Tonight is the penultimate full moon of the year, so it seemed like a good moment to post this painting, The Real Realities 2, 2013, by Friedrich Kunath. It was on view in 2019 at the Marciano Art Foundation in Los Angeles which after abruptly closing due to a labor dispute, appears to have reopened.
The Art of Surviving November, Kunath’s inaugural solo exhibition at Galerie Max Hetzler’s London location, and consisting of a new body of paintings, is on view until 1/6/24.
“Steelhead” Terracotta sculpture by Ako Castuera
Spooky season may be coming to a close but there is still time to see the ghosts, and the artists behind them, in At Home with “City of Ghosts” at Dunedin Fine Art Center. Thoughtfully curated by Nathan Beard, the exhibition focuses on artwork, in a variety of mediums, by 17 of the artists who helped create the award winning Netflix series City of Ghosts.
Created by Elizabeth Ito, City of Ghosts follows a group of children as they track down and record stories about the history of Los Angeles from the ghosts who also live in the city.
Artists included in the exhibition- Mike Andrews, Kwasi Boyd-Bouldin, Ako Castuera, Alex Cline, Mercedes Dorame, Luis Grané, Chloe Hsu, Elizabeth Ito, Jasmin Lai, Bob Logan, Yulissa Maqueos, Hugo Morales, Keiko Murayama, Adam Muto, Claire Nero, Zen Sekizawa, and Pen Ward, with additional contribution from Decibel Studios LA.
This exhibition closes 12/23/23.
Below are some additional selections from the show.
Chloe Hsu– “Fish Market”, drypoint and watercolor
Jasmin Lai– “The 110 and Downtown LA”, digital print
Acrylic and ink work by Kwasi Boyd-Bouldin
Prismacolor and watercolor work by Alex Cline
Luis Grané– “Pool Maintenance” , acrylic on canvas
“La Mejor Herrencia”, Maqueos-Gonzalez family photos and “Maqueos Music (Banda Oaxaqueña)”, 2023, video by Decibel Studios LA with Los Angeles based clarinet player Yulissa Maqueos
Pendleton Ward (left) and Elizabeth Ito (right) both created Pepper’s Ghost animations for the exhibition
The above photos are of Sanford Biggers’ sculpture The Oracle when it was located at Rockefeller Center in NYC in 2021, where it was part of a multimedia installation.
It now resides outside the Hammer Museum in Los Angeles, on the new outdoor sculpture pedestal on Wilshire Boulevard and Glendon Avenue. It will be there until March of 2024.
From the Hammer website about the work-
Anchoring this corner is Oracle (2021), a cast bronze figure weighing 7.64 US tons (15,280 pounds) and standing at 25 feet tall. This monumental commission from Biggers continues his “Chimera” series that hybridizes the canonical figures and gestures of Greco-Roman sculpture with an assortment of iconic African objects from the 14th–20th centuries. Unlike Biggers’s other “Chimera” sculptures that are made in marble, Oracle is cast in bronze. The seated figure in Oracle is a depiction of the statue of Zeus at Olympia, while the head is a composite of several masks and busts from different African cultures, including the Luba Kingdom and the Maasai.
Biggers sculpturally patchworks historical depictions of the body and their subsequent myths, narratives, perceptions, and power. Biggers is intrigued by the recent scholarship about the academic and historical “white-washing” of classical Greco-Roman sculpture simultaneously intersecting with the early twentieth-century “black-washing” of various African sculptural objects. Oracle challenges the associated cultural and aesthetic assumptions about their source material while acknowledging the often dubious origins of the original objects themselves.
Artist Kenny Scharf has painted around 260 cars for his Karbombz! project. In 2020 he even led a parade of them in Hollywood and West Hollywood.
This one was spotted on the streets of Los Angeles in 2015.
This work is currently on view at The Broad in Los Angeles.
Information from the museum’s website about this artwork-
Barbara Kruger addresses media and politics in their native tongue: tabloid, sensational, authoritative, and direct. Kruger’s words and images merge the commercial and art worlds; their critical resonance eviscerates cultural hierarchies — everyone and everything is for sale. The year 1989 was marked by numerous demonstrations protesting a new wave of antiabortion laws chipping away at the 1973 Roe v. Wade Supreme Court decision. Untitled (Your body is a battleground) was produced by Kruger for the Women’s March on Washington in support of reproductive freedom. The woman’s face, disembodied, split in positive and negative exposures, and obscured by text, marks a stark divide. This image is simultaneously art and protest. Though its origin is tied to a specific moment, the power of the work lies in the timelessness of its declaration.
Potatoes, Grapes, and a Lemon, 2019
Pear and Cherry Juice, 2019
These paintings are from Holly Coulis‘ 2019 exhibition Stilly at Philip Martin Gallery.
From the press release–
Holly Coulis’s paintings operate as stages where still life scenes unfold. A table, or tables, create an initial structure where simplified, geometric forms are arranged and interact. There is a sense of order in these scenes as though the fruits and dishes had been laid out by some external force. Through layers of paint, linear elements are created, giving the illusion of colorful stripes or energy fields around individual objects. These works feel familiar, but upend our sense of figure/ground, horizon-line, perspective, and scale. In these newest paintings, the still life begins to verge into abstraction.
Coulis works from a visual vocabulary built up over years of practice, and the sense of discovery and newness in her works occurs as she continues to explore her own paintings and their possibilities: “I rarely look at a scene. It’s more about shapes of things I know. Things like oranges, lemons, cherries: they’re all very easy shapes.” Standing in front of her works, we are immediately involved in a scene of pleasure and abundance, surprise and stimulation – a stimulation that is physical, intellectual and aesthetic.
Her new exhibition, Orbit, which also includes her sculptures, is currently on view at the same gallery in Culver City until 7/2/21.
The Second Home Serpentine Pavilion, designed by Spanish architects Lucia Cano and Jose Selgas of SelgasCano, is a bright and colorful addition to the park that houses the La Brea Tarpits and LACMA.
The installation will be up and accessible to the public until 11/24/19 (although tickets are available for Monday 11/25 and Friday 11/29). Get free tickets here.
Peer Amid (Peered Amidst), 2019
Sumday (We Gunna Rest on) Sunday, 2019
Detail of Sumday (We Gunna Rest on) Sunday, 2019
Change Comin’ Round Tha Bend (Right Round, Right Round), 2019
Regen Projects is currently showing But I Woke Jus’ Tha Same, an exhibition of paintings and drawings by artist Christina Quarles. If her work seems familiar, she was also one of the artists featured in Hammer Museum’s Made In L.A. 2018.
From the press release–
Quarles’ seductive paintings feature polymorphous figures arranged in contorted positions in space, rendered through expressive and gestural strokes that teeter on the edge of abstraction and representation. Referencing the history and techniques of painting, her work propels forward the limits of her chosen medium, and is informed by her multiply situated identity as a queer woman of mixed race. Dynamic compositions feature bold patterns and decorative motifs such as flowers, latticework, and plaid tablecloths – feminine tropes that reference domestic space. Yet the subjects in Quarles’ paintings simultaneously inhabit interior and exterior space. Perspectival planes both situate and fragment the bodies they bisect, representing the boundaries that demarcate a space from the individual, and expanding the limits and potential for representation.
Similar to her paintings, her drawings deftly combine pictorial elements using economy of line with cross hatching, and other modes of mark making, to create form and depth. Punctuating the picture plane, or outlining a figure, text additions in the form of puns or poetic wordplay often reference pop culture, situating the works in our time.
This show closes 5/9/19.
The Marciano Art Foundation, established by Paul and Maurice Marciano (co-founders of the Guess clothing brand), opened its doors in May of 2017 in Los Angeles and is a great addition to the city’s art spaces. It is currently showing Olafur Eliasson: Reality Projector (pictured above), an immersive kaleidoscopic piece created specifically for this location, with a soundscape created by Jónsi of Sigur Rós. A rotating selection of works from the Marcianos’ permanent collection is also on view as well as Instagram favorite Yayoi Kusama’s With All My Love For The Tulips, I Pray Forever.
The foundation is housed in a former Scottish Rite Masonic Temple and there is a room dedicated to objects that the Masons left behind.
Both the inside and outside of the building retain the symbols and remnants of the Masonic history as well.
It is free to go to the MAF but it is recommended that you reserve tickets online.
My Madinah. In pursuit of my ermitage…, 2004
Jason Rhoades Installations, 1994-2006 at Hauser & Wirth is a lot of show. It’s a big exhibition with several rooms packed with things. Many, many things. In one room numerous neon expressions for female genitalia hang over a mosque-like environment (above), and in another over countless tourist novelties, bare mattresses, and truck nuts (pictured below).
The earlier work, like My Brother/Brancusi, which was created for the 1995 Whitney Biennial, feels a bit stronger, or at least less controversial. Photos of Brancusi’s studio and Rhoades’ brother’s room are on the walls, while his version of his brother’s room complete with a tower of donuts (somehow still intact) that alludes to Brancusi’s Endless Column, and mechanical objects, fill the center of the installation.
This description is from the press release of The Creation Myth, 1998, another of the better pieces in the show, and gives an insight into Rhoades thought process behind the work-
The artist sought to understand why, how, and what humans create by exploring Creationist and Evolutionist theories in tandem. The irreverent representation of the human body and brain is structured into levels to suggest our categories of perception: the archetypal, the real, the unconscious and the rebellious. Each of the six nouns in the work’s subtitle (‘The Mind, the Body and the Spirit, the Shit, Prick and the Rebellious Part’) is metaphorically portrayed, while the function of the brain itself unfolds through a calculated combination of readymades and images. A series of stacked tables constitutes the ‘brain,’ in which a ‘train of thought’ – a toy train mounted by a snake’s head and tail – circles. Digestible ‘information’ enters the ‘brain’ in the form of pornography-wrapped logs of wood, representing the physicality of creation. Cut and disseminated, ‘information’ is incessantly processed and reproduced by cameras, mirrors, and computers. Smoke rings erupt from ‘the Asshole,’ a fleeting byproduct of the frenzied machine, a personification of the Spirit, alluding to the pursuit of the ephemeral moment.
If you love his work, the chaotic installations and selfie opportunities will delight you. If not, there is still plenty to think about after seeing the work.
Tijuanatanjierchandelier, 2006
This is a good interview discussing the exhibition with the curator (and former partner in the gallery) Paul Schimmel.
This exhibition closes 5/21/17.