'I am a Shell,' curated by artist Mamali Shafahi, features works by ASMA, Pauline Guerrier, Alice Guittard, Jacopo Pagin, Zoë Paul, Chulayarnnon Siriphol, Shagha, and Thom Trojanowski. The show brings together a constellation of artists whose practices are linked by personal memory, ancestral techniques, and the storytelling of material—where haberdashery, intimacy, vulnerability, and symbol are intertwined.

By appointment only: www.houseofcohit.com/appointments

I am a Shell

House of CoHit

GALLERY SADE LOS ANGELES CELEBRATES MAYA SPANGLER’S STOLEN BESOS BOOK LAUNCH WITH AN IMMERSIVE EXHIBITION OF HER WORKS FROM THE BOOK, AS WELL AS ADDITIONAL MORE RECENT WORKS, WITH AN EVENT ON WEDNESDAY JUNE 18TH AT GALLERY SADE LOS ANGELES FROM 7-11PM 

MAYA SPANGLER // STOLEN BESOS // SADE LOS ANGELES // CATALOG PREVIEW

PRESERVED IN A BREATH HELD FOREVER, MAYA SPANGLER’S STOLEN BESOS STRETCHES THE NOW INTO SOMETHING ETERNAL. WHERE GIRLS EXIST IN LANGUOR, CAUGHT BETWEEN WHO THEY ARE AND HOW THEY’RE SEEN. SHOT OVER TWO YEARS ACROSS EIGHT CITIES, THE SERIES UNFOLDS AS A VISUAL DIARY OF LONGING, REBELLION, AND UNRESOLVED GIRLHOOD.  SPANGLER PHOTOGRAPHS HER SUBJECTS IN INTIMATE, OFTEN IMPROVISED SPACES THAT ECHO HER OWN UPBRINGING. THERE’S A TENSION BETWEEN SOFTNESS AND GRIT, BETWEEN THE CURATED AND THE ACCIDENTAL. CREATED DURING A PERIOD OF PERSONAL ESTRANGEMENT AND TRANSFORMATION, SPANGLER RESISTS NOSTALGIA BY EMBRACING DISSOLUTION — SOFTENING THE EDGES AND SURRENDERING TO FLEETING MOMENTS THAT SLIP THROUGH MEMORY. IT’S A PORTRAIT OF GIRLHOOD NOT AS INNOCENCE, BUT AS MYTH: TOUGH, TENDER, AND SELF-MYTHOLOGIZING 

STOLEN BESOS IS A DEBUT VISUAL MONOGRAPH BY MAYA SPANGLER (@STOLENBESOS). PUBLISHED BY ENTER BLISS, AND WITH AN INTRODUCTION BY RICHARD KERN, THE BOOK MARKS SPANGLER’S FIRST OFFICIAL BODY OF WORK, AND IS LIMITED TO 300 COPIES. // EDITED BY RAF (RI) PATEL AND DESIGNED BY JUNE LIHUA YU

MAYA SPANGLER (B 1999. LOS ANGELES) IS A LENS-CENTRIC ARTIST LIVING AND WORKING BETWEEN LOS ANGELES AND NEW YORK. HER WORK IS AN ONGOING EXPLORATION OF FEMININITY, LONGING, AND THE EMOTIONAL LANDSCAPES OF PHOTOGRAPHY

THE WORKS WILL BE ON VIEW EVERY SATURDAY AND SUNDAY FROM 7-11PM UNTIL JUNE 29TH & BY PRIVATE VIEWING APPOINTMENTS AT ALL OTHER TIMES. GALLERY SADE LOS ANGELES IS LOCATED AT 204 S AVENUE 19, LOS ANGELES, CALIFORNIA, 90031

FOR INQUIRIES + PRIVATE VIEWING APPOINTMENTS CONTACT SADE-LA@SADE-LA.COM

MAYA SPANGLER: STOLEN BESOS

SADE

7811 Gallery presents emerging Los Angeles artist, Mikio Nobumoto Metoyer. A solo exhibit of visceral new paintings rooted in memory, architecture, and nature.

Mikio Nobumoto Metoyer: I See Everyone, I Feel Everything

7811 Gallery

Perrotin Los Angeles is pleased to present Josh Sperling’s first solo exhibition on the West Coast. Known for his vibrant shaped canvases and interlocking forms, the American artist draws on influences from minimalist abstraction to Memphis design. This exhibition marks a significant evolution in his practice, featuring new paintings alongside his first foray into functional design in the United States, introducing modular benches and framed mirrors—extending his visual language beyond the canvas and into new contexts.

In Josh Sperling's Big Picture, the devil is in the details. The first solo exhibition of the Ithaca-based artist in Perrotin's Los Angeles space combines Sperling's quintessential sculptural paintings, demonstrating a decade-long commitment to the mastery of form and color, and his recent exciting venture into design, as function wiggles its way into the artist's core concerns. Sperling's whimsical lexicon of technicolor undulating shapes comes alive with fresh energy through an immersive environment where art, design, and craft overlap. The exhibition's cheeky title references LA's renown as the hub of the film industry and the gallery's transformation of the former Del Mar Theater into an exhibition space that features remnants of its past, including the marquee, ticket booth, and theater hall. Big Picture showcases a dynamic evolution in Sperling's practice, highlighting his desire to work beyond the confines of the wall. Not only have his paintings grown more three-dimensional, literally popping off the wall and looping onto themselves, but he has translated his painting language into full-bodied design objects that turn functionality into aesthetic experiences.
 
A series of "Composites," each a microcosm of juxtaposition, opens the show and sets the scene. Sperling mixes and matches sharp, flat planes with raised, curvilinear shapes in various textures and surface treatments, creating shifting linear perspectives and the illusion of motion, to animate the painted compositions. These paintings encompass an assortment of dualities that work in tandem rather than in opposition within Sperling’s overall practice: order and chaos, structure and looseness, and minimalism and maximalism. The “Composites,” elaborate power-clashing choreographies of form, color, and pattern, are an ideal introduction to the artist’s practice as they encapsulate many of his inspirations, like 1980s Memphis design, the road signs of LA, and minimalist paintings of the 1960s and 1970s. 

Modularity is at the core of Sperling's practice. So it is no surprise that he would extend this approach to furniture–a grown-up manifestation of his love for Legos as a child. Central to the first room is a collection of seven single and six two-person seats covered in vibrant Kvadrit wool. Sperling’s playful contemporary take on the clean lines of mid-century furniture builds upon the legacy of Pierre Paulin's iconic geometric furniture from the 1960s. This work is a rainbow arrangement of the artist’s signature "bullseye" and "double bubble" motifs, as bulbous stools that fit together to make up a three-dimensional version of his "Double Bubble" paintings. Like Paulin, Sperling does not compromise artistic integrity for functionality. The stools are user-friendly and easily come apart, but when brought back together, they are more than the sum of their parts, forming an inviting and bold pinwheel that is aesthetically pleasing and facilitates social interaction. In fact, the design of the stools provides a visual cue that establishes a sense of connection and harmony. 

As if comically large confetti had exploded from a cannon or someone had doodled with a box of giant crayons, one of Sperling's characteristic, lavish full-wall painting installations welcomes visitors into the second room. The show's title piece is the first conglomeration made up of only "Swoops." It is easy to get lost among the cursive gestures–the ups, the downs–like a visual rollercoaster. The energy is palpable as each piece curls, coils, and springs to life. The spirited "Swoops" are metaphorical giggles, the uncontrollable sounds of joy that escape in quick, short bursts, cutting through the silence. Each "Swoop" perfectly nestles among the others, undoubtedly the outcome of obsessive arrangement and rearrangement. However, they are reconfigured anew and still fit together when they come apart (into four distinct sections). 
Like the many "Squiggles" of Sperling's career, the "Swoops" are stretched canvas paintings in an unconventional format. While the saturated single-hued surfaces let the form shine, they also produce a deceiving mirage of flatness. The light-hearted, candy-coated loop-the-loops give an aura of simplicity and organic freedom. Yet, they result from a complicated and methodical process of ideation, building, configuration, and installation. 

While initially working with conventional painting formats, precisely because it did not require specialized equipment, Sperling, the son of an art teacher, woodworker, and ceramicist, could not deny that he cared most about the craft of building. He then intentionally complicated his process by incorporating machines to assist in constructing his armatures. The foundations of Sperling's shaped paintings are intricate plywood structures engineered to contort and stack before they are covered with stretched canvas and then painted. With form at the forefront, he often works with grayscale paper maquettes to puzzle his compositions before adding color from the massive paint chart displayed in pots that occupy his studio's floor. As it turns out, it takes a lot of planning and labor to make it look effortless.  

Across the wall of "Swoops" is the most unexpected addition to Big Picture–a large installation of amoeba-like mirrors. Unlike the rest of the objects, which are painted or tufted in punchy colors, Sperling remains true to the materials with these. The frames of the mirrors alternate between ash and walnut woods, recalling Noguchi's 1970 marble sculpture, The Opening, which demonstrated how to assemble a large sculpture using smaller components. This pattern also hints at the black-and-white lines of Memphis. The nearby serpentine bench worms its way like a path in Candyland through the room, echoing the segmentation of the mirrors. Like the furniture in the first room, this piece, featuring color-blocked components, underscores Sperling's continued pursuit of modularity while conveying connectivity. 

Like his father, Sperling is a wood-bender at heart. The mirrors more transparently reveal the structures hidden beneath the layers of paint in other works. This installation feels like a moment of reflection for the artist, literally and figuratively. While the natural wood mirrors mark a surprising shift, their installation celebrates the aesthetics that have defined Sperling for most of his career by amplifying the color eruption on the opposite wall when looking at the mirrors' surfaces. Through the lens of design, Sperling transforms his beloved archetypes while also marking a return to his childhood, surrounded by craft. Big Picture offers a generative feedback loop that makes Sperling’s already layered practice more intricate, propelling his practice into a new dimension.


Josh Sperling: Big Picture

Perrotin

Sean Kelly is delighted to announce Moon, Turn the Flames…Gently Gently Away, Awol Erizku’s inaugural solo exhibition at Sean Kelly, Los Angeles. Continuing his critical investigation of identity politics, resistance, and abstraction, Erizku offers a cosmology of visual language that disrupts conventional narratives of representation. The exhibition presents new photographs, neon installations, and sculptures that underscore Erizku’s distinctive approach to symbolism and cross-cultural dialogue. There will be an opening reception on Friday, May 16, from 5-7pm. The artist will be present.

Through a sophisticated interplay of diverse mediums, Awol Erizku’s unique lexicon recontextualizes historical narratives. A series of neon works further expand Erizku’s investigation of identity and symbolism. These new works reflect the artist’s exploration of beauty within everyday life. One neon reimagines the iconic Los Angeles Dodgers logo in vibrant, Pan-African colors, subverting expectations of branding and belonging. While another features the Olympic rings rendered in the five colors that Malcolm X identified as symbolic of the world's skin tones—red, black, brown, white, and yellow—offering a powerful meditation on unity, race, and representation. NO ICE is a striking neon addition to the artist’s enduring lexicon, introducing a multifaceted symbol ripe for interpretation within today’s volatile political climate. Within the broader constellation of works in this exhibition, NO ICE ignites a more urgent dialogue, illuminating the fraught landscape of race relations in America with unflinching intensity.

Erizku’s new photographic works reflect his continued resistance to the commodification of the Black body. Moving beyond direct figurative representation, they weave together Pan-African iconography, botanical symbolism, and profoundly personal narratives to explore themes of race, identity, and systemic injustice. In the Transfixion series recurring imagery from Erizku’s practice is projected onto delicate blooms such as orchids and Asiatic lilies. Drawing on French Martiniquais philosopher, Édouard Glissant’s concept of imagination as a dynamic force within the web of Relation, Erizku harnesses his creative process to envision new possibilities, forging visual narratives that resist oppressive frameworks and construct liberated futures rooted in Black identity and cultural multiplicity.

Another searing new photographic series confronts the enduring wounds of systemic injustice on Black communities. This deeply moving body of work serves as a requiem for individuals whose lives were tragically cut short by police violence, their stories etched into the artist’s consciousness. In these compositions, cowrie shells—potent symbols of African heritage, revered in spiritual rituals, and emblematic of diasporic resilience—replace bullet casings, while yellow evidence markers solemnly tally the gunshots. By transfiguring the cold aesthetics of forensic scenes into sacred spaces of remembrance and defiance, Erizku subverts the dehumanization of Black victims, carving out a visual sanctuary for mourning, reflection, and historical reckoning. This series not only amplifies his ongoing dialogue with Black identity and resistance but also reclaims the cowrie as a beacon of cultural continuity, echoing Malcolm X’s vision of a global Black consciousness.

Expanding on Erizku’s deep engagement with the intersection of music and visual art, the third-floor installation presents a suite of “The Most influential Hip-Hop Albums of all time” according to the artist, inkjet printed on stone. Erizku elevates his selection beyond their original commercial and digital contexts. Presenting them as “paintings” he situates them within art history. The weight and texture of the stone serve as a counterpoint to the ephemeral quality of contemporary music consumption, prompting reflection on how cultural memory is preserved and rewoven into a new tapestry. Creating an immersive experience, the exhibition is accompanied by a curated mixtape for visitors to listen to as they move through the space, serving as an auditory extension of Erizku’s artistic language.

Erizku’s work is currently the subject of, X, a solo exhibition at the California African American Museum on view through September 7, 2025. Bringing together recent and new works, this comprehensive exhibition centers on the impact of pioneering American Muslim human rights activist El Hajj Malik El-Shabazz (Malcolm X). Curated by Daniel S. Palmer, X, first premiered at the SCAD Museum of Art in Savannah, GA. His work is also featured in the group exhibition Imagining Black Diasporas: 21st-Century Art and Poetics, at LACMA on view through August 3, 2025.

Born in Ethiopia, in 1988, Erizku attended The Cooper Union before receiving his MFA from Yale University. His work has been featured in solo exhibitions at institutions including The Momentary, Crystal Bridges Museum of Art, AK; Public Art Fund, New York, and The FLAG Art Foundation, New York. His work has been exhibited at prominent institutions, including the Museum of Modern Art, NY; LACMA, LA; the Studio Museum Harlem, NY; the Irish Museum of Modern Art, Dublin; the Museum of Contemporary Art, Toronto; and the Museum of the African Diaspora, San Francisco, amongst others. His work is included in the permanent collection of many institutions worldwide including, the Los Angeles County Museum of Art and the Santa Barbara Museum of Art, CA; The Metropolitan Museum of Art, NY, and The Whitney Museum of American Art, NY; the Museum of Fine Arts, Boston, MA; the Norton Museum of Art, Palm Beach, FL; and The FLAG Art Foundation, NY. He lives and works in Los Angeles.

Awol Erizku: Moon, Turn the Flames...Gently Gently Away

Sean Kelly Los Angeles

In the beginning, everything was trans. In the beginning, everything was queer. 

The fifth iteration of Emily Lucid’s curatorial series EDEN- founded and curated by Lucid and guest co-curated by Matthew Brannon, will feature a group of artists working across disciplines. Thematically the work exhibited will branch around notions of intersections of transness, queerness, the divine and the organic. EDEN is a collaborative benefit for The Trans Latin@ Coalition, an organization dedicated to advocating for and directly supporting transgender people of color as well the trans community at large. Through imagining the start, one delineates their vision for the future. In a moment of shutting down, boarding up, locking doors, delusional nostalgia, and conservatism, In a cultural moment of facing the end of transness and queerness as we know it; EDEN is a meditation on potential beginnings. EDEN blooms with the delicate rage of the flowers

.with art by

E-D-E-N• E-D-E-N› E-D-E-N › E-D-E-N
B. ANELE, ASSUME VIVID ASTRO FOCUS W.
HONEY DIJON, RON ATHEY, LOVE BAILEY, BECK+COL, JONATHAN BERGER, MATTHEW BRANNON, GWYNETH BULAWSKY, JESSE CLARK, EARTHEN CLAY AND EM ROONEY, OSCAR CORONA, MARCEL CASTELLANO, VAGINAL DAVIS, NAT DECKER, PATRICK JAMES DONOVAN, RUBEN ESPARZA, MICHAEL ESPINOZA, LUKA FISHER, WESLEIGH GATES, PAIGE GRECO, MAS GUERRERO, GORDON HALL, MADDY INEZ, HUNTREZZ JANOS, LARRY JOHNSON, WILLIAM E.
JONES, HEDI EL KHOLTI, YOUNG JOON KWAK, VAUGHAN LARSEN, LIZ LEE, EMILY LUCID,
DIEGO LUCIANO MACIAS, JOE MAMA-NITZBERG, MATTHIUS, PACO MAY, EDUA MERCEDES, MARCEL HUMBERTO MONROY, OAT MONTIEN, RB (POODLE) MORAN, MZ NEON, NIKKI OCHOA, SUNG HWAN PARK, PAU S.
PESCADOR, CECE RECIO, KYLE PATRICK ROBERTS, JAKLIN ROMINE, FRANCIS RUYTER, FORREST SCHERER, MIN JI SON, EMJI ST. SPERO, KAYLA TANGE, THANOS VALENTINE, SAMIE VEELER, DORIAN WOOD, DAGGER WOUND, JASON YATES, DEMIAN DINEYAZHI, RUBY ZARSKY LAST PROJECTS, 206 and AVE. 20
E-D-E-N • E-D-E-N• E-D-E-N› E-D-E-N > B


Performance Program
Friday June 20th 7 p.m.
B. Anele
Oscar Corona
Emily Lucid & Wesleigh Gates
Kyle Patrick Roberts
Emji Saint Spero
Edua Mercedes

Saturday June 23st 7 p.m.
Scarlett  Letters
Donna Puttana
Thanos Valentine
Vaughan Larsen

Sunday June 23rd 1:30 p.m.
Artist talk moderated by Emily Lucid 

Benefits the TransLatin@ COALITION IN THE USA


EDEN V

LAST Projects Gallery

Keystone Arts Space Gallery presents "Patterns and Tones for A Paper Ballet", an interdisciplinary exhibition by artist Julie Green, bringing together photography, sculpture, elements of performance, and a light-based installation design into a singular, immersive environment. This hybrid body of work invites viewers into a visual choreography of shapes, materials, and shadow play, where movement is both suggested and suspended in time.

At the heart of "Patterns and Tones for A Paper Ballet" is a four-part photographic series referencing the structure of a four-act play. These images act as dimensional tableaux, with figures inhabiting constructed proscenium spaces, animated by handmade paper objects and enigmatic narrative symbols. The works are inspired in part by Oskar Schlemmer’s avant-garde "Triadic Ballet" (c.1920), whose explorations of costumed geometry and the mystical potential of modern aesthetics find new resonance here in Green’s compositions.

Presented in a dimly lit passage with a single, moving light source, the monochromatic, abstract “pattern relief” elements of the series become dynamic participants in the performance. As shadows slip across the surfaces, the works oscillate between stasis and movement, presence, and absence — creating a spatial rhythm that feels both intimate and theatrical, as though consciousness resides in geometry itself. Incorporating Constructivist ideas in the work to convey universal laws that the elements of lines, colors and shapes possess their own forces of expression, bound up with human emotion.

In dialogue with these pieces is "Silent Symphony", a sculptural installation of “tone reliefs” that engages the sensory imagination through implied sound. Constructed entirely from handmade paper pulp, wood, and molds, the classical instruments in this work appear poised mid- performance. In the absence of audible music, their material presence activates a surreal, cognitive echo — a silent score composed of gesture, tension, and expectation. Throughout the exhibition, Green’s meticulous use of handmade processes and geometric abstraction interrupts the traditional flatness of the photographic plane, expanding two- dimensional imagery into tactile, sculptural form. The works traverse themes of memory, movement, and perception, inviting audiences to experience a choreographed relationship between light, material, and implied narrative.

“I love to make something out of nothing,” says the artist. “Within my professional career and in the broader context of our hyper-saturated digital world, I have felt a deep desire to go back to using my hands, and this impulse has shaped the direction of my personal studio practice in the past five years.” In fact, sculpture and photography have a lot in common—both speak a language of light and shadow, positive and negative space, presence and absence, perspective and choice, truth and its interpretation. “My ultimate desire was to break out of the strict confines of photography’s inherent two- dimensionality,” she says, “to arrive at something more solid, tactile, animated, and even theatrical.”

"Patterns and Tones for A Paper Ballet" is less a static exhibition than a conversation between mediums — a series of visual performances suspended in time, waiting for the viewer to step in and complete the phenomenological gesture. Conceived and made before the artist nearly lost her home battling the encroaching flames of the Eaton Fire and its damaging aftermath, it’s hard not to imbue the works’ beguiling manner of magical thinking with an added layer of meaning, as it speaks to life’s fragility.
— Exhibition text by Shana Nys Dambrot

About the Artist
Born in Oakland, CA in 1969, Julie Green was surrounded in her youth by contemporary artists through extended family to Ruth Asawa by attending her children’s workshops, David Ireland by assisting him at his Capp Street Studio, and through her teenage friendship with Barry McGee. Having studied under Steve Harper at San Francisco Art Academy, Green earned her BFA in Fine Art Photography under Jack Welpott, Robin Lasser and Don Worth at San Francisco State University in 1991. Throughout the 90’s, Green worked as a rock and roll photographer as well as creating fine art photography and painted portraiture which were shown throughout the Bay Area. 
 
In 1999, Green moved to Los Angeles where she had the opportunity to dive into the established business through photo documentation in the music, theater and entertainment industry including portraiture. The idea of the stage became part of her landscape working with set, lighting and costume designers demonstrating the power of collaboration as a creative to execute your vision. Having maintained a photographic studio at the Warfield Building in San Francisco for many, her current studio is based at Keystone Art Space in LA’s Lincoln Heights. 


Julie Green: Patterns and Tones for A Paper Ballet

Keystone Gallery

Sincich draws inspiration from the built landscape: signs, murals, and advertisements are transformed into idiosyncratic quilted compositions that emphasize the handmade quality of much of the urban landscape. The exhibition takes as its starting point the kinds of everyday shops that dot city neighborhoods: corner stores and tire shops, laundromats and bars. Sincich captures all of this in meticulously pieced and quilted works, stretched and finished with artist’s frames. 

Jeffrey Sincich: 99¢ Plus & More

Charlie James Gallery

Wilding Cran Gallery is pleased to present NIGHT LIGHTS, an exhibition of large-format, analog
photographs by Los Angeles based artist Austin Irving. Captured across New York, Hong Kong, and Bangalore, India, these images document abstracted, transient spaces - hotel rooms, guest quarters, and temporary interiors - bathed in the glow of urban night.

Raised in New York City, Austin Irving has long been attuned to the glow of artificial city lights - the way they shape our internal rhythms, disrupt sleep, and redefine our sense of space. Printed on a large scale, NIGHT LIGHTS embraces the emotional impact of spaces that are not quite private, not quite public, but somewhere in between. Within these photographs, ambient illuminations become a kind of psychic residue, coloring the mind as much as the room. The psychological texture of the work - marked by jet lag, displacement, and a yearning for stillness - imbues each piece with a hushed intimacy.

Working in darkness, often over the course of several hours, Irving allows the camera to absorb what the eye cannot fully perceive. Each long exposure reveals strange distortions, shifts in color, and luminous textures that collapse the borders between artist, medium, and atmosphere. As though suspended in time, these spectral images capture intimate periods of solitude and transience, rendering them visible. Within One Hour, Causeway Bay, Hong Kong, a neon storefront throbs like an apparition, projected onto the ceiling of Irving’s hotel room, emerging from a place between sleep and wakefulness, between stillness and drift.
Meticulously primed like a canvas, each photograph has been painted by the floating color story of the world outside, allowing for the intrusion of the unexpected. This commitment to process introduces an element of uncertainty and surrender, even from behind closed curtains - as is captured within the matte, dreamy pinks and reds of Four Hours, Tindlu Road, Bangalore, India. In this way, Irving’s photographs impart the beauty located within the technical imperfections of the medium, granting her film a voice of its own.

As a visual diary, NIGHT LIGHTS invites the viewer into the porous bleed between internal experience and the external world. Through fleeting apparitions and saturated shadows, Austin Irving's photographs offer unseen moments where reality slips and time is softened. It is a meditation on the flickering streetlights and passing cars that slip into our consciousness, the quiet places where anxious memory lingers, and the strange beauty that arises when we loosen our grip on control.

Austin Irving (b 1984, NYC) is an internationally award winning visual artist who works with large format analog photography. Irving graduated cum laude with a BFA from the Department of Photography and Imaging at NYU’s TISCH School Of The Arts in 2006. Her artwork has been exhibited in museums, galleries, and festivals, in Hong Kong, India, Germany, Lithuania, France, Switzerland, Italy, Greece, Indonesia, and across The United States. Irving has participated in exhibitions at institutions such as MOCA, Los Angeles CA; The Irvine Fine Arts Center, Irvine CA; The Florida Museum of Photographic Arts, Tampa, FL; Virginia Tech, Blacksburg, VA; The International Photography Symposium, and The Katonah Museum of Art, Westchester County, NY. Her work as been the recipient of the Architecture Master Prize, Aesthetica Art Prize, Mono Awards, American Photography Competition, Budapest International Foto Awards, International Photography Awards, PX3 Paris Photography Prize, Tokyo International Foto Awards, Analog Sparks, and the International Photography Competition at The New York Center for Photographic Arts. Her images have been featured in The Los Angeles Times, Wired, Slate, Architectural Digest, Aesthetica Magazine, LA Weekly, PDN, Art Ltd., Artillery, Time Out NY, The Herald Tribune, Maize, The Huffington Post, Frontrunner, Artsy, Voyage LA, Yatzer, and Artweek LA. This is Irving's third solo exhibition at Wilding Cran Gallery.

Austin Irving: NIGHT LIGHTS

Wilding Cran Gallery

Five artist showcase work ranging from watercolors of baddies, esoteric monkeys, and interactive assemblage art.

Stephanie Brockway | Alea Bone | Craig LaRontonda | Wendy Gadzuk | Sea Monster

La Luz De Jesus Gallery

Fiber Art, Landscapes, Narratives, Figurative, Expressionist and Abstracted works take center stage – join us to see original works from: Marianna Baker, Laurence Barbera, Somaya Etemad,  Pedrin Garcia, Sally Lamb and Gina Leon-Gutiérrez.  

These solo exhibitions  bring human form and experience, identity, memory and place into focus, while amplifying themes about hope and resilience.
 
TAG Artists proudly present “Nothing to See Here – Nudes and The Human Figure:” TAG artists reimagine depictions and interpretations of the human form through drawing, painting and sculpture. 

Image: Gina Leon-Gutiérrez

Six Solo Artists | Nothing to See Here – Nudes and The Human Figure

The Artists' Gallery (TAG)

DON’T LOOK Projects is proud to announce “Freeway: Creative Growth Artists in LA”, a collaborative exhibition with Creative Growth Art Center, the pioneering Oakland-based nonprofit that has championed artists with intellectual and developmental disabilities for over 50 years. This exhibition spotlights the work of six Creative Growth artists: Juan Aguilera, Joseph Alef, Maureen Clay, Ying Ge Zhou, Cedric Johnson, and Peter Salsman. 

Opening Reception:
Friday, May 30th, 2025
5pm - 7pm

DON'T LOOK Projects
2680 S La Cienega Blvd
Los Angeles, CA 90034

Freeway: Creative Growth Artists in L.A.

DON’T LOOK Projects

Simchowitz is pleased to present Charged Memory, Gene A’Hern’s first solo exhibition at Hill House in Pasadena. ]RSVP for address and parking information here.

In Charged Memory, Australian artist Gene A’Hern explores the profound interplay between personal identity, lived experience, and place. This new body of work draws deeply from his lifelong connection to the Blue Mountains of New South Wales—his birthplace, which serves as a wellspring of reflection, and a source
of enduring spiritual resonance.

A’Hern’s practice merges meditative reflection with instinctive, gestural mark-making, resulting in layered compositions that shift between contemplation and impulsiveness. Based in Katoomba, a town in the Blue Mountains region, he approaches art-making as a dialogue between internal experience and the surrounding environment. His visual language often incorporates organic symbolism first sketched in notebooks and evolves through varied materials—oil, pastel, wool, ink, and monk’s cloth—building layers of form and texture over time.

The exhibition spans a wide range of works—from the expansive, windswept energy of Sky Painting 42 (2023) to the dense, earthbound tactility of Canopy 6 (2025). In Flicker (2024), layers of distemper on linen evoke fleeting movement, while the twin works titled Cecil Road (2024) mirror one another as embodiments of landscape filtered through lived memory. Across the show, A’Hern articulates a personal mythology shaped by the cyclical nature of existence—“from dust and returning to dust.”
A central thread in A’Hern’s work is his intimate awareness of place. The Blue Mountains function not merely as a setting but as an active collaborator. Elements like shifting light, wind, and birdsong contribute to what he describes as the “ceremonial choreography” of painting. His practice of “skywatching” becomes a quiet ritual, captured in works such as Sky Drawing 64 (2025) and Sky Painting 57 (2024), where expansive gestures convey both scale and emotional resonance.

A’Hern’s work inhabits a liminal space—between past and present, interior and exterior. Rather than seeking critique or resolution, he leans into this threshold. His material choices—hessian, wool, distemper—speak to both raw immediacy and a connection to the elemental and handmade. The resulting pieces form an intuitive visual language of remembrance and transformation—offering traces of where the artist has been, and glimpses of where he is headed.

A’Hern holds a BFA from the National Art School in Sydney and has exhibited in Australia, Denmark, and the United States.

Gene A'Hern: Charged Memory

Simchowitz Hill House

Diane Rosenstein Gallery announces MADE IN CALIFORNIA – a group exhibition featuring thirty-six works by twenty-one California-based artists working across genres and traditions, including landscape photography, studio ceramics, abstract painting, and figuration.

Presented online, the exhibition will be live with Diane Rosenstein Gallery on Artsy from June 11 – July 12, 2025.

The artists include: Jonathan Apgar • John Brooks • Canyon Castator • Heather Day • Daniel Gibson • David Hicks • Susan Janow • Bob Kolbrener • David Korty • Jay Kvapil • John Martin • Dan Miller • Kent O’Connor • Vanessa Prager • Lorenzo Hurtado Segovia • Marty Schnapf • William Scott • Matthew Sweesy • Ilona Szwarc • Ron Veasey • Amir Zaki.

Made in California

Diane Rosenstein Gallery

Nüart Gallery presents Topographic Abstractions, a thoughtful exploration of typographic form and visual poetry by renowned artist Cecil Touchon. This exhibition, on view from June 28 through July 19, delves into Touchon's rigorous investigation of letters as abstracted architectural elements, stripping them of linguistic functionality to expose their inherent aesthetic and structural qualities.

Touchon's practice is defined by a meticulous manipulation of typographic fragments, drawn from discarded ephemera and printed matter. By carefully reconstructing these elements into layered, rhythmic compositions, he reveals the nuanced interplay of form and negative space. The resulting works transcend their origins, embodying a subtle dialogue between visual precision and spontaneous gesture.

In Topographic Abstractions, the artist’s paintings invite viewers to reconsider their relationship to language and meaning, engaging them in quiet contemplation of visual order, disintegration, and reconstruction. Through Touchon's approach, the letterforms evolve into abstract entities, highlighting an intricate balance between geometric rigor and lyrical resonance.

Born in Austin, Texas, Cecil Touchon earned his BFA from the University of Texas at Arlington. His distinguished career spans over three decades, during which his work has been exhibited internationally and collected widely. A significant figure within the Massurrealism movement, Touchon is also associated with the Art Mail and Fluxus communities and co-founded the Post-Dogmatist Group. His artworks have been featured in prominent exhibitions such as the Venice Biennale and are included in major institutional collections and Museums.

Join us at the opening reception on Saturday, June 28, from 4 to 6 PM, Cecil Touchon will be present for an informal Q&A.

Nüart Gallery Bergamot Station, Santa Monica, CA  www.nuartgallery.com
For further details, please contact the gallery at 424-900-3888

Cecil Touchon: Topographic Abstractions

Nüart Gallery

Beryl Odette explores across a range of media her fascination with how we perceive each other. How do we learn to see -- and not to see? Her work probes the process of visual apprehension through techniques of layering and accumulation. Odette excavates and translates, pointing to that which is observed, but still unseen.  No matter the place, time or audience, beauty soothes that which enters the eye, the way a kind voice is skilled at delivering news we don’t want to hear. With formal beauty she invites your gaze to look past, offering up feelings we are less comfortable naming.

Beryl Odette: Seaing

Track 16 | East Hollywood

Vielmetter Los Angeles is excited to present POSITIONER, a solo exhibition of new works by Paul Mpagi Sepuya. The exhibition marks Sepuya’s third exhibition with the gallery and will be on view from May 31 through July 19, 2025.

Positioner (noun) is defined as “one that positions” and as “a mechanical device for placing or holding a body in position during an operation.” In Sepuya’s photographs, there are numerous “positioners” or “support structures” that anchor his compositions in the studio space: his own body, tripods, props such as benches or stools, mirrors, curtains, and stainless steel gazing balls. These “positioners” are stabilizing forces within Sepuya’s photographic space as the viewer orients themselves within the space of the image. The gazing balls reflect an outward image of the scene behind the camera or the space behind the image, both revealing and underscoring the studio space and the process of image-making.

Sepuya utilizes the gazing ball, a centuries-old object turned industrialized prop, to interject into the process of perception and representation. In Conversation with Gazing Ball (_DSF8251), two figures with gazes cast downwards flank the gazing ball situated in the center of the image which reveals the photographer’s studio in a fisheye lens perspective. The black curtain backdrop dramatizes the centrifugal force of the gazing ball’s refracted space and focuses the viewer’s attention on the object and figures surrounding it. Sepuya thus centralizes the idea of the photographer and the positioner occupying space within the frame of the image, rather than being positioned as a controlling force outside of the image.

Referencing the visual ploy of reflection used to illustrate sculptural space in pictures, Sepuya also refers to 19th-century photographic customs of positioning a mirror at an angle to reveal the figure or object in the background. This reference point extends Sepuya’s examination of the image and image-making space and critiques the relationship between the model and photographer. Sepuya creates a symbiotic relationship between the photographer and the photographed, positioning his camera and himself strictly in relation to his friends, focusing on seeing themselves as opposed to being seen by the viewer. This subtle shift in power dynamics creates a space for Queer bodies’ self-actualization and aims to make bodily autonomy visible in the process of image-making.

The impulse to make the mechanics of the photographic process visible is also explored in Sepuya’s dye-sublimation prints. These works, the majority of which were taken at night with white light, are negative images. The negative image creates a forensic quality, making evident the physical marks (like smudges on the mirror) and heightening them. These imprints suggest a taxonomy of the photographic process and unveil the often unseen elements of the pictorial space.

The works in POSITIONER are burgeoned from years of experimentation in the studio and collaboration with friends. Focusing on smaller scaled works, Sepuya’s photographs are an intimate, yet powerful portrait of his community, threading numerous themes into a singular and compelling aesthetic.

About the artist

Paul Mpagi Sepuya was born in 1982 in San Bernardino, California, and lives and works in Los Angeles. He received an MFA in photography at UCLA in 2016. From 2000 – 2014, Sepuya lived and worked in New York City, receiving a BFA from New York University’s Tisch School of the Arts in 2004.

Sepuya’s work is in the permanent collections of the Santa Barbara Museum of Art, Santa Barbara, CA; Los Angeles County Museum of Art; MOCA Los Angeles; the Museum of Modern Art; the Whitney Museum of American Art; the Guggenheim Museum; the Studio Museum in Harlem; the International Center for Photography, New York; the Cleveland Museum of Art; the Milwaukee Art Museum; and the Carnegie Museum; among others. Solo museum exhibitions include Exposure, at Nottingham Contemporary, Nottingham, England; Double Enclosure at Fotomuseum Amsterdam (2018); Paul Mpagi Sepuya, a survey of work from 2006-2018 at Contemporary Art Museum St. Louis. Recent museum exhibitions also include the Whitney Biennial 2019; Being: New Photography 2018 at the Museum of Modern Art (2018); Trigger at the New Museum, New York (2018); the Walker Art Center, Minneapolis, MN; Contemporary Art Museum, Houston, Texas; the Guggenheim Museum, New York; and the Getty Museum, Los Angeles. Sepuya will also have a solo show with Los Angeles Nomadic Division (LAND) this fall. Aperture published a major monograph on Sepuya’s work in 2024, Paul Mpagi Sepuya: Dark Room A–Z with texts by Sepuya and Gökcan Demirkazik.

Sepuya’s work has been covered and published in ​ARTFORUM​, ​Aperture, ​The ​New Yorker, The ​New York Times,​ ​Art Review​, ​Frieze​, ​Art in America,​ ​Monocle,​ ​Osmos,​ The ​Nation​, among others. He was a recipient of the 2019 Rauschenberg Residency. He is the Associate Professor in Media Arts at the University of California San Diego and has taught at CalArts and Bard MFA.

Paul Mpagi Sepuya: POSITIONER

Vielmetter Los Angeles

Jealousy by Paloma Izquierdo in our Main Gallery
Murmurs is proud to present Jealousy, a solo exhibition by Paloma Izquierdo. The show takes its name from the jalousie window, derived from the French word for “jealous”, a slatted architectural form designed to withhold as much as it reveals. Izquierdo produced facsimiles of standardized architectural elements, using contradiction as a method to critique dominant structures. By inverting the material and functional logic of windows, railings, and fences, her sculptures mimic mass-produced infrastructures—revealing how these forms operate as apparatuses of paranoia. In Jealousy, transparency is never neutral—it regulates, exposes, and controls.

Hereafter by Sissòn in our Front Gallery 
Murmurs is pleased to present Hereafter, a solo exhibition comprised of paintings and sculptures by Sissòn, marking the artist’s first solo show with the gallery. This exhibition serves as a survey or a departure from one school of thinking, and ascendance to a new era for the artist. Evoking a period of renaissance similar to Miles Davis's transition from Silent Way to Bitches Brew, Sissòn expands on their vast knowledge of color theory and application, merging abstract and figurative painting styles. To continue the journey in addition to their paintings, Sissòn forges ceramic sacred face jugs inspired by the Deep South filled with hand-grown cotton.

Paloma Izquierdo: Jealousy | Sissòn: Hereafter

Murmurs

Unveil Gallery is pleased to present Beyond the Image, an exhibition showcasing works by Shelby Drabman, Lou Yezi, and Célia Rocha, three contemporary artists whose practices challenge and expand the visual language of memory, identity, and cultural reflection. On view from June 21 to July 23, the exhibition features a compelling selection of works on paper, textile-based pieces, and paintings, each offering a distinct approach to image-making in the 21st century.

In an era of digital saturation and visual spectacle, Beyond the Image proposes the image not as a fixed representation, but as an active site of negotiation: between surface and depth, presence and absence, personal story and collective memory. The artists use intimate, often handmade materials and techniques to interrogate how images communicate emotional, social, and political meaning. By moving fluidly between mediums and methods, the works blur boundaries between realism and abstraction, art and artifact, memory and critique.

Célia Rocha, drawing on activism and personal history, presents Birth Stories, a series based on real accounts from midwives shared on social media. Through pencil drawings and handwritten narratives, Rocha captures the intimacy and universality of birth as a cultural and bodily experience, positioning the image as a vessel for social storytelling.

Lou Yezi reimagines the portrait through an emotionally charged figurative painting practice. Moving away from strict realism, her work embraces distortion, ambiguity, and subjectivity to reflect on cultural suppression, identity, and the estrangement of modern visual life. Lou’s paintings question the evolving role of figurative art in an age dominated by photography, digital images, and AI-generated visuals, proposing instead a fragile space of emotional resonance and resistance.

Shelby Drabman works across textiles and video installation to explore the performative nature of materials and narrative. Inspired by gothic literature and horror cinema, her textiles incorporate imagery drawn from vintage toile, iron gates, and architectural details. Drabman’s work transforms fabric into a stage for haunting introspection, where literary fragments become physical, immersive, and uncanny.

Together, the artists push against the limitations of representation to activate the image as a living, affective space, one that invites viewers to look again, and deeper.

Beyond the Image

Unveil Gallery

Gallery Hours
Tuesday – Saturday 10am – 6pm

Oliver Clegg: always right, sometimes left.

The Journal Gallery

Lowell Ryan Projects is pleased to present The Weight of It All, a solo exhibition by Los Angeles-based artist Elizabeth Shull and her debut with the gallery. The exhibition features 31 intimately scaled drawings rendered in colored pencil on black paper. Each piece, measuring under ten inches and presented floating within 14 x 14-inch black frames, inspires a contemplative, almost devotional mode of viewing. Created between 2022 and 2025, these works unfold like fragments of memory or sensation with intricate layers of line, tone, and gesture.

Shull’s process is rooted in daily ritual—drawing as a form of attunement to both the internal and external, to the rhythms of nature, intuition, and the body’s tempo. Her visual language, though minimal, carries a presence that is precise and expansive. Working slowly and meditatively, she embraces the unknown through mark-making. “I am the bystander, the observer, the witness, attempting to make sense of things,” Shull reflects. For her, drawing is a mode of listening—a way to feel through experience rather than define it. Initially developed amid ecological and existential disruption—wildfires, a global pandemic, personal shifts—these works emerged from a reactionary quest to digest everything. Her use of black paper, rather than representing absence, becomes a generative space where light illuminates through layered, gentle marks. Repetition, restraint, and variation function here as quiet resistances to urgency, cultivating visual and emotional spaciousness.

The exhibition's titular work, The Weight of It All, was among the final pieces created. In it, a solitary figure rides a frothy wave, held in delicate tension between surrender and strength. “Because my work is time walking—moving through time, listening attentively to what I am curious about, and finding a‬ way to document thoughts that may not repeat themselves—this drawing, among all of them, seems much like a momentary culmination,” Shull notes, “which is a curious thought given its title and what it can signify on a grand scale.” The drawing acknowledges the accumulated gravity of experience—its heaviness, its tenderness, and its quiet grace—without declaring closure. Another piece, Full Moon Within, centers a glowing orb in the chest of a translucent figure, suggesting inner radiance and the unseen, yet certain, energies that sustain us.

Elizabeth Shull (b. 1954) is a Los Angeles-based artist originally from Southern California. Rendered with poetic sensitivity and contemplative precision, her work explores the nuanced intersections between the natural world and the internal landscape. Shull’s drawings have been exhibited with Nino Mier Gallery, New York, NY; M+B, Los Angeles, CA; Pamela Salisbury Gallery, Hudson, NY; The Drawing Center, New York, NY; Art Division, Los Angeles, CA; Simard Bilodeau Contemporary, Los Angeles, CA; MePaintsMe; and Project Gallery V; among others. Her work has been featured in Harper’s Magazine, Majuscule, The Brooklyn Rail, ArtMaze Mag, Posit Journal, Venti Journal, and LA Art Documents. Shull holds a BA from the University of California, Santa Cruz, and an MFA from Otis Art Institute in Los Angeles.

Elizabeth Shull: The Weight of It All

Lowell Ryan Projects 

A group exhibition featuring works by: Erick Antonio Benitez, Zengjie Chai, Al Dawson, Hu Di, juhee hyun, Sophia Le Fraga, Chinning Liu, Congyu Liu, Yisu, Tae Parvit, David Schafer, Ruoyi Shi, Kyle Slevira, Kiko Thomas, Ren Ray, Qin Xi, Green Yoon, Zengyi Zhao, Sining Zhu & Lhamo Yue Liu.

Latency explores the space between input and output, the moment when a signal is sent but not yet received. In this delay, forms flicker, systems distort, and meaning remains suspended. The works in the show hover between the mechanical and the primordial, capturing states of becoming, fragmentation, and disrupted logic.


Latency

Cevera Yoon Gallery

NOON Projects is honored to present Reading the Flame(s), a solo exhibition by Los Angeles-based artist, educator, performer, and activist Alan Pulner. A foundational figure in the city’s performance art scene since the mid-1980s, Pulner’s work spans four decades and reflects a commited engagement with queer identity, community building, spiritual longing, and collective memory. Reading The Flame(s) is Pulner’s first presentation at NOON Projects and first major solo exhibition since the 1990’s.

Reading the Flame(s) takes its title and emotional heart from Pulner’s 1989 painting My Old Flame. Created at the height of the HIV/AIDS epidemic and titled after the Billie Holiday standard, the song's lyrics are burned into the wooden panel: "My old flame can't even remember his name, but I’ll never be the same, till I discover what became of my old flame." Below the lyrics is a haunting depiction of ghostly spirit figures, abstracted landscapes, and flames, channeling the emotions of so many, like Pulner, who were losing community members, friends, and lovers to the virus. The works in this exhibition expand on this legacy, each painting flickering between grief and joy, protest and beauty.

The flame, in its many meanings, anchors the exhibition. It is a symbol of queer identity (“flaming”), erotic heat, divine devotion, the torch songs of iconic divas, and the transformative fire of the phoenix. In Pulner’s works, the flame becomes both subject and structure, guiding his process, illuminating his memories, refusing to extinguish.

Pulner paints on hand-cut, puzzle-shaped wooden panels—each one intuitively jigsawed and unconstrained by the conventional rectangle of traditional painting. These irregular surfaces depict collaged compositions taken from family photos, flickers of memory, fields of color, landscapes, abstraction, and poetry. Using collage—an inherently queer technique—Pulner reclaims the discarded and "worthless" into rich and complex quilts of meaning.

Some works angle off the wall into space, queering the historical narrative of painting by extending the plane and challenging expectations of display. Others are designed to be hung in multiple orientations, with several wires on the back side, inviting their future owners to shift the work’s position over time—fostering a commitment to the work and playfully questioning "orientation." Some pieces stand freely as sculptures, resembling sandwich boards, protest signs, or stage sets. The works intuitively invite physical engagement, nodding to Pulner’s background in performance and dance. The collision and multi-directional composition of imagery ask viewers to tilt their heads, search for familiar shapes, or surrender to the playful, imaginative logic of pareidolia. In Pulner’s work, there is no single “correct” way—rather, invitation, movement, and play.

Language plays a vital role throughout Reading the Flame(s). Words are reclaimed and celebrated, painted and etched onto the surface of the works. Historic gay slurs like “pansy” or “flamer” are transformed into sites of power and affection. Pulner’s poems become lyrical gestures—acts of resistance and tenderness. Unlike puzzle pieces, the works have no clear mate; they come at us off the wall, stand on their own, hover, change direction and force us to imagine, unlearn, and remember.

Alan Pulner’s career stretches 4 decades, across performance art, theater, visual arts, activism and education. In 1988, Pulner co-founded About Productions, a pioneering Los Angeles arts nonprofit that created interdisciplinary performances and educational initiatives confronting historical narratives and exploring gender, culture, and sexuality, and was the co-artistic director until 2001. A longtime participant of the ACT UP Los Angeles chapter, Pulner’s activist sensibility runs through both his performance work and visual practice, including his directing of AIDS The Musical, at Highways Theater, Santa Monica in 1991. As noted by Los Angeles Times critic Lewis Segal, Pulner’s performance pieces are “nearly overloaded with ideas, humor, energy, and high ambition.” His works have been presented at venues including the Santa Monica Museum of Art, Highways Performance Space, Los Angeles Contemporary Exhibitions (LACE), New Langton Arts, and the Los Angeles Theater Center.

In addition to his artistic and activist work, Pulner was a National Board Certified elementary school teacher with the Los Angeles Unified School District from 1988 to 2020. Throughout his teaching career, he was a committed arts educator, leading professional development programs to integrate visual art into public school curricula.

For more information or exhibition preview requests, please contact:
 info@noon-projects.com
 www.noon-projects.com

Alan Pulner: Reading the Flame(s)

NOON Projects

Nonaka-Hill Los Angeles is delighted to present paintings by Kaoru Ueda, a leading exponent of Japanese photorealism. Often termed a “superrealist,” Ueda is renown for his depictions of household objects and food suspended in space and time. Painted with exacting detail and concision, his works estrange the familiar through rigorous observation.

Ueda’s process is ostensibly a straightforward one in which he uses the visual information in his 35mm negatives as the basis for his hand-painted images; yet the results are paradoxical in that they are realistically unrealistic. Mirroring the “observer effect” in quantum mechanics, in which the act of observation alters the state of the object, Ueda intuitively changes what he termed the “raw and chaotic” aspects of his photographs into a new visual state based on painterly techniques of illusion. His images are therefore the result of subjective observation whose style is a cold—one might even say, surgical—act of seeing. This lends his works the feeling of sensuality colliding with clinicality, where the eros of illusion and the sobriety of reality blur.

Partly for this reason, there is a pop art sensibility subtly embedded within Ueda’s paintings. This is partly due to the estrangement of familiar objects through the marriage of photography and painting; but it’s also due to Ueda’s nod to Jasper Johns’ use of letterforms. In his paintings of soap bubbles and bottles, he renders his name in tromp l’oeil as an embossed label. Also akin to pop, Ueda tends to dispense with receding space, focusing instead on the object’s physical phenomena. As we enter its micro worlds of reflections and color shifts, Ueda gives it an iconic and spiritual dimension devoid of irony. Ueda is an artist more endeared to the power of subjective observation than to the politics of commodification.

Aspects of Ueda’s work can be surely traced to his biography: born in Tokyo in 1928, he initially sought a degree in medicine when he came of age but switched to pursuing painting at Tokyo University of the Arts. He eventually had his first solo exhibition in Tokyo in 1958, at which time he had been working as a graphic designer to support himself. In 1956, he had won the grand prize in an international poster competition funded by MGM studios. His graphic design studio consequently grew to a sizable staff and his painting practice became waylaid for a decade. When he restarted his painting practice in earnest, his use of photography took hold, imbibing aspects of mass culture absent from his early work.

As a consequence, Ueda’s paintings have an element of seduction that underwrites most popular advertising. But what his paintings are seducing us into is not the consumption of the object, but the physical wonderment of it. Ueda takes great pleasure in contrasting the densities, surface textures, and colors of his objects, as in his paintings of cutlery and Jell-O, sponges, or jam. We also find this in his soap bubbles and bottles, whose surfaces are stages for light and shadow through which we find another reality. Case in point: in Soapbubble M, 1982, we see the artist with his camera in the reflection, alluding to the handmade process of building an illusion, such as in The Arnolfini Marriage, 1434, by Jan Van Eyck. In it, we see the artist’s reflection in a convex mirror (a soap bubble!) behind the marital pair. In this sense, Ueda nods to a tradition that long preoccupied artists before modernism, in which the painter highlighted his subjective experience as the ur-subject of the painting. Ueda’s paintings, therefore, are documents of how an object can be changed by the artist’s observation, reminding us of how our perceptions make and remake the world with every moment of contact.

––
Kaoru Ueda was born in 1928 in Yoyogi, Tokyo. Selected solo and group exhibitions include Tokyo Metropolitan Art Museum (2024); Takamatsu City Museum of Art (2023); Hokkaido Museum of Modern Art (2023); Ibaraki Museum of Modern Art (2021); Yokosuka Museum of Art | Saitama Prefectural Museum of Modern Art (2020); Okazaki Children's Museum of Art (2020); Kanagawa Prefectural Museum of Modern Art, Hayama (2017); Mito City Museum (2014); Sagamihara Civic Gallery (2003); Nerima Art Museum (2001); Rias Ark Museum of Art | Miyagi Prefecture (2001); Sakamoto Zenzo Museum of Art / Kumamoto (1999); Toyota Municipal Museum of Art (1998); Egyptian International Print Triennial, Cairo (1997); Kyoto Municipal Museum of Art (1997); Gwangju Museum of Art (1995); Museum of Modern Art, Shiga (1994); Tokyo Metropolitan Art Museum (1993); Shizuoka Prefectural Museum of Art (1990); Hiroshima City Museum of Contemporary Art (1989); Kasama Nichido Museum of Art/Ibaraki (1988); Saitama Prefectural Museum of Modern Art (1985); The Museum of Modern Art, Saitama (1983); Korea Arts and Culture Promotion Institute Art Hall, Seoul (1981); Tokyo Metropolitan Art Museum (1978); Tokyo Metropolitan Art Museum/Kyoto Municipal Museum of Art (1976); Seibu Museum of Art (1975); Dusseldorf Art Museum (1974); Tokyo Metropolitan Art Museum (1974). Kaoru Ueda was a professor at Ibaraki University from 1985 to 1993.

Museum and public collections: National Museum of Modern Art, Mexico City, Mexico; National Museum of Modern Art, Tokyo, Japan; Tokyo Metropolitan Art Museum, Tokyo, Japan; Queensland Art Gallery, Brisbane, Australia

Image: Kaoru Ueda Spoon and Jam D, 1978, oil on canvas, 28 5/8 x 24 in

KAORU UEDA

Nonaka-Hill | Highland

North Loop West is thrilled to announce Eyes, Mouth, Wings: a two-person show of work by artists Hank Ehrenfried and Marty Williams. Ehrenfried’s new body of oil paintings play with trompe l’eoil in their depiction of the artist’s personal archives, and Williams’s recent collages and assemblages comprise layered photographs printed on transparent film and found materials. Both artists play with the transmutation of source material and the inclusion—and obfuscation—of the figure as they explore ideas surrounding personal identity and history. Please come celebrate the two artists at 508 Chung King Road in Los Angeles from 6-8 on Friday, June 27th!

Image: Hank Ehrenfried, Presenting a Mirror, 2025, oil on linen, 20 x 16 in.


Hank Ehrenfried & Marty Williams: Eyes, Mouth, Wings

North Loop West

Lucky Cat Gallery is thrilled to announce its upcoming group exhibition, "The Big Show," featuring an impressive collection of large format art that challenges the boundaries of convention and scale. This exhibition will showcase the work of Los Angeles artists who masterfully utilize size and space to create powerful experiences.

Featured Artists:
Patrick Hendry Johnson
Nate Seubert
Snow Mack
Reyhan Gulses Demircioglu
Dan Litzinger
Diana Bittar
Shanna Cox
Rod Benson
Steven Morrell

The Big Show

Lucky Cat Labs

The paintings of Andreas Schulze (*1955) and Salvo (1947–2015) depict intriguing worlds unlike any other. Across vibrant landscapes and eccentric interiors, their unique conceptual approaches to painting evolved over decades of experimentation with color, light and form. Monika Sprüth and Philomene Magers are proud to present an exhibition of new works by Schulze alongside paintings by Salvo, bringing into focus their parallel contributions to the discourse of contemporary painting and their deft manipulation of paint to depict shifting spatial and light effects. The exhibition’s presentation at the Los Angeles gallery brings into focus this particular concern with light and space – a feature so prevalent in the history of modern art in Southern California, from its impressionist, plein-air roots to the reflective plastics and resins of the 1960s onward.

Salvo, Andreas Schulze: About Painting

Sprüth Magers

“My interest as a painter is in the fragile and ever-changing phenomena of the temporal world in which we live. There is a subtle and rich beauty in our lives when we honor this seemingly obvious truth. I paint plants because they reflect this truth in their annual cycles through the season that come about through exposure to light.”

- Anne Appleby, 2008

parrasch heijnen is pleased to present Anne Appleby: Array, the gallery’s second solo exhibition with the Montana-based artist (b. 1954, Harrisburg, PA). Anne Appleby observes the natural environment in her rural Montana surroundings and across North America through an acute awareness of color. The artist’s edge-to-edge color field paintings are composed of multi-panel works often in grid form, revealing chromatic shifts in the context of sequential development. Each panel is a complex and luminous documentation of time, encapsulating the potentiality of the regeneration of the natural world and its cycles.

Inspired by the Bandolier bag (gashikibidaagan), a ceremonial Ojibwe woven shoulder bag that incorporates motifs of floral and plant life found throughout the Great Lakes, the works in this show reflect the artist’s deep connection to nature. Following graduate school, Appleby studied for fifteen years with (Anishinaabeg) Ojibwe artist and holy man Ed Barbeau and connected with her own Ojibwe heritage. Through her apprenticeship, she learned and refined processes of intense meditative awareness in nature as well as traditional Ojibwe art techniques such as creating mineral pigments. Later Appleby studied under (Ayisiniwok) Cree medicine man, Pat Kennedy, learning the medicinal properties of plants and their traditional uses. The tenor of Appleby’s work reflects the sensation of that observational practice and resides at the core of her philosophical approach to painting.

The richness in color and depth of each of the artist’s works is a journey of shifting tonal densities and subtle layers of oil and wax mediums, sometimes reaching up to 50 layers. In Requiem for an Aspen, 2015, a two-panel work included in the show, Appleby captures the fleeting moments of tranquility in a study of the imprints of light formed upon the leaves of an aspen tree. Through a depiction of the essential components of plants, Appleby introduces non-linear narratives within her work through a filtering of the subtle shifts in seasons, atmospheric conditions, weather, minutes, and hours of life cycles. This built-up color honors both the cyclical nature of life and a distilled moment in time.

Responding to the formal language of landscape painting, Appleby echoes the subjectivity of the Romantic period with her focus in depicting the depth and emotive qualities of singular moments. Incorporating the form of concrete abstraction in her study of color, Appleby subverts the dialectic between objective/subjective representation, moving between the states in contemplation of nature’s ephemeral and transitory existence. A quiet urgency underlies Appleby’s work and her exploration between time and nature, inviting viewers into a collectiveness that is interdependent with the health and beauty of the environment.

Anne Appleby (b. 1954, Harrisburg, PA) studied at Philadelphia College of Art before relocating to Montana in 1971, earning her BFA at the University of Montana, Missoula, and her MFA from the San Francisco Art Institute in 1989. She eventually established a studio and residence in the sparsely populated community of Jefferson City, Montana. Anne Appleby’s work has been exhibited in numerous solo exhibitions at galleries and museums worldwide, including Mayor Gallery, London, UK (2010); Gallery Paule Anglim, San Francisco, CA (1993-2011); Villa e Collezione Panza, Varese, Italy (2007); and Borzo Gallery, Amsterdam, The Netherlands (2016). Appleby’s works are held in the permanent collections of: the Albright-Knox Art Gallery, Buffalo, NY; the Art Institute of Chicago, Chicago, IL; Daimler Art Collection, Stuttgart/Berlin, Germany; Denver Museum of Art, Denver, CO; National Gallery of Art, Washington, DC; the Panza Collection, Lugano, Switzerland; San Francisco Museum of Modern Art, San Francisco, CA; and the Seattle Art Museum, Seattle, WA amongst others. Franklin Parrasch Gallery held a solo exhibition of Appleby’s work titled Hymn: First Light, Last Light in 2019. A solo exhibition titled A Hymn for the Mother took place at the Missoula Art Museum (MT) in 2021, and traveled to parrasch heijnen in 2022. Anne Appleby is represented by parrasch heijnen in Los Angeles, CA, and Franklin Parrasch Gallery in New York, NY.

Anne Appleby: Array will be on view at parrasch heijnen, 1326 S. Boyle Avenue, Los Angeles from June 14 - August 2, 2025. Gallery staff are available to guide you through our exhibitions virtually via Zoom upon request. For more information, please contact the gallery at +1 (323) 943-9373 or info@parraschheijnen.com.

Image: ANNE APPLEBY, Crocos, 2012, oil and wax on panel, 25 x 25 inches.

Anne Appleby: Array

parrasch heijnen

García Hamilton creates hybrid canvases that combine embroidery and oil painting, capturing an intergenerational family story drawn from an archive of family photos and stories. As a first-generation American from a Mexican family, García Hamilton investigates legacies of tradition, the inevitability of assimilation, and the ways in which family histories replay themselves over time. The works thread family members together across generations and borders, reinforcing the ties that transcend time and geography. 

Daniela García Hamilton: Amanecer / Atardecer 

Charlie James Gallery (2nd location)

Tappan is pleased to present ELSEWHERE a group exhibition. ELSEWHERE is an exhibition that traverses the terrain of landscape—both abstract and representational—as a means of mapping our relationship to place, memory, and imagination. Through painting, sculpture, and mixed media, the artists in ELSEWHERE consider the landscape not as a fixed geography but as an evolving interior space: a site for longing, projection, and possibility.

Whether dissolving a horizon line into gesture or rendering a dreamlike topography in vivid detail, these works invite viewers to travel beyond the physical and into psychological and speculative terrains.

ELSEWHERE asks: What does it mean to inhabit a place not yet arrived at? How do the landscapes we imagine shape the futures we build—and the identities we carry?

The exhibition also expands the idea of place to include the emotional journeys of the self and the invented geographies of fictional worlds. By capturing the inner life of the mind—its memories, visions, and desires—these works chart a different kind of landscape: one where feeling, memory, and narrative create
their own topography. In this space between observation and invention, the familiar becomes fantastical, and the unknown feels uncannily close.

Artists featured in the exhibition include: Gia Coppola, Sasha Court, Marleigh Culver, Michael DeSutter, Ali Enache, Luis Ignacio Figallo, Lisa Hardy, Michael Harnish, Yeon Kyung Park, Jan Prengel, Arran Rahimian, Marina Ross, Jessica Sellinger, Satsuki Shibuya and Ryan Snow.

Tappan will be hosting an Artist Talk & cocktails opening event on Tuesday, June 24th from 6:00PM - 8:00PM at the Tappan Gallery, 8200 Melrose Ave,, Los Angeles 90046. Please reach out to Advising@thetappancollective.com if you would like more information or to attend.

For additional information, please contact Liglin Lopez, Advisor, at liglin@thetappancollective.com

For press inquiries and additional information, please contact Heather Bardocz, Director of Marketing & Communications at heather@thetappancollective.com

Image: Marina Ross

ELSEWHERE

TAPPAN

Baert Gallery is pleased to present I Hear a New World, Jordan Rountree’s first solo exhibition with the gallery. I Hear a New World stages a multidisciplinary, multi-sensory space that combines woodcut prints, woodblocks, radio art, music, text on paper, video installation, and performance. The images and audio recordings depict scenes of tempestuous lovers, solitary figures disappearing into nature, and nocturnal revelers seeking solace in music, all drawn from the artist’s own life and memory. Rountree treats language as a material with which to sculpt reality: carved into wood or incarnated in live performance.

I Hear a New World, June 28–August 2, 2025 at Baert Gallery, includes the sixth and latest entry in Rountree’s ongoing CHTHONIC ARCHIVE series of performances formally inspired by the traditions of 14th century Japanese Noh and early 20th century American radio dramas. The performance, featuring Rountree alongside Butoh dancer and artist, Crystal Sasaki, will be documented during the exhibition’s opening on June 28, 2025 at 7pm. A text by author Jack Skelley will accompany the exhibition. The CHTHONIC ARCHIVE can be heard on Spotify and all major streaming platforms, and excerpts can be viewed on YouTube.

Jordan Rountree began his visual art training at the Ateliers du Carrousel programme in the Louvre Museum in Paris, France. After studying life drawing and traditional artmaking techniques, his initiation into performance matured from working under the artist practices of Jasmin Blasco and Cyprien Gaillard; he later performed in Terence Koh’s “Adansonias” (2008) at Galerie Thaddaeus Ropac. In 2015, Rountree established a studio practice in Los Angeles, where he uses Surrealist literary techniques to produce multidisciplinary works, primarily in the mediums of text, radio art, woodcuts, and performance.

Jordan Rountree: I Hear a New World

Baert Gallery

Press Release – Under the Lazy Sun

 June 28 – August 2, 2025

la BEAST gallery is pleased to present ‘Under the Lazy Sun’, a group show featuring works by Mónica Figueroa, Michael Haight, Aaron Johnson, Nathaniel Kyung Smith, and Rob Moss Wilson. Rather than following a single thread, this grouping of works share a particular warmth; a common temperature. There’s a gentle ease laid bare, like light slipping through a curtain or skin resting against warm grass. Something akin to the slow malaise felt on a languid summer-day afternoon.

‘Under the Lazy Sun’ opens with a reception on Saturday, June 28, from 6-9 PM at la BEAST gallery in Cypress Park. The exhibition will remain on view through August 2nd.

Refreshments will accompany the event.
Rideshare is encouraged.

Pleaseemail info@labeastgallery.com for more information about these artist or to view the show catalogue.

Under the Lazy Sun

la BEAST Gallery

Eliza Douglas: Guggenheim

Overduin & Co.

de boer (Antwerpen) is pleased to present Handmade in Belgium, a group exhibition including works by Belgian-based artists, Dóra Benyó, Adelheid de Witte, Sam Druant, Joke Hansen and Karsten Krogh-Hansen.

Handmade in Belgium

De Boer Gallery

The Abstract Future, curated by Alia Dahl,
documents a new generation of artists who are
redefining abstraction by merging sculpture,
painting, photography, and performance. Spanning
both our Los Angeles galleries, the exhibition
highlights over thirty artists who are simultaneously
exploring process and materiality while addressing
themes of identity, culture, and political beliefs to
reflect their unique personal narratives.
California has a rich history of abstraction, from
the Light and Space movement and Finish Fetish
to the development of geometric abstraction
and conceptual art. The Abstract Future builds
upon this legacy, presenting artists who infuse
abstraction with fresh perspectives–drawing inspiration from historical influences, current
events, environmental changes, astronomical exploration, and advancements in technology
and science.
The Abstract Future is an international exhibition, featuring artists from Europe, South
America, and Africa, alongside those based across the United States. This global perspective
underscores the universal relevance of abstraction as a method of creative production and
its capacity to offer insight into the human experience across cultures and contexts.
THE ABSTRACT FUTURE

WWW.DEITCH.COM
FOR ADDITIONAL INFORMATION, CONTACT ALIA DAHL AT ALIA@DEITCH.COM
The artists participating in The Abstract Future are:
Anthony Akinbola
Eddie Rodolfo Aparicio
Loriel Beltrán
Elaine Cameron-Weir
Allana Clarke
sonia louise davis
Aria Dean
Guillaume Dénervaud
Tomm El-Saieh
Sam Falls
Alteronce Gumby
Madeline Hollander

Kahlil Robert Irving
Rindon Johnson
Lotus L. Kang
Bronwyn Katz
Antonia Kuo
Maia Ruth Lee
Hannah Levy
Manuel Mathieu
Jeffrey Meris
Kayode Ojo
Michael Andrew Page
Brian Rochefort

Tariku Shiferaw
Diego Singh
Shinique Smith
Diamond Stingily
Tadáskía
Chiffon Thomas
Uman
Raphaela Vogel
Kristin Walsh
Kennedy Yanko
Stella Zhong

The Abstract Future 

Jeffrey Deitch | Orange

Paintings, Drawings & Tapestries by Lucien Dante Lazar

Sculptural Works by Cybele Rowe, Patrick Nickell, Ann Weber, & Cheyann Washington

 Wonzimer Gallery presents “Mother and Child: A Portal,” a new exhibition opening July 11th. Inspired by a meditation on Raphael’s Tempi Madonna, artist/curator Lucien Dante Lazar discovered the "portal" in the space between Mary and Jesus – an opening into humanity and divinity.

This exhibition explores the Mother and Child archetype as both tender human connection and exalted spiritual reality, inviting viewers to consider this timeless bond as an entry point into new ways of sensing and perceiving.

“Working with the Mother and Child opens the door to an expansive creative field,” says Lazar. “I’ve discovered an unfolding stream of imagery, understanding, and insight—into myself and into the wider scope of reality.”

“Mother and Child: A Portal” features new paintings, drawings and tapestries by Lucien Dante Lazar, guiding the exhibition’s vision. These are complemented by distinct sculptural works from each of the other distinguished artists: Cybele Rowe, Patrick Nickell, Ann Weber, and Cheyann Washington. Each artist brings their unique material and aesthetic approach to the theme, creating a rich dialogue that deepens the exhibition’s exploration of this enduring relationship.

This exhibition aims to reveal the Mother and Child archetype as a gateway for our times, offering the possibility of reimagining culture itself.



Mother and Child: A Portal

Wonzimer

David Zwirner is pleased to announce Empress of Night, an exhibition of new and recent work by Marcel Dzama, on view at the gallery’s 606 N Western Avenue location in Los Angeles.

Dzama’s recent works are fantastical visions of a lush and at-times ﬂooded world where anthropomorphized animals and dancing ﬁgures are set against dense junglescapes and expansive skies. References to Francisco Goya and surrealist poet Federico García Lorca (1898–1936)—one of Spain's most important and celebrated writers—are evident throughout these compositions, suggesting parallels between the war-torn and uncertain eras in which those artists lived and the political, social, and ecological upheavals of our own. Some works make direct reference to the rise of authoritarianism in the world today, while others use allegory as a critical means of commenting on growing threats to democracy and human rights. Dzama made these works late at night—as is his nocturnal working style—and many are set against dark skies that contain celestial visions of stars and moons. Evoking a sense of joy and wonder, these nightscapes suggest hope and possibility even during times of unrest.

A centerpiece of the exhibition is Dzama’s 2023 ﬁlm To live on the Moon (For Lorca), which was originally commissioned by Performa for that year’s iteration of the recurring performance festival in New York. The ﬁlm opens with a theatrical recreation of the 1936 assassination of Lorca by the Nationalist forces of Francisco Franco during the Spanish Civil War. In 1929, Lorca authored Trip to the Moon, a screenplay composed of seventy-three narrative vignettes ﬁlled with love, violence, and mysticism. Though it was never produced as a ﬁlm, Lorca’s screenplay is viewed as a surrealist masterpiece. Dzama’s ﬁlm, an homage to Lorca, mixes dreamy ﬁgures and imagery—including depictions of the moon that recall Georges Méliès’s seminal early ﬁlm A Trip to the Moon (1902)—with themes of life, death, violence, and resurrection.

For this presentation, the ﬁlm is projected at a large scale within the main gallery, where a viewing area—draped in midnight blue fabric and furnished with bean bag chairs—invites visitors to linger and engage with the work at their own pace. Select drawings adorn the walls, dramatically illuminated to echo the ﬁlm’s lyrical and hypnotic tone.

Among the new drawings are several large-format works, some of which are ﬁlled to the brim with animal life, which serve as a reminder of the toll being taken on the planet and its effects on all
life-forms. These include The sleep of reason produces monsters (2025), which makes direct reference to Goya’s famous 1799 print of the same title, and Blue water blues (2024), an absorbing, nearly monochromatic triptych that shows an underwater scene rife with marine life. I never came from your rib you came from my vagina (2025), another large-format triptych, presents a jubilant display of womanhood, which reads like a celebratory rejoinder to some of the more noxious strains of hypermasculinity that are increasingly prevalent in society today.

Dzama’s presentation in Los Angeles—his ﬁfteenth solo exhibition with David Zwirner since joining the gallery in 1998—marks a notable return for the artist. His ﬁrst solo exhibition ever was held at Richard Heller Gallery, Santa Monica, in 1997, and his last solo show in the city was more than twenty years ago. The exhibition also coincides with Marcel Dzama: Dancing with the Moon, a major survey of the artist’s work at the Pera Museum, Istanbul, on view through August 17, 2025. Dzama will also debut a new zine that will be released concurrently with the exhibition.

Since rising to prominence in the late 1990s, Marcel Dzama (b. 1974) has developed an immediately recognizable visual language that investigates human action and motivation, as well as the blurred relationship between the real and the subconscious. Drawing equally from folk vernacular as from art-historical and contemporary inﬂuences, Dzama’s work visualizes a universe of childhood fantasies and otherworldly fairy tales.

Dzama was born in Winnipeg, Canada, where he received his BFA in 1997 from the University of Manitoba. Since 1998, his work has been represented by David Zwirner. Dzama has exhibited widely throughout the United States and abroad. His recent solo exhibitions include Marcel Dzama: Ghosts of Canoe Lake, which was on view at McMichael Canadian Art Collection, Kleinburg, Ontario, in 2023 and traveled to Contemporary Calgary, Alberta, and the Plug In Institute of Contemporary Art, Winnipeg. In 2022, a solo presentation of the artist’s work, Marcel Dzama: Viviendo en el limbo y soñando con el paraíso was on view at the Museo de Arte de Zapopan (MAZ), Mexico. Marcel Dzama: An End to the End Times was on view in 2021 at the Savannah College of Art and Design Museum of Art, Georgia. Also in 2021, the Sara Hildén Art Museum in Tampere, Finland, presented an exhibition of the artist’s work entitled Marcel Dzama: Tonight We Dance.

In 2021, MTA Arts & Design unveiled a commissioned mosaic by the artist, No Less Than Everything Comes Together, that is permanently on view at the Bedford Avenue Station in Brooklyn, New York.

In 2016, the artist created the costume and stage design for New York City Ballet’s The Most Incredible Thing, a performance based on Hans Christian Andersen’s fairy tale. Coinciding with the performance, Dzama also created an installation in the Promenade of the David H. Koch Theater as part of the New York City Ballet Art Series, titled The tension around which history is built.

Works by the artist are held in museum collections worldwide, including the Art Institute of Chicago; Centre Pompidou, Paris; Dallas Museum of Art; Musée d’art contemporain de Montréal; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; National Gallery of Art, Washington, DC; National Gallery of Canada, Ottawa; Solomon R. Guggenheim Museum, New York; Tate, United Kingdom; and Vancouver Art Gallery. Dzama lives and works in Brooklyn, New York.

Image: Marcel Dzama, The sleep of reason produces monsters, 2025
© Marcel Dzama Courtesy the artist and David Zwirner


Marcel Dzama: Empress of Night

David Zwirner | 606 N Western

Luke Agada, Jackie Amézquita, Miguel Arzabe, Saif Azzuz, Jackie Castillo, Lenz Geerk, Aaron Glasson, Koyoltzintli, Suchitra Mattai, Evan Nesbit, Wendy Red Star and Noah Schneiderman.

Roberts Projects is pleased to present Back To the Earth, a group exhibition of artists whose work emerges from a symbiotic relationship with their environment. Featuring painting, drawing, sculpture and installation alongside a rotating selection of video works, this exhibition considers how artists use organic materials, found objects and elemental forces to engage in an ongoing dialogue with the natural world.

For centuries, human civilization has harnessed the Earth’s natural resources to develop tools, architecture and technology; over time, the environment reclaims and alters these man-made creations through erosion, weathering and other natural phenomena. This cycle of degradation and regeneration transforms the landscape into a new entity, allowing artists to re-envision corroded forms by imbuing them with aesthetic value and philosophical meaning.

Each work in the exhibition offers a unique perspective on this dynamic exchange. Artists that model sustainable methods of production glean their surroundings for materials to create assemblage works with profound epistemic resonance. Paintings and sculptures incorporating handmade dyes, found objects and raw pigments evoke lines, shapes and textures that are found in nature while transcending boundaries between abstraction and surrealism. Other works reflect on how these environmental forces are not merely observed, but internalized—how the land becomes an extension of the self, even as we continue to shape and inhabit it. Environmental phenomena such as sedimentation and seed dispersal parallel Indigenous histories of migration, displacement and assimilation, which are echoed in works made from soil and other organic matter.

As explained by critic and novelist John Berger in his book Ways of Seeing (1972), "Art does not exist in isolation; it grows, transforms and decays alongside the landscapes that nurture it." Back To the Earth fosters a deeper understanding around these ineffable forces of nature, and the multitude of ways that artists merge with and draw inspiration from the land.

Back To the Earth

Roberts Projects

Lewis Baltz, Heinrich Riebesehl, Ursula Schulz-Dornburg, Christina Fernandez, Ron Jude, Frank Gohlke, Mark Ruwedel, Simone Nieweg

"Gallery Luisotti is pleased to announce Homeland Photography. The artists in this exhibition focus their lenses on the American and German landscape, revealing a fundamental part of our collective existence. They remind us of our bucolic agrarian roots, the human cost of these systems, and warn of potential catastrophe should we not pay enough attention.”

Image credit: Lewis Baltz, Prototype Works, Irvine Ranch (Fields), 1968/92

Homaland Photography

Gallery Luisotti

“I feel that my work follows in the tradition of love for the natural world, obsession with the painted universes we create, and a reverence for the mystery of imagination itself. There will always be a place for a new image, another symbol for what it feels like to be immersed in the seasons and spectacles of the earth: alive to the beauty and also the danger in our universe.” - Sharon Ellis
 
Michael Kohn Gallery is thrilled to present a collection of Recent Paintings by California-based artist Sharon Ellis. This exhibition of intimate imaginative landscapes showcases Ellis’ affinity for the natural world, offering a visually poetic rendering of indescribable environmental phenomena and the earthly sublime through saturated colors, veinous lines, and masterful symmetry. Developed over five years, this new body of work is a highlight in a career spanning four decades. Recent Paintings is on view from June 17 through August 9, 2025.
 
The elements in Ellis’ lush visions are cast like characters in a play. Through what the artist describes as a “completely irrational series of decisions,” a simple focus on the time of day or season is transformed into an optical incantation. Ellis’ romantic world features blankets of glimmering stars hovering over sinuous mountains, their folds rendered like draped fabric, or the scarlet hue of the harvest moon peeking through the vegetal gestures of towering trees. Works like Fairy Garden, the first of this series, are not representational; though they embody the spirit of camaraderie between nature and humans that transcends language. 
 
Leah Ollman writes, “To describe Fairy Garden —or any of Ellis' paintings, really—strains language. It seems as though it shouldn't be so hard, because the forms declare themselves with unusual precision. The hues are radiant, vigorous. The surface is pristine, Ellis' ultra-soft brushes leaving no visible tracks. There is no vagueness or murky indecision. There are no false leads. But words comparably crisp, definitive and controlled miss the astonishing sense of surrender that the paintings attest to, and induce.”
 
The reverie lies further in Ellis’ immaculate planes; up to sixty layers of alkyd paint create impenetrable, luminous surfaces that hide all traces of the painter’s hand. Ellis’ abstractions owe as much to the physical process as to her artistic predecessors. Among her influences are painters Joseph Stella, Georgia O’Keeffe, Agnes Pelton, and Charles Burchfield. These early American modernists inherited the European traditions of Romantic landscape, Symbolism, and Art Nouveau but were intensely devoted to expanding the potential of abstraction in the pictorial realm. This radical ability to synthesize the conventions of naturalistic forms with inventive compositions is fundamental to Ellis’ work.

Sharon Ellis: Recent Paintings

Kohn Gallery

As part of the In Situ series, Make Room is proud to present Holes In the City, a new collection of paintings from Brooklyn-based artist Youngmin Park. These paintings capture urban life from the perspective of the smallest observer, the unbothered eyes of a fly, to separate the viewer from the business of daily life.

“I was seeking holes in the city. Holes create a space where we are set free from the spectacle, they serve as a place for rest and wandering. Therefore, ironically, they are a space that you have to actively seek out, not a given space.” - Youngmin Park

It is difficult to separate life in a city from labor. The visuals of industry are all around us. They dominate the skyline, in turn dictating the pace of our lives. Park paints smoke stacks and stoplights as symbols of urban life that separate us from natural freedom. This is portrayed through the motif of the fly, an animal that is ignorant of these forces. The fly meanders through the air, pausing and resting as it pleases.

These pieces present a calmness to the viewer. They put the beiges and greys of the city against the soft yellows and blues of an evening sky. This captures a contrast between the constraints of man-made architecture and the lightness of the atmosphere. These skylines are presented alongside stoic portraits and figures with flies replacing or obstructing their eyes. They long for respite from the constant hustle of life, while feeling guilt for this same desire.

Each work creates a hole for the viewer to see into and take a moment of contemplation. In the titular piece, Hole in the City, a red fly sits centered in space, floating in the street between two rows of houses. The fly is encircled in gray spotlighting the hole created through the structures of the city, leading to the sky and clouds in the distance. Driving home from work or an evening walk becomes a moment of stillness and beauty. Looking Inside the Buttonhole, draws the eye into the smallest holes we carry. Faces and flies look back at you through these buttons, allowing your vision to linger in the space created.

We invite you to find a place to rest, a place where you can forget about all the nonsense of the city. High above the city, inside our own sanctuary.

IN SITU: Youngmin Park: Holes in the City

Make Room

Performance on Paper features prints and drawings created at the intersection of music and dance by some twenty artists active from the 1960s to the present, primarily from the Grunwald Center and Hammer Contemporary Collections. It explores how works of art on paper can store sound and movement, becoming lasting visual records of ephemeral sonic and dance experiences.

The exhibition includes works activated by performance, such as graphic notations and choreographers’ scores; drawings and prints that are physical representations or evocations of music and movement; collaborations between visual artists, musicians, and dancers; as well as drawings that are the physical trace or embodiment of performance. Some artists to be presented are Laurie Anderson, Jennie C. Jones, Ann Hamilton, Channa Horwitz, Christian Marclay, Tom Marioni, Jason Moran, Meredith Monk, Julia Phillips, Allen Ruppersberg, and Kandis Williams.

Performance on Paper

Hammer Museum

CUTTING THROUGH SPACE
Bjarni Sigurbjörnsson: Works on Paper (2003–2004)

ECHOES OF HELLISSANDUR
Victoria Chapman: Photographs (2025)

El Nido by VC Projects is pleased to present two exhibitions in dialogue: Cutting Through Space by Bjarni Sigurbjörnsson and Echoes of Hellissandur by Victoria Chapman. Each artist draws from the Icelandic landscape—its stark beauty, elemental forces, and contemplative rhythms—to create work that bridges the internal and external, the material and metaphysical.

Bjarni Sigurbjörnsson: Cutting Through Space – Works on Paper (2003–2004)
This rare exhibition marks the first U.S. presentation of Sigurbjörnsson’s large-scale works on paper from 2003–2004. Influenced by Chinese aesthetic philosophy, the artist treats paper as “the skin of space,” using ink, charcoal, and water to create gestural compositions that explore transformation, tension, and the metaphysics of mark-making. 

Additional works from his Black Soar Cutting series further investigate elemental alchemy through the layering of salt, ink, and oil paint. A recent painting, Hugarhold (Mind-Field) (2022), connects early and current philosophies within a vivid field of color and gesture.

“The juxtaposition between unmixable materials—creating patterns—and my deliberate actions is the prime vehicle in my creative process.” — Bjarni Sigurbjörnsson

Cover image caption: Bjarni Sigurbjörnsson: Panmixia 3, 2003-4, mixed media on paper, 31 ¼ x 23 ½” 

Victoria Chapman: Echoes of Hellissandur – Photographs (2025)
Following a meditative retreat in the remote Icelandic village of Hellissandur, Chapman presents a new body of photographs that respond to the region’s landscape and mythic atmosphere. Developed in close dialogue with Sigurbjörnsson, these images are not documentarian but intuitive—emotional impressions shaped by solitude, conversation, and elemental encounters. Moss, stone, lava, and light become portals to memory and transformation.



Bjarni Sigurbjörnsson: Cutting Through Space 

El Nido 

BLUM is pleased to present NAKED, an exhibition of new paintings by Tokyo-based artist Tomoo Gokita. This is the artist’s third solo exhibition with the gallery.  

Known for his uncanny approach to figuration, Gokita has long explored the tension between familiarity and distortion in his psychologically charged compositions. Working in both monochrome and vibrant colors, he has built a distinctive visual language that merges portraiture, abstraction, and cultural memory. Early works often originated from found imagery—vintage magazines and old newspapers—serving as visual springboards that he would intuitively warp and reimagine through his tactile process of painting. 

In recent years, however, Gokita has shifted his practice inward. No longer relying on pre-existing media, he channels his subjects from memory and subconscious invention. The resulting forms—part-human, part-fantastical—occupy a liminal space between reality and dream. His characters now take shape through layers of erasure and reinvention. This iterative approach allows each figure to exist as a collision of gestures, influences, and emotional states, invoking artists from Picasso to Guston while conjuring the spectral strangeness of sci-fi cinema and surrealist dreamscapes.  

With NAKED, Gokita turns his attention to the trope of the female nude, reframing a historically overdetermined subject with acidic irreverence and grotesque beauty. In these paintings, Surrealist bodies bristle with defiant physicality, eschewing objectification in favor of confrontational agency. Referencing the glamor of Playboy, the weirdness of B-movie aesthetics, and the compositional motifs of Impressionist painting, these nudes are saturated with intense, unsettling color. At once seductive and disquieting, titles such as PEEPING WOMAN (2025), THE BABY-SITTERS CLUB (2025), and THE BALCONY INCIDENT (2025) hint at uncanny and humorous narratives, infusing the work with irony, unease, and a self-assured rejection of conventional beauty.  

____

BLUM is pleased to present Polish artist Wilhelm Sasnal’s first solo exhibition with the gallery.

Resisting a singular painting style—abstractions edging in on dreamy figuration—for his first exhibition at BLUM, Wilhelm Sasnal explores the iconography and visual lexicon of the roadways of Southern California. Painting from photographs and sketches, Sasnal captures imagery from a brief time spent living in Los Angeles as a cyclist—someone intimately familiar with the texture, palette, and imagery of the region's thoroughfares. The resulting body of work shares themes with film noir—examining the complexities of black as a lack of color; these vignettes are all at once dramatic, brooding, and exhilarating.

After studying painting at the Academy of Fine Arts in Kraków, Sasnal set out to create paintings that undid the restrictive methodology associated with formal painting. Making work that was more about drawing with paint than painting and preferring graphic novels or record covers as his guidance over the Old Masters, Sasnal built his career around this idea of flipping painting on its head. This included bringing subjects rendered in black to the forefront of his compositions, thus reversing the guiding principles of chiaroscuro, a painting fundamental that harks back to the Renaissance and Baroque periods. 

Presently, Sasnal is an avid pupil of the art historical canon—taking inspiration from and pushing back against a wide array of sources, such as Edgar Degas and Sigmar Polke—but his enthusiasm for this discourse is still laced with a persistent contrarian spirit. Retaining a fixation on black as a pause for the eye in traditional compositions, Sasnal asserts stripes of black paint—a compositional rest—atop the busyness of landscapes rendered in pale color. In All American (2025), for instance, the work’s titular words float amid the desert horizon as if roads were paved in midair. 

Asphalt takes a paramount position in this exhibition, both for its physical characteristics and conceptual implications. Sasnal immerses himself in the many facets of this substance, becoming absorbed in it in the intimate way that only a cyclist could. When he conveys his findings, it is with the sensibilities of an artist who is keenly attuned to semiotics, color theory, depth, and perspective. For its external implications, Sasnal notes that asphalt is made of petrol, which gestures at a wealth of global issues. Asphalt also contains a complex spectrum of black, which Sasnal expresses through a range of gestures from snaking abstract lines to solid-edged blocks of pigment. Roads are also notable for their traditional usage in perspective, requiring only two receding lines and a horizon point to express depth. 

Sasnal paints in a medium-specific manner, but his mode of culling subject matter is multidisciplinary. Archiving and reflecting culture’s nuances back upon itself, in this exhibition, Sasnal took photographs, kept a sketching practice, and borrowed typeface while collecting notable moments or ideas for future paintings. The works Palmdale 1 and Palmdale 2 (both 2025), for instance, are painted from photographs that the artist took streetside while cycling. Noticing the presence of several fighter jets parked just within the parameters of a military base near Palmdale, California, the artist recorded this unexpected and ominous encounter with his camera. Later, when creating his compositions for each work, these massive weapons become abstracted, shadowy figures to convey and isolate the unique feeling imparted upon the viewer when seeing the original. With his brush to canvas acting as the lens through which these found talismans of our society are given meaning, Sasnal is not merely a documentarian but also a philosopher of the overlooked.

Wilhelm Sasnal (b. 1972, Tarnów, Poland) studied architecture at the Kraków University of Technology (1992–1994) and painting at the Academy of Fine Arts in Kraków (1994–1999). Recognized as one of Europe’s leading contemporary painters, Sasnal employs photographic imagery—from film stills and art reproductions to personal snapshots—as foundations for his paintings, subjecting them to abstraction, simplification, and distortion. His practice thoughtfully addresses historical themes such as the Holocaust, iconic pop-cultural imagery, and intimate scenes from everyday life, creating a complex reflection of post-Communist Poland amid ongoing socio-political shifts. 

____

BLUM is pleased to present Unending Spiral, Los Angeles-based artist Sarah Rosalena’s second solo exhibition with the gallery. This presentation coincides with the unveiling of Rosalena’s major public artwork commissioned by the Los Angeles County Museum of Art this June, and the artist’s participation in exhibitions at the Dallas Contemporary and Museum of Contemporary Art San Diego. She was recently featured in six exhibitions for the Getty’s PST ART: Art x Science Collide. 

Operating at the intersection of traditional craft and advancing technology, Rosalena’s work combines Wixárika weaving techniques, taught to her by her mother and grandmother, with technical processes such as ceramic 3D printing and digital weaving. Similar to computational language, weaving consists of a series of dualities—warp and weft, over and under—which behave similarly to the 0 and 1 binary of code. By giving form to this shared logic in her woven textiles and baskets, it is possible for Rosalena to physicalize and interrogate the technological scaffolding underneath.

Unending Spiral examines the structural and conceptual implications of the spiral as both a formal strategy and a conceptual framework, drawing parallels between galactic formations and terrestrial craft traditions in textiles, coiled ceramics, and basketry. By employing materials of the earth—hand-dyed pine needles, clay, and fiber—Rosalena grounds her work in tactile, site-responsive processes while simultaneously engaging digital technologies with her hand. The pine needles are naturally dyed in plants such as cochineal, walnut, and onion skin, producing a living palette. These material disruptions interrogate the hierarchies that have historically positioned Indigenous craft in opposition to digital methodologies, proposing instead a continuum in which traditional knowledge and emerging technologies co-generate one another, revealing the spiral as a structure of persistence, recursion, and self-perpetuation.

Using digital images of spirals in nature, such as spiral arms of galaxies—Rosalena translates these celestial bodies into handwoven patterns and coiled forms. Her 3D-printed ceramic vessels simulate the process of traditional coil building, yet they resist containment; partway through, the ceramic coils give way to handwoven pine needle basketry, a material intervention that disrupts technological precision with the irregularities of the organic. By positioning the spiral as a recursive, non-linear structure, Unending Spiral challenges dominant narratives of progress, which privilege forward motion and technological advancement over cyclical, regenerative knowledge systems, foregrounding craft as a site of critical resistance and epistemological expansion. Through these hybrid forms, Rosalena posits an alternative material cosmology—one that is iterative, interwoven, and perpetually in infinite motion.

_____

BLUM is pleased to present LACMA Seeds and Weeds, Los Angeles-based artist Adam Silverman’s first solo exhibition with the gallery.

Continuously finding new ways to address the idea of place through his mastery of the ceramic medium, Silverman has turned to the construction site of the forthcoming Los Angeles County Museum of Art (LACMA) building, designed by Peter Zumthor, for his latest source of inspiration. Collecting remnants such as tar, clay, and felled bamboo trees, the artist processes these tokens into the final constitution of each vessel. 

Receiving degrees from the Rhode Island School of Design in both Fine Arts and Architecture, the spatial and structural awareness of Silverman’s artistic output is palpable. As much about their own construction as their relationships to their surroundings, Silverman’s vessels are often presented as elements of a larger installation that also engages its environment—highly considered parts of a whole within a contingent context. After his studies, while doing a residency in ceramics in Mashiko, Japan—known for its rich ceramic tradition—Silverman observed and utilized the local clay that people from this region had been working with for centuries. Those familiar with the traditional vessels from Mashiko would recognize the distinctive style and finish that results, in part, from chemical reactions when firing the iron and silicic acid that naturally occurs in the ground there. It was in Japan that Silverman began examining the connections between pottery’s geological properties and place, but it wasn’t until later that he would begin exchanging geological indicators with cultural meaning in his process.

It was while working on a site-specific installation for the Kimbell Art Museum in Fort Worth, Texas, that Silverman first utilized materials excavated from a cultural site to build his vessels. Intrigued by the convergence of two of his favorite architects, with Renzo Piano’s addition to Louis Kahn’s original museum building, Silverman wanted to create something that encapsulated the physical overlap between these two great cultural forces. Similarly, Silverman saw the construction site of Zumthor’s LACMA building abutting the historically rich La Brea Tar Pits within the heart of the city as a distinct moment of institutional, architectural, biological, and geological relevance that could be preserved through the ceramic medium.

LACMA Seeds and Weeds concretizes a transition for Los Angeles—wherein land that has acted as a gathering point, providing the city a glimpse into its prehistoric past, is peppered with unique properties as a new structure takes its place there. Utilizing materials from the construction zone as part of his medium to create the effect of his finished works, Silverman conceptually honors the many stages of the history of this place in his objects. Carefully searching the LACMA building’s dig site, Silverman found deposits of tar bubbling up from the ground alongside deposits of natural clay. Bringing these substances back to his studio, he processed them—using tools such as a mortar and pestle—into a specific mixture that he utilizes to create the finish of his “seed” and “weed” vessels presented here. 

As their name indicates, Silverman’s “seed” and “weed” vessels could almost have cropped up in their location, as that is what the ingredients of their makeup had done. It is Silverman whose expertise allows their specific existence—with a meticulous process that might include multiple firings, restricting airflow to the kiln, or blowing ash on vessels to achieve each work’s unique finish. It is through a combination of what the LACMA site provides and what Silverman alone can cultivate that each work comes into being.

For the work in LACMA Seeds and Weeds, Silverman’s glazes are all made from different combinations of the following ingredients collected from LACMA: wood ash (gallery floors, trees, construction lumber, and debris), concrete, travertine, ceramic tiles, glass, stones, red iron oxide (made from rusty metals found on the site), soda ash, clay, and tar.

Image: Tomoo Gokita

Tomoo Gokita: NAKED | Wilhelm Sasnal: AAAsphalt | Sarah Rosalena: Unending Spiral | Adam Silverman: LACMA Seeds and Weeds

BLUM

Moskowitz Bayse is pleased to present Slow School: Ten Years of Moskowitz Bayse, an exhibition honoring the gallery’s ten-year anniversary. The show brings together a single work by each artist in the gallery’s program, a gesture that honors not only the individual strength of each practice, but the collective ethos that has shaped the gallery’s identity over the past decade.

Slow School: Ten Years of Moskowitz Bayse

Moskowitz Bayse

A collaborative exhibition of animatronics and multi-channel video and sound by artists Matt Barton, Jacob Ciocci, and David Wightman. Presented in collaboration with Dem Passwords


Show #38: The Worst Rave In The World

And/Or Gallery

Babst Gallery is pleased to present "Creatrix", a solo exhibition of oil paintings, works on paper, and ceramics by Nora Berman. Presented alongside these works are video sculptures informed by the artist’s livestreaming practice. Regularly since 2021, Berman broadcasts immersive, experimental livestreams from her studio, where she paints, performs, and co-exists with her viewers in a bizarre environment shaped by her own visual art.

Nora Berman: Creatrix 

Babst Gallery 

Lisson Gallery is pleased to present The Signs are Present, the first solo exhibition in Los Angeles by Li Ran. Comprising nine, recent, oil-on-canvas works—including some of the largest paintings the artist has made to date—this exhibition marks a discernable evolution in Li’s practice, wherein his focus has shifted toward the material and formal qualities of painting. Known for his cross-disciplinary approach, which spans video, performance, writing, and installation, Li often interrogates systems of ideology, cultural translation, and intellectual history. In this new body of work, he deliberately tempers the satirical and conceptual strategies that defined his earlier projects—where appropriation and narrative construction played central roles—in favor of a quieter, more ambiguous visual language. Here, narrative intent becomes more elusive, embedded subtly rather than explicitly articulated.

This body of work is also marked by a cohesive and contemplative painterly language—non-polemical, free of antagonism, and unburdened by historical hierarchies of authority or precedence. Li offers viewers a personal and introspective point of entry: his daily studio ritual of opening the Bible and engaging with spiritual reflection. However, he asserts that this practice is not intended to invoke mysticism. Instead, it underscores an enduring capacity to engage with personal experience, manipulates visual and rhetorical motifs, and draws upon cultural references, without being constrained by dominant historical interpretations.

Yet, despite this shift toward introspection and formal cohesion, narrative traces persist. Through symbolic elements, or ‘signs’ such as the scattered belongings of a deceased false teacher in The Empty Tomb (2024), or the ritualistic gestures surrounding cremation in They Swear, Dance, Alongside Miracle (2024), an underlying, unspoken storyline continues to course through Li Ran’s paintings, offering viewers interpretive depth beneath the surface of painterly abstraction.

Li’s inward shift is further echoed in These Four Walls, a new text written by the artist that corresponds loosely to the architecture of the exhibition, offering poetic insight into the mental and emotional terrain from which these works emerged.

1
Ripping his draft to shreds, Xu Min just couldn’t take it anymore. Hopeless days left him on edge. In the midst of devastation, he dreamed often, swallowing whole his own cigarette ends. Bitter as hell, what had he written anyway? Starting from the second paragraph on page ten—lungs charred, cream-made thyroid glands and dislocated vertebrae clinging to each other, silent gallstones beginning their monologue, not to mention the surging hermones... We once couldn’t stand such writing. But now? We’ve turned reactionary against ourselves. Door closed, pot on the stove, we’d be boiling up some formalist language, carefully sprinkling irony and adding poetry. They don’t really belong together, yet somehow, they got picked up in the same pair of chopsticks, gripping both reality and romance. Wanting it all! Exactly, today, we want it all — except conversation. The second we open our mouths, a spooky wind slits our throats. Could this be death? Probably not. Let’s just call it a dream.

2
12pm sharp.
I lower my head.
See that black, shapeless lump.

You know my name,
and everything.
Come cut me loose from my past,
and make it quick.

3
The attic on Huayuan Road still has its double-pane wooden windows, at least two sizes smaller than the ones they make nowadays. A few dusty potted plants often sat on the sill. Lao Gao used to say, “you can’t see outside with the lights on.” He insisted on turning them off, and as the room went dark, the faint blue of the sky crept back in. He’d put on sunglasses and rummage through the drawer until he found those little cards. On them were the pencil-written lines: “We will all die. We will all live. We will all meet in the room with the lights out.”

4
The day of demolition came—I couldn’t stay in this small place in the city any longer. But moving gives me headaches. Someone told me about this Japanese-style moving service, so I gave them a call. It sounded legit, and the price was acceptable. The house owner was supposed to get rid of all the unwanted things, so the movers could efficiently pack, transport, and restore the setup at the new place. It didn’t matter to me whether it’d end up restored…but the throwing away was a thorn to me. For two weeks straight, every conversation with her was like: “Do we still need this?” “Why are we keeping that?” “Just throw it out.” “Let’s buy a new one.” And suddenly, I thought of my parents’ old place. How could their generation throw anything away? Even the plastic bags had to be saved, folded up, tucked into drawers, filling a whole cabinet with garbage bags.

Li Ran: The Signs are Present

Lisson Gallery

VHS Dreams: The Art of Ghana’s Mobile Cinema
July 11 – August 23, 2025 | BEYOND THE STREETS
Opening Reception: Friday, July 11, 6–9 PM
Curated by Deadly Prey Gallery

A vivid tribute to Ghana’s hand-painted movie poster tradition, VHS Dreams showcases one of the largest collections of original works ever assembled. Painted on recycled flour sacks by artists from Accra and beyond, these bold, surreal posters reimagine global cinema through a distinctly West African lens. Original paintings are available for purchase and can be taken home the same day with new works rotating in throughout the run. Limited edition prints and posters are also available in the BEYOND THE STREETS gift shop and online.
More info at www.beyondthestreets.com

BEYOND THE STREETS
434 N La Brea Ave, Los Angeles, CA 90036
Hours: Wed-Sat, from 11AM to 6PM


VHS Dreams: The Art of Ghana’s Mobile Cinema

Beyond The Streets

"Weaving is not just an art form, it is an endurance test. It is a way of grappling with time and memory, pulling the threads together even when the past resists. - Anne Carson

Shoshana Wayne Gallery is pleased to present Circumstances Held Me To Threads, an exhibition featuring works by Terri Friedman, Sabrina Gschwandtner, Anina Major, Frances Trombly, and Michelle Yi Martin. On view from May 24th to July 26th, 2025.

Weaving, at its core, is a complex act, demanding not only physical dexterity but also a heightened awareness of the delicate interplay between thought, memory, and material. It is an embodied practice that transcends the mere manipulation of thread; it is a reflection of the artist’s engagement with time, space, and history. As Joan Didion aptly observed, “Weaving is not a simple thing. It’s not just the hand that moves the thread, but the mind that follows it.” Weaving requires a tension between the past and present, where every thread drawn through the loom forms an intricate connection between memory and material, between individual and collective histories.

In Circumstances Held Me To Threads, the artists delve into this profound act of connection, exploring the tactile beauty of fibers as they intertwine to form patterns that mirror the complexity of lived experience. These artists challenge and expand the traditional practice of weaving, drawing upon the metaphorical weight of the process itself. The act of weaving becomes an engagement with both personal and political realms, where materials become vessels of identity, culture, and memory.

Michelle Yi Martin and Frances Trombly push the boundaries of textile and fiber to examine the intricate relationships between the corporeal and the conceptual. Their work emphasizes the physicality of weaving, focusing on the act of binding, pulling, and stretching materials in ways that reveal the fragility and resilience inherent within the fibers themselves. Sabrina Gschwandtner interrogates the historical canon of craft, reframing archival media to explore how weaving and its associated forms have been shaped by gendered perspectives. Her work challenges traditional perceptions, questioning both the aesthetics and politics embedded in the act of making. Terri Friedman considers her fabric works paintings, blurring the line between mediums through vibrant compositions that fuse gesture and texture.

Anina Major’s and Gil Yefman’s works reimagine the act of weaving through the lens of personal and cultural memory, emphasizing hybridity and transformation. These artists draw on diasporic histories, where the very act of weaving becomes a means of negotiating new forms of identity and resilience. Their works underscore weaving as a force that binds not just threads but also histories and individuals, creating new connections between past and present.
In Circumstances Held Me To Threads, weaving is not merely a technical process; it becomes an act of endurance and reflection, of stretching the boundaries between past experiences and contemporary realities. Through this exhibition, the artists invite the viewer to witness how the act of weaving becomes a transformative process, one that is at once fragile and enduring, intimately tied to both the body and the world around us.

Circumstances Held Me To Threads

Shoshana Wayne Gallery

Night Gallery is pleased to announce Reflections, a presentation of new paintings by Esiri Erheriene-Essi. This is the artist’s first solo exhibition with the gallery. Based in Amsterdam, Erheriene-Essi created these works across an ocean, their arrival in Los Angeles a resonant offering—bringing with them the quiet weight of distance traveled and stories carried.

Across this new body of work, Erheriene-Essi carries on with her time-honored tradition of breathing life into inspired and discarded photographs, using paint, color, and layered ephemera to investigate memory. The artist works through her paintings with the same skill and stewardship as a quilter, threading together histories through texture and tone. In this new series, she embraces the flatness of photographic source material while deepening the emotional and chromatic complexity of brown skin—bringing dimension, variation, and luminosity to the surface.

This evolution is on view in A Royal Flush, a work depicting what the artist imagines to be a group of men enjoying their last days together before deployment to Vietnam. Their faces are marked by a spectrum of hues, highlights, shadows, and undertones, encapsulating the use of color as a tool to depict emotion.

An archivist and collector first, Erheriene-Essi begins her process by mining through estates and online repositories for faces and vignettes that speak to her. This collection has amassed across continents and oceans, from North America to Europe to Africa, demonstrating the diversity of Black identity, while illuminating the moments that are universal across all our memories.

Erheriene-Essi is deeply moved by the connection between the diaspora, not only across geography, but across time. Throughout Reflections she continues her exploration of this relationship. Motifs such as the Black power fist, the face of Toni Morrison, a “Dismantle Apartheid” pin, all time travel accentuating the meaning of timelessness within the collective memory.

In her dissection of memory, Erheriene-Essi is a visual anthropologist, reading images for context clues and filling their gaps with gestures from her own lived experience. In A memory from your youth (London Trocadero), a fan poster for Beyoncé’s Cowboy Carter tour noticeably sits on the shirt of a girl eating ice cream in the 1970s. The artist’s temporal twist, fusing together past and present, melds Black iconography with earnest symbols of nostalgia. As an artist, her mastery of collapsing time ensures the continuity of the culture.

These paintings were created over the course of two years, in rhythm with the demands of motherhood—a theme that quietly permeates the work through the lens of legacy and inheritance. Erheriene-Essi sees her practice as an active conversation, one that begins with her paintings but is completed by the viewer’s own activations of memory.

The exhibition is titled in honor of the song by Diana Ross & The Supremes, a comfort album that has accompanied the artist through many seasons of her life, including the making of this body of work. The most apropos of the lyrics being:

“Reflections of the way life used to be.

Reflections of the love you took from me.”

In faded hues and frayed edges, Erheriene-Essi develops an architecture of remembrance, for what has been lost, and for which should never be. Her paintings become mirrors, not of the past as it was, but as it is felt. Reflection as a sacred act of reclamation.

–Shaquille Heath


Esiri Erheriene-Essi: Reflections 

Night Gallery South

In the midst of hot summer days, sultry evenings, the mysteries of the universe, and a waning moon, let’s pause and peer through the artists’ lens in Considering Summer 2025!

Considering Summer 2025 with Jonathan Bout, Demetri Broxton, Carrie Burckle, Julia Couzens, Molly Haynes, Wakana Kimura, Jeana Eve Klein, Suhn Lee, Corey Pemberton, Felandus Thames, Tristan Esmino, Jamie Vasta.

This ensemble exhibition is a continuing celebration of the rich language of material abstraction sprinkled with some phantasmic figuration. The artists in this show reframe memory, loss, ceremony, family, history, politics, culture, labor, and the here and now—through textiles, ceramics, paint, drawing, metal, beads, repurposed miscellany, and glass. We’re leaning into, not away from, what makes us unique—please join us!

Image: Jonathan Bout | in-progress detail of graphite drawing

Considering Summer 2025

Patricia Sweetow Gallery

Cirrus Editions is moving forward with new print projects that honor the 55 year legacy set forward by master printer and art dealer Jean Milant. We welcome you to our gallery to see this selection of seminal prints, as well as our incredible print shop. The show features ambitious multi-panel prints by John Baldessari, transcendent stone lithographs by Vija Celmins, as well as the luscious, graphic surfaces of Ed Ruscha.

In 1968 Jean Milant was accepted into the Tamarind Master Printer Program in Hollywood. At the time, the program was responding to the students request to work with contemporary California artists. The neighborhood was ripe with creativity with Ed Ruscha and Joe Goode’s studios down the street. Milant printed Ed Ruscha’s iconic Standard Stations. He also collaborated with artists Ken Price and Billy Al Bengston among others.

In 1970 Milant completed the program and founded Cirrus Editions– “a new California atelier of prints”. Located on Manhattan Place in Hollywood, Cirrus became known as a workshop respected for its groundbreaking work with lithography and silkscreen, putting a spotlight on California based artists. In the 1970s, Jean was the first California publisher to attend Art Basel, bringing California artists to the world stage. Through the years Cirrus worked with now legendary artists such as John Baldessari, Chris Burden, Vija Celmins, Guy de Cointet, Ed Moses, Bruce Nauman, Ed Ruscha, Judy Chicago, Mark Bradford, Mary Weatherford, and Jonas Wood.

In 1979 Cirrus moved to Alameda Street in downtown Los Angeles where it remained for 35 years. The gallery moved to its current location on South Santa Fe Avenue in 2015. Jean had an incredible eye for art that he continued to develop over his life. He once commented that when he began Cirrus there was not a market for contemporary art. Through his life he actively participated in the evolution of the industry. Jean Milant passed away peacefully at his home this winter at the age of 81. 

Image: Judy Chicago "Mary, Queen of Scots," 1973. Lithograph, Silkscreen, ed. 40, 25 x 25 in.

The Greatest Hits of Cirrus Editions - Remembering Jean Milant

Cirrus Gallery

Track 16 is pleased to present Praise The Dying Beauty With All Your Breath, a group exhibition featuring Bug Davidson, Rebecca Farr, Cheryl Hazelton, iris yirei hu, Kim Kei, Coe Lapossy, Rahn Marion, Alicia Piller, Molly Segal, Camilla Taylor and Lisa Diane Wedgeworth. Curated by Coe Lapossy and Molly Segal.

Praise the world - praise its fullness and its longing, its beauty and its grief
Praise stone and fire, lilac and river, and the solitary bird at the window.
Praise the moment when the whole bursts through pain and the moment when the whole bursts forth in joy.
Praise the dying beauty with all your breath, and praising, see the beauty of the world is your own. 
– Kaddish: Beauty of The World

The artists in Praise The Dying Beauty With All Your Breath explore artmaking and the persistence of beauty in the face of collapse of all kinds. Whether cobbling together a Utopia from the midst of rubble, examining loss and rage, or refusing to look away from injustice, each artist contributes a fragile yet incandescent vision of grief and resilience.

There is an inherent tension in looking directly at the most painful parts of our existence and still  deciding to make art. It speaks to stubborn, irrational optimism. A willingness to unflinchingly face what is while creating room for what could be.

Praise The Dying Beauty With All Your Breath

One hullabaloo of an art exhibition featuring both up and coming lowbrow artists and well established artists in the Los Angeles underground art scene. 

Everything But the Kitschen Sink - Annual Group Exhibition

Colectivo Cherani is a political and artistic initiative organized by an intergenerational group of artists: Betel Cucué, Giovanni Fabián Guerrero, Francisco Huaroco Rosas, Ariel Pañeda, and Alain Silva Guardian. Its name refers to the place where the collective was founded: Cherán, a town located in the state of Michoacán, Mexico. As part of a 2011 political uprising by the Purépecha community of Cherán, Colectivo Cherani has pioneered a cultural movement that seeks to recover and invigorate the plurality of cultural expressions of the Purépecha people. The collective’s output is characterized by the use of various artistic techniques, including painting, murals, graffiti, photography, installation, and hand-embellished objects, reflecting the customs and traditions of the community. Colectivo Cherani foregrounds the importance of communal justice, self-government, resistance, and the role of art and ancestral Indigenous traditions in transforming society.

Hammer Projects: Colectivo Cherani is organized by Pablo José Ramírez, curator, with Jessi DiTillio, curatorial assistant.

Hammer Projects: Colectivo Cherani

The first institutional survey of the late Noah Davis (1983–2015) charts the breadth and depth of the American artist’s relentless output. Assembling over 50 works made between 2007 and 2015, the exhibition is organized in a manner that reflects the diverse interests informing Davis’s practice including current affairs, everyday life, family histories, ancient Egyptian cosmologies, the racism of American media, art history, and architecture. Inspired by vernacular sources—from flea market photographs to personal archives—Davis’s fluid painting style questioned complex histories of representation and image-making. Although the body of paintings he produced over a brief creative life was largely figurative, Davis employed unorthodox techniques and rich color palettes to create scenes that feel simultaneously realistic and dreamlike, joyful and melancholic, capturing the contradictory sensations of lived experience.

Noah Davis

Ancestral Futures explores how materiality, memory, and ritual are infusing contemporary Arabic design practices, weaving ideas across worlds and time. These are objects of enchantment.

Shaped in collaboration with Emirati curator Fatma Al Mahmoud, the exhibition brings together leading voices in Middle Eastern art and design from Egypt, Iran, Iraq, Kuwait, Lebanon, Morocco, Palestine, Saudi Arabia, Syria, and the UAE. Featuring work by Sara Aahli, Abdulla Buhijji, Tamara Barrage, Sultan Bin Fahad, Wafa Al Falahi, Omar Al Gurg, Areen Hassan, Talin Hazbar, Layth Mahdi, Maktoum Al Maktoum, Pots & Pines, Kawther Al Saffar, Neda Salamanpour, and Nuhayr Zein.

Across the Middle East, reverence for materiality has long been rooted in a direct relationship with the land, with aesthetics grounded in sensorial experiences of light, shadow, scent, sand, and other elemental forces. Today, in an age of technological evolution and cultural displacement, the language of ancestral materiality seduces us back to play, reimagined in ways that bridge cultural memories with contemporary curiosities.

Ancestral Futures invites us to mine memory as material, creating tomorrows that honor yesterday in every step.

The exhibition is built around three curatorial clusters, grouped to dialogue across shared material or conceptual terrain:

Material Memory 
Where sand, stone, metal, and glass become storytellers.

Ritual & Resonance
Objects become vessels of belief, care, and continuity.

Nomadic Adaptation
Design as adaptation: scalable, modular, in motion.

Ancestral Futures is paired with a curated selection of fashion and objects that extend the show’s spirit: Iranian jeweler Lina Jahanpanah’s silver brooches for living flowers; antique textile jackets by Moroccan artisan brand Zoubida; and modular fashion by QASIMI, where Hoor Al Qasimi and Māori artist Emily Karaka joined forces to create a collection exploring Indigenous connection, political oppression, and land loss.
___

Friday Gallery will host an opening reception Friday June 27th from 7-9pm during the LA Design Festival, with a curator-led tour of the work alongside key artists and designers from the exhibition.

RSVP: https://partiful.com/e/6vNcVXGhwnbEWA8pxJtK

Ancestral Futures: On Memory

Friday Gallery

The source material for The Secret Gospel Church of Phallic Worship (2025) by Mexican artist Renata Petersen (b. 1993, Guadalajara, Mexico) is an aggregate of archival materials, including pamphlets, publications, photographs, and other ephemera, used by new religious movements and fraternal orders in California to spread their ideologies and recruit new members. The installation of comic-inspired drawings on ceramic tiles tells the story of groups such as David Brandt Berg’s The Children of God, the People’s Temple of Jim Jones, and Unarius (Universal Articulate Interdimensional Understanding of Science). The artist’s iconographic study recontextualizes the figureheads and doctrines of cults, secret societies, and fringe religious groups in a nonhierarchical, unified field. The title, The Secret Gospel Church of Phallic Worship, is taken from St. Priapus Church, a San Francisco-based religious organization founded in 1979. The still-active church preaches phallic worship and avoidance of sexual frustration to its congregation of mostly gay men. Such themes of sexual and libidinal liberation permeate the history unearthed by Petersen. 

Enveloping the walls of the gallery, the installation recalls religious spaces such as the Scrovegni Chapel in Padua, Italy, where, in the early fourteenth century, Giotto di Bondone covered every surface with frescoes depicting the life of the Virgin and the life of Christ. Petersen’s church-like environment is similarly immersive and visually overwhelming, like many experiences in the twenty-first century—religious and otherwise. Petersen’s depiction of “sacred stories” of the twentieth century teems with polygamy, avarice, sexual exploitation, and the hippie aesthetics that characterize the California spirit of religious exploration. The Source Family’s infamous leader, Father Yod, appears at the installation’s center, a conceptual focal point that Giotto reserved for Jesus Christ. Petersen’s centering of Yod—whose vision extended beyond a spiritual commune and into psychedelic rock music, entrepreneurialism, and health food—draws a connection between the cult leader’s ambitions and the current atmosphere of lifestyle brands, social influencers, and upscale grocers that sell a way of life to their followers. Petersen’s role becomes that of hagiographer, chronicling the underbelly of contemporary religious thinking and documenting new-age icons that might otherwise be forgotten.

Hammer Projects: Renata Petersen

Mother Memory

Curated by Toti O’Brien

Anita Getzler
Gina Lawson Egan
Peter Liashkov
Marina Moevs
Nadege Monchera Baer
Toti O’Brien
Melinda Smith Altshuler
Nancy Kay Turner
J Michael Walker

"Mother Memory" is a group art exhibit organized by contributing artist Toti O’Brien. The exhibit explores both memories of mothers, mothering, and motherhood, as well as the idea of memory (our human faculty to recall, revive, and reinvent what is no longer accessible to the senses) as a matrix.

In what ways does memory mother us? To what extent does it create us, shaping who we are and what we do? Does it nurture us? Protect us? Can it heal us? Can it instruct and guide us? "Mother Memory" features work by nine Los Angeles-based artists, each bringing their unique perspective to the chosen theme through a variety of artworks. These pieces expand the core concept, introducing echoes of legacy, ancestry, motherland, mother tongue, and — last but certainly not least — the present and future of our wounded Mother Earth.

The exhibition is complemented by a poetry-and-performance event that will take place at Wonzimer Gallery on Friday, August 22nd, from 7pm-9pm. The event will showcase a performance ("Sound Shadows") by artists Cindy Rinne and Katia Hage, a video performance by artist Anita Getzler, and a combination of live and remote readings by seven poets:

Cynthia Anderson
Katerina Canyon
Shahé Mankerian
Toti O’Brien
Alexis Rhone Fancher
Miriam Sagan
Kathabela Wilson



Mother Memory

The Broad presents Jeffrey Gibson: the space in which to place me, a special exhibition of the artist’s multidimensional work, adapted from its original presentation at the U.S. Pavilion at the 60th Venice Biennale in 2024, where Jeffrey Gibson was the first Indigenous artist to represent the United States with a solo exhibition. Gibson’s first single-artist museum exhibition in Southern California, The Broad’s presentation includes over thirty artworks joyously affirming the artist’s radically inclusive vision. The exhibition will highlight Gibson’s distinct use of geometric design and saturated color alongside references to 19th and 20th century foundational American documents and modern music, critiquing systemic injustices and imagining a more equitable future. The show will be on view in the museum’s first-floor galleries from May 10 through September 28, 2025.

Jeffrey Gibson: the space in which to place me

The Broad 

For her first solo exhibition with Hauser & Wirth, British artist Christina Kimeze will present new paintings that explore the complexity of interior spaces, both domestic and psychological. Vibrant and uniquely textured, her canvases depict ethereal interiors, landscapes and figures—either solitary or intimately connected—with an air of mystery and mutability. Tactility is an essential element of these works. 

On a foundation of suede matboard, Kimeze combines dry chalk, oil pastel and wet paints, crushing and merging her mediums into the fabric ground. The technique gives Kimeze’s paintings an atmosphere of indeterminacy that underscores her subject matter: the shifting, transient nature of memory and shared experience.  

Recurring motifs, such as abstracted foliage and architectural arches, create delineation within the paintings and are Kimeze’s tools for blurring the lines that exist between the personal and public. In some of her more recent works, Kimeze draws inspiration from the resurgence of roller skating in Black communities in the UK, seeing it as a metaphor for flight and freedom. Through her paintings, she captures the sensation of gliding through space while also reflecting on the tension of existing between two states—both grounded and soaring. 

Image: Christina Kimeze "Carnival" 2025. Oil, pastel and oil stick on suede matboard. 102 x 81 cm / 40 1/8 x 31 7/8 in © Christina Kimeze. Courtesy the artist and Hauser & Wirth. Photo: Deniz Guzel

Christina Kimeze: Long loops

Hauser & Wirth | WEHO

Join us to celebrate the opening of our exhibitions, ‘Luchita Hurtado. Yo Soy’ and ‘James Jarvaise & Henry Taylor. Sometimes a straight line has to be crooked’ at Hauser & Wirth Downtown Los Angeles.

The Education Lab: ‘Mentoring Moments’ will provide a space to explore the transformative power of mentors and teachers, responding to the special relationship between Henry Taylor and his mentor James Jarvaise.

The galleries and Education Lab will be open from 7 – 9 pm with music by DJ XL Middleton and cash bars and food for purchase in the courtyard by Manuela, the gallery‘s onsite restaurant.

Entry is free. Please register in advance so we can anticipate visitor numbers.

About ‘Luchita Hurtado. Yo Soy’
Over the course of her eight-decade career, Venezuelan-born, Los Angeles-based artist Luchita Hurtado (1920 – 2020) committed to a lifelong journey of personal and artistic evolution defined by ceaseless experimentation. Though personally connected to a vast network of internationally renowned artists and intellectuals—including Mexican muralists, Surrealists, members of the Dynaton movement, feminists and artists in the Chicano/Latino art scene—Hurtado remained an independent and largely private, but highly prolific, creator.

Opening in June, ‘Yo Soy’ (‘I Am’) will be Hurtado’s first exhibition at Hauser & Wirth in Los Angeles. Including never-before-shown works, this presentation will bring together paintings and drawings from a pivotal moment in the artist’s evolution: Inspired by the surge of feminist activism in LA, Hurtado held her first solo exhibition at the Woman’s Building in 1974, debuting her Linear Language series of expressive, geometric word paintings. In works that were cut up and meticulously resewn, she shared her exploration of pattern, mysticism, the earth and the cosmos.

Accompanying ‘Yo Soy’ will be a selection from the Luchita Hurtado archive, including original exhibition and artwork documentation, as well as ephemera from organizations such as the Los Angeles Council of Women Artists, Womanspace and the Woman’s Building.

About ‘James Jarvaise & Henry Taylor. Sometimes a straight line has to be crooked’
‘Sometimes a straight line has to be crooked’ is the first exhibition to put the work of Henry Taylor in dialogue with that of his teacher James Jarvaise. Composed along loosely thematic lines and consisting largely of paintings, this major installation will span the 1950s to the present, with new works created especially for the show by Taylor, whose interest in landscape, alongside the figure, will be freshly explored.

A California regionalist, who taught generations of students at schools in and around Los Angeles, James Jarvaise (1924 – 2015) gained national acclaim when his abstract landscape paintings were featured in the historic 1959 exhibition ‘Sixteen Americans’ at The Museum of Modern Art, New York. One of today’s most celebrated painters, Henry Taylor credits Jarvaise with having been the first to recognize his talents, as a community college student in the early 1980s: it was Jarvaise who insisted that he take himself seriously as an artist. Taylor accordingly enrolled at CalArts but continued to bring his work to Jarvaise for his valued critiques.

This is the first exhibition of Taylor’s work to take place at Hauser & Wirth in Los Angeles and represents an idea he has long carried: to pay homage to the artist James Jarvaise who saw something special in him.

Image: Henry Taylor

—

Photographs will be taken at this event for use on the Hauser & Wirth website, social media and in other marketing materials.

Luchita Hurtado: Yo Soy | James Jarvaise & Henry Taylor: Sometimes a straight line has to be crooked

Hauser & Wirth DTLA

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

Counter/Surveillance: Control, Privacy, Agency

The Wende Museum

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

AR Open @ Venice Public Art Walls

Long before drag queens and kings became international superstars, they held a pride of place as local legends. Rooted deeply in community, drag performers push the boundaries of gender expectations while also serving flawless artistry, colorful cultural commentary, and unabashed challenges to the status quo. And of course, they do it with style: with dazzlingly over-the-top looks, the wittiest of jokes, and cathartic drama that can bring an entire room to tears. However, even while drag has been celebrated across the US and world, it has also faced unique challenges, from mid-twentieth centuries raids on queer nightlife venues and criminalization of gender transgression, to present-day attacks from conservative politicians and extremist groups.  And yet, drag artists continue to fight back, proving that glamour is not merely entertainment, but a crucial tactic of queer resistance and joy.

As a cultural home for LGBTQ+ communities, West Hollywood has persistently been a landmark for fierce and fabulous drag performance, showcasing local talent and elevating the art form to an international stage.  Since its incorporation in 1984 (and for decades earlier), West Hollywood’s contributions to drag have been mighty, including iconic clubs, raucous brunches, Pride parades, magazines, children’s story hours, an historic drag laureate, and much much more.  The city’s storied history also includes key political actions, from 1970s protests against police arrests of drag performers for “lewd” conduct, to a 2023 march declaring that “drag is not a crime!”

Presented as part of the City of West Hollywood’s 40th anniversary celebrations, It’s Where I Belong tells the story of drag in West Hollywood by uncovering rarely-seen materials from ONE Archives at the USC Libraries and from community contributions. Visitors will be treated to an array of archival photographs, videos, and flyers from drag shows and events, including appearances by celebrities like Bette Midler, Diana Ross, and Chappell Roan; drag superstars such as RuPaul, Charles Pierce, and Jackie Beat; and legendary organizations like the Imperial Court and Sisters of Perpetual Indulgence. The exhibition also features ephemera from political demonstrations and pride parades and a collection of costume pieces courtesy of local drag royalty and other community institutions.  

It’s Where I Belong will be on view at One Gallery in West Hollywood from May 22-June 29, 2025. Gallery hours are Friday-Sunday, 1-6 p.m. Visitor parking is available at the West Hollywood Library and can be validated for up to two hours in the first floor office.

As part of the kickoff to the City of West Hollywood’s Pride Month celebrations, the opening reception for It’s Where I Belong will take place following the city’s annual José Sarria Drag Pageant on Thursday, May 22, 2025, from 8-10 p.m. at One Gallery in West Hollywood. Visitors will be invited to view the exhibition, enjoy light refreshments, and meet curator Lil Miss Hot Mess. Register now for the opening reception.

Attendees at our opening reception are encouraged to participate in the scheduled program of events for the José Sarria Drag Pageant, which takes place just prior from 6-8 p.m. on Thursday, May 22. 

 Learn more about the José Sarria Drag Pageant: https://www.weho.org/community/arts-and-culture/harvey-milk-day 

It’s Where I Belong is presented by One Institute and curated by Lil Miss Hot Mess. This exhibition is made possible through an arts grant from the City of West Hollywood. For more info on WeHo Arts programming please visit www.weho.org/arts or follow via social media @WeHoArts. Special thanks to ONE Archives at the USC Libraries.

It’s Where I Belong: 40 Years (and More) of Drag in West Hollywood

One Gallery

A Traveler’s Guide to Mettlach: Villeroy and Boch showcases everyday life in the 1800s Mettlach, Germany. Scenes of everyday life in Mettlach have been documented and celebrated by Villeroy and Boch, a ceramic production company founded in 1836 when Jean François Boch and Nicolas Villeroy merged their ceramic businesses into what is now known as Villeroy and Boch.

The workers of the Mettlach factory came from diverse backgrounds, including art studios, archives, and museums. The varied backgrounds of the factory workers contributed to the artistic achievements of the Villeroy and Boch company. The Mettlach collection reflects German cultural experiences, societal interpretations, and mythology.

This exhibition shows scenes of love and relationships as well as larger themes of fantasy, offering an all-encompassing snapshot of the myriad facets of human life within Mettlach. A Traveler’s Guide to Mettlach, on view in the Robert and Colette Wilson Gallery through June 2025, presents concepts of life, laughter, relationships, and the day-to-day existence of the German people.

A Traveler&#039;s Guide to Mettlach

American Museum of Ceramic Art (AMOCA)

SoCal Critters: Howard Pierce is an exhibition paying homage to the whimsical ceramic animals Howard Pierce sculpted throughout his career. Inspired by the native and urban landscapes many of us call home, he created charming, character-filled figures in the Mid-Century Modern style, many of which are still displayed and cherished in homes today. This exhibition encourages visitors of all ages to experience the beauty and diversity of local wildlife through Pierce’s ceramic lens. In SoCal Critters, the artist’s cheery, pocketsize production-ware animals allow viewers to foster an appreciation for art and nature in a playful, educational way.

SoCal Critters, which presents about 50 of Pierce’s “critters,” will be on view in the Igal & Diane Silber Vault Gallery at AMOCA from February 8–June 29, 2025.
About the artist

Howard Pierce (1912-1994) was a Claremont-based artist who later moved to Joshua Tree to build his own studio and draw inspiration from the desert landscape. He began his ceramic career under the mentorship of William Manker, a ceramicist known for founding a company that produced Mid-Century ceramics. Pierce fully embraced this opportunity to learn and became Production Manager at Manker Ceramics before leaving to serve in WWII.

Pierce developed exceptional sketching skills that allowed him to create simple, flowing figures, which became hallmarks of Mid-Century Modern aesthetics, particularly in California but also across the United States. In 1968, Pierce and his family relocated from Claremont to Joshua Tree, where they built a new home and studio. The desert wildlife deeply influenced his work, as he sculpted porcelain animals including quail, rabbits, roadrunners, owls, chipmunks, squirrels, desert tortoises, and coyotes.

SoCal Critters: Howard Pierce

Niko presents a solo exhibition of paintings by Sam Hemmenway. 

Sam Hemmenway: SPECTACLES

Niko

Safety Blue is a performative work by artist Andrea Carrillo and choreographer Melissa Herrada which weaves together histories regarding women, labor, and oppression in the US-Mexico border. At the heart of the project is an anthropological research archive from the early 1980’s on the life and working conditions of women workers in maquiladoras, particularly in Tijuana and Ciudad Juarez. Despite its geographical focus, this work mirrors how—across the global south—women’s bodies have become political territories in dispute, crossed by colonization.

Safety Blue is an amalgamation of women’s voices and histories spanning over 40 years, urging us to rethink and contest how these bodies continue to be shaped by labor, productivity, and capital. Through a transdisciplinary approach combining video, choreography, and lecture performance, this project braids intimate and global narratives and brings the body forward.

The narrative is set against the history of modern progress, viewed through the lens of time and industrial production models, revealing the slow and often invisible violences these women sustain. Each element of the performance and installation tells a story about the relationship between time and labor and the continuous impact it has on the body.  Despite the harsh conditions, the project is fueled by the recognition and recuperation of collective forms of resistance, and by the possibility to reorient history and construct new senses of truth.

The project was funded in part by Magnum Foundation, Patronato de Arte Contemporáneo and Fondo Nacional para la Cultura y las Artes.

Tickets: https://withfriends.co/event/23554595/safety_blue