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.
Plastic is everywhere. It permeates the present age—it is inexpensive, available virtually worldwide, and omnipresent in our daily lives. Because of the vast design possibilities, plastics soon found their way into art and quickly became one of the principal materials. In the 1950s, synthetic substances were both a symptom and a symbol of mass culture—the “Plastic Age” was born. In the brief history of this material culture, which continues to dominate to this day, the successful and versatile substance developed from being the epitome of progress, modernity, utopian spirit, and democratization of consumerism into a threat to the environment.
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.
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.
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.
Beginning 13 April, Hauser & Wirth will present ‘You Don’t Have to Tell Me Twice,’ a major solo exhibition by Mark Bradford. Filling the entirety of the gallery’s 22nd Street building, the artist’s first show in New York since 2015 sees the artist embarking upon a deeply personal exploration of the multifaceted nature of displacement and the predatory forces that feed on populations driven into motion by crisis. Primarily known for his unique style of ‘social abstraction,’ Bradford has recently turned his attention toward figures, including his own, and has created sweeping new works where flora and fauna—predators and prey—move within dense, dreamlike abstracted landscapes, masses of material, color and line.
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.
Few artists’ works exemplify the SoCal proclivity to merge images with text, found objects and Hollywood memorabilia, as does the oeuvre of Alexis Smith, the subject of a new exhibition, “Alexis Smith: The American Way,” at the Museum of Contemporary Art San Diego (MCASD) in La Jolla.
We are pleased to announce a solo presentation of new silkscreen prints and paintings by Matthew Brannon at ART021 Shanghai Contemporary Art Fair. Visit us at Booth C04 at the fair from November 10 – 13.
View prints by Matthew Brennon here.
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.
Marc Selwyn Fine Art is pleased to present Garden Sound, the gallery’s second exhibition of work by William Leavitt. Leavitt is part of a generation of Los Angeles artists integral to the development of Conceptual art in the 1960s and 70s. Drawing on the fictions and fantasies that power Hollywood, as well as Southern California’s architectural landscape, Leavitt captures distinct filmic moments that seem familiar, yet displaced. In the artist’s set-like installations, images of the California lifestyle come untethered from their original context and take on a sculptural presence.
The Italian fashion house designed costumes for the program, which was organized by the Pinault Collection in Venice.
"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"
Aticle 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.
Born on April 9, 1926, Ed Moses was a seminal figure of Postwar Abstraction. Today, on what would have been his 96th birthday, we are 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. We invite you to experience the work of this important figure of the West Coast contemporary art scene and founding member of Los Angeles's Cool School, whose work has influenced artists far and wide with his commitment to abstraction and action painting.
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.
Traces: Past and Present, an exhibition of three individual projects by artist Allan McCollum, 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 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.
Cirrus congratulates Jonas Wood on his forthcoming exhibition at Gagosian Hong Kong, opening November 23.
More information here.
Cirrus congratulates David Austen on his solo exhibition at TOTAH, opening November 11 from 6-8 PM.
More information here.
Cirrus Gallery congratulates Simphiwe Ndzube on his exhibition Vusamazulu | Awakening the Heavens at Nicodim Gallery.
Los Angeles-based artist Math Bass (b. 1981, New York, NY) will create a site-specific installation featuring a series of recent oil paintings (a new medium for the artist), a kinetic wall work, sculpture, and large-scale wall applications. Since their initial work as a performance and video artist, the tracking of the body’s motion through the world has become central to Math’s painting and sculptural practice.
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.
Image: Photo courtesy Cirrus Gallery, by Pablo Prietto; Cirrus founder Jean Milant, artist John Baldessari, and printers Richard Hammond and Francesco Siqueiros working at Cirrus Editions
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.
1974 silkscreen with Cirrus Editions
Limited Time Only
In June 2021, Mark Bradford and his team landed in Menorca, one month prior to the opening of our new art center Hauser & Wirth Menorca. The main reason for this Mark’s early arrival to the island was the planning of the art residency in collaboration with local art students, who would work with Bradford in the center’s Education Lab to make pieces focused on the ongoing refugee crisis around the world.
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.
With their transparent Plexiglas sides, Ron Cooper’s "Corona Bars" capture light from all angles, electrifying the synthetic pigments and medium on their faces. Presented alongside two of the artist’s prized classic cars, his new work invites the viewer into their own exploration of light, form, and surface, and the relationships between hand-made contemporary art and finish-fetish car culture.
We're hiring: Cirrus Gallery & Cirrus Editions, Ltd. is looking for a fulltime Gallery Associate to join our team!
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.
Tanya Leighton is proud to present ‘Altered Future’, an online viewing room featuring a selection of new paintings, drawings and sculptures by artists from the gallery’s programme.
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.
We're hiring: Cirrus Gallery & Cirrus Editions, Ltd. is looking for an enthusiastic art fanatic and tech savvy associate to join our team!
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.
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.
William T. Wiley, a Funk artist whose offbeat art and influential teaching practice have inspired generations of artists in the Bay Area, has died at 83. Los Angeles’s Parker Gallery, which co-represents the artist with Hosfelt Gallery in San Francisco, said in a newsletter on Thursday that Wiley had died on April 25. The San Francisco Chronicle reported that he had Parkinson’s disease.
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.
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.
In the third episode of “Artists On Writers | Writers On Artists,” novelist Rachel Kushner and artist Ed Ruscha talk about their love of vintage cars, share memories of Kathy Acker and Walter Hopps, and enjoy a good pun.
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.
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.
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
11:30 am (EST)
Manal Ataya, Director General of the Sharjah Museums Authority
Alia Ali, artist
Lita Albuquerque, artist
Rania Matar, photographer
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
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.
Carson’s geometric paintings, inspired by the land of big sky, mimic rolling hills and valleys.
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.
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 continues her long-running Atmospheres series, inviting global audiences to experience newly created Smoke Sculptures™ in Augmented Reality (AR).
In the time of covid, Quotidian and Klowden Mann present IN COLOR, an exhibition that invites viewers to embrace the art of slow looking through an immersive experience in color rich paintings, collage and sculptures. The exhibition will be on view at transformative arts HQ, located in the former Quotidian space at 410 S. Spring Street in downtown Los Angeles, from December 21st, 2020 through February 28th, 2021.
Join Michael Kohn 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.
Bidding for Show Me The Signs is now live on artfizz.com through November 30th. The entirety of sale proceeds will be donated to the African American Policy Forum's #SayHerName campaign, which works with the families of Black women, girls, and femmes killed by police to elevate their stories and fight for justice.
It’s not that difficult to be contemporary. Be it through art, or writing, or simply conversation, we’re almost always discussing what’s right in front of us. It’s another thing all together to create something which takes on an entirely new meaning decades after fabrication. This is the power of Peter Alexander’s exhibition “Light in Place,” on view now at the Cirrus Gallery.
A new site-specific artwork by Lita Albuquerque, “Red Earth,” greets visitors at The Huntington Library, Art Museum, and Botanical Gardens as garden areas reopen after a closure of more than three months as a result of the COVID-19 pandemic. Originally scheduled to go on view in March, the temporary installation centers around a boulder capped with bright red pigment placed among towering bamboo in a grove of the Japanese Garden. It is exclusive to this particular time and place and is “a stand-in for what I am hoping the visitor to feel, a sense of calm in the midst of chaos,” Albuquerque said. “Red Earth,” which closes Nov. 2, was commissioned as a part of The Huntington’s Centennial Celebration.
The Japan Drawings brings together four groups of works—all shellac ink paintings on Gampi Torinoko paper—that Weatherford produced during a 2019 residency at Troedsson Villa in Nikko, Japan. While a selection of these drawings was presented in the gallery’s Online Viewing Room in May 2020, this physical exhibition allows viewers to appreciate the full scope of the project, as well as both the intimacy and materiality of the individual works and their many moods and impressions.
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.
Ed Ruscha invites you on the ultimate road trip: Time travel with him, over 42 years, along the full length of Sunset Boulevard from downtown L.A. to the beach.
For more than 50 years Bruce Nauman (born 1941, Fort Wayne, Indiana, United States) has continually tested and reinvented what an artwork can be. His work is difficult to confine to any one movement, genre or medium. However his highly experimental approach makes him a key figure within art today. His interest in ambiguity and shades of meaning relates to daily human experience, where certainty is not always guaranteed.
Mary Weatherford speaks to Laura Hoptman about her new paintings, the Train Yard series. Begun in 2016, this body of work evokes the sights and sounds of railroads and night skies. The series will be shown for the first time in September 2020, in an exhibition at Gagosian, London.
This month, Nauman, who at 78 is still very much at it, debuted three new works at Sperone Westwater in an exhibition that marks his 13th solo show at the gallery since his first one, 45 years ago in 1976. Two new interactive 3-D video works and one hanging sculpture (Two Leaping Foxes, a return to the animal sculptures Nauman first made in the late 1980s) comprise the show and are given ample space in the gallery (which should be something of a comfort to those still hesitant to visit galleries in person).
September 15, 2020 by Leslie Jones, Curator, Prints and Drawings at LACMA
Cirrus Editions celebrates its 50th anniversary this year! Founded by Jean Milant in 1970, Cirrus has been a stalwart presence in the Los Angeles print world, making a name for itself through its commitment to local artists and its embrace of unconventional printmaking techniques. Ed Ruscha was among the first artists invited to Cirrus and immediately offered up an unusual challenge: a two-color screenprint made with Pepto Bismol and caviar (in lieu of conventional inks). The result was Pepto-Caviar Hollywood, now an icon in the annals of experimental printmaking (and artmaking for that matter). In 1977–78 Joe Goode made lithographs at Cirrus that he subsequently slashed with a razorblade and, a few years later, produced his "Gunshot Series" of two-side lithographs punctured and tattered with shot. Jill Giegerich printed on rubberized cork, William T. Wiley on leather hide, and Greg Card on plexiglass. More recently, Cirrus published a print by legendary feminist and peformance artist Barbara T. Smith who improvised with her hands and face over the scanner bed in the process of capturing the final image.
The Oregon philanthropist Jordan D. Schnitzer has acquired a significant archive of prints and other works on paper by the artist Judy Chicago with the goal of highlighting her six-decade feminist career through exhibitions and museum loans.
The purchase by the Jordan Schnitzer Family Foundation, encompassing over 300 limited-edition prints, preparatory drawings and sketches and copper plates, is entering a collection already known for championing women artists and artists of colour including Kara Walker, Lorna Simpson, Alison Saar and Hung Liu, according to Tonya Turner Carroll, the Santa Fe dealer and art advisor who brokered the acquisition. No price was disclosed.
In a bi-coastal collaboration, L.A. Louver and Betty Cuningham Gallery are pleased to present Charles Garabedian: Outside the Gates. Drawing from both galleries' long histories with the artist, this exhibition brings together two dozen paintings from the last three decades of Garabedian's life. The artist’s ability to tap into the collective unconscious renders the work timeless; while many of the figures may be familiar from myth, their staging speaks to our common lot as humans. With distinctive humor and pathos, Garabedian takes us on a trip as he moves toward finding himself in history, mythology, and by accident.
A Conversation between Massimo Minini and Clément Dirié
The Italian gallerist reflects on his first Art Basel in 1977, his inaugural exhibition featuring Sol LeWitt and Daniel Buren, and how the artworld has changed since.
Active in Brescia since 1973, Massimo Minini and his namesake gallery are key members of a pioneering generation of the European artworld. Having first participated in Art Basel in 1977 and returned every year since, he has witnessed the development of the contemporary art scene over the last five decades. In the 1990s, Minini was a member of Art Basel’s Exhibitors’ Advisory Board. In this retrospective interview, he talks about his first years in the artworld and his Art Basel routine.
From his image archive, An Ongoing Collection of Screengrabs with Reassuring Subtitles, with currently 1.200 screenshots from American TV series and movies, Allan McCollum has chosen 400 motifs with subtitles such as “It will be ok” or “Don’t worry, Babe” to be printed on canvas, each framed in a black wooden frame and measuring 10.4 x 17.2 x 1.6 in (26.3 x 43.8 x 4 cm). This group of works is especially designed for Galerie Thomas Schulte to be offered to friends, supporters and interested clients as a sign of consolation and to financially help two highly acclaimed art institutions, the ICA Miami and C/O Berlin, to cope in these difficult times. A selection of the works is on view at Galerie Thomas Schulte in an individual exhibition from May 23 through July 11, 2020.
There’s a peculiar kind of patois, like Okie jargon. People have a funny way of speaking, almost like using bad English, double negatives like, “I can’t find my keys nowhere.” . . . Yes, they were incorrect, but they had a punch to them.
Gagosian is pleased to present recent paintings by Ed Ruscha online for galleryplatform.la. The works are currently featured in the solo exhibition Drum Skins at the Blanton Museum of Art in Austin, Texas. Due to the ongoing health crisis, the museum is currently closed.
Los Angeles Times, May 28, 2020, 11:05 AM.
By Carolina A. Miranda, staff writer
For Peter Alexander, the moment that helped change the direction of his art arrived after a mundane session of ding repair on his surfboard in the 1960s.
He had poured some resin into a paper cup to seal his board, and over the course of several hours the resin hardened into a translucent puck.
“I remember at the bottom of the Dixie Cup, this clear material,” he told a documentary team from the Getty Conservation Institute in 2014. “And I was doing a project and I thought, ‘I bet this could be done in polyester, in this resin.’ So I started casting it in little things — like little boxes.”
Those experiments with industrial materials, begun when he was a student at UCLA, led to the creation of ethereal sculptures that evoked the quietly shifting nature of light, color and environment. And they put Alexander among the vanguard of Southern California’s Light and Space artists, a movement that brought buoyancy and perceptual play to Minimalism, which until then been dominated by the more austere forms emerging from the East Coast.
Artforum, May 27, 2020 at 2:17pm
Peter Alexander, an American painter and sculptor closely associated with the Light and Space movement of 1960s Southern California, has died at the age of eighty-one. In contrast to his West Coast Minimalism counterparts like Robert Irwin or Douglas Wheeler, Alexander eschewed immersive, ephemeral environments in favor of contained microcosms of translucent polyester resin and Plexiglas to create works that radiated their own inner light. Though best known for his early experimentations in synthetic materials and their pigment, scale, and shape, by the ’70s the toxicity of his initial medium led Alexander to shift to painting and drawing.