Los Angeles Art Shows- Art Share L.A.- “Plateaus: Art That Resonates”

 Art, Art Shows by Location, Artists, California Art Shows, Ceramic Art, Collage, Conceptual Art, Drawing, Fiber Arts, Glasswork, Los Angeles Art Shows, Los Angeles Music, Mixed Media, Music, Painting / Painters, Performances, Photographers / Photography, Sculptors / Sculpture
Nov 152024
 

Sculptures by Emily Sudd

Sculptures by Kyung Boon Oh

Photography by Kate Turning

Pictured above are some selections from Plateaus: Art That Resonates, a multisensory group exhibition at Art Share L.A. exploring the dualities of life that artists bring into their work.

From the gallery-

Art Share L.A. is pleased to present Plateaus: Art that Resonates a multidisciplinary and multisensory immersive art exhibition that explores dualities: art and craft, death and life, grief and love, and activity and stillness. These contrasts exist with an interdependent bond, reminding us that bonds are intrinsic and often intertwined partners. In multiple materials, processes, and scales, monument-like creations are revealed through thoughtful burnishing of passion.  The exhibition curated by Stacie B. London features seven visual artists: Amanda Maciel Antunes, Kyong Boon Oh, Hadley Holiday, Soojung Park, Emily Sudd, Kate Turning, and Cheyann Washington, along with additional contributions of ikebana by members of Sogestu Los Angeles, music by Rocco DeLuca, perfume by Lesli Wood (La Curie Eau de Parfume), and seating by Hunter Knight. Through a shared refinement of intentional experimentation with their mediums – acrylic panels, clay, glass, ink, photography, scent, sound, stone, thread, tree stumps, and wire– these artistic achievements reveal work that is brave, meditative, resilient, and vulnerable.

Our five senses inform our experiences and knowledge and assist us in ordering the world. In Plateaus: Art that Resonates the traditional forms of visual art of painting, photography, and sculpture are broadened to include aural art — via music and sound — and olfactory art. These multisensory and immersive pieces enhance the experience of viewing visual art and introduce additional dualities: sight with smell, smell with hearing, and hearing with sight. The expanded human experiences in an art gallery switch the expected experiences and invite the possibility of a familiar experience in a new way, or a breakthrough!

Breakthroughs often occur after long periods of what often seems like stagnation, or a plateau. It’s instinctual to want growth to be a continual upward trend, but instead it’s usually a series of long, flat periods (plateaus) of work with few visible results. Seemingly out of nowhere the plateau makes space for a breakthrough of creativity or growth—an intermittent moment when everything comes together. Instead of focusing on the result, it’s good to get comfortable in the plateau.

The artists and artisans of Plateaus: Art that Resonates use a broad range of approaches and techniques towards creative creations that are examples of how to grapple dualities, navigate the plateaus of life, and share breakthroughs that transmute our awareness of mortality into loving engagements with life and it’s contradictions and opposing perspectives that inspire and infuse life with meaning, immediacy, awareness, and appreciation.

Below are two of the ikebana created by members of Sogetsu Los Angeles.

This exhibition closes this Saturday (11/16) with a closing reception from 6-9pm.

Los Angeles Art Shows- Lisa Williamson at Tanya Bonakdar Gallery

 Art, Art Shows by Location, Artists, California Art Shows, Los Angeles Art Shows, Mixed Media, Sculptors / Sculpture
Nov 142024
 

“OoOoOo”, 2024, Water-based paint, glass particles, maple, aluminum, and lacquer

“New Wave”, 2024, Water-based paint, glass particles, basswood, aluminum, and lacquer

“Ray”, 2024, Water-based paint, glass particles, basswood (left) and “Wavy Earth”, 2024, Water-based paint, glass particles, maple, aluminum, and lacquer

“Chimera”, 2024, Water-based paint, glass particles, basswood, aluminum, and lacquer (left) and “Fields”, 2024, Water-based paint, glass particles, maple, aluminum, and lacquer (right)

“A Bird and a Bud”, 2024, Water-based paint, glass particles, basswood

“Trace”, 2024, Water-based paint, glass particles, maple, aluminum, and lacquer

“Pool”, 2024, Water-based paint, glass particles, basswood, aluminum and lacquer

Shapes create a visual language in Lisa Williamson’s exhibition Hover Land Lover at Tanya Bonakdar Gallery in Los Angeles. The hand painted colors accent forms that feel both familiar and strange at once.

From the press release-

With an interest in forming a language through concise material abstraction, Lisa Williamson creates works that are visually precise, physically resonant, and often attune to the spaces in which they are exhibited. For Hover Land Lover, the artist presents a series of painted wall reliefs and sculptures that convey language as a series of formal compressions — of landscape, of architecture, and of figuration. At once systematic and intuitive, Williamson tunes and calibrates material space, in that of her individual works and in their relationship to one another within the gallery.

Central to the exhibition is a series of machine-carved basswood relief sculptures that are mounted to aluminum and painted by hand in layers of semi-transparent shimmering metallics, contrasted by surfaces of densely saturated color. Shifting in scale from vast horizontal expanses to modest head or page size abstractions, each work punctuates space and impresses an energetic chromatic charge. Wrapping around the galleries, the artist relates the installation of these works to the structure of a sentence or to that of an imagined morse code. Installed with “room to breathe”, Williamson carefully considers the sculptures’ relationship to the walls and connection to the surrounding architecture, rhythmically creating a conversation between each form and the space they occupy.

In the metallic silver-blue relief, New Wave, the sculpture echoes a long and narrow wave, a line drawing, a curtain, or a vibration. In juxtaposition is the compact relief, Fields, a concentrated bolt of color in which three horizontal bars of vivid green float before a gold infused bronze-metallic ground. Inventing subtle color associations and complex painted surfaces through her incorporation of glass and metallic particles, Williamson’s sculptures catch light and perceptually shift as one moves around each work. Groover is a direct nod to this act of tuning as a pattern of black dials reminiscent of stereo knobs protrude from a glimmering cream block. Hovering in the galleries, Williamson’s reliefs each convey a particular optical frequency — autonomous forms that hold space — at once expressive in their physicality while also maintaining a certain level of interiority, opacity, or resistance.

In a series of vertical sculptures, the artist draws from leveling or navigational tools such as plumb bobs, fishing bobbers, and pins. Human in scale, each upright form personifies balance and the demarcation of space. Situated in conversation with Williamson’s reliefs, these works disrupt the horizontality of the exhibition and instead “drop in”. Ray is a tall and tapered pin that is bifurcated by warm and cool tones, with alternating sections of opacity and luminosity. Drawing from a ray or beam of light, this work exemplifies the active nature of Williamson’s painted forms as glass particles reveal a non-static and light-responsive surface. In the diptych, A Bird and a Bud, Williamson inverts two identical forms and reorients her approach to color within each. Standing together, these animated sculptures conflate nature and figure, as an after-image of color casts against the wall to activate the surrounding space. Regarding precision as an expressive gesture and calibration as a mode of production, Williamson imbues her forms with character and locates a distinct formal resonance, softening the line between painting and sculpture, language and object.

This exhibition closes 11/16/24.

SHINE Mural Festival 2022- Dreamweaver

 Art, Artists, Florida Street Art, Public Art, St. Petersburg Street Art, Street Art
Nov 082024
 

This mural was created by Florida artist Taylor Smith aka Dreamweaver for the 2022 edition of SHINE Mural Festival in St. Pete.

You can find more of her recent work on Instagram.

 

SHINE Mural Festival 2021- Ricky Watts

 Art, Artists, Florida Street Art, Public Art, St. Petersburg Street Art, Street Art
Nov 082024
 

This mural was created by San Francisco artist Ricky Watts for the 2021 edition of SHINE Mural Festival in St. Pete.

Check out his Instagram to see more of his recent work.

SHINE Mural Festival 2022- Ben Johnston

 Art, Artists, Florida Street Art, Public Art, St. Petersburg Street Art, Street Art
Nov 072024
 

This mural was created by Ben Johnston for the 2022 edition of SHINE Mural Festival in St. Pete, Florida. You can also find his recent work on Instagram.

This year is the 10th Anniversary of the festival which begins tomorrow 11/8. On Saturday, 11/9/ there is a kick-off party, taking place at FloridaRAMA.

Delaware Art Shows- “Awakening” at Chris White Gallery in Wilmington

 Art, Art Shows by Location, Artists, Delaware, Drawing, Fiber Arts, Illustration, Mixed Media, Painting / Painters, Printmaking, Sculptors / Sculpture, Wilmington
Nov 012024
 

Work by Jani Duerr (left) and Yarissa Luna (right)

Work by Jess Slavic (left) and Andy Vible (right)

Work by Andy Vible (left) and Seth Pala (right)

Work by Roderick Hidalgo II

Tonight is the closing reception for Awakening at Chris White Gallery in Wilmington, Delaware, curated by Seth Pala of Alone Time. The exhibition included 27 artists and 141 pieces of art.

Below is a list of the artists from the gallery’s website-

This event is part of Wilmington’s First Friday Art Loop, an event highlighting the city’s arts and cultural scene.

 

 

 

Happy Halloween- Norman Rockwell’s “The Fiddler”

 Art, Art Shows by Location, Artists, Halloween, Holiday Guides, Painting / Painters, Pennsylvania Art Shows
Oct 312024
 

The painting above is Norman Rockwell’s The Fiddler, 1921, currently on view at Brandywine Museum of Art in Pennsylvania.

From the museum about the work-

Best known for the paintings he did as cover illustrations for The Saturday Evening Post, Rockwell also did extensive work for other major publications. “The Fiddler” appeared as a cover for The Country Gentleman in October 1921, still relatively early in his career. Rockwell celebrates autumn and Halloween, represented by both the grinning jack-o-lantern and the corn cob and autumn leaf garland. He skillfully mimics the effect of stage lighting in this painting, highlighting the musician’s expression and hands, creating an illusion of three-dimensionality.

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.

 

 

Los Angeles Art Shows- Brian Rochefort at Sean Kelly

 Art, Art Shows by Location, Artists, California Art Shows, Ceramic Art, Los Angeles Art Shows, Mixed Media, Sculptors / Sculpture
Oct 302024
 

Brian Rochefort’s ceramic sculptures for Staring at the Moon at Sean Kelly gallery are an incredible mix of textures and colors. Based on his travels to several natural environments around the world, the work combines the familiar with the unusual to form fascinating results.

From the gallery-

Brian Rochefort’s mixed-media sculptures incorporate a variety of different textures, surfaces and colors to create rich, otherworldly forms. Referencing his travels to some of the most remote parts of the planet, such as the Amazon Rainforest, the Galápagos Islands, and the Ngorongoro Crater, in Tanzania, he internalizes and translates his experiences in these secluded, ancient landscapes into potent sculptural forms.

Rochefort’s sculptures are built up in a unique process of layering, wherein the initial form undergoes multiple firings. Between each firing, he airbrushes the works and applies glazes, many of which he has developed himself through extensive experimentation. This process pushes the technical limits of ceramics in pursuit of evocative, otherworldly new forms. As he states, “Some of the most successful pieces that I’ve done in the past have been works that I’ve built up too fast… but somehow I’ve managed to save the form, and it turns into a different monster.” He works intuitively to build a composition, not unlike an abstract painter, and cites artists such as Albert Oehlen, Joan Mitchell, Franz West, and even photographer Aaron Siskind as influences for their daring deployment of color and texture. His virtuosic control of his medium is tempered by the element of chance inherent to the process of firing the sculpture. In this way, the completed works are the result of a dynamic interplay between his highly developed technique, the distinctive character of each sculpture, and ultimately chance.

Rochefort is equally inspired by his travels to remote and untouched ecosystems, such as barrier reefs and rainforests. A vital form of inspiration for him, the rare and vibrant natural forms found in such locations are apparent in the works. His intent, however, is not to directly represent the landscapes that he visits, a task he describes as “nearly impossible to do.” The sculptures take on the formal qualities of the landscapes through an almost volcanic layering of form upon form, color upon color, and texture upon texture, ultimately blooming into vivid, texturally sumptuous works. His larger freestanding works, which he refers to as Craters, evoke the fundamental quality of his sculptures: a powerful moment of contact with something deeply elemental and otherworldly.

The gallery also posted the video below where he discusses the work.

This exhibition closes 11/2/24.

 Older Entries  Newer Entries