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Mary Weatherford | SITE Santa Fe
Mary Weatherford | SITE Santa Fe
Canyon - Daisy - Eden

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.

Jim Isermann | Praz Delavallade
Jim Isermann | Praz Delavallade
Hypercube

Praz-Delavallade is pleased to present Hypercube, a solo exhibition by Jim Isermann. Isermann’s oeuvre encompasses an astonishing variety of mediums including painting, drawing, sculpture, site-specific installation, graphic and product design. 

Fred Eversley: recent sculpture
Fred Eversley: recent sculpture
at David Kordansky Gallery

David Kordansky Gallery is pleased to announce Recent Sculpture, an exhibition of new work by Fred Eversley. The show opens at the gallery on March 20 and will be on view through May 1, 2021.

Ron Cooper: In a New Light
Ron Cooper: In a New Light
at Louis Stern Fine Arts

Louis Stern Fine Arts is pleased to present Ron Cooper: In a New Light. Ron Cooper’s early Light Trap works are on display alongside his newest explorations – his Corona Bar series, created, as their titles suggest, in quarantine during the COVID-19 pandemic. This exhibition surveys the artist’s inventive use of unconventional materials throughout his career, deployed in novel ways that defy expectation, to investigate the interplay of light, surface, and perspective.

Peter Alexander: Early Works,1965 - 1972
Peter Alexander: Early Works,1965 - 1972
at Franklin Parrash Gallery

Franklin Parrasch Gallery is pleased to present Peter Alexander: Early Works, 1965-1972, the inaugural exhibition at the Gallery’s new location at 19 East 66th Street. This show, open March 15 through April 23, comprises a group of key early works which exemplify Alexander’s engagement with cast resin over the course of seven years

The Cross Cultural Female Gaze
The Cross Cultural Female Gaze
Lita Albuquerque, Alia Ali, Raina Matar and Manal Ataya

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

Holly Harrell
Holly Harrell
on Curate LA

Starting Thursday February 25 at 1PM PST, Holly Harrell starts her four part Live Instagram performance series Glossy Fruits / Pathological Products, Anesthetics / Autopsies, Hide the Empire and Just Add Vegetable Oil: Product Lady 2
 

Farah Atassi
Farah Atassi
Forthcoming

Stay tuned for our forthcoming new releases with Farah Atassi

Simphiwe Ndzube
Simphiwe Ndzube
Forthcoming

Stay tuned for our forthcoming new release with the Simphiwe Ndzube.

Upside Down, Invisible Sculpture
Upside Down, Invisible Sculpture
Artist David Lamelas discusses the history and influences of Corner Piece.

In this interview, Lamelas discusses the origin of the work, his time working alongside a brilliant group of colleagues in Buenos Aires, and gives a surprisingly humanistic vision of his radical Conceptual art.

Karen Carson, an Early California Minimalist, Has a New, Kaleidoscopic Vision
Karen Carson, an Early California Minimalist, Has a New, Kaleidoscopic Vision
a review by Renee Heizman for Hyperallergic

Carson’s geometric paintings, inspired by the land of big sky, mimic rolling hills and valleys.

On Math Bass: Got a Light?
On Math Bass: Got a Light?
by William J. Simmons for Artillery Mag

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.

Danny Lyon’s Visions of a New York That No Longer Exists
Danny Lyon’s Visions of a New York That No Longer Exists
Hannah Feniak for Hyperallergic

Shot in 1967, Lyon’s photographs offer a more nuanced and human perspective of the destruction of the old lower Manhattan, one that is often paved over by history books.

Judy Chicago: Rainbow AR
Judy Chicago: Rainbow AR
commissioned by LAS

Judy Chicago continues her long-running Atmospheres series, inviting global audiences to experience newly created Smoke Sculptures™ in Augmented Reality (AR).

Michael Kohn in Conversation with Lita Albuquerque
Michael Kohn in Conversation with Lita Albuquerque
Art Basel Miami 2020

Join us for a conversation with Lita Albuquerque. Albuquerque has created an expansive body of work, ranging from sculpture, painting, and multi-media performance to ambitious site-specific ephemeral projects in remote locations around the globe.

Video courtesy Kohn Gallery and the artist. 

We're excited to announce a new print with Albuquerque coming out early 2021, stay tuned

Glenn Kaino on Hope, Art, and Invisibility
Glenn Kaino on Hope, Art, and Invisibility
an interview by Lauri Firstenberg for Compound LB

Glenn Kaino transforms conventional materials and forms through a process of working that mobilizes the languages, logics and economies of other creative disciplines as raw elements in artistic production. Conceiving his practice as “conceptual kit bashing”—Kaino synthesizes objects, performances and site specific encounters by reconfiguring conditions of cultural spheres, where disparate ideas and materials are forced to make contact.

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