Martha Diamond: Skin of the City David Kordansky Gallery is pleased to present Skin of the City, a solo exhibition of paintings made between 1980 and 2000 by Martha Diamond (1944–2023), on view in Los Angeles at 5130 W. Edgewood Pl. from March 23 through April 27. Join us for a panel discussion featuring Katherine Brinson, Daskalopoulos Curator of Contemporary Art at the Guggenheim Museum; Olivia Funk, Director of the Martha Diamond Trust; Paulina Pobocha, Robert Soros Senior Curator at the Hammer Museum; and artist Mary Weatherford, at 5 PM on Friday, March 22, followed by an opening reception from 6:30 to 8 PM. Skin of the City is Diamond’s first solo exhibition in Los Angeles. Throughout her six-decade career, Martha Diamond dedicated herself to the investigation of built environments, exploring corporeal relationships to volume and perspective that often manifested through depictions of the metropolis. Born in New York City in 1944, Diamond moved with her family to the borough of Queens. From an early age, she accompanied her father—a doctor—on long car rides into Manhattan, where he would go on house calls. These trips imprinted the memory of urban movement, a shifting skyline, evolving infrastructure, and a sense of place as she continued to encounter—and draw inspiration from—skyscrapers in her life and work. In 1969, Diamond moved into a studio in the Bowery, where she would live and work for her entire career. She drew direct inspiration from friends and influences, such painters as Willem de Kooning, Alex Katz, Franz Kline, and Jackson Pollock, and poets such as Bill Berkson, Ron Padgett, Peter Schjeldahl, Ted Berrigan, Anne Waldman, and many others. As evidenced by her long-standing friendships, Diamond was deeply invested in the community and kept an active curiosity for a range of perspectives influenced by a fully engaged exterior world. Skin of the City surveys a range of paintings on canvas and studies on board made by Diamond over two pivotal decades, during which she solidified her standing in post-war American painting, specifically the New York School. The exhibition documents an intricate study of volume, mass, scale, and space along with the formal and thematic developments Diamond made during this period, characterized by earlier depictions of cityscapes from pedestrian and aerial perspectives and a later move towards the less referential visual language of abstraction. - Evan Holloway: Cobbler David Kordansky Gallery is pleased to present Cobbler, an exhibition of new sculptures and works on paper by Evan Holloway, on view in Los Angeles at 5130 W. Edgewood Pl. from March 23 through April 27. An opening reception will be held on Friday, March 22 from 6:30 to 8 PM. Holloway will be joined by Brontez Purnell for an in-gallery conversation on Tuesday, April 9 at 6 PM in Los Angeles. Holloway pursues the labyrinthine paths of sculpture’s long history, producing works that reflect an altogether contemporary state of mind while drawing liberally from modernist, ancient, esoteric, and popular lineages. This polymathic sensibility has allowed him to produce works that are unmistakably his own, both in terms of concept and execution. Forgoing the kind of industrialized processes that many artists would use to produce similarly ambitious forms, Holloway works hands-on, at 1:1 scale, creating objects that are attuned in equal measure to internal weather patterns of intuition and abstraction, collective cultural phenomena, and a sense of connection with a wide range of audiences. In Cobbler, Holloway presents new works in which he incorporates sculptures of dresses and shoes he has made himself, as well as elements that slyly appropriate the mechanics of retail display. As a whole, the show wears the garb of a store as kind of formal drag, one in which fashion and commercialism are spiked with mind-expanding doses of color, geometry, and material experimentation. As looking becomes conflated with browsing and buying, interaction with art becomes more personalized, more deeply caught up in personal modes of relating that include physical desire and affiliation with a preferred aesthetic. Holloway draws paradoxical inspiration from the increasingly common cross-pollination between art and fashion, looking for cues not only from the world of haute couture, but from the ways in which designers borrow—and take—from artists. - Curated by Hilton Als, No heaven, no how features sculptures, paintings, and works on paper by Jared Buckhiester, including new works that continue the artist's explorations into contemporary and historical representations of masculinity. The following is an excerpted text written by Als about his first encounters with Buckhiester’s work: "Jared’s (the draughtsman) interest in style—in how garments can sometimes define the male body; masculinity as a kind of uniform—is no doubt informed by his work in fashion, where a great deal of time is spent on a garment's line. But fashion celebrates the sleight of hand, the temporary. Jared's beautiful, lyrical hand is permanent, and filled with the history of art created during his time, and beyond. His creations make manifest what we could never imagine ourselves, and how grateful are we for that?"