THE MUSEUM OF MODERN ART, NEW YORK ACQUIRES KEN GONZALES-DAY'S THE WONDER GAZE (ST. JAMES PARK)
Luis De Jesus Los Angeles is proud to announce the Museum of Modern Art's accession of The Wonder Gaze (St. James Park), 2006, by Ken Gonzales-Day, into the permanent collection. The Wonder Gaze (St. James Park) is one of the most recognized photographic works by Ken Gonzales-Day. It depicts the lynching of Thomas Thurmond and John Holmes in St. James Park, San Jose, CA, in 1933. It is part of the Erased Lynchings series (2002-ongoing), which began with a focus on the history of lynching in California and has brought new scholarship and awareness to the history of lynching nationwide.
LIZ COLLINS AWARDED CIVITELLA RANIERI 2023 FELLOWSHIP IN VISUAL ARTS
Luis De Jesus Los Angeles is pleased to announce that Liz Collins has been named a 2023 fellow in Visual Arts by the Civitella Ranieri Foundation.
Civitella Ranieri Foundation invites about 12 to 15 Fellows for each session for a residency Fellowship of 6 weeks. The Fellows are chosen through a competitive nomination and jury process for each discipline; visual arts, writing, and composing.
WHITNEY MUSEUM OF AMERICAN ART'S ACQUIRES GRAFT, 2022, BY EDRA SOTO
Luis De Jesus Los Angeles is proud to announce the Whitney Museum of American Art's acquisition of GRAFT, 2022, by Edra Soto. GRAFT was featured in the museum's landmark exhibition “no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria," organized by the DeMartini Family Senior Curator, Marcela Guerrero. The gallery wishes to thank the museum and everyone who made this acquisition possible.
EVITA TEZENO NAMED A FELLOW OF THE 2023 JOHN SIMON GUGGENHEIM MEMORIAL FOUNDATION
JOHN SIMON GUGGENHEIM MEMORIAL FOUNDATION
Luis De Jesus Los Angeles is proud to announce that Dallas-based artist Evita Tezeno has been named a 2023 Fellow of the John Simon Guggenheim Memorial Foundation. Her fellowship is supported in part by the Joel Conarroe Fund, named for the former President of the Foundation who was a Guggenheim Fellow in 1977.
PHÙNG HUYNH NAMED 2023 HONOREE FOR WOMEN OF IMPACT AWARDS IN THE ARTS
March 16, 2023
Luis De Jesus Los Angeles is pleased to announce that Phung Huyn has been named the 2023 honoree in art for the Women of Impact Awards.
The Women of Impact Awards was created in honor of Women’s History Month to spotlight the efforts of our extraordinary women in the 77th Assembly District.
JUNE EDMONDS AWARDED MACDOWELL SPRING-SUMMER FELLOWSHIP
February 14, 2023
Luis De Jesus Los Angeles is pleased to announce June Edmonds was awarded a MacDowell spring-summer fellowship.
MacDowell will welcome 142 artists from 23 states, Washington D.C., and 11 countries for spring and summer residencies. These fellowships at the nation’s first artist residency program in Peterborough were granted from a pool of 1,822 applications from 54 countries and every state except Hawaii. Fifty-two percent of the incoming artists-in-residence self-identify as artists of color and 76 percent will be first-time fellows.
HECTOR DIONICIO MENDOZA AWARDED LOUIS COMFORT TIFFANY FOUNDATION 2022 BIENNIAL GRANT
January 28, 2023
Luis De Jesus Los Angeles is pleased to announce Hector Dionicio Mendoza as a recipient of the Louis Comfort Tiffany Foundation 2022 Biennial Grant.
Twenty artists working in painting, drawing, sculpture, photography, video, craft, and new media are awarded $20,000 USD each in unrestricted grants. Established in 1918 by Louis Comfort Tiffany, son of the founder of Tiffany & Company, the Foundation remains one of the largest single sources of monetary grants to artists working in America today.
ZACKARY DRUCKER WINNER OF 2023 SUNDANCE FILM FESTIVAL U.S. DOCUMENTARY SPECIAL JURY AWARD: CLARITY OF VISION FOR FILM "THE STROLL"
January 28, 2023
Luis De Jesus Los Angeles is please to announce Zackary Drucker winner of 2023 sundance film festival U.S. Documentary Special Jury Award: Clarity of Vision for Film "The Stroll". This is the definitive history of New York City’s Meatpacking District, told by the transgender women of color who created its history. “The Stroll” was where trans women of color, shunned out of the workforce, turned to for a means of survival. Women of the Stroll past and present are brought together by co-director Kristen Lovell (for whom this is a stunning directorial debut), who worked alongside them for a decade, and Zackary Drucker (Transparent producer and The Lady and the Dale director).
EDRA SOTO WINNER OF 2022 REE KANEKO AWARD
January 26, 2023
Luis De Jesus Los Angeles is proud to announce that gallery artist Edra Soto has been awarded the Bemis Center's 2022 Ree Kaneko Award. This annual award is bestowed to artists that have participated in Bemis's exhibition or residency programs and is named in honor of Ree Kaneko, Bemis Center co-founder, first Executive Director, and Board Member Emerita.
The Bemis Center's Ree Kaneko Award was created to award $25,000 unrestricted, by nomination to an alum of the program to provide financial support to increase the capacity of an artists practice. There will be a conversation held with Edra Soto: March 9, 6–7pm
FOUR WORKS BY VIAN SORA ACQUIRED BY THE GRINNELL COLLEGE MUSEUM OF ART, GRINNELL, IOWA
Luis De Jesus Los Angeles is pleased to announce that Grinnell College Museum of Art, Grinnell, Iowa recently acquired four works by artist Vian Sora. The works included Eden I,2022, Eden II, 2022, River Bed, 2022, and Thirst, 2021. Sora's work utilizes a synthesis of styles and iconography taken from both her native, modern and ancient Iraq and adopted cultures, along with a variety of techniques, Vian Sora’s mixed media paintings embody imagery that suggests the struggle of the individual in the face of personal and social upheaval, often employing androgynous figures that transmute into expressionist abstraction.
GABRIEL SANCHEZ FEATURED ON COVER OF NEW AMERICAN PAINTINGS ARTIST OF THE WEST COMPETITION
Luis De Jesus Los Angeles is pleased to announce Gabriel Sanchez has been featured on the cover of New American Paintings Artist of the West Competition. Sanchez's recent paintings explore how proximity and union, ever-present aspects of Cuban society, inform notions of solitude and intimacy.
KEN GONZALES-DAY'S "THE WONDER GAZE (ST. JAMES PARK)" ACQUIRED BY THE BLOCK MUSEUM OF ART AT NORTHWESTERN UNIVERSITY, EVANSTON, IL
December 9, 2022
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's The Wonder Gaze (St. James Park) was recently acquired by the Block Museum of Art at Northwestern University, Evanston. The Wonder Gaze (St. James Park) is one work from Ken Gonzales-Day's ongoing Erased Lynchings series which he began in 2002. The series seeks to reveal that racially motivated lynching and vigilantism was a more widespread practice in the American West than was believed, and that in California, the majority of lynchings were perpetrated against Latinos, Native Americans, and Asian Americans; and that more Latinos were lynched in California than were persons of any other race or ethnicity. It is Gonzales-Day’s continual engagement with history and his interest in peeling back the layers that makes his work so powerful and continuously relevant.
HUGO CROSTHWAITE AWARDED A SMITHSONIAN NATIONAL PORTRAIT GALLERY COMMISSION TO CREATE A PORTRAIT OF 2022 HONOREE DR. ANTHONY S. FAUCI
November 10, 2022 - October 22, 2023
The gallery is pleased to announce that Hugo Crosthwaite has been chosen to commisson a portrait of public health expert Anthony S. Fauci for Portrait of a Nation 2022 Honoree to be exhibited in the Smithsonian National Portrait Gallery in Washington, D.C. Crosthwaite’s portrait will be debuted alongside new commissions by Kenturah Davis, David Hockney, Kadir Nelson, Toyin Ojih Odutola, Robert Pruitt, and Ruven Afanador. Crosthwaite's innovative piece presents a stop-motion animated piece of Dr. Fauci and will be accompanied by seven drawings.
ANTONIA WRIGHT & RUBEN MILLARES WIN $25,000 JUROR’S CHOICE AWARD FOR LARGEST-EVER NO VACANCY, MIAMI BEACH; MARITZA CANECA WINS $10,000 GMCVB’S PEOPLE’S CHOICE AWARD
December 8, 2022
Luis De Jesus Los Angeles is pleased to announce Antonia Wright & Ruben Millares have been awarded the Juror's Choice Award for the 2022 edition of No Vacancy. The duo have been awarded a prize of $25,000 for their presentation of Patria y Cida at the Faena Hotel Miami Beach. No Vacancy is a juried art competition that celebrates artists, provokes critical discourse, and invites the public to experience Miami Beach’s famed hotels as destination art spaces. Artists were drawn from a call for submissions and selected by representatives from the City of Miami Beach Art in Public Places Committee, Cultural Arts Council (CAC) and MBVCA. For the second edition of No Vacancy, $35,000 in prizes were awarded, including the $10,000 Public Prize by the GMCVB and the $25,000 Juror Prize awarded by a panel of art experts.
LAURA KARETZKY SELECTED AS A FINALIST FOR THE 2023 BENNETT PRIZE AND RISING VOICES 3 EXHIBITION
November 29, 2022
Luis De Jesus Los Angeles is proud ot announce that Laura Karetzky is a Finalist for the 2023 Bennett Prize and Rising Voices 3 exhibition. The Bennett Prize was founded by art collectors, curators, and philanthropists Steven Alan Bennett and Dr. Elaine Melotti Schmidt. It seeks to propel the careers of women figurative realist painters who have not yet realized full professional recognition, thereby empowering new artists as well as those who have painted for many years. As a finalist, Karetzky will be in consideration for the $50,000 Bennett Prize and the runner up prize of $10,000. The opening of the exhibition and announcement of the winner of the Bennett Prize will take place at the Muskegon Museum of Art on May 18, 2023, in Muskegon, MI.
JUNE EDMONDS AWARDED 2022 CALIFORNIA COMMUNITY FOUNDATION FELLOWSHIP FOR VISUAL ARTIST FELLOWS
August 31, 2022
Luis De Jesus Los Angeles is proud to announce that June Edmonds has been awarded a 2022 California Community Foundation Fellowship for Visual Artist Fellows. The CCF fellowships are one of the most "prestigious arts fellowships in the region, which helps artists build successful, sustainable careers that support the thriving Los Angeles arts scene."
PHUNG HUYNH AWARDED 2022 CALIFORNIA COMMUNITY FOUNDATION FELLOWSHIP FOR VISUAL ARTIST FELLOWS
August 31, 2022
Luis De Jesus Los Angeles is proud to announce that Phung Huynh has been awarded a 2022 California Community Foundation Fellowship for Visual Artist Fellows. The CCF fellowships are one of the most "prestigious arts fellowships in the region, which helps artists build successful, sustainable careers that support the thriving Los Angeles arts scene."
KEN GONZALES-DAY TO PARTICIPATE IN "AT HOME: ARTISTS IN CONVERSATION" WITH LACMA CURATOR RITA GONZALEZ
PRESENTED BY THE YALE CENTER FOR BRITISH ART
REGISTRATION REQUIRED | Wednesday, October 19, 2022 | 1:00-2:00 PM |
The gallery is pleased to announce Ken Gonzales-Day's participation in "At Home: Artists in Conversation" with Rita Gonzalez, Terri and Michael Smooke Curator and Department Head of Contemporary Art at the Los Angeles County Museum of Art. Presented by the the Yale Center for British Art, at home: Artists in Conversation brings together curators and artists to discuss various artistic practices and insights into their work.
KEN GONZALES-DAY TO PARTICIPATE IN "LYNCHING IN THE WEST: DOWNTOWN LOS ANGELES WALKING TOUR"
PRESENTED BY BRIDGE PROJECTS
REGISTRATION REQUIRED | Saturday, October 29, 2022 | 10:00 – 11:30 AM
The gallery is pleased to announce that Ken Gonzales-Day will lead a walking tour around historical sites in downtown Los Angeles to that expands on the history of lynching in California. Organized by Bridge Projects, the in person event will take place on Saturday, October 29, 2022 beginning at Union Station at 10 AM. The walking tour will revisit places and events made infamous in the first decades of Los Angeles – a period that was colored by great social, economic, and cultural unrest.
LIA HALLORAN TO PARTICIPATE IN "COSMIC EXPLORATIONS: AT THE INTERSECTION OF SCIENCE, SPACE, ART, AND CULTURE:" THE 11TH CONFERENCE ON THE INSPIRATION OF ASTRONOMICAL PHENOMENA
CALIFORNIA INSTITUTE OF TECHNOLOGY, PASADENA, CA
REGISTRATION REQUIRED | Friday, September 23, 2022
Luis De Jesus Los Angeles is pleased to announce that Lia Halloran will be speaking with Kip Thorne in a discussion, "Poetry & Painting: The Warped Side of our Universe" on Friday September 23, 2022. The talk will run from 8:30-9:15 AM and is part of the 11th Conference on the Inspiration of Astronomical Phenomena Programming.
GALLERY WEEKEND LOS ANGELES: JOHN BROOKS + JONATHAN VANDYKE
PRESENTED BY LUIS DE JESUS LOS ANGELES
Saturday, July 30 at 1:00 PM + 4:00 PM
Luis De Jesus Los Angeles is pleased to participate in the second edition of Gallery Weekend Los Angeles, presented by the Gallery Association Los Angeles (GALA) from July 27-30, 2022. In conjunction with their current solo exhibitions, the gallery will present John Brooks and Jonathan VanDyke in back to back readings on Saturday, July 30th as part of readings on Saturday, July 30th as part of our Gallery Weekend LA programme. We will begin with John Brooks at 1pm followed immediately by Jonathan Van Dyke. A second presentation will be held at 4pm.
LAURA KRIFKA ARTIST TALK AND EXHIBITION WALK-THROUGH
Saturday, May 14, 2022 at 2:00 PM
Luis De Jesus Los Angeles is very pleased to invite you to an artist talk and exhibition walk-through with Laura Krifka on Saturday, May 14th, at 2:00 p.m. This talk is presented in conjunction with "Still Point," the artist’s second solo exhibition with the gallery, on view through May 28, 2022. This is an in person event. RSVP: firstname.lastname@example.org.
LIA HALLORAN INSTALLATION AT THE EXPLORATORIUM
May 13 – August 7, 2022
Luis De Jesus Los Angeles is pleased to announce that Lia Halloran's Double Horizon will be featured at the Exploratorium. Double Horizon is an immersive three-screen video installation that envelopes the viewer in artist Lia Halloran’s portrait of Los Angeles. The installation will be on view through August 7, 2022.
THE PHILLIPS COLLECTION ACQUIRES FEDERICO SOLMI'S "THE CHARMING STATESMAN"
April 20, 2022
Luis De Jesus Los Angeles is very pleased to announce that Federico Solmi's painting titled The Chaming Statesman (2019) has been acquired by the Phillips Collection in Washington DC. The drawing will be exhibition among other recent acquisitions until May 31st.
JUNE EDMONDS AWARDED 2022 GUGGENHEIM FELLOWSHIP
April 8, 2022
Luis De Jesus Los Angeles is proud to announce that June Edmonds has been awarded a 2022 Guggenheim Foundation Fellowship in Fine Arts by the John Simon Guggenheim Foundation. Guggenheim Fellowships are grants that have been awarded annually since 1925 by the John Simon Guggenheim Memorial Foundation to those "who have demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts."
LIA HALLORAN TO PARTICIPATE IN GROUP EXHIBITION AT THE UNIVERSITY OF LEEDS
April 27 – June 30, 2022
Luis De Jesus Los Angeles is pleased to announce that Lia Halloran will be participating in Seeing Stars, a group exhibition at the University of Leeds' Stanley & Audrey Burton Gallery. Guest curated by Hondartza Fraga, a visual artist living in Leeds, the exhibition shines a light on contemporary artists who use and challenge the newest technologies for space imaging in their art practice. The artists in this exhibition bring the human sense of wonder back into sharp focus – blurring the line between fact and fiction.
LAURA KARETZKY SELECTED AS A FINALIST IN THE 2022 OUTWIN BOOCHEVER PORTRAIT COMPETITION
"TOAST" WILL BE ON VIEW IN THE EXHIBITION THE OUTWIN 2022: AMERICAN PORTRAITURE TODAY AT THE SMITHSONIAN NATIONAL PORTRAIT GALLERY
April 30 - February 26, 2023
Luis De Jesus Los Angeles is pleased to announce that Laura Karetzky is a finalist in the 2022 Outwin Boochever Portrait Competition. The National Portrait Gallery’s triennial Outwin Boochever Portrait Competition celebrates excellence in the art of portraiture. The forty-two portraits were selected through an open call that garnered more than 2,700 entries from artists working across the United States and Puerto Rico. The portraits will be on view at the Smithsonian National Portrait Gallery through February 26, 2023.
KEN GONZALES-DAY TO GIVE LECTURE AT THE ANDERSON RANCH ARTS CENTER
PRESENTED BY THE ANDERSON RANCH ARTS CENTER
Sunday, June 12 | 7:00 PM
The gallery is pleased to announce that Ken Gonzales-Day will be giving a lecture at the Anderson Ranch Arts Center in Colorado with guest faculty member Benjamin Timpson. This free in person event will take place on Sunday, June 12 from 7–8 PM. Registration required.
AARON MAIER-CARRETERO & CURATOR ALMA RUIZ IN CONVERSATION AT LUIS DE JESUS LOS ANGELES
REFRESHMENTS SERVED | LIMITED SEATING | RSVP REQUIRED
Saturday, April 2, 2022 at 2:00 PM
Luis De Jesus Los Angeles cordially invites you to attend Alma Ruiz and Aaron Maier-Carretero in Conversation, to be held on Saturday, April 2nd, at 2:00 PM. This talk is presented in conjunction with the artist’s first solo exhibition with the gallery, currently on view through April 9, 2022. This is an in-person event. Seating is limited and reservations are required.
ANTONIA WRIGHT TO PARTICIPATE IN GROUP EXHIBITION AT THE CONTEMPORARY ARTS CENTER, NEW ORLEANS
March 12 – June 19, 2022
The gallery is pleased to announce that Antonia Wright will participate in the group show, #fail, at the Contemporary Arts Center, New Orleans. The multimedia group exhibition, presented by the Contemporary Arts Center, New Orleans and Spinello Projects, brings together works by artists that expose the systemic failures facing our world. #fail explores a world in crisis and it is treated as social and poetic materials. Through a multidisciplinary presentation, the artists express existence as a failure worth narrating.
RODRIGO VALENZUELA & KEN GONZALES-DAY ARTIST TALK
REFRESHMENTS SERVED | RSVP ENCOURAGED
Saturday, February 19, 2022 at 10:00 AM
Luis De Jesus Los Angeles cordially invites you to attend a Frieze Los Angeles Special Event featuring back-to-back Artist Talks with Rodrigo Valenzuela and Ken Gonzales-Day, on Saturday, February 19th, from 10 to 11 AM. The talks will be held in person at the gallery in Downtown LA, and are presented in conjunction with the artists current solo exhibitions: Rodrigo Valenzuela: New Works for a Post-Worker's World and Ken Gonzales-Day: Another Land. Refreshments will be served. Free admission; reservations are not required, but encourage. Masks will be required for this indoor event.
KEN GONZALES-DAY TO PARTICIPATE IN "THE NARRATIVE ARC OF LATINX PHOTOGRAPHY" PANEL
PRESENTED BY APERTURE AND THE LUCAS MUSEUM OF NARRATIVE ART
Zoom | Thursday, February 24, 2022 | 7:00 PM ET
The gallery is pleased to announce that Ken Gonzales-Day will be participating in the Aperture Conversations "The Narrative Arc of Latinx Photography." The event will begin with an introduction by Pilar Tompkins Rivas (guest editor of the “Latinx” issue of Aperture, and chief curator and deputy director of curatorial and collections at the Lucas Museum of Narrative Art, Los Angeles) and will also feature artists Sofía Córdova and Perla de León moderated by professor and writer Jesse Alemán. The event will take place online via Zoom on Thursday February 24, 2022 at 7:00 pm ET.
CARLA JAY HARRIS TO PARTICIPATE IN GROUP EXHIBITION AT THE SPARTANBURG ART MUSEUM
February 17 – June 30, 2022
The gallery is pleased to announce that Carla Jay Harris will participate in the group show, black anatomy, at the Spartanburg Art Museum in South Carolina. This dynamic exhibition features artists who bring intimate and charged bodies of work that represent their present-day voices while simultaneously keeping a toe dipped in the waters of their collective past experiences. Sculptures, installations, paintings, and drawings illustrate their shared understanding of the Black experience in contemporary culture and reveal work that unfolds in tones of universal truths.
CARLA JAY HARRIS TO PARTICIPATE IN GROUP EXHIBITION AT LOS ANGELES UNION STATION
WE ARE...PORTRAITS OF METRO RIDERS BY LOCAL ARTISTS
January 1 – December 31, 2022
Luis De Jesus Los Angeles is pleased to announce that Carla Jay Harris is participating in a group show at Los Angeles Union Station presented by Metro Los Angeles. Celebrating the diversity of Los Angeles County and the community of transit riders, We Are…Portraits of Metro Riders by Local Artists is an exhibition that features portraits presented throughout the Metro system and online. Each rider portrait has a story that is personal and universal, intimate and immediate—a single story among the many stories of 840,000 daily riders on Metro, and each told by an artist with ties to neighborhoods served by Metro. This multi-site exhibition and series of events is presented by Metro Art in collaboration with Metro’s Office of Civil Rights, Racial Equity & Inclusion and Communications departments.
KEN GONZALES-DAY TO PARTICIPATE IN GROUP EXHIBITION AT THE BLOCK MUSEUM OF ART
A SITE OF STRUGGLE: AMERICAN ART AGAINST ANTI-BLACK VIOLENCE
January 26 – July 10, 2022
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day will be participating in a group exhibition, A Site of Struggle: American Art Against Anti-Black Violence, at Northwestern University's Block Museum of Art. This exhibition explores how artists have engaged with the reality of anti-Black violence and its accompanying challenges of representation in the United States over a 100 + year period.
EDRA SOTO & JOEY LICO IN CONVERSATION AT LUIS DE JESUS LOS ANGELES
WINE & REFRESHMENTS | RSVP ENCOURAGED
Wednesday, December 15, 2021 at 7:00 PM
Luis De Jesus Los Angeles is very pleased to invite you to an exhibition walk-through and conversation between artist Edra Soto and curator Joey Lico in conjunction with EDRA SOTO: The Myth of Closure / El Mito del Cierre, on Wednesday, December 15 at 7:00 p.m. This is an in-person event. Reservations are not required, but encouraged.
JUNE EDMONDS SOLO EXHIBITION AT CAL POLY UNIVERSITY ART GALLERY
November 17 - December 10, 2021
Luis De Jesus Los Angeles is pleased to announce that June Edmonds will be having a solo exhibition at Cal Poly University San Luis Obispo. The exhibition will take place from November 17 through December 10, 2021.
KEN GONZALES-DAY FEATURED IN UPCOMING LECTURE, "THE POETICS OF ART AND INTERVENTION"
PRESENTED BY THE GETTY
Wednesday, November 17, 2021
The gallery is pleased to announce that Ken Gonzales-Day will be featured in an upcoming lecture with Getty curator LeRonn Brooks, Claudia Rankine, Monica Youn, and Jess Row. The event will take via webinar on November 17, 2021 from 5:00-6:00 p.m. PST / 2:00-3:00 p.m. ET.
CROCKER ART MUSEUM ACQUIRES JUNE EDMONDS "STILL SAYING HER NAME"
November 6, 2021
Luis De Jesus Los Angeles is very pleased to announce that June Edmonds' painting Still Saying Her Name, 2020, has been accessioned into the collection of the Crocker Museum of Art in Sacramento, CA. We are grateful to Simon K. Chiu, Chair of the Collections and Acquisitions Committee, and Scott Shields, Associate Director and Chief Curator, for making this acquisition possible.
JUNE EDMONDS TO GIVE RUSSELL FOUNDATION LECTURE
PRESENTED BY UC SAN DIEGO VISUAL ARTS DEPARTMENT AND MUSEUM OF CONTEMPORARY ART SAN DIEGO
Wednesday, October 27, 2021
The gallery is pleased to announce that June Edmonds will be giving a Russell Foundation Lecture presented by the UC San Diego Visual Arts Department and the Museum of Contemporary Art San Diego. The event will take place via webinar on October 27, 2021 from 6:00-8:00 p.m. PST / 9:00-11:00 p.m. ET.
LIA HALLORAN FEATURED IN DEPARTURES
"SPACE: A LETTER FROM DEPARTURES EXPLORING THIS MONTH'S THEME"
October 19, 2021
I THINK ABOUT SPACE, and my place in it, obsessively. As a 26-year-old non-white woman, I aim to take up space, as the mantra goes, yet bump against the barriers of a world and a mind socialized against that. As a born-and-raised New Yorker, I’ve only ever known erratic stimulation from spaces: awe-inspiring one minute, horrifying the next. I now share space with someone I love. For many, it's an endlessly relatable experience in its contradictions, clothing-pile politics, and navigation. My side/your side. Please get away from me/please come closer. Who takes what call from where.
KEN GONZALES-DAY TO GIVE ARTIST LECTURE ON "ERASED LYNCHINGS"
PRESENTED BY USC FISHER MUSEUM OF ART
Thursday, October 21, 2021
The gallery is pleased to announce that Ken Gonzales-Day will be giving an artist lecture on his ongoing Erased Lynchings series at the USC Fisher Museum of Art. The event will take place on Thursday October 21, 2021 from 2:00pm to 3:00pm
ARTIST TALK: JUNE EDMONDS, CARLA JAY HARRIS & KARLA DIAZ AT LUIS DE JESUS LOS ANGELES
MODERATED BY SHANA NYS DAMBROT | RSVP REQUIRED
Saturday, October 23, 2021 at 11:00 AM
Luis De Jesus Los Angeles is very pleased to invite you to an artist talk with June Edmonds, Carla Jay Harris, and Karla Diaz in conjunction with the artists' current solo exhibitions. The talk will be held on Saturday, October 23rd, from 11:00 am to 12:00 pm, followed by a Q&A. This is an in-person event. Seating is limited and reservations are required.
LIA HALLORAN SELECTED AS AN EXHIBITOR FOR THE LAX ART PROGRAM
LAX TERMINAL 1 | GATE 9 | POST-SECURITY
November 2021 – November 2022
Luis De Jesus Los Angeles is pleased to announce that Lia Halloran has been selected to partipate in the LAX Art Program. The LAX Art Program presents up to 20 exhibitions a year in collaboration with our partner, the City of Los Angeles’ Department of Cultural Affairs, to create vibrant public spaces at the airport.
JUNE EDMONDS 40 YEAR SURVEY AT LOYOLA MARYMOUNT UNIVERSITY LABAND ART GALLERY
September 25, 2021 - February 20, 2022
Luis De Jesus Los Angeles is delighted to announce June Edmonds: Full Spectrum, a 40-year survey exhibition of Los Angeles-based artist June Edmonds, presented by Loyola Marymount University’s Laband Art Gallery from September 25 through December 11, 2021. The exhibition has been organized by Laband Art Gallery director and curator Karen Rapp.
CHRIS ENGMAN, KEN GONZALES-DAY, AND LIA HALLORAN TO PARTICIPATE IN GROUP EXHIBITION AT USC FISHER MUSEUM OF ART
ART AND HOPE AT THE END OF THE TUNNEL
September 10 - December 9, 2021
The gallery is please to announce that Chris Engman, Ken Gonzales-Day and Lia Halloran are participating in a group show, Art and Hope at the End of the Tunnel, at the USC Fisher Museum of Art in Los Angeles curated by art critic Edward Goldman. The concept of the exhibition emerged out of the bleakness and ambiguity in the initial stages of the Covid-19 Pandemic. Goldman, who was still able to visit artists in their studios, asked the question “how has this difficult time affected your art-making?” To his delight, the artists responded that it had allowed them to spend more time in their studio, creating art that had more focus and deeper meaning, giving Edward hope that there is light at the end of the tunnel.
JUNE EDMONDS INCLUDED IN GROUP EXHIBITION AT THE UNIVERSITY OF LA VERNE HARRIS ART GALLERY
September 7 - October 28, 2021
Luis De Jesus Los Angeles is pleased to announce June Edmond's partipation in a group show, New Histories, curated by Dion Johnson at the University of La Verne's Harris Art Gallery. With an idiosyncratic use of images, and signifiers, the exhibition offers access into rich visual worlds of personal reflection, layered symbolism, and prophetic vision. The exhibition will be on view from September 7 through October 28, 2021.
THE J. PAUL GETTY MUSEUM ACQUIRES WORK BY KEN GONZALES-DAY
August 30, 2021
Luis De Jesus Los Angeles is very pleased to announce the accession of six photographs by Ken Gonzales-Day (American, 1964) into the collection of The J. Paul Getty Museum in Los Angeles, California. This significant group of works includes three photographs from the Searching for California Hang Trees series and three photographs from the Memento Mori series. The works were chosen by Paul Martineau, Curator of Photographs and Karen Hellman, Assistant Curator of Photographs, and made possible through the support of Dr. Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director and the J. Paul Getty Trust.
MIDDLEBURY COLLEGE MUSEUM OF ART ACQUIRES WORK BY KEN GONZALES-DAY
August 30, 2021
Luis De Jesus Los Angeles is very pleased to announce the acquisition of Ken Gonzales-Day's Next morning when Jimmy woke, the cowboys were gone, Livermore, CA, 2003, by the Middlebury College Museum of Art in Middlebury, Vermont. The photograph will be included in Art & Protest: Artists as Agents of Social Change, on view from September 14 - December 12, 2021. The exhibition was curated by María Ramirez ’21 (2020–2021 Simonds Curatorial Intern) and Jason Vrooman, Ph.D, Chief Curator and Director of Engagement, Middlebury College Museum of Art. Art & Protest unites examples of socially engaged art—produced primarily in the United States but in a few instances around the world—from the 19th century to the present to showcase the artistic and ideological patterns that occur across different eras and social movements, and the aesthetic or conceptual strategies artists use to demonstrate the need for social change.
KEN GONZALES-DAY TO PARTICIPATE IN ARTIST TALK, "ART BREAK: PORTRAITURE"
PRESENTED BY THE GETTY
Friday, July 30, 2021
The gallery is pleased to announce that Ken Gonzales-Day will particpate in a discussion of ancient portraiture with Getty antiquities curator Jens Daehner. The event will take place via webinar on July 30, 2021 at 12:00 p.m. PST / 9:00 a.m. ET.
ZACKARY DRUCKER TO PARTICIPATE IN ARTIST PANEL
RADICAL TENDERNESS: TRANS FOR TRANS PORTRAITURE
Thursday, June 24, 2021
Radical Tenderness: Trans for Trans Portraiture, on view at the Alice Austen House Museum, highlights photographic work from four trans and non-binary artists whose portrait photography exudes tender intimacy and calls for a radical shift in visibility politics. Guest curator, Dr. Eliza Steinbock, will be joined by participating artist Zackary Drucker for a dialogue about the ways that trans and queer people use artwork to connect with one another, historically and today. The discussion will be preceded by a guided virtual tour of the exhibition by the Alice Austen House’s Executive Director Victoria Munro.
OOLITE ARTS ANNOUNCES 2021 ACQUISITION OF ANTONIA WRIGHT ARTWORK
PIECE TO BE DISPLAYED IN 2023 UPON THE OPENING OF NEW CAMPUS IN MIAMI
June 23, 2021
The gallery is pleased to announce that Antonia Wright will be one in seven artists to have artwork aquired as part of Oolite Art's renewed acquistions program. These pieces will be on display at the Oolite Arts' new campus in the City of Miami opening in 2023. The program was launced last year by Oolite's Board of Directors in an effort to ensure that more Miami artists are represented in major collections. A jury comprised of Miami and nationally-based curators, Tami Katz-Freiman, Omar Lopez-Chahoud and Larry Ossei-Mensah, helped select the diverse group of both established and emerging artists from a pool of more than 500 artists who are current residents or alumni of Oolite’s programs.
ANTONIA WRIGHT TO PARTICIPATE IN GROUP EXHIBITION AT OOLITE ARTS
"NATURAL TRANSCENDENCE" FEATURES WORK INSPIRED BY RE-INGEGRATING WITH NATURE DURING THE PANDEMIC.
June 15, 2021
The gallery is pleased to announce that Antonia Wright is participating in a group show, Natural Transcendance at the Oolite Arts in Miami. This group show presents works that reflect an ethereal sensibility toward nature manifested during the pandemic. It is a reaction to urban culture and the segregation of humanity from nature. The artists included in the show react to how the pandemic opened up opportunities for re-integragrion into nature; both literally and spirtually. Antonia Wright will be presenting a cyanotype portrait in this show, which blurs the lines between human and plant.
IN DIALOGUE: SMITHSONIAN OBJECTS AND SOCIAL JUSTICE
KEN GONZALES-DAY'S PHOTOGRAPH FEATURED IN TALK CO-HOSTED BY THE SMITHSONIAN AND THE NATIONAL MUSEUM OF NATURAL HISTORY
June 1, 2021
The gallery is pleased to announce that The Smithsonian and The National Museum of Natural History are co-hosting a talk about historical objects from their respective collections. This talk will focus on civic awareness about the conservation of art history and material culture. For the talk Ken Gonzales-Day’s photograph of Osage leader, Shonke Mon-thi^ and a 3D printed replica of a Tlingit clan crest hat will be starting point of the discussion. Both objects offer insight into the ways museums have used Indigenous objects to further colonialism as well as the Smithsonian’s recent efforts at cultural restoration.
KEN GONZALES-DAY TO PARTICIPATE IN TRAVELING GROUP EXHIBITION "MANY WESTS: ARTISTS SHAPE AN AMERICAN IDEA"
PRESENTED BY THE SMITHSONIAN AMERICAN ART MUSEUM AS PART OF THE ART BRIDGES INITIATIVE
2021 – 2024
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day will be participating in Many Wests: Artists Shape an American Idea, a group exhibition that examines the perspectives of 48 modern and contemporary artists who offer a broader and more inclusive view of this region, which too often has been dominated by romanticized myths and Euro-American historical accounts. Many Wests features artwork from the permanent collections of the Smithsonian American Art Museum and four partner museums located in some of the fastest-growing cities and states in the western region of the United States. It is the culmination of a multi-year, joint curatorial initiative made possible by the Art Bridges Foundation. The collaborating partner museums are the Boise Art Museum in Idaho; the Jordan Schnitzer Museum of Art in Eugene, Oregon; the Utah Museum of Fine Arts in Salt Lake City; and the Whatcom Museum in Bellingham, Washington.
JIM ADAMS TO PARTICIPATE IN TRIENNIAL AT THE VANCOUVER ART GALLERY
VANCOUVER SPECIAL: DISORIENTATIONS AND ECHO | OPENING MAY 29, 2021
May 27, 2021
The gallery is pleased to announce that Jim Adams is presenting a series of paintings as part of Vancouver Special, the triennial presented at Vancouver Art Gallery. These paintings inspired by mythology and the black experience are portraits that merge storytelling of the ancient world and contemporary politics. Vancouver Special: Disorientations and Echo will be the second in what is envisioned as a series of exhibitions intended to provide an expansive look at contemporary art in the Greater Vancouver region.
KEN GONZALES-DAY PART OF GROUP EXHIBITION AT THE GETTY
PHOTO FLUX: UNSHUTTERING LA
May 25 - October 10, 2021
The gallery is pleased to announce that Ken Gonzales-Day will be participating in group exhibition, Photo Flux: UnShuttering LA at The Getty. The exhibit features photographs by 35 Los Angeles-based artists challenge ideals of beauty, representation, cultural capital, and objectivity. The artists in this exhibition, primarily people of color, have radically transformed photography to express their own aesthetics, identities, and narratives. Their work is foundational for an emerging generation of artists participating in the Getty Unshuttered program, which engages teens to seek photography as a platform to amplify social topics that resonate in their own lives. Guest curated by jill moniz.
FEDERICO SOLMI AND LAWRENCE WESCHLER IN CONVERSATION AT LUIS DE JESUS LOS ANGELES
RSVP REQUIRED: SATURDAY, MAY 22, 2021
The gallery is pleased to announce that Federico Solmi will be in conversation with Lawrence Weschler on Saturday, May 22, at 11:00 a.m. in conjunction with Solmi's solo exhibition The Bacchanalian Ones. This conversation will be the gallery's first in-person event at the new 1110 Mateo Street location. Due to social distancing seating will be limited, so an RSVP will be required. Please RSVP at email@example.com with the names of the people in your party.
KEN GONZALES-DAY'S WORK ON PUBLIC DISPLAY AT THE WENDE MUSEUM
TRANSFORMATIONS: Living Room -> Flea Market -> Museum -> Art
May 5, 2021
The gallery is pleased to announce that a photograph by Ken Gonzales-Day is now currently on display as part of group show TRANSFORMATIONS: Living Room -> Flea Market -> Museum -> Art at the Wende Museum. While the show opened October 4, 2020, the museum was closed to the public as part of an effort to protect the community from the COVID-19 epidemic. On May 1st, the Wende opened its collection and exhibitions back up to public viewing and the dates for the exhibition have been extended to October 24, 2021.
STANIAR GALLERY TO HOST VIRTUAL ARTIST TALK WITH KEN GONZALES-DAY
MAY 11, 2021 at 1:30 p.m. PST and 5:30 p.m. ET
April 30, 2021
The gallery is pleased to announce that Ken Gonzales-Day will be doing an artist talk and walk through of his solo show Profiled which is currently installed at the Staniar Gallery located on Washington & Lee's campus in Lexigton, Virginia. Due to COVID-19 the show is currently only accessable to W&L community members, however, a virtual walkthrough of the show is available to all on their website. Ken will be speaking about his work via zoom on May 11, 2021 at 1:30 p.m. PST/ 5:30 p.m. ET.
LIZ COLLINS PARTICIPATING IN GROUP EXHIBITION GOODNIGHT ROOM
INSPIRED BY BELOVED CHILDREN'S STORY BOOK, GOODNIGHT MOON
March 25, 2021
The gallery is pleased to announce that Liz Collins is participating in a group exhibition in New York, Goodnight Room, inspired by children's book, Goodnight Moon. For the exhibition she created a softsculpture interpretation of a fireplace as well as a floor rug. Her brightly-colored pieces are shown alongside other artists working within the home decor, design and art communities. The vibrant work is getting a lot of attention from press from Smithsonian Mag to Wallpaper. Appointments are available via Fort Makers, the artist collective behind the exhibition.
ZACKARY DRUCKER TO PARTICIPATE IN GROUP SHOW, "RADICAL TENDERNESS: TRANS FOR TRANS PORTRAITURE"
THE ALICE AUSTIN HOUSE MUSEUM
March 19- June 1, 2021
The gallery is pleased to announce that Zackary Drucker is participating in group show Radical Tenderness: Trans for Trans Portraiture. Timed to coincide with the International Day of Transgender Visibility on March 31, Radical Tenderness: Trans for Trans Portraiture highlights photographic work from four trans and non-binary artists whose portrait photography exudes tender intimacy and calls for a radical shift in visibility politics.
HUGO CROSTHWAITE RECEIVES SAN DIEGO PRIZE
March 13, 2021
We are delighted to announce that Hugo Crosthwaite was recently awarded the 2021 SD Art Prize. This year the prize focused on binational artists and he along with Beliz Iristay, PANCA Paola Villaseñor and Perry Vasquez were recognized for their tireless work to bring creativity and passion for their art to the San Diego Arts Community. These artists will be showcased in a group show opening in October. Founded and supported since 2006 by the San Diego Visual Arts Network, the SD Art Prize was conceived to promote visibility and public interest in talented local artists, and encourage community engagement and critical dialogue with San Diego’s contemporary art scene.
FEDERICO SOLMI TO PARTICIPATE IN GROUP SHOW AS PART OF THE CENTENNIAL EXHIBITION AT THE PHILLIPS COLLECTION
"SEEING DIFFERENTLY", MARCH 6 - SEPTEMBER 12, 2021
March 3, 2021
The gallery is excited to announce that Federico Solmi will be participating in the centennial exhibition of The Phillips Collection in Washington DC. His piece, The Great Farce, in a Portable Theater edition, will be part of this incredible show that celebrates the impact of artists from the 19th century to the present, including Simone Leigh, Sam Gilliam, Anselm Kiefer, Frank Stella and Howard Hodgkin, amongst other iconic historical works by Pablo Picasso, Amedeo Modigliani, Pierre Bonnard, Jackson Pollock, Willem De Kooning, and Jacob Lawrence.
LIA HALLORAN TO PARTICIPATE IN THE SAN FRANCISCO EXPLORATORIUM'S 'AFTER DARK' WEB SERIES
WILL AIR ON YOUTUBE AND FACEBOOK ON THURSDAY, MARCH 4, 2021 at 7:00 P.M. PST.
February 27, 2021
The gallery is pleased to announce that Lia Halloran will be a guest speaker for the San Francisco Exploratorium's After Dark Online: Art + Science digital programming. This event will be streamed via YouTube and Facebook on Thursday, March 4, 2021 at 7:00 p.m. PST.
Explore the intersections of art and science through the practice of individual artists who weave science, technology, and methods of discovery in their practices. The artistic process, much like the scientific process, is a form of inquiry vital to learning—an open-ended process of investigation, speculation, imagination, and experimentation. The Exploratorium highlights artists who clarify the reciprocal relationship between art and science and how it can inspire a deeper understanding of the world.
JUNE EDMONDS- VIRTUAL | EQUITY & REPRESENTATION IN CONTEMPORARY ART
A PANEL DISCUSSION FOR BLACK HISTORY MONTH
February 25, 2020
The gallery is pleased to announce that June Edmonds will be part of a panel, Virtual | Equity & Represenation in Contemporary Art- A Panel Discussion for Black History Month.
Over the course of time in America, large swaths of art history have been omitted, erased, or ignored. This absence has created a significant void in the narrative around how people of African descent and people of color have contributed to the artistic canon.
The impact presents significant disadvantages for artists of color. From artists that have difficulty gaining representation, to art historians overlooking Black and Brown artists’ contributions, to collectors that do not have access to works they would like to acquire, the playing field has never been level. Bias shows up in art schools, in institutions, in hiring practices, in the primary and secondary art market, and in the critical voices that influence all of the above.
Recent news of high-profile curatorial appointments are a move in the right direction. However, there is significant work that remains to be done. What kind of new and inclusive art world can we as art professionals help to create?
ANTONIA WRIGHT TO PRESENT INSTALLATION WORK AS PART OF ILLUMINATE CORAL GABLES
WORK WILL BE ON DISPLAY FROM FEBRUARY 12 - MARCH 14
February 12, 2021
The gallery is pleased to announce that Antonia Wright will be participating in an outdoor public art initiative in Coral Gables, Florida. Illuminate Coral Gables (ICG) focuses on the intentional use of light and technology to transform public art by day into magical and mysterious work at night. Her piece Yes/No uses barricades as a symbol of global climate of resistance. By lighting the barricades being used by the Illuminate exhibition throughout Coral Gables, her intention is to highlight the ubiquitous nature of these objects and their ambiguous intent to protect and control. By transforming a utilitarian object into a light work, the glowing objects will create a line throughout the streets of the city, evoking the divide and connection between bodies.
KEN GONZALES-DAY TO PARTICIPATE IN ARTIST TALK, "PHOTOGRAPHY AS REVOLUTIONARY AESTHETIC: AN LA ARTIST CONVERSATION"
HOSTED BY THE GETTY
February 17, 2021
Thursday, February 25, 2021, at 5 pm
Artists Todd Gray, Cauleen Smith, and Ken Gonzales-Day, each with distinct approaches to photo-based practices, discuss how they integrate concepts of identity and explore the tensions between refusal and inclusion. These artists are all native to California and their experiences as professors and artists reinforce the importance of place and community. Addressing themes from the forthcoming exhibition Photo Flux: Unshuttering LA, they’ll discuss their commitment to creating and expanding opportunities for emerging artists to stand, flex, and grow.
'WE ALL HAVE TO CREATE OUR OWN UNIVERSE.' DIRECTOR, PRODUCER AND ARTIST ZACKARY DRUCKER ON TELLING NUANCED TRANS STORIES
February 8, 2021
The common thread that runs through the work of multimedia artist, director and producer Zackary Drucker is a commitment to telling stories of trans resilience, whether that’s through her photography, her work as a producer on the award-winning series Transparent, or as co-director of the new HBO docuseries The Lady and the Dale. “I never want to do the same thing twice. I am led by curiosity, by anything that I don’t understand,” Drucker says.
LIA HALLORAN'S ART FEATURED AS ILLUSTRATIONS IN JANNA LEVIN'S BLACK HOLE SURVIVAL GUIDE
February 5, 2021
The gallery is pleased to announce that Lia Halloran recently created the illustrations that went along with Janna Levin's book Black Hole Survival Guide.
"Janna Levin, as a professor of physics and astronomy at Columbia University, US, is the perfect tour guide to shepherd us through these topics in Black Hole Survival Guide. Over the course of only 160 pages – beautifully illustrated by Lia Halloran in a natural marriage of art and science – she takes us on a breakneck journey through the cosmos. We travel alongside a fellow astronaut named Alice, against whom we are compared and contrasted on various occasions, all in the spirit of learning and good natured competition."
- Emma Jones
EDRA SOTO'S EXHIBITION SPACE, THE FRANKLIN, TO RECEIVE GRANT MONEY AS PART OF HYDE PARK ART CENTER'S ANONYMOUS DONATION
February 2, 2021
In a suprise announcement from Hyde Park Art Center this last Monday it was made known that the center had received an anonymous donation of $560,000 to be distrubuted to artist run spaces and curatorial ventures in Chicago. With this grant money they have decided to award $8,000 to each of their participants of "Artist Run Chicago" and the rest will be disbursed into 20 additional grants. Amongst the grant reciepients is Edra Soto's space, The Franklin. The Franklin, which is run out of her home, is a beloved community-oriented show space in East Garfield Park.
KEN GONZALES-DAY AND LIA HALLORAN TO PARTICIPATE IN PACIFIC STANDARD TIME
January 28, 2021
In preparation for the upcoming Pacific Standard Time which focuses on the intersection of Art and Science, The Getty Foundation has recently awarded southern Californian institutions with the first round of grants. We are pleased to announce that two of our represented artists, Lia Halloran and Ken Gonzales-Day will be presenting works as part of the programing. This 3rd iteration of Pacific Standard Time will present an ambitious range of exhibitions and public programs that explores the connections between the visual arts and science, from prehistoric times to the present and across different cultures worldwide. From alchemy to anatomy, and from botanical art to augmented reality, art and science have shared moments of unity, conflict, and mutual insight. The next PST theme connects these moments in the past with the most pressing issues of today. By examining such critical issues as climate change and the future of artificial intelligence, PST will create an opportunity for civic dialogue around the urgent problems of our time.
HUGO CROSTHWAITE AND FEDERICO SOLMI'S WORK IN THE OUTWIN: AMERICAN PORTRAITURE
NOW ON VIEW AT D'AMOUR MUSEUM OF FINE ARTS
October 30, 2020 - April 4, 2021
The gallery is pleased to announce that Hugo Crosthwaite and Federico Solmi's work will be included in The Outwin: American Portraiture show, which has now traveled to D'amour Museum of Fine Arts. The Outwin: American Portraiture Today premiered at the Smithsonian’s National Portrait Gallery in the fall of 2019. Every three years, artists living and working in the United States are invited to submit one of their recent portraits to a panel of experts chosen by the museum in the call for the Outwin Boochever Portrait Competition. The works of nearly 50 finalists were selected from over 2,600 entries. For the first time in the triennial’s history, the museum specifically asked that submissions respond “to the current political and social context,” and this resulting presentation offers perspectives on some of today’s most pressing issues.
CARLA JAY HARRIS TO PARTICIPATE IN NORTON MUSEUM OF ART'S 80th ANNIVERSARY CELEBRATION AND AUCTION
January 19, 2021
The gallery is pleased to annouce that Carla Jay Harris' work will be part of the Norton Muesum of Art's 80th Anniversary Virtual Celebration. This year in order to celebrate the anniversary there will be two events, both online and accessible from home. On Febrauary 6, there will be a virtual celebration which will lightlight the museum and community and will feature artists, special guests, behind-the-scenes glimpses and more.
From January 25- February 8th, there will be an online auction that will be presented via Sothebys.com.
TRACTION: ART TALK WITH KEN GONZALES-DAY, JANUARY 14, 2021
PRESENTED BY INSTITUTE OF THE ARTS AND SCIENCES
January 12, 2021
The gallery is pleased to announce that Ken Gonzales-Day will be doing an online art talk in conjunction with The Insitute of the Arts and Sciences. Ken Gonzales-Day's interdisciplinary and conceptually grounded projects consider the history of photography, the construction of race, and the limits of representational systems ranging from the lynching photograph to museum display. For Traction: Art Talk, Gonzales-Day will be joined in conversation by Professor Karolina Karlic.
TRACTION: Art Talk with Ken Gonzales-Day and Karolina Karlic
January 14, 2021
5-6:30 p.m. PT
LIA HALLORAN NAMED A 2020- 2021 C.O.L.A. MASTER ART FELLOW
December 30, 2020
The gallery is very honored to announce that Lia Halloran has been named a 2020-2021 City of Los Angeles (C.O.L.A.) Individual Artist Fellow. As a C.O.L.A. Fellow, Halloran will be awarded a $10,000 grant to produce a new body of work which will be premiered by the City of Los Angeles in Spring 2021.
The 2020/21 C.O.L.A. Master Artist Fellows in literary, performing, and visual arts are: Neel Agrawal, Noel Alumit, Edgar Arceneaux, Maura Brewer, Nao Bustamante, Jedediah, Caesar, Neha Choksi, Michael Datcher, Sarah Elgart, Lia Halloran, Phung Huynh, Farrah Karapetian, Ruben Ochoa, and Umar Rashid.
FIVE WORKS BY ERIK OLSON ACQUIRED BY THE ART GALLERY OF ALBERTA, CALGARY, CANADA
The gallery is pleased to announce that five paintings by Erik Olson were recently aquired by the Art Gallery of Alberta, Calgary, Canada. Working across different mediums, inclulding painting, sculpture, printmaking, and video, Erik Olson balances the scientific with the poetic in a dynamic visualization of his personal life. People, places and experiences become the subject of works that question our presumptions and our perception of the world. The figures and portraits that populate his canvases can be likened to characters in mystery plays, each flaunting their own constructed personas and exuberant color. Olson's playful curiosity often leads him to explore a variety of content across multiple scales: from the subconscious psychology of the sitter, to the windswept landscapes of America, to the scale of the planets and the vast cosmos.
EDRA SOTO'S "OPEN 24 HOURS" ACQUIRED BY DEPAUL ART MUSEUM AT DEPAUL UNIVERSITY, CHICAGO, IL
December 30, 2020
The gallery is pleased to announce that Edra Soto's Open 24 Hours (Albright-Knox ), was recently aquired by the DePaul Art Museum at DePaul University, Chicago. Soto, who recently participated in group show Unreachable Spring also became affliated with the gallery this year. Her work is an unrelenting love song of purserverance and community action through the challenges of socio-economic disparity and institutional racism. Her work Open 24 Hours was conceived on her daily dog walks through Chicago's East Garfield Park neighborhood where she would collect discarded liquor bottles that she would come across in vacant lots.
BALTIMORE MUSEUM OF ART ACQUIRES FIVE PHOTOGRAPHS BY ZACKARY DRUCKER
December 16, 2020
The gallery is pleased to announce that the Baltimore Museum of Art has acquired five photographs by Zackary Drucker for it's permanet collection. The acquistion includeds three self-portraits from the "Relationship" series (produced in collaboration with Rhys Ernst from 2008- 2014 and debuted at the 2014 Whitney Biennial) and two photographs from the "Before and After" series (produced in collaboration with A. L. Steiner in 2010- 2011). The acquision is an outcome of BMA's "2020 Vision," a year of exhibitions and programs dedicated to the presentation of the achievements of female-identifying artists. 2020 Vision builds on the BMA's efforts over the last several years to expand its presentations of women artists and artists of color, and to more accurately reflect the community in which it lives.
CARLA JAY HARRIS'S "THE PATH " ACQUIRED BY CROCKER ART MUSEUM
December 16, 2020
The gallery is delighed to announce that the Crocker Art Museum has acquired Carla Jay Harris's The Path. The Path is one of more than 20 works in Carla Jay Harri's ongoing series Celestial Bodies which she began in 2018. In Celestial Bodies, Harris uses narratives of kinship, creation, and myth as tools to understand, undo and build anew. Cloaked in a firmament of stars and sumptuous red fabrics evocative of Mt. Olympus, the protagonists in Celestial Bodies exist in a contemplative and meditative dimension outside of our own reality- a utopian black society that we can look to for inspiration. Celestial Bodies began with black bodies floating ro flying through space, but has become grounded in the landscape- a transition and evolution that Harris relates to her own spiritual growth, becoming politically and socially reengaged as the foundations of her practice have been firmly established. In the tumult of 2020, creation has become a refuge for Harris.
ARTIST TALK: UNREACHABLE SPRING | SATURDAY, DEC. 19, 1:00 PM PST / 4:00 PM EST
MODERATED BY LINDSAY PRESTON ZAPPAS & LUIS DE JESUS
December 15, 2020
In conjunction with the final week of the Unreachable Spring, the gallery will host an artist talk on Zoom, December 19th, 1:00 PM PST / 4:00 PM EST moderated by Luis De Jesus and Lindsay Preston Zappas. This conversation will serve as a summation of the exhibition and provide insight and dialogue towards the socio-political atmophere in which these works were created. From isolation and death, to social activism, to personal responses to systemic oppression, we speak with our artists about making art during a year unlike any other.
FEDERICO SOLMI’S THE GREAT FARCE ACQUIRED BY THE PHILLIPS COLLECTION
Luis De Jesus Los Angeles is very pleased to announce that a seminal work by Federico Solmi (b. 1973) has been acquired by The Phillips Collection in Washington D.C. The Great Farce “Portable Theater” (2020) is a translation of Solmi’s most ambitious work to date, The Great Farce (2017-2019)—a monumental, multi-channel video installation that presents a sprawling send-up of empire-building as an enterprise. Past and present, history and amusement, reality and spectacle are conflated and distorted in The Great Farce—a scathing commentary on contemporary culture, where spectacle and celebrity may be distractions from sinister machinations and speed contributes to the blurring of myth and truth.
CARLA JAY HARRIS PARTICIPATES IN GROUP SHOW 'ARCHIVE MACHINES' AT LAMAG
July 30- December 31, 2020
The gallery is pleased to announce that Carla Jay Harris will be included in ARCHIVE MACHINES at Los Angeles Municiple Art Gallery. ARCHIVE MACHINES brings together recent works by Southern California artists that examine the archive as a conceptual vehicle to de-center singular narratives and encourage plural perspectives through the activities of revisioning, resisting, rewiring and relating. Carla Jay Harris' work explores the Black experience during Jim Crow. Central to the piece is a set of archival images sourced from Library of Congress.
KAMBUI OLUJIMI AND EDRA SOTO'S WORK SELECTED AS LEILANI LYNCH'S TOP PICKS FOR UNTITLED, ART MIAMI BEACH 2020
December 3, 2020
Leilani Lynch, curator at The Bass Museum of Art in Miami selected a group of works to highlight as part of the virtual UNTITLED, ART Miami Beach art fair. Within her selection both Edra Soto and Kambui Olujimi's installation works were featured.
KAMBUI OLUJIMI TO PARTICIPATE IN GROUP SHOW AT SECCA
DRAWN: CONCEPT & CRAFT
November 26, 2020
The gallery is pleased to announce that Kambui Olujimi has work part of a group show at Southeastern Center for Contemporary Art, SECCA. His piece, Under Tarped is part of a group exhibition, DRAWN: Concept & Craft. DRAWN brings together the diverse works of over 60 artists from around the world in an exhibition that provides a rare, revealing look into the creative process and artists' unique relationship with the art of drawing.
MUSÉE D'ART CONTEMPORAIN DE MONTRÉAL RECENTLY AQUIRED PIECE BY NICOLAS GRENIER
WORK WILL ALSO BE INCLUDED IN GROUP SHOW, DES HORIZONS D'ATTENTE
November 25, 2020
Luis De Jesus Los Angeles is pleased to announce that Nicolas Grenier's painting From Our Position, Yours is a Mystery (2017), was acquired by the Musée D'Art Contemporain De Montréal, Canada. This work will also be show in upcoming group show, Des Horizons D'Attente, which will showcase the museum's 21 new aquisitions.
NICOLAS GRENIER CURRENT FELLOW AND INTERNATIONAL RESIDENT AT ZK/U CENTER FOR ART AND URBANISTICS
November 25, 2020
The gallery is pleased to announce that Nicolas Grenier is a fellow and part of the international artist residency at ZK/U Center for Art and Urbanistics. While he is there he will be working on a project based on a system allowing a paradigm shift toward a post-capitalist economic culture. At this stage he is working with a programmer to build a non-monetary exchange mechanisms, while also designing the architecture for a common pool of resources that could be shared between people in a small group, a neighborhood or a city.
ARTIST TALK: EDRA SOTO SPEAKS WITH ART HISTORIAN, ROBERT R. SHANE
ZOOM CONVERSATION IN CONJUNCTION WITH THE CENTER FOR ART AND DESIGN AT COLLEGE OF SAINT ROSE
Thursday, November 19, 2020 at 4pm PT / 7pm ET via Zoom
The gallery is pleased to announce that Edra Soto will be in conversation with art historian and critic Robert R. Shane organized for the Center for Art and Design at College of Saint Rose, Albany, NY. The talk will focus on Soto's interdisciplinary work around themes of colonization, family, and social justice and will conclude with a poetry reading by Spencer Diaz Tootle.
KAMBUI OLUJIMI RECEIVES COLENE BROWN ART PRIZE
BRIC AWARDS $100,000 to 10 NEW YORK CITY-BASED ARTISTS
November 11, 2020
The gallery is pleased to announce that Kambui Olujimi has received a 2020 Colene Brown Art Prize, which awards $10,000 to New York-based artists via BRIC.
Now in its second year, the award is underwritten by artist and former BRIC Board Member Deborah Brown and her sister Ellen Brown in memory of their late mother, Colene Brown, and is funded through the Harold and Colene Brown Family Foundation.
Drawings from Kambui Olujimi's series When Monuments Fall is currently on view at the gallery as part of the group exhibition Unreachable Spring through December 19, 2020.
KEN GONZALES-DAY TO BE KEYNOTE SPEAKER AT UCLA
SPECULATIVE FORENSICS: THE 5th ANNUAL UCLA ART HISTORY GRAD SYMPOSIUM AND WORKSHOP
November 7, 2020
The gallery is pleased to announce that Ken Gonzales-Day will be a keynote speaker for the UCLA Art History Graduate Symoposium and Workshop. The annual UCLA Art History Graduate Student Symposium is the longest running symposium of its kind in North America. Initiated in 1965, the symposium provides a forum for graduate students to present original research in a scholarly format. Organized collectively by a cohort of students, the symposium is organized around critical themes and issues addressing the history and current state of art historical scholarship.
HUGO CROSTHWAITE TO PARTICIPATE IN VIRTUAL FIRST FRIDAY
ARTS DISTRICT AT LIBERTY STATION
November 6, 2020
The gallery is pleased to announce that Hugo Crosthwaite will be participating in a virtual first friday put on by the ARTS DISTRICT Liberty Station and the NTC foundation from 4:00-7:00 PM PST. This event will be free with registration and highlights 7 unique artists, performances, walkthroughs and talks. Hugo Crosthwaite will be discussing his installation at the Station mural Column A and Column B: A continual mural narrative performance.
This mural was created in 16 days and was a performance about creative process and nature of art. He'll also be showcasing his video Tzompantli, a stop-motion animation that draws from the motifs from the installation. There will be a subsequent Q & A.
FEDERICO SOLMI TO PARTICIPATE IN GROUP EXHIBITION "EVERYTHING IS ART, EVERYTHING IS POLITICS"
ONLINE EXHIBITION BY ELGA WIMMER AND BERTA SICHEL
October 1 - November 31, 2020
The gallery is pleased to announce that Federico Solmi will be included in Everything is Art, Everything is Politics curated by Elga Wimmer and Berta Sichel as an online exhibition. Appropriately curated during the 2020 election, this work features artists grappling with social and political motifs. In particular, artists who have had the politcal turn personal with how their work has been viewed by onlookers.
KEN GONZALES-DAY TO DESIGN METRO LINK WILSHIRE/FAIRFAX PURPLE LINE EXTENSION
October 29, 2020
The gallery is pleased to announce that Ken Gonzales-Day will be working with Los Angeles' Metro to create work for the new Whilshire/Fairfax purple line extension entitled, Urban Excavation: Ancestors, Avatars, Bodhisattvas, Buddhas, Casts, Copies, Deities, Figures, Funerary Objects, Gods, Guardians, Mermaids, Metaphors, Mothers, Possessions, Sages, Spirits, Symbols, and Other Objects. Inspired by the idea of transporting the body and mind, and by the station as an excavation site, Ken Gonzales-Day‘s glass-tile mural for the north and south concourse level walls aims to transport transit customers across time and place by immersing them in an environment where images of objects—spanning many cultures, continents and eras—mined from the Los Angeles County Museum of Art’s permanent collection are reproduced at an enormous scale. Gonzales-Day’s artwork will invite viewers to think about museum collections and their connection to the outside world in unexpected ways.
LIZ COLLINS VIRTUAL OPENING + CONVERSATION WITH CURATOR GLENN ADAMSON
October 27, 2020 at 1pm PT / 4pm ET via Zoom
The gallery is pleased to announce First Look: Dynamic Expansion, a virtual opening for Liz Collins' new installation located at the Ligne Roset flagship store located at 250 Park Avenue South in New York. Created in collaboration with Ligne Roset Contract, Pollack, and Sunbrella Contract, Collins' installation features 7 new paintings and will be accessible daily during store hours (Mon-Sat 10am-6pm and Sun 12-5pm) through November.
The virutal opening will offer a behind the scenes look at Collins’ latest idiosyncratic and unconventional textile-based artwork - a surrealist lounge where the art and furniture are literally cut from the same cloth of vibrating geometric patterns. An intimate conversation between the artist and Curator and Writer Glenn Adamson will follow.
EDRA SOTO RECEIVES JOAN MITCHELL FOUNDATION GRANT
October 22, 2020
The gallery is pleased to announce that Edra Soto has received the Joan Mitchell Foundation Grant. The Joan Mitchell Foundation Grant is an unrestricted award in which $25,000 is granted to 25 different artists from throughout the United States. Selected artists are first nominated by artist peers and arts professionals from throughout the United States and then chosen through a multi-phase jurying process, which this year was conducted virtually. The 2020 artist cohort represents a wide range of creative approaches and backgrounds as well as ethnicities, ages, and geographic locations—further enumerated below. In addition to the financial award, grantees also gain access to a network of arts professionals, who can provide consultations on career development and financial management.
Edra Soto is currently part of group show, Unreachable Spring, currently on view.
CARLA JAY HARRIS PARTICIPATES IN ARTIST TALK, WOMEN AND THE VOTE, IN CONJUNCTION WITH EXHIBITION, A YELLOW ROSE PROJECT
COLORADO PHOTOGRAPHIC ARTS CENTER
October 27, 2020
The gallery is pleased to announce that Carla Jay Harris will be participating in an artist discussion "Women and The Vote" in conjunction with exhibition A Yellow Rose Project.
This talk will take place at 5pm GMT on Colorado Photographic Art Center's Instagram Live.
A Yellow Rose Project is a large scale photographic collaboration made by women all across the country. A year ago, artists were invited to make work in response, reflection, or reaction to the ratification of the 19th Amendment. The goal of this project was to provide a focal point and platform for image makers to share contemporary viewpoints as we approached the centennial. Our mission in researching the complication of this anniversary was to gain a deeper understanding of American history and culture, from this moment in time, to build a bridge from the past to the present and on to the future.
JUNE EDMONDS FEATURED IN FORD FOUNDATION EXHIBITION, "FOR WHICH IT STANDS"
PRESENTED BY ASSEMBLY ROOM
October 8, 2020
The gallery is pleased to announce that June Edmonds will be included in For Which It Stands curated by Assembly Room at the Ford Foundation Gallery. For Which It Stands is an evolving physical and online exhibition platform featuring over thirty-five contemporary artists who use the iconic American flag, loaded with centuries of convoluted history and exclusion, to create new symbols of national identity. Amid a highly volatile political climate and rise in white nationalism, these artists assert their place and affirm the multiplicity of the American experience while addressing issues of police brutality, systemic racism, socioeconomic disparities, alternative facts, and a patriarchal society, among others.
June Edmonds will participate in an artist talk on October 24th, 2020.
VIRTUAL EXHIBITION OPENING + ARTIST PANEL: KEN GONZALES-DAY
PRESENTED BY WENDE MUSEUM
October 4, 2020 from 12-2pm PT
The gallery is pleased to announce that Ken Gonzales-Day will participate in a panel discussion with Chelle Barbour, Farrah Karapetian, Richtje Reinsma, Daphne Rosenthal, Jennifer Vanderpool, and Bari Ziperstein on the occasion of the opening of the digital group exhibition Transformations: Living Room -> Flea Market -> Museum -> Art viewable through the Wende Museum website.
The event will take place on the Wende Museum website on Sunday, October 4, 2020 from 12-2pm PT.
HUGO CROSTHWAITE TO PARTICIPATE IN FESTIVAL INTERNACIONAL DE CINE DE MORELIA
CINÉPOLIS MORELIA CENTRO | CINÉPOLIS LAS AMÉRICAS | ONLINE VIEWING
October 28- November 1, 2020
The gallery is pleased to announce that Hugo Crosthwaite will be included in film festival, Festival Internacional de Cine de Morelia. He will be screening his new film, A Home for the Brave as part of the Mexican Short Film Section and it will be screened at the Cinépolis Morelia Centro, Cinépolis Las Américas as well as concurrent online screenings for an international audience.
The festival will take place between October 28- November 1, 2020
ARTIST TALK: KALEIDOLA GUEST SPEAKER SERIES- JUNE EDMONDS
PRESENTED BY LOYOLA MARYMOUNT UNIVERSITY
September 11, 2020
The gallery is pleased to announce that June Edmonds will be speaking at Loyola Marymount's Department and Art History's guest speaker program, KaleidoLA. The event will take place via Zoom on Friday, September 11 at 12:15 to 1:15 pm.
CARLA JAY HARRIS TO PARTICIPATE IN SF CAMERAWORK BENEFIT
September 10 - 25, 2020
The gallery is pleased to announce that Carla Jay Harris will participate in See How Beautiful I Am, the 2020 SF Camerawork Benefit Auction, to be hosted by Artsy. Harris has donated a print from her Snake Bearer series.
Over its 46-year history, SF Camerawork has provided early career opportunities for artists. SF Camerawork’s mission and programs are dedicated to engaging and enriching local artists and their creative work.
ARTIST PANEL DISCUSSION: HUGO CROSTHWAITE
PRESENTED BY THE PATRIA & PHILLIP FROST ART MUSEUM AT FLORIDA INTERNATIONAL UNIVERSITY
September 16, 2020 from 5-6 pm ET via Zoom
The gallery is pleased to announce that Hugo Crosthwaite will join Judithe Hernández and Itzel Basualdo for an Artist Panel Discussion moderated by Maryanna G. Ramirez and Amy Galpin of the Frost Art Museum. Featured in the Frost Art Museum’s exhibition, Otros Lados, these artists bring distinct perspectives to Mexican and Mexican American experiences.
ARTIST TALK: LIZ COLLINS
PRESENTED BY STONEWALL NATIONAL MUSEUM & ARCHIVES
September 16, 2020 at 6:30 pm ET / 3:30 pm PT via Zoom
The gallery is pleased to announce that Liz Collins will be in conversation with Stonewall National Musuem & Archives Executive Director Hunter O’Hanian about her recent book Energy Field.
JUNE EDMONDS INCLUDED IN "FOUNDING NARRATIVES" AT THE MEAD ART MUSEUM AT AMHERST COLLEGE
August 25, 2020 - July 18, 2021
Founding Narratives presents artworks produced in the United States between 1800 and today that offer opportunities to consider the role of art in creating, reinforcing, and challenging stories about national identity. Drawn entirely from the Mead Art Museum’s extensive collection of American art, the exhibition raises questions about representation and the absence of representation in national narratives and in the establishment of a national art, about the significance of “firsts,” and about the interpretative frameworks that museums offer about artists and artworks.
SEMINAR AND ARTIST PANEL DISCUSSION: LIA HALLORAN
PRESENTED BY LUMEN AND ART CENTER COLLEGE OF DESIGN VIA ZOOM
August 25, 2020 from 8-10 pm BST / 12-2 pm PT
The gallery is pleased to announce that Lia Halloran will be participating in a seminar hosted by art collective Lumen and curator Stephen Nowlin focused on the current group exhibition, SKY, at the Alyce de Roulet Williamson Gallery at ArtCenter College of Design in Pasadena, California.
KEN GONZALES-DAY INCLUDED IN GROUP EXHIBITION "THIS IS AMERICA | ART USA TODAY"
KUNSTHAL KADE AMERSFOORT, THE NETHERLANDS
September 26, 2020 - January 03, 2021
The gallery is pleased to announce that Ken Gonzales-Day will be included in the group exhibition This Is America | Art USA Today at Kunstal KaDE in the Netherlands, September 26, 2020 through January 03, 2021. In This Is America | Art USA Today almost forty American artists bring the United States to the Netherlands in the form of paintings, photographs, murals, documentation and installations. Their work addresses current issues like identity, city culture, climate change, and ‘Trump’.
FEATURED: CARLA JAY HARRIS IN PÓLISART
"CARLA JAY HARIS: DESERT COTTON"
August 22, 2020
The gallery is pleased to announce that Carla Jay Harris has been honored with the cover of the 100th Issue of PólisArt Magazine, including a twenty-two page editiorial feature on her Desert Cotton series.
"My nomadic childhood is what, in part, attracted me to photography. The camera is a way for me to connect to permanence. Memory, heritage, and loss are major themes in my work."
—Carla Jay Harris
HUGO CROSTHWAITE INCLUDED IN THREE-ARTIST EXHIBITION "OTROS LADOS"
PATRICIA & PHILLIP FROST ART MUSEUM AT FLORIDA INTERNATIONAL UNIVERSITY
August 22 - December 13, 2020
Hugo Crosthwaite will participate in a three-artist exhibition Otros Lados at the Patricia & Phillip Frost Art Museum at Florida International University in Miami, FL. "Al otro lado" is a phrase used in Mexico to describe areas of the United States populated by Mexican immigrants. The fluid nature of migration, exile, labor, and cultural exchanges between Mexico and the U.S., resonate in the daily lives of people in both countries.
ARTIST PANEL DISCUSSION: KEN GONZALES-DAY
PRESENTED BY MUSEUM OF CONTEMPORARY ART LOS ANGELES
August 13, 2020 AT 4PM PT via Zoom
The gallery is pleased to announce that Ken Gonzales-Day will be participating in the first of several virtual discussions about the project In Plain Sight. Program 1: The Los Angeles Orbit panel will be moderated by rafa esparza and Cassils and introduced by MOCA.
In Plain Sight (IPS) lead artists rafa esparza and Cassils present an overview of IPS followed by a panel discussion with Bamby Salcedo, Beatriz Cortez, Yosimar Reyes, and Ken Gonzalez-Day. Artists featured in this panel generated the phrases that formed the ring, or “shared orbit path,” around downtown Los Angeles over the July 4 weekend. Artists will show IPS images and discuss their individual practices as artists and organizers in relation to their involvement in IPS. Panel includes discussion of Los Angeles as the second largest city of immigrants in the United States and explores how the multicultural conditions of the city have generated experimental collaborative practices by artists and activists alike.
ARTIST TALK: CARLA JAY HARRIS AND BRENDA E. STEVENSON IN CONVERSATION
HOSTED BY SF CAMERAWORK
August 12, 2020 at 4:30pm PT via Zoom
The gallery is pleased to announce "Making Bitter Earth," an online conversation between artist Carla Jay Harris and historian Brenda E. Stevenson, Ph.D., moderated by SF Camerawork Board President Michelle Branch on Wednesday, August 12, 2020. Harris and Stevenson will discuss their recent collaboration, Bitter Earth, a site-specific installation whose title is taken from the 1960s blues track “This Bitter Earth,” written by Clyde Otis and sung by legendary blues women and rhythm and blues singers Dinah Washington, Etta James, Aretha Franklin, and Mikki Howard.
KEN GONZALES-DAY INCLUDED IN "THE SPREAD," CURATED BY MARK VERABIOFF
DE BOER GALLERY
August 1- September 5, 2020
The gallery is pleased to announce that Ken Gonzales-Day will exhibit previously unseen work in the group exhibition, THE SPREAD, curated by artist Mark Verabioff at de boer gallery.
THE SPREAD, which explores themes of civil war, protest, cultural and racial insurgency, climate change and sanctioned travel will follow a similar logic to Verabioff’s installations to disrupt the authority associated with authorship by acknowledging the complex interplay between object, creator, viewing context and audience through the lens of queer feminist discourse.
ARTIST PANEL DISCUSSION: JUNE EDMONDS
PRESENTED BY FLUX ART SPACE
July 26, 2020 at 1 pm PST via Zoom
The gallery is pleased to announce that June Edmonds will be participating in "Conversations About Abstraction with Six Black Women Abstract Artists in Los Angeles," a panel discussion featuring Sharon Barnes, Adrian Culverson, Adrienne DeVine, Holly Tempo, and Lisa Diane Wedgeworth and moderated by jill moniz and Isabelle Lutterodt.
ARTIST TALK: LIZ COLLINS' ENERGY FIELD
VIRTUAL BOOK RELEASE PARTY PRESENTED BY THE TANG TEACHING MUSEUM
July 24, 2020 at 4pm ET / 1pm PT via Zoom
The gallery is pleased to announce that the Tang Teaching Museum will host a virtual gathering to celebrate the publication of Energy Field and Liz Collins’ birthday! Liz will be the guest of honor with a performance by Mike Albo and other special guests.
Register here. For questions about this event, please contact Olivia Cammisa-Frost at firstname.lastname@example.org.
ARTIST RESIDENCY: EDIE BEAUCAGE
SCHOOL OF VISUAL ARTS' ARTIST RESIDENCY PROJECT
July 7 - August 7, 2020
The gallery is pleased to announce that Edie Beaucage will participate in the inaugural session of the School of Visual Arts' Artist Residency Project. This new, fully online residency program has been designed for ﬁne artists working across discipline, medium and platform. While the ability to travel and gather in person remains an uncertainty for many, the Artist Residency Project aims to deliver a robust residency experience to participants all over the world directly through online platforms. Working with SVA’s distinguished faculty, participants will be encouraged to develop their practice without regard to limitations of location or the necessity for travel. The goal of the program is to create an inclusive online space where artists can thrive, nurture their practice and build an active, engaged community across borders.
FEATURED: ZACKARY DRUCKER IN VOGUE
"LOOK UP: 80 ARTISTS ARE SKYWRITING TO HIGHLIGHT THE INJUSTICE OF IMMIGRATION DETENTION IN AMERICA"
July 7, 2020
"Nosotras te vemos means 'we see you' in the feminine version of the phrase, a subtle way of recognizing one femme to another. I want to convey a message of unity to the transgender women and to all the people living in forced detention at South Texas ICE Processing Center.
During the Obama administration, while addressing the proposed legislation of North Carolina to bar trans students from restrooms that correlated with their gender presentation, then attorney general Loretta Lynch said to transgender Americans, 'We see you, we stand with you, and we will do everything we can to protect you going forward.' It was an incredible moment historically because trans people had never been spoken to so publicly. To have a person from the president’s cabinet speak directly to a community that had been ignored and silenced was such a powerful paradigm shift and validation. "
ZACKARY DRUCKER AND KEN GONZALES-DAY TO PARTICIPATE IN #XMAP: IN PLAIN SIGHT
July 3, 2020
In Plain Sight is a coalition of 80 artists united to create an artwork dedicated to the abolition of immigrant detention and the United States culture of incarceration. A highly orchestrated mediagenic spectacle and poetic action, this project is conceived in five parts -- a poetic elegy enacted on a national scale, an interactive website, an anthology docuseries, accessible actions for the public to take to join the movement against immigrant detention, and cultural partnerships producing arts-related education and engagement.
FEATURED: LUIS DE JESUS LOS ANGELES ON KCET'S SOUTHLAND SESSIONS
"FORCED TO CLOSE THEIR DOORS, ART GALLERIES EMBRACE ONLINE EXHIBITIONS"
June 30, 2020
For Luis De Jesus of the eponymous gallery on South La Cienega Boulevard, moving online has been an expansion rather than a limitation. When lockdown began, his staff was already redesigning the gallery’s website, so they added an “online viewing room.” “It’s like the second gallery that we don’t have,” De Jesus said, “It functions like an alternative space, a project space, and that to me is very exciting.”
ARTIST TALK: ZACKARY DRUCKER
VIOLET HOUR PRESENTED BY BALTIMORE MUSEUM OF ART
June 24, 2020
The gallery is pleased to announce that the Baltimore Museum of Art will present Zackary Drucker in conversation with her personal muse and mentor Rosalyne Blumenstein, LCSW, a legendary trans rights activist whose portraits and archival photographs comprise an important part of the BMA’s exhibition Zackary Drucker: Icons. They discuss their approach to concepts of photographic beauty and their personal involvement in trans activism. Renowned photographer, curator, and educator Allen Frame moderates the conversation and BMA Associate Curator of Prints, Drawings, and Photographs Leslie Cozzi hosts a live Q&A following the discussion.
CALIFORNIA AFRICAN AMERICAN MUSEUM ACQUIRES WORK BY CARLA JAY HARRIS
June 16, 2020
Luis De Jesus Los Angeles is pleased to announce that the California African American Museum, located in Los Angeles has acquired work by Carla Jay Harris. Harris' Sphinx (2018) is currently on view in Sanctuary, a group exhibition of recent museum acquisitions that focuses on safe spaces and self-care as part of the African American experience. Founded in 1977, the CAAM is the first African American museum of art, history, and culture fully supported by a state.
MEAD ART MUSEUM ACQUIRES WORK BY JUNE EDMONDS
June 15, 2020
Luis De Jesus Los Angeles is pleased to announce that the Mead Art Museum in Amherst, MA has acquired work by June Edmonds. Convictions IV (2020) is part of her ongoing series of Flag Paintings, which explore the alignment of multiple identities such as race, nationality, gender, or political leanings. Named for its founder, William Rutherford Mead (an 1867 graduate of Amherst College and a partner in the storied architectural firm of McKim, Mead & White), the Mead holds the art collection of Amherst College, celebrated for its American and European paintings, Mexican ceramics, Tibetan scroll paintings, English paneled room, ancient Assyrian carvings, Russian avant-garde art, West African sculpture, and Japanese prints.
TARBLE ARTS CENTER AT EASTERN ILLINOIS UNIVERSITY ACQUIRES TWO ARTWORKS BY FEDERICO SOLMI
Luis De Jesus Los Angeles is pleased to announce that the Tarble Arts Center at Eastern Illinois University in Charleston, IL has acquired two seminal works by Federico Solmi. Chinese Democracy and the Last Day on Earth (2012) is a single-channel video running 10:09 minutes enclosed within a hand-painted presentation box and The Beloved Autocrat (2018) is a unique artist book consisting of 12 bound paintings. Both works were exhibited recently in Solmi's 2019 full scale survey exhibition at the Tarble. The Tarble Arts Center is a major cultural arts resource serving east-central Illinois. Its founding purpose is to “take the arts to the people."
ARTIST TALK: KEN GONZALES-DAY
ECHO/LOCATE PRESENTED BY BRIDGE PROJECTS
May 21, 2020 at 5pm PT via Zoom
The gallery is pleased to announce that Bridge Projects' ongoing event series Echo/Locate will host Ken Gonzales-Day for an artist talk, virtual site visit, and discussion via Zoom. The group will embark upon an hour-long exploration into the purpose and power of the Gonzales-Day's series Searching for California Hang Trees and Erased Lynchings. Gonzales-Day will be in his studio, and the Bridge Projects team will be scattered throughout Los Angeles at locations pertaining to his practice.
INTERVIEW: ZACKARY DRUCKER
"NO SPACE FOR SELF INDULGENCE"
May 20, 2020
The gallery is pleased to announce that the McEvoy Art Foundation has published an interview with interdisciplinary artist Zackary Drucker through their ongoing conversation series titled McEvoy Arts at Home. Interviewed by Steve Polta, director of the San Francisco Cinematheque, Drucker reflects on witnessing her lineage and shifting consciousness through lyrical film-making.
FEATURED: LUIS DE JESUS LOS ANGELES TO PARTICIPATE IN NADA'S NEW PROFIT-SHARING DIGITAL ART FAIR
May 14, 2020
“FAIR is NADA’s response to the current situation, in line with our commitment to supporting a global community of galleries and artists,” said NADA executive director Heather Hubbs. “While many of these art spaces have been temporarily closed to the public, this new model provides an opportunity to showcase the best of contemporary art, while demonstrating our collaborative spirit and fostering mutual support for one another.
LUIS DE JESUS LOS ANGELES JOINS GALLERYPLATFORM.LA
HYPERALLERGIC: 80 LA GALLERIES BAND TOGETHER IN AN EFFORT TO SURVIVE THE PANDEMIC
May 14, 2020
GALLERYPLATFORM.LA launches May 15, featuring online viewing rooms for small and blue-chip galleries, video profiles of artists, and a column on the history of LA galleries — all to help galleries stay afloat.
MEAD ART MUSEUM ACQUIRES 7 PHOTOGRAPHS FROM ZACKARY DRUCKER & RHYS ERNST'S "RELATIONSHIP" SERIES
Luis De Jesus Los Angeles is pleased to announce that the Mead Art Museum in Amherst, MA has acquired seven photographs from Zackary Drucker & Rhys Ernst's Relationship (2008-2014), a series of intimate snapshots taken by the artists that depicts the arc of their real-life love story. Named for its founder, William Rutherford Mead (an 1867 graduate of Amherst College and a partner in the storied architectural firm of McKim, Mead & White), the Mead holds the art collection of Amherst College, celebrated for its American and European paintings, Mexican ceramics, Tibetan scroll paintings, English paneled room, ancient Assyrian carvings, Russian avant-garde art, West African sculpture, and Japanese prints.
KEN GONZALES-DAY INCLUDED IN "SEEING NOW" AT 21C OKLAHOMA CITY MUSEUM HOTEL
April 2019 - May 2020
This multi-media selection of works by over two dozen artists explores what and how we see today, revealing the visible and hidden forces shaping both what the contemporary world looks like, and how we consume and interpret that information—how visual and psychological perception are evolving in the 21st century.
THE DAVID OWSLEY MUSUEM OF ART ACQUIRES WORK BY JUNE EDMONDS
Luis De Jesus Los Angeles is pleased to announce that the David Owsley Museum of Art at Ball State University located in Muncie, IN has acquired work by June Edmonds. Convictions I (2019) is part of her ongoing series of Flag Paintings, which explore the alignment of multiple identities such as race, nationality, gender, or political leanings. Central to the mission and vision of the David Owsley Museum of Art is the global art collection—we turn to it to learn, to celebrate, to heal, to dream, to empower.
ARTIST TALK: LIA HALLORAN AND KIP THORNE TO DEBUT A SECTION OF THEIR NEW BOOK
"THE UNIVERSE IN VERSE" IS PRESENTED BY PIONEER WORKS
April 25, 2020 at 1:30pm PST via Zoom
Lia Halloran and Kip Thorne will debut a section of their book, to be published by Norton this upcoming year, as part of The Universe in Verse. Ordinarily a ticketed charitable event, with all proceeds benefiting a chosen ecological or scientific-humanistic nonprofit each year, the 2020 edition will be livestreamed on April 25, 2020 at 1:30pm PST.
KEN GONZALES-DAY APPOINTED 2019 FLETCHER JONES CHAIR IN ART
June 9, 2019
The Scripps College Board of Trustees has announced the appointments of Ken Gonzales-Day, professor of art, to the Fletcher Jones Chair in Art, Julia Liss, professor of history, to the Mary W. Johnson and J. Stanley Johnson Professorship in the Humanities, and Sheila Walker, professor of psychology, to the inaugural appointment of the Laura Vausbinder Hockett Endowed Professorship, effective July 1, 2019.
FEATURED: LUIS DE JESUS LOS ANGELES IN ARTILLERY MAGAZINE
QUARANTINE Q&A: ART, LIFE, AND THE BUSINESS OF ART DURING COVID-19
March 26, 2020
An interview with Luis De Jesus & Jay WIngate by Anna Bagirov in Artillery Magazine.
FEATURED: NICOLAS GRENIER ON CBC RADIO
THE NEW MASTERS: CONVERSATION WITH THE 2019 SOBEY ART AWARD FINALISTS
March 5, 2020
The annual Sobey Art Award is Canada's most prestigious prize for contemporary artists. Established in 2002, the award honors Canadian artists 40 years of age or under, who have exhibited their work in a public or commercial art gallery within 18 months of being nominated.
JUNE EDMONDS WINS INAUGURAL $10,000 AWARE PRIZE FOR WOMEN ARTISTS AT THE ARMORY SHOW
March 5, 2020
US artist June Edmonds has been named the inaugural winner of the $10,000 Aware Prize at The Armory Show. Presented by the Paris-based nonprofit Archives of Women Artists: Research and Exhibitions the juried award goes to one female artist whose work is shown as a solo booth presentation within the fair’s Galleries section.
ZACKARY DRUCKER'S "ICONS" OPENS AT THE BALTIMORE MUSEUM OF ART
March 1 - June 28, 2020
Zackary Drucker: Icons weaves together two semi-intertwined personal narratives, juxtaposing newly created self-portrait photographs of artist, producer, and activist Zackary Drucker with pictures the artist has taken of mentor and friend Rosalyne Blumenstein, LCSW, who directed the Lesbian and Gay Community Services Center’s pioneering Gender Identity Project in the 1990s. Depicting two women of different ages and experiences and the scars that they bear, Drucker’s work interrogates assumptions about transformation, beauty, aging, and mortality. Her searching, meticulous self-portraits expand on the groundbreaking Relationship series Drucker co-created a decade ago. Forming part of Drucker’s ongoing project to record and chronicle the trans community, her images of muse and mentor Blumenstein capture the cinematic flavor of the artist’s timely revision of art historical precedent.
GROUP EXHIBITION: ZACKARY DRUCKER INCLUDED IN "FLUIDITY"
SYKER VORWERK- ZENTRUM FÜR ZEITGENÖSSICH SKYER VORWERK- ZENTRUM FÜR ZEITGENÖSSISCHE KUNST
February 23 - May 17, 2020
Curated by Alejandro Perdomo Daniels and hosted by Syker Vorwerk, Fluidity creates a framework for positions in contemporary art that articulate the spectrum of gender difference, the overriding certainties regarding gender, sexuality, and desire, making it clear that the traditional identity categories of men and women, heterosexual and homosexual represent incomplete approaches to real life experiences. Instead of reproducing normative narratives through affirmation or negation, the exhibition shows perspectives that destabilize systems of normality and power. Based on the work of nine selected contemporary artists, Fluidity addresses a field of tension of unlimited scope and reflects the plurality and performance of contemporary art production in an international context.
GROUP EXHIBITION: LIA HALLORAN INCLUDED IN "SKY"
ALYCE DE ROULET WILLIAMSON GALLERY AT ARTCENTER COLLEGE OF DESIGN
February 20 - August 3, 2020
An immersive examination of how humans have conceptualized the sky throughout history, SKY will demonstrate how the unfolding realities exposed by new science are affecting change in the understanding of ourselves, our planet and beyond.
A NEW ARMORY SHOW PRIZE WILL AWARD $10,000 TO AN OUTSTANDING FEMALE ARTIST
ARCHIVE OF WOMEN ARTISTS: RESEARCH AND EXHIBITIONS
February 19, 2020
The Armory Show in New York is partnering with the Paris nonprofit Archives of Women Artists: Research and Exhibitions (AWARE) on a new juried award. The AWARE Prize will recognize the best booth dedicated to a solo presentation of a female artist, awarding $10,000 to the artist or her estate. The shortlisted artists are Yuko Nasaka (1939–, Japan) with Belgium’s Axel Vervoordt Gallery; Rina Banerjee (1963–, India) with Galerie Nathalie Obadia of Paris and Brussels; Aase Texmon Rygh (1925–2019, Norway) with Oslo’s OSL Contemporary; Alexis Smith (1949–, US) with Garth Greenan Gallery in New York; and June Edmonds (1959–, US) with Luis De Jesus Los Angeles.
ARTIST PANEL DISCUSSION: FEDERICO SOLMI TO PARTICIPATE IN "VIDEO ART::DOOMSDAY DREAMS"
PRESENTED BY THE BROOKLYN RAIL
February 12, 2020
A conversation with Eleanor Heartney, Joan Jonas, Barbara London, and Federico Solmi, moderated by Martha Schwendener, and Phong Bui to celebrate the publication of Barbara London's recent monograph Video Art: the First Fifty Years (Phaidon) and Eleanor Heartney's new book Doomsday Dreams (Silver Hollow Press).
LIA HALLORAN UNVEILS A NEW COMMISSION
SIMON'S FOUNDATION FLATIRON CENTER FOR COMPUTATIONAL ASTROPHYSICS
February 11, 2020
On Tuesday, February 11, 2020 from 1:30 pm to 2:30 pm in the 5th floor Lounge of the Simon's Foundation Flatiron Institute Center for Computational Astrophysics in New York, a new commission by Lia Halloran will be unveiled. Solar (2019) is a mural-sized cyanotype measuring 120 x 131 inches and inspired by the artist's ongoing series Your Body Is A Space That Sees.
ZACKARY DRUCKER INCLUDED IN "ORLANDO," CURATED BY TILDA SWINTON
MCEVOY FOUNDATION FOR THE ARTS
February 7 - May 2, 2020
Orlando presents recent and newly commissioned photographs inspired by the themes of Virginia Woolf’s prescient 1928 novel, which tells the story of a young nobleman during the era of Queen Elizabeth I who lives for three centuries without aging and mysteriously shifts gender along the way. Orlando is guest curated by Tilda Swinton and organized by Aperture, New York.
LIA HALLORAN'S "DOUBLE HORIZON" OPENS AT THE PETER AND PEARL MULLEN ART GALLERY AT ARTCENTER COLLEGE OF DESIGN
January 30 - March 15, 2020
Double Horizon features works by Lia Halloran that investigate the personal, physical, psychological, and scientific exploration of space.
HUGO CROSTHWAITE TO SPEAK AT THE BURLINGAME LIBRARY FOUNDATION
January 26, 2020
Kim Sajet, noted art historian and the first woman to serve as Director of the Smithsonian’s National Portrait Gallery, will speak at the Burlingame Public Library on Sunday, January 26th. Born in Nigeria, raised in Australia, and a citizen of the Netherlands, Sajet brings a global perspective to the position. She is also the host of the Portrait Gallery’s new podcast series, “Portraits,” which explores themes of art, history, and biography.
Kim will introduce Hugo Crosthwaite, the first-prize winner of the 2019 Outwin Boochever Portrait Competition. His award-winning stop-motion drawing animation, A Portrait of Berenice Sarmiento Chavez, will be shown at the event.
JUNE EDMONDS FEATURED IN "THIS PLACE," CURATED BY JUNE EDMONDS FEATURED IN "THIS PLACE," CURATED BY JILL MONIZ
QUOTIDIAN, LOS ANGELES, CA
January 25 – March 28, 2020
This PLACE focuses on artists who articulate, correct and/or challenge historical narratives about geographical and cultural perceptions of place. Grounded by never exhibited 1960s ceramic works by Dale Davis — multimedia artist and Brockman Gallery co-founder who made space for the black arts west movement, This PLACE highlights how artists know, remember and reimagine environments that are relevant to their identities, aesthetic concerns and histories that define public visual awareness.
THE COLLECTION OF BETH RUDIN DEWOODY ACQUIRES A WORK BY MIYOSHI BAROSH FOR THE BUNKER ARTSPACE
Luis De Jesus Los Angeles is pleased to announce that Miyoshi Barosh's embroidered painting Paintings for the Home (Portrait) (2010) was acquired by the Collection of Beth Rudin DeWoody for The Bunker Artspace in West Palm Beach, FL. Paintings for the Home is a series of works painted to resemble found thrift store paintings which are then embroidered with black abstractions that may be ink blots, decay, or disease. Paintings for the Home (Portrait) was first exhibited at the Gallery in 2010 and again in 2020 as part of a three-gallery city-wide retrospective after the artist's untimely death. Presenting rotating exhibitions and viewable storage of the Beth Rudin DeWoody Collection, The Bunker Artspace opened in December 2017 and showcases a wide range of contemporary art by both well-known and emerging artists, displayed alongside iconic pieces of furniture and other curiosities.
THE ELI AND EDYTH BROAD MUSEUM ACQUIRES KEN GONZALES-DAY'S ERASED LYNCHINGS
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's Erased Lynchings III (2019) was acquired by the Eli and Edythe Broad Art Museum at Michigan State University in East Lansing, MI. Opened on November 10, 2012, the Eli and Edythe Broad Art Museum at Michigan State University (MSU Broad) is a dynamic contemporary art museum, designed by Pritzker Prize-winning architect Zaha Hadid, which serves as both a teaching institution and a cultural hub for East Lansing and the region.
ANDRÉ HEMER AT MASS MOCA RESIDENCY PROGRAM
OPEN STUDIOS ON JANUARY 28, 2020
January 1 - February 1, 2020
We are pleased to announce that André Hemer is an artist-in-residence at The Studios at Mass MoCA. The Studios is MASS MoCA’s artist and writers residency program situated within the museum’s factory campus and surrounded by the beautiful Berkshire Mountains. Operated by MASS MoCA’s Assets for Artists program, the residency runs year-round and invited artists make work on site for periods of 4-6 weeks. Hemer is a resident for the month of January and will be featured in the open studio event. While in residence Hemer has been collecting videos, images, and 3D scans using the environment within the Museum campus—these will be developed into new paintings, sculptures, and video works to be shown during 2020.
NEW YORK- PRESBYTERIAN ACQUIRES SEVERAL PAINTINGS BY JUNE EDMONDS
Luis De Jesus Los Angeles is pleased to announce that New York-Presbyterian Hospital has acquired several paintings by June Edmonds from her ongoing series of abstract paintings that explore how repetition, movement, and balance can serve as conduits to spiritual contemplation and interpersonal connection. The acquisition includes the massive and seminal painting Story of the Ohio: For Margaret (2017), inspired by the story of Margaret Garner, the enslaved African American woman in pre-Civil War America who was known for killing her own daughter rather than allowing her child to be returned to slavery. This event took place near Paducah, Kentucky, on the Ohio River, where June Edmonds did an artist’s residency in early 2017 and was also the inspiration for the events depicted in Toni Morrison's Beloved.
THE MCEVOY FAMILY FOUNDATION ACQUIRES PAINTINGS BY LAURA KRIFKA
Luis De Jesus Los Angeles is pleased to announce that Laura Krifka's painting Copy Cat (2017) was acquired by the McEvoy Foundation for the Arts in San Francisco, CA. The McEvoy Foundation for the Arts (MFA) presents exhibitions and events that engage, expand, and challenge themes in the McEvoy Family Collection. Established in 2017, MFA’s vision is to create an open, intimate, and welcoming setting for private contemplation and community discussion about art and culture.
THE COLLECTION OF BETH RUDIN DEWOODY ACQUIRES WORKS BY HUGO CROSTHWAITE FOR THE BUNKER ARTSPACE
Luis De Jesus Los Angeles is pleased to announce that Hugo Crosthwaite's drawings Tijuanerias #34 (2011) and Tijuanerias #48 (2011) were acquired by the Collection of Beth Rudin DeWoody for The Bunker Artspace in West Palm Beach, FL. The drawings are part of a series titled Tijuanerias in which the artist, inspired by Goya's Los Caprichos, creates new myths and narratives about the violence and excesses of narco wealth in his hometown of Tijuana. These drawings were featured in the artist's first solo exhibition with the Gallery, Tijuanerias on view from April 14 - May 26, 2012. Presenting rotating exhibitions and viewable storage of the Beth Rudin DeWoody Collection, The Bunker Artspace opened in December 2017 and showcases a wide range of contemporary art by both well-known and emerging artists, displayed alongside iconic pieces of furniture and other curiosities.
THE PIZZUTI COLLECTION ACQUIRES A PAINTING BY LAURA KRIFKA
Luis De Jesus Los Angeles is pleased to announce that Laura Krifka's painting Tipping Point (2019) was acquired by the Pizzuti Collection, Columbus, OH. Originally founded as an independent nonprofit by the Pizzuti family to share exhibitions of contemporary art from their private collection, the organization and its beautifully renovated building were recently acquired by the Columbus Museum of Art.
KEN GONZALES-DAY: DECOLONIZING THE MUSEUM
ARTIST TALK, FACULTY WORKSHOP AND CLASS VISIT AT MIDDLEBURY COLLEGE MUSEUM OF ART
November 21, 2019
The gallery is pleased to announce that Ken Gonzales-Day will be conducting an artist talk and workshop "Decolonizing the Museum" at Middlebury College, in Middlebury Vermont. Through invited expert speakers/facilitators, this workshop series open to faculty and staff seeks to provide participants with leading insights and methods in rethinking how the institution and instructors can promote change against deep-rooted structures of oppression at a curricular/institutional level while fostering greater equity in the classroom.
October 3, 2019, 12:00pm. Crest Room
HOOD MUSEUM OF ART ACQUIRES A PHOTOGRAPH BY KEN GONZALES-DAY
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's photograph Nightfall II (2006) from the series titled Search for California Hang Trees was acquired by the Hood Museum of Art at Dartmouth College in Hanover, NH. Dartmouth's collections are among the oldest and largest of any college or university in the country, but it was not until the Charles Moore–designed Hood Museum of Art opened its doors in 1985 that they were all housed under one roof and made available to faculty, students, and the public.
KEN GONZALES-DAY WILL GIVE KEYNOTE ADDRESS AT SOCIETY FOR PHOTOGRAPHIC EDUCATION CONFERENCE "ALL-INCLUSIVE: PHOTOGRAPHY FOR SOCIAL JUSTICE"
November 1 - 3, 2019
The conference All-Inclusive: Photography for Social Justice is co-hosted by the West and Southwest Chapters of SPE and the Department of Art and Art History at Santa Clara University, located in the heart of Silicon Valley, minutes from the San Jose Airport and less than an hour from the old stomping grounds of Group f/64, which includes Carmel, San Francisco, and Oakland.
The conference will explore how photography is used to challenge injustice, pursue social equality, and advance human rights through creative skills in order to inspire social movements, to witness, to resist oppression, to pose the difficult questions, and to stimulate debate and awareness about critical social issues. It will take place concurrently with Ken Gonzales-Day's solo exhibition at Santa Clara University.
FEDERICO SOLMI FEATURED IN "THE QUEST FOR HAPPINESS- ITALIAN ART NOW" AT SERLACHIUS MUSEUM, MÄNTTÄ, FINLAND
October 26, 2019 - September 27, 2020
The Quest for Happiness – Italian Art Now presents a selection of the most interesting Italian contemporary artists. Their common theme is the quest for happiness. The majority of them have never exhibited in Finland before.
HUGO CROSTHWAITE AWARDED FIRST-PRIZE IN SMITHSONIAN'S NATIONAL PORTRAIT GALLERY OUTWIN BOOCHEVER PORTRAIT COMPETITION
October 26, 2019
Luis De Jesus Los Angeles is proud to announce that gallery artist Hugo Crosthwaite has been awarded First Prize in the Smithsonian’s National Portrait Gallery Outwin Boochever Portrait Competition.
Hugo Crosthwaite’s work will be presented in The Outwin 2019: American Portraiture Today, a major exhibition premiering at the National Portrait Gallery October 26, 2019 through August 20, 2020. The exhibit will present the work of this year’s nearly 50 finalists, including seven artists that were shortlisted for prizes, selected from over 2,600 entries. As the first-prize winner, Crosthwaite receives a cash award of $25,000 and a commission to create a portrait of a notable living person for the museum’s permanent collection.
THE PIZZUTI COLLECTION ACQUIRES PAINTINGS BY CAITLIN CHERRY
Luis De Jesus Los Angeles is pleased to announce that Caitlin Cherry's painting Solar Asian Doll (2018) was acquired by the Pizzuti Collection, Columbus, OH. Originally founded as an independent nonprofit by the Pizzuti family to share exhibitions of contemporary art from their private collection, the organization and its beautifully renovated building were recently acquired by the Columbus Museum of Art.
FEDERICO SOLMI AND HUGO CROSTHWAITE ARE 2019 OUTWIN BOOCHEVER PORTRAIT COMPETITION FINALISTS
SMITHSONIAN NATIONAL PORTRAIT GALLERY, WASHINGTON, D.C.
October 1, 2019
The Smithsonian’s National Portrait Gallery has announced the finalists for its fifth triennial Outwin Boochever Portrait Competition. Their work will be presented in The Outwin 2019: American Portraiture Today, a major exhibition premiering at the National Portrait Gallery Oct. 26 through Aug. 30, 2020. Every three years, artists living and working in the United States are invited to submit one of their recent portraits to a panel of experts chosen by the museum. The works of this year’s nearly 50 finalists were selected from over 2,600 entries. The first-prize winner, to be announced this fall, will receive a cash award of $25,000 and a commission to create a portrait of a living person for the museum’s permanent collection.
LIA HALLORAN FEATURED IN "THE OBSERVABLE UNIVERSE: VISUALIZING THE COSMOS IN ART" AT SANTA BARBARA MUSEUM OF ART
September 29, 2019 - February 16, 2020
Drawing primarily from SBMA’s permanent collection and supplemented by loans from area collections, The Observable Universe explores a diverse range of artistic representations of the cosmos roughly coinciding with the ‘Space Age’ of the last sixty years.
FEDERICO SOLMI'S SURREAL, SATIRICAL UNIVERSE COMES TO THE BLOCK MUSEUM COLLECTION
September 25, 2019
Past and present, history and amusement, reality and spectacle are conflated and distorted in Federico Solmi’s monumental media work, “The Great Farce” (2017), recently acquired by Northwestern University’s Block Museum of Art. The Block received the multiscreen, limited-edition work as a gift from the artist’s studio in recognition of the museum’s upcoming 40th anniversary and its related initiative “Thinking about History.”
Originally commissioned for the 2017 B3 Biennial of the Moving Image, Frankfurt, Germany, “The Great Farce” is Solmi’s most ambitious work to date in terms of technical complexity, physical scale and scope of content. Featuring a cast of time-traveling world leaders with a feverish madness for power, Solmi’s animation turns a frenzied, fun-house mirror to grandstanding historical figures.
The Pizzuti Collection acquires paintings by June Edmonds
Luis De Jesus Los Angeles is pleased to announce that June Edmond's painting Sign of Life Flag (2019) was acquired by the Pizzuti Collection, Columbus, OH. Originally founded as an independent nonprofit by the Pizzuti family to share exhibitions of contemporary art from their private collection, the organization and its beautifully renovated building were recently acquired by the Columbus Museum of Art.
THE COLLECTION OF BETH RUDIN DEWOODY ACQUIRES A PAINTING BY JIM ADAMS FOR THE BUNKER ARTSPACE
Luis De Jesus Los Angeles is pleased to announce that Jim Adams's painting Faith (1996) was acquired by the Collection of Beth Rudin DeWoody for The Bunker Artspace in West Palm Beach, FL. The painting is part of a series of portraits of black archetypes that the artist created in the 1990s and 2000s. Presenting rotating exhibitions and viewable storage of the Beth Rudin DeWoody Collection, The Bunker Artspace opened in December 2017 and showcases a wide range of contemporary art by both well-known and emerging artists, displayed alongside iconic pieces of furniture and other curiosities.
Zackary Drucker's Relationship series discussed in The Body Electric
September 9, 2019
An essay by curator Pavel S. Pyś on the exhibition The Body Electric, which originated at the Walker Art Center and will travel to the Yeba Buena Center for the Arts and the Miami Dade College Museum of Art and Design. The exhibition includes works from Relationship (2008-2014) by Zackary Drucker and Rhys Ernst.
The Collection of Beth Rudin DeWoody acquires a painting by Laura Krifka for The Bunker Artspace
Luis De Jesus Los Angeles is pleased to announce that Laura Krifka's painting Piggyback (2019) was acquired by the Collection of Beth Rudin DeWoody for The Bunker Artspace in West Palm Beach, FL. The painting was featured in the artist's first solo exhibition with the Gallery, The Game of Patience on view from September 7 - October 26, 2019. Presenting rotating exhibitions and viewable storage of the Beth Rudin DeWoody Collection, The Bunker Artspace opened in December 2017 and showcases a wide range of contemporary art by both well-known and emerging artists, displayed alongside iconic pieces of furniture and other curiosities.
Zackary Drucker featured in "The Body Electric" at Yerba Buena Center for the Arts
September 6, 2019 - February 23, 2020
Yerba Buena Center for the Arts presents the West Coast debut of The Body Electric, an expansive array of more than 70 works revealing the ways that technology changes our collective understanding of the body, everyday life, and sense of self.
The Pizzuti Collection acquires a painting by Caitlin Cherry
Luis De Jesus Los Angeles is pleased to announce that Caitlin Cherry's painting Miasma (2019) was acquired by the Pizzuti Collection, Columbus, OH. The painting was featured in the group exhibition I've Got A Good Mind To Give Up Living And Go Shopping Instead, on view at the Gallery from July 13 - August 17, 2019. Originally founded as an independent nonprofit by the Pizzuti family to share exhibitions of contemporary art from their private collection, the organization and its beautifully renovated building were recently acquired by the Columbus Museum of Art.
Nicolas Grenier Shortlisted for the 2019 Sobey Art Award
June 12, 2019
Luis De Jesus Los Angeles is proud to announce that Nicolas Grenier is a finalist for the 2019 Sobey Art Award. The Sobey Art Foundation and the National Gallery of Canada will present the 2019 Sobey Art Award exhibition at the Art Gallery of Alberta in Edmonton. The exhibition presents the work of the five outstanding Canadian artists who have been shortlisted for the 2019 Sobey Art Award.
The Smithsonian National Portrait Gallery acquires a photograph by Ken Gonzales-Day
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's Shonke-Monthin, Osage by Joseph Palmer (National Museum of Natural History, D.C.) (2014) was acquired by the Smithsonian National Portrait Gallery in Washington, D.C. The photograph is part of the artist's ongoing Profiled series and was exhibited at the National Portrait Gallery in the two-person exhibition titled UnSeen: Our Past In A New Light from March 23, 2018 through January 06, 2019
Association of Art Museum Curators Names Recipients of 2019 Awards for Excellence
UNSEEN: OUR PAST IN A NEW LIGHT, KEN GONZALES-DAY AND TITUS KAPHAR CURATED BY TAÍNA B. AND ASMA NAEEM
May 6, 2019
The Association of Art Museum Curators (AAMC) and the AAMC Foundation has named the 20 U.S. curators who will be receiving its 2019 Awards for Excellence. This year’s honorees were selected from 150 nominations, and work in a variety of fields, including native and indigenous art, contemporary art, folk art, medieval art, American art, media art, and photography.
Judith Pineiro, executive director of AAMC and AAMC Foundation, said in a statement, “For 15 years, curators have recognized the trailblazing achievements of their peers through our annual Awards for Excellence. It is a privilege to celebrate this year’s awardees who, through their work, have fostered dynamic dialogue and broader engagement in the arts.”
Taína B. Caragol, curator of painting and sculpture and Latinx art and history at the National Portrait Gallery, Smithsonian Institution, and Asma Naeem, chief curator at the Baltimore Museum of Art, for “UnSeen: Our Past in a New light, Ken Gonzales-Day and Titus Kaphar” at the National Portrait Gallery
The Davis Museum at Wellesley College acquires paintings by June Edmonds
Luis De Jesus Los Angeles is pleased to announce that June Edmond's painting A Tisket (2018) was acquired by the Davis Museum at Wellesly College in Massachusetts, USA. One of the oldest and most acclaimed academic fine art museums in the United States, the Museum was founded more than 120 years ago by the first President of Wellesley College. The Davis collections, which span global history from antiquity to the present and include masterpieces from almost every continent, are housed today in an extraordinary museum building, designed by Rafael Moneo, winner of the Pritzker Architecture Prize. In addition to dynamic presentations of the permanent collections, and installations that support specific coursework and research interests, the Davis hosts a rotating series of engaging temporary exhibitions and programs organized to inform, delight, and challenge its visitors.
The Neiman Marcus Art Collection acquires work by Dennis Koch
Luis De Jesus Los Angeles is pleased to announce that Dennis Koch's color pencil drawing Untitled (Versor Parallel) (2019) was acquired by the Neiman Marcus Art Collection in Dallas, TX. The Neiman Marcus Art Collection began in 1951 when Stanley Marcus purchases a large-scale Alexander Calder mobile and reflects the company’s broad interests in high quality, creativity artworks that span all media. With the initial purpose of enriching the environment and supporting artists who explore unusual paths of creative expression, the collection has grown to hold some 2,500 works of art.
The Battery acquires a photograph by Chris Engman
Luis De Jesus Los Angeles is pleased to announce that Chris Engman's Landscape for Quentin (2017) was acquired by The Battery in San Francisco, CA. The Battery is a private social club, a boutique hotel, a hub for music, arts, and literature, and a philathropic organization founded by Michael and Xochi Birch in 2014.
The Pizzuti Collection acquires an additional painting by Britton Tolliver
Luis De Jesus Los Angeles is pleased to announce that Britton Tolliver's painting Traffic Light (2018) was acquired by the Pizzuti Collection, Columbus, OH. Originally founded as an independent nonprofit by the Pizzuti family to share exhibitions of contemporary art from their private collection, the organization and its beautifully renovated building were recently acquired by the Columbus Museum of Art.
The Pizzuti Collection acquires a painting by Caitlin Cherry
Luis De Jesus Los Angeles is pleased to announce that Caitlin Cherry's painting Sapiosexual Leviathan (2019) was acquired by the Pizzuti Collection, Columbus, OH. The painting was featured in the artist's first solo exhibition with the gallery, Threadripper, on view from January 12 - February 9, 2019. Originally founded as an independent nonprofit by the Pizzuti family to share exhibitions of contemporary art from their private collection, the organization and its beautifully renovated building were recently acquired by the Columbus Museum of Art.
EDRA SOTO RECIEVES FOUNDWORK ARTIST PRIZE
The gallery is pleased to announce that Edra Soto has received the Foundwork Artist Prize. The Foundwork Artist Prize is an annual juried award that we inaugurated in 2019 to recognize outstanding practice by contemporary artists. The honoree receives an unrestricted 10,000 USD grant and studio visits with the distinguished jurors. The honoree and three short-listed artists are also featured in interviews as part of our Dialogues program.
The Fidelity Investments Corporate Art Collection acquires several works by Dennis Koch
Luis De Jesus Los Angeles is pleased to announce that the Fidelity Investments Corporate Art Collection has acquired several Cutouts (2018) by artist Dennis Koch. Part of a new series in which original LIFE Magazines are carved page by page to reveal interior images, thus transformed into hand-cut magazine sculptures, these works interrupt and reconstruct common narrative strategies while compressing time and space into one image. Launched in 1980 in Boston, MA, Fidelity Investments Corporate Art Collection collects artwork that is experimental, intellectually curious, and technically precise across all media.
Artnet News Profiles Luis De Jesus: "I’ve Always Been an Advocate for Diversity"
LUIS DE JESUS HOPES THAT A NEW CLASS OF LATINX COLLECTORS WILL EMERGE IN THE US LIKE IT HAS IN THE AFRICAN-AMERICAN COMMUNITY.
July 23, 018
A former artist and one of only a few successful Latinx dealers in the US, Luis De Jesus understands the difficulty of getting the art world to pay attention. Since founding his gallery Luis De Jesus Los Angeles in 2010, he has made a career of showing young artists with something to say, and has quietly become a staple of the city’s art scene in the process.
Flaten Art Museum acquires work by Ken Gonzales-Day
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's Hands Up (2015) was acquired by the Flaten Art Museum at St. Olaf College in Northfield, MN. This photograph was first exhibited in the artist's second solo exhibition at the Gallery titled, Run Up on view from April 4 through May 9, 2015. It was exhibited again in Ken Gonzales-Day: Shadowlands at the Flaten Art Museum from September 1 through October 29, 2017. Founded in 1976 at St. Olaf College, the Flaten Art Museum has evolved from college gallery to collecting museum with programming that is regional, national, and even international in scope.
The Microsoft Art Collection acquires works by Chris Engman and Lia Halloran
Luis De Jesus Los Angeles is pleased to announce that Chris Engman's photograph Prospect (2016) from his ongoing Prospect and Refuge series and Lia Halloran's drawing Andromeda, after Mollie O' Reilly (2017) from her ongoing series Your Body Is A Space That Sees were acquired by the Microsoft Art Collection in Redmond, WA. The Microsoft Art Collection was launched in 1987 by a committee made up of employees interested in collecting and displaying artwork created by artists from the community. Over the past quarter-century, the Collection has mirrored the corporation’s meteoric growth with nearly 5,000 artworks on display in over 130 buildings throughout North America.
The Pizzuti Collection acquires three works by Britton Tolliver
Luis De Jesus Los Angeles is pleased to announce that Britton Tolliver's paintings Icarus (2017), Distant Roam (2017), and Night Goat (2017) were acquired by the Pizzuti Collection, Columbus, OH. Originally founded as an independent nonprofit by the Pizzuti family to share exhibitions of contemporary art from their private collection, the organization and its beautifully renovated building were recently acquired by the Columbus Museum of Art.
Museum of Comtemporary Photography at Columbia College acquires several works from Zackary Drucker's Relationship series
Luis De Jesus Los Angeles is pleased to announce that six photographs from Zackary Drucker's Relationship (2008-2014) were acquired by the Museum of Comtemporary Photography at Columbia College in Chicago, IL. Relationship (2008-2014) is a series of intimate snapshots taken by Zackary Drucker and Rhys Ernst that depicts the arc of their real-life five-and-a-half year relationship, during which one transitioned from female to male, and the other from male to female. Founded in 1976 by Columbia College Chicago as the successor to the Chicago Center for Contemporary Photography, the Museum of Contemporary Photography began collecting in the early 1980s and is the world’s premier college art museum dedicated to photography with more than 15,000 objects by over 1,500 artists in its collection.
Minnesota Museum of American Art acquires work by Ken Gonzales-Day
Luis De Jesus Los Angeles is pleased to announce that Ken Gonzales-Day's photo-based wallpaper The Lynching of Spanish Charlie (2016) was acquired by the Minnesota Museum of American Art in St. Paul, MN. The work is part of the artist's ongoing Erased Lynchings series and was first on view at the Museum in the exhibition Ken Gonzales-Day: Shadowlands from January 19 through April 16, 2017.
THE PHYLLIS AND ROSS ESCALETTE PERMANENT COLLECTION OF ART AT CHAPMAN UNIVERSTIY ACQUIRES WORKS BY LIA HALLORAN AND KEN GONZALES-DAY
Luis De Jesus Los Angeles is pleased to announce that Lia Halloran's Triangulum, After Adelaide Ames (2017), Paper Dolls (2016), and Ken Gonzales-Day's 41 Objects Arranged by Color (2016) were acquired by the Phyllis and Ross Escalette Permanent Collection of Art at Chapman University in Orange, CA. Both of Halloran's works are part of Your Body is a Space That Sees an ongoing series of cameraless cyanotypes that highlight the achievements of the Harvard Observatory female researchers who made significant contributions to the field of astronomy. Gonzales-Day's photograph is part of his ongoing Profiled series in which the artist photographs sculptures of the human form as found in international museum and anthropology collections as a way to reveal the emergence, idealization, and even folly of race. Beyond its role in curating art in public spaces, the Escalette Collection is a learning laboratory that offers diverse opportunities for student and engagement and research, and involvement with the wider community.
INTERVIEW BY A. MORET WITH LUIS DE JESUS LOS ANGELES
Volta Basel 10/ Booth #C21
A. Moret interviews Luis De Jesus on the gallery's participation in VOLTA Basel 10.
Go out before it closes: Chris Engman's exhibition at Luis De Jesus Los Angeles in downtown L.A. is coming to a close Saturday. "Prism" is a series of photographs Engman created in collaboration with his toddler.
Two of today’s leading conceptual sculptors are also among the fellows: Edra Soto, whose interventions look at how Puerto Rican domestic architecture has been exported the world over.
Last month, I drove to Houston for the Glasstire Gala and had the opportunity to see a few exhibits, including the Pipilotti Rist installation at the Museum of Fine Arts, Houston (MFAH) and Evita Tezeno at Houston Museum of African American Culture.
This third cycle is the strongest yet. “It’s been exciting to see the artists in this show working at the boundaries of what representation can be: paintings that hover on the edge of abstraction, that engage with the modern world, and that tell stories from inside communities that have often been excluded from the history of Western painting,”says artist and 2023 Bennett Prize juror Zoey Frank.
There are a lot of paintings of beds, bedrooms, and kitchen tables, perhaps the result of some pandemic hangover. One example is Aaron Maier-Carretero. His painting series “A Lobster Named Dinner”—so named because, well, he had a pet lobster in childhood and it was called Dinner—captures his home and reworks family interiors from photos.
The Hyde Park Art Center and Chicago-based artist Edra Soto describe the artist’s show, “Destination/El Destino: A Decade of Graft” as a mid-project survey: Soto is definitely not finished with the series of work that is the show’s subject. The title references the transplantation, or grafting, of a piece of the artist’s Puerto Rican heritage onto her Chicago home.
The acquisition fund has led to massive career growth for some local artists, like Evita Tezeno. Since having a piece acquired last year by the DMA, Tezeno has won a Guggenheim Fellowship, and her first solo museum exhibition opens at the Houston Museum of African American Culture this month.
“The Houston Museum of African American Culture (HMAAC) is proud to present Evita Tezeno: Out of Many, curated by HMAAC’s Chief Curator, Christopher Blay. The exhibition opens Thursday, April 27, with a reception from 6- 8PM, and will be on view for closing festivities on Juneteenth and Father’s day weekend, June 17.
Lines unconfined, colors ablaze, Chris Engman’s latest exhibition Prism is seen anew through the artist’s lens and paintbrush in tandem with his 4-year-old son Elio. Crafted with eclectic mediums, from dollar store children's paint to high-quality acrylics, oils, and pastels, twelve works showcased at Luis De Jesus Los Angeles unveil a kaleidoscopic vision of Engman’s artistic melding of photography, drawings, and paintings.
The drawings and paintings were made together with his 4-year-old son, Elio, in some cases, and by Engman in others. Drawings on paper by Engman or his son, are often used as source material, embellished or combined or altered freely. They are, among other things, an incomplete record of his and his son’s preoccupations, and the struggles and joys of their relationship.
We have two portraits of media moguls by Federico Solmi (b. Italy) in the media room: “Oprah Winfrey as Cleopatra” and “Warren Buffet as Court Jester.” Reconfiguring historical narratives across eras, Solmi endeavors to create artistic commentary which disrupts the mythologies that define our societies. His portraits depict figures who appear to be scanned into a game engine, the artist offering dystopian depictions of social icons and criticism of new technologies.
Puerto Rican artist, educator and community organizer Edra Soto’s largest exhibit to date is all the buzz at the Hyde Park Art Center. Showcasing her large-scale GRAFT series featuring sculptures that blend elements of Afro-diasporic architecture, accompanied by documentary photographs and drawings that counter colonial narratives, Destination/El Destino: a decade of GRAFT illuminates the past through her work, highlighting the enslaved sub-Saharan African population’s influence on Puerto Rican architecture.
At 62, Dallas artist Evita Tezeno is getting some long-overdue recognition. Vogue magazine profiledTezeno last week in an article headlined: “The Rising Dallas Artist Spotlighting Black Life — And Black Joy — In the South.”
There is a lot of straight-up positivity and joy in the work of artist Evita Tezeno, which is another big reason why Evita Tezeno: Out of Many, which opens this Thursday, Apr. 27 at the Houston Museum for African American Culture, is one of the year’s must-see art exhibits. CityBook flagged the show in our spring Arts Issue, and then Vogue got the scoop with a feature on the 62-year-old, Dallas-based artist shortly after it was announced Tezeno and Houston-based artist Jamal Cyrus had each been awarded a 2023 Guggenheim Fellowship.
Evita Tezeno, a mixed media collage artist based in North Texas, has been featured in Vogue Magazine and recently won the Guggenheim Fellowship Award for Fine Art. Her colorful collages depict Black joy and have been purchased by celebrities such as Denzel Washington and Samuel L. Jackson. Tezeno started her artistic career as an impressionist painter and had a dream where an angel gave her a book of sketches and told her she would be successful if she followed its instructions. She has a solo exhibit this month at the Houston Museum of African American Culture.
Evita Tezeno is having a good month. The North Texas-based mixed media collage artist is featured in Vogue Magazine. "I know I told my parents and my grandparents that I wanted to be on the cover of famous magazines and newspapers and travel the world with my artwork," Tezeno said. "I did not imagine that I would be in Vogue this quickly."
A sculpture by Edra Soto invites us to reconsider how we look at images of destruction. As part of her ongoing project GRAFT (2022-), the artist recreates Puerto Rican quiebrasoles – literally “break the sun” – latticed concrete screens that are ubiquitous features of vernacular architecture on the island.
Elsewhere, Edra Soto presents an iteration of her ongoing series, “GRAFT,” now in its tenth year. A red-painted architectural intervention based on cast-iron fences seen throughout Puerto Rico, the piece contains images of the sky or the trees that are meant to “show the transformation of the landscape” after Maria as opposed to more graphic images of devastation and destruction, she said. “When the hurricane happened, that was probably the most depressing time of my life living in Puerto Rico. I felt in my bones that it was something that I needed to document.”
The Hyde Park Art Center, 5020 S. Cornell Ave., Chicago, mounts the largest solo exhibition to date of works by Puerto Rican artist and educator Edra Soto. "Destination/El Destino: A Decade of Graft" consists of large-scale sculptures, photographs, drawings and games and includes her latest work, which features more than 500 tin stars hand-tooled by the artist.
The Dallas Museum of Art has scoured the world for works of art to grace its walls and galleries. But Thursday it announced 12 acquisitions it made from its own back yard—this year’s Dallas Art Fair, which is open to ticketed attendees today through Sunday, April 23, at the Fashion Industry Gallery in the downtown Dallas Arts District. The team chose to acquire 12 artworks by nine artists: Chelsea Culprit, Uuriintuya Dagvasambuu, Karla Diaz, Michael Dumontier & Neil Farber, Riley Holloway, Yifan Jiang, Yowshien Kuo, Masamitsu Shigeta, and Nishiki Sugawara-Beda.
Evita Tezeno had a bucolic childhood, ensconced in a predominantly Black community in small-town Port Arthur, Texas, near the Louisiana border. Today the 62-year-old Dallas artist draws upon these fond memories in her exuberant collage paintings, employing elaborately patterned hand-painted papers and found objects to depict everyday scenes of Black life: prim ladies waiting at a bus stop, young girls nattering away, women hanging laundry, couples linking arms for a stroll, gazing lovingly at each other, or dressed in their finest for a night of dancing.
Twelve artworks from this year’s Dallas Art Fair will be added to the Dallas Museum of Art’s permanent collection. Artworks are from Chelsea Culprit, Uuriintuya Dagvasambuu, Karla Diaz, Michael Dumontier and Neil Farber, Riley Holloway, Yifan Jiang, Yowshien Kuo, Masamitsu Shigeta and Nishiki Sugawara-Beda.
The Dallas Museum of Art (DMA) will welcome 12 new works into its permanent collection at no cost thanks to an acquisition fund that allows the museum to select work from dealers taking part in the Dallas Art Fair. Works acquired by the museum with through the fund this year also include... Karla Diaz’s watercolour painting Torera (bullfighter) (2023) from Luis de Jesus Los Angeles.
Puerto Rican artist, educator and community organizer Edra Soto’s forthcoming largest exhibit to date is set to be all the buzz at the Hyde Park Art Center. Showcasing her large-scale GRAFT series featuring sculptures that blend elements of Afro-diasporic architecture, accompanied by documentary photographs and drawings that counter colonial narratives, Destination/El Destino: a decade of GRAFT illuminates the past through her work, highlighting the enslaved sub-Saharan African population’s influence on Puerto Rican architecture.
Devoted readers of this column might remember a short item about artist Edra Soto a few months back around her exhibition at the Cleve Carney Museum of Art in Glen Ellyn, which mentioned her local ubiquity, with an installation in Millennium Park and participation in prominent group projects at the Chicago Botanic Garden and with the dance troupe The Seldoms. Both bolstering the item's argument and undercutting its newsworthiness, a press release hit my inbox two days later announcing Soto's "largest solo exhibition to date," at the Hyde Park Art Center, opening this week.
“GRAFT,” draws on architectural motifs—repeating stars, circles, and other shapes— ubiquitous in Puerto Rico that have since been exported all over the world. In her work, Soto, who was born in Puerto Rico, highlights the cultural appropriation of these patterns, which were originally found on cast-iron fences outside homes in Puerto Rico.
“BREAKING MORE BOUNDARIES,” A GROUP EXHIBITION RELATING TO MARIETTE PATHY ALLEN INCLUDING INVITED ARTISTS ZACKARY DRUCKER AND JESS T. DUGAN, FEATURES ART THAT DISPLAYS THE TRANSFORMATIVE VALUES AND PERCEPTIONS OF INCLUSIVENESS THAT ARE EMBODIED IN MARIETTE’S WORK.
From June 1 to July 30 (opening on the evening of June 3 from 6-9pm), Culture Lab LIC will celebrate Mariette's work with the exhibition Breaking Boundaries: 50 Years of Images alongside another exhibition with work by other artists inspired by, or in the spirit of, Mariette's work titled Breaking More Boundaries. The latter will feature invited artists Zackary Drucker and Jess T. Dugan.
Geoff Green, collector, on behalf of himself and wife, Sheryl Adkins-Green, on their must-sees at the fair:
• Evita Tezeno at Luis De Jesus: While it’s amazing to see the art world come to Dallas for the week, it’s also nice to recognize the Dallas-based artists who have a presence at the fair. Evita’s stunning work draws on the influences of Romare Bearden and Elizabeth Catlett; she is a marvelous colorist creating unique, richly patterned paintings depicting hope, joy, and love.
“Evita Tezeno: Out of Many” at Houston Museum of African American Culture (April 27-June 17)
This new exhibition by the Texas-born collage artist showcases her technique that combines painting and collage.
Tezeno’s tapestry-like works are carefully constructed from a variety of materials she brings together to depict everyday scenes from Black Life in America. Turning the phrase “Out of Many, One” and its Latin form E Pluribus Unum, which articulates the ideals of America’s Founding Fathers, the exhibition “Out of Many” aspire to those ideals, representing, with fondness, the days in the lives of everyday Black Americans.
Awarded by the John Simon Guggenheim Memorial Foundation, the fellowship is given to 48 disciplines divided into 4 broad categories: Natural Sciences, Social Sciences, Humanities, and Creative Arts. In the Fine Arts category, the winners were Pamela Council, Jamal Cyrus, Kapwani Kiwanga, Diane Severin Nguyen, Tammy Nguyen, Samantha Nye, Evita Tezeno, and Lavar Munroe.
This year, two visual artists, Houston-based Jamal Cyrus and Dallas-based Evita Tezeno, are among the winners. Last year, Mr. Cyrus had a solo exhibitionat the Modern Art Museum of Fort Worth, and Ms. Tezeno was one of three Texas artists whose work was acquired by the Dallas Museum of Art through the Dallas Art Fair.
From Escher to Refik Anadol, from de Chirico and Depero to Pak, from Balla and Boccioni to Krista Kim, from Piranesi to Primavera De Filippi, great artists of the past meet the contemporary pioneers of digital art in the territory of the imagination, between immersive swings , digital zen philosophy, technonature, blockchain sculptures, virtual reality, generative literature and artificial intelligence.
The John Simon Guggenheim Memorial Foundation announced this week the 171 scholars and artists who were awarded its acclaimed 2023 Guggenheim Fellowships. This year’s class includes some of today’s most closely watched artists.
Among the winners in the fine arts category are Pamela Council, Jamal Cyrus, Kapwani Kiwanga, Diane Severin Nguyen, Tammy Nguyen, Samantha Nye, Evita Tezeno, and Lavar Munroe, whose representation with Chicago’s Monique Meloche Gallery was announced in tandem with the fellowship news.
A new installation at Redwood City's Art Kiosk aims to shed light on the issues surrounding undocumented immigrants' hardships in modern-day America. The work is a product of artist Hector Dionicio Mendoza and is called "Mil USOS/Labor Monument: Portrait of my aunts, uncles, cousins, sisters, brothers, others, parents, and grandparents."
It is within this context of national trauma that Gabriel Sanchez paints people, his friends and acquaintances in Havana and other places, many of them social outsiders who make their way through these troubled days. They are young people mostly, in their 20s or 30s, an age of dreams and ambitions.
On March 4, Laguna Art Museum celebrated 41 years of connecting artists, collectors and the community at the sold-out California Cool Art Auction, Benefit & Bash. As Laguna Art Museum’s most important fundraiser of the year, the auction raised over $450,000 to support the museum’s exhibitions, programs and art education initiatives.
Edra Soto: Destination/El Destino: a decade of GRAFT
(Hyde Park Art Center)
An exploration of the artist’s long-running project inspired by the vernacular architecture of Puerto Rico
Opens April 22
The gallery’s stand is devoted to the work of a single photographer, Rodrigo Valenzuela, a Los Angeles-based artist who was born in Chile. Valenzuela draws on his experience in construction to build found-object sculptures. He photographs his creations and screen prints the images onto canvas collaged with repurposed time cards to explore the relationships between labour, unionisation and the consequences of automation
Issues of the journal regularly include original artwork. Portable Gray commissions artists to produce the journal’s cover and publish work in the pages of the journal. For the fourth issue, Portable Gray commissioned images from Edra Soto’s “Open 24 Hours,” an ongoing series of photographs Soto takes of bottles she collects in and around her neighborhood in South Chicago.
Haunted by the anticipation of an increasingly unpredictable future, Nicolas Grenier’s recent body of work reads as metaphysical landscapes that examine the limits of reality. Informed by the awareness of a progressively quantified existence, Grenier’s visual language relies on both dependency and interference of information classification systems. Through a series of drawings and paintings in varying dimensions, the works emerge from the horizon whose view is obstructed by spatial intervention.
The Print Center is honored bring the work of the outstanding artist Rodrigo Valenzuela to Philadelphia for the first time. I know his work will resonate powerfully with our audience, and will make a meaningful contribution to our conversation about immigration, privilege, labor and unions, as well as to our understanding of current photographic practice.
– Elizabeth F. Spungen, Executive Director
BRIC’s spring Gallery exhibition, When I Am Empty Please Dispose of Me Properly, showcases seven artists whose work delves into the intertwined nature of desire and sadness. Through their pieces, Ayanna Dozier, Ilana Harris-Babou, Meena Hasan, Lucia Hierro, Catherine Opie, Chuck Ramirez, and Pacifico Silano explore the myths of the American Dream that shape and govern our personal narratives.
A new installation at the Art Kiosk aims to shed light on the issues surrounding undocumented immigrants' hardships in modern-day America. The new installation is a product of artist Hector Dionicio Mendoza and is entitled Mil USOS/Labor Monument: Portrait of my aunts, uncles, cousins, sisters, brothers, others, parents, and grandparents.
Mixed-media artist Hector Dionicio Mendoza has unveiled “Mil USOS/Labor Monument: Portrait of my aunts, uncles, cousins, sisters, brothers, others, parents and grandparents,” a public art installation on display at Redwood City’s Art Kiosk now through April 30. It shows “a figure kneeling on one knee to represent the millions of exploited immigrants that contribute to society in more ways than one,” she said, adding that the artwork’s name, “Mil Usos” translates to “One Thousand Uses.”
Hugo Crosthwaite is a storyteller at heart. Through his drawings, which range from intimate, black-and-white ink sketches to large-scale, charcoal murals, Crosthwaite closely studies the everyday. Much of his work reflects both on his formative years in Rosarito, Baja California—a city just 10 miles south of the international border—as well as his adult life, which he’s spent straddling the U.S./Mexico border.
Through a research-based praxis engaging art history and the everyday, collecting snapshots spanning centuries and cultures, Los Angeles-based artist Edie Beaucage engages in autofictive explorations. She redefines personal histories by creating iconic portraits at a larger-than-life scale.
“Prolific” understates the artworks artist Edra Soto has contributed to the cultural scene, radiating from Chicago and stretching to New York, California, Brazil, and beyond. Born in Puerto Rico, Soto treats her roots as a blueprint, building expansive bodies of work upon the boundless inspiration she finds within them.
Walking through Edie Beaucage's show of sculptures and larger-than-life portraits is like wading through clouds of brushstrokes made of vivid greens, blues, and pops of orange, the subjects of the paintings staring coolly at you.
Dive into the painting, inside the painting itself, seems to call Nicolas Grenier with the exhibition "Sketches of an inventory". Presented in the very large room of the Bradley Ertaskiran gallery, this set of fifteen works, including two sculptures, navigates audaciously between real space and imaginary space. We are in a gallery and float at the same time in a stratosphere in the company of layers of colors and landscapes proposed by the artist.
We've been following Nicolas Grenier and his subtle social criticism for ten years. With his stylistic attraction to architectural processes, symbols and diagrams, developed with a color painting in quite remarkable gradients.
What impresses about the work is the way you use line and color and the quality of the touch of the hand, but also what you're positioning creates a space for liberation. I feel that these works are ultimately about liberation; a liberation of queer identity, a liberation of being in the world. The lush intensity of that experience. And the new possibilities are liberatory.
Dozens of art lovers braved the rain Wednesday to catch the opening night of two exciting new contemporary art exhibitions at BRIC: One exploring myths of the "American dream" and the other a deeply personal film and collection of drawings based on old photographs.
One gallery that will be highlighting NFTs is Assembly, Houston, which will show the work of Rodrigo Valenzuela as both photographic prints and digital NFTs. Recognized for his images of collected industrial and mechanical objects against hazy backgrounds, through the presentation of Valenzuela’s work the gallery will assist collectors new to acquiring NFTs.
The title of San Diego-Tijuana artist Griselda Rosas' first solo museum show, "Yo te cuido," translates to "I take care of you." It's a nod to her entire artistic practice, structured primarily around the restrictions and inspirations of raising a son.
Destination/El Destino: a decade of GRAFT is the largest exhibition to date of the Puerto Rican artist, educator, and community organizer Edra Soto. Rooted in themes of cultural hybridity, the exhibitionfeatures a new large-scale commission of the artist’s GRAFT series with porous sculptures, documentary photographs, drawings, and games that activate the Art Center’s indoor/outdoor main gallery. Creating a playful and open environment for dialogue, transformation, and communal healing, Destination/El Destino: a decade of GRAFT is on view from April 23 to August 6, 2023.
Steeped in the history of iron screen-style architecture common in post-war Puerto Rico, artist Edra Soto's new residency and exhibition at the Institute of Contemporary Art San Diego's North campus will showcase large installation works. Breeze blocks known as quiebrasoles and iron gates known as rejas form the backdrop — almost a viewfinder — for Soto's work. Soto will be in residence through late May, and will be on site for "Meet the Artist" hours this Saturday and Sunday afternoon.
A new pop up art exhibit is coming soon to NorthPark Center as part of the mall’s collaboration with the Dallas Museum of Art. Talk of the Town will have its opening night from 6 – 8 p.m. Tuesday, March 21 with a collection of art exploring womanhood from several artists. The exhibit will also coincide with Dallas Art Fair’s 15th edition.
The Dallas Museum of Art’s Dr. Anna Katherine Brodbeck will curate the exhibit. The following artists will be featured: Sarah Awad, Sarah Cain, Johnny Floyd, Danielle Mckinney, Arcmanoro Niles, Maja Ruznic, Keer Tanchak, Evita Tezeno, and Summer Wheat
This Thursday, 03-09-23, (6:00 p.m. to 7:00 p.m.) Edra Soto will give a talk as the 2022 Ree Kaneko Award winner. This annual award is bestowed to artists who have participated in Bemis's exhibition or residency programs and is named in honor of Ree Kaneko, Bemis Center co-founder, first Executive Director, and Board Member Emerita.
A procession of wooden plinths hold aloft groups of idol-sized sculptures, stout bodies with the hallmarks of Mayan figurines, whose torsos sport schematic rib cages, hearts and organs, and are topped with faces rendered in a contemporary style—portraits of migrants and asylum-seekers at the US-Mexico border whom the artist regularly sketches while they wait to make the crossing. This is “Caravan,” a series of sculptures and a short stop-motion animation in which they star—the anchor of a new exhibition by Hugo Crosthwaite in which he continues his decades-long process of documenting the personal experiences and individual stories of the human beings who undertake this perilous journey.
Painter Edie Beaucage is all about invention—in her style of abstract portraiture, in her “Californicois” identity as a Quebecoise in sunny SoCal, in her curiosity about the characters she meets and the personalities she imagines, in her intellectual love of art history and her open-hearted embrace of life’s endless possibilities. Her combination of bright, rich hues and muscular layering of brushwork creates flickering surfaces full of texture, light, and shadow; which at the same time are stylized as flattened in a quirky, folkloric way that eschews realism but explores individuality in the subjects.
The Schingoethe Center of Aurora University’s “No Place Like Home” features artwork by 38 artists, including Theaster Gates, Dorothea Lange, Sally Mann, Wendy Red Star, Edra Soto, and Carrie Mae Weems.
Luis De Jesus Los Angeles presents Mimi Smith’s first West Coast solo exhibition, “Head-On,” which includes sculptures, paintings, and drawings that span the pioneering artist’s six-decade career. Predating the feminist art movement of the 1970s, Smith’s bold work excavated the nature of womanhood and domesticity before it was popular.
Tijuana-born artist Hugo Crosthwaite’s work combines portraiture, sketching, painting, ceramics, photography and animation to create dense and layered compositions. Working primarily in black and white, Crosthwaite brings characters from allegory and popular media to illustrate the human condition, interacting with the architecture of Tijuana and dreams of the border. His work often elevates the ordinary person to heroic levels showing the trials they endure while surviving in contemporary society.
Everyone has a story to share. Phung Huynh, a Los Angeles-based artist and educator who has exhibited her works internationally as well as completing public art commissions across Los Angeles County, came to Scripps College to share hers.
The Schingoethe Center of Aurora University presents "No Place Like Home," an exhibition featuring artwork by 38 artists, including Theaster Gates, Dorothea Lange, Sally Mann, Wendy Red Star, Edra Soto and Carrie Mae Weems. It continues through April 28.
Chicago-based artist Edra Soto is having a moment with two back-to-back exhibitions:
“The Myth of Closure /El Mito del Cierre” continues through March 5 at the Cleve Carney Museum of Art in Glen Ellyn, and her largest exhibition to date, “Edra Soto: Destination/Destino: A Decade of Graft” at the Hyde Park Art Center, is presented April 23 to August 6.
Italian and New York–based artist Federico Solmi has explored themes of colonialism, nationalism, religion, and consumerism in his unique brand of digital art. His latest exhibition, Joie De Vivre, may be his most ambitious to date, with digital canvases displaying “video-paintings” that he has animated. The exhibit even includes a virtual-reality experience which puts the user directly into the world of one of his artworks.
DUBAI: March 2023 will mark the 20th anniversary of US-led invasion of Iraq, which led to destruction, displacement, and prolonged political instability. One of the millions who witnessed the chaos unfold is the Iraqi-American painter Vian Sora. “There is nothing that I don’t remember,” she says from her atelier in Louisville, Kentucky.
The Museum of Contemporary Art added 123 works by 68 artists to its collection in 2022, which now numbers nearly 8,000 artworks, museum officials announced Tuesday. The acquisitions reflect a diverse group of artists, including many from Los Angeles.
The historic arts organization BRIC opened its latest exhibit on Wednesday, bringing a packed crowd to their latest display that explores the mythos of the American dream via individual experience. “When I am Empty Please Dispose of Me Properly” features the work of seven artists (Ayanna Dozier, Ilana Harris-Babou, Meena Hasan, Lucia Hierro, Catherine Opie, Chuck Ramirez and Pacifico Silano) at the BRIC House in Fort Greene, and will be on display until April 30.
At Luis De Jesus, Los Angeles, the artist displays figurines, paintings and animations that draw on the physical, psychological and cultural landscapes of borderlands
Conceptually positioned in the borderlands between the United States and Mexico, ‘Hugo Crosthwaite: Caravan’ at Luis De Jesus deploys the languages of artistic and popular media to portray both the perils of the border and the humanity of those who must traverse it.
This show, 20 years in the making, follows Hugo Crosthwaite, a Tijuana artist who draws from his experience as a citizen living on the Mexico–U.S. border, sharing what he observed of the landscape and politics. For his new exhibit “Caravan,” at Luis De Jesus Los Angeles, Crosthwaite spent days with a camera and sketchbook, capturing portraits and stories of the thousands of migrants and refugees trekking the border. The show includes paintings, sculptures and videos that are inspired by the stories he witnessed. This recommendation from The Times’ art and design columnist Carolina Miranda is currently open and runs until March 4.
Every three years, participating Tennessee museums, arts venues, and arts organizations curate and present exhibitions under a common theme designed to connect the exhibitions and promote the state’s existing visual contemporary art scene. This year’s theme for the Triennial is RE-PAIR, authored by Consulting Curator Dr. Maria Magdalena Campos-Pons. Participation came from curators from institutions in Memphis, Nashville, Knoxville, and Chattanooga. Each of the four centers will enjoy a highlight weekend of scheduled events and receptions at participating venues.
Through the Lattice reflects upon the ongoing relevance of the lived environment, whether as owned, alienated, or desired. Each artist foregrounds the role of place—and its aesthetics of style, ornament, design, pattern, and architecture—in their recent works. Though diverse in their methods, the artists share a concern with the deeper meanings of space as well as its material construction.
For many, Lucha Libre represents something more personal and intimate. Karla Diaz’s “Las Dos Luchas/The Double Fight” (2022), from a series of new watercolors created for the exhibition, features scenes from the artist’s life punctuated with scenes from lucha. Made after she underwent brain surgery, these paintings illustrate the Diaz’s healing journey as she began to recover her memories.
The work of 15 of those artists was brought together in what is already the first academic exhibition focused on Puerto Rican art organized by a major U.S. museum in half a century. It is called "There Is No Post-Hurricane World: Puerto Rican Art in the Wake of Hurricane Maria," and it will be on display at the Whitney Museum of American Art, noted for its spectacular collection of modern and contemporary American art.
Luis De Jesus Los Angeles opening reception for Mimi Smith and Hugo Crosthwaite’s solo exhibitions: The opening reception for the new solo exhibitions at the downtown Los Angeles gallery has been rescheduled from last Saturday to this Saturday from 4 to 7 p.m. While the exhibit itself is still available to view, you’ll have to wait a bit longer to celebrate the shows with fellow artists and art lovers. Details can be found on Luis De Jesus Los Angeles’ website.
Hugo Crosthwaite's paintings, sculpture, and stop-motion videos in Caravan speak to the reality faced by migrants as they make the treacherous journey to the border in search of the American Dream.
New York-based Liz Collins is a queer feminist artist and designer who’s known for her use of bold abstract patterns, inventive materials, and experimentation with fiber. Through a playful sense of color and evocation of gendered labor, Collins creates her own disruption of the boundaries found between art, design, and craft. Currently she has her first European solo exhibition, Mischief, on display at Touchstones Rochdale through January 18, 2023.
The Chicago-based Puerto Rican-born artist is having a moment. Her show “The Myth of Closure” is at the Cleve Carney Museum of Art through March 5, and she now has work at New York’s Whitney Museum. Soto’s biggest solo exhibition yet – “Destination/El Destino” – comes to Hyde Park Art Center in the spring. Large-scale, immersive works are often embedded with viewfinders that reveal documentary photos upon closer inspection. Many tackle the legacy of colonialism and question the use of public spaces.
Edra Soto was in Puerto Rico when Hurricane Maria hit in 2017. She was visiting her mother when, she tells me, “I lost my landscape.” The destruction affected her immensely. She saw things that she felt she could not speak aloud. After being faced with the loss of her home landscape, she began to document the disaster. “I had never seen Puerto Rico the way that it looked then. I had never seen the landscape in that way. I felt, in my bones, that I was part of something historical.”
The museum-curated auction will feature works by over 125 of California's most sought-after artists including Lita Albuquerque, Charles Arnoldi, Billy Al Bengston, Kelly Berg, Alex Couwenberg, Joe Goode, David Ligare, Jean Lowe, Andy Moses, Gwynn Murrill, Fabia Panjarian, Ruth Pastine, Astrid Preston, Ed Ruscha, Beth Waldman and many more. Proceeds from the annual auction provide vital support to the museum, directly benefiting major initiatives, education programs, exhibitions and community engagement.
In his own research through numerous newspaper archive microfilm from 1849-1880, Ken Gonzales-Day has uncovered over 350 cases of lynchings of Latinos — 59 of which were in Los Angeles — by investigating incidents in the West that were previously reported as “white”. Gonzales-Day and Beserra Núñez are part of an ongoing conversation about placing a Mexican American-Latino historical monument in Los Angeles to educate people of the history.
Hyde Park Art Center announces “Destination/El Destino: a decade of GRAFT,” the largest exhibition to date of the Puerto Rican artist, educator and community organizer Edra Soto. Rooted in themes of cultural hybridity, the exhibition features a new large-scale commission of the artist’s “GRAFT” series with porous sculptures, documentary photographs, drawings, and games that take advantage of the Art Center’s indoor and outdoor main gallery.
The three contributors to the smart, nervy “Land of the Free” examined borders, migration and the vexed, static-clouded conversation that takes place between mutually distrustful cultures. Joe Minter brought martial-looking sculptures assembled from scrap iron and used car parts, Hugo Crosthwaite painted murals of his native Tijuana on the MANA walls, and Vincent Valdez haunted visitors with the faces of the Central American disappeared, printed on translucent rice paper, spotlighted and hung like ghostly banners from the ceiling of a narrow chamber that felt very much like a temple. Together, they suggested that barriers impede those who erect them as much as they harm those they restrain.
Milad mentions the word ‘chaos’ to describe her upbringing and the same can be said about her art, but in the most positive sense; it’s a beautiful chaos and a feast for the eyes. Milad’s tapestries are like layered portals taking the viewer to another world — her personal world; a depository for bits and pieces of what interests her. Her 2021 mixed-media work “Nada Que Decir” is a typical example. In English, its name means ‘nothing to say.’ However, it seems there is a lot to be said, but perhaps when words fail, pictures can do the talking.
What is white, as a shade, a concept, an identity? Too often, binary ideas cloud deeper investigations into the historical construction of whiteness as a race. In this group exhibition, curators Lillian O’Brien Davis and John G. Hampton explored connections between the political myth of whiteness that developed alongside the dispossession of Black and Indigenous people and the aesthetic and philosophical significance of white in art.
MANA came roaring back with gorgeous, provocative, emotional show that highlighted everything that the institution does well, and reaffirmed its indispensability to Jersey City arts. “Land of the Free” also felt familiar: Joe Minter’s wonderfully belligerent sculptures made of rusted chains and car parts were continuous with the Hudson County tradition of adaptive re-use in visual art, and Hugo Crosthwaite’s lively drawings of his native Tijuana presented the Mexican border city as a place of danger, exhilaration, and cultural collisions very much like the ones we’ve all grown accustomed to in urban Jersey.
Politically minded to the core, the Whitney show is also a thing of serious tenderness, and of many individual beauties, among them Candida Alvarez’s double-sided mountain landscapes; Edra Soto’s sculptural garden wall embedded with viewfinder photos of storm-altered island life; and painted salutes — part public mural, part prayer card — to secular martyrs of the near and distant past by Armig Santos, based in San Juan, and Danielle de Jesus, based in Queens.
I am Edie Beaucage; I live in Venice Beach, my art studio is in Inglewood, and I have gallery representation in Downtown LA. I am connected to the Los Angeles art community in many ways, especially to my artist’s studio friends at the Art Complex 1019 West Manchester. I moved here from Quebec because I could see this city as an incredible creative platform. I am a painter and video artist.
Sanchez is a 29 year old Cuban-American born in Miami. His painted subjects are Cubans who, while desperate to leave Cuba, have a Cuban sensibility that is tough to forsake. While Sanchez’s painted portraits seem flattened in dimension/technique they are full of humanity. The viewer witnesses the angst of being young and in Cuba (Sanchez’s perspective). This is a warm, understandable exhibition where portraits tell the story.
American contemporary artist and designer Liz Collins is the latest artist to leave her mark, with a newly installed colorful and dynamic mural on the public plaza to accompany the colorful iconic umbrellas she designed for the triangle months earlier.
“My interest in using the body as a principal tool enables me to undermine the boundaries of politics, to challenge social conventions and to test the endurance of viewers,” says Miami-based artist Antonia Wright in her introductory biography. The Cuban American artist has received praise and recognition for her utilization of art, her body and expression to expose societal realities.
A solo exhibition of works by multidisciplinary artist Edra Soto, “The Myth of Closure | El Mito del Cierre,” opens soon at the Cleve Carney Museum of Art. Soto “has transformed her practice to honor the loss of what once was, while seeking a path of acceptance for the transition of her aging mother who suffers from Alzheimer’s,” writes the Museum.. “She channels her struggle to reconcile this new reality through deconstruction, collage and familiar themes in her art practice.”
Dr. Anthony Fauci was the first to accept his Portrait of a Nation Award. As Hugo Crosthwaite’s moving portrait captivated the audience, the room fell silent, heavy with the weight of uncertainty that has shaped the last few years and in reverence for the man who became synonymous with hope as the nation battled a devastating public health crisis in COVID-19.
This year the exhibition added seven more portraits and among them the stop-motion animation portrait of Anthony S Fauci by artist Hugo Crosthwaite. The innovative piece offers an atypical approach to the portrait genre. The artwork compiles a stop-motion animation that suits nineteen drawings from which only seven will be in view at the exhibition.
Anthony Fauci said that when he was approached by the National Portrait Gallery of an “unusual person” they suggested to create his portrait, “not only was I not reluctant about it, I got very excited about it.” The Fauci work from artist Hugo Crosthwaite covers the bookends of his career, from his work on HIV/AIDS in the 1980s to the current Covid pandemic.
Mexican artist Hugo Crosthwaite is being honored this weekend in Washington, D.C. as the Smithsonian's National Portrait Gallery opens the "Portrait of a Nation" exhibition. Crosthwaite's portrait of Dr. Anthony Fauci, head of the National Institute of Allergy and Infectious Disease, will be unveiled Thursday alongside portraits of Venus Williams, Serena Williams, Ava DuVernay, Clive Davis, Marian Wright Edelman and José Andrés.
Gabriel Sanchez uses portraiture as a means to make visible the contemporary reality of Cuban citizens. Stranded on an oppressive island, young Cubans are angry and disillusioned. Sanchez finds himself amidst these tensions in his intimate portraits of those closest to him as well as complete strangers. Sanchez renders the humanity of Cubans with tenderness; he captures their vulnerability, but also their strength and spirit.
Born and raised in Baghdad, Vian Sora witnessed multiple wars in Iraq firsthand, suffering personal loss while sharing in the collective loss of her country. From a young age, she used art as an outlet to work through the trauma of conflict and displacement.
A stop-motion drawing animation of Dr. Anthony Fauci by San Diego/Tijuana artist Hugo Crosthwaite has been selected to appear in the National Portrait Gallery in Washington. The portrait is one of six honoring “extraordinary individuals who have made transformative contributions to the United States and its people” as part of the 2022 Portrait of a Nation Awards.
National Portrait Gallery is honoring seven influential minds at their upcoming Portrait of A Nation exhibition. Serena and Venus Williams, Dr. Anthony Fauci, Marian Wright Edelman, Ava DuVernay, José Andrés and Clive Davis were chosen to become immortals on canvas for the showing. Other pieces feature a photograph portrait of Marian Wright Edelman, work by José Andres, Kenturah Davis, and Hugo Crosthwaite that will all show in Portrait of a Nation, showing at the National Portrait Gallery in Washington D.C. on November 10 to October 22, 2023.
Tennis stars Serena and Venus Williams and the filmmaker Ava DuVernay are among the famous faces going on show on November 10 in the “Portrait of a Nation” exhibition at the Smithsonian’s National Portrait Gallery in Washington, DC. Hugo Crosthwaite’s multifaceted depiction of Fauci consists of both a series of drawings and a stop motion animation.
Serena and Venus Williams, along with Dr. Anthony Fauci, Marian Wright Edelman, Ava DuVernay, José Andrés and Clive Davis have been chosen as the seven recipients to be honored at the National Portrait Gallery’s (NPG) upcoming “Portrait of a Nation” exhibition. Highlights also include Hugo Crosthwaite’s stop-motion animation of Dr. Fauci, who became the face of the US’ response to the COVID pandemic.
Dennis Koch, Bitcoin Magazine’s art gallery coordinator, described why this space is important, saying, “Meetup locations like Bitcoin Park in Nashville or Bitcoin Commons in Austin affirm that there’s no replacement for spending time with Bitcoiners in real life. The same goes for the new Bitcoin Magazine Art Gallery. We want to build a tactical meetup and exhibition space for artists. Nashville has a tangible bitcoin vibe, and BMAG is going to be a big part of this expanding scene.”
A Los-Angeles based Mexican American, Ken Gonzales-Day heard echoes of the rhetoric used to justify lynching in the calls by radicalized white men for armed Americans, to patrol the Southern borders against migrants. Gonzales-Day sought to shift viewers’ attention away from the hyperbolic accusations that criminalize racial minorities to the aggression of the vigilantes. His images seek to prompt viewers to question the true threat to American communities in the past and today—racial minorities or white supremacist vigilantism?
Anthony Fauci doesn't know how history will remember him, but he does know how it will see him. On a recent Saturday, he's inside a private room at Washington's National Portrait Gallery, looking at the work of art that will hang alongside presidents, celebrities, inventors and other distinguished Americans. It's a video –– a stop motion animation –– chronicling his landmark career through a series of intense drawings that leap out from the screen.
The museum’s new works also include a portrait of Dr. Anthony Fauci, the chief medical advisor to the President who spearheaded the American response to COVID-19. Hugo Crosthwaite diverged from the other commissioned artists’ more traditional interpretations of portraiture and created a stop-motion animation. Crosthwaite’s work also includes 19 drawings on paper, and seven will be displayed in the National Portrait Gallery’s upcoming exhibition.
The new additions—which will be exhibited on the museum’s first floor through October 22, 2023—include a joyous Serena Williams by Toyin Ojih Odutola, the duplicity of Venus Williams visualized by Robert Pruitt, José Andrés feeding the world by Kadir Nelson, a multimedia imagining of Anthony Fauci and his work by Hugo Crosthwaite, an abstraction of Ava DuVernay evoking the moving image by artist Kenturah Davis, and more.
The Portrait Gallery has also commissioned a portrait of the public health expert Fauci by artist Hugo Crosthwaite (b. 1971), first-prize winner of the Portrait Gallery’s 2019 Outwin Boochever Portrait Competition. The resulting artwork is composed of a stop-motion drawing animation and suite of 19 drawings on paper, seven of which will be on view.
November in Los Angeles brings us shows that highlight art’s role as both a reflection of everyday life and a force to help change our reality. An exhibition at Angels Gate Cultural Center showcases the multifaceted programs of the community-based Slanguage Studio. Shows at the Vincent Price Art Museum and Skirball Cultural Center highlight the potential of art to memorialize and record our histories.
Celebrating 15 years in business, Luis De Jesus Los Angeles newly opened a 6,500 sq. ft. space on Mateo Street in the vibrant Arts District. With prior roles in the curatorial departments at the Americas Society and the New Museum in New York, de Jesus focuses the program on showcasing a diverse roster of artists addressing the social archetypes of race, class, sexuality, and gender.
The spirograph galaxy of Rhythmic Inquisitions, an exhibition of works by June Edmonds at the Riverside Art Museum, unmercifully hypnotizes. Expanding boundaries, this 2022 Guggenheim Fellowship Recipient injects Aretha Franklin’s Respect (1967) into Abstract Expressionism.
This multimedia exhibition “examines the absurdities of the human experience through the lenses of colonialism, nationalism, religion and consumerism” from the “perspective of a cultural voyeur,” say the exhibition materials. The words used to title the works of art offer further clues into Solmi’s video-based world: Bacchanalian, debauchery, bathhouse.
“Pacific Gold,” the resuscitated survey’s 2022 edition, offers a revelatory look at fresh art in the region, but not without controversy. COSTA MESA, Calif. — “Pacific Gold” is the swaggering title of the 2022 edition of the California Biennial, a regional survey that has been in existence, under various missions and monikers, since 1984.
“Joie de Vivre” is as processual examination of Federico Solmi’s multimedia creations. A fully immersive experience, this exhibition combines art, sound, motion and even virtual reality to honor Solmi’s social commentary. Each piece is characterized by an over-saturation of its subjects and often crude depictions of their nature. There is a sense of indulgence, a lens into the American culture of all-consuming power. This satirical approach results in the vibrant, alluring, and borderline humorous work of Solmi.
The Orange County Museum of Art opened in its ultramodern 53,000-square-foot building in Costa Mesa last weekend with a 24-hour extravaganza featuring music, movies, dancing, guided tours and entertainment.
Celebrating a shared cultural history of unstoppable resilience, collective action, and rising up against oppressive, anti-progress systems, Creative Resilience is a curated space of safe expression, joy and uplift, systemic overhauls and reimagined futures — things which would perennially benefit everyone, but all the more so in this prolonged period of darkness, threats, struggles, and isolation.
Founded 20 years ago by Mario Ybarra Jr. and Karla Diaz, Slanguage Studio opened its doors to the community of Wilmington as an artist-run space. Slanguage has since expanded its creative teachings, aspirations, and community engagement globally to creatives, innovators, and teachers of all backgrounds. We Run Things, Things Don’t Run We is an homage and oeuvre of many generations that have contributed to the history, community-centric values, conscious intent/ content and intergenerational, alternative learning space of Slanguage Studio.
The Seldoms share the process and outcomes of four Toolbox projects now through November 3 at the Hyde Park Art Center, in celebration of the company’s twentieth anniversary. Hanson, along with company members Damon Green, Dee Alba and Sarah Gonsiorowski developed dances inspired by the creative practices of sculptor Edra Soto, sound artist Sadie Woods, painter Jackie Kazarian and fiber artist Jacqueline Surdell.
Phung Huynh is an L.A. artist and educator – and creator of sobrevivir, which means survival in Spanish. The artwork was commissioned to publicly apologize to the over 240 largely Mexican immigrant women who were forcibly sterilized at the hospital in the ‘60s and ‘70s
Miami artist Antonia Wright is among a growing number of women artists who share Paula Rego’s outrage over anti-abortion forces and who create art in protest. “With the reversing of Roe, I feel anxiety for younger women and the fear they must have around unexpected pregnancy,” Wright says. Her arresting art is now on view at Spinello Projects. It addresses women’s challenged right to control their reproductive health. The work is both fierce and delicate, resonant with a terrible beauty.
More than a dozen works of art by 14 artists were commissioned for the new Metro K Line that opened last week. Artwork for the stations on the route was integrated at the plaza, concourse and platform levels. Riders will experience new neighborhood landmarks showcasing culture and community. Artists include Ingrid Calame, Eileen Cowin, Kenturah Davis, Dean Erdmann, Sherin Guirguis, Carlson Hatton, Mara Lonner, Geoff McFetridge, Rebeca Méndez, Erwin Redl, Kim Schoenstadt, Jaime Scholnick, Shinique Smith and Mickalene Thomas.
"Rhythmic Inquisitions" brings together 19 of Black painter June Edmonds' abstract canvases going back 25 years. There are "energy wheel" paintings in bright colors, inspired by Edmonds' meditation, and two large "mapping" paintings that might seem to be nothing more than wavy lines in varied colors. There's a bit more to it.
Artnet News spoke with Howard Tam about his burgeoning collection, and the works of art he plans to add to it next. Tam shares he would like to add works by Andre Butzer, Dinh Q. Lê, Andre Hemer, Sopheap Pich, Kyle Dunn, and Louis Fratino in the near future.
Entering Jean Lowe’s Encinitas studio isn’t exactly like stepping into a dreamworld, but it’s pretty damn close. It’s filled with spectacular mise-en-scène-style painted artworks and papier-mâché pieces. Look up, and one might spot ornamental vases rendered with the Coors logo. A close examination of books on a shelf actually reveals them to be painted renderings with tongue-in-cheek titles.
Strands of myth are woven through, seen in Hector Dionicio Mendoza’s cardboard “Coyota,” which sports human arms and legs, and Simphiwe Ndzube’s “Ndlovukazi,” which draws on folklore from his native South Africa.
Artist Jean Lowe's latest full-gallery installation is a surreally life-size, cardboard and papier mache rendering of a car dealership, complete with a massive "Swank Tank," the Hummer EV.
On the occasion of the recent opening of his big mid-career retrospective Joie de Vivre, through February 26, at the Morris Museum in Morristown, New Jersey (an easy hour’s train ride out of Penn Station in Manhattan), the Wondercabinet herewith concludes its two-part serialization of Weschler’s biographical sketch of the artist Federico Solmi.
Mimi Smith has spent a lifetime making art that integrates her personal life with the tumult and beauty of the surrounding world. Over the past fifty years, Smith has been making artwork as an archive of our struggle to survive and maintain our humanity, addressing the environment, nuclear war, AIDS, terrorism and feminism (before the word was commonly used) in compelling mixed media works, which she considers sculptures.
While for many Californians pink donut boxes signal little more than the arrival of a favorite snack, for Cambodian refugees and their children, the ubiquitous, cheerful-looking packaging is often deeply intertwined with their family history of resettling in the United States. Several years ago, Phung Huynh realized the bright pink packaging offered a highly symbolic and visually striking canvas for her drawings. The portraits depict her family and other members of Cambodian and Vietnamese communities in an effort to highlight their stories of hardship, trauma and resilience.
As a Latinx artist in a city and state where we continue to be underrepresented, I was drawn to represent at least part of my cultural heritage. Many of these objects are rarely on view in the physical world of the museum. I wanted to record them, at this time, to invite their presence in a shared space below the earth. The work is a portal, through which all may travel, from the past to future, or from darkness to light. The journey is up to them.
Guests attending Wednesday night's opening party for the 2022 Brooklyn Heights Designer Showhouse gave rave reviews to the creativity, furnishings and artowrk which trabnsformed a historic Heights townhouse into a showcase of modern interior design. Artist Liz Collins is one of the artists whose work hangs on the Showhouse's walls. "I love interior designers and I want them to see my work and imagine it in that context," she said.
In a world proliferating with contemporary art, with its variety of styles, subject matter and materials— an art world that often surprises, cajoles and sometimes shocks viewers—“Your Place in the Multiverse” is even more surprising than most exhibitions.
Solmi’s solo exhibition Joie de Vivre at the Morris Museum traces his journey from Bologna, Italy, as the son of a butcher born in 1973, to his latest turn as a societal voyeur in the United States, transforming this elegant outpost of the Smithsonian, a little known but spacious museum in deepest Northern New Jersey, into a digital space truly worthy of the term “metaverse.”
So, I asked Feldman, the sly old impresario, a bit later, “Who the hell is this Federico Solmi character, anyway?” Feldman’s eyes widened as he broke into one of his wide gleaming smiles. “Someone,” he pronounced, delphically, “well worth looking into.”
No Vacancy is a juried art competition that supports and celebrates mainly local artists, provokes critical discourse, and encourages the public to experience Miami Beach’s famed hotels as temporary art destinations in their own right. This year will be the largest to date, with an expanded program presenting 12 artists creating site-specific works at 12 iconic Miami Beach hotels.
Lansdowne explores the various traditions of framing within the art historical canon – from the illusionism found in the murals of Pompeii, the realism of Flemish Renaissance painting, the techniques of American neoclassicism, and others.
Luis De Jesus Los Angeles is another wonderfully curated booth, featuring June Edmonds, Nicolas Grenier, Laura Krifka, Vian Sora, and Evita Tezeno—shout out to Dallas-based artist, Evita Tezeno, for making some of the most earnest pieces at the fair. Tezeno’s collage paintings employ richly patterned hand-painted papers and found objects in a contemporary folk-art style.
Luis De Jesus Los Angeles began The Armory Show with a bang. With a compelling booth of newly created paintings by artists June Edmonds, Evita Tezeno, Vian Sora, Laura Krifka, and Nicolas Grenier, the gallery appeared to have one of the most visited booths at the fair. Within minutes of the opening, the gallery had sold work by Sora, Edmonds, and Tezeno. A gallery representative noted that sales were going strong by mid-day Thursday, with multiple pieces going to prominent collections in Malaysia, Texas, and Pittsburgh, plus institutional queries lined up for that evening.
Originally created by Chris Engman between 2002-2006, this is the first time this series of black and white photographs is being presented in Los Angeles. These works read differently now than when they were produced 15-20 years ago.
The 2022 FVA fellows are: April Banks (Interdisciplinary-Mixed Media); Nao Bustamante (Interdisciplinary-Mixed Media); Enrique Castrejon (Installation); Patty Chang (Interdisciplinary-Mixed Media); June Edmonds (Painting); Reanne Estrada (Interdisciplinary-Mixed Media); Asher Hartman (Installation and Experimental Film and Video); Iris Yirei Hu (Installation); Phung Huynh (Painting); Young Joon Kwak (Interdisciplinary-Mixed Media); Sandra Low (Painting); and Suné Woods (Experimental Film and Video).
Meta’s new office picks up right where Moynihan left off, infusing three lobbies and a central atrium across 700,000 square feet with ambitious site-specific artworks by such emerging and established artists as Baseera Khan, Liz Collins, and Matthew Kirk. Visible to passersby in the Moynihan Train Hall’s waiting area is Liz Collins’ vibrant ode to New York roadways and street signage. The Brooklyn fiber artist mined patterns from the chaotic cityscape to create zigzag-striped textiles created on a Jacquard loom, a 19th-century weaving apparatus considered a predecessor to modern computing.
In 2014, through a Smithsonian Artist in Residency Fellowship, Gonzales-Day sought to photograph and address the underrepresentation of Native Americans, African Americans and Latinx in sculpture. The project resulted in the 2018 exhibition, “Unseen: Our past in a new light, Ken Gonzales-Day and Titus Kaphar,” which was presented as part of the museum’s 50th anniversary exhibition program.
Meanwhile in the Farley Building’s Ring lobby, which is visible from Moynihan Train Hall, Brooklyn-based multimedia artist Collins contributed Every Which Way, a work composed of 29 upholstered padded panels in her signature vibrant textiles that span over 100 feet and depict geometric patterns found in New York street signage.
In the building’s “Ring Lobby”, which is visible from the waiting area of the Moynihan train hall, Brooklyn-based artist Liz Collins has applied her signature, vibrantly-colorer textiles to create Every Which Way, a sprawling installation across four walls spanning more than 100 feet in length.
The Marietta College art department is pleased to present “BITTER EARTH,” an exhibition by California artist Carla Jay Harris in collaboration with Dr. Brenda Stevenson. Bitter Earth is a collaborative mixed-media installation project exploring the historical Black experience. Harris questions how did the shadow of Jim Crow impact the lives of her elders, and the broader question of what aspects of the past are remembered, represented, and reproduced in contemporary society?
When Meta workers move into their sprawling new Manhattan office complex in the historic James A. Farley Building in a few weeks, they will pass large-scale art installations including a painted mural of various ecosystems by artist couple Esteban Cabeza de Baca and Heidi Howard, bright textile swaths inspired by New York’s streetscapes by Liz Collins and an intricate, symbol-filled multi-panel painting by Matthew Kirk.
But there is also plenty that explores the culture and aesthetic significance of trees — be it the literal pattern of a tree’s form or the ways in which trees function as symbols of creation (the Bodhi Tree or the Tree of Life), as well as death. Included in the exhibition is an image by Ken Gonzales-Day, a Los Angeles artist who has long tracked the history of Mexican American lynchings in the West, a history that leads him to the trees on which these murderous actions took place.
Pacifico Silano is known for sourcing archival images of gay pornography, mostly from the 1970s and 1980s, to interrogate white masculinity and American clichés through the lens of queer desire. He creates his work by photographing, rather than scanning, the archival photographs he has collected. Silano often layers them physically on top of each other, sometimes repeating the process with several magazines, and then takes a picture of the final layout. He makes further edits to those images by cropping or scaling them to show the pixelated grain, paper fibers, rough edges, or a detail of the magazine spine.
Jonathan VanDyke’s opulent sewn paintings fuse geometric pattern and expressive gesture. His works emerge through complex and prolonged processes of accumulating, mark-making, and piecing, often taking over a year to conceive and construct. Gathered from his family, friends, and companions, the fabrics that make up his paintings are stained and marked by way of techniques he first devised through long-term collaborations with performers from the NYC queer art community.
At the heart of this garden, there is now a new monument that is not only poignant but also timely. “Sobrevivir,” by L.A. artist Phung Huynh, marks the coerced sterilizations that once took place at the hospital in the 1960s and ’70s — mostly of Mexican women from working-class backgrounds. It also pays tribute the 10 people who filed a class-action lawsuit against L.A. County doctors, the state and the federal government for sterilizing them without adequate consent.
A new art project is intended to serve as an apology to the more than 200 women who suffered forced sterilizations decades ago at Los Angeles County-USC Medical Center. Artist Phung Huynh's piece, "Sobrevivir," the Spanish word for "survive," serves as an ode to the survivors, many of whom immigrated from Mexico.
"I want the art to be impactful and meaningful and create a deep experience for contemplation for viewers," said artist Phung Huynh. "The material is made of metal to symbolize the mother's strength, and I want this to last forever."
It’s a part of our history which isn’t often talked about, the coerced sterilization of thousands of women across the country, including in L.A. County. Now one hospital is taking steps to acknowledge and apologize.
During a somber unveiling ceremony Monday on a grassy courtyard at LAC + USC hospital, county officials gave the public the first look at “Sobrevivir,” an art installation by Cambodian-American artist Phung Huynh of Los Angeles in the works since 2018, ever since the county Board of Supervisors issued a motion containing an apology.
In Your Body Is a Space that Sees, mesmerizing and yet eerily familiar, Lia Holloran exposes us to a series of accessible artworks that seem as complex as the depths of space themselves. The 2016 Art Works Grant from the National Endowment of the Arts heralded Your Body is a Space that Sees, which is now on view at LAX.
Lavi Daniel is a self-taught painter whose unique vision has been equally shaped by love for a certain Renaissance sense of color-blocking and balance, intimacy with the evocative potential of abstract textile design, and the organic surrealism of memory and wonder in a child’s imagination.
These practices parallel the Erased Lynching photographs of artist Ken Gonzales-Day. In these digitally manipulated versions of historical photographs, the bodies of lynching victims have been removed, leaving only the images of the perpetrators subject to our gaze. It is an opposite approach to that of the Emory iconoclast. Yet the redacted or defaced pictures in Bibb’s book similarly attest to a reader’s active rejection of oppression.
Los Angeles-based painter and video artist, Edie Beaucage, is committed to her direct and subjective imagination. She intends to create images in a vast spectrum of undefined categories, allowing vague ideas, inconclusive views, wobbly constructs, pleasure or sorrows, and fun to be included in the art conversation. This way, she actively opens up the critical discourse in new and different avenues.
At first glance, Vian Sora’s works look like cosmic implosions. Flat, organic forms act as viewfinders for boisterous textures that resemble bubbling, oozing acid; wet, dense cement; and hazy cosmic dust. But Subduction, the artist’s first solo exhibition at Luis De Jesus Los Angeles, does not speak of intergalactic or otherworldly realms. Rather, it pertains to the entropic and ever-changing geological processes of the earth.
The characters depicted in the drawings, whether living or dead, close or distant, share a common denominator. The starting point for each individual that is tenderly rendered in each drawing is John’s subjective and emotional relationship to them. All are objects of his fascination or affection or both, whether they are family members or interactions that were enabled by what Brooks calls “the whims of the algorithm”. These are portraits of a community that the artist made some sort of connection with, and the degree to which they caught his eye can vary from lifelong friendships to Instagram discussions about architecture, politics, or queerness.
The topics addressed in Vian’s work and practice are deeply personal to her history but at the same time universal in how they relate to what we as humans have faced in our world historically and today. The impact of loss and grief and rebirth, honoring those lost, and calling attention to the way we navigate violence, are present in her work in a way that can resonate with so many. For the artist conducting this interview, talking with Vian was an enriching experience that, like her work, was filled with tonally heavy topics, but always with growth, healing, and hope present.
From examining the primal nature of water to engaging mythology, animism, and Indigenous tradition and to speculating on new horizons, Andrea Carlson (Chicago, IL), Carolina Caycedo (Los Angeles, CA), Paul Maheke (England), Josèfa Ntjam (France), Claudia Peña Salinas (Brooklyn, NY), and Vian Sora (Louisville, KY) focus on the ways in which water is both a site of mourning and renewal.
What makes Harris so special is her magical ability to create fantastical (and yet intimately familiar) works. These art pieces feel as though they’re fables, and we’re familiar with the characters and landscapes. Using a combination of photography, her own unique digital painting method, and acrylic, Harris stuns with large format artworks which are accessible across an array of viewers.
Three fine solo shows of paintings offer personal perspectives as unique as the artists who created them: Laura Krifka, Evita Tezeno, and Nancy Evans. Tezeno’s work is a delightful, vibrant mixed-media swirl of collage and acrylic. “My Life, My Story” is reminiscent of a quilt, a layered narrative of family life in which the textured mediums also convey the stories. Krifka’s “Still Point,” is a beautiful tribute to light, the human body, and the human heart. With domestic settings framing lustrous images, her stunningly accomplished work pulls at the heart and reaches the soul. Nancy Evans focuses on a celestial landscape rather than a human one in “Moonshadow.”
In Fleurs du mal, Evans moves from American Modernism to a post-apocalyptic version of American Regionalism, unsettling, ravishing and surreal. Within its potent symbolism, many American myths collide. Evans infuses Fleurs du mal with a poetic sense of ruin and devastation, but also with the possibility of renewal.
Tezeno creates scenes of everyday life that have a timeless quality. They could be images of now, or from the past. While representational, they have a folk art quality so they appear simple, yet complex simultaneously. The works are composites filled with an array of different materials. Whoever these figures may be, they round out Tezeno’s story and illustrate a vital community.
The sensation of the show is Tijuana artist Hugo Crosthwaite, whose “Borderlands” includes a roomful of small, explosive sketches of scenes from an enhanced version of the artist’s hometown, wild, wall-sized acrylic paintings choked with Mexican signifiers and pregnant with foreboding and whispers of violence, and a vibrant wraparound favela sketched all over the surfaces of a large room.
Bodies and faces stare back from the walls of John Brooks’ studio in the Portland neighborhood. They’re sketched onto paper with energetic markings, largely in pastel tones. Drawings like these make up his current show at a gallery in New York City’s East Village. “Which perhaps is a bit weird given that I think of myself as a painter,” Brooks says.
Fairgoers buzzed about work by Ukrainian artists at the Sapar Contemporary booth, or the pieces by local artist Evita Tezeno that had already been acquired by the Dallas Museum of Art, and gallerists—a mix of local and international—were eager to note the difference between Texas crowds and those at other fairs.
Taylor is among several artists who portray mirrored gazes. So does Melissa Ann Pinney in her public-bathroom photograph “Portrait of Jael” and Paul Mpagi Sepuya in a nude self-portrait in which he’s entwined with another unclad man, with the artist’s visage mostly hidden behind his camera. Even murkier are the faces in Laura Karetzky’s “Toast,” a painting that includes people reflected in, and distorted by, a chrome-clad toaster.
Lia Halloran’s work ‘Your Body is a Space That Sees’ is a series of cyanotype prints that source historical imagery to trace the contributions of women in astronomy from antiquity to the modern-day. Halloran’s work draws from narratives such as the historical accounts of Hypatia of Alexandria, and the work of a group of women at Harvard in the late 1800’s known as Pickering’s Harem or the Harvard Computers.
Moonshadow brings together the artist’s series of Moon paintings, painted between 2014 and 2020, for the first time. In a departure from her abstract practice, and a long career that encompasses performance, sculpture, painting, drawing, and sound elements, Evans’ cosmic paintings take inspiration from the sublime forces of nature which the artist has experienced throughout the course of her life in California, from her upbringing in California’s expansive and fertile Central Valley, to the raw and rugged Pacific Ocean coastline, and the high desert landscapes of Joshua Tree and Yucca Valley.
Jean Lowe’s work parodies our most banal behaviors by inviting us to consume images of our own consumption. Visitors to Your Place in the Multiverse, a survey of Encinitas-based artist Jean Lowe’s work from the last 20 years, have the distinct experience of entering the exhibition through the gift shop.
A story which is now being unboxed. Phung Hyunh is a Cambodian-American artist who came to America as a refugee. In her exhibit, "Doughnut (W)hole," at Self Help Graphics & Art in Los Angeles, she uses a pink doughnut box instead of a white canvas to capture a taste of the Cambodian-American refugee experience.
One artist who will show preexisting work is Vian Sora, who was born in Baghdad but now lives in Louisville. Her paintings convey a fluid-like sense of motion between the figurative and the abstract. She’ll be presenting seven pieces, including the new painting River Bed, a response to last year’s deadly Kentucky tornadoes. “If you look at that painting, there are deflated bodies resting over branches,” Sora says. “I don’t want to say it’s about climate change, but it’s definitely a reaction to that.”
Brooks masterfully depicts landscapes, still lifes, and portraits through a wholly singular approach to artmaking. Nude and clothed men, vegetation, shells, and various scenes from nature are captured with a fluidity and tenderness that demonstrates a powerful connection to the subjects he chooses to draw. Through his application of graphite, colored pencil, and pastels, the artist offers us a peek into the relationships he has forged with the world that he creates with delicacy and precision.
Occupying the opposite pole of painting are the socially engaged works of Karla Diaz at the Los Angeles gallery Luis De Jesus (Booth 5.03). Diaz’s deep, color-saturated canvases tell personal stories of migration from Mexico to the United States, as well as preserve folklore from her heritage.
The Dallas Art Fair Foundation Acquisition Program, which director Kelly Cornell told me was modeled after the Tate’s Outset program, utilized this year’s $125,000 grant to add ten new works to the Dallas Art Museum’s permanent collection—unexpected choices and classic beauties, like a homoerotic vase by Krzysztof Strzelecki called “Olympia” via Anat Ebgi, “Joy, Compassion, Generosity” by Texas native Evita Tenzeno via Luis De Jesus, and “Untitled (laborer)” by Kaloki Kyami via Keijsers Koning, which recently relocated from NYC to Dallas.
Like previous bodies of Krifka’s work, the domestic space is the container for these devious glances, yet there is always the allusion to an “out there” that is more scenic and wild. Several paintings subtly capture sunrise or sunset, the fading light visible in the painting’s background. Sink or Swim pictures a dim and banal kitchen sink that looks out to a lavish private beach. The fantasy always remains at a distance, trumped by the real. Everything But depicts a similar kitchen sink set into an unremarkable Formica countertop, but rather than peer out over a landscape, the sink looks out into a mirror that reflects the entire scene back at us, giving the viewer the uncanny ability to see what would be behind us in the painted scene.
At the Dallas Art Fair press preview yesterday morning, the Dallas Museum of Art (DMA) announced its acquisition of ten works of art, three of which are by Texas artists. These acquisitions are made possible by the Dallas Art Foundation + Dallas Museum of Art Acquisition Fund, which was established in 2016. Evita Tezeno, a Dallas-based mixed-media artist who is represented by Luis De Jesus Los Angeles, is the third Texas artist to have work acquired by the DMA from the Dallas Art Fair.
This May, the Baltimore Museum of Art will open an exhibit that explores the concept of transformation as artistic inspiration. Shapeshifting: Transformations on Paper will feature 35 prints, drawings, photographs, and artists’ books from the BMA’s collection that touch on ideas of renewal, shifting manifestations of identity, and classical myths. Shapeshifting features works by artists such as Pablo Picasso, Margaret Burroughs, Paula Gately Tillman, Zackary Drucker, Saya Woolfalk, and many others.
Here’s a shortlist of recommended booths: global powerhouse Perrotin; iconic-to-cool NYC dealers Kasmin and Karma; European bastions of important discourse Hales Gallery, London, and Kerlin Gallery, in from Dublin; and L.A. outposts of cool Anat Ebgi, Louis Stern Fine Arts, Night Gallery, Luis De Jesus, and Various Small Fires (L.A., Seoul), which also unveils a permanent Dallas space timed to the opening of the fair. (We’ll be catching up with VSF’s Esther Kim Varet in the coming weeks for an in-depth profile.)
This is what we see: sweat, desert, automobiles, men’s fashion, men’s bodies, and blue jeans. But this is not what Pacifico Silano wants us to notice in his solo exhibit If You Gotta Hurt Somebody, Please Hurt Me. Instead, the reconstructed photographs from the 1970s and 80s become an iconic part of what Silano is turning a critical gaze towards: toxic masculinity and its intersection with white queer desire.
There’s something about Gabriel Sanchez’s work that’s almost addictive. Maybe it’s the serotonin-boosting colour palettes – something that’s been lacking here in the UK – or his ability to capture friendship, hope and intimacy. Either way, the audience are invited to learn more of the people he’s painting, whether it’s by listening in on a phone call or observing a trio (in the nude) as they peak over a wall.
“I interviewed these ‘donut kids,’ and I asked them to give me photographs of them as children when they were at the donut shop,” Huynh says, explaining her process. She overlaid the childhood photographs with portraits of the “donut kids” now “to have this relationship of then-and-now, and how they're forging their new identities with this very complicated past.”
Sex is everywhere and nowhere in the photographic work of Pacifico Silano. Take, for example, Violent Delights (2022), a black-and-white image of a shirtless man with shaggy hair who tightly clasps a rifle with one hand, while the other grabs something, or someone, below, just beyond the frame. This image, with its allusion to sex and thinly veiled parallel between the phallus and physical violence, is a key work in the artist’s new, two-part show in New York.
Representing a variety of fields, 180 recipients of 2022 Guggenheim Fellowships were announced on April 7. The artists include Tyrone Ta-columba Aiken, Lisa Corrine Davis, Nathaniel, Donnett, June Edmonds, Mark Thomas Gibson, Lisa E. Harris, Alisha Wormsley, Autumn Knight (film/video), Ja'Tovia Monique Gary (film/video) and Gary Burnley (photography).
Your Place in the Multiverse stirs up plenty of conversation. The five-part installation – which occupies the entire lower floor of the Museum – tackles capitalism, consumerism, feminism, environmentalism, animal rights and the bizarre value we place on ephemera, all while making us laugh out loud (and offering free snacks!).
Artist Jackie Milad is motivated to memorialize her Honduran and Egyptian heritage as she considers the importance of authorship and dissemination of history. “JACKIE MILAD: Birth” consists of four large scale works that combine painting, drawing and collage on hand-dyed canvas, making visual references to creation myths of Ancient Egypt and Mayan civilization. Via “disparate” imagery, Milad contemplates her own mixed-cultural upbringing as well as the complexity of history-making.
Huynh hopes to uplift doughnut kids by centering their stories and experiences in her latest work. While history can benefit from a variety of perspectives, Huynh says that it can be problematic when those who exist only on the periphery are the sole authors of the past. “I really am against the whole American dream narrative — ‘Look at these Asians, they come here and they pull themselves up by their bootstraps, and they’re successful’ — because it demonizes purposely Black and brown folks. It also masks the extreme trauma that our parents faced and experienced, and how that trauma is passed down,” she says.
In a word, karma. Together, the 20 paintings on view feel heavy with the accumulation of history: karmic cycles of violence, pestilence, and death. (Sora, who was born in Baghdad, remained in the city through multiple wars, including the 2003 United States invasion, before emigrating.) And yet, the work also sings with the equally abiding presence of growth, rebirth, and new life.
Equally lovely are the gilded, fantastical images of Harris’ A Season in the Wilderness. Infused with light and a sense of magic, Harris shapes boldly hued visuals myths both mysterious and captivating. With gold leaf elements that mirror that of Byzantine icons, Greenfield’s “A Survey, 2001-2021″ creates powerful paintings that subvert negative stereotypes about Black people and culture. Like Bey and Harris, a fierceness in palette matches passion for his subjects, serving as a framework for a message of pride, hope, achievement and sacrifice.
Huynh, a bubbly 44-year-old with black bangs sweeping across her face, created these portraits first by drawing her subjects in a style reminiscent of Pop Art, then silkscreening them, along with vintage family photographs, onto the pink cardboard donut boxes that have become emblematic of donut shops run by Cambodian-Americans. "These donut shops represent a cultural space where refugees and immigrants reshape their lives in the process of negotiating, assimilating and becoming American," Huynh writes.
Another such project is artist Ken Gonzales-Day’s Erased Lynching series. Since 2000, he’s been collecting and digitally manipulating photographs of lynchings, removing the victims’ bodies from the frame. The rationale, he says on his website, is that “by erasing the victim’s body I hoped to create a visual experience that would force the viewer to focus on the crowd, and in doing so, to address the underlying racism and bias that was so foundational to many of these acts of collective violence”.
"Donut (W)hole" expands on Huynh's earlier body of work portraying first-generation Khmericans on pink doughnut boxes using graphite pencil. A refugee herself, Huynh could relate to many of her subjects' experiences of hard work and persistence. Huynh's father fled the Cambodian genocide and eventually relocated to the United States from Vietnam with his family, but not before spending some time in a Thai refugee camp.
Every time I encounter Carlson Hatton’s work, I come away with distinct sensory experiences of each artwork’s components: paint, shadows, shapes, and objects—human or otherwise. A barrage of images, whether figures or scenes from his paintings, appear in my mind like past movies or dreams, to finalize his confluence of art and its impact.
Embracing the classical and the contemporary, John Brooks’s paintings yearn to create other worlds, a desire that Garth Greenwell argues underlies both art-making and queerness.
“There’s a lot of body in this,” Hunt said. “We’ve all been through something pretty intense together as a global civilization. I’m interested in how that informs people moving through these presentations.” Examples of this include Amia Yokoyama’s sensuous ceramics of contorting, melting figures at Stanley’s and Diné artist Eric-Paul Riege’s hanging works constructed from fabric, faux fur, and hair that visitors can interact with at Stars. At Luis De Jesus, Rodrigo Valenzuela’s tightly composed photographs resemble Constructivist post-apocalyptic landscapes, devoid of people.
There is definitely a focus on featuring Black artists. There are a number of female group shows we’re seeing being presented. There are some really exciting artists. Evita Tezeno is showing with Luis De Jesus, and she’s actually from Dallas. Her work is incredible. And she’s really just getting the recognition that she deserves. So, we’re excited. And excited how her work hasn’t really been shown in Dallas before. So, I’m excited for an LA based gallery to show the work to an audience in Dallas.
To make the works in this show closing on Saturday, Rodrigo Valenzuela built a stage in his backyard on which he constructed haunting creations in metal. He then photographed his creations in black and white, often pumping in fog as he did so to enhance their eeriness, and printed the images himself. This exhibition presents two bodies of works, “Weapons” and “Afterworks,” in which menacing creations of welded scrap metal appear like futuristic torture devices or strangely alien machines that have outlived their purpose.
Odd machines, both weapon-like and suggestive of mechanical creatures, inhabit artist Rodrigo Valenzuela’s solo art installation called “New Works for a Post-Worker’s World” at Luis De Jesus Los Angeles gallery. Valenzuela’s large photo-based works play with the idea of the elimination of “workforce,” pushed aside by automatons that no longer require human operators. “To me, industrialization and the early labor union movement are a very integral part of the beginning of modernism,” Valenzuela said.
Associate Professor of Art Lia Halloran has gotten her wish, as her exhibition celebrating women’s contributions to astronomy, is currently on display in Terminal 1 at the Los Angeles International Airport (LAX). The exhibition, Your Body is a Space That Sees, was selected by the City of Los Angeles’s Department of Cultural Affairs for installation at Gate 9, and thirteen pieces in the series will be available to ticketed passengers through the fall of 2022, where it is expected to reach eight million viewers.
For instance, Rodrigo Valenzuela, who is a teacher at UCLA, is making incredible work right now. His practice looks at the working class and issues of labor, immigration and protest. Represented by Luis De Jesus gallery, he’s got a beautiful new book out and has put together a striking presentation for Focus.
In “Another Land” at Luis De Jesus Los Angeles, Ken Gonzales-Day invites viewers to face the ugliest parts of ourselves and our nation’s history: its legacy of racialized violence. This latest series of drawings is informed by Gonzales-Day’s extensive research into the history of lynching in the conquest of the Americas and are a continuation of his “Erased Lynching” series, in which he appropriates and reinvents historic lynching images and artworks.
Rodrigo Valenzuela. Industry, automation and displacement, along with workers’ struggles for unionization, are longtime interests of Valenzuela, whose photography and cast concrete sculptures will be on view at Luis De Jesus Los Angeles’ booth. Get familiar with the L.A.-based Chilean artist’s photography first, however, in “New Works for a Post-Worker’s World,” the downtown L.A. gallery’s first solo presentation of his work. Valenzuela is an assistant professor at UCLA, and his black and white images in the current show, the gallery writes, “suggest the roaring steel mills of the past, quickly abandoned once outdated, while also offering a retro futuristic vision in which workers and machines devised a better plan than their mutually assured futility.”
Valenzuela is a Chilean former day laborer in landscape, construction, and more. In the two videos on view, Prole (2015) and El Sísifo (2015), sports provide a backdrop for investigating issues of race, labor, solidarity, and workers’ agency. Both videos accurately paint a picture from a perspective I never thought to consider. One of the videos titled “Prole” featured several immigrant workers engaged in indoor soccer and a discussion of worker unionization.
Lia Halloran traverses through mechanisms of experimentation in order to document motion of matter. As an interdisciplinary artist, Halloran examines the interconnectivity of scientistic cultures and the performance of light. Halloran recently presented Your Body is a Space That Sees at LAX Terminal 1, as well as a solo exhibition, The Sun Burns My Eyes Like Moons at Luis De Jesus Gallery in Los Angeles. In this interview the artist deep dives into the creation of cyanotypes, her Dark Skate series, and the influences of mythology and science on her practice.
The American worker is having a moment. Headlines have declared the current power shift from employer to employee as “The Great Resignation” of twenty-four million people, and, for the first time in fifty years, unions in the United States are increasing in popularity, infiltrating some of the largest corporations. Indeed, one of the silver linings of this horrific pandemic has been this empowerment of the worker when automation and downsizing have eroded their perceived value for decades. Perhaps this is why Rodrigo Valenzuela’s first solo exhibition at Luis De Jesus Los Angeles, RODRIGO VALENZUELA: New Works for a Post-Workers World, feels so timely and authentic.
Rodrigo Valenzuela's futuristic vision of a mechanical world devoid of humans is so ominous, it makes us shudder - much like the surrealist films of Luis Bunuel. Valenzuela creates poetry from rebellion in eerie factory scenes that are filled with sinister machines and scary automatons – yet there are no humans in sight or glimpses of nature, except the mist which creates a surreal light. We do not know why the humans have gone or why they have turned machines into dangerous weapons. Was there a revolution? These puzzling, dream-like images are left open for the viewer to interpret. They are so visually well-organized that the underlying aggression and paranoia is almost subliminally felt. As Valenzuela told me, they are “memories from the future.”
The lynching of James Reed, in Crisfield, Maryland, on July 28, 1907, for the alleged murder of the police officer John H. Daugherty. This image was modified for The Atlantic by the artist Ken Gonzales-Day, whose technique, as showcased in his "Erased Lynchings" project, is to digitally remove the victim and rope from historical photographs of lynchings. By erasing the victims’ bodies, Gonzales-Day pushes the viewer to focus on the crowd and, by proxy, the racism and bias that were foundational to these acts of violence.
In their projection of a post-worker’s world, Rodrigo Valenzuela’s Afterwork series and Weapons series speaks to the elimination not only of individual laborers but of the idea itself of the work force, pushed aside by the very shapes we see here: odd machines and automation, engines that no longer require an operator, but that rage when no one is watching.
In Work for a Post Worker’s World, Rodrigo Valenzuela’s grayscale photographs feel like ominous apocalyptic factory scenes — pictures of invented machinery that, devoid of people, imply a future where the robots have taken over. A closer look, however, reveals familiar materials arranged in haphazard but careful compositions.
A new exhibition by Chilean artist Rodrigo Valenzuela explores the implications and philosophical consequences of what happens to laborers as technology and automation displace reorganize, and potentially destroy existing work environments. New Works for a Post-Worker’s World is the artist’s first solo exhibition, and it will be on display at Luis De Jesus Los Angeles (DTLA) now through Feb. 19.
Highlights include artists looking at labor and industry, such Rodrigo Valenzuela’s new series of performative photographs. These uncanny images invoke early steel production, when workers were treated as engines, while imagining a new relationship between man and machine in a post-worker’s world (showing with Luis De Jesus Los Angeles).
The new and temporary installations, include "Out of the Blue," a group show curated by John David O'Brien, in Terminal 7's art gallery and running through summer 2022. The solo exhibits, "Your Body is a Space That Sees" by Lia Halloran, in Terminal 1, and "Tumbleweeds" by Pontus Willfors in the customs hallway in the Bradley International Terminal. The latter two are on display through fall 2022.
And Chilean-born artist Rodrigo Valenzuela explores themes of labor and automation in several series of black and white photographs at Luis de Jesus Los Angeles. His exhibition, “New Work for a Post-Worker’s World,” runs through Feb. 19.
Especially illuminating is the article devoted to the personal collection of Ken Gonzales-Day. An artist who has long engaged photography and the history of California in his work (and who currently has a show on view at Luis De Jesus Los Angeles). Gonzales-Day has spent years gathering vernacular images of Latinos in Southern California in the period that spans the 1850s to the 1950s. California seems only to exist in the U.S. public imagination after becoming a state in 1850. Gonzales-Day’s collection reveals who was here when the U.S. military rolled in.
For more than 35 years, Jean Lowe has been making art imbued with a proprietary blend of wry wit, visual seduction, and incisive cultural critique. Working in sculpture, painting, and installation, Lowe draws us into elaborate reconstructions of our own value systems, empowering, entertaining, and implicating us all at once. Lowe talks with HereIn’s Contributing Editor Jordan Karney Chaim about humor, sneak attacks, and the power of objects.
Rodrigo Valenzuela, Ken Gonzales-Day, Michael Kindred Knight at Luis De Jesus. Three concurrent solo exhibitions. Rodrigo Valenzuela’s New Works for a Post-Worker World speaks to the elimination not only of individual laborers but of the idea itself of the workforce. In Another Land, Ken Gonzales-Day presents a new series of drawings started in 2020 as part of a commission project for the Smithsonian’s Journal of the Archives of American Art. Michael Kindred Knight’s newest body of work, Guide Meridian, represents a progression in his approach to abstraction as complex pictorial events that are developed over time.
Ken Gonzales-Day, the Los Angeles-based visual artist best known for his Erased Lynching photographic series (2002-ongoing) and the related 2006 book, Lynching in the West: 1850-1935, has been researching and collecting Latinx photography spanning from the 1850s to the 1950s.
Brooks goes on to discuss how the inclination to make work that appeals to a wider audience necessarily dilutes the message and intention of the work, creating art that is, ironically, less accessible. Instead, he advocates for honing in on individual interests and experiences as the path to making work that is both honest and compelling. He confirms, “I’m making work that I want to make. I feel a great sense of freedom in that respect. I feel, all of a sudden, rather unafraid, which I think is necessary. I’m not interested in making impenetrable work…I think there are a number of entry points for people.”
A new exhibition, We Are. . . Portraits of Metro Riders by Local Artists, is now on view in Union Station’s Passageway Art Gallery. Each rider portrait has a story that is personal and universal, intimate and immediate — and each is told by an artist with ties to neighborhoods served by Metro. Artwork by Carla Jay Harris will be included in the exhibition.
Karetzky plays with ideas of simultaneity and what is seen or inferred through painted visual illusions. The works concretize the sense of distance and isolation many felt during the pandemic, yet rather than see limitations, Karetzky explores possibilities.
Across town, in downtown L.A., Luis de Jesus Los Angeles has a trifecta of shows that engage architecture in different ways. Nicolas Grenier uses a labyrinth structure as a site for presenting diagrammatic paintings that chart questions of governance (and more metaphysical questions of color), while in a separate space, painter Laura Karetzky compellingly riffs on the nature of the window — as structure, but also as metaphor. In addition, artist Edra Soto dwells on the memories and social signifiers embedded in architecture, reproducing brise soileil structures typical of vernacular Puerto Rican design, but placing within them tiny transparency viewers that feature images of people and places.
A name unfamiliar to most will be June Edmonds. The Laband Art Gallery at Loyola Marymount University presents a thrilling solo exhibition serving as a forty-year survey of the Los Angeles-based artist. “June Edmonds: Full Spectrum” displays more than forty pieces made between 1980 and 2021, representing the first opportunity to offer attention to the artist’s lifelong commitment to portraying Black positivity in her artistic practice.
The exhibition includes 35 portraits celebrating the diversity of Metro's ridership, with transit riders of different ages, ethnicities and backgrounds included. Artwork by Carla Jay Harris will be included in the exhibition.
The fair will include two special sections. The first is Frieze Sculpture Beverly Hills, a new public art program that takes after similar ones in London and New York. That section will be staged in the nearby Beverly Gardens Park, where the works will be on view for three months. The second is Focus LA, which will focus exclusively on presenting one- or two-person presentations from L.A.-based galleries younger than 15 years old. Organized by Amanda Hunt, director of public programs and creative practice at the forthcoming Lucas Museum of Narrative Art, the section will feature Luis De Jesus, Charlie James Gallery, Parker Gallery, Garden, and Stars.
Los Angeles-based painter June Edmonds takes inspiration from the multiple inflections of the vesica pisces. Known for her large, abstract paintings depicting vibrant energetic wheels and neutral flags, Edmonds draws upon her meditation practice and American history — often highlighting the undertold chronicles of Black Americans — to create works that slow the viewer down, encouraging us to contemplate the myriad energies (and histories) coursing all around us.
In his massive sculpture Mariposa/Butterfly, Hector Dionicio Mendoza portrays the insect through a lens that blends power and elegance. Broad, sweeping wings extend in four quadrants from a driftwood thorax, which is topped with a large, muscular, metal hand, fingers tucked into a fist. The hand is coated in golden paint, which seems to trickle down its black forearm as though it is blood. Whose hand is raised here, and why is it raised in protest?
Many of the artworks — including pieces by Zackary Drucker (self portait, above center), Josh Reames and Laura Krifka — were found at L.A.’s Luis De Jesus Gallery. “It’s really important to support working artists,” says Clayton.
In the tradition of 20 century great Romare Bearden, Texas native Evita Tezeno creates richly embellished collages depicting the same Black woman in a variety of situations, including the play of emotions she felt during the pandemic lock-down last year. Tezeno explores our limited lifespan, sheltering in place, and hopeful transformation. Collectors loved them; the NADA booth quickly sold all her work. // “Shattered Glass” tells an evocative story of strength by those often marginalized because of race, ethnicity and sexual identity through works such as Gabriel Sanchez’s “Babalao Pastor, Yoruba Priest.”
Dallas-based artist Evita Tezeno presents several new collage-based paintings that reflect on her experience living through the pandemic. They each present portraits of Black women holding various objects—a miniature house, a bountiful bowl of fruit. “There have been a lot of strong Black women in my life,” Tezeno said of the people she paints. The figures are all depicted with large eyes because, for the artist, “the eyes are the mirror of soul.”
Evita Tezeno brings out the joy in painting, through soft hues and bold figures evoking smiles and memories of time gone by.
Karetzky adeptly addresses this new convergence of human interaction and observation in her work. The notion of watching someone through a digital platform has largely influenced daily life because of social distancing — sometimes for the better, and sometimes for the worse. Now, even as we peel our eyes away from these windows to re-enter our offices, schools and shopping centers, we all seem to be stuck between two windows.
In conjunction with the opening of Untitled Art Fair 2021, Miami’s non-profit art exhibition space Locust Projects kicks off Art Week with a public screening of local artist Antonia Wright’s And so with ends come beginnings, a contemplative video on sea-level rise that will play on a large screen floating off the shores of South Beach. Shot when the artist was nine months pregnant, the video is a metaphor for the dualities of ecstasy and anxiety of living in a paradise for ground-zero sea-level rise. Lummus Park, 1130 Ocean Dr, Miami Beach. Nov 29, 4–6pm.
With more than 250 galleries, including 43 first-timers based in countries from Uruguay to Zimbabwe, Art Basel Miami Beach might be the most renowned fair in town this week — but it’s by no means the only one. Untitled Art Miami Beach (November 29-December 4, 12th Street and Ocean Drive) is celebrating its 10th edition by inviting four curators to stage presentations at the show. Natasha Becker of the de Young Museum in San Francisco is uniting 11 galleries around the theme of black voices, while art historians Estrellita Brodsky and José Falconi have focused theirs on less traditional, more outlying ways of understanding the universe.
December is right around the corner and we’re happy to say Miami Art Week is back in grand fashion. This year’s Untitled Art Fair will be in keeping with the festive mood, too. The 10th edition of the event will also be the biggest it’s ever been, with over 145 international galleries exhibiting and a new section, Nest, which will aim to support emerging galleries, collectives, and non-profits. But there’s more. This year, Untitled has also tapped four powerhouse guest curators to create special themed shows within the fair: Natasha Becker, Miguel A. López, Estrellita Brodsky, and José Falconi.
Tracing her journey from figuration to abstraction, “Full Spectrum” at Laband Art Gallery surveys the practice of June Edmonds over the past 40 years. Edmonds was born in Los Angeles, where she continues to live and work. Over the years, consistently considered the complexity of the Black experience, through race and history. Early representational works are personal images of domestic scenes. More recently, Edmonds has employed a language of abstraction, utilizing shape, repetition, and color. She has explored little-known narratives of historic women, redlining, and the symbolism of the American flag. Providing the first opportunity to consider the full spectrum of Edmonds’s ouevre, more than 40 paintings and drawings, made between 1980 and 2021, are on view.
The post-pandemic era can offer rewarding challenges, as I found out when engaging in my first Zoom interview. I spoke with painter and educator June Edmonds on the occasion of her current 40-year retrospective at the Laband Gallery, Loyola Marymount University, and a simultaneous solo show at Luis De Jesus Los Angeles.
Nine years ago, June Edmonds made a painting that, if not an immediate turning point in the 40-year development of her work, nonetheless signaled a direction that has lately come into full flower. “Gee’s Jungle” (2012) is included in the aptly titled survey “June Edmonds: Full Spectrum,” at Loyola Marymount University’s Laband Art Gallery in Westchester. The painting is composed of about a dozen mandala-like geometric disks of saturated color — the full spectrum — rendered in short, thick strokes of dense paint, each laid on with controlled concentration.
“We,” Susan Silton’s first solo show with Luis De Jesus Los Angeles, featured a suite of sixteen photographic prints of the Armstrong Redwoods State Natural Reserve in Northern California. Each black-and-white work presents two nearly identical views of coastal redwoods, resolutely earthbound trunks emerging from the grassy floor. Silton shot them on her iPhone; vantages capture clearings and the receding spaces of deep, dense groves that eschew the aperture of sky.
June Edmonds is known for large-scale, dynamic abstract paintings that pay homage to African American figures and historical events. The concurrence of her 40-year survey, June Edmonds: Full Spectrum at Laband Art Gallery, Loyola Marymount University and an exhibition of her recent work, Joy of Other Suns, at Luis De Jesus Los Angeles is perfectly timed - during the current renaissance of Black art - for overdue critical recognition of her constantly evolving aesthetic style. The survey is accompanied by a 64-page catalogue with essays by Dr. Jill Monitz and Laband Art Gallery Director, Karen Rapp, that will be launched at the gallery in November and ensure her position in African-American art history.
My first encounter with Rodrigo Valenzuela’s work was through his video works like Diamond Box (2012–2013), in which the artist paid undocumented migrant workers an hourly rate to tell their stories for the camera. A Chilean-born artist who illegally worked as a day laborer before earning his MFA from the University of Washington, Valenzuela saw his own experiences reflected in the voices of these workers—a familiarity that imbues these works with a sympathetic resonance.
Los Angeles-based artist Ken Gonzales-Day discussed his ongoing series, “Erased Lynching,” Thursday at the USC Fisher Museum of Art. Invited as part of the museum’s Fall 2021 exhibition “Art and hope at the end of the Tunnel,” Gonzales-Day talked about the history of lynching’s erasure in California, particularly of Latinx people.
A man dressed in brown stands before a row of trees, the color of his garments and the sturdiness of his posture evoking the solidity of the forest behind him. To his left, a fire eater spits flames into a tangerine sky. If this all sounds like a dream, well, it is. “El ´Árbol y el Tragafuegos” — “The Tree and the Fire Eater,” in English — was painted by Los Angeles artist Karla Diaz and it emerges from her dreams and her memories. The tree-man? That’s her, as a figure she once embodied in a dream. The fire eater was inspired by “Dragón,” a man — and actual fire eater — she knew from her family’s native village in the Mexican state of Colima. His real name was José and he hoped to one day become a truck driver.
Perhaps no artist of this year’s winners so starkly conveys the binational experience on both sides of the border quite like Hugo Crosthwaite. Blending fantastical elements and intimate portraiture, his drawings seem otherworldly, yet remain grounded in real-life issues. His work has been collected by everyone from the Museum of Contemporary Art, San Diego to National Museum of Mexican Art in Chicago.
A brand new exhibit has graced the Laband Art Gallery, "June Edmonds: Full Spectrum", which displays her best works from the past 40 years. The exhibit ranges from her first-ever oil painting to her most recent American flag collection –– but all pieces emphasize her commitment to Black positivity. For the past four years, Karen Rapp has been directing and curating the Laband Art Gallery for students and Westchester locals alike. “I became aware of June’s work a few years ago through her American flag paintings series for which she has received much acclaim. I wanted to present this 40-year survey of her career because she has been making stunning works from a Black feminist perspective that speak to everyone,” said Rapp.
“For years, I was just trying to turn my back to a little bit of the intensity of the experience of not only being an immigrant, but being an Iraq immigrant in America, but also being an American,” Sora said. “And I feel like I was really faced with that here, not in a bad way.”
His work serves as a gateway into understanding and questioning the common human condition. Painting has become a means of processing for Maier-Carretero that ultimately results in a greater sense of self-acceptance for the artist. “I’m able to accept my own experience as part of a human experience whether it’s fortunate or unfortunate,” said Maier-Carretero. “I want to tell the story of what I don’t . . . of what I guess I don’t know what to do with. Like I don’t know what to do with these feelings of seeing people suffer, seeing myself suffer, seeing my family suffer.”
The vibrant, curvilinear abstractions of June Edmonds have a backstory. Calling to mind travel routes and topographical mapping, her latest works explore race, history, and the Great Migration, paying tribute to Black female pioneers and early Southern California landowners. This gallery exhibition coincides with “June Edmonds: Full Spectrum,” a 40-year survey of Edmonds at Laband Art Gallery at Loyola Marymount University in Los Angeles. Edmonds also recently installed a mural in La Jolla, Calif., and she is giving the Russell Lecture at the Museum of Contemporary Art San Diego on Oct. 27.
Full Spectrum is a 40-year survey of the work of Los Angeles-based artist June Edmonds, who has spent her career “centering Black American experience.” The show spans early portraits of herself and other Black women, prefiguring contemporary painters of African-American domesticity like Jennifer Packer,through recent abstract compositions made up of hundreds of individual, distinct brushstrokes. Concurrently, Luis de Jesus will be staging a show of contemporary work by Edmonds, Joy of Other Suns, up through October 30.
Though the Fisher Museum features art of many different mediums (including amazing quilted tapestries and more abstracted collages), the exhibition excels most in its presentation of various portraits. The portraits displayed a range from Damian Elwes’ Basquiat-inspired canvas to Simon Toparovsky’s futuristic-looking cast aluminum busts and Ken Gonzales-Day’s collection of “Pandemic Portraits” depicting fellow artists, models and friends.
For a city that was once part of Mexico and nearly 50% of the Los Angeles population being Latinx, it’s fair to imagine that the number of art galleries, museums, and spaces showing Latinx work here would roughly mirror that number. Spoiler alert: It doesn’t. That’s why, when Latinx Heritage Month rolled around this year, all of us at Curate LA felt the need to celebrate and shine a light on the Latinx artists, curators, and spaces working hard to close the gap. All month long, we’re featuring Latinx artworks, events, and exhibitions on our social media, newsletter, and website. To kick us off, here’s our list of 16 Latinx-owned museums, galleries, and art spaces in Los Angeles and our surrounding areas who you can show some love to this month.
To walk into Moremen Gallery, in Louisville, and view the exhibition of John Brooks’s new paintings is to have a visceral experience of queer time. The twenty-one oil paintings, most of them large format—roughly four and a half by four feet, or larger—use contemporary pop-culture references, allusions to art history and literature, and images of Brooks’s friends and social-media acquaintances to create a kind of transhistorical community.
In each of Carla Jay Harris’ photographic collages at Luis De Jesus in the Arts District, the artist drops us into an allegorical narrative that is frozen in time. In each, figures commune with each other in ethereal landscapes which layer washy color over mountain peaks and rock formations to imbue them a celestial atmosphere. Though based on photographs, Harris collages texture and pattern over her figures and landscapes, adding painterly gravitas to her scenes.
The four winners of the annual prize will collectively show off their latest works, which range from street-style pop-surrealism (PANCA) and Turkish-style ceramics (Beliz Iristay), to black-and-white drawings (Hugo Crosthwaite) and subversive paintings (Perry Vásquez). There will be an artist reception on Oct. 9 from 5 to 8 p.m.
THE FALL EXHIBITION SEASON is officially underway and some of the first new gallery shows to open feature five early- and mid-career artists to watch. Each has a unique visual voice. What unifies their latest work is a resonance with the contemporary moment. Deborah Roberts, Carla Jay Harris, and Brittney Leeanne Williamsare confronting hard truths about ourselves, our communities, and our democracies and considering the empowering effect and emotional toll of these realities on our children and on Black women, their bodies, in particular. Sculptural reliefs by LaKela Brown utilize an ancient art form to document the lives of contemporary women.
“I hope what the section does is show the complex nature of how each of us might envision the future,” says Wassan Al-Khudhairi, the curator of the Focus section at this year’s Armory Show. “The works are informed more by the idea of looking into the future as a place to start rather than making work ‘about the future’.” Works are often interdisciplinary, the curator says, and engage in notions of cross-cultural collaboration, environmental stewardship, mutualism, care and the power of communities coming together. Al-Khudhairi says she wants to “create a space that captures the ideas of a group of artists that consider the future in the context of our current conditions”. Carla Jay Harris’s series Celestial Bodies (2018-ongoing) at the Los Angeles gallery Luis De Jesus depicts ancient gods inhabiting the spaces where heaven meets earth, in the guise of peaceful and empowered Black characters.
Carla Jay Harris has long used mythology in her work as a tool to make sense of reality. Her series “Celestial Bodies” (2018–20) reflects her personal experiences as an American kid growing up outside the United States, picturing Black and Brown protagonists navigating mystical landscapes. Her newest pieces, featured at The Armory Show and in her current solo show with Luis de Jesus Los Angeles, “A Season in the Wilderness,” build upon her earlier body of work, responding to the circumstances of the pandemic and the social and political unrest that ensued.
It was also exhilarating to visit the post-pandemic expansions of Anat Ebgi Gallery and Luis de Jesus Gallery, both of which have relocated and expanded their programs. Carlson Hatton’s must-see exhibition of dynamic, multi-layered paintings in one gallery room at Luis de Jesus, navigates complex detours and returns by combining dense patterning, intricate figuration and subtle marking in emotionally-charged, vibrant colors.
Last summer, with art fairs on indefinite hold and museums shuttered, former art fair director Helen Toomer saw an opportunity to bring together the art community safely in upstate New York’s Hudson Valley, where she and husband Eric Romano run the Stoneleaf Retreat artist residency in Eddyville. Last year, the inaugural Upstate Art Weekend invited visitors to explore 23 art spaces throughout the region. This year, there are 61 participants, ranging from Storm King and Dia Beacon toward the south up to galleries in Hudson and Art Omi in Ghent, furthest from the city. Stoneleaf is presenting solo exhibitions from Hiba Schahbaz and Liz Collins, plus site-specific projects by Lizania Cruz, Macon Reed, and Rebecca Reeve.
“The future is happening. It is limitless,” Transparent producer Zackary Drucker said. “I think that the trans and nonbinary community have tools to offer everybody — tools for survival, tools for self actualization that are invaluable. Our stories are universal. They’re not at all niche.”
Emmy-nominated artist and filmmaker Zackary Drucker (“This Is Me,” “Transparent”), who made her longform directorial debut earlier this year with the HBO documentary series “The Lady and the Dale” and serves on the Outfest board, returns to the festival she credits with fostering her development as an artist and subsequent leap from the experimental art world to a film and television career.
For this iteration of the exhibition, which debuted at the National Portrait Gallery in 2019, artists were invited to respond to current social and political contexts. First Prize was awarded to Hugo Crosthwaite for his “A Portrait of Berenice Sarmiento Chávez” (2018), a stop-motion drawing animation that recounts a young woman’s journey from Tijuana, Mexico, to the United States.
Flags have a history as a contentious subject in art, probably because of their lasting grip on our political imaginations. In 1970, for instance, three artists were convicted of flag desecration in New York, and in 1988, Dread Scott sparked controversy by layinga U.S. flag on the ground. I thought of those incidents when seeing “Counter Flags,” curated by Natalia Viera Salgado, a co-founder of the art space Pública in Puerto Rico and a resident at Abrons Arts Center. The exhibition is a mini philosophical inquiry into flags as symbols of nationalism, with attendant pride and critique. Edra Soto and the duo Melissa Raymond and René Sandín contribute eye-catching celebrations of Puerto Rican culture, although a version of Soto’s work, “Tropicalamerican 21” (2021), was recently and more evocatively displayed on Governors Island, where it blew in a sunroom, accompanied by music.
In a 2005 interview, architect Oscar Niemeyer confessed, “I prefer to think like André Malraux, who said, ‘I keep inside myself, in my private museum, everything I have seen and loved in my life.’” Artist John Brooks, in his second solo show with Moremen Gallery, appears to share Niemeyer’s affinities. We All Come and Go Unknown, on view until August 21, 2021, includes nearly two dozen oil paintings that teem with references to beloved cities, films, novels, artists, actors and friends from Brooks’ global queer community.
The newest installation in the Murals of La Jolla project is a highly saturated abstract painting by prestigious LA-based artist June Edmonds. Edmonds completed her undergrad at San Diego State. This piece is based upon Henrietta VanHorn-DeBose, who was the first African-American woman to settle in La Jolla, beginning in the early 1900s, and ultimately Henrietta and her husband Thomas DeBose would own multiple properties along Draper Ave.
The Mount Holyoke College Art Museum and the department of Spanish, Latina/o and Latin American studies announced a new student award, the inaugural Mariposa Prize. The prize was funded by and based around the work of Hector Dionicio Mendoza, a mixed- media artist who teaches in the visual and public art department at California State University, Monterey Bay.
“What are we looking at?” You hear that (usually rhetorical) question a lot in art galleries and design houses – also in accounting firms, screening rooms, at construction sites, and (really) business meetings of any kind – frequently spoken with some impatience. (We’re always in a hurry here, even as we’re telling ourselves to slow down – which is what this question is actually asking for permission to do.) It is understood that what is referred to here is a presentation, or representation of the actuality, the thing, what we all agree to agree is the reality. How we may think about that agreed-upon actuality or reality becomes a matter of both methodology and attitude.
Multidisciplinary American artist Carla Jay Harris also began to incorporate mystical ideas into her work due to her personal experience. “In my larger art practice, I always start with something going on in my personal life,” Harris explained. “And after graduate school, I felt a bit sort of adrift. Looking at mythology and spirituality was my own way to ground myself. And that’s what really got me into it.”
With the majestic radiance of stained glass windows, the cosmic imagery of planetarium ceiling murals, the fractal arabesques of primordial soup, and the precise geometrical armatures of ancient architectural motifs, a suite of four cyanotypes at monumental scale by Lia Halloran — actually two cyanotypes and their corresponding 1:1 scale hand-painted negatives — are made both by and about the power of the sun.
I also like Aaron Maier-Carretero’s somewhat disturbing enormous painting titled not in front of the kids. The palpable, hidden violence is terrifying in the work.
Your Place in the Multiverse: Jean Lowe recently opened as an exhibit at the Nora Eccles Harrison Museum of Art in Logan. The exhibit features 10 art installations from American artist Jean Lowe that use satire and humor to touch on topics such as consumerism, environmentalism and feminism. Jean Lowe is a multimedia artist whose installations at the NEHMA include paintings, artist-made furniture and a short film where Lowe dresses as a fictional talk show host to discuss her works.
The mysterious, slowly-unfolding plot kept me off-balance and deeply absorbed. The disjointed, imaginative visual style suggests pop music videos more than any conventional opera video I’ve ever seen,and works marvelously well; great credit for this to director of photography Michael Elias Thomas, production designer Yuki Izumihara, and lighting designer Pablo Santiago. James Darrah, Zackary Drucker, Joy Kecken, and Raviv Ullman directed. Costumes are by Molly Irelan. The Boston Lyric Opera Orchestra provided the instrumental soundtrack, conducted by David Angus.
“My approach to diversity has been an organic one,” says Luis De Jesus, owner of the eponymous gallery downtown. “Being Puerto Rican, a person of colour and a gay man, I’ve always been conscious of the need to support artists of diverse backgrounds and perspectives.” He names grassroots galleries and museums that have tirelessly held a place for Latinx art, among them La Plaza De Cultura Y Artes, the Museum of Latin American Art and the Latino Arts Network.
As a child, artist Hugo Crosthwaite spent a lot of time hanging out in his father's curio shop in Rosarito, Mexico. It was there that the seeds were planted for his particular approach to art. "That's where I learned English, by just interacting with American tourists," Crosthwaite said. "I would tell them stories about a little ceramic idol and I would make up stories about 'Oh, this is Tlaloc, the god of rain.' It wasn't."
My bias in art appreciation leans toward figuration/realism. I like abstraction particularly when it informs the emotional nature of realism. Carlson Hatton is a terrific painter. The “armature” for his painting is the figure/realism which he then emotionally deconstructs by abstraction. Hatton’s talent portends ever better painting to be seen in LA.
The latest work in the Murals of La Jolla public art program, June Edmonds’ “Ebony on Draper and Girard,” was completed July 19. Unlike other murals that are printed out and hung on a building, this one was painted on a three-story column over several days on the alley-facing side of 7724 Girard Ave.
For Los Angeles-based artist June Edmonds, the in-production “Ebony on Draper and Girard” mural is about more than making a three-story statement on the alley-facing side of 7724 Girard Ave. in La Jolla. It’s a salute to Black women and their role in La Jolla’s development.After completing a mural inspired by Maria Valdez, the first Afro-Latina woman to own property in Beverly Hills, Edmonds was invited to create a piece for the Murals of La Jolla public art program. She researched names such as Henrietta VanHorn-DeBose and Carrie Coleman, who were among the first to own property on Girard and Draper avenues.
When I first came across the work of Rodrigo Valenzuela, a Chilean artist whose films and photographs often deal with labor themes, the record-high unemployment and an increasing reliance on technology brought on by the pandemic placed the often staggering statistics about the future of work in the front of my mind.
Now my friends, brace yourselves for a “sublime cosmic phenomenon” of the exhibition by maverick, Los Angeles artist, Lia Halloran (b. 1977) at Luis De Jesus Gallery. The exhibition title, The Sun Burns My Eyes Like Moons, refers to photographs Halloran took during the total solar eclipse in 2017. This body of work is her homage to the sun.Halloran’s large-scale cyanotypes are produced through exposure to the sun. Each cyanotype panel is a unique positive imprint that occurs by placing translucent paper under the sun that acts like negative film absorbing light. Saturated with blues, black and pops of color, Halloran’s painting “evokes the overwhelming grandeur and luminosity of the sun.”
The show features the arresting, large-scale cyanotypes of L.A.-based artist Lia Halloran along with their painted negatives. The mesmerizing work in the show is an homage to the sun, but instead of bright yellows and oranges that radiate light, Halloran’s suns are that rich, deep-sea blue that is created through the cyanotype process. Her suns are almost amoeba-like, swirling and erupting with captivating line work that reach out like tentacles. Halloran integrates scientific concepts into her studio practice by researching solar eclipse expeditions and ancient Egyptian temple reliefs.
But the most visceral work in this exhibition goes to Antonia Wright and “Suddenly We Jumped,” a 14-second video documenting the artist being thrust into a sheet of glass. The result is expectedly dangerous and unexpectedly beautiful. The piece accompanies “MAP,” her photograms of glass panes the artist shattered with a hammer—Wright’s furious and reasonable response to the police killings of unarmed Black people in 2020.
For Smith, it’s a thrill to be included in the show. “I studied some of these artists when I was in grad school.” she says. “Some of them were my first introductions to what the possibilities were for being a Black artist—that you didn’t have to be this one type of artist making this one type of work; that we could be expansive, complicated, and not monolithic in our approach.”
The 2021 Acquisitions artists include Cara Despain, Susan Lee-Chun, Nicolas Lobo, Reginald O'Neal, Marielle Plaisir, Jamilah Sabur and Antonia Wright. A jury comprised of Miami and nationally-based curators, Tami Katz-Freiman, Omar Lopez-Chahoud and Larry Ossei-Mensah, helped select the diverse group of both established and emerging artists from a pool of more than 500 artists who are current residents or alumni of Oolite's programs. Oolite Arts purchases new works each year through its Acquisitions program.
The 2021 Acquisitions artists include Cara Despain, Susan Lee-Chun, Nicolas Lobo, Reginald O’Neal, Marielle Plaisir, Jamilah Sabur and Antonia Wright. A jury comprised of Miami and nationally-based curators, Tami Katz-Freiman, Omar Lopez-Chahoud and Larry Ossei-Mensah, helped select the diverse group of both established and emerging artists from a pool of more than 500 artists who are current residents or alumni of Oolite’s programs. Oolite Arts purchases new works each year through its Acquisitions program.
Hatton's latest body of work explores the psychological and physical terrain of the post-pandemic world.
Zackary Drucker: Aimee Goguen, 38
"To me, Aimee Goguen’s work unlocks a limitless and imaginative internal universe. It spans genres and is truly masterful in every form. She is an abject visionary and a prolific artist’s artist in Los Angeles."
The works included in the show feature re-imaginings of ancient mythology with contemporary issues. A painting called Bus Stop (Leda and her Cygnets) become a parable for gun violence. Adams often features himself in his work, portraying himself as Zeus with a freaky looking grizzly bear. The work is a wonderful reminder that figurative painting is not only relevant, it’s ferocious. His images stare straight out from the canvas, locking you into their gaze. But before the relationship becomes a virtual stare-down, humour, compassion and joyous surrealism disrupt the intensity. Liberation ensues.
Or the cyanotype frames (photographic procedure) by Antonia Wright, who “integrates and combines her body and that of a palm tree, forming a union between the human body and nature,” Mitrani pointed out.
I create self-portraits often and especially when something extraordinary is happening. This was the first time I got fillers injected and I loved the bruising on my face. I do participate in Pride but I don’t believe it’s a value that we should elevate. I think of pride as conceit and have expunged pride from my life in order to not be vulnerable to shame. The only way to not have any shame is to not have pride and to find humility.
In the group exhibition Painting the Narrative at the National Arts Club in New York City the artist Dee Shapiro brings together six contemporary artists who explore content and form of narrative painting ranging from interiors to landscapes, personal to imagined, realistic to fantastic. Featured artists: Jennifer Coates, Laura Karetzky, Judith Linhares, Ernesto Renda, Kyle Staver, and George Towne. The show runs through June 28th.
"Solmi reimagines these figures as devilishly smiling partiers, who are unconcerned with the people – particularly Native victims of colonialist action – who are trampled over by their revelry. The show, through all its varied mediums, points a finger towards the rampant deification of these historical figures despite the atrocities and pain they perpetuated and profited from."
As VanDyke's"painting" brings together the Columbus region's textile and military histories with the most modern art practices, The Columbus Museum is proud to add this important work to its permanent collection holdings.
This unique group exhibitions features recent works of 32 established and emerging artists, manyare exhibiting at the gallery for the first time. The exhibition encompasses a variety of media, scale, and modes of presentation, with artworks that address themes of cultural resilience, the articulation of marginalized histories, and the significance of embodied knowledge.
THE SHOPHOUSE gallery in Hong Kong is pleased to present group exhibition “I & the ME” by Anders Lindseth, Iabadiou Piko, Josh Reames, Julian Watts, Kour Pour, Mahsa Tehrani, Osamu Kobayashi, Yves Scherer and Zhang Ji. Participating artists are invited to create two works, one representing “I”, the subjective side of the artists evaluating themselves. Another piece about “Me” – the objective side of themselves shaped by the market, exploring how artists rover around today’s art world.
"The real showstoppers — Solmi’s video paintings — are situated in the main gallery. Created using a unique synthesis of painting, drawing, 3D digital animation, gaming, screen recording and motion capture software, each video is developed through a process that may take up to three years to complete. Seeking to achieve what he views as a humanizing of artificial looking digital imagery, Solmi scans the textures of hand-drawn or painted figures, objects, and settings, and maps the scans over digital skeletons, the blueprint-like imagery that is created using animation software. Motion is incorporated by capturing movements that he and his assistants create in the studio. In this way he creates compositions that resemble expressionistic figurative paintings brought to life. "
Ken Gonzales-Day is among the artists included in “Photo Flux: Unshuttering LA” at the J. Paul Getty Museum. The exhibition opens when Getty Center re-opens on May 25, and will be on view through October 10. “Photo Flux” features pictures by 35 Los Angeles-based artists who challenge ideals related to beauty, representation, cultural capital and objectivity. It was curated by jill moniz.
I think my work is similar to an enormous open-ended casting session. I create characters that could become actors in a play or a movie but instead, they land in a painting. There is no "theme" per se but rather a suite of relations between pictures. Wilfried Laforge at SVA recently introduced me to Warburghian Iconology, Jean Michel Durafour, and W.J.T Mitchell's studies of images. It is the closest and most excellent concept I can use to describe my thinking process. I can explain my exhibitions in terms of image juxtaposition and active metonymy.
By expanding these little details, Silano also makes the viewer focus on the materiality of the pages. In the larger works, the dot matrices become visible, and the dog-eared folds look less crisp. Sometimes, if he has duplicates that have aged differently — whether by oxidisation or literal wear-and-tear — he places the same page next to itself. He tries not to change the pages themselves any more, as he did when he was a student. The turning point came after he worked in New York University’s Fales Library, where he was forced to make his collages without a blade. “There’s a sensitive gesture of gently laying something on top of another,” Silano said.
"My paintings seems spontaneous, but it is not so unexpected, considering the amount of work I do before engaging in a series. I can think about a subject for months before I paint it. I obsessively accumulate many images in my notebooks around a topic. Afterward, in the studio, it is momentarily translated into paint. I know what I want to paint, and then I let the images develop and let them flow. I discover my pictures as I paint them, and I love the surprise of this process. "