Luis De Jesus Los Angeles - Logo image

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


March 09, 2017

Ocula Report / Armory Week 2017: The satellite fairs - Federico Solmi at volta

To say that this year's Armory Week satellite fairs were all over the map would be true in both a geographical and metaphorical sense. From Volta (immediately next door to the Armory Show on Pier 90) to Art on Paper (a mile's walk from the East Broadway subway station), not to mention the six others in between, anyone trying to see everything would have worn out a good bit of shoe leather. [ READ MORE ]

March 08, 2017

federico solmi feature in: "5 Artists From Around The Globe Who Wowed Us At The VOLTA NY Art Show"

To say the VOLTA NY art show was a sensory overload would be an understatement.

The show, which celebrated its first decade's anniversary with the theme "Ten Years of Solo Focus," featured 96 galleries and artist-run spaces across five continents, 46 cities, and 38 nations. If that's not enough to leave you stunned, the beautiful and diverse collections exhibited definitely would. [ READ MORE ]

March 03, 2017

Federico solmi featured in: "At Volta and Nada fairs, two takes on politics"

The effects of fractured political systems are looming themes at Armory week satellite fairs geared toward younger dealers and artists. At Volta, running 1-5 March at Pier 90, the centerpiece is a curated section, organised by the Brooklyn-based curator Wendy Vogel.   more

Titled Your Body is a Battleground after the famous Barbara Kruger photomontage, created on the occasion of the 1989 Women’s March on Washington, the mini-exhibition comprises works by eight artists dealing with the idea of resistance, including a colossal installation titled PATRIOT (2017) by the Kentucky-based artist Melissa Vandenberg that spells out its title with sewn and stuffed surplus military fabric.  [ READ MORE ]

March 03, 2017


For more than a decade, Ken Gonzales-Day has been exploring the history of racialized violence in America, creating several bodies of work that are brought together for the first time in this exhibition. Cumulatively, his work is a powerful and complex statement that challenges what we thought we knew about this country’s great dilemma. The Los Angeles–based artist has extensively researched lynchings in California, where Mexican Americans and Asian Americans were widely targeted during the late nineteenth and early twentieth centuries.  [ READ MORE ]

March 03, 2017


hyperallergic@luisdejesuslosangeles's curtained booth of animations by @federico_solmi at @voltashow (šŸ“· @jilnotjill) [ SEE MORE ]

March 02, 2017

FEDERICO SOLMI FEATURED IN: "Catch These Breakout Stars at the VOLTA Fair"

At the 10th anniversary of VOLTA NY, which kicked off on Wednesday, up-and-coming artists dig into subjects like cultural diversity and immigration, and even Donald Trump’s supposed sex practices, keeping the messages up to the moment. As per the norm, all 96 exhibitors were asked to showcase the work of just one or two artists, making it all the easier to cherrypick the fair’s break-out stars. ...In a way, Trump bookends the fairs, with Golden Showers playing outside the VIP tent at the end of the pier.   more

Just beyond the entrance, meanwhile, is Federico Solmi’s work, in which two animated clips in elaborate frames, set against a backdrop of red satin curtains, show the new president arriving at a grand palace. [ READ MORE ]

March 01, 2017


In 2001, Ken Gonzales-Day set out to write a book on Latino portraiture in 19th- and 20th- century California; his research led to his discovery of dozens of images and written records of lynching, and, ultimately, to his 2006 book Lynching in the West, 1850-1935. On view through April 16 at the Minnesota Museum of American Art, Shadowlands, which grew out of this publication, comprises his own photographs, archival images, books, and ephemera.   more

All of this material, along with his photographs about this country’s recent racial violence, deftly compresses history and raises questions about our historic construction of race. [ READ MORE ]

February 16, 2017

New galleries bring buzz to San Francisco, but no gold rush—yet

After new spaces opened on the coattails of the dramatically expanded San Francisco Museum of Modern Art (SFMoMA) last year—most notably Gagosian opening a branch within a few blocks—the city’s gallery scene continues to grow.

In January, the blue-chip Berggruen Gallery unveiled a three-floor, 10,000-sq. ft space South of Market, next door to Gagosian.   more

The same week, former Matthew Marks director Adrian Rosenfeld opened a new space in the Minnesota Street Project in the scruffy Dogpatch neighborhood, joining Rena Bransten, Anglim Gilbert, and Altman Siegel, which Ā­relocated there in November.  [ READ MORE ]

February 01, 2017

Review: Antonia Wright pulls a disappearing act at Luis De Jesus

You must be careful not to hit your head when entering Antonia Wright’s exhibition at Luis De Jesus gallery in Los Angeles. During the day, the gallery is almost completely dark and filled with rectangular hanging planters suspended at a face-smacking height. Each is host to small, living trees that give off a fresh, piney smell. Illumination reminiscent of moonlight emanates from a video projected in the rear gallery, where the miniature forest continues. It feels as if we have been transported to some magical, subterranean space. [ READ MORE ]

December 15, 2016

Review: Chris Engman, “Prospect and Refuge” at Luis De Jesus

Chris Engman is concerned with the relationship between nature and architecture. To create many of the works in his evocative exhibition Prospect and Refuge, Engman visited national parks and other outdoor setting numerous times photographing the landscape from various angles so that he could reconstitute the natural world in his studio.   more

He remaps the images he shot in situ in his studio (or living room), by adhering hundreds of enlarged photographic fragments to the objects in the space as well as to the walls, ceiling and floor recreating the scene from the original vantage point. He then rephotographs the installation and dismantles it so the final artwork is a document of this reconstruction. It also serves as evidence of his labor intensive process. Engman is mindful of photographic veracity yet uses his camera and the myriad printed images to create complex illusions that envelope architectural spaces. [ READ MORE ]