Sep 142023
 

“Untitled”, 2020, glazed ceramic

“Midnight Garden (Jnana)”, 2020 Pigment on canvas

“Untitled”, 2020, glazed ceramic

The works above are from Sam Falls’ 2020 exhibition at 303 Gallery in NYC. For more on these works, check out the gallery’s press release.

He is currently showing his work at The Little House, located at 451 N. La Cienega Blvd. in Los Angeles, presented by Dries Van Noten.

From their press release-

On view will be a selection of recent work by Sam Falls which merges photography, painting, and installation which results in captivating pieces that invite viewers to explore the relationship between humans and the environment. The works in the exhibition offer a meditation on the sublime dichotomy of mortality, including ceramics combining fossilized images of nature and the human form, as well as found airbags from crashed cars that are embroidered with symbolic idioms on the transience of time and life quoted from ancient Greek and Roman sundials.

Falls’ artistic process explores the varying representations of nature and materials through the passage of time. Rain, sunlight, wind, and the gradual effects of weathering all contribute to the unique aesthetic of each piece, creating a dialogue between art and nature that captures the essence of life represented in time and space. By exposing his artwork to elements, he invites the environment to act as a collaborator in reinterpreting organic materials into new forms.

This exhibition will be on view until 9/30/23.

 

Aug 312023
 

Kelley Walker, “Pioneer PL-518 7-inch Series Love (Is The Answer)” (2015), Pantone 4-color process silkscreen with acrylic ink on MDF

The work above is Kelley Walker’s Pioneer PL-518 7-inch Series Love (Is The Answer) (2015) from the exhibition Terry Adkins, Christian Marclay, Kelley Walker, that was on view at Paula Cooper Gallery in NYC this past March.

From the gallery about Kelley Walker-

Known for his manipulation of long-circulating images from advertising and other sources, Kelley Walker examines the consumption of visual culture using collage, screen-printing, sculpture, and installation. Bose Glitter Stock (2016) and Untitled (Screen to Screen) (2017) contain montages of superimposed silkscreen images printed on polyester mesh substrate, the armature for screen printing. Pioneer PL-518 7-inch Series Love (Is The Answer) (2015) is a grid of silkscreened panels that reproduce vinyl records and their packaging. Walker referenced the legendary Pioneer brand of turntables, famously advertised by Andy Warhol, as part of his investigation into the visual culture of the 1970s and 1980s New York disco scene.

Below is the song that the title references. It is included among the records pictured and is from the Four Tops album, Still Waters Run Deep.

Four Tops- Love (Is The Answer)

Jul 202023
 

Built Landscape I, 2015, by Paul Davies, was included in Palm Springs Art Museum’s 2018 group exhibition, Eighty @ Eighty.

From the museum’s wall plaque-

Through a rich process of layering, mirroring, and mimicking, Davies explores the fusion of manmade and cultivated natural elements that comprise our environment. Reflecting a contemporary Southern California sensibility, his paintings are at once a dream of an idealized lifestyle made popular by midcentury modern architecture, and a commentary on how such structures interact with and fragment the world around us. This image references the unique periscope-like structure of architect Albert Frey’s first home in Palm Springs.

Davies’ work can currently be seen as part of Stark White gallery’s exhibition Surface Tension in Queenstown, New Zealand, on view until 8/20/23.

 

Jun 222023
 

“When I Was Young”, 1995

“Here I Am/Estoy Aquí”, 2022

Two works from Joey Terrill: Cut and Paste, a solo exhibition at Ortuzar Projects in NYC this past February.

From the gallery’s press release-

Raised in Highland Park and East Los Angeles, Terrill was part of a small group of Chicano artists who in the 1970s and 80s created works that diverged from traditional Chicano-based imagery and subject matter to include visual representations reflecting his queer lived experiences. Utilizing the existing image culture that surrounded him, Terrill combines personal photographs, found pop cultural imagery, and reproductions of artworks by queer predecessors, including Diane Arbus, Robert Mapplethorpe and Wilhelm von Gloeden, to conjure utopic spaces. Spanning from his earliest explorations to substantial new works, Cut and Paste reveals collage as a foundational element to Terrill’s expanded artistic practice.

Beginning with abstract collages and silkscreens made while Terrill was an undergraduate at Immaculate Heart College—an art department still heavily influenced by the graphic artist and activist Sister Corita Kent—the exhibition draws out the interconnectivity of illustration, collage, and printmaking in Terrill’s work and their influence upon the characteristically flat style of his early paintings. Like many artists who came of age in the wake of Pop, he found refuge within the fantasies of American image culture–his earliest artworks covering his bedroom walls, which he transformed with a mix of drawings, photographs, and clippings of comic books, film starlets, and music icons. His silkscreens from the mid-1970s–a medium central to the larger Chicano art movement–find him applying a graphic sensibility to not only representations of brown bodies, but queer desire, an impulse he would continue to explore in his episodic Homeboy Beautiful proto-zines from the end of the decade.

Terrill was selected to be one of the artists in Hammer Museum’s 2023 biennial, Made in L.A., which will open this October. He also has a work in the current exhibition at the museum- Together in Time: Selections from the Hammer Contemporary Collection running until 8/20/23.

Jun 152023
 

“Lynn Valley Days II”, 2018, Oil, acrylic and canvas on burlap

“Late Summer”, 2018, Oil on burlap with acrylic on canvas collage

Three paintings from Ben Reeves’ 2018 exhibition Something Edge at Equinox Gallery in Vancouver. The textures from the layers of paint and canvas, as well as his use of color, create lush dreamlike environments.

From the press release-

Ben Reeves’ artistic practice is a way of exploring and learning about the world as well as a material and intellectual pursuit that unfurls not only new understandings about perception but an equal amount of uncertainty, which in turn fuels further curiosity.

Ruminating on his current series of works, Reeves explains: “These paintings are views from one space, looking into another. I equate this with how experiences are always made up of multiple realities, multiple spaces. For example, the present is always haunted by the past. When I think back to my childhood, growing up here on the West Coast, I realize that it was both the place I thought it was and it wasn’t. I didn’t know that the place I grew up in both was and wasn’t itself.” How, then, does an artist begin to address the layered histories embedded in the land?

In most of Reeves’s paintings, a view is projected from high ground (perhaps a North Shore mountaintop), through a tactile forest (perhaps in Lynn Valley), or toward sights of orderly urban vistas in the distance (perhaps Vancouver). The passage from one space to the other is accentuated by a tangle of vines or hanging branches made of cut canvas, which is collaged directly onto the burlap ground of the painting, partially impeding the view forward. These physical “veils” are staunch reminders of that which hovers behind and within, stalling the viewer in the web of the here and now of the foreground, while the coloured glimmer of an unknown future beckons in the distance. This tension between what is known and what is not, between the fleeting images of memory and the starkness of reality, finds its parallel in paint that is directed with great dexterity by an artist whose multifaceted handling of the medium—as it is blotted, dabbed, and dragged—grows increasingly sophisticated at each reveal.

These works also include the unexpected arrival of the human form. While subdued and somewhat abstracted, figures are seen wading at the seashore or swimming at night in the depths of a wide ocean. Disrupting the Western tradition of horizontality to represent a landscape, Reeves’s incongruously vertical canvases compress the scene from the sides. In works where the horizon is visible, he accentuates this faraway perimeter of the world with a horizontal line placed uncannily near the top of the painting, bringing this unknown edge seemingly closer, opening up possibilities for the scrutiny of infinity or other idealized archetypes. These and other places within Reeves’s paintings can be viewed as “something edge”: locations or thoughts that lie both within and beyond our conception.

Feb 042023
 

This mural, Shesha Sand Storm, by Fin Dac and Starfightera (Christina Angelina), is on the side of the Desert Shores market near Salton Sea in California.

Jan 272023
 

The Voyage was by Matt Kress for the 2018 SHINE Mural Festival. The mural was sponsored by the Tampa Bay Buccaneers football team (note the football under the skull). For more of Kress’s work, also check out his Instagram.

This weekend the annual Gasparilla Pirate Festival continues with The Parade of Pirates which includes floats, marching bands, dance groups, and, of course, pirates.

Jan 202023
 

Artist Alex Katz created this mural, Bill 2, a portrait of modern dancer and choreographer Bill T. Jones, in 2019 for Murals of La Jolla in San Diego. Murals of La Jolla is a project started in 2010 by The Athenaeum and the La Jolla Community Foundation. It commissions artists to create work to be displayed on buildings around La Jolla. A map of all the murals currently on view can be found here.

From the Murals of La Jolla website about the work-

Alex Katz’s mural, Bill 2, celebrates Bill T. Jones, one of the most noted and recognized modern-dance choreographers of our time. Executed in Katz’s bold and simplified signature style, Bill 2 depicts Jones’ visage, through a series of distinct expressions. The repetition of his face has a cinematic and lyrical quality, reinforcing his place in the world of dance, music and film. Portions of the face are dramatically cropped, giving the viewer only quick and gestural glimpses of Jones. Bill 2, is a striking homage to two artists, Katz and Jones, both renowned in their respective fields of visual and performing arts. The mural’s proximity to the new Conrad Prebys Performing Arts Center gives a nod to the interconnected worlds of art, music, and dance.

The Guggenheim museum in NYC is currently showing Alex Katz: Gathering, a retrospective of the artist’s work from the late 1940’s until the present. The exhibition will be up until February 20, 2023.

From their website about the exhibition-

Emerging as an artist in the mid-20th century, Katz forged a mode of figurative painting that fused the energy of Abstract Expressionist canvases with the American vernaculars of the magazine, billboard, and movie screen. Throughout his practice, he has turned to his surroundings in downtown New York City and coastal Maine as his primary subject matter, documenting an evolving community of poets, artists, critics, dancers, and filmmakers who have animated the cultural avant-garde from the postwar period to the present.

Staged in the city where Katz has lived and worked his entire life, and prepared with the close collaboration of the artist, this retrospective will fill the museum’s Frank Lloyd Wright rotunda. Encompassing paintings, oil sketches, collages, drawings, prints, and freestanding “cutout” works, the exhibition will begin with the artist’s intimate sketches of riders on the New York City subway from the late 1940s and will culminate in the rapturous, immersive landscapes that have dominated his output in recent years.

Bill T. Jones/Arnie Zane Company has numerous performances every year. Conceived and directed by Bill T. Jones, and choreographed by Jones with Janet Wong and the Bill T. Jones/Arnie Zane Company, the latest work, Curriculum II, will be performed at on March 10, 11, and 12, at the Institute of Contemporary Art Boston.

Jones also hosts the series Bill Chats at NYC’s The New School. On January 30th, he will be in conversation with Bessie Award-winning theater director and performance artist, Niegel Smith and curator, producer, and director, Kamilah Forbes. For more events check out the New York Live Arts calendar.

 

 

Jan 132023
 

This Los Angeles mural was created in 2018 by ZLA and Chase.

For more work by ZLA, also check out his Instagram. Chase’s Instagram is worth a look as well.