Alex Hubbard
Abstract or Regular?
Regen Projects
July 11 - August 15, 2026


Alex Hubbard

Alex Hubbard is best known for bold abstract paintings made from a variety of traditional (oil/acrylic paint) and more experimental materials (urethane, resin, and fiberglass). To create these works, Hubbard often takes in his surroundings, distills his observations of the natural world and built environments before transforming his impressions into abstractions.

Hubbard has included video alongside paintings in previous his exhibitions, but this presentation favors video sculptures. On view is only a single, modest sized painting, hung on the entry wall outside the main space. Titled Bone Orchard (all works 2026), it is an abstract composition with objects scattered across the foreground in front of a large white shape — akin to an animal torso. It is surrounded by plant fragments and other utilitarian objects that are difficult to identify. The ambiguity of the image is both intriguing and unsettling. The painting functions as a strange introduction to what is installed in the darkened interior space, hidden behind black curtains. Here, one encounters six wooden structures each supporting a projection mapped animation.

"Wow" is the word that first comes to mind upon entering the main gallery, followed by, "this is quite a surprise." Strategically placed around the room are six larger than life sized sculptures each supporting a looping animation (from a nearby projector) that not only fills the odd cut-out shapes, but in some instances also spills onto the floor and walls. The imagery is quirky and nonsensical, ranging from circling snakes to a billowing tent surrounded by googling eyes to a hippo's head to a spinning wheel, as well as an oil can that supports a huge illuminated pickle and smoking cigarette.

In Snake Island, multi-colored brightly patterned snakes circle upon each other following the motion of a Mobius strip, mouths infinitely swallowing each other's tails. For Self Portrait, Hubbard depicts himself as a cartoony white larva/worm with bulging yellow blinking eyes and a long pink tongue that sags onto the floor. The giant blue hippo (or dinosaur) head in Incubus sheds tears from a closed eye while its blue tongue wavers in an ungainly mouth held open by a bight red stick. The creature appears anguished and helpless, a departure from traditional/popular commercial animations.

Somniloquy is the medical term for talking unaware in one's sleep — and in Hubbard's like named animation, a light blue tent held in place by red pegs undulates in the dark. Expanding and contracting like lungs filling with air, a rounded blue shape appears on the wall behind it while hidden 'ghosts' with googly eyes around it are caught off guard. Hubbard's tent is presented as an uninviting place to camp. The colorful array of projected imagery embraces technology while still being relatively low tech. It is both serious and ironic: exact, yet also off. A celebration of the hand made in an age of AI perfection.

Looking more closely at the animations, one is drawn to their inexactness and funkiness, prompting questions about intentionality. Does the fact that the projections are slightly out of focus and spill over the edges of their supports add or detract from the presentation? Titled Abstract or Regular? the exhibition poses questions that it does not answer. An 'abstract' is a summary and a concept that may only exist in the mind. It also refers to non-representational artworks. 'Regular' is that which is normal or usual: it is the most common type of gasoline. Pondering how much these pieces resonate conceptually, technically and artistically, Hubbard lets his viewers decide to what extent the works are metaphors versus representations.

Click here for Alex Hubbard on its own page.

Kat Murphy and Heidi Johnson
A Tin Can on a String: Conversations from the Collection
Lyman Allyn Art Museum, New London, CT
May 16 - August 9, 2026


Installation views

Mining the Museum at the Maryland Historical Society (1992-1993) was one of the first exhibitions where a contemporary artist was invited to examine and reinstall a museums collection. For this project, Fred Wilson illustrated the inherent biases and injustices that were present in the collection and the galleries. His installation critiqued and exposed the absence of an African American point of view. Since then, numerous institutions have invited artists to peruse their archives and represent their collections in various ways.

A tin can on a string is a simple acoustic device where two cans are connected by a tight string. When holding the can to one's ear, one can hear sounds spoken into the other end. The replication of the sounds or utterances are not perfect, which allows for interpretation. Kat Murphy and Heidi Johnson examined the collections of the Lyman Allyn Art Museum at Connecticut College, selecting objects and paintings to use as a point of departure for their artwork. Aptly titled A Tin Can on a String: Conversations from the Collection, the exhibition is just that: a collaboration and a conversation about past and present between two contemporary artists. It is a dense exhibition with numerous wall, as well as floor based works including historical objects as well as new pieces by Murphy and Johnson.

Though this is their first official collaboration, Murphy and Johnson have been friends since art school and while they take different approaches to their art making, this project has allowed them to focus on their intersections and shared love of certain kinds of objects, as well as history and the role of art in contemporary culture. The conversations that developed stemmed from not only their long friendship, but also from their willingness to integrate personal stories into their works. How the personal relates to a more collective consciousness is key to understanding the significance of the exhibition.

Johnson's large scale paintings are for the most part densely populated, a menagerie of invented and observed animals negotiating their survival in hyper-real interior and exterior spaces. Murphy does not work in a single medium and in this installation, she presents paintings, drawings and mixed media sculptures that transform preexisting imagery into something magical and unexpected.

For example, Murphy's Neon Sisters (2026) is on view in the exhibition alongside Abram Poole's oil painting titled The Spanish Sisters (1925-1928). Murphy simplifies the original into a purple illuminated line drawing made of LED lights, removing all but the sister's dresses, a fan and a bouquet of flowers. Murphy also recreates a pair of porcelain Staffordshire Poodles and a 19th century cameo pin showing birds in a bath from a Pompeiian mosaic. These enlargements are engaging reinterpretations that illustrate the expansive nature of the Lyman Allyn collection. Murphy's Pippin Empire (2026) includes her dachshund Pippin. An Empire-style sofa from the collection is situated in the corner of one of the exhibition galleries. It is placed on a wooden pedestal next to a dog shaped stool. The ensemble is roped off as it would be in a traditional museum display of furniture. On the wall above it is Murphy's re-interpretation: a rendering of the sofa in a carpeted room with bright blue wall paper covered with a pattern of high heel shoes. A similar pair of shoes sits on the floor in front of the sofa. Looking out at the viewer from the couch is Murphy's dog Pippin wearing a historical ruff collar. The artist delights in this intervention, humorously bringing herself into the work.

In The Olympians (Barkley's Fairy) (2026), Murphy integrates fragments from disparate images — ranging from a Larry Fink photograph to a collage by Romare Bearden, and a painting by Barkley Hendricks — into a composition that weaves a new narrative from past to present.

Like Murphy, Johnson is also interested in creating narratives from preexisting sources and the Lyman Allyn collection provided her with ample materials. She integrated representations of Audubon's engravings of doves into the painting Audubondance (2026). In this large-scale oil on canvas, numerous birds of myriad species, colors and sizes populate a lush green tree filled landscape along side a pink flamingo and a growling brown bear. Porch (2025) is a three panel painting that juxtaposes inside and out. Two dogs on a porch, one perched on a chair reminiscent of George Nakashima's Conoid Chair (from the collection), gaze into a landscape beyond. Johnson's painting is a combination of fragments from a range of works from the collection. In addition to the Conoid Chair, this work includes painted renditions of Jane Peterson's Zinnias (1925-1956), a Tiffany Studios dragonfly lamp, the Staffordshire Poodles that Murphy also recreated, as well as a caged parrot figurine (18th century) and birds in a rounded glass vitrine (19th century).

In describing this painting, Johnson talks about the different reasons for collecting and how in essence, collections tell a story of a life. She states, "When I made the painting, Porch, for the Lyman Allyn’s exhibition, I incorporated beloved pieces acquired by local residents during New London’s whaling heyday. The objects are set in the container of a familiar and homey New England porch and guarded by a trusted, yet skeptical companion: Scout [one of the artist's three dogs], who is perched on the Nakashima chair. I wanted to show the evolution of a big painting where things are left in or out according to the artists emotional and design decisions." Johnson's painting Alchemy includes a self portrait. It weaves together a narrative that moves from faux pyramids in Las Vegas, to falconry to mummies. Coming across a mummified falcon in the museums collection prompted Johnson to think about a recent trip to Egypt and the relationships between Gods, myths and coincidence. Encircled by powerful falcons, the artist depicts herself with the all knowing third eye in her forehead, acknowledging the desire to attain the unknowable.

The installation of Johnson and Murphy's works is presented as a dialogue. The gallery spaces contain both artists works, as well as objects from the collection, allowing viewers to move forward and back in time. While some of the works are replicas of objects from the past, both artists discovered numerous surprises — things that resonated personally — during their investigations and ingeniously integrated these finds into new creations.

Click here for Kat Murphy / Heidi Johnson on its own page.

Spencer Finch
Balboa of House and Garden
Lisson Gallery
June 26 – August 22, 2026


Spencer Finch

In 2013 “The Gorgeous Nothing,” a facsimile edition of fifty-two poems Emily Dickinson composed on scraps of paper and discarded envelopes was published, giving readers the opportunity to encounter these handwritten creations firsthand. Following Dickinson, Spencer Finch has created his own version, “Gorgeous Nothings,” a series of intimate, works on paper that are installed unframed as a frieze along the gallery walls.

Finch is best known for ethereal light installations in which he covers windows with colored gels to transform the aura of an interior space so as to parallel his experiences of natural phenomena. “Balboa of House and Garden” includes two of these pieces, but they are not the primary focus of the exhibition. One consists of three fluorescent fixtures wrapped with blue filters or gels. In the main gallery, Finch has covered the skylights with transparent strips in various shades of blue — informed by light measurements Finch made of a passing cloud in Dickinson’s Amherst, Massachusetts garden. When the light is right, they cast an array of blue-hued shadows onto the walls and floor.

The second installation sits outside the gallery, “Wreck (Raft of the Medusa)” (2026) is situated in a found commercial dumpster filled with casually presented but carefully chosen detritus that resembles a dilapidated raft. It is, of course, a tongue-in-cheek interpretation of Théodore Géricault’s iconic “The Raft of the Medusa” (1818-19).or horror. The baby Es looks out at us, rather than gazing into their mother’s eyes as in the original photo. Es’s painting challenges the complacency of the moment.

While these larger pieces align with Finch’s body of work in general, it is the “Gorgeous Nothings” that are the centerpiece of the exhibition. To realize this rich, subtle, evocative body of work Finch collected scraps of paper — picking up envelopes from the street or saving junk mail he received, as well as gathering fragments from his personal correspondence. Rather than draw atop the found envelopes or use them for collages, he scans the originals, prints and then cuts the shape to scale from pieces of archival inkjet paper. He uses these “reproductions” as backgrounds on which he draws, paints or collages other materials, often creating a trompe l’oeil effect. Handwritten poetic captions are present toward the bottom of many of the images to identify the what and the where.

For “Gorgeous Nothing 10, After JJ” (all works 2026), Finch begins with a security envelope open so that the blue crosshatched pattern faces out. Over this he collages orange, green and purple shapes that quote Jasper Johns’ painting “Momoyama” (2025). In “Gorgeous Nothing 44, After Matisse,” Finch pays homage to the French master in his depiction of a small cluster of flowers — cyclamen — in the blocky style of Matisse’s cut-outs. The ground is an off-white envelope that is open like a book and torn. Another homage, this one to Ed Ruscha, occurs in “Gorgeous Nothing 28, Sunset from Sunset Blvd. 3/3/26,” a watercolor of a lone palm tree set against a yellow-blue gradient — the referenced sunset — filling the top portion of the envelope.

Finch’s envelopes are small, the size of the original correspondence, and because they are cutouts they are not uniform. This is what makes them intriguing. They are extremely personal, filled with observations that are more banal than extraordinary, but Finch elevates the everyday into something special and poetic. For “Gorgeous Nothing 16, Sunlight on the Gowanus Canal,” Finch adds gold leaf to a dark blue envelope referencing sunlight reflected on the famous canal in Brooklyn. The caption at the bottom of “Gorgeous Nothing 14, Following a bee,” simply states “following a bee.” This image juxtaposes a printed piece of wallpaper from Emily Dickinson’s bedroom that features a red flower. Finch has imposed a heavy pencil line emanating from the flower to the edges of the page that simulates the flight of a bee without depicting the bee itself.

Because envelopes are normally considered expendable, they are not something that most people pay a lot of attention to. But, given their variations in shape, size and color, as well as the patterns that fill many of the interiors, they exert their individuality. Finch’s augmentation and interpretation further transforms them into something precious and valuable. In “Gorgeous Nothing 8, After Brecht (1939),” a beautifully rendered tree surrounds the address window of a direct mail campaign. The envelope from UNHCR addresses Spencer, stating, “an urgent request from the front lines of the war in Ukraine.” REMINDER is stamped in red. Finch has inscribed the envelope with a handwritten text inspired by Bertolt Brecht: “What times are these when a conversation about trees is almost a crime because it includes a silence of so many horrors.”

Each of the 50 plus artworks is different type of meditation — be it on time, nature, culture, or art — his own or that by others. Some are simple, others are quite complex. The series displays both formal and conceptual rigor and when viewed in relation to the subtle transformation of the light in the room it becomes evident that Finch’s intentions are to use everyday materials and experiences to change the banality of what he has been given into something unexpected that frequently offers a burst of surprise. It’s better than an homage to Dickinson, it’s an aesthetic collaboration.

Click here for Spencer Finch on its own page.

Various Artists
In Minor Keys
Venice Biennale 2026
May 5 - November 22, 2026


In Minor Keys

Reviewing the Venice Biennale is always a challenge. How does one make sense of the curatorial premise of the large group exhibitions in the Arsenale and the Central Pavilion in the Giardini in relation to the various national pavilions, as well as the numerous collateral events located throughout the city. As contemporary exhibitions are often seen in relation to historic Venice, it is a delight to view them together. One of the thrills of visiting the Biennale is seeing contemporary art in old churches and otherwise closed palazzos that have been reconfigured for new exhibitions.

As always the journey through the city and all the art it has to offer is best when one has numerous days and can leisurely stroll through the great variety of locations.

In 2024, Koyo Kouoh was selected as the first African woman to curate the main exhibition. She tragically passed away a year before the Biennale was to open so a committee of her colleagues and collaborators was formed to follow through with her curatorial vision. Titled In Minor Keys, this sprawling show unfolds in two locations and includes more than 110 artists. Kouoh's democratic attitude of inclusivity pervades as the selected artists span a wide range of countries and cultures. Some were commissioned to make site specific installations, others show single or multiple works from their oeuvre. While the presentations within the Arsenale and the Central Pavilion do not exclusively represent the now, the artists selected for In Minor Keys collectively become a snapshot of art in 2026. In this time of war, protests, climate change and social injustice, the curators have successfully integrated artworks that look both forward and back in time, address conflicts and struggles world-wide, while simultaneously depicting a potentially positive image of the future.



The works installed in the the first rooms of the Arsenale often set the tone for the entire exhibition. Right away viewers encounter Khaled Sabsabi's multi-media work Khalil, an eight channel video projection presented in the round intersecting with painted imagery. Sabsabi's works are also installed in the Australia Pavilion. He states that these dual presentations "continue his poetic inquiry into spiritual and everyday journeys shaped by commonality and difference." Other noteworthy installations within the Arsenale include Cauleen Smith's immersive The Wanda Coleman Songbook, a meditation on Los Angeles that uses poet Wanda Coleman's writing as a point of departure, as well as Michael Joo's installation Noospheres: Expanded where four suspended LED screens are balanced by an immense armature that includes weathered pylons. Other highlights include Carrie Schneider's photographic sculpture First Living Woman, a one-kilometer-long photograph devoted to the only moving sequence in Chris Marker's La Jetee; Sofia Gallisa Muriente's photographs and Super 8 films; as well as Kader Attia's collages and mixed media installation that juxtapose projections and ropes hung from the ceiling.



The Arsenale also houses a number of International Pavilions: standouts included Argentina with Matias Duville's installation of drawings on the floor made from salt and charcoal, RojoNegro representing Mexico, and the Applied Arts Pavilion that housed Gala Porras-Kim's evocative installation examining museum practices. I was also captivated by the Nonument Group representing the Republic of Slovenia whose piece scattered debris from past Biennales to create a new set of ruins as the backdrop for fragmented poetic and political texts projected onto black walls. The piece was an investigation of Venice's historical military and naval power. Raphael Vella representing Malta presented Praying For A Revolution That Will Never Come, a two channel video that juxtaposed more than 2000 hand drawn protest drawings culled from an archive that housed Maltese protest imagery. The softness of the line drawings in contrast with the harshness of the imagery invited pause and contemplation.

The Italian pavilion which is located toward the back of the Arsenale is easy to miss. The selected artist this year was Chiara Camini who filled the space with exotic and compelling figurative sculptures at once stoic and vulnerable.





Highlights from the Giardini were Oriol Vilanova representing Spain who covered all the walls of the pavilion from floor to ceiling with commercially produced postcards he has collected at flea markets for twenty years. The imagery was organized by dominant colors, as well as subject. While the work had both formal and conceptual rigor, seeing images of mountains, sunsets, objects and tourist attractions from all over the world was extremely satisfying.

Japan's pavilion was a bit uncanny. Ei Arkawa-Nash created an environment where visitors could "adopt" a baby and carry this doll throughout the exhibit. Titled Grass Babies, Moon Babies, the space was filled with toys, changing tables, and more than 200 dolls with different colored skin wearing brightly colored jumpsuits. Some guests hugged their dolls as if they were alive while others chose to wander the space childless.

The Dutch pavilion was a performative installation by Dries Verhoeven who transformed the usually bright and airy Gerrit Rietveld space into a dark, haunting fortress. Those willing to wait in line and be locked into a progressively darkening space for the duration of the performance experienced a confrontational and unsettling scene: a solo performer (sometimes a man, other times a woman) voicing raw grunting and sometimes indistinguishable guttural sounds as the audience sits, trapped within the space. The piece explored tensions in today's world.

While in past years painters dominated, in 2026 the only national pavilion to present a solo exhibition of paintings was Great Britain. Predicting History: Testing Translation featured quasi-narrative paintings by 2018 Turner Prize winner Lubaina Himid. Himid created a suite of multi-panel paintings featuring both domestic and pastoral scenes rendered in a careful medley of styles.

The Pavilion of the Holy See (otherwise known as the Vatican pavilion) was curated by Hans Ulrich Obrist and Ben Vickers, in collaboration with Soundwalk Collective and is located behind tall walls in a secluded and quiet garden right next to the main train station. Visitors are given headphones to wear as they wander freely around the lush grounds in a 17th century convent that is never open to the general public. Experimental music, chants and choral pieces by 24 artists ranging from Patti Smith to Brian Eno are triggered by sensors along the route.





Collateral exhibitions of note include: Helter Skelter which pairs Arthur Jafa and Richard Prince at Fondazione Prada; Trilogy of Uncertainties organized by the Fondazione In Between Art And Film and located in a 16th-Century building that once served as a hospital. Among the eight commissioned projects is Lawrence Abu Hamdan’s 15 channel video display titled 450XL: The Story of a Fugitive Sound that evocatively fragments myriad protests as they unfold across the various screens. Amar Kanwar at Palazzo Grassi and Lorna Simpson at Punta della Dogana are must sees as well. Exhibitions of works by Sherin Neshat, Man Ray and the spectacular embroideries of news photographs of the Gaza Genocide organized by Palestine Museum US at the Palazzo Mora also prove memorable.







Click here for Various Artists on its own page.

Refik Anadol
Machine Dreams: Rainforest
Dataland
June 20, 2026 - January 31, 2027


Dataland

Dataland is a new immersive exhibition space located in downtown Los Angeles conceptualized by the Turkish American artist Refik Anadol and his wife Efsun Erkiliç. Anadol is touted as a data visualization visionary — a boy wonder of sorts — known for immersive installations and public art projects in which architectural exteriors appear to come alive with projection and sound. For example, in 2018 the LA Philharmonic invited Anadol to produce an expansive work for the facade of Disney Hall. He was also commissioned to create an ever-changing display of undulating imagery for the 2023 Grammy Awards. Anadol draws from a range of sources including his own biometrics, environmental and scientific data, as well as art history. He uses his sophisticated computational skills to engage with new technologies including AI to compile images, data streams and sounds that result in complex generative animations. While his works can be shown on small screens, when they are projected large or screened on high tech, LED displays they have the greatest impact. In many instances, Anadol has built immersive spaces where floor to ceiling displays surround the viewer. Anadol's list of projects and exhibitions is impressive for an artist still in his 40s. It is incredible that in less than twenty-years, he has built a studio and accomplished so much.

Some highlights include Unsupervised, Anadol's exhibit at MoMA where he used the collection as a point of departure, employing AI to "walk through its conception of MoMA's collections and reimagine the history of modern art and dream about what might have been and what might be to come." According to Anadol "the AI-based abstract images and shapes are the result of the machine’s unsupervised learning of modern art and are dictated by the Museum’s collection archive." The captivating result was an ever morphing display that filled a bright 24 x 24 foot digital screen in the museum's lobby. In Los Angeles, his first solo gallery exhibition was in 2023 at Jeffrey Deitch Gallery. Here, viewers unfamiliar with Anadol's work were introduced to his process and visual language and could see first hand how he integrates aesthetics and technology. Some of the pieces were purely visual — sensational flows of colorful undulating forms culled from real-world data, while others were purposely more didactic and explanatory, presenting viewers with source materials and snippets of the code used in the works to help understand how Anadol and his studio transform data. Three years later Anadol just opened a permanent display, a quasi-museum called Dataland.

Dataland is billed as "the world's first museum of AI Arts and digital ecosystems." It is a self-funded (ie. not a public or non-profit institution) space that functions as a private museum. A visit to Dataland is not quick, nor should it be. Tickets are expensive and entry is timed and limited to a fixed number of viewers per hour. Visitors put on booties over their shoes and are wear devices around their necks that emit smells and watches to record their personal data that is then integrated anonymously into the machinations of the exhibition. Once the group is ready, they move through a darkened corridor and down an escalator into the "main chamber" of the installation.

The initial exhibition titled Machine Dreams: Rainforest occupies five "multi-sensory galleries," each immersive in its own way. "Gallery A - The Data Pavilion Latent Forest" is a cavernous space in which ever-changing images, inspired by Anadol's memories of his visits to the Amazon rainforest surround viewers. The display is powered by 84 high resolution projectors and numerous speakers. As viewers traverse the environment, the atmosphere — including projected flora and fauna — changes continuously.

"Gallery B - Latent Gallery" has three stations set up for viewer interaction. Here, one can select different "forms" and see how these various choices change through interactions on smaller screens. Human touch becomes a "data painting" and motion sensing technology tracks body movements turning them into fluid shapes, lines and patterns. Viewers can save their "creations" and scan QR codes to download them to their personal devices.

In "Gallery C - Infinity Room" and "Gallery D - The Sanctuary" smaller groups of visitors are invited into dark spaces where they witness projected displays that last around eight minutes each. The infinity room is a staple in Anadol's installations: it is filled with dream-like imagery that surrounds the viewer. This iteration titled The Dream of Ruwe Pinu was inspired by Anadol's trip to the Amazon rainforest and is comprised of a beautifully animated humming bird, butterflies and other creatures that flutter and flow as viewers watch this magical world unfold.

For Anadol, "The Sanctuary" was conceived as a more contemplative environment — a sanctuary — that offers protection and a place for restoration. A continuously evolving image spills out of a digital box like exploding waves. Modeled using AI and drawing from the visitors biometrics, the multi-sensory display bombards the viewer's visual field.

Dataland is quasi-educational entertainment. While thought provoking and visually engaging, a sense of art-world criticality is missing. It has more in common with "Immersive Van Gogh" than with a visit to traditional museum. It succeeds as a replica of life generated by numbers and sophisticated AI engines engineered to be a sensational immersive experience. To the layman however, it feels impossible to understand the technology and the fusing of datasets and imagery. The experience becomes one of image bombardment and sensory overload. The wow pervades, overwhelming the why and how. Any red flags about AI including energy resource allocation, or even Anadol's concerns about climate change get lost in the sensationalism of the spectacle.

Click here for Refik Anadol on its own page.

Evita Tezeno
Coming Home: A Gathering of Voices
Luis De Jesus Los Angeles
June 14 - August 15, 2026


Evita Tezeno

Evita Tezeno's paint and mixed media collages are celebrations filled with couples or groups of people singing and dancing, sharing meals, playing games at a table, or relaxing at the beach. Her process is to screen or paint large sheets of paper with different types of patterns — ranging from floral to striped to textured monochromes — and then cut them into shapes that define architecture, body parts, clothing and facial features. These shapes are finally combined onto large canvases to become people interacting in a range of locations. For the exhibition Coming Home: A Gathering of Voices, Tezeno draws from her Creole roots, as well as memories growing up in Port Arthur, Texas to create a colorful and intriguing body of work that gives voice to Black cultural history.

In the foreground of Fais Do-Do (2026), a Black musician strums on his red guitar. Next to him, another man plays an accordion. Behind them is a woman in a fancy, flowered dress with bright red lips and a pink flower in her hair. She appears to be singing along with the music as a couple slow dances in the background. Though not specific, the setting is an unadorned, brightly lit interior where dozens of lightbulbs are suspended from black cords that criss-cross a dark red ceiling. There is a window toward the back through which a blue sky, dotted with white clouds is visible. The scene radiates the joy of a positive memory.

The remarkable intimacy of Tezeno's scenes is further enriched by the complicated process of their construction. The compositions are composites — each figure is built from numerous interlocking and overlapping shapes. From a distance, the works cohere, but when viewed close-up, the collage quality dominates and the images become carefully composed puzzles.

You Are the Witness to My Joy, the Keeper of My Fears (2026) features two women with sizable heads and exaggerated features — akin to figures found in "traditional" African art — bulging lips, large brown eyes and nostrils. Both women have stylized, short, wavy, black-gray hair and are wearing brightly-colored flowered shirts that are fastened with 'real' vintage buttons sewn through the canvas. They are located in a garden filled with with pink flowers on a sunny day. While their clothing and the landscape that surrounds them define the scene, what stands out in this and most of Tezeno's works is her portrayal of faces. The heads are uncharacteristically large with features reminiscent of folk-art.

The man and woman seated on a couch in a wallpapered interior in Gimme Some Sugar (2026) face each other in a moment of intimacy while simultaneously staring directly at the viewer. Their clothing blends in with the patterned couch and wall paper that surrounds them. Behind is a window where Tezeno places a tree with four birds. While the loving relationship between the couple is the subject of the image, equal emphasis is placed on the formal elements of the composition: a cropped interior with competing floral patterns. A positive aura also pervades Happy Feelings (2025) which depicts a family gathering. Five figures are standing or seated outside in a grassy yard on a sunny day, cooking, engaging in conversation and genuinely enjoying each other's company.

In a time of crisis, political uncertainty and raging wars, Tezeno offers an alternative spirit. Her works are filled with loving couples and explore community and family dynamics. Rather than use current events as a point of departure, Tezeno creates works based on familial and ancestral memories. Her images have a timeless quality and while her compositions are flat and fragmented, they reify the idea that combining disparate elements — in this instance a range of prints and patterns — can generate meaning that goes beyond the individual components.

Click here for Evita Tezeno on its own page.

Ayin Es
Relative Strangers
Craig Krull Gallery
May 16 - July 4, 2026


Ayin Es

For Ayin Es, art and life are interconnected. In paintings, drawings and installations, they integrate and expand on aspects of their personal life. In the late 1990s, Es shifted from being a professional musician to becoming a full-time artist and since then, has shown their work extensively in galleries and museums in Southern California and beyond.

The paintings in Relative Strangers represent a new direction for Es. Using vintage family photographs as a point of departure, they look beneath the surface to challenge the depicted narratives. Es is open about their transition, disability and feelings about gender politics and through this series of works, they delve deeper into their own traumas with respect to family history. The works are unsettling compositions that illustrate estrangement within a 'family' dynamic. In a previous exhibition On the Mend at Compound in Yucca Valley, Es explored their gender-affirming surgery and struggles with mental illness through paintings and cartoon-like self-portraits with dog ears and a jagged red line across their chest, as well as hand-sewn illustrations of pill jars. They also created an 'ironic' sculpture made with smiling stuffed animals. Es's work, though serious and to the point, is not without humor.

Relative Strangers consists of loosely rendered quasi-realistic paintings on paper, panel and canvas. After their parents death, Es came upon a tattered suitcase at the back of a closet and used these old family photographs as source material. In the works, Es imagines what life might have been like if their 'trans' identity were represented in the pictures and how that might have impacted the family dynamic. What would those images look like? To provide context, Es includes an album with the snapshots for viewers to peruse.

Disorderly Conduct (2022) is a painting based on a 1975 photograph depicting Ayin with their mother and grandmother. In the photograph, the young "Ayin" is depicted holding up a garment of bright red taffeta fabric, smiling as she poses for the camera. Their mother and grandmother recline on a large bed in the background, paying little attention to the antics of the little girl. Painting changes from the photograph include bulging eyes and clown-like smiles on the mother and grandmother who now direct their gaze at the girl, as well as the transformation of the mother's hand into a large cartoony white glove that points at the young girl's chest revealing a long horizontal red scar.

In the watercolor Young Exemplaries (2025), Es uses a photograph from 1969 as a point of departure. This photograph depicts a family of four on a sidewalk standing on front of a large tree with a 60's era car and the hint of an apartment building in the background. This is an image of a so called 'traditional' family. Es is cradled in their mother's arms, while the father rests his hands on the older brother's shoulders. In the photograph, the boy appears to be happy and laughing, whereas in the painted image his expression more closely resembles fear or horror. The baby Es looks out at the viewer, rather than gaze into their mother's eyes as in the original photo. Es's painting challenges the complacency of the moment.

Many of the other paintings also present alternatives to the photographs they are based upon as Es reinterprets these snapshots as they would 'like' to remember them. In works including Sucker (2025), A Dangerous Frisbee Cake (2026) and Check the Pulse (2023), the young Es has blackened eyes and a distorted mouth. Check the Pulse features a teenaged Es and an older woman, presumably their grandmother, seated on a bed looking at official looking printed documents. Above the grandmother, who has an expression of shock on her face is a cloud that is pouring down rain. In contrast, a rainbow emerges out of Es' head. In this image, Es is depicted post 'top' surgery, with their chest covered by a long red scar. One eye is a blur of black and their mouth is a distorted red line. A Dangerous Frisbee Cake is also a disconcerting image. Here, thick goopy black tears cascade down from the young girl's eyes as she rests her head on her mother's shoulder. The two are seated on yellow chairs at a table in front of flowered wallpaper. Placed matter of factly on the table is a handgun alongside an uncut brown cake.

Es depicts their childhood as anguished and unsettling. The innocence and joy often seen in family photographs has been extracted from the images and replaced with darker scenarios that allude to Es's unhappiness and discomfort . The comfort of middle class Southern California is subverted and the figures are distorted — given multiple eyes, bleeding mouths and in the images of the young Es, they call attention to the forthcoming surgery. What injustices may have occurred are never explicitly detailed, however Es alludes to the fact that the moments captured within the photographs are not happy memories and through her painting, they seek out a history more aligned with contemporary reality.

Click here for Ayin Es on its own page.

We're Very Well Read, It's Well Known: 400+ Artists Paint Their Favorite Books
Mural Conservancy of Los Angeles
May 23 - September 6, 2026


We're Very Well Read, It's Well Known

Matt Gleason put together an expansive exhibition with 474 artists called We're Very Well Read, It's Well Known: 400+ Artists Paint Their Favorite Books. Each submitted a 6 x 9 inch panel covered with a reference — be it direct or obtuse — to their favorite book. The artists were told that the works would be installed salon style but other than that, the directive was open ended. Not everyone made paintings. Not everyone made vertical works. Some had dimensionality — in that they were more sculptural, not flat. The results are astonishing. Not just the quality of the paintings (or drawings or collages or photographs) but the intent, and the purposeful choices the artists made.

Full disclosure: I participated in this exhibition with a painting based on Paul Auster's City of Glass from 1985. Why City of Glass? Paul Auster was one of the first authors I diligently followed, reading his new novels, poetry and essays as soon as they were published, buying first editions in hardcover to the point where now they now fill multiple shelves. The cover of City of Glass (at least my edition) pictures New York aglow, but also silhouetted. The book unfolds like a labyrinth. Without much deliberation, this was my choice and my painting is an abstracted city inline with the paintings I have been making for the last several years. I was pleasantly surprised to find two other very different interpretations of the same book in the exhibition, one by Kenny Harris and the other by Joshua Aster. Around the time I sent the artwork, I purchased a copy of Ghost Stories, a memoir by Siri Hustvedt, Auster's window (he died of lung cancer in 2024). I was fully engrossed with his world and work which made the making of the painting more personal and significant. I wondered about the other artists' stories in relation to their choices.

With so many artists, the opening was jam packed. The images covered every wall, stacked two or three high. Upon arrival, one had to consult the robust website just to find their item number and locate their work from the multitudes. In the process, there were hellos and hugs, as well as marveling at other artist's creations. What also has been extra special is seeing the announcement coupled with so many artist's paintings on social media. Everyone was delighted to participate and share their work, as well as document their experience.

History books, children's books, novels, as well as theory, and art books appear. Some artists included the author and title, others painted or illustrated their impressions ranging from portraits to landscapes to pure abstractions. Buzz Spector contributed a painting where a black line depicts a blank book against a white ground. He calls it Any Book, by Any Author. Lawrence Gipe realistically reproduces a fragment of the cover of Guy Debord's Society of the Spectacle. Sant Khalsa collages the ring of a tree in her interpretation of Pete Wohlleben's, The Hidden Life of Trees. Sunset Strip by Ed Ruscha is recreated by David Horri. Pride and Prejudice by Jane Austin is transformed into a Modrian-esque abstraction by Frederika Beesemyer Roeder.

What is so extraordinary about the concept and the presentation is not just the fact that artists read, as clearly they do. What artists read is as diverse as what they paint. Collectively, as the exhibition title states, "We're very well read" and "we're making it well known."

Click here for Various on its own page.

Clayton Schiff
Lay of the Land
Sebastian Gladstone Gallery
May 22 - July 2, 2026


Clayton Schiff

There is something eerie and unsettling in Clayton Schiff's depictions. His large-scale oil paintings are soft-toned and subdued urban scenes often featuring a distorted figure — part human, part animal, or alien. At first glance, normal settings or interactions become surreal and mystifying scenarios. The works appear to come from observations and encounters during walks around the city that resonated and it is these real (or imagined) scenes that are transformed into paintings. For example, images of a man urinating, or someone walking alone along a moonlit path — what could be construed as banal moments, easily forgotten — are significant for Schiff. As the title suggests, they become the Lay of the Land.

The Lot (2025) is a claustrophobic composition of a small urban lot filled with robust patches of grass and flowers. It is bordered by two tall concrete walls and a yellow-gold barrier with diamond-shaped peep holes. Behind it, as if located across the street, Schiff paints the facade of an apartment building that presumably continues beyond the top of the painting. Through one of the peep-holes, Schiff depicts the face of a man who gazes intently at the confined scene.

In The Presence (2026), a man strides down a biking or walking path alongside a body of water. In the distance are a few buildings lit from the interior, as well as ample foliage. It appears to be dusk as the distant sky glows subtly at the horizon. Oddly shaped clouds encircle a yellow moon that illuminates the contour of the man's head, as well as one of his eyes. Does 'the presence' of the title refer to the presence of man in nature, or the strange configuration in the sky?

Schiff's images are filled with ambiguities. At first, they appear as straight forward depictions, but upon closer examination strange things are going on. In Ground Floor (2026), a large bird sits on a post while a cat with a human-ish face strolls across a street in front of an open manhole whose cover is pushed to the side. In the foreground there is a spilled coffee cup next to a green-skinned man in a brown jumpsuit who smokes a cigarette while leaning against a column. Across the street, two alien figures with extremely long legs cross paths headed in opposite directions, their bodies fusing into a single shape. Nearby, another man in a striped hoodie relaxes in a doorway, partially hidden from view. In some ways, this painting captures a typical urban street scene, yet it is the insertion of numerous oddities that makes Schiff's image resonate.

In Good Spot (2025) a man wearing sandals, a white tank-top and red shorts relieves himself against a wall. He is alone and apparently nonplussed about performing this activity in a public setting. As in many of his other images, the "man" is awkward and not fully human. Other "non" humans populate Location (2025), Remains (2025) and Exquisite Taste (2026). Exquisite Taste depicts a creature sipping from a patch of water that crosses an otherwise arid desert landscape. For Location, a "figure" or "animal" on all fours gazes into the center of a map. Lines branch out from a central dot becoming a geometric abstraction. Remains shows a figure stretched out across an island about the length of its entire body, appearing just barely alive in a murky yellow-green sea.

Schiff's vulnerable characters are cartoon-like distortions yet it is easy to empathize with their plights. His low contrast, dark hued palette imbues the paintings with an apocalyptic aura as elements within them allude to drought, poverty and homelessness, as well as climate change. It is hard not to sympathize with the wrinkled, emaciated old man in Dead of Night (2026) who wraps himself against a city tree — a vertical support for what might be a long night. His exposed ribs and long fingers parallel the shape and feel of the trees dangling branches. Schiff's paintings are seductive and emotionally charged, taking viewers on a journey that merges aspects of fantasy and reality.

Click here for Clayton Schiff on its own page.

Hospital of Emotions
St. Vincent Medical Center
May 27 - July 31, 2026


Hospital of Emotions

St. Vincent Medical Center has been closed for many years. It was founded in 1856 and became Los Angeles' first city hospital. Located just outside of downtown, the rooms are still equipped with beds and equipment, but is empty of people and activity as they await renovation by a private investment group. Curated by the organization House of Art and Dreams, three floors of the building have been repurposed into the Hospital of Emotions, an installation featuring site specific projects by over seventy artists. The works are loosely categorized by emotional states ranging from joy to resilience to sadness to gratitude, to hope, to compassion, to anger to love. The selected artists were invited to make works responding to these themes and install them in the empty hospital rooms while using or displacing whatever remaining furniture was there.

The sophistication and impact of the rooms varies greatly. Some predictably house happy stuffed animals or the remnants of medical procedures. Others illustrate the fear of entering or being inside a hospital. Viewers are welcomed into the facility by a "faux" doctor in a white coat. They are checked in and given a "patient emotional chart" to fill out as they traverse the numerous installations. Upon exiting, visitors are discharged: their charts stamped as they leave the facility. Depending on whether one starts on the top or bottom floor of the exhibit, there is an opportunity to visit a both a gift shop and a flower shop where one can purchase wonderful bouquets of hand-made pipe-cleaner flowers or trinkets by selected artists as keepsakes of the experience.

In some ways, the experience of Hospital of Emotions parallels exhibitions like Luna Luna or Immersive Van Gogh, spectacles organized around an idea or an artist, that despite being costly to attend, draw large crowds. That being said, the Hospital of Emotions features new site specific works commissioned for the exhibition and during my visit, many of the artists were there to eagerly explain the motivations behind their creations. Starting on the top floor, one begins in the Resilience Department where artists address the ability to adapt, recover and grow in the face of illness. Allison Reber transforms her hospital room into a living garden filled with moss and flowers. David Otis Johnson creates a neon hospital bed that fills the room with a glowing red aura. Madeline Verbica's space features a freestanding, moveable, structure covered with transparent images of plants and animals.

Resilience gives way to Joy where again one encounters a rooms filled with flowers (Lisa Waud's installation, or Yarra Sach's empty bed surrounded by IVs with colorful fluids). Joy and Sadness share the fifth floor. At this point it becomes difficult to differentiate the emotions as sometimes what is presented as Joy could just as easily be seen as Sadness. Javiera Estrada's room is a play on the game "Twister" where red, green, yellow and blue stuffed figures are draped across walls and carpets floors covered by like colored circles. In the Sadness department, Tommii Lim paints a huge smiley face with tears, surrounded by puffy white clouds against a blue background. Heriberto Gomes fills his room with cardboard boxes, even replacing the bed and pillow with these generic brown shapes. Maryam Trebeau's room becomes a three dimensional drawing where the walls are covered with myriad faces that cycle through stages of light and darkness. Installations addressing Hope, Compassion and Anger are located on the fourth floor whereas Love and Fear are on the third. Here, one encounters Kamil Czapiga's room b floor to ceiling with colorful video monitors displaying cell-like creatures. The Fear department brings to life rooms with monsters like in the installation by Dioz, or as in Dongpu Ling's transparent floating figures. Notions of claustrophobia pervade in Grisha Stephanian's installation where the walls are completely covered with numerous black and white xeroxes and drawings showing every possible emotion.

It is no doubt that the participating artists went all out in conceptualizing and creating their installations. Some rooms are quiet and contemplative. Some are dense and even scary. Together they articulate the range of emotions associated with health, hospitals and beyond. The experience is exhausting and overwhelming but also inspiring as the different approaches to the themes and each artist's dedication to their craft is a testament to the power of art.

Click here for Various on its own page.

Christine Rasmussen
How the Light Gets In
Billis / Williams Gallery
May 9 - June 6, 2026


Christine Rasmussen

The light in Los Angeles is often magical. There is something special about the way the sun illuminates buildings, casting long shadows on facades, be it late in the day or early in the morning. This light can be inspiring, resulting in a quiet moment of reflection. Christine Rasmussen is an artist who looks intently at sunlight. She appreciates the stillness it evokes, and captures its beauty, separating it from the hustle and bustle of urban life.

In her subtle and evocative oils, Rasmussen documents the changing light as it illuminates tall, generic, industrial buildings. She crops and fragments these structures, creating abstract compositions filled with colorful, geometric shapes surrounded by sky. Her paintings often include windows — with and without reflections — in myriad shades of blue. Her simplified forms become meditations on color and repetition. Rasmussen describes the architectural spaces depicted in her works as "in-betweens." She states, "In an era of constant motion and overstimulation, my quiet and spacious oil paintings offer a pause. In this respite, I contemplate notions of attention, stillness, uncertainty and the sublime."

Throughlines (all works 2026) is a large painting that depicts part of a facade from a bygone era. Rasmussen crops the scene to focus on the windows, creating a purposely off kilter grid of twenty-eight rectangles in varying shades of blue. Each window (or rectangle) is surrounded by a dark-brown frame that articulates the boundary of the glass. These rectangles become small, self-contained abstract compositions. Some of the windows include reflections or clouds, while others have horizontal wires from unseen utility poles cutting across the image. In a four panel suite of smaller oils titled Reflections, Rasmussen duplicates four of the windows from the center of Throughlines, presenting them as individual paintings. It is interesting to go back and forth between the works, comparing the subtle differences in the depicted reflections.

Across a series of five works, Meditation (1-5), Rasmussen paints the top portion of a building that is shown in three-quarter view. The structure begins at the bottom edge of the canvas and fills less than half of the vertically oriented composition. On the right side of each image is a dark strip of blue that frames the building and suggests the vantage point is from a distance, perhaps looking through another window. The rest of the painting is made up of sky. Rasmussen carefully details the windows located at the top and includes the necessary separators and shadows that define them as "windows" rather than just rectangles. These five paintings form a beautiful sequence that charts the subtle transitions in light and color at different times of the day.

While none of Rasmussen's buildings are identified by location or include people or signage, they feel familiar. In her depictions, the where is less important than the when, as her concern is not to document the specificities of urban architecture, but rather to focus on shapes and the way light bounces off of surfaces. Rasmussen's palette is made up of hues of blue with accents of pink, green and yellow. She excels at creating abstractions that are still identifiable as structures. Whether large or small, her paintings are filled with depth, and evoke a sense of place even when the images are reduced to compositions of rectangles and triangles. The works are more suggestive and impressionistic than realistic, but that is what gives them their uniqueness and appeal.

Click here for Christine Rasmussen on its own page.

Lincoln Tobier
Sets of Seven Cylinders
As-Is Gallery
April 25 - May 30, 2026


Lincoln Tobier

In his exhibition Sets of Seven Cylinders Lincoln Tobier presents works that are simultaneously thoughtful, beautiful, and political. This exhibition begins with a single image Tobier created in 2002 titled June 14-18, 2001. It is an enlarged newspaper photograph from the June 18, 2001 edition of The New York Times depicting an antigovernment demonstration in Algiers. Tobier has silkscreened the photograph in light pink on white enameled steel. Although it has been removed from its context (the headline and article that accompanied the oroginal image is not included), Tobier's choice feels relevant, as demonstrations like this are often front page news.

In the main space Tobier has placed thirty-seven sets of seven cylinders on a large, awkwardly shaped table that is light gray in color and stands about thigh-high. It spans the length and width of the gallery while leaving a narrow passage around the perimeter for viewers to traverse. Each group of cylinders consists of seven rolled ceramic slabs held together at either end by two ceramic bands. They are painted or glazed in vivid solid colors. Ranging from shades of gray to bright yellow, red, green or blue, they first read as a colorful array of curious circular objects. In no time, it becomes evident that he sculptures suggest bundles of dynamite (or pipe bombs) and though they are hollow and lack wicks, they are scaled to evoke the 'real thing.'

While stripped of functionality, they still allude to the destructive powers of such devices. Positioned vertically as well as horizontally along the table, the first read is that they are sculpture. The display also references the serial art practices of the 1960s, 70s and 80s, paying homage to Minimalist sculptures with repeated forms like those by Sol LeWitt, Carl Andre or Donald Judd. Though the Minimalists often repeated geometric forms or used building materials such as bricks or slabs of steel, Tobier's hand-made IED's (improvised explosive devices), are presented as serial objects in varying geometric combinations.

Why exhibit works separated by more than twenty-years? In trying to make sense of the exhibition and the relationships between the rooms, Tobier suggests a before and after trajectory. In the background of the reproduced newspaper photo is a dark billowing cloud, perhaps an explosion coinciding with the demonstration. This links the image to the oversized table filled with objects of destruction, now transformed into colorful sculptures. One becomes aware of the strangeness of the display as it relates to mass produced objects on view at toy stores or IKEA. There are other connections as well, like the fact that the image was produced in the same foundry that makes signs for the Metro in Paris and for railways throughout France.

Tobier's installation presents a dialectic between crowds and power and becomes a meditation on conflict, violence and choice— both aesthetic and tactical. He is being both playful and cunning through this juxtaposition, not only asking viewers to contemplate the past in relation to the present, but to also think about the public sphere, the news media in relation to images of violence and to question whether presenting image or objects of violence as artworks changes them in a significant way.

Click here for Lincoln Tobier on its own page.

Lynn Aldrich
Romance and Reality Will Kiss One Another
Royale Projects
April 25 - June 6, 2026


Lynn Aldrich

In many senses Lynn Aldrich's work is Duchampian. Her nuanced career spans more than forty years and includes numerous gallery and museum shows, as well as forays into public art. Her witty and conceptually based works ingeniously combine found materials, often including household objects, as well as common items from hardware stores. She transforms them into large scale sculptures that often become visual metaphors for the complexities of the natural world. Her expansive works are filled with visual puns while simultaneously engaging with art history, and scientific inquiry.

The works on view in Romance and Reality Will Kiss One Another are both new and old. The centerpiece of the exhibition is Grid Buster (1989), a room-sized installation. This multifaceted piece takes its point of departure from the German painter Matthias Grunewald's Resurrection from the 1500s. A small reproduction of the work hangs on the wall and is illuminated by a single tiny light which is plugged into eight interlocked surge protectors hanging below it. On the floor is a huge orange, black and green plaid carpet with the shape of Christ's body removed. Theis cutout rises above, centered on an adjacent wall, a silhouette mimicking the body in Grunewald's depiction. Although created in 1989, the work feels very current as it deals with dissociation and issue of power, religion and faith.

All I Know So Far (also from 1989) hangs on a nearby wall. Here, Aldrich cuts apart and horizontally stacks sections of 'flat cactus' paddles making them into rectangles. They are presented on a wooden shelf bookended by bronzed baby shoes. In this curious juxtaposition, the prickly surface of the cactus and the title All I Know So Far implies a potential for danger.

Alongside these older pieces are two newer works: All the Colors Will Bleed and Backyard Bird Count (both 2026). For All the Colors Will Bleed, Aldrich creates a rectangle with more than 100 different small, square paint chips. Attached to each chip are like-colored threads. The individual strands move from the edge of the work to its center where they become a chaotic interwoven pile — a massive tangle of threads — in the shape of an oval. Backyard Bird Count combines three sets of pointed fence pickets in varying tones of gray into a rectangle framing a section of astroturf that contains a smaller painted landscape. Attached to the surface of this combine are numerous bird swings (wires with plastic bars) in varying sizes and colors. The implication is that caged birds inhabit an artificial space that also mirrors the 'real' world.

Reading the materials list for Aldrich's works provides context and content for the pieces. Parch (2010), Free Refill: Never Thirst Again (2023) and Desert Prophet (2026) are made with steel downspouts — vertical conduits connected to gutters that direct water away from the foundations of buildings. Aldrich combines these generic forms, often personifying or combining them to resemble plants or animals. The titles subtly reference water or its lack to direct the reading of the works toward climate change.

Rose Ghost (2015) is a large circular wall relief made from numerous layers of light purple, nylon tulle held in place by similarly shaped thin sheets of clear plastic. This cut out shape is inspired by the rose windows of Chartres Cathedral. Aldrich's work is simultaneously solid and ephemerally ghost-like, suggesting an impermanence not present in the original. Circular forms are also found in Cloud of Unknowing and Through the Oculus (both 2026) where Aldrich collages tools for measuring, images of planets, architectural details with rounded openings, and hand-drawn or painted shapes in shades of blue.

Throughout the gallery space, Aldrich weaves between past and present. Always aware of the relationship between form and function, she continuously transforms the ordinary — be it garden hoses, tree branches, found postcards or wooden dowels — into something extraordinary and beyond expectation. Her human scaled pieces resonate both formally and conceptually. They are at once familiar, yet also other worldly, and offer numerous pathways for contemplation.

Click here for Lynn Aldrich on its own page.

William Camargo
All That I Can Carry
Hannah Sloan
April 11 - May 30, 2026


William Camargo

William Camargo is a Southern California based artist who uses photography to examine the world around him — specifically looking at racism, gentrification, and how the city of Anaheim (where he grew up) ignores its indigenous history. Camargo does not simply document before and after, but uses himself and people he encounters (from different neighborhoods) in an ongoing dialogue about displacement. The exhibition includes images from series created between 2019 and the present. Camargo is at once a visual artist, community archivist and educator who examines "structures of erasure." He states, "I continue to negotiate with placemaking, belonging, and constructed borders. For this reason, I use my brown body, born and raised in Anaheim, to conduct these interventions. I use historical texts and contemporary stories to establish a connection in which the same injustices are repackaged through language and neoliberal policies."

Some of his "interventions" can be seen in photographs like A Colonist Is A Colonist Is A Colonist, (2022) and We Gunna Have To Move Out Soon Fam! (2019). For the former Carmargo appears in front of an Anaheim high school, under a banner that states "Home of the Colonists." His hand written sign — "This is Tongva & Acjachemen Land !!" — is a statement about the origins of people inhabiting the land and posits how the football team can still be called "The Colonists." Similarly, in We Gunna Have To Move Out Soon Fam!, Camargo is pictured in front of a construction site holding a sign that reads: "This area will gentrify soon," calling attention to the impending (and unwanted by some) changes to the neighborhood.

In an evocative series of color self portraits titled All That I Can Carry (2025), Carmargo is depicted holding numerous objects that were cleared out of his family's backyard shed. It is curious that in these images, as well as the ones where he carries signs, his face is obscured. For All That I Can Carry #12 he looks away while holding trash bags stuffed with cans and bottles. In All That I Can Carry #11, he stands in front of a low cinderblock wall in an unkempt garden filled with wispy green plants and dried dirt, a sunhat with a camouflage pattern covering his face. He is casually dressed in cut off blue jean shorts and a tattered t-shirt and is photographed holding a potted plant in one hand and a leaf blower, as well as a toy rifle in the other. Draped over his shoulder is an extension cord as well as a light green cloth bag. The disparate objects that surround him in this image are cues into the life of Carmargo's family, and the process of retrieving them was a catalyst triggering memories of forgotten moments.

Body Interventions (2025), is a new series Camargo shot while in residence in San José, Costa Rica. In these black and white photographs, Camargo positions his outstretched body in vacant lots, over construction materials, or against a fence spray painted with graffiti that states "No + Torres + Parks" (no more towers, more parks), as well as hugging a large sphere which happens to be a pre Columbian artifact. These images not only document his explorations of the city of San José, but also highlight cultural icons and areas undergoing change. As images, the black and white images recall early conceptual photographs like those by Douglas Huebler or Vito Acconci who documented themselves in urban settings to call attention to various aspects of their surroundings or to chart pathways they traveled on urban walks. Carmargo's images also pay homage to John Divola as in a previous series entitled Reimagining the Canon where he is depicted running away from the camera. In, As Far As I Can Get in A Park That Was Segregated In 10 Seconds After Divola, the camera captures him running toward the edge of a lush green park.

Take A Portrait With Me (2025-present) another series from Costa Rica shows Carmago with random Latino men he asked to pose shirtless. In each portrait, his subject holds the cable release controlling when to snap the shutter. Though not friends, there is a varied sense of camaraderie amongst these men, many of whom, like Camargo, have tattooed midsections. The series also investigates masculinity and vulnerability as Camargo's friendly gesture challenges the men to let down their machismo for the camera.

Through these overlapping and intersecting series, Carmago explores personal histories and social constructs. He makes straightforward images (in both black and white and color) that are more documentation than "artful." Nevertheless, when seen together Carmago's powerful works explore gentrification, displacement, family and intimacy. That he can combine these themes across this diverse imagery is a testament not only to his commitment to photography but in his understanding of the history and use of the medium as a tool for advocacy and change.

Click here for William Camargo on its own page.

Amir Zaki
No Dust to Settle
Diane Rosenstein Gallery
April 4 - May 9, 2026


Amir Zaki

The saying "waiting for the dust to settle" might refer to when things will calm down and return to normal. It could be said that "the dust never settles" and there is no state of definitive calmness because everything is in flux, both in life and in art. This might be taking the personal into account by reading too much into the title of Amir Zaki's current exhibition, his third with Diane Rosenstein Gallery. That being said, Zaki has titled his exhibition No Dust to Settle. It is a play on words and offers insight into the entirety of Zaki's photographic works. Throughout his long career he has photographically examined the built and the natural landscape of California, often creating interventions that render the real surreal. His subjects have included piers, empty skateparks, trees at night as well as commercial signage devoid of text. Using digital tools and embracing what is possible with technology, Zaki makes subtle changes to what the camera documents: compositing numerous images to distort perspective, or adding or erasing information to augment the architecture and its environs. The photographs that make up No Dust to Settle are black and whites images of public libraries shot in Orange County, CA. Many of these were designed by noted post-war architects such as Richard Neutra or William Pereira. At first glance, the image Buena Park, La Palma Library, #14 (all works 2025) is a documentary style black and white picture of Pereira's library (built in the 1960s). At the bottom of the vertical image sits the library — a low horizontal one story structure. In front of it, is a large tree that extends into the sky, towering over the building. The are no people in the image. It is strangely lacks any human presence, as well as any signage which is unusual for a public library. For those familiar with Zaki's work, the image begs the question: what has Zaki done? Has he altered the scene in some way?

Originally published in Art and Cake, April 9, 2026

To read the full review in Art and Cake click here.

Click here for Amir Zaki on its own page.

Todd Gray
Portals
Perrotin Los Angeles
March 21 - May 30, 2026


Todd Gray

In what he refers to as "photo sculptures," Todd Gray layers numerous images to create narratives that weave through places and time. On view in his exhibition Portals are both small-scale studies and large-scale finished works. The differences are curious. The small pieces are intimate and draw viewers in as the imagery can be absorbed as a whole; the layers working together, though in separate found frames. Due to their size, the larger works appear more fragmented, while still cohering to create a narrative.

In a recent conversation with LACMA Director Michael Govan, Gray spoke about visual pleasure and his desire for the images to immediately captivate viewers because of their aesthetic beauty and formal inventiveness. After enticing viewers with his evocative sequences organized by shape and color relationships, he then invites them to delve further — to think about the layering within each assemblage and how the elements work together. He is interested in exploring the relationships between the places depicted (Ghana, Rome, France, as well as the United States), and their history within the Black diaspora.

Analyzing Paradox of Liberty (Monticello, Elmina, Akwidaa) (all works 2026) brings to light three separate photographs. In the vertical construction, the image at the bottom looks up at palm trees in Akwidaa, Ghana, where Gray has a home and a studio. Over this picture and encased in an oval frame is a marble bust of Thomas Jefferson photographed by the artist at Monticello. Another smaller oval frame is superimposed atop Jefferson's face covering it completely. Within this frame is a doorway to a dungeon at the Elmina slave fort in Ghana. Looking carefully at the image, one sees a map of Africa on the wall behind Jefferson's bust. Gray thoughtfully collages the dungeon door — one of no return — reinforcing the fact that Jefferson owned many slaves who worked his 5,000 acre plantation at Monticello.

In The Promise (Ghana, Rome, Gorée), Gray juxtaposes four photographs. The image on the left shows a park or garden in Ghana and depicts a large manicured tree whose crown forms the shape of an oval. In the center of the triptych is another image of wall-paper depicting tree branches and birds perched on an open trellis. It is covered by a small oval frame where Gray captures the backs of three schoolchildren entering an arched passageway. The image was taken on Gorée Island in Senegal, also known as slave island. The image to the right was shot in Rome and depicts the natural landscape. Here the reflection of trees in a pond form an oval that parallels the shapes of the other images.

Kind of Blue in a Silent Way #1 combines an image of the cosmos from the Hubble Telescope with a painted mural of workers and slaves on view in a museum at Fort Apollonia in Beyin, Ghana. Gray's nude silhouette, positioned as if he is looking at the mural, is set in an oval frame covering portions of both photographs below. This meditative and poetic image poses the question: What if (and how can) I make sense of the world on a celestial level, as well as in a personal way?

A portal is an entrance, a way in, a point of access, as well as more metaphorically, a bridge. As portals, Gray's photographs are fragments that link locations and time spans while offering an approach to understand an aspect of history that relates to what it means to be Black in today's world. Gray's images are personal — for the most part, he uses photographs he has shot, often including portraits of friends and even self portraits. That Gray started his career in the music industry as a commercial photographer is also relevant as pictures of Michael Jackson (Gray was his personal photographer for ten years) sometimes appear in the works. Black and white images depicting Crips' hand signs from Jackson's Beat It video appear within the cut-out circles of Ghost In The Machine (Fever Dreaming Fear) and juxtaposed with a distorted landscape — a digital glitch that Gray embraced rather than dismissed.

Gray's exhibition at Perrotin overlaps with the debut of a major commission for LACMA. Octavia's Gaze is a giant multi-panel work that explores enslavement and colonialism while bringing together many of Gray's interests. Despite the weighty subject matter, his pieces are intriguing and subtle. While his works link past and present and offer insight into that trajectory, the visual is always foregrounded and is the point of departure for his complex layering.

Click here for Todd Gray on its own page.

Elizabeth Murray and Betty Woodman
David Kordansky Gallery
March 19 – April 25, 2026


Elizabeth Murray and Betty Woodman

The surprising yet somehow inevitable pairing of Elizabeth Murray (1940 - 2007) and Betty Woodman (1930 - 2018), opens up new avenues of discovery. Two artists whose beautiful, idiosyncratic works have made them icons of their generation: Woodman, a ceramicist and Murray, a painter. Both were exceptional colorists who created abstract works that utilized eccentric shapes and patterns to explore the relationships between composing in two and three dimensional spaces. They experimented with hybrid forms — for example, Murray's canvases were hardly ever just rectangles and Woodman's ceramics often included a painted element mounted on the wall. Both women were known for layering geometric and organic forms to build their complex, nuanced, and idiosyncratic pieces.

The exhibition unfolds like a conversation or a dialectic as the viewer contemplates the relationships between the works. Within two modest sized spaces are paintings and sculptures spanning the years 1982-2015. Installed to highlight formal relationships (and not chronologically), the eye zig-zags across the walls, at first taking in all of Murray's large bombastic painted reliefs, then scanning Woodman's more delicate, freestanding and wall-based ceramics, before eventually honing in on where they intersect. Is it through texture? Color? Shape? Or the fracturing of surfaces?

2.B.! (1990) by Murray hangs next to Woodman's Reaching (2012). 2.B.! is a three-dimensional oil where Murray collages together cut-out canvases that form a backwards "B," a reversed number "2," and a bright pink exclamation point. The work takes its point of departure from the graffiti lettering that covered the walls and subway cars of New York in the 1980s and 1990s. It also references the speech in Shakespeare's Hamlet where the words "to be, or not to be" are spoken. In Reaching, Woodman adheres flat fragments of curvilinear earthenware glazed in white, red and black to a canvas painted with an array of subtly colored concentric rectangles. The orange lines that fill the "B" are similar to the black lines of glaze in Woodman's ceramic shapes.

Another notable relationship transpires between Woodman's Balustrade Relief Vase: 96-20 (1996), and Murray's Midnight Special (2000), installed across the wall from one another. In Balustrade Relief Vase, Woodman breaks apart vase forms and assembles the varied pieces on the wall. The shapes appear to dance as the viewer tries to reconstruct the object. Murray's large painting Midnight Special shares a similar palette to Woodman's ceramic deconstruction, as well as its spirited light-hearted composition. Murray's work is filled with intestine-like shapes that encircle her oval canvases.

Murray's Moonbeam (1995-1996) and Woodman's Santa Barbara (2005) use different subject matter while engaging in a compelling dialogue. In Moonbeam, Murray brings the outside in. Her paintings often depict abstractions of domestic interiors and this one is essentially a bed with two pillows that twist and turn in on themselves. The bedposts curve into the painting and hover over the pillows as collaged elements. A painted green-yellow line that cuts diagonally across the composition is the moonbeam of the title. Like many of Woodman's other pieces, Santa Barbara is a combination of painting and ceramics. In this work, she depicts a quasi-interior space. A light blue and pink painted backdrop is bisected by a washy black horizontal band. In front of this is a ceramic vessel in two parts from which emerges swirling fragments that boil to the top of the wall. Looking at one work and then the other, one sees spectacular formal similarities, especially in both artists' use of shape and color.

At work are forces drawn from Cubism and Abstract Expressionism as both women were interested in breaking things apart and putting them together anew. They reimagined traditional art mediums, never denying their interests in formalism while pushing boundaries and often exploring the relationship between the artwork and its placement. The blurring of positive/negative space and traditional figure/ground relationships were key to both artists' practices. While never denying their femininity, they created large, extravagant works filled with vigor and energy, as well as an undeniable delicacy and intimacy. Both employed abstract language, delighting in visual pleasures, and were dedicated to their chosen media while rebuffing accepted aesthetic norms, opting to chart their own paths. Seeing their works together allows for a conversation that examines similarities and differences in themes and approaches pertinent to both artists. The comparison is enriching.

Click here for Elizabeth Murray and Betty Woodman on its own page.

Peter Wegner
Case Studies
Marshall Gallery
March 28 - May 23, 2026


Peter Wegner

Peter Wegner is best described as a conceptual formalist. His work is precise, exacting, beautiful and elegant. His practice is not media specific, as he has created paintings, prints, sculptures, and photographs. On view at Marshall gallery are both new and old pieces created between 1999 and 2026. The oldest, Sky X / Sky Y (1999) is a large enamel paint and silkscreen diptych that from afar appears to be solid blue. Up close however, it becomes evident that the blue is comprised of colored dots (most often associated with dot screen patterns). The image is indeed the sky — but rather than depict an expansive view, Wegner has chosen to enlarge a small fragment to illustrate how in print reproduction, solids colors are never really solid.

Wegner appropriates, distorts, and creates meaning through juxtaposition. He is interested in the poetics of language as well as the poetics of form. In a series of early works he explored color names, reproducing paint chips and combining them into columns and grids. He was interested in why different hues would have the same name, as well as associations between similar shades and their distinct, yet arbitrary names. "We think we know what a color is, what a word means,” he says. “But the simplest things elude us. They are contingent, defined by circumstances."

In his ongoing series Buildings Made of Sky he photographs rows of skyscrapers, often in silhouette against the lighter blue skies that exists between the buildings. These images are presented upside-down and often in large grids, so that the negative spaces take parallel the shape of the buildings becoming a different depiction of the city. As he states, "Walking down the street in New York one day, I glanced up and saw an invisible building suspended between the others. It was upside down, the color of air... I felt that I had stumbled upon a secret city, luminous and strange… In this city, the buildings are made of sky."

A similar strategy is employed to create Reverse Atlas V (2009). Here, Wegner also begins with a given, somehow takes it apart, and then puts it back together, anew. In this series, Wegner works with maps, cutting the printed geography into fragments that are reassembled to foreground patterns and shapes — configurations that ignore borders and boundaries — and become geometric abstractions.

In a new series Case Studies, Wegner uses photography to create sculptural works. Rather than making flat images, Wegner prints on the edges of thin slats of polystyrene. Just a few pixels wide, these fragment are collected within an anodized aluminum case, thus the name Case Studies. It is difficult not to associate the title with the Case Study Houses, a program that commissioned noted architects to design and build efficient, low cost, "modern" homes, most of which were located in Southern California. These became iconic structures that are coveted to this day. Wegner takes a different approach. He begins with generic, banal images found in field guides or nature magazines of cacti, mountains or sunsets. These appropriated images are digitally printed onto the edges of the polystyrene in a block that can be rearranged and modified. Yellow Divided by Cactus, Cactus Divided by Yellow, Sky Divided by Sky and Sky Divided by Yellow (all 2026) come from the same original image. Cactus Divided by Yellow is 17.5 x 12 x 2.25 inches and is made up of 8,640 tiny sheets packed into twelve rows. The top half of the image — the first five rows — is a desert landscape filled with cacti in the foreground and mountains toward the back. Below is a mostly yellow row that ends in sky blue. Below that is, what is in actuality, the top of the original photograph with the tips of the cacti against white clouds and a blue sky. Nothing is rigid in the artwork as the picture is formed as a collection of thin lines or strata that when combined, cohere as a whole.

In Yellow Divided by Cactus, Wegner begins with the same image, this time either inserting slats of yellow into each row or reconfiguring the positions of clouds and sky to interrupt the integrity of the image. The source for Sky Divided by Sky and Sky Divided by Yellow is a fragment of sky from the cacti photograph. Related, are a series of circular paintings — Daylight 2 (2014), Daylight 3 (2014) and Color Wheel 32 (2022). Seeing the two Daylight paintings — gradients of color across large circular rings with hues that reflect the colors of the sky — alongside the Case Study works are indicative of Wegner's genius and the myriad ways he distills an image into pure color.

Wegner's fascination with edges, architecture and the relationship between two and three-dimensional surfaces are core to his pursuits. His works are direct, and sometime obtuse. They are smart and beautiful. Wegner speaks about his works and his process in formal as well as conceptual terms but allows the viewer to fill in the blanks. He is interested in spaces between, and what is inferred from what is depicted, as he states, "It’s dragging things from invisibility across the threshold of visibility, that most intrigues me as an artist."

Click here for Peter Wegner on its own page.

Tacita Dean
Trial of the Finger
Marian Goodman Gallery
February 21 - April 25, 2026


Tacita Dean

In the book Blind Folly (or How Tacita Dean Draws), published in conjunction with the exhibition Tacita Dean: Blind Folly at the Menil Collection (October - April 2024), curator Michelle White discusses the role of chance in Tacita Dean's works: specifically in relation to her drawings. In the book Dean states, "working like this, just beneath my conscious level, requires an aspect of willful blindness." While not all of Dean's pieces are drawings per se, the relationship between the eye and the hand is core. Many of her drawings are "blind" — made without actually looking at the paper — as are some of her photographs, specifically images of the eclipse where it is too dangerous to look into the lens. Rather than shy away from not knowing what something will look like, Dean embraces it.

In addition to having a facile hand and a keen eye, Dean is also versed in world history, literature and art criticism, and these different disciplines inform her artworks. The title of this exhibition, Trial of the Finger, comes from a criticism made by Dr. Samuel Johnson about the 17th century Metaphysical poets. As the press release states, "He saw them as counting syllables ('trial of the finger') in their poetry on account of their abundant use of conceits rather than relying on a poem's musicality to the ear." References to fingers and ears are abundant in the works.

Marian Goodman's Los Angeles gallery is divided into discreet spaces and Dean takes advantage of both small and large rooms to exhibit a wide range of works. In the "Middle Gallery" are a suite of new photographs titled Between the Years in which she sequences five Polaroids together in a row. At the beginning and end of each quintet are images of isolated ears. Between them are other fragments of the human body — fingers, feet and hands — as well as images from nature, such as trees or fruit. These body fragments come from Dean's collection of artifacts. Some of the Polaroids are over-painted with gouache while others are double exposures. In Germany, the term Between the Years refers to the period between Christmas and New Years which is when Dean created these works. That being said, it is hard not to think about the word "ear" nested in the last word of the title, as "ear" is between the "y" and the "s." In addition, Polaroid images are never a sure thing and the uncertainty in the process fits within Dean's methodology of embracing the unknown.

Throughout the years, Dean has also documented artists working in their studios. Among her subjects are the visual artists Mario Merz, Claes Oldenburg, David Hockney, Cy Twombly, and Julie Mehretu. These 16mm film portraits capture intimate moments. Dean does not interfere or assert her presence, but rather objectively films them engaging in the throws of making. The latest film in this collection is Sydney Felsen decorates an Envelope (2025) shot just before Felsen passed away at the age of 99. In the fourteen minute film, Felsen sits at a desk in his office and methodically decorates and then addresses a paper envelope. He carefully fills in the shape of a star with red, yellow and blue pencils. As Felsen creates, Dean's camera moves from him to the walls and desk, the details of the space give viewers a chance to get know something more about the dapperly dressed subject.

Moving from the rather intimate presentation of Sydney Felsen decorates an Envelope to the room-sized installation of Geography Biography (2023) offers a contrasting experience. Geography Biography consists of two side-by-side, large-scale film projections. Each is a separate collage, although at times they cohere. Dean describes the work as an accidental self-portrait as within each vertically formatted 35mm film are stills from her postcard collection, outtakes from her super 8 and 16 mm works embedded within masks that allow for overlapping sequences of moving images. The result is a beautiful, poetic and meditative journey whose meaning is open ended. The noisy and visible apparatus that powers Geography Biography is placed behind a semi-circular wall and bench that mimics the curved projection surface.

In a nearby smaller room is the single channel projection Paradise (2021). This short film was originally created for The Dante Project, a London Royal Opera House production. Here, Dean created an abstract film in which bright colors burst in celestial formations in sync to a soundtrack by Thomas Ades. The film captures an experiment with pure light and color and was inspired by William Blake's watercolors illustrating Dante's Divine Comedy.

Beginning, or ending with a room of drawings takes viewers full circle. Many of these new works are abstractions. Some appear like cloud forms, while others recall the gestures of Abstract Expressionistic paintings and pieces by Cy Twombly that include snippets of scrawled text. Works like Navalny and A Cloud for Marian (all drawings 2026) were made by spraying white chalk onto found slate. Linear B and Petit are more ephemeral with light curvilinear and swirling gestures. These smaller works are presented in conjunction with In Montem (he fell), a large tondo that is 96 inches in diameter. Here, Dean draws with white chalk on blackboard to create a mysterious and haunting image that connotes sea and sky simultaneously. While in previous exhibitions the landscape figured more prominently, in these works it is often suggested rather than carefully or realistically depicted. With this impressive and vast array of works, Dean explores a range of materials and media to examine people, places and things. Though often open ended, her captivating works resonate on multiple levels and stay in the viewer's memory long after leaving the gallery.

Click here for Tacita Dean on its own page.

JR
Horizons
Perrotin Los Angeles
March 12 - April 25, 2026


JR

The Paris and New York City based interdisciplinary artist JR has been creating photographic interventions for many years. His practice asks the public to have a heighten awareness to their locations and surroundings. JR often works with the people who inhabit the communities he visits. The results are a collaboration between the artist and numerous non-artists. At the end of each project, JR's gigantic tiled black and white photographic images cover large areas of urban space. While they are created from numerous fragments, they cohere as jarring portraits.

The focus of his Los Angeles exhibit Horizons is projects created in California. It was conceived as examination of the multi-faceted concept of horizon — be it the line between sea/earth and sky, a range of vision, or something far off in the distance. On view at Perrotin are numerous large-scale color photographs created between 2011 and 2022 that document some of JR's California-based installations. While he often has permission to poster the facades he uses, his works are meant to be temporary and are best viewed (if possible) in person. Extensive documentation from street and sky perspectives gives viewers the opportunity to see and understand his interventions on a more legible scale.

Three images from the series The Wrinkles of the City, Los Angeles are the earliest pieces on view. They include Jim Budman, Venice (2011), Robert Upside Down, Downtown (n.d.) and Lovers on the roof, USA (2012). For this project, JR shot close-up photographs of the wrinkled and worn faces of elderly individuals and then enlarged the images to building size proportions. The shot of Jim Budman is severely cropped and shows his face from above his brow to below his eyes. It is positioned on a building so the eyes sit just above the sidewalk while the brow covers the boarded up windows of the structure. The rest of his face is not included. The color photograph that documents JR's artwork captures a boy passing by whose stride parallels the image of the walker on a cross-walk sign located toward the left of the scene. The boy appears unaware that a giant wrinkled face now occupies the front of the building directly behind him.

In 2017, JR traveled to Tecate, Mexico and created a work about the border with the United States. Here, a giant image of a toddler peers over the border wall forcing viewers to think about the relationship between a child' playing peek-a-boo over the wall versus the loaded issue of immigration. For another California based series, JR collaborated with the correctional facility in Tehachapi (located two hours north of Los Angeles) where he photographed inmates, as well as recorded their stories. During return visits, he worked with the inmates to create large murals. Tehachapi, The Road, Anamorphosis, #1, USA (2022), depicts a receding road that suggests a way out of prison. In Tehachapi, Picnic, Ruett Foster, USA (2022), a pair of giant eyes — belonging to the victim of a violent crime — that when seen from the sky, serves as the background during a picnic celebrating the participants of the project. In Giants, Death Valley, Billboard, Mars 5, 2017, 9:46 am, California, USA (2017), a black and white photographic mural that depicts the contour of the "real" mountains behind it. It is placed on top of a gate in the barren desert landscape so the documentation allows for perfect alignment.

JR's imagery embraces distortion and perspective. He is well known for creating pieces that engage with community and are social interventions meant to expose humanitarian issues. His images have covered Brazilian favelas, city buildings and museum facades. JR also founded the Inside Out Project (2011), a platform that helps communities stand up for what they believe in and spark global change that has organized more than 2900 group actions. (As a side note, I participated in one of these actions in New York City in 2024. JR's crew set up a temporary photo booth in Chelsea and passersby were invited to step inside and where photographed picking up a phone to "make the call" in support of equal rights. The images were later adhered to an adjacent wall and became a visual call to action).

I was delighted to see my image alongside the other participants in real time and this gave great credibility to JR's work. I was able to understand the power of community, the power of speaking out and the power of art. Though JR's exhibition at Perrotin is only documentation of his ambitious projects, it invites discussion about community involvement, expanding horizons and the framing of the man-made landscape.

Click here for JR on its own page.

Nancy Holt
Light and Shadow Poetics
MAK Center
February 25 - May 24, 2026


Nancy Holt

Nancy Holt (1938-2014) is best known for Sun Tunnels (1973-78), an earthwork placed on a piece of land she purchased in Great Basin Desert, Utah. Four gigantic concrete cylinders are installed there in an X-shaped configuration specifically aligned to frame the rising and setting sun during the summer and winter solstice. First and foremost, the work is experiential. It is about perception and the relationship of the human body to the minutiae of the ever-changing landscape. Though not the same, extensive photo-documentation has brought the work to viewers who could not venture to Utah.

For the exhibition Light and Shadow Poetics, a selection of photographs, videos, and a sound piece are presented within the space of the Schindler House. Installed on bare concrete walls between thin vertical windows or alongside built-in furniture, Holt's works enact a dialogue with Schindler's structure. They share interests in sight-lines, shifting light conditions, and how the body is positioned within space. The exhibit brings together two masters — Holt, a conceptualist and land-based artist and Schindler, a modernist architect — both of whom were concerned with the ways light could be captured, represented and experienced.

This is immediately evident in Light and Shadow Photo Drawings (1978) a series of twenty-two black and white inkjet prints (fabricated by the artist from the original 126 format transparencies in 2012). They fill two adjacent walls in the gallery. To create these abstract images, Holt shined a light through curved cutouts and photographically captured the ensuing shapes and shadows that were projected. The result is an array of circles, curves and arcs in opaque and transparent shades of black, white and gray that feel other-worldly and celestial.

Another iconic work, Sunlight in Sun Tunnels (1976) is a large print consisting of a grid of thirty images that focus on the changing light in the interior of one of Holt's Sun Tunnels. Holt placed her camera at the edge of one of the pipes and shot a picture every half hour from 6:30 am to 9:00 pm, documenting the movement of the sun from the perspective of the interior of the tunnel. Seeing the image in the context of the Schindler House, one also becomes hyper aware of how light fills this interior space.

California Sun Signs (1972) is a series of nineteen square-formatted, color photographs that feature the word "sun." The images document signs and illustrations that celebrate the marriage of California and the sun as the iconic source of its weather and the seductive qualities of its landscape. Installed in a loose grid, the images feel both current and dated. As gas today is upwards of $5.00 a gallon, the photograph of a "Sunland" gas station with prices at 35 and 33 cents takes us back in time. Images depicting the words Sunkist, Sundaes, Sunset Palms, N. Sunair Plaza, Sunbeam Inn, Sunshine Pre-school and even Sun Air Drugs take viewers on a focused journey through California's desert landscapes. These snap-shot style photographs highlight bright light and blue skies. In the advertisement for "Sunair Center" the letter "S" sits on top of a yellow sun below an arrow that points into the deep blue sky.

During my visit, the light was bright enough to make it almost impossible to see the projected video Sun Tunnels (1978) that documented the original installation of the work in Utah. Color reflections also overwhelmed two black and white photographs, Concrete Poem (1968) and Concrete Visions (1967). To see these prints one had to bob up and down, dodging one's own shadow as well as the reflection of the trees in the courtyard. While Schindler's architecture disrupted the viewing of Holt's pieces at that instant, it also called attention to the relationship between inside and outside, as well as how light changes over time: this was exactly what Holt was exploring in her large-scale earthworks. Like Schindler, she was interested in the process of looking, the poetics of light and shadow and the nuances of human perception. Together they become rich companions and counterparts.

Click here for Nancy Holt on its own page.

Kunié Sugiura
Reading the Rooms
Moskowitz Bayse
January 24 - March 21, 2026


kuniesugiura

Kunié Sugiura X-Ray Island at Moskowitz Bayse is a mini-retrospective that follows larger exhibitions at SFMoMA and the Johnson Museum of Art with works made at different points over Sugiura's long career. Sugiura was born in Japan in 1942, studied at the Art Institute of Chicago (BFA, 1967) and has lived in New York since the late 1960s. For more than six-decades, Sugiura has created works that investigate photographic practices without necessarily being photographs. She has made works that incorporate X-rays, as well as photograms to examine what normally cannot be seen. Often, she blows the small up big, and reduces the large to small.

Beach 2 (1971) is an enlargement of grains of sand spanning 60 x 84 inches. This photo emulsion and acrylic on canvas work becomes so abstract that is almost impossible to identify what appears in the image. It becomes ambiguous topography. The mostly monochromatic Beach 2 asks viewers to study its surface and textures. Across the wall is Vertebra (2021). This work is composed of an array of spinal X-rays interspersed with colored rectangles. The work is a minimalist grid of 36 rectangular X-rays paired with like-sized painted shapes that transition from light yellow to dark brown across the composition. Vertebra came about after a long illness where Sugiura required repeated X-rays so in that sense it also serves as a self-portrait.

Roots (1993) is a small work where Sugiura composites X-rays so they appear to be like roots of a tree. Amongst the earliest photographs is Cko #46-V3/4 (1967), a fish-eye view that abstracts a body seated in a chair. Big Mamma (2021) enlarges a mammogram to gigantic proportions and offsets it with a rectangle painted light pink. The lines within the scan become abstracted veins akin to the blown up grains of sand in Beach 2.

LA-Day and Night (1981) and Plan to Promised Land (1980) are Sugiura's homages to Los Angeles. In LA-Day and Night she centers black and white day and night shots of a Los Angeles street between an equal-sized image of plain gray. In Plan to Promised Land black and white photographs looking up toward the top of palm trees are collaged with bright blue rectangles, representing the allure of the Los Angeles sky. While Embriwhoooh (1995) is a disturbing image made from combining many fragments of X-rays to create a monsterous form — part human, part animal, photographs like Stack, Irises (1996) and Lily Head Orange (2005) are celebrations of nature where Sugiura silhouettes the elegant forms of these flowers against monochrome backgrounds.

Sugiura's experimental work balances beauty against distorted realities. She works with and without a camera to make images that contrast photographic veracity with more painterly concerns. While the body appears in many of Sugiura's images it is never presented whole, but it appears fragmented, shadow like, or in X-ray forms. The pairing of the black and white X-rays or photograms with color contrasts the idea of death and dying with light and hope. Sugiura states in an interview in Bomb magazine, "When you see color, there’s light. Where there’s light, there’s life. That is my pairing. Maybe the X-ray part is about disease or death, but the colored panel part is a hope for the future."

Click here for Kunié Sugiura on its own page.

Gretchen Scherer
Reading the Rooms
Richard Heller Gallery
February 21 - March 21, 2026


Gretchen Scherer

Salon Style is a term that refers to exhibitions where the works (paintings of all subjects, shapes and sizes) were hung in dense arrangements covering the walls from floor to ceiling. Begun in the 17th-Century, this was not only a popular method of display, but salon style chambers also became the subject of numerous paintings at the time.

In Reading the Rooms, Gretchen Scherer presents her latest salon style interiors: a subject she has been investigating for many years. Scherer begins by perusing art history books and the internet in search of photographs documenting these displays. Many of the images are from European palaces. When possible, Scherer visits the locations herself and makes photographs she later uses as source material for her paintings. She uses them as a point of departure, but often takes liberties, adding walls and furniture, as well as artworks that were not there or even created at that point in time. The result is a wonderful melange of real and imagined spaces.

For Attingham Park, Picture Gallery, Early Morning (2025) Scherer exaggerates the color and light to transform the picture gallery at this English country house and estate in Shropshire into a room rich in pink and purple hues. Her oil and acrylic painting offers a wide angle, but cropped view of an expansive sitting room. The foreground is dominated by a gold-trimmed burgundy rug that covers a highly reflective, possibly, marble floor. In the center of the rug, as well as against the walls are sculptures, pieces of ornate furniture including chairs, desks and tables, as well as other accoutrements that are commonplace in such lavish settings. Filling the walls are an arrangement of different sized landscape and portrait paintings. Scherer renders the interior scene in a flat illustrative style, paying attention to details, yet not making it a photo-realist representation. Some of the pictures are what would be expected — formally posed and fancily dressed men and woman looking out at the viewer, while others are portraits that feel a bit too contemporary for the time. Looking closely reveals Scherer's subtle and animated interventions. In this painting, one sculpted bust smiles as it leans over to look at another.

Gothic Hall, The Hague (2025), is a painting where Scherer reimagines the interior of a hall in the Kneuterdijk Palace in the Hague. In Scherer's version, not only the walls of the vast space are filled with artworks, but numerous canvases are placed on easels scattered across the floor. The painted reproductions range from depictions of men on horses, soldiers in uniform as well as classical portraits of individuals, presumably from the extended family. Among the paintings are treasures that don't belong there, including Johannes Vermeer's Girl with a Pearl Earring placed on an easel toward the bottom of the canvas. This work is actually located at the Maritshuis in the Hague.

A Conservatory With Paintings, (2025-26) is a depiction of a vast interior space whose exterior is surrounded by plants and trees. Light filters into the room through numerous tall windows and skylights that reflect the abundance of plants outside. The conservatory's black, white and gray floor is made up of a complex pattern that takes the eye toward the back of the space. Numerous easels are set up facing the viewer, each supporting a French Impressionistic-style painting. These artworks are juxtaposed with numerous vases filled with colorful flowers.

Animals find their way into Scherer's depiction of Rosa Bonheur's Studio, Château de By, 2026. This is a painting of the former studio of the French artist Rosa Bonheur. Scherer's creation includes a beautiful parquet floor and large bank of windows, as well as a large self portrait of Bonheur with her dog by her side in front of a painting of a white horse. Many of the elements within this painting are visible in photographs of the space, but Scherer ad-libs others. Numerous taxidermy animals appear within the cluttered composition. It is clear that Scherer has a sense of humor and enjoys creating interactions within her paintings, For example, a fox playfully chases a seal that hides beneath a chair while other animals look at each other as well as their painted likenesses.

Scherer excels in painting these dense rooms filled with artwork, books, tables, chairs, and myriad knicknacks. She captures a sense of depth while at the same time allows the spaces to flatten, the perspective skewed but still realistic. As the eye darts around the compositions it lingers on the details and what is unusual or out of place, be it tottering tea cups, or unusual gestures and glances that animate the painted portraits strewn across the walls. The works play with the relationship between order and disorder. Scherer invites the viewer to get lost in the paintings and to reflect on her collaging of artwork and architecture from different eras while to thinking about the original inhabitants and how they might have interpreted their surroundings.

Click here for Gretchen Scherer on its own page.

John Rock
Architectural Compositions
California Heritage Museum
February 8 - April 19, 2026


John Rock

Although he studied and now practices architecture, John Rock is also an accomplished photographer. He frames the built environment with an architect's eye to create elegant and complex images that beautifully balance color and form. Drawing from techniques used in commercial architectural photography, as well as from the New Topographics photographers (unromanticised views of human impacted industrial landscapes), Rock has created a body of color photographs that transform the urban landscape into geometric compositions filled with contrasting textures and patterns.

On view are images shot during the last twenty years in the United States and abroad with a range of digital cameras, as well as two short videos. Hung as diptychs, he juxtaposes photographs from the same or different locations, while focusing on visual relationships. In a statement accompanying the exhibition Rock notes, "The deterioration of our built world and its social implications are clearly on display, as is new construction, which can exhibit visual disorder as well." The paired images explore dichotomies between order and chaos, construction and destruction. Photography flattens space and Rock takes advantage of this to transform different aspects of the city into geometric abstractions.

Barcelona, Spain (2008) is a saturated photograph of a dilapidated building facade filled with graffiti. The windows are boarded up with orange coverings that beautifully contrast the bright blue window frames and wall. Here, Rock captures the nuances of unauthorized tags, drawings, and other urban scrawl, pairing with a photograph of another abandoned building that has been covered with tarps, some clear plastic, others a dark orange-pink. Rock captures an elderly gray-haired woman wearing a bright red sweater and carrying plastic bags as she passes by the structure, unaware of how well she complements the scene.

Color dominates two images from Los Angles shot in 2011. In one photograph Rock frames a telephone pole against a mustard-colored stucco facade. To the left of this is a building made of bricks whose hues are more yellow than red. The stucco building in the center of the image has two boarded up windows bisected by the telephone pole. Above is a thin stripe of bright blue sky while below, an expanse of concrete is bordered by green grass. In the second image of the diptych, Rock steps back to focus on a cluttered driveway. The straight-on composition balances a one way sign, a utility pole and turquoise siding, as well as a portion of a white truck. These elements are all positioned in front of a mustard toned house beneath a light blue sky.

Looking at the numerous pairs, it becomes evident that Rock is drawn to what is unusual as well colorful in the urban landscape and has a knack for framing and fragmenting buildings so they appear as geometric shapes. In Detroit, Michigan (2017), an image shot through a multi-paned window toward a wall of windows on another building becomes a composition of layered rectangles. It is paired with another photograph, also from Detroit that focuses on reflections of windows in the windows of a run down building. Two more from Detroit from 2019 center on the facades of brick buildings. In one, the bricks are partially covered by an expanse of gray concrete with irregular dark gray lines that at used to patched cracks in the wall. In the image complement, pieces of rusted steel descend from the top of the photograph, spatially located in front of the wall referencing large-scale minimalist sculptures also compose of rusted metals.

In addition to these compelling photographic diptychs, the exhibition also includes two short videos, Downtown Detroit (2020) and Recurring Visions (2018). Downtown Detroit was filmed in 2012. Rock positioned his camera to look out the window of Detroit's People Mover as it traversed the city. Each time the monorail car stopped, the film shifted to its doors where Rock inserted a still of a historic postcard showing the city as it was in 1920. The film becomes a journey both forward and backwards in time.

Between 1974 and 1978, Rock photographed billboards in Santa Monica and West Los Angeles, returning to roughly the same spot and shooting from the same vantage point to document different advertisements. In the short film Recurring Visions, these changing displays are coupled with a soundtrack culled from AM radio commercials of the time. For those familiar with these Los Angeles intersections today, the images take us back to when cars were low and wide, train tracks criss-crossed the boulevards, and gigantic advertisements for cigarettes and alcohol were common.

While Rock's 'architectural compositions' might take cues from photographs and photographers from the past, they are carefully composed gems that stem from his unique take on the world around him. They are about transformation of the three-dimensional world onto the two-dimensional picture plane. Although he often documents places in disrepair or where the less well off reside, they celebrate the formal beauty of structures through the precise and caring eye of an architect.

Click here for John Rock on its own page.

A presentation by the Julia Stoschek Foundation
What a Wonderful World: An Audiovisual Poem
The Variety Arts Theater
February 6 - March 20, 2026


What a Wonderful World

The Variety Arts Theater in downtown Los Angeles was built in 1923. It is a five-story Italian Renaissance style building currently registered as a Historic-Cultural Monument. It was built for a woman's group called the Friday Morning Club who occupied it for 61 years. They sold the building to the Society for the Preservation of Variety Arts in 1977 where it was used for theater, cabaret, and other live performances. In 1989 the city closed it for financial evasion, and since then it has occasionally been rented out as it awaits renovations. Now, it is the setting for the exhibition What a Wonderful World: An Audiovisual Poem, showcasing videos from the Julia Stoschek Foundation. The Julia Stoschek Foundation is a nonprofit arts and cultural foundation with spaces in Berlin and Dusseldorf. The foundation also manages the Julia Stoschek Collection — a comprehensive collection of time based art.

During international biennials and festivals, it is not unusual to wander into large, empty buildings reconfigured as exhibition spaces. This is a rarity in Los Angeles. Presently we are awaiting the opening of LACMA's latest expansion, as well as the Lucas Museum of Narrative Art, each with its unique architecture. L.A. seems more focused on new structures rather than reusing empty spaces. That being said, pop up shows during Frieze week are also appearing at an abandoned Sizzler, as well as the 99 cent store on Wilshire Boulevard, not too far from LACMA. In its dilapidated state Variety Arts Theater is an unusual setting for an art installation. The seats have been removed, the walls are crumbling and the rooms are in disarray. Yet it works perfectly for this purpose.

Curated by Udo Kittelman the title What a Wonderful World is borrowing from a song recorded by Louis Armstrong in 1967. This is the foundation's first exhibition in the U.S. It brings together films and videos by more than 50 artists. According to the curator, the exhibition (and the song) "speak of the beauty existent in the world, but also of moments that hold out the promise of happiness." The title also recalls the Frank Capra film It's a Wonderful Life (1946), a film that examines the meaning of life and poses the question, "what if..."

Juxtaposing gems from the history of cinema to the avant-garde, visitors are invited to wander through the six floors between 5:00 PM and midnight, often catching the works mid-loop. In this setting that is not a problem. It would take days to watch everything from start to finish. Some works are projected onto walls or large screens while others are placed in more intimate settings with smaller, old-fashioned TVs or video monitors. While some viewers might rush to the classics — George Méliès’s Le voyage dans la lune (A Trip to the Moon) (1902) or Luis Buñuel’s, Un Chien Andalou (An Andalusian Dog) (1929), what happens in between is an unexpected experience. How the works integrate with the setting — contrasting or fusing with the dilapidated walls and funky dark rooms is also very much the point. Not that the location overwhelms, but it adds ambiance to the viewing and reinforces a sense of history, as well as the passage of time.

It is hard not to be seduced or awed by Arthur Jafa's bombastic Apex (2013), a large projection in the main auditorium on the first floor, only to turn around and see Winsor McCay's Little Nimo from 1911. The juxtaposition of this early animation featuring a white boy dancing alongside figures in blackface with Jafa's imagery drawn from popular culture heightens our perception of race and how it has been used cinematically over the years. Images of racism, violence, and its aftermath pervade the exhibition. These include Jordan Wolfson's Artists, Friends, Racists (2020), P Staff's Pure Means (2021), a two-channel work that splits the imagery of a solo figure wielding a knife into red and blue screens, as well as Bunny Roger's Mandy's Piano Solo in Columbine Cafeteria (2016), a work that is simultaneously calming and menacing. Violence to the body is suggested in Paul McCarthy's Ma Bell (1971) and visible in Sigalit Landau's Barbed Hula (2000). It is a treat to see these contemporary works in conjunction with precursors such as the eye slicing scene in Un Chien Andalou.

Depending on one's endurance, the experience may be exhausting or overwhelming. The take away is less "What a Wonderful World" than "What a Disturbing Time." Yet, to see how so many artists and filmmakers interpret and make sense of their surroundings to create poetic masterpieces and meditations on contemporary life is nothing less than spectacular.

Click here for What a Wonderful World: An Audiovisual Poem on its own page.

Sarah Sze
Feel Free
Gagosian Gallery
January 29 - February 28, 2026


Sarah Sze

Sarah Sze's large-scale, mixed media paintings are quirky, expansive works — simultaneously atmospheric and urban. They suggest journeys into deep space through recognizable, as well as purely abstract elements. Best known for pushing the boundaries of sculpture with assemblages of everyday objects, precariously fashioned together with wire to create small as well as room-sized chaotic and dynamic constellations, she returned to making paintings in 2018. In these pieces, she begins with a photographic image onto which she layers paint and collage materials, often obscuring it beyond recognition to suggest decay and the passage of time. These works span multiple panels that are also collaged on top of each other, though only noticeable when viewed from the side.

In Breathless (all works 2026), a painting that is 202 inches wide, Sze begins with a cityscape. Over this expansive picture she brings combines myriad small, photographic reproductions including images of hands, animals and sunsets, as well as small brightly colored rectangles with dripping lines of paint. The entire work appears to be covered in thin strips of ripped posters or torn billboard imagery. These ragged stripes create vertical layers that push and pull the eye back and forth.

In Escape Artist, the eye weaves through the composition taking in the recognizable collaged elements — hands, heads and even a yellow sneaker — before getting lost in a criss-cross of orange and red splatters that bisect disintegrated and abstracted photographic reproductions of the landscape. The paintings are amalgamations of styles and materials ranging from fields of pixels that become geometric forms to snippets culled from magazines or printed posters. Images of the sun rising —or setting — appear within many of the works, as do animals like wolves and deer, often covered by splotches and streaks of paint.

Sze draws from her subconscious to purposely blur the boundaries between dream and reality. She juxtaposes the paintings with sculptural elements she refers to as 'remnants of the workspace.' Long strands of string dangle from the rafters onto the floor alongside tools and printed ephemera that feels as though it fell off or out of the actual paintings. The piles on the floor recall of Sze's sculptures.

While the paintings conjure movement, the sculptural installation Once in a Lifetime (titled after a 1981 Taking Heads song) is a towering assemblage built from found objects, ladders and tripods, as well as devices that reference the tools Sze might use in constructing her work. This slapdash construction is set in the center of a dark room and illuminated by multiple projections that rotate across the walls. Small ladders, magnifying glasses and silhouetted cut-outs create a magic lantern-like display that is constantly changing. The color of the projected light shifts from sky blue to fiery orange. The sculpture feels like a 3-D mobile, functioning as a miniature self contained world that defies gravity, a surreal construction hovering in space. The projected imagery includes both the natural landscape and the urban environment. Cars and trucks travel down freeways, while buildings are demolished and then rise again in reverse.

The highlight of the exhibition is Sleepers, a work originally created in 2024 but reconfigured for Gagosian's space. In this compelling and haunting piece, many video fragments are projected onto modest-sized, hand-torn paper screens that are suspended between perspectival lines of string that move in from opposite walls toward a central window that becomes a vertical shaft of light. The video transitions from all encompassing skys at sunrise or sunset that cast an orange aura onto the space, shifting to green — blurred trees and leaves — then circles back to a disjointed collage of myriad fragments. The fragments — one image per screen — are mirrored on either side of the vertical window and include black and white videos of individuals sleeping, as well as diverse snippets of modern life, be it birds, animals, buildings or ocean waves. The overall impression is like a dream with ever-changing pictures that oscillate between fiction and reality. Sze's playful videos and paintings are reflections on our media saturated world, and speak to the different ways memories and emotions can be constructed.

Click here for Sarah Sze on its own page.

Koichi Enomoto
Broadcast / Dreaming
Nonaka Hill Los Angeles
January 10 - February 14, 2026


Koichi Enomoto

Koichi Enomoto is a Japanese artist living outside Toyko in Kanagawa, Japan whose figurative paintings blend manga and anime-styled characters that are quirky in some ways, yet also realistic. Often combining Japanese and American references, he freely borrows from different aspects of pop culture, be it art, music, or politics. The resulting paintings simultaneously allude to the present and the past. He also has an interesting perspective on the history of art, as some of his compositions draw from Cubism and Futurism. These — specifically Chill time, alone (all works 2025) and A person who may be falsely accused — are among the highlights of the exhibition.

Chill time, alone immediately recalls the motion within Giacoma Balla's Dynamism of a Dog on a Leash (1912), a well known Futurist painting and an example of simultaneity via the implied movement of the feet of a little dog and the woman walking it. In Enomoto's painting, while the subject matter is different, the depiction of movement is similar. A boy wearing blue jeans and gray Converse sneakers is lying on his stomach in stylized green grass. He is depicted rocking his knee forward and back to create an arc across his body. Enomoto overlays the various positions of the leg with different levels of transparency. Six cigarette butts in the grass also reiterate this passage of time.

Another example of Enomoto's use of multiple perspectives is A person who may be falsely accused. Here, the vantage point is from behind a crowd of people all tapping on the screens of their cell phones. The crowd's focus, as well as that of the painting is a wide eyed, green haired man who looks out at the viewer with surprise. The numerous cell phone cameras display different fragment of the man's face — presumably the accused referenced in the title — ranging from his eyes, to his nose, to his ears. Almost encircling the figure from behind are cell phones facing the opposite direction so just their cameras lenses are visible. At the bottom of the painting, on one woman's phone, is a reproduction of Ben Shahn's 1932 painting Sacco and Vanzetti. The woman appears to eye the two men in the painting on her screen, then regards the accused. Sacco and Vanzetti were sentenced to death for armed robbery in 1927, though they were convicted on circumstantial evidence. Shahn created numerous paintings as an acknowledgement of the anti-immigrant fervor of the times and Enomoto's painting calls attention to similar present-day concerns.

Enomoto takes on politics in If the blind lead the blind and broadcast, politicians. Broadcast, politicians is a collage as much as it is a painting. Here, Enomoto combines cartoony figures with a more carefully rendered black and white cityscape that recedes into the background. Four "politicians" stand in front of a lectern filled with microphones. Their vacant, over-sized eyes look straight ahead. A fifth figure has the head of a wolf with green claw-like hands and carries a pistol. Another figure with a quasi-animal face and similar green claw-like hands holds a pigeon who appears to have its eyes on a rat that sits at the edge of the podium. A text with numerous misspellings inscribed diagonally on the podium reads, "We hold these truths to be self-evident that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness — maybe." The work is playful, poignant and haunting all at once.

Alienation and loneliness pervades many of the paintings, along with a sense of dislocation. The lone eater in our dinner confronts a table filled with bowls of food. Chopsticks in hand, the cross-eyed boy can't make sense of the array as none of it is Japanese. Behind him are posters painted in different styles featuring women of different eras. The texts poke fun and contain the phrases: We're Japanese, Hope you are too!; Joke and Free! In No way, a girl clutches her cellphone and exclaims "No Way" as a figure beside her explodes from the impact of a punch. Demagogue is an ironic painting. Here, Enomoto juxtaposes a hyper-realistically painted owl and a cartoony girl. The latin letters A, B, C, D appear in the four corners of the painting, rendered in Gothic script. Two hands appear along the edges as if the girl is offering us the bird. The symbolism of the owl — wise, mysterious, as well as lucky — directs the interpretation of the work.

Enomoto is an insightful painter who seamlessly blends cultures and styles into his evocative canvases. At first glance the manga influenced figures dominate, but then one sees Picasso-esque eyes and other nods to art history, the skilled collaging of illustrative and realistic painting styles, the integration of aspects of popular culture, the insertion of self portraiture, and a borrowing from current events. The paintings demand close scrutiny and though never bombastic, they call to mind some of the ills of contemporary culture.

Click here for Koichi Enomoto on its own page.

Montrel Beverly
Megan Mulrooney Gallery
January 10 - February 14, 2026


Montrel Beverly

Montrel Beverly (b. 2003) is an Austin, TX based artist who primarily works with pipe cleaners. He has exhibited at Sage Studio and Gallery, a non-profit art space in East Austin that supports artists with intellectual and developmental disabilities including materials and space to produce, exhibit, and sell their art. In addition to Sage, his work has been presented in numerous group exhibitions, as well as at the Outsider Art Fair in New York City in 2023 and 2024.

Usually associated with children and craft, pipe cleaner art yields colorful, small-scale, free-standing sculptures of plants and animals. This malleable material can be twisted and combined to make colorful objects with depth and texture. Beverly uses them in unpredictable and unusual ways to make pictorial reliefs in a wide array of colors and fuzzy patterns. While his previous pipe cleaner creations drew from video games and anime, Beverly has also recreated scenes from the Bible, as well as images from art history like Grant Woods’ American Gothic and Gustav Klimt’s The Kiss. For this exhibit, his focus is Los Angeles where he cleverly reinterprets imagery drawn from iconic landmarks like Pink's Hot Dogs and artists, including Ed Ruscha and John Baldessari.

The entry gallery is a small room with two pink metal chairs placed around a white table. On the table are two red plastic trays filled with oversized hot dogs and onion rings, as well as lumpy mustard and ketchup bottles. These are all fabricated out of thick pipe cleaners. A sign on the wall is also made entirely from pipe cleaners and depicts a flat hot dog between the words "Made Special" and "PINK'S." This historic hot dog stand is not far from the gallery, so it is fitting that Beverly would pay homage to this L.A. institution.

At first glance, the works on the walls of the larger back gallery seem familiar, yet not immediately identifiable. After a moment, an "aha" sets in, prompting viewers to recognize what they are looking at. Standard Station (all works 2025) is a replica of one of Ed Ruscha's paintings from 1964. Here, the light blue sky seen in the original painting is made of a grid of coiled baby blue pipe cleaners. At the bottom is a childlike rendering of the red and white gas pumps below the Standard sign that extends across the composition into the sky. Drawing with pipe cleaners does not allow for straight lines and Beverly's quirky and soft depictions playfully engage with this unusual medium.

Portrait of an Artist (Pool with Two Figures) from 1972 is based on a 'classic' David Hockney painting. It features two figures one in a pool, the other, looking down from the deck at the submerged swimmer. The scene is framed by distant hills and green foliage. Beverly's version faithfully captures the mood and the setting of the original — one of voyeurism and companionship. In both versions, the swimmer floats in the water as the second man in a bight pink coat looks on. In Beverly's composition, the thick bundles of pipe cleaners that form the landscape make the piece feel more like a tapestry than a painting.

Other artists Beverly chooses to recreate are Jonas Wood, Mickalene Thomas and Kerry James Marshall. In each, he transforms a well documented original into something amusing yet witty. John Baldessari was known for making paintings and photographs where he covered small parts of the images with geometric shapes. The red, yellow, blue, and white circles obscuring the faces of four figures at the beach in Baldessari is a humorous riff on the original color photograph from 1991, Beach Scene/Nuns/Nurse (with Choices). In this scene Beverly makes lumpy pipe cleaner figures flexing their muscles and carrying a bikini clad woman whose body extends across their torsos. A profusion of white clouds populates the blue sky above the mens' heads. While true to Baldessari's original composition, Beverly's relief is comically distorted in the third dimension.

Art history has a long tradition of borrowing. Some artists — Sherrie Levine, for example — create exact replicas. Others like Rachel Lachowicz, Deborah Kass, Yasumasa Morimura or Cindy Sherman pay homage by replicating as well as transforming. To use the art of another as a point of departure can be seen as a sign of respect. With Beverly, it appears as though he has researched and studied his peers to create charming and tactile works that celebrate a handful of Los Angeles archetypes.

Click here for Montrel Beverly on its own page.

RABI Towing (David Emanuel Mordechai Torres)
We Buy Souls
Good Mother Gallery
January 10 - February 14, 2026


We Buy Souls

The eye catching signs declare "We Buy Souls!" They cover the environs of Los Angeles and other cities in the U.S. and abroad. Most are attached to telephone poles or walls, alongside similarly styled advertisements proclaiming "Cash for Homes" or "We Buy Gold." To those who take the time to notice, they beg the question: is this real? The telephone number — 213.293.9156 — works and is answered by a British voice of uncertain gender that identifies as Rabi Towing, and says they accept souls of all shapes and sizes regardless of sexual orientation, BIPOC, pronoun or gender. It then offers choices: for Black souls press 1, for Asian souls press 2, for White souls press 3. There is also the option to leave a message describing what kind of person you are and what you think your soul is worth.

Four years ago RABI (David Emanuel Mordechai Torres) conceptualized We Buy Souls as a living artwork that was "equal parts installation, performance, marketing experiment and dark satire." It began as a poster campaign in which 24 x 18 inch signs began to appear in typical places. The colorful posters recall those produced by the Colby Poster Co. which operated in Los Angeles from 1948-2012 and created advertisements for businesses, events and artists alike. Similar to Colby posters, RABI's message and style (in multiple languages and colors) is graphically bold and memorable for its absurdity. RABI's intent was for the signs to prompt the public to "question the value of self within an overwhelmingly capitalist culture." For art connoisseurs, the project also pays homage to Komar and Melamid, who established a company in the 1970s and launched an advertising campaign that would buy and sell human souls that were later auctioned off.

As a gallery installation, We Buy Souls is bombastic and over the top. The space is filled not only with the posters in multiple languages, but also documents, paintings, photographs, and sculptures. Many of the pieces are commodities — hand drawn replicas of the posters or digital prints on canvas of the messages — that question the conceptual integrity of the original idea. A sculpture like Eve with Cross (all works 2025) features a life-size naked woman with a tattooed back (Eve) on her knees carrying a huge LED cross on her shoulder. It features a glowing advertisement for We Buy Souls with the phone number and text to "call now." Adam with Desk is the complement to Eve with Cross. Here, a naked (and tattooed) Adam lies across a long white table hugging a large iMac computer. On the table is a contract, date stamp and other items related to the sale of souls. Near the entrance to the gallery are stacks of paper contracts as well as a red pushbutton phone that one can use to dial the number and listen to the recording.

The actual transcriptions of the messages left by people offering to sell their souls are the most fascinating part of the installation. These have been compiled into the book We Buy Souls! Testaments - Book 1, as well as installed as a grid of 56 individual framed prints on canvas and hung on a wall painted bright red. Each message is presented as a typed document with a green phone icon at the top and a green 'play message' graphic at the bottom. These testaments illustrate a range of responses: some state prices, others mention age, gender and religious affiliation. In addition to describing how wonderful they are, many leave phone numbers and ask to be called back as the enlarged oil on canvas Voicemail 01 proclaims: "Hi… I am a really sweet person... And, like, I don't lie, cheat, steal... Yeah, I think my soul is probably worth, like, $1000..."

An introductory wall text explains some of the ways the project parallels corporate structures and religious institutions in terms of exchange, contracts and monetary transactions. RABI did in fact set up a corporation, WBS | The Entity LLC, but has yet to actually purchase any souls. At present, the work critiques religious promises, capitalism and corporate structure while equating the two. The project questions what in fact is commodifiable and asks how far is one willing to go?

Click here for RABI Towing (David Emanuel Mordechai Torres) on its own page.

Josh Dorman
The Long View
Billis / Williams Gallery
January 10 - February 14, 2026


Josh Dorman

Josh Dorman's idiosyncratic, encyclopedic paintings traverse time and space. They are intricate works that demand our undivided attention. Over the years, Dorman has collected a wide range of printed ephemera, culled from books, maps, magazines and technical manuals, as well as player-piano scrolls, and uses it as pictorial source material. His layered works combine these paper documents with ink and acrylic to create narratives that weave through time.

“Peardog” (all works 2025), one of the smallest paintings in the exhibit at 12 by 12 inches, is also one of the best. Just left of the center of the composition is a "pear-dog" made by collaging a vintage image of a dog's body with an antique diagram of a sliced pear that becomes its head. In the image, the pear functions as eyes. This creature rests in a colorful but ambiguous space that contains both urban elements — geometric shapes representing buildings — and natural ones such as imagined seashells and stalagmites. Along the bottom of this packed painting is an elevated roadway that passes over tree-lined hills. Dotted throughout the composition are collaged fragments of both words and animal imagery.

In a larger painting, “A Golden Age” (32 by 42 inches), Dorman creates a dreamscape filled with inventive creatures that are amalgamations of animal skeletons with human heads and arms juxtaposed with tools like pliers, as well as parts from antique watches. These creatures wander through a deeply textured red-purple landscape filled with architectural fragments. Dorman bombards us with imagery, making it difficult to construct a coherent narrative. But telling a story is not the artist's intention. Dorman wants us to get lost in his worlds enough to begin connecting the various elements into our own interpretation.

During residencies above the Arctic Circle and off the coast of Ireland, Dorman observed glaciers and other features of the natural world he had not previously encountered. These impressions fill works like “Arctic Ice (Dodo)” and “Arctic Ice II,” which are, uncharacteristically, more painting than collage. In both these pieces, Dorman brings together swirling bodies of water, jagged rock formations, and trapped animals, clearly a comment on our changing climate.

“Fever Dream” is a hauntingly surreal work that recalls Giorgio de Chirico’s “The Two Masks” (1926). Central to the composition is the upper body and head of a figure submerged in a magenta-hued body of swirling water. The figure has a hollowed-out head. Emanating from where the face would be is a stream of sea creatures and plants flying into the polluted water. Typical of Dorman’s signature style, he weaves painted areas around and has delicately colored and collaged various paper clippings. Fragments from maps and pieces of historical ships and antique depictions of fantastical creatures complete this dizzying and engaging imagery.

Dorman is a master at creating new contexts for found materials. Through recontextualization he refreshes much that is old or familiar. The works function as complex puzzles in which Dorman draws from the past to comment on the present and project into the future. Figures and animals from a wide range of sources and time frames in varying scales and opacities follow roads, cross bridges, populate seas, climb mountains and peer through architectural facades. Each work creates its own unique story that ingeniously links disparate elements from then to now.

Click here for Josh Dorman on its own page.

Malcolm Kenter
Composite Order
Sebastian Gladstone
January 8 - February 14, 2026


Malcolm Kenter

The vast space of Sebastian Gladstone gallery feels empty at first glance. On the far back wall, the San Francisco based artist Malcolm Kenter has installed what could be called an architectural intervention. Curiously, the remaining walls are blank which draws viewer's attention to the general make up of the space— its exposed beams with arched roof beyond, and the general quality of the light.

Kenter composed a text to accompany the exhibition that outlines the basis for the works and elucidating his motivations. Composite Order is historically based and combines different Greek and Roman architectural traditions, specifically where motifs of Ionic and Corinthian columns are blurred. When Kenter noticed a shuttered San Francisco storefront with a Romanesque pillar juxtaposed with a broken vent covered by duct tape, he was struck by these contrasting styles of architecture and began to take notice of similarly strange ad-hoc combinations during his wanderings across the city.

For this exhibition, he has created a series of wall based sculptures that have the qualities of throw-aways or found objects, but each is a hand made piece that replicates the patina and materials of something Kenter encountered in the streets of San Francisco. The color scheme across the works is purposely similar so they feel like they belong together, yet the entire ensemble was created specifically for the installation. Kenter's biography describes his practice as "a conceptual mining of the urban vernacular, focusing on the Bay Area’s disappearing signage, public infrastructure, and patina." It goes on to say that "Kenter replicates utility boxes, fire alarms, and other 'invisible' city materials as a form of cultural and historical preservation."

Previously, Kenter placed his replicas in the public realm where they were absorbed into the fabric of the city. As a gallery installation, the objects in Composite Order merge with the gallery's architecture. Two sculptures divide the back wall into thirds. Entitled Pilaster (A) and Pilaster (B) (all works 2025), these tall, flat vertical pieces extend from the floor toward the beams. Kenter's pilasters are carefully crafted — a combination of enamel, spray paint, and house paint, as well as wood, plastic and steel with decorative elements set into rectangular sections recalling classical designs. The pilasters are purposely painted to emphasize aging, disrepair and a dilapidated condition.

Hawk and Fan Intervention resembles a small entablature with columns and classical moulding. Set into the middle of the structure is a non-functional fan held in place with crooked wooden slats. On top of the window rests a clay hawk that appears to keep watch over the entire installation. Veiled Tracery mimics a traditional tracery — an architectural device that divides windows by bars or ribs (or screens, panels, and vaults) into sections of various proportions. In Kenter's twenty-one inch high rendition, various geometric shapes of orange, red and blue glass are nestled into rectangular and trapezoidal sections. The sculpture becomes a relic or a small altarpiece that is covered by a steel screen to protect its elements from further decay.

At once familiar, yet not specifically identifiable, Kenter's amalgamations combine architectural elements and styles. Installed at different heights along a single wall, they draw viewers to them and in many ways past them and back into the environment from which they came. The installation has an inside outside dichotomy suggesting something real and fabricated simultaneously.

Click here for Malcolm Kenter on its own page.

Alteronce Gumby
Walk on the Moon
Jeffrey Deitch
November 15, 2025 - January 17, 2026


Alteronce Gumby

New York City based multi-disciplinary artist Alteronce Gumby fills the vast space of Jeffrey Deitch Gallery with an array of large-scale works that formally investigate color. Gumby is concerned with the perception of color across different substrates and incorporates non-traditional art materials — gemstones, mirrors, glass, resin and dyed silk — into his creations. He began as a painter, but shifted his practice to incorporate more sculptural and installation concerns while exploring the ways colors and materials could extend beyond the composition. He speaks of the different movements within his practice as a journey, parallel in concept to movements in music: thematically related, yet tonally diverse. His pieces are a curious combination of the visual, the scientific and, in some ways, the spiritual. (His mother was a pastor and he grew up in a religious household).

At Deitch, four "movements" are on view. In the entry gallery are six 72 inch square monochromatic works on panel, each featuring a particular scheme. At first glance they resemble thick terrazzo floors — a melange of materials set in a binder — yet Gumby's pieces are more nuanced than traditional flooring. In Walking into Sunshine (Whitten) (all works 2025), Gumby combines varying sizes of citrine, copper, resin, and glass. Bits of green and amber glow within the composition. Embedded within the center of this mixed media ground is the subtle shape of a gray triangle. The other shimmering works in this series also have centered geometric shapes — be they circular or rectangular — that highlight the color differences within the mix of resin and acrylic. 


The next "movement" in the installation consists of 24 inch square "paintings" where long pieces of silk hang from panels and flow down to the floor as they transition from white to more richly colored hues. Finding the Sea is a quasi landscape. Gemstones dot the surface of the resin coated background that shifts from aqua at the top to reddish brown at the bottom. The translucent silk gives the otherwise solid piece a sense of airiness and fragility. Though not sculptural per se, pieces like Sun is Shining or Of the Stars are brightly colored horizontal gradients dotted with gemstones including black obsidian or amethyst.

Gumby's Luminaires are free standing transparent resin sculptures that dot the gallery. Recalling California Light and Space artists like Peter Alexander, Larry Bell and John McCracken, these colorful glowing monoliths feel precarious, fragile and authoritarian simultaneously. The five identically sized sculptures are human scaled at 72 x 24 x 6 inches differing only in color: purple, red, yellow, green and blue. Suspended within the resin are nuggets of garnet and rose quartz — opaque earthly elements that float within the transparent grounds.

The final "movement" in the exhibition are pieces called Light Wells. Using the architecture as a point of departure, Gumby crafted four ephemeral pieces that begin at the gallery skylights and extend to the floor below. Here, pieces of silk dyed in soft tones of pink, green blue and yellow-orange flow down like dream chambers — rooms where viewers can enter and immerse themselves in fluctuations of the environment.

Gumby takes into consideration the ever changing qualities of light and shadow within a space and creates pieces that work in concert with each other to explore the way the body interacts with static, as well as moving forms. He is interested in creating a sense of heightened awareness and plays with the flow from room to room within the gallery. Gumby explores different manifestations of light and color as solid, as well as ethereal concepts. Walk on the Moon is a beautiful and thought provoking installation that is both grounded and otherworldly.

Click here for Alteronce Gumby on its own page.

Sabrina Gschwandtner
Absinthe, Smoke, Sugar, Choice
Shoshana Wayne Gallery
November 1, 2025 - January 10, 2026


Sabrina Gschwandtner

For Absinthe, Smoke, Sugar, Choice, Sabrina Gschwandtner assembles blank sections of 35 mm film that have been hand tinted red, blue, green or yellow. She interlaces these with reproductions of footage from Madame's Cravings (1906) by Alice Guy-Blaché and The Forgotten Frontier by Marvin Breckinridge (1931). Together they become 'film quilts' — sections of film strips that are sewn into squares and composited into geometric patterns that resemble traditional fabric quilts. These pieces are backlit and evoke the luminance of films in the dimly lit gallery.

Gschwandtner has done extensive research on women in early film and her works often allude not only to the materiality and transparency of the actual film stock, but also to the challenges of being a female director in the early twentieth-century. For this body of work, she searched for films that depicted women confronting and challenging social norms. For example, in Madame's Cravings a pregnant protagonist is seen smoking, drinking, eating, and letting her husband tend to another child in a baby carriage. The Forgotten Frontier documents the long treks nurses in Frontier Nursing Service made to care for rural patients in Kentucky. Both films were produced before the 1934 "Hays Code" which banned explicit depictions of sex and violence, as well as footage of abortion and childbirth. This protocol was enforced for more than thirty years as a form of Hollywood self-censorship.

While Gschwandtner's practice is issue based, the formal aspects of her film quilts tend to overshadow this content. The actual footage is present within each work, however the imagery is tiny and could use a magnifying glass (not provided) to help scrutinize the facial expressions, gestures and interactions of those depicted. Gschwandtner presents an actual film in the back gallery titled Absinthe, Smoke, Sugar, Choice (2025). This work more didactically elucidates Gschwandtner's concerns as it informs the static pieces. In Absinthe, Smoke, Sugar, Choice, Gschwandtner divides the frame into a grid of diamonds within which she places hand written texts, as well as clips from the two films. Her text-based narration as well as the soundtrack mimics the cadence of early silent movies while providing context and commentary.

Gschwandtner's labor intensive process involves researching film as well as quilt history and she implements recognizable designs and patterns into her quilted work. The Forgotten Frontier (all works 2025) juxtaposes footage from the documentary coupled with black, white and gray toned imageless leader assembled in the Kentucky Star pattern which won an award at the 1933 Chicago World's Fair. The choice of this specific pattern links the imagery to the location where it was shot.

The concentric diamonds in Madame's Cravings (Red Lollipop), (Blue Lollipop) and (Yellow Lollipop), as well as Madame's Cravings (Absinthe) juxtapose colored film leader (red, blue, yellow or green) with close-ups of the films protagonist licking a lollipop or drinking absinthe. Although it is difficult to make out the specifics of each tiny frame, Gschwandtner indulges in associations while asking viewers to imagine colored lollipops and green absinthe. For Madame's Cravings (color), Gschwandtner composites twenty-four square panels to create an expansive work that incorporates her entire color palette — red, yellow, blue, green and gray. The eye oscillates between image and color as it deciphers this complex and evocative work.

Within the darkened gallery the pieces shimmer, demanding close scrutiny. Gschwandtner continues to refine her methodology while expanding what is possible through her unique coupling of quilting and film history. The works resonate both conceptually and visually. The inclusion of her own film brings the project full circle.

Click here for Sabrina Gschwandtner on its own page.

Owen Fox Coolidge
Test Patterns
Council_St Gallery
December 6, 2025 - January 4, 2026


Owen Fox Coolidge

Owen Fox Coolidge was a young interdisciplinary artist whose life was tragically cut short in 2024. This posthumous exhibition focuses on a single body of work created in 2022-2023. For these pieces, Coolidge wrote a script in the python programming language then fed numerical data into it. The output produced colorful squares filled with gradients, stripes and more complex geometric patterns. In this exhibit, they are printed on large pieces of paper and presented sequentially. Each digital print contains a grid of forty-eight "Test Patterns" varying in complexity from two or three stripes to concentric and overlapping rectangles. Some of the pieces are comprised of more organic and amoeboid shapes while others dissolve into abstractions made up of millions of tiny pixels akin to interference patterns.

Exactly how the pieces were created — what computations were involved - is unknown, other than the fact that the works are all numerical/data generated. What is a given in code based art is that numerous iterations can produce patterns that morph and mutate to create unexpected and wondrous outcomes. What is so interesting here is the way the process is revealed through the presentation. This allows viewers to inspect and compare the sequential growth of the algorithm. While each individual composition is titled ImageGen together they form "Test Patterns." Eleven grids encircle the gallery walls and while it is possible to focus on individual images the relationships between the different squares are what give the project its intrigue.

According to Wikipedia Op Art is "an abstract style of art, popular in the 1960s, that uses precise geometric patterns, lines, and contrasting colors (often black and white) to create optical illusions of movement, vibration, hidden images, or warping, tricking the viewer's eye and playing with perception and color theory." While it makes sense to associate Coolidge's project with Op Art and painters such as Bridget Riley and Victor Vasarely, it is more apt to draw comparisons with software art — works created with code based algorithms — by digital artists such as Casey Reas. Like Reas, Coolidge's practice is conceptually based. Both artists are aware of  how to tweak computer code to create an ever evolving array of geometric abstractions. That Coolidge's practice is digital is significant. Op art is more often associated with painting, and it is unlikely that Coolidge would have sat at an easel tweaking colors, forms and gradients to create a succession of small square paintings. Through computer code the generative process is inevitable and the slight differences from composition to composition are in fact part of the process. How an image from the series 628_1024x1024 with its purple and green hues contrasts with the pink and blue 636_1024x1024 opens up a discussion of color theory — in the tradition of Josef Albers — as Coolidge's iterations illustrate how the same pattern resonates differently when the colors change. 

The closer one looks, the more one sees in these complex grids. And when separated from the ensemble to be enlarged and viewed individually the images pack an even greater punch. In ImageGen 95, 24x24 horizontal bands move through the color spectrum to highlight color complements — blue then red then orange then purple then yellow. In ImageGen 191, 24x24 thin lines of color start in the lower corner of the composition and gradually begin to curve as they arc toward the upper portion of the image. ImageGen 449 24x24 appears to be a simple gradient that transitions from olive green to a muted orange whereas ImageGen 471 24x24 resembles a complex interference pattern or computer glitch. Whether seen alone or in combination, Coolidge's pieces speak optimistically to the endless possibilities of code based art. Code, like a paint brush can be thought of as a tool that allows an artist to put forth their ideas.

Click here for Owen Fox Coolidge on its own page.

Kayla Witt
In Circles, Still Forward
Night Gallery
November 7 - December 20, 2025


Kayla Witt

One of the most satisfying things about Kayla Witt's exhibition at Night Gallery is the sense of connection between the paintings as what appears small in one canvas might be enlarged and completely occupy another. This creates an intriguing narrative flow across the works. For example, a lone puzzle piece hangs on a wall in the entry room. Around the corner in its complement, Searching for the Missing Piece (all works 2025), a floor tile of the same shape is missing. Similarly, a small sandwich board advertising "New Life" located at the edge of the large painting A Brief Pause Before Eternity becomes the true-to-size stand alone work Please Follow Signs. Many of Witt's humorous and slightly ironic paintings focus on quasi-urban landscapes of Los Angeles and the signage that adorns small businesses — specifically places that specialize in "self help" and "spiritual awakening." These paintings are filled with surreal and uncanny juxtapositions like an advertisement for "ASAP Divorce" on a facade next to a smaller street sign for the "Chapel of Guidance."

While the exhibition combines depictions of interior and exterior spaces, three large-scale exteriors are the most complex works and they set the stage for the interpretation of the other paintings. In Journey Home, Circling the Drain and Other Metaphors for Growth, and Brief Pause Before Eternity, Witt presents dryly photorealistic representations of typical Los Angeles environs depicting banal buildings that are chapels, psychic centers, and places for spiritual enlightenment. The structure in A Brief Pause Before Eternity is nestled between distant mountains, a wide sidewalk and a paved street. A tall tree situated behind the building extends into the sky like a church spire. To the side, a bush has been shaped into a topiary hand identical to the hand on the facade of the building in Journey Home. In this painting, the building surrounds a set of rooftop communication towers which could be used for an alien's journey home. Witt pays careful attention to detail here: circular tire tracks on the ground parallel the shape of the distant moon, linking earth and the heavens.

A row of smaller paintings suggest details from the larger works. Here, Witt creates painted posters that function as signage for spiritual consulting, palm readings, chakra balancing, as well as the entrance to a mortuary (Whenever You're Ready) that proclaims "Take Your Time We Will Wait." Over the Hill and Far Away is an advertisement for "Pathways (TM)" in which a stone path recedes into the distant hills of a bucolic landscape. Small stones form the shape of a question mark that is positioned above the text "The Final Mystery" in a painting titled lose Your Eyes. Similar stones appear in the painting As Above, So Below, a large vertical oil of floor filled with tan, purple and pink tiles — interlocking circles that resemble geometric flowers. At the very bottom are two realistically rendered female feet, now stationary, having already left foot prints higher up in the composition.

Also on exhibit are two highly detailed paintings of interiors. In I Guess I Have to, With Confidence Witt focuses on a stair shaped shelf positioned in front of a lightly toned wood-paneled wall. The floor tile is made from purple-blue hexagons similar in color to the transparent curtains that are filled with a more ornate pattern of geometric shapes. The light maroon-hued shelves are also semi-transpaent, allowing what is below them to be seen. The curious arrangement of objects includes: happy and angry bears on a seesaw, a fan, a birdhouse with bird feet, and a half carton with three eggs, one of which has a chick emerging from it. The more "spiritual" items are a lit candle, an ouroboros — a snake in the form of a figure-eight — a floating Celtic tree of life, and an angel wing mirror that contains an image of a woman's legs ascending a spiral staircase. Curiously, this spiral staircase also appears in the aforementioned Searching for the Missing Piece.

The true meaning of Witt's collection of objects and their relationship to one another is individualistic and depends on the viewer's spiritual acuity or convictions. Signifiers in the form of stickers, signs to buy souls and billboards that "Jesus can absolve sins" intermingle with ordinary, as well as surreal objects. Witt convincingly paints these uncanny scenarios with exactitude and compassion while suggesting there might be a different, better path through the uncertainties of contemporary culture and life. Her psychological spaces draw from observation and lived experience, yet also cross over into the realm of fantasy and the surreal.

Click here for Kayla Witt on its own page.

Ken Gonzales-Day
History’s "Nevermade"
USC Fisher Museum
August 18, 2025 - March 14, 2026

Afterlife
Luis De Jesus Los Angeles
November 8 – December 20, 2025


Ken Gonzales-Day

Ken Gonzales-Day's mid-career survey History’s "Nevermade" at the USC Fisher Museum moves viewers through three decades of work. While an investigation of race and queer identity is core to Gonzales-Day's pursuits, he also looks deeply into history and politics from a theoretical perspective, which is not surprising given his role as an educator and writer. Seen together, the works speak to cultural memory and how we see the present in relation to the past.

While still in high school and later as an undergraduate, Gonzales-Day made representational figurative paintings and drawings in the vein of accomplished student work. Many of these pieces are installed salon style on a to the left of the entry room which is where the exhibition starts. These early works illustrate both a trajectory and continuum of his interests in the male figure, and his skills in eliciting trust and compassion between artist and model.

Continuing chronologically through the exhibition, the installation includes a significant early series, The Bone Grass Boy. This work consists of both a suite of photographs and a book of fiction written by Gonzales-Day in the form of a historical novel from the 1800s that illustrates and describes the life of Ramoncita, a transgendered, two spirited figure, purported to be an ancestor of the artist. In the photographs created between 1994 and 1997, Gonzales-Day dresses up to play the various characters in the fictitious narrative delighting in rewriting and reinterpreting history.

In his haunting Erased Lynching series begun in 2006, Gonzales-Day researched the history of lynching in the America West, specifically focusing on vigilante violence against Latinos, Chinese, and Native Americans in California. Printed both small and mural scale, Gonzales-Day digitally removed the victims and seamlessly filled in the background trees to highlight the white spectators while creating an erie absence. An interest in landscape and memory led to another series, California Hang Trees. Gonzales-Day traveled around California documenting locations while focusing on the trees used for the hangings. The black and white photographic mural The Wonder Gaze, St. James Park (Lynching of Thomas Thurmond and John Holmes, Santa Rosa, 1933) (2006), spans 228 inches. A crowd lingers illuminated in front of a deep black background. A single barren tree extends from the ground toward the sky, the two hanged men erased from the image but left to our imagination. Twenty-one post card sized images from the Erased Lynching series are presented in a grid emphasizing the scope of these injustices against men of color.

In addition to using found imagery as a point of departure, Gonzales-Day also makes photographs of friends and acquaintances. These are often created in a studio against neutral backgrounds. In images like Anthony (2007) from the Memento Mori series and Tadareius Johnson (2020) from the Pandemic Portrait series, he celebrates queer bodies. Among the most interesting works are pieces from the Dysmorphologies and Profiled series. In Dysmorphologies #94 (1999), Gonzales-Day compares and contrasts different skin types by digitally assembling grids of fragmented body parts evocatively arranged by tones and shapes. For the images in his Profiled series, he photographs antique statues from museum collections and represents them en masse against black backgrounds. This series examines race and racial profiling within museum collections. 41 Objects Arranged by Color (2016), is an impressive mural covering an entire wall in which Gonzales-Day digitally juxtaposes statues that vary in tone from back to white. He removes their settings, isolating the individual shapes against a black background. He standardizes the size of the statues to allow viewers to compare and contrast these representations as a way to understand historical biases and discrimination.

In conjunction with the USC Fisher Museum show, Gonzales-Day is also exhibiting new works at Luis De Jesus Los Angeles. Afterlife includes more than twenty-five digitally composited photographs, many depicting groups of statues from LACMA's collection. Guardian I (Digital composition with Mexico, Jalisco, Seated Male Figure; Mexico, Colima, Figural Vessel of Hunchbacked Male Drinker; Colombia, Middle Cauca, Caldas, Figure with Ligatures; Mexico, Nayarit, Seated Female Figure; Mexico, Jalisco; Standing Male Figure; Mexico, Colima, Seated Male Figure; Mexico, Nayarit, Standing Female Figure; Mexico, Tlatilco, Seated Figure; Mexico, Guanajuato, Acámbaro Valley, Chupícuaro, Standing Female Figure; Mexico, Colima, Standing Dog; Mexico, Colima Dog with Human Mask, All LACMA) (2025), becomes a carefully composed arrangement of gray-toned "pre columbian" figures combined with a single statue that retains its original color. In many of these images Gonzales-Day creates a colorful halo around individual figures and sets the composition against a colored background: either blue, mustard yellow or green. The addition of these colors reinforces the idea that the photographs are fabrications and not museified displays.

The highlight of the exhibition is the tremendous collage Afterlife (Digital composition with Mexico, Effigy of Death, National Museum of Anthropology (MNA), Mexico City; Leonard Wells Volk, Abraham Lincoln, Smithsonian National Portrait Gallery (NGP); Mexico, Aztec, Figure of Xipe Totec, LACMA; Jean-Antoine Houdon, George Washington, NPG; Houdon, Benjamin Franklin, NPG; Adelaide Johnson, Susan B. Anthony, NPG; Mexico, Scull Mask, MNA; Jean-Antoine Houdon, Flayed Man; Sculls, Museum of Criminal Anthropology, Turin; Rosenborg Tapestries, Rosenborg Castle, Copenhagen) (2025). In this work, Gonzales-Day arranged busts of famous figures including George Washington, Abraham Lincoln, Benjamin Franklin and Susan B. Anthony with skulls and Mesoamerican artifacts. They sit in a long triangular jumble in front of a brown-hued composited illustration appropriated from a tapestry in the Rosenborg Castle in Copenhagen that celebrated the brave deeds of European monarchs. The effect is chilling and speaks directly to Gonzales-Day's commitment to reveal the misdeeds of colonialism and to expose the ways museums have created and maintained racial hierarchies within their collections.

Gonzales-Day's simultaneous presentations showcase his impressive achievements and illustrate the myriad ways — be it through photographs, drawing, painting, public art or writing — he has communicated and refined his ideas.

Click here for Ken Gonzales-Day on its own page.

Camilla Taylor
Unkindness
Track 16 Gallery
November 8, 2025 - January 10, 2026


Camilla Taylor

Since the January 2025 fires, there have been numerous accounts of artists who have lost their homes and studios and the challenges they faced in resurrecting their practices, often from the ground up. What to do when everything is gone; when the pieces begun for an upcoming show are ashes, as well as family heirlooms, clothing, furniture and everything else? What is the purpose and function of art in the face of disaster?

Camilla Taylor was returning to their Altadena home on January 7, 2025 when they saw fire in the nearby mountains. Arriving home, they did not have have time to evaluate the situation, or collect treasured possessions as they rushed to safety with their husband and cats while grabbing just an overnight bag. At the time, no one who evacuated thought they'd return to nothing. In the ensuing months, Taylor was offered studio spaces, residencies, and financial support from friends and institutions. Now, eleven months later, Taylor is presenting a new body of work in an exhibition titled Unkindness.

Taylor is a sculptor and mixed media artist whose past works have investigated domestic as well as architectural spaces. They are interested in the ways figures can inhabit and interact with what surrounds them. Their evocative forms are impeccably crafted and uncanny in what they include or leave out. They are conceptually savvy and poetically metaphorical.

Loss pervades this exhibition. Many of he sculptures are cast in bronze. They are created from fragments or disembodied figures and allude to something made, then destroyed or badly damaged. A dominant work in the exhibit is Bereft (all works 2025), a muscular, bronze torso hunched over itself. This weighty form sits on a plywood pedestal, both present and absent simultaneously. From the front, it recalls classical sculptures, a ruin rescued and then preserved for display in a museum setting. Seen from the back, the figure is transformed into something beyond a body. A rectangular hole has been cut into the figure's backside. This cavity becomes a fountain, filled with water. Not only does the trickling liquid create a soothing sound that permeates the space, it also references the cyclical nature of life

Cruelty likewise has two views. From one side it is a dark, patinated bronze box that is filled like a relic with a single female breast. From the verso, the pear-shaped hollow impression appears to be a glowing yet haunting form: present in its absence. It signs for the rest of the body that is missing. Stray is a larger than life sized bronze replica of the human mandible (the largest and strongest bone in the face). It sits alone on a pedestal making viewers acutely aware of the upper jaw and the skull it should be attached to and inspires one to ponder what might have happened to it.

The fragments Taylor presents announce "I am still here," but also reference what is gone. Two untitled cast glass pieces, one inscribed with the word "ghost," the other with the word "rest," are semi-translucent rectangles fastened to the wall with hardware that has thick black plastic tips. Stairs is comprised of a cast ceramic foot tied at the ankle with a long rope that is suspended from a C-clamp. The foot stands on tip toe atop a pile of bricks. This ambiguous and chilling piece simultaneously suggests a chance to escape that has been thwarted, as well a safety net or a lifeline.

The wall based Fury is an oversized breastplate made of numerous hand-cut and etched thin copper feathers. Traditionally, breastplates were armor that covered the torso as a first line of defense. Taylor's breastplate offers no protection, although it is a weighty presence that ironically implies flight and lightness.

Dualities and dichotomies imbue Taylor's pieces. They are beautiful, yet also tragic. It is impossible to view the exhibition and not be reminded of Taylor's trying year, the hardships they experienced and the courage they mustered to keep going and to dig deep to create a new body of work that both looked forward and back. The exhibition is a triumph and a celebration of what is possible despite the unkindness in the world, and the uncertainties of life.

Click here for Camilla Taylor on its own page.

Michela Griffo
Who’s Laughing Now?
Moskowitz Bayse
November 8 - December 20, 2025


Michela Griffo

Michela Griffo was born in Rochester, NY 1949. After leaving home at sixteen, she studied at the University of Michigan and later received a MFA in photography from Pratt Institute in New York. Perhaps better known an activist, than an artist, Griffo was involved in the Civil Rights Movement and dedicated to championing rights for women and gays. She came out as a lesbian in 1970, but early in her career she had difficulties sharing her lesbian identity in the art world, as she was troubled by what that association would do to her career (at that time the art world was misogynist and lesbian-phobic). She later allowed her LGBTQ identity to filter into her artworks.

An astute observer and social critic, Griffo created artworks that challenged accepted norms, often using imagery from popular culture to invert expected scenarios and relationships. On view at Moskowitz Bayse are a series of thoughtful and evocative paintings that juxtapose flatly rendered Disney characters in saturated colors with more subtle and soft-edged graphite drawings against a white background. These two images are conceptually linked by a black and white comic strip that covers a portion of each and is positioned toward the top of the painting.

Sleeping Beauty Awakens (2006) includes a five panel comic about teenage girls as the most dangerous feminists yet. Within the sequence, the middle panel states, "Your generation kissed each other to turn boys on. We kiss each other because it feels good." Two women smiling and embracing are featured. The graphite panel (always on the left side of the image) is a delicate rendering of two girls face to face. One stares into what would be the face of the other, but it is obscured by long strands of hair and a cowboy hat. What is unique about these drawings is Griffo's use of blank space. She leaves abundant white around the figures so that viewers can complete the image in their minds. In the painted panel, innocent creatures — chipmunks, squirrels, etc. — gleefully play on top of red mushrooms with white dots in a grassy foreground. Above them, a careful rendition of Disney's Cinderella watches in awe as Sleeping Beauty kisses Snow White on the lips.

Tonya and Nancy (2005) uses an iconic 1994 newspaper image to create a graphite drawing of Olympic ice skater Tonya Harding. This is paired with a painting of Cinderella being attacked by one of her evil stepsisters pulling at the ribbons in her hair and around her waist. The comic strip at the top of the image begins with the text: "Harding had it all," and ends with, "Life is Funny. Sure she won the gold… But in the end we all lost." In the remaining panels, Griffo expounds on issues relating to talent and class. As in many of Griffo's paintings, she suggests parallels and creates connections between cartoons and real-life dramas.

Virtuoso on the Titanic (2012) features a realistically rendered pencil drawing of a teenaged boy playing the violin. His eyes are closed and his hair is drenched in sweat as he is consumed by the activity. In the image culled from Disney, Mickey Mouse is positioned with a violin at the base of the stairs in a grand room. He smiles as he moves the bow across the instrument while large black musical notes float upwards. In the comic, Griffo contrasts a panel with a musician playing Bach's Chaconne in a metro station before a small audience with a comment about the music played during the sinking of the Titanic. It concludes with the statement: "When the capacity to appreciate beauty becomes irrelevant… What else have we lost?"

Although the diptychs that make up Who’s Laughing Now? were created between 2005 and 2013, the themes and issues illustrated and expressed still resonate today. While Griffo might not be a household name to many in the art world, she is a well known activist and leader in the LGBTQ movement. This is the first presentation of these pieces in Los Angeles and a rare opportunity to get to know an artist whose pieces resonate on multiple levels.

Click here for Michela Griffo on its own page.

Marianne Vitale
Blowing Robots
The Journal Gallery
October 30 - December 13, 2025


Marianne Vitale

At first glance, Marianne Vitale's Cubes (2025) resemble enlarged and dilapidated children's alphabet blocks, casually arranged in clusters across the gallery floor. While each surface may not contain letters or their fragments, the blocks suggest something dismantled and reconstructed. Vitale works with decommissioned locomotives and the materiality of distressed steel and the essence of defunct machines holds forth. Each sculpture includes between twelve to thirty-eight cubes (13 x 13 x 13 inches each) cut from colorful, but rusty, locomotive bodies that once protected diesel engines. Squares with various letter fragments and designs have been cut from the metal skin and welded together into cubes. The welding is crude, the seams rough and haphazard, suggesting disrepair … but from the ruins comes new life. It is as if the entropic process was thwarted allowing myriad pieces to form industrial quasi-readymades shown in new configurations.

The largest assemblage contains 38 cubes stacked to become a cityscape with buildings of varying heights. Another includes a tower of red and white colored blocks. A square base formed by eight discrete cubes supports another pair and this configuration is topped by three more individual cubes. The red and white graphics within the squares feature fragmented rectangles, triangles and ovals. The burnt welded edges surrounding these graphics bleeds into their surface framing them in black with bits of shiny metal. The mostly green Cubes recall the shape of Carl Andre's sculpture Merrymount (1980) as well as works by Sol LeWitt and Robert Morris. Here, Vitale creates a sculpture where five cubes with mostly green backgrounds extend horizontally across the floor. On top of the five are four more, then three, then two, forming a stair-like structure.

One way to think about Vitale's sculptures is to imagine Soma Cubes where each square has a unique pattern or decoration and each sculpture has a different configuration of blocks. A black and white piece with fifteen cubes extends both vertically and horizontally as if ready to spin, suggesting a dysfunctional top. A work of thirty-two black and orange units contains some that juxtapose letter fragments and others that have horizontal and vertical bands of the different colors. Although sturdy and architectural, these pieces have a quirky imprecision that creates an intriguing awkwardness.

In addition to the five Cubes, the exhibition also includes wall based sculptures: two entitled Skull and one called Junk. These large-scale readymades are "created" from locomotive cylinder heads that Vitale has installed anthropomorphically. Seen out of context, the machine parts resemble gigantic, abstracted skulls or heads with strange orifices and varying degrees of rust and decay. They suggest sci-fi monsters that are somehow both threatening and benign.

Vitale is a versatile artist who paints and draws, as well as fabricated sculpture. A notable past work includes Bottles and Bridges: Advances in Collective Obliteration (2021). This series of outdoor sculptures was exhibited in the 2022 Venice Biennale. Vitale is interested in the ways industrial and utilitarian objects — both large and small — can be transformed into iconic forms that function as minimalist sculptures. They also comments on the changes wrought by advancing technologies and what they leave behind.

Click here for Marianne Vitale on its own page.

Corita Kent
The Sorcery of Images
Marciano Foundation
September 26, 2025 - January 24, 2026


Corita Kent

Sister Corita Kent (1918 - 1986) was an artist, activist and educator. She skillfully interwove her interests in art, literature, society, politics, and popular culture into her graphically bold serigraphs (screen-prints). A devoted nun and scholar, Corita attended and then taught at the Immaculate Heart College in Los Angeles. During her tenure there, her work transitioned from being predominantly figurative and religious to incorporating colorful graphics combined with texts drawn from poetry and popular songs, as well as advertising slogans. At the time of her death from ovarian cancer in 1986, she had created a huge archive of prints, drawings and watercolors that have since been cherished, as well as collected by patrons and institutions world wide.

While much of Corita's work and the details of her career can be viewed and researched at the newly opened Corita Art Center in downtown Los Angeles, on view at the Marciano Foundation is a multifaceted exhibition that includes Irregularity: Corita and Immaculate Heart College’s Rule Breaking Designs, a selection of materials from the archive; a large mural of marchers carrying Corita banners; a grid of thirty images from Damn Everything But the Circus (1968), a series inspired by American circus posters that includes texts by poets such as E. E. Cummings. These works contextualize her practice and serve as an introduction to The Sorcery of Images.

The Sorcery of Images is the title given to a little known and rarely seen collection of over fifteen thousand 35 mm slides shot between 1955 and 1968 by Sister Corita, her students and her fellow nuns. These are on display as a three channel slide projection. Upon entering the vast dark space at the back of the first floor, viewers are invited to sit on benches or lay back in beanbag chairs to take in an ever changing rotation of triptychs culled from over 1100 images. Like an old fashioned slide presentation (without the clicking sound of the carousel swapping pictures) this display cycles through a wide range of subjects. Corita and her entourage wandered through the streets of Los Angeles, as well as other cities with cameras, making pictures of architecture, chance encounters, dolls and puppets, food and snacks, as well as gatherings. Many of the photographs contain cropped typography and signage, abstract and vividly colored shapes, as well as the comings and goings of people Corita knew and taught. Collectively, they become a snapshot of the world at the time.

The images celebrate life and the extraordinary in the everyday. As presented, they become a poem filled with meaningful and metaphoric juxtapositions. Corita referred to her photographic work as sorcery or thievery — the art of relating sources into a new context that allowed everyone to make their own connections. While Corita never exhibited this body of work she did present slide shows as part of her teaching and the installation pays homage to her role as an educator.

Thoughtfully edited and sequenced by independent producer Michelle Silva, the photographs create a quasi-narrative that undulates and flows between details and far away shots, people and places, letter fragments and signage. In one triptych, the middle image depicts people sitting on a bench in a classroom as if listening to a lecture. It is juxtaposed with people attending a protest while holding colorful and artful placards, as well as a closeup of a railroad crossing sign taken at night. A number of triptychs include reproductions of cropped print ads like one for Kelloggs Cornflakes where one child pours out the contents of the box onto a table as another blows on a trumpet. This picture is juxtaposed with cropped text — blue letters on a white background — that reads "It's Won…" The third image in this sequence pictures three women (one in a habit) in front of a picture of fans in stadium seats. Some of the photographs show fruit, cookies, donuts and other snacks, some include Corita's own artworks while others capture street signage or graffiti.

The phrase, "Do We Still Love Life?" is part of a black and white page from the August 1967 edition of McCall's. It is juxtaposed with a slide focused on the words "We Can Work it Out" written in black on red. The third image in this sequence depicts an arm holding a yellow yardstick in order to draw a straight line. The question "Do We Still Love Life?" is supported by hard work and precise measurement, as well as the message, "we can work it out." The idea of loving life resonates.

While it is impossible to describe and retain each triptych or to note all the memorable individual slides, it is enough to take them in collectively and to think about Corita and those in her circle with roaming the streets and events their cameras. Though not necessarily conceived as "art," these photographs as combined by Michelle Silva, become a thoughtful and poetic meditation on Corita's life and times.

Click here for Corita Kent on its own page.

David Gilbert
I Capture the Castle
Chris Sharp Gallery
October 11 - November 15, 2025


David Gilbert

David Gilbert is a Los Angeles based artist whose primary medium is photography. While large as well as small scale photographs are the ultimate outcome of his endeavors, he could also be considered a sculptor and installation artist, although his constructions are made for his camera. Within the confines of his studio, he creates environments for imagined encounters that evoke transcendence. The photographs in his previous exhibition at the gallery were poetic meditations that juxtaposed drawings, draped fabric and paper cutouts. The images in My Heavens (2022) tracked the qualities of light through the day as it filtered through an open window. They asked questions about permanence in relation to atmospheric and ephemeral movements.

For I Capture the Castle, he similarly uses the walls of his studio and sunlight filtering through windows for compositions that feature hand cut paper and cardboard castles. In fairy tales, castles are often presented as enchanted and magical, but they can also be sites of power and violence. In many of Gilbert's photographs, the castle is fragile and delicate, precariously positioned in the frame in numerous configurations.

Though only thirteen by eight inches Ramparts, (all works 2025) is a densely layered scene. Here, Gilbert places a brown cardboard cut out of ramparts (defensive towers) on a table in front of a wall covered by a pencil drawing of a stone facade. Push-pinned to the castle is a small paper bag that might hold pastries. It is decorated with reproductions of a monarch butterfly and a yellow daffodil. Bits of colored twine and torn pieces of fabric are draped over a table and cascade to the floor. Intermingled with them is a vine with purple/blue flowers. Emanating from one of the castle towers are green vines roughly drawn with some kind of marker. The image is a dramatically lit construction more inviting than menacing in its ambiguity.

Moving from small to large is the mural sized photograph Leaves. Though no castle is depicted in this image, a lacy white transparent piece of silk flutters in the light against a pink wall that contrasts with actual green vines that hug the left side of the picture. Pink is also the predominant color of Keep. Push-pinned to a piece of pink seamless backdrop paper is a paper castle twisted to emphasize its three-dimensional form. A single piece of twine hangs from the tack that holds the castle in place and dangles down until it is cropped by the bottom of the composition. The castle is in rough shape as if it has seen better days, a relic of another place and time.

Stronghold (pink) and Stronghold (blue) are photographs of the same scene, though differently colored by light, indicating changes in the time of day. Gilbert plays with the dual definitions of stronghold — "a place that has been fortified so as to protect it against attack" and "a place where a particular cause or belief is defended or upheld." In both pictures, a delicate outline of a castle created with thread and cut paper loosely droops from pieces of tape that barely hold it to the wall. Light filters in from an unseen window casting rectangular shadows on the wall that suggest a landscape. The images make an interesting set — opposites and complements as the photograph that is pink has orange highlights, while the blue image has yellow-green accents.A castle is a facade and Gilbert uses it and all of its numerous manifestations to examine inside and out, the psychology of fear and entrapment, and the feminizing of masculine space. The works are ghostlike and airy. Gilbert delights in creating uncanny and ambiguous scenes, devoid of people yet filled with longing. There is a rawness, as well as a humanness to his constructions. The works are undeniably beautiful, yet allude to a hidden darkness beyond their visually appealing facades.

Click here for David Gilbert on its own page.

James Casebere and Jose Dávila
The Poetic Dimension
Sean Kelly, Los Angeles
September 13 - November 1, 2025


James Casebere and Jose Dávila

The Poetic Dimension pairs photographer James Casebere and sculptor Jose Dávila, linking them together because of their shared interests in Mexican modernist architect Luis Barragán. Luis Barragán (1902-1988) was a revered figure in the architecture world. His buildings, many of which were residential, were filled with light and color. He melded the traditional aesthetics of Mexico with modernist principles to create spaces that were about form, structure and the relationship between inside and out. Both Casebere and Dávila are modernists whose formal practices delve into the relationships between planes of color and the spaces created between objects — either real or constructed. Seeing their works presented together under the umbrella of Barragán's architecture makes for a wonderful trio of interrelationships.

Jose Dávila trained as an architect but later turned to sculpture and installation. Using a wide range of materials, he fashions objects that are simultaneously beautiful and uncanny. In the gallery are four recent sculptures that investigate structural equilibrium and restraint. Joint Effort (2024) juxtaposes two pale, terra-cotta colored cuboids, one serves as a base for a rounded boulder and the other rests on top of the stone. The entire work is encircled and held together by a white canvas strap and metal ratchet. The work is sturdy, yet precarious. Fundamental Concern (2025) is equally playful and solemn. Four light blue concrete rectangular forms paralleling a minimalist sculpture are piled on top of each other. The top two blocks are perched at an angle between a small off-white rock that resembles an outstretched tongue. Acapulco Chair Stack (2022) combines numerous Acapulco chairs that have been stripped of their netting so all that remains are the green-blue frames. These metal forms are intertwined to create a sculpture that supports three stones at different levels within the interior space.

On the walls surrounding Dávila's floor-based sculptures are James Casebere's color photographs. Casebere has had a long career constructing and then photographing table-top models drawn from architectural and cinematic sources. His photographs often depict sculptural spaces that have been carefully lit to maximize light and shadow. Whether interior or exterior spaces, these constructions are created with exacting detail, though often designed to be viewed from a specific vantage point where he places the camera. In these images, Casebere uses Barragán's architecture as a point of departure. He does not recreate Barragán's spaces verbatim, but rather captures the essence of receding corridors and the shapes of light across walls and floors to emphasize transcendence. Vestibule (2016) appears to be an impossible space with irregularly shaped walls that converge toward the back of the image. On the right, a light pink wall intersects with those that are off white, in contrast to a dark floor. A yellow square and rectangle stand out from the white walls as anomalies — random shapes that appear to be illuminated by an invisible skylight. The place is evocative and welcoming, yet spatially confusing.

An internet search reveals an image of Barragán's actual studio that features a spacious room with a couch and table. The emphasis is on warmth as the room is flooded with yellow light. In Casebere's rendition, Empty Studio (2017), the furniture is gone. The ceiling has yellow beams and the floor is made of simple wooden panels that recede toward the back wall. An evocative, geometric shape created by light coming in through the window at right is positioned near the middle of the image, hugging the back wall and floor. Casebere's other photographs depict exteriors: Courtyard with Orange Wall and El Eco Courtyard (both 2017) reduce Barragán's architecture into geometric shapes and flat planes of color. The blue sky in relation to a yellow column and light brown facade becomes a geometric abstraction, as do the green and orange shapes in Courtyard with Orange Wall.

While Casebere's and Dávila's works resonate individually, when shown together, they become an unusual yet thoughtful homage to Barragán. The exhibition creates a conversation not only about how to interpret the built environment, but how it can be used to generate abstractions. The exhibition illustrates how architecture shares many of the same formal concerns as sculpture and photography.

Click here for James Casebere and Jose Dávila on its own page.

Carol Bove
Nights of Cabiria
Gagosian Gallery
September 25 - November 1, 2025


Carol Bove

In Nights of Cabiria, Carol Bove transforms Gagosian Gallery into an evocative installation that parallels the architecture of the space. Bove plays off the beams and trestles that criss-cross the ceiling, transforming them into frameworks for her sculptures. Bove also references film history by naming the installation Nights of Cabiria, a 1957 film directed by Federico Fellini. It centers around the adventures of a sex worker named Cabiria living in Rome. Cabiria was also a 1914 silent classic directed by Giovanni Pastrone. In that film, Cabiria is a young Sicilian girl sold into slavery in Carthage. It was shot in Turin and set during the Second Punic War (218 to 202 BCE). According to Gagosian's press release, Cabiria is also credited with various innovations, including the first extensive use of a moving camera. While the references within Bove's installation may be obtuse, they create a conceptual structure for the installation.

Bove offers a nod to the silent film with NO (2025). Here, a small reproduction of a movie still has been screened into the center of a large yellow cloth. It hangs from the high ceiling and piles up on the floor near the gallery entrance. This soft image in many ways contrasts everything else in the space, except for Diaphanous Prison (2025), another fabric divider suspended in the back gallery. This dye on silk work features a photographic reproduction of a grid of metal chain that becomes a diaphanous wall. Excluding these two fabric pieces, the installation is otherwise hard-edged and architectural. Bove is best known as a sculptor who creates large scale works that incorporate found as well as construction-related materials. In this exhibition, she uses the formal apparatus of the gallery's architecture as a point of departure.

The main space is filled with rusted steel scaffolding that divides the gallery into quasi-compartments or cells. Some of the openings within the structure are empty while others are filled with a chain-link lattice that parallels the image in Diaphanous Prison. Interspersed within this architectural intervention are Bove's sculptures. Some rest on the floor while others are perched on the scaffolding. Idiopathic Abstraction (2020-25) is a large floor-based piece that combines found rusted metal and stainless steel painted bright orange, juxtaposing organic and geometric forms. There is a raw yet graceful quality in Bove's sculptures. In this work, what once might have been a rigid metal beam is now bent in the shape of a distorted "S." It's deep orange plays off the natural rust in the found steel. In Priestcraft (2025), Bove places a mangled "O" shaped steel beam also painted orange on top of steel structural scaffolding which serves as its base. At 100 inches tall the sculpture has a dominant and evocative presence.

Similar Salamander (2025) is another floor-based piece made of pristine nickel-plated steel scaffolding topped with a crumpled beam of unpainted stainless steel. In the center of the twisted and folded form is a small round mirror that reflects the gallery space as well as the viewer's image as they circle the work, placing them in its center. Similar Salamander is one of a trio of sculptures — each consisting of the same elements arranged in different ways.

The take away is strength and beauty, a consideration of surface and a mix of texture and how different treatments can inform the reading of the works. Although each sculpture is unique, the exhibition is experienced as a site-specific installation. The space has been structured to support this strange mix of pieces, which in turn inform, delight and play off each other.

Click here for Carol Bove on its own page.

Alfonso Gonzalez Jr.
No Parking
Matthew Brown Gallery
September 19 - October 29, 2025


Alfonso Gonzalez Jr.

In Los Angeles, it is commonplace to walk by a parked vehicle and wonder how long it has been there or why it is not ticketed even though there is a visible no parking sign right beside it. The car or truck could be ancient and dilapidated, or shiny and new, or even hidden under a blanket. Alfonso Gonzalez Jr. examines the personalities of these vehicles in No Parking, while painting them in situ with a sign painter's skill and capturing them in their surroundings. Ten paintings are butted together and span two walls to create a long L-shaped mural. Gonzalez Jr. leaves a white border at the bottom of each work on which he sprays black or red lines with drips that cascade down the surface. This undulating line ties the paintings together, making them in essence one work, while simultaneously linking them back to the street.

Many of the pieces are titled with Latin American names or places, but only Azteca Pet Shop (2023) duplicates what is depicted in the image. In this work, Gonzalez Jr. crops in on a street where a van painted with a green-yellow-orange-red-green gradient is parked. The van is pictured in front of a tan building filled with a mural depicting a red, yellow and blue parrot perched on a light green tree branch. The van is also decorated with a red and green bird, as well as two stylized dogs and topped with brightly colored structures that resemble bird-houses. This painting is positioned between Tocco (2025), an image of a burned-out Porsche abandoned at the beach suggesting a relic of the Palisades fire and Flores (2022-2025), a light brown pick-up truck scrawled with graffiti whose bed is filled with plywood and other construction materials. This truck is pictured at sunset, the sky cast with a purple-orange glow. It is parked in front of a one-hour parking sign on a nondescript street lined with palm trees and a church as a cross pierces the sky along the right edge of the work.

Although no people are depicted, the cars and trucks, as well as their locations exude different personalities. The backgrounds are filled with murals and signage. The vehicles, although now abandoned, are adorned with stickers or loaded down with personal belongings.

As the vehicle paintings fill the back gallery, the front spaces also contain works with a no parking theme. In Towed Away (2025), Gonzalez Jr. presents a found and altered no parking sign that proclaims unauthorized vehicles will be towed at owners expense and pictures a white tow truck hauling away a fancy car. He also presents inventive parking barriers. These geometric piles, though covered in dirt that partially obscure the words and symbols for 'no parking' become intriguing minimalist forms and sculptures.

There is both humor and empathy in Gonzalez Jr.'s installation. He is an astute observer and skilled painter who has captured an aspect of Los Angeles that is visible to all, often overlooked, and cast aside.

Click here for Alfonso Gonzalez Jr. on its own page.

Ai Makita
Metabolizing Machine
Baert Gallery
September 13 - October 18, 2025


Ai Makita

Ai Makita is a Tokyo based artist whose large-scale paintings explore interrelationships between the body, machines, technology, and AI. Makita has impeccable rendering skills and while her complex and layered compositions may originate on a computer, the finished works are meticulously painted by hand. Metabolizing Machine (all works 2025) is an eight by thirteen foot painting that collages a variety of machine parts resembling shiny engines in an array of metallic colors. Makita's process is to first photograph different engines and industrial machines. She feeds the images into AI software, and tweaks them until satisfied before then hand painting the resulting AI generated compositions.

The works appear to celebrate and critique advances in technology simultaneously. Makita began to distrust our reliance on machines after the 2011 nuclear disaster at Fukushima, Japan. The aftermath of that catastrophe showed that machines were not infallible and they could fail just like people. when combined with human error. Makita infused her paintings with this fear by depicting technology as vulnerable. Though not directly, the works pose the question "what would happen if machines took over?"

In her paintings and sculptures she explores human/machine dichotomy. Her desire is to produce something that goes beyond a human framework and into a realm outside of what people might imagine or create without AI. That being said, the works are not sci-fi. Many artists who use AI create surreal, futuristic images that can be reverse engineered in the mind's eye by thinking about what prompts the artist asked. Makita works with a limited palette — her subject matter is bolts, engine parts, chrome tubing, twisted wires and pipes that when combined take on new characteristics to become quasi-beings as well as surreal landscapes.

Variant XXI is a large horizontal painting divided into twenty-one square sections. Each depicts some part of a chrome engine or machine in black, white and silver. The individual pieces are close ups of shiny, twisting tubes like those that might be part of a motorcycle. Makita focuses on a slightly different angle of the machine in each square. Together, they reconstitute the fractured machines, but not in a way that makes sense. Three smaller oils all titled Prosthetic Gods are also based on AI generated mechanical objects. The chrome finish here is punctuated with rainbow hues in what appears to be multiple overlays of imagery. Calling these paintings Prosthetic Gods references artificial body parts. The halos and glow around the depiction of shimmering metals also makes them otherworldly and giving them a God-like aura.

In Form #1, Form #2 and Form #3 she realizes elements from within the paintings as objects. The modest-sized, wall based sculptures are 3D printed and then silver plated. They are derived from aspects of the paintings, yet here brought to life as three-dimensional forms that are abstracted representations. They shimmer in the light as something precious as well as utilitarian.

While the larger paintings encompass the viewer's entire field of view becoming giant collages, Makita skills as a painter demand each part be examined on its own. They call out for close scrutiny. As each metallic element segues into the next, they combine to form some kind of being, or machine-like force that is also quasi-human. Makita's paintings are hauntingly evocative and quite beautiful to behold.

Click here for Ai Makita on its own page.

Rodrigo Valenzuela
Marginal
Marshall Gallery
September 6 - October 18, 2025


Rodrigo Valenzuela

For Marginal, Los Angeles based artist/photographer Rodrigo Valenzuela presents images from three series: Weapons (2022), Barricades (2017) and Masks (2018), in addition to the video Prole (2015), and a few new pieces that can been seen in the back room from the recent series New Land (2024-25). The exhibition is conceived of and presented as an installation where the walls are painted dark gray and covered with rosewood two-by-twos that span the space both vertically and horizontally. Larger images are attached to the wooden structure, while smaller pieces are hung in the spaces in between.

It is not unusual for Valenzuela to extend what is depicted within the images out into physical space. His installations often evoke stage sets or construction sites while playing off ideas of labor and simultaneously disrupting and challenging the conventions of an unencumbered gallery display. Because Marshall Gallery is a relatively small space, this intervention is minimal yet still impactful and transformative.

Three large-scale pieces from Valenzuela's Weapons series are the first works encountered by viewers. These enigmatic and evocative images are enlargements of table-top sculptures Valenzuela creates in his studio by combining found objects such as cutlery, hardware and other detritus. While the original objects are banal, everyday items that could have come from job sites, Valenzuela has crafted them into sci-fi scenarios where bits of machines take on the characteristics of soldiers and rogue weapons. The black and white photographs are enlarged and silkscreened onto a grid of factory worker time-cards that have been attached to a stretched canvas. Valenzuela's use of the time cards ties the pieces directly to labor. Atop the images, are scrawled symbols and letters — like graffiti tags — contrasting the precision of the photographic imagery.

Valenzuela's Weapons are presented alongside images from his Mask series. To create these photographs, Valenzuela fabricated gas masks like those worn by protestors in Chile (his homeland), cutting apart and reassembling pieces of plastic and metal containers held together by white reflective tape. The resulting flash photographs are dimly-lit self-portraits shot against black backgrounds where the white tape is illuminated, somewhat akin to tribal markings. These pieces reference the ongoing struggles and world-wide protests against oppression and unsafe situations for laborers. Valenzuela's interests in labor and the conditions facing workers are also examined in the video Prole where he films a group of Latino workers who have gathered to play soccer in an empty warehouse. During the video, the engagement organically shifts from interactions with a soccer ball to a discussion of labor and immigrants' struggles. Valenzuela's camera deftly records the transition from gaming to politics.

The disparate bodies of work selected for this exhibition metaphorically illustrate ideas of living on the margins, be it via portraiture or images of the landscape. In his most recent series titled New Land, Valenzuela makes photographs of the desert landscape and then superimposes lines and geometric forms over the images to draw attention to the arbitrary nature of borders and barriers. Throughout these related projects, Valenzuela explores 'dystopian' situations by creating images that are both truth and fiction. His works are autobiographical, as well as rooted in ongoing conflicts and injustices facing so many migrants. In his works, Valenzuela transforms the ordinary into something larger be it language or power based, cultural or personal. The pieces resonate on multiple levels and when combined as an installation they have an even greater impact.

Click here for Rodrigo Valenzuela on its own page.

Roberto Benavidez
Bosch Beasts
Perrotin
September 12 - October 18, 2025


Roberto Benavidez

Hieronymus Bosch's The Garden of Earthly Delights (1490-1500) is a three-panel work permanently on view in the Prado Museum in Madrid, Spain. It is a complex and enigmatic triptych about the fate of humanity. Bosch illustrates the aftermath of pleasures and sins in Paradise and Hell. The painting is filled with an amalgamation of people and animals who co-exist in these imagined worlds. Los Angeles based sculptor Roberto Benavidez has been crafting piñatas for more than a decade, often using images from art history as source material. In his series Bosch Beasts, he uses The Garden of Earthly Delights and other Bosch paintings as points of departure. He transforms the two-dimensional inhabitants of Bosch's worlds into three-dimensional forms, in essence bringing them to life. The indiscretions, dancing, frolicking, same sex and even inter-being couplings depicted in these works are the inspiration for Benavidez's sculptures.

Benavidez is an exacting craftsman who did extensive research into the construction of traditional piñatas before embarking on this endeavor. His labor intensive practice involves choosing a person or creature to reproduce, sizing balloons to serve as the head and the body, then covering them with cardboard and layers of papier-mâché. The final step is to surround the sculptures with thousands of pieces of serrated edged cardboard covered with brightly colored metallic and matte crepe paper. Piñatas are often filled with candy or surprises, and what (if anything) may be inside Benavidez's sculptures remains a mystery. These works are 'art' and not meant to be hit with sticks and broken apart by children during parties or other celebrations. Benavidez removes that sense of play and replaces it with a different kind of game — one of recognition. That Benavidez is a queer, mixed-race, Mexican-American is also of importance, as he knowingly inserts aspects of his homosexuality and racial identity into the works. He celebrates the hybrid nature and ambiguities of his creatures.

While some viewers might want to trace each piñata to its referent — and can do so as reproductions of three Bosch paintings hang on a nearby wall — the work is more about Benavidez's interpretations, than a one to one mapping. For Bosch Beast No. 14 (2025), Benavidez creates a mouse-like creature based on The Hermit Saints (1493). Bosch's animal has translucent wings, a wispy tail and a curious black band around its middle. Benavidez transforms the browns on the rodent's back into an iridescent blue, playing off the color of the spots on the original animal. He also adds pointed spikes at the top of the band to suggest an SM studded collar.

As an installation in the gallery, the piñatas form a menagerie. The creatures hang suspended in front of a blank white wall as isolated forms culled from Bosch's frenetic works. Viewers might even begin to imagine the details of the landscapes that surround them. Bosch Angel with Star Piñata (2015) hangs in the center. It is based on the tiny angel in the upper right corner of the middle section of the altarpiece. In Bosch's painting, the angel holds a red sphere above his head, on top of it is a white bird. Benavidez changes the sphere into a seven-pointed piñata with golden tassels to represent the seven deadly sins.

Bosch Beast No. 9 (2019) is a floor based sculpture that stands ninety-six inches tall. It reproduces the bear or cat-like creature climbing a small tree from the left panel of The Garden of Earthly Delights. In Benavidez's depiction, the innocent looking creature climbs a multi-colored pole that rises from a green base while changing colors from gold at the bottom to green to gray to blue at the top.

Benavidez creates a wide array of animals, birds and chimeric forms, some devouring small piñatas, others eating other animals or insects as in Bosch Bird No. 3 (2014), another critter from The Garden of Earthly Delights. There are an abundance of choices from Bosch's fertile imagination and Benavidez has masterfully created an installation that not only references art history, but also invites contemplation of the relationship between Mexican and European cultures, as well as the importance of the fluidity of identity and form, both past and present.

Click here for Roberto Benavidez on its own page.

Takako Yamaguchi
MOCA Focus
MOCA
June 29, 2025 - January 4, 2026


Takako Yamaguchi

While Takako Yamaguchi has been making and exhibiting paintings regularly for over forty years, up until recently she was below the radar. Her inclusion in the 2024 Whitney Biennale elevated her exposure and finally in 2025, recognition in Los Angeles has arrived. Though not really emerging (at 72), she is the subject of a MOCA Focus exhibition (a series designed to showcase emerging local artists). The Focus exhibition is not a retrospective, but rather the presentation of a recent body of work.

Those familiar with Yamaguchi's prior series will see these quasi-seascapes as part of a continuum, noticing relationships, familiar elements and methodologies of paint application. Yamaguchi is a slow, exacting painter who focuses on large shapes, wide expanses of color and the transitions between them in her imaginative representations of the natural world. Those coming to Yamaguchi's work without context and knowledge of her painting history can absorb these magnificent pieces on a purely visual level.

As a painter, Yamaguchi's works defy categorization as she explores a different subject or concept in each project. In some series, she references traditional Japanese landscape paintings or kimono design. She has integrated Art Deco motifs and created paintings that draw parallels with feminist spiritual abstraction. She has also explored the body with a series of photorealist nudes, as well as a suite of tightly cropped images that focused on women's clothing modeled by the artist. An anomaly is perhaps her monochromes — white on white (or gray) paintings of geometric shapes in a trompe l'oeil style.

The ten images on view at MOCA categorized by Yamaguchi as "abstractions in reverse" are large-scale oil and metal leaf paintings filled with undulating and overlapping geometric shapes. While they appear to be seascapes, the imagined places they depict are a synthesis of symbols and motifs derived from paintings of the natural world throughout art history. Formally, the works on view share a kinship with artists like Agnes Pelton and Hilma af Klint, whose painted landscapes captured a sense of spirituality and transcendence. Yamaguchi's works have a similar sense of light, and layering of shapes to suggest the landscape, however they are not overtly spiritual.

A horizon line unifies the ten paintings in the exhibition. As Yamaguchi remarks, "I set out to do this series with the painting’s horizon line exactly in the center, and then above is sky, and below is a sea." Each painting is filled with saturated colors and shapes that reference waves, clouds, islands and mountains. In Trap (2024) three rows of stylized gray and white waves sit at the bottom of the canvas. Above them is an expanse of deep blue filled with curved brown mounds that sign for islands dotting the sea. A long, wide golden shape snakes across the sky exiting the painting about a third of the way down. In the middle, just above the yellow horizon line is a row of vertical lines placed to reference a setting sun. A large striated white shape is perfectly balanced in the center of the painting, at once a wave and a large bird flying up, over and across the composition. At once familiar and entirely other-worldly, the image is simultaneously grounded and ethereal.

Plenum (2024) is the most sensual of the ten paintings on view. The multiple meanings of the title are echoed within the work as it is both a seascape and a body. As in Trap, the bottom of the work features a row of rippling waves. Above them is a golden-yellow bulbous form outlined in gray with a shaft that rises vertically and splits in half as it nears the top of the painting. It not only sprouts tendrils here, but also changes direction and mutates into undulating forms that flow down on the left and right sides of the shaft against a deep maroon-red background ending at the horizon line.

For Residue (2023), Yamaguchi also divides the painting into sections. The horizon (a white then black line) cuts across the center. Green vertical stripes meet the horizon line against a yellow green black gradient suggesting a distant expanse. Six rows of flattened, golden braid-like shapes float across the top of the painting: posing as clouds that dominate the upper foreground. The sea zig-zags as hard-edged blue-gray bands from green waves lining the bottom of the canvas.

Each painting can be described as a relationship of forms — colorful, geometric shapes — that float in an imagined landscape. Yamaguchi is interested in what the paintings infer, how viewers interpret the abstracted seascapes, and how they not only seem to become recognizable and familiar but also remain obtuse. In these complex and breathtaking paintings, she blends elements from Eastern and Western art history, architecture and culture to make unique scenes that hover between abstraction and representation.

Click here for Takako Yamaguchi on its own page.

Nancy Buchanan
Truthfully, Nancy Buchanan
The Brick
June 22 - September 20, 2025


Nancy Buchanan

I first encountered Nancy Buchanan's works in 1985 in The Family as Subject Matter, an exhibition curated for The Washington Project for the Arts in Washington, DC by Jock Reynolds, its director. The show presented projects by Buchanan, as well as Anne Turyn, Larry Sultan and Terry Allen among others. Buchanan exhibited work about her father, the nuclear physicist Louis N. Ridenour who passed away in 1959 when Buchanan was just 13. After inheriting the family archives she investigated both the public and private life of her father and created the multi-volume work, Fallout from the Nuclear Family (1980). Through redacted texts from FBI files and personal documents, Buchanan elucidated the complicated and contradictory aspects of the life of a nuclear scientist during the Cold War.

Text, image, history, personal artifacts, narrative, storytelling and collage have been at the root of Buchanan's nuanced career, and in the retrospective exhibition Truthfully, Nancy Buchanan at The Brick, viewers can experience the breadth of her extraordinary practice. Refusing to be pigeon-holed as this or that kind of artist, Buchanan has never been wedded to a single medium. Throughout her six-decade career she has worked in performance, video, digital art, and installation, in addition to creating collages, drawings and paintings. She has also collaborated with artists ranging from Ulysses Jenkins, Barbara T. Smith, Chris Burden, and Paul McCarthy, as well as more recently with Carolyn Potter, Cynthia Maughan and Laura Owens.

The disparate subjects that Buchanan explores are often culled from current events — what was happening locally and globally at the time. She was involved with not only the women's movement, but also was (and still is) politically active in the anti war movement, as well as Black Lives Matter. Aesthetics and political concerns intermingle throughout her different projects and are almost always filtered through a personal lens. A statement on her website reads, "Buchanan uses various media to bring social realities into view, while grounded in the observation of a lived history. Known for her performances in the 1970s and 80s, she also worked in video while completing drawings and installation."

The exhibition at The Brick is a celebration of the diverse aspects of her practice. With over 100 pieces created between the 1960s and 2000s, it is loosely divided into sections: early years, hair, interiors, bestiary, consumption, development & ruins, the state & the self. It also includes a reading room. Some early works are presented in vitrines as ephemera and documentation where Buchanan explored the body— making work about intimacy and sexuality.

Her skills as a draftswoman are apparent in pieces like Hair portrait white on black (2013), a close-cropped delicate white pencil on black paper drawing that focuses on strands of flowing hair on the back of a faceless head. This work is presented alongside Untitled (Hair Room), (1973/2025) a work first conceived in 1973 and presented here for the first time. It consists of a closet-sized room from which strands of synthetic hair dangle from the ceiling. Buchanan delights in the sensations evoked when the faux strands touch skin.

What is most satisfying about the exhibition is how the different materials and processes of working come together to define her as an individual. Her drawings of dog toys (a quasi-homage to Mike Kelley) and her portraits of endangered species become a meditation on loss. Whereas collages like Saving Time (2017) or Time Out (2017) are about excess, and drawings and paintings including Art in the Park 2 (2024) and Gaza (2025) speak to the urgency of destruction and ruin.

Buchanan looks to the past as well as the present. Her pieces investigate dreams, disasters, nature, and the changing urban environment. She is at once serious about the current political climate, seen in American Dream #6 Media Nightmare (1987), yet her works also display a keen wit and sense of humor. It is hard not to smile at the toy lips and teeth that appear in the Mouthpiece photos from 1985. Security and Fallout From the Nuclear Family are installation pieces from the 1980s that juxtapose the personal and political as Buchanan confronts her ancestry and the work of her father in these pieces.

While there is a reading room and a video room, they are not the main focus of the exhibition, rather it is the works made by hand — Buchanan's many drawings, paintings, sculptures and collages — that are not only a surprise but also a clear testament to the depth of her conceptual thinking, her artistic skills and love of the process of making.

Click here for Nancy Buchanan on its own page.

Ashwini Bhat
The Morning after the Fire Swept Through
Shoshana Wayne Gallery
August 28 - October 25, 2025


Ashwini Bhat

The ceramic sculptures on view in Ashwini Bhat's exhibition The Morning after the Fire Swept Through explore the cycles of nature. Bhat relocated from Southern India to the foothills of the Sonoma Mountains in Northern California. She arrived in 2017 around the time of the Tubbs Fire and since then has watched how nature rebuilds itself after a catastrophe. Her works are a reflection of these patterns — the emergence of life from the scorched earth — and a search for beauty amidst devastation.

Her clay, wax, and bronze sculptures are portraits of her body (most are titled self portraits) but also celebrations of the land. The primary form in the exhibition is the calla lily which grows in abundance on Bhat's property, and her sculptures trace the life cycle of the plant from "bud to bloom to burst." The plant's sensuality is illustrated in Bhat's pieces.

The back room is filled with the bronze multiple Self Portrait, Becoming (all works 2025). Twelve of these pieces in addition to the unique work What Will It Take / For Us To Awake? hang from the ceiling via thick chains with a rusty patina (which are integral parts of the sculptures). A looping score emanates from a set of small speakers resting out of the way on a shelf. The sound of chiming bells is interspersed with a female voice that poetically recites the title of the exhibition, The Morning after the Fire Swept Through. This gives the work both a hopeful and chilling aura.

The suggestion of 'fire sweeping through' is haunting for Los Angeles, especially in light of the recent Palisades and Eaton fires. Yet Bhat's experience with fire was inspirational and prompted her investigations of California ecology and climate change, in addition to the biomorphic forms that resulted from the flames. Working in glazed ceramics, she notes, also requires great heat. While the fire within the kiln is part of the process, she acknowledges its powers outside of that controlled environment.

Self Portrait, Dailiness is a work about ritual. During daily walks Bhat would roll a small ball of clay in her hands. Eventually, 108 were glazed in red and sequenced with larger breast-shaped seed pods into a giant rosary chain that begins at the ceiling and hangs to the floor in a large spiral and ending with a vibrant red calla lily. Self Portrait, Nude stands about waste high. It is a giant calla lily cast in bronze. Rather than a stem, Bhat extends wiry tentacles from the bottom of the bulb which become a base that suggest legs and the potential for movement. Self Portrait, Uprising is a similarly personified form. Here, the spathe of the calla lily is attached to a long stem that extends from a bulbous pod situated on top of an array of tentacles.

Although many of the aforementioned works are bronze, Bhat is best known as a ceramicist. She has refined skills in building large-scale ceramic vessels that display a sophisticated sense of color and texture. Self Portrait, Bloom and Self Portrait, Burst juxtapose multi-color glazed ceramic forms with materials that suggest fire: charcoal in Burst and a scorched wooden platform in Bloom. While the bases of these works reflect destruction, but as the eye travels up — traversing a body from toe to head — both pinnacles burst with life.

While Bhat witnessed and perhaps internalized nature's violence and destruction, she has been able to transform these experiences into something beautiful and positive. Her exquisite forms are filled with hope. She acknowledges change and in natural cycles of birth, death and regrowth. Her sculptures capture the essence of this process and celebrate the fact that in California, life comes from conflagration.

Click here for Ashwini Bhat on its own page.

Jeffrey Gibson
the space in which to place me
The Broad
May 10 - September 28, 2025


Jeffrey Gibson

Jeffrey Gibson was selected to represent the United States in the 2024 Venice Biennale He was the first Native American artist to receive this tremendous honor. His ambitious exhibition, the space in which to place me was on view from April 20 - November 24, 2024. Exhibits curated and designed for the U.S. Pavilion rarely travel, so only those who make it to Venice, Italy can see them. Gibson's exhibition is one of the exceptions and is now on view in Los Angeles at The Broad Museum from May 10 - September 28, it's only U.S. venue.

Gibson, a 2019 MacArthur Fellow, makes work that is both beautiful and politically powerful. It is poetic, graphically complex and challenging as well as confrontational. But it is never didactic. Gibson works in a range of media. This installation includes sculpture, fabric banners, site specific murals, paintings with and without collaged elements, and video. At The Broad, viewers are immediately drawn by the sound emanating from a darkened room where the video She Never Dances Alone (2019) is being projected. The hypnotic and pulsating music from this short continuous looping work bleeds into all the spaces of the exhibition, its score echoing throughout the galleries. She Never Dances Alone was originally presented in Times Square as part of the "Midnight Moment" series, a digital public art program presented during the midnight hours by Times Square Arts where it filled sixty screens. Its multiple depictions of Sarah Ortegon performing the "jingle dress dance" that originated with the Ojibewea tribe and is traditionally performed by women to call upon ancestors for strength, healing, and protection illuminated Times Square. The video transitions from full screen images of Ortegon dancing to kaleidoscopic patterns that become colorful abstractions in perfect sync to the beat. While it was conceived for the outdoor electronic billboards in Times Square, it also resonates at The Broad as a single channel work.

The shifting of shapes and patterns created within the video resonate throughout the exhibition. Although Gibson explores themes of injustice and violence in his nuanced and layered works, his pieces can be appreciated first and foremost on a formal level. After emerging from a few cycles of She Never Dances Alone (unconsciously still feeling the beat) one enters a room with golden yellow walls (each gallery has been painted a different color) and is immediately taken by three beaded busts, each sitting on top of a white marble column. The three decorative figures, Treat Me Right, Be Some Body, I'M A NATURAL MAN (all works 2024) are covered in colored beads that define abstracted facial features and the upper torsos. These colorful, mask-like entities appear glamorous and super-human. Gibson's intricate and over the top use of beading repurposes a traditional craft and material used by Native Americans into something unexpected. Each sculpture is titled after a "vintage" button pinned to its body that calls attention to both empowerment and past discrimination. The sculptures are on a platform toward the back of the room which leaves ample space for Gibson's paintings.

Gibson's paintings, banners and murals use the motif of the LGBTQ flag as a point of departure. Comprised of overlapping circles, stripes, squares and rectangles in rainbow colors, they are visually powerful designs that immediately draw viewers toward them.

In works like THE RETURNED MALE STUDENT FAR TOO FREQUENTLY GOES BACK TO THE RESERVATION AND FALLS INTO THE OLD CUSTOM OF LETTING HIS HAIR GROW LONG and WE WILL BE KNOWN FOREVER BY THE TRACKS WE LEAVE, the title is painted in the center of the piece, in multi-colored block letters that are often hard to read. The text in … THE RETURNED MALE STUDENT … is set in a rectangle that is surrounded by triangles and other geometric shapes that point toward the edges of the canvas stemming from the central rectangle. The source for the text is a 1902 document written by the Commissioner of Indian Affairs urging Native school children to cut their hair. Gibson often draws from historical records and documents, political speeches, as well as from pop songs and surrounds these words in painted arrays akin to kaleidoscopic patterns. Sometimes he includes found objects as in WE WILL BE KNOWN FOREVER BY THE TRACKS WE LEAVE where he attaches pieces of Native American beadwork to the surface. In this image which is titled after a Dakota proverb the pattern, objects and text work together to connect past and present.

Complementing the paintings are a series of fabric banners or flags with oscillating patterns and texts. These large-scale pieces hang from large dowels that are suspended from the ceiling filling the deep blue room. Each work consists of a different rainbow colored pattern and includes a different fragment of appropriated text. Phrases such as: Past Future Present; One Becomes the Other; More Colors Than The Eye Can See; Everybody is Sacred; and Pray, Rejoice, Dance, Sing confront the viewer. Centered in this room is Charles Cary Rumsey's Beaux-Arts sculpture The Dying Indian that features a slumped Native American man on a horse. Gibson's addition to the sculpture is a pair of beaded leather moccasins created by Pawnee-Cree artist John Little Sun Murie and inscribed with a line from a Roberta Flack song that states "I’m gonna run with every minute I can borrow." Seen together the works in the room speak to past despair as well as future empowerment.

Alone in the center of a dimly lit room, painted a deep red, is Gibson's WE HOLD THESE TRUTHS TO BE SELF-EVIDENT. Viewers are invited to sit on one of two the benches to regard the work. The top portion of the sculpture is made from a found punching bag covered with colored beads combined in geometric patterns. Embedded within that surface are words that spell out the phase from the Declaration of Independence: We Hold These Truths to Be Self Evident. Long clusters of strands of beads: red and cyan, then yellow and green and finally red, black, yellow and white cascade to the floor forming a circle that references a tribal medicine wheel. Dramatically lit, the space becomes a chamber of contemplation. Here, Gibson transforms a throwaway item into a delicate and intricate work, at once fragile and heroic.

While Gibson's sexual orientation, Native American heritage and politics are at the core of his explorations, the works never read prescriptively. Rather, he weaves together historical and contemporary materials to create evocative and thoughtful pieces. Embedded within the works are the ongoing struggles — civil rights, racism, slavery, queer and Native American histories — yet while these issues may be subsumed they are never muted by Gibson's aesthetics. The bombastic colors, jazzy patterns and geometric designs coexist with the content of the appropriated historical documents. Stating, "the show is about turning margin and center inside out, putting topics and people who have been pushed aside in the spotlight," Gibson celebrates and acknowledges his ancestors and predecessors.

Click here for Jeffrey Gibson on its own page.

Jo Ann Callis
Dish Trick
Rose Gallery
June 25 - August 30, 2025


Jo Ann Callis

In Dish Trick, Jo Ann Callis presents new configurations of old works. Black and white, as well as color photographs from the 1980s and 1990s, are shown in grids as originally displayed, but also re-printed and presented as single images in new sequences. The works depict every day objects and domestic settings, yet as seen through Callis’ lens they are psychologically charged and unsettling. Departing from traditional still life set ups, Callis focuses on details and through close focus transforms banal objects in surreal and unusual ways. In her photographs the ordinary is elevated into something extraordinary.

The exhibition opens with Domestic Interiors, a suite of color photographs from 1995 in which Callis fabricated miniature versions of modernist furniture and placed them into dollhouse settings. Brightly colored beds and chairs are set in patterned environments. The framed photographs are surrounded by fabric mats often containing similar patterns. Each square image from this series features a dramatically lit and closely cropped interior. In one untitled work, two twin beds with orange coverings are aligned, but slightly askew in a windowless room. They sit on a gray and white striped ground adjacent to pleated pink-red curtains. The mat is a gray and white zebra stripe pattern. The image becomes a dizzying array of contrasting surfaces and forms.

In the early 1980s, Callis created works featuring multiple black and white photographs. Combined, the images read narratively and together could be seen as Callis’ playfully feminist take on domesticity. Incongruous juxtapositions and subtle scale shifts occur in pieces like Still Life with Ice (1981-83) and Still Life with Fish [sliced bread, glass of water, tablecloth, beet, sardines] (1981-83). Still Life with Fish includes five images: sliced bread on a tiled counter; a bowl of water with a dragonfly resting on its edge sitting on top of newspaper classified ads; the corner of a table with a striped tablecloth; a dish filled with numerous sardines; as well as an actual table-top still life containing a ball of twine, a folded newspaper and a selection of fruits and vegetables. Still Life with Ice also juxtaposes five photographs; four depicting single objects and the fifth with related kitchen items in combination. One of the images features a sharp knife at the end of a table, another a block of ice on a vinyl tablecloth, the third a wooden straight backed chair against a wall, the fourth picture is a glass of water with a spoon in it. The final image of five items on a table includes a different knife, a glass of milk, an empty bowl, a folded black towel and a giant block of ice that has begun to melt. The placement of similar objects in this final image begins to suggest relationships between the elements of the other photographs. Callis remarks that the picture evokes the feeling that something is about to happen.

Callis enjoys playing with illusions and creating relationships between disparate things. Cake, Hat, Pillow (1982) is a triptych where each object is photographed from above. While the cake, hat and pillow are centered in the frame, Callis includes the edge of the table, as well as the wall behind it in every image. This turns the background into a striped abstraction. The Dish Trick (1985) is a color photograph that captures a moment of aggression. It depicts dishes hovering at the edge of a table as the cloth below them is being yanked away. The traditional table-setting is disrupted, the chairs misaligned as a headless figure pulls the yellow-white tablecloth away. In magic acts, the table cloth stunt is a phenomenon where the cloth is pulled out from under the dishes and none break. In Callis' image, it is quite evident that the trick will not be a success.

The exhibition is a mix of old and new prints and it is interesting to compare Callis' original sequences to the new modest sized prints (8 x 10 and 8 x 12 inches). Here photographs of individual everyday objects are mounted to aluminum and covered with a matte laminate and framed. Alone, the objects are ambiguous anomalies and devoid of context. Connections are now made between the sequence of images on the wall, rather than within a single frame. Callis invigorates banal, everyday things by photographing them straight on, presenting them larger than life and emphasizing their beauty and strange familiarity in shades of gray. In most painted and photographic still lives the objects are presented in exacting detail and in vivid color. One of Callis' intentions with these pieces was to deconstruct the still life genre, so the fact that these images are black and white makes sense.

Throughout her career, Callis has created domestic tableaus of household objects through individual black and white, as well as color photographs. She explores the psychological aspects of domesticity by making quasi-erotic, seductive, contemplative and often surreal images. Seeing old works in a new context serves as a reminder of how of the moment she was, and continues to be.

Click here for Jo Ann Callis on its own page.

Cecilia Z. Miguez
A Thousand Years in One Night
Louis Stern Fine Arts
July 10 - September 6, 2025


Cecilia Z. Miguez

In her evocative exhibition A Thousand Years in One Night, Cecilia Z. Miguez laments the loss of her Altadena home and studio during the Eaton fire. Like numerous Los Angeles artists, she was forced to confront the destruction of her home/studio and possessions. Because she had an upcoming exhibition, she needed to quickly rebound and got to work transforming objects not completely obliterated by the conflagration into new creations. Culling from the rubble, she used fragments and remnants of sculptures made from bronze and wood as well as found objects as a point of departure for a new direction. Her latest sculptures evoke survival and the courage to continue while overcoming devastating obstacles.

Miguez is a figurative sculptor whose career spans many decades. In the past, her mixed-media pieces were celebrated for their intriguing depictions of the female form and the way she examined its beauty and associated mythologies. They were well crafted, intricate and seductive. In this new work, she embraces bodies with missing parts, as well as the scars and the imperfections resulting from the flames. The new pieces have a rawness and vulnerability that distinguishes them from her prior sculptures.

The Smile Is the Last Thing to Go (all works 2025) had a golden patina and modest scale before the fire. It portrayed a curvaceous woman with a gracefully posed arm and an elaborate headdress. In a pamphlet that accompanies the exhibition Miguez writes, "This sculpture's exquisite torso was the first piece to be salvaged from the ruins. As if she had attracted the real thing, a chaotic splash of melted bronze separated her feet, her legs, and one arm, which was never recovered. She is now kept frozen in time, witnessing her own inevitable destruction." The new work is missing an arm so the hand is attached to the torso at the hip. The figure stares down at an awkwardly colored and positioned hand which holds a pile of melted bronze, as if to say, what happened to me?

Fantasy by Fire, is a small sculpture just 18 inches high. It also features a standing female figure with a missing arm. Surrounding the woman's head is a halo of fire. From the back, the gold plated amoeba-like shape grows from the base of the skull and branches up and out in multiple directions, its pockmarked surface dotted with red glass micro-beads. Seen from the front, this charred halo encircles the woman's head. The red beads that outline the shape allude to blazing flames.Miguez refers to the waist high sculpture The Golden Piece as a queen. When the upper portion of the body was retrieved after the fire, one arm was missing and the bronze head had melted. For the new work, Miguez attached another head that was similarly culled from the debris, painted her lips red and gave her expressive eyes. A disembodied hand was adhered to a wooden base that resembled a lectern or a column, yet functions as a body. Much of the work is covered in golden beads — the charred remains coexist with newfound hope. A large bow covers the back of the work as if restoring glory to the queen.

Among the smaller pieces is A Thousand Years in One Night. In the pamphlet, Miguez speaks of how the pre-burned sculpture had a face resembling a mask with painted blue eyes that peaked out from a mysterious wooden time machine covered with found gears and knobs. In the current exhibition, it is presented as a relic. The head a ruin, now inset into a wooden frame and surrounded by empty glass bottles. Miguez describes the new sculpture as being entombed like a mummy "…buried not with material wealth but with the riches of imagination…" Daydream is another smaller work consisting of two heads fused to a dilapidated wooden support with a crackled surface, something at once complete and unfinished.

The female figures that populate this exhibition are mostly bald and have the stature of undressed manikins, yet they are simultaneously elegant, stoic and poised. They appear in different degrees of disrepair, missing limbs, as well as hands and feet. Yet despite their haunting demeanor, they assert their presence with determination. Miguez wrote of wanting to guide her unfinished works down new paths after the fire struck, and being forced to confront the unexpected, she rose to the occasion to create evocative and meaningful new pieces. She gathered what she could find from what remained and lovingly invented new stories to give them a new life. The new sculptures emerge from the cocoon of fire to become assertive forms that channel spirits of healing and hope.

Click here for Cecilia Z. Miguez on its own page.

Greg Miller
True Romance
William Turner Gallery
June 21 - August 16, 2025


Greg Miller

Greg Miller’s works are filled with images appropriated from the mass media that appear to be chaotically combined to create messy surfaces with painted drips and ripped newspaper fragments. Each melange is encapsulated in varnish or a glossy medium that unifies the disjointed surface. Many of his works allude to Hollywood movies and movie stars. The paintings have a nostalgic aura, yet are clearly created in the present. Scenes suggesting love, desire and loss, as well as dramatic comic book fist fights fill his colorful panels. Large painted figures are combined with actual magazine excerpts to create narratives. Like other accomplished collage artists, Miller's refined skills at unifying disparate and unrelated content are clearly evident. He also has a keen wit and sense of humor.

Many recognizable figures from the past and present fill his canvases: be it Mr. Bubble, The Jolly Green Giant (the well-known advertising mascot for the Green Giant brand of peas), vintage macho comic strip detectives and cowboys, or seductive, smiling women with bright red-lipstick. Miller also inserts book covers, maps and street signs (Mulholland Drive), as well as reproductions of Life Saver candies and pieces of popcorn. Significant scale shifts create an interesting back and forth between the painting and collage. Recognition plays a large part in how Miller’s works are interpreted. For those who know the original context of his appropriated materials the references are automatic and embedded in nostalgia. Those who don't might need to delve deeper into the history of popular culture, but all can applaud Miller's inventive ways of presenting them in new scenarios and combinations.

Many of Miller’s large-scale horizontal paintings allude to widescreen proportions connecting them to the world of cinema. Love Between Hard Covers (all works 2025) and Mr. Bubble are diptychs that are twice as wide as they are high. Centered in the large, bright and aggressively gestural two panel piece, Here it is, is an illustration of a red and white striped popcorn bag character adorned with gesturing arms and legs. This iconic figure waves as it saunters across the composition. Filling the background is a stylized fist fight between two cartoon characters. As one appears to hit the other, all that is missing is the word "WHAAM!" [aka Roy Lichtenstein, though it appears in another painting so titled and installed across the wall]. Giant pieces of popcorn float across the scene. A banner reading "Pain Proof Man" sits at the top of the picture. Scattered about the composition are full-size magazine and book pages that also wrap around the edges of the panel. Within the composition are carefully chosen clippings with words or sentences that inform the reading of the densely layered work. It is necessary to read the fine print, as well as follow the flow of the images to fully understand Miller's intentions.

In the diptych Mr. Bubble, Miller juxtaposes a painting of a woman in a red bathing suit floating in dark blue water with a painted replica of a Mr. Bubble box. The woman appears to be just below the surface, her face obscured by the water above. The illustration of a box of 1970s vintage bubble bath is presented alongside a historical advertisement for the "1st National Surf Show," a clipping of an old 35mm camera, magazine cutouts of purple flowers, a bird and a compass. Newspaper fragments are scattered across the piece. Depending on the order in which they are read — 'Know Something' 'five' 'beauty' — they cohere poetically.

In the large piece Whaam, Miller features a cropped close-up of a glamorous woman's face presumably from a 1950s era advertisement and a hand pinching a red Life Saver candy. Other painted Life Saver candies in yellow, orange and green appear behind the hand, each collaged with letters that spell out words including LIFE, FREE, PLAY or REAL THING. The word WHAAM! is painted in bright yellow and outlined in black in the background amidst an explosion. Covering these painted elements are cutouts of liquor bottles, a camera, the American flag, as well as a tree labeled "High Sierra." When combined with painted drips and newspaper fragments — Miller's signature style — these elements create a nuanced narrative that weaves through different generations of popular culture.

In Beautiful, the word spans edge to edge horizontally. Behind it is a beach scene with a woman in an old fashioned bathing suit. A pair of red high heel shoes is collaged toward the bottom left covered by a small line of text that reads "With thoughts of the path back." A collaged hand holds a camera and is overlaid with texts that state "But not so; there was more" and "…if sensing the wilderness of …" A pair of disembodied eyes looks out at the viewer. The scene is beautiful and charged simultaneously. Miller is clearly infatuated and seduced by advertisements and printed ephemera from the past. He carefully selects and arranges aspects from what must be a huge archive of materials, to create graphically and intellectually complex puzzles that are a joy to read and decipher.

Click here for Greg Miller on its own page.

China Adams
Poles, Walkers and a Black Sheep
CMay Gallery
May 17 - August 16, 2025


China Adams

In Poles, Walkers and a Black Sheep China Adams presents two distinct, but related bodies of work: black and white drawings of utility poles and sculptures made by combining geriatric walkers with brightly painted canvas fragments that have been twisted and molded to suggest human forms. Adams talks about the poles as being utilitarian yet outdated — they represent an antiquated but still necessary way to deliver electricity (power) to businesses and residential buildings. They can produce sparks (as evidenced by numerous fires in Los Angeles) and the wooden versions can even burn themselves. As pervasive as they are, they often go unnoticed, but Adams notices them. She studies, photographs, and then draws them with precision, emphasizing their graphic qualities, the filigree of the wires they support and the shapes they create when viewed against areas of sky. Utility poles are ubiquitous. Some have bulbous extensions — transformers — while others appear as elegant grids of black lines. Adams focuses on the relationship between positive and negative space in her drawings, representing the poles and wires as slices of an ongoing continuum.

In Crisscross (all works 2025), one is drawn to the T shape of the silhouetted pole that is just left of center in the square composition. From this anchor, numerous lines flow left and right against a Pointillist ground made by tapping a Micron-pen against the white paper. Curved and rectangular transformers are intermingled with the wires. In these modest-sized square and rectangular pen and graphite drawings, Adams calls attention to how these sculptural forms interact with the sky as two-dimensional abstractions. In an accompanying suite of drawings, Adams telescopes in on a fragment of a pole and focuses her attention on detailing a small section where wires meet transformers. These are rendered in graphite against a light yellow gouache background. In Sky Frame III, for example, the shapes are depicted in varying tonalities according to depth and placement which gives the abstracted work a more realistic and nuanced aura.

The pole drawings explore the relationships between point and line by calling attention to their subtle differences. They are rendered as graceful artifacts of the urban landscape. Less graceful but perhaps more intriguing are Adams' sculptures. Painted in vibrant hues of orange, yellow and pink, crumpled pieces of canvas are attached to geriatric walkers. While appearing casual at first, the precisely placed canvas pieces actually suggest human forms. In Lean, Drag, Hinge and Brace, the walker is upright, whereas in Sprawl it is on its side. Walkers aid the elderly or infirm: they are designed to provide support. As such, they are sturdy objects, yet Adams presents them as personified and dysfunctional.

The amorphous shaped canvas in Sprawl surrounding two legs of an overturned walker alludes to a person reaching out and calling for help. In the pink hued Drag, it is easy to imagine a limp body dragging itself across the floor while leaning on the aluminum walker with its flourescent yellow tennis ball covered feet for support. This image is at once haunting and comical. Brace may be the "Black Sheep" in the exhibition's title. In this sculpture, canvas painted a dark gray extends across the walker, again referencing a slumped and headless body. Like the other sculptures, Adams imbues the form with personality — something expressive and quasi-pathetic — a reminder of our eventual aging and need for support.

Thinking about the less than obvious relationship between the poles and the walkers brings up notions of fragility and strength, vulnerability and stoicism, and the mechanisms and infrastructures that carry our bodies and our electricity. As metaphors for cultural, physical and societal stasis, both bodies of work express decline and collapse.

Click here for China Adams on its own page.

Oliver Clegg
always right, sometimes left.
The Journal Gallery
June 5 - August 2, 2025


Oliver Clegg

Oliver Clegg's large-scale, oil on linen paintings depict scenarios that are surreal, uncanny, and slightly off. The "why" might never be revealed in these works, but the "what" is very present. While devoid of people, Clegg's dramatic paintings are remarkably full of life. In a leap forward from earlier mechanical systems (all paintings 2025), an explosion sends a torrent of vintage television sets toward the street from the confines of a store window. In to weave is to wind, the trunk of a tree sprouts from the floor, nestled beside a partially-made bed in a cluttered bedroom, bursting upwards into the dark cavity of a ceiling. Oftentimes I think I have discovered something, I realise a poet has been there before me depicts a domestic interior. Streaming into the room from a translucent curtain covering a large window, light illuminates a round dining table and three empty chairs. All is as it should be, except for the fact that the ceiling is a shimmering body of water.

Within these works, Clegg explores the relationship between the possible and the impossible. Tensions develop in this dialectic as viewers contemplate precisely painted representations of absurd scenarios. Clegg creates poetic meditations that touch on contemporary issues ranging from the impact of natural disasters to social inequalities and race relations. In All we need in life is just a little love to take the pain awayyyyy, eight generic chairs (like those found in waiting rooms) float in a blue sky dotted with clouds. What updraft caused them to ascend? And why? As the title suggests, inserting love (or even hope) into everyday situations could help lessen the pain. Clegg's titles direct the interpretation of his paintings and enhance their meanings. You will find beauty everywhere is a painting that focuses on the corner of a room filled with bright colorful flowers. The closely cropped scene shows a window adjacent to a muted yellow wall and a gold-framed mirror that reflects it. Yet, the room is subsumed by the expanse of flowers that bombard the otherwise empty space.

Clegg's paintings have a cinematic quality. The images feel familiar, like appropriated scenes from sci-fi or horror films. While it is impossible to pinpoint any particular movie from which they come, the references are abundant. The colorful and brightly lit passageway in pieces of the puzzle that i'm always assembling suggest a leap into hyperspace that is commonplace. In Clegg's rendition, the portal leads to an image of a natural landscape. Dueling views of the sublime are presented here, as the rendering of the portal and the place it takes us are both magical.

Clegg is a skilled painter whose representational oils blend passages of loose brushwork with more detailed areas to create atmosphere as well as depth within each work. The paintings tell stories that reflect the complexities of modern life, the idea of impending doom, and survival at any cost. That the images are seductive and beautiful contradicts the perils depicted, yet Clegg sees hope and not apocalypse. The images resonate formally as well as conceptually. They defy expectations, evoke a range of emotional responses and remain implanted in one's memory long after viewing.

Click here for Oliver Clegg on its own page.

Elizabeth Shull
The Weight of It All
Lowell Ryan Projects
June 21 - July 26, 2025


Elizabeth Shull

Elizabeth Shull conjures both real and imagined moments. In her evocative and memorable exhibition The Weight of It All, a frieze of small-scale, colored pencil drawings on black paper (matted and framed in black) encircle the walls. Each carefully rendered image demands scrutiny. Shull's subjects range from images of animals and flowers to sea and sky. Silhouetted figures appear and disappear, sometimes alone, other times in pairs. Peripherally, the works relate to Hilma af Klint, who explored spirituality through combining nature, geometric abstraction and figuration. Shull's drawings are also reminiscent of the atmosphere captured by Vija Celmins, specifically her close-cropped drawings and paintings of commonplace objects that are simultaneously abstract and representational. Like Celmins, Shull isolates a fragment of an ongoing expanse.

One of her most recent pieces, The Weight of It All (2025) depicts a silhouetted surfer surrounded by the whitewater of a cascading wave. Is this a moment of triumph or impending doom? Either way, the surfer appears to be off balance in the sea — about to be engulfed by the surf. A similar ambiguity pervades in The Morning in Between (2025). Here, a small sketchily drawn silhouette stands in the foreground. In the distance, a full moon rises above two shadowy trees that appear like hazy ruins, a reminder of the fragile landscape and the recent fires in Los Angeles. In Light on Light (2024), three silhouetted figures stand at the lower right edge of the paper, their long shadows angled toward the bottom corner. The rest of the composition is filled with a large, round, yellow-orange, glowing sun — surreal and apocalyptic in its domineering presence.

While Shull's drawings are melancholic and speak to darker times, they are not without humor. I Just Want to Sit on Saturn (2022) and Shine a Light Up to Space (2023) illustrate the magic and power of light. A lone figure sits on a bluff by the ocean holding a flashlight up toward the sky and illuminating a triangular area. The glow of the light is depicted as a gradient shifting from yellow to gray brightening the most distant stars.

Eyeballs are another recurring element in Shull's drawings. Like the silhouettes, they are clearly human, yet presented as fragments or in shadow. When Something Is Wonderful in Front of Your Eyes but Grand Behind Them Too (2023) is a surreal and mysterious drawing where a triangle of yellow light flows from a dark orange circle that occupies the right side of the composition and contains two white flowers. This circle is surrounded by an aqua-blue-green ground. A beautifully drawn eye sits at its outer edge, extending left into a starburst of yellow rays that are set against a darkened background, bisected by a ray of light and also filled with a white flower. As the title might suggest, what is seen by the eye also fills the mind. In Looking Closely But Does It See You (2023), the eyeball looks upward and rests in the center of a white flower, the stamen of the plant functions like eyelashes.

Shull's nuanced and intricate drawings are based on patience, astute observation, and a belief in transcendence. The pieces fuse elements from nature with imagined places and relationships and suggest an awareness of distance and a longing for connection. As inferred in the drawing Choosing Where to Stand (2025) where two figures are separated — each at the edge of a cliff above the ocean — the distance between them and the distance below them is an infinite and ambiguous expanse. Are they moving toward or away from each other? The space between seems too grand and perilous for them to ever connect. Shull's thoughtful and poignant drawings are more than meets they eye. Though small and intimate, they communicate on a grand scale.

Click here for Elizabeth Shull on its own page.

Peter Zumthor
David Geffen Galleries
LACMA
June 26 - July 6, 2025


David Geffen Galleries at LACMA

John Cage created the musical composition 4:33 in 1952. It consists of a pianist sitting at a piano and playing nothing for the duration of the work, four minutes and thirty-three seconds. This piece was motivated by Cage's encounter with Robert Rauschenberg's white paintings — canvases without imagery of any kind — as well as his encounters with an anechoic chamber, a room designed to stop sound. In the silence, Cage wanted people to become hyper aware of what surrounded them, the shifting of the audience in their seats, their coughs or sighs, and the sounds within the concert hall that had never been considered "music."

The experience of Peter Zumthor's architecture and the empty David Geffen Galleries at LACMA is reminiscent of 4:33. Because there is no art to see, the space becomes the work. Each wall and corridor is an abstract composition with varying textures and tonalities, angles and reflections. The building is designed in the Brutalist tradition — minimalist, bare building materials with raw concrete and angular geometric shapes. Encircling the structure are large banks of windows with views of the environment around the museum — Wilshire Boulevard, the La Brea Tar Pits, the other LACMA buildings. The structure is a dominant presence. It asserts itself. Empty of art, it raises questions. It is beautiful and eerie, complete and incomplete. Like 4:33, it calls attention to what is not there. No music was played in Cage's composition and no art is on view in LACMA's preview, yet the experience is totally immersive and satisfying.

The details — whether the treatment of the concrete, the triangular pattern within the ceiling, the fixtures both recessed and hanging, the shadows and the variations in light as morning transitions to afternoon and evening — make the experience complete. The windows function as frames capturing what appears outside: the urban and the natural environment coming together, isolated and distanced.

Postcards can be collected and QR codes scanned to illuminate where the "art" will be and how the completed museum will showcase LACMA's expansive collection. But now, devoid of art, the building sings. It allows viewers to set their imagination free and engage their mind's eye in ways they never dreamed.

Click here for Peter Zumthor on its own page.

Lauren Greenfield
Social Studies
Fahey Klein Gallery
May 22 - July 5, 2025


Lauren Greenfield

Lauren Greenfield is a photographer who works in the social documentary tradition. While she turns an investigative and often critical eye toward her subjects, she also befriends them so they begin to feel comfortable with her presence and her camera. Today's teens are used to posing for and performing in front of a camera. Greenfield's current project looks at this generation — those who grew up engaging with social media.

Greenfield makes still photographs, as well as films, and according to the press release, is considered one of the "preeminent chroniclers of youth culture, gender and consumerism." She has directed the award winning films Queen of Versailles (2012) and Generation Wealth (2018), in addition to publishing numerous books that explore youth culture among other things. She recently directed the five-part series Social Studies (which airs on in FX/Hulu) and her exhibition, also titled Social Studies, serves as a companion to those episodes.


Within the gallery are framed color photographs of numerous teens posing with their phone cameras. Each image is accompanied by a caption that identifies who is in the picture, where it was taken, and a bit about the circumstances. For example, in Making TikToks (2021) Greenfield captures two girls smiling as they tilt their heads together to make a selfie set on the front stoop of a large home with ample foliage. One girl wears a black t-shirt with the text "I'm Not Sorry" while the wall text reveals "Holly and Bella, both 17, Pacific Palisades. Bella, left, was slut shamed on social media to the point where she didn’t want to leave the house." Sofia and Fiona (2022) is an image of two sisters with very different appearances and ways of dressing and cuddling platonically on a bed. Together they hold a cell phone towards the viewer showing a beautiful wealthy woman who perhaps they aspire to emulate. The caption reads, "Sofia, 18, and her sister, Fiona, 15, both feel social media contributed to their struggle with eating disorders."


Many of Greenfield's pictures are about self image, class and the desire to be noticed. The individual photographs portray relationships and events that are commonplace for those depicted, yet may come as a surprise for those outside this demographic. These images resonate while also posing questions about friendship and manufactured desires.
These notions are further explored in more recent composite images where Greenfield combines photographs she made with screenshots of posts to social media. In Greenfield's photo that comprises the top half of #Kinktok (2025), two teens embrace in front of a landscape filled with orange poppies, their hair blowing in the wind. Stella rests her chin on Joey's shoulder, gazing into the distance, her expression complacent — neither happy nor sad. The caption reveals, "Social media and pornography are the new sex education with BDSM as a popular teen trend. Since violence is normalized on social media, Stella didn’t realize that her first relationship before Joey (pictured) was abusive." Three cell phone screenshots below this photograph present images that suggest sexual violence against young women.


Similarly, in Mental Illness is Trending (2025), Greenfield juxtaposes a candid portrait of Ella (age 17) sitting on her bed with her phone. She is surrounded by stuffed toys, games and colorful wall decor. The three cell phone screenshots below the portrait show selfies by anguished teenage girls from TikTok or other trending sites. In the caption, Greenfield acknowledges, "Teenagers post their mental health struggles which have risen sharply with smartphone use and addictive social media. Ella, 17, said, “My social media consumption was like 12 hours a day. I fell into a rabbit hole. Depression, anxiety, eating disorders... I found myself comparing to people online that I didn’t even know." In Crying Selfies (2025), Greenfield constructs a screenshot grid of six participants in the Social Studies series with text that reads, "Photographing oneself crying is a popular social media trope for teenagers."


There is not doubt that teens document and share every aspect of their lives online, or that the fact that they feel pressured and compelled to share what they are doing is problematic. Greenfield documents these revealing and disconcerting situations and presents them matter of factly. Perhaps the takeaway is to contemplate the image Kylie Jenner Lip Challenge (2025), a grid of close-ups of more than 600 pouting lips — all shapes and colors — the result of a social media challenge that went viral comparing lips emulating Kylie Jenner's "famous full pout" which was the most requested UK make-up look of 2018.

In Social Studies, Greenfield looks at the influence of social media on teens and uses images and texts to document the dangers of wanting to be like someone else — someone pictured in the media — that forces teens to grow up too quickly. They leave their childhoods behind before they are ready to embrace adulthood. By contrasting depictions of teens with their friends, the compulsion to become sexier, as well as make confessions on social media, Greenfield presents an honest portrait of the difficulties this generation has navigating today's world.

Click here for Lauren Greenfield on its own page.

JJ Manford
Jacaranda June
Nazarian / Curcio
May 24 - June 28, 2025


JJ Manford

In early to mid-June, purple petals begin to fill the streets of Los Angeles. They gracefully fall from the many Jacaranda trees that are topped with lavender flowers, though only for a short duration. It is a special occurrence every spring: anticipated, and then celebrated. JJ Manford's exhibition has the curious title Jacaranda June, yet Jacaranda trees are nowhere in his paintings. Rather, the title is emblematic of something unique — in this instance, examples of iconic residential architecture in Los Angeles. Most of Manford's paintings are interiors of homes designed by architects such as Richard Neutra, Ray Kappe, Rudolph Schindler, John Lautner, as well as Charles and Ray Eames. Presumably sourced from photographs found online, Manford renders these interiors on burlap with thick oil stick, oil pastels and Flashe. While representational and realistic, as well as atmospheric and colorful, Manford's materials and surfaces are deeply textured with an abstract aura.

A Google search for Frank Lloyd Wright's 'Wilbur C. Pearce House' delivers a warm toned color photograph of the interior shot with a wide angle lens from a corner. Flanking the sides of the picture are a foreshortened side table and built-in shelves. In the background is a gray cinderblock wall surrounding an active fireplace. The floor is a reflective red-brown. The interior decorations include books, book shelves, a portrait of a man, as well as numerous ceramic vases filled with flowers. In Manford's painting Late Summer at The Wilbur C Pearce House (for Frank Lloyd Wright) (all works 2025), the composition is identical, however, the specifics of the interior have been modified. The Frank Lloyd Wright house is filled with objects and rendered in colors from Manford's imagination. The cinderblock wall is now blue-green. The painting shows an abstract landscape. The floor is a grid of red-gray terrazzo tiles.

A similar search for images of Richard Neutra's 'Levitt House' in Beverly Hills, CA results in an image that contains a portion of the living room, the pool seen through glass doors, and a library at the far end of the patio. In Manford's painting Sunset at The Levitt House with Viola Frey, the fading light illuminating distant hills at sunset casts an orange glow on the scene which now includes a Viola Frey table-top sculpture of a seated nude woman. Outside, the area surrounding the pool has been transformed into pastel orange, yellow, light green, purple and pink rectangles.

Manford's paintings are lush and atmospheric. While they depict lived in spaces, it is curious that they are devoid of people. Manford's choice of Southern California mid-Century Modern homes where architects paid special attention to the relationship between interior and exteriors spaces allows him to creatively juxtapose these different views. His interiors are adorned with furniture, kitschy objects, paintings, sculptures, shelves filled with books, or collections of pottery. These spaces are contrasted with the views out the windows — be it a distant cityscape, an overgrown garden, or the expansive ocean. Because these are well documented spaces, Manford can begin with the 'real' and transform it as he sees fit.

That these residences are emblems of taste and wealth is implied in Manford's depictions. Rather, there is a sense of nostalgia and potential for loss, as evidenced by the scramble to save the Eames house located at the edge of the recent Palisades fire. Manford's painting of the structure (Eames House Painting) is the only piece in the exhibition to focus solely on the exterior. Here, Manford faithfully reproduces the facade. While the blue and red panels located within the black grid of the house stand out, it is Manford's delicate treatment of the myriad window reflections — an array of yellows, blues and greens from the plants and sky that surrounds the structure — that gives the painting a rich presence. Each section of the grid becomes a mini-abstraction that when seen together celebrate the complexities of both the Eames house and Manford's nuanced treatment. Looking closely, one notices a cat ambling across the path, a sign of life amidst the inanimate architecture.

Like the sudden presence of Jacaranda petals— memorable but fleeting — Manford injects something unexpected and magical into his paintings of known architectural gems. The large scale of the works, textured surfaces and bright colors draw viewers in and Manford invites them to peruse every aspect of the image, each one an amalgamation of real and imagined domestic spaces.

Click here for JJ Manford on its own page.

Whitney Bedford
Sunsetting
Vielmetter Los Angeles
May 17 - June 28, 2025


Whitney Bedford

Since the early 2000s, Whitney Bedford has painted windows on the world. By this, I mean she sets a stage through which landscapes are viewed. At first she depicted colorful, abstracted trees in the foreground, vertical and horizontal lines that delineated a room, dividing interior and exterior spaces. Through this frame, Bedford then created a more expansive landscape, sometimes imagined, other times appropriated from art history.

In her 2020 exhibition, Reflections on the Anthropocene, she presented a series of paintings entitled Veduta. In these works, she reinterpreted landscapes by artists such as Caspar David Friedrich, John Constable and John Singer Sargent. In her current exhibition Sunsetting, she continues the Veduta paintings, this time taking her point of departure from turn of the century sunset and moonlight paintings by Edvard Munch and Felix Vallotton. According to Wikipedia, a veduta is a detailed, largely factual painting, drawing, or etching depicting a city, town, or other place. Bedford's places however, are both factual and make believe while tinged with an awareness of the fragile nature of our planet.

For the eight by twelve foot canvas Veduta (Vallotton High Sunset) (all works 2025), Bedford borrows from a sunset painting by Felix Vallotton from the early 1900s — a shimmering sun glowing over the water. She positions this landscape as the background of the painting seen through a stage or empty room with a black floor and dark blue trim. This work, like most of her paintings is comprised of three layers. In the foreground are bright orange palm trees depicted in silhouette as if stenciled to the canvas slightly offset from their deeper red-hued shadows. These trees are located in front of the plinth or stage. The background is divided into sections as if seen through three large glass window panes. Here, Bedford's skills as a painter and master of myriad styles becomes evident as she paints her version of Vallotton's sunset with impastoed bands of orange and purple brushstrokes surrounding the yellow-orange reflection of sun that is in the center of the painting.

Veduta (Munch Fruit Trees in Blossom in the Wind) Triptych is based on Edvard Munch's 1917-19 painting of the same name. Munch's expressionist image of a tree-filled landscape has been described as an exploration of the relationship between nature and human emotions— specifically a study of the lyrical power of wind. In Bedford's rendition, she breaks apart and fragments Munch's original by extending the composition across three panels. In the foreground are Bedford's signature silhouettes — a bright red weeping willow and a light pink tree without leaves. Overall, Bedford's painting is more fluid and gestural, though still reminiscent of Munch's original. She adds a bright pink and magenta sun centered among the billowing trees and undulating clouds which becomes the focal point of the triptych.

It is hard to view Veduta (Vallotton Yellow Green Sunset) and Veduta (Vallotton Sunset Beached Boat) without thinking about the devastating fires that raged in the Los Angeles environs in January. Bedford, who had to evacuate during the Palisades fire, transforms the yellow-greens in Vallotton's 1911 Yellow Green Sunset into vibrant hues of red and orange. In this modest-sized painting, Bedford again positions the landscape in the background framed by a bright pink structure. In the foreground are yellow trees with black shadows made of disparate textured fragments. The landscape itself, a riff on Vallotton's sublime, yellow-green composition of a sunset against distant mountains and walkers on a beach. While Bedford retains Vallotton's band of green sky above her mountains, the melancholy of his image has been transformed into something at once beautiful, as well as haunting and threatening.

Images of sunsets and moons glowing on water are traditionally uplifting signifiers of not only the passage of time but the cyclical nature of life. Though alluring and evocative, Vallotton and Munch's sunsets also reflected the anxiety of their times and the changes brought on by the Industrial Revolution and World War I. Bedford's paintings also subsume beauty with anxiety. Her uncanny works attempt to inject the issue of climate change into images of the sublime. She combines different styles and genres of painting while alluding to the ways the past informs the present and how one must be mindful, as well as wary of the future.

Click here for Whitney Bedford on its own page.

Christine Sun Kim
American Sigh Language
François Ghebaly
May 3 - June 14, 2025


Christine Sun Kim

Coinciding with Christine Sun Kim's museum survey in New York City on view at the Whitney Museum of American Art (through July 6, 2025) is a more modest presentation of insightful new works at François Ghebaly Gallery. Kim is best known for her charcoal drawings that juxtapose cryptic and fragmented language with abstracted shapes, as well as forms that resemble musical notation. Much of her work is about communication and mis-communication — Kim is deaf — and she examines the relationship between the hearing and non-hearing worlds. Her mixed media practice includes drawing, sound, video and site specific murals where she investigates politics and language, including the current administration's policies toward immigrants, the disabled and transgendered people.

This compelling exhibition opens with the sound installation Community Sigh (2025). Here, Kim presents five sound stations equipped with spinning turntables playing recordings of deaf people sighing. Kim recorded the sighs of sixty-six deaf acquaintances from around the world and pressed these sound clips onto vinyl which loop over an eighteen-minute duration. Together, they create a cacophony of disarming and ambiguous sounds that fill the otherwise empty gallery space. In the center of each record is a hand made ceramic stabilizer.used to weigh down the disk for improved sound quality— something that is inconsequential to the Deaf.

As in her exhibition at the Whitney and installations at other major institutions, Kim often places her framed drawings on top of large-scale site-specific wall paintings. In American Sigh Language, the large mural spans all four walls. Recalling musical notation four sets of four parallel lines, ebb and flow across the gallery. In the center of the middle wall they converge — the space between the lines contracts into a u-shaped valley or deep divot that is weighted down by a single awkwardly scrawled quarter note. On one wall atop this "score" are a trio of modest-sized framed drawings entitled Heavy Relevance (2024). The lines within these charcoal on paper works parallel the shapes of the wall mural. Within each iteration, the note rests over an expanded set of lines, implying a greater burden.

In the middle of another wall are the framed works Mind Rock and Mind in Rock (both 2025), both based on the American Sign Language (ASL) idiom MIND ROCK. This concept is meant to convey that one's mind is made up and one's thoughts have become heavy. In these drawings, Kim plays with the relationship between a large black shape, an empty musical staff and the words "mind" and "rock." Heavy Very Ghosted (2024) also juxtaposes curvilinear notation lines and sets of quarter notes that dot the composition, yet remain outside of the notational structure. The abstract drawing acknowledges aspects of minimalism as well as Fluxus, through Kim's incorporation of poetic phrases. Her drawings have been said to resemble "infographics," yet while they offer proclamations they are more poetic and witty than instructional or didactic.

Outside the main gallery in the viewing room is the animated two channel video InEx (2024) made in collaboration with her (hearing) husband Thomas Mader. Here, Kim and Mader focus on the nose. In ASL grammar, the nose plays an important role and Kim and Mader emphasize the notion of breathing in and out — inhaling and exhaling — by having animated nostril-sized symbols including hearts, envelopes, hugging couples, sleeping z's, etc. — pass by their noses. These symbols are either expelled by or absorbed into the nose, disappearing with each breath. A ticker-tape-like caption at the top of the image states the time of day, as well as what Kim and Mader were doing and thinking. Shot in tight close-up that frames their noses between the top of their mouth and just below the eyes, the six minute animation moves through the day as it keeps pace with Kim and Mader's interactions and activities.

Without being preachy or didactic, Kim's works evoke how she navigates the world. They are not a longing for what she lacks, but are more concerned with how she imagines sound and how it functions in the hearing world, as well as how she interprets gestures and comes to terms with racism, pity and misunderstanding. Kim continues to chart new territory by expanding her drawing practice into explorations that incorporate video, as well as sound. With each new presentation, her work becomes more nuanced and compelling, both formally and conceptually.

Click here for Christine Sun Kim on its own page.

Katherine Bernhardt
Sidewalk Chalk
David Zwirner Gallery
April 11 - June 14, 2025


Katherine Bernhardt

Pop Art meets Expressionism could be a description of Katherine Bernhardt's paintings. They are big. They are bright. They are gestural. They are filled with icons from popular culture like the "Pink Panther" or "Garfield" the cat, as well as everyday household items like sticks of butter or Lucky Charms. Over the last twenty years, Bernhardt's imagery has transitioned from paintings of super models culled from fashion magazines like Elle and Vogue to paintings filled with uneven grids of random objects like Sharpies, cigarettes, pieces of fruit and bottles of Windex becoming colorful arrays across her canvases.

Taking her son's collection of Pokémon cards as a point of departure in 2023, Bernhardt modified the commercially produced product to create her own interpretations — large spray paint and acrylic works that are filled with clunky captions and frenetic gestures that both reference and poke fun at the originals.

In Sidewalk Chalk she continues to indulge in aggressive mark-making by using wide brushes and a colorful palette that reference the exhibitions title. The works are dramatic, familiar and unabashedly silly. In It's Butter (all works 2024), Bernhardt messily paints a huge image of the cartoon character "Garfield" against a washy pink background. Behind the cat's outstretched arms are two oversized wrapped sticks of butter placed vertically like columns or even skyscrapers. "Garfield" is rendered with spray painted orange and black lines, as well as brushed red marks that appear like veins inside his body.

Five wrapped sticks of light yellow butter with pink outlines float in front of and behind the head and upper body of "The Pink Panther" in Butter Butter Butter Butter Butter. Fluttering in the composition and outlined in hot pink are light blue diamonds and tri-color rainbows — items found in Lucky Charms cereal. His bright yellow eyes aglow, "The Pink Panther" looks dazzled.

"Cookie Monster" makes an appearance in two paintings: Taste and Gulp. "Cookie Monster" was the beloved Muppet character on "Sesame Street" known for devouring cookies, though he would consume just about anything edible or not. Once again, Bernhardt distorts the iconic representation, depicting just his head with googly eyes and wide open mouth stuffed with sticks of butter in Taste, or filled with jars of "Vaseline," tooth brushes and tubes of "Crest" squirting multi-colored paste into the monster's mouth in the painting Gulp.

At first glance it is easy to dismiss Bernhardt's brightly colored paintings as enlarged and over exaggerated doodles, yet they continue to resonate. While she retains the original colors and the simple shapes of these well known characters from popular culture and the cartoon world, she removes their context and places them in nondescript confined spaces while juxtaposing them with incongruous, everyday objects so the characters become defamiliarized. The paintings are strange amalgamations of disparate "things" that are memorable and visually engaging. Bernhardt is not a naive painter and although there might be art historical references in the work, they are subsumed by her barebones approach, bright palette and gestural improvisation. Whether she is celebrating or critiquing contemporary consumer culture, her paintings are bombastic nods to the things she seems to love.

Click here for Katherine Bernhardt on its own page.

Charles Gaines
Numbers and Trees, The Tanzania Baobabs
Hauser & Wirth West Hollywood
February 19 - May 31, 2025


Charles Gaines

During a 2023 trip to Tanzania, Charles Gaines made photographs of Baobab trees. According to Wikipedia, Baobab trees are "native to Madagascar, mainland Africa, and Australia and as they help keep soil conditions humid, aid nutrient recycling, and slow soil erosion, they have come to symbolize life in a landscape where little else can thrive."

Gaines has been making works that feature numbers and trees since the mid 1970s and with each new series, his investigations become larger and more complex, as well as more beautiful. Though an ardent conceptualist whose works are based in theory, Gaines is without a doubt also a formalist who thrives on making visually dynamic, as well as conceptually savvy pieces. In a statement from the 1970s he states, "I wish to use art as a tool for investigation. This investigation is focused in part on the relationship of single things with the parts of single things." If the single thing here is a tree — the branches and leaves are the parts.

While some of Gaines' artworks map actual occurrences— the rate of falling leaves or growth patterns— in others he indulges in more subjective categorization. In past works like Numbers and Trees: Palm Canyon, Palm Trees Series 2, Tree #7, Mission (2019), he assigned each tree a different color and then superimposed multiple iterations of these trees together to map their physical differences. For Numbers and Trees, The Tanzania Baobabs, Gaines similarly assigns each tree a specific color as well as a number sequence and when these mark-making systems merge — paint, pen and photographic image — viewers are dazzled and puzzled by the complexity of the relationships.

For each of the seven large-scale, three part works, Gaines starts with a black and white photographic mural depicting a specific Baobab tree inset into a five-inch thick, clear acrylic box whose front is completely inscribed by a small grid. Almost every square that corresponds to the image of the tree behind it is assigned a color, as well as given a number. This creates a tinted, numerical veil through which the photograph is seen. From a distance, the grid resembles a wall of colored pixels giving the entire image a Pointillist aura, but Gaines is hardly an impressionist. Rather, these works are about difference — not just the differences in the selection of trees but how difference resonates, both metaphorically and symbolically.

In Numbers and Trees: Tanzania Series 1, Baobab, Tree #2, Zanaki (2024), the photographic image fills the background. A large tree is centered in the composition and behind it is a tree-filled landscape that recedes into the distance. The squares of the grid inscribed on the acrylic overlay are colored in varying shades of translucent blue as the number sequences extend out from zero at the center and into the hundreds to both the left and right. For Numbers and Trees: Tanzania Series 1, Baobab, Tree #5, Rangi (2024), Gaines layers multiple trees in varying hues on the acrylic to create a cacophony of colored squares. In both Numbers and Trees: Tanzania Series 1, Baobab, Tree #3, Tongwe (2024) and Numbers and Trees: Tanzania Series 1, Baobab, Tree #7, Makonde (2024), the trees are screened onto the top layer of the acrylic while the numbered and colored grids fill the background. In these pieces, the image behind is an enlarged section of the tree, appearing like a partial shadow that glows behind the subject.

Creating another layer through which to view the pieces, each work is named after a tribe or an ethnic group from the area where images were shot. Gaines relates the trees to the people who populate and once populated Tanzania — a country damaged by the slave trade. As Gaines charts difference, he simultaneously inserts history and politics into the images thereby inviting viewers to imagine the relationship between people and data, past and present, computation and abstraction, as well as nature and culture.

Click here for Charles Gaines on its own page.

Nancy Baker Cahill
Seismic
Charlie James Gallery
April 12 - May 24, 2025


Nancy Baker Cahill

Nancy Baker Cahill is a Los Angeles based media artist known for her immersive installations, films, sculptures, digital photographs and technically complex augmented reality (AR) experiences. She came into prominence with 4th wall, an augmented reality public art platform that "geolocates dynamic visual content to enhance viewers perception of historic places or social situations via immersive art experiences." An illuminating aspect of Baker Cahill's practice is how seamlessly she flows between analogue and digital presentations. Though most of her work is rooted in digital technologies, not all of it requires hardware and software to view. On view at Charlie James Gallery are new printed and sculptural works from 2024-2025.

Concurrent with her exhibition at Charlie James Gallery is the presentation of Substrate on view at LACMA's Resnick Pavilion. Substrate is a work of art that can only be accessed by downloading the 4th wall app. When the Resnick Pavilion is viewed through the app, "interlocking trees with root systems and mycelial networks that produce essential nutrients for human health and well-being" appear to hover above it. Baker Cahill has also created AR installations at the Whitney Museum of American Art, Desert X, as well as the Francisco Carolinum Museum, in Linz, Austria.

In James' Chinatown Space, Baker Cahill presents Pia Maters, digital prints that combine two layers of imagery, one on silk and the other on canvas; Distortions, abstract collages that juxtapose static printed fragments from Baker Cahill's AR creations with drawn renderings and miscellaneous geometric shapes in a range of colors and textures. Also on view are Widows, a series of wall-based sculptures that cluster torn pieces of painted paper; and in the basement a large-scale installation and projection called Slipstream. It contains organically shaped fragments of ripped graphite on paper drawings that appear like arrays of feathers extending across the wall to become a living organism that ebbs and flows in sync with the different hues of an animated projection that maps to these sculptural forms.

On a modest-size screen is the short video Carbon 1 (the first in a series of six) which according to Baker Cahill explores themes of "ecological collapse, digital distortion, and cultural instability." Here, she films oscillating organically shaped expanses of green that echo a botanical landscape that suddenly morph into twisting flaming tornadoes. Images of water, as well as fire are interrupted by flickering pixels that eventually fill the screen to become digital noise signing for rampant environmental destruction.

Baker Cahill's intricate pieces examine topics ranging from scientific systems, ecological concepts, brain functionality, climate change to eco-feminism. She is a master at creating algorithms that recalibrate natural phenomena and transform them into vivid abstractions. From her experiments in VR Baker Cahill redefined how she visualized three-dimensional space and began to tear apart her drawings and fashion them into sculptures which became digital models for VR. The pieces entitled Widows are examples of this process — graphite drawings that become floral assemblages protruding from the wall and joining together in Slipstream they become static and dynamic forms simultaneously.

The seven works that comprise the series Pia Mater (the delicate innermost layer of membranes surrounding the brain and spinal cord) combine two vibrant digital prints. Each piece is encased in custom armature where the background image — a pigment print on canvas — is overlaid with an identical image printed on silk. While there are subtle differences in the images because of the materials on which they are printed, they enter into a dialogue about the relationship between tenuous states of being and the delicate, as well as resilient nature of the brain. The imagery here, like in many of Baker Cahill's works, has a scientific aura with interlocking colorful planes that are at once atmospheric and dreamlike, as well as calling to mind geology.

In some ways the most compelling works on view are the simplest — Baker Cahill's Distortions. These intimate collages combine the different facets of her practice. Here, she cuts apart and reassembles fragments from drawings, AR generated imagery, as well as holographic paper. Though analog pieces, they evoke the more dynamic aspects of Baker Cahill's body of virtual works. The range of pieces in Seismic illustrate the breadth of Baker Cahill's practice. Although there are sophisticated algorithms and complex concepts that drive the work, it is a pleasure here to see the visual engulf the technological.

Click here for Nancy Baker Cahill on its own page.

Gustave Caillebotte
Painting Men
The J. Paul Getty Museum
February 25 - May 25, 2025


Gustave Caillebotte

Gustave Caillebotte (1848-1894) was a French painter most often associated with the Impressionists — Edgar Degas, Edouard Manet, Claude Monet, and Camille Pissarro among others. Like many of his contemporaries, he painted the environs in and around Paris and captured aspects of the bustling city of the 1800s. Caillebotte was born in 1848 to an upper-class family and later in life when he pursued his artistic career, he was both admired and resented for his Bourgeois lifestyle. Although he studied law and even served in the Franco-Prussian war, after receiving his inheritance, he moved to Boulevard Haussmann in Paris with one of his brothers, began to study painting and befriended other artists. It was during this time that he developed what was to become his signature style.

Although Impressionism was gaining popularity in the late 1800s, Caillebotte's style was more representational than others in his circle. While his contemporaries often painted scenes filled with women and families, he gravitated more toward depictions of men. The exhibition Painting Men celebrates the breadth of his career, specifically on his portrayals of men — bachelor friends and upper-class colleagues — roaming the streets of Paris, and engaging in leisurely activities like gardening and boating. Caillebotte unabashedly painted athletic male bodies, often in the nude as in Man at His Bath (1884) where he lovingly depicts the muscular hindside of a man toweling off after a bath. The Boating Party (1877-78) is a painting of a lone, well-dressed man in a rowboat thoughtfully gazing towards the left side of the image. He appears intent on the motion of the boat and indifferent to those sharing the waterway with him. Caillebotte's images have a photographic quality with his subjects often presented in close-up as if seen through a zoom lens. He had no issues cropping figures at the edges of his canvases and in the The Boating Party, the composition is a closely focused image that cuts off the bottom of the boat and the boatman's lower legs.

Though he was interested in Paris as a city, as well as its countryside, many of his images also show domestic and family scenes, often using his brother Martial as a model. To help understand his trajectory and the nuances of his subject matter, the exhibition is divided into seven sections. These include: Family Milieu, Bourgeois Couples, Close Friends, Working Men, Military Men, The Nude and Modern Paris. It opens with images of Caillebotte's home life: people reading, gazing out of windows, playing pool or the piano. This section — Family Milieu — includes the magnificent Young Man at His Window (1876), a painting of a man from the back (the model was Caillebotte's brother, who was also a photographer), standing at an open window, looking out at a city street. This work is an example of what became a genre termed "The New Painting"— representational work that "portrayed modern individuals in their everyday environments" in contrast to the more academic paintings of the period.The group of works represented in Modern Paris are some of his best known. In Paris Street, Rainy Day (1877), Caillebotte paints just that — a street scene on a rainy day. In the foreground, individuals, as well as couples, stroll down the boulevard, going about their business, taking leisurely walks while holding umbrellas. The cobblestone streets and multi-story buildings recede in the background. The painting has a photographic sensibility as if selected from a larger whole as Caillebotte crops the legs of the central figures— a couple who appear to be walking toward the viewer, as well as half of a man moving in the opposite direction at the right edge.

The centerpiece of Working Men is the painting Floor Scrapers (1875) where Caillebotte depicts three shirtless workers on their knees planning a wooden floor in a well lit room. Although a cityscape appears in the balcony window, all that is portrayed outside are faint rooftops. Though at work, the men appear to be engaged with each other. There is even an open bottle of red wine and beside it, a half filled glass. The men's clothes are piled near a far wall trimmed with gold piping. Caillebotte made studies and drawings for many of his paintings while working on his compositions and visual relationships. It is a delight to see these presented alongside the finished paintings. In this section, a sketch for Floor Scrapers, as well as a loose grid of drawings are on view. These pencil on paper works are explorations of the worker's hand movements, as well as their body positions. While Caillebotte's wealth and generosity toward other artists was well documented, at the time there was little written about his fascination with men — rather they spoke about his "homosocial" life — more social interactions with men than women. Floor Scrapers is an example of his voyeuristic gaze in addition to his loving depiction of the half naked male figures.

A number of photographs by Caillebotte's brother Martial and snapshots by other friends provide context for the paintings as they document Caillebotte's circle. A few self portraits are also on view. These illustrate not only Caillebotte's skills as a draughtsman and painter, but also how he saw himself. Rich and well educated, Caillebotte indulged his life as a flaneur. He promenaded along the streets of Paris, relaxed at the family estate in Yerres and later gardened and boated at Petit-Gennevilliers, a property he acquired on the Seine near Argenteuil. Caillebotte's images have affinities with those of his contemporaries as other painters of the time were interested in documenting the Hausmanization of Paris. Though Caillebotte lived a short life— he died at age 45 in 1894— he was well regarded as both a patron and an artist. His many paintings and drawings not only recorded his impressions of Parisian life at the time, they also depict his relationship to art and culture, as well as to men.

Click here for Gustave Caillebotte on its own page.

John Divola
Strange Resemblance
Chateau Shatto
April 12 - May 17, 2025


John Divola

John Divola both creates photographs and appropriates them. For his exhibition Strange Resemblance he makes connections across three series: MGM (1979), Continuity (1995) and X-Files (2002). Divola's impressive career has woven through a wide range of subjects and intentions including Zuma — his best known series — to Dogs Chasing my Car in the Desert. In Zuma, he photographed an abandoned house overlooking Zuma Beach and made a suite of color images that captured his intervention (spray painting the already graffitied interior walls) while simultaneously framing the ever changing ocean views. For Dogs Chasing my Car in the Desert, he created grainy black and white photographs of dogs aggressively chasing after his vehicle.

While Divola has photographed both urban and natural aspects of the Southern California landscape, his process is more conceptually driven than documentary. When he is not actually taking pictures with a camera, Divola's works becomes more theoretical and philosophical. In these projects, he investigates the indexical nature of photography, as well as how meaning can be discerned through the juxtaposition of seemingly unrelated images. He is interested in creating sequences that explore these often surprising relationships among ideas, places and things.

The artificial, yet seemingly "real" aspects of Hollywood are explored in each of the series on view in Strange Resemblance. For MGM (1979), Divola visited an MGM studio back lot to make black and white photographs of the dilapidated remains New York City sets. The architectural facades are barely standing fragments, stoic and beautiful as ruins depicting arrays of burned out cars, crisscrossing fire escapes and decaying theatre marquees all shot at a distance and set against the expansive California sky.

In the exhibition, these images are juxtaposed with larger color photographs that Divola created on the set of The X-Files during its final season in 2002. The X-Files was a popular TV series that developed a cult-like following. It revolved around FBI agents who investigated strange phenomena, UFOs and other unexplained paranormal activities and conspiracy theories. Though only a few images from the series are included, like the images in MGM they also evoke a sense of place that is both artificial and "real."

Devoid of people and context, photographs like (X20F3) Brady Bunch House, Second Floor Hall - Stage 11 and (X18F3) - Brady Bunch House Dining Room, View One - Stage 6 depict empty interior sets for a specific episode of The X-Files that was about a man obsessed with The Brady Bunch. Divola's photograph (X18F3) highlights bright green walls and matching chairs, a circular red-orange table, as well as a round glowing light fixture hanging from the ceiling, all items that pertain to a modernist home from the 1960s or 70s. In addition, the haloed light suggests supernatural powers. (X26F15) Ceiling Above Mulder's Desk - Stage 5, is a photograph of a banal office ceiling. Depicted is the top half of a bookshelf situated under industrial ceiling tiles and a large vent. Hanging from the tiles, as if in suspended animation are five pencils— the aftermath of a game bored office workers play: flipping pencils like darts to see if they stick into the tiles. (X11F1) Hall to X-File Office - Stage 5 also depicts a generic office. Here, Divola frames a dead end — a corner with a short set of stairs that lead up to a wall. Two black filing cabinets with a white file box sealed with bright red tape on top — the only color in the image — draws the eye in.

Stairs to nowhere also appear in Divola's series Continuity. These are images shot for Warner Brothers Studio between 1931 and 1934 and according to Divola, they were created "to aid in the preservation of filmic continuity." Each black and white photograph is a contact print from an 8 x 10 negative depicting a scene fabricated for a camera. Within each picture is a placard with the name of the film and the director, as well as the location. Over the years, Divola has collected these images and amassed a large archive that he organizes by subject. On view in Strange Resemblance is a grid of twelve vintage silver prints depicting both interior and exterior stairs. While they appear to be "real" places, they are in fact images of sets fabricated for the various films.

Divola's interests here — be it the set of The X-Files, a decaying backlot at MGM or the stairways in Continuity — relate to his own 'fabricated' photographs, many of which investigate themes of absence. What ties together the different series in Strange Resemblance is the fact that they are devoid of people, yet are scenes and places obviously constructed and arranged by human hands for the express purpose of representing a fiction. The images are about possibilities and through Divola's appropriation, they become meditations on the power of photography to present illusions.

Click here for John Divola on its own page.

Rochele Gomez
It's Just Not the Same Without You
As-Is Gallery
April 5 - May 10, 2025


Rochele Gomez

A lot can be said, as well as inferred, across five images. The photographs that make up Rochele Gomez's exhibition It's Just Not the Same Without You are back-lit modestly sized light boxes depicting dwellings around Los Angeles where the artist once resided. While each one shows a place, the focal point is a large hand painted greeting card featuring the cartoon character Garfield with an accompanying thought bubble and/or a quasi-philosophical, self-help oriented text.

Gomez, a Mexican American whose family has lived in Los Angeles since the early 20th century refers to the photographs as performances. To make them, she carried a giant cardboard card to each location and placed it as close to the actual house as she could. The distance of the card to the house signifies the relationship she currently has with its occupants. At some locations, she does not know the tenant, so she placed the card as close as she dared to venture onto the property, took the picture and then disappeared as quickly as possible. Photographs of her current abode and the house she grew up in allow for closer placement and less clandestine interventions.

At each location, Gomez juxtaposes a large hand painted reproduction of an actual Garfield greeting card. The beloved cat offers 'dime store commentary' on the relationship between home and the memories associated with that place. Garfield shares an affinity with the character Lucy — from the Charlie Brown comic — who operates a psychiatric booth in the form of a lemonade stand. Here, Garfield also functions as a tour guide, appearing in each location with a different sentiment.

Los Angeles Feelings (90042) (all works 2024) is a photograph of the house Gomez currently lives in. She started with this image because she knew it would be the easiest to shoot — where if confronted, she had the security that she was placing this large sign on the sidewalk in front of her own house. In this image, a sneaker wearing Garfield is centered in the bottom half of a brown background. From his head, a thought bubble rises with the text, "You're as comfortable as an old pair of shoes."Moving back in time, Gomez visits her parents' house — the home where she and her siblings grew up. In Los Angeles Feelings (91042), the zip code 91042 is for Tujunga, a neighborhood north of the city nested within the Crescenta Valley and Verdugo Mountains. In the photograph, Gomez focuses on the greenery and plants, as well as the distant hills. In the painting, Garfield points one finger in the air. The background color of the card is light blue, paralleling the sky. The caption reads, "I will attempt to put into words my deepest and most intense feelings for you" while the thought bubble proclaims, "I love lasagna!"

Los Angeles Feelings (90039) is an image of a house set back from the street. It once belonged to Gomez's grandparents. The house was sold when her grandfather passed. To make the photograph, Gomez states she knocked on the door but there was no reply so she hastily set up the shot and left as quickly as she could. In the deep maroon colored card, Garfield has a sad face and is slumped on a light blue mattress. Below him the text states, "Sometimes when I feel like nobody understands me it helps to think of you." The implication is to apply this sentiment to Gomez's fond remembrance of her grandparents.

A general Google search for Garfield greeting cards reveals three cards that are featured in the series, confirming the fact that Gomez appropriated rather than invented them. While the Garfield card in the 90039 image had a purple rather than deep red background, the image is much the same. The actual card that was the source for the 90026 photograph is not exactly like Gomez's rendition. In both, the background is green and the cat blows a horn and wears a party hat. In Gomez's painting, the text — It's just not the same without you — is in a thought bubble, rather than black type at the top of the image.

What are greeting cards for? They commemorate birthdays, passings as well as holidays. They express joy, as well as sympathy and sometimes put words to thoughts and feelings that may be difficult to say. By selecting Garfield greeting cards, Gomez draws from a specific sector of popular culture. Cat lover or not, Garfield is a known entity — a sarcastic and tragic-comic figure that is a bit lazy but also fun-loving, mindful and a bit philosophical. He is a character that most can relate to.

It's Just Not the Same Without You is a smart, conceptual series. By using Garfield as a guide through a neighborhood tour of her life, Gomez both celebrates and confronts this trajectory. Through an exploration of absence, change and memory, these evocative photographs illustrate the importance of embracing one's history.

Click here for Rochele Gomez on its own page.

Matías Sauter Morera
Pegamachos
Craig Krull Gallery
March 22 - May 3, 2025


Matías Sauter Morera

Using Artificial Intelligence (AI) to generate images requires the use of prompts. Certain phrases are fed into the computer that generate images the creator can choose from and then refine: for example "bird on a balcony." The prompts can be general or quite specific — a certain place, a date, an attitude, etc. There are trillions of images online and AI composites from these myriad sources to create a synthetic image, not a photograph — although the image could be presented as a printed photograph. The use of AI becomes more obvious as the images become more absurd. But what happens when the creator sets out to fabricate a realistic history of a culture that until now was undocumented?

In the past, it was believed that the photographer was a witness and that a photograph was a record of a moment— photography captured reality. That changed with digital tools because images could be adjusted, augmented and composed from multiple sources. The photograph was no longer an arbiter of truth. AI images in essence translate the work of others to illustrate an idea or a concept. It is up to the creator to harness what is delivered and refine the prompts until the desired outcome is met.

Matías Sauter Morera is an artist and a commercial photographer based between Berlin and Costa Rica. According to the bio on his website, "His work moves between documentary and fiction, exploring themes of identity, memory, and desire. He uses photography as a way to confront and create new realities." In his series New World Tropics, "he examined the emotional imprint of tropical nature on Costa Rican identity, challenging romanticized notions of paradise by embracing the contemporary jungle’s darkness, chaos, and mystery."

Interested in queer identity and the history of gay culture in Costa Rica, he embarked on a series of images — Pegamachos — that document interactions between rural cowboys and young gay men in the 1970s and 1980s. To create this body of work, Sauter Morera fused AI generated imagery and Photoshop compositing. The images in the gallery are coupled with hand written narratives, as they were originally posted on Instagram. Together, image and text present a little known history that may be a fiction, but also 'document' what might have been.

Pozitas (2024) is an image 'shot' at dusk of two men submerged in water just below their shoulders. One looks directly at the viewer, his body and face glistening. The second man is further back and presented in soft focus. The accompanying text reads: "Pozitas where things happened. Those were the natural pools located alongside Laguna de Gandoca. Families gathered during the weekends, but after 4 in the afternoon, when it emptied out, the atmosphere changed. Only tired local men remained. Frequented by hotel workers and muscular banana plantation workers, it served as a sanctuary to unwind and socialize with curious travelers. Nights were spent drinking beers and smoking in the darkness of a lush and provocative jungle, engaging in weekend conversations and sometimes doing a few other things." The image and text work together here to create a story about secret homosexual encounters.

Cruz Escarlata (2024) shows a cyan hued barn with a large sculpted crucifixion on the back wall. Light comes in from side windows and illuminates a young man dressed in a tight fitting shiny red faux leather jumpsuit who looks as if he is lost in prayer. Sauter Morera narrates the scene stating "….he would never beg again to bury that demon that clouded his judgment. Even the guy in the cross offered him no help. Dominated by desire, he would succumb to the pleasurable feast of his own demons and accept his dark path. A transformation that was not avoidable, and finally in a storm of suffering, he would ultimately embrace a delicious anarchy."

The cowboy depicted in Pink Cadillac (2023) looks suggestively at the viewer. He wears a pink cowboy hat as well as rings and bracelets that complement his pink satin pants and rhinestone studded cowboy shirt. He flaunts his homosexuality while displaying a tough guy stance through his posture.

Andres the Libanese of Sixaola (2024) is an image of a sweaty, muscular and tattooed young man wearing only orange athletic shorts seated on the stoop of a house illuminated from within with orange light. The narrative gives context to who he is. "They let red lights burn the windows, as one of the signals to invite other nighttime wanderers Pegamachos to enter. They were used more in the Caribbean area. Andrés was the son of a short Lebanese man from Sixaola, and he was one of those who could keep that light burning for several visitors in one night. Insatiable, he took advantage of the scarcity of boys like him, making sure to engage with the best traveling night wanderers crossing the border to Panama."Does it matter that Sauter Morera generates his images using AI? The images still resonate. They are enigmatic, dramatic, sensitive and formally beautiful. His use of photography suggests these were documented scenarios when they are fictional. In doing this, Sauter Morera presents a time and a place that was not recorded while celebrating what was and showing it as it might have been.

Click here for Matías Sauter Morera on its own page.

María Magdalena Campos-Pons
Behold
The J. Paul Getty Museum
February 18 - May 4, 2025


María Magdalena Campos-Pons

Behold, is a survey of works by María Magdalena Campos-Pons, a Cuban born and Nashville based multi-media artist whose complex works examine themes ranging from migration to motherhood. Though not widely exhibited in California, Campos-Pons has been making installations, performances and 2D-works for more than thirty years and is also a well respected professor. She has been on the visual arts faculty at Vanderbilt University since 2017 when she relocated there after teaching for twenty-five years at The School of the Museum of Fine Arts in Boston. Behold is a traveling exhibition organized by curators at the Getty and Brooklyn Museums. Its final stop in Los Angeles comes after its debut at the Brooklyn Museum (September 2023 - January 2024), as well as presentations at The Nasher Museum of Art, Durham, NC (February - June 2024) and the Frist Art Museum, Nashville, TN (September 2024- January 2025).

On view are photographs, videos, paintings, sculptures and installations that interweave Campos-Pons's interests and unique ways of compositing imagery to create allegories and historical narratives that bring together important people, places and times throughout the artist's life. The multi-panel Umbilical Cord (1991) employs a long piece of wire that connects twelve individually framed sepia-toned photographs of outstretched arms and midsections of women from the artist's extended family. Spoken Softly with Mama (1998) is a mixed-media installation that reflects on garment work and laundry. Printed onto fabric and wrapped around three ironing boards are what appear to be old family photos of Cuban women. These ironing boards stand upright and are set deep in a darkened space. The floor surrounding them is covered with spot lit irons and trivets made of glass that seem to float in the darkness and become a metaphor for the boats that forcibly carried numerous Africans to the Americas. Videos are also projected onto the remaining three ironing boards; in one, Campos-Pons folds a long cloth referencing women's work. While a commentary on domestic duties by enslaved workers, Spoken Softly with Mama is also a celebration of life, like many of Campos-Pons's pieces.

Dualities are pervasive within Campos-Pons's work. She often examines the self (herself) in relation to family and heritage. In the late 1990s while a student at Massachusetts College of Art and Design in Boston, Campos-Pons began to use the Polaroid 20 x 24 instant camera. Rather than make single images, she designed complex grids featuring numerous Polaroids resulting in larger finished pieces, but also illustrating her ability to conceptualize and produce interesting relationships across fragmented imagery— literally cutting apart and reconstituting the body. Replenishing (2001) is a seven part Polaroid, hung in an H-like configuration, that depicts the artist and her mother as separate, framed, vertical triptychs. Campos-Pons and her mother are dressed in long, formal and elegant dresses. The middle image of the portraits contain their hands each casually holding the end of a long strand of beads. In the central image of the piece, Campos-Pons focuses on where the beads are knotted together, emphasizing the mother daughter connection.

While the exhibition contains captivating examples of Campos-Pons's multi-panel drawings, videos and large-scale sculptures made from Murano glass, it is her large grids of Polaroids that stand out and speak most directly to her investigations into feminism, kinship and memory. Single photographs stand out, such as The Right Protection (1999) in which the artist is depicted with hand-drawn eyes covering her back both seeing and not seeing us simultaneously.

But, it is in the sixteen-panel work Elevata (2002), the twelve-panel photograph De Las Dos Aguas (2007) and the most impressive twenty-eight panel Polaroid Finding Balance (2015) that Campos-Pons links present to past. In Finding Balance, Campos-Pons draws from her Cuban, Chinese, and Nigerian ancestry. Here she is depicted in white face wearing a black and gold robe decorated with what appears to be a monster or demon. Making up many of the 28 different framed images around her are photographs of bird cages, knotted fabrics and red rectangles shot against a mottled-blue background. Long strands of braided hair weave through the composition literally tying together different cultures and time frames.

None of Campos-Pons's complex pieces are a quick read. She questions everything and takes nothing for granted. Her process is both labor intensive and social. While formally elegant and conceptually rigorous, these works are also extremely personal. She traces ideas about home and home-land, looking at where she came from (Cuba) in relation to where she now resides (Nashville, TN), She also sees things through a feminist perspective as well as that of a displaced person. She engages with those around her and looks back to where she was born and grew up (Matanzas) as a way to connect with others who share her racial heritage, as well as those who do not. In her magnificent works, she connects. Campos-Pons uses fragments to weave together stories, histories and materials that situate herself as a solid entity in an ever changing work.

Click here for María Magdalena Campos-Pons on its own page.

Jon Rafman
Proof of Concept
Sprueth Magers
February 15 - May 3, 2025


Jon Rafman

The varied and ever-mutating aspects of digital culture and technologies are at the forefront of Jon Rafman's investigations. With the recent proliferation of AI, he has become even more interested in how technology has infiltrated and influences the ways visual media is both produced and consumed. Proof of Concept is an immersive installation that "reimagines television for the AI age." While manipulated videos and large-scale fabric murals span the gallery walls and floor to fill the main exhibition space, it is the photographic images upstairs (not officially part of the show) that serve as an apt introduction to Rafman's practice.

Since 2008, Rafman has perused Google Street View looking for anomalies — things that were strange, unusual and out of place. He was interested in what narratives can be inferred, what actions actually occurred, versus what might have been a performance for Google's cameras. A sense of the surreal permeates these images — pictures taken by a machine, like a mechanical Flaneur. For example, in 828 Pavillion St, Dallas, Texas, USA, 2020 the Google cameras capture a man driving in a car extending his arm out the window to give the finger (presumably) to the Google apparatus. In another, 53128 Cl. 51, Medelllín, Antioquia, 2019, Rafman selects an image of a group of men playing cards on the hood of a truck. Devil and ghost-like figures, as well as other costumed characters pervade these views.

As computers become more active and even dominant in cultural production, Rafman has continued to mine this content. For his current installation he has figured out ways to engage with and manipulate the AI. The exhibit actually starts outside the gallery where Rafman has installed life-size vinyl decals on the buildings facade. Here, viewers see iterations of characters Rafman invented and features on his MSM (Main Stream Media) Network, including Cloudy Heart, Iron Tears, Wicked Hatchet and Flux Arcana, many of whom have backstories, albums and subcultures, as well as followings on social media and all of which are generated by AI.

The interior of the vast main space is literally covered with fabric printed with abstract patterns, interior scenes, occasional portraits, as well as different styles of graffiti. The setting resembles a college dorm room where every inch of space is covered with coveted memorabilia. In the center of this material abundance, is a couch in front of a large screen showing assorted looping videos featuring the various musical acts, advertisements and interviews that comprise his MSM (Main Stream Media) / RTM (Real Time Music) network. This main screen is augmented by numerous smaller monitors scattered throughout the installation. Rafman invites the viewer to sit (or stand) and to consume, or be consumed by the seemingly endless stream of far-out content that is reportage, as well as an ironic look at today.

While it is impossible to differentiate "real" from "fake" and the degree of manipulation in the moving images and soundtrack, the overall effect is disorienting enough to question intent, purpose, and ultimately the reason for this bombardment. But that may be the point. Rafman explores what is possible with this new technology — be it true or false — and sets the stage for viewers to contemplate the meaning of this unfiltered "reality." The take away is both absurd and extremely disturbing, depending on one's faith in AI.

Click here for Jon Rafman on its own page.

Lisa Yuskavage
David Zwirner Los Angeles
February 18 - April 12, 2025


Lisa Yuskavage

Naked women, the artist's studio, lurid colors, dynamic and thoughtful compositions: these elements are often associated with Lisa Yuskavage's paintings. Whether small or large, Yuskavage packs each work with quirky, personal narratives that intermingle the subject of artist and muse, in addition to exaggerated representations of female sexuality. The artist is present in her recent compositions, standing at an easel, sometimes wearing a white lab coat with a paintbrush in hand or seen in relation to scantily clad models who taunt or tease the viewer.

In Yuskavage's paintings, the studio becomes a stage onto which scenarios are projected. In the monumental work The Artist's Studio (2022), also reproduced on a giant billboard adjacent to the facade of the gallery, a cherub-faced half nude girl stares out of the painting. She is dressed in a revealing, tight fitting but also draped pink t-shirt that covers the upper portion of her body, yet her pubic hair. She also wears colorful striped knee high socks exposing her bare thighs. She holds a bright green painter's palette curiously suggesting she is both artist and model. Behind her is a large painting depicting a landscape filled with green hills and a few orange clouds, as well as a single female figure —a peasant from the earlier work Nel'zah's (2012)— offering a green plate. Toward the back of the studio, a woman (also the artist?) sits at a table reading a book. Miscellaneous ladders, props and unfinished paintings are scattered in the space, all with tan, light brown or gray hues, in contrast to the more finished and vivid depiction of the figure in the landscape.

From the Renaissance to modern times, numerous male painters have created self portraits at work in the studio. Included in this group are Vermeer, Velasquez, Picasso, Matisse and even the video artist Paul McCarthy. In some ways, Yuskavage follows in this tradition, inserting herself and prior artworks into her recent paintings, yet with Yuskavage there is often an ironic challenge or provocation. Painter Painting (2024) is a large-scale oil with the artist at its center, her back to the viewer. She is in the midst of creating a grayish portrait of a doll-like woman with huge breasts. The painting within the painting dwarfs the depiction of the artist whose head is in the middle of the subject's cleavage. Two sketches/studies of nudes are adhered with blue tape to the painting in progress. A small sculptural maquette for the naked woman in the painting is placed on a stool nearby. With older works surrounding her, it is as if Yuskvage is mining her past for inspiration.

The artist at work is absent in In the Company of Models (2024). While the studio setting is similar to the one in Painter Painting, Yuskavage does not appear as a painter, but rather a younger version of herself is presented as a model who emerges from a bright green wall in a like-colored dress. Though legless, her body position suggests the beginning of a formal dance. The central figure — a seductive female nude wearing nothing but beaded panties— is surrounded by stacked depictions of Yuskavage's past paintings, like the bright yellow Rorschach Blot (1995).

This exhibition, Yuskavage's first solo show in Los Angeles in 30 years, includes both large-scale and smaller paintings. Seen in relation to each other, the works have informative overlaps that illustrate her process, passions and history. This is an audacious move. Yuskavage recontextualizes old works by placing them in a studio setting — as if to say this is where I began and this is where I am now and I am happy to take you on a journey from then to now and show you what a magnificent painter I have turned out to be. Yuskavage has a unique way of celebrating both the vulnerability, as well as of the stoicism of the artist's model and a knack for portraying the complexities of the artist herself at work.

Click here for Lisa Yuskavage on its own page.

Anthony Lepore
No Condition is Permanent
Moskowitz Bayse
February 15 - March 29, 2025


Anthony Lepore

For his exhibition No Condition is Permanent, Anthony Lepore continues to explore properties intrinsic to photography— specifically the ways that the camera flattens and transforms three dimensional objects and how they then appear as two dimensional images. In his previous exhibition ime’s A Taker, Lepore created illusionistic works by combining photographs of objects shot from different vantage points and arranging them so they appeared correctly positioned within shelf-like structures that framed the images.

In his current pieces, Lapore expands on that illusion by making works that combine actual objects and photographs of them. In these he not only explores givens in photographic representation, but also looks at the relationship between textures — photographic and actual — with respect to flatness and depth. All the King's Horses, All The King's Men (all works 2025) is without a doubt a reference to the Humpty Dumpty nursery rhyme. Here, Lepore attaches multi-colored shards of speckled ceramics to photographs of the same ceramic surface. The glaze within the irregularly shaped fragments repeats, becoming a complex pattern across the background. From the front, the picture appears flat, but when seen from either side, the actual ceramics rise above the surface. As the eye tries to make sense of the relationships between the objects and the photograph, the work becomes even more nuanced.

In other works including Summoning Suns, Specter and One Into Another, Lepore attaches glazed stoneware to the printed image visually juxtaposing the colors and textures. For Summoning Suns, a vertical line of overlapping images of a quasi-oval shaped ceramic saucer with crackled white glaze against the orange clay was shot against a black background. It is bisected by a vertical line of the much smaller-scaled actual ceramic pieces. Similarly, in One Into Another, enlargements of white and green glazed stoneware rectangles are topped with actual ceramic fragments to line up both patterns. Within the composition of six differently sized rectangles are zig-zagging cracks that emphasize both the depth and the separation between both the individual pieces and the photographic depictions of them.

In The Way Out, Lapore fashions a life-size dysfunctional ladder from two pieces of clay. They are attached to a framed photograph of a thinner metal ladder leaning against a blank white wall. The photographed ladder casts a wavy blue shadow onto the wall. The clay ladder also casts a shadow on the photograph — but from the actual lights in the gallery — though it appears to be part of the photographic image.

Lepore delights in using photographs within photographs and creating spatial illusions through the addition of non-photographic elements. Where the object and image overlap and how they appear as one has long been his obsession and with each body of work, he succeeds in presenting more formally innovative and conceptually complex pieces.

Click here for Anthony Lepore on its own page.

Masamitsu Shigeta
Perspectives
Tyler Park Presents
February 15 - March 29, 2025


Masamitsu Shigeta

Masamitsu Shigeta is a New York based artist who turns banal and everyday surroundings into evocative paintings that inspire viewers to reflect on and take a second look at what they might otherwise pass by. For his previous exhibition at Tyler Park Presents in 2022, Shigeta created impressions of buildings and trees he happened upon while walking around New York City. In these paintings, he captured the interplay between nature and architecture, depicting trees surrounded by fences as anomalies in the urban landscape. Each painting was also framed in a way that enhanced some aspect of the image.

For Perspectives, Shigeta once again takes on the role of urban wanderer. Like Baudelaire's flaneur, Shigeta is a thoughtful and astute observer who navigates the city. Shigeta's grouping of modest sized oils includes impressions of Los Angeles, New York, Tokyo, Thailand, Hong Kong and Zurich. As in past exhibitions, each work is surrounded by a hand made frame that parallels an element within the scene. The painting A Snail (2024) is bordered by a light brown wooden rectangle with curved corners that wraps the canvas. This frame mirrors the rounded brown shell around a small snail depicted in the lower half of the composition. The focal point of the nighttime scene is this lone snail crawling across an empty city sidewalk illuminated by street lights and surrounded by large green trees.

A Broom Tree (2024) is a blue hued painting of the top portion of two palm trees in front of three modernist buildings with glass facades. The closer tree has five magnificent fronds branching out in all directions. The painting is bordered by the wide bottoms of four push brooms, their texture corresponding to the fronds. Palm trees also appear in three other works (all 2025) where Shigeta also focuses on their surroundings. In A Palm Tree in a Cell, the tree is seen through a chain link fence. One large section of the fence is centered in the composition through which Shigeta portrays an empty playground and further back a street lined with trees depicted as a succession of green and orange brush strokes. A similar scene appears in the larger work, Diamond (2025). Here, the chain link fence appears more as a flat black and gray cartoony illustration. It frames a receding suburban street with a cloud filled sky and greenery that recedes into the distance. This work is surrounded by a light gray enamel frame etched with a chainlink pattern.

Looking Up A Tree (2024) is a playful cityscape where Shigeta centers a single tree seen from below. The skyscrapers and sky surround the circular shape of the treetop which is accentuated by an extremely wide rounded frame wrapped in a black knit sweater. Another work where the frame stands out is Log 3 (2024). In this painting, Shigeta depicts the end of a pile of logs from a foreshortened perspective illustrating the rings in green and orange stripes. As the image recedes into the distance, the background is filled with a light yellow sky, green hued trees and a light blue-gray house. A bright orange frame in a pattern of half circles surrounds the painting, paralleling the orange of the log's rings.

While Shigeta's painting style is expressive and descriptive, his palette is realistic without being exacting. In these captivating works, it feels like he is capturing a fleeting moment and filling it with admiration, as if to say: look up, look down and see what I see. What stands out in these charming and innovative works is the way that Shigeta transforms banal aspects of the natural and urban environment. These instances are framed as unique perspectives and filled with just enough texture, color and detail to remake the ordinary into something highly significant.

Click here for Masamitsu Shigeta on its own page.

Hadi Falapishi
Edge of the World
Blum
January 18 - March 22, 2025


Hadi Falapishi

Hadi Falapishi was Born in Iran in 1978 to two photographers and later studied photography at Bard College where he received an MFA in 2013. Now residing in Brooklyn, his multi-disciplinary practice has grown beyond photography and now includes painting and ceramics. At Blum, he presents three related, but stylistically different bodies of work — globe-shaped ceramic sculptures on rectangular pedestals, childlike and cartoony images painted on cardboard, as well as hyperreal, Surrealist inspired paintings that play off iconic works by René Magritte.

On one wall in the exhibition are modest-sized, representational paintings, many of which feature the artist's head or full body inserted into appropriated commercial and art historical imagery. Professional Painter in a Calvin Klein Ad, (all works 2024) features the artist dressed in a formal black suit staring directly out of the painting. He holds a long flaming matchstick that may have been used to light the candle on the nearby mantlepiece. Like the suit, the setting is formal. Though casually posed, the artist appears out of place. For Professional Painter in a False Mirror, Falapishi fills a black dot (the center of the eye in Magritte's original) with his head. Similarly in Professional Painter and a Mysterious Horizon, as well as Professional Painter Talking to the Therapist he changes Magritte's work slightly. In Talking to the Therapist he swaps his head for one of the caged birds in the interior of the cage while in and a Mysterious Horizon, he uses his own image in place of the three men Magritte depicted. By titling these works "Professional Painter ..." he not only celebrates his dexterity as a painter but also equates his paintings with iconic Surrealist works.

In contrast to these realistic paintings, displayed on adjacent walls are funky cut outs — painted cardboard adhered to wood panel — where cartoon figures and animals frolic. As easily as he borrows from Surrealism, Falapishi also appropriates Western films like "High Noon." In his rendition of High Noon, he assembles a cast of cut out characters and locates them in a barren landscape with a flatly painted gray rock and yellow mountains in the distance. The action takes place upon a brown ground under a red sky. A cowboy stands upon the rock as if scanning the distance as a woman rests against its side petting a smiling dog. A cat peers out from the other side of the rock. In the sky are clouds, birds and an airplane, as well as an orange sun. In High Hopes, a smiling man and woman sporting cowboy hats are seated on a horse jumping over a section of fence. The sky here is pink and the ground a bright green. Again, Falapishi includes a yellow mountain and orange sun as well as blue and white clouds. The large horizontal work Smoke Break spans 88 inches. Two crudely painted characters dominate the composition. One lights the cigarette of the other in a mostly barren landscape divided in half — yellow sky and brown ground with two horses and pink mountains rising off the horizon in the distance. In the past Falapishi's characters included a range of humans, cats, dogs, horses and mice enacting themes of displacement, alienation and entrapment. The figures and animals that populate his current images appear relaxed and at ease while enjoying basking in the sun or sleeping by a campfire in a desert landscape.

Placed on pedestals in a line down the center of the gallery are Falapishi's ceramic globes all titled Edge of the World. In these pieces, he juxtaposes his cartoony figures now etched into ceramic and glazed in bright colors with quirky three dimensional sculpted figures that balance on top of the large ceramic balls. In Edge of the World #5 a man and woman are positioned head to toe encircling the center of the globe which has a brown base and a light purple sky. At the top Falapishi positions a thin, tall patterned vessel shaped like a bong. At the top of this sits a male figure holding another vessel in his arms.

Falapishi knows exactly what he is doing and by combining disparate styles and materials, he states not only am I a "professional painter," but I know how to have fun and poke fun. He combines high and low art styles making realist paintings, sophisticated ceramics and naive cut outs that tell similar stories in different ways.

Click here for Hadi Falapishi on its own page.

Jeanne Silverthorne
They Will Be Like Shadows
Shoshana Wayne Gallery
January 11 - March 22, 2025


Jeanne Silverthorne

Visiting Jeanne Silverthorne's exhibition They Will Be Like Shadows during the recent Los Angeles fires influenced the interpretation of the works. Her platinum silicone rubber and mixed media sculptures — some figurative, others referencing the body — alluded to death and destruction paralleling real time events. Seeing Banshee (Self-Portrait at 73) (2023), a life-like, off white sculpture of a woman (the artist) stretched out on the gallery floor sent shivers down my spine. Here, Silverthorne recreates her aging body, devoid of color but full of detail: untied sneakers on crossed feet, gray synthetic hair and black rimmed glasses flanking her complacent face. In Too Dumbly in My Being Pent (2023) we see the same figure, now in fragments and stuffed into a cardboard box lined with bubble wrap suggesting the sculpture will be shipped and/or stored somewhere out of sight. In keeping with Silverthorne's practice, the figure as well as the box and wrappings are all intricately fabricated casts. Silverthorne is a master with her chosen material (platinum silicone rubber) and can fabricate and transform just about anything of any size with acute veracity.

The exhibition unfolds as a narrative on life and loss and an artist's practice as it relates to the rest of the world. The pieces are fragile and sturdy simultaneously. Because Silverthorne has such a command of her materials, the works are also minimal and maximal: they feel alive though they are not "real." In the disconcerting sculpture And the Unfathomable Night of Dreams Began (2022), a tiny, sleeping baby wearing a knitted cap rests on a white cloud that resembles an enlarged wad of chewing gum, cake frosting or a billowing cloud, depending on one's interpretation. 

In Silverthorne's trajectory the infant grows and becomes a child. Children's sneakers appear in Crate with Sneaker, In My Mother's House and Double Sneakers ('The Three Sillies') (all 2023). In Crate with Sneaker Silverthorne completely fashions from rubber, a four-foot high wooden crate. The otherwise empty container holds one small black sneaker at its base. As the disembodied foot is its only contents, the takeaway is unsettling. The narrative progresses: the child becomes an adult. Silverthorne not only depicts herself in the aforementioned (Self-Portrait at 73), but also her mother in two other works. The evocative small-scale table-top sculptures Mom Under a Cloud II (2024) and Mom on Book (2023) are richly impactful. In Mom Under a Cloud II, Silverthorne's mother is seated on top of a pile of crates that might also suggest coffins. This exacting figure leans forward, one arm across her lap, the other below her chin as if lost in thought. Above her head, a floating cloud magically hovers.

For Mom on Book, Silverthorne's mother stands on a hardcover volume of a book of fairy tales. The closed book sits on a pedestal. It has white pages and a black cover. Its title (365 Fairy Tales) appears as raised letters on the spine. The implication in this quasi-narrative could be a mother reading from the book to her growing child before the mother is consumed by the clouds (referencing Mom Under a Cloud II).


Hanging Question Mark (2020) in many ways sums up the experience. Here, Silverthorne suspends a large, black, three dimensional rubber question mark from the ceiling so that the circular punctuation point sits on top of a tall rubber crate. The excess rubber rope loops over pipes in the ceiling and rests on the floor behind the crate. As viewers try to make sense of the various elements, the work remains ambiguous and absurd. When seen in relation to the empty quotation marks of Quotes (2021), which bracket empty space on the wall, it becomes evident that Silverthorne is playing with language and inviting viewers to think metaphorically as they interweave the various aspects of the installation.

Click here for Jeanne Silverthorne on its own page.

Brittany Mojo
Strong Spell
Craig Krull Gallery
February 1 - March 15, 2025


Brittany Mojo

Hardly a month of Los Angeles gallery viewing goes by without an exhibition featuring ceramic artworks. This includes Brittany Mojo at Craig Krull, Emily Marchand at Ochi Projects and Hadi Falapishi at Blum. Once considered a mere "craft," more and more artists are embracing clay as their preferred medium while using it to make all manner of vessels, sculptures, and even installations. Brittany Mojo who studied ceramics at California State University, Long Beach (BFA) and at UCLA (MFA 2016) has a long history working in this medium.

Stemming from the emotions surrounding the pandemic for the last several years, Mojo's works have been black and white. But color prevails in her latest exhibition Strong Spell. The new works utilize various colored clays made by mixing stain or underglaze into white substrates. The colored clay is then cut into sections or tiles and then attached to larger pots and structures to create textured and unevenly patterned surfaces as in the twelve-inch high Tile or the sixteen-inch high Quilt (both 2024).

While Mojo draws on the tradition of quilting as well as vernacular design for inspiration, her pots come from her imagination and have a child-like spontaneity that radiates the joy of their making. It is hard not to smile at For Better or worse (2024), a rounded off-white container covered with colorful hand-drawn flowers. Wandering around the installation which unfolds like a maze on the gallery floor one encounters numerous plates and vessels, many placed on bulbous wooden pedestals, as well as conch shaped and small round objects —- an egg and a tennis ball —- all crafted in porcelain and delicately painted. Big and small are presented together, often in clusters so as to suggest possible conversations between the pieces. When the colorful pot Tile nests up close to the black and white patterned Conch (2025) or when the functional Lamp (2025) is juxtaposed with the smaller vessel Orange Daisies (no date) playful relationships are formed eliciting reactive smiles

Mojo excels at rendering patterns and in black and white works like Snake Egg, Spiral Check, A Book on Pattern, Shell and Seashell, her hand painted underglazes cover the entire surface, becoming illusionistic three dimensional geometric abstractions. A wonderful collection of her deliberate but child-like handwork can be seen in a floor-based piece made up of twenty-five individual tiles where black out lines of simple shapes — like flowers and an ice cream cone are juxtaposed with Ellsworth Kelly like stripes, as well as grids of triangles and diamonds in complementary and contrasting colors.

Collectively the installation resonates as the interplay between the pieces makes them richer. There is no doubt that Mojo's process is labor intensive, yet the pieces burst forth with joy as if they spontaneously appeared positioned exactly as they should be in the gallery. A strong spell is cast when viewing the installation, a spell that helps to alleviate the sense of grief from the recent fires and the oppressive nature of world events. Mojo creates an alternate reality filled with wonderful and evocative objects that offer a sense of reprieve from the realities that surround us.

Click here for Brittany Mojo on its own page.

Doug Aitken
Psychic Debris Field
Regen Projects
January 18 - February 22, 2025


Doug Aitken

P-22 was the celebrated mountain lion who roamed the Los Angeles environs. He was featured in numerous articles beginning in 2012 until he was euthanized because of wounds and disease in 2022. The first work viewers encounter in Doug Aitken's exhibition Psychic Debris Field is the larger than life sized sculpture Spirit Animal (P-22) (2025), an homage to the deceased cat made from more than forty embedded aggregates ranging from kitty litter to all sorts of beans and seeds encapsulated in resin. This powerful beast has become, in essence, a metaphor for the landscape he inhabited.

Numerous other animals are featured in the exhibition — including stags and buffalos — impeccably crafted from man-made (reclaimed computer packing foam) as well as natural materials. Three incarnations of this bright white animal dominate one gallery: two are standing and one is seated in a resting position. Green vines dangle off the backs of two of them suggesting life and regrowth in the face of death. For [TBT - Stags] (2025) Aitken replicates two stags butting heads, their interlocking antlers illuminated by LEDs that change color in the darkened back gallery.

As usual, Aitken has fashioned a stunning, visually compelling installation that juxtaposes audio visual, sculpted and printed elements. Aitken's installations as well as individual works have a formal beauty. He intuitively weaves together a range of materials to maximize what they have to offer, be it a repurposed ice chest or a light box tondo of an abandoned car.

As an installation, Psychic Debris Field divides the galleries into two discrete environments. In the front room, Aitken presents the sculpted buffalos alongside a suite of large-scale, digitally printed wall works featuring the side of a modernist house with glass windows, the outline of a 1950s era swimming pool, and a desert landscape horizon line (both with and without horses), or an expanse of blue sky. These similar compositions contain different iterations of the same elements to become a quasi-timeline through California's history and landscape.

In the back room Aitken has constructed an immersive environment with sounds and changing lights. While the centerpiece is the life-sized sculpture of the two stags, other elements include a city bus shelter, an ice machine filled with live cacti and steel replicas of cacti set into the center of car tires filled with resin. Translucent resin pigeons rest on some of these plants, glowing different colors as LED lights within them ebb and flow. As the room shifts from deep reds to blue and purple, viewers become more tuned in to a sound collage that repeats fragments of the phrase "when I move I see things more clearly."

Throughout his remarkably eclectic career, Aitken has depicted the natural and urban landscapes as anchors for objects as well as actors. The exhibition at Regen coincides with Lightscape (2024), a multi-screen installation that debuted at the Walt Disney Concert Hall and is on view at the Marciano Art Foundation through March 15, 2025. The two installations highlight Aitken's unique explorations of light, landscape, sound, and the ever-changing environment that surrounds us.

Click here for Doug Aitken on its own page.

Ellen Picken
Waves Take Shape
Lowell Ryan Projects
January 18 - February 15, 2025


Ellen Picken

At first glance, Ellen Picken's paintings are formal studies of shapes and colors with a 1950s modernist palette. In addition to oil on clayboard, Picken adds natural materials such as ash, pine resin and iron oxide to create her lush compositions. The geometric patterns also have a spiritual feel. In numerous pieces, she places objects on the surface to create a three-dimensional veil through which the paintings formal symmetry can be seen. Additional layering is created with site specific murals-- undulating black stripes and curves painted directly on the gallery walls behind the framed works.

Picken's seductive and breathtaking paintings are intimate and carefully composed. In Johanna's cities come and gone (all works 2024), a geometric shape that resembles a modified celtic cross fills the canvas. It is formed by horizontal striations that transition from deep reds and browns at the top to lighter grays and greens at the bottom. This shape is set against a brushy black ground. In the lower right, Picken paints dark orange flames, an image of fire that carries an emotional resonance in Los Angeles now. Thirteen points for Catherine is a more celestial painting. Here, golden ovals circle around an orange starburst shape similarly set against a black background. The hovering shapes emanate from two golden arches filled with concentric circles that rise slightly off the painted surface.

Inside the Mountain and I'm in the other room are paintings with sculptural elements. Wooden slats cover the bottom portion of Inside the Mountain like saloon doors through which Picken paints concentric circles in various hues of orange, tan and brown that allude to an abstract rendition of a target or circles around a sun. For I'm in the other room, Picken covers the front of the painting with door beads that overlay a twisted abstraction in brown and white resembling a coiled snake or garden hose.

Picken's compositions and palette call to mind paintings by noted older female artists including Hilma af Klint, Agnes Pelton, Paulina Peavy and Luchita Hurtado, as well the recent works of Los Angeles based Roy Dowell. Like these artists, Picken is interested in where the spiritual and the geometric intersect. She juxtaposes organic and geometric forms and patterns in earthy colors alluding to symbolism, transcendence and perhaps the occult without being overtly preachy. While the paintings on their own hold the wall and the viewer's attention, Picken excels through the combination of painted wall and painted canvas. Here, the different styles and paint applications compete with each other and vie for attention. Picken inverts the less is more axiom suggesting that more (site specific wall paintings) creates context and provides a container through which to perceive the works.

Picken's pieces have an unsettling logic. They toy with symmetry and then throw that precision off base. They undulate, pulsate and allude to observed spaces and objects, yet they are completely imagined. Through the combination of pure geometry, scientific observation and religious symbolism, Picken has created masterful paintings that resonate on multiple levels.

Click here for Ellen Picken on its own page.

Elizabeth Tremante
Final Girls
Serious Topics
January 4 - February 8, 2025


Elizabeth Tremante

What would happen if art masterpieces came alive? If the bleeding Renaissance depiction of Christ on the cross actually spewed blood into the gallery? Elizabeth Tremante imagines these situations. Her evocative and often unsettling but still quite humorous paintings draw from art history, yet rather than reproducing iconic artworks as an homage, she alters them in subtle ways, often illustrating how the people depicted in the works might emerge from the confines of their canvas boundaries, as well as their art historical genres.

Tremante creates amusing scenarios that juxtapose museum or gallery interiors filled with historical and contemporary artworks with a range of female visitors: teens, mothers, families, as well as disabled, nude or pregnant women. In some pieces, they take on characteristics or expressions from the paintings on the walls while in others they appear to do their own thing — paint or practice yoga — completely ignoring the context and content that surrounds them.

In an online interview, Tremante discusses taking her six year old daughter to a museum only to realize they were in the midst of artworks predominantly made by men where women were represented as vulnerable, or objects of desire and violence. Often these depictions featured naked or fragmented bodies, something that was difficult for a six year old to understand. Tremante decided to reinvent this narrative in her own canvases and create scenarios where people who visit exhibition spaces play off the paintings on view.

For Trios (2024), the artworks as well as the visitors to the space are grouped in threes. Here, Tremante paints a room in a museum where both contemporary and historical works of art hang on the wall. An altered version of Roy Lichtenstein's Brushstrokes (1965) is juxtaposed with a Renaissance style painting of three women seated at a table in front of burgundy drapery. In the foreground a pregnant woman stares at a sculpture based on the Three Graces. In another room seen through an arched doorway, a painting of the Virgin Mary with child and two angels hangs on a wall. A woman in a wheelchair studies the composition. Below the Lichtenstein, red paint drips onto the gallery wall and floor where a girl sits with a bruised knee, her blood matching the red hues of the painting. To the right, a woman contorts her body in a difficult yoga pose. Scattered around her are the contents of her purse, which includes opened red lipsticks that have traced red lines across a terrazzo patterned floor.

The center panel in the frenetic triptych Short Breath Tight Chest (2023) illustrates numerous unconnected visitors to a vast museum space. Here, Tremante paints a melange of artworks ranging from classical to modern sculptures, including an abstracted Giacometti woman and Brancusi's Bird in Space. The paintings installed on the walls include a color field work (presumably by Ellsworth Kelly), as well as Renaissance and Cubist pieces. Also depicted is a painting of a crucifixion where Christ's wound spurts an arc of red blood that puddles on the floor near the Brancusi. Surprisingly, none of the museum visitors appear to be looking at the artworks but rather are otherwise engaged — one young woman with a green face stares at the ceiling. A mother cares for her crying child. Another woman reads on a bench, her shoes off, oblivious to the simply drawn naked figure on the bench beside her. To the left and right of the center panel, Tremante moves in closer. On the left a woman has set up an easel in front of Manet's Young Lady (1866) and begins to paint it. The bird in the original is positioned as if sitting in the woman's hair. A nude pregnant woman rendered in a cartoony style stands at the left edge of the work. In the right panel, two girls examine a copy of the Marjane Satrapi's book Persepolis, indifferent to the sculpted heads and painting of a naked woman behind them.

All of this is in good fun, but also purposeful and poignant. Tremante reimagines museum interiors as public space open to all audiences and activities. She indulges in depicting intimate and private moments — nose bleeds in One Day After School (2023) — as well as playful reactions to the paintings. In The Loose Tooth (2024), a young girl holds a tooth in an open hand out toward her mother. A line of blood spills out of her open mouth. The painting in the background depicts three scantily clad women looking down on the scene. In her works, Tremante explores the relationship between the people who visit the museum and the artworks installed. She infuses new perspectives, expressions and attitudes into images from art history to better connect these painted figures to the now.

Click here for Elizabeth Tremante on its own page.

John Miller
Total Presence
Various Small Fires
January 4 - February 8, 2025


John Miller

John Miller is a conceptual artist as well as a writer and theorist. He is best known for works painted in what has become his signature color: burnt sienna. There are numerous scatological references associated with his use of this color which has appeared in his works since the 1980s and has manifested itself in numerous ways.

While the pieces in the exhibition Total Presence are photographic, they are augmented by impastoed swaths of hand painted burnt sienna. The somewhat banal color photographs depict fragments of the urban landscape — places where concrete, brick walls, graffiti and signs come together. Miller creates trompe l'oeil illusions by painting shapes in random places on the photographs (inkjet prints on canvas) to cover what is below with precise rectangles in expressive shades of brown. These additions rise off the surfaces and often have drop shadows added through Photoshop to create a sense of depth. Miller's painted additions are purposely awkward, interrupting the integrity of the image below. They do not belong and do not necessarily cover anything "important," nor do they conform to the architecture in some cases. The tondo shaped painting Painted Grapes (2024) is a cropped collage of various urban wall fragments that juxtapose interior and exterior markings with a section of painted brown.

Three different series comprise Miller's exhibition. The trompe l'oeil paintings in one room are seen in relation to a 2020 video The Trip in another. Here, a 3D modeled male mannequin with tousled brown hair and a gray suit seen from just above the shoulders rotates slowly against a monochrome background that transitions from red to yellow to blue to green as the camera moves in closer to his face. Among ethereal electronic sounds, a male voice utters, "I'm spinning, I'm spinning around again" for the entire thirteen minute duration. At the very end, the sound and spinning of the figure reduces to slow motion, the face fills the frame against a blue-purple background. The screen then goes black and a text appears that states: "I'm spinning around my friend" leaving viewers somewhat perplexed by this subtle change.

The third work in the exhibition is a room-sized photographic mural, An Illusion of an Illusion (2024) that spans two walls and a corner of a square room. It combines images taken in New York and Seoul, juxtaposing fragments from two distant cities. Miller documents aspects of everyday life — receding streets with delivery trucks, doors and door handles, stickers, posters and official signage. The montage moves from close up to distance shots creating the illusion of a panorama. While life-like and to scale, the composited scenes are strangely uninhabited. The white letters of a blue window sign on a New York street proclaiming "We've moved" prompts questions about location, dislocation, gentrification and the constant movement of urban life.

Thinking about the spinning mannequin translocated from the confines of his shifting monochrome background to an urban setting, be it New York or Seoul, it is possible to imagine him (or one) ambling down city streets, regarding textured walls and marveling at strangely painted surfaces that resemble the texture and style of his hair.

Click here for John Miller on its own page.

Annie Briard
Through the Walls of Gold
Royal Projects
November 16, 2024 - February 8, 2025


Annie Briard

Annie Briard is a Vancouver based artist who explores the intersections of art and science. She examines the visual qualities of light and perception through images of the natural landscape. The works in her exhibition Through the Walls of Gold share a kinship with the California Light and Space artists and though not a sculptor per se, in this installation she enhances her photographs with transparent three-dimensional acrylic elements in a range of colors. The photographs depict desert landscapes and were taken during residencies at the High Desert Test Sites in Joshua Tree, CA.

When thinking about desert colors, muted greens and browns against bright blue skies come to mind, as do pink and orange horizons during sunrise and sunset. In Briard's images, shot with handmade lenses, the colors are distorted. At first glance, the pictures appear to be double exposures or photoshop manipulations. In actuality, they are shot with a camera through lenses fashioned from military prisms that both fracture and reconstitute the landscape. The color-distortion is further exaggerated through the addition of plexiglas overlays that alter the hues of the image, as well as the wall behind it.

In Through Walls of Gold VIII (veils) (all works 2024), a yellow rectangular sheet of plexiglas hangs in front of a portion of the large horizontal wide-angle photographic print. Briard focuses on the close-up details of an expanse of gray rocks, but through her special lenses, the colors of the rocks range from yellow to orange to purple. Similar shifts occur in Through Walls of Gold IV (dawn) where the rocks appear as a gradient of color that moves from a brownish green to a golden yellow-orange. In this modest sized framed photograph, Briard superimposes a vertical strip of smokey acrylic over a portion of the image which adds a three-dimensional aura to the work. For Through Walls of Gold III (green land), Briard transforms a banal photograph of a desert creosote bush into something surreal. The plant grows out of the sand in the lower half of the image, extending up into the sky. Mountains fill the horizon and what might be a blue sky is now a murky yellow-green. A detail of the sand with orange shadows fills the top third, covering a portion of the sky. A fragment of an orange circle also appears in the lower left corner of the image which is bordered by a transparent orange plexiglas mat.

Light mountain (freestanding) is a human scaled triangular pyramid of orange plexiglas on a very low white triangular pedestal. It is centered in the gallery where it bisects the sight lines for viewing the large wall mounted works Through Walls of Gold IX (mirage) and Through Walls of Gold VII (light mountain) adding yet another layer of transparency and distortion. A pale blue plexiglas rectangle that overlaps the upper right portion of the photograph titled Through Walls of Gold V (knowledge) intensifies the sky and alludes to the expanse beyond the picture. Within the photograph, Briard transforms yet another innocuous green-brown desert plant into a saturated bright magenta, orange and yellow.

While it is unclear how much control Briard has over her lenses and the scale of the distortion, these dreamlike landscapes have a lushness and sensuality that is often missing from the work of her male "light and space" counterparts. The images have the aura of an acid trip and while both controlled and unexpected, they take viewers to a different realm. The pieces have a presence and a resonance that goes beyond their formal properties. Briard works with distortion and optical illusion to transform the ordinary into something unexpected.

Click here for Annie Briard on its own page.

Cynthia Daignault
The Lemon
Night Gallery
October 26, 2024 - January 18, 2025


Cynthia Daignault

In Elegy, her first exhibition at Night Gallery, Cynthia Daignault presented black and white paintings that explored environmental collapse. Each painting was the same height and installed to form a narrative across the gallery about the passage of time and the timelessness of the painted image. Rendered in black and white, the works also suggested a relationship between beauty and loss. In her second exhibition, The Lemon, she explores similar themes but from a completely different perspective.

The Lemon takes its name from Edouard Manet's painting Le Citron (1880), an ornately framed, small scale hyper-realistic painting of a lemon in the collection of the Musée d'Orsay in Paris. Daignault's painting reproduces Manet's work, as well as its frame, but rather than create a like sized piece, she centers her image on a much larger white canvas. This piece is exhibited alongside other impressionist paintings as both an homage and a critique of the genre and its occasional misogyny. Daignault is a facile painter who is as comfortable with realism as she is with abstraction. In this exhibition, she offers new interpretations of iconic paintings by Manet, Pissarro and Cézanne among others. In The Details (all works 2024), she selects and re-presents fragments of the originals. In the painting entitled The Book, she reproduces pages from an art history text that depicts images by Pissarro and Cézanne. The three paintings from the series Stable Diffusion, reveal two women lounging on the grass in varying degrees of detail. And for The Luncheon, she obscures Manet's masterpiece with wide, Gerhard Richter-like fields of scraped paint.

For the giant painting The Collection Daignault creates a large grid with painted reproductions in various sizes of works spanning numerous genres and timeframes. Included are iconic paintings by Guston, Mondrian, Matisse, Rothko, Warhol, O'Keeffe, Vermeer, Van Gogh and Caravaggio. They are evenly spaced and aligned as if a treasured postcard collection of favorite paintings— images that one wants to savor and remember. On an adjacent wall, Daignault installs The Details. In this ten-part work, she breaks down Manet's painting A Bar at the Folies-Bérgere (1882) into fragments. Different aspects of the painting are presented as small rectangles, each more expressionistically rendered than Manet's original.

Throughout the history of art, artists have borrowed, copied and appropriated aspects of others' work— modifying, erasing and even reproducing pieces verbatim. This list is long and includes a variety of approaches as well as mediums ranging from photographs and paintings to sculpture. While some artists use works from the past to offer critiques or to challenge ideas of originality or to transform the male gaze, Daignault wants to connect to the past and celebrates painters she admires. She states that the exhibition is "an attempt to understand the weight of influence. Of history. Of love." For this exhibition, she studied Impressionism and the world of Manet. Rather than create new works based on her surroundings, she remade his paintings as a way to understand, not only how he applied paint to the canvas, but also his motivations and where he positioned himself in his world. How his work and his world transfer to the now is at the core of Daignault's explorations.

Click here for Cynthia Daignault on its own page.

Ayin Es
On the Mend
Compound Yucca Valley
November 16, 2024 - January 12, 2025


Ayin Es

Ayin Es is an illustrator, artist, musician and story teller who creates art to explore aspects of their personal life. The work shares their fears, triumphs and "the broken aspects of their psyche," making these personal issues public.

For the exhibition On the Mend at Compound, Es presents paintings, sculptures and works on paper that contain simply drawn characters representing the artist, as well as a dog-like animal called "Dan" that embodies the positive aspects of life. Spanning the last fifteen years, the pieces on view present "Dan" in multiple shapes, colors, sizes and activities, such as playing drums, wearing a crown and surrounded by brownies and bits of celery. "Dan" even appears as Frankendan (2010), a stuffed animal that is simultaneously comforting and out of sorts.

In the watercolor Riding A Jesus-like Fish (2023), a figure with a red line across their chest rides on a giant fish with two arms and three legs as it walks on undulating waves. Related works including the painting No Secrets on my Sleeve (2024) and the series of embroideries on muslin Many Mes and As Needed (2023-24) are more directly about healing as a transqueer artist who recently underwent "top surgery." Two uneven grids each containing 24 of these small embroideries share a wall in the back gallery. In As Needed Es depicts pill bottles with three half white, half red capsules by its side. Many Mes is a delicately sewn black line that pictures a figure with floppy ears and a red flower growing out of the top of it's head. It has wide open eyes and a straight horizontal line as a mouth that parallels a black line with red jagged stitches across it's chest. Though simple, the image expresses pain and sadness, as well as hope.

While many of the works contain Es's "alter-ego," they are for the most part self portraits that process their surgery and its aftermath. In these works, Es appears as a human animal hybrid with sad eyes and floppy black ears. In Recovery (2023), they recline on a bed, medicine bottles by their side. In Queer Mutant Cake Thing (No Arms. I'm Lazy) (2024), the figure appears more distraught with the top of their scarred torso emerging from a cake-like form with black boots. King of This and Joypack (both 2024) are rendered in a more agitated and expressionistic fashion where the scarred figure is surrounded by colorful lines that follow the contour of the head and body.

Es created a care package to accompany the exhibition with home made bandaids, a reworked can of Campbell's chicken soup and other soothing offerings. Perhaps the desired take away is expressed in the watercolor and ink on paper piece Happy Person (2023). In this small but powerful work, the floppy eared, wide eyed figure smiles. There is a flower growing from the top of its head and they hold a leash with a "real" dog under a colorful rainbow beside a garden of flowers. The healing has occurred. The red scar that appears in many of the other works is gone, paving the way for the next chapter in the artist's life.

Click here for Ayin Es on its own page.

Nancy Macko
Decompositions: Photography
Ruth Chandler Williamson Gallery at Scripps College
October 5, 2024 - January 12, 2025


Nancy Macko

During Covid, many people began strange rituals. The unknown, the isolation, the mandate to stay at home affected people in different ways. Because she could not travel, photographer Nancy Macko created her own fantasy world that to visit on a regular basis. Contained within her compost bin were a host of colors and textures, as well as the occasional maggot or other insects drawn to the decay. Using a close focus lens, Macko began to document the interplay of these elements. Rather than looking down, she shot through the plastic sides of the bin. The resulting evocative and uncanny images not only reproduce the disintegration of forms, but also record the atmospheric residue.

The theoretical references within the work stem from Michel Foucault. Whereas the art historical references range from William Henry Fox Talbot and Carleton Watkins' images of plants and vegetables to Edward Weston's seductive peppers. There are nods to Dutch Still Life painting, Surrealism, Archimboldo's personifications, as well as associations (for me) with Peter Greenaway's A Zed & Two Noughts (1985), a film that graphically depicts the character's obsession with decay.

The thirty-eight color photographs are a range of sizes and orientations: some of the larger images are even placed on brightly colored free standing walls. Numerous quotes by Foucault from his seminal work The Order of Things: An Archaeology of the Human Sciences are also placed on these walls alongside the images to direct the way the pictures are interpreted. It is also possible to indulge in their beauty and to admire them in formal ways.

The works realistically and metaphorically explore time, transformation, loss, regeneration, fragility and the cyclical aspects of nature. The large horizontal image Asparagus Kindling (2020) hangs alone on a magenta wall. Two stalks of asparagus fall to the left and right of a vertical stem suggesting fallen trees or logs. Moldy green-blue semi-translucent leaves with different shades of black and brown surround the stalks. Within the mix are what could be onion skins, as well as a disintegrating reddish orb that supports one of the pieces of asparagus. Streaks of condensation cascade down the image to reiterate the fact that the photograph was shot through a wall of plastic.

Many of these luscious photographs are reminiscent of underwater scenes or sci-fi landscapes at once familiar and utterly foreign. For example, in the aptly titled The Light in the Creek (2020), a discarded stem with delicate green branches leans from left to right toward the center of the composition. It is superimposed over other colorful and intricately shaped plant fragments forming what could be seen as a receding horizon. In the center of Vigil (2022) is an insect — a living creature — and a reminder that death and life are intricately bound.

Macko's images are wonderfully layered and filled with light and shadow. This is evident in Lemonthyme Jungle (2021). Here, translucent branches, stems and rinds float within a light blue background to meld with one another within an ambiguous setting. In White Dragon (2022), a white cylindrical shape topped with what appears to resemble a headdress emerges from an orange blob that floats in front of pink and white debris. Macko's dragon is a wobbly creature neither menacing nor threatening as it is subsumed into a dark void.

Macko's photographs are created using a close focus lens. The images depict collapsed spaces of muted colors. These disconcerting scenes are filled with chance juxtapositions. While the integrity of the compost remains, some pictures become evocative still lives and landscapes, while in others, Macko allows for maximum abstraction.

Click here for Nancy Macko on its own page.

Julia Yerger
When Lottery
Chateau Shatto
November 9, 2024 - January 4, 2025


Julia Yerger

Julia Yerger's paintings and collages on view at Chateau Shatto meld abstraction and representation. These hybrids are layered works in which outlined shapes resembling human figures are inserted into quasi-landscapes and cityscapes. While the images evoke recognizable spaces dotted with human forms, they are in essence formal explorations that investigate mark-making, tonality and color.

In Beatles (all works 2024), a central figure painted in shades of white and outlined with dark lines is surrounded by a crowd of featureless heads sketchily filled in with a range of pastel colors and roughly drawn lines. The main figure does not have a human head. A mop-like, red-pink shape appears where the head would be. A more skeletal form with a rectangular eye-patch blasts forth to the figure's right trailing a light blue-green cloud. The yellow-green background could be a park or other natural setting. Within this ambiguous space are tool-like mechanical shapes whose purposes remain a mystery.

The Family Band similarly depicts silhouetted figures — many of whom hold instruments — assembled against a deep blue background. Yerger delineates foreground and background spaces with the band in the background and its audience occupying the foreground in the lower half of the painting. Wearing a white t-shirt, the head of one of these cartoon-like figures is a blue spiral flanked by clenched fists. The other members of the crowd are less defined. Between the "band" and its audience stands a man reading a book. He wears a reddish shirt and pants with yellow and white stripes. As in Beatles, the scene is simultaneously familiar and disconcerting, spacious and flat.

Yerger's collages combine found papers from comic books, magazines and newspapers with ink and matte medium. They are dizzying illustrations where recognizable elements intermingle with colorful geometric shapes to create visually compelling and strange narratives. Welcome to.. juxtaposes reproductions of an air-bound snow-boarder, a rock-climber and a guitar-player collaged with snippets from comics and other black and white illustrations to become a surreal figure that travels through an unknown world that spirals out toward the edges of the composition. Bits of text, as well as architectural elements allude to an inhabitable space, but never cohere.

Two women appear to embrace in the compelling painting Opposite Sister. The background is an off-white tree whose leaves and branches are drawn with different color lines. The tree is ghost-like yet present. In the lower portion of the composition, Yerger depicts two figures. The one with her back towards the viewer has purple hair and a reddish-maroon dress. The top of her head fuses with the trunk of the tree while some of its leaves mesh with her hair. The other figure is also abstracted with a pink face and no definable features, blue-green hair and wearing a green striped shirt. Yerger successfully combines different styles of painting — expressive brushstrokes, flat expanses of color and intricate lines — to capture the tender moment.

Yerger's works are not quick reads. Some of the components are unmistakable and while there might be a moment of recognition, she obscures the familiar by layering the representational aspects of the images into an abstracted ground. These dynamic pieces have their own rhythm. They are culled together from disparate assets and filled with light and shadow to become unique worlds populated by ambiguous yet stately figures who hold their ground and seem to belong.

Click here for Julia Yerger on its own page.

Ohan Breiding
Promiscuous Ghost
Ochi Projects
November 16 - December 21, 2024


Ohan Breiding

Ohan Breiding's installation, Promiscuous Ghost, is a haunting exploration of the realities of climate change. One of the focal points of the exhibition is Glacier Calving (Rhone) (all works 2024), a huge photo-mural of the Rhone Glacier located in the Swiss town of Obergoms, not far from where the artist grew up. What stands out in this quasi-life-size image is the sparseness of the ice and the detritus around what remains of thermal blankets soaking in puddles of water. People from nearby villages draped these blankets over the glacier to help insulate it from rising temperatures. When the mural is viewed in relation to a small historical black and white photograph of the same glacier from the turn of the last century (installed above the gallery door), the chilling loss of snow becomes quite obvious.

Breiding has placed two seats — fiberglass rocks with jagged edges covered by soft pads wrapped with red straps — in the center of the gallery at what would be the base of the glacier depicted in the mural. The faux rock seats face a monitor that is attached to a "weather station" (gages and a transmitter not working in the gallery, but completely functional). Looping on the screen is a thirty-two minute film: Belly of a Glacier. It begins with the birth of a cow and bubbling lava from a volcano then transitions to footage of the glacier with the harsh sound of raging water Breiding recorded on numerous trips to Switzerland. These scenes are intercut with historical and scientific footage, as well as documentation of a glacier "funeral." Through compelling and thoughtful juxtaposition, the cumulative effects of climate change on the glacier and its surroundings emerges.

A modest-sized fiberglass rock with a bronze plaque sits on the floor in the back corner of the gallery. The plaque reads: This is the first glacier to lose its status in this region. Within the next 200 years all our glaciers are expected to have melted. This monument is to acknowledge that we know what is happening and what needs to be done. Only you know if we did it. It is dated September 2050, the date the glacier is expected to fully disappear. Funerals for glaciers began occurring world-wide in 2019; these are ceremonies/celebrations that help people process their grief about the demise, or impending demise of glaciers. One such event is included in the film and Breiding's tribute fits within this tradition. It is at once a warning and a call to action.

Seven hand written reproductions of the text on the backs of postcards line the wall across from the large mural. Titled Souvenirs -- the original images date from 1969 - 2007 -- these works invite the viewer to imagine what is depicted on the verso. For example, Souvenir 1 has the caption "Winding Road Leading up to the Rhone Glacier, 2007" while Souvenir 7 is captioned "Aerial view of the Rhone River, Obergoms, 1969." This postcard is one of three addressed to a recipient in the United States. It is a birthday greeting celebrating the beauty of the mountains of Switzerland... A wish you were here letter connecting people across time. While most of Breiding's pieces are objective and somewhat instructive, the Souvenirs are intimate.

Using personal and historical documents, as well as current footage of the receding Rhone Glacier, Breiding has created an installation that explores issues of climate change without being didactic or preachy. This thoughtful and poetic meditation on the beauty and power of nature and the possibilities of its impending demise is not only a call to action, but a call to take a moment to appreciate that which surrounds us before it disappears.

Click here for Ohan Breiding on its own page.

Oluwatobi Adewumi
Journeys of Belonging
Von Lintel Gallery
November 9 - December 21, 2024


Oluwatobi Adewumi

Oluwatobi Adewumi is a Nigeria born artist who now resides in McNeil, Arkansas. He immigrated to the U.S. after completing a degree in computer science in Nigeria. Though mostly self-taught as an artist, Adewumi is extremely skillful and perceptive. His representational works are beautiful and compassionate portraits of friends and acquaintances that trace their journeys, as well as the cultural struggles they faced as black immigrants. The portraits are more of an investigation into people, personalities and the stories he was told, than about a specific place or time.

In his artist's statement, Adewumi speaks of his interest in providing both the history and the present situations of the people he depicts. While the works are quasi-political and explore issues of race, they are more referential and poetic than didactic. His subjects are often people who have been marginalized and through his depictions he returns their voices. The underlying motivation in his practice is an exploration of what it means to be black — be it in Nigeria or in Arkansas. Adewumi states in a recent interview published in the Arkansas Art Scene Blog, "My art takes on reconstructing lost stories, documenting the ideals of our history. I want to challenge stereotypes and myths that have been crafted by others."

As a draftsman, Adewumi has a deft hand and his realistic drawings depict his subjects in exacting detail. In many of the portraits are in three-quarter view with their bodies turned to the side while they gaze in that direction or back toward the viewer. The portraits are a combination of charcoal, acrylic and collage on paper or canvas and though Adewumi begins with a realistic representation, he obfuscates the image through the addition of vertical stripes that create a veil through which sitter is seen. These stripes — in lighter or darker grays, as well as subtle sepias — might reference the American flag and/or prison bars.

Two related sets of works are featured in the exhibition. In the back space are the images Don't Stop the Freedom, Prejudice, Wrinkled on Purpose and After All (all works 2024). In these pieces, the "stripes" are more subtle and meld with the subject's skin. The person depicted in each portrait is shirtless (shirts are a major component in many of the other works). The only bodily adornments are placed below the ear like dangling earrings that juxtapose sales tags and political stickers with small red, white and blue American flags. Adewumi titles these pieces after the texts in the tags and stickers to direct the interpretation. For example, in Don't Stop the Freedom, a rendering of a small stop sign that states "Don't Stop" is combined with one that exclaims "Freedom of Movement." Both cover the flag. The image becomes a jarring portrait confronting both racism and patriotism.

In many of the other portraits, either on paper or canvas, Adewumi focuses on what surrounds the subject. In Crisscross, he creates a hoodie by collaging a page from a faded, red hued newspaper that prominently displays the text "Criss-Crossed" over the head and shoulders of a bearded man. He draws red and black lines within the hoodie in a plaid pattern. Charcoal silhouettes extend across the shoulder and into the face of the man. He gazes out past the edge of the composition, unaffected by the striped augmentation to his face and wardrobe. In Where it all Started, he also presents a realistic and tender rendering of his subject. Here, a black man depicted from the top of his head to just below the shoulders fills the composition. He appears pensive, his thumb resting just under his chin. His shirt is a collage of newspaper headlines where words including WARS, GRAND, WHO, FIGHTS are given prominence in combination with articles adorned by circles and hand written notes.

Half of the woman's face in The Time Will Come is covered by a striped collage of floral motifs, silhouettes and newspaper fragments. The photorealistic qualities of the face contrast with the abstraction below, turning the portrait into something more than a direct representation.

Adewumi could easily just present beautifully rendered portraits of his community that celebrate the delicate features and intense gazes of his subjects, but these works are more than that. He alters the surface of his images by imposing stripes on his subject's skin or turning their garments into collages. The newspaper imagery, as well as the patterned clothing can sign for both the sitter's thoughts or inner life, as well as the urgency of past and current events. These unique and enigmatic works blend realism and collage in an attempt to present and celebrate the inner truth of the sitters.

Click here for Oluwatobi Adewumi on its own page.

Walead Beshty
Profit & Loss
Regen Projects
November 7 - December 21, 2024


Walead Beshty

Walead Beshty's current exhibition at Regen Projects is tight, sophisticated and thoughtful. Profit & Loss is a visually and conceptually rich presentation. On view are small-scale black and white photographs, modestly-sized oil pastels and small concrete sculptures with radio antennas. It also features large-scale mixed media pieces: collages of actual newspaper pages, textual reproductions from found signs and commercially printed billboards.

Beshty is an extremely prolific artist who has created an unusually diverse body of work over the last fifteen years. His choice of media is often specific to the content of the project, be it a series of abstract and colorful photograms based on work by Moholy-Nagy, or glass and copper boxes packaged and shipped via FedEx and displayed together with the shipping containers as pedestals. Beshty often draws from art history for the conceptual and theoretical framework of his projects. Unusually, this particular exhibition also includes significant references to other artists' works. His drawings of large, chunky mangled cigarettes recall the work of Philip Guston, as well as Irving Penn. The newspapers overlaid with stenciled type share an affinity with Rirkrit Tiravanija's recent installations, in addition to carved paper text pieces by Mark Bradford. The draped billboards recall both the Zipper works by Karen Carson and some of Robert Morris' felt sculptures.

That being said, Beshty's art is not derivative and his exhibition, while perhaps paying homage to the works of others, is a thoughtful investigation of value, exchange and the ways we communicate. On the front desk sits Smart Object (Radio): 2035 Achilles Drive, Los Angeles, California (all works 2024), a table top sculpture combining a piece of found concrete with a radio antenna. A selection of these dysfunctional devices — antennae combined with concrete, brick, mortar or ceramic tiles — are also presented in a side room. At once familiar and other-worldly, these humorous sculptures might be futuristic or relics from a sci-fi inspired past. They are placed on white pedestals and share the space with a series of framed works on newspaper juxtaposed with drawn text from "bandit signs."

Bandit signs are small advertisements hung without approval. Beshty began collecting them in 2007 during the global financial crisis and in this series of works, he uses oil pastels to stencil the crude and cryptic verbiage from the signs over actual pages from newspapers including the Los Angeles Times, the New York Times and the Wall Street Journal. IMMIGRATION Services 323.582.9871 2407 Randolph st., HP [The New York Times, Sunday 16 April 2017; Los Angeles, California] is a spread from the front and back pages of the New York Times from April 16, 2017. In it, Beshty juxtaposes the word IMMIGRATION with headlines that announce atrocities and a full page advertisement for Starbucks' cold brew. Here, world events and consumer culture are presented alongside the needs of immigrants. Other works from this series include WE BUY HOUSES 626-765-5726 [The New York Times, Friday 14 April 2017; Los Angeles, California] where the phrase WE BUY HOUSES covers the front and back pages of the New York Times from April 14, 2017 and CREDIT REPAIR (323) 535.7289 [The New York Times, Wednesday 15 November 2017; Los Angeles, California]. Again, Beshty calls attention to the discrepancies between advertising, news and the services aimed at the urban poor.

While the smaller works that use text from bandit signs invite viewers in to read and look closely, the larger mixed media pieces are more aggressive and bombastic. In these, Beshty combines multiple newspaper pages so they create a backdrop spanning over ten feet across. On this layer, he collages found signage (like those seen on or attached to telephone poles with contact information tabs), as well as laser prints of explosions and miscellaneous paper fragments above and below words appropriated from the bandit signs. In Bandit Sign Painting [DIVORCE & CUSTODY 909-485-9282 (Los Angeles Times, Sunday 23 June 2024; Los Angeles, California)], the words DIVORCE & CUSTODY and a phone number are painted in black oil paint and oil pastel, dominating the composition.

The Bandit Sign Paintings are presented in conjunction with a series of large-scale works titled What Goes Around Comes Around. For these pieces, Beshty enlarges and then cuts words from bandit signs out of found vinyl printed billboards. He layers them with expanses of canvas, glassine and paper that give the pieces a structural support for the cut letters to hang and drape over. Across the center of What Goes Around Comes Around [DIVORCE & CUSTODY 909-485-9282], individual letters have been excised from the layers of material and these fragments cascade toward the floor, exposing the supports for the construction and the wall behind it. These works are minimal and maximal, obtuse and straightforward, abstract and representational simultaneously.

In the outer hallway, Beshty includes a series of small, framed black and white photographs of RV's lined up on the street near his studio. Surrounded by detritus these images of Rv's are presented adjacent to pieces where Beshty has cut and collaged U.S. currency in various denominations with added gold leaf to emphasize the geometric shapes. There is a lot to take in as well as take away in Beshty's challenging installation. To ponder the terms "Profit" and "Loss" and think about commodities, advertising, homelessness, newspapers, and modes of communication or exchange all within a commercial art gallery where the works themselves are also for sale creates an obvious paradox. For better or for worse, Beshty is complicit. He engages in the system he critiques and while the works do not cry out BUY ME, they illustrate the complexities in "the construction of value and the meaning of worth."

Click here for Walead Beshty on its own page.

Rachael Browning
This Way Up
Moskowitz Bayse
October 26 - December 14, 2024


Rachael Browning

For her third solo exhibition at Moskowitz Bayse, Rachael Browning continues to explore photographic truths and ambiguities. In This Way Up, she presents photographs and drawings that inform as well as obfuscate. Her 2022 show Pushing Rope investigated entropy through the addition of supports to anchor objects in nooks where windows used to be. Minor Adjustments was a body of work from 2020 where she intervened in the natural landscape. Using rope, turn buckles, straps and miscellaneous hardware in primary colors, Browing made slight adjustments to trees, rocks, flowers and expanses of ground in an attempt to make them level.

The works in This Way Up continue these somewhat absurd investigations. There is a bit of play, as well as a question of which came first when regarding the photographs and the works on paper. The archival pigment print #120 06 (all works 2024) is a photograph of a rectangular piece of light blue green foam on top of thinner pink foam that has been wrapped around masonite. Held together by a piece of thin and maybe stretchy pinkish-red rope or string, the entire bundle is set on a black ground. An image of the same sized and title in graphite, colored pencil and pastel on paper reinterprets the photograph by transforming it into lines and textures that, not replicating the photograph exactly, act as a graphical representation that reduces the shapes to flattened areas but other in ways becomes a more complex rendering.

Comparing the drawn and photographic versions of #126 03 also reveals thoughtful variations. In the photograph, Browning positions a folded rectangular black packing blanket against a square black background. On top of the blanket is a rolled cylinder of the same material, about the same length and around one third the width. Sandwiched perpendicularly between these two objects is a thin rectangle of industrial black non-slip flooring with protruding ovals. The entire "sculpture" is held together at the bottom of the composition with a light gray cord. In the drawing, Browning carefully reproduces the zigzag pattern of the blanket as white lines against a black pastel ground. The ovals are precisely drawn into a darker black section. The quasi-abstract rendering retains the photographs three-dimensionality, yet it is obviously flat.

Browning's constructions are funky arrangements of banal industrial materials that investigate shape, texture and form. When photographed, attention is paid to light and shadow. Seen in relation to their drawn counterparts, the photographs become more nuanced as the eye, as well as the mind goes back and forth between the two versions, comparing and contrasting the compositions, materials, textures and inclusivity of the transformation. Throughout the eight pairs (which are purposely not hung side by side), there is never an exact one to one relationship, but rather associations that suggest interpretation. In #124 03 for example, a taught spring extends between two eyebolts that are attached to a concave shaped piece of oriented strand board (a type of engineered wood similar to plywood). For the drawing, Browning inverts the image so the wood becomes a black shape centered on tan-toned hand-marbled paper. It is criss-crossed by multiple perspective lines extending out from the edges of each object.

The exhibition text (press release) is a long list of opposites that might be used to interpret and understand the works— light & dark, negative & positive, cause & effect, reveal & conceal. Rather than explain what and why, Browning wants her viewers to look, to compare and contrast, and to marvel at the nuances that can be extracted through the combination of simple forms and materials.

Click here for Rachael Browning on its own page.

Evan Whale
The End of Sunset
Tyler Park Presents
November 2 - December 14, 2024


Evan Whale

Cities change. The old is replaced by the new, for better or for worse. Gentrification is rampant in Los Angeles today. Developers are turning vacant lots into luxury high rises citywide — tearing down what was quaint, unique and historic — and forever changing the aura of neighborhoods and the fabric of the city.

Evan Whale is an artist who resides just west of downtown Los Angeles in a neighborhood that has been referred to as "The Forgotten Edge." The location is where Echo Park, Angelino Heights, Chinatown and Downtown collide. He has been documenting, as well as lamenting the ways this neighborhood has changed for several years. Through a series of mixed-media and photographic works, he attempts to make sense of and in some ways preserve what is being lost. In his exhibition The End of Sunset, he combines photographs and artifacts juxtaposing these fragments to form mementos that address collective memory.

Dramatically illustrating the absurdity of the changes to the area, Whale presents two customized viewmasters. One reproduces black and white images taken by Ed Ruscha at the address 1185 W. Sunset Boulevard from 1973-2007; the other illuminates an Aragon Properties LTD rendering for a proposed mixed use high rise that would include 327 apartments in addition to commercial spaces. Past and future collide in this intimate display.

While at first glance, Whale's photographs appear to be of banal subjects — tires, signs, abandoned chairs — the way they are altered is what makes his work unique. For example, The End of Sunset (Tired, B & F Auto Repair) (all works 2024) is a manipulated photograph of a pile of discarded tires. Whale applies chemicals (the work is called a Chemigram), as well as oil pastel to the image, in addition to carving into its surface. This imbues the image with a glittery blue and pink aura. The End of Sunset (Reliable Rearrangement) is a photograph of a sign for a building supply store. Whale documented the sign just before it was demolished and collected the shattered fragments which he later collaged to some of the works in the exhibition. In the image, the still vital sign (now sparkling with its chemical appliqué) is borded by a cloudless blue sky and a palm tee — both quintessential in Los Angeles. On top of the print Whale has carefully collaged shards of irregularly shaped black plastic that could be fragments from the lettering of the sign. These puzzle pieces move the image from documentation towards abstraction.

In The End of Sunset (B&F Auto Repair, Friends Car Wash, Campos Auto Sales, O&J Auto Repair, Best Way Car Wash, Sempe Auto Repair, Reliable Sash & Door, Atlantic Richfield), Whale places two bright yellow rectangular pieces of acrylic where garage doors might have been located. The title traces the different venues that once were situated at the address 1185 Sunset (the same address that Ruscha documented). The photograph features the now vacant dilapidated building augmented with yellow rectangles that overlay the image. Whale's use of color is reminiscent of an Ellsworth Kelly painting as he pays particular attention to the relationship between his added yellow parts against the cyan graffiti on the buildings facade as well as the blue sky, green trees and red trim.

The standout in the exhibition is The End of Sunset (Mixed-Use). In this imposing vertical composition, Whale brings together a color photograph and a piece of acrylic laser cut in the form of a chain-link fence. The photograph depicts a dysfunctional shopping cart with broken wheels sitting next to a chain-link fence. The distorted color in the image comes from Whale's choice to use outdated film. Here, a faded acidic green ground transitions into burnt orange before fading into a light magenta sky. On top of this image sits a large piece of acrylic UV printed with three palm trees against a bright blue sky. The trunks of the palms extend from the metal supports of the abandoned shopping cart. In this piece, Whale combines the utopic ideal of a sunny paradise with the dystopic reality of homelessness in Los Angeles.

In prior bodies of work, Whale also juxtaposed architectural and natural elements, more obviously manipulating the photographic surface with hand-painted additions. For the works in The End of Sunset, the handwork pretty much disappears in favor of chemical highlights that transform the original images into something otherworldly and surreal. Through the blurring of fact and fiction, the project aims to call attention to that which would be forgotten in the ever changing landscape of Los Angeles.

Click here for Evan Whale on its own page.

William Leavitt
Gothic Electronica
Marc Selwyn Fine Art
October 27 - December 3, 2024


William Leavitt

Tracing the trajectory of William Leavitt's work from his early photographs and installations to later paintings, the theatrics of his sensibilities emerge. Beginning with the multi-panel photographs on view at Marc Selwyn Fine Art (a companion exhibition is also being presented at Sebastian Gladstone Gallery) The Consequences Can Be Real (1975) and Are You Sure She Said That? Yes, Absolutely, (1977), these are pieces that contain disjointed fragments, filled with props and actors, that imply but never fully disclose a narrative. The sequence of five color photographs that make up The Consequences Can Be Real (moving from left to right) depict silhouetted trees against the night sky that block the view of a house, followed by a close up portrait of a young woman in profile shot against a black background. The next image is an antique garden sundial also photographed at night. From there the sequence transitions to a fragment of an orange-red stage curtain and ends with a photograph of a painting that depicts a violent bolt of lightning glowing against the night sky. This work directly relates to Gothic Curtain (1970) a site-specific installation with curtains and the sounds of a thunderstorm that is installed in the slightly darkened back room.

Leavitt's paintings most definitely speak to the now. Many depict sci-fi robots, though not generated AI. He states, "Recently I’ve done portraits of cyborgs who could operate in a more theatrical realm, perhaps as characters in a sci-fi movie. My work is about things of the world as props for narratives, sequences of objects, places, persons, their combinations evoking random choice, or a mood, a kind of blank absurdity, or the suggestion of a story." Circuit Torso 12, Circuit Torso 21, and Circuit Torso 14 ("all circuits are busy now"), (all 2023) are anonymous silhouettes filled with exacting and detailed paintings of enlarged circuit boards set against blank linen grounds. These mechanical people exude personality, yet remain functionless. In Male Robot (2018), Leavitt depicts a gray silhouetted figure encircled by concentric rings of white that encase loose, random scribbles. The figure stands upon rocks in front of stone ruins.

Fragmented walls and ruins also appear in other paintings. Wall 9 (2012), juxtaposes atoms, and sections of a brick wall hovering in space above a dark planet glowing with spots of light. Roller, Reflection, Fieldstone (2020) is a painting of an interior and exterior space simultaneously. On the left side of the painting, a winding rollercoaster cascades through a desert landscape, its metal supports segue into wall struts of a stone interior. The interior is divided in two — the upper and lower sections are mirror images of each other. Within the space, Leavitt paints five figures, from the shoulders up, as if gathered around a table, their lower bodies strangely invisible. The witty and surreal image is an iconic example of Leavitt's compositing.

The installation at Sebastian Gladstone also includes photographs, paintings and a large-scale sculptural work that contains elements found in the two-dimensional pieces. Attached to a circular rig suspended from the ceiling is a classical column, a red curtain, a tree trunk and a stone pillar — props with myriad meanings and associations. The curtains, walls and natural elements (cacti, trees, grass, etc) within the images are realized full-size in the installation. Leavitt surrounds his figures with architectural fragments to ground them, yet also to fantasize about the narrative possibilities that connect figures to spaces. Leavitt is a conceptualist who draws from his environs and reinterprets that reality to transform it into a noir, surreal yet strangely welcoming place.

Click here for William Leavitt on its own page.

Florian Krewer
Strike the Dust
Michael Werner Gallery
September 14 - November 16, 2024


Florian Krewer

Florian Krewer is a German born, New York based painter who documents aspects of his life and the world around him, transforming these observations and reveries onto large colorful canvases. Krewer also makes photographs (and drawings) and these are often the jumping off point for the paintings. Though not on view, many of his photographs are included in the catalogue that accompanies the exhibition and provide context to the more abstract paintings. For example, the 92 x 80 inch oil on linen, Time is Now (all works 2024) depicts a man with tattooed arms (the artist) giving another man a haircut. While Krewer changed elements from the photograph to create the painting replacing the background — a generic wall and door with a colorful pastel abstraction — the basic composition remains the same. Though larger than life, Krewer's gigantic painting retains the moment of intimacy between these two men that was casually snapped by the camera.

Similarly, the painting New Orleans is based on a photograph of a Mardi Gras parade. In the image, a man wearing golden pants walks along a crowded sidewalk. His face is covered by a frowning clown mask while he also holds a smiling version in front of that. In the painting, Krewer simplifies the scene, transporting the mask-wearing figure to a beach along a shoreline. A silhouetted cityscape can be seen in the distance, nested between an impastoed blue sky and thickly-painted, purple-hued water. Krewer blurs the details present in the photograph and turns the image into a simplified and more abstract scene. The double mask references the push-pull between the comic and the tragic — a well known reference originating in Greek Theater.

A photograph of a swimmer awkwardly jumping into a pool is the point of departure for the huge, colorful painting Into the Sun. Here, Krewer recreates and personalizes the myth of Icarus. In his version, the swimmer — with a blob of fiery orange hair — catapults in mid-air. He is depicted cascading toward swirling green and blue undulations within a swimming pool and is positioned in front of a golden burst of light against an ambiguous and quasi-threatening black background.

Up and Down depicts a winter night. In this evocative painting, simple illustrations of birds painted in bright reds, greens and blues surround a barren tree in a snow-filled landscape. In the distance are four other tree trunks that parallel the facade of a building with numerous illuminated windows. Entering the composition from the left midpoint is the back of the head and right arm of an anonymous figure wearing a blue "hoodie." His outstretched hand gestures toward a small magenta bird as if to offer food or perhaps, even a resting place. The image is tender and sympathetic, despite the coolness of the environment.

Like so many of Krewer's paintings, these scenes depict intimate moments. While his expressionistic paintings often feature isolated or small groups of figures, many also contain animals that may be substitutes for people. Twinz is a painting with a bright red-orange background and a deep red-gray foreground. A fence separates two animals — a menacing black jaguar and a sympathetic white dog. The dog is behind the fence and has an expression of innocence. The jaguar stares at the viewer ready to pounce.

Dichotomies — sweetness and angst, good and evil, urban and pastoral pervade Krewer's paintings. Krewer uses exaggerated and saturated colors to create images that are realistic dreamscapes that veer toward the surreal. In these works, he asks the viewer to be a voyeur while simultaneously identifying with the figures depicted. While they are for the most part personal narratives, these powerful images contain recognizable themes that resonate universally while simultaneously engaging with the formal language of painting.

Click here for Florian Krewer on its own page.

Christopher Page
Picturesque
Baert Gallery
September 21 - November 2, 2024


Christopher Page

Christopher Page is British artist whose paintings at first glance appear to be framed geometric abstractions — paper with subtle washes and gradients of color — surrounded by contrasting colored mat board and wooden frames. What is odd about these images is the shadows that fall across their surfaces suggesting particular times of day. In the center of November, Evening (all works 2024), a 66 7/8 inch square oil painting shows a red-orange square that appears to be a piece of paper with torn edges. Similar in feeling to a monochromatic Mark Rothko, this piece is depicted as a traditionally framed artwork bordered by dark and light blue mats and surrounded by a beveled wooden frame. Yet, something is off. Shadows cut across the image, but there is no window or light source in the gallery that would cause this to occur. As the viewer adjusts his or her position, the shadow remains in place: it is in fact, painted. Glancing at the image from the side reveals that it is flat and that the uneven edges, the mat board and frame, as well as the shadows have been impeccably rendered in tromp l'oeil style.

Picturesque, the title of the exhibition, not only references that which is visually attractive, but is also an aesthetic ideal introduced in the 18th century where the landscape was depicted as sublime. While Page's works are paintings of non objective paintings, in essence, they only become landscapes through the introduction of shadows that beautifully interrupt the compositions. This is what gives the works their edge and intrigue. Page reiterates these references through his titles which refer to seasons and times of day. Dawn, for example is a painting of a piece of paper with red and green horizontal bands of washy color that allude to a sky at dawn. It is placed on a deep blue backing and surrounded by a thick light blue mat board with a believably painted beveled edge. Two painted concentric wooden rectangles (with exacting grain) frame the entire artwork. Again, Page confounds expectations as this is a painting of a painting and not a three-dimensional artwork as it appears. A shadow, as if the work was hung on a wall opposite a window, criss-crosses the canvas.

Trompe l'oeil paintings are often realistic depictions of illusionistic spaces — spaces that exist only on the picture plane with skewed perspectives or foreshortened architecture. Many artists have experimented with trompe l'oeil throughout art history to create confused architectural spaces. The painter who shares an obvious kinship with Page is René Magritte, specifically because of his interest in fusing paintings of paintings and their surroundings. In his 1933 painting The Human Condition, Magritte places a canvas in front of a window, depicting a painting of the view outside that perfectly melds with what would appear outside the window. The work purposely confuses what is "real" and what is a representation. Another work from 1935 similarly places a painting of the ocean on an easel in front of a window overlooking that same scene.

Page shares Magritte's sense of play and because he is such a skillful renderer, he can convincingly create these illusions. The works are about looking and seeing. They pose the questions: What is an abstraction? What is a landscape? And can a painting be both simultaneously? The anomaly in the exhibition is a work titled The Outside. Here, Page presents a human scaled, arched window that frames a fiery orange background. Again, the painting is flat, yet appears to be an "actual" window containing twelve panes. It is partly opened, yet the perspective and the mechanisms of its interlocking parts are not in synch. This makes it an impossible object that still somehow coalesces in the mind's eye.

Page creates complex puzzles that cannot always be solved. His highly detailed paintings present something that at first glance appears to be simple — framed fields of color washes — but upon closer examination, his works are much more than meets the eye.

Click here for Christopher Page on its own page.

Nathan Gluck
Unlocking The Mind: Nathan Gluck's Early Surrealist Collages
Luis de Jesus Gallery
September 14 - October 26, 2024


Nathan Gluck

Nathan Gluck (1918-2008) was an artist, designer, illustrator and art director. He also happened to be Andy Warhol's studio assistant from the early 1950s through the mid 1960s. He was intimately involved in art and literary circles, meeting artists, architects and designers including Joan Miro, Marcel Duchamp and Philip Johnson — and these associations filtered into his own production. Though early on in his multifaceted career he was not primarily not known for his artworks, he was widely exhibited later in life.

Gluck amassed a vast body of work, (making collages for over 70 years) and on view at Luis de Jesus Gallery are a selection borrowed from his estate and created in the 1930s and 1940s. These elegant, small scale works were influenced by Surrealism and share a kinship with other artists making collages at this time including Joseph Cornell, Max Ernst, Hanna Hoch, Man Ray and Kurt Schwitters. The exhibit also includes vitrines with books, documents and ephemera that showcase many of these influences.

It is wonderful to see cut and paste collages in the digital age where one becomes acutely aware of the hand work involved in the montaging, as well as the old-fashioned source materials. And Gluck's pieces demand close scrutiny. The earliest work in the exhibit Untitled (9-26-1939), includes an actual photogram that Gluck created while attending Pratt Institute in 1938. The collage juxtaposes a photogram of silhouetted leaves and shells that allude to undersea worlds with black and white cut outs from old book pages and features a mermaid, the sun, a rose and a crescent moon with a detailed face.

Gluck created a suite of collages based on Paul Klee’s 1929 book, La Femme 100 têtes (The Hundred Headless Woman) where he removed womans' heads from found images while replacing them with various utilitarian objects. In The Pet Bird (1941), a Victorian era woman with a pocket watch as a face leans forward to gaze at a small bird that has been freed from a nearby cage. Other collages from 1941 in the exhibition include The Invalid, In The Paris Observatory, Passaic Falls at Valley Forge and Military Maneuvers in a Georgia Swamp. These works incorporate fragments from magazines montaged with engraved book pages and though black and white, they still reflect the different colors and tones of reproductions and printed papers of the time.

The background image for In The Paris Observatory features a man looking up through a gigantic telescope toward the stars and beyond. In the foreground, Gluck collages a disproportionately smaller man stretched out on a recliner who also gazes up toward the sky. In the center of the image is a young man with wings who holds a framed image of a man's head. Two other portraits of women appear in the scene, but they are looking out at the viewer rather than at the sky or the men.

Many of Gluck's collages are extremely detailed and contain complex, albeit obtuse narratives that can be pieced together, or not depending on the viewer's motivation to appreciate the works visually —or conceptually— as both options are possible. Some of the later works dating from 1942 and 1943 are more colorful and de Chirico-esque. In Untitled (12-29-1943), an illustration of a dapper woman wearing a plaid coat holds what appears to be a giant pocket watch. The painted foreground depicts a brown road surrounded by abstract buildings and smoke stacks that recede toward a white railing behind which Gluck has collaged more imagery of smokestacks below a light blue sky. Untitled (12-30-1943) has a similar composition. Here, a black and white line drawing of a woman holding up a child dominates the bottom quarter of the small collage. Her feet are strangely submerged in a green curvilinear shape that signs for grass or a small pond. Behind her is a train (also a black and white illustration) that passes along the diagonal in front of a light pink building with gray windows. Hovering in the painted gray-blue sky is a painted yellow balloon whose exact size is hard to determine.

It is a delight to enter into Gluck's imagination and begin to decipher the Surreal narratives he has created. Collage is a medium that has allowed for fun and experimentation throughout the years and it is wonderful to go back in time, reflect on what was happening in the world then and try to understand what Gluck was thinking and feeling when he created these obtuse yet satisfying works.

Click here for Nathan Gluck on its own page.

Jane Dickson
Are We There Yet?
Karma Los Angeles
September 19 - November 2, 2024


Jane Dickson

Astroturf? Astroturf is synthetic grass made of vinyl and nylon used as a playing surface in sports. It is strong, rough, textured and durable. Why would an artist use it as a surface to paint on? Jane Dickson, who is well known for her paintings of Times Square and her explorations of "the psychogeography of American culture" began painting on non traditional materials in the 1980s — vinyl, sandpaper and then astroturf — to give her surfaces a gritty, textured and impressionistic aura. This was well suited to the depiction of illuminated neon signs and nighttime rendezvous'.

At Karma, a selection of older (as well as larger, more recent) landscape paintings are on view. Encircling the south gallery are fifteen small-scale framed oil on linen landscapes, all titled Road Trip and dated between 1999 and 2001. In each of these works painted from her original photographs, Dickson captures the open road as seen from behind the wheel.

The exhibition title Are We There Yet? references the desire to get to one's destination and suggests the experience of driving there is just a means to an end. Dickson transforms moments from these journeys into paint in a quasi-realistic manner. In Road Trip 8 (2000), a light blue rectangle representing the sky sits above three triangular shapes, two are brownish green and depict the color of the grasslands along the road. The third triangle delineates grayish brown pavement dotted with yellow stripes that vanishes into the distance. Some of the pictures are urban — containing overpasses and signs, while others capture distant hills and winding freeways. In many, including Road Trip 10 (2000), the illuminated taillights of cars ahead document the flow (or standstill) of traffic. What stands out when seeing the paintings together is the presence and position of the horizon line which physically and metaphorically divides the paintings by emphasizing the contrast between the natural and the built environment. Often sketchily painted, these works serve as impressions and reminders of Dickson's road trips and the wonders of travel. Although the original photographs were taken in the 1990s and the paintings created long after the photographs were shot, the images still resonate today as reminders of what has and has not changed specifically with respect to traveling along California's roadways.

In the north gallery are more recent larger works painted on Dickson's chosen ground — astroturf. In a conversation with this writer, Dickson spoke about the process of painting on this surface, how astroturf has changed and the different ways she has learned to apply the paint (first oil now acrylic) to maximize the contrast between light and dark and to allow the textured surface to assert its own presence both formally and conceptually.

Dickson's large paintings are most impressive, atmospheric and luscious. Though they depict scenes from the past culled from her own photographic archive, they most definitely represent the now. It is difficult to look at Out of Here North 3 (2013) and not be reminded of the devastation of the recent fires in the Los Angeles area. In this painting, a glowing orange sunset dominates the composition. In the foreground, cars with red taillights recede down a highway toward towering power lines suspended across transmission towers, a dark silhouette against the vibrant sky. Out of Here Red Taillights Snow (2002-2013) is a dizzying and dazzling composition. A deep blue ground (the night sky) is covered with swirling red and white brush strokes — like enlarged pointillist marks — filling the frame with illuminated snowflakes refracting the red taillights. This burst of color dominates the viewer's field of vision causing a sense of vertigo. That the ground is astroturf exaggerates the blur. Dickson's mastery of this generic industrial material allows her to transform the ordinary into something sublime.

In more recent paintings including El Niño Monte Vista 4, Smog Check, and North State Rainy Parking Lot (2024), Dickson continues to mine old photographs. These haunting large-scale paintings entangle the viewer into a dialectic between reality and representation. It is hard not to look at the blowing palm trees in both Smog Check and El Niño Monte Vista 4 and think about the dangers of climate change or the fact that too much rain leads to floods as suggested in her eerie depiction North State Rainy Parking Lot.

In these paintings, Dickson focuses on the climate of Los Angeles. Although she begins with photographs shot years ago, her depictions of blowing palm trees, fire filled skies, vintage cars and receding roadways capture today's landscape. Dickson's use of astroturf in the larger works calls attention to what is unsettling and unfamiliar but as the anomaly of astroturf disappears, viewers are left with expansive, moody and disquieting paintings that speak to the ever changing now.

Click here for Jane Dickson on its own page.

Julie Weist
Private Eye
Moskowitz Bayse
September 14 - October 19, 2024


Julie Weist

In 1969, Vito Acconci created Following Piece where he followed random strangers as they traversed New York City. He concluded this surveillance when the person entered a building. Photographs, maps and notes make up this multi-panel conceptual artwork. In 1980, Sophie Calle created The Detective, a photographic piece where she hired a detective to follow her. In another work, Suite Vénitienne (1983), she was the follower rather than the followed. Suite Vénitienne chronicled the surveillance of Henri B. as he wandered the streets of Venice and as a book, as well as an installation, it was made up of both texts, maps and photographs documenting the process of trailing and spying on someone.

Julie Weist's Private Eye follows in this tradition. This conceptual artwork documents Weist's stint as a private detective in New York beginning in 2022. The exhibition includes photographs and documents (a version of her actual state license to be a private investigator (PI)), as well as documentation of her (mostly online) investigations. Weist decided to be a PI as part of a public art project and went through a laborious application process and was approved, much to her surprise. The PI license gives one access to searchable databases that contain information on private citizens. Weist's investigations centered on cars and she searched the database for various types of license plates. While she purportedly followed the rules surrounding searches as a PI, her pursuits were somewhat out of the ordinary. 

An example is the display of a framed facsimile of her PI license located near the entry of the exhibition. The title of the work — All persons to whom such license certificates have been issued shall be responsible for the safekeeping of the same, and shall not lend, enable, let or allow any other person to have, hold, use or display such certificate; and any person so parting with such a license certificate or displaying the same without authority shall be guilty of a misdemeanor — calls into question the legality of exhibiting — and perhaps even selling — this document as a work of art.

In OUTATIME from the DRNsights Database (2024), Weist creates digital collages that juxtapose surveillance photographs that hone in on car license plates with satellite images of the cars supposed locations. "OUTATIME" is a reference to the film Back to the Future and many fans have souvenir plates with this phrase. Weist searched for this in the database and displays the photographs that showcased positive results. The framed archival pigment print juxtaposes printed snapshots taken by surveillance cameras that Weist found in the database with aerial views of neighborhoods from locations all over the U.S. Each car picture is centered in a view of the neighborhood be it an urban or suburban setting. More than thirteen pairings are collaged together within this large print. Weist was quite specific when searching the database. In addition to OUTATIME, she also looked at license plates that read  honk, found and artwork. The associated photographs are also printed out with mapped locations and incorporated into digital collages.

In some ways, Weist's pieces, especially those in her Vehicle Sightings Series can be seen as performances. When Weist discovered that tow trucks eager to repossess cars hunt for them like live prey, she staged quasi-performances by parking her car near repo yards hoping that webcams would photograph her car and feed it into the database. To make it more "fun" she'd "dress up" her Subaru covering with flowers and in one instance a tutu. In Watching the Watcher she entered the plates of the repo tow trucks she saw going after cars slated to be repossessed and in turn presented these often out of focus and cropped photographs in grids of nine pictures representing the repossession in action.

Weist also includes three beautiful and abstract handmade paper pieces. These works are compiled from shredded documents. One mandate of being a PI is to shred evidence. People with Traffic Citations in My Town: Guilty & Dismissed (Wildcard Search for Self) (2024), contains fragments from random traffic citations, again culled from the PI database, that meld with raw and colorful paper fibers. That Weist implicates or surveils herself in a number of the works comes as no surprise. In Self Portrait from the Vehicle Sightings Series and Self Portrait as Investigator and Investigated (both 2023), she collages images depicting the license plate of her green Subaru with "Non-Public Data Access Forms" and other hand written records to comment on issues of privacy and vulnerability. 

In this intriguing and complex body of work, Weist investigates archives using data — images and texts — as raw materials for creative explorations. Artists have a long tradition of mining archives (Lyle Ashton Harris, Leslie Hewitt, Fiona Tan, Adam Pendleton and Theaster Gates to mention just a few) but Weist's pursuit is a bit different in that she actually became a Private Investigator to gain access to information not available to the general public. In doing so, she opens a "can of worms" about surveillance, ethics and vulnerability stating, "I think that the vulnerability really comes from not knowing that these systems are operating." 

The work in Private Eye exposes what goes on behind the scenes and can be interpreted as a warning sign — like the panopticon that Michel Foucault writes about so elegantly in Discipline & Punish —  that everyone is being watched. Big data is the new omnipresent eye.

Click here for Julie Weist on its own page.

Sculpting With Light: Contemporary Artists and Holography
Sculpting With Light: Contemporary Artists and Holography
The Getty
August 20 - November 24, 2024


Sculpting With Light: Contemporary Artists and Holography

According to Wikipedia, "holography is a technique that enables a wavefront to be recorded and later reconstructed. It is best known as a method of generating three-dimensional images, and has a wide range of other uses, including data storage, microscopy, and interferometry." That holography has not been embraced by artists like many other new technologies should come as no surprise: it is cumbersome to both create and to view. Creating holograms necessitates lasers and mirrors and specifically placed objects in a controlled setting. Unlike a traditional photograph, once the image is captured it is not simply framed and hung on the wall but displayed with mirrors and lasers in dimly lit galleries.

Since the late 1960s, a number of artists across the globe (including Bruce Nauman and Salvador Dali) have experimented with holography. For whatever reasons, it became more of a display spectacle than a viable art form. A hologram appeared on the cover of National Geographic Magazine in 1984, 1985 and 1988. Around that time, holograms also began to appear on credit cards.

But it was not until the C-Project (which ran from 1994-1998 and was overseen by Ron Mallroy and Matthew Schreiber), that other artists began to experiment with the process. On view at the Getty Museum, Sculpting With Light: Contemporary Artists and Holography is presented under the umbrella of PST ART: Art & Science Collide. Many of the holograms in the exhibition and in the Getty's collection were donated by Guy and Nora Barron, the collectors who funded the original C-Project ("C" being the speed of light). Although 20 artists participated, just six are included in the Getty exhibition which features ideas for holograms as well as fully developed works by artists as diverse as John Baldessari, Louise Bourgeois, Chuck Close, Ann McCoy, Ed Ruscha and Dorothea Rockburne. The exhibit also includes two other artists currently working with holography: Deana Lawson and Matthew Schreiber.

Schreiber is both an artist and technician, having studied holography and then worked with the C-Project artists to develop their ideas and bring their projects to fruition. Schreiber's own works are traditional holograms made with laser light that "reflects, diffracts, and interferes with subject matter." On view are pieces from his "Bowie Series" started just after the musician's death. These feature silhouetted hands against brightly colored interference patterns. His interests in the supernatural and illusion and how these ideas could be illustrated through holography led Schreiber to create a series of works about Lilydale, New York, a large spiritual community. These images emphasize the "otherness" of the medium.

When viewing holograms, once the "wow" factor has worn off and the vagaries of how to position oneself to view the entirety of the image are understood, holograms can be appreciated and critiqued as viable works of art. In some ways, experiencing a hologram falls somewhere between watching a video and looking at a lenticular photograph. The pieces are static and dynamic at the same time. They encapsulate three-dimensions and appear to move, yet it is the viewer's movement in relation to the picture that "completes" the image.

The exhibition includes projects by a number of well known artists. Chuck Close's holograms are close-up self portraits. Rather than flatten his features into a two-dimensional plane, these show three-dimensions. When a viewer moves from side to side, Close's gaze appears to follow and track the viewer. Louise Bourgeois' holograms are small and delicate. They are dream-like and eerie, functioning like miniature, surreal stage-sets filled by objects with psychological resonance (including disembodied figures, chairs and beds). These scenarios are enmeshed in a pink-red glow, reminiscent of the color found in a traditional darkroom. Ed Ruscha is represented by a suite of holograms titled The End. These works reference early cinema and reproduce the flicker between frames and after the credits would roll. In some ways, they are like mini-movies as moving from side to side causes the picture to oscillate.

Deana Lawson began integrating holographic images into her photographs in 2020 while working with Matthew Schreiber. She was intrigued by "the multiple perspectives holograms provide when viewed from different angles in addition to the references to spiritual and mythical realms." In Black Gold (2021), she juxtaposes past and present. The present is a candid image of an African American man holding numerous gold chains. He is standing next to a black brick wall alongside a table filled with miscellaneous objects — perfume, a box with a microphone, etc. The holographic image is located as an insert behind the main figure at the back of the scene and appears as a backlit orange-green gradient. It features a different Black man in a lush garden holding a garden rake over one shoulder. While the date of this image within is unspecified, it appears to be historical and creates a relationship between then and now.

Since this is the first time The Getty is exhibiting its holographic holdings, Sculpting With Light: Contemporary Artists and Holography is a must see. It is well contextualized as part of PST ART: Art & Science Collide. The takeaway is that holograms are a magical blend of art and science, yet as artworks, they do not always transcend their technical complexities. The works on view remain enigmas, albeit beautiful, complex and compelling, but more challenging than satisfying as works of art.

Click here for Sculpting With Light: Contemporary Artists and Holography on its own page.

Chris McCaw
Marking Time
Marshall Gallery
September 7 - November 2, 2024


Chris McCaw

Chris McCaw is a San Francisco based photographer who examines the movement of the sun across the sky. Another California photographer, Richard Misrach made large scale color photographs using long exposures to capture the night sky while exploring the desert landscape. Rather than celebrate color and the arc of the stars, McCaw's photographs trace the movement of the sun. They are for the most part, black and white and intimate in scale compared to Misrach's project. McCaw's unique process results in solarized images as vintage photographic paper is exposed inside his cameras.

To create his images, McCaw attaches high intensity lenses to home-made cameras large enough to accommodate pieces of photographic paper. The suns trajectory over many hours is captured by the lens and even burns a hole (like a magnifying glass) in the paper. Solarization also often takes place: this is the reversal of tones on the negative acting paper. The exposures range from a few hours to a whole day and result in unique images that juxtapose the movement of the sun in relation to the motionless horizon and surrounding landscape which is usually dark and mysterious.

At Marshall Gallery, a selection of both black and white as well as color photographs are on view that have been created over the last ten years. Sunburned GSP #1103 (Salton Sea) (2024) is a three panel work. Each vertical section is dominated by a large portion of gray-toned, empty sky above the hazy sea. Moving from left to right across the three panels is an aggressive burn that starts high in the left panel and ends just above the shimmering horizon. This burn line (an actual hole in the paper) represents the movement of the sun across the landscape, a trajectory recorded over a number of hours.

For his Heliograph series (2016) McCaw created multiple exposures, tracking the sun at different times of the day, or in different locations, resulting in intersecting burn lines in the sky. These photographs are abstractions like Heliograph #101 (Mojave / Strait of Juan de Fuca) (2016) where two bright lines form a large "x" over the dark print that depicts the horizon and distant hills in shadow.

Poly-optic 042, (2015) is a unique paper negative filled with a grid of thirty-five circles. In actuality, the photograph documents sunrise to sunset, tracking the sun as it moves across the sky — a dark dot surrounded by white as the image is a negative. McCaw also experiments with color and in Instant #46 and Instant #40 (both 2023), the sky is a surreal deep red and the arc of the sun transitions from white to blue to yellow in each of eight different images. In Instant #46, it appears as if it were a UFO, or other some other celestial anomaly.

Inverse (2024) is a series where McCaw presents negative and positive exposures within the same image. For example, in Inverse #98 (Nevada) he captures the interior of a barn. The image is divided in half. On the left is a positive depiction of the dark-toned interior walls of the barn. Seen through an open doorway, the landscape is a gradient that goes from light to dark. The right side of the image is a continuation of the shot in negative where the walls of the barn are a ghostly white and the landscape through the door is an eery dark. Seen together the differences are exaggerated and what lies in shadow in the positive is highlighted in the negative, making for a breath-taking and intriguing picture.

McCaw's work is simultaneously scientific, technical and aesthetically complex. Once the process is understood, the works are not diminished. Rather, they become more intriguing. They resonate technically and conceptually, especially through references beyond the photographic. Seen in relation to minimalism or even abstract expressionism, they take the photographic into new dimensions.

Click here for Chris McCaw on its own page.

Dinh Q. Lê
Survey 1998 - 2023
Shoshana Wayne Gallery
August 27 - October 11, 2024


Dinh Q. Lê

The Vietnamese American artist Dinh Q. Lê tragically passed away from a stroke in April 2024 at the age of 56 in Ho Chi Minh City. He was best known for his woven photographs that juxtaposed historical, pop culture and contemporary imagery about the Viet Nam War. In these complex and visually compelling mixed media works, he explored subjects ranging from memory and myth to personal and cultural identities. Incorporating the tradition of grass-weaving, a skill he learned as a child from an aunt in Viet Nam (his family left in 1978), he combined stills from Hollywood films about Viet Nam with journalistic images. Although he continually shifted and delved deeper into different aspects of the past, both real and imagined, how the war, the county and its people were remembered and represented in the West continued to be a motivating factor in his work.

Spanning his career, the exhibition begins with an early non-woven work Headless Buddha (1998), an image of a headless buddha, shot on location in a majestic temple. This backlit light box image is juxtaposed with a disembodied cement Buddha's head resting on a pedestal, staring at its headless representation.

While this work is the anomaly, it sets the stage for Lê's explorations into the relationship between relics, ruins and memory. Bookending the survey is Cambodia-Reamker #36 (2023), a large woven photograph that is 86 inches wide. Here, Lê fuses images from the Reamker, Cambodia’s version of the Sanskrit Ramayana, an epic poem about the balance between good and evil, with portraits of prisoners from the Khmer Rouge’s notorious Tuol Sleng prison. Lê traveled to Cambodia and photographed the murals at the Royal Palace in Phnom Penh. In this series, he weaves his imagery of these colorful and delicate murals with close cropped black and white reproductions that focus on the faces of the young condemned prisoners.

In works such as Dismantling Icons (2003) or Untitled 3 (2004), Lê takes brightly colored stills from Hollywood films about the Viet Nam War such as "The Deer Hunter", "Apocalypse Now" and "Born on the Fourth of July" and combines them with black and white images documenting the war by photojournalists. In many of these compositions, patterns appear within the weaving that become a third layer adding both formal and content. In this case, Lê works with his own photographs as well as appropriating from various sources. The pieces often combine black and white historical images with more intensely colored film stills or images culled from consumer and popular culture.

In Double Distorted Portraits (2017), large eyes come in and out of focus as the viewer moves between black and white images of two child prisoners and a fiery red-orange background that surrounds them. Similarly, in Night Vision (2008), the eye and the mind transition from foreground to background images while oscillating between hues of green, black and white that reveal a hovering helicopter, soldiers, and victims of war. Again, Lê brings together past and present while alluding to the (sadly) unavoidable and (seemingly) ever-present conditions of war.

Integral to his process is the study of history and culture. He purposely uses fragments and representations from different sources and is aware that his reconstructions only offer an incomplete "whole." Lê's works were not only about the conflict in Viet Nam; he also brought imagery from wars in Iraq and Afghanistan into his later compositions. Through appropriation — of a craft (weaving) and imagery — Lê developed a unique process that allowed the fragmentation and the reconstruction of different genres and eras to rewrite history and show the discrepancies between fantasy, memory and reality.

We can never know where Lê’s abbreviated body of work may have gone from here. Even so, this survey exhibition is more than just a celebration of his creativity. It features aspects of his work which makes a strong case that it will remain influential and significant as time goes on.

Click here for Dinh Q. Lê on its own page.

Various Artists
Lost & Found
E2 Art Space
September 7 - December, 2024


Los and Found

Lost & Found is an exhibition of found photographs, otherwise known as vernacular photography. These unattributed images were taken between 1920 and 1960 and represent different aspects of American life. The original photographs as well as newly printed enlargements fill the large gallery space offering a bit of mystery to accompany a trip down memory lane. Exactly whose "memories" and what "lane" can only be inferred as the subjects as well as the photographers (of mixed races and ages) are not unidentified.

These photographs belong to a private collector who has amassed over 7000 images that were found on Ebay, at swap meets, in auctions, as well as purchased from dealers who specialize in vernacular imagery. In the gallery, the color and black and white photographs are varying sizes and hung salon style, often grouped thematically. They range from pictures taken in photo booths to formal studio portraits, mugshots from the SF Police Department, and a number of anomalies and misprints, random people —couples and children— posing, smiling and enjoying the day.

What is interesting about the exhibition is both the familiarity of the images and how different they are from today's snapshots despite being created in a different era. Though ubiquitous in pre-digital times, photographs were taken with a camera (not a phone). The film needed to be processed so seeing the image was not immediate. Receiving and viewing a package of images from a photo lab or local drug store was a special occasion, as was going to a studio for a portrait or posing in an instant photo booth. Photographs were thrilling.

What makes an image special? Significant? Memorable? The original purpose of an anonymous photograph is unknown— was it a keep sake documenting a special event or person? How precise is the composition, the color, the styling? Does it matter? Some of the vernacular photographs chosen for this exhibition depict cliche moments, while others capture an obtuse or off kilter scene. For example, one color picture features a bowling club. Five women stand behind a table with their bowling balls in front of them. Wearing blue or white short sleeve button down shirts with quintessential 1950s glasses and haircuts, they smile at the photographer. Another image presents a happy couple, perhaps captured before a dance or prom. The boy wears a white suit jacket with a red rose pinned to the lapel. The girl wears a frilly blue and white dress and holds a corsage of pink and white flowers. The background is a living room where the couple is surrounded by a television, framed photographs, a lamp and the corner of a couch.

Sepia toned images originally from a photo booth are presented actual size and dramatically enlarged to fill a wall painted a deep blue. It is interesting to think about the poses and expressions as well as the wear and tear on the images over the years, particularly when compared to the numerous selfies posted on social media. How was posing back then different than it is now? What was the purpose of having a photograph taken? How were they shared and disseminated? That so many of these images are now collectables — available for purchase at swap meets, etc. — makes one wonder about the longevity of the billions of photographs posted online everyday? What will happen to them in the future? Will they be collected and savored?

Some of the most interesting pictures in the exhibition are easy to miss. These are small snapshots where heads are cut off or bodies are silhouetted in unusual ways. For example, a diagonal line of light cuts across the composition in a photograph of a man in a bright white shirt holding his cue stick readying his a shot at a poolt able. This image is presented in a small grid juxtaposed with other curious anomalies. While many of these "found" images could have been shot by "real" photographers, as they have striking compositions or capture alluring expressions, the fact that they are not is what makes them and the exhibition significant.

What might have been lost, has now been found and given new life — viewers can project their own stories and compare their memories to these images and think about what photography was in the past in relation to today.

Click here for Lost & Found on its own page.

Various Artists
Foreigners Everywhere
Venice Biennale 2024
April 20 - November 24, 2024


Foreigners Everywhere

The joy of visiting Venice during the Biennale is twofold: the city and all its treasures as well as the insertion of contemporary art in venues that are off the beaten path.

The more days in Venice the better, as it is not really possible to see the Biennale in its entirety— both official and collateral events and exhibitions— in just a couple of days.

Planning a route across the island takes one on a journey, literally seeing "Foreigners Everywhere" as Venice is overpopulated in the Spring and Summer months with both Biennale viewers and regular tourists. This years theme focuses on ideas around displacement and includes many more women and artists of color than in years past, as well as curated selections featuring artists who are under-recognized and who have not been invited to participate in the past.



Highlights of collateral events viewed around the Dorsodoro include an animated panoramic video installation by Josefa Ntjam. Installed in a blue triangle shaped pavilion in the courtyard of the Accademia di Belle Arti di Venezia, swell of spaec(i)es features sea creatures meeting the apocalypse. Also of note was an installation by one of the most celebrated and internationally recognized Indian artists of the 20th century M.F. Husain (1915-2011). The Rooted Nomad included his paintings, as well as a video installation that filled the space with dynamic and ever-changing colorful floral arrangements and animated figures. Other big name shows that were not to be missed were Pierre Huyghe at the Pinault Collection, Jean Cocteau at Peggy Guggenheim and Jim Dine at Palazzo Rocca Contarini Corfu. Another installation that resonated was Dare To Dream from Ukraine. Here, the Puerto Rican artists Allora & Calzadilla presented a new iteration of their piece Graft where flower petals were strewn across the floor beneath delicate and evocative hand-painted figurative murals by Kateryna Lysovenko.

Moving across the Grand Canal to the Castello began with visits to the Querini Stampalia and the Museo di Palazzo Grimani. The Querini Stampalia is an amazing space combining contemporary architectural works within a sixteenth-century palace. It hosts contemporary exhibitions that often play off the rooms and furnishings. To coincide with the 2024 Biennale, on view were installations by Ilya and Emilia Kabakov and works by Yoo Youngkuk.

In addition to having a room filled with classical sculptures and one of the most magnificently detailed ceilings anywhere in Venice, the Museo di Palazzo Grimani also hosts contemporary exhibitions. On view for the Biennale was an exhibition of abstract paintings by the Texas based artist Rick Lowe, as well as a video installation and associated sculptural props by Wael Shawky (whose work was also on display in the Egyptian Pavilion at the Giardini).



The Arsenale was next on the agenda.



First impressions are meaningful so the artist/artwork chosen for the entry room of the Arsenale is significant. For 2024, it was filled with a criss-cross of fabric tie downs or security straps by the Mataaho Collective (New Zealand). They created a shimmering pattern and grid-like structure across the walls and ceiling. Further into the space, the Disobedience Archive organized a display of videos — more than one could ever see in a single sitting — installed on monitors within the curved walls of a semi-circular space. A full day or more would be required to watch these films and videos, so rather than catching glimpses here and there, many people walked right by.

Some highlights and memorable works seen on the long trek through the Arsenale include:

Kiuanji Kia Henda is an artist from Angola who presented three different closely connected works made over a span of seven years. These include a grid of nine color photographs of facades seen through the different geometries of white protective railings, as well as a sculpture comprised of the actual metalwork.

Dalton Paula (Brazil) exhibited paintings that celebrated historical figures of African descent involved with anti-slavery movements in Brazil. The beautiful combination of under and overpainting emphasized the span of time from past to present.

Bouchra Khalili is a French Moroccan artist now residing in Vienna. In The Mapping Journey Project, she presents a series of projected videos that trace the stories of those who were forced to travel illegally due to political and economic circumstances. The imagery consists of fingers tracing routes on a map while the narration recounts the different journeys through North Africa, the Middle East and the Mediterranean Sea to Europe.



In contrast to the more didactic multiple screens in the The Mapping Journey Project, Ana Segovia's (Mexico City) single channel video filmed in bright pink hues features two Charros (Mexican cowboys). The work is meant to undermine traditional male-centric attitudes and spaces.

Toward the back of the Arsenale's long first section are large-scale site-specific colorful painted murals by the Aravani Art Project, a collective based in Bangalore, India that celebrate life choices trans people should have but are often denied.

Numerous special and country pavilions are also housed within the Arsenale grounds.

Brazil's Beatriz Milhazes created new pieces for the Applied Arts Pavilion and also exhibited vitrines filled with traditional woven textiles from different cultures that inspired her. In the Mexican Pavilion, Erick Meyenberg presented the installation As we marched away, we were always coming back featuring a long table set for a grandiose meal accompanied by projections of a family gathering in the countryside. The work elegantly explores issues of displacement and ideas related to losing one's ancestral homeland. Other memorable installations include Luciana Lamothe's Hope the Doors Collapse (Argentina), Robert Zhao Renhui's, Seeing Forest (Singapore) and Matthew Attard's, I will Follow The Ship (Malta), an installation that intertwined drawing and digital technologies to explore the legacy and symbolism of maritime graffiti. Usually, the pavilion for Italy is a large (regional) group exhibition, but this year it features To Hear an installation by Massimo Bartolini that fills several spaces with intriguing sculptures that comprise a range of visual and acoustic experiences.



Outside the actual buildings one happens upon large sculptures by Los Angeles based Lauren Halsey, as well as neon works suspended above and reflecting in the water by the docks at the back of the Arsenale by Claire Fontaine with the slogan "Foreigners Everywhere" in many different languages. This installation seemed like an afterthought and not a very imaginative use of this unique location. The small bunkers at the very back of the Arsenale grounds should always be visited as here one finds dark dilapidated spaces filled with mixed media sculptures or projected videos.

On the way to the Giardini, one cannot ignore a collateral exhibition by the magnificent William Kentridge at the Arsenale Institute for Politics of Representation. Self-Portrait as a Coffee-Pot was a site specific installation of projections, drawings and ephemera. Here, Kentridge sequentially presented nine videos on two different sized screens in the otherwise small and very cluttered space. These videos depicted his interactions with props and himself and explored themes of the studio, politics, isolation, memory and self-portraiture. To view all nine episodes would take more than four hours— hard to do with limited days in Venice.



Not far away from the Arsenale Institute is the Giardini where over 30 countries are represented in national pavilions, each with its own unique architecture. Some highlights include Archie Moore whose installation kith and kin won the Golden Lion Award for the Australia Pavilion. Moore covered the black walls with a map of relations drawn in white chalk bubbles. Jeffrey Gibson represented the United States with a colorful mixed media installation titled the space in which to place me. Yuko Mohri's installation of wired fruits was a crowd pleaser in the Japanese Pavilion, as was the video by Wael Shawky representing Egypt. This was a historical rendition of Egypt's seminal Urabi revolution (1879-1882) against imperial rule using both actors and puppets. John Akomfrah's ambitious installation Listening All Night to the Rain in the Great Britain Pavilion was an investigation presented on numerous video screens of issues of contemporary life, such as memory, migration, racial injustice and climate change. The work in the lower level was organized into cantos (song like movements) that beautifully juxtaposed images from art history and nature with an evocative undulating soundtrack.



At the Palazzo Vendramin Grimani on San Polo, there was an exhibition So As Not To Lose The Thread of works by Karine N'guyen Vann Tham and Parul Thacker who were inspired by the ornate textiles and wall tapestries that make up the permanent collection and made pieces that played off what they saw in situ. Nearby was the transformed Prada Foundation housing an ambitious and over-the-top installation by Swiss provocateur Christoph Buchel. For Monte di Pietà, Buchel filled the building — including exhibition galleries, hallways and in between spaces of the foundation — with "junk." Be it found objects merchandise purchased from pawn shops or valuable collectables, Buchel's installation looks at the nuances of commerce and exchange.

In a space that was once a hospital was the exhibition Nebula commissioned by the Fondazione In Between Art Film. This is the second Biennale that this disused space has been transformed into an exhibition hall for video installations. Here one finds a provocative video by Giorgio Andreotta Calo that follows a sheep through the former hospital, as well as a haunting video of a life-sized puppet hanging from a noose by Diego Marcon.

The Julie Mehretu exhibition at the Palazzo Grassi was a delight and a perfect place to end the day. It unexpectedly combined her work with seven artist friends often using different media to create intriguing relationships and conversations that carried into the night.



The last day in Venice took us to the famed Venetian Opera House La Fenice. Nearby was Victoria Miro Gallery with an exhibit by Sarah Sze and next door at Ateneo Veneto (the oldest cultural institute still operative in Venice housed in a sixteenth-century building: the Scuola dei Picai) was an exhibition by Walton Ford. His installation of paintings were on view with the added benefit of a Tintoretto.

A surprise was Andrzej Wroblewski (1927-1957) at Procuratie Vecchie presented by the Starak Family Foundation. These works on paper and paintings depicted occupied Poland during World War II.

The installation Above Zobeide by Wong Weng Cheong from Macao, China was inspired by the fictional city of Zobeide in Italo Calvino's novel Invisible Cities. In this installation, Cheong juxtaposes a recreation of the fictional city with a hall of video monitors with delayed footage of viewers traveling through the space.

Last stop was an exhibition of works by Willem DeKooning curated by Gary Garrels at the Gallerie Accademia. All that was left to see were the numerous treasures housed in the museum.





Click here for Various Artists on its own page.

Kyungmi Shin
Origin Stories
Craft Contemporary
May 26 - September 8, 2024


Kyungmi Shin

In Kyungmi Shin’s exhibition, “Origin Stories,” the Korean-born, Los Angeles-based artist explores past and present through a thoughtful intermingling of ceramics, sculpture and painted photographs. Her complex works investigate both female and Asian identity and ancestry through art historical representations while also referencing contemporary culture. She mines personal photographic archives, enlarging photographic snapshots and then tracing aspects of them with gold and silver painted lines. She also explores traditional Asian patterning, often presenting her original ceramic objects in combination with authentic traditional pieces. The confusion between the two kinds of objects questions the notions of contemporary and traditional.

The exhibition brings together multiple aspects of Shin’s practice so as to weave a trajectory through her expansive range of pursuits. “Shaman tiger takes a walk outside” (2024) is placed in the center of the gallery to receive prime attention. In it Shin dramatically exercises her ability to combine multiple forms and materials. The image is that of a tiger, but seen differently from all sides. While first and foremost a 3-dimensional object, it also doubles as functional furniture. Its shelves, for this installation, house numerous pieces of chinoiserie.

Dichotomies and instances of simultaneity prevail throughout. In her painted photographs, Shin often begins with family photographs or images from art history, as in “and the sweet upside-down cake (Lunch on the grass)” and “Three Magi” (both 2022). In “and the sweet upside-down cake (Lunch on the grass),” she superimposes an image of adolescents picnicking with Asian-style foods atop Manet's painting “Le Déjeuner sur l'herbe,” drawing visual comparisons as well as contrasts. Similarly, “Three Magi” is overlaid with a photograph of a woman and her child (another image from the artist’s family archives) that echoes the depiction of the Virgin Mary and baby Jesus in the original painting by Andrea Mantegna. “Riding on that Carriage” (2020) pays homage to Shin's father, who is depicted as an old man seated on a couch surrounded by decorative imagery culled from myriad sources.

What is unique about Shin's work is the way it weaves together multiple narratives across cultures and generations. Within the installation, these large-scale painted photographs as well as the ceramic objects are presented on walls that range from dark brown, to deep red, and a light blue-gray — colors that come from, as well as enhance the imagery.

Shin’s hand-crafted ceramics are often presented in conjunction with the photographs. Here, Shin includes arrangements of both found and created ceramic objects. They are placed on shelves and laid out on antique wooden stands. The standout “Tentative Baroque” (2020) is an intricate porcelain sculpture of a lower leg and foot inscribed with painted blue vines. These vines also extend as ceramic tendrils from the top of the leg. The object rests on an antique wooden end table and is located in front of a wall painted a dark reddish-brown.

Filling a wall in the side gallery is a black and white photographic mural that replicates “The Audience of the Emperor” from the series “The Story of the Emperor of China” (1700-1710), a tapestry by Jean-Baptiste Monnoyer and Guy-Louis Vernansal that hangs in the Metropolitan Museum of Art in New York. Atop this mural and on an opposite wall painted a deep red, Shin presents hard-paste porcelain ovals from her “Journey to the East” and “Blue and white Christian Narrative” series (both 2019). In these pieces, she fuses traditional Asian patterns with more illustrative renditions of historical symbols drawn from religious iconography.

Shin endeavors to explore different representations of Asian identity using both personal and historical viewpoints. She is interested in the complicated relationship between East and West. Her works are impeccably crafted, formally sophisticated and conceptually rigorous. Through subtle layering with a range of mediums, she imparts visual pleasure. She also takes us on a journey back and forth in time, pointing out issues of displacement, injustice, and cultural appropriation as well as adaptation. She is using these distinct histories and media in similar ways, bringing them together to create an original aesthetic hybrid.

Click here for Kyungmi Shin on its own page.

Mickalene Thomas
All About Love
The Broad
May 25 - September 29, 2024


Mickalene Thomas

The entrance to Mickalene Thomas' exhibition All About Love replicates the facade of her childhood home in Camden, New Jersey complete with fake brick siding and windows lit from within. This exterior is also partially covered by a banner stating "I Was Born To Do Great Things." The first room in this ambitious survey exhibition is the 2014 work I Was Born To Do Great Things which is comprised of living-room recreations that contain wood paneled walls, vintage furniture and records (including one 'playing' on a turntable), as well as enlarge family photographs, in addition to one of Thomas’ signature painted figures. Domestic interiors appear in many of Thomas’ photographs and seeing one reconstructed contextualizes these works. Many of Thomas' projects celebrate and pay homage to the women who influenced her— beginning with her mother and including the writer bell hooks and the photographer Carrie Mae Weems. Throughout her career, Thomas has focused on the depiction of the female black body, embracing self-empowerment and joy. These women are often larger than life, dressed in bold patterned fabrics, surrounded by glitter and unafraid to reveal their sexuality.

In addition to numerous remarkable individual works, what stands out in this exhibition is the emphasis on installation— as different series are displayed on colored walls or juxtaposed with large-scale photographic murals. Many of Thomas' early works were black and white photographs of female subjects in domestic interiors surrounded by patterned wallpaper and fabric coverings. She also created small scale collages where she juxtaposed cutouts from style and fashion magazines (like the iconic Jet Magazine) often adding glitter and rhinestones to the compositions. It is interesting to see the ways these early images are transformed into the more recent larger, mixed media works. For example, the 2010 Type-C print Le Déjeuner sur l'herbe: Les trois femmes noires doubles in size to become the 96 x 120 inch, rhinestone and acrylic paint mounted on wood panel work Le Déjeuner sur l'herbe: Les trois femmes noires d'aprés Picasso (2022).

Rather than the individual pieces, it is the ambiance created within the galleries and the conversation between works and series over time and through differing media that gives the exhibition its power. Centered in one "room" are an arrangement of chairs and ottomans, covered with mismatched bright African patterned fabrics. These are placed in the center of the large gallery on a section of concrete floor that has been covered with square carpet samples and assorted parquet floor tiles. A few plants, as well as piles of books make this an inviting space to sit, relax, converse and regard the works on the walls. Here, Thomas installs Ms. Celie's Blues (2016), a multi panel photographic and mirrored work inspired by the characters in The Color Purple. Spanning another wall is the 8 channel split screen video Angelitos Negros (2016)— a collage of women's faces from close up set to Eartha Kitt's 1953 song. Opposite the video is a salon style arrangement of Thomas' early photographs in varying sizes.

In another room, pixelated fragments extracted from the works fill the gallery walls from floor to ceiling, in addition to images of empty closets and abstract patterns and painted gestures. Over this bombastic collage hang works from a series of paintings where Thomas appropriated pin-ups from Jet Magazine, including January 1976 (2019), Jet Calendar 1977 (2022) and February 1976 (2022). The room also includes a tightly packed floor display of plastic potted plants upon a mirrored surface. The relationship between these works and their surroundings is uncertain: perhaps Thomas is drawing parallels between the Jet Magazine women and artificial nature.

A series of large-scale more abstract and fragmented collages with glitter fill light and dark pink walls to create another room that glows with a saturated and overtly female aura. Another intriguing piece is the multi-media video Me as Muse (2016), where Thomas fragments her nude body across twelve separate monitors accompanied by an audio recording spoken by Eartha Kitt and historical references to odalisques in art and the fetishization of the black female body.

Thomas often creates exhibitions combining individual works and installations that bombard viewers. The exhibition at the Broad traces highlights of her career while presenting a range of works in specific and varied contexts. The gist of the show and the motivations behind her creative pursuits attempt to shed light on the representation of Black women throughout art history (as well as their absence) and to celebrate their bodies as glittering wonders with a strong presence that cannot go unnoticed.

Click here for Mickalene Thomas on its own page.

Karl Haendel, David Sipress, Taylor Marie Prendergast
Dogs & Dads
Diane Rosenstein Fine Art
July 13 - August 24, 2024


Dogs & Dads

How to cope with the dog days of summer, when it is hot, humid and uncomfortable? A good way to beat the heat is to visit the exhibition Dogs & Dads which features drawings by Karl Haendel and David Sipress, as well as paintings and drawings by Taylor Marie Prendergast. This show explores dogs and dads, often with humorous and ironic overtones. Dogs are considered man's best friend, but what of dads?

Sipress is a cartoonist best known for insightful and cutting cartoons that have appeared in magazines including The New Yorker. In ogs & Dads he is represented by numerous small scale pen and ink drawings, as well as two larger site specific wall drawings that explore the relationships between parents and children, as well as between different canines. Why So Downward Facing Dog? (2014) depicts two dogs at a bar, one looking down into its drink. In one of the scaled up works, an almost life-size dog owner points his finger at a small cowering mutt. The text bubble above the figure states, "Bad drawing." It is an apt entry point to the exhibition.

The images are installed to create conversations between the artists and to suggest relationships. For example, a cartoon by Sipress of an elderly man looking in a bathroom mirror as his wife stands by the door is captioned, "Omigod! It's my Father." This is presented between Karl Haendel's Angry Dog 8 (2023) and Taylor Marie Prendergast's Earthly Stray (2024), both close-ups of dog's heads where the focus is their open mouths baring sharp white teeth.

Prendergast explores the image of the dog as a symbol— her drawings and paintings are compassionate and sympathetic, yet also wary. The huge oil on canvas, All That's Left (2024) is threatening. Here, the larger than life-size head of a dog fills the composition, aggressive and raw. In Until Evening (2024), a dog sits patiently waiting to devour a small rodent trapped under its paw, whereas in Night Watch (2024), a pair of muzzled dogs resemble stoic protectors.

Karl Haendel is represented by a range of works, some overly cute — like the pencil drawing I didn't ask to be born and I don't want to die (2024) — and others disturbingly truthful, as in the projected video Questions for my Father (2011) made with Petter Ringbom, or Prozac Drawing #3 (Fuck You Dad) (2004). Haendel's works often feel like punctuation or bridges between Prendergast and Sipress, especially because of the way the show is installed with works hung at varied heights, some even touching the floor. The combative looking dog in Angry Dog 9 (2024) appears ready to pounce or to eat a small cartoon by Sipress positioned to its right. Two Sipress cartoons are positioned above Haendel's drawing Pup and Flowers 4 (2022) of a fully rendered animal sniffing a simple line drawing of flowers in a vase.

The twelve minute work, Questions for My Father depicts sixteen men in close up looking directly at the camera asking questions about fathers that were never voiced. Whether fact or fiction, this film brings to light some things sons might have wanted to know about their fathers but were probably not comfortable asking. The intimacy within the film is echoed in the works on the walls as the exhibition equates dogs and dads — best summarized in a promotional cartoon on the gallery website featuring two dogs conversing about the exhibition. One states, "The artists are using the dogs to talk about their dads, issues of paternity, patriarchy, anger, violence, emotional distance." The other replies, "So we're metaphors."

Haendel's drawing, I Can Smell My Own Fear (2024) is a rendering of the artist's arm and hand holding a Charles Barsotti cartoon up to the clouds. The image within the image shows a bearded psychiatrist taking notes as a Snoopy-like dog lies on the couch. The caption reads "I Can Smell My Own Fear." Like most of the works in the exhibition, it explores what it means to be alive.

Haendel, Prendergast and Sipress are using animals as metaphors and in these works, they reference emotions and cycles in life— be they fear, fatherhood, parenting, aggression, unconditional love, affection, pain, aging, life or death.

Click here for Karl Haendel, David Sipress, Taylor Marie Prendergast on its own page.

Erika Vogt
Image Blockers
Overduin & Co.
June 29 - August 10, 2024


Erika Vogt

The first things viewers see upon entry to the gallery in Erika Vogt's exhibition Image Blockers could be interpreted as abstractions — large green and orange rectangles covered with with six black acrylic shapes. These are Vogt's Newspaper Drawings and they are comprised of fifteen front sections of the New York Times whose dates span the last few years. Newspaper Drawing: Lemons and Newspaper Drawing: Stars (all works 2024) are push-pinned on a large wall of the otherwise empty space. Each front page has been painted either green (Lemons) or orange (Stars), while the rest of the pages are untouched. The papers are casually secured to the wall so many of them droop to reveal the content inside. Pieces of black acrylic almost as large as a single newspaper page in the shape of a lemon or starburst cover parts of the headline pages. Though partially obscured, it is impossible not to scrutinize the words and images and reflect on the news of the days represented in relation to the present.

In another gallery are two loosely assembled wall sculptures. Image Blocker 5 and Image Blocker 6 are crafted from acrylic, linen, paper and thread and occupy either side of a passageway to the last room of the exhibition. Based on the shapes of ancient Cycladic terra cotta vessels, these soft flattened forms retain some three-dimensionality. Because they share the space with a projected video, they are not lit so their presence is ambiguous. On the opposite wall is a large video projection titled Book XII (Channel 1). This five minute loop with sound explores time. The central image is a large analogue wall clock set to 12:00. Although the second hand moves backwards, the time hardly changes. Digital clocks appear and disappear from the frame. Dressed in a lab coat, a woman (the artist) reads from a newspaper. Layered as if a filmic collage are sequences of the woman spinning the starburst shape from the newspaper drawings and holding up different objects toward the camera, further fragmenting the image. The video flip-flops from positive to negative in concert with a pulsating soundtrack that feels more like noise than any distinguishable sound.

Vogt's other videos also unabashedly indulge in the use of digital effects and the layering of imagery — be they newspapers, actual spirals or lemons (relating to the Newspaper Drawings or Image Blocker sculptures), or an image of the spinning globe. Lemon & Egg is presented on a small screen and is the most abstract of Vogt's video works. Here, a small lemon floats up and down in the frame that is otherwise filled by an organic spiral and a blown up EKG line originally made of thread. This imagery is often juxtaposed with the silhouette of an egg. Although obtuse, this digital video does connect to the static works on view.

Thinking about the title of the exhibition — Image Blockers — and the purposeful layering within the works, it seems as though Vogt is relating past and present, drawing from popular as well as art historical contexts (for example Hollis Frampton's 1969 film Lemon) calling attention to the ever changing world as well as its sameness — the repetition of words, of pictures of warring nations — and asking viewers to notice the spaces in between.

Click here for Erika Vogt on its own page.

Kenny Scharf
Go Wild
Honor Fraser
June 29 - August 24, 2024


Kenny Scharf

More often than not, it seems that Kenny Scharf "goes wild," filling gallery and museum spaces from floor to ceiling with paintings, sculptures, site specific murals, sound, plants and even discarded toys. He has enjoyed overwhelming viewers throughout his long career by creating rooms with no resting place for the eye. His immersive installation Go Wild at Honor Fraser Gallery delights and surprises as his latest iteration of an over-the-top presentation. Because this gallery has multiple rooms, it gives Scharf the opportunity to present both discrete objects and his iconic installations.

To discuss the relative calm (before the (visual) storm), it makes sense to mention a suite of recent tondo paintings installed in one of the main gallery spaces. These are large, colorful circles filled with air-brushed squiggles and cartoony sci-fi faces that have wide-eyes and protruding noses — examples of Sharf's celebrated cast of characters. For the tondo Loopy (2024), he intersperses purple and pink faces with undulating and swirling lines against a blue-yellow spray-painted and mottled background. Placed in different locations within the tondo 3Amigos (2023), are three smiling cartoony faces each with bulging black and yellow eyes and wide smiles positioned amidst a galaxy of linear stars and spirals. Spanning a single wall, each of the five large tondos displays an array of overlapping and abstracted whimsical faces.

No Kenny Scharf exhibition is complete without Flinstones-esque characters and painted utilitarian objects. Here, he presents both painted cars and surfboards. Over many years, Scharf has decorated vehicles for numerous Los Angeles drivers as part of his KARBOMBZ! series: a few of these are shown as photographic documentation, surrounded by several painted surfboards. Always full of surprises, Scharf includes new works that reference the Los Angeles landscape and its environs — brightly painted and somewhat anthropomorphic oil rigs, in addition to works depicting colorful cell phone towers — places where Scarf can apply his pop sensibilities to transform structures and locations into something unexpected.

The highlight of the exhibition is the site specific immersive installation, Go Wild. Here, Scharf has covered the space with a backdrop filled with rainbow-colored drips over which he has painted larger than life size flowers and tree-like characters that emerge from between the vertical lines of the murals to create a circus-like atmosphere. Scattered on the floor are numerous giant clay pots holding live trees and decorated with exaggerated and oversized cartoony facial features looking out in multiple directions. Appearing in random locations, dilapidated chairs and couches covered with spray-painted marks offer a place to sit, relax and take in the chaos that surrounds.

In a previous exhibition, Scharf installed a huge entanglement of discarded ridable toys in all shapes, sizes and colors that cascaded down from the roof and over the facade. In his current show, smaller toys dangle in clusters from the ceiling and are placed so that they form a train along the perimeter of the walls — in essence creating a fun house environment. This immersive and dizzying installation elicits smiles while simultaneously confounding expectations. With so much "bad news" happening across the globe, Scharf offers a place dedicated to "fun" — where there is a bit of everything for everyone.

Click here for Kenny Scharf on its own page.

Ed Ruscha
Now Then
Los Angeles County Museum of Art
April 7 - October 6, 2024


Ed Ruscha

In 1956, Ed Ruscha left Oklahoma City to study commercial art in Los Angeles and immediately developed an affinity with the city. Los Angeles then, as it is now, was filled with signage and advertisements. It also has awe inspiring skies, palm trees and iconic architecture and the young Ruscha's drawings and paintings soon filled with these images. In Los Angeles today, people speak of Ed Ruscha moments like palm trees silhouetted against gradient backgrounds. It is unexpected and ironically humorous that moments or things that exist in "real life" are referred to as being like Ed Ruscha paintings.

Ed Ruscha / Now Then is a retrospective exhibition that showcases his work from 1958 - 2022. It was first presented at the Museum of Modern Art in New York from September 10, 2023 - January 13, 2024 and is now on view at the Los Angeles County Museum of Art. Included are photographs, paintings, works on paper and ephemera that highlight Ruscha's career and illustrate his unique way of seeing and presenting the world. In many ways Ruscha's work and this exhibition is about perspective: the different angles and points of view that one can frame what is in front of them and present that information. What is present? What is left out? How do things change over time? Are they read from front to back or back to front? These questions have long been a concern for Ruscha, as well as a point of departure.

Small renderings of The 20th Century Fox are presented from multiple vantage points as are larger paintings of Standard gas stations. Likewise, Spread (1972), can be read from two sides. Spread is a large work on paper that is suspended from the ceiling so it becomes sculptural. Here, Ruscha rubbed chewing tobacco onto the front and back of the paper to spell the word right reading as well as backwards. This is just one example of Ruscha's conceptual wit and interest in perspective, perception, language and how images of words can be read. Canvases filled with language appear throughout the exhibition. These pieces are created using a range of colors and typefaces that direct the reading of words such as BOSS, OOF, WON'T, SMASH, NOISE, QUIT, SPREAD and FAITH. Ruscha has depicted stains as well as objects floating in space. He has a deft hand and can render abstractly or in exacting detail with equal dexterity.

The pick-up truck rig used to photograph every building on the Sunset Strip is documented in the exhibition and presented alongside the accordion folding book Every Building on the Sunset Strip (1966). Ruscha's other photographic projects include Thirtyfour Parking Lots in Los Angeles (1967) and Twentysix Gasoline Stations (1963). These now iconic books and images have influenced generations and have spawned numerous homages. The exhibition includes the infamous Chocolate Room (1970/2023) which was first produced in Venice, Italy and is recreated for each subsequent presentation. For the work, Ruscha screen printed sheets of paper with Nestle chocolate and wall papered an entire room to create a visual as well as olfactory blast.

Among the later works are black and white word paintings like The End (1991), paintings of Los Angeles intersections that juxtapose the names of the streets amidst a sandy concrete texture like Beverly at Western, Normandie and Vermont (1999). Also on view is Inch, Mile (2016) a painting of different wood grains and surfaces inscribed with the words "inch" and "mile" in comparative scales. Uncharacteristically and somewhat of a surprise is the more representational trash heap depicted in Psycho Spaghetti Western #7 (2010-11).

Lesser known works are interspersed with well known images like the 1965-68 painting Los Angeles County Museum of Art on Fire and numerous depictions of the iconic Hollywood sign painted in block letters and presented on canvases that are different shapes, sizes and colors. The take away from the exhibit is an impression of Los Angeles as a city of signs. Ruscha's city is an expansive space and though devoid of actual people, his image of Los Angeles is filled with an active and long-lasting human presence.

Click here for Ed Ruscha on its own page.

Richard Misrach
Dancing With Nature
Marc Selwyn Fine Art
June 22 - August 3, 3024


Richard Misrach

Richard Misrach has had a long career as a photographer. He has documented the American west, the detritus of Hurricane Katrina, the devastation from the Berkeley fires as well as artifacts left by migrants along the U.S. Mexico border. The color photographs that make up his Desert Cantos series (begun in 1979) are poetic meditations on expansive spaces and the night sky. He is interested in natural beauty as well as human interventions in the landscape, often combining both in single images. Actual humans occasionally appear, as in his On the Beach series from the early 2000s. The tiny swimmers in these pictures are often surrounded by vast expanses of ocean that become patterns and colorful abstractions dotted with anonymous figures — an uncanny juxtaposition.

Though at first wedded to traditional approaches to photography, Misrach has migrated to and embraced digital technologies and now uses software like Photoshop and non-darkroom printing to make his recent digital works. In December 2022, Misrach and thirteen dancers from the Alonzo King LINES Ballet company traveled to Hawaii where they spent five days improvising along the oceanside cliffs. The images were used by the company for a 2023 performance and now appear in the exhibition Dancing With Nature. The large-scale color photographs are presented both as positive and negative images.

The negatives are unsettling and mysterious. As positives, they are breathtakingly spectacular. The images celebrate the fluid and graceful movements of the dancers in contrast to the jagged volcanic rocks. They are positioned against light blue skies that meet deep blue-green seas. As the dancers improvised, Misrach captured instants that ebbed and flowed in relation to the environment. These moments appear other worldly and spiritual as the dancers' arms and legs point up and down, directing the viewer's eyes around the composition.

In Adji and Shuaib (Cellphone #1), On the Cliffs, Spitting Cave (all works 2022), two dancers appear quasi-silhouetted on a plateau above the ocean. A break in the clouds above allows the sun to peak through and illuminate a spot of ocean at the horizon line, just below the dancer's extended hand. Maddie and Adji, On the Cliffs, Spitting Cave #1 similarly captures their bird-like gestures — a spreading of the arms as if wings and a desire for freedom expressed by the dancers.

When presented as negatives, everything changes. The figures and their shadows become light and ghost-like, the landscape unrecognizable. Misrach indulges in these differences and even exhibits the same image in both formats. Shadow Ballet #8 and Shadow Ballet #8 reverse depict a line of dancers from above holding hands along the waters edge. Their elongated shadows hug the footprint laden sand which extends above them. The water parallels the underside of the human chain. Not only does Misrach present this image in reverse, it also hangs inverted from how it was shot to create an even greater disorientation.

In a brochure that accompanies the exhibition, Misrach speaks about the beauty of the human form in play with the environment. Despite global warming, or the state of the world, or the war in Ukraine, Misrach sees this body of work as hopeful and a celebration of beauty and positivity. Though much of his work has been political and "heavy," here the lightness of the body in relation to the cliffs and the sea is seen as liberating.

Click here for Richard Misrach on its own page.

Rebecca Campbell
Young Americans
L.A. Louver
May 29 - July 20, 2024


Rebecca Campbell

A grid of fifteen portraits of teenage boys and girls painted in a multitude of styles fills the far wall of the gallery. Are these the 'young americans' of the exhibits title? Young Americans was also the title of the 1975 album by the late David Bowie and was seen as his breakthrough in the United States: it also contained the hit song "Fame". Thinking about Bowie and rock and roll and youth culture then —in comparison to now— it is possible to conclude that as different as things are in 2024, innocence is innocence, vulnerability is vulnerability, strength is strength and the young eventually grow old.

Two large paintings set the stage. Greenhouse and California Love (both 2023) are exteriors. In California Love, Campbell portrays a fruit tree surrounded by flowers. Behind a wooden fence are palm trees. In the foreground, colorful plants appear to dance in the magical light. This is the California dream. Although the painting is devoid of people, the human presence abounds — as gardener and appreciator of California's unique light. Greenhouse celebrates Campbell's excellence as a painter and as an observer of domestic life. Here she presents the family home — a green house with a balcony that is surrounded by plants and trees. A mix of styles inhabits the surface ranging from highly detailed renderings to blurred abstraction in addition to thick applications of paint. With Campbell, every stroke, gesture, area of color and expression is deliberate and purposeful. In Greenhouse, she allows three isolated figures— a painter on the balcony, a silhouette in an upper window and a shoeless youth seated on a wall at the edge of the homes back stairs to exist in their own worlds, connected and disconnected simultaneously.

This is evident in the eighty-inch square painting In Utero (2023) where a boy sits cross-legged on the floor. He has long hair and is wearing a t-shirt from "In Utero," the band Nirvana's 1993 album. He has dark red sneakers with white stripes and laces that formally relate to a red locker located behind him, as well as to the red edges of the paintings hanging on the wall in the room (that resembles Campbell's studio) behind him. His gaze is pensive, his face a melange of colored brush strokes with shadows and highlights that reinforce a dynamic, rather than static being.

Hollywood is a sign (2023) is a similarly evocative painting that features two young boys peacefully floating in a deep blue swimming pool. In the background is a reproduction of the iconic Hollywood sign set against distant hills. As the rectangular pool recedes, the incongruities of the scene and the location take shape. The boys are in a pool in the desert. Why is the Hollywood sign there too? The boy in the foreground rests his chin on the pools deck, his head leaning on his shoulder, his face partially in shade. He seems complacent and relaxed. Behind him, magically floating or perhaps just sitting in the shallow end is another boy in a lotus pose. They seem connected, yet alone with their thoughts.

In the diptych Wolf Moon (2024), Campbell extrapolates. A youth wanders through a stream at night. A full moon behind him illuminates the transparent fabric that envelopes him. Is he a dancer? A mysterious arm emerges from the drapery behind the main figure. Is it real? A dream? Spiritual? The beautifully painted image represents the freedom to express, to be whomever one wants to be dancing in the shimmering night.

In Between (2024) is a painting of two girls. One present and looking forward, one seen from behind and looking back at a distant city. Both are clad in an ornate red dresses that dissolve into dripping paint toward the bottom edge of the canvas. They sit above a freeway in what appears to be a cave or a bunker with an uneven hole in the cinder-block wall behind them. There is an aura of sadness and longing, though their gazes never meet. The focus is the space between— a silent freeway and an urban silhouette.

In Campbell's work dreams come to life. There is loss and celebration, desire and hope. Many of these subjects are Campbell's own children and their friends, so she can be simultaneously objective and subjective in their depictions. She extrapolates from her own life to create paintings that communicate more universally about what it means to be young in an ever changing world.

Click here for Rebecca Campbell on its own page.

Shawn Huckins
Zippers Short and Skinny
Richard Heller Gallery
June 15 - July 13, 2024


Shawn Huckins

Shawn Huckins is an exacting artist whose works often begin with recreations of American masters that he paints with uncanny skill and detail. His works are a lot more than faithful reproductions however. With each series he injects surprise, be it overlaid text or emojis within the painting, or the addition of actual woven fabrics. In an early series from 2011 he juxtaposed historical works with the now familiar shorthand of text messages. The title Zippers Short and Skinny — his current exhibition at Richard Heller Gallery — is a play on words found when re-reading “Leave Any Information At The Signal. Writings, Interviews, Bits, Pages,” a book on Ed Ruscha. Huckins states, "The original phrase in the book was ‘Zippers Long and Skinny’, but since my show is about masculinity, I changed it to ‘Zippers Short and Skinny.’  It’s basically an innuendo for small male genitalia." In these pieces he "explores the complex phenomenon of masculinity within the societal landscape."

In some ways, Huckins' pieces also share a kinship with Vanessa Prager's recent portraits as her thickly impastoed paintings also reference historical works. Prager replaces the sitter's facial features with bouquets of flowers to create an unsettling yet evocative mass. While Prager's works are a feminist critique, Huckins is interested in an abject depiction of masculinity. The first works viewers encounter are paintings of seated male figures partially obscured by drapery. Portrait in Pink Satin Fabric (Joseph Sherburne after Copley), 2024 transforms John Singleton Copely's realistic portrait of Joseph Sherburne, a wealthy Boston merchant, by covering the face and half of the subject's body with soft pink fabric that whimsically flows down from the top of the painting. Huckins retains the deep blue patterned fabric behind the figure, as well as the floral decorations on his brown-robe and the frilly white cuffs that surround his hands. Portrait in Green Satin Fabric (Nicholas Boylston after Copley), 2024 similarly focuses on the depiction of green satin fabric that Huckins introduces into the scene.

The draw however is Richard Heber (after Copley), 2024. Huckins recreates the upper portion of John Copely's painting of Richard Heber painted in 1782 that pictures the nine-year-old boy casually leaning against a tree. In Huckins' version, the bottom of the painting has been replaced by tufts of colorful yarn that form a rug descending from the boy's chest and cascading onto the gallery floor. The Brown Boy (Thomas Lister after Reynolds), 2024 also begins with the recreation of a historic portrait— Joshua Reynolds' 1764 depiction of the young Thomas Lister, who later became the 1st Baron Ribblesdale. Again, Huckins presents a fragment of the painting, this time installed off kilter and resting on the floor where it connects to an array of colorful yarns that spill out like a shag carpet. Huckins brings out the colors in the sky, flowers and myriad hues of green, transforming them into an uneven grid. In these pieces, Huckins plays with ideas of masculine and feminine, as well as craft and fine art, to invite a dialogue that challenges traditional notions of male bravado.

Various Fabrics: Portrait of Thomas Abthorpe Cooper (after Harding), 2023 is an earlier work from Huckins' Dirty Laundry series. In this painting, he wraps the entire head, obscuring the face from Chester Harding's c.1822 portrait of Thomas Abthorpe Cooper with a turban of colorful and patterned fabrics. In describing these works he states, "We use cloth to conceal, but also to express, selectively, based on how we see ourselves and how we want others to see us. Of course, we don’t express all facets of our identity, some things we hold near out of habit, nature, or fear of ridicule. We all have dirty laundry, literally and figuratively. "Dirty laundry", the phrase, is defined as personal, or private affairs that one does not want made public as they would cause distress and embarrassment. "Dirty Laundry", the series, employs contemporary fabrics painted over traditional American portraiture to explore questions surrounding what, how much, and how well we share and hide."

These altered portraits, fragmented images of young aristocrats and effeminate hands emerging from silky fabrics challenge traditional notions of masculinity. Huckins presents images from the past in a new light and suggests that male bravado as depicted by American Masters was shielded the sitter's true identities.

Click here for Shawn Huckins on its own page.

Sidney B. Felsen
First Came a Friendship: Sidney B. Felsen and the Artists at Gemini G.E.L.
Getty Research Center
February 20 - July 7, 2024


Sidney B. Felsen

Gemini G.E.L. is a Los Angeles based print shop founded by Stanley Grinstein and Sidney Felsen that opened in the 1960's. Best friends and fraternity brothers at USC, they were also art collectors who wanted to work with artists and establish friendships. They joined forces with lithographer Ken Tyler and opened what was to become one of the most respected printmaking studios in the world. Over many decades, Felsen photographed the studio and the artists at work. It is his images and insightful documentation of the art that was created and the people involved at Gemini that is the focus of this evocative and historically significant exhibition.

Felsen's archive of more than 70,000 photographs are contained in the Getty Research Institute's collection and through the discerning eye of curator Naoko Takahatake, viewers can travel through time looking at images of a range of artists at work. While the list of artists includes those still working as well as some who have passed on — ranging from Claes Oldenburg to Richard Serra, Roy Lichtenstein, John Baldessari, Elizabeth Murray, David Hockney, Ann Hamilton, Julie Mehretu, Jasper Johns, Ed Ruscha, Tacita Dean and Analia Saban — what becomes apparent is how much they enjoyed what they were doing.

While questions about whether Sidney B. Felsen was or even wanted to be an artist surface, that is hardly the point. What Felsen did was create a visual history of a certain place as it grew and evolved over time. While there are numerous images of artists in the process of creation, there are also pictures of parties, adventures and just plain fun. The images are intimate as Felsen had the trust of these people. He was not an outsider looking in, but a friend and a peer of those he photographed. Gemini became an extended family.

Across the walls are not only images Felsen made documenting the artists and their printing processes, but also photographs of him with his family, as well as of the Los Angeles environment that he shared with east coast artists to entice them to come to L.A. Annotated calendars with notes and pictures illustrating the goings-on both at Gemini and in the city itself are personal and informational details that expand and inform the intimacy of the exhibition.

Noting the recent passing of Richard Serra, the exhibition becomes a trip down memory lane where viewers can smile knowingly at pictures of John Baldessari, Ellsworth Kelly and Elizabeth Murray and wonder what they'd be creating now, as well as delight in Gemini's embrace of younger artists working today like Julie Mehretu, Tacita Dean and Analia Saban.

The exhibition is not a history of the prints made at Gemini (nor does it claim to be), but rather is a celebration of the community Felsen and his pals created: one that continues to evolve and inspire to this day.

Click here for Sidney B. Felsen on its own page.

Jim Isermann
Wrapture
Pacific Design Center Gallery
May 2 - June 29, 2024


Jim Isermann

Primary colors and simple geometric shapes in different configurations can create complex patterns and dizzying experiences as exemplified by Wrapture a spectacular installation by Jim Isermann at the Pacific Design Center Gallery. Isermann has been creating and exhibiting colorful, hard-edge geometric works on paper and canvas for years. He also uses vinyl to create shapes that can be tiled to span large walls and become installations. When the paintings and vinyl decals come together, the whole becomes much greater than the parts, especially when the walls and the architecture of the space are integral aspects of the installations. Isermann's work has connections to Op Art as he is interested in the optical effects between forms and colors, however it goes beyond the formal to resonate on multiple levels. He brings together exacting precision and mathematical computation, craft, decoration, pattern, geometry and color theory to look at the relationship between high and low, intermixed with Queer identity and camp aesthetics.

It is difficult to separate the individual works from the installation here as the intricacies within the paintings extend to the array of patterns that serve as wall paper or backdrops. The entry wall of the exhibition is covered with orange decals consisting of four sections of a pill / jelly bean shape contained within a square. When tiled together, the oblong ovals join to create complex patterns across the wall. On the opposite side of this wall, an identical graphic — blue rather than orange — has been installed. Two variations of the painting Untitled (8,4,2) (2019) hang on the wall to initiate a give and take, back and forth dialogue between the paintings and their relationship to the pattern behind them. This "conversation" continues as viewers proceed up the stairs into the vast main space where they are bombarded with more wall decals and paintings.

Isermann covers one wall in metallic silver— these stickers/decals have excised circles and ovals that reveal the wall behind them. On top of this reflective surface are red, white and blue paintings: Untitled (hole painting)(1187) and Untitled (hole painting)(1587) both 1987. In Untitled (hole painting)(1187), Isermann builds a pattern around an empty square at the center of the work. Concentric squares in red, white and blue rotate a few degrees as they get larger and larger to form the rest of the painting. At first glance, Untitled (hole painting)(1587) appears to be identical, but in this piece Isermann alternates squares and circles without any rotation.

Each wall is covered with a different configuration of vinyl stickers that range from criss-crossing light blue and orange diagonal stripes to more complicated patterns of wider and thicker lines in different arrangements and colors. These vinyl backgrounds become infinitely repeating patterns composited together from multiple square or rectangle sections. From a distance the compositing is seamless, but up-close the individual segments can be discerned. Installed over these complex patterns are paintings created between 1986 and 2019.

The paintings contrast, as well as complement what hangs behind them and the juxtaposition often creates a kaleidoscopic effect in one's visual field. Isermann understands the complexity of color relationships and geometry and is deliberate with the oscillations and rotations of shapes within each painting. His surfaces are smooth and the edges between colors exact. What at first glance appears obvious and simple— squares within squares alternating yellow, orange, red and blue— as in Untitled (yellow 116, orange 1505, red 179, blue 2925), 2009 is in fact a mathematical sequence of colors and shapes that both curves and recedes into the distance. Untitled (0386), 1986 is a hexagon-shaped canvas with six triangular sections over which Isermann has outlined abstract petal shapes that are red or yellow depending on where they intersect with the two-toned blue background. But dissecting the geometry of Isermann's paintings is not the point. The point is to appreciate them for their formal beauty and enjoy the way they play off one another while marveling at their complexity and intricacy.

Click here for Jim Isermann on its own page.

Tony Cragg
Marian Goodman Gallery
April 26 - June 29, 2024


Tony Cragg

Tony Cragg is a British born, German based sculptor who was best known in the 1970s and 1980s for floor and wall based sculptures made from found objects. These were often plastic parts or toys organized and assembled by size and color across walls into human shapes or recognizable objects. In the 1990s, Cragg began to move away from works made from found materials and started to create more monumental sculptures that had dominant presences in space. These pieces were less conceptual and more about investigations into the physical properties of their materials.

On view at Marian Goodman Gallery are awe-inspiring free-standing sculptures created between 2018 and 2024. These are displayed as "families" within the gallery, allowing viewers to compare and contrast the physical properties of various substances and structures. Cragg has the uncanny ability to transform as well as personify bronze, steel, wood or stone into light, airy, organic shapes that appear to dance on their pedestals despite their weightiness.

The exhibition opens with the wooden sculpture In No Time (2018). This abstract form filled with intricate folds and layers of wood feels both human and other worldly. While the work wants to be appreciated from afar, it simultaneously demands close scrutiny as the smooth surface has been carved, molded and manipulated. Cragg's wooden sculptures are made by gluing together many pieces of cut plywood that are then ground down to form a smooth surface.

Multiple sculptures are titled Masks. The two dated 2021 are made out of Guatemalan green stone while the work dated 2023 uses bog oak wood. All three feel like compressed layers or odd shaped disks that have been fused together to resemble geographical strata. All of Cragg's works have dimensionality as they are created through an assemblage of two-dimensional forms. Somehow the lines and the individual shapes are retained while the sculptures blossom into space. They twist and whirl in unpredictable ways. The veins of the green stone and the dark wood give the works depth and texture. They do take on human characteristics and become unsightly masks without identifiable features.

Works entitled Incident (2023) are also exhibited together. These stainless or Corten steel pieces are looser and strangely expressive. Rather than being dense "blobs" for example, the stainless sculpture Incident (2023) is alien-like and hyper reflective. The curvilinear forms have mirrored surfaces and rise from the floor or from low pedestals like elongated and distorted human skeletons.

Vessel (2023) is a bronze sculpture filled with horns and holes. It resembles entangled and enlarged branches with softened thorns that surround shallow nests or hollows that penetrate the stoic form. Hedge and Stand (both 2023) are rusted Corten steel structures. Hedge is floor based and spreads out like a surreal hedge made of interlocking and overlapping organic forms, while Stand has the properties of a distorted silhouette neither male nor female, yet human-like nonetheless.

It is interesting to contemplate the trajectory of Cragg's sculptures and the relationship between small-scale, fragmented throw-away plastic shapes and the monumental presence of these later works. It is almost as if he has scaled up and refined the fragile aspects of the found objects, now transforming them into solid, robust forms made from materials most often used in contemporary and traditional sculpture. While the new works still explore the relationships between the parts and the whole, they are more concerned with materials and their formal properties and the complex methodologies needed to create them, than in any commentary or critique of the environment from which these materials come.

Click here for Tony Cragg on its own page.

Karla Diaz
Wait 'til Your Mother Gets Home
18th Street Arts Center
February 17 - June 22, 2024


Karla Diaz

Karla Diaz has been drawing since she was a child. The title of her current exhibition Wait 'til Your Mother Gets Home is something her aunt would say to her when she would draw on the walls of the family home. Consisting of 37 paintings and works on paper, that when seen together become a personal narrative about the many facets of Mexican American identity. Diaz combines figuration and abstraction to explore and revisit her memories of growing up in Los Angeles. In these compelling works, many of which have the feel of posters from the 1960s, Diaz places flatly rendered portraits and figures into abstracted landscapes and cityscapes. The pieces reference Mexican, as well as Mexican American traditions, in addition to depicting intimate moments with family and friends. The watercolor and ink on paper pieces are illustrative and rendered in vivid colors, whereas many of the paintings have more muted tones giving them a soft, dream-like quality.

On the buildings exterior walls outside the gallery are five colorful large-scale banners: each one a self portrait. One depicts Diaz as Frida Kahlo surrounded by a halo of red roses, whereas in another, Diaz wears a bright blue eye patch. In Self Portrait with Raised Fist she holds an image of a male revolutionary in front of her face. He has a raised fist and is wearing dark sun glasses. Self Portrait with Nopales Ears is more playful. Here, Diaz depicts herself with bunny ears shaped like green cacti.

Moving from exterior to interior, the works become smaller yet have similar impact. Installed in a line along the gallery walls, the images begin to tell a story that weaves through Diaz's life and relationships to familiar locations, be it the 99 cent store, a swap meet, a park or subway interior, or significant moments like when family members crossed the border. In one of the smaller spaces, Diaz presents an installation that pays tribute to the civil rights activist Rubén Salazar who was murdered August 29, 1970 on the day of the National Chicano Moratorium protest against the Vietnam War. Diaz not only paints a watercolor of the Silver Dollar bar, the location of his murder, (The Silver Dollar, 2021) but also includes a separate painting of his bloodied body (Rubén Salazar, 2023).

Diaz's style is quirky and illustrative. Her backgrounds are patch-work splotches or loose gradients of bright color — pinks, oranges, greens and yellows — that serve as the ground for her portraits and other scenarios. The figurative and narrative elements often merge with the background shapes and palette to create a layered effect that is more formal than content driven. Diaz's drawn lines emerge from these color fields to depict people and places with admiration, wit and intensity. For example, in Dona Juana (from the Swap Meet series (2023)), Diaz portrays a woman in front of a stall holding a shoe in one hand and a cell phone with a portrait of a child in the other. Her bright pink shirt is decorated with back to back exotic women with piled black hair, long eye lashes and extended tongues. Dona Juana stares at the viewer and smiles.

No Te Metas Con Mi Cucu (Don’t mess with my ass) (2022)) is an image of protest. Assembled together are portraits of women holding pro-choice signs in front of a court house juxtaposed with a colorful rendition of an older man wearing a suit and pink tie seated in a chair resembling the famous image of Huey Newton. While Diaz allows the forms and figures to overlap, the focus of the image remains intact. Although That Fire (2021) is acrylic on canvas rather than watercolor on paper, the intensity of the moment is deftly portrayed. Diaz tenderly captures the agony and dismay on a woman's face while flames engulf the building behind her. While The Fire is an image of pain and suffering, My Sleeping Beauty (2021) is an image filled with love, as different colored flowers surround a woman, perhaps helping to induce a dream state.

Diaz's seductive images tell personal, as well as universal stories. They are humble without being didactic, colorful and to the point. The pieces are about domesticity, as well as urban life while exploring how the two are interwined. As a Mexican American, Diaz draws from her heritage but also from the world that surrounds her. Her pieces fuse fact and fiction, dreams and reality to create narratives about her experiences growing up and living in Los Angeles.

Click here for Karla Diaz on its own page.

MSCHF
Art 2
Perrotin
April 6 - June 1, 2024


MSCHF

Quotation. Appropriation. Art about art. Using the works of others as a point of departure is hardly new. Throughout art history, artists have borrowed from, modified, erased and even copied pieces verbatim as homages or critiques. The list is long and includes a wide range of approaches. For example, Yasumasa Morimura and Cindy Sherman re-staged famous paintings as photographs, while Rachel Lachowicz, Deborah Kass and Elaine Reicheck have replicated works by their more famous male counterparts, often infusing them with a feminist agenda. The Brooklyn, NY collective MSCHF is a somewhat new addition to this diverse group of artists and while their work is as much about consumerism and consumer culture as it is about art, they play around the idea of readymades.

Coincidently, at the same time MSCHF is exhibiting works at Perrotin, pieces by Elaine Sturtevant (1924-2014) are on view at Matthew Marks Gallery. Throughout her long career, Sturtevant produced copies of works by well known artists to challenge ideas of originality and in the current exhibition, there are exacting recreations of famous works by Andy Warhol, Keith Haring, Jasper Johns and Felix Gonzalez-Torres, as well as The Dark Threat of Absence (2002) where Sturtevant reproduced the jarring video by Paul McCarthy.

MSCHF's approach is more sardonic and tongue-and-cheek as they toy with art history and high and low cultures. While many of their projects are also commodities available at their online store, they are quite serious about their gallery presentations. This installation includes 249 reproductions of Pablo Picasso's tiny carved wooden sculpture, Le Poisson presented as a large grid on the wall like a choreographed school of fish. Titled Possible Real Copy Of Poisson By Pablo Picasso (all works 2024) this piece does contain one Picasso original. In another series based on the book Animorphs, MSCHF creates oil paintings where a classical sculpture transitions to a contemporary work as illustrated in JaguarKourosDavidCowBoyMan. Against a blurred landscape, the painting shows various Kouros sculptures that morph into Michelangelo's David and finally into Takashi Murakami's My lonesome cowboy. A similar transition occurs in Murakillendorf's Venus. Outlined in yellow, the painted reproductions morph from the Venus of Willendorf to Murakami's large busted sculpture Hiropon.

In the Botched Masters series, MSCHF starts with found 17th and 18th century religious paintings. They recklessly paint over these (possibly) valuable oils, obscuring faces and turning figures like Mary and Jesus into cartoon blobs, in essence destroying the original while creating new value. In AirBnB (Botched L'Adoration des Bergers), they cancel out the haloed Mary and replace her with an incongruous representation. Similarly, in Flower Boy (Botched Portrait de jeune garçon à la guirlande de fleurs), they obscure an 18th Century depiction of a young boy with a crudely painted and modernized rendition. These works are horrifying and humorous simultaneously.

Another art about art reference is Touch Me Sculpture One More Time, a large free standing sculpture in which bronze bodies in the style of Michelangelo and Bernini are entangled together on top of a pentagonal shaped white pedestal with an illuminated LED display with an ambiguous numerical readout. Bullets Fired Into A Wall By A US Veteran recalls Chris Burden's Shoot, and Met's Sink Of Theseus calls to mind both Duchamp's Urinal and Maurizio Cattelan's gold-plated toilet America, (2016) installed in a restroom at the Guggenheim Museum and later stolen from the Blenheim Palace and reportedly melted down.

Scattered throughout the exhibit are colorful Bootlegs, cartoony sculptures based on the boots worn by Astro Boy (a 1960s Japanese cartoon). Like disembodied figures situated randomly across the gallery, these over-sized resin boots sprout ungainly hairy legs. MSCHF's works are all about camp. They are ironic and seductive while in the know about contemporary art and popular culture. They also strive to challenge accepted norms about the art marketplace and conventions of art connoisseurship and consumption. The exhibition asks viewers to think about craft and digital culture, as well as expanded boundaries of what is accepted or acceptable for artists and for galleries.

Click here for MSCHF on its own page.

Kristen Morgin
My Love Must Be a Kind of Blind Love
Marc Selwyn Fine Art
April 27 - June 1, 2024


Kristen Morgin

Los Angeles based Kristen Morgin is best known for her delicate sculptures. More often than not, these works are crafted from painted unfired clay and are to scale tromp l'oeil renditions of books, album covers, games, toys and other child-like objects that are weathered and worn. No sculptures are on display in My Love Must Be a Kind of Blind Love. Instead, she presents large-scale detailed drawings for the first time These mixed-media pieces read as quirky assemblages of two-dimensional materials from a melange of subjects that are brought together to create fascinating narratives.

[Vibes Playing Softly...] (2024) is a large, horizontal, graphite and pencil work on paper filled with a detailed depiction of a giant bowhead whale that spans the composition. Centered on its back is a cartoon princess sleeping comfortably in the crook of the whale's spine. The giant crustation appears to be suspended by ropes carried by tiny flying birds towards the top of the image. At the bottom are a gathering of small silhouetted figures watching the scene unfold. A snake swims alongside the whale as they traverse a patchwork of taped together graphite textures. All of this "action" takes place atop graphite renderings of large film sprockets.

Different species of whales appear in two other images. In the sepia-toned The Puppet and The Whale or So Far Away, (2022) Morgin juxtaposes a spotted orca gracefully swimming in a darkened celestial space (it could be sky or sea) with two floating balloons, trying to get free of the chains that surround its fins. What appears to be a thin horizontal shelf crosses the top of the image on which rests a non functional puppet that could be a sleeping Pinocchio. In What the Whale Dreamt (2024) Morgin combines two different types of paper that are combined with ragged masking tape. The top drawing depicts a pencil sketch of a sperm whale on which rests a sleeping Snoopy drawn is a contrasting style.On another sheet of paper, hanging from strings attached to the whale's body, is an beautifully drawn abstract mandala/flower that transforms from a realistic representation to a grid of back and white pixels.Mo

rgin purposely collages elements and renders aspects of the works in different styles to give the works a patch-work effect. Through the combination of graphite drawings with masking tape and collage, the pieces feel as through there were rescued, magically reconnected and brought back to life. Similar to her quasi-broken ceramics, Morgin salvages forgotten moments and objects from the past to presenting them as cherished entities.

Her stream of consciousness works delight in random associations and strange juxtapositions that criss-cross genres and time. The "cutesie" aspects of the pieces are purposeful like in the tiny drawing I can Feel It In My Bones (2020) where Morgin illustrates a valentine holding skeleton. Vanishing Wild Things (2020) pays homage to Maurice Sendak's Where the Wild Things Are. Here, a range of completed and outlined animals from the book share the space with trees and Nintendo-looking pixelated figures. Whimsy and magic are all pervasive in Morgin's works on paper. The drawings are delightful, unpredictable and imaginative. She seamlessly re-purposes and re-configures appropriated and invented imagery to make thoughtful mixed-media works that are infused with complex narratives and skillful reproductions.

In the back gallery is an exhibition of works on paper by Tom Knechtel that perfectly complements Morgin's drawings. Both artists imagine the ways animals and humans can interact and how what animals communicate when they take on human characteristics. It is a pleasure to see works by both these accomplished artists on view at the same time.

Click here for Kristen Morgin on its own page.

Daniel Gordon
Orange Sunrise with Flowers, Fruit, and Vessels
Nazarian / Curcio
April 20 - May 25, 2024


Daniel Gordon

Daniel Gordon is one of a number of contemporary artists who work within the parameters of "Constructed Photography." In addition to Gordon, some artists/photographers who work this way are Matt Lipps, Chris Engman and Thomas Demand. Constructed photographs are images created in the studio and shot from a particular vantage point. They use carefully created objects set on table tops, or made to scale so they cohere within the image to form a believable, though hand-crafted scene. Gordon has created unsettling Cubist-like portraits as well as still-lives that are assembled from different pieces of cut paper as tableaus and then photographed. In the exhibition titled Orange Sunrise with Flowers, Fruit, and Vessels, he presents both large-scale, colorful still lives as well as paper sculptures in the form of ceramic vases. The vases are a recent addition to his oeuvre and elucidate the complex process he goes through to construct his photographic works.

Presented in a line on white pedestals, Gordon's vases and vessels recall museum displays of traditional and classical pottery, however, his renditions are invented and entirely modern. These sculptures are made from carefully assembling cut-out shapes from inkjet enlargements to become three-dimensional collages. Checkered Vessel in Green (all works 2024) stands twenty-inches high and can be seen from all sides. It alternates rows of what originally would have been different colors of green ceramics divided by black lines of grout. Pitcher with Shapes is a white pitcher decorated with an array of geometric shapes all cut from enlargements and reassembled.

The sculptures on display are similar to objects reproduced in Gordon's photographs. Still Life With Figs and Oranges is a large image (74 inches high). Here, Gordon creates a table top display consisting of numerous vases and fruits organized on a table and shelf. Though the image is flat, the setting has dimensionality. On a purple shelf trimmed in bright green are both figs and oranges as well as two vases filled with plants that cast a shadow on the back wall of the scene. In the foreground is a rounded table on which sits random figs, figs in a bowl, a smaller vase without flowers and two oranges. What is fascinating about the image is that it is entirely constructed out of paper and each object is made by assembling photographic fragments. In this image, Gordon is attuned to color opposites as the orange vase casts a blue-purple shadow that has a red-orange outline giving the entire composition a Matisse-like aura.

Oranges with a Blue Crown of Thorns is a smaller composition that also plays with the relationships between flat background colors and assembled objects. Four different sized and shaped oranges, a vase with blue flowers, a smaller empty vase as well as a pitcher rest on a red shelf trimmed in cyan. Below the shelf is an orange plane — either the wall behind or the shelfs edge— and behind the still-life are colorful silhouettes that follow the contours of the vase and pitcher against an orange background framed with cyan. Aloe With Onions and Zucchini is also a collection of vases and vegetables, this time on top of a bright yellow table trimmed with green. Here, Gordon arranges onions and a zucchini in relation to two vases, one empty, the other containing an aloe plant. Again, these objects cast shadows onto the background, this time presented as a white void outlined in black.

Once one has a clear understanding of Gordon's labor-intensive process and the mental activity of de- and re-constructing are completed, the works can then be appreciated for their formal beauty, inventive color and curious scale-shifts. In the end, Gordon's still lives are not about perception, nor the illusionistic properties of photography, but rather they are abstract still-lives that are concerned with design, color and form. He delights in the activity of transforming a photograph of an object into a sculpture and then back into a flat image as he explores the relationship between the real and its reproduction.

Click here for Daniel Gordon on its own page.

Luna Luna: Forgotten Fantasy
January - May 12, 2024


lunaluna

In Hamburg, Germany from June 4 - August 31, 1987, Luna Luna opened to the public. Conceived by Austrian artist André Heller, it was an open air museum billed as the "world's first art amusement park." Heller invited over thirty artists from numerous countries to participate including Jean-Michel Basquiat, Josef Beuys, Salvador Dali, Sonia Delaunay, Monika GilSing, Keith Haring, David Hockney, Rebecca Horn, Roy Lichtenstein and Kenny Scharf. After the exhibit closed in 1987, it was scheduled for display in the United States but, the story goes, Heller had disagreements with the handling of Luna Luna's American launch. This provoked years of litigation and landed the artworks (packed into 44 shipping containers) somewhere in the middle of Texas where they remained for many years.

Quoting from a Yahoo!Finance article by Suzi Coen (December 4, 2023) "an estimated 250,000 people visited the fairground in 1987. André Heller had hoped Luna Luna would then tour the world, but his plans fell apart. Three years later he agreed to sell the whole project to the Stephen and Mary Birch Foundation, who had hoped to show it in San Diego. Because of complications, the plans were never executed and Luna Luna was moved to rural Texas in 2007, where it was left untouched for another 15 years. The creative director Michael Goldberg first discovered Luna Luna in 2019 and became obsessed with the project during the Covid pandemic. He then pitched the idea to Drake and his team. The crated artworks were purchased site unseen by Drake and his company DreamCrew and shipped to Los Angeles in 2022."

A downtown warehouse was secured, the crates unpacked and examined, walls built and painted so that the artworks that comprised the original Luna Luna could be seen once again. In early 2024 Luna Luna: Forgotten Fantasyopened with great public acclaim in Los Angeles where it is scheduled to be on view through Spring 2024.

The difference between the original and the current iterations is experiential. In Germany, the display was outside. The rides functioned. The space was active. The atmosphere was like a party or a carnival. Here, in Los Angeles the project has been "museified." It feels more like documentation — objects and displays that can be viewed passively rather than actively — and in this sense, it disappoints. After being directed to the appropriate parking area, viewers enter a vast, darkened warehouse space. Once inside, they are given a map and told that there are numerous guides to answer questions about the exhibition. One can wander at leisure through two connected spaces while reading about the original display of the works, but able to see them only as static objects in this contrived setting. While each artist created a unique and meaningful piece for the 1987 showcase, they don't resonate in the same way today as they probably did then. Why is the dominant question. Is it because many of the artist have passed away — Beuys, Haring, Basquiat, Litchenstein, etc.— and we are now seeing their pieces in relation to their life spans and trying to contextualize them within their career trajectory?

What stands out? In 2024, immersive installations, technology driven works and digital displays are a given. While Salvador Dali's Dalidom one of the few structures that can be entered in the current iteration, is a geodesic dome and mirror chamber — for today's audiences, it is a selfie opportunity reminiscent of Yayoi Kusama's nfinity Rooms. Keith Haring's work was the subject of a recent retrospective at the Broad Museum (Keith Haring: Art is For Everybody May 27 - October 8, 2023) and although the murals and painted carousel he created for Luna Luna are fantastic representations of his iconic mark-making, todays audience is quite familiar with his work. The same can be said for Jean-Michel Basquiat whose quirky paintings and drawings were also recently on display in Los Angeles (Jean-Michel Basquiat: King Pleasure, March 31 - October 15, 2023). In retrospect his Painted Ferris Wheel is quintessential Basquiat.

Missing from the experience are the crowds, the cheers and the sounds— as music was also an important component of many of the artworks. In Luna Luna: Forgotten Fantasy, lights occasionally dim and then shine on the different pieces to shift audiences' attention through the space. Kenny Scharf created cartoony creatures that are presented here as stand-alone sculptures. Because the ceiling of the indoor space was too low to place other figures on top of a swinging chair ride with as they were originally, they sit forlorned nearby.

As conceived of and first presented in Germany, Luna Luna was a participatory spectacle. In Los Angeles, Luna Luna: Forgotten Fantasy is a historic display with a few enterable installations, but for the most part functions as roped off exhibits along with plenty of documentation. To augment and highlight the original presentation, there are displays of artifacts, walls of photographs, as well as historical timelines to contextualize the artists and their works. Is Luna Luna fun? For sure. Educational? Of course. Innovative? At the time, yes. Worth the trip? Sure, because it gives Los Angeles audiences a chance to experience the artworks created for the 1987 event and to view long forgotten works, some of which are seminal pieces in these artist's careers. But also no, because it is expensive and ultimately a bit of a disappointment due to the hands off nature when compared to its 100% hands on original presentation.

Resurrecting Luna Luna was clearly a costly endeavor and while the installation feels like it could be in a museum, it came about through private funding and is costly to visit. To de-crate, restore, transport and then re-install the artworks took time and a huge team. It was an admirable effort and the organizers should be applauded. Is it an exceptional art experience? No, but as journey back in time and as a way to view what occurred in a specific place at a specific moment, it is worth a visit, despite the cost.

Click here for Luna Luna: Forgotten Fantasy on its own page.

Pat Steir
Painted Rain
Hauser & Wirth West Hollywood
February 28 - May 4, 2024


Pat Steir

The point of departure for Pat Steir's exhibition Painted Rain at Hauser & Wirth is an exploration of blue, a color omnipresent in Los Angeles. When first visiting the city over fifty years ago to teach at CalArts, Steir was struck by the quality of light and the color of the sky and sea, in contrast to the muted tones of New York. This aura permeates her current paintings and coincidently, the pieces (as they are filled with drips) also evoke the recent weather — the violent storms and torrential rains that have pounded the region this season.

Steir has been painting since the 1970s and throughout her five-decade career she has been celebrated for her large scale abstractions presented both as canvases and as site-specific wall drawings. Her works are often created by pouring and dripping buckets of paint from the top of a tall ladder. This allows gravity to dictate the flow of the colors. She began making drip paintings that resembled waterfalls in the 1980s— powerful and evocative pieces that relied both on chance (as drips and pours cannot be completely controlled) as well as Steir's innate sense of color. To create the paintings on view, she begins by covering the canvas with a solid color ground that still emits a glow through the work, although just the base layer. She next applies a grid of chalk lines that become a geometric framework or structure that contrasts the more fluid chaotic forms of the drips which are poured on top.

The background in All the Colors (all works 2022-23) is reminiscent of a twilight sky just before night that still retains an azure essence. The painting is divided in quarters by two white chalk lines that meet in the center of the canvas. Placed just above this intersection are six horizontal brush strokes that occupy the center and take command of the work. Orange, deep red, green, yellow red and light blue stand as elements of color in an otherwise barren ground. In Thin Air, she covers a cobalt background with textured layers that are a lighter tone of blue. Wide horizontal bands of red, white and yellow are painted just above the center and allowed to drip and meld together as they cascade down the length of the canvas toward the floor.

While the majority of the paintings explore the relationship between striations of color against a range of blue backgrounds, in Green on Top Steir covers a dark rust ground with overlapping stripes that drip down to become veins of intermingling green, orange and dark red. In Some Blues, the white chalk lines divide a deep red background into a grid of rectangles. Toward the center of the work, Steir paints thirteen separate horizontal lines that transition from light to dark blue to create the illusion of a gradient. In this piece, the lines do not drip or fuse together. Steir explores the tensions between texture and color here, as well as playful foreground and background relationships.

Steir's new works are a celebration of color— specifically the color blue. It is somewhat ironic to learn that eight years ago she was diagnosed with color blindness and learned she cannot see that hue. That being said, Steir still mixes her paints to maximize the subtle differences in this color and through an exploration of both gesture and chance has created a powerful and emotionally complex body of work. Her pieces are simultaneously a formal examination of the properties of color and paint, as well as an experiment in controlled chaos. These large scale paintings take their inspiration not only from color but also from nature (the flow of rivers or rain) and the fluids that run through the human body.

Click here for Pat Steir on its own page.

Clayton Schiff
Routing
Harkawik
March 1 - April 13, 2024

Paco Pomet
Last Adventures in High Res
Richard Heller Gallery
March 30 - May 4, 2024


Clayton Schiff and Paco Pomet

There is a strange affinity between the paintings of Clayton Schiff (at Harkawik Los Angeles) and Paco Pomet (at Richard Heller Gallery). Perhaps what ties them together is the unsettling humor in their debased presentations of human beings who are "off" in uncanny ways. Both also use quirky, limited color palettes.

For his exhibition Routing, Schiff presents medium sized oils on canvas in which isolated human-animal hybrids travel through urban and natural landscapes. The green figure in Enroute (2023) wears a pink tracksuit and seems fixed on getting to his destination as he (it?) approaches a labyrinth of criss-crossing pathways that intertwine as they recede into the distance. In Summer Screed (2023), Schiff presents a male figure (with a dog-like head surrounded by flies) wearing shorts, a tank top and sandals while sauntering through a quasi-desert— a space filled with dead birds, spilled liquids and dropped food items. Various tufts of green plant matter dot the acidy yellow-green ground.

While Enroute and Summer Screed are exteriors, paintings like Babble, Cleanup and Over There take place inside. A creature dressed in a blue robe with a long snout and a horse-like tail vacuums an unpopulated dimly lit hallway that curves off into the distance in Cleanup, while in Over There, a naked, pinkish green, short-tailed creature sits perched on a stool in the corner of a room and stares out an open window. Binoculars in hand, (he/it) gazes at dirt pathways lining the rolling hills alongside a distant shore. What he sees, or what he is looking for or at remains a mystery, as does the uncertainty of why.

Schiff's locations emit an aura of emptiness while his figures show an indifference to their situations. Within each scenario, Schiff hints at a need for connection that never seems to materialize — each character remains trapped or isolated within the confines of these barren invented places.

A sense of unease and disquiet also envelops Paco Pomet's paintings. His single hued mostly-monochromatic works (in tones of sepia, blue and gray) have a timeless quality and appear to be sourced from appropriated photographs from another era. These muted and carefully painted scenes are juxtaposed with jarring full-color cartoon characters or gestures that disrupt the tenor of the images while moving them from the believable and real to the "surreal."

In The Audition (all works 2024), a suited man sits at a piano with his arms poised above the keys, but instead of hands, Pomet paints a twisting coil of fat orange "spaghetti" extends from his wrists and globs all over the keys and up onto the piano like paint oozing out a tube. Three elongated beads of white cartoony sweat outlined in black float some distance from the man's head against the sepia toned background. Embedding offers a similar sense of "what is going on?" Set in what appears to be a 1950s or 1960s styled room, in this painting, a woman pulls a Murphy bed down from the wall. Caught between the wall and the mattress is a very surprised cartoony depiction of a distraught man.

There is an unsettling disconnect between the sketchy and impastoed brush strokes that define the woman and her surrounding verses the more illustrative style of the cartoon. While Poment's monochromatic palette recalls works by Mark Tansey, the seriousness of his compositions is thrown off base by the addition of unexpected elements be it alien light sources, cartoon characters or emojis. These humorous and witty works delight in rendering the "real" as "surreal." Pomet, like Clayton Schiff defamiliarize — they both create works that render the ordinary strange and in doing so change the way everyday scenarios and human interactions are perceived.

Click here for Clayton Schiff and Paco Pomet on its own page.

Allen Ruppersberg
25 Ways to Start Over
Marc Selwyn Fine Art
March 16 - April 20, 2024


Allen Ruppersberg

The works of Allen Ruppersberg can be applauded for their wit, intelligence and humor. Each project is conceptually savvy and visually engaging. In his latest exhibit titled 25 Ways to Start Over, Ruppersberg does not disappoint. The works are based on a set of questions or premises that engage with the concept of "starting over." Among the 25 ways of starting over prescribed within the pieces are the directives to: Change your name, Begin at the beginning, Do a self-portrait, Embrace nostalgia, as well as Count backwards from 100. Each suggestion becomes not only the title of the individual artwork but also appears as texts within.

Ruppersberg is an avid collector, reader and writer. Some of the works in this exhibition draw from his stockpile of "pulp fiction" books written by authors using pseudonyms. Others take their point of departure from Life: a User's Manual, Georges Perec's 1978 novel where the main character makes and later dissolves images fashioned into jigsaw puzzles. In the three large works inspired by Perec, Ruppersberg presents a large digital print mounted to plywood that features a combination of disparate ephemera: snapshots, drawings, posters, book and album covers and the typewritten title 25 Ways to Start Over, and a subtitle: for example, #20 Do a self-portrait (tic-tac-toe). For this piece, he combines nine appropriated images— old photographs, reproductions of statues, spin art, etc.— and overlays them with crudely drawn X's and O's so they become the background of a tic-tac-toe game.

Ruppersberg removes large shapes from each printed image — a figure, a head, a leg, as well as text bubbles like those found in comics — that become voids in the composition. The cut-out elements are hung on the wall or placed on the floor. While it is possible to realign the missing elements to complete the image, Ruppersberg is more interested in drawing attention to the absence than in the possibility of recombination. 25 Ways to Start Over (#13 Count Backwards from 100 (99, 98, 97, etc)) is a similar work that hangs alone in the back room. It is a large two-panel digital print filled with numbered fragments (from 99 to 1) taken from reproductions of works of art. Myriad associations and references are inferred but through Ruppersberg's deliberate ambiguity, his intentions are never revealed.

The standout in the exhibition is 25 Ways to Start Over (#14 Embrace Nostalgia. Get Out the Old VHS Tapes). Here, Ruppersberg has covered a wall from floor to ceiling with a mural collage of flattened old VHS tape boxes presented as an overlapping cacophony. This site specific piece complements four works all titled 25 Ways to Start Over (#3 Change Your Name) where Ruppersberg combines various pulp fiction novels by writers using pseudonyms (pierced with holes as they have been screened onto pegboard) with "real" books, drawings, album covers and miscellaneous found objects. On a nearby table is The Pseudonym Library of Allen Ruppersberg, a book that reproduces a number of the covers that appear in the works, in addition to providing biographical information on the "real" identity of the authors. It also includes an introduction by Al Reed (Ruppersberg's own pseudonym).

Vernacular as well as pop culture, as well as its nostalgic allure have always attracted Ruppersberg: be it trashy book covers and their titles, or outdated VHS tapes. In this presentation, he curates an ironic trip down memory lane, whimsically and thoughtfully connecting past and present. As in his other works, he considers them in relation to our current moment and weaves a narrative that juxtaposes these objects from the past with contemporary times and in this particular series, he contemplates the absurdity of starting over.

Click here for Allen Ruppersberg on its own page.

Ville Kansanen
Future Primitive
Marshall Gallery
March 2 - April 20, 2024


Ville Kansanen

Ville Kansanen is a Finnish multidisciplinary artist based in California whose works use digital photography to examine "transcendent aspects of the natural environment." He ventures into the desert — an ever changing expanse of barren land — equipped with camera and props and assembles sculptures that he documents over time. While there is a rich history of artists who work in and with the natural landscape including Andy Goldsworthy and Richard Long, as well as photographers who are interested in perception and representation who have documented interventions created to be viewed from specific vantage points like John Pfahl (1939-2020) and the contemporary Los Angeles based artist Chris Engman, Kansanen's interventions collapse time and space.

For Future Primitive, he has created works in situ at Coyote Dry Lake Bed near Barstow, California represented as digital photographs made by compositing layers of images taken over time. This allows the final photograph to not only align with distant mountains, the sun or the moon, but also to be both sharp and out of focus through shallow depth of field. For Landstones #1 (2024), he brings various materials including painted wood, fabric, earth and limestone to the gallery to create a site-specific sculpture similar to what he might construct in the desert. Here, medium size stones are bundled together and suspended within a wooden framework in front of a wall whose top half is painted black and whose bottom half is covered with brown desert mud. The suspended stones are likewise half black and half brown and when viewed from a certain vantage point, the rocks perfectly align to create a horizontal line that cuts across the wall. Having an actual sculpture in the gallery helps viewers understand Kansanen's process which is otherwise presented in the photographs.

Kansanen is drawn to the solitude, light and timelessness of the desert landscape. He is interest in creating sculptures and performances that he documents as they evolve and then presented as single images. In many of the works, the compositions emphasize the horizon line which is often bisected by wooden armatures holding suspended objects. For example, in Landstones #2 (2020), Kansanen inserts a vertical pole in the crackled ground that holds a cluster of rocks in position just at the horizon line, resembling the illusion in the gallery. The rock held in place in Mountain/Rock #1 (2018) rests above the dip in a mountain, perfectly placed so that it hovers just above the valley and surrounded by blue sky.

Kansanen also tracks the way the desert changes from day to night. He records the movement of the sun and the shadows it creates, as well as the differing shapes of the moon. In doing so, he thinks about the relationship between land and sky as well as light and dark. In Annular Eclipse Tracker Triptych (2023), Kansanen photographs from multiple angles a large circle inscribed in the sand that parallels the shape of the eclipse. In the left panel, the moon is a horizontal crescent and the parallel painted mark in the sand is a white semi-circle. In the center image, the white (painted) circle is complete to match the glowing halo where the moon now blocks the sun. In the third piece, the glowing moon is an upside down crescent and the mark in the sand appears at the bottom of the image as a deep brown line indicating his alteration of the landscape.

While Kansanen's images are formal studies that rely on perceptual acuity, they are also concerned with supernaturalism and the spiritual aura elicited by the desert. An image like Sky/Sun 06 (2016) is playful as it appears as if Kansanen is pulling clouds down from the sky, while photographs including Land/Earth #5 (2017) and Land/Earth #8 (2018) are eerily haunting as Kansanen evokes portrays of the supernatural. Having spent a lot of time in the desert, Kansanen has a reverence for nature and is respectful and cognizant of its vastness and unpredictability. His process begin with observation. He then creates interventions that are photographed in varying stages. The final images are about perception and reveal the how these interventions reflect both the magic and power of the desert. They celebrate the light and space in the desert, as well as the passage of time.

Click here for Ville Kansanen on its own page.

David Byrd
Nothing to Say
Matthew Brown Gallery
February 22 - March 30, 2024


David Byrd

David Byrd (1926-2013) was an artist living in the Hudson River Valley north of New York City who worked as an orderly in the psychiatric ward of the Montrose, New York veterans affairs hospital from 1958-1988. Before that, he studied at the Ozenfant School of Art (NY, NY), but did not pursue a career in the arts upon graduation. Rather, he worked odd jobs in New York City and then in 1958 moved near Montrose, NY to work at the Veterans Affairs Medical Center. At work, he began to observe the patients' daily rituals and routines, often making sketches during work hours. In essence, the patients became his muses.

During his retirement years, Byrd focused solely on his art and made drawings and paintings documenting his environs: both people and the landscape, as well as created works from his memories of working on the psych ward. In the final decade of this life, he began to chronicle his time at the Veterans Center, gathering drawings and textual fragments that described his experiences there and compiling them into a 218 page book. Many of these pages are on view in the exhibition.

Though not really recognized for his artworks during his lifetime, Byrd did have one solo exhibition in 2013 just before his death. In recent years, his work has found an audience and has been more widely exhibited and collected. Byrd painted because he wanted and he needed to. He regarded it as a meditative process and as a means toward self improvement. He states, "I tried to paint because I had the remote idea that it might serve me in my behavior to others." Looking at the works through the lens of need and self improvement, as well as direct observations of the sufferings of others, the images collectively not only document a specific era and place, but also the effect this work had on Byrd's psyche. His realistic scenarios were created with sketchy outlines and a soft palette consisting mostly of earth tones. They are compassionate and thoughtful, while also describing the horrors and suffering he witnessed.

This large exhibition — his debut in Los Angeles — is comprised of twenty-one paintings, eleven framed drawings from Byrd's sketchbook, as well as thirty pages from his handmade manuscript documenting his time at Montrose. The paintings are culled from different series and feature quirky landscapes and images representing his family, as well as patients at the hospital. In each, Byrd articulates a range of emotions, be they pain or pleasure. For example, in the oil on canvas Hell of an Evening (1992), three people are seated at a table in the center of a brown hued "room" that is otherwise mostly empty. A large woman has her back to us, another raises her fist in a fit of anger. On the left, a half naked man sleeps on a small bench. Two other male figures appear to be washing dishes at a sink located at the back of the room. An elongated figure in a blue coat or robe approaches a doorway on the right.

Feelings of distress and isolation are also captured in Patient Pondering (1995). Byrd depicts a receding interior space — a hallway or cell with a single light source. Five men are illuminated by this window. Closest to it, a man in brown pants and shirt with a green hat gazes into the distance, a patch of sun filling his chest. Behind him and further back in the room are the other men — two on the floor, one creeping against a wall and the last in blue silhouette toward the back. Each figure appears lost in their own thoughts, neither aware of nor engaged with each other. Other "hospital" paintings include Alcove (n.d.), Man With Mirror (1999) and Agonized (1970) where a man extends his body, splayed across a wooden chair, filling the composition like a hovering ghost with a clown- like, exagerated expression of agony emblazoned on his face.

Paintings like People at the Bar (P53), (1960), Pool Players (n.d.) and Sparring Partners (1954) fall more into the Social Realist tradition. Here, Byrd depicts the outside world, be it people playing pool, enjoying drinks at a fancy bar or gathering at a boxing match, capturing the everyday in a way reminiscent of Edward Hopper, Ben Shahn or Jacob Lawrence: stylized and illustrative simultaneously. As a painter, Byrd has a light touch. The works have a sketchy, drawn quality. His palette is sombre and his application of oils is subtle and washy rather than thick impasto.

In addition to these tender and captivating paintings, there are eleven framed, untitled pencil on paper drawings from Byrd's sketchbooks depicting interior and exterior scenes, as well as studies that juxtapose random fragments like in Sketchbook 5, p. 13, (n.d.) where he combines a woman in a swimsuit carrying an umbrella, a woman brushing her teeth, work boots and a man dressed in winter garb. His drawing style is both descriptive and expressive at once.

One of the highlights of the exhibition is the display of pages (spread out in vitrines) from Montrose VA 1958-1988, a self made book that Byrd worked on from 1999-2013. Here, he recorded his impressions and memories of working at Veterans Center, taping his small sketches to pieces of construction paper and compiling them into a 218 page artist book/diary. In pencil and all caps, the texts describe Byrd's observations in the hospital. He recorded in depth the interactions between patients and staff, as well as the ways he saw the patients relating to the physical space. Many of the drawings in the book were later recreated as paintings and it is interesting to compare the original sketches with them.

Byrd had a facile hand and was able to capture intense and often outrageous incidents with compassion and tenderness. One page from the book depicts and describes showering. It is a colored pencil sketch of two naked men against the wall in a room presumably showering, joined by a third that is more monster than human. The text reads: "Asked what does the picture represent, I can't say for sure. An old man with water feeling good on old bones, a middle person I thought would make the picture better, and a soaped up third character that is momentarily unrecognizable."

Byrd's images of the Veterans Center call to mind the works of Henry Darger and Martin Ramirez, both prolific "outsider" artists. While Byrd had artistic training, his works mine similar content — the goings on in the minds of those experiencing psychotic episodes and the places designed to keep them safe. The witty, psychological, and compassionate body of work he left for others to ponder resonates long after viewing.

Click here for David Byrd on its own page.

Amir Zaki
Nothing to Say
Diane Rosenstein Gallery
February 24 - March 30, 2024


Amir Zaki

Amir Zaki is a Southern California based artist who uses digital photography to scrutinize the natural as well as the built landscape to make pictures in the documentary tradition that transform what actually exists "in the world." He begins by capturing his surroundings with a camera (sometimes also using a GigaPan, a device for stitching many digital images together into one). Using other digital tools, he transforms these images into something other than reality. At first glance, Zaki's photographic images often appear "normal", but upon closer examination something is off — added, subtracted or perhaps both — causing pause and reflection between what is pictured and what is expected. In his series On Being Here, (2022), Zaki architecturally skewed the perspective of piers. For Empty Vessels, (2019) his subject was skateparks where he manipulated the forms to emphasize their bunker like architecture and in Getting Lost, (2018) he illuminated and photographed trees at night, capturing them so they seemed to be in conversation with each other.

In his exhibit Nothing to Say, he presents two new series: Signs and Trees. The photographs in Signs feature outdoor commercial signage devoid of text, presented as architectural monumental structures that jut into the sky. The images that comprise Trees similarly tower into the sky against a variety of cloud filled backgrounds. Looking closely reveals isolated birds nested within the leaves or perched atop the branches.

Taking the title of the show literally — and Zaki's titles do direct the reading of his works — the signage without words does have "nothing to say." Beautician (all works 2023) is an altered Norms Restaurant sign where Zaki has digitally removed the letters— N, O, R, M, S— and replaced each of the original five white shapes that supported the letters with light hues ranging from yellow, cyan and magenta to a soft black. The newly colored and empty sign appears sculptural against the sombre yellow-gray sky (the way Los Angeles skies often appear at dawn or dusk). In the lower left hand corner, an airplane appears as a tiny spec flying out of the frame.

The Designer references a Modernist era, Art Deco style sign. Shot from below and looking up at an angle rather than straight on, the photograph features a white pole that rises from the bottom of the image. The pole is bisected by three ovals with orange fronts, above which is a large rectangular box filled with a delicate pattern of small orange dots to the left and empty space to the right where letters would have been. In The Painter, a rusted pole supports six rounded rectangles that at one time advertised a restaurant or business but in Zaki's rendering, the letters are gone and each rectangle has been filled in with a single color: red, green, light orange, cyan, off white and purple, becoming a geometric abstraction against a pale blue sky.

Zaki never depicts the ground or base of the sign, but rather presents them as flattened shapes against the sky. Once the words are removed, Zaki either fills the empty space — inside the signs structure— with sky or opaque colors. Although these signs no longer advertise places or things, they do communicate and engage not only with Zaki's past works, but with the history of art, as well as with the shrinking boundaries between photography and digital technologies.

In addition to the signs, Zaki also displays a series of photographs called Trees. The Trees are named after family members and could perhaps be thought of as portraits or tributes to those close to him. Like the signs, they are shot from below, have no anchors (ground or trunks) and enter from the bottom of the frame where they intersect with an image of the sky. In Dori, Zaki presents a tree with brown, rust and green colored leaves and peeling bark against a light blue sky filled with billowing pink-orange clouds. Sitting on a small branch on the left side of the picture is a solitary bird. Similarly in Mateo, Zaki includes a bird resting on a thin branch at the top of the tree. While it is hard to identify the species, perhaps it is the birds rather than the trees that Zaki is pairing with family members. Nevertheless, though these image are silent, it is possible to imagine the birds singing— perhaps even to the ones that populate the other pictures. Were the birds actually in the trees when Zaki shot the pictures? Probably not, but their presence gives the photographs a surreal aura. While a photograph cannot replicate a birds song, Zaki's juxtapositions, be it birds and trees or wordless signs still communicate. As the tree photographs represent an extended family, and the birds a focal point of each image, it appears that they and Zaki have "something," rather than "nothing" to say.

Zaki is a master at compositing— adding as well as erasing aspects of images he shoots— transforming the observable into something hyperreal, imagined and fantastical. Throughout disparate series, he has converted the natural world as well as the built environment into images and scenes that depict impossible, but believable places. He consistently transforms that which is objective into something subjective, beautiful and unexpected and this is what sets his work apart.

Click here for Amir Zaki on its own page.

Rachel Lachowicz
The Gravity of Color
Shoshana Wayne Gallery
February 3 - March 29, 2024


Rachel Lachowicz

Throughout her thirty-year career, Rachel Lachowicz has been celebrated for her inventive experimentation with non-traditional materials. In the 1990s, she began to use cosmetics— specifically eyeshadow and lipstick— to remake Minimalist forms created by iconic male artists such as Carl Andre or Donald Judd. Using a seductive combination of wax and red lipstick, her sculptures "feminized" these hard-edged works. Lachowicz also appropriated sculptures by Kurt Schwitters and imagery by Chuck Close and Andy Warhol, recreating likenesses of their pieces with grids of eye shadow containers. She also crafted geometric abstractions and pieces that recalled the works of California Light and Space artists with subtle colors of pressed eye shadow.

In her current exhibition The Gravity of Color, she presents a series of colorful geometric wall-based works. What stands out in these pieces is their imprecision and melding of hard and soft edges. Each work is comprised of small pressed-eyeshadow tins in large grids where each rectangular element is a two- or multi-toned section that creates the overall pattern when combined. Seen close-up and individually, each "container" is a tiny abstraction. Works like Deep Weave, Radiofrequency and Ocularity (all works 2024) pay homage to artists like Josef Albers and Victor Vasarely, whereas the yellow and white Pistil Stamen references the pollen producing parts of plants. The anomaly is the more diagrammatic It From Bit. In this work, Lachowicz combines different pastel colored diagrams of seemingly impossible three-dimensional shapes on a white ground. The title It From Bit comes from physics and "symbolizes the idea that every item of the physical world has... an immaterial source and explanation," according to Physicist John Wheeler.

While Lachowicz's latest eyeshadow pieces conceptually draw from scientific theory and optics in an attempt to "make sense of the systems and laws that define our existence," they are first and foremost formally elegant and visually dynamic works that demand attention and close examination. While still drawing from art history, there is real visual pleasure in looking at the disparate pieces contained within Radiofrequency or comparing and contrasting the color circles and backgrounds in Ocularity.

Two large sculptures occupy a back gallery: Packets of Light (Yellow Field) and Granularity of Space. In these more confrontational and flashy works, Lachowicz has welded together hundreds of eyeshadow tin plate pans (powder coated yellow triangles in Packets of Light and bright-blue circles in Granularity of Space.) Again, Lachowicz draws from past artistic movements — in this case the "Fetish Finish" group prominent in southern California in the 1960s that included artists like John McCracken, Larry Bell and Ron Davis. Their abstract, non-objective works often had a glossy, slick machined surface. Where Lachowicz's Cell Interlocking Construction from 2010 re-interpreted Schwitters' The Merzbau with plexiglas boxes filled with pigment, these new works have no specific art-historical referents and emanate more from her imagination. That being said, both pieces have wave-like auras and allude to the climate and surf culture in Southern California.

Hardcore, Core and Legal Whip are monochromatic wall works made from a combination of lipstick and oil paint applied to the surface as thick gestural marks to create an impasto effect with the appearance and consistency of cake frosting. Once again, Lachowicz combines her materials in surprising and new ways to create the unexpected. While many of Lachowicz's earlier works had clear art historical referents and could be easily placed in a canon of feminist critique of the male-dominated art world, these new works are more nuanced and personal, while being inspired by more existential and scientific ideas.

Click here for Rachel Lachowicz on its own page.

Lucia Engstrom
Lovers & Dreamers
Von Lintel Gallery
February 3 - March 23, 2024


Lucia Engstrom

Lucia Engstrom's enigmatic works combine textiles and photography. By adding patches of thread she changes the overall tenor of the landscapes depicted in her images. Engstrom's use of embroidery differs from other artists like Maurizio Anzeri, Julie Cockburn, Flore Gardner or Diane Meyer who stitch on top of small-scale photographs essentially drawing over what is below and turning the surface into pixels or embellishing the image with decoration. Engstrom's amalgamation of different types of hand dyed threads (colored by the artist to match elements within the photographs) have more in common with works by artists such as Channing Hansen who collects and dyes raw fleece, spins it into yarn and assembles this material into complex knitted forms recalling open weave abstract paintings.

In older series like Diffused Landscapes (2013-2018) before Engstrom added embroidery to her pictures, she explored the relationship between water and sky to present the natural landscape as over-saturated and abstracted blurs hovering above and below the horizon line. To create the images in her Lovers & Dreamers series, she uses a needle and organic threads like silk, mohair and wool, piercing the printed cotton rag paper to augment specific areas of the photographs with sewn textures that give the images a sculptural quality.

In a work like Baltic Blue (all works 2023), tufts of blue and green threads of varying thickness emerge out of the landscape at the horizon line. The base image is an extremely blurred yet brightly colored landscape filled with a gradient of blue— the sky and sea— that surrounds a fuzzy line of green-brown hills. The embroidered shape covers the center of the composition to become something at once derived from the image in terms of color, yet completely alien from it in material and texture. This constantly moves the eye from seeing the contrasting forms and textures apart from one another to integrating them.

In Blue Storm, wave-like shapes of yarn cover an image of cascading waves as they hit the shore. The deep blue sky is filled with ominous clouds suggesting an approaching storm. The sewn shapes dance in the foreground (and into the white border of the paper) as if a close-up of the turbulent sea. Mirage is more subtle. Here, Engstrom depicts a group of small tree-filled islets surrounded by water and sky. Like in the other images, Engstrom portrays the landscape as a poetic expanse of either bombastic or subtle colors. White threads appear like soft mustaches or wispy clouds disrupting the calm sea as they hover above the surface of the print and move beyond the borders of the image. Some of the plant life in the lower portion of the photograph has also been stitched over, adding texture and dimensionality.

Home: Blue/Yellow is more reminiscent of Engstrom's previous work. It pictures a brightly lit and out of focus wooded area filled with blue and green trees that are backed by soft yellow leaves and patches of white sky. This over-saturated image is bracketed by clusters of embroidery that approximate the colors and shapes of the landscape. These interventions extend beyond the edges of the printed image into the white border area and break down the confines of the rectangle, frequently spilling the relief of the embroidery off of the flat image and into the viewers’ space.

Echo (Burnt Orange) has the most aggressive application of stitching. Atop a sharply focused black and white seascape split in half — sky at the top and water at the bottom — is a bulging shape made from a melange of orange, yellow, mauve, gray and purple threads. Like the shape in Baltic Blue, Engstrom spins the overlay emerging out of the photographic image from her imagination. It may begin within the confines of the photograph, but the completed image transforms it to a dramatic (as is the case in “Echo (Burnt Orange”) or more subtle result. The tensions between what is first photographed and subsequently added, as well as the relationship between the flat printed surface and the imprecise or gestural dimensional stitching, is what gives these works their intrigue and appeal.

Click here for Lucia Engstrom on its own page.

Jose Dávila
Photographic Memory
Sean Kelly
January 20 - March 9, 2024


Jose Dávila

Jose Dávila is a multidisciplinary artist based in Mexico whose conceptual practice spans numerous media. While he creates paintings, works on paper and sculpture, as well as public art, he is best known for borrowing (or appropriating) from other artists. He has replicated Donald Judd's Minimalist forms using cardboard or shipping containers and in his "cut-out" series, he removes the key element from reproductions of iconic architecture, popular culture and arts such as Dan Flavin, Roy Lichtenstein, Pablo Picasso and Richard Prince.

Dávila began his cut-outs in 2008 and in this ongoing series, removes artworks or architecture from an image to leave a white void, often in the center. Although many artists have worked with erasure and absence from Gordon Matta Clark to Robert Rauschenberg and John Baldessari, Dávila's technique was inspired by the Mexican folk-art tradition of papel picado or "Cut-Paper," which he applies to contemporary art to explore the power of negative space.

For the exhibition Photographic Memory, Dávila appropriates specific images from Richard Prince's "Cowboy Series" that were displayed for the first time at the Los Angeles Museum of Art in 2018. To create his "Cowboy Series," Prince rephotographed and cropped expansive color image of Western landscapes filled with cowboys riding horses, many of which were used in the all pervasive Marlboro cigarette advertising campaign. Prince presented these appropriated pictures as his own artwork— a strategy that was prevalent in conceptual based art from the 1980s and 1990s. In Dávila's reworkings, he not only scales up Prince's originals, but also carefully removes the horses and riders to leave a negative space in the two-dimensional plane of the print. This void becomes the focal point of the new image.

In 2008, Dávila created "Buildings You Must See Before You Die," a series of fifty photographs where he removed the central subject from images of architectural landmarks around the world and presented them in a large grid. With the buildings removed, the focus of the images became the surroundings as well as the space around them. He has also cut away important elements in paintings by Roy Lichtenstein and Pablo Picasso. In Untitled (Femme d'Alger) (2016), a series of photographic works that included thirteen variations, Dávila sequentially removed different aspects of Lichtenstein's work until all that was left was its linear structure.

There is something kitschy, ironic and fun in many of Dávila's cut-outs. For example, it is hard not to smile when looking at the image of a woman staring up at a huge phallic shaped void from Dávila's multi-panel piece a chronological history of sculpture (2013), or marvel at the blank spiral void in a reproduction of Robert Smithson's Spiral Jetty.

What stands out in Photographic Memory is the conversation about the history of appropriation with Prince as the master appropriator, for better or for worse. The works pay homage to a strategy of art making while also positing that these new creations are uniquely his own. Each Untitled (Cowboy) (all works 2023) in Photographic Memory is a large-scale archival pigment print, either a single image or a diptych based on Prince's originals where Prince removed pages and spreads from magazines keeping the torn edges and Scotch taped centers. Because Dávila's images are reproductions of reproductions, they have a prominent dot-screen. Dávila simply cuts away (though not conceptually simply) the cowboys to leave the landscapes that surround them. This cut-out space casts shadows on the wall seen through the clear frame. The missing image is filled by the surface of the wall and a new dialogue ensues. Devoid of context, the Untitled (Cowboy) images feel incomplete. However, when seen and contemplated in relation to the history of appropriation and Dávila's own body of cut-outs, they further the endless cycle of reproduction and continue the art about art conversation.

Click here for Jose Dávila on its own page.

Catherine Opie
Harmony is Fraught
Regen Projects
January 11 - March 3, 2024


Catherine Opie

In Harmony is Fraught, Catherine Opie displays photographic images shot over the entire span of her career. She has been photographing domestic spaces, friends and family, the urban landscape, acts of protest, as well as the gay community since the late 1980s and in this expansive exhibition of more than sixty images that have never been publicly displayed, the specificity of her points of view becomes even more evident.

The exhibition opens with a wall of small, square, framed black and white photographs, some from the mid 1990s, others like the portrait of Stanya and Harry is from 2005. In these intense images Opie captures not only the love amongst the individuals depicted but their openness and trust of her, the image maker, exposing their vulnerabilities and personalities. In these photographs the setting was controlled as most were shot in a studio against a neutral white / gray backdrop.

Both color and black and white images are on view and while they are not arranged chronologically, the installation is grouped somewhat thematically with occasional one-offs or anomalies that reference both well known series such as 105 Freeway (1994) a large-scale black and white print of the empty 105 freeway which was constructed in 1993 and more singular images like 6th Street Bridge Construction (2022), a color photograph documenting the bridge under development.

A few photographs resonate personally — Tony Greene's Studio, September 12, 1990 — a picture of postcards and image fragments on the wall of her friend and late artist Tony Greene's studio around the time he passed away from AIDS, as well as beautiful early portraits shot in the late 1980s and early 1990s of Richard Hawkins, Judy Bamber, Bill Jones, John Greyson and Matias Viegener, artist friends and CalArts professors.

Opie's sensitivity to her subjects dominates in these intimate portraits and while she is better known for her documentation of figures in the S&M scene, gay bars and queer domestic spaces, it is the less bombastic, more subtle images of those close to her that resonate and illustrate a broad sense of community. The exhibition does include numerous nudes — some like Gay Pride Day or Yes Ma'am are overtly sexual, while others like Pam shaving (all 1990) depict a private moment now made public.

The never before seen video Making of Self-Portrait/Cutting (1993) is a thirty-one minute documentation of the making of one of Opie's most iconic images — a color photograph of the artist, shot from behind against an ornately patterned deep green fabric that depicts her back which has been incised with a crude, childlike drawing of two women holding hands under a cloud and next to a simple house. The image is "quintessential" Opie — rough and tender simultaneously. The hard to watch footage documents the process of slicing her back with a scalpel, wiping off her blood and washing her back with antiseptic— refusing to mask the pain while acknowledging the pleasure of the process.

Opie is unabashed about her personal life and these images reveal conflicts as well as triumphs. Throughout her thirty-year career she has faithfully documented a wide variety of subjects — from intimate moments with her son or lovers to incidents of street violence, urban construction as well as destruction and the joy of letting go and dancing in a club. To her credit, she has refused to be pigeonholed as a certain type of photographer and this has allowed her the freedom to traverse the world photographing that which appears before her. This heartfelt exhibition attests to her commitment to show the world as she sees it and how it is.

Click here for Catherine Opie on its own page.

Nathan Vincent
Teach a man to ...
Walter Maciel Gallery
January 6 - March 2, 2024


Nathan Vincent

Two installations featuring crocheted or knitted sculptures by Nathan Vincent are on view at Walter Maciel Gallery: Locker Room (2011) and Let's Play War (2015). In Locker Room, Vincent replicates a life-size typical male gym changing room equipped with two rows of lockers and benches surrounded at either end of the back room by three urinals and three showers, all to scale and tenderly crocheted, giving the hard-edged objects a feminine aura. Interested in contradicting stereotypical gender associations, Vincent offers an altered sense of masculinity— one that is softer and gentler than the norm. Though no longer functional, the objects are placed amidst institutional blue/green walls to further the illusion of a realistic space. The piece is simultaneously beautiful and unsettling.

Despite his mother's reluctance to teach him this craft, Vincent's interest in needlework began when he was young. In college, he began embroidering his painted canvases and eventually transitioned out of painting to fully embrace yarn as a medium for art making. For the larger works, he crochets around armatures or begins with foam and builds on that.

In conjunction with Locker Room (which went on view in November, 2023) are miscellaneous "soft" yarn-objects in the front room, as well as evocative pieces collectively titled Let's Play War, originally commissioned by the Bellevue Arts Museum (WA), where it was shown in 2015. Here, Vincent presents figurative sculptures covered in green or tan yarn based on the iconic small-scale children's plastic toy soldiers. Approximately enlarged to the height of ten-year-olds, these figurines are positioned in acts of play (or war) acting out all too familiar scenarios. Some climb the walls, others recoil from attack. Meticulously crafted, Vincent faithfully replicates the subtle details of the readily available plastic soldiers using yarn.

Continuing the theme of war are other objects scattered throughout the space — Don't Make Me Count to Three! (2015) is comprised of piles of crocheted sticks of dynamite with a detonator, Joystick (2011), as well as Threat II pink, grey, teal (2017), a soft pink and teal hand-grenade innocently placed on a small shelf that calls out: Touch-me, pick me up, see if I am no longer a danger.

The works on view pose questions: What is a weapon? What connotes power? (How) can weapons and symbols of power become inert? Vincent is interested in merging masculine and feminine tropes to challenge accepted norms using what is often considered a "woman's" craft to make his artworks. The soft-sculptures on view are impactful as well as cuddly. It is ironic to think of hugging a crocheted soldier or hand grenade as one might a teddy bear and Vincent's works allow for that dichotomy and intrigue. While the pieces from 2011 and 2015 still resonate (almost ten years after their creation), there remains a curiosity about Vincent's current projects and where he has gone from these powerful and thought-provoking pieces.

Click here for Nathan Vincent on its own page.

Krista Svalbonas
What Remains
Marshall Gallery
January 20 - February 24, 2023


Krista Svalbonas

Recent photographs from Krista Svalbonas' Displacement series are on view in an exhibition titled What Remains. These laser cut pigment prints fuse black and white photographs of facades of buildings shot during her travels to Lithuania, Latvia and Germany (the birthplaces and early residences of her parents) with appropriated texts culled from personal letters from other displaced residents. Similarly, in her What Remains series more post-industrial buildings are juxtaposed with decorative patterns that fill the space around the structures.

As a child of immigrants, Svalbonas "was always interested in ideas of home and dislocation." Researching, retracing and imagining her parent's origins amidst the turbulent political climate imposed upon them and their subsequent journey away from their homeland led her to Displaced Person Camps in Germany where refugees fleeing the Baltic States spent the years after WWII awaiting permission to emigrate to the United States. Through rigorous archival research, Svalbonas located numerous camps and traveled to Germany to document those that remain. Today, the buildings give little indication of their prior use or those who once inhabited them.

In her Displacement series, Svalbonas describes the dwellings as "impersonal structures appropriated from other civilian and military uses." Photographed in situ they are printed in desaturated tonalities where the architecture fills most of the frame. Within the computer, Svalbonas collages these images with texts from letters she discovered that were pleas for asylum sent by refugees to governments in the United States, United Kingdom and Canada. These words are typeset in dense overlapping rows that span the entire surface of the images and cover the buildings. The digital collages are printed and then fed into a laser cutter that etches the spaces between the letters to create an intricate, lace-like texture where the sky and foreground surrounding the buildings dissolve into a pattern of barely legible words.

Lauingen (2022) depicts a building in the town which is located in the district of Dillingen in Bavaria, Germany. The three-floor structure appears to be a traditional European residence with numerous windows, nicely landscaped and inviting. This contemporary image offers little about the buildings past. To provide context and content, Svalbonas overlays the photograph with a dense texture of words to create an evocative and unsettling juxtaposition. Because the condensed, overlapping type fuses with and disappears into the building, it is not possible to read the letter in its entirety, though the salutation "To Mrs Eleanor Roosevelt" is visible in the upper left corner of the image. Another plea appearing in the image Geisligen (2022) begins, "We Baltic Women in exile..." This text accompanies an image of a friendly treelined street with a variety of homes. The photograph representing Hamburg is a multi story apartment building apparently undergoing renovations as scaffolding is situated against the facade. The text reads: "June 1947... To the [...] board of Human Rights ..." Although only fragments of the letter are clear, the content and urgency is evident in contrast to the calm and well composed architectural photographs.

With these delicate and mesmerizing works, Svalbonas investigates notions of memory as well as displacement as an attempt to retain and preserve a certain history before it disappears. In a recent interview, she stated "Each of these layered pieces becomes a puzzle I am struggling to complete before the history is lost forever, a composite of my own experience and the fading memories of my parents and their generation. My goal is to give voice to this near forgotten history that also speaks to the impact of contemporary forced migrations."

In addition to her Displacement photographs, Svalbonas also presents a number of works titled What Remains (2021-2022). These images juxtapose black and white photographs of imposing Soviet architecture from the Baltic regions with complex and delicate textile patterns from traditional Baltic designs. There is a sharp contrast between the concrete, industrial architecture and the geometric cut-outs culled from folk-art patterns, which were often used for mittens, scarves and table cloths as well as curtains. The voids in the prints that were removed by the laser cutter show a slightly burnt golden residue that references the past. According to Svalbonas, this work "examines the ways in which people are shaped by their environment, and how they can rebel against it to preserve their identity and culture."

These images couple objective photography (like the Bechers) with archival research that stems from personal stories. Seen together the photographs from both the Displacement and What Remains series speak to both the present and past. The works intelligently and gracefully integrate ideas of home and dislocation with architecture and design.

Click here for Krista Svalbonas on its own page.

Katrien De Blauwer, Ken Graves, and Kensuke Koike
Fragmented Lucidity: The Art of Collage and Photomontage
Rose Gallery
December 9, 2023 - February 17, 2024


Fragmented Lucidity: Katrien De Blauwer (l), Kensuke Koike (c), Ken Graves (r)

Defined as a technique of assemblage to create a new whole, collage most often refers to visual works. It has a rich political, as well as aesthetic history. When the term collage or photomontage is mentioned, numerous historical artists and movements come to mind: Hanna Hoch (Dada), John Heartfield (German political montage), Picasso, Braque (Cubism) and El Lissitzky (Constructivism). Fragmented Lucidity: The Art of Collage and Photomontage at Rose Gallery features work by Katrien De Blauwer, Ken Graves and Kensuke Koike, three contemporary artists who excel in the making of collages in unique and unexpected ways.

Self described as a "photographer without a camera," Katrien De Blauwer is a Belguim based artist who creates small-scale collages that feel as if they come from another time. She often juxtaposes a few fragments culled from old magazines and newspapers. These are casually cut, though not with straight lines, and often contain large areas of a single color. In Forces 4 (2022), for example, a clipping that features the top of the head of a woman with brown hair, shot against a deep orange ground is placed below a black and white photograph of rolling waves in a turbulent sea. The top of the collage is a rough edge of cardboard or backing that suggests a mountainous shoreline. Many of De Blauwer's collages feature images of women, in some instances clothed, in others nude but never overtly sexual. Rather, she uses the human body as a compositional device similarly to the way she incorporates objects, as well as large areas of color. Each fragment is a formal, design element that may also trigger memories through juxtaposition. Single Cuts 133 (2018) is a collage made up of three photographic sections bordered by light backing paper. In this image, De Blauwer crops a black and white magazine or book photograph of a woman wearing sunglasses whose arm rises up toward the top of her head to block the sun. She cuts and rearranges it so the upper torso is positioned above the top of her head. Her face is missing entirely from the collage.

The cutting and repositioning of body parts and faces is also a methodology for the Japanese artist Kensuke Koike. Koike often begins with found vintage photographs like old studio portraits or antique cartes de visites and carefully removes aspects of the scene or the people depicted within the image and replaces the extracted elements with different parts taken from the same original. Say Cheese (2020) is a photograph of man and woman about to embrace: their lips approach one another's. Koike has removed a rectangular section of the image around the mouths of both the man and woman, switching their lips. The result is unsettling and absurd. In Traveler (2020), Koike cuts away the outlines of two overlapping squares that intersect the face and shoulders of a seated man from a vintage sepia toned portrait. He turns each square 90 degrees (one clockwise, the other counter clockwise) before re-inserting them to transform a banal portrait into an abstraction. The splitting of a head or full body in half or thirds, or the displacement of certain facial features are alterations that Koike employs in many of his collages. It is hard to believe that such seemingly simple maneuvers would so significantly alter the tenor of the image but they do so in striking ways. His surrealist images have lasting power.

Ken Graves' witty and often ironic collages draw from a variety of source material ranging from found photographs to magazine images. Through inventive compilation and juxtaposition, each work becomes a self contained narrative that offers new interpretations of pop culture. The collages on view were created between 1976 and 2015. The earliest image — Putting Them Out of Their Misery (1976) is a small black and white work, just over 3.5 x 4 inches depicting a range of mangled hard-back chairs suspended from the ceiling of a well lit living room. In the foreground, a man sprays one of the chairs from a can, suggesting that either the spraying or hanging will put the chair "out of its misery." The Home Movies (1986) is a color collage of elderly, people in fancy dress who are intently watching a movie being shown in their home. The screen is placed on a woven rug and takes up the lower half of the composition. Facing the viewer, the back-side of the screen transparently shows a heavily tattooed man from behind. Squash (2011) is a surreal montage in which a seated man wearing a suit appears to be steering a large orange squash from which golden drapery tumbles. Graves' collages allow for playful free association where the viewer can invent whatever narrative they choose from disparate elements. While collage has come in and out of vogue over the years, these three artists illustrate the various ways it continues to resonate and remains a go-to-medium.

Click here for Fragmented Lucidity on its own page.

Hector Dionicio Mendoza
Buscando Futuro / Searching for a Future
Luis de Jesus Los Angeles
January 13 - February 17, 2024


Hector Dionicio Mendoza

In Buscando Futuro / Searching for a Future, Hector Dionicio Mendoza presents mixed media floor and wall-based sculptures. The overarching theme of migration and the various ways both people and animals move from place to place is both subtly and overtly communicated. Through the individual works, the installation itself becomes a journey of discovery, place and sense of self as articulated through the sensual assembling of unusual yet commonplace materials.

It is impossible not to be immediately drawn to Leaning, Holding, Pushing (2020-2023) a gigantic figure and its shadow sculpted from among other materials, tree bark, wood and cardboard. The oversized man leans against a gallery wall, his arms extended to support his body in a position of submission that resembles someone being arrested. To the right and slightly below the sculpted figure is his flattened silhouette painted with stenciled abstract lines and floral shapes that is flush with the wall. The three-dimensional body was created by assembling numerous pieces of bark and cardboard and appears surreal and mechanical, alien and definitely not human, yet sympathetic rather than threatening.

Many of the works derive from Mendoza's experiences of the border between the United States and Mexico, as well as and the politics and narratives intertwined with borders and border crossing. This is most evident in Familia Universal / Universal Family, (2021) a spray paint on wood panel wall work that depicts five abstracted figural silhouettes presenting people of different ages and genders on the move. The leader is a woman, followed by a man with a baseball hat facing backwards who is supporting a one legged man also wearing a baseball hat. Last in the sequence is a pregnant woman holding hands with a young girl who carries a backpack. The work references the generic immigrant crossing highway signs, yet is much more nuanced and evocative.

While sculptures alluding to individuals with their implied stories dominate the exhibition, Mendoza also includes numerous images of animals such as Perros Callejeros / Street Dogs, (2024) and Beast of burden, jackass / Pinche burro, asno, (2023-2024). Beast of burden, jackass / Pinche burro, asno, features an incredibly heavy load piled high on an almost life-size silhouette of a donkey. Towering up the wall, it is an obvious burden to an animal whose lower legs and feet have been transformed into human body parts. Mendoza seamlessly juxtaposes two- and three-dimensional aspects to give the flattened animal both physical and psychological depth.

A more whimsical piece — When I dream, I fly / En mis sueños, yo vuelo, (2023-2024) is situated in the center of the gallery. Here, a figure wearing a ratty olive green "hoodie" arches back on a home-made skateboard with bright blue wheels. The feet-less rider's legs are attached to the skateboard and he has long blue feathers instead of hands. In addition, feathers also hang below his outstretched arms. His face is comprised of mirrors and glass and is nested inside the tightly drawn hood. The sculpture references "dreamers": those undocumented immigrants who were brought to the U.S. as children and whose immigration status remains in limbo.

In his pieces, Mendoza incorporates found materials, as well as his own concoction of "ethnic bread" — a melange derived from his study of global flatbreads that he molds into different shapes and body parts. While the finished sculptures have an ad hoc look, they are also precisely crafted to carefully integrate abstract and representational elements. The works in the exhibition allude to unbalance and uncertainty. While hopeful and majestic, Mendoza has created a suite of sculptures that suggest stories about hopes and dreams and loss and the myriad issues facing migrants and refugees in all parts of the world.

Click here for Hector Dionicio Mendoza on its own page.

Sarah Conaway
Interior Castle
The Box
December 2, 2023 - February 3, 2024


Sarah Conaway

Sarah Conaway presents ten digitized Super 8 mm films in the large darkened space of The Box, as well as a series of twenty film-stills installed in a separate room at the back of the gallery. Derived from the moving images, the stills encapsulate an instant from the larger whole. The films are all screened at the same scale from projectors meticulously installed on white pedestals. Each is a fragmentary meditation no longer than four minutes with varying still life, exterior or interior shots that are dream-like and fleeting. The series is named after the spiritual treatise Interior Castle from 1577 by Teresa of Avila (a Carmelite nun and prominent Spanish mystic, also known as Saint Teresa) which describes the "contemplative life" as a castle with seven chambers. Conaway's films are reflective and carefully observed simple moments presented as studies of color, light and shadow.

When thinking about the relationship between the still and moving images, without careful scrutiny it is hard to discern which still came from which film, though that is hardly the point. Titled like the films by number (Still Life No. 1 to Still Life No. 20) the sequence of small scale (11.25 x 13.25) grainy images depict the environs that surround Conaway's apartment. These include concrete stairs, palm trees silhouetted against the sky, drapery folds, shadows of plants on a wall and the sidewalk, in addition to dried flowers in a vase and other more abstracted interior and exterior scenes. Because the pictures are enlarged from the tiny Super 8 footage they have a shallow depth of field and a softness that harkens back to experimental film from a pre-digital era. Still Life No. 17 depicts a light sepia/orange hued image of a vase with dried flowers and its shadow. Along with numerous other shots of flowers in interiors, these images recall Andre Kertesz's photograph Mondrian's Studio (1926), as well as the aura of Maya Deren's classic film Meshes of the Afternoon (1943).

The journey through the ten films moves between interior and exterior spaces while focusing on plants, architectural details, shadows and drapery. None of the completed short films are single takes, but rather slow fades that jump between subtle observations. Interior Castle I (all works 2023) is grainy and black and white. It begins with silhouetted palm trees blowing in the wind against a gray sky, then shifts to close-ups of light coral on a dark ground followed by leaves and flowers in a vase. The film segues to curtains and the light seen through them followed by details of cracked paint on walls. It then returns to silhouetted flowers in vases and their shadows moving ever so slightly on the walls before moving outside where the footage traces the shadow of a wrought-iron fence on a sidewalk before concluding with blurry shots what appears to be crumpled paper.

While each short sequence is unique, the imagery within them is strikingly familiar as Conaway repeatedly films the objects that surround her. The differences are what drive the content as she shifts her view from down to up to out while taking advantage of the ways lenses flatten space and capture shadows. The movements within each scene are subtle for the most part: a slow pan where the focus changes or a jump from close to far as seen in Interior Castle II where Conaway's camera fluctuates between a distant and closer view of drapery gathered on the floor, or hovers over a white ribbon on a dark ground. The colors are often washed out and faded hues or sepia tones except when Conaway shoots footage of garden plants. Bright green objects and deep pink backgrounds appear in Interior Castle X giving pause as if referencing a moment from a different dream.

Each projection appears like a moving painting on the gallery wall. There is no overt narrative, but rather the films and accompanying stills allude to emotions and feelings while delighting in the way the mind can drift in numerous directions when triggered by familiar, yet somewhat abstracted imagery. The works are about time, space and nature through the qualities of light that fall upon interior and exterior spaces. Returning to Teresa of Avila's book and the notion of "mansions of the mind," Conaway's films construct a journey that reveals the power and beauty in the everyday.

Click here for Sarah Conaway on its own page.

Paul Pfeiffer
Prologue to the Story of the Birth of Freedom
Museum of Contemporary Art
November 12, 2023 - June 16, 2024


Paul Pfeiffer

Paul Pfeiffer began exhibiting his mixed media works in the mid 1990s and was immediately applauded for using a technical innovation in a conceptually significant manner — digitally erasing aspects of stock sports photographs and video clips using programs like Adobe Photoshop and Premiere. In John 3:16 (2000) he cropped and composited 5000 frames culled from National Basketball Association games, carefully manipulating the footage so that the basketball remained centered in the frame while the background and players' hands were in constant motion swirling around it. Rather than project this two-minute video loop or present it on a large screen, Pfeiffer displayed it on a small monitor that extended out from the wall on a long metal armature so it appeared to be floating in space like the basketball. This iconic work is among the thirty pieces that comprises Prologue to the Story of the Birth of Freedom, his first museum survey.

Titled after Cecil B. DeMille’s opening remarks introducing The Ten Commandments, the show spans the expansive MOCA Geffen warehouse space which has been divided into separate rooms to house the individual works. The exhibition design was done in collaboration with the New York City based architecture firm Büro Korak Duman and facilitates thematic rather than chronological pathways through Pfeiffer's works. Throughout his various still and moving pieces, Pfeiffer investigates ideas relating to "spectacle" — in both sports and entertainment — and draws from abundant found footage and photographs to create his idiosyncratic and compelling works. When Pfeiffer started, the culture of appropriation was still in vogue and he found innovative ways to critique and comment on popular culture. Much of Pfeiffer's work involves the process of recreation — be it filling in erased elements from the original source material or by hiring foley artists to mimic the shouts and gestures of stadium crowds.

The title of the exhibition is also the title of a 2000 video diptych presented on small monitors where Cecil B. DeMille is caught in a loop walking in and out of the draped curtains at the Egyptian Theater in Hollywood to deliver a speech, but never quite reaching the stage. Endless loops are prevalent and can be seen in works including Caryatid (2003), Live Evil (2003) and The Long Count (2000-2001), a trilogy of short video works that manipulate Muhammad Ali's most famous boxing matches so that the fighters appear to be ghostly images in an otherwise empty ring. While many of Pfeiffer's videos are exhibited on small monitors, he also creates room-sized installations.

For the MOCA presentation, these include The Saints (2007) and Vitruvian Figure (2008). The Saints was commissioned by Artangel and first presented in London in 2007. It is a recreation of an iconic football (soccer) match at Wembley Stadium in 1966 where England beat West Germany and won its only World Cup title. Upon entering a large, empty, bright space with seventeen wall mounted speakers emitting the sound of a roaring crowd, one is struck by the contrast between the minimal installation and the maximal sound. Inset into a wall toward the far end of the space is a tiny monitor positioned in the center of a large wall on which a version of the game appears. In this iteration of the footage, Pfeiffer has removed all but one of the players. He is alone running back and forth across the empty field as the disembodied sound of the spectators fills the room and surrounds the audience. On the other side of the wall, Pfeiffer projects two videos side by side. On the right is the original footage from the game and on the left, a taped re-staging of the sound by 1000 Filipinos voicing the cries and cheers in sync with the action.

Like The Saints, Vitruvian Figure is also a re-creation but this time, rather than work with the footage of an event, Pfeiffer built a room-sized replica of the proposed 2000 Sydney Olympic Stadium (that seats 80,000 people). His version is scaled up to accommodate one million people. He states, "It's a sculpture based on the stadium form, which I think of as one of the oldest architectural types in the Western building tradition. For me it’s a way to think about mass viewership through the ages, from Classical Greek Antiquity to the present and into the future. I also think of the stadium as a reflection of the larger social environment. All the conditions that shape the viewing experience of spectators in a stadium are equally active in the daily lives of people outside the stadium." To access the work, viewers ascend via a ramp and a stairway and look down on the simulated seats and tiny green playing field, made with the help of artisans in the Philippines. Pfeiffer is Filipino-American and although he is mostly based in New York, he has taught and lived in the Philippines on numerous occasions and has repeatedly worked with Filipino laborers and students on his projects.

Although Pfeiffer makes contemporary works using a range of analog and digital mediums, his practice is rooted in history as well as his cultural heritage. He often draws from art historical, biblical and religious references, infusing the pieces with a timeless aura linking past to present. This well deserved survey introduces audiences to a range of his exceptional, thought provoking and challenging works and allows them to wander freely through the many different aspects of his ouevre.

Click here for Paul Pfeiffer on its own page.

Louise Lawler
Going Through The Motions
Sprüth Magers, Los Angeles
November 10, 2023 - February 10, 2024


Louise Lawler

Louise Lawler has been making photographic works that focus on the presentation and collection of fine art since the early 1980s. Her work is conceptually based and she is associated with the "Pictures Generation" — artists known for appropriation including Richard Prince, Barbara Kruger and Sherrie Levine. Through photographing the artworks of others for most of her career, Lawler has examined various notions of "in-situ." Early on, her images were straight forward black and white photographs that documented artworks in museums, auction houses and collector's homes. Over time, the images became larger, full color and eventually she began to use digital tools to manipulate the pictures so they could span huge walls. Lawler's intention was to create social commentaries that focused on juxtapositions that she framed. She has always been interested in context and the relationships between the items on display, as well as the infrastructure and the curatorial practices of the institutions or individuals exhibiting them.

Going Through The Motions begins outside the gallery with a quasi-generic sign placed among the buildings landscaping that reads "Louise Lawler / False Compensation / This Weekend." The meaning of these signs is obtuse until one sees the exhibition inside, which includes photographic pieces from Lawler's swiped, adjusted to fit, and traced series. To create the images that encompass her swiped series, Lawler physically moved the camera during long exposures resulting in a partial blur. The blur is unsettling and disorientating, especially when the image depicts known artworks such as 1944-N No.2 and One: Number 31, 1950 (swiped) (all works 2022/2023) which features a double exposure of the Jackson Pollock painting One: Number 31 hanging on a wall adjacent to a semi-transparent and faded depiction of Clifford Still's 1944-N No.2, both on display at The Museum of Modern Art, New York (MoMA). Similarly, The Palace at 4 a.m. (swiped) is a dark, blurry and shadowy photograph of a fragment of Alberto Giacometti's iconic sculpture also installed at MoMA. In Lawler's image, the bird-like creature appears in motion as if taking flight. Lawler does not limit her explorations to MoMA as Edison Price and Breuer (swiped) is an out of focus image looking up at the numerous lights in the ceiling of the former Whitney Museum (now referred to as the Breuer building), another enigmatic double take.

Covering several of the huge gallery walls are pieces from Lawler's adjusted to fit series. For these works, Lawler instructs each exhibitor to digitally manipulate and scale the original images to match the width and height of a given wall. Often distorted beyond recognition, works including Vir Heroicus Sublimis and Abraham (swiped) (adjusted to fit) and It Spins (adjusted to fit) are printed on adhesive material and fused with the given walls. Vir Heroicus Sublimis and Abraham are both works by Barnett Newman in the collection of MoMA as is Duchamp's Bicycle Wheel which Lawler photographed closely cropped from above.

Two small, black and white photographs in the corridor leading to the upstairs gallery are significant, though easily missed. Position (verb) and Position (noun), originally shot in 1982, are photographs of an interior space with a lamp, two arm chairs and an early mixed media work by Eva Hesse. In the upstairs gallery, Lawler again presents large-scale images adhered to the walls. These black and white works are tracings of Lawler's photographs done in collaboration with the children's book illustrator Jon Buller. The relationship between Lawler's original photographs and the tracings becomes evident when regarding Position (noun)(traced), 1982/2020/2023 because viewers can compare and contrast the original photograph with its tracing.

Why reduce a photograph to a line drawing? What does a trace reveal or leave out? Why turn something seemingly objective into something subjective and gestural? Each of the tracings is derived from one of Lawler's photographs and simplifies the spaces and images contained within them into lines. It is possible to identify some of the artworks — like one of Damien Hirst's severed animals in Dots and Slices (traced), 2006/2013 or Jeff Koon's balloon dog in Egg and Gun (traced), 2008/2016 as well as Felix Gonzalez-Torres light bulbs in Bulbs (traced), 2005/2006/2019 — and imagine the original photographs. The fact that these works exist as digital files and can be scaled to any dimension is in keeping with the practices of numerous conceptual artists whose works were presented as instructions. Congruent with Lawler's ideas with respect to re-presenting and reframing, twelve of her tracing images can be downloaded from MoMA's website for children to color.

Although Lawler's photographic practice appears straightforward — she photographs artworks on display — it is always changing as she continually devises new ways to frame and re-frame her subjects. She has recently also embraced digital technologies to allow for further experimentation. Lawler questions authorship and "swipes" images from others. Although the works are not "false compensation" as the signage outside the gallery proclaims, they knowingly and slyly take and re-present the works of others to become evocative and telling documents of collections and exhibitions.

Click here for Louise Lawler on its own page.

Jónsi
Vox
Tanya Bonakdar Gallery
November 11, 2023 - February 3, 2024


Jónsi

Though best known as the lead vocalist for the Icelandic post-rock band Sigur Rós, artist/musician Jón Þór "Jónsi" Birgisson (Jónsi) is also an accomplished visual artist. For Vox he presents three pieces in which he combines speakers, LEDs and sounds in different ways. Although each work occupies its own space, they are interrelated, investigating not only how sound can envelope a space, but also its visual qualities. While sound on its own is not visual per se,  its method of display (as arrays or canopies of speakers) can be. Both Var (safespace) and Silent sigh (dark) (all works 2023) share affinities with the work of Alan Rath (1959-2020) whose sculptures often combined numerous speakers that undulated like animated entities pulsating up and down and emitting softs sounds according to Rath's computer algorithms.

Like Rath and the San Francisco based artist Jim Campbell (known for his LED installations), Jónsi's works rely on sophisticated electronics and programming. Var (the Icelandic word for shelter) hangs overhead and consists of hundreds of small speakers wired together to form a canopy or tent-like enclosure. According to Jónsi, it is supposed to evoke a "safe space" filled with calming sounds (a six minute loop) and the scent of cis-3-hexenol (one of the components in freshly cut grass). Yet while the suspended canopy offers "refuge" in some ways, its wing-like shape also calls to mind the body of a flying bat from afar.

Silent sigh (dark) is a free standing sculpture that fills a small, dimly illuminated space. The work is arranged in an array like a mechanical snowflake where the larger speakers are in the center and the smaller ones extend out toward the edges. Jónsi uses computers (nested in the base of the sculpture) to control direct currents that change the physical state of the different speakers. This causes them to ripple and emit breath-like sounds alluding to the idea that they could be "alive."

Filling the darkened main gallery space is the eight-channel sound and LED installation Vox. With a duration of twenty-five minutes, Vox visualizes the human voice. It intertwines Jónsi's own voice with those generated by an AI to create an eerie and ambiguous audio environment that syncs with choreographed bursts and flashes of light on approximately two-foot high LED screens encircling but not filling the four walls of the gallery. While it is difficult to make out actual words or sentences, the work evokes a sense of awe and mystery with the sound becoming visually palpable. Viewers enter the space through a curtain and as their eyes adjust to the darkness they might notice a single bench that appears to be floating in the middle of the space like a horizontal version of the monolith from 2001, its black surface reflecting aspects of the pulsating light. This bench beckons. It is an indicator that to experience the piece in full, one might want to sit. As the tonalities begin to ebb and flow the LEDs follow suit to become a visual and aural soundscape that is both soothing and other worldly simultaneously.

Jónsi's sound-works are subtle and not meant to overpower the space or the viewer. Though electronically created, they reference the subtleties of the natural as well as the built world. The pieces are seductive, contemplative and inviting. As a musician, Jónsi has performed in different arenas, as well as worked with visual artists such as Doug Aitken and Olafur Eliasson, so he is familiar with the power of immersing audiences within seemingly empty spaces. Once filled with both frenetic and soothing sounds, these spaces can become a visual field for the imagination.


Click here for Jónsi on its own page.

Ava McDonough
All I hear Is the Symphony
Lowell Ryan Projects
November 18, 2023 - January 20, 2024


Ava McDonough

Ava McDonough is a young, self-taught, Los Angeles based artist whose solo debut at Lowell Ryan Projects is a mixed media installation titled All I hear Is the Symphony. The mostly black and white works are intricately constructed collages on panel made by assembling hundreds or thousands of hand-printed images. Obsessive collaging of this nature made easier by digital technologies, but McDonough's works are hand-made and in some ways recall assemblages by Elliott Hundley, as well as drawings and paintings by outsider artists like Howard Finster and Adolf Wölfli, in addition to the all-over mark-making of iconic artists including Jean Dubuffet, Keith Haring and more recently, Trenton Doyle Hancock.

To create her dense and idiosyncratic compositions, McDonough begins by carving her drawings into linoleum blocks which are then inked and printed over and over again. She allows the saturation of ink to diminish over successive iterations resulting in different tonalities (shifts from deep black to light gray) in the small prints. Each block is printed multiple times and the imagery is often repeated across the many panels on display.

McDonough's doodle-like markings range from people to objects, to occasional words. Some of the imagery is generic —a shopping cart or scissors— while other drawings feel more personal. From afar, the works appear to be abstractions consisting of undulating shapes that range from light gray to deep black. The collaged elements within the large triptych, I, As a Sky-painting Journeyman (all works 2023) appear skeletal as if enlarged x-rays of the human body, yet upon close examination the overall shapes and structure dissolves into a montage of small-scale glyphs or pictographs that can be thought of as McDonough's alphabet. As the eye traverses the work, it may rest upon white silhouetted figures that morph into animals as well as utilitarian objects while the mind tries to create a narrative across the many tiny images.

Feral Ecstasy consists of overlapping curvilinear forms that suggest intersecting bodies. Looking at the individual fragments, one finds an array of nude figures, a teddy bear, a boxer, a box of Marlboro cigarettes, a toaster, the hare-rabbit illusion, a sign that states "hell" and another that reads "one way do not enter." How these elements "jive" is dependent on the viewer and their interpretation of the accumulation of line drawings. While McDonough might suggest a way of reading the works through her titles, they remain open ended.

Smaller works including the 7 x 5 inch My Beloved Vegetables! and CARNIVORES are easier to decipher. For example, in My Beloved Vegetables! there are myriad pills and pill bottles, a razor blade as well as a hunched over seated figure suggesting pain and despair, while in CARNIVORES McDonough presents a melange of human and animal forms. It is necessary to spend time with the images to discern McDonough's intentions and the works darker meanings, however it is also possible to enjoy the pieces on the surface and celebrate McDonough's labor intensive process and densely populated and evocative compositions.

Click here for Ava McDonough on its own page.

Stephen Neidich
Lost Mix Tapes
Wilding Cran Gallery
November 4, 2023 - January 6, 2024


Stephen Neidich

For his past exhibitions at Wilding Cran Gallery, Los Angeles based sculptor Stephen Neidich has created kinetic works. In 2019, he activated the gallery space by installing more than two-dozen metal chains that dangled from ceiling to floor, clicking and clanging in discordant harmony as they were dragged over a pile of concrete fragments placed in a circle on the floor below. For his 2021 exhibition, sensors triggered subtle movements of hand-crafted Venetian blinds augmented with LED lights to create an ever changing array of color and movement within the room. His current exhibition, Lost Mix Tapes is quiet. None of the wall-based sculptures move, yet they still command the space as strange objects infused with wit and intelligence. Spanning the walls are dysfunctional rusted steel Venetian blinds that exude character and personality. Who would have thought a Venetian blind could wink?

All The Answers Are In That Book (all works 2023) is a wall-based sculpture consisting of thirteen horizontal rusted steel strips tethered together like blinds with nylon cord and secured to the wall by metal brackets. The piece appears to be stuck in a partially open position and has seen better days, as many of the slats sag and sway between their supports. Two of the slats are bent and may imply an eye or mouth shaped portal. All The Answers Are In That Book could conceivably be functional, while many of the other pieces are purposely exaggerated. Oh, Is It Your First Time? is extremely long (28 feet) and spreads out from the top of a wall more than half-way across the gallery floor. While its rusted surfaces allude to the tones and textures of abstract expressionist painting, its material and form recall minimalist sculptures like those of Richard Serra and Carl Andre.

In We're Taking 3 Cars and Not No, Neidich twists the bottom half of the sculptures steel slats so they echo the shape of oversized intersecting folded paper hand fans. Almost everyone has encountered Venetian blinds that misbehave and Neidich exaggerates these occasions— like when one side rises but not the other (How Quickly You Forget). I Can Tell You But I Can't Explain It feels more like an unsafe floating broken foot bridge with its supports completely out of whack.

Neidich's works are serious and humorous simultaneously. His titles, including the title of the exhibition, Lost Mix Tapes are ambiguous and seemingly unrelated to the sculptures. Mixtapes are a thing of the past, while Venetian blinds are still in use as everyday items. By casting them in steel, Neidich negates their vulnerability, but solidifies their dysfunction. In doing so, there is a human quality to the work, as well as a sense of familiarity, perhaps like those Lost Mix Tapes, something still yearned for and forever embedded in memory.

Click here for Stephen Neidich on its own page.

Lia Halloran
Warped Side
Luis De Jesus Los Angeles
November 4 - December 22, 2023


Lia Halloran

Warped Side is an exhibition of selected images from the newly released publication The Warped Side of Our Universe: An Odyssey through Black Holes, Wormholes, Time Travel and Gravitational Waves, a collaboration between the visual artist Lia Halloran and the Nobel Prize-winning astrophysicist Kip Thorne. The book is the culmination of more than ten years of friendship and working together resulting in 500 plus drawings and discussions to "mobilize science, art and poetry to explore aspects of the universe that many people are curious about: black holes, wormholes and other strange phenomena." The images on view (mostly blue ink on drafting film) depict swirling vortexes and even imagined voyages through black holes as experienced by Halloran's wife who is pictured in many of these evocative representations of the world beyond and the surprising forces of nature.

In her site specific installations as well as smaller scaled works, Halloran has experimented with a wide range of media (drawings, paintings, photographic cyanotypes) to create works that explore relationships between the body and various scientific principles. These include investigations of scientific classification systems as well as our solar system. Her works are seductive and extremely impactful when seen from afar and upon closer examination, the nuances of her chosen subject matter become evident.

In this exhibition, many of the smaller works are hung on a single wall that has been painted a deep blue and extend across it in a sequence that becomes a long, flattened rhombus. As viewers move from left to right, from single, to double or triple hung images, they can piece together an implied narrative about a journey, perhaps from Earth to unknown worlds. Halloran uses different hues and opacities of the color cyan to paint concentric circles and intersecting lines that become planets, starbursts, vortexes, funnels and black holes. Some of these works on paper, including WS115, WS116, WS117 and WS118 (2016), depict a long-haired female figure engaging with, emerging from, or spinning around vortexes and orbs that could be the Earth or another planet.

Seen outside the context of the book, these celestial drawings are devoid of text and visually they suggest the vastness of space and the beauty of the unknown. Whether imagined or illustrated, scientific principles or telescopic observations, each drawing informs the group but also functions on its own as a unique work. WS473 (2023), one of the few to include red, features two intersecting blue globes. At the point of their intersection, thin, curvilinear red lines flow out in all directions toward the edge of the paper, while blue lines appear to emanate from the top and bottom of the combined shape. Another piece, WS320 (2021) also includes both red and blue spiraling lines that form an electrified circle that surrounds an awkwardly shaped blue sphere.

In larger works the gestural lines and individual brushstrokes dance in more open spaces, appearing less confined and free flowing. In WS602 The Wormhole (2023), two tornado shaped vortexes are tethered together even though they move in opposite directions. In the more amorphous WS603 Chaotic Singularity (2023), an organic shape akin to flowing water or flames of varying opacities of blue descends from a rectangular support.

Halloran's lines fill empty white spaces and allude to masses that exist beyond our solar system. The works are graceful and allusive and though grounded in scientific principals, they also engage with the language of abstraction.

Click here for Lia Halloran on its own page.

Rirkrit Tiravanija
No More Reality (For PP)
1301 PE
September 16 - December 16, 2023


Rirkrit Tiravanija

Rirkrit Tiravanija is an artist whose work has employed unusual and diverse mediums: cooking, staged readings and platforms for socializing. The forms and formats of his installations and presentations are participatory and unconventional, often involving the sharing of meals. That is not to say that Tiravanija does not also make objects and drawings that can hang on a wall or fill a conventional gallery space. In 2020, he covered the walls of The Drawing Center in New York with over 200 demonstration drawings — black and white works on paper derived from photographs of demonstrations published in the International Herald Tribune. World events and the propagation of news has long been an interest of his and for this installation, No More Reality (For PP), he covers the gallery walls with pages of daily American newspapers (collected in 2020).

The phrase "No More Reality" was used in a series of film and photographic works by Philippe Parreno in 1991-1993 and Tiravanija pays homage to Parreno by enlarging the words and painting them in black capital letters over the grid of newspaper pages. For this evocative and timely presentation, individual spreads from newspapers across the United States are mounted on linen and hung in four rows (from the ceiling almost to the floor) on the walls of the lower gallery. While it is possible to see the content of the newspaper through the washy paint, the installation is not about what can be read versus what is obscured but rather about the way "reality" is presented. With thousands of headlines and images to view, the varying agendas and perspectives of different regions becomes clear. In August 2020, Covid was raging, fires were burning, Biden announced Kamala Harris as his running mate, there were explosions in Beirut, religious clashes in India and myriad other local and international events that were reported by the various newspapers.

Because the phrase "No More Reality" takes up a lot of space, the individual words occupy different rooms: "NO" fills a corner and a grid of 40 pages. "REALITY" covers four different walls. Seeing through these giant letters prompts one to turn the phrase from statement to question and back again.

Upstairs, Tiravanija presents framed spreads (front and back page) of a selection of newspapers — The Keene Sentinel, The News Sun, The Sun Chronicle, Starkville Daily News, The Herald Republican — from mid-August 2020 and covers them with a smaller painted version of the same phrase. In these works, "No More Reality" is flush left and a rendered in a washy red, allowing what is printed below to remain visible. The headlines of the day, including "Woman' Suffrage Celebrated," "Voting Rites," "10th Annual Dog Paddle Calls for Sponsors," are interspersed with news about Covid 19, weather and sports to create a snapshot of the times and the priorities of these different locales. How these come together to depict the larger whole is what Tiravanija is ultimately interested in. Like in his previous projects, he mines popular culture and world events to create what becomes and archive of images and content that explores disparate presentations of truth.

Click here for Rirkrit Tiravanija on its own page.

Joe Rudko
Double Take
Von Lintel Gallery
October 21 - December 2, 2023


Joe Rudko

As in his previous exhibitions, Seattle based artist Joe Rudko begins with other people's discarded snapshots. He cuts them apart, organizes them by color and subject, then reassembles them into geometric patterns to make his complex compositions. For Double Take, he uses both the front and backside of the photographs so his montages intersperse color fragments with white from the back of the images (including bits of text and hand writing). There is also a type of mirroring or doubling in many of the works which are presented as diptychs. For example, in Emerald Double (all works 2023), two intricate compositions of small rectangles, what is a "picture" on one side of the diptych is white on the other. Like in all of Rudko's works, it is impossible to "reassemble" the originals as each piece is comprised of many photographs. In Emerald Double, the fragments are suggestive and harken back to the source, in this case landscape and garden imagery in hues of yellow and green.

Sample is the most complex work in the exhibition. In this piece, Rudko divides the composition into eight sections, each one a combination of white and one color culled from the source photographs. Blue for oceans and skies, tan for sand and interior walls, green for grass, trees and gardens, red for flowers and miscellaneous lights. From afar, the pieces appear as abstractions that reference patterns of patchwork quilts. Yet upon close examination, the nuances of the fragments become apparent giving viewers the opportunity to construct their own narratives through the compositions.

In 9-patch, the photos' alternating fronts and backs are organized by color and informed by the snippets of texts that move across the images, indicating places and dates as handwritten artifacts suggestive of another time. Ripple combines rectangles of bright color— cropped sections of the originals— with printed simple black lines that often framed old family photographs. Rudko uses these as horizontal and vertical bands to frame the abstract elements.

Rudko's images command attention and draw viewers in. While at first glance they are somewhat ambiguous — are they abstract or representational? Upon closer inspection, it becomes evident that they are both. The pieces are labor intensive and specific— every fragment plays a role in the overall design and leads the viewer's eyes through a rainbow of colors and imagery. The works are tinged with nostalgia, especially in the digital age, as they are reminders of those boxes of images stored in drawers or basements. For those who grew up with snapshots — faded images that were processed at photo labs and drug stores on different types and textures of paper— these works have a particular resonance.

Click here for Joe Rudko on its own page.

Christopher Badger
Ideas Without Edges
SMC Barrett Gallery
August 25 - December 2, 2023


Christopher Badger

Christopher Badger is a Santa Monica College professor who teaches classes in design, digital media and coding. For his exhibition Ideas Without Edges, he presents artworks that stem from assignments he has given to his students. On view are his responses to prompts such as "Chemical Painting," "Computational Choreography," "Psychological Color Theory," "Sculpture as a Model of Physical Phenomena," and "Mathematical Composition of the Picture Plane." These prompts are weighty, philosophical and scientific. Badger thinks beyond the obvious and rather than use code to create screen based works that illustrate these ideas, as well as the process of their making —complicated algorithms— he uses code to create physical objects.

While one of the first works viewers see when entering the large gallery space is mathematical —a set of spiral bound notebooks placed vertically between two red book ends on a wooden table— it is presented in a traditional analogue format. Badger fills fourteen-volumes with the 24,862,048 digits that make up the largest known prime number. For this work, What is a Number? Badger invites viewers to take the time to look through the printed pages and to think about how expansive that number actually is. This work is both literal and conceptual and sets the tone for the entire exhibition — an installation that draws from ideas in art, mathematics and science.

Incremental Information is placed on the walls adjacent to What is a Number? It is a suite of five digital prints that document the gradual pixelation and disintegration of a black and white photograph of light on water. The five pictures sequentially represent higher and higher levels of magnification so the image eventually breaks down to become an abstract pattern of black and white squares. For those who are not used to thinking about the relationship between images and pixels, the sequence is revelatory.

The works become increasingly complex and complicated as Badger delves into systems that repeat to produce shapes and marks that are combined in different ways. For example, Interference Field is a large wall work consisting of Iron blue pigment, gesso and joint compound on plywood that is a physical manifestation of custom software that models interference patterns of ripples and waves on water. The interference algorithm was fed into a laser engraver which was instructed to remove layers of pigment off the gessoed ground leaving a pattern of deep blue marks that spiral out from the center to create what appears to be a vortex that is atmospheric and suggests a celestial expanse.

The largest and most colorful work is the multi-panel piece Vanishing Points. This work investigates a formal system —specifically Wang Tiles— and presents eleven squares —each made up of four isosceles triangles of any of four different colors— in a line to explore the infinite tiling of a plane. This particular presentation concludes that the sequence is aperiodic (irregular) rather than periodic. While the intentions are to illustrate computational systems, the resulting color choice and sequence has artistic precedents that can be found in works by Sol LeWitt and Ellsworth Kelly. Badger's pieces (though not interactive) are also reminiscent of the code-based sculptures by Daniel Rozin, a professor of digital media at NYU.

Many of Badger's works are derived from "instructions" that are based on code and then translated by machines that make analogue outputs from these digital files. For example, wood works like Interference Field are created by sending the software to a CNC milling machine. Visually, what stands out in the works is the relationship between chaos and control and how programmed algorithms can create the unexpected. It makes sense here to revisit the artworks of Sol LeWitt who created explicit directions for the making of his wall drawings where length, color and direction of lines were written out to be followed (with freedom for interpretation) by the person installing the piece on site. While theoretically the works could be the same each time they're exhibited, in practice, they never are. Similarly, what is striking in Badger's explorations is the way software which is specific and objective can be output to create vastly different results.

Click here for Christopher Badger on its own page.

Terri Friedman
tomorrow is just a thought
Shoshana Wayne Gallery
September 23 - November 22, 2023


Terri Friedman

tomorrow is just a thought is a wonderful exhibition of woven tapestries by the El Cerrito, California based artist Terri Friedman. Friedman has been creating her "yarn paintings" — applying formal principals of color, shape and texture to her compositions as if they were traditional "paintings"— for a number of years and in her stunning installation at Shoshana Wayne Gallery, she showcases both abstractions and a new series of woven "portraits" each titled after a different feeling or emotion. The works "respond to internal and external uncertainty" and present positive possibilities through the use of bright color, unusual materials and open ended non-objective abstraction. Her palette and compositions pay homage to Paul Klee, Wassily Kandinsky and Sonia Delaunay, but also share similarities with the knitted works of Channing Hansen. While some of the pieces contain words, they are meant to be suggestive rather than didactic. Friedman also cites interests in neuroplasticity, the capacity humans have to reshape their brain toward a more optimistic outlook as one of the motivating forces behind her endeavors. Even the title, tomorrow is just a thought can be seen in a positive, rather than negative light.

Refresh (2022) is a large tapestry of undulating shapes, colors and textures that resemble a mountain landscape/seascape dotted with droplets that dangle above zig-zagging and cross-hatched lines. Areas filled with green, pink and purple weaves overlap below dark-thread spelling out the word "refresh." What can go right (2023) is a five panel tapestry filled with floral imagery that shares a kinship with children's renderings of gardens. Trees and flowers populate the mostly yellow hued background that is filled with different colored yarns forming swirls, circles and triangles as they recede into a distant landscape. Nested within eye-shaped ovals at the top of the abstract tapestry Sometimes OK is good enough (2022) are the letters "O" and "K," giving the image an aura of positivity. Though busy and frenetic, the soft colors and suggestion of facial features offer a sense of calm and encouragement.

While the front gallery is filled with Friedman's larger pieces, seven smaller works are presented in the back space. Faces depicting "elevated states of emotion" fill these tapestries. Though brightly colored, they are messy, somewhat confrontational and a bit disconcerting. A deep purple background surrounds the lighter purple and green face of a man with black hair, magenta eyes and an open mouth in Whoa (2023). The mouth outlined in yellow thread is actually a hole in the weave. To the right of the mouth is a stained glass inset in the shape of a tear that echoes golden tears that fall from the figure's eyes. Homesick (2023) exudes sadness. Here, Friedman weaves the head of a girl with black hair — a curl on one side and four different length dreadlocks on the other side of her face. Her open mouth is filled with gritted teeth. She has one open blue eye with dark purple eyelids. A weave of dark red and yellow threads, the other eye is vacant, held open by a vertical piece of stained glass that creates a void. The figure in Atonal (2023) spews multi-colored threads from their mouth that dangle at the right edge of the composition, whereas the two heads in Ditto (2023) are mirror images of each other. The space between their multi-colored and thickly textured faces is an abstract gradient filled with orange, pink and yellow.

Though at first glance, Friedman's tapestries appear unwieldy, they are thought out compositions that are calming for her to fashion. This tension between the process of making and viewing give the works a commanding presence. They are colorful, gestural, soft, tactile, beautiful and disturbing simultaneously. They catch your eye and hold your gaze, engaging with the language of painting and textiles on complex and multiple levels.

Click here for Terri Friedman on its own page.

Dike Blair
Karma Los Angeles
September 16 - November 4, 2023


Dike Blair

Dike Blair is a New York based artist, writer and curator. He is often associated with the "Pictures Generation" and known for his sculptural assemblages, as well as his realistic paintings. While his sculptures are conceptual and minimal, his small-scale gouache (at first) and now oil paintings are more painterly and representational.

In these works, he captures everyday moments. They derive from both analogue and digital photographs he has taken over several decades and gathered into an archive. What is a moment? How moments mark or trigger memories is the subject of his ongoing investigations. When going through an archive of photographic images, Blair must decide which he will translate into paintings and the motivations for these choices also filter into the exhibition. Many of the images are banal locations or non-spectacular, people-less scenes that are casually framed, though not without compositional and formal considerations. Light also plays an important role in the pictures. While they could be divided into categories— food and drink, walls or corners, what is seen through a window, illuminated roads at night— Blair sequences the images on the wall to suggest narratives. The twenty paintings on view range in size from 6 x 8 inches to 28 x 21 inches. All are untitled and were painted between 2020 and 2023. These oil on aluminum works are both vertical and horizontal and many have the casualness and the format of cell phone photographs. His choice of surface and paint application adds to their intriguing flat character.

The paintings that focus on corners of elevator interiors or bathroom doors have a peculiar draw. These include an image whose focal point is a partially rusted "slide bolt door lock" that joins together off white and industrial green surfaces— perhaps the inside of a bathroom stall. In an Untitled painting dated 2023, Blair renders the jarringly bright mustardy-yellow wall inside an elevator, as well as its reflection in the adjacent steel panels. The composition focuses on a corner and divides the image into two parallelograms and a triangle (the floor). In a similar painting from 2020, Blair paints another elevator interior. Here, the walls are wood grain and off white and include a silver handrail. A small triangle at the bottom of the painting highlights a blue and white checkered floor that could be carpet.

Commonplace spaces and everyday objects trigger something for Blair— enough to first photograph and then to select particular images from his archive to reproduce as paintings. The resulting images are formal explorations of contrast, color and texture while simultaneously referencing nondescript places that could be anywhere. Blair's interiors also capture a certain kind of artificial light. His exteriors and paintings looking through windows present the colors and glows found in nature. One painting depicts blurred pink flowers and green grass as seen through closed textured glass window louvers. Blair juxtaposes the brightness of the outside with a portion of the darker window sill and frame. In another painting, he allows a deep blue sky with a few floating white clouds to dominate another space framed by a fragment of interior architecture.

Exteriors at night include an image shot from inside a car of an empty country road receding into the distance. The cars headlights illuminate a two lane road, a grassy shoulder and a red barn. In another painting, Blair focuses on the way two tall trees are lit by lights in an otherwise empty and dark parking lot. He often photographs what he eats and drinks, here including a painting of a slice of orangey yellow fruit cake without a plate on a black table. Another painting depicts a cigarette in an ashtray next to a cup of coffee in a white mug and yet another is a cocktail in a translucent blue glass set on a tray on top of a labeled napkin on a United Airlines plane.

Blair has remarked that while his original photographs are not all that interesting, they are shot and composed with the knowledge they will be transformed into paintings that will be seen as a group so that viewers can construct a narrative. The works collapse space and time, as they come from various years and places, yet together become an intimate and personal look at the details of everyday life that surround us.

Click here for Dike Blair on its own page.

Julian Charriere
Buried Sunshine
Sean Kelly Los Angeles
September 14 - November 4, 2023


Julian Charriere

Julian Charrière is a Swiss-born, Berlin based artist whose work often focuses on nature, ecology and the changing climate. He was included in the Venice Biennial (2017) and was recently the subject of a solo show at the Dallas Museum of Art (2021). For his first Los Angeles exhibit, Buried Sunshine, Charrière was drawn to the subject of oil and researched the history and photographed the oil fields that dot the L.A. landscape. He has beautifully crafted a seductive, mixed media installation that includes the video projection Controlled Burn (2022) and a new series of heliographs titled Buried Sunshines Burn.

Controlled Burn is a 32 minute video that cycles through the sights and sounds of numerous implosions, flames and fireworks that fill the darkness of the night sky. Shot from above by drone, the footage documents ambiguous and deep quasi-military, yet now abandoned spaces including cooling towers, rocket silos and oil platforms that are surrounded by ricocheting projectiles. Amidst thunderous roars, viewers who look carefully may suddenly realize that what they are seeing is impossible and that Charrière is projecting the footage in reverse. This makes it even more bewildering.

Along the walls in the darkened gallery space are large-scale photographic images — heliographs. Scenes shot on location around Los Angeles' oil fields are imprinted on high-polished stainless steel with light sensitive emulsion that incorporates tar from the LaBrea, McKittrick and Carpinteria Tar Pits. Charrière traveled around the state to document local oil fields from above and presents them as subtle, reflective abstractions that need to be viewed in low light in order to see the nuances of the depictions. These heliographs, including the 86 inch tall Buried Sunshines Burn | 1Z.CXO (2023) hover between abstraction and representation, as well as art, history and science as Charrière takes into consideration Los Angeles' dependency on oil and the cities conflicting relationship to it, especially given the increasing environmental concerns.

As the title Buried Sunshine suggests, Charrière's images do not depict sun-filled skies and receding horizons or colorful sunsets. Rather, he is interested in how cities like Los Angeles appear from above and investigates how the intricacies of the natural and man-made worlds intermingle. The photographs, while amazingly beautiful and seductive, are about industrialization and the black fluids that travel beneath the earth's surface. Coupled with Controlled Burn, the exhibition serves as a warning of an imagined apocalypse to come.

Click here for Julian Charriere on its own page.

Cammie Staros
Monster in the Maze
Shulamit Nazarianh
September 16 - October 28, 2023


Cammie Staros

For her exhibition Monster in the Maze, Cammie Staros has transformed the normal pathways through the gallery into a maze-like display consisting of bare metal studs and a number of new walls of mixed heights which direct the viewer's trajectory. This labyrinth not only segmentizes the viewing of the exhibition, but also allows for unusual sight-lines and juxtapositions. As Staros presents three different kinds of works all based on classical Greek artifacts— vessels, coins and marble sculptures— the display is meant to play with the ways archeological relics and classical sculptures are presented in museums.

The vessels immediately stand out as extraordinary. Rather than being perfectly perpendicular and symmetrical, Staros' ceramic pieces are morphed and askew vases balanced on round, fluted, white columnar pedestals inset with shells and pebbles. For example, in Attributed to: Human and Earth (all works 2023) the entire red-orange terra cotta vase is decorated with quasi-narrative bands of imagery depicting warriors, Gods and animals. These forms are painted in flat black and often outlined in white. The enchanting Half Beast appears like a dancing figure whose handles resemble tusks. This time the vessel is more subtly painted — covered with slightly lighter markings and patterns.

In contrast to these delicate ceramic forms, Staros also created a number of life-sized carved travertine sculptures that appear to be fragmented human figures. Cora Kore presents the bottom half of a draped figure on a rectangular limestone pedestal. The arm is cropped above the elbow and connected to nothing as the hand grabs hold of the folds of a robe or gown. The figure's neck and head are not included but left to the viewer's imagination. A similar sense of disorientation occurs in Cult Classic, Staros' abstracted and sensual presentation of a partial torso. Though made of marble, these sculpted forms are etched with lines that give them an airiness while also alluding to flowing lava, melting ice or running water.

The most delicate and fascinating works on view are Staros' coin "tapestries." To create these intricate pieces, she first cast and then glazed hundreds of irregular coin-shaped ceramics so they resembled ancient corroded treasure. These were later assembled into expansive flat reliefs that are held together with thin bits of gold and silver wires and interspersed with elaborate and intricate web-like chains. Rather than place all the coin works on the walls, the largest, Undercurrent is suspended to function as another barrier along with the unfinished metal studs. The interweaving of the coins and spider webs draws parallels between presence and absence, past and present and the fragility and vulnerability of living beings and ancient artifacts.

Staros has looked to classical sculptures from the Greco-Roman period in much of her work. Her interest in these antiquities is formal, as well as narrative and she is mindful of how the past shapes the present and how what was depicted in Greco-Roman times can be recontextualized and reinterpreted today. Her installations and individual works use ancient Greek artifacts as a point of departure to comment on war, the Gods and mythologies. Staros pokes fun while also respectfully representing imagery that might be found on ancient vessels. On one side of Prize Amphora / Trophy Cup for example, she paints five naked men who appear to be dancing across the distorted vase. On the other side, she includes three horses, two ridden by headless riders as the third rider gazes at the headless forms leading the way across the composition. Staros' vessels, coin tapestries and marble sculptures have a post apocalyptic aura. She mines ancient forms, presenting "monsters in the maze," a maze of her own creation that speaks to destruction and preservation simultaneously.

Click here for Cammie Staros on its own page.

Vanessa Beecroft
Rules of Non-Engagement
Jeffrey Deitch
September 8 - October 21, 2023


Vanessa Beecroft

When she first emerged in the 1990s viewers found Vanessa Beecroft's practice so intereting— not only the participatory nature of her performances and the odd directives given to her performers, but also for the way she handled their nakedness. Fascinated by the nude models hired for drawing classes while in art school in Milan, she came to the realization that their actual bodies were more compelling than the drawings she produced, so she began to conceptualize performances with them. In 1996 when renowned dealer Jeffrey Deitch opened his New York gallery, it was with one of her performances. Now on view in his Los Angeles space is a thirty-year survey of Beecroft's work.

Printed large on the wall in all caps are sentences from Beecroft's "Rules of Non-Engagement" that include these statements: "Do Not Talk, Do Not Interact With Anyone, Do Not Whisper, Do Not Smile, Do Not Laugh, Do Not Move Theatrically, Do Not Move Too Fast, Do Not Move Too Slow, Be Natural, Be Detached." This large-scale wall text describes how her performers were told to act. Viewers can see these statements in action on a wall-sized projection that cycles through a selection of Beecroft's US and Europe based performances from 1996 - 2010. Seeing the documentation is a reminder of how radical and unsettling these stunning and strange pieces were when they first appeared. Though nudity and sexuality have a long history in performance art, Beecroft objectified her models who were often made to stand together en masse in huge empty spaces, sometimes barefoot, other times wearing only colored high heel shoes. These works are evocative and campy simultaneously.

Watching the clips of the eight performances adds up to just over three hours, more time than most viewers spend in a gallery, but seeing this footage (or even just snippets of it) informs the rest of the work on view. Over the last year, Beecroft has focused on painting and has transformed photographs from many of her performances into large scale oil on canvas works. Numerous paintings fill the vast gallery space in addition to recent ceramic sculptures — some heads and busts, others full figures.

Translating the relationships between performance and painting becomes an underlying subject of this exhibition. For example, one of the things that is the most eye-catching in performance VB43, Vanessa Beecroft Performance, 2000 Gagosian Gallery, London is the wild and brightly colored hair on some of the models. Beecroft exaggerates this in the painting Untitled (VB43), Gagosian Gallery, London, (all paintings 2023) leveling the flesh tones so the different models' red and orange hair becomes the focal point. The paintings that encapsulate but also enhance the performances are the most interesting and the least like amateur nude studies. In both Untitled (VB46), Gagosian Gallery 2001 and Untitled (VB50), San Paulo Biennial, Brazil, Beecroft darkens the background and in Untitled (VB50), San Paulo Biennial, Brazil, she even depicts bodies in blues and greens.

While some of the performers enact classical positions like contrapposto, most stand inert and blank and it is this calm aura of banality that Beecroft brings to the canvases. Her painting style is casually realistic, but with more than 30 paintings on view, the sketchy quality suffices to convey the gist of the performance. The paintings are less about reproducing bodies in exacting detail, than about transforming these excerpts and cropped moments into painted commodities. In addition to painting scenes from the performances, Beecroft also includes a number of portraits as well as ceramic heads and busts. Stunningly installed in the back gallery, alongside an expansive wall mounted plaster cast of disparate bodies, the oversized ceramic heads in contrast to the life-sized busts assert a different physical presence that is more abstract and interpretative.

Beecroft is a versatile and ambitious artist who is skilled in a wide range of materials. She is unabashed in her use of excess and abundance and this is the take away from the exhibition. In this case however, more is not better as it dilutes what could otherwise be a powerful presentation of female forms and interactions.

Click here for Vanessa Beecroft on its own page.

Jenny Holzer
Ready For You When You Are
Hauser & Wirth West Hollywood
September 1 - October 21, 2023


Jenny Holzer

It comes as no surprise that Jenny Holzer is engaging with Artificial Intelligence (AI) to generate the texts in her dynamic LED artworks. She is best known for language based pieces, ranging from her Truisms (1977-1979) to more recent large-scale paintings, etched marble benches, projected displays and LEDs. Holzer's text-based works draw from political and historical sources, as well as the news media. In recent works she re-presents de-classified documents as found, transforming these pages into formally elegant and amazingly powerful artworks. For her exhibition Ready For You When You Are she has installed three large-scale robotic LEDs two of which display AI-generated texts that contrast those on her more subtle oil on linen paintings —covered in gold and platinum leaf — based on reproductions of redacted government documents.

WTF (2022) is a twelve-foot long LED sign that cascades across the vast gallery space swinging in irregular arcs as it moves back and forth along a rail from one side to the other. The animated text that fills the four sides of the thin rectangular sign are culled from tweets Donald Trump shared during his presidency, as well as posts by the "leader" of QAnon. Below this bombastic work are stamped lead and copper plates shaped like Greco-Roman curse tablets— thin sheets of metal incised with texts that call for harm or disruption to their victims. These works are displayed haphazardly on the floor under the path of the menacing LED column. They are also inscribed with fragments from Donald Trump's tweets. While there is much to read, it is not always possible to scrutinize every text as the installation is more about the accumulation of inanities, lies and dis-information put forth by the then president than any of his individual statements.

In many ways, the exhibition is an extensive research project where Holzer and her team amassed an archive of de-classified government documents and memos on subjects ranging from counterterrorism to the Patriot Act and The US National Security Commission on Artificial Intelligence. Heavily redacted, Holzer's reproductions present these pages as glowing and reflective rectangles akin to Mark Rothko compositions, yet rather than being washes of paint, Holzer juxtaposes different types and tones of metal leafing which give the works a constructivist aura. They are formally exquisite, as well as powerfully suggestive compositions that are also filled with occasional words, phrases and sentences that read like concrete poetry.

In two tall rectangular columns, BAD and GOOD (2023), Holzer used AI to generate the pulsating phrases that illuminate the LED surfaces. For GOOD, she instructed 'the bot' to generate text about "human and nonhuman, as well as physical and immaterial experiences" that relate to thought and emotions. Selections of the AI's output were sequenced into an animated display that traverses the vertical column as it spins on its axis. Conversely, in BAD the AI drew from extremist content and, according to Holzer, created texts filled with writing about "secret cabals, corrupt and illegitimate leaders, invasions and coups, deep state plots to eliminate free will, insurrection, information warfare, overbearing federal regulation, fraudulent elections, the deception of climate science, the socialist threat, political correctness, disinformation from the mainstream media, and a coming doomsday or civil war." A motorized system spins the column in quirky bursts that are paralleled by pulsing explosions of color that reinforce the sentiments expressed in the AI generated phrases.

Holzer's work is intentionally political, but also formal. It is beautifully crafted and designed. She excels as a visual artist, creative thinker and problem solver who loads content into her artworks without being overly didactic or pedantic. It is hard to take one's eyes off pieces like Sensitive Information (2023), a smaller-scaled painting where she contrasts shimmering sections of moon and red gold leaf, one covering the background and the other reproducing the lines of redacted text to create a beautiful geometric abstraction with an occasional readable word.

Holzer is interested in what can be read between the lines literally (as in her redacted paintings) and metaphorically when official documents are transformed into works of art. Throughout her fifty-year career, Holzer has continued to mine new territories to create rich and powerful pieces that resonate on multiple levels.

Click here for Jenny Holzer on its own page.

Miya Ando
Sky Atlas
Wilding Cran Gallery
September 2 - October 21, 2023


Miya Ando

The sky in southern California is a deep shade of blue or a subtle gradient transitioning from a lighter blue to gray to orange as it approaches the horizon. There may be billowing clouds or a canopy of small dots of white overhead, but for the most part the expansive sky gives the impression of being monochromatic. On days when the sunrise or the sunset fills the sky with fiery reds, oranges and yellows it is a cause for celebration and reflection.

Miya Ando is a New York-based, Japanese American artist who looks at the natural world from scientific, philosophical and visual perspectives. She is interested in the changing seasons, the cycles of the moon, as well as the different ways clouds fill the sky. She approaches her art making (as a press release states) "from a learned perspective that mixes Eastern and Western cultures through the lens of natural phenomena ... She harnessed the Japanese notion of mono no aware – an innate sensitivity to the fleeting nature of our world." In Sky Atlas, she presents a series of luminescent works— ink printed on aluminum composite— resulting in seductive and reflective surfaces that share a kinship with Tintypes and Daguerrotypes.

It is hard not to be transfixed by the works in Ando's Lunar Spring series. On view are three grids of twelve-inch square photographs presented in rows resembling the shape of calendars for February, March and April of 2023. Shooting one image per day of the sky outside her New York apartment, these pieces track the slight variations of clouds against the sky, which appears blue, gray, orange or purple depending on the time of day the image was shot as well as the light and angle of view in the gallery. March 1-31 2023 Cloud Grid With Lunar Phases NYC consists of 31 different photographs— all images of the sky with different cloud variations — where the darker toned images represent specific phases of the moon. When looking at the the grid, it is interesting to think about how the images track time and the ever changing nuances of the sky.

In addition to the three calendar grids, Ando also presents numerous individual large and small scale photographs from her Unkai (A Sea of Clouds) and Kumo (Cloud) series. Each of these images is titled by the time and date they were created. What is most striking about them is their reflective surfaces and luminescence— they capture the impermanence of light and represent a single moment from nature's ever changing continuum. At first glance, an image such as Kumo (Cloud) 07.27.2022 1:01 PM NYC, 2022 appears to be just a picture of semi-translucent white clouds on a silvery (aluminum) surface, but from different vantage points parts of the image reflect blue from outside the gallery window or a golden yellow from the interior illumination. This infuses the image with a sense of both depth and movement. 11.2 Cloud Study (2023) at just 12.25 x 12.25 inches oscillates between silver, white and light orange, the texture of the sky fusing with the grain of the aluminum.

While one might think of the works of Califonia Light and Space artists when regarding Ando's work, one reading of Sky Atlas could be that it is simply an exhibition of images of sublime sky-scapes. But Ando's practice is more than a formal exploration. She fuses observation with process, drawing from East and West, her knowledge of East Asian Studies, as well as metalsmithing (she apprenticed with a master metalsmith in Japan) to create unique works that are about perception and the ephemeral nature of the natural world. These seductive and captivating images leave a long-lasting impression while also inviting viewers to look up and contemplate the vastness of the sky and the clouds above.

Click here for Miya Ando on its own page.

Aubrey Levinthal
Tourist
M+B
September 9 - October 7, 2023


Aubrey Levinthal

In her first exhibition at M+B in 2021, Philadelphia based painter Aubrey Levinthal looked inward, making works about the isolation of the pandemic and the guarded interactions that followed. In her current exhibition Tourist, her paintings begin to look outward, depicting figures on the go, traveling and socializing, in addition to experiencing quiet moments alone. Levinthal works with a soft, muted palette rendering her scenes tenderly and somewhat abstractly, as often the figures merge with, or are bisected by the backgrounds. While based on observation, Levinthal also extrapolates and allows her imagination to infiltrate the scenes.

For example, Windowbox (13th St.) (all works 2023) is a painting of a woman passing by a windowbox filled with flowers on the exterior of a nondescript building. Levinthal presents a tight crop of the location so the dark, olive-green windowbox sparsely populated with red and purple flowers fills most of the composition. A woman passes by. Her shirt is rendered in translucent whites which allow the shadow at the base of the box to merge with her body while the skin tones of her head and neck take on the colors of the front of the container. In profile, she stares straight ahead with wide open eyes as if lost in thought and unaware of her surroundings.

A similar sentiment pervades Waiting for the El where Levinthal portrays a lone woman wearing a light blue dress and coat, carrying a darker blue handbag, as well as a backpack filled with flowers. She casually leans against a support column as she gazes down at her cell phone. While the woman occupies most of the left side of the composition, depicted behind her and on the right side of the image is the architecture of the empty train station painted in washy tans and grays. A second figure sits on a bench in the distance partially obscured by a dark vertical beam. While the woman's expression is complacent, there is an aura of loneliness that emanates from the scene.

It is not hard to imagine the artist among the woman seated in Three Women (Amsterdam) sharing a moment and a drink together as city life goes on around them, or even enjoying a moment of solitude and contemplation in Sauna Lady, a painting of a woman seated on a wooden bench with legs extended, surrounded by paneled walls and steam from the hot rocks in the sauna. Draped in only an opaque white-toned towel, the figure subtly fuses with her surroundings.

A narrative is inferred through the trajectory of the paintings that illustrates a range of human emotions and experiences: from vulnerability and melancholy to self-reflection and even joy. The narrative moves from leisure time, like Morning Aerobics, a painting of a man and a woman relaxing in a pool, to travel, as in Terminal A and moments of intimacy like Studio Nintendo that depicts a small boy sitting across the lap of a young woman seated on a huge pink arm chair. Both figures appear to be zoning out with their eyes closed, ignoring what might be on the computer screen.

Levinthal has an uncanny ability to express a lot with minimal depiction. Her painting style is light but expressive, a wonderful combination of lines and fills, transparencies and opacities. Figures dissolve into architecture as if to reinforce the impermanence of human life while simultaneously asserting their presence. Levinthal is both a voyeur and a participant, chronicling that which unfolds around her: wary, but also delighted to celebrate what it means to be alive.

Click here for Aubrey Levinthal on its own page.

Annetta Kapon
Proxy Gallery 10 Years
The Floating Gallery LA
August 5 - September 30, 2023


Proxy Gallery 10 Years

In 2013, Annetta Kapon held her first exhibition at Proxy Gallery: a cube that measures 12 x 12 x 12 inches. In the ten years since its opening, Proxy has presented 85 exhibitions. Invited artists and curators can use the space however they choose, decorating the inside and/or the outside of the box, or even not using it at all. Proxy has been nomadic at times. It lived for a while on a wall at the Otis College of Art graduate studios in Culver City, but also traveled to Greece and Paris. To celebrate this achievement, The Floating Gallery (another nomadic space) is exhibiting documentation of each project, as well as the physical gallery where viewers can see exhibit #85 by Mirena Kim.

Kapon is a long time educator and visual artist who created Proxy Gallery as a "conceptual project that allows a platform for discourse." It was formed while she was an MFA professor and came out of discussions with her students about creating their own conditions to make and show work, regardless of limitations. Proxy fits within the parameters of Kapon's art production. While she creates collages, sculptures and installations, she has also been influential as a professor of art as her students (many of whom have exhibited at Proxy) can attest. In this unique space, she is the sole proprietor and decision maker. She invites other artists as well as accepts proposals. She writes insightful press releases "to get the discursive ball rolling," as she states. Like any conventional gallery, Proxy has a website, opening and closing receptions, is occasionally reviewed and has printed business cards and invitations. The fact that it is small is beside the point. Yet, it is its small size and the challenges it brings for each artist that makes her project unique.

For the exhibition at The Floating Gallery, the entire history of Proxy is presented. Each exhibition is represented by a single square image that is dated and captioned. These are installed in two long horizontal rows across opposing walls of the space. The works are hung chronologically so viewers can easily trace the history of the exhibits and exhibitors. Some may be well known, others unknown, perhaps students or artists from Greece or Paris where the gallery traveled. A few, but not that many artists have had multiple exhibitions over the ten years. Kapon and her student Katie Thoma inaugurated the gallery with an exhibition of their works in January 2013. From there, contributors rose to the challenge in different ways: Shiva Akibadi covered it in faux fur (referencing Meret Oppenheims's Le Déjeuner en fourrure (1936)) and carried it to myriad commercial gallery openings in the Los Angeles area. Susan Silton created Exchange in 2015, covering the front of the gallery cube with a box of expired Agfa Photography paper that belonged to Allan Sekula. Silton inserted a peep hole into the center of the Agfa box that allowed viewers to see into the gallery where they confronted a hand written message that states, "Who is it... Who's There?" In 2022 in her second Proxy exhibition, Renée Petropoulos inserted her head into the box to create a performance piece entitled Outburst-Conjugation 2 presented at the Athens School of Fine Arts in Greece.

During Covid, the exhibits were virtual and documented by the artists. In some instances, the exhibitors forgoed the actual box in favor of surrounding walls, as in the installation Holla Holla Holla by Sharon Barnes in 2021. What is most striking about the exhibition at The Floating Gallery is the fact that uniformity of Kapon's presentation (each exhibit is represented by a single still photographic image) does not diminish the uniqueness of any of the projects but rather calls attention to the different creative ways that the artists approached the given parameters of the space. As an exhibitor myself in 2016, the representation of my work is a partial experience as I drew on all the different sides of the box and created a 3D image inside to be viewed via red/blue stereo glasses through a small opening. This could not be represented by a single image. However, in the context of the exhibition it resonates as yet another approach to solving a complex and unusual problem. Not to say that creating an exhibition is simply a problem to be solved, but in certain ways it is.

Kapon gave each of her artists "carte blanche" to create a new work that was not, as she states, "a miniature version of what they usually do," but rather a thought provoking and conceptually savvy solution to the specifics of a space that happens to be a 12 x 12 x 12 inch cube. While primarily documentation, Proxy Gallery 10 Years is also a work of art, one created by Kapon over ten years that is nuanced and smart and a celebration of works being made by a range of artists in Los Angeles and beyond.

Click here for Annetta Kapon on its own page.

Clovis Schlumberger
Virtual Cravings
YiWei Gallery
August 19 - September 17, 2023


Clovis Schlumberger

Keith Haring's iconic figures (on exhibit at The Broad May 27 - October 8, 2023) have permeated art and popular culture for almost forty years. While his canvases, stickers and buttons are filled with dancing, playful characters that radiate humor and joy, his works also were imbued with political and social commentary about issues that included racism and homophobia. Clovis Schlumberger's paintings on view at YiWei Gallery in an exhibition titled Virtual Cravings are filled with figures reminiscent of Haring's. Schlumberger's people populate imagined landscapes as well as cityscapes and interiors— his figures cavorting through these spaces individually, as well as in groups. Schlumberger's illustrative style also extends from his canvases to merchandise. Three of the gallery walls display his paintings while the fourth serves as the backdrop for his various commodities: t-shirts, stickers, phone cases, socks and pillows displaying his yellow hued genderless characters — a rounded version of the universal symbol for figures — in a range of poses.

Rather than install the canvases along a line, Schlumberger presents his works quasi-salon style, hanging them at different heights. He also paints a few of his figures directly on the wall as if they jumped out of the paintings. Game (all works 2023) is a canvas installed on a wall that matches the golden yellow color of the border and background of the work. Within the image, Schlumberger depicts a landscape filled with blue trees outlined in black against a blue sky. The trees emanate from a golden ground populated by three groups of lighter gold-hued figures who appear to be at play. Toward the back of the composition is a lone dog that stares out into a distant blue expanse. Other animals include disparate butterflies that float through the flattened space. Although it is hard to discern exactly what "game" is being played, the atmosphere appears to be joyful.

Dismissed depicts a somewhat chaotic interior space that could perhaps be a school room where each figure is positioned on or behind a gray rectangle that signs for a "desk." The twelve figures gesticulate and interact with each other and their desks within a space that has been subtly subdivided by what appears to be an EKG line or stock market graph.

The scenario within 45 inch model-Cling is a mountain landscape that recedes toward concentric gold circles on a blue background surrounding a vertical golden rectangle hovering like a monolith in the sky. Light-gold hued figures play and walk amidst the rocks and hills. All of this takes place within a painted computer monitor that is centered in the gold-hued canvas.

While 45 inch model-Cling, Dismissed and Game contain Schlumberger's idiosyncratic figures, other works including 37 Inch Model-Steep, 38 Inch Model-Searching and Bloom are people-less natural and urban landscapes created as outlined forms, filled with gradients and flat areas of color. Bloom for example, the smallest painting in the exhibition, is an image of a flower with a long green stem that bisects a rectangle that could be a screen or window. Scattered throughout the composition are white flower-petals that have fallen off the plant and litter the frame.

There is both humor and seriousness to Schlumberger's endeavors. His genderless figures stand for everyone and while mischievous and cunning, they are also quite endearing. They are placed within simplified backgrounds both real or imagined that reference the digital world. Schlumberger makes images of screens as well as the landscape, asking viewers to think about the impact of the virtual on everyday life.

Click here for Clovis Schlumberger on its own page.

Candace Thatcher
Scroll Interference
The Landing
July 22 - September 2, 2023


Candace Thatcher

An algorithm is defined as a set of rules that are followed in calculations or problem solving operations, more often than not using a computer. Yet, there are also many artists (working in both analogue and digital formats) who create their pieces based on algorithms that rely on a set of "rules" or instructions. An example of an analogue artist working this way is the Conceptual Minimalist Sol LeWitt whose wall and paper drawings were often made by others following a set of precise instructions. How artists use computers and code and the different ways instructions can be created and followed has been the subject of numerous exhibitions. These ideas were explored most recently in Coded Art Enters the Computer Age 1952 - 1982 an exhibition at the Los Angeles County Museum of Art (on view from February 12 - July 2, 2023). Except for the fact that they were created after 1982, Nevada City-based Candace Thatcher's paintings could have fit within the premise of that exhibition.

In her exhibition Scroll Interference, Thatcher presents recent paintings from her Archive Scan series. At first glance, these acrylic on panel works appear to be complex geometric abstractions that share a kinship with Josef Albers, as well as the Op Art patterned paintings of Victor Vasarely and with digital artist Casey Reas' recent homages to Vasarely— METAVASARELY and An Empty Room — (both 2023 and presented online by LACMA as part of the Coded exhibition). These mesmerizing pieces follow a programmed sequence based on Vasarely's works that generate an infinite array of visual patterns.

Thatcher's works are process based and labor intensive as she follows a specific sequence of steps to transform found digital images into abstract paintings. Using the program "Processing" (coincidently developed by Reas), she translates the pixels into topographical lattices which are then output as vinyl screens used as stencils to create complex multi-layered paintings. The layering of the different lattices suggests an illusion of depth in these multi colored and dimensional works.

What is striking about Thatcher's Archive Scan pieces (2022-2023) is how they read as abstractions rather than translations of actual photographs. As completed paintings, there are no obvious referents to an image, only to screens or distorted grids in various colors that are layered on the surface to create intricate moire patterns. Archive Scan XXI, (2022) is a 36 x 36 inch acrylic on panel work in which hues of reds, oranges and blues oscillate across the composition creating depth on the flat surface. While the majority of the pieces are in color, Thatcher also presents a handful of paintings that are simply black and white. Looking closely at Archive Scan XXXIX (2023) reveals an all-over, but not repeating pattern comprised of short and long white lines on a black ground that undulate throughout the composition. Another black and white work, Archive Scan XXX (2023) appears to be a pattern of overlapping squares that form a gridded moire. The blue-green hued Archive Scan XXIII (2022) has the tonalities of highly saturated camouflage: that pattern conflicts with a subtle circular shape in the center of the image.

Thatcher's abstractions are absorbing and perplexing. They are difficult to decipher, perhaps because they are computer generated, yet created by hand. The pieces allude to topographical maps, moire patterns and layered window screens and while they are completely devoid of imagery, they resonate with a power and depth that references something tangible, yet also unknown.

Click here for Candace Thatcher on its own page.

Jorge Méndez Blake
I remember it was raining...
1301 PE
June 1 - August 26, 2023


Jorge Méndez Blake

Jorge Méndez Blake is an artist based in Guadalajara, Mexico whose art takes apart and re-construct literary texts and re-present them as concrete poetry. Méndez Blake works on paper and canvas in addition to creating wall and ceiling based installations. In his exhibition I remember it was raining..., Méndez Blake uses the writings of the American poet Elizabeth Bishop (1911-1971) as a point of departure rather than universally recognized authors such as Kafka, Joyce, Borges or Dickinson. Bishop was known for her highly detailed, objective and distanced point of view with an avoidance of personal subject matter and Méndez Blake tries to turn that distance into something more personal and familiar. For example, the silkscreen print I remember it was raining (Bishop), (all works 2023) simply states, "I remember it was raining and I was reading Elizabeth Bishop."

The largest work on view, Proposal for a Ceiling Landscape fills the upstairs gallery ceiling across two rooms. Because Méndez Blake leaves the walls blank, the viewer's eyes are immediately directed upwards where the ceiling which has been painted a deep blue and is covered with irregular lines of type in a white serif font. As the language (taken from Elizabeth Bishop's work) extends from the stairs to the windows across the ceiling, it forms clusters that ebb and flow. Words repeat and overlap, making it difficult to read the text in its entirety. Méndez Blake is interested in the visual aspects of language and fragments the original text, transforming a narrative into visual poetry that in many ways shares a kinship with Fluxus and other concrete poets. When viewing Proposal for a Ceiling Landscape, it is necessary to look up at words that hover above like stars in the sky. While some might try to read across the composition to reconstruct Bishop's work, Méndez Blake wants viewers to ingest selected fragments and think about visual poetics and the power of language.

Like in many of Méndez Blake's other works and installations, while the source is specific and important, he consciously obfuscates any direct reading. In a smaller painting, I Remember It Was Raining (The Flood. Elizabeth Bishop), large and small sized white letters descend from top to bottom on the black canvas, reminiscent of falling rain. The cadence of the letters, rather than the meaning of the words, are what makes this image resonate. Méndez Blake similarly distorts "Calligrammes" by Guillaume Apollinaire (1880-1918) in two new additions to his ongoing Il Pleut Fort paintings, again allowing the words (in their original language) to become vertical lines of type that fill the space like rain.

The words Méndez Blake uses are often presented in the language in which they were written— be it English, Spanish or French. He is neither interested in providing translations to aid in the reading of the works nor citing specific sources: rather his concern is with the flow and visual structure of the words, as well as the different ways they can be abstracted.

Click here for Jorge Méndez Blake on its own page.