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

NEWS

July 07, 2016

Federico Solmi at Luis De Jesus Gallery; Hunter Drohojowska-Philp is excited by this artists hand drawn animations.

Incredulity, curiosity, delight, all are emotions that flooded in as I watched animated videos of The Brotherhood by Federico Solmi at Luis De Jesus Gallery. The Brotherhood, according to the artist, consists of the powerbrokers of world history. They are gathered here to celebrate their victories without a moment of regret: Napoleon Bonaparte, Genghis Khan, Christopher Columbus, Benito Mussolini, Sitting Bull, Marie Antoinette, Idi Amin, Montezuma and more.   more

He seems to say that the abuse of high position spans centuries, continents, race and gender. [ LISTEN TO PODCAST ]

June 28, 2016

FEDERICO SOLM: The Brotherhood

Federico Solmi’s character-based, narrative animations are over the top, dense and impossible to step away from. His animations begin as paintings on paper, a methodology that insures a handmade feel. The paintings are then scanned and composited via 3D modeling software and video game engines. Each animation in “The Brotherhood” is a critique of power using historical and mythical figures from the past including, for example, Pope Benedict XVI, Julius Caesar, George Washington and Genghis Kahn.   more

Solmi immerses these figures in imagined scenarios that develop across multiple monitors. The works are engaging as portraits as they are simultaneously cutting critiques. Not only does Solmi create obsessively layered animations, he also extends these drawings outside the screen, framing the monitors with mixed media drawings and gold leaf. (Luis De Jesus Los Angeles, Culver City). 

June 21, 2016

review: The media age run amok in 'Federico Solmi: The Brotherhood' at Luis De Jesus Gallery

Imagine animating the surging throngs in James Ensor’s monumental 1888 masterpiece, “Christ’s Entry Into Brussels in 1889,” with its grotesque painted caricatures of mobs populating church and state and engulfed in an alarming aura of surging madness. You’ll have some idea of what Federico Solmi’s “The Brotherhood” is like. [ READ MORE ]

June 21, 2016

ken gonzales-day and zackary drucker featured: "Freedom of the Night: 11 Reflections on Orlando"

Following the attack on the Pulse club, artists and writers consider the nightclub as a symbolic space in queer culture. [ READ MORE ]

June 21, 2016

zackary drucker and rhys ernst featured: "Striking Photos of a Couple in Gender Transition"

Between 2008 and 2014, Rhys Ernst and Zackary Drucker were both transitioning genders — Ernst from female to male, and Drucker from male to female. They were also a couple. For six years, the two photographed themselves and each other, documenting both the course of their relationship and the joys and trials of the transitioning process. The 2014 Whitney Biennial featured 46 of their photographs, in addition to a collaborative film called She Gone Rogue and a performance piece by Flawless Sabrina, an iconic drag performer. [ READ MORE ]

June 21, 2016

Review The media age run amok in 'Federico Solmi: The Brotherhood' at Luis De Jesus Gallery

Imagine animating the surging throngs in James Ensor’s monumental 1888 masterpiece, “Christ’s Entry Into Brussels in 1889,” with its grotesque painted caricatures of mobs populating church and state and engulfed in an alarming aura of surging madness. You’ll have some idea of what Federico Solmi’s “The Brotherhood” is like.

At Luis De Jesus Gallery, eight LED monitors and a room-size installation for a suite of five more monitors transform paintings into disturbing video-pageants.   more

The New York-based artist frames the moving imagery with piles of debris painted directly on the screens, heavy on the logos of consumer trash. What is on the televisions is rubbish made remarkable. [ READ MORE ]

June 13, 2016

zackary drucker & rhys ernst: "Witnessing Love Between Two Transgender People"

Artists Zackary Drucker and Rhys Ernst privately photographed their six-year-long relationship, during which both of them transitioned in opposite directions.

Last Thursday evening the rare books room on the third floor of the Strand bookstore in Union Square was filled by transgender people and their loved ones. Two young artists had come together to talk about their new book with a curator named Stuart Comer and one of history's most important gender scholars: the artists' transgender "auntie," Kate Bornstein.   more

A collaboration between Zackary Drucker and Rhys Ernst, Relationship documents their six-year love affair, during which both of them changed their sex. [ READ MORE ]

May 17, 2016

MISTAKEN BINDING: MARGIE LIVINGSTON’S HOLDING IT TOGETHER

Skin—dragged and torn, wrapped and layered, weeping and fossilized—resonates from Margie Livingston’s latest exhibition, Holding it Together. On view at Luis De Jesus Los Angeles, Livingston’s exhibition offers nine pieces that contemplate structure and form as an enduring plexus. Acrylic and leather are employed as canvases, which become the base by which Livingston plays with and blurs sculpture, painting, and dimensions.   more

These pieces, what Livingston names “paint objects,” reach out from the walls and draw in the light of the gallery, glowing and nearly vibrating, beckoning viewers for a closer look. [ READ MORE ]

May 06, 2016

KATE BONNER: The other side is this side / April 23 - May 28, 2016

Kate Bonner has often turned to poetic analogies to describe her work and point toward an understanding of her vision, including statements such as:

“Time is slipping. A moment ago this image stood alone. Now it catches against that other one. It flips upside down. The pixels snag, are turned into paint.” And, “There is frost on the window; with my finger I trace a wavering, circling line. The window is a frame. The frost is a screen. My finger is a pen...” [ READ MORE ]

May 01, 2016

Artist Profile: kate bonner

Artist Kate Bonner is drawn to distance, to expressing herself in works that create layers of separation between the viewer and the images and objects she employs, “maybe it’s something personal… from having moved around so much,” she muses. Choosing to obscure the content, she combines fragments of photographs or paintings, meticulously-crafted wooden supports and deconstructed frames in formal and elegant compositions. These works entice the viewer, attracting one’s gaze, yet ultimately withholding entry. [ READ MORE ]