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.

 

 

Sep 212018
 

Yuno- No Going Back

Things to do in Los Angeles this weekend (9/20-9/23/18)-

Thursday

Hammer Museum is hosting Flux, a free fall program of film screenings, with special guest filmmakers including Emmanuel Adjei, Autumn de Wilde, Kilo Kish and Kim Gehrig, with a courtyard after-party to follow

The National are playing at The Hollywood Palladium with Phoebe Bridgers opening (also Friday)

Nothing are playing with Culture Abuse at The Regent Theater

Warm Drag are having a record release party at The Echo with Secret Stare and David Scott Stone also performing

MOCA Music at The Geffen Contemporary location features Late Night Laggers with Jesse Baez, The.Wav, Nick & Navi and special guests Dave Nada and Tittsworth for this week’s free event (but RSVP)

Healing Gems are playing with Sister Mantos, Oscura Luna and Te Adoro at the Bootleg Theater

 

Friday

Venice Afterburn is a free daytime art and music festival event running daily until 10pm through Sunday, that brings the Burning Man experience to Venice

Flamingosis is performing with DJ UNiiQU3 at the El Rey Theatre

The Midnight are playing at The Fonda Theatre with ayokay opening

Gabriel Garzón-Montano is opening for Kali Uchis at The Shrine Expo Hall or see him play a late show (11:59pm) at the Moroccan Lounge

The Charlatans UK are playing at the Teragram Ballroom with The Winachi Tribe

 

Saturday

Yuno is opening for Superorganism at The Fonda Theatre

The Broad and X-Tra are hosting an afternoon presentation and workshop on successful financial strategies for artists by LA artist Edgar Arceneaux based on his project New Financial Architectures for Creative Communities ($15 suggested)

Frogtown is having its annual art walk with 37 venues, 50 artists, 3 stages with music, a half mile interactive light installation, and more

Entrance, Shannon Lay, Draemings, Imaad Wasif, and more will be celebrating the words and music of Leonard Cohen at The Echo

Cinespia is showing Yellow Submarine at Hollywood Forever Cemetery with fireworks to follow

 

Sunday

Grizzly Bear, TV on The Radio, and Kaitlyn Aurelia Smith are playing at The Hollywood Bowl

There is a The The documentary screening at The Masonic Lodge at Hollywood Forever which will include a Q&A with Matt Johnson

Party Nails and Polartropica will be playing at The Echo with Uruguay and Maiah Manser opening

Chanti Darling and Harriet Brown are playing at the Bootleg Theater with TWINKIDS opening