Nov 232019
 

The Second Home Serpentine Pavilion, designed by Spanish architects Lucia Cano and Jose Selgas of SelgasCano, is a bright and colorful addition to the park that houses the La Brea Tarpits and LACMA.

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.

Aug 222019
 

A Universe of One, 2018

A Universe of One, 2018 (detail)

The Dream of Flight, 2019

The Dream of Flight, 2019 (detail)

Currently at Kohn Gallery is New York-based artist María Berrío’s first solo exhibition in Los Angeles.

From the press release-

Inspired by her youth in the countryside of Bogotá, Colombia, Berrío’s paintings explore the experience of immigrant identity, intercultural connectivity and the beauty that is found in the diversity of cultures and countries. Berrío depicts her figures with richly detailed and patterned backgrounds of exteriors and interiors. The large, detailed mixed media canvases employ lush, carefully crafted, multilayered Japanese papers and paint, resulting in scenes replete with pensive yet confident figures amid a scene of visual exuberance.

Berrío’s work often places female figures at the center of her intricately woven landscapes. Painted with watercolor details, her figures stare out of the composition determined to confront the viewer from their own surreal surroundings. Her work is evocative of predecessors such as Gustav Klimt and Egon Schiele, both known for their exceptional degree of emotional directness and figural distortion in the place of conventional beauty. Berrío’s works float seamlessly between historical and contemporary artistic styles as they employ a wide visual vernacular ranging from expressionism to graphic, abstract marks.

The variety of media and techniques found in María Berrío’s practice emphasizes the interwoven cultural breadth of the world in which we live, where globalization and injustice touch the lives of everyone. Each character Berrío paints is a symbol of this new reality and the strength that can issue from it. For the artist, a female soldier on the front lines is as brave and mighty as the mother who protects her children from the perils of war. These depictions of women are seen as guiding spirits who are strong, vulnerable, compassionate, courageous and in harmony with Nature and themselves. With these combinations of human traits and emotions, Berrío fortifies her belief that with womanhood every action is considered beautiful and strong, no matter how small or large.

For her current show, A Cloud’s Roots, Berrío focuses especially on place and migration. The individuals are seen in preparation for their travels, in moments of transition, and in various states of uncertainty. Berrío states, “the ambiguity is intentional; although I may have a specific idea in mind when making the work, the actual piece lacks cultural specificity to allow for all symbolic possibilities.” Berrío therefore gravitates towards symbols with global cultural significance, such as braids, birds, and flowers, with the hope that they allow diverse audiences to bring their own understanding to the work.

In her recent work, A Cloud’s Roots (2018), Berrío creates a fictional species of tree based on the dragon’s blood tree, found exclusively on an island off the coast of Yemen. The dragon’s blood tree has adapted perfectly to the island’s desert-like climate and rocky soil, inhospitable to most other plant life. It is a powerful symbol of survival and resilience, able to thrive even in the most unlikely conditions. The figures in the piece are compelled to leave their home but they carry with them the knowledge that they too have the power to put down roots wherever they go.

By reflecting on the beauty of our immigrant nation, Berrío’s new body of work aims to rewrite the narrative of American history to include the stories of people who have long been excluded. It makes space for those who were not born in this country, but come here full of hope and desire to make it their home. As the art canon expands its scope and redefines its boundaries, Berrío imagines a future in which people with diverse perspectives can walk into an institution and see themselves reflected back. Berrío states, “so many immigrants, myself included, are stuck in the inbetween, not quite from here, and no longer from there. I create work that bears witness to this liminal state of being and acknowledges it as an essential part of being American. I wish to convey that which can never be conveyed: the sheer joy of being, of creation, and the undiscoverable mystery of being alive.”

This exhibition closes 8/24/19.

Also, if you are in New York City, she recently created several glass and ceramic mosaics that can be seen in the Fort Hamilton Pkwy Station.

 

Oct 032015
 

markjenkinscastaniergallery markjenkinsbirdhousecastaniergallery

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.

From the press release

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- http://www.xmarkjenkinsx.com/outside.html

This show closes 10/3/15.

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