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

NEWS

March 15, 2018


REVIEW: SOUL RECORDINGS IN CONTEMPORARY ART REVIEW LOS ANGELES

News media, despite respective biases, seem to agree in the description of contemporary politics as “complicated” and “divided.” While accurate, this semantic admission fails to demonstrate the accountability of the status quo.   more

SOUL RECORDINGS, a group exhibition currently on view at Luis De Jesus Los Angeles, examines ideas around representation and meaning amid the persisting trauma of colonial histories.

While news coverage may be simplified, hashtags are user-generated, providing the illusion of autonomous control through generalized shorthand. Peter Williams’ #137 (2017) depicts a car with words including #blackcouple, #policechase and #homeless painted on the hood, referring to the 2012 murder of Timothy Russell and Malissa Williams by East Cleveland police. Red lines and bullet holes rendered in pencil cover the collapsed windshield, the impermanence of graphite emphasizing cultural erasure. Williams’ reference to Black Twitter archives #137 within a timeline of police shootings, revealing the limits of language to sufficiently index horror.

As language becomes inadequate, the perils of visual representation perhaps complicate further. Lip Gloss Alurt (2017) by Lex Brown is a green screen video of the artist in costumed whiteface, simultaneously performing as a humming, DIY-Snapchat dog filter, a Siri-esque character reading a voicemail, and a television salesperson named Mananda. Punctuated by descriptive text reading This is Old News and Animal Looks at Self, “Manada” models a lopsided pink camo KKK ensemble, saying “the historical element, you can’t get better than that.” Brown uses re-appropriation to reclaim the other-ed body, a notion catalyzed in Caitlin Cherry’s garish Harvard, MIT and Yale portraits (all 2017), cheekily undermining ethnographic projections on the black female body and institutional racism.

If the contemporary is complicated, moments like the stark removal of text in Edra Soto’s Open 24 Hours (2017)—an installation and risograph series of alcohol bottles stripped of their labels, and consequently, the stigmas associated with their branding—and Brown’s title spelling, might indicate celebration as an apt tool for meaningful social change. Curator Jill Moniz’s essay lauds “making space” in an art world mired by systemic problems. Yet SOUL RECORDINGS might go further—demanding space, challenging institutional “cultural initiatives” and neoliberal “tolerance.” [ READ MORE ]

March 08, 2018


NATIONAL PORTRAIT GALLERY CELEBRATES 50TH ANNIVERSARY WITH NEW EXHIBITION

THE NATIONAL PORTRAIT GALLERY UNVEILS A NEW EXHIBITION CELEBRATING ITS 50TH ANNIVERSARY, TITLED "UNSEEN: OUR PAST IN A NEW LIGHT: KEN GONZALES-DAY AND TITUS KAPHAR"

The National Portrait Gallery is continuing its 50th anniversary celebration with a new exhibition that puts a spotlight on people missing in historical portraiture.

The exhibit is titled Unseen: Our Past in a New Light: Ken Gonzales-Day and Titus Kaphar. It's a continuation of the Portraiture Now series.   more

The exhibit has an emphasis on people of color, specifically African Americans, Native Americans and Latino Americans in past American art pieces, by attempting to retell history by including those they believe were left out.

“Most early American portraits represent white men who owned land and could vote,” said National Portrait Gallery Director Kim Sajet. “As a result, our country’s visual history—and consequently its very identity—has largely been shaped by those in power. UnSeen: Our Past in a New Light presents the perspectives of two leading contemporary artists who use powerful art as a way to reframe history.”

The public is welcome to participate in a discussion with the artists on Thursday, March 22, from 10 a.m. to 11:30 a.m. [ READ MORE ]

March 06, 2018


REVIEW: SOUL RECORDINGS IN ARTILLERY

The opening movement of “Soul Recordings” is a polka-dot revelry, a bedazzled wake-up call, a cymbal-clap altarpiece, a plastic-bead trumpet blast, and a monster of a skull-ringed, glitter-bombed orchestral chord breaking in fuchsia major. This is Ebony G. Patterson’s heartbreaking and eminently Instagrammable mixed media installation work, and the poignant grandeur of its regal and folkloric memento mori is alert and ineffable.   more

From there, the group exhibition lives up to its musically-derived name, unfolding like a compilation concept album, with alternating levels of volume, tempo, and style. Its rhythmic pace presents an array of voices echoing a panoply of influential styles and cultural histories that include both art and music, as well as fashion, politics, commerce, addiction, technology, desire, and power. [ READ MORE ]

February 16, 2018


LOS ANGELES TIMES DATEBOOK: SOUL RECORDINGS, KEN GONZALES-DAY AT THE SKIRBALL CENTER, AND HUGO CROSTHWAITE AT THE MUSEUM OF SOCIAL JUSTICE

“Soul Recordings,” at Luis De Jesus Los Angeles. A group exhibition featuring works by artists such as Lisa C. Soto, Deborah Roberts, Caitlin Cherry and Lex Brown shines a spotlight on our state of political unease. This includes work that examines neocolonial architecture, painting that toys with the nature of stereotype and textile work that takes on issues of gender.   more

Accompanying the exhibition will be an essay written by independent curator Jill Moniz, who organized the very compelling show of sculpture by African American female artists at the Landing last year.

Ken Gonzales-Day, “Surface Tension: Murals, Signs, and Mark-Making in L.A.,” at the Skirball Cultural Center. This is a new series from the artist known for conceptual photo projects that have chronicled old hanging trees and reimagined scenes of protest. For this PST: LA/LA exhibition he turns his attention to murals and the ways in which they inhabit L.A.’s urban landscape. Through Feb. 25. 2701 N. Sepulveda Blvd., Brentwood, skirball.org.

Hugo Crosthwaite, “In Memoriam Los Angeles,” at the Los Angeles Methodist Museum of Social Justice. The noted Tijuana painter, known for phantasmagoric black and white murals that seamlessly fuse slices of urban life with the slightly deranged and fantastical, is creating an improvisational mural that is inspired by his observations of people in downtown Los Angeles. The mural is to be painted only during the opening hours, during which time the public is invited to drop in and observe. After completing the work, Crosthwaite will then proceed to obliterate the piece by painting it out bit by bit. Through Feb. 25. La Plaza United Methodist Church, 115 Paseo de la Plaza, Los Angeles, museumofsocialjustice.org. [ READ MORE ]

February 12, 2018


PREVIEW: SOUL RECORDINGS IN THE WALL STREET INTERNATIONAL

Luis De Jesus Los Angeles is very pleased to announce SOUL RECORDINGS, a group exhibition featuring works by Lex Brown, Caitlin Cherry, Ebony G. Patterson, Deborah Roberts, Paul Anthony Smith, Edra Soto, Lisa C. Soto, and Peter Williams, to be presented from February 17 through March 24, 2018. [ READ MORE ]

January 30, 2018


ANDRÉ HEMER IN BE-ART MAGAZINE

DISRUPTIVE PAINTING: This is Hemer's second solo exhibition with the gallery and it is a most disturbing show. Impossible to render as images on Internet, these paintings have to be seen in the flesh. [ READ MORE ]

January 27, 2018


REVIEW: KEN GONZALES-DAY IN RIOT MATERIAL

In Bone-Grass Boy: The Secret Banks of the Conejos River, Ken Gonzales-Day brings his ongoing inquiry of erasure, history, and the history-making process itself full circle. First shown in 1993-96, the updated Bone-Grass Boy made its debut at Luis De Jesus Los Angeles gallery in 2017 and now shows at BRIC House in Brooklyn, NY as part of Reenactment, a group show curated by Jenny Gerow.   more

This updated version of Bone-Grass Boy features Gonzales-Day’s original show, with the addition of new work, reflections, and introductions. [ READ MORE ]

January 26, 2018

JOSH REAMES AND FEDERICO SOLMI ON ARTNET NEWS

5 BOOTHS TO CHECK OUT AT THIS YEAR'S ART LOS ANGELES CONTEMPORARY FAIR

A selection of politically charged works by Josh Reames and Federico Solmi will don the walls of art dealer Luis De Jesus’s booth. “Both Reames and Solmi have chosen to address the current political landscape in their new works,” says de Jesus. “Josh Reames’s recent paintings feature iconic symbols of American history and commerce singed by trompe l’oeil burns. These paintings are statements on the destruction of myth and the power that images can hold.   more

Solmi has created new animated video-paintings featuring Donald Trump gallivanting with past and present world rulers in handmade ‘patriotic’ frames. These pieces are satirical, grotesque, and very on point.” [ READ MORE ]

January 25, 2018

ANDRÉ HEMER ON ARTNET NEWS

Let’s see what’s happening in West Coast art this week. Los Angeles was recently crowned as the artist capital of the world—boasting more working artists than even New York!—and it has the gallery scene to match. From your heavy-hitter white cube venues to grungy underground artist-run spaces, the city has it all. It just might take a lot of driving and battling some congested traffic to see it all. [ READ MORE ]

January 25, 2018

LUIS DE JESUS LOS ANGELES ON FORBES.COM

“As the international art community looks towards Los Angeles as a new global epicenter, it is essential to have an event that draws upon a comprehensive notion of the city,” said Tim Fleming, ALAC’s founder and director.

Among favored Los Angeles galleries exhibiting are Shulamit Nazarian, Kayne, Griffin Corcoran, Luis De Jesus Los Angeles, Mixografia.   more

They are joining exhibitors from Hong Kong (10 Chancery Lane Gallery), Seoul (313 Art Project), Moscow (LAZY Mike), Copenhagen (Marie Kirkegaard Gallery), Bogota (Instituto de Vision), and Sao Paulo (Vermelho), among others... [ READ MORE ]