One of the pieces from Drew Heitzler’s 2015 exhibition Pacific Palisades at Blum and Poe Los Angeles.
Closing 12/8/19 at LACMA is Every Living Thing: Animals in Japanese Art. It’s a really fun of exhibition with a good selection of art from different time periods, including Yayoi Kusama’s dog sculptures from Megu-chan (2014), two of which are pictured above.
From LACMA’s website-
Every Living Thing: Animals in Japanese Art celebrates one of the most distinctive and compelling aspects of Japanese art: the depiction of animals. Underpinned by Japan’s unique spiritual heritage of Shintō and Buddhism, the Japanese reverence for nature—and the place of animals within that realm—is expressed in sculpture, painting, lacquer-work, ceramics, metalwork, cloisonné, and woodblock prints.
Lions, dogs, horses, oxen, cats, fish, insects, birds, dragons, phoenixes—animals warm and cold-blooded, real and imaginary—are meticulously and beautifully rendered in myriad works from ancient 6th-century clay sculpture to contemporary art. Arranged in themes such as Zodiac Animals, Animals from Nature, Religion, Myth and Folklore, and Leisure, the exhibition draws heavily from LACMA’s permanent collection and includes masterpieces from Japanese and American public and private collections, some of which are on view for the first time.
The installation will be up and accessible to the public until 11/24/19 (although tickets are available for Monday 11/25 and Friday 11/29). Get free tickets here.
From the LACMA’s website-
The title’s references—Ben Jonson’s 1605 play, The Masque of Blackness, and Ralph Ellison’s 1952 novel, Invisible Man—mark two milestones in black history: the first stage production to utilize blackface makeup, and the first novel by an African American to win the National Book Award. In addition to literary references, the artist draws inspiration from Caribbean Carnival, a festival that originated from the Mardi Gras celebrations of the region’s French colonists, and Canboulay, a parallel celebration in which enslaved people expressed themselves through music and costume and paid homage to their African traditions. The installation’s 40 graphite figures stand tall and dignified to represent the strength and resilience of the African diaspora.
In the the video below, Ové provides some interesting insight and information on the work.
This exhibition closes 11/3/19. LACMA is free for residents with ID from 3pm and is open late on Fridays until 8pm.
From the press release-
This new body of work consists of a series of paintings and one sculpture that revolve around three dualities: our alienation from and interconnectedness with all that there is, the absurdity and redeeming possibility of embarking, and the tension between promise and risk. The imagery brings together skaters, ice-covered lakes, black apple trees, golden landscapes, bullfighting, moonlit butterflies, and whale bones. The work featured in The Tears of Things continues Martínez Celaya’s concern with displacement and exile in its psychological sense, while deepening his ongoing exploration of the limitations and possibilities of art’s capacity to reveal or create meaning.
Martínez Celaya is widely celebrated for a practice that arises from sustained engagement with literature, poetry, philosophy, and science, as well as his own writing practice. An artist, author and former physicist, he works in a variety of mediums and materials that include oil, wax, tar, mirrors, dirt, steel, silk and bronze, which he weaves together with physical, emotional and conceptual qualities into a multi-layered exploration of the human condition evoking both immediacy and timelessness. His practice is laden with a depth of textures and philosophical touchstones, often incorporating elements of mysticism and fairy tales, yet he creates works that resist narrative interpretations. His paintings, sculptures, photographs and environments address universal questions about life and the individual experience, loss, memory, failure and one’s place in an emotionally radiant yet chaotic world.
Paris-based Algerian artist Mohamed Bourouissa’s first solo exhibition in Los Angeles, Pour une poignée de Dollars (For A Fistful of Dollars), at Blum & Poe, combines film, sculpture, drawing and photography to expand on his project Horse Day, also on view at the gallery.
From the press release-
Initially driven to capture his own community and generation of immigrant youth living in the outskirts of Paris, in recent years Bourouissa’s focus has expanded to the US, the UAE, and beyond. In 2014 the artist spent nearly a year in North Philadelphia, PA living among the young men of the Fletcher Street Urban Riding Club, a non-profit established over 100 years ago by African American cowboys. This area increasingly struggles with unemployment and drug abuse, economic and social conditions from which the center attempts to provide a refuge—rescuing horses and mentoring boys who may otherwise find support hard to come by. Bourouissa instigated a collaboration with the community of riders and local artists—a riding competition and pageant called “Horse Day” in which equestrian participants arrived clad in decadent regalia, costumes including linked blank CDs, streamers, fake flowers, or fabric Pegasus wings. Using the cowboy as an emblem of a narrative of domination, the critical documents Bourouissa and the Fletcher Street community produced—sculptures, costumes, drawings, photography, and a video mixing tropes of westerns, documentaries and hip-hop—explore social injustice as it relates to geographical space, spotlight contemporary America’s culture of segregation, and intend to forge a new creative space for marginalized groups. Within a new body of sculptural work, the artist integrates images of riders and/or horses into the body parts of automobiles, as curator Okwui Enwezor once put it: “Bringing together two myths, the cowboy and the urban lowrider with his customized car, a sort of collision of the frontier and Compton.” This 3-D montage connects representations of domination and power, as well as industries and communities facing crisis.
Bourouissa’s work focuses on rituals of friendship, an exploration of alterity and the role images play in channels of distribution, investigations into the politics of representation and subjectivity. Seeking to humanize his community as social subjects, Bourouissa engages all sorts of imagery, initiating agency where is it often deprived. Bourouissa’s work is a hybrid of documentation and formal composition, collaborative choreographed representations of reality on the margins, channeling a wide range of historical precedents from Caravaggio and Delacroix to Fanon, rap music, and the Harlem Renaissance.
In a separate space behind the main gallery is Anya Gallaccio’s Stroke (pictured below), a room where the walls are painted with dark chocolate. The work was originally created in September of 1994, for Blum & Poe’s inaugural exhibition at their original location in Santa Monica. Twenty-five years later, it has been recreated in an exhibition space the exact dimensions of the original gallery.
It’s worth checking out for the smell alone. It’s overpowering.
From the press release-
Stroke plays with perceptions of desire and their disconnection from reality. In this chocolate-covered room, an idea pulled from a childlike fantasy comes to life and goads the viewer’s appetite for pleasure. The whimsical notion of an edible room is contrasted with the strikingly rich, dark color of the walls and their heavy, sometimes putrid, smell. Of this disconnect, Gallaccio states, “the idea of a chocolate room is one thing, and the reality of a chocolate room is very much something else.” Created by thousands of small, repeated brush strokes for which the installation is named, prolonged looking is rewarded when one sees new colors, textures, and patterns appearing out of the darkness.
Rooted in the formal language of Minimalism, Gallaccio’s practice uses organic materials to subvert and reframe that male-dominated moment in art history. Trees, flowers, fruit, and ice are investigated for their fluidity and impermanence, and decay becomes a part of the installation to be embraced. The unpredictability of these ephemeral materials yields a freeing inability to control the final product, from which unexpected results emerge. These materials, pulled from a feminine, domestic space, challenge a masculine past and reclaim a place in history. As noted in the original press release from 1994: “Feminist in material, natural in its decay, subversively Freudian, Stroke is an enigmatic and challenging work.”
Both of these exhibitions close 10/26/19.
From the press release–
The Game of Patience features new figurative paintings by artist Laura Krifka that depict female and male subjects in intimate moments within carefully constructed interiors. Krifka deftly paints her bare-skinned protagonists reading, drawing, daydreaming, watching, and waiting. The peep of a phallus and the highlight of a thigh gap allude to the pleasure of stillness, supplemented by the visual tension meticulously sculpted throughout the domestic spaces. A notable development in Krifka’s content is the genesis of idiosyncratic wallpapers that appear to direct the viewer’s gaze rather than lay flat. These imagined patterns create parallel planes of space, shift color and shape inexplicably, and build psychological tension, functioning like maps for the dream logic of each painting.
At the heart of Krifka’s practice are post-modern and contemporary critiques of canonical Painting. Krifka treats the false dichotomies of subject and object, male and female, observer and observed as comedic jumping off points before bending or breaking the rules and moving on to more nuanced and poetic concerns. Sensually charged in the pinks, purples, pea-greens, and ochers of afternoon reveries, all the protagonists are depicted in vulnerable situations, and Krifka wanders through paintings with surprising detail and care, in search of consent and a deeper understanding of the nature of desire.
This exhibition closes 10/26/19.
Currently at Various Small Fires gallery in Los Angeles is Robin F. Williams’ painting exhibition, With Pleasure.
From the press release-
In a series of new paintings that re-imagine the coded narratives of American media, Williams isolates and derails the sexual suggestiveness, pandering strategies, and gendered objectifications utilized in representations of women.
Embodiments of feminine AIs (Siri and Alexa) as nude figures lend Williams’ paintings an air of consciousness, as if aware of the viewer and their own status as female simulacrum. Appropriated from cigarette ad campaigns, paintings such as Alive With Pleasure, Alexa Plays Ball, and Slow Clap subvert their cast of sexually compliant “cool girls” who catch footballs, play around the ankles of men, and smoke seductively. By contrast, Williams’ subjects are stone-faced and defiant, unwilling to embody the latent desires of the viewer.
Williams’ paintings play with chronology both through distinctive painting techniques such as stain painting and airbrushing, and through visual markers recreated and reimagined for the present day. In Slow Clap, a cigarette is replaced by the newer, yet equally ominous vape; a languid repose is substituted for a derisive “slow clap”, the gap between the subject’s hands leaving her gesture permanently unresolved. Eye on the Time depicts a black woman with tightly coiffed 1960s afro who impatiently turns her gaze away from the burning 4th of July sparkler in one hand to the wristwatch on her other arm, counting down the seconds for its patriotic light to extinguish. In Weathervane, a gymnast appropriated from a 1972 Life Magazine cover poses precariously on a rooftop amidst an approaching storm; she gazes out coldly toward the viewer, the purveyor of her ornamental function.
In each painting, Williams’ female figures wait, caught in a perpetual state of questioning, forever burning, and locking eyes as if to challenge their embodied roles: woman as technology, tool, or paragon. These figures, aware of their identity as paintings, must answer the call to remain frozen in time. They refuse, however, to do it with pleasure.
This show closes 10/26/19.
From the press release-
Klowden Mann is proud to present San-Diego-based artist Andrea Chung’s first solo exhibition with the gallery, … Only to meet nothing that wants you. The exhibition features large-scale cyanotype works depicting under-sea images of coral that have then been bleached with sugar crystals—a material woven throughout Chung’s practice for over a decade in reference to its relationship to colonialism in the Caribbean. The cyanotypes are placed in context with a brass chandelier that recalls designs from the 19th century; where crystals would hang, Chung has hung glass vials filled with sugar in various shades.
Chung’s practice often utilizes perishable and precious materials with strong underlying histories, forming relationships to pre-emancipation images of the Caribbean, touristic misrepresentations of people and place, the export or import of goods and materials, and the labor of the human body. Completing the quote by Nayyirah Waheed that Chung used as the title of her first solo museum exhibition at the Museum of Contemporary Art San Diego in 2017, “You broke the ocean in half to be here,” the title of the exhibition at Klowden Mann answers with the second half of the phrase, “…Only to meet nothing that wants you.”
In the cyanotype works, coral bleaching becomes a metaphor for colonialism, and the expanding of the philosophy and impact of imperialism on colonial populations and cultures. The addition of sugar crystals to the already highly sensitive cyanotypes underlines Chung’s interest in creating work that defies the notion of artworks as static objects that are meant to remain unchanging and unyielding in the face of shifting environments and time; in a way that also reflects the constant uncontrolled and irresponsible effects of human actions on the environment, and on vulnerable populations. The works are intended to shift and change over the course of the exhibition, as the sugar embeds further in the cyanotype, falls, and expands. The works are linked to the environment in which they are placed in a way that Chung cannot predict and control—and along with the chandelier, ask the audience to consider who pays for the superficial opulence and beauty to which so many have become accustomed.
The work in this exhibition is really stunning, and the fact that it is work that is changing with time, makes seeing it feel even more special. Like so much of the beauty in the world, and especially in nature, you appreciate it, while wondering how long it will still be around to be seen.
This exhibition closes 10/12/19.