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.
Today (10/24/15) is the last day to see Jose Alvarez’s multi-colored, multi-textured wonderland– (D.O.P.A.) “We’re All Made of Star Stuff” at Gavlak Gallery.
Currently at Susanne Vielmetter Los Angeles Projects gallery in Culver City are two very different artists. Yunhee Min’s large acrylic paintings use bright colors that give the gestural motion in them a striking vibrancy.
In the second half of the gallery are Dan Levenson’s monocromatic works which envision “a fictional and immersive narrative about a community of Swiss artists at the now-defunct State Art Academy, Zrich (SKZ)”, complete with an imagined studio and storage spaces filled with work.
When you first open the door of the Fabien Castanier Gallery you are confronted by a life size figure clad all in black that appears to be looking at you through binoculars from the back of the gallery. This is one of many ominous sculptures at Mark Jenkins’ current solo exhibition Still Life.
Akin to traditional notions of the “still life,” his sculptures capture moments that conjure their own realities, presenting tableaus that challenge one’s sense of what is real and what is not. Jenkins constructs his people, animals, children – entities commonly filled with life – into inanimate objects, frozen in bizarre postures and scenarios. By creating these unconventional situations, he re-contextualizes commonplace ideas or things and inserts them into a new landscape in which the viewer plays an integral part.
Jenkins’ sculptures, whether placed in the street or in the gallery, alter perceptions of the ordinary and create surreal settings that infallibly elicit an alternative experience. The placement of his artwork always creates a new form of discourse central to space and audience. For the pieces he situates in the urban environment, the artist intentionally leaves the sculptures unattended to fulfill their life cycles to whatever end, may it be natural deterioration or confiscation. The viewer’s reaction to his pieces becomes part of the sculptures, turning the street into a stage. The theatricality of Mark Jenkins’ work remains a central theme, and in this solo exhibition he uses the gallery space as the performance platform, incorporating the viewers not only as spectators but as actors themselves.
The second paragraph references Jenkins’ extensive outside work which has been placed in different areas around the world. The images below (via his site) were in Malmö, Barcelona, and Rome, respectively. More of these sculptures as well as the rest of his work can be seen here.
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.
Comprising a suite of new paintings (on view through September 20), a multimedia installation (on view through September 27), and a major painting on the Lobby Wall (on view through November 15), this new body of work by the Los Angeles–based artist Mark Bradford refers to formative moments in his life and ruminations on the body in crisis. As an artist who has long been interested in strategies of mapping and the psychogeography of the city he calls home, Bradford uses his characteristic painting style to excavate the terrain— emotional, political and actual—that he inhabits. Examining the moment and afterlife of the 1992 uprisings in Los Angeles, which he experienced from his studio in Leimert Park, Bradford has translated the outrage and lasting wounds of the riots into these new paintings. Scorched Earth is Bradford’s first solo museum exhibition in Los Angeles.
For more on Mark Bradford, his life and work, this LA Times article is an excellent portrait of the artist.
LACMA is currently showing Larry Sultan: Here and Home, is the first retrospective of the California photographer. This exhibition closes Sunday, 7/19/25.
In the video below, fellow artists and former students describe what it was like to learn from Sultan and his work.
Definitely a must see exhibition. To see more of Larry Sultan’s work check out his website.
Walking by a small room on the third floor of the Hammer Building at LACMA, you may hear the voice from this video calling out to you with a series of questions that all start off “hey you, wanna buy…?”. The choices range from the more abstract ideas of “a second chance” or “a piece of the American dream” to the more practical, like “a set of encyclopedias with a four color atlas”, to the more ominous options of “a judge” or “the mayor’s ear”.
The video was created by the team of Elizabeth Diller and Ricardo Scofidio working together as Diller+Scofidio. Soft Sell was originally displayed in the windows of an abandoned porno theater on 42nd Street in NYC in 1993 and is currently part of LACMA’s photo exhibition titled Lens Work: Celebrating LACMA’s Experimental Photography at 50.
Diller and Scofidio added Charles Renfro as partner in 2004 to form Diller Scofidio + Renfro,“an interdisciplinary design studio that integrates architecture, the visual arts, and the performing arts”. They have designed many high profile projects including the first mile of the High Line in NYC, the Institute of Contemporary Art in Boston, and the Broad Museum, soon to be opened in Los Angeles.
