Jan 092020
 

Blum & Poe in Los Angeles is currently showing two very different exhibitions. In the main gallery is a selected survey of work by Harvey Quaytman spanning three decades.

From the press release-

Harvey Quaytman (b. 1937, Rockaway, NY; d. 2002, New York, NY) came of age in the downtown art scene of 1960s New York, living and working in SoHo studios first on Grand Street and later at 231 Bowery, where he would remain through the late ’90s. Long considered an artist’s artist, the painter enjoyed a close-knit and vibrant artistic and social milieu, over the years sharing studio addresses with Brice Marden, Ron Gorchov, and James Rosenquist, among others. Quaytman’s emerging career as a young painter began in the heyday of Ab Ex with a marked allegiance to Gorky and de Kooning. This approach was slowly shed as the decade unfolded, as his work began to lean towards sculpture—compositions with curvilinear shaped canvases and rectilinear U-shaped bases that inhabited a newfound objecthood. This was followed by a forty-year engagement with geometric abstraction, his approach to painting in contradistinction to the prevailing trends of the era—first with Pop Art and later Neo Expressionism. Despite painting being declared “dead” by Minimalist and Conceptual artists of the time, Quaytman maintained a commitment to the medium and to his vision throughout, helping to shape an alternate trajectory for American painting.

The artist’s work in the ‘70s developed into shield-like forms that balance on curved platforms, conjuring a motion that would result in a critic calling them “rocking rectangles”—the body of work later known simply as “rocker” paintings. These eccentrically shaped works were hand-crafted (he would steam and bend the wooden stretchers himself), and inherently related to movement—inspired by Islamic calligraphy, rocking chairs, and the flight patterns of airplanes and birds. His experiments with shape continued in the late ‘70s, and through the manipulation of geometric intersections and overlapping forms that all the while imply motion, a unique group of paintings resembling anchors or pendulums emerged. In the 1980s, Quaytman began his cruciform paintings, investigations of the cross shape not as emblem but as two meeting vectors; Constructivist, perpendicular geometric compositions that focused on the reduced palette of black, white, red, rusted iron, and metallic gold. While these paintings represented a stark departure from his previous work, Quaytman continued to pursue visual movement as he conjured an interplay of symmetry and asymmetry.

Many of the works become even more intriguing up close.  His use of different materials to achieve varying tones and textures makes them come alive.

The press release discusses a bit about his process in creating them-

As his paintings evolved in form and shape, variously touching upon Abstract Expressionism, Minimalism, Process Art, and Constructivism, Quaytman simultaneously developed a rigorous practice of experimentation with pigment. He was interested in the history, alchemy, and chromatic effects of color, seeking out unique tonalities at specialty stores at home and abroad, becoming a master of color and texture. He skillfully poured paint, spreading Rhoplex over canvas with broad wallpaper brushes after dusting it with pure pigment that settled in thick, unpredictable strata. He later flecked canvas with glass or iron filings and used additives such as marble dust in paint he always mixed himself. On this subject, he said: “It is very important to me to be reminded that I am not an alchemist but a man engaged in coded, layered conversation with my fellow man on what I hope to be (on another) level than words or music.”

On the second floor are Matt Johnson’s delightful sculptures whose familiar materials seem to defy gravity as they balance on each other in the compositions.

From the press release

In an ever-expanding practice in search of the peculiar and the sublime, Johnson elevates the mundane to the exceptional. With a new body of work in carved and polychromed wood sculpture, Johnson depicts configurations of raw industrial materials from cinder block, brick, rebar, to traffic cones—permutations of information composed according to gravity, balance, and primitive instinct. A crude horse, a procession of block figures, cantilevered props, and fragile towers make reference to the concept of knowledge with small gestures—a lighter, a match book, a lightbulb, an atlas, and a monograph on Matisse. The doweled joints of glue and/or epoxy between bricks, blocks, and bars exist here not to defy gravity but to freeze balance and preserve delicate moments of experimental groupings. Like a still life, these works are organized information, like subatomic particles, atoms and elements, molecules and compounds, glued by gravity, and magnetic polarity, surfing in a sea of electrical conductivity.

Both of these exhibitions close 1/11/20.

 

 

Dec 052019
 

Queen of Jeans- Only Obvious to You

Things to do in Los Angeles this weekend (12/5-12/8/19)-

Thursday

Artist Catherine Opie is giving a walk-through of Lari Pittman’s exhibition at Hammer Museum at 6pm

The Make-Up are playing at Zebulon with Seth Bogart

If you missed Visual AIDS’s screening of STILL BEGINNING for Day With(out) Art you can see it tonight at MOCA Grand Avenue (free)

Director Jazmin Garcia will be speaking at The Broad as part of their series The Logic of Poetry and Dreams (free but reserve ticket)

Lisa Prank is playing at the Bootleg Theater with Rose Melberg, and Worriers

Protomartyr and Show Me The Body are opening for Daughters at the Belasco Theater

Sasha Sloan is playing at the Fonda Theatre with Winnetka Bowling Club

 

Friday

Constitution Happy Hour returns to Hammer Museum with UC Irvine political science and law professor Rick Hasen discussing the First Amendment and campaign misinformation.

The Theatre at The Ace Hotel with CAP UCLA is screening Dawson City:Frozen Time with a live score composed by Alex Somers and performed by Wild Up. The film tells the story of the discovery of over 500 silent film reels from the 1910s and 20s in Dawson in north western Canada in the 1970s by a construction crew who found it buried in a subarctic swimming pool.

Cocoa Concerts continue at Union Station with latin jazz group Conganas. There will also be a cocoa bar, Santa selfies, a Candy Cane Lane and more (free)

Surfbort are playing at Lodge Room with Dumb Fucks and Nice

Sonny & The Sunsets are playing at The Hi Hat with The Gonks and The Flusters

 

Saturday

Queen of Jeans are opening for From Indian Lakes at the Moroccan Lounge

Earl Sweatshirt will be at The Geffen Contemporary at MOCA for a conversation on art, music, and life with Cheryl Harris (his mom). (free, 1-3pm)

Artist Frank Ockenfels 3 will be signing his book at Fahey Klein from 2-4pm

Photographer Todd Hido will be signing his book, House Hunting (Remastered) at Arcana Books from 4-6pm

Union Station is having a Holiday Festival and Artisan Market

Apsara DiQuinzio and Suzanne Hudson will be in conversation about the work of Harvey Quaytman, moderated by Lindsay Preston Zappas, at Blum & Poe.

Hammer Museum and UCLA Film & Television Archive are showing a double feature of the 1980s classics Back to the Future and Desperately Seeking Susan ($9)

Mike Krol is playing at the Bootleg Theater with Jess Cornelius and Night Shop

Mount Eerie is playing at The Masonic Lodge at Hollywood Forever

Frankie & The Witch Fingers are playing at Zebulon with Kevin, and Perfection

 

Sunday

Public Access Christmas presents a feature length program of holiday themed videos from the world of public access television at Zebulon

CicLAvia is taking over the Valley this time- Sherman Way from Canoga Park to Reseda will be shut to car traffic from 9-3pm

Get some holiday shopping done at West Coast Craft taking place in the South Lot at ROW DTLA (free also on Saturday)

CHVRCHES are playing at The Wiltern with Dominic Fike

Nothing are playing at the Echoplex with Launder, No Swoon and Sprain