Luis De Jesus Los Angeles - Logo image

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


August 01, 2018



Since kicking off in late June, this ambitious citywide venture, organized by the Racial Imaginary Institute, has encompassed a symposium, an artists’ residency, a documentary studio, a film series, a performance program, a reading group, and a cookout.   more

(There’s even a mixtape, available at the gallery 47 Canal.) The vital group show at the heart of it all considers whiteness as a kind of narcissistic disorder—lacking empathy and paranoid about losing power, despite being malignantly powerful—in the works of seventeen artists whose racial diversity is a canny curatorial gambit. Tone varies from comic (Cindy Sherman’s portraits of desperately age-defying women, Seung-Min Lee’s wildly entertaining mockumentary about milk) to soulful (Native Art Department International’s video of a ceremonial dance performed by Dennis Redmoon Darkeem) to chilling (Ken Gonzales-Day’s vintage image of a crowd at a lynching, digitally altered to remove the victim from the scene). Paul Chan’s quivering trio of rising and falling white-robed figures—a figment achieved with fabric and fans—are cautionary mascots of inflated self-worth and defensive fragility. [ READ MORE ]

July 31, 2018


Beyond the Funny Farm! Crypto-K, Cutouts, Cut-ups, Copies, Mirrors, Membranes, and Temporal Algorithms marks Dennis Koch's third solo exhibition with Luis de Jesus. In this exhibition, Koch creates a mind-map of relationships that find, build, and amplify meaning in the form of sculptures and drawings. Wooden newsstand-like sculptures display 100 vintage copies of LIFE magazine, each carved page by page to reveal interior images.   more

Known as the first all-photographic American news magazine, LIFE revitalized itself during the 1960s in response to the popularity of television media. Koch's interest in LIFE as a cultural artifact stems from a time-parallel between contemporary political upheaval and the equally tumultuous events of the 1960s.

The exhibition is on view through July 28 at Luis de Jesus 2685 S La Cienega Blvd. Los Angeles. [ READ MORE ]

July 27, 2018


FotoFocus, the Cincinnati-based non-profit arts organization that champions photography and lens-based art, is proud to announce new programming details for the fourth FotoFocus Biennial-the largest biennial of its kind in America.   more

The FotoFocus Biennial takes place this October, across more participating venues than ever, spanning over 80 museums, galleries, and universities across Greater Cincinnati, Northern Kentucky, Dayton, and Columbus, Ohio, and featuring over 250 artists, curators, and educators.

This year's theme, Open Archive, examines the fundamental need to preserve photographs and to tell stories through their collection, organization, and interpretation, and explores the centrality of photography and lens-based art to modernism.

In addition to the main program of exhibitions and events curated by FotoFocus, new programming details for 2018 include a solo exhibition by Gillian Wearing, two exhibitions from Mickalene Thomas (one curated by the artist), portraits by renowned Cincinnati-based music photographer Michael Wilson, and other exhibitions that explore global conflict and social justice.

Mary Ellen Goeke, FotoFocus Executive Director, says, "In addition to so many internationally recognized artists, I'm particularly excited about the historical photography exhibitions that explore, specifically, Cincinnati's social history and architectural past through archives. We're pleased to see the depth of history being brought to bear on contemporary life." [ READ MORE ]

July 25, 2018


...Luis De Jesus Los Angeles has two fantastic collage-centric solo shows on view until July 28th. "Dennis Koch: Beyond the Funny Farm! Crypto-K, Cutouts, Cut-ups, Copies, Mirrors, Membranes, and Temporal Algorithms" comprises sculptures and works on paper inspired by dizzying literary theory alongside modified LIFE magazines. The artist has incised into the publications, creating compositions that play off of the cover story and the images from advertisements within.   more

My personal favorite is “Sex Kitten” Ann Margret, hair wild, surrounded by a chorus of televisions.

It’s the show in the front room, however, that I found myself thinking about days after seeing. "SOMETHING ELSE: The Collages of Nathan Gluck" is a survey of the late artist’s small works on paper that spans from the 1930s to the 2000s. Gallerist Luis De Jesus was a close friend of Gluck, who himself worked as a window dresser and assistant to Andy Warhol (among many other adventures). De Jesus lovingly organized this tribute with a personal eye to the artist’s singular wit and personality, sorting through a treasure trove of material in Gluck’s estate. [ READ MORE ]

July 24, 2018

History unseen: Smithsonian gallery examines overlooked victims of US lynchings

WA  more

SHINGTON — The Smithsonian’s National Portrait Gallery acknowledges that people of color have long been missing in the works it exhibits.

Now the museum is tackling the issue in an unusual way.

The Portrait Gallery is currently showing about 20 works by Los Angeles-based artist Ken Gonzales-Day that examine lynchings, mostly in the American West, and probe the history of racial violence in the United States.

“Latinos were a very small number” of those lynched in the U.S, Gonzales-Day told The Associated Press during a recent interview at the Portrait Gallery. “Native Americans, Chinese, even smaller numbers.”

“But when you think of it as a spectrum of racialized violence, then we can see it is part of a continuing (history) in the United States that dates back to its founding,” he said. [ READ MORE ]

July 24, 2018

KEN GONZALES-DAY REVIEW: How to Talk About Whiteness

The Racial Imaginary Institute wants to “make visible that which has been intentionally presented as inevitable,” to disrupt the “bloc” of whiteness.

Th  more

e scholar Sara Ahmed opens her essay “A phenomenology of whiteness” with a series of questions on the project of examining whiteness: “If whiteness gains currency by being unnoticed, then what does it mean to notice whiteness? … Could whiteness studies produce an attachment to whiteness by holding it in place as an object?” In other words, how do we talk about whiteness without solidifying, even strengthening it?

Ahmed’s text is one of the groundings for the exhibition On Whiteness on view at the Kitchen — the latest iteration of a project exploring this topic by the Racial Imaginary Institute, a project founded by Claudia Rankine with her MacArthur grant in 2016. The Racial Imaginary Institute decided to focus on whiteness as their first major initiative, in order to “make visible that which has been intentionally presented as inevitable,” to disrupt the “bloc” of whiteness. In addition to the exhibition, several other organizations in New York are hosting partner events, and the Institute published an online “Whiteness Issue.” [ READ MORE ]

July 23, 2018

‘I’ve Always Been an Advocate for Diversity’: Los Angeles Dealer Luis De Jesus on Creating a Space for Latino Artists

Luis De Jesus hopes that a new class of Latino collectors will emerge in the US like it has in the African-American community.

A former artist and one of only a few successful Latino dealers in the US, Luis De Jesus understands the difficulty of getting the art world to pay attention.   more

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.

De Jesus cut his teeth in New York, where he studied art at Parsons, then went on to work in galleries in Soho and Tribeca before deciding to head west. He launched his first gallery in San Diego, Seminal Projects, in 2007, just before the economic recession that caused many galleries—particularly those in regional markets—to fold. De Jesus’s gallery did not, however, and he credits this early experience as priming him for success in the bigger market of LA. [ READ MORE ]

July 23, 2018


THE WEEKLY PIC: This lovely photogram and collage was made in 1939 by Nathan Gluck, and it’s now in a show of his works at the Luis De Jesus gallery in Los Angeles, which holds his estate.

If Gluck is known at all, it’s as the man who assisted Andy Warhol in his commercial-art business for about a dozen years, ending in 1966. That standard view of Gluck as playing second fiddle to Warhol isn’t quite wrong, but it gives a false impression of how things stood when they first met, around 1951.   more

At that moment, Gluck, a decade Warhol’s senior, was clearly the more sophisticated, mature, and art-educated of the two. He made this photogram, for instance, exactly ten years before Warhol’s tried his hand at the same medium, while still in art school. This and the other early collages at Luis De Jesus show that Gluck was fully clued-in to the latest in European Surrealism at a moment when Warhol was still literally in short pants.

When Gluck first came on board as Warhol’s “assistant,” around 1955, he was an erudite opera fanatic who came with a notable cultural pedigree: He had dined with the great designer Paul Rand and also with Marcel Duchamp well before Warhol could boast of the same, and was known among New York’s dealers in modernist prints and books. He’d even had a poster selected for the MoMA collection, where Warhol wouldn’t manage to place his work until the 1960s.

In a way, you could say that Gluck’s maturity and Europeanism were his Achilles heel. He was tied to traditional, style-centered ideas about Modern art and could never quite appreciate the conceptual, anti-retinal, Duchampian ideas that Warhol deployed in his Pop.

Warhol’s Pop revolution came in making the look of something matter less than what it meant. Whereas the commercial art that Gluck worked on – often made from scratch, in Warhol’s name – needed to look absolutely fabulous. Gluck was the perfect man, with the perfect training, to make it so.  [ READ MORE ]

July 21, 2018


Dennis Koch & Nathan Gluck: Gobsmacked By Collaging

Although many artists and non-artists alike engage with the process of collaging, a successful collage is not that easy to achieve. For the merger of unrelated images and/or texts to resonate beyond the obvious, there is much to take into consideration— point of view, message, cohesion of elements, formal arrangement, etc. Juxtaposing disparate elements from various sources does not necessarily construe art.   more

Collage has a broad history and those who venture into collaging must take into consideration their historical precedents.

Popular and influential early collage artists include Max Ernst, Joseph Cornell, Hannah Hoch, John Heartfield and Kurt Schwitters — whose materials ranged from text and photographs to historical reproductions. Many artists have used collage to communicate their social and political views via the mass media. With the proliferation of digital technologies, collaging has become more commonplace as cutting and pasting is now easily achieved with software.

Though not necessarily a household name, artist and former Andy Warhol studio assistant, Nathan Gluck (1918-2008) was a dedicated collagist. For over 70 years, he created works on paper that combined original and found materials that spanned numerous genres of collage from Dada and Surrealism to Postmodernism. [ READ MORE ]

July 13, 2018

Lynching in the US: Even the mob kills systematically

A new memorial in the US focuses on the lynchings committed on African Americans. Looking more closely at the subject, another, largely unknown, history of mob violence against Mexicans comes to light.

"The worst thing we've ever done," was the reportage that an American radio station dedicated to the recently opened National Memorial for Peace and Justice. In addition to racist violence and slavery, the memorial site in Montgomery, Alabama, brings lynchings to America's collective memory. The numbers cited by Bryan Stevenson, founder of the Equal Justice Initiative (EJI) and driving force behind the Memorial since 1989, are impressive. More than 4,400 African Americans have been extrajudicially and often brutally killed in southern states like Alabama.   more

They are now reminiscent of 800 free-floating steel steles in the museum. [ READ MORE ]