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

NEWS

June 18, 2019


EXHIBITION: FEDERICO SOLMI AT THE NORTH DAKOTA MUSEUM OF ART

POWER / EMPOWER
April 24- July 7, 2019

Who owns the power or controls it? Who has the power and can it be shifted, negotiated. Nature pitted against Humans is one of the most important power struggles of our time. Wealth against Poverty is another. People against Government. Religions against Each Other. Belief against Non-belief. Humans verses Religion. Past struggling with the Present as in language being lost to shifting history. Race against Race. Nature against Humans who are also part of nature—all timeless struggles.   more

The North Dakota Museum of Art has acquired important works of art that reveal aspects of power and the conflicts over power. These will be in the exhibition along with contemporary work by four other artists timely today. The exhibition will span four decades, from1985 to the present. Rather than singular pieces the artists are represented by seminal bodies of work. [ READ MORE ]

June 18, 2019


EXHIBITION: LIA HALLORAN AT THE SCHNEIDER MUSEUM OF ART AT OREGON CENTER FOR THE ARTS AT SOUTHERN OREGON UNIVERSITY

Your Body is a Space That Sees is a series of large-scale cyanotype works (approximately 6ft x 6ft) that source the fragmented history and contributions of women in astronomy to represent a female-centric astronomical catalog of craters, comets, galaxies and nebula drawing from narrative, imagery and historical accounts of a group of women known as ‘Pickering’s Harem’ or the ‘Harvard Computers’.   more

This little-known group of up to forty women made significant influences in the field of astronomy by setting up classification systems that are still used today to measure the distance, heat and chemical content of stars and yet were paid less than half the wages of men. Harvard University houses the largest collection of astronomical glass plates in the world – over 500,000 including the very first daguerreotype every taken of the moon. Research for this series was done in partnership with the archive to identify specific plates that were studied and used by the women in the ‘Harvard Computer’ group and these plates serve as a reference for large paintings of the galaxies or stellar objects within the plate. Your Body is a Space That Sees will offer an experience of the night sky through the discoveries made by these astronomers.

The cyanotypes works are created using a painting of a galaxy or stellar image on semi-transparent drafting film then pressed over paper that has been coated with light sensitive emulsion and exposed in the sun. The resulting piece is cyanotype print of the positive image in equal scale to its matching negative created without the utilization of a camera. This process mimics early astronomical glass plates moving between transparent surfaces and is multi-layered in meaning and technique: images of stars created by a star (our sun), paintings used to create a painting (light sensitive emulsion painted out and exposed by another painting). This is an expansion of a previous series titled Deep Sky Companion, which reinterprets the 18th Century French comet hunter Charles Messier’s Catalogue of Deep Sky Objects in 110 paintings and 110 photographic twins and is currently on view at Caltech’s Cahill Center for Astronomy and Astrophysics through December 18th, 2016. Cliché Verre was a process used by French painters such as such as Carot, Millet and Daubigny in the early 19th century as a method of making a photograph by painting on glass as the negative.

Successful art and science collaborations have an underlying theme of creativity and curiosity, and this project will emulate this diversity to reach a broad audience. It is intended that the catalog create an interactive interface between visual art, literature, and science. Contributors include; Dr. Janna Levin, Jennifer Oullette, Diane Ackerman, Maria Popova, Dava Sobel, and Dr. Anna Leahy, Dr. Rebecca Oppenheimer. [ READ MORE ]

June 15, 2019


INTERVIEW: CAITLIN CHERRY

RESPECTABILITY POLITICS AND PAINTING: AN INTERVIEW WITH CAITLIN CHERRY

Caitlin Cherry’s growing invaluability to the art world should come as no surprise; her commitment to black female subjectivity places the oft-imitated but systematically dismissed aesthetics of hip-hop hustle front and center, posing a real threat to the sleepy status quo we've come to expect from genre figuration. Smart, subversive, and incontrovertibly sexy, Cherry's pieces hum with radioactive irreverence, transforming viewers into beholders with the flick of a brush.   more

Her blockbuster turns at the Brooklyn Museum, Performance Space in New York, and Luis De Jesus Gallery in Los Angeles have secured her spot as a needed, disruptive force in contemporary art dialogue. Currently a professor at Virginia Commonwealth University, Cherry is not only a steward of pictorial anarchy, but also a deeply funny Instagrammer, dedicated hairless cat mom, and white wine connoisseur.  [ READ MORE ]

June 13, 2019


DATEBOOK: JUNE EDMONDS

An exhibition by the L.A.-based painter dwells on the significance of flags — both as visual statements and tokens of identity. In this case, each of her flags pays tribute to African American history past and present. [ READ MORE ]

June 13, 2019


NICOLAS GRENIER: SOBEY ART AWARD SHORTLIST

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


NICOLAS GRENIER SHORTLISTED FOR 2019 SOBEY AWARDS

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


REVIEW: JUNE EDMONDS

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


CAITLIN CHERRY: PICTORIAL SPACEX

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


REVIEW: JUNE EDMONDS PAINTS A DIFFERENT AMERICAN FLAG
ONE DEFIANTLY MORE BROWN

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


ARTFORUM CRITICS' PICK: JUNE EDMONDS

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 ]