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Luis De Jesus Los Angeles
2685 S La Cienega Blvd. Los Angeles, CA 90034 | T 310 838 6000


February 26, 2019

LUIS DE JESUS LOS ANGELES AND JOSH REAMES: 6 Keys to a Good Artist-Gallerist Relationship

There is no single archetype of the art dealer. Many gallerists are known for their selflessness and devotion to the creative process, but there are certainly bad apples, infamous for running glorified racketeering schemes. It can present a tricky dilemma for a young artist seeking representation—eager to take her career to the next stage, but wary of locking herself into a relationship that might not pay off.   more

What are some of the factors that lead to lasting bonds between artists and their dealers? Artsy spoke with five artists, at various career stages, to glean some insights into this exciting but fraught process.


“It’s a balance,” offered Josh Reames, a painter currently represented by Andrew Rafacz Gallery in Chicago, Luis De Jesus in Los Angeles, and Brand New in Milan. “It’s ideal to have a friendship, but also keep it professional.” He acknowledged that this can be easier said than done, leading to “the awkwardness of a purely business relationship where you don’t connect at all, personally,” or “the flip side, where a gallerist is great personally, but toxic business-wise.” In other words: Your dealer might be a witty raconteur and an unbeatable drinking buddy, but that won’t help an artist pay the rent if she’s waiting 18 months to be paid for work that sold at NADA in Miami Beach. [ READ MORE ]

February 21, 2019

GoFundMe campaign launched to help Tijuana artist Hugo Crosthwaite, who is fighting cancer

Hugo Crosthwaite — a well-regarded artist known for his work on both sides of the border — is fighting cancer, and the community has rallied to help.

A GoFundMe campaign with a goal of raising $25,000 was created Feb. 19 to help with his care. As of mid-day Thursday morning, nearly 180 donations had been made, raising more than $18,000.

Crosthwaite, who was born in Tijuana and attended San Diego State University, was diagnosed with stage 3 testicular cancer in September.   more

He had undergone surgery and was then given a clean bill of health.

But two weeks ago, after waking up with a swollen leg caused by a large blood clot, doctors discovered the cancer was back and had reached his lymph nodes and entered his blood, kidneys and liver, according to a note on the GoFundMe campaign by Luis De Jesus, director of the Luis De Jesus Los Angeles gallery and a friend of Crosthwaite’s.

“This week, he began a very aggressive chemotherapy protocol and will require multiple rounds of chemo and radiation therapy,” De Jesus wrote. [ READ MORE ]

February 19, 2019


EDWARD GOLDMAN: "Fool Me Once, Fool Me Twice: The Pleasure Is Mine"

Thank God, the week full of art fairs, with thousands of people fighting for a chance to have a glimpse of artworks, is behind us. I saw a lot of interesting art at the fairs, but I missed the opportunity to quietly interact with it for more than a few seconds. To recuperate from the noise and crowds, I chose to see some gallery exhibitions last weekend, where I could enjoy the artworks at my own pace.


In Culver City, I stopped by Luis de Jesus Los Angeles, to see the exhibition of Los Angeles photographer Chris Engman.   more

The trademark of his art is fooling your eye not once, not twice, but many times. And the more his art fools you, the more pleasure it delivers. At the entrance to the gallery, you are confronted by a full-scale installation made out of several vinyl photographs that make you believe you are stepping into water, walking through a forest, and seeing the light at the end of the tunnel… [ READ MORE ]

February 19, 2019


Refraction features Containment, a site-specific work originally commissioned for the FotoFocus Biennial 2018 in Cincinnati, Ohio, as well as new photographs from the Prospect and Refuge and Ink on Paper series. These various photographic projects range from architectural to sculptural to two-dimensional, each acknowledging strategies of seeing. Refraction explores the relationship between illusion and reality by exposing the deceit inherent in photographic image-making while engaging in philosophical and material play around slips in translation.  [ READ MORE ]

January 23, 2019


The first thing one notices upon entering Caitlin Cherry‘s show at Luis De Jesus is her sensational palette so improbable that it seems to have dropped from outer space. Clashing vibrant colors contrast, oscillate and dazzle as though her paintings were a laser light show. As the shock of hue subsides, you find yourself drawn into a bizarre alternate world ruled by curvaceous mystic black women who exude eccentric glamour while confronting discriminatory stereotypes.   more

Dressed like pop stars in halters, leggings and high heels, Cherry’s female protagonists appear eerily spotlighted by feverish intermittent beams that play across vibrant rainbow striations evoking oil spills and luminous digital bursts. The more you gaze, the creepier Cherry’s mesmerizing world seems. Some of her women, such as the model-esque subject of Ultraviolet Ultimatum Leviathan (2019), exude a languid allure, while others hold mirrors to society’s sexism and racial bigotry. The suggestively posed, bespectacled woman of grossly distorted facial features in Sapiosexual Leviathan (2018) serves as an incisive retort to the derogatory absurdity of blackface and “sexy librarian” clichés. Cherry titled her show “Threadripper” after a brand of powerful computer processing unit; through her paintings inspired by LCD technology, she reflects and processes exploitation of black female bodies. Tangential to this notion, LCD mounts brandish ostentatious canvases at humorous odds with the quotidian office furniture to which they are attached. In the smaller gallery, “Mother Comes to Venus,” Zackary Drucker‘s entertaining short film featuring real-life stars, resonates with Cherry’s work from a transgender perspective. [ READ MORE ]

January 10, 2019

Caitlin Cherry Strikes a Masterful Pose at Luis De Jesus Los Angeles

In a world where every image is distorted, manipulated, aspirational and dysmorphic, what is to become of painting's history of generating interpretive, fantastical pictures? Beauty is both longed-for and suspect, female power is both lauded and feared.   more

What is a self-assured paint warrior with an operatic talent and a love of disruptive art history supposed to do?

Within the hierarchy of desires, what place is there for images further viewed through the mediation of technology — especially when that tech isn't working right? And what does "right" even mean when we're having a subjective and subversive discussion on patriarchal, racial and colonialist paradigms of beauty in the first place?

In the paintings of Caitlin Cherry, black female bodies and sexually confident women in general are portrayed as self-possessed in the face of oppression and outmoded, moralizing aesthetics. Her topsy-turvy palette riots topple expectations and reveal an emboldened generation of women ready to rule this jacked-up kingdom. She’s also a formal wizard and a beast with the brushes. [ READ MORE ]

December 23, 2018


Year in review: 18 things we loved in the San Diego arts scene in 2018


Public art is the icing on the cake in the transformation of Liberty Station from a formal, staid Navy training center into a vibrant entertainment, shopping and arts destination. This year, six artists participat

ed in “Installations at the Station,” the NTC Foundation’s public art program, which will continue next year.   more

This year’s projects included community-painted skateboards representing a wave and a ship on a rooftop, a braided rope bench inspired by the native tribes and the Navy and murals of border scenes by Tijuana artist Hugo Crosthwaite as part of an ongoing narrative in multiple locations that started in 2009. The most recent installation, a kinetic light sculpture by Nico Meyer, is part of Liberty Station’s holiday “Salute the Season.” (Martina Schimitschek) [ READ MORE ]

December 11, 2018


By Daniel Gerwin

"Four and Twenty Blackbirds" (2018) is subdivided by a tree whose branches spread across the canvas, filling it with foliage painted by means of closely packed green dots, patches of sky denoted by blue dots, and passages of red dots interspersed throughout. Among the branches are six birds and three human faces, two of the faces in profile are barely evident, the third, fully articulated face, looks out from the trunk’s base.   more

Written inside of a branch, the width of the rectangle, is the line “Four and twenty blackbirds—baked in a pie, oh my oh my!” Williams pushes this nursery rhyme into more troubling territory through the presence of the tree, which for Williams is an inescapable image of lynching. As these linkages sink in, the red passages in the painting suddenly become savage: “Blood at the leaves and blood at the root,” as Billie Holiday famously sang. [ READ MORE ]

December 11, 2018


A Wild Ass Beyond: ApocalypseRN

And so we come to the Wildass Beyond of the exhibition itself, a dystopian beyond in the “no where” here and now. You forget that you’re in a city, least of all New York City, when you enter into the idyllic and rustic space, your feet literally in the dirt, so you feel at once reminded of and ensconced in Earth, something that is so easy to forget in the epicenter of global capital and its technologies of cable, wire, concrete and steel. Yet this is the imagined earth that remains after the end of the world.   more

Here everything is makeshift and repurposed because everything has a purpose—to undermine capitalism’s axiomatic of extraction.

Following this practice, the artists even engaged viewers in a workshop about strategizing and envisioning the end of the world and how we will continue to survive, which included a conversation about horticulture, healing, and a beautiful altar as well. After thinking about what to contribute to this temporary fabulous zone, this aesthetic sanctuary, at once ephemeral and momentous, I decided to bring irises for the altar, to denote the liminality between this world and the next. In the Greek myth, Iris figures as a rainbow and is able to move between the realm of the world and that of the afterlife.

There at the gorgeous altar, after watching participants talk about how to live, in this version of the Earth as well as the next, I left them. [ READ MORE ]

December 06, 2018


Can a Painting Not Have Fun?: Caitlin Cherry Interviewed by Zoe Dubno

The New York-based artist discusses collaboration, deskilling, and life after the end of the world.

I first came across Caitlin Cherry’s work through her excellent Instagram account, where she jokes about her art (one of her paintings mocks her for ripping off George Condo), posts pictures of her sphynx cat, and displays new work (recently, a tote bag emblazoned with a W-9 form).

Her installation at New York’s Performance Space, A Wild Ass Beyond: ApocalypseRN, brings her into collaboration with Nora N. Khan, American Artist, and Sondra Perry.   more

The artists have transformed the space into a projection of the world they will inhabit together after the apocalypse. Their trailer home is retrofitted with surveillance cameras, a faux stained-glass window, bunk beds, and a shared library that befits artists at the end of the world: survival manuals, art books, theory texts, monographs—among them, Anna Lowenhaupt Tsing’s The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins, the anthropologist’s examination of the cross-contaminated conditions that the matsutake mushroom thrives under, and its parallels to the circumstance of inhabitants of the Anthropocene living among “capitalist ruins.” That book is also quoted in the show’s—co-written, of course—text. A video of the artists talking together is projected in the backyard, and copies of a collectively created zine are available throughout the exhibition. We opened our correspondence by considering this idea of cross-contamination. [ READ MORE ]