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

NEWS

October 18, 2018


KEN GONZALES-DAY SELECTED TO CREATE SITE-SPECIFIC WORK FOR THE LOS ANGELES METRO LINE EXTENSION

A panel of nationally recognized curators, local arts professionals and community members from the Purple Line Extension Section 1 area has selected artists to create site-specific, integrated artworks for Wilshire/La Brea, Wilshire/Fairfax and Wilshire/La Cienega Stations.   more

The diverse range of accomplished artists includes: Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Eamon Ore-Giron, Fran Siegel, Susan Silton, and Mark Dean Veca.

As part of a competitive process, the artist selection panel carefully considered each artist’s professional qualifications and examples of past work during the decision-making. Panelists included Gretchen Baker, Vice President of Exhibitions, Natural History Museum of Los Angeles County; Doris Berger, Exhibition Curator, Museum of the Academy of Motion Picture Sciences; Heeseon Choi, Director, Korean Cultural Center Gallery; Harry Gamboa Jr., artist; Rita Gonzalez, Curator and Acting Department Head, Contemporary Art, Los Angeles County Museum of Art; Suzanne Isken, Executive Director, Craft and Folk Art Museum; Naima J. Keith, Deputy Director, Exhibitions and Programs, California African American Museum; Stephanie Vahn, Beverly Hills Arts Commissioner, City of Beverly Hills. [ READ MORE ]

October 16, 2018


REVIEW: PAUL ANTHONY SMITH IN PHOTOGRAPH MAGAZINE

Paul Anthony Smith’s show Containment was expressly concerned with what cannot be contained, what exceeds the bounds of a single photograph to render, or an individual consciousness to reconcile. The discontinuous self, memory as an act of creative nonfiction, history as endlessly splintered and unreliably narrated – over the past few decades, these have all gelled into foundational truths and served to underpin myriad image-making strategies favoring montage, disruption, and contradiction.   more

Smith’s new work nestles into this recent tradition, adding materially inventive twists of its own, sometimes to stirring ends.

Born in Jamaica and based in Brooklyn, Smith uses photographs from both places, as well as Puerto Rico, in his work. In the picotage series, he uses a sharp tool to scrape at areas of the print’s surface, raising tiny paper tabs that cohere into fields of white specks, at once interrupting, diffusing, and veiling the image beneath. In some cases, shapes in the picture, such as a hand or the leaves of a plant, are re-articulated through these bristling marks. Mostly, Smith sets altered and intact areas of a photograph against each other in crisp stripes and diamond patterns. The effect is prismatic, and most arresting when the intervention deconstructs a single, legible portrait rather than images of gatherings that already read as fragmented and ambiguous. In places, Smith also draws and paints on the color photographs, adding yet another language into the mix and offering, through these shifting methods of defining space, metaphorical stand-ins for multiple, simultaneous modes of comprehending experience. [ READ MORE ]

October 11, 2018


KEN GONZALES-DAY AT THE NATIONAL PORTRAIT GALLERY

“This painting stopped me in my tracks,” wrote Katherine White, a Fairfax resident and community organizer at Network NoVA, on her Facebook as she shared it with the public and created some conversations. I decided to reach out to the National Portrait Gallery (NPG) and ask them why and how:

Curator of painting and sculpture & Latino art and history at the Smithsonian National Portrait Gallery, Taína Caragol, said to Fairfax times: “I co-curated “UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar” with Dr.   more

Asma Naeem, as part of the National Portrait Gallery’s 50thanniversary program. As you probably know, the National Portrait Gallery has the mission of representing the history of the nation through portraiture. Dr. Naeem and I wanted to do a show about the challenges of fully representing American history through portraiture, a genre that has traditionally existed to memorialize those with economic and political power. In our quest to do an exhibition about this topic, we decided to look at contemporary artists who address the theme of historical invisibility. Ken Gonzales-Day and Titus Kaphar rose to the top as two important contemporary artists with very strong bodies of work who shed light on communities who have remained “out of the picture” so to speak, in portraiture and history text books.” [ READ MORE ]

October 08, 2018


REVIEW: CHRIS ENGMAN AT THE FOTOFOCUS BIENNIAL

Outside In: Chris Engman’s Prospect and Refuge at the Weston

Chris Engman’s Prospect and Refuge teaches us not to trust our eyes. On display at the Alice F. and Harris K. Weston Art Gallery through November 18, the exhibit unsettles our senses of depth and scale, interior and exterior, origin and reproduction. It ushers us into artificial spaces and then immerses us in the tropes of nature.   more

Engman achieves his uncanny effects mainly by taking enormous, high-density photographs and then affixing them to walls, ceilings, floors, and objects in domestic rooms and workspaces, sometimes doubling the perceived size of those spaces, other times making them appear to go on forever. Engman reveres the organic world while at the same time resisting idioms of purity and wildness, insinuating that vision adheres to conventional behaviors and perceptual expectations rather than some absolute presence that discloses itself to the viewer. He troubles those conventions by refusing to let them hide, but he never imagines that highlighting them means canceling their power. That power depends on a dialectical movement between materiality and illusion, which Engman ties firmly to the governing concepts of the show: “Materiality, like refuge, refers to what is here and now, what is in front of us, what we can see and touch. Illusion, like prospect, refers to what we would prefer to believe, or, to put it more positively, what we can imagine. Neither, without the other, is quite satisfactory.” As the various entries in the exhibit fuse banal living areas with dream-like projections, blending attention to the tactile substance of photography with evocations of complex affect, they probe the bond between established custom and desire. [ READ MORE ]

October 03, 2018


review: Paul anthony smith

At a Pair of Culver City Galleries, Three Artists Flip the Script on Technique

Though Luis De Jesus and Tarrah Von Lintel technically share an address in the Culver City gallery district, their operations are independent of each other. However, this month these neighboring exhibitions are very much in conversation. Unintended as this confluence is, in each of the three artists having solo shows at 2685 S. La Cienega we see a version of the same dynamic — a totally unexpected, materially subversive and exceptionally analog, labor-intensive take on what would otherwise be traditional mediums of photography and drawing. [ READ MORE ]

October 03, 2018


JOSH REAMES IN "REINTERPRETATION AS RESISTANCE," AT THE NATALIE AND JAMES THOMPSON ART GALLERY AT SAN JOSE STATE UNIVERSITY

Am  more

ong the 27 displayed artworks in the exhibit “Reinterpretation as Resistance,” a big painted American flag on a trampoline stood in the center of the Natalie and James Thompson Art Gallery at San Jose State University.

The piece, titled “90 Different Ways,” was created by artist Josh Reames.

The art exhibit had its opening Tuesday evening, drawing students and visitors from around the neighborhood.

Visual arts coordinator of Movimiento de Arte y Cultura Latino Americana (MACLA), Damian Kelly said “90 Different Ways” drew his attention the most.

“Besides the object itself, it gives you imagery of people bouncing, people manipulating it, of it warping, of people waving in the wind or people having sex on it, it could be anything,” Kelly said.

“Without that piece, it would be a different show,” he added. [ READ MORE ]

October 02, 2018


CAITLIN CHERRY AND PETER WILLIAMS AT EXPO CHICAGO 2018

Kunstmesse Expo Chicago: Zeichen der Zeit

38 000 Besucher hat die Expo Chicago bis Sonntag auf dem Gelände der historischen Seebrücke Navy Pier empfangen. Die 7. Ausgabe gab sich so politisch wie nie und punktete mit Werken von afroamerikanischen Künstlern. [ READ MORE ]

September 30, 2018


LIA HALLORAN AT THE LUX ART INSTITUTE

At Lux, Lia Halloran creates the experience of science through art

Three large wooden tables that feature in-process paintings, resource books and a host of media are installed in the middle of the Lux Art Institute’s main gallery. The impromptu workshop has started to resemble the studio of artist Lia Halloran as she begins her residency at the museum.   more

Halloran will continue to make work in the space for the next few weeks, while the current exhibit frames her interest in invisible histories and reimagined possibilities in astronomy.

Art, science and skateboarding were the magic combination of interests that propelled Halloran into her life as an artist. The UCLA and Yale grad grew up in her father’s laboratory at UC San Francisco, which prepared her for her first job at the city’s Exploratorium. This unusual background was balanced with a passion for skateboarding and surfing, talents that led a 14-year-old Halloran to be featured in Thrasher Magazine. Halloran’s is a unique history that leaves her well positioned to address a combination of aesthetic delights mixed with deep and insightful concepts about science and history, especially the historical role of women in science. [ READ MORE ]

September 28, 2018


LUIS DE JESUS AT EXPO CHICAGO

EXPO CHICAGO 2018 MUST-SEE SHOWS: IN/SITU, PETER WILLIAMS, MATISSE

New Voices Roar:

Justine Ludwig curated EXPO’s “exposure” section, which is made up of galleries that have been around for eight years or less—an impressive accomplishment considering most galleries don’t make it past five years. The participating spaces have put together solo or two-person shows spotlighting exciting newcomers.   more

This section of the fair is where collectors can find good deals, and maybe take a gamble on some artists still making a name for themselves.

Luis De Jesus Los Angeles has a particularly strong booth with work by painter Peter Williams, and Derek Eller Gallery boasts wonderful drawings by Chicago legend Karl Wirsum. But our favorite comes from the young Detroit gallery Library Street Collective. Its booth is whimsical and weird, but it also represents the clear and steady vision of the collective’s exhibition program; even in an EXPO packed full of superstar artists, it feels ahead of the curve. A new painting by Thrush Holmes, Suck It (2018), embodies the contradictory nature of the gallery’s artists—their output is punk but also pristine, political but also populist. Of course, Library Street Collective can afford to be playful with money-making anchor artists like Adam Parker Smith and Mark Flood on its roster. [ READ MORE ]

September 28, 2018


ERIK OLSON AT THE GLENBOW MUSUEM

Three artists explore the cosmos in new Glenbow exhibit

Painter Erik Olson became interested in the cosmos the old-fashioned way.

It involved a dusty, inexpensive old telescope and a starry night. The Calgary-born artist was living in Fernie, B.C. at the time but had just returned from a motorcycle trip through India, where he worked on a collection of paintings that were later exhibited in 2010 at Calgary’s Skew Gallery.

His portraits in India, done over six months, took on a “frenzied” and “cubist” style.   more

When he returned to Canada he was looking for clarity for his work “and maybe just life in general.”

So one night he pointed a telescope at the moon.

“I was just really struck by how, even with just a cheap little telescope, you can really see the texture of it and three-dimensionality of it and the reality of it,” says Olson, who now lives in Dusseldorf but is back in town for the opening of the multi-artist exhibition, Cosmos, at the Glenbow Museum. “It becomes very clear, just by a simple tool like that. That’s almost how it began. I thought maybe there was something there. Maybe I could approach it the way I do portraits, or any of my projects, which is that I will have an interest in a topic or a person and I’ll try and go in for a closer look. I find that when I do that, when I really start looking at the particular details of whatever my topic is, that can start generating the work. It tends to lead me to things that I couldn’t have planned beforehand. With this, I thought what if I tried to do portraits of all of the major bodies in our solar system.”

Olson painted the series and again exhibited them at Skew Gallery in 2011, where they caught the attention of Cosmos curator Mary-Beth Laviolette. [ READ MORE ]