This painting, Reverse Beach, 2019, is from Rob Thom’s exhibition at M+B Los Angeles, The Beast. Thom’s vision of American life takes on many forms, often focused on its more absurd qualities.
From the press release from that show-
Depicting mostly female subjects in her works, Curtiss creates an undulating dreamscape where the depths of a woman’s psyche are as important and palpable as her body. Rife with swirling curvatures and oscillating lines that convey both physical movement as well as cognitive dissonance, Curtiss’ subjects are secretive and faceless, inhabiting uncanny narratives driven by the logic of dreams. Teetering between dichotomies of seduction and repulsion, feral and domestic, their countenances are strategically concealed with thick mounds of serpentine hair, clawed hands and razor-sharp nails that conjure the anatomy of cold-blooded beasts. For Curtiss’ latest series of paintings and gouaches on paper, marine imagery permeates the narratives: koi, lotuses, fishtails in lieu of feet, a lobster claw clasping a glossy manicured finger … a nod to the 1980s science-fiction film “Altered States,” whose protagonist descends into a bottomless search for the self by way of floatation tanks – sensory deprivation chambers filled with body-temperature saltwater (water being the Jungian dream symbol for the unconscious). While Curtiss invites us to dive deeper into the layered, mercurial mind of her subjects, we are inevitably faced with a reflection of our own subconscious.
She is currently showing her newer work, which includes sculptures, at White Cube Mason’s Yard, in an exhibition titled Monads and Dyads, closing 6/26/21.
This mural, Play Her Voice, is by one of Afghanistan’s first female street artists, Shamsia Hassani and is located in Eugene, Oregon.
She was also one of Hammer Museum’s resident artists in 2016. While in Los Angeles she met with local artists, painted the mural seen below (image via her website) and showed her work in an exhibition at Seyhoun Gallery in West Hollywood.
Make sure to check out her Instagram for updates on her current work.
From the press release-
Born and raised in Memphis, TN, Boyland navigates intersections of black identity through portraiture. His paintings focus on queer men of color within intimate spaces. Boyland sees the domestic space as the foundation of social ideologies and an incubator that molds the facade of masculinity. Based on photographic images that the artist reconfigures to create specific compositions, Boyland’s paintings sensitively highlight the nuances of these complex interpersonal relationships, identities, and locales.
The idea of comfort is a recurring theme in Jarvis Boyland’s work. The complex intersections of blackness and queerness shape his delicate renderings of the black male body in repose. The figures in On Hold: dream big and beautifully, yet they are fully grounded and aware in their leisure. Boyland’s palette suggests stillness in the digital age of app culture that shapes modern interaction while evoking David Hockney’s 1970s California and the coolness of Barkley Hendricks. Black bodies are not welcomed in cyberspace but are privileged in Boyland’s paintings. Expectations, aspirations, and dreams that infuse queer experiences come into focus. Situated within domestic environments, Boyland’s paintings emphasize limpness through intimate gestures of distant closeness, overlapping satin garments, and a seemingly shared vanishing point. Coy yet cocky, pretty and promiscuous, commanding yet chaste––luxury is embodied by the three figures waiting on the phone with varied expressions in these slumber-party-themed works. There is tense correspondence, a deliberation about relationships within the group of artists pictured, all of whom grew up in the American South: D’Angelo Williams, Cameron Clayborn, and Jarvis Boyland. Skowhegan School of Painting and Sculpture brought these artists together and influenced the tone of this series. On Hold: expands Boyland’s oeuvre of queer relationships. Through his aperture, Boyland’s group and individual portraits collectively depict an idyllic sensibility towards reality.
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.
Today, December 1st, is Day With(out) Art, a national day of action and mourning organized by Visual AIDS with arts organizations and institutions in response to the AIDS pandemic. It is also World AIDS Day, an international day dedicated to raising awareness of the disease.
Every year since 2010, Visual AIDS has commissioned a video program that is then shown at various venues around the world. The short films presented this year consider the impact of HIV and AIDS beyond the United States.
The program this year, Transmissions, consists of six new videos, and can be seen online as a whole or individually on the website (which also provides more information on each work). The artists included this year are Las Indetectables, Lucia Egaña Rojas, Charan Singh, George Stanley Nsamba, Jorge Bordello and Gevi Dimitrakopoulou.
From the wall description of the work-
Made shortly before Saar’s seventy-eighth birthday, the assemblage includes years and astrological glyphs on the inner left side that correlate to various important dates in her life. The work’s title wittily refers both to the timepieces in the sculpture- which, of course, are not ticking; indeed they are either frozen in time or missing their hands- and to the artist herself, who is alive and well, still ticking, now at age ninety-three.
One of the pieces from Drew Heitzler’s 2015 exhibition Pacific Palisades at Blum and Poe Los Angeles.
Today, July 6th, is the four year anniversary of the fatal shooting of Philando Castile by a police officer during a traffic stop in Minnesota. Castile was shot five times while his girlfriend and her four year old daughter were in the car.
Mark Bradford’s 150 Portrait Tone, 2017, currently at LACMA, is a devastating large scale work that uses excerpts from Philando Castile’s girlfriend Diamond Reynolds’s dialogue from the video she live streamed on Facebook from the incident.
From LACMA’s wall description of the work-
Bradford notes that he was moved by the multiple subjects Reynolds simultaneously addressed and the different spaces they occupied: her boyfriend, Castile, next to her (“stay with me”); the officer outside the car (“please, officer, don’t tell me that you just did this”); God (“Lord, please Jesus, don’t tell me that he’s gone”); as well as the unknown receiver on the other side of her lifestream (“please don’t tell me he just went like that”).
Like many of Bradford’s works, the mural-size composition contains elements of both abstraction and realism. In places, layers of manipulated paint render the text almost illegible. The dark form in the background, however, evokes all-too-real associations with the horrific shooting, such as Castile’s twisted arm and the dark-red bloodstain spread across his white shirt, both visible in the live stream feed.
The title, “150 Portrait Tone”, refers to the name and color code of the pink acrylic used throughout the painting (most conspicuous in a large patch at the work’s bottom edge). Like the now-obsolete “flesh” crayon in the Crayola 64 box (the color was renamed “peach” in 1962), the color “portrait tone” carries inherent assumptions about who, exactly, is being depicted. In the context of Bradford’s painting, the title presents a sobering commentary on power and representation.