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


July 02, 2011


Luis De Jesus Los Angeles is pleased to present a special screening of three new videos by Deanna Erdmann, Wednesday, July 13, 2011, from 7:00 to 9:00 p.m. The three videos are "Cosmos", "Untitled (Women)" and "Untitled (Green)". An artist's reception will take place during the screening.

Deanna Erdmann's work engages perception as a process of accumulation.   more

Presenting a choreography of the “in-between,” she uses transitory, repeated, and improvised gestures to reveal the fleetingly visible spaces between frames, thus allowing for deeper considerations of the here and now”a present that is always more than can actually be perceived. Each work unfolds as a unique landscape, a collection of sensory fragments mapping physical terrain and cultural geography.

In the making of Cosmos, a stop-motion animation, Erdmann collected discarded bus windows from the LA public transit system and created high-resolution scans of each window. This archive of mark making documents the ephemeral choreography of the body moving through the city’s complex network. In Untitled (Green) and Untitled (Women), the video editing process is similar to a repeated folding and interlacing of materials, a cross between weaving and origami. The images and sound disrupt a sequential narrative, a reminder that we are perpetually between past and future, on the edge of the present. The sonic/visual relationship in Untitled (Green) and Untitled (Women) intensifies both the physical and psychological experience.

Untitled (Green) weaves together six different videos frame by frame, each image visible for a single frame, then cycling through the other videos. Originally posted online by US military personnel, each video contains glowing “green” night-vision footage documenting US-led bombings abroad. In a play between presence and absence, the green color creates a magenta after-image and eventually leads the entire image field to shift to magenta, after which the green becomes the after-image. Untitled (Women) interlaces female singers Karen Dalton, Lesley Gore and Marianne Faithful, creating a simultaneously haunting and alluring experience. Through editing they become apparitions of one another, sharing harmonic and discordant sounds and echoing one another’s physical movements. From these discordant fragments, new harmonics emerge.

Deanna Erdmann is an artist and educator living and working in Los Angeles. She received her MFA (2008) from University of California, San Diego, where she was a Russel Grant recipient, and BA (2002) from UC Irvine. Her work has been featured in solo and group exhibitions at Luis De Jesus, Patrick Painter, REDCAT, LACE, Kavi Gupta Berlin, Sundown Salon, Lui Velasquez, compactspace, The New Children’s Museum San Diego, workspace, and Statler Waldorf.

June 25, 2011

geoff tuck on margie livingston's "20 gallons" at lace

Over the course of her residency at LACE Margie participated in several public conversations: at the reception speaking with those in attendance about her practice and on the following weekend LACE invited other artists to engage with the installation and speak with her in a more intimate setting. Livingston mentioned work by Roy Lichtenstein. Not being familiar with her reference I spent time looking online. Below are images that I found. [READ ON]

June 22, 2011


Luis De Jesus Los Angeles is very pleased to announce our participation in NADA Hudson, July 30-31, 2011, at the Basilica Hudson in Hudson, New York. The Gallery will present a new site-specific installation by MARTIN DURAZO and a weekend-long performance by BRIAN DICK.

Organized by the New Art Dealers Alliance and the Basilica Hudson, NADA Hudson is a large scale exhibition featuring over 40 projects presented by NADA members and affiliates.   more

NADA Hudson is not an art fair, but rather a site-specific project for the New Art Dealers Alliance, which will build upon the character of a historic venue in showcasing contemporary sculpture, installation and performance. The Basilica Hudson, built in 1884 as a foundry and forge for the manufacture of steel railway wheels, is the last great 19th century building on the Hudson River waterfront. NADA Hudson will occupy nearly 8,000 square feet of indoor space, a theatre space and over 10,000 square feet of outdoor space.

MARTIN DURAZO - The romance of enigmatic escape

Using a small sound-sensitive stage laser, magnifying lenses, a MacBook Pro laptop with DJ software, multiple ear phones, and pixilated images of troubled celebrity figures Linda Lovelace and Lindsay Lohan, Martin Durazo's installation, The romance of enigmatic escape, explores night club nuances that offer opportunities for an escape from reality. Transitory in nature, the idea of a party is fleeting. Moreover, there exists a parallel with the economic law of diminishing returns--the longer the festivities last the less intense the feelings of joy and reverie. At the center of this installation will be a high intensity laser and a magnifying lens that will simultaneously distort and enhance the laser's ability to project, while music mixed from a laptop computer will power the pulsations of the beams that scatter across the images of Lohan and Lovelace--enigmas created by popular culture, exposed to the transcendent sobriety of reality. Nearby, a bank of earphones will invite viewers/listeners to enjoy the sound that powers the work. Martin Durazo is a multi-media artist whose work is concerned with the intersection between elements of high-design and the grittiness of social subcultures, and is known for creating large scale installations combining painting, sculpture, ready-made objects, video, sound, light, and performance.

BRIAN DICK - The Nationwide Museum Mascot Project
A collaborative performance with Christen Sperry-Garcia

Working in a post-studio style of practice that he often documents in photography, film, and video, Dick creates playful sculptures and performances that are meant to last for a brief amount of time. The Nationwide Museum Mascot Project functions as a spontaneous public forum for random encounters that involve an exchange of creative ideas that help solve problems, implement policy, and offer a critique of an institution that is not at all interested in this kind of undisciplined, non-contextual discourse. The Mascot Project for NADA Hudson will follow these same principles. It will be a unique "corporate mascot"--an inhabited phantom sculpture created specifically for NADA Hudson (sourced from secondhand materials found at local thrift stores, dime stores, and even dumpsters)--with unscheduled performances taking place throughout the course of the two-day exhibition in and around the Basilica Hudson as well as the village of Hudson. Recent manifestations of the Mascot Project have appeared as "OCMAscot" for the 2010 California Biennial at the Orange County Museum of Art, "Bushie" at Bushwick: SITE FEST 2009, and "LACMAscot" at the Los Angeles County Museum of Art.

Martin Durazo and Brian Dick live and work in Los Angeles. Hudson, New York, is a popular satellite city for cultural activity and is home to many dealers specializing in antiques while also attracting international contemporary artists like Marina Abramovic and Jason Middlebrook. Hudson is easily accessible to visitors from New York City. Direct trains run frequently to Hudson, leaving from Pennsylvania Station (W34th St and 8th Avenue) and the ride is about 2 hours. As always NADA Hudson will be free and open to the public. For additional information about NADA Hudson please visit

For further information about Martin Durazo and Brian Dick, please visit

June 17, 2011


LACE (Los Angeles Contemporary Exhibitions, 6522 Hollywood Boulevard, Los Angeles, CA) is proud to announce this year's Wall Work commission by Seattle-based artist Margie Livingston, entitled Twenty Gallons, on view from June16, 2011 through March 25, 2012, is designed to activate LACE's monumental archway and greet our visitors for the coming year.   more

Using acrylic paint as both a surface and structural material, Livingston will cover the 15-foot tall archway leading into LACE's front gallery with a series of "wafer board" panels constructed entirely from, as her title suggests, twenty gallons of acrylic paint.

Originally trained as an abstract painter, Livingston's early work approached the subject of landscape through the lens of geometric abstraction, exploring the intersection of the architectural grid and organic forms within the conventions of the two-dimensional picture plane. In her recent work, she has inverted the relationship between content and material, with the canvas having been abandoned entirely in favor of exploiting paint for its sculptural properties, yet still maintaining a reference to abstract expressionism that is both witty and sincere.

Livingston deliberately conflates an expressionist, processed based approach of abstract painting and the structured, reductive approach of minimalism to create self-described "paint-objects." The artist states, "As I work, my goal is to keep the process open so that accident and discovery can combine with invention to make works that surprise me. In hopes of making work that is not merely personal but also cognizant of history and relevant to our time."

Each year, LACE commissions a new Wall Work for its front gallery. Past projects have featured artists Nick Lowe, Ami Tallman and Jason Yates. For further information about LACE please visit  

June 01, 2011

Current Los Angeles Contemporary Exhibitions:
Doug Simay's Best Picks

Gail Roberts at Luis De Jesus (Bergamot, closing)
Considering the breadth and tenure of her painting career, Gail Roberts’ new paintings are transcendent. Her imagery is still built on reality. But the new work effectively plays as abstraction. Her confidence with the brush, particularly in the two largest paintings, is wonderful to behold.  [ VISIT SITE ]

May 27, 2011


Gail Roberts pairs with Robert Kushner, and the disparity is readily apparent. But look closer; the strands of the bird's nests Roberts paints in such exacting detail, at such dizzyingly large scale, recur oibliquely in the ornate lines Kushner draws through his collages. And the texts that give Kushner's paper pieces such texture can be read into the calligraphies Roberts has collapsed into her close-ups, and often makes literal behind them in the form of newsprint or even specific books.   more

There is thus a "pleasure of the text" in both artists' work - although in Roberts' oddly poignant images it contrasts with the pleasures of nature, while in Kushner's almost diaristic pieces, composed of pages drawn from a vast variety of sources, the pleasure is of multiple texts in a multitude of hands and alphabets. In both cases the artists convey a solid, seductive pleasure of the texture, of course rendered (and somewhat equivocal) in Roberts' case while literal (and rampant) in Kushner's, but immediate in both.
- Peter Frank [ READ ON ]

May 12, 2011


When I was very young I found a bird's nest in my backyard. I was completely fascinated by the perfect structure, the smoothness of the inner sanctum, the delicate weaving, and the way feathers and tiny streamers had been interwoven with the leaves and sticks. It became a precious object to me, one that I carried with me to college dorm rooms and various apartments through the years. I still have it.

The combination of bird's nests and books is an interesting one. One is built upon ideas and concepts, the other as a structure to perpetuate the species.   more

Yet one could say that reading and books are one of the greatest touchstones of a culture, one of the most important ways in which we note, discuss and value our society, a part of the nest, that perpetuates who we are and what we believe in. Each of the books chosen by the artist (“One Flew Over the Cuckoo's Nest”, “Alice in Wonderland”, “To Kill a Mockingbird”, and “The Raven”, to name a few) are classics with strong statements made about society in a specific time and place. Many of the books will have personal meaning for the viewer, for me “One Flew Over the Cuckoo's Nest” was a revelation in high school. Several of the paintings display the pages with text revealed and here the artist makes certain fragments important as in "...remember it is a sin to kill" or "The freedom of birds is an insult to me." These remnants removed from the context of the entire book, become messages about the work. And too, there is the type itself on crumbled pages with shadows and deformities, as abstract images they have their own kind of sparse beauty.

The nests represent home and safety”a place of hard work, protection, growth, food, and then departure. A symbol of the typical family structure and like the books they are paired with, a physical object, one of beauty but not in the typical sense. The nests are painted with great detail, small paintings within paintings, they are a combination of lines of light mixed up with planes of rectangular shapes of man produced plastics and paper or a swirl of feathers. They have a deep center of darkness that burrows into the unknown.

In several of the paintings the book and nest are set in water, often a symbol for the soul. Perhaps the artist is saying that whether it's the complex ideals of our society or the structures upon which we live, it's all just flotsam and jetsam floating down the river of our spirit.

The show runs through May 28 at Luis De Jesus Los Angeles.
 [ READ ON ]

May 12, 2011

Bergamot Station Hosts Diverse Exhibits - The work of artists Gail Roberts, Robert Kushner, Richard C. Miller and Elliot Erwitt are showcased at the Santa Monica complex.

Through May 28 - Luis De Jesus Gallery is exhibiting two very different artists: Gail Roberts and Robert Kushner. Roberts is a painter of extraordinary skill and mastery of the medium. Several large-scale canvases of bird nests fill the main gallery. Each nest is compositionally centered and set against a book with faintly legible text. There’s a tactile realism that makes the images slightly uncomfortable. On the metaphorical level, the nests are either abandoned or purposefully taken out of the context of their natural function.   more

Either interpretation lends an air of morbidity to the proceedings.

Kushner is also a masterful painter of quite some international renown. Fabric patterns and flowers often do battle against geometric grounds of color and gold leaf. The result is often the visual equivalent of a slow-motion kung fu action sequence but with beauty and elegance substituting for fists and feet.  [ READ ON ]

May 07, 2011

Gail Roberts: Entanglement at Luis De Jesus Los Angeles

Gail Roberts' current exhibit at Luis De Jesus is a comprehensive interpretation of the "San Diego light" and for me an open book to my art education. While I was at the exhibition, I began to revisit my introduction to Diego Velasquez and Thomas Eakins. Roberts's work reaches for the light with tentacles. The nests are lines in space moving in and out of light and shadows. The paintings' lavender haze is a tribute to the ocean breezes misting the local sunlight.   more

Additionally, as persistent targets of light, the nests can hypnotically draw in and escort the viewer through the artwork.

"it's a sin to kill a..." is a phrase seen on Roberts's To Kill. The To Kill a Mockingbird reference is a reminder to appreciate the preciousness of nature and the intrinsic value of beauty and aesthetics. Man's literature is a backdrop for natural elements. The book passages are the artist's personal selections and are reflective of Jenny Holzer's Truisms. Roberts's Looking Glass "and so the birds was right about it..." are reminiscent of Holzer's "I feel you, and I smell you on my skin."

The classic paperbacks and organic nests serve as a contrast and a glimpse into the future. With books online and "Kindles", books are becoming a remnant of the past. The nest is shaping into one of nature's relics. A close-up view of birds' instinctual architectural structures is seen in man's structures made from straw, sticks, paper, etc. Roberts has spent her lifetime communing with nature and documenting the changes in her environment through her paintings.

--Sandra Vista

Gail Roberts: Entanglement
April 16, 2011 - May 28, 2011

Luis De Jesus Los Angeles
2525 Michigan Avenue, Bergamot Station F2
Santa Monica, CA 90404

April 21, 2011


“Entanglement,” a new show of paintings by Gail Roberts at Luis De Jesus in Bergamot Station, explores ideas and questions of home, intellectual growth, and man’s relationship to nature. The large paintings of nests paired with books and pages of text showcase her beautiful technique and prove a continued exploration of many of the themes she has explored throughout her long career. Be sure to check out the show before it ends on May 28. [ READ ON ]