The Nasher Sculpture Center announces Groundswell: Women of Land Art, an exhibition featuring 12 American artists through installation, sculpture, documentation and historical ephemera, on view from September 23, 2023 to January 7, 2024. In the 1960s American artists began to move beyond the institutional spaces of galleries and museums to work directly in the land. With ties to Minimal and Conceptual art, these artists foregrounded natural materials and the site itself to create works that were large in scale and located outside of typical urban art world circuits. For many years, art historical narratives of Land art have been dominated by men: Robert Smithson, Michael Heizer, Walter de Maria, and others. Groundswell: Women of Land Art, intends to shift that focus to shed new light on the vast number of Land works by women artists, whose careers ran parallel to their better-known male counterparts, yet have received less recognition and representation in museum presentations.

Fred Eversley (b. 1941, Brooklyn, NY) is a pioneer of the Light and Space art movement, which originated in Southern California in the 1960s. Interested in science as a teen, he experimented by casting jello in a pie pan on a spinning turntable, thus creating his first parabolic surface. His fascination with the parabola—the only shape that focuses all forms of energy to a single point—continued in his career as an engineer designing acoustical testing laboratories for the aerospace industry. Eversley, who shifted to making art in 1967, developed an innovative process of spin-casting liquid resin. In 1970 he cast his first full parabolic lens in polyester, launching a body of work which would become his principal focus for over fifty years.

Leslie Sacks Gallery is pleased to announce Sea and Sky, an exhibition of works on paper by legendary Los Angeles based artist, Joe Goode (b. 1937, Oklahoma City). Presenting drawings, lithographs, and mixed media from 1969-1990, Sea and Sky highlights three of Joe Goode’s iconic series: Photo Clouds (1969-1971), Torn Sky (1975) and Ocean Blue (1988-1990).

Known for his cross-cultural practice, which includes painting, music, and video, in this exhibition, Ore-Giron returns to and expands upon his Talking Shit series, a body of work he began in 2017 while living in Guadalajara, Mexico. The paintings, textiles, and ceramic tile works in the exhibition represent an imagined conversation between the artist and deities from Mexico and Peru’s ancestral past. With precisely rendered, vibrantly-colored, semi-abstract references to the gods Quetzalcoatl, Coatlicue, Amaru, and Inti, among others, Ore-Giron explores our ongoing relationship with symbols of culture and the ways in which they come to hold ideas around individual and collective identities.

“I don’t have any Seine River like Monet,” Ed Ruscha once said. “I’ve just got US 66 between Oklahoma and Los Angeles.” ED RUSCHA / NOW THEN will feature over 200 works—in mediums including painting, drawing, prints, photography, artist’s books, film, and installation—that make use of everything from gunpowder to chocolate. Exploring Ruscha’s landmark contributions to postwar American art as well as lesser-known aspects of his more than six-decade career, the exhibition will offer new perspectives on a body of work that has influenced generations of artists, architects, designers, and writers.

Checks Elements is part of a 152-piece collection of monoprints and non-fungible token pairs, exploring the elemental relationship between digital and physical art, and the manual and automatic processes that are present in each. Conceived and created by Jack Butcher in collaboration with legendary master printmaker Jean Milant and Cirrus Editions, each unique physical piece is handmade on a Mailander 202 lithographic printing press, consistent with its computer-generated instructions. Digital counterparts and their complete rendering instructions are stored entirely on the Ethereum blockchain.

The entire collection and its unique compositions are formed from the ‘Alpha’ elements. ‘Earth’, ‘Air’, and ‘Water’ will be on view at Christie’s New York, 20 Rockefeller Plaza from 20-23 May.

SITE Santa Fe presents internationally renowned artist Bruce Nauman’s first solo exhibition in New Mexico, His Mark, running through September 11. The show features a collection of new and recent video installations, including never-before-shown self-portrait work and 3D video.

 Eversley’s abstract, three-dimensional meditations on color—including the luminous lens-like objects for which he is best known—entice the viewer to approach, prompting questions about how the biological and optical mechanics of sight determine how we see and understand each other, and communicating a kinetic, palpable sense of the mysterious presence of energy throughout the universe.

Fred Eversley’s first solo exhibition in over four decades in New York is on view at our New York gallery from May 6 through June 10, 2023.

Craig Kauffman became known in the mid-1960s for his innovative use of industrial plastic as a support for painting. He gained significant recognition for several series of works, and investigated both form and coloration, challenging the medium while remaining in the conversation with both mainstream Minimalism and the artists associated with Light and Space.

The exhibition 'Boil, Toil & Trouble' includes 50 contemporary artists working in a range of media who explore mystical, mythological, or spiritual frameworks and practices as they pertain to water. Artists selected have created works that deal with magic, ritual, the alchemy of water and the role of the ‘witch’ or medium in contemporary art.

“It doesn’t matter if you’re a child or a hundred years old – there’s something that I want people to interact with”

Grant Levy-Lucero sees ancient Greek and Roman pots as a blueprint. The textbook definition of art. His own ceramics take these as a starting point. They’re witty, and laden with American logos. Bounty, Cookie Crisp and Moon Pie all feature. To create them, the artist uses a traditional coiling technique. This is where you roll out long, snake-like shapes of clay, and then layer them on top of each other to make a vase. After, he adds imagery in bright gloss paint, drawing attention to the bumpy surfaces of the clay. Deliberately naive, the pots also nod to old cartoons from the Looney Tunes empire.

This exhibition brings together paintings from the last twenty years by artist, musician, and DJ Eamon Ore-Giron; from his Southwest and Peruvian-inspired figurative works from the 2000s, to his paintings in the 2010s that engaged elements of both figuration and abstraction, including an ongoing series focused on Mesoamerican deities, to his most recent Infinite Regress series.

The first institutional solo exhibition of the US painter Christina Quarles in Germany, shows an installation that occupies the entire exhibition space: gauze panels divide the rooms, similar to translucent theatre scrims used to reveal and obscure actors, décors, and objects. The formal language of Quarles’ paintings explores the experience of living in a racialized, queer body. Her figures contend with the boundaries of identity, as they intervene with complex patterns and planes.

I set up these unexpected, dreaded situations as an attempt to control fate. Instead of letting things happen to me, I made them happen.
—Chris Burden

Gagosian is pleased to present Cross Communication, an exhibition of relics, films, and video works by Chris Burden, plus other materials that document his early performances.

Fleisher/Ollman presents Black Medallions, No Gold, Eamon Ore-Giron’s first solo exhibition at the gallery and the first exhibition exclusively devoted to the artist’s new Black Medallion series. The show coincides with the Pennsylvania Academy of the Fine Arts and the African American Museum in Philadelphia’s exhibition Rising Sun: Artists in an Uncertain America (March 23–October 8, 2023), which features two large-scale paintings by Ore-Giron commissioned by the Pennsylvania Academy.

Barbara Turner Smith (b. 1931) has been at the forefront of artistic movements in Southern California for over 50 years, particularly feminist art and performance. Her artwork—which ranges from paintings, drawings, and artist's books to installations, videos, and performances, and often involves her own body—explores concepts that strike at the core of human nature, including male and female sexuality, sensuality, physical and spiritual sustenance, and death.

For the first time in over 15 years, Ruben Ochoa is exhibiting his mobile gallery, CLASS: C, to the public. Presented alongside CLASS: C will be a suite of street vendor carts (by Revolution Carts) with Ochoa-designed graphics. Street vendors will sell tamales and refreshing fruits from the vendor carts during Frieze LA. 

In 2002, Robert Gober interviewed Vija Celmins at her Long Island home. He asked her about her work habits: “Do you work every day?” Celmins said she didn’t. “I have always had a very complicated relationship with working—starting and stopping,” she said. Gober admitted that he hadn’t “really worked in a year and a half.”1 It is funny to read their anxious exchange about working (and not working) after seeing Vija Celmins / Robert Gober, the two-person show currently on view at Matthew Marks Gallery, in which their tenderly labored works invite viewers close.

Gagosian is pleased to present ten new paintings and a new hologram by Ed Ruscha. Tom Sawyer Paintings, the artist’s first ever solo exhibition of paintings at the gallery in Paris, will open alongside a presentation of new work by James Turrell in the gallery’s upstairs space, as well as exhibitions at Gagosian’s other Paris locations of new paintings by Jenny Saville (rue de Castiglione), and a sculpture by Richard Serra (Le Bourget). Concurrently, Gagosian will participate in the inaugural edition of Paris+ par Art Basel at the Grand Palais Éphémère from October 20 to 23.

In Isithunywa so Moya, Simphiwe Ndzube’s fifth solo exhibition with Nicodim, Isithunywa are mystical beings that serve as messengers and mediators between the physical and spiritual realms. This body of work casts the artist’s inspiration as Isithunywa, forces he harnesses to pull his practice to new frontiers with his hands, eyes, and heart as vessels. The characters he channels find themselves in varying states of transition: in Gxarha River – 1856, 2022, a faulty Xhosa prophetess has a vision that she believes will lead her people to freedom, but instead brings famine and death; in The Swing, 2022, an owl rocks a clownish figure from a trapeze, dangling him above a body of water either in good humor or as torturee for some crime committed; The Great Mother, 2022, lights a candle, chasing the night away.

As this show of 50 collages, assemblage pieces and installations from the 1970s to the 2010s demonstrates, Smith has unearthed our cultural touchstones, stories and myths and artistically re-created them. Her collage, “Degree of Difficulty” (2005) juxtaposes a photo of the vibrant Britney Spears from a Pepsi ad, with a picture of the aging Shirley MacLaine from “Modern Maturity,” and a photographic calling card of a female prostitute. With each image partially concealed by a geometric shape, the piece alludes to the objectification of women — the sexy young thing, the old woman, the sex worker — in contemporary society.

From a distance, Fred Eversley’s lenses and mirrored forms look like planets floating in space, their highly polished reflective surfaces reflecting and refracting the world, and our place within it. Fred Eversley: Reflecting Back (the World) expands on the groundbreaking 1976 exhibition of his work at OCMA (then known as the Newport Harbor Art Museum). This was a pivotal period for Eversley—he hit his stride with his primary mode of working at the same time the Light and Space movement gained momentum in Southern California.

The Italian fashion house designed costumes for the program, which was organized by the Pinault Collection in Venice.

Watch the artist at work in his Venice, CA studio

"Inspired by Titian’s “The Flaying of Marsyas,” the midcareer artist is showing a series of shadowy and somber works at Museo di Palazzo Grimani."

Article by Robin Pogrebin

Cirrus Gallery & Cirrus Editions Ltd. congratulates Allan McCollyum on his two upcoming exhibitions at Galerie Thomas Shulte in Berlin. 

Parrasch Heijnen is pleased to present "Tony DeLap and his Circle," a scholarly view of DeLap's six-decade long career marked by the sustained and wide-ranging impact he and his oeuvre have had on generations of artists.

LA Louver delighted to announce that a selection of artworks by Moses will be available to view at our Venice Beach gallery from May 11 until July 9, 2022.

Cirrus Gallery and Cirrus Editoins Ltd.congratulates Farah Atassi on her third solo exhibition at Almine Rech, on view in Shanghai from April 8 to May 14, 2022..
 

Cirrus congratulates Barbara T. Smith of her upcoming exhibition Holy Squash at Andrew Kreps Gallery.

Cirrus congratulates Lita Albuquerque on Liquid Light, a solo exhibition presented by bardoLA’s as part of their third official Collateral Event at the International Art Exhibition of La Biennale di Venezia.

Cirrus Gallery congradulates Math Bass on their upcoming exhibition 'clown alley' at Tanya Leighton, Berlin.

Cirrus Gallery congradulates Allan McCollum on Traces: Past and Present, an exhibition of three individual projects on view at Petzel Gallery in Chelsea, at 456 West 18th Street, from January 14 to February 19. 

This exhibition is shaped by the forces of proximity, friendship, generosity, and longevity. Buchanan, Hafif, and Smith met in the newly formed MFA program at UC Irvine and remained friends for life.

Armory Center for the Arts
145 North Raymond Avenue
Pasadena, CA 91103

GLENDALE, CA - Glendale Library, Arts & Culture presents Let Me Talk, a provocative exhibition featuring paintings, sculptures, installation, and photography by a diverse group of 24 artists. This exhibit, curated by Ada Pullini Brown and Jill Sykes, will be at the Brand Library & Art Center from January 22, 2022 - March 19, 2022. Let Me Talk includes a special edition portfolio of 52 new prints called Utopia/Dystopia, which were produced at the famed East Los Angles printmaking workshop, Self Help Graphics.

Cirrus congratulates Jonas Wood on his forthcoming exhibition, Plants and Animals, at David Kordansky, opening January 22, 2022.

We are excited to be back in person at Untitled Miami.

Untitled Art Fair is an innovative and inclusive platform for discovering contemporary art. It balances intellectual integrity with cutting-edge experimentation, refreshing the standard fair model by embracing a unique curatorial approach.

For more than 50 years, the renowned L.A. print shop Cirrus Editions has worked with hundreds of artists to create compelling and innovative original prints. Join Cirrus founder Jean Milant and LACMA curator Leslie Jones as they discuss the workshop’s past and present, including reflections and anecdotes from artists and printers.

Gazelli Art House represented artist Derek Boshier brings a solo exhibition to the London gallery, unveiling two series, Icarus and K Pop. The exhibition coincides with Frieze London and will incorporate a programme of corresponding events to be revealed closer to the time.

Craig Kauffman's initial interest in printmaking emerged while he was attending UCLA. He likely worked with the well-respected John Paul Jones, who established the school's printmaking department.  Entrance to the City (1952) displays Kauffman's early fascination with the work of Paul Klee. Despite the elementary appearance of three untitled lithographs from 1953, Kauffman's stick figures holding hands reference sexual identity in the shape of their heads — a V for the female and an upward arrow for the male. 

Often featuring bright underglaze colors contrasting with dark, glossy glazes, the pots range from small, handheld cup- or bowl-like pieces to massive vases, urn-like pots, and large platters. Herman also employs many drawing and painting techniques, including inlay, scraffito, wax resist, oxide wash, and combinations of underglaze and glaze.

Brian Gross Fine Art is pleased to announce the opening of Peter Alexander: DEEP DIVE, on Thursday, September 9th. On view will be nine paintings made of oil, acrylic, and resin on aluminum exploring the luminous properties of light as seen through water. A quintessentially California artist, Peter Alexander (1939–2020) was associated throughout his career with the Light and Space movement in Los Angeles, beginning in the 1960s, and garnered an international acclaim for his sculptures, paintings, and installations investigating the properties of light and color. The exhibition will be on view through November 6, 2021.

The Fine Arts Museums of San Francisco celebrate pioneering feminist artist Judy Chicago with a retrospective spanning from her early engagement with the Californian Light and Space Movement in the 1960s to her current body of work, a searing investigation of mortality and environmental devastation, begun in 2015. The exhibition includes approximately 130 paintings, prints, drawings, and ceramic sculptures, in addition to ephemera, several films, and a documentary. Together, these works of art chart the boundary-pushing path of the artist named Cohen by birth and Gerowitz by marriage, who, after trying to fit into the patriarchal structure of the Los Angeles art world, decided to change her name and the course of history.

Raul Guerrero
1974 silkscreen with Cirrus Editions

$840

Limited Time Only

The Education Lab at Hauser & Wirth Menorca is an integral element of Mark Bradford’s exhibition ‘Masses and Movements,’ on view until 31 October 2021. This project was created by students from Escola d’Art de Menorca in collaboration with Mark Bradford, Marcos Lopez, España Martinez, and Lola Mercadal. There will be further opportunities for visitors to engage in hands-on activities, and the space is dedicated to public engagement program throughout the duration of the exhibition.

RON COOPER | CARS & BARS

When visiting Ron Cooper’s Taos studio, one is immediately aware of the artist’s other passion – cars – vintage cars that he races. His 1936 “Black Beauty” Ford five window coupe parked directly in front of the studio is the first attraction even before entering the building. But there is a relationship here – much like Cooper’s art, these beautiful cars, including the two that will be on display in Ron Cooper: Cars & Bars, draw the viewer in with their simple, classic forms, finish-fetish surfaces, and custom detailing.

Cirrus Gallery, an internationally-recognized contemporary art gallery and fine art edition publisher, specializing in art from the 1970s to the present, is seeking a highly motivated and organized individual to join its small, flexible team in downtown Los Angeles.

Tanya Leighton is proud to present Altered Future, a selection of new paintings, drawings and sculptures by artists from the gallery’s programme. Our present reality has taken a counterfactual turn. We are made unavoidably aware that the course of world events can be unexpectedly diverted, and that even apparently singular events are differently experienced by communities and consciousnesses. In Altered Future, intergenerational artistic voices reflect upon fragility, daring to imagine new landscapes of labour, desire, identity and community. The artworks are contextualised and elaborated through short videos and commissioned texts by art historians and critics including Shiva Balaghi, Sonja-Maria Borstner and Sabrina Tarasoff.

A conversation about the art of telling stories with the South African artist Simphiwe Ndzube, who works between Cape Town and Los Angeles and whose first solo US museum exhibition opens this month at the Denver Art Museum, and the renowned writer Zakes Mda, whose novels are widely read throughout South Africa and beyond. The two dissect their magical realist stories of post-apartheid South Africa and their experiences of America on the page and on canvas—and try to locate the source of their own magic.

Garth Greenan Gallery is pleased to announce Alexis Smith: Not in Utopia, an exhibition of four monumental installations at 545 West 20th Street. Opening on Thursday, June 10, 2021, the exhibition features a selection of Smith’s immersive wall murals, all created between 1980 and 1982. Works like Tightrope (1980), Cathay (1981), Satan's Satellites (1982), and Fool’s Gold (1982) extend into three dimensions, transforming gallery walls into theatrical backdrops—augmenting her unique form of conceptual art suffused with the imagery of Hollywood and the American West. 

David Kordansky Gallery is pleased to announce a solo presentation of paintings by Raul Guerrero at Art Basel OVR: Portals from June 16 through 19. An online exhibition featuring an interview with the artist about his paintings will be presented concurrently on our website.

"My forms are not rendered spatially. My paintings of tennis courts are about an interest in abstraction, and how the court becomes a geometric puzzle."
—Jonas Wood

Holly Harrell's work is featured in the inaugural issue of Line Magazine "Resort" alongside Anna Feigenbaum, Covey Gong, Andi Lu, Jasmine Marin, Maya Murali, Andrew Nemiroski, Seva Olenin, Mandi Porcelli, Diamond Stingily, and Sua Yoo. 

Over the last three decades, Los Angeles-based artist Mary Weatherford has developed a rich and diverse painting practice: from early target paintings in the 1990s based on operatic heroines, to expansive, gestural canvases overlaid with neon glass-tubing that brought attention to Weatherford’s practice in the 2010s. Mary Weatherford: Canyon—Daisy—Eden presents a survey of Weatherford’s career, drawing from several distinct bodies of work made between 1989–2017. As constant experiments with color, scale, and materials, these works reveal the continuity of Weatherford’s preoccupation with memory and experience, both personal and historical.

The Cross Cultural Female Gaze

11:30 am (EST)

Moderator:
Manal Ataya, Director General of the Sharjah Museums Authority

Panelists:
Alia Ali, artist
Lita Albuquerque, artist
Rania Matar, photographer

A strained, stretched, widening, loosened metaphor, one that gives lights and receives them, might be the best way to describe Math Bass’ work. Yet metaphor is an easy interpretational mode that relies too heavily on iconography. Morever, description logo-centrically implies that all that is felt can be written or painted, that you actually can describe what bottoming is like to someone who has yet to do it. A simile might be better. In this moment, it seems more capacious. Bass’ work is like a ride on the Long Island Rail Road, winding through a certain kind of world, in which crushed skulls and young love happen simultaneously and often unnoticed, where aspiration and reality meet, where the Piano Man’s jar is filled up with cock-like bread, where hearts are broken and lose their three-dimensionality, only to unflatten at the sight of beautiful arms at work on a floor.