May 212020
 

Yayoi Kusama’s installation, With All My Love For The Tulips, I Pray Forever (2011), was on view at Marciano Art Foundation in Los Angeles in 2019.

From the foundation about the work:

Kusama’s exuberant sculptural installation “With All My Love For The Tulips, I Pray Forever”(2011) exemplifies the dualism found throughout her work between the organic and the artificial. Shown here for the first time in Los Angeles, the oversized flower-potted tulips made from fiberglass-reinforced plastic are painted with the same red polka dots as the floor, ceiling, and walls, creating an immersive viewing experience while at the same time diminishing the appearance of depth. This work exemplifies Kusama’s singular vision and her distinctive gift for drawing viewers into the work on a deeply visceral level. Kusama currently lives and works in Tokyo.

May 182020
 

 

Two works from Museum of Latin American Art’s outdoor sculpture garden, just one of the great things about this Long Beach museum.

Currently they are showing Arte, Mujer, y Memoria: Arpilleras from Chile; Dreamland: A Frank Romero Retrospective;  En Vision: Picturing the Self -selected pieces from MOLAA’s Permanent Collection in conversation with self-portraits by students of Las Fotos Project, a community-based nonprofit organization that inspires teenage girls through photography, mentorship and self-expression; and the work of Afro Cuban artists José Bedia and Belkis Ayón; in addition to work from the museum’s permanent collection, as part of their Museum en Casa online programming.

May 172020
 

Jamie Isenstein’s Onions (Mario to Clown Mouse), 2015, from her exhibition Para Drama at Andrew Kreps Gallery in New York in 2015.

From the press release–

… And on the wall are a series of photographs of masks wearing masks. By putting on masks the support masks become anthropomorphized into faces so that these inanimate objects come alive. At the same time, the layering of these masks emphasizes their emptiness. Behind the illusions there is nothing. Absurdly, the more masks the masks wear, the deeper the layering of nothingness becomes. Onions, 2015, is a sculpture of many masks layered over the hollow head of a mascot costume. The title of the work refers to a monologue in the Henrik Ibsen play Peer Gynt in which Peer peels away the layers of an onion as he examines the various roles he has played in his life. Eventually he comes to realize there is nothing substantial at the core.

 

May 102020
 

Swiss artist Cuno Amiet’s Mutter und Kind im Garten (Mother and Child in Garden), circa 1903, part of LACMA’s 2014 exhibition Expressionism in Germany and France: From Van Gogh to Kandinsky.

May 052020
 

Alex Kanevsky’s Nurses With Wine, 2019 from his painting exhibition Liberation and Disorientation at Hollis Taggart gallery in NYC.

Apr 182020
 

One of artist Sean Duffy’s Road Signs, part of a group exhibition in 2013 at Vielmetter Los Angeles.

Apr 142020
 

Wayne Thiebaud’s Make Up Girl (1982), seen at the San Diego Museum of Art. The museum is currently closed due to COVID-19 but they have a lot of excellent online programming including virtual performances, lectures, virtual tours and more.

Apr 062020
 

For Doug Wheeler’s fourth solo exhibition at David Zwirner’s NYC location, he created the immersive light installation 49 Nord 6 Est 68 Ven 12 FL (2011–2012), shown above.

This exhibition opened on 1/24/20 but was closed due to the Coronavirus (COVID 19) pandemic.

Apr 042020
 

This work by Scottish artist Nathan Coley is located outside the Scottish National Gallery of Modern Art in Edinburgh.

From the museum’s website–

This outdoor work by Nathan Coley proposes, on a scaffolding support six metres high in illuminated text, ‘There Will Be No Miracles Here’. This originates from a project in which Coley posted a series of public announcements around the town of Stirling. One included these words, taken from a seventeenth-century royal proclamation made in a French town believed to have been the frequent site of miracles. Coley’s practice is based in an interest in public space, and how systems of personal, social, religious and political belief structure our towns and cities, and thereby ourselves.