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


June 13, 2019


The Sobey Art Foundation and National Gallery of Canada have named the five finalists for the 2019 Sobey Art Award, which is presented annually to a Canada-based artist age 40 or younger.   more

The finalists, who represent Canada’s five geographic regions, are D’Arcy Wilson (from the Atlantic region), Nicolas Grenier (Québec), Stephanie Comilang (Ontario), Kablusiak (the Prairies and the North), and Anne Low (the West Coast and the Yukon).

An exhibition of works by the short-listed artists will open at the Art Gallery of Alberta on October 5, and the 2019 Sobey Art Award winner—to be revealed on November 15—will receive 100,000 Canadian dollars ($75,300). Each of the other four finalists will get 25,000 Canadian dollars ($18,800); artists on the long list will each receive 2,000 Canadian dollars ($1,500). [ READ MORE ]

June 12, 2019


2019 Sobey Art Award shortlist announced: $240,000 CAD in prize money and international residencies support excellence in Canadian contemporary art

OTTAWA, June 12, 2019 /CNW/ - The Sobey Art Foundation and the National Gallery of Canada are delighted to announce the five finalists for the 2019 Sobey Art Award. As one of the world's most prestigious contemporary art prizes, the Sobey Art Award is presented annually to a Canadian visual artist age 40 and under.

"The Sobey Art Award helps to keep the National Gallery of Canada current within the dynamic landscape of contemporary art in Canada.   more

It offers invaluable opportunities to exchange ideas between curators and artists across the country, and the chance to learn about a myriad of different artistic practices." notes Dr. Sasha Suda, CEO and Director of the National Gallery of Canada. "It's an initiative that supports and promotes Canada's talent at home and abroad, which is core to our mission and mandate as the Nation's Gallery." [ READ MORE ]

June 04, 2019


A flag, any flag, is the very definition of a symbol, a thing that exists in the service of what it represents, such as a nation for example, or a movement. At the same time, a flag is also a color story, a designed image, and a made object. The American flag in particular enjoys status as both image and object as well as symbol. Its distinct patterns are perhaps the most recognizable and narratively fraught in the world. Laws prohibit its physical destruction, but not its use as elements of corporate logos, fashion items, and superheros.   more

Because of its ubiquity and near-universal legibility, the American flag has made frequent appearances in art history as well. But this is not that.

On one hand, June Edmonds is an abstract painter, a patient and precise wielder of a heavy brush, and a gifted colorist. Her signature style of architecturally placed, thick and juicy applications of pure color is a little like mosaic, a little like textile weave, a little like bird feathers. Her surfaces gleam and that makes every nuanced evolution of a shade, hue, tint, tone, and pigment pop as though in its own spotlight, even as the overall effect of their accumulation creates a gradient kaleidoscope across a finite armature. In this case, that armature, consistent across all the works on view at Luis De Jesus Los Angeles, is, indeed the American flag. [ READ MORE ]

May 30, 2019


First published in 1985, the essay by Donna Haraway known as the “Cyborg Manifesto” made waves by criticizing the gender essentialism and identity politics of feminism and encouraging people to unite with others based on affinity.   more

It proposes the symbol of the cyborg as a rejection of boundaries “unfaithful to their origins” and that this symbol can help to free people from racist, male-dominated capitalism.¹ The essay also purports that the “boundary between science fiction and social reality is an optical illusion.”²

In the past year, the essay’s post-human politics have heavily influenced my artistic practice, particularly as I build the narratives of the Black female tri-brid figures (merging human, animal, and machine) that I call leviathans, after the mythological sea monsters of Jewish folklore. These painted leviathans are filtered through the backlit glow and glare of current technology, media, and modes of representation—three decades after Haraway created “Manifesto”—but they attempt to illustrate her proposed world of transgressed boundaries and potent fusions. [ READ MORE ]

May 29, 2019


Before you realize that June Edmonds' abstract paintings echo the structure of the star-spangled banner, your gut tells you that you have entered a place of mourning, where a tragic loss is being grieved.   more

It's as if you're at a funeral, awash in a flood of melancholy.

Then you realize the funeral Edmonds has staged is for the American flag itself.
In six paintings in the first room of the exhibition "Allegiances and Convictions" at Luis De Jesus gallery in Culver City, it's as if the flag is being laid to rest because the ideals it has represented for centuries - freedom and self-determination, not to mention life, liberty and the pursuit of happiness - no longer have a place in the nation the flag is meant to represent.

That's chilling and harrowing. But it's only part of the story.

Edmonds' paintings are also defiant, rebellious and celebratory. Their palette is unapologetically beautiful: a rainbow of rich, resplendent browns interspersed with deep olive greens, glorious harvest golds, regal purples and burgundies as well as velvety blues and supersaturated blacks. [ READ MORE ]

May 24, 2019


Jasper Johns famously attributed the origin of his iconic painting of the American flag to a vision he had at night; likewise, June Edmonds arrived at her first stroke-by-stroke reconstitution of a flag through a dream she had in 2017, after she returned to her home town of Los Angeles from a residency in Paducah, Kentucky.   more

In her case, though, it wasn't about the same stars and stripes; during her residency, while driving to Memphis, she had seen a wall-size Confederate flag—a looming, unapologetic beacon still standing on the Southern hillside—to which she later responded in a series of paintings. That body of work is now part of “Allegiances and Convictions,” Edmonds’s first show at Luis De Jesus Los Angeles.

Made of thick, wet-looking bands of acrylic, many in brown skin tones, set into columns that redouble the orientation of their vertical supports, Edmonds’s “Flag Paintings,” 2017–, relate to her earlier Primary Theories, 2016, for which she conjured a range of browns amid tesserae-like units of other colors. The obdurate, overwhelmingly material pieces here line the walls like so many darkly reflective monuments to the episodes of American history—people and events—referenced in the titles (such as Claudette Colvin Flag, 2019, after the civil rights activist who refused to give up her seat to a white woman on a segregated bus in Montgomery, Alabama).

A few unstretched paintings are also on view, hanging like Sam Gilliam’s fabric garlands, mourning alongside, and perhaps in solidarity with, the flags. Together, the works seem to be both registers of another time and heralds of recurring histories—most emphatically so with Case for Reparations Flag, 2019. [ READ MORE ]

May 24, 2019


Tilda Swinton’s first photography show, inspired by Virginia Woolf’s ‘Orlando’

The actor draws upon the gender-bending novel to guest edit Aperture's Summer 2019 issue, featuring photography by Collier Schorr and Carmen Winant.

For Aperture’s Summer 2019 edition, guest editor Tilda Swinton turned to Virginia Woolf’s 1928 novel Orlando for its uncannily prescient explorations of gendered identity.   more

Set in the 16th century, the titular protagonist lives for 300 years, sliding back and forth between the genders on the way. Swinton’s fascination with the novel began when she starred as the titular character in the 1992 film adaptation directed by Sally Potter. [ READ MORE ]

May 22, 2019


In  more

spired by Virginia Woolf, Curated by Tilda Swinton

The actress makes her first foray into art curation in a photography show that revolves around the gender-defying themes of Woolf’s novel “Orlando.”

Tilda Swinton can boast of many achievements, having performed in more than 70 films, including “Michael Clayton,” for which she won an Oscar in 2008.

In a way hers is the broadest of careers, stretching from her salad days of the 1980s working with the acclaimed independent director Derek Jarman to her appearance in this year’s “Avengers: Endgame,” which is already one of the highest-grossing movies of all time.
But until now Ms. Swinton, 58, has never organized an art exhibition.

The show, “Orlando,” which opens Friday at the Aperture Foundationand features nearly five dozen photographs by 11 artists, is Ms. Swinton’s first foray into art curation. [ READ MORE ]

May 21, 2019

ZACKARY DRUCKER: These L.A. Artists Are Bringing Queer Perspectives Into Focus

Long relegated to the margins of the art world, LGBTQ artists have always tested the borders of expression. Now they’re claiming their place at center stage.

Zackary Drucker’s videos delight in deconstructing gender binaries (she’s also a producer on Transparent).  [ READ MORE ]

May 15, 2019


The solo exhibition of Los Angeles-based artist June Edmonds at Luis De Jesus Los Angeles is a series of multi-colored paintings inspired by the American flag. All of them, vertical, and in earth tones, evoking the variety of brown skin colors.   more

The exhibition, "Allegiances and Convictions," presents the American flag as a “symbol of ideals, promises, and identity… including race, nationality, [and] gender” (Luis De Jesus).

At the opening of the exhibition, I had a chance to talk with the artist and learn that this body of work was inspired by a dream in which she saw large, black flags. When Edmonds was interviewed by gallery owner Luis De Jesus, she emphasized the fact that her paintings were not inspired by Jasper Johns’ famous, horizontal flag paintings. She said, her flags “are standing for something,” so that’s why she keeps them standing. Knowing this, I see her flags as a series of portraits of Americans of many races and colors.