Installation Art – Page 8

Los Angeles Art- Olafur Eliasson at Tanya Bonakdar Gallery

Art, Art Shows by Location, Artists, California Art Shows, Conceptual Art, Installation Art, Los Angeles Art Shows, New York Art Shows, Sculptors / Sculpture

Dec 122024

The above work is Olafur Eliasson’s Edgy but perfect kinship sphere, 2020, spotted at Tanya Bonakdar Gallery’s Los Angeles location.

Eliasson is showing work in a solo exhibition at the gallery’s New York location that includes two new light installations, one of which includes sound, a series of recent watercolors, and two new sculptures. That exhibition will be on view until 12/19/24.

In Los Angeles he has a solo exhibition at The Geffen Contemporary at MOCA, on view until July 2025. This show is part of the PST ART: Art and Science Collide programming taking place throughout Southern California.

Los Angeles Art Shows- “Lumen: The Art & Science of Light” at The Getty Museum

Art, Art Shows by Location, Artists, Books, California Art Shows, Conceptual Art, Glasswork, Illustration, Installation Art, Los Angeles Art Shows, Mixed Media, Painting / Painters, Printmaking, Sculptors / Sculpture

Dec 062024

As part of their programming for PST: Art & Science Collide, Getty Museum is showing Lumen: The Art & Science of Light. The exhibition includes a collection of European medieval artwork, along with several contemporary works, that focus in some way on the science and concept of light.

From the museum about the show-

Through the manipulation of materials such as gold, crystal, and glass, medieval artists created dazzling light-filled environments, evoking, in the earthly world, the layered realms of the divine. To be human is to crave light. We rise and sleep according to the rhythms of the sun, and have long associated light with divinity. Focusing on the arts of western Europe, this exhibition explores the ways in which the science of light was studied by Christian, Jewish, and Muslim philosophers, theologians, and artists during the “long Middle Ages” (800-1600 CE), when science and religion were firmly intertwined. Natural philosophy (the study of the physical universe) served as the connective thread for diverse cultures across Europe and the Mediterranean, uniting scholars who inherited, translated, and improved on a common foundation of ancient Greek scholarship.

This story is equal parts science, poetics, and craft. By bringing together a variety of media that materialize light and objects that communicate how medieval people understood the lights of the heavens and of the eye, this exhibition demonstrates how science informed the artistry of the Middle Ages and Renaissance. To convey the continuing sense of wonder inspired by starry skies or moving light on precious materials, the exhibition includes several contemporary works of art placed in dialogue with historic objects.

Below are a few selections-

“On the Construction of the World”, in “Book of Divine Works (Liber divinorum operum)” (text in Latin), Rupertsberg, Rhineland, Germany, about 1210-40 CE by Hildegard of Bingen (German, 1098-1179 CE), Tempera, gold, and ink on parchment

About this work from the museum-

The nun and philosopher Hildegard of Bingen is known for her deeply religious visionary experiences in which she communed with the fiery “living light” (lux vivens) of God. Yet her evocative spiritual imagery reflects the language of science and cosmology. Shown at lower left, Hildegard, an illuminator as well as author, recorded her dazzling vision of the human at the center of nested elemental spheres. The figure is ringed by heavenly bodies, the clouds, and the winds, all encircled by the figure of flaming Caritas, or Divine Love. As a way to understand humankind’s relationship to the Godhead, Hildegard’s imagery emphasizes the correspondence between the body and the cosmos; just as the four humors affected health, the four winds controlled the earth, and the vivifying power of divine light nourished both.

“The Glorification of the Virgin”, attributed to Geertgen tot Sint Jans, Haarlem, northern Netherlands, about 1490-95 CE, Oil on panel

The painting above by Geertgen tot Sint Jans has so many fascinating details and was part of a section titled Divine Darkness.

The wall text from that section-

Christianity, Judaism, and Islam all associate God with light. In the Creation story told in Genesis, when light was created, so too was darkness. As medieval optical theorists understood that sight was contingent upon light and that bodily vision was not possible in darkness, theologians of the time equated the unknowable, invisible aspects of God with darkness. According to a medieval “negative theology,” God exists beyond human perception and poses a challenge to vision itself. The fifteenth-century Christian theologian Nicholas of Cusa wrote that “God is found when all things are left behind; and this darkness is light in the Lord.” Such contradictory associations between God and both light and darkness were fundamental to the verbal and visual expressions used to elucidate the nature of the divine.

And about the painting-

Golden light surrounds the glorified Virgin Mary and Christ child at the center of this intimate and absorbingly detailed devotional painting as a luminous host of angels fills the heavens with eternal music. Their brightness contrasts with the dark perimeter that envelops this apocalyptic vision to suggest the ineffable darkness in which God dwells.

Constellations from a Hebrew Translation of Ptolemy’s “Almagest”, In an astronomical anthology (text in Hebrew), Catalonia, about 1361 CE, Tempura, gold, and ink on parchment and Astrolabe (with Hebrew and Judeo-Arabic Script), Iberia (Spain) or Italy, 1300s CE

From the museum about these two items-

In the Muslim and Christian courts of Europe, and particularly in Iberia, highly educated, multilingual Jews held important positions as physicians and astrologers. Jewish practitioners of these related fields contributed original works on astronomy, mathematics, and philosophy, drawing from and improving on Greco-Arabic sciences. At left, the Hebrew translation of Ptolemy’s Almagest (a work that was little known in Europe before 1200) updated the ancient text with the addition of astronomical tables that guided religious observance. Only a small number of European astrolabes with Hebrew inscriptions survive. This exquisite example lists the names of twenty-four stars in a combination of Hebrew and Judeo-Arabic. The centermost circle marks the ecliptic, or the sun’s path, and is labeled with the zodiacal signs in Hebrew.

“Untitled (Mugarnas)”, 2012, Monir Shahroudy Farmanfarmaian, Mirrors, reverse-glass painting, and plaster on wood

One of the most impressive contemporary pieces in the show was the sculpture pictured above, by Monir Sharoudy Farmanfarmaian, which captured and reflected light so beautifully.

About the work from the museum-

Monir Shahroudy Farmanfarmaian was deeply inspired by a visit to the Shah Cheragh shrine in Shiraz, Iran. The vaulted domes and walls of that site are covered in dazzling, intricate mirror mosaics that fracture and dematerialize space while reflecting light and amplifying movement and activity in the shrine below. Farmanfarmaian began exploring these mosaic techniques, eventually collaborating with master artisans to produce sculptural and wall-mounted works that incorporate mirror mosaic and reverse-glass painting. Untitled (Mugarnas) adopts the sacred and decorative forms that are common in Islamic architecture, and expresses the perfection of creation.

This exhibition closes 12/8/24.

Brooklyn Art Shows- Leon Polk Smith from “Brooklyn Abstraction: Four Artists, Four Walls” at Brooklyn Museum

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Nov 292024

Leon Polk Smith is one of the artists featured in Brooklyn Museum’s Brooklyn Abstraction: Four Artists, Four Walls, on view until July 2025. His work was the impetus for the exhibition which is located on the walls of the museum’s Beaux-Arts Court.

From the museum about the artist-

Known for his bold use of color and geometry, the “hard-edge” painter Leon Polk Smith drew from his youth in Oklahoma and later in life immersion into the New York City art scene. Born in what was then Indian Territory, which became Oklahoma the following year, Smith was raised on a farmstead settled among the Chickasaw and Choctaw Nations. Although his parents were of Cherokee descent, Smith was never enrolled as a citizen of the Cherokee Nation and did not publicly claim his Native heritage until the end of his life. The influence of his Southwest origins and his upbringing among Native American communities can be seen through his vibrant use of color, the abstract implication of landscape and the farmland that he was raised on, and the use of symbolism that reflects the style of artworks produced by those around him.

In his adult life, Smith trained and worked as an educator while continuing to pursue painting. Without formal training in fine arts, he had his first solo exhibition at Uptown Gallery in New York City in 1941. In 1945, Smith settled permanently in the city. The Brooklyn Museum hosted his first and only major retrospective, “Leon Polk Smith: American Painter”, in 1995. The artist passed away the following year, after which his estate bequeathed eighteen works to the Museum.

Nov 152024

78th Street Studios, located in Cleveland, is the largest art and design complex in Northeast Ohio. The building is home to several art galleries, artist studios, performance spaces, and businesses, and is a great place to see local art.

Tonight, 11/15, the complex and several of its creative spaces will be open from 5-9pm for its monthly Third Friday event.

Below are some selections from April of this year.

Work by Mark Yasenchack and paintings by Jenniffer Omaitz

“Love Triangle” by Jenniffer Omaitz

Gallery 202 has a variety of work from local artists for sale and also hosts exhibitions. Above is work from Jennifer Omaitz’s exhibition Where Love Lives and mixed media work by Mark Yasenchack.

Sculptures and installations can be found throughout the building like the light sculpture pictured above by Dana L. Depew.

Rebecca Cross’ installation Rock Cloud, was part of her exhibition Mapping the Sensorial at HEDGE Gallery. The gallery focuses on promoting contemporary artists from Northeast Ohio.

Susan Snipes’ work, pictured above was part of a group exhibition at Understory.

You can also see artists at work in their studios. Above is work by Jessica Mia Vito.

Dawn Tekler encaustic wax paintings like the one pictured above, are on view in her studio.

The painting above is by Laurel Herbold, located outside her studio.

Walking through the halls you can also find artwork hanging outside several of the spaces- like the two paintings below.

David King, “Snow Day”, Oil on aluminum

Scott McIntire, “The Birds”, Enamel on canvas

Los Angeles Art Shows- “Against Dystopia” at Diane Rosenstein

Art, Art Shows by Location, Artists, Ceramic Art, Collage, Conceptual Art, Digital Art, Drawing, Fiber Arts, Installation Art, Los Angeles Art Shows, Mixed Media, Painting / Painters, Photographers / Photography, Printmaking, Sculptors / Sculpture

Oct 312024

Adrienne Elise Tarver

Cara Despain

Cara Despain

Ashanti Chaplin

Ray Anthony Barrett

Ray Anthony Barrett

Olivia “LIT LIV” Morgan

One room of the gallery with Margaret Griffith sculpture (center)

Jane Chang Mi

Andrae Green (paintings) and Phoebe Collings-James (sculpture)

Andrae Green

Margaret Griffith

Margaret Griffith (detail)

Against Dystopia, the group exhibition at Diane Rosenstein curated by niko w. okuro, presents a variety of interesting work that speaks to the times we are living in.

The exhibition includes ten international artists representing twelve cities across the United Kingdom, Jamaica, and all five regions of the United States- Ray Anthony Barrett, Ashanti Chaplin, Phoebe Collings-James, Cara Despain, Andrae Green, Margaret Griffith, Jane Chang Mi, Olivia “LIT LIV” Morgan, Esteban Ramón Pérez, and Adrienne Elise Tarver.

From the gallery-

Presented on the eve of the 2024 presidential election, Against Dystopia is ‘a far-reaching exhibition, both in terms of the diverse backgrounds and approaches of its featured artists, and the social, cultural, and geographic ecosystems those artists represent and critique,’ writes okoro, who is based in New Haven, CT. The exhibition ‘features artworks that inhabit a spectrum of anti-dystopian thought, from mobilizing conceptualism to overcome historic traumas and the precarity of the present, to envisioning future utopias against seemingly insurmountable odds.’

Against Dystopia transforms fear and anxiety surrounding the uncertainty of our shared future into a tangible site of hope—one where collective memory reminds us of our agency to enact change today, and rich cultural traditions empower us to imagine alternative futures. Of significance is the inclusion of artists who identify as multi hyphenates, playing numerous social roles within their communities, such as advocate, change agent, chef, documentarian, educator, father, filmmaker, mother, musician, oceanographer, researcher, and too many more to name.

Artworks are grouped into three thematic sections, each of which explores creative strategies of resistance and works against dystopia at all costs: field research, symbolic interactionism, and speculative fiction.

Ray Anthony Barrett (Missouri), Ashanti Chaplin (Oklahoma), Cara Despain (Utah/Florida), and Jane Chang Mi (Hawai‘i/California) use field research to map histories of frontierism, settler colonialism, and land politics onto ecological and socioeconomic systems today. With a focus on listening to the land and sea to both unearth and atone for difficult truths, these artists name and dismantle dystopian practices on the path to reconciliation. Embracing an appreciation for both hyperlocal traditions and the tenets of global citizenship, each underscores our shared duty to ensuring ecocultural sustainability and Earth’s habitability for future generations.

While Margaret Griffith (California), Olivia Morgan (New York), and Adrienne Elise Tarver (New York) work through markedly different mediums and styles, they share a fearlessness in addressing ongoing tensions and questions surfaced amidst the political firestorm of 2020. Embracing tenets of symbolic interactionism, or the theory that individuals shape and are shaped by society through daily interactions and the co-creation of meaning from symbols, these artists remind us of the power of human connection to bridge difference. Each steers towards social cohesion by processing collective grief and the enduring impacts of the 2020 presidential election, the proliferation of the COVID-19 pandemic, and the resurgence of the Black Lives Matter Movement respectively. Whereas Morgan and Griffith subvert symbols that often polarize rather than unite us within physical space—such as fences, face masks, and smartphones—Tarver reaches into the past to pull forth reimagined symbols that speak to our spiritual interdependence.

Phoebe Colling-James (United Kingdom), Andrae Green (Massachusetts/Jamaica) and Esteban Ramón Pérez (California) boldly envision alternative realities by using speculative fiction and symbolic allegory to sew threads of connection across time and space. Each resists linearity and subverts narrative tropes to instead materialize the fluid spiritual dimensions of lived experience. Through their layered ceramics, paintings, and sculptures, these artists mine the depths of their respective Jamaican/British, Jamaican/American, and Chicanx heritages to comment more broadly on social conditions today, prompting us to dream beyond what’s readily visible or knowable.

Against Dystopia opens concurrently with The Getty’s Pacific Standard Time: Art x Science x LA, which similarly explores, “opportunities for civic dialogue around some of the most urgent problems of our time by exploring past and present connections between art and science.” By convening an international group of visionary artists to help initiate these dialogues, Against Dystopia prompts viewers to pursue deeper understanding of shared challenges and solutions, on both the micro and macro levels.’

This exhibition closes 11/2/24.

NYC Art Shows- Petrit Halilaj at The Metropolitan Museum of Art

Art, Art Shows by Location, Artists, Conceptual Art, Installation Art, New York Art Shows, Sculptors / Sculpture

Oct 242024

For Petrit Halilaj‘s installation Abatare at The Metropolitan Museum of Art, he used children’s doodles found on desks in his former school in Kosovo to create sculptures that bring these drawings to life around the outdoor garden. As a former refugee these drawings he found were personal to him and you can sense that in the way they are grouped together and his use of birds and flowers.

From the museum-

Halilaj was inspired by children’s doodles, drawings, and scribblings found on desks at the school he attended in Runik, Kosovo. For The Met commission, he expanded his research to other schools in Albania and countries from the former Yugoslavia, which are now undergoing significant cultural and sociopolitical change. Furtive drawings from kids’ desks have been enlarged into three-dimensional metal sculptures, each retaining the trace of the original. Together, they bring to public view the collective memory and imaginative power of generations of students whose lives were marked by traumatic conflicts and territorial divisions. Kosovo experienced the last of a series of wars in the Balkan region in the 1990s, during which many children were denied access to education on ideological grounds. Abetare borrows its title from the book the artist and his peers used to learn the alphabet at school, each letter linked to a lesson in pictures and text.

In Abetare, culturally specific references to different political ideologies, religions, and local heroes coexist with more universal symbols and playful nods to pop culture, art history, and sports. Spread around The Iris and B. Gerald Cantor Roof Garden, the “drawings in space” merge with the surrounding architecture and landscape to create a multivocal scenography with an open-ended narrative. A celebration of the shared impulse for personal expression and mark making, Abetare is an opportunity for discovery and an invitation to expand our capacity to imagine transformative futures.

In the video below from The Met, Halilaj discusses the work with curator Iria Candela, including the discovery of the desks, and shares some of his personal history.

This exhibition closes 10/27/24.

Los Angeles Art Shows- Liz Larner at Regen Projects

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Oct 232024

magnetic instinct, Liz Larner’s current exhibition at Regen Projects, balances the textures and colors of her unique ceramic sculptures with the simplicity of her 1989 work Rubber Divider. The show is also part of the Getty’s PST ART: Art and Science Collide programming.

From the press release-

“…for wander is a verb that needs no object…My aim is to limit myself to the ingenuity of innate action, to be awed by it, and not to try and clear up its mysteries.”
—Fernand Deligny, The Arachnean and Other Texts, 2015, pp. 37/46

The exhibition presents new ceramic works surrounding Larner’s “Rubber Divider, 1989—two sheets of pure gum rubber connected to steel rods attached to two flame-cut, solid steel blocks that hold the tension of the opposing pull of weight and elasticity of the rubber sheets. Their opposition and mutual dependence underscores Larner’s longstanding interest in the relationship between structural support and the attitude of the object.

Engaged with the many possibilities of sculpture and abstract form, Larner uses material to encourage discoveries led by an intrinsic link between impulse and perception. Polished to a mirror finish, the brass and aluminum of these sculptures allows them to be positioned on the wall, as the side of the glazed ceramic facing the wall is reflected in the cool light of aluminum and the warm glow of brass. Each surface has its own quality, from the extremely reflective to a textured matte, and these differences create a varying vibrancy of reflected light. Larner’s ceramics highlight a symbiotic continuity that troubles definitions of art and environment, object and subject.

Larner’s morphological research thinks likewise with ecological networks, as described in the writings of Fernand Deligny, or by the botanist Anne Pringle, in “Establishing New Worlds: The Lichens of Petersham.” The dialogue between these new works and Larner’s more historic sculpture, Rubber Divider—which debuted in the 1989 Whitney Biennial—underscores the interplay between support, form, surface effect, and infrastructure, that has often animated her practice, exploring how our observed experience of the world is innately personal but based on connection. Mindful of the specter of the Anthropocene, it also occasions a meditation on how we distinguish past and present, wondering what forms, what artifacts of human action and intelligence will last, and outlast us.

Distinguished by the unique physical rules that govern its transition, from soft to fragile to almost indestructible, Larner engages clay in part because of its apparent self-determination and pliancy, a kind of material agency and chemical intelligence distinct from our own. The ceramic forms in this exhibition are molded by impressions with ubiquitous forms made with a precision that often goes unnoticed. These forms are softened by the contact of the clay being shaped by them. The consequence of this method of forming is ghostly and transpositional. Among many other potential interpretations and resonances, the exhibition’s title points to these principles, and likens them to the same encodings that inform human perception and the activity of many other life-forms, as we are learning to be of and with.

Larner’s work is also currently on view as part of Transformative Currents: Art and Action in the Pacific Ocean at the Orange County Museum of Art and For Dear Life: Art, Medicine, and Disability at the Museum of Contemporary Art San Diego . Both shows are also part of PST ART: Art and Science Collide.

For more on her creative process, and earlier work, check out the video below from Art21 in 2016.

Los Angeles Art Shows- The Harrison Studio at VSF

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Oct 172024

“Seventh Lagoon”, 1979

VSF gallery is currently showing The Harrisons’ Survival Piece #1: Air, Earth, Water, Interface: Annual Hog Pasture Mix, 1970-1971, part of The Getty’s Pacific Standard Time: Art & Science Collide.

On Thursday, 10/17, a local pig will enter the grow box to turn over the pasture in an iteration of the 2012 performance that took place at The Geffen Contemporary at MoCA.

From the gallery-

The first in their visionary series of Survival Pieces, “Hog Pasture,” as it is known by Harrison’s fans, emerged from a direct dialog with the most visionary and boundary pushing artists of the late 1960’s and early 1970’s. The impact of the Earth Day movement and the nascent cultural awareness that human beings were rapidly depleting the planet’s natural resources ignited a deep and sincere conversation within the art world about the stakes of art-making in the post-war, post-1968 world.

While later survival pieces highlighted a culminating harvest feast, Survival Piece #1 is focused on growth. The rectangular form of the raised planter bed and the grid of grow lights above echo sculptural innovations by artists like Dan Flavin, Donald Judd, and Richard Morris; however, Newton Harrison had by this time decided that a sculpture or a painting was not enough. His artwork needed to not only have a moral purpose, it needed to strive to restore the earth and protect the abundant future of humans on our planet.

In 1971, shortly after their first foray into ecological art, Making Earth (which VSF exhibited earlier this year at Frieze LA and is now in the collection of the Los Angeles County Museum of Art) Newton and Helen heard from David Antin that Virginia Gunter at the MFA Boston was curating a show titled Earth, Air, Fire, and Water: Elements of Art and wanted to include their work alongside contemporaries including Robert Smithson, Michael Heizer, Hans Haacke, and others. Exploring ideas of growth and change, Gunter’s vision for the exhibition was meant to challenge conservative, formalist, Greenbergian ideas about art as well as expectations of the museum as an institution that primarily collected unchanging pictures and objects that somehow articulated the best ideas and techniques of the time in which they were made.

Interested in building on his use of artificial lights, Newton decided that he should actually grow something. He commissioned one of his painting students to look through seed catalogs to find a mixture that was “totally singular,” eventually landing on R.H. Shumway Seedsman’s Annual Hog Pasture Mix. In Boston, a large raised planter bed was built in a basement gallery of the museum, agricultural grow lights were installed in a parallel grid from the ceiling, a potent mix of manure, compost, worm castings, and other rich grow media were added to the planter bed, the seed mix was added, and a small pasture grew there with alarming speed. While Gunter wouldn’t allow a hog to come and graze the original hog pasture, subsequent exhibitions of the work, including Ends of the Earth: Land Art to 1974 curated by Miwon Kwon and Phillip Kaiser at MoCA in 2012, have brought the work to its natural conclusion and invited a pig in to enjoy the rich, velvety mix of legumes and grasses. Similarly, VSF has invited a hog to harvest the indoor meadow during the exhibition’s closing ceremony on October 17, 2024. The remaining pasture, earthworms, and soil mix will be gifted to visitors.

Los Angeles Art Shows- Lita Albuquerque at Michael Kohn Gallery

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Oct 162024

Lita Albuquerque’s exhibition of new work for Earth Skin, on view at Michael Kohn Gallery, includes several dramatic blue paintings and a huge installation piece on the floor of the gallery that grabs your attention the moment you enter the gallery.

From the gallery-

Beginning her career in the 1970s with works that intimately connected her to the earth, Albuquerque’s artistic evolution envelops the cosmos and the space between it and us. Her work emanates from years of practicing the exact science of Kundalini breath technique as well as automatic writing; both drive a deep investigation and scientific inquiry of who we are as individual beings on this planet. Albuquerque further connects to the exactness of physics by a meditation she, and astronomers, call the cosmic address. These daily practices are at the root of her art, precisely positioning self to cosmos. It is those discoveries she embeds in works of art that permit us, the viewer, to experience the connections she has made between these internal and external worlds.

Thinking about the exhibition, Albuquerque writes:
Feet dancing above the earth, dancing with fervor, drumming, the increasing drumming of the feet not fragile on the fragile earth.

The wisps of bodies, like skins falling off their frames leaving the planet, the planet strong and our forms ethereal, the strength of us, our feet, on the fragile earth, the wispy lightness of us, detached from the earth, transforming into space.

The earth strong behind us, propelling us upward, giving us her strength, throwing us in the air, while we fly, never falling, the fierce intensity of our rhythm while alive, and the freedom of release from the earth.

Experiments of intensities of emotions and colors, whirling dervishes’ cyclones, Earth Skin is whispered, “Earth Skin” she whispered.

For PST’s Art and Science Collide, Albuquerque transforms the gallery with a titular installation, Earth Skin. A membrane of decomposed granite fills the space creating the illusory sensation of the earth being revealed below the gallery, as if the concrete floor has been meticulously removed. Accompanying this installation is a new series of paintings revolving around the gestures of the body and ancient marks, like a hieroglyphic code only the artist has a key for. With each gesture, Albuquerque embraces the tactile intimacy of painting, reminding us of the power of capturing and transforming the elusive into the material. This installation invites viewers to explore the shared fragility of humanity and earth.

Two of the paintings, picutred below, include poems referencing fellow artist Ana Mendieta, who was known in part for her “earth-body” work and who passed away tragically in 1985.

“Propelling Us Upwards, She, The Earth, Throwing Us In The Air While We Fly, Never Falling, A Poem for A.M.”, 2024, Pigment on Canvas

“Desire and Memory, A Poem for A.M.”, 2024, Pigment on canvas

This exhibition is part of The Getty’s Pacific Standard Time: Art and Science Collide an arts event taking place in various venues around Southern California.

For more information on Lita Albuquerque and her work Red Canary Magazine recently published an excellent article that is worth a read as well.

Oct 042024

Dennis Johnson, “Red Hot Trucking”, Acrylic on canvas

Paintings by Elaine Mathews (two left) and William Nelson (painting on the right)

Mixed media piece by Michael Stanley (left); Center sculptures by Lucia Grossberger Morales; Pair of paintings by Lisa Van Herik (right)

Photo on left by Bill Leigh Brewer; Center painting by Jan Slawson and work by Karen Elizabeth Baker (right)

Painting on left by Dennis Johnson; Center photographs by Andy Nystrom; Right painting by Mariana Maldonado-Pagán

Photograph on the left by D Wallace Colvard; Sculptures by Dean Steiner (center) and photograph by Dean Genth (right)

The Artists Council is a non-profit organization focused on local artists in the Coachella Valley. They host several exhibitions, classes, and workshops in their gallery space in Palm Desert.

Their current member exhibition Hot Times Cool Art is on view until 10/6/24. You can see many of the artworks on view on their website.

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