Jim Isermann, a longtime Palm Springs resident, has over many years built an artistic practice that encompasses painting, drawing, sculpture, site-specific installation, and product design. Pattern, color, geometry, and repetition are the cornerstones and the generators of his work in all mediums. With inspiration ranging from Verner Panton to Op and Pop Art, from Sister Corita Kent to Supergraphics, and from modern architecture to interior decoration, Isermann’s work is at once rigorous, logical, beautiful, and bold. The exhibition title refers to the fact that Isermann’s work, almost always made in series, begins with the creation of a pattern and a system with a finite number of variations for generating that pattern.
Desire, Knowledge, and Hope (with Smog) showcases the work of iconic Los Angeles artists John Baldessari, Mike Kelley, Barbara Kruger and Ed Ruscha. Each of these artists has contributed to a wide-reaching and global art dialogue; they have also played key roles in shaping the art scene of Los Angeles and the city’s rise as a global arts capital. The Broad’s presentation includes nearly all the works in the Broad collection by each of these artists, including the immersive multimedia installation, Gym Interior (2005), by Kelley and the four-channel video installation, Twelve (2004), by Kruger, as well as mini-retrospectives of the work of Baldessari and Ruscha. The exhibition’s title is drawn from a monumental 1985 Baldessari work in the Broad collection, Buildings=Guns=People: Desire, Knowledge, and Hope (with Smog).
I learned yesterday—along with most of the Los Angeles art world –that John Baldessari had died. (He had actually died Thursday, but the word filtered out only this week-end.) Long before I knew him or what he represented (not only in Los Angeles, but the world), and long before I wrote about fine arts in Los Angeles, I would see him frequently at art gallery openings. (I always had many artist friends; and in Los Angeles it was easy to fall into the habit of keeping an eye open for developments on that front.) There were odd jags when I would see him at several in a row, often in the same evening.
The other day Larry Johnson had an idea. He thought we should organize something for John. His plan was to have an artist thing. Dealers could come if they wanted to, but he suggested we not go overboard. It was a simple plan, but I, for whatever reason, started to dream up a lot of stupid art-world complications. Larry, who isn’t into making things complicated, corrected me. He said, “Meg, it’s just an excuse to get drunk.” John couldn’t have said it better himself.
In the Spring and early Fall of 2019, I painted a series of paintings which commemorated the fifty year anniversary of the moment I decided to become an artist. In 1969, I was thirteen years old and my family was traveling to Australia via Europe, the Mideast , India, Thailand and the Philippines. I was born in Madrid and although I am half Anglo and half Malaysian, Spain had always held my imagination in thrall. During that voyage, we lingered in Madrid and it was then that I had visited the Prado for the first time. Prior to that moment, I was already in love with art, copiously drawing and copying from the illustrations of the history books that I could find. Finally, I could see the works that I had only known in reproduction. It was at that moment, when I stood in front of Goya’s “Saturn Devouring his Children”, that I was subsumed in something like a mystical experience. This was the exact moment in which I had realized and determined my destiny.
An interview series spotlighting some of the great work coming out of Los Angeles. Hear directly from artists, curators, and art workers about their current projects and personal quirks. This week, we interview the artist Linda Stark, whose paintings explore the female gaze and body, the roles of animals in human lives, as well as dreams and mythology. Her paintings are surprisingly textured and are playful and humorous in their social critique. Her work has been exhibited in Made in L.A. (2018) at the Hammer Museum, the Orange County Museum of Art, and the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA)
John Millei at Lowell Ryan Projects, Los Angeles
Lowell Ryan Projects is pleased to present This & That, the first solo exhibition in Los Angeles by California artist John Millei in ten years. The exhibition features new paintings that bridge formalism and implied figures. Rendered in sweeping brushstrokes and reduced to a few economic gestures, viewers can discern faces and hands in the large-scale paintings. In these works, abstract marks and brushstrokes assemble to create an abstract image but also imply much more. Wielding cartoon-like reduction and using sumptuous application of oil and Flashe paint, the paintings play with our mind’s evolutionary imperative to find patterns and meaning, such as perceiving faces and expressions in a collection of shapes and lines. The exhibition will be on view from January 11th through February 20th, 2020.
John Mason at Gagosian Gallery, New York
Gagosian is pleased to present Geometric Force, an exhibition of ceramic works by the late John Mason. One of the most visionary ceramic artists of the last century, Mason brought his medium into conversation with Abstract Expressionism by extending the physical and spatial properties of clay. He began his career on the West Coast in the 1950s, as part of a group of artists who studied with the pioneering ceramist Peter Voulkos at the Otis Art Institute, Los Angeles. Mason and his contemporaries challenged conventional ideas about ceramics, making large, abstract, subversive works. Mason worked at scale, his wall reliefs and expressionistic sculptural works matching the ambitious painting and sculpture of the era. In his Los Angeles studio, which he shared for a time with Voulkos, they began employing industrial techniques and technologies: humidifiers from fruit packing plants, which allowed clay to stay pliable for longer periods of time; heavy-duty dough mixers; and a custom-built kiln that enabled him to fire works six feet in height, often using up to two tons of clay at a time. The exhibition will be on view from January 10th through February 15th, 2020.
Peter Alexander at Parrasch Heijnen, Los Angeles
Parrasch Heijnen is pleased to present Peter Alexander, a correlative selection of the artist’s recent sculpture and wall relief work in conversation with his sea and landscape paintings dating from 1989 – 2019. Alexander’s attention to the energies and forces of light and color discerned through observations of atmosphere and water are defining concentrations of this artist’s six-decade practice. The core of Alexander’s work has consistently remained focused upon a devoted engagement with light in structural space, evoking the emotive sublime in an opulent exploration of color. Whether looking through paint or resin, depth emerges from thin layers and suspended pigments. The artist’s textural play loosely defines focus and horizon lines, often confusing the viewer’s physical orientation. This brilliance permeates through the work’s precise turns bending light by way of tinted gradations. Alexander’s forms transmit luminous energy in relation to their adjacent negative space, with illusionistic light bursting forth from beneath. The exhibition will be on view from January 5th through February 1st, 2020.
Betye Saar wins 2020 Wolfgang Hahn Prize
Betye Saar has been named the winner of the twenty-sixth Wolfgang Hahn Prize. Administered by the Society for Modern Art at the Museum Ludwig in Cologne, the institution will soon add a work, or a series of works, by the Los Angeles–based artist to its collection. Saar is known for creating assemblage and collage works that tackle issues of race and politics and draw from a myriad of sources, including shamanism and her own personal history. She will be presented with the award at a ceremony at the museum on April 21, which will mark the opening of an exhibition of her work. Commenting on her work, curator Cristophe Cherix said: “Having grown up in a racially segregated society, Saar has long held that art can transcend our darkest moments and deepest fears. Today, the emergence of a new generation of artists mining her poignant legacy attests to how profoundly Saar has changed the course of American art. The 2020 Wolfgang Hahn Prize not only acknowledges her extraordinary achievements and influence, but also recognizes the need to revisit how the history of art in recent decades has been written.”
Joe Goode at Leslie Sacks Gallery, Los Angeles
Environmental Impacts will present works on paper across four bodies of work from the acclaimed artist—Tornadoes, Ocean Blue, Forest Fires and Environmental Impact (Shotguns). Much like the real-world experience of the subjects themselves, these compositions are all-at-once terrifying, beautiful, brooding, and awe-inspiring in their magnitude and dynamism. Well-known for his atmospheric portrayal of Earthly elements and events, Joe Goode evokes a sense of the sublime while conveying concepts of environmental destruction by forces of nature and mankind and the inherent beauty they pose. The exhibition will be on view from November 9th through December 31st, 2019.
Alexis Smith at Parrasch Heijnen, Los Angeles
Parrasch Heijnen is pleased to announce the gallery’s first exhibition of work by Los Angeles artist Alexis Smith. With a long history of mixed media assemblage, public art and performance pieces, this career-spanning survey features artwork from throughout Smith’s expansive career, encapsulating themes of gender, politics, wordplay, and popular culture. Smith presents images without judgment, using humorous and ironic human qualities to expand or subvert associated imagery and mythology with a tendency to add inscription or muse with aphorisms. Appropriating quotes from numerous iconic 20th century authors such as Gertrude Stein and Henry David Thoreau, she arranges (and sometimes rearranges) their words on nature and spirituality to precise effect. These writers relate the environment to hues of human emotion, relaying its importance to understanding the depth of life. The exhibition will be on view from October 27th through December 7th, 2019.
Cirrus Gallery & Cirrus Editions Ltd. at IFPDA Fair, New York
Our inaugural IFPDA presentation features several works which come to the fair directly from the workshop, some of which have never been exhibited before. The booth will showcase exemplary new works by contemporary masters Judy Chicago and Fred Eversley. Made in honor of Chicago’s 80th birthday, the artist’s latest publication with Cirrus is the first of our timed releases celebrating Cirrus’ 50th anniversary in January of 2020.
The fair also marks the debut display of the first-ever series of prints by Fred Eversley, who is entirely new to the workshop’s roster. The booth will also debut two new prints by Math Bass, the latest continuations in Bass’ ongoing Newz! series, in addition to prints by Mary Weatherford, a rare monoprint by Mark Bradford, and other recent publications by artists that have become staples in the Cirrus program.
Judy Chicago at Jeffrey Deitch, Los Angeles
Judy Chicago created a remarkable body of work in Los Angeles and Fresno from 1965 – 72 that has been largely unseen for fifty years. Jeffrey Deitch, Los Angeles will present a full survey of these early works from September 7 – November 2, 2019. The exhibition will feature paintings, drawings, sculpture, installations, and documentation of Chicago’s environmental and fireworks projects. In addition to her Lifesavers and Fan paintings and major sculptures including Rainbow Pickett, Trinity, and participatory works like 10 Part Cylinders, the exhibition will include a reinvisioning of the installation Feather Room, 1965, created in collaboration with Lloyd Hamrol and the late Eric Orr. The exhibition will be on view from September 7th through November 2nd, 2019.
Lita Albuquerque and Ed Ruscha at CSUN Art Galleries, Northridge
California State University, Northridge Art Galleries is please to present the exhibition Unlikely Conversations: Selections from the University Art Collection. Drawn from the University’s conceptually and formally diverse collection of historically significant artworks, the 70+ objects in the exhibition represent a variety of artists from the mid-twentieth century onwards, and include drawings, paintings, prints, and sculptures. A number of works on display include prints by Lita Albuquerque and Ed Ruscha from Cirrus Editions, Ltd.; photographs and silkscreens from the Andy Warhol Foundation; artworks by CSUN Professors Emeriti Bob Bassler, Karen Carson, Marvin Hardin, and Robert von Sternberg; and early California works by Maynard Dixon, Paul Landacre, and Granville Redmond. In addition, the Galleries are delighted to exhibit the recent gift of former faculty member Fritz Faiss’ paintings and prints.
Vija Celmins at the Met Breuer, New York
Vija Celmins: To Fix the Image in Memory will provide a comprehensive view of Celmins’s career through a selection of approximately 120 works—from her earliest paintings made in Los Angeles in the 1960s to objects completed in New York in the last five years. Throughout an accomplished career that spans more than fifty years, Celmins (American, b. 1938, Riga, Latvia) has sustained a practice of deep focus and extraordinary skill in a wide range of media. Celmins bases her exquisitely wrought paintings, sculpture, drawings, and prints on the world around us—sometimes through direct observation, but more often mediated by photography. Whether her sources are quotidian objects from her first studio in Venice, California, photographs of the Pacific Ocean taken at the local pier, or reproductions from newspapers, magazines, scientific exploration and inquiry, the resulting work possesses a magical verisimilitude. The exhibition will be on view from September 24th, 2019 through January 12th, 2020.
Mark Bradford at the Long Museum, Hong Kong
From 27th July, 2019 to 13th October, 2019, The Long Museum (West Bund) is pleased to present Los Angeles by Mark Bradford, the artist’s largest exhibition to date in China, named for the artist’s hometown and where he continues to live and work. Organized by independent curator Diana Nawi, ‘Mark Bradford: Los Angeles’ is a site-specific exhibition that explores the evolution of Bradford’s practice over the past decade, and his treatment of themes from present-day American culture. The variety of media in which Bradford works reflects the artist’s singular exploration of societal contradictions, which can move and inspire actions in the present day. He is arguably one of the most important American contemporary artists today for the ways his artwork resonates within the United States as well as on a global scale.
Lari Pittman at the Hammer Museum, Los Angeles
Lari Pittman: Declaration of Independence is the most comprehensive retrospective in 20 years of the work of the American artist Lari Pittman. As both a prolific painter and a long-revered teacher, the Los Angeles–based artist is a strong presence in both the local art community and the international sphere. Pittman’s work has been featured in important exhibitions such as Documenta (1997), the Venice Biennale (2003), and the Whitney Biennial (1993, 1995), as well as in major survey exhibitions of Los Angeles and American art in both the United States and Europe. This exhibition will include approximately 80 paintings and 50 works on paper drawn from the Hammer’s own holdings as well as from public and private collections throughout the world. Lari Pittman: Declaration of Independence is organized by Connie Butler, chief curator, with Vanessa Arizmendi, curatorial assistant.
Terry Allen at LA Louver, Los Angeles
L.A. Louver is pleased to present an exhibition by visual artist, musician and playwright Terry Allen. The exhibition asserts the central role of drawing and working on paper, as the continuum through which Allen’s ideas take shape, and features works that span the length of his multifarious career. With nearly 100 drawings dating from the ’60s to the present, the show extends throughout the gallery’s first and second floor spaces, and also includes sculptural objects, video installations and audio from his various albums and radio plays – demonstrating the tremendous breadth of Allen’s
life and work as told through stories, pictures and songs. Allen has recorded 12 albums of original music, including the classics Juarez, Lubbock (on everything) and Salivation, and has written songs for artists such as David Byrne and Lucinda Williams. In 2020, Allen will release an album of new material. He lives and works in Santa Fe, New Mexico and Austin, Texas with his wife Jo Harvey Allen.
Ed Ruscha at Gagosian Gallery, London
In Ed Ruscha: Eilshemius & Me, landscape emerges as a set of ideas rather than a dutiful imitation of reality. The picture’s frame, whether physically real or illusionistically painted, isolates the painter’s vision, demarcating and confining it, almost like a theater curtain or the contracting aperture of a camera lens over a silent film—slowly revealing the plane on which the artist’s storytelling will take place, ready to contract again when the story is told. The paintings of Eilshemius—an artist’s artist—have been collected by Louise Bourgeois, Jeff Koons, Louise Nevelson, Ugo Rondinone, and Peter Schuyff, as well as by various American museums. Yet, he is seldom exhibited alongside the work of living artists. The unique pairing with Ruscha in this exhibition shows Eilshemius’s work—here drawn from Ruscha’s own collection—in a new light, elucidating a link between the two artists through American history.
Tony DeLap, ‘maker of inventive abstract art that embraced illusion and magic’, is dead at 91
The artist Tony DeLap, who spent more than 50 years cutting an idiosyncratic, ever-shifting path through the field of abstract art, died on Wednesday at the age of 91. His death was confirmed by the galleries Parrasch Heijnen and Franklin Parrasch, which represented him in Los Angeles and New York, respectively. DeLap’s paintings and sculptures—though it’s often impossible to classify his works solely as one or the other—can look austere at first glance, but surprises always linger, like edges with unusual curves or bodies cut with stepped recesses. His art bobs and weaves and slinks away from any visual understanding, shifting as one walks around it; it’s by turns mysterious, mischievous, and charming. He is survived by his wife, Kathy, and their two children, Kelly DeLap Evans and Jack DeLap, as well as three grandchildren.
Linda Stark now represented by David Kordansky Gallery, Los Angeles
Los Angeles’s David Kordansky Gallery now represents Linda Stark. The Los Angeles–based artist’s paintings were recently exhibited at the Hammer Museum’s “Made in L.A.” show. She will have her first exhibition with Kordansky in early 2020. Stark, whose last show in L.A. was with Jenny’s, in 2017, is known for her works that deal heavily with topics of gender, the female gaze, and the natural world, and one of her paintings will be part of the gallery’s presentation at Art Basel in Switzerland in June. Kordansky said in an email, “We’re thrilled to represent Linda. Her singular approach to paint as a sculptural medium fascinates me. Since the early 1990s, she has created precise, sincere, tactile pictures that are immediately spellbinding but also slow-burning: their material inventiveness builds into a critical inquisitiveness of the political, the mystical, and the personal.”
John Baldessari at Marian Goodman Gallery, New York
Marian Goodman Gallery New York is delighted to present Hot & Cold, a new body of work by John Baldessari which will open on Friday May 3 and be on view through June 15, 2019. Departing from the art historical canon to explore an entirely new subject matter, Baldessari focuses our attention on the physical world in this new body of work, featuring icons and events of natural phenomena which give new expression to the artist’s hybrid forms, exploring motif and ground and the relationship of painting to photography, image and language. Intrigued by the activity and geometry of land masses, Baldessari abstracts visual conventions of landscape, playing with surface forms whose scope and scale provoke a sense of the sublime and the cataclysmic. Presented as diptychs, Hot & Cold unites polarities of surface and depth, chaos and containment, through counterpoints of subject, form and color, highlighting the dialectics of figure and ground, and positive and negative space. Moving from the single frame wherein he would work additively often compressing visual signifiers into one support, Baldessari’s new bifurcated form allows images to contest one another, allowing for an uneasy tension in their collision
Jonas Wood at Gagosian Gallery, New York
Gagosian is pleased to present new paintings and works on paper by Jonas Wood. In his boldly colored graphic works, Wood combines art historical references with images of the objects, interiors, and people that comprise the fabric of his daily life. Translating the three-dimensional world around him into pure color and line, he confounds expectations of scale and vantage point, causing the flat picture plane to bristle with an abstract charge. One room of this exhibition is dedicated to a series of new paintings of architectural interiors and exteriors. Wood composes these through a process of layering and collaging, using photography, projection, drawing, and then painting. Sources are translated and mixed into generations, which then become the basis for the large-scale paintings. The “seams” are dissolved in the final work, even if the impression of an assemblage remains palpable. Images of Wood’s family members and domestic surroundings recur in his paintings, revealing the importance of familial dynamics in shaping time, space, and identity.
Barbara T. Smith at The Box Gallery, Los Angeles
For The Box’s fifth solo exhibition of Barbara T. Smith’s work, the focus will be on The 21st Century Odyssey, a two year-long durational performance that took place from September 26, 1991 to September 26, 1993. These dates correlate with the opening and the closing of Biosphere 2, located near Tucson, Arizona, where her partner at the time, Dr. Roy Walford, was the interred physician. Smith took on the role of Homer’s Odysseus and traveled the world while Walford, confined inside the Biosphere 2 facility along with 7 other “Biospherians” for 2 years, was Penelope. For Smith, this work was an endeavor to attain a global consciousness while maintaining the connection between Biosphere 1 (the earth) and Biosphere 2. “I was holding Bio 2 in my heart and connecting, of course, with Roy as a vehicle of that connection.”
Jonas Wood at the Dallas Museum of Art, Texas
The Dallas Museum of Art will present the first major solo museum exhibition of work by American painter Jonas Wood, one of the most influential and exciting artists of our time. Bringing together approximately 35 works across 13 years of Wood’s career, the exhibition Jonas Wood traces the artist’s fascination with psychology, memory, and the self to shed light on a practice that is both deeply personal and universal. It will be on view exclusively at the DMA from March 24, 2019 through July 14, 2019. Known for his colorful and compressed depictions of the people, places, and things that populate his daily life, Los Angeles-based painter Jonas Wood creates works that bear clear traces of his biography in both form and content. Wood’s grandfather was an amateur painter whose personal collection of art included works by Alexander Calder, Robert Motherwell, and Helen Frankenthaler. These artists, in addition to other modern masters ranging from Henri Matisse to David Hockney, have inspired Wood’s signature use of playful geometries, bold colors, and a distinct graphic style. Wood’s family members are recurrent characters in his paintings, as are the ceramics produced by his wife, artist Shio Kusaka, stressing the importance of familial dynamics in shaping identity, a notion central to his approach.
John Mason, ‘an artist of uncommon rigor’, dies at 91
With Mason’s passing, we have lost an artist of uncommon rigor who was also capable of dramatic intuitive leaps. He showed that great sculpture could be made in any material – if that material were thoroughly mastered. Toward the end of his career, he was increasingly recognized for the durability and breadth of his vision, with inclusion in the Whitney Biennial (2014) and exhibitions at the Getty Center (2011) and Yale University Art Gallery (2015), among others. Albertz Benda began representing him in 2016 and presented the monographic exhibition John Mason: Sculpture in 2017. He is survived by his wife Vernita and two children, Jairlyn and Stuart.
Ed Ruscha in Framing Time at DENK Gallery, Los Angeles
DENK gallery is pleased to present Framing Time, a group exhibition featuring photography-based works by ten contemporary artists with formative or working connections to Los Angeles. Each artist approaches the concept of temporality with unique and evocative applications of a medium that inherently lends itself to the capture of time. With projects ranging from the poetic and conceptual to the obsessively documentary, Framing Time presents investigations of its passing and ephemera from its arrest. In place of the static snapshot, or frozen ‘Kodak moment’ – an idea popularized by the company’s iconic 60’s ad campaign – these artists offer complex and layered sequences of photographic imagery, redistributing the visual narrative of the medium somewhere between the cinematic and the experiential.
Chris Burden’s 40 Foot Stepped Skyscraper at Artgenève, Geneva
Chris Burden’s 40 Foot Stepped Skyscraper (2011), will be presented by Gagosian Gallery for the art fair Artgenève’s outdoor Estate Show. The fair runs January 31st through February 3rd. As its title suggests, the Geneva-bound piece stands a formidable 40 feet tall. Made out of stainless-steel reproductions of Erector parts, it’s a companion sculpture of sorts to What My Dad Gave Me, the 65-foot-tall tower that Burden showed at Rockefeller Center in New York as a Public Art Fund project in 2008. (At the time, the artist, who died in 2015 at the age of 69, told Randy Kennedy of the New York Times that he thought he could make one more than 100 feet tall, but he scuttled those plans after engineers started doing stress tests.)
Jason Meadows at ltd los angeles
ltd los angeles is pleased to present Phase Patterns, an exhibition of new paintings and sculptures by Jason Meadows and Jule Korneffel. Korneffel’s paintings inquire into the intersecting gestures of image making and meaning making, using the fundamental as means. They interface with Meadows’ folded aluminum sculptures, investigations embracing difference between painting and sculpture, hung below floating site-specific sculptures, storm clouds brandishing thunderous geometry. The exhibition will be on view from January 12th through February 23rd, 2019.
Barbara T. Smith Artist’s on Art Talk at LACMA
The Artists on Art series offers a glimpse inside LACMA’s collection through the eyes of various artists working in Los Angeles today. For this event, Barbara T. Smith will choose artwork from the Photography and Prints & Drawings collections to display in the Study Center. She will discuss why she selected this artwork and how it relates to her own art practice. Barbara T. Smith works in a variety of media, including performance, video, installation, painting, drawing, and artist’s books. She often uses her own body in her work and explores themes on human nature, sexuality, nourishment, spirituality, and death, amongst other topics. Smith was at the forefront of the feminist movement and the experimental art scene in Southern California in the 1960s and co-founded the art space, F-Space with Chris Burden and Nancy Buchanan. The talk will be held on Saturday, January 12th at 2pm.
Mark Bradford’s What Hath God Wrought? at UC San Diego
Mark Bradford’s newly installed sculpture at UC San Diego can be seen for miles — from cars on Interstate 5 and the streets of La Jolla, from dorm rooms on campus as well as from the chancellor’s house, where confused dinner guests have asked, just what is that blinking light?
The blinking lights spell out in Morse code the work’s title, “What Hath God Wrought,” the first words sent over the nation’s initial stretch of telegraph line in 1844. The phrase derives from the Book of Numbers, where it serves as a vaguely celebratory exclamation. When used today, the inference is typically bleak. For Bradford, the meaning of the signal has shifted over time. He conceived of the piece in 2014 as a prompt to ponder the global, dematerialized communication network launched by Samuel B. Morse’s momentous act, to contribute to “the whole conversation about privacy and censorship, and who gets to be in charge of information.” Rising several years later, smack in the middle of the Trump presidency, the piece embodies a new sort of disquiet for the artist. It’s “a cry of rage,” he said.
Cirrus Gallery & Cirrus Editions Ltd. at UNTITLED Art Fair, Miami Beach
We are pleased to announce our much-anticipated new release by Jonas Wood in tandem with our participation in the UNTITLED art fair in Miami Beach this year. In addition to the new publication by Wood, the booth will debut a new print by LA-based artist Math Bass; the fourth published by Cirrus and a continuation of their ongoing suite titled Newz!. The booth will also present works by Brice Bischoff, David Lamelas, Charlemagne Paleastine, and Mary Weatherford.
Peter Alexander, Craig Kauffman at Art Basel, Miami Beach
For the 2018 edition of Art Basel Miami Beach, Pace Gallery will present Lightness of Being — an exhibition dedicated to West Coast artists of the Light and Space and Finish Fetish movements. The presentation will showcase works by artists long represented by Pace, such as Robert Irwin and James Turrell, as well as new additions to the gallery, including Mary Corse. To capture the fluid spectrum of creative perspectives and approaches inspired by the movements over for the last 50 years, Pace’s exhibition will also feature works by seminal artists Peter Alexander, Larry Bell, Craig Kauffman, John McCracken, and Doug Wheeler. The works on view highlight the artists’ unrelenting investigations of space, light, perception, material, and subjective experience.
Judy Chicago at the Institute of Contemporary Art, Miami
The Institute of Contemporary Art, Miami presents “Judy Chicago: A Reckoning,” a major survey of works by the pioneering feminist artist. This exhibition highlights Chicago’s iconographic transition from abstraction to figuration, and explores the ways in which the artist’s strong feminist voice transforms our understanding of modernism and its traditions. Representing the female voice in a male-dominated world, Chicago explores important narratives of history, form and labor. The artist deploys both iconography and working methods in order to problematize gender roles, artistic mastery and skills traditionally regarded as “female” such as needlework and embroidery, as well as stereotypical “male” skills, such as auto body painting and pyrotechnics.
Vija Celmins at the San Francisco Museum of Modern Art
For more than five decades, Vija Celmins has been creating subtle, exquisitely detailed renderings of the physical world — including oceans, desert floors, and night skies. Distilling vast, expansive distances into mesmerizing small-scale artworks, this obsessive “redescribing” is a way to understand human consciousness in relation to lived experience. One of the few women to be recognized as a significant artist in 1960s Los Angeles, Celmins relocated to New York City in 1981, where she continues to live and work. Vija Celmins: To Fix the Image in Memory features approximately 140 artworks, including paintings, drawings, and 3-D works. A global debut, this is the first Celmins retrospective in North America in more than twenty-five years.
Betye Saar at Roberts Projects, Los Angeles
Roberts Projects is thrilled to present Something Blue, an exhibition of selected artworks by Betye Saar from 1983 to 2018. All of the works on view feature the color blue as a means to explore such concepts as magic, voodoo, and the occult. In her new assemblages dating from 2018, Saar revisits the holistic inclusion of various religious objects, totems, talismans, and charms in the materiality and temporality of her work. This focus on the mystic shares space with her familiar motifs including derogatory black collectibles, outlines of her hand, and personal and familial objects.
Bruce Nauman at the Museum of Modern Art, MoMa PS1
Disappearing Acts traces what Nauman has called “withdrawal as an art form”—both literal and figurative incidents of removal, deflection, and concealment. Bodies are fragmented, centers are left empty, voices emanate from hidden speakers, and the artist sculpts himself in absentia, appearing only as negative space. The retrospective charts these forms of omission and loss across media and throughout the decades, following Nauman as he circles back to earlier concerns with new urgency. Presented in two complementary parts, at The Museum of Modern Art and MoMA PS1, this is the most comprehensive exhibition of the artist’s work ever assembled.
Charles White at Chicago, New York, and Los Angeles institutions
The consummate draftsman Charles White (1918-79) was committed to interpreting the African-American experience in paintings, murals and works on paper for more than 40 years. The left-leaning White was a lifelong activist, and these “images of dignity”, as he described them, were linked to his belief that social inequality should be addressed in art. The exhibition Charles White: a Retrospective, organised by the Art Institute of Chicago and New York’s Museum of Modern Art (MoMA), is part of Art Design Chicago, a year-long initiative supported by the Terra Foundation for American Art. The show opens in Chicago this week before traveling to MoMA in October and the Los Angeles County Museum of Art in 2019.
Roland Reiss at Diane Rosenstein Gallery, Los Angeles
Diane Rosenstein Gallery is pleased to present Unrepentant Flowers and New Miniature Tableaux, a solo exhibition of sculpture and paintings by Roland Reiss. In this exhibition, Reiss presents two different series of floral paintings, Unrepentant Flowersand American Still Lifes; and a series of six new wall-mounted Miniatures that expand his Morality Play series (begun in 1980). This is Roland Reiss’ fourth exhibition with the gallery and presents his first new sculpture in nearly thirty years.
Charles Christopher Hill at Leslie Sacks Gallery, Los Angeles
Leslie Sacks Gallery is pleased to present Charles Christopher Hill: Origin Story. The exhibition will feature the Los Angeles based artist’s iconic stitch-works from the mid-1970s to early-1980s. Eight of these vintage and historical works will be on view—some never before exhibited. The stitch pieces are a seminal body of work for Charles Christopher Hill and have informed his evolving oeuvre over the last nearly five decades.
Peter Alexander at Brian Gross Fine Art, San Francisco
Brian Gross Fine Art is pleased to announce the opening of COLOR, an exhibition of new works by veteran Los Angeles artist Peter Alexander. On view will be his signature cast urethane sculptures along with recent gouache drawings. Throughout his use of diverse media, Alexander creates experiential encounters with color. He is associated with the Light and Space movement in Los Angeles from the late 1960s to the present and he has gained an international reputation for his paintings, sculptures, and installations concerning the properties of light and color.
John Baldessari at Marian Goodman Gallery, New York
Marian Goodman Gallery New York is pleased to announce an exhibition of John Baldessari’s new body of work All Z’s (Picabia/Mondrian), 2017, opening on Friday, May 4th and on view through Saturday, June 22nd, 2018. Building on Baldessari’s homages to the art historical canon, which have centered on subjects from Giotto to Miro to Pollock/Benton, the new exhibition pairs two icons of art, Picabia and Mondrian.
Matthew Brannon at Casey Kaplan Gallery, New York
Casey Kaplan is pleased to announce Matthew Brannon: Concerning Vietnam, the artist’s second solo exhibition rooted in an ongoing, research-based exploration of the Vietnam/American War.
Six large-scale, unique works on paper, punctuated by a new series of ephemera-sourced paintings, chronicle the political and cultural narratives of a complex history. Brannon’s graphic style lends itself to a visual deconstruction of decisions made and fallouts endured between the years of 1954 and 1973. With traditional silkscreen printing techniques as well as hand-painting, the artist layers hundreds of screens in an intricate network of overlapping and boldly colored objects. Image and language intersect in evocations of dual meanings and underlying narrative. The exhibition is on view from May 1st through June 16th, 2018.
Math Bass at Mary Boone Gallery, New York
On 26 April 2018, Mary Boone Gallery will open at its Fifth Avenue location My Dear Dear Letter, an exhibition curated by Piper Marshall of new paintings by Math Bass. My Dear Dear Letter presents a recent entry to Math Bass’s ongoing “Newz!” paintings, adding to the artist’s evolving formal vocabulary. Bass’s entries emerge through a process of excision. A contour traced from a pre-existing shape is then abstracted away. In this case, nothing is ripped or destroyed, rather the form yields another through its re orientation, comparable to how N when rotated can appear as
Z, and E could be flipped to read as W. Similarly, Bass’s work explores the contour of a shape through repetition, often within one composition. What follows is a sequence whose legibility asks to be read as mutable, or as toward multiple.
Ed Moses at albertz benda, New York
albertz benda is honored to present Ed Moses: Diamond Jim focusing on the artist’s work on canvas of the past three decades. This exhibit follows Moses’s first ever East Coast survey, Painting as Process 1951-1999, at albertz benda, New York (2016) and California Dreaming: Ed Moses, Billy Al Bengston, & Ed Ruscha curated by Thomas Krens for the New Britain Museum of American Art, CT (2017). Diamond Jim comprises key series from this period including Whiplines, Crackle, Scrapers, and Magma. The exhibition will be on view from April 30th through June 16th, 2018.
Roger Herman at Richard Telles Fine Art, Los Angeles
Richard Telles presents an exhibition of new ceramics and paintings by Roger Herman. Drawing from a variety of art historical tropes, Herman embraces an eclectic palette of imagery and methods laden with references to comic strips, the Enlightenment, Paleolithic cave drawings, and erotica. The high and the low are treated with equal deference, simultaneously exalted and exhausted by a studied hand uninterested in purity of form, but more so in the constant rediscovery of process. The exhibition will be on view from March 3rd through April 7th, 2018.
Tate Modern acqures set of 10 David Austen lithographs
The Tate Modern has recently acquired a set of untitled lithographs produced at Cirrus between 1990 and 1991. The artist was inspired to embark on printmaking in the famous print workshop during his solo exhibitions at the affiliated Cirrus Gallery in 1989 and 1991. The designs began as studies Austen made of plants in the gallery garden before being transferred to lithographic plates. The portfolio was printed at the Cirrus Editions workshop by Francesco Siquerios, assisted by Robert Dansby in an edition of thirty.
Peter Alexander at Galerie Thomas Zander, Cologne
Galerie Thomas Zander is delighted to mount its first exhibition of luminous urethane objects, the most recent work by Peter Alexander. Alexander (born in Los Angeles in 1939, lives and works in Santa Monica) is associated with the Light and Space movement that emerged as an important, innovative, and distinctly West Coast approach to art. Trained as an architect, his oeuvre includes paintings, drawings and sculptures. Today he works in sculptural forms reminiscent of his earliest work from 1965-1972, when he had developed a technique for casting resin. The exhibition opens on February 24th and runs through May 19th, 2018.
Bruce Nauman at Casa Luis Barragán, Mexico City
Casa Luis Barragán is pleased to present Parameters, the first solo exhibition by Bruce Nauman in Mexico. This exhibition has assembled five video works—four produced in 1968-1969, which are displayed on monitors in various locations throughout the house, as well as a projection of Setting a Good Corner (1999) in the studio. Presenting Nauman’s video installations in this iconic landmark allows the examination and demonstration of the architectonic and spatial traits found in his work since the beginning. For the exhibition, Estancia FEMSA – Casa Luis Barragán invited independent curator/writer Michael Auping to collaborate on the accompanying catalogue, offering insights on Nauman’s work. The exhibition will be on view from February 3rd through April 15th, 2018.
Ed Ruscha at Joslyn Art Museum, Omaha NE
Word/Play is the first major exhibition to feature internationally-renowned artist Ed Ruscha in his home state of Nebraska. Born in Omaha in 1937, Ruscha lived in the city for several years before his family moved to Oklahoma City. In 1956, he relocated to Los Angeles to study commercial art at the Chouinard Art Institute (now called CalArts), and quickly became a fixture in the highly energized West Coast art scene. An important early figure in Conceptual Art, Ruscha demonstrated a talent for deftly combining imagery and text during his student years. At turns poignant, provocative, and confounding, Ruscha’s use of the written word has remained a signature element of his work throughout his career. The exhibition opens on February 3rd and will be on view through May 6th, 2018.
David Austen at TOTAH, New York
TOTAH presents the stars above the ocean the ocean beneath the stars, an exhibition of paintings and films by David Austen, on view February 15th through April 22nd, 2018. The exhibition features selections from David Austen’s career-long engagement with painting and watercolors along with two films. This will be the London-based artist’s first New York solo exhibition, offering a view into to a fertile imagination that transitions effortlessly between the formal demands of different media.
Mark Bradford at Hauser & Wirth, Los Angeles
Following recent major solo presentations at the US Pavilion, 57th Venice Biennale and the Hirshhorn Museum and Sculpture Garden, LA-based artist Mark Bradford will present new works in the his first solo exhibition with the gallery in Los Angeles. The exhibition will be on view from February 17th through May 20th, 2018.
Craig Kauffman at Sprüth Magers, London
Crossroads: Kauffman, Judd and Morris, is Sprüth Magers’ second curated exhibition of Craig Kauffman’s work, displayed alongside his influences and contemporaries. The show presents six works from Kauffman’s fertile period of 1966—1971, when he addressed the issues of structure and form in painting, the use of industrial materials, painting’s relationship to the wall, and dematerialisation. The exhibition also features work by Donald Judd and Robert Morris and will be on view from January 19th through March 31st, 2018.
Ed Moses, ‘Cool School’ painter who helped forge L.A.’s art scene, dies at 91
Gallerist William Turner, who represented Moses, described the artist as “a living link to the inception of the contemporary art scene in Los Angeles from the late ’50s to the present.”
“He was a striking presence and force of nature to be reckoned with, especially in his later years. If anything, he went guns a-blazing into his old age and seemed to speed up instead of slow down. He loved painting, for him to be alive was to paint, it’s how he marked his existence.”
Karen Carson at DENK Gallery, Los Angeles
DENK gallery is pleased to announce Shift, a painting exhibition featuring new works by Los Angeles-based artists Karen Carson, Kim Dingle, Iva Gueorguieva, and Elisa Johns. Each of these four painters is unique in her simultaneous exploration of both abstract and representational genres. This show will present new and recent pieces by each of the four painters, focusing on the often ambiguous transitions in their works and practices from the referential to the abstract. The exhibition opens on January 20th and will be on view through February 17th, 2018.
Judy Fiskin at Richard Telles Fine Art, Los Angeles
Richard Telles presents Judy Fiskin’s new film, I Was an iPhone Addict, in her second exhibition with the gallery. The film will screen for the remainder of the exhibition while selected older films by the artist will be viewable in the gallery’s main space after opening day. In her aptly titled new film, Fiskin serves as protagonist and narrator. She muses on the paradoxes of smart phone photography and accompanies them with images she’s captured on her daily walks over a productive six-month period. The exhibition will be on view from January 13th through February 7th, 2018.
John Mason at Albertz Benda Gallery, New York
John Mason: Sculpture presents a survey of typologies: figures, spears, crosses, torques, and orbs – large-scale powerful works rendered from his latest experiments and research into form, structure, and color. With roots in his earliest forays into the expressive potential of clay, these latest series reflect Mason’s enduring interest in mathematics, science, computer applications, and aesthetics but present entirely new and distilled forms. The exhibition will open on November 30th, 2017 and run through January 13th, 2018.
Math Bass in ‘Abstract/Not Abstract’ at Art Basel, Miami Beach
Math Bass will be featured alongside other notable artists such as Tauba Auerbach, Urs Fischer, Sterling Ruby, Seth Price, and Christopher Wool in ‘Abstract/Not Abstract’. The exhibition was curated by Larry Gagosian and Jeffery Deitch and will be on view at Art Basel, Miami Beach in the Moore Building opening on December 6th. The works in the exhibition feature artists who “show work on the boundary between abstraction and representation.”
Tony DeLap at Parrasch Heijnen Gallery, Los Angeles
Tony DeLap: A Career Survey, 1963—2017 presents iconic examples of sculpture, drawing, and painting from various periods throughout Tony DeLap’s six-decade practice. In its New York space, Franklin Parrasch Gallery will include early mixed media sculpture and related drawings from the 1960s, formed paintings from the 1970s and 1980s, and shaped paintings from the 1990s to the present. Parrasch Heijnen will present a similar range of works in Los Angeles, as well as an architectural intervention not exhibited since DeLap’s 1972 solo exhibition at Nicholas Wilder Gallery.
Mark Bradford at the Hirshorn Museum
Mark Bradford’s Pickett’s Charge, a site-specific commission for the circular third-floor gallery at the Hirshhorn Museum in Washington D.C., will doubtless be taken by some as an engagement, post-Charlottesville, in the national discussion about Civil War monuments and their place in the public sphere. His installation will continue at the museum through November 12th, 2018.
Mary Corse at the Whitney Museum
The Whitney Museum of American Art in New York is planning to open the artist’s first museum survey in June 2018. Meanwhile, Dia:Beacon in New York’s Hudson Valley will unveil a new gallery dedicated to Corse, featuring four newly acquired paintings, in May 2018. The Whitney show will bring together her most important works, from early shaped canvases to her monochromatic “White Light Paintings,” which incorporate glass microspheres, the reflective glass beads used to paint highway markers. The reflective quality of Corse’s work is a marvel to behold—the surface shifts before your eyes as you move across the room.