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


November 01, 2018


Antonia Wright, another Miami-based artist, will screen her 2014 film “Are you OK?” as part of the Creative Time Summit’s inaugural film series in Soundscape Park, in relation to the theme of resisting displacement and violence. This will be explored further in the session “Our Long Term Goals: Creative Practitioners in their Communities,” led by Marie Vickles and William Cordova at the Little Haiti Cultural Complex. [ READ MORE ]

October 30, 2018


Among purchases by notable individual collections was Kenneth Montague’s acquisition of Jim Adams’s Centurion (Self Portrait) (1977) from Luis de Jesus for the Wedge Collection. The large acrylic on canvas work was purchased on opening night.

“Adams grew up directly under a major flight path in Philly, and dreamt of one day flying his own plane,” Montague explained on Instagram. “Upon arrival to Canada’s West Coast while still in his 20s, he immediately got his pilot’s license… and started painting.   more

With his cool and confident gaze, and by positioning himself as the master of his own destiny, he also creates a powerful statement about freedom—as an artist and as a black man in an overwhelmingly white environment.” The painting, and Adams’s overall career, gained wider public profile when the Surrey Art Gallery mounted a retrospective of the 75-year-old artist’s work last year. [ READ MORE ]

October 25, 2018


We carried onward with excitement to Luis De Jesus gallery where we were met by the work of Peter Williams for his opening, “River of Styx.” The show’s array of colorful, multi-figurative, narrative pieces was seemingly bright and cheery, yet it alluded to a heavier history. With the political climate so out of wack, Williams’s images address topics quiet poignantly. I had the treat of talking to the delightful artist as he explained that his paintings composed of many marks, were in fact not pointillism.   more

Instead, he utilizes poetic formations of dots to piece together memory representing many voices in one narrative. Williams’ accumulation of imagery addresses personal experience as well as a history of injustices. In some pieces sections remain blank and seemingly unfinished, but Williams explained this absence of color and mark symbolizes the power of white. Williams’ show also highlighted the power of the feminine or queen and illustrated the struggles of black Americans and those who traditionally and unfortunately, sometimes to this day, remain oppressed.  [ READ MORE ]

October 25, 2018

Jim Adams: Our Editors’ Picks for Art Toronto

The 19th edition of Art Toronto includes 102 exhibitors from seven countries, and it kicks off tonight at the Metro Toronto Convention Centre.

For years, the Surrey Art Gallery has been highlighting important artists overlooked by other Canadian art institutions. Among these talents is the 75-year-old Surrey local Jim Adams, whose retrospective “The Irretrievable Moment” they presented by the Surrey Art Gallery (as well as the Reach in nearby Abbotsford) in 2017.   more

Now, Los Angeles gallery Luis de Jesus brings a variety of Jim Adams canvases to Toronto audiences, in particular highlighting some of the artist’s images of flight. It’s Adams’ first art fair presentation, and I’m looking forward in particular to Centurion Self Portrait (1984), which pictures a sunglassed man at the wheel of a small red plane. Just getting a chance to see a selection of Adams’s paintings in person, from the last four decades, is bound to be a real treat—both for the social critique and for the parallel, if precarious, promise of an occasionally escapist takeoff.  [ READ MORE ]

October 20, 2018


Peter Williams, “River of Styx,” at Luis De Jesus Los Angeles. In a series of bright, pointilist paintings, Williams explores the divide between the world of the living and the dead while also wrestling with some very current topics in U.S. society, including police violence, corruption and the systems that favor some over others. Opens Saturday at 6 p.m. and runs through Dec. 15. 2685 S. La Cienega Blvd., Culver City, [ READ MORE ]

October 18, 2018


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


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


“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, TaĆ­na 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


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 ]