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

NEWS

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 ]

September 26, 2018


CHRIS ENGMAN AT FOTOFOCUS

Immersive 3D Installation Invites Viewers to Step Inside a Giant Photograph

Photographer Chris Engman invites you to enter a world within a world. His photography installation, titled Containment, is an immersive work that features images spanning the walls, ceilings, and floors of a specially constructed room. Upon stepping foot inside the space, you’re transported from a gallery setting to the middle of a bustling stream surrounded by a dense forest with trees cloaking most of the blue sky above.

Containment is Engman’s first foray into work that allows you to physically enter his photographs.   more

But, the idea is something he examined long before then. “I believe photography derives its power precisely from the fact it can’t be entered, however much we may want to,” Engman explains. “When I make photographs I try to be mindful of this, even to exploit it.” [ READ MORE ]

September 26, 2018


REVIEW: KEN GONZALES-DAY

TO WATCH AND BE WATCHED: THE RACIAL IMAGINARY INSTITUTE: ON WHITENESS // THE KITCHEN

In 2016, poet and author Claudia Rankine received $625,000 as a stipend from her MacArthur Genius Grant and decided to put the funds toward founding The Racial Imaginary Institute, an organization that gives artists and writers a platform to address issues of race. This summer, the Institute has found its new home at The Kitchen in New York, through a series of programs surrounding the exhibition On Whiteness, incorporating a day long symposium, a library of books, residencies, and performances.   more

Within her own work as a part of the Institute, Rankine states “…it is important that people begin to understand that whiteness is not inevitable, and that white dominance is not inevitable.”1 In this sense, Rankine suggests that whiteness’ hyper-visibility is what allows it to become invisible; a racial default that society has built itself around—the consequence of which is white people having the luxury of achieved racial ‘neutrality.’

While blackness and otherness has been the object of attention in conversations surrounding race, it is equally important that we raise questions and consciousness around whiteness and its pervasive monopoly over cultural narratives. The exhibition presents a collection of artworks that utilize the formal qualities of proximity, orientation, sensation, and visibility to foster a reflexive relationship between the viewer and the work.

The exhibition opens into a small room with a lowered ceiling and a blindingly bright light shining directly into viewers’ eyes—a club-like light fixture spinning overhead. Experiencing this installation by Baseera Khan, [Feat. ] with lowered ceiling (2018) is like being in a parody dreamscape of a nightclub. The harsh spotlight strikes like a deer in the headlights, while the lowered ceiling makes one feel so disproportionately large that proceeding to the main room of the exhibition is disorienting.

Continuing into the space, viewers are confronted with the bust of a white woman missing an eye. As a white woman, facing this bust at eye level, the image feels in some way like a mirror held up: me, like her, half-seeing (my vision still recovering from the glare of light). Looking out to either side of the woman’s bust at the surrounding works—scanning many large-scale vertical sculptures, video installations, and photographs—the physical scale and dimensionality of each of the selected works invite a confrontation as one body facing another.

Ken Gonzales-Day’s Untitled III (Antico [Pier Jacopo Alari-Bonacolsi], Bust of a Young Man and Francis Harwood, Bust of a Man, The J. Paul Getty Museum, Los Angeles) (2010), is a photograph of two busts staring intently at one another. Antico’s Bust of a Young Man (approx. 1455–1528) depicts a Roman looking curly-haired male, where Hardwood’s Bust of a Man (1726/27–1783) is one of the first European depictions of an African man in sculpture. Both appear to be cut from the same slick black material, more like ebony than like marble; yet, one is stone and one is bronze. Both sculptures are owned by The J. Paul Getty Museum. The faces, facing one another forever in time, serve as a record of the art world’s relationship with whiteness and the ubiquity of European assimilation of global culture. Both sculptures have a regal air, and if anything, the African man appears distinct only for the fact that this image is less engrained throughout Westernized history. As for the Roman figure, his whiteness appears indistinct, as it assumes what has been defined as the default status throughout historical narratives both in the art world and at large. [ READ MORE ]

September 25, 2018


CHRIS ENGMAN AT THE FOTOFOCUS BIENNIAL

Artist Chris Engman transports natural landscapes such as waterfalls, caves, and vast deserts to domestic interiors by securing large-scale photographs to the room’s walls, ceilings, and floors. “I believe photography derives its power precisely from the fact it can’t be entered, however much we may want to,” Engman tells Colossal. “When I make photographs I try to be mindful of this, even to exploit it.”

His most recent work, Containment, is his first installation which allows visitors to step inside.   more

The work features a rushing stream surrounded on two sides by dense forest, and on the top by a branch-covered sky. Engman thinks of the work as a singular photograph, even though it consists of more than three hundred individual prints applied to the surface of the installation’s temporary walls. Although the piece can be entered, unlike his other works, there is still a hesitation on the part of the viewer. Engman explains that once one enters the work its believability as a singular landscape becomes penetrated. Each step deeper inside the work makes the photographed landscape appear increasingly warped and unreal.

“Even so,” says Engman, “compared to a singular framed photograph the experience of this installation for the viewer is much more physical and immersive. The structure is a room, not an image of a room. The photograph is an object, in addition to being an illusion. It has weight, and volume, and changes as you walk around it. Making this installation has been a thrilling process, and this new way of working seems to afford many new possibilities.”

The work is curated by Carissa Barnard of FotoFocus and is exhibited alongside several of his photographs at the Cincinnati Arts Association’s Alice F. and Harris K. Weston Art Gallery in Cincinnati, Ohio through November 18. The exhibition is a part of the 2018 FotoFocus Biennial, a photography and lens-based presentation of over 400 artists at art spaces across Cincinnati, Dayton, Columbus, and Northern Kentucky. You can visit exhibitions and attend programming for the biennial through January 2019. Engman will have his third solo exhibition with Luis De Jesus Los Angeles in February 2019. [ READ MORE ]

September 24, 2018


ARTFORUM CRITICS' PICK REVIEW: PAUL ANTHONY SMITH

From a distance, Paul Anthony Smith’s “picotage” pieces, 2012–, resemble movie stills interrupted by television static. Up close, they look like pictures dotted with tiny dabs of white paint. Smith creates these small, textured imperfections by carefully picking apart his mounted photographs with a ceramic needle, exposing their white undersides.  [ READ MORE ]

September 19, 2018


CHRIS ENGMAN: THE MAKING OF CONTAINMENT AT THE FOTOFOCUS BIENNIAL IN CINCINNATI

FotoFocus presents Containment, a site-specific installation by photographer Chris Engman, created specifically for the 2018 FotoFocus Biennial: Open Archive. Containment offers viewers a rare glimpse into the artist’s process, and the chance to experience Engman’s manufactured “architectural landscapes” for the first time.   more

This constructed environment fuses the tangible and surreal, playing with preconceived notions and expectations about time, space, memory, and images as truth-telling mediums.

Chris Engman: Prospect and Refuge is a curated exhibition for the 2018 FotoFocus Biennial: Open Archive. Now in its fourth iteration, the Biennial spans over 90 projects at museums, galleries, and universities across Greater Cincinnati; Northern Kentucky; Dayton and Columbus, Ohio; and features more than 400 artists, curators, and educators. The Open Archive theme emphasizes the centrality of photography and lens-based art to modernism, and examines our fundamental need to preserve photographs and to tell stories through their collection, organization, and interpretation.

Chris Engman: Prospect and Refuge
Curated by Carissa Barnard, FotoFocus Deputy Director
Weston Art Gallery, Cincinnati
August 31 – November 18, 2018 [ SEE VIDEO ]

September 18, 2018


ERIK OLSON IN THE LONDON FREE PRESS

On the Canvas: Motorcycle journey inspired artist's London show

An  more

exhibition of new works by an internationally acclaimed Canadian artist was inspired by a motorcycle trek across North America.

Erik Olson’s Hold the Line, opening Thursday at Michael Gibson Gallery, was painted this summer in a second-floor studio built for the artist above the London gallery.

Olson began painting about his experience when he arrived in London after spending three months on a 2018 Triumph Bonneville.

The project was inspired two years ago when gallery owner Michael Gibson showed the artist the vacant second-floor space above the gallery, which Gibson had wanted to develop. The Calgary-born artist, who now lives in Dusseldorf, later contacted the gallery about his plan for its use.

Hold the Line reflects Olson’s “memories, experiences and landscapes from his trip.” [ READ MORE ]

September 12, 2018


PAUL ANTHONY SMITH: CONTAINMENT FEATURED ON ARTNEWS PICTURES AT AN EXHIBITION

Pictures at an Exhibition presents images of one notable show every weekday.

Today’s show: “Paul Anthony Smith: Containment” is on view at Luis De Jesus in Los Angeles through Saturday, October 13. The solo exhibition is the Jamaican-American, Brooklyn-based artist’s first with the gallery. [ READ MORE ]

September 07, 2018


PAUL ANTHONY SMITH IN THE LOS ANGELES TIMES DATEBOOK

The arts season is off and running, with openings all over Los Angeles and beyond! Here’s a guide to the top exhibitions and events in the coming week.

Paul Anthony Smith, “Containment,” at Luis De Jesus Los Angeles. Smith collages bits of photographs of people taken throughout the African diaspora (Jamaica, Brooklyn, Puerto Rico) and then carves into these to create patterns that mask and mute the original image. Afterwards, he scans, manipulates and silkscreens the result, creating yet another layer of distortion.   more

Opens Saturday at 6 p.m. and runs through Oct. 13. 2685 S. La Cienega Blvd., Culver City, luisdejesus.com. [ READ MORE ]

September 05, 2018


ANTONIA WRIGHT ON CUBAN ART NEWS

November 1–3: Miami

On Archipelagos and Other Imaginaries–Collective Strategies to Inhabit the World

The New York–based arts organization Creative Time is holding its annual summit in Miami for the first time. Titled On Archipelagos and Other Imaginaries—Collective Strategies to Inhabit the World, the three-day conference will include workshops, panels, discussions, interactive performances, and more.   more

The speakers’ list includes María Magdalena Campos-Pons, Elvis Fuentes, and Yanelys Nuñez Leyva and Luis Manuel Otero Alcántara, two organizers of the recent #00Bienal. The conference film series will include work by US-born Cuban artist Antonia Wright. Co-presented with Art in Public Places of the Miami-Dade County Department of Cultural Affairs. [ READ MORE ]