Mar 182016
 
amyyaoatvsfgalleryroomview

Doppelgangers (in foreground)

amyyaovsfricedetail

Detail of Doppelgangers

amyyaovsfhomeiswhereyouarehappy

Home is Where You Are Happy, No.1

At Amy Yao’s solo exhibition, Bay of Smokes, at Various Small Fires, the fear of a polluted and harmfully modified environment plays a central role. An industrial manufactured scent fills the gallery, lead blankets are on towel racks, and a mountain of rice reveals on closer inspection that it has bits of plastic and pearls (real and fake) mixed in.

In this time of GMO’s, toxic water in Flint, and the gas leak at Porter Ranch, it’s hard not to be paranoid about what is really happening to our natural surroundings and how poisonous our daily lives really are, especially in ways we cannot discern. Yao’s exhibition is a creative and at times playful examination of these issues- but the darkness of the theme, like the scent, remains a constant presence.

This exhibition closes 3/18/16.

 

 

Mar 122016
 
aaronfowlermomdianerosenstein

Mom Knows

aaronfowlerflagdianerosenstein

Black Flag

aaronfowlerdetail

Detail from Black Flag

The mixed media assemblage paintings in Aaron Fowler‘s current solo exhibition, Blessings on Blessings, at Diane Rosenstein gallery, are large, highly detailed, and dense with imagery.

From the press release-

Aaron Fowler, who was born in St. Louis and currently lives and works in Harlem, creates mixed-media assemblage-paintings that depict his experiences and the lives of his family and friends in both a personal narrative and an epic journey through contemporary America. The title of this exhibition, which includes twelve portraits, tableaux, and medallions created in the past year, refers to lyrics from “Blessings”, a 2015 song by American rapper Big Sean.

In these sculptural tableaux, Fowler depicts himself as a “mirror character” called The Pilgrim. He employs oils, acrylics and collage – often pixilated ‘photo print-outs’ based on 18th C. American historical painting – alongside objects like Adidas sneakers, CDs, T-shirts, and plastic bags.  The dynamic, large-scale compositions are enacted on discarded domestic materials including shutters, mirrored doors, windows, and card tables.

This show closes 3/12/16.

 

Feb 272016
 
danaweiseratwaltermaciel

Dana Weiser

gregmocilnikaratwaltermaciel

Greg Mocilnikar

Los Angeles based artist Dana Weiser’s exhibition at Walter Maciel Gallery, Without you, I couldn’t be me…, focuses on her experiences as a member of an interracial family. Weiser was adopted from Korea as an infant by a Jewish-American family and raised in the Midwest . She has a sister who was also adopted from Korea.

From the press release-

…Weiser’s work explores lost identity, multiple identities, and racial identity with her emphasis of being an outsider in a predominantly white community where she never felt a strong affiliation to any group or faith.  The inevitable questions like “Have you met your real parents?” and “Is she your real sister?” are often the opening liners upon introduction and these phrases become the subject matter as literal text interpretations spelling out the racist remarks.  In one series using large sheets of vintage lace as the surface, pearl beads are stitched into the fabric to spell comments like “I’m not racist or anything but…” or “I don’t mean to sound racist but…” The delicate and intimate technique of traditional beading challenges Weiser’s skills much in the same way as her ability to pacify her true emotions and refrain from bleak replies.

In addition to the beaded work, she also addresses some of her relationship with Korean culture in three self portraits- Enacting my Koreanness, (self-portrait performance). There are also two neon sculptures- one that reads “adopt” with an “a” over the “o” to create “adapt” and the other the title of the show in a circle. The different mediums make the exhibition feel a bit chaotic but perhaps that also keeps with the theme of having an identity that is hard to pin down.

In the other gallery are Greg Mocilnikar’s colorful abstract paintings and works on paper have a lively energy.

Both of these shows close 2/27/16.

Nov 282015
 
melindagibsonrosegalleryXVI

Melinda Gibson

GretaSterndream31rosegallery

Grete Stern

atthebeachcarollebenitahrosegallery

Carolle Benitah

Her First Meteorite, at ROSEGALLERY, is a wonderful selection of photographic collages by Carolle Benitah, James Gallagher, Melinda Gibson, Ken Graves, Stéphanie Solinas, Annegret Soltau, and Grete Stern. The work included in the exhibition ranges in time period from the late 1940′s to present day. Each of the photographers included brings a unique perspective to the different ways a photograph can be altered to create an effective image.

This exhibition closes 11/28/15.

Nov 272015
 
aaronfowlerhewasatdianerosenstein

Aaron Fowler

genevievegaignardthegirlnextdoorandheadinthecloudsshoesdianerosenstein

Work by Genevieve Gaignard

The New New, at Diane Rosenstein Gallery in Hollywood, is an exhibition of painting, drawing, mixed-media, and collage by six emerging artists from New York and Los Angeles- Ray Anthony Barrett, Aaron Fowler (pictured above), Genevieve Gaignard (pictured above), Tschabalala Self, Michael Shultis, and Jason Stopa.

From the press release

The works in this show are multi-dimensional, with some artists using heavy impasto, collage, or flirting with the intersection of painting and sculpture. Connecting the varied practices in The New New is an explicit use of text – song lyrics, art theory, slogans, and commercial branding – in a formally exciting interplay between word, image and painting.

The New New brings together emerging artists with distinct approaches – but all with a shared engagement with the aggregate of received imagery and personal narrative.

This exhibition closes tomorrow, 11/28/15.

Oct 312015
 

miriamwosklamgallerythegrottolamgallerymiriamwoskdetail

LAM Gallery in Hollywood is currently showing the work of Miriam Wosk in an exhibition titled Touch of the Hand.

From the press release-

Comprised of mixed media paintings, collages, and sculptures from the last decade of Wosk’s life, the exhibition is an enchanted journey through a world of her own creation. In this world, human, insect, and aquatic life-forms meet insidious botanical growths; hearts share the stage with horns and claws; and beauty rules with a heavy hand.

Get up close to see all the tiny details that went in to these amazingly intricate works. This show closes 10/31/15.

Sep 262015
 

noahpurifoylacma

noahpurifoyassemblagelacma

noahpurifoylacmalegs

Noah Purifoy’s current retrospective at LACMA offers a comprehensive look at the influential assemblage artist.

A little background on the artist from LACMA’s website

Noah Purifoy (1917-2004) lived and worked most of his life in Los Angeles and Joshua Tree, California. A founding director of the Watts Towers Art Center, his earliest body of sculpture, constructed out of charred debris from the 1965 Watts Rebellion, was the basis for 66 Signs of Neon, a landmark group exhibition about the riots that traveled to nine venues between 1966 and 1969. In line with the postwar period’s general fascination with the street and its objects, Purifoy’s 66 Signs of Neon constituted a Duchampian approach to the fire-molded alleys of Watts, a strategy that profoundly impacted artists such as David Hammons, John Outterbridge and Senga Nengudi.

In the late 1980’s, after eleven years of public policy work for the California Arts Council, where Purifoy initiated programs such as Artists in Social Institutions, bringing art into the state prison system, Purifoy moved his practice to the Mojave desert. He lived there for the last fifteen years of his life, creating ten acres of large-scale sculpture constructed entirely from junked materials.

For more information on Purifoy and his Joshua Tree Outdoor Museum (where some of the pieces in the exhibition are from), KCET has an interesting article.

Noah Purifoy: Junk Dada closes Sunday 9/27/15.

Mar 222015
 

Today (3/23) is the last day to see Variations: Conversations in and Around Abstract Painting at LACMA.

From the press release:

In an attention-compromised age when images are instant and prevalent, abstract painting serves as a contradiction, acting as a conduit for the mark of the original, individual artist. While most of the work in the exhibition has been recently created and acquired, additional paintings culled from LACMA’s collection illustrate how artists have reanimated techniques and forms using other sources that are appropriated from popular culture, photography, and collage, essentially creating a new variation of abstract painting.

It’s also a good day to visit LACMA because they are having a full day of  activities and performances to celebrate Nowruz, the Iranian New Year and the first day of spring.

Jul 262014
 

mikekelleyletstalkaboutdisobeyingmoca

 Tonight (7/26/14) is the closing party for Mike Kelley’s exhibition at MOCA. It is free from 6-10pm. There will be DJs, food trucks and a cash bar.

Jun 082014
 

hashimotogasgiantroom

hashimotogasceilinglookingup

hashimotogasgiantlookingup

hashimotogasgiantgrass

hashimotogasceilingbw

Today (6/8/14) is the last day to see Jacob Hashimoto’s stunning Gas Giant at MOCA Pacific Design Center. Thousands of paper sculptures in color and black and white (on the first floor) combine to create the feeling of walking into another world.

From the artist’s website about the work-

In its third and final edition at MOCA Pacific Design Center, Gas Giant begins its voyage subverting the grid of the white cube on the first floor by tangling the black and white elements of the installation while directing the viewer to the second floor, where an open, atmospheric, and colorful emphasis on the verticality of the space is the climax of the piece. Influenced by ample sources that range from sacred architecture, post-war abstract painting, the Light and Space movement from the 1960s in Southern California, and the 1990s generation of Los Angeles painters, Hashimoto expands painting and collage strategies in an ongoing exploration of abstraction and landscape through color, repetition, association, and even simple marks and gestures that when combined together, result in the infinite layers of complexity that characterize his work. Becoming a mirror of human experience, Gas Giant is a metaphor of possibility and temporality—the viewer encounters the beauty of an encompassing landscape, through vastness and detail in equal manner, but also with the idea of loss, since the work also reflects on the intensity of human labor in its creation, and considers the temporality of the viewing experience, and of the piece itself. This exhibition marks Hashimoto’s first solo museum exhibition in California.