panel
72 x 72 inches 
Photos by Genevieve Hanson.
Courtesy of the artist and Jeffrey Deitch.

Alteronce Gumby: Walk on the Moon

Jeffrey Deitch | Orange

Vielmetter Los Angeles is excited to announce, Your Tears Will Dry, a solo exhibition of new works by Kiriakos Tompolidis. The exhibition will be on view from November 15, 2025, through January 17, 2026 and marks the artist’s first solo exhibition with the gallery.

The paintings included in this exhibition are deeply influenced by Tompolidis’ recent move to Mexico City from Berlin, incorporating the color palette, visual sensibilities, and the endemic flora and fauna of his new environment into meticulous portrayals of memories and emotional states. Much of his practice grapples with his perception of being in between cultures and places, articulating both the parallels and fissures between his adopted home and his native country of Greece. The paintings depict subjects who seem to vacillate between feelings of displacement and familiarity, fragility and resolve, with a granular attention given to the patinas and patterns of their surroundings.

In the painting Under the Bougainvillea, a young version of Tompolidis stands in front of an ornately patterned doorway, a vivid fuchsia Bougainvillea cascading over the architecture while stray cats lounge nearby. Like in many of his paintings, photo transfers and other artifacts are seamlessly integrated into the composition – Bougainvillea leaves from Greece are delicately woven in among the petals, and the tactility of the floor tiles is enhanced with collaged elements. The diptych acts as a bridge between disparate times and locations, exposing the surprising similarities between the plants, animals, and vernacular architecture of the artist’s childhood memories of Greece with his more recent experiences in Mexico City and Los Angeles.

Tompolidis’ paintings occupy an ambiguous and atemporal space that draws from family histories, lived experience, and dreams, and that is made tangible through intricately rendered textures and surface treatments. Patterns in textiles, architecture, and nature function as signifiers of place, time, and cultural context. In the work Her Reflection Tompolidis depicts his grandmother as a young woman, capturing her pensive smile in the mirror of her vanity and the small cross necklace and family portrait sitting atop her dresser. The artist’s grandmother reappears in the titular work Your Tears Will Dry, a trompe l’oeil painting of the back of a canvas inscribed with the phrase she often repeated, and which was formative in his understanding of perseverance. Some of the paintings present an unvarnished realism while others teeter into the surreal, so that collectively they offer a richly detailed view of a space between reality and recollection.

About the artist

Kiriakos Tompolidis (b.1997, Essen, Germany) is a Berlin-based artist holding degrees from Freie Universität Berlin and University of Arts, Berlin, Germany.

He has had solo exhibitions at Galerie Judin, Berlin, Germany; Labor, Mexico City, Mexico; Miettinen Collection, Berlin, Germany; The Cabin, Los Angeles, CA, and is currently included in the 14th Taipei Biennial Whispers on the Horizon, Taipei Fine Arts Museum, Taiwan.

His work has been included in group shows at North Dakota Museum of Art, Grand Forks, ND; Green Family Foundation, Dallas, TX; Bode Gallery, Berlin, Germany, among others.

He is represented by Galerie Judin in Berlin and will have a solo exhibition next year at the Folkwang Museum in Essen, Germany.

Kiriakos Tompolidis: Your Tears Will Dry

Hamilton-Selway Fine Art is pleased to invite you to Throughline: The Continuum of Art, a presentation that brings together contemporary voices and the blue-chip masters who shaped the landscape they work within. This exhibition reflects the ongoing conversation between eras, showing how ideas and techniques evolve while remaining connected across time.

For nearly three decades, our gallery has championed the artists who define Pop and Contemporary art. Throughline continues this commitment—placing our strongest established artworks in dialogue with a new generation whose perspectives feel both timely and in step with that legacy. It’s a rare chance to view these artworks together and see how each enriches the other.

More importantly, it offers our collectors an intimate look at significant artworks available today, whether driven by the timeless pull of an icon or the excitement of discovering a rising voice.

We look forward to welcoming you into the gallery and sharing this moment with you.

Throughline: Continuum of Art

Hamilton Selway

From my earliest days to my most recent pieces, I have always been inhabited by color, yet I am still looking for its mysterious soul. - Olga de Amaral

Lisson Gallery Los Angeles is honored to present a focused survey of works by renowned Colombian artist Olga de Amaral, marking her first solo exhibition in the city in almost a decade. Spanning from the early 1970s through 2018, the exhibition traces key developments in Amaral’s influential, six-decade career and her singular practice that dissolves the boundaries between weaving, painting, and sculpture. Through landmark works of varying scale and format, the show offers a rare opportunity to engage deeply with Amaral’s unique visual and material language, interlacing linen, wool, horsehair, Japanese paper, acrylic, and precious metals into luminous, sculptural forms that shimmer with historical, spiritual, and environmental resonance.

The works on view bear witness to the determined plurality of Amaral’s art since the 1970s. Materials including horsehair, Japanese paper, and gold and palladium leaf combine to produce a fluid, emotional and aesthetic register, one that fluctuates between the epic and the intimate, the material and the spiritual. In two distinct works, created nearly forty years apart, Amaral has suspended a woven structure from the ceiling. Eslabón familiar (1973) consists of a rope-like length of horsehair that loops with Baroque intricacy around a larger loop-shaped armature. By contrast with the internal dynamism of this early work, Nudo 19 (turquesa) (2014) takes the form of a slender column of turquoise-dyed linen threads, stiffened with gesso and tied in a single knot towards the top. The object appears both airborne and earthbound, magnifying a simple gesture at the core of all weaving to a grand scale.

Throughout the exhibition, twin elements of ornate complexity and disciplined simplicity can be seen to alternate and combine. A rare and monumental work from Amaral’s acclaimed Alquimia series, Alquimia 41 (díptico), will be featured prominently on the west wall of the gallery. Created in 1987, this diptych is one of the largest examples from Amaral’s most extensive body of work through which she has explored the transformative nature of alchemy. Infused with the luminosity of gold leaf, the work reflects both the sacred materiality of pre-Columbian traditions and the Japanese philosophy of kintsugi. Such ritualistic associations become more concrete in Memento 9 (2016), in which tightly-layered strips of linen form a grid, overlaid with gold leaf. Also on view is work from the Soles series, which relate closely to her Estelas (1996–2018), a larger body of gold leaf works. As the title Soles (Suns) suggests, Amaral’s use of gold emphasizes the luminosity of the material. Her deft manipulation of the surface, built up with many layers of gesso, lends a solid, sculptural weight to these works, which nonetheless maintain a sense of movement and ephemerality evocative of the natural world.

The grid structure reappears in two works from the Nébulas series (2014–19), where segments of Japanese paper, saturated in deep greens and blues, are overlaid with geometric or radial motifs. A related interplay of structure and light is evident in Agua azul (2018), where vertical strips of painted paper are folded over linen threads and suspended away from the wall, allowing light to pass through and produce a shimmer reminiscent of cascading water. This dualism between solidity and transparency, the earth and the sky, can also be traced back to early monumental works like Paisaje de calicanto (1983), in which light is integral to the woven form. However, unlike the artworks such as the Nébulas, which reference the cosmos in their palette and construction, Paisaje de calicanto’s rich colors are rooted in the artist’s native Colombian landscape.

Amaral’s studies at Cranbrook Academy of Art in Michigan in the mid-1950s proved to be a transformative experience for the artist, introducing her to weaving and thus providing a technical outlet for a fascination that had begun in childhood: “I learned about the loom, which I saw as another way of working and constructing things,” she has explained. “I became interested in fiber, in thread, because weaving allowed for invention.” Upon returning to Colombia, she began to make handwoven textiles, and from the late 1960s she increasingly aligned her creations with ‘fine art’ genres, initiating a dismantling of the boundary between craft and art that would come to define her output. The current exhibition follows upon institutional displays that have confirmed Amaral’s position within an expanded history of art. These include ‘Woven Histories’, which opened at LACMA in 2023 and subsequently travelled to three other venues, including the National Gallery of Art, Washington D.C., and a large-scale retrospective that travelled from the Fondation Cartier pour l’art contemporain, Paris (2024) to ICA Miami (2025).

Olga de Amaral

Lisson Gallery

In wartime, beauty is not frivolous. Claude Monet, as bombs echoed near his garden at Giverny during World War I, continued to paint his water lilies — a radical act of continuity. 

The title of this group exhibition, curated by Shelley Holcomb, echoes “lacrimae rerum” (Latin: “the tears of things”) from Virgil’s Aeneid — a poignant expression of the sorrow embedded in the human experience.

Things Themselves Have Tears brings together works created during and in the aftermath of war: paintings, drawings, sculptures, and textiles — gestures arising from societal fracture. 

Daniel Adolfo’s abstractions translate memory and displacement into emotional landscapes. Salomón Huerta’s surfaces transform the ordinary into charged terrain. Samala Meza reimagines modernist abstraction through feminine experience. Christine Olowonira elevates the ant as a luminous metaphor for feminine strength. Pauline Shaw’s felted textiles weave ancestral patterns and scientific imagery into porous landscapes of remembrance. Lauren Fejarang’s sculptural compositions evoke the persistence of natural forms. 

Things Themselves Have Tears invites viewers to sit with this tension: to make art in wartime is not always an act of hope. Sometimes it is ritual. Sometimes it is refusal. Sometimes it is simply a way to live another day. The psyche craves evidence that not all is lost. Beauty reminds us of our humanity.

Image: Salomón Huerta "Gun with Tangerines," 2025


Things Themselves Have Tears

House of CoHit

Sustainers of Life, co-curated by Cecelia Caro and Laurie Steelink, features seven artists exploring intersectional themes through installation, sculpture, photography, illustration, and painting. The exhibition addresses colonialism’s impact, motherhood, and the Missing and Murdered Indigenous Women crisis while also celebrating individual stories of resilience and survival.

Artists Weshoyot Alvitre, Emily Clarke, Katie Dorame, Eve-Lauryn Little Shell LaFountain, Cara Romero, Corey Stein, and Linda Vallejo create works that depict Native and Indigenous women as multidimensional beings. Honoring women as sustainers of cultural knowledge and community healing, this exhibition weaves together personal narratives within broader historical contexts. Through diverse media, the exhibition creates space for both mourning losses and celebrating the ongoing resilience of those who nurture and protect life.

Image: Katie Dorame, Our Land (detail), 2024. Inkjet print. Illustration from the book Toypurina: Japchavit Leader, Medicine Woman, Tongva Rebel

Support for the exhibitions program is provided by the Department of Cultural Affairs, City of Los Angeles, the Perenchio Foundation, the Los Angeles County Department of Arts and Culture, and the City of Los Angeles Department of Recreation and Parks.

Accessibility
Please note that portions of Sustainers of Life are in areas of the gallery that are currently only accessible via stairs. A virtual walkthrough of the full exhibition will be available on a tablet at the front of the gallery.

Sustainers of Life

Angels Gate Cultural Center

For her first Los Angeles solo exhibition in two decades, British artist Anj Smith will debut new works that explore the connections between art, mysticism, female agency and philosophy. Rich in detail, color and texture, Smith’s new paintings collapse strict definitions of portraiture, landscape and still life while allowing elements of each to coexist. 

Amid ecological devastation, her wildly feral settings, ambiguous nudes, and exotic flora and fauna urge the possibility of a contemporary transcendence. Smith draws upon sources as disparate as the myth of Narcissus, the writings of philosopher Simone Weil and short stories by medieval poet Marie de France, disrupting expectation within a present-day cosmos all her own.

Anj Smith: The Sequin-Strewn Night

Hauser & Wirth | WEHO

Gateless Gate II: Ritual of Returning
Act II of a Three-Part Trilogy
Presented by a poco art collective

Opening: Sunday, December 14, 3–6pm
On view through January 25, 2026
4505 S Slauson Ave, Unit 317, Culver City, CA 90230

“The gate has no gate.
Approach, and it closes.
Stop approaching, and it opens.”

The second chapter of the Gateless Gate trilogy steps into the womb-space of a poco art collective — a room held low to the floor, scented with tide and breath, arranged as a soft threshold rather than a gallery. Here the koan does its quiet work: form unfastens, edges blur, and artworks behave like membranes, not objects.

Visitors leave their shoes at the door. The body lowers; the senses rise.

Sandeep Mukherjee’s duralene surfaces tremble like weather caught between worlds.
Relational (Dana Berman Duff & Shirley Tse) bend the window into a lunar aperture, while Douglas Farrand’s tidal score drifts through the space with the patience of moons.
Stella Zhang’s textile forms draw breath into folds and voids.
Nancy Evans lets cosmic desire bloom in silhouettes that hover between icon and echo.
Flora Kao stains light into cyanotype: butterflies flicker, memory unfurls, a question hangs in the air — "Am I dreaming the world, or is the world dreaming me?"

Constance Braden’s Six Chakras align on black paper like small, radiant thresholds.

“When the Buddha held up a flower, Mahākāśyapa smiled.”
No doctrine, no explanation. The transmission happens in the pause.

This exhibition turns toward that pause — the moment before meaning hardens, the breath before return. "Ritual of Returning" does not seek nostalgia. It seeks recognition, the quiet realization that what you have been searching for has been waiting at the center of your own body all along.

Press & Inquiries
Ann Shi — ann@apoco.art
Instagram: @a.poco.art.collective
www.apoco.art

Gateless Gate II: Ritual of Returning

a poco art archive

Taking inspiration from art historical genres, ranging from French rococo and Italian baroque to abstract expression, British artist Flora Yukhnovich’s paintings explore materiality and process through cascading forms that shift between representation and abstraction. For her first solo exhibition in Los Angeles, Yukhnovich will present her latest body of work, a series of canvases inspired by Bacchanalia. 

Addressing the excesses of consumerism and popular culture, her lush, swirling brushstrokes evoke the dynamism and intense corporeality of both ancient and contemporary hedonism. A catalogue featuring an extensive selection of illustrations by Yukhnovich, along with a text by curator Eleanor Nairne, will accompany the exhibition. 

‘Bacchanalia’ at Hauser & Wirth Downtown Los Angeles will coincide with ‘Flora Yukhnovich's Four Seasons’ at The Frick Collection in New York (3 September 2025 – 9 March 2026), a site-specific mural in response to François Boucher’s Four Seasons series.

Image: Detail of Flora Yukhnovich

______

‘Lee Lozano. Hard Handshake’ brings together over 100 drawings by the artist, spanning the years 1959 to 1968. Lee Lozano made these provocative drawings at a remarkably fast pace, using a variety of artistic styles. Informed by the artist’s unsparing eye and wry humor, they dissect such societal norms as gender roles and property ownership while challenging the commodification of art and, ultimately, all conventional aspects of life.

Shown together, Lozano’s drawings embody her unbridled energy and social consciousness, radical for their time, and continue to provoke questions today. Although rarely exhibited during her lifetime, this body of work is instrumental to understanding the singular trajectory of Lozano's practice. In conjunction with the exhibition, Hauser & Wirth Publishers will release ‘In the Studio,’ a new book focused on Lozano’s life and work, written by Lucrezia Calabrò Visconti.

Flora Yukhnovich: Bacchanalia | Lee Lozano: Hard Handshake

Hauser & Wirth DTLA

Inner Landscapes is a collaborative installation by Lauren Kim, Enoch Ma, and Jane Zhang, created in partnership with Dr. Han Jik Kim of Hajo Holistic. Addressing the accumulated uses, neglects, and imagined futures of MacArthur Park, the project draws on traditional East Asian medical practices as tools for historical and artistic inquiry. Through these diagnostic methods, the park’s netted, unruly past begins to surface, set along the fertile verge between memory and matter, private and public, nature and culture.

Taking inspiration from the Neijing Tu—a Taoist diagram mapping the spirit’s journey through the body’s interior terrain—and guided by the Wu Xing cycle of creation and destruction, the work reimagines MacArthur Park as a living enmeshment, animated by elemental flows, vicinal blockages, and latent energies. Here, archived proposals, geologic histories, and even bird droppings become diagnostic markers—substrates through which the park’s inner landscape begins to unravel.

Each Wednesday from 2–5 PM, the installation transforms into a community acupuncture pop-up, offering free services to the public by appointment—relocating the metaphor of healing from the landscape to the body itself.
SIGN UP FOR AN APPOINTMENT BEGINNING NOV. 20th via our website:
https://www.goethe.de/losangeles


Admission is free.
All ages are welcome.
Light refreshments provided

PROGRAM:
6:30 PM Doors open.
7:15 PM Welcoming + Introduction + Opening Ritual
9:00 PM End of Event


Dr. Han Jik Kim, L Ac., D.O.M. is a licensed acupuncturist and educator with over 25 years of experience in clinical practice and teaching. He is an expert on acupuncture, herbal medicine, and classic oriental medicine texts. He runs Hajo Holistic in Macarthur Park, Los Angeles with his daughter Lauren. 

Lauren Kim is a place-based researcher and artist whose work explores landscape, healing, and systems of knowledge. Working primarily with paper, metal, and natural materials, her professional and artistic practices bridge ecological processes with embodied experience. She is one half of the creative collective Cloud6.

Enoch Ma is an artist and builder whose work spans a range of materials and scales. Drawing from close observations of the natural world, his practice considers the enduring patterns of nature and how they find reflection within us. He is currently a MFA student in sculpture at Cal State Long Beach.
Enochma.com

Jane Zhang is a scholar of popular literature and vernacular medicine. She is currently doing a PhD at Yale and writes about snuff boxes, tin figures, and the stereoscope. She is the other half of the creative collective Cloud6.

INNER LANDSCAPES
is on view November 20, 2025 - January 29, 2026.

Goethe-Institut LA 
1901 W. 7th St. Suite AB, Los Angeles, CA 90057

During Office Hours: 
Tuesday–Thursdays: 10:00 am – 5:00 pm
Fridays: 10:00 am – 3:00 pm 

The Goethe-Institut is closed to the public on Mondays and on weekends, unless otherwise noted.
The Goethe-Institut will be closed November 24-28, 2025 and from December 22 - January 2, 2026

Secure, free Parking is available at Metro/Retail parking structure with rear entrance to the Goethe-Institut located at
674 S. Westlake Ave., Los Angeles, CA 90057

Public transport is possible with the red line to MacArthur Park/Westlake stop. Using carpool or ride-share options are appreciated.

INNER LANDSCAPES is part of the Neighborhood Interpretive Center, a hyperlocal initiative of cultural programs that focus on and uplift the MacArthur Park/Westlake neighborhood and surrounding areas.

INNER LANDSCAPES: A Pulse Reading of MacArthur Park

Goethe-Institut LA

Wönzimer Gallery presents Cardboard: Infinite Possibilities, a group exhibition featuring an international roster of thirteen artists who redefine what is possible with this ubiquitous and unpretentious material. This exhibition celebrates cardboard as a powerful medium for innovation, transformation, and metaphor.

Curated by Ann Weber, who is represented by Wönzimer Gallery, Cardboard: Infinite Possibilities highlights artists who have elevated cardboard from the everyday to the extraordinary. Weber, known for her monumental and sensuous sculptures made from discarded boxes, first began working with the material in 1991 after discovering architect Frank Gehry’s groundbreaking cardboard furniture. Gehry’s iconic Easy Edges Wiggle Chair (1972) will be featured in the exhibition, marking a full-circle moment that connects inspiration and influence across generations.

“I am excited to bring together a diverse group of artists whose work reimagines this ubiquitous material in compelling, subversive, and beautiful ways.” - Ann Weber, Curator 

Sustainability and reinvention are central themes throughout the show. Shigeru Ban (Tokyo), internationally recognized for his humanitarian architecture, uses cardboard sonotubes to build rapid-response shelters and structures for communities affected by natural disasters, including those impacted by the January fires in Los Angeles.  Artists such as Jodi Hays (Nashville) and Edgar Ramirez (Los Angeles) abuse, dye, layer, and paint cardboard to create striking large-scale wall works. 

Together, these artists reveal the vast creative potential of a material often overlooked, inviting viewers to reconsider notions of permanence, beauty, and value. Infinite possibilities indeed.
Participating Artists:  Shigeru Ban (Tokyo); Scott Fife (Seattle); Frank Gehry (Los Angeles); Tim Hawkinson (Los Angeles); Jodi Hays (Nashville); Narsiso Martinez (Los Angeles); Hector Dionicio Mendoza (Salinas); Jebila Okongwu (Rome); Edgar Ramirez (Los Angeles); Samuelle Richardson (Los Angeles); Michael Stutz (San Diego); Ann Weber (Los Angeles); Leonie Weber (Brooklyn)

Artist Talk: Thursday, January 15, 7–9 PM
Address: 341-B S Avenue 17, Los Angeles, CA 90031 Gallery Hours: Thursday–Sunday, 12–7 PM

Cardboard: Infinite Possibilities

Wonzimer

“Grief-broken stranger, rest thee underneath
These shady bowers; if wine can make thee glad,
Enter this pleasant place, and drink thy fill.”	
– from The Sháh Námeh by Hakīm Abol-Qāsem Firdawsī Ṭūsī

The 2000 Sydney Olympics beautifully embodied Australian egalitarianism and a sort of rough play. I was 22 at the time. At some point while watching, the devastating revelation that I would never be an Olympian hit me. It should not have been a surprise – I was 300 lbs and had no interest in athletics, but it was my first realization that time flows ruthlessly in one direction. Luckily, CBS played reruns of Survivor opposite the games. A national phenomena, a contra-olympics, where you could watch maladapted young people wallow in a jungle, eat fish entrails, and backstab each other for money.

Where am I going with this? The advent of Survivor is also when I started my ongoing mental exercise of "team building." I like to construct imaginary teams to solve interesting or thorny problems. Want to sink Jeff Bezos’ yacht? Send in one high-end bartender with carpentry experience, one retired Navy ER nurse, and one exquisitely bitter classical pianist.
 
Curatorial practices are a notable version of this game. Having the opportunity to organize a three-person show at Track 16, I chose a hypothetical prompt on which to create our team. Which artists would I want to team up with to build a new museum and botanical gardens à la The Huntington? Cathy Akers and Lela Shahrzad became that dream team. Both artists bring vivid imagination to complex mediums in a way which looks effortless. Along with myself, our trio has differing skill sets but human-scale work with a sense of grandeur and some acidity.

– Chris Ulivo 


In the shadow of our everyday reality are the shadows of stories, our uncertain histories, and alternative timelines. Reimagining our new present springing from altered choices in the past rubs against the weight of destiny – of the impossibility of anything being different. Maybe in the quantum world a particle can go back in time and tell its partner how to change and when, but either way we live in the classical world where most of the past and all the future is hidden. Akers, Welch, and Ulivo each passionately grapple with past and future.

Cathy Akers’ artistic practice has long focused on utopian societies. Through a lens of fantasy and infused with a sense of the absurd, Akers’ ceramic sculptures imagine a female-centric world informed both by classics of modern utopian feminist literature and her ongoing research into modern attempts at communal living. 

Drawing on a history of assemblage, textiles, and storytelling, Lela Shahrzad Welch – acting as a seeker of a culture rather than a participant in it – uses metal and found objects to address the lack of a family or personal archive. Inspired by traditional Persian imagery and folklore, Welch creates sculptural works that consider the roles and effects of translation and mythopoeia. 

Chris Ulivo is a fantasist, painting stories that leap out of speculative histories. His earnest –often hapless – surrogates humbly cultivate his egg tempera landscapes to form the essential relationships of their illusory world – we are working together, learning, acting. In these rooted fantasies, he strives “for vitality and believability in each painting no matter how improbable or ridiculous the narrative.”

Old Flames In The Bowers

Track 16 | Downtown LA

Lucky Cat Gallery is proud to present The Wee Show, highlighting small works created by emerging and established LA artists. This is an ideal opportunity for both new collectors and seasoned art lovers to expand their collections. Expect an eclectic mix of paintings, drawings, mixed-media works, and small sculptures. Come join us as we celebrate LA's thriving art community in our final show of the year.

The Wee Show

Lucky Cat Labs

One. 
‍
Entering the space: a transparent barrier splits the room. Its crooked spine braces a clear vertical surface, scratched in with a drawing that only reveals itself in passing light. Collaged paintings straddle both sides, revealing new images as you circle the divide. The materials feel familiar. You catch flashes of them scraping across the city. Wood. Little Trees. Paper. Fingers. Plexiglass. Pigeon. Car part. Egg yolk. Concrete. Bart Simpson. Separate Homer’s skin from his bones. Fry the skin fast, boil the bones slow. Plate together and serve.

A perfect image is destined to fail. An object transcribed by an image is subject to my movement. From far away, the image appears clear. I see two hands, one Toyota. I step closer. Desire accelerates without hope for the future. The image morphs into compression lines encasing blue and green shadows, the paint underneath glowing faintly pink. Restless objects flirt with collision. Cut it out. CUT TO: an eyelash caught in the white of a blinking eye. Hair on the ground, do you miss my scalp? I went to the pet shop and the owner said he had a talking centipede for sale. It gets dark so early now. I took the centipede home. We’re getting close. Close enough.

What is accuracy?

An image of skin doesn’t feel like skin. Bare skin is intimate. Seductive. Its low-resolution image refuses to seduce. Digital artifacts flaunt their lack – lack of information. They deterritorialize. Anonymize. The image provides proximity to intimacy without embodiment. Like sitting in your parked car watching a couple on the street, headlights on and music blaring. Ordinary moments drift towards unprocessed thought. Images stand as thresholds. They provide a liminal portal. Meanwhile, the printer processes new information by repeating the same motion over and over and over.

Two.
‍
Hitachi Magic Wand Original – review by Allison
After the first round of trying this out I’m terrified to do it again. Focusing on finding a release, I did not pay much attention to the heat that was building up, thinking it was just getting a little warm. That is, until I finished and realized how hot the thing had actually gotten. The next day here and I’m feeling just how hot it was against an area of the body that does not take heat like that well. Now I’m realizing that I just dropped $60 on something I’ll likely never use again.

– Jane Shin @strangejane_

Zoe Alameda (b. 2000) lives and works in Los Angeles. The artist received her BFA at the University of Southern California in 2023 and attended the Yale Norfolk School of Art residency in 2022. Solo exhibitions include: "It Takes Two Wrongs to Make it Right," Cheremoya, Los Angeles (2025); "Five Toes Down, with Ashlynn Trane," Lonestar Projects, Los Angeles (2025); "Ode to an Honest Mirror," with Sebastian Loo, curated by Jaustin Tan, Monte Vista Projects, Los Angeles (2024); and "Rest My Head on a Pile of Tacks, USC Gayle and Ed Roski Gallery, Los Angeles (2022). Selected group exhibitions: "Chair Show," AUTOBODY autobody, Los Angeles (2025); "Re|Dacted Lincoln Heights DTLA," Gallery ThirtySix, Los Angeles (2025); "Goodbye Horses," Ethan Cohen Gallery, New York (2025); "Manual Override," Good Mother, Los Angeles (2025); "Cave Dwellers," Stone/Age, Los Angeles (2024); "Beyond the Veil…," Mystery Projects, Los Angeles (2024); "Rules of Engagement," LVL3, Chicago, IL (2024); "Horny Island," Curved Wall Gallery, Los Angeles (2024); "Provócame," curated by Ever Velasquez, Charlie James Gallery, Los  Angeles (2024); "SADECADE," SADE Gallery, Los Angeles (2024); "The Weatherproof Anniversarial," Weatherproof, Chicago (2024); "The Sum of Our Parts," Swivel Gallery, Brooklyn (2024); "NADA New York," Swivel Gallery, Brooklyn (2024); "WIP!," Known Studio, Los Angeles (2024); "Adult Contemporary," curated by @problemchild.advisory, Guerrero Gallery, Los Angeles (2024); "Material," Wilder, Nashville, TN (2024); "POWER," Transport Gallery, Los Angeles (2023); "SENSES," Mile 44, Los Angeles (2022); "I like what my phone looks like 4 feet away from me," Solo Show (online) (2022); "Nü Moon," New Image Art, Los Angeles (2022); and "blessed curse ii," Solo Show (online) (2022). Curatorial projects include: "Spirit Halloween," organized by Zoe Alameda, Alex Carmen, and Alex Emmons, Lonestar Projects, Los Angeles (2024); "Me and You and Me and," organized by Zoe Alameda, Alex Carmen, Roma Edwards, Ashylnn Smith, Kayli Temple, and Gabriel Tolson, SADE Gallery, Los Angeles (2023); "Three Point Turn," organized by Alex Carmen and Zoe Alameda, Lonestar Projects, Los Angeles (2023); "Five Leaf Clover," New Image Art Gallery, Los Angeles (2022); "Other," USC Gayle and Ed Roski Gallery, Los Angeles (2022); and "Cut My Ankle Open, Just a Little Bit," organized by Zoe Alameda and Alex Carmen, Los Angeles (2021).

Image: Installation view of Zoe Alameda: It Takes Two Wrongs To Make It Right at Cheremoya, Los Angeles (2025-26). Courtesy of the artist and Cheremoya, Los Angeles.

Zoe Alameda: It Takes Two Wrongs To Make It Right

Cheremoya

ReflectSpace is pleased to present a solo exhibition of first-generation Colombian-American artist Carolyn Castaño. 

Born, raised, and educated in California, Castaño’s work reflects her experience as the daughter of immigrants—iterative, interdisciplinary—moving drawings and paintings from the two-dimensional flatness of paper or canvas to digitally printed fabric, to videos that incorporate animated drawings, to furniture pieces, to nail decals featured within the larger context of a video. 

In “Viajero del Tiempo/Time Traveler,” Castaño draws on her late father’s photographic archive—comprising 4,000 photographs, films, and videos—to consider the fragility and ephemerality of memory and identity. The pictures in the exhibition are juxtaposed next to drawings of the landscape (inspired by Alexander von Humboldt’s landscapes and botanical studies) to consider how the land figures in the trajectory and memory of the migrant/immigrant.  

Complementing Castaño’s work, the PassageWay features photographs by young women from the Las Fotos Project, an organization that elevates the voices of teenage girls and gender-expansive youth from communities of color through photography and mentoring. 

“Viajero del Tiempo/Time Traveler” is curated by Ara and Anahid Oshagan. 

PARKING
3 Hours of free parking is available with library validation at the Marketplace parking structure across the street from the Harvard Street entrance of Glendale Central Library. Accessible parking is available on the east side of the building. View the Visit page for public transit information.

Image: Carolyn Castaño, Composite image: “Father Standing Over Hollywood Fwy,” Inkjet print reproduction, 1961 / “Mantel,” Mixed media on canvas, variable dimensions, 2020-2022 


Carolyn Castaño: Viajero del Tiempo/Time Traveler

ReflectSpace

Mother Tongue asks: “What does it mean to speak the language of power?” In this moment, more than ever, words matter. Words seduce. Words distort. Words unite. Words intoxicate. Power knows this well, with language as its chosen lover.

Friday Gallery’s fall season brings together diaspora and indigenous artists exploring the language and symbols of power, from the literal to the metaphoric and mythic. Mother Tongue presents works by Caroline Monnet, Raymundo T. Reynoso, Cryptik, Salomón Huerta, and Behnaz Farahi. Weaving perspectives from Anishinaabe, Mexican, South Korean, and Iranian heritages, the pieces tell a larger story of how language and power have always danced together across time, culture, and community.

The show will be paired with a living library: 100 Books of Resistance chosen by 100 cultural thinkers and curated by linguist scholar Eva Barbarossa. The Mother Tongue library and popup bookstore will bring together diverse views on power and language: from the conversations of plants, to the secret lexicon of an extinct female-only language. It will span cultures, eras, and genres: from protest poetry to con artists, from political philosophy to comic books.

Your mother tongue is the first language you learned to speak. By understanding the language of power and making it our native tongue, we can hold it, bend it, and channel it as our own. Mother Tongue is a love letter to the thinkers, writers, and artists who’ve given us the language of courage when we needed it most.

___

With fashion by King Kennedy and Qasimi, silkscreen bandanas by Eduardo Raul Muñoz-Villafaña, sign-painted wooden matchboxes from Maachis, and hats from Ambos Project.

___

FRIDAY GALLERY

For the Browns, the Queers, and the Witches. Friday exists to enable the discovery of rising creative voices from the Global South, curating art, objects, and editions from the Middle East, Latin America, South Asia, and beyond. Our space blends an art gallery with a design concept store to create a seasonal platform anchored in a rotating theme, with the art, fashion, and object curation bound together in a shared spirit. From Pakistani minimalism, to the surrealist visions of feminist Dubai photographers, to queer gothic brujas in Mexico, we peel back old divides to celebrate the cultural voices of tomorrow.



MOTHER TONGUE: On Power

Friday Gallery

Please join MASH Gallery for the opening reception of Rhythmic Contours, on January 17th, 2026. 

Rhythmic Contours brings together a curated selection of contemporary artists whose work pulses with movement, repetition, and flow. Through gesture, pattern, and texture, each piece traces the invisible rhythms that connect body, landscape, and memory.

Expect bold compositions, nuanced tonal shifts, and surfaces that reward close looking. From delicate linear studies to saturated abstract fields, the works on view transform the gallery into an immersive field of visual tempo.

The opening night is a chance to experience the exhibition in conversation with fellow art lovers, designers, and collectors. Wander through the space, meet the artists, and discover new works that resonate with your own sense of balance and motion.

Whether you are an established collector, a design professional sourcing artwork, or simply curious about contemporary art in Los Angeles, you are warmly invited to join us for this special evening at MASH Gallery.

Rhythmic Contours

Mash Gallery

Dario Argento, Antonin Artaud, Oliver Bak, Bruce Conner, Mati Diop & Fatima Al Qadiri, Cyprien Gaillard, Anne Imhof, Arthur Jafa, Asger Jorn, Mike Kelley, Karen Kilimnik, Harmony Korine, Tetsumi Kudo, Mire Lee, Diego Marcon, Tyler Mitchell, Ottessa Moshfegh, Jill Mulleady, Precious Okoyomon, Sondra Perry, Carol Rama, Cindy Sherman, Pol Taburet, Henry Taylor, Paul Thek, Rosemarie Trockel, Andra Ursuta, Kara Walker and Jordan Wolfson

Monika Sprüth and Philomene Magers are pleased to present Horror, a group exhibition organized by Jill Mulleady featuring an intergenerational group of artists. The exhibition presents horror as both symptom and strategy, illuminating seen and unseen forces that inscribe themselves on human experience. Rooted in the shadows of trauma, repression, and social unrest, horror channels our deepest anxieties and weaves fictions that probe the intersection of societal collapse and psychological unease. Whether evoking Cold War paranoia, civil rights conflicts, radiation fears, surveillance anxieties, or the existential dread and hyperreality of our times, the works in the exhibition quietly surface the intimate, often suppressed tensions embedded within collective and individual realities. Here, horror is neither simply spectacle nor genre, but rather a potent aesthetic and psychological resource—a visceral means of navigating the contradictions that define our era.

Horror

Sprüth Magers

Night Gallery presents YOU CAN HATE ME NOW, a solo exhibition by Los Angeles-based artist Daniel T. Gaitor-Lomack. The exhibition combines assemblage, printmaking, performance, and installation to examine questions of endurance, spirituality, and survival in contemporary American life. This is Gaitor-Lomack's second solo presentation with the gallery.

Through work that holds ancestral memory and contemporary social critique in productive tension, Gaitor-Lomack's practice challenges established hierarchies and institutional frameworks. Drawing on Fred Moten's concept of "fugitive planning and Black study," his art functions as both communion and inquiry within a language of rebellion, faith, and perseverance. His installations incorporate unconventional materials such as ice pops, dodgeballs, toilet paper, stone, wood, and soil. Like the Arte Povera artists, Gaitor-Lomack finds significance in humble materials, creating work where spiritual concerns meet architectural form.

Growing up in Neptune, New Jersey—a coastal town named for the Roman god of the sea—Gaitor-Lomack developed an early relationship with the Atlantic Ocean that continues to inform his sensibility. The water offered what he describes as an education in perception, teaching him to understand art as something in motion rather than static. The ocean's particular quality of being simultaneously vast and intimate remains central to his practice.

The influence of the ocean carries into Los Angeles, where Gaitor-Lomack has lived and worked for over 12 years. The city's rhythms and contradictions filter into his recent body of work: fire truck sirens punctuate afternoon tea ceremonies, the scent of dried flowers mixes with urban exhaust, children play against the San Gabriel Mountains, and street vendors call out their wares. Meanwhile, ICE raids loom, and the hum of addiction drifts through it all. Displacement abuts resilience, transposing Los Angeles' complexities into compositions that insist on visibility and care.

One such work is Only Way Up, 2025, a large-scale installation that repurposes a turn-of-the-century gold birdcage elevator salvaged from a historic hotel. Activated through movement during opening night, the piece represents what Gaitor-Lomack calls "conceptual performance assemblage"—an exploration of sculpture and endurance. Nearby, Triple Beam Dreams, 2025, transforms a child's bunk bed through layers of mesh and found materials, moving between registers of innocence and survival. Together, these works map the economic and spiritual networks that shape the artist's surrounding community.

Also included in the exhibition are works from his ongoing series Dodge The System, 4EVER and Guardians of the Afro Fantasy. In Dodge The System, 4EVER, Gaitor-Lomack connects protest and printmaking as continuous forms of expression, engaging with scholar Kellie Jones's understanding of ritual as a mode of resistance. Guardians of the Afro Fantasy examines Black presence across centuries through found materials reimagined as carriers of memory and myth. Everyday ephemera takes on the weight of classical sculpture, invoking Greek and Roman iconography while asserting Black divinity and authority.

Gaitor-Lomack's artistic formation reflects his movement between coasts. From New York’s legacies of conceptual art, hip-hop culture, and performance, he draws structure and lyricism. From Los Angeles, he inherits humor, material insight, and the poetics of endurance inspired by the spiritual work of West Coast artists such as Senga Nengudi, Noah Purifoy, and John Outterbridge. Between these bicoastal influences, Gaitor-Lomack has developed a visual language that operates in a realm marked by protest and prophecy. YOU CAN HATE ME NOW is a bridge between cultures, one that stretches across this unprecedentedly complicated moment in United States history.

Image: Daniel T. Gaitor-Lomack, A Chair for A Powerful Curator, 2025, reclaimed wood chair, nails, burlap, and balloon, 60 x 160 x 36 in (152.4 x 406.4 x 91.4 cm)

_____

Here’s just a few great paint slingers: Delacroix, Neel, Auerbach, Van Gogh, Grotjahn, Cecily, Hockney, Henry, Freud, Peyton, Ryman, Hals, Schutz, Schnabs, Lisa Y,  Monet, Manet. And yeah, I’m gonna go there and toss in Woll.

Starting in 2016, I lived with a Mt. Wilson painting of Andy’s because I was drawn to the seriousness of the play in the various yellows in the palette and the way the paint was pushed around with a quiet athleticism, an intuitive confidence. It’s that stroke, coupled with a deep understanding of color, that I’ve seen over and over in the paint slingers. It’s never the same way of course, authorship right, but always laid down with a knowing hand. Can be sharp, slashing, hard, can be fluid, lyrical, loose. And everything in between. He had a way to go then, but I saw the beginnings of something there, in the passages, percolating, stewing. It took a decade but what’s now here, before you, is a revelation.

We all have a voice inside that doesn’t make a sound but we listen to, that wonderfully meddlesome root down there that will burrow toward an idea, maybe take hold and guide us to the precipice, point us toward the leap, that place of the new, if you want it. There is no easy way when going there. Change. Process. Shift. Yeah, the mountain stroke is still there: in the corners, in the clothes, behind them. And there’s a few Wilsons hanging. But the artist is mostly melting away from the mountain as a ground to the abstract by bringing in the figure, the music now single notes not just chords. And with this new album of quintessence on the walls, Andy has done something calm and wild: Paintings showing thought.

Andy told me he doesn’t cry much but he said when these paintings leave the studio, he will tear up. I can see why; after so much intimacy with these souls, he’s brought his own tender energy and fallen in love with these people. He didn’t just create these paintings; he’s magically conjured a new kind of presence. You can sense them in their own personal abstraction. No, these are not simply paintings, they are spirits.

Portraits have been painted forfuckingever. But look, everyone up there isn’t just a representation of a person, these depictions are living, breathing, present. Except for the self-portrait, no one is looking at us, these are people contained in consciousness and dreams. They are grounded, lovingly captured in warm oils forever with an uncanniness and curiosity that is extraordinary and wonderful. Profound because they are not just flesh made into paintings but paintings of people alive and rendered in deliberate intense strokes that guide us to feel they are here in their thoughts, reflections, inside.

These are little miracles. And yes, in painting, this is what transcendence looks like.


-Jeff Poe

 

Night Gallery is pleased to present New Objectivity, an exhibition of new paintings by Andy Woll. This marks the artist's fourth solo presentation with the gallery. 

Daniel T. Gaitor-Lomack: YOU CAN HATE ME NOW | Andy Woll: New Objectivity

Night Gallery North

Examining sites between desert and sea, Beth Davila Waldman presents the landscape in relation to home, shelter and sanctuary in Place/Displace at Keystone Gallery in Los Angeles. Aiming to define a global language through material, abrasion and paint, Waldman’s horizons carry anthropomorphic implications. Nodding to maps, surveillance and archeology, she dissects places within a photographic context using the process of the printmaking pull within intentional challenging conditions to speak of survival. Place/Displace speaks to an ecological and social urgency and presents a dynamic, multidisciplinary suite of works offering a moving reflection on the interwoven histories of humanity and nature. Waldman’s practice bridges research, conceptual explorations, and material history in continually evolving projects.

Beth Davila Waldman: Place/Displace

Keystone Gallery

Made in L.A. 2025 is the seventh iteration of the Hammer’s signature biennial exhibition that showcases artists practicing throughout the greater Los Angeles area. The 28 participants in the exhibition present work not only made in the city but also grounded in its complex and unfolding terrain. Neither myth nor monolith, Los Angeles is many things to many people, and its dissonance is perhaps its most distinguishing feature. The works presented in this year’s biennial include film, painting, theater, choreography, photography, sculpture, sound, and video. Attitude draws them together: Each engages with this city in ways alternately literal, formal, material, and metaphoric. Conceived or made in Los Angeles, they are of this city and nowhere else.

The Artists
David Alekhuogie 	
Pat O’Neill
Black House Radio / Michael Donte	
Will Rawls
Greg Breda	
Brian Rochefort
Widline Cadet	
Amanda Ross-Ho
Carl Cheng	
Gabriela Ruiz 
Alonzo Davis	
Alake Shilling 
Ali Eyal	
Nicole-Antonia Spagnola
Hood Century / Jerald Cooper	
Mike Stoltz 
Hanna Hur	
Peter Tomka
John Knight	
Freddy Villalobos
Kristy Luck	
Kelly Wall
Patrick Martinez	
Leilah Weinraub
Beaux Mendes	
Bruce Yonemoto
Na Mira	 
New Theater Hollywood / Max Pitegoff and Calla Henkel	
 
Made in L.A. 2025 is organized by Essence Harden, independent curator, and Paulina Pobocha, Chair and Curator of Modern and Contemporary Art, The Art Institute of Chicago and former Hammer Museum Robert Soros Senior Curator, with Jennifer Buonocore-Nedrelow, curatorial assistant.

The exhibition is made possible by the Mohn Family Foundation and members of the Hammer Circle. Major support is provided by The Billy and Audrey L. Wilder Foundation, Miky Lee, and Mark Sandelson. Generous support is provided by The Fran and Ray Stark Foundation; Bill Hair; Susan Genco and Mitch Kamin; J.P. Morgan; Dori Peterman Mostov and Charles Mostov; and Orange Barrel Media. Additional support is provided by The Buddy Taub Foundation, Dennis A. Roach and Stephanie Roach, Directors; McCrea Foundation; Sherry and Joel McKuin; the Pasadena Art Alliance; The Rhonda S. Zinner Foundation and Jonathan Segal; and Michael Silver.

Made in L.A. 2025

Hammer Museum

The Catalina Museum of Art & History is proud to present From Los Angeles to Catalina: The Art of Sonia Romero, an intimate and visually striking exhibition by celebrated Los Angeles-based artist Sonia Romero. On view until March 15, 2026, the exhibition features a curated selection of Romero’s iconic silkscreen prints, paintings and a brand-new site-specific work that captures the nostalgic charm and layered cultural history of Catalina Island.

Romero, widely recognized for her intricate paper-cutting, printmaking and mixed-media paintings, spent the summer of 2024 in Avalon researching and connecting with the local community. Her time on the island included leading museum-hosted workshops and exploring the museum’s vast archive of vintage Catalina ephemera—from postcards to brochures and ticket stubs—gathering visual references and historical insight for this new body of work.

“I’ve always been fascinated by vintage graphics and ephemera,” says Romero. “I spent two whole days poring over old postcards, brochures and ticket stubs. It’s a wonderful way to understand how the story of Catalina has been told over the years.”

Deeply rooted in Chicano culture and shaped by the diverse landscapes of California, Romero’s work explores themes of identity, community and the human connection to place. This exhibition marks the beginning of her ongoing exploration of Catalina Island,a journey sparked by her first visit to the island at age 14. With early sketches and plans for future works already underway, Romero intends to return to Avalon to continue expanding this evolving series.

“This is a deeply personal project for me,” she shares. “The island’s mix of glamour, grit and history resonates with the way I tell stories through my art. This is only the beginning.”

From Los Angeles to Catalina: The Art of Sonia Romero

Catalina Museum for Art & History

This fall, The Broad presents Robert Therrien: This is a Story, the largest museum exhibition of the late artist’s widely-adored work to date, on view November 22, 2025 to April 5, 2026. Therrien’s meditations on scale and material are a deeply influential and well-known approach within the field of contemporary sculpture, significant to The Broad’s own identity as a museum, and long admired by visitors of all ages. The installation will showcase Therrien’s personal vocabulary of images and symbols—from enormous tables, chairs, and dishes, to intimate drawings of snowmen, birds, and chapels—as they become a language of continuous creation and transformation for the artist over time. Featuring more than 120 works spanning five decades, the exhibition offers unprecedented access to the artist’s exploration of scale, memory, and perception, just miles from the downtown Los Angeles home and studio space he operated out of for close to thirty years beginning in 1990. Many of the works on view, including those created just before Therrien’s untimely death in 2019, have never been featured in museum exhibitions and will offer new avenues of understanding his practice.

Photo by Joshua White/JWPictures.com

Robert Therrien: This is a Story

The Broad 

Since its establishment in 1956 with a gift of prints from Los Angeles collector Fred Grunwald, the UCLA Grunwald Center for the Graphic Arts has evolved into one of the nation’s foremost collections of works on paper. Over the decades, the Grunwald Center’s holdings have expanded through donations and acquisitions, and now comprise more than 45,000 prints, drawings, photographs, and artists’ books dating from the Renaissance to the present. Housed at the Hammer Museum since 1994, the Grunwald Center fosters learning and discovery through its collection, which is regularly presented in exhibitions and made accessible in its dedicated study room. This exhibition marks the 70th anniversary of the Grunwald Center, celebrating its history through a selection of significant works that reflect the collection’s breadth and diversity. It will feature nearly 100 works by over 90 artists, including Andrea Mantegna, Albrecht Dürer, Hendrick Goltzius, Rembrandt van Rijn, George Cruikshank, Jose Guadalupe Posada, Henri de Toulouse Lautrec, Vassily Kandinsky, Käthe Kollwitz, Pablo Picasso, Grant Wood, Ansel Adams, Norman Lewis, Elizabeth Catlett, Charles White, Corita Kent, Ruth Asawa, Bridget Riley, David Hockney, Ed Ruscha, Analia Saban, and Toba Khedoori.

Five Centuries of Works on Paper: The Grunwald Center at 70 is organized by Naoko Takahatake, director and chief curator, Grunwald Center for the Graphic Arts, and Cynthia Burlingham, former deputy director of curatorial affairs, with Jennie Waldow, curatorial assistant and collection specialist, and Kelin Michael, curatorial fellow, Grunwald Center for the Graphic Arts.

Image: Robert Gober, Untitled, 2020
Graphite on found drawing in artist’s frame. Sheet: 6 7/8 × 8 3/8 in. (17.5 × 21.3 cm). UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Gift of the artist. © 2020 Robert Gober

Five Centuries of Works on Paper: The Grunwald Center at 70

The Sextant, an immersive installation by Enrique Martínez Celaya, will open at The Wende Museum on November 8, 2025. This is the first solo exhibition in the museum’s history.

The Sextant is conceived as a visual poem, comprising the reconstructed childhood home and the sculptures and paintings within, all held together by a single material: sugar. The installation also includes larger paintings and working machinery that continually restore the sugar. The original house on which the work is based was built by the artist’s father in the sugarcane town of Nueva
Paz, Cuba, between 1957 and 1963, at the height of the Cold War.

This installation concludes the artist’s trilogy on Cuba, which began with Los muertos llaman al alba at the Museo Nacional de Bellas Artes in Havana and The Word-Shimmering Sea: Diego Velázquez / Enrique Martínez Celaya at The Hispanic Society in New York, both presented in 2024. The Sextant continues Martínez Celaya’s inquiry into memory and belonging, into how the self is refracted through the notion of home and the bond between witness and participant, placing the personal and the political in close proximity.

Supported by The Wende Museum’s commitment to preserving and interpreting Cold War history through its collections of art, artifacts, and archives, this final part of the trilogy draws resonance from the museum’s holdings and their alignment with the installation’s themes of memory, ideology, and reconstruction.


Enrique Martínez Celaya: The Sextant

The Wende Museum

The Blue Forest is an immersive installation by Marine Scientist and Artist Oriana Poindexter that transports visitors into the underwater world of Catalina Island’s iconic kelp forests without ever getting wet.

“Oriana’s work embodies our mission to celebrate the unique art, history and environment of Catalina,” said Sheila Bergman, Executive Director of Catalina Museum for Art & History. “The Blue Forest allows visitors to connect with the island’s natural world in a way that is as visually stunning as it is deeply meaningful.”

Created by hand using historic photographic processes, The Blue Forest features life-size cyanotype images of native marine flora,  collected by Poindexter while freediving just off Catalina’s shoreline and contact printed onto flowing silk panels. Visitors are invited to wander through a labyrinth of luminous, ocean-blue silk that depicts giant kelp (Macrocystis pyrifera), elk kelp (Pelagophycus porra) and other local species.

Both meditative and educational, the exhibition bridges art, science and sensory experience. As light filters through the translucent panels, visitors are immersed in an environment that evokes the beauty and biodiversity of the island’s underwater ecosystems. For the first time in her work, Poindexter incorporates an underwater soundscape built from her own ocean recordings, deepening the sense of being submerged.

“I hope visitors will feel the sense of calm, curiosity and connection that I experience underwater,” said Oriana Poindexter. “Entering the forest of cyanotype silks is an invitation to slow down, breathe, and recognize yourself as a small part of something much larger. The exhibit is designed to act as a portal into Catalina’s underwater world, offering an encounter that is at once intimate, meditative, and educational.”

The Blue Forest: An Immersive Installation by Marine Scientist and Artist Oriana Poindexter

“My coastal limbs carrying shells and seaweeds the full ocean in my mouth, oh I longed, longed for the deepest suicidal blue waters, I craved the seas, where what was on earth could not scar me.” – Dionne Brand, Ossuaries

In BLUE LONGING, two star-crossed queer lovers escape apocalypse and maroon in the bottom of the ocean. An amorphous becoming and unbecoming takes place as they meet each other in its opaque depths. 

What does it mean to live and love within a culture of death inside the imperial core? What kind of unity is possible in the shadows of the submarine? As fascism rises, so does the sea level, making our earth unbreathable and unlivable for the many. A womb, a galaxy, and the bottom of the ocean all offer a glimpse of possibility. 

Inspired by the works of Caribbean anticolonial poets, Dionne Brand and Kamau Brathwaite,  BLUE LONGING is a cinematic ritual space that invites us to meditate on the contradictions of escape, fugitivity and return, considering what kind of love is possible through it all. 

Helen Peña is a Dominican-American child of the Atlantic, filmmaker, and cultural programmer from Miami, FL. They create socially and politically engaged cinematic rituals centered around memory, mysticism and water bodies.

Installation by Helen Peña 
Starring Dawn Harris & Kili Ku’uwehilani

Exhibition produced by Level Ground

Special thanks to @ye.tunde @samanthacurley for making this possible! 
Flyer by @birds_of_paradigm

Helen Peña: Blue Longing

Monte Vista Projects

Celebrate the opening of Paul Mpagi Sepuya: Excerpts & Fragments, an exhibition spanning twenty years of Los Angeles-based artist Paul Mpagi Sepuya’s zines, artist books, and collages.

Enjoy complimentary food and drinks. In addition, a limited number of posters and Paul Mpagi Sepuya x Collina Strada x LAND T-shirts, made to mark the occasion, will be available for purchase.

Opening Celebration of Excerpts & Fragments

2413 Hyperion

“In the layers and fissures, I feel the world’s beginning — I try to understand creation by creating it myself.” -Kuniko Kinoto

The exhibition title, Dislocation Loop, borrows a term from materials science — a loop-shaped dislocation within a crystal structure formed under pressure, heat, or deformation. For Kinoto, this concept mirrors her practice: a constant cycling between transformation and restoration, between organic process and human touch. 


Kuniko Kinoto: Dislocation Loop

ATLA

Agnes Hong’s Untangled: A Journey Through Layers, a solo exhibition curated by Sua Kim is about examine the often invisible labor of caregiving through tactile processes and repetitive gestures. Drawing from her personal experience, her practice reflects on the persistence and devotion inherent in acts of care. 

Hong’s material vocabulary, encompassing wood, ultrasuede, velvet, and clay, deepens the process-driven approach. She gravitates toward soft yet resilient fabrics, engaging methods that evoke meditative and cyclical rhythms. By navigating uncertainty and temporality, she aims to create a contemplative space for growth, healing, and transformation. 

Hong positions uncertainty as a central condition of the creative process. She explores waiting as a state of resilience, vulnerability, and renewal, revealing the emotional labor embedded within the act of nurturing. Untangled reflects the layered complexities of care, love, and endurance, illuminating the evolving nature of human connection. 


Agnes Hong: Untangled: A Journey Through Layers

Tiger Strikes Asteroid LA

Marc Selwyn Fine Art is pleased to announce Unspoken Ritual, an exhibition of new paintings by Los Angeles–based artist Salomón Huerta, opening November 14 at our Camden Annex. Long recognized for his psychologically charged portraits and meditations on identity and domestic space, Huerta turns to still life in this latest body of work. Spare table-top elements—fruit, a glass of milk, a sandwich—share space with the quiet, insistent presence of a gun. In this intimate shift in genre, Huerta brings the personal and the political into subtle but potent dialogue.

Huerta first came to prominence in the 1990s with enigmatic, faceless portraits and stark depictions of Los Angeles houses, works that explored how identity, class, and environment shape perception. In Unspoken Ritual, the artist turns inward, drawing directly from his childhood in Ramona Gardens, one of East Los Angeles’ most violent housing projects. Each night, as a child, he was tasked with bringing his father a simple snack and placing it beside the .38-caliber revolver that never left the bedside table. This pairing of nourishment and weaponry, care and vigilance, tenderness and threat, forms the emotional and conceptual core of these paintings.

“For me, this series symbolizes a simple way of life in the midst of a violent, hyper-reality,” Huerta notes. While rooted in autobiographical memory, these works extend the artist’s long-standing engagement with perception, stillness, and psychological nuance. Huerta cites Giorgio Morandi as a key touchstone, particularly the Italian painter’s commitment to seriality and the expressive potential of humble objects. “As I painted these paintings,” Huerta reflects, “my observation of the relationship between the food and the gun became as important as those moments with my dad…these moments transcend the birth of those experiences. I’m concerned with the interplay of objects and the poetry of that.”

In Unspoken Ritual, Huerta transforms a private childhood gesture into a concentrated visual vocabulary—one that holds fragility and menace in suspended balance, offering a meditation on family, memory, survival, and the quiet theatrics of everyday life lived in the shadow of danger.

Born in Tijuana, Mexico, in 1965, Salomón Huerta earned his BFA from Art Center College of Design in 1991 and his MFA from UCLA in 1998. His work has recently been the subject of solo exhibitions at Harper’s in New York and East Hampton (2022–2024), Louise Alexander Gallery in Porto Cervo, Italy (2019, 2021), California Lutheran University in Thousand Oaks, CA (2020), Gallery Vacancy/ltd los angeles, Shanghai (2019), and Museo de Arte Carrillo Gil, Mexico City (2018); among others. Over the course of his career, Huerta has participated in major group exhibitions including Home—So Different, So Appealing at the Los Angeles County Museum of Art (2017); Transactions: Contemporary Latin American and Latino Art at the Museum of Contemporary Art San Diego (2006); Retratos, El Museo del Barrio, New York, San Antonio Museum, San Antonio, and National Portrait Gallery, Washington, DC (2005-6); and the Whitney Biennial at the Whitney Museum of American Art, New York (2000). His work is held in the permanent collections of the Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; the Museum of Contemporary Art, San Diego; the Fisher Museum of Art, University of Southern California, Los Angeles; and the Whitney Museum of American Art, New York, among others. Huerta lives and works in Los Angeles.

Salomón Huerta: Unspoken Ritual

Marc Selwyn Fine Art

The 19th Photographers Society of Southern California Exhibition 

The Korean Cultural Center Los Angeles (KCCLA/Director Haedon Lee) & Photographers Society of Southern California (PSSC/President Alex S. Kim) proudly present “The 19th Photographers Society of Southern California Exhibition: Riches of the land "Through the Lens", which will take place from December 11th to December 26th, 2025 at the Korean Cultural Center Art Gallery, located at 5505 Wilshire Blvd. Los Angeles, CA 90036. 

Every year, the Photographers Society of Southern California (PSSC) brings together the works of artists and presents them under a single theme. This year’s theme is Riches of the land "Through the Lens". This exhibition will display over 40 photographs by eleven profoundly talented members of the PSCC. 

The exhibition is open to the public and the opening reception will be held at the KCCLA 2nd floor art gallery on Thursday, December 11th, 2025 at 6:30 p.m. Following the opening ceremony, the Photographers Society of Southern California will give away the 2026 calendar that is made by the work of members of the Photographers Society of Southern California. You will have the opportunity to view wonderful works and also have the chance to get the new year’s calendar at the opening reception.

The exhibition is open to the public and the show will run until December 26th, 2025.

Photographers Society of Southern California (total 11 Artists)
Alex Kim / Helen Shin / Jin Park / Kathy Lee / Jinsun Kim / Bugweon Ju / Heebin Im / Joanne Kim / Jesoung Kyoung / Jina Rucker / Haesook Min

Riches of the Land: Through the Lens

Korean Cultural Center, Los Angeles

Taylor Fine Art is pleased to announce VIVA MEXICO, a dynamic two-artist exhibition featuring new works by Odile Jacott and Robert Wolfgang Laster on view from December 13–27, 2025. The exhibition opens with a public reception on Saturday, December 13, from 7 PM to 10 PM.

VIVA MEXICO brings together two distinct yet complementary artistic voices whose work engages with identity, symbolism, cultural narrative, and contemporary portraiture. Through divergent visual languages—one theatrical and dreamlike and the other vividly graphic and urban — Jacott and Laster explore the multidimensionality of Mexican influence, heritage, and aesthetics.

Odile Jacott’s painting introduces a striking, metaphor-rich character staged between lush red curtains, crowned with an emblem of self-mythology. With theatrical lighting, surreal accents, and expressive detail, Jacott constructs a narrative tableau that feels at once classical and contemporary. The result is a portrait that operates like a scene from an unwritten play—evoking identity, ritual, and symbolic performance.

Robert Wolfgang Laster’s work presents bold, stylized portraiture informed by pop culture, street iconography, and emotional storytelling. His featured piece portrays a young figure marked by tattoos and visual fragments of personal history, set against a glowing modern cityscape. The work is both intimate and cinematic, inviting viewers to consider the shaping forces of environment, expression, and self-definition.

Together, Jacott and Laster create a visual conversation about personal and cultural iconography. VIVA MEXICO honors the expansive ways in which artists interpret lineage, challenge boundaries, and build their own myths.


Odile Jacott & Robert Wolfgang Laster: VIVA MEXICO

Taylor Fine Art

"What we need is more people who specialize in the impossible."
Theodore Roethke 

I first encountered the work of Tom LaDuke in the spring of 2001.  I had moved to Los Angeles in August of 2000, having left a full-time teaching position in Portland, Oregon, to pursue the dream of making a name for myself in the Los Angeles art world.  At the time I was making the rounds trying my best to case the scene, excited if not daunted, and beginning to make some sense of the non- linear and chaotic maze of galleries, alternative spaces, and museums.   
 
I wandered into Angles Gallery (then on Main Street in Santa Monica) to see the work of Kelly McLane, one of the few artists whose work I did know and admired.  It was a mid-week afternoon and a bit slow, and after spending a good deal of time with Kelly’s work, one of the gallerists (David, I think) came over and we chatted about the art and other shows I might want to visit.  As the conversation paused, he eventually said, “Do you want to see something really amazing?”  I said I did, and he ushered me to the back office and pulled out some 4 x 5 slides of work by LaDuke.  His predicted reaction on my part proved to be accurate.  I was amazed, though, looking back, there was a longer and more nuanced list of describable reactions: reverence, shock, awe, but mostly a strange recognition; recognition of a poetics that somehow seemed uncannily familiar while remaining unique in describing the sometimes beautiful and sometimes terrifying aspects of the world and our place in it.  This was an artist I intended to keep track of.  And so I did.   
 
Since that initial viewing, I have closely followed the development of LaDuke’s work, and with each passing year, I am increasingly convinced of a grandness in Tom’s vision—and more specifically, what I consider to be a visionary sensibility.  I do not use this term lightly.  That I call LaDuke a friend and even a close friend has little bearing on this feeling.  I realize as I write this that I am no journalist or critic in the widely understood sense of the term.  I’m not really interested in offering objective criticism or analysis of the work; rather, the platform from which I write is one of poetic wonder.  And from this platform, I begin to see and understand it in three somewhat related categorical parts: I) The Uncanny, II) The Field, and III) Reportage Subverted. 
 
I.  The Uncanny 
 
LaDuke himself once told me that one of his methods or ways of beginning is to imagine an impossible object or even phenomenon, and then immediately proceed to manifest it as an object. In his hands, what could come into existence and then remain as a sort of parlor trick becomes transcendentally layered both through extreme difficulty of technique and through a sense of deep vulnerability.   An example of this is one of the works I remember David from Angles Gallery showing me: an approximately 15 ft tall photorealistic sculpture of an antenna tower titled “Enrico Fermi” made from innumerable pieces of mechanical pencil lead and superglue.  The technical absurdity of the premise could remain mired in a shallow (if impressive) bravado, but what I saw even in the very faint 4 x 5 slide was an object of delicate beauty and sublime grandeur and vulnerability.  This double quality of the beautiful and the strange/uncanny is something consistently inherent in all his sculpture, drawing, and painting.  This calls to mind the French Symbolist poet Charles Baudelaire: 
 
“The beautiful is always strange…it always contains a touch of strangeness, of simple unpremeditated and unconscious strangeness, and it is that touch of strangeness that gives it its particular quality as Beauty.” 
 
II.  The Field 
 
In his seminal essay on poetry, “On Projective Verse,” the poet Charles Olson proposed that the poet approach a poem as an “open field” that “projects” organically from the poem’s content.  This image has affected my view of artists as diverse as John Cage and Jasper Johns.  I believe the image is particularly useful in understanding LaDuke’s work as nonhierarchically content laden.  The idea that a picture is a field in addition to being a window/stage seems to have allowed artists like Jackson Pollock and Joan Mitchell to create all over surfaces and culminated in minimalist works by Sol Lewitt and Robert Ryman. Every square inch or centimeter of a “field” painting is, from a formal point of view, equal in importance.  But LaDuke both embraces this and reinserts narrative concerns.  Somehow, he injects traditional content in the form of recognizable spaces/objects/figures with all their accompanying emotional implications, while arranging them and rendering (or not rendering) them in a variety of manners and methods so that it is nearly impossible to label any as focal or even primary.  In this way, LaDuke edges toward the rather anarchic stance of the postmodern ironists like David Salle and Julian Schnabel.  Yet unlike them, he exhibits none of their seemingly nihilistic apathy.  He is, in a sense, a “postmodernist with heart” (if such a character exists). Or, more accurately, he points the way to a sensibility that is expansive and can hold classical values of craft and postmodern attitudes of iconoclasm in the same space.  A particularly resonate example of this is the painting, “Now it’s Dark,” in which the artist juxtaposes a sort of crisply edged but simultaneously loose/impasto rendition of the hunters, dogs and trees from the iconic Breughel painting, “Hunters in the Snow.” But the snow is nowhere to be found.  Instead, there is a chasm of space filled by a hauntingly faint view of a scene from the iconic David Lynch film, “Blue Velvet.” What could be mere binary/dualistic shadowboxing in the hands of a lesser artist is presented so that both images create an endless series of echoes that touch on fragility, terror, the folly of history, and the fleetingness of images and memory, to name a few.  It is a tour de force both in form and content. 
 
III. Reportage Subverted 
 
When the above-mentioned Charles Olson wrote his own modernist epic, “The Maximus Poems,” among the many techniques he employed was the re-telling (or written restaging) of historical documents alongside more lyrical passages.   These were the equivalent of found objects in assemblage and painting, or of documentary footage inserted into an otherwise lyrical film sequence (as in the footage of the Soviet Red Army crossing a river accompanied by a heartbreaking piece of Baroque music by Henry Purcell in the incredible film “The Mirror” by Andrei Tarkovsky). In his own inimitable way, LaDuke employs a sort of quotation of facts from various worlds: entertainment, art history, news, culture at large, etc.  In his work as a whole, there is a thrilling sense that anything goes- indeed, notions of high and low culture become pulverized so that sources are both recognizable but often mutated in some way (sometimes in multiple ways) so that quotation becomes subverted into a poetic element with equal value to all other elements in a particular work.  Further, the power of the original reference remains intact and also holds all new associations gained through mutation and/or subversion.  I would argue that this idea is pervasive throughout all his work.  But for the sake of clarity here, I cite one particular work, “Flemish Veil,” a free-floating linear sculpture made with human eyebrow and eyelash fragments held together by super glue.  These materials recreate the pattern of hairline cracks in the oil painting surface in a panel painting by the Flemish master Petrus Christus from c. 1470  (“Portrait of a Young Woman” in the Gemäldegalerie in Berlin).  ”Flemish Veil” is on one hand a document in several senses.  It is a record of physical entropy and decay, as well as a sort of indirect record of the sitter, since the cracks loosely form around the shape of the head and upper torso of the subject. Yet the objective report is only a base layer for more subjective sensations and associations.  The cracks that in reality are literal voids or negatives are in the artwork reversed and have physical presence.  What in the original is destroying the integrity of the image becomes the actual image of the artwork.  What is seen in the original as a distraction becomes in the artwork the subject, which still creates an echo of that subject and thus rings the bell of memory…and so forth.

 
I’m not sure how to wrap this up except to say that the point of all of it, if there is a point, is to highlight that the work of Tom LaDuke creates openings of thought and feeling and points to a sense of possibility of the imagination.  In the end, it’s that sense of wonder that keeps me wanting to look.  

~ Joe Biel   

 
_____________________________

Tom LaDuke (b. 1963 in Holyoke, MA) received his Master of Fine Arts from the School of the Art Institute of Chicago and his Bachelor of Fine Arts from the California State University, Fullerton.

LaDuke has been the subject of solo exhibitions at Miles McEnery Gallery, New York, NY; CRG Gallery, New York, NY; Kohn Gallery, Los Angeles, CA; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Weatherspoon Art Museum, University of North Carolina, Greensboro, NC; and Angles Gallery, Los Angeles, CA.

He has been included in recent group exhibitions at Praz Delavallade, Los Angeles, CA; Miles McEnery Gallery, New York, NY; The Storefront, Bellport, NY; L.A. Louver, Venice, CA; CRG Gallery, New York, NY; Orange County Museum of Art, Newport Beach, CA; Torrance Art Museum, Torrance, CA; Alyce de Roulet Williamson Gallery, ArtCenter College of Design, Pasadena, CA; Sweeney Art Gallery, University of California, Riverside, CA; Angles Gallery, Santa Monica, CA; and California State University, Los Angeles, Los Angeles, CA.

His work may be found in the collections of the Buffalo AKG Museum, Buffalo, NY; Colección Jumex, Mexico City, Mexico; Minneapolis Institute of Art, Minneapolis, MN; Minnesota Museum of American Art, St. Paul, MN; Museum of Contemporary Art, Los Angeles, CA; Museum of Contemporary Art, San Diego, CA; Nerman Museum of Contemporary Art, Overland Park, KS; Orange County Museum of Art, Newport Beach, CA; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Pizzuti Collection, Columbus, OH; Portland Art Museum, Portland, OR; Solomon R. Guggenheim Museum, New York, NY; Speed Art Museum, Louisville, KY, and elsewhere.

LaDuke lives and works in Los Angeles, CA,

Tom LaDuke: love letters

PHASE gallery

We are pleased to present a special exhibition to mark the closing of 2025, featuring three invited artists, Whi Boo Kim, Christian Spruell, and Otha “Vakseen” Davis III.

The title “Beyond Boundaries” reflects how, while starting from the shared realm of abstraction, each artist employs different materials and modes of expression to develop a distinctive visual language and artistic world—ultimately transcending the conventional boundaries of either abstraction or figuration.

Whi Boo Kim is an artist who has devoted more than sixty years to his practice, embedding the emotions of everyday life and the experience of immigration into layered traces of materials and bold color. His signature Geo Series emerges from a repetitive process of building, scraping, attaching, and removing fragments and textures—capturing cycles of creation and disappearance, and revealing a record of his inner journey rather than a simple visual outcome. Within his work lies the solitude, quiet resilience, and deep affection shaped by his life as a first-generation immigrant and the head of a household, reflecting the grounded strength of an artist who has continued his path well into his eighties.

Christian Spruell is a multidisciplinary artist who explores the essence and narratives of everyday life through a dynamic combination of materials and techniques. He portrays individuals who live authentically beyond societal expectations—his so-called “Hidden Heroes”—and expresses this theme primarily through abstraction while engaging multiple genres. Incorporating both modern technologies and traditional oil-painting methods, Spruell’s work blends humor, organic movement, and subtle social satire, offering a contemporary and contemplative visual language that invites viewers to reflect.

Otha “Vakseen” Davis III is a visual artist, creator, and music producer who builds his unique worldview through distinctive compositions and expression. His signature series, Vanity Pop, combines photorealism, Cubism, and fashion design elements using only acrylic paint, exploring human identity, femininity, and social ideals. Through his work, Vakseen redefines notions of beauty and self, offering a compelling visual discourse on diversity and empowerment in contemporary society. His bold imagery and innovative visual language leave a lasting impression on viewers.

Image: Christian Spruell "They at the Lagoon"

Beyond Boundaries

S-Gallery

Bu Tea Den presents an ongoing immersive installation centered on Paisley ID®, where interactive Automated Fortune-Telling Machines guide visitors through a quiz that generates a personalized printed fortune ticket and digital energy portrait. Each portrait flows into a projection Aquarium, forming a collective artwork that grows with every participant.

Framed by soft light, lounge seating, red lanterns, and curated teas, the Den creates an intimate speakeasy atmosphere for reflection, play, and connection. RSVP-only. Tickets available at buteaden.com

Paisley ID® Immersive Art Lounge & Tea

Bu Tea Den

Artist Talk: Saturday, December 13, 1-3 pm

The title, Echoes & Emergence, reflects an essential rhythm in my practice, the continual dialogue between past and present, between memory and transformation. The “echoes” are the reverberations of personal history, ancestral influences, and the fragments of experience that have shaped my sensibilities as an artist. These are not passive recollections; they are active presences, resonating through material choices, compositional structures, and the layered surfaces of my work.

To work with echoes is to listen. It is to recognize the ways the past informs the present—sometimes as an inheritance, sometimes as a burden. My process often begins with this listening, sifting through the residue of earlier lives: ephemera, textures, paper worn by time. Within these remnants lie both pain and possibility, the shadows of wounds and the light of formative joys.

The act of emergence is, by contrast, forward-moving. It is the slow, deliberate unfolding toward a self that is not fixed but in constant becoming. In the studio, emergence takes form through gestural marks that break free from strict boundaries, through compositional shifts that lean toward openness, and through the willingness to leave certain spaces unresolved. If echoes are what anchor me, emergence is what carries me into the unknown.

Seen together, “echoes” and “emergence” articulate a duality that is both deeply personal and universally human: the necessity of acknowledging where we come from while also allowing ourselves to evolve beyond it. My work does not seek to erase the past, nor does it allow it to dictate the present. Instead, it creates a space where histories, both lived and inherited, can be examined, honored, and transformed.

The pieces in this exhibition are layered both physically and conceptually. Paper bears the marks of time and touch; pigments accumulate and are scraped back; surfaces are stitched, torn, and mended. These processes mirror the ways human identity is built, not in a single gesture, but through continuous acts of construction, deconstruction, and renewal.

For me, Echoes & Emergence is not simply a title but a lens, a way of understanding the arc of my own becoming. It is a reminder that growth is not a departure from the past but an integration of it, that emergence can only happen when we have listened closely to the echoes that brought us here.

In offering these works to you, I invite you to step into that same rhythm: to hear the echoes in your own life, and to imagine the shape of your own emergence.

Robin Jack Sarner

Robin Jack Sarner: Echoes & Emergence

Palos Verdes Art Center

Saskia Baden’s iterative photo-sculptures are made from debris and images collected over the course of her now years-long relationship with a rock that sits in an intertidal zone near Malibu. The works in Cradle ask how her soft, temporal body can be in relation to this hard, geological body, especially as, within the scale of human time, the rock is permanent. They probe the possibilities situated among their bodies, how they might mingle, conjoin.

The small photographs in these works accumulate, build up and out. Sometimes an image adds something distinctive, but mostly, they offer repeated, near-identical views of the rock. They obsessively confront the barrier of intimacy; they grasp, relentlessly, toward the impossible, using photography as a way of making something real. Encased in emulsion, they are also a human way of making a rock, of bridging linear and deep-time. They ask: How can an image be a cradle? How does it hold, to what does it cling?

Saskia Baden: Cradle

Fulcrum Press

Join us this Saturday, December 20th ~ 8pm-12am for the opening of Joseph Klahr's 'Public Life Subscriptions' and the reopening of a new season of Leroy's.

Cheer, gratitude, wellness, peace, can all be yours.

Proceeds will be donated to the Palestinian Children Relief Fund

Joseph Klahr: Public life Subscriptions

Leroy's Happy Place

Good Mother Gallery Los Angeles is pleased to present Soft Serve, a group exhibition featuring the works of Haniko Zahra, Alyss Estay, Braden Skelton, Chris Johst, Quinn Girard, Alexis Trice  & Dillan Conniff.

Soft Serve is an exhibition about moral elasticity, the quiet distortions that occur when conviction meets temptation. As in the early sixteenth century, when faith and fantasy intertwined, our own era moves through similar fog. Unseen systems and shifting desires blur what is real and what is willed. The works here linger in that ambiguity, between devotion and indulgence, structure and decay, allowing a slow drift of fantasy sludge to soften the moral edge. What unfolds is less a warning than a mirror, a study of how easily virtue slips into theater. The title, Soft Serve, speaks to this condition, a form shaped by pressure, spiraled into momentary order, holding just long enough before it begins to melt.

The exhibition draws on the spirit of the early 1500s and the curiosity of the pre-Renaissance humanists, thinkers who questioned the divine order yet still trusted the imagination. It was a time of visionary art and quiet poisoning, when people saw angels in their bread and hallucinations in their yeast. Some of those visions, historians suggest, came not from revelation but from ergot, a fungus that made entire villages see heaven and hell in their kitchens. Today, the symptoms feel familiar. We live in a new haze of processed foods, digital noise, and invisible networks. We are still unsure whether what moves us is spiritual, artificial, or both.

The artists in Soft Serve explore this shared uncertainty. Their works move between sincerity and parody, belief and performance. They echo the moral fog of the sixteenth century while reflecting the blurred ethics of our present. Each piece hovers in a soft zone where meaning is flexible and order begins to melt. Ultimately, Soft Serve considers how culture, like conscience, is always close to slipping. What is most easily dispensed is also most easily remade.

Soft Serve

Good Mother Gallery

The last time I was in Tanya’s studio, she read the following quote from Guy Debord’s 1967 canonical work, Society of the Spectacle, to me: “The spectacle is capital accumulated to the point that it becomes images.” Nearly 60 years later, with social media having wrapped its tentacles around every part of the world, it’s safe to say images now dominate our daily lives. We have come to define ourselves through manufactured goods, which weave seamlessly between tactile and symbolic forms. Images can be many things — a snapshot of lucky rabbits’ foot keychains on eBay, an attempt to graph movement over time, a now-discontinued high-end brand of door hardware, or a relentless flow of manipulated language and objects.

Display structures can also morph objects into images by isolating them from everyday life. A museological specimen becomes an image in the same way a Temu ad does: We can see it, but we cannot feel it. And Temu’s primary tagline, “Shop like a billionaire,” perfectly encapsulates the rapidly developing commodity-driven lifestyles of this contemporary laissez-faire society.

For this exhibition, Tanya recruited her father — a retired Soviet engineer, who has a habit of getting into lengthy technical discussions with Temu vendors with the help of Google Translate — to build a pre-digital electronic controller for a sculpture. However, after weeks of mental gymnastics, physical labor, cross-country FaceTime sessions, and cryptic notes about currents and cycle times, Tanya realized his analog option was no match for the $20 version she managed to find on Amazon. Mr. Brodsky’s humanized accumulation of components and his use of making as a means for correspondence presents a subtle subversion of global capitalism on a personal level. I found this nostalgic brand of idealism to be remarkably romantic and inspiring; however, in today’s fast-paced world, it unfortunately has become rather impractical.

And at this point, it is necessary to ask: What is the role of automation in saving time, which has become money, which we can use to buy time? What gestures are we trying to conserve? How do any of us “normal people” save money or time in the greediest period since perhaps the Gilded Age? You can ask artificial intelligence to research or write almost anything for you, but you almost always end up having to spend extra time re-researching or rewriting the whole thing. In her studio, Tanya brought up ghosts in machines, who aren’t even that good at being machines, or ghosting, in general.

In an e-mail, Tanya told me that her jaw makes the same clicking sound as a door. She said, “Both are hinged, both can slam shut. Slamming your finger in a door is kind of like a bite.” This made me laugh, because it’s funny, but also because it’s oddly profound. She has referred to door hinges as joints multiple times. This language triggered me, making me deeply consider the effects that rheumatoid arthritis, which I was diagnosed with when I was 17, and the subsequent chronic conditions I’ve developed over time, have had on me for the past 23 years. And of course, it reminded me of the genuine experiences and authentic connections that Debord argued have escaped modern life, insulated as we are by layers of spectacle.

Tanya talks about penetrating buildings: First, a little with a key; then, more with our entire bodies. She refers to buildings as having “good or bad bones.” This also resonates with me because, again, I have had poor bones my entire adult life; sadly, I have not thought enough about the foundational sturdiness of the structures I have occupied since, like, maybe ever, because I have often been so preoccupied with the fragility of my own body. This connection between the body and buildings was both so powerful and poignant for me — these statements have stuck with me ever since Tanya first shared them. These days, whenever I penetrate a place — whether it be my home, my gallery, a library, a restaurant, or a sports arena — I now consider the bones of the building as much as my own. Thank you, Tanya.

-      Keith J. Varadi, November 2025

Tanya Brodsky: Images

Gene's Dispensary

This exhibition invites artists to reimagine Guadalupe as the resistor, the resilient, the mother, and La Morenita. Moving beyond the confines of religious iconography, we recognize how Guadalupe’s defiance endures—from surviving conquest to standing against modern injustices like ICE and its ongoing violence against brown communities.

Guadalupe: The Strength and Resistance of La Moreñita 

Avenue 50 Studio

alt projects proudly presents In Drift, a two-person exhibition featuring the works of Sangwon Lee and Masha Sheinina. On view November 29, 2025 to January 3, 2026.

This exhibition traces the figure in states of flux—moments when the body seems to blur or shift its form. Through painting and ceramics, Lee and Sheinina explore the instability of perception and the way bodies slip in and out of focus.

Lee’s crowded scenes fade at their edges as distance and atmosphere soften each figure into a brief impression. Sheinina’s ceramic forms carry the marks of her hands and suggest bodies that hover between formation and disappearance. Together, their works reveal the figure as something shaped by time and environment and by the shifting gaze that meets it.

We hope to see you at our upcoming programming.

Sangwon Lee and Masha Sheinina: In Drift

alt projects

Adeola Davies-Aiyeloja is a multidiscipline, multi-media artist with a focus on her personal story, and the investigation of the symbols and rituals of her ancestors. Adeola works in textiles, painting, printmaking and performance, often referencing the figurative and mythical in its subject matter.  Her solo Exhibit at Matter Studio Gallery will represent an arch of the full body of her creative journey.  
