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

NEWS

July 08, 2010

DAILY SERVING: "KAREN ANN MYERS AT LUIS DE JESUS"

Opening tonight in Santa Monica’s Bergamot Station, Luis de Jesus Gallery is presenting new paintings by Karen Ann Myers in an exhibition titled Thinking Of You. In a series of mid-sized fleshy paintings of hyper sexualized young women, the work seamlessly combines heavy flat patterns with figuration. Patterns slide in and out of abstraction, only grounded by the figures in the image. Based in self portraiture and personal narrative, Myers work both questions and confirms the objectification and idolization of youth and sexuality in American culture.   more

The fleshy flatness of pattern and color reflect the soft, subtle handling of the figures, and when the figures are absent, the color and line mimic the curves of the forms.

Along with the paintings, Myers is presenting several new screen-printed patterns that integrate decorative form with image. Hidden within the maze of pattern, one will find reductive Kama Sutra poses embedded in the sea of color and line.

Myers’ paintings and prints have been exhibited at the Robert Steele Gallery in New York, the Commonwealth Gallery in Boston, the Katzen Arts Center in Washington, DC and Scoop Contemporary in Charleston, SC. Her exhibition at Luis de Jesus will be on view until August 7th, 2010. In 2009, DailyServing did a visit with the artist in her studio to discuss the work in relation to her experiences in love and eroticism, her childhood memories, and herself as a young woman in a contemporary culture that places high value on glamor and sex appeal. Thinking of You will be on view through August 7th, 2010.  [VISIT SITE]

July 08, 2010

FLAVORPILL: KAREN ANN MYERS: "THINKING OF YOU"

South Carolina-based artist Karen Ann Myers paints pictures of the beauty women desire, often at the expense of their own sanity. Myers' psychologically intense, densely decorated portraits examine our culture's hypersexualized obsession with glamour and physical beauty, touching on its aesthetic extremes, seductive appeal, and emotional casualties. Each image represents a certain aspect in a sort of collective self-portrait, with her subjects inhabiting a kaleidoscope of loneliness, power struggles, cocktail dresses, and clashing patterns.   more

In this new series of paintings and screen prints, Karen Ann Myers continues to explore what it means to be a young woman in contemporary society. In this new series of paintings and screen prints, Karen Ann Myers continues to explore what it means to be a young woman in contemporary society. Rooted in self-portraiture and autobiography, her paintings are documents that capture both the world around her and within her. Myers approaches her paintings like short stories or mini-narratives that are influenced by her intimate experiences with friends, family, and lovers. While the female figures that she depicts are often strong and confident in their sexuality, the paintings also offer a glimpse into the confusion and doubt felt by women in their moments of solitude. In this way, her paintings serve as psychological self-portraits. Each one is a reflection of feelings and experiences that she has lived through, as well as a projection of the moods and emotions experienced while painting them. [VISIT SITE]

July 08, 2010

ART LTD. JULY 2010 ARTIST PROFILE: HEATHER GWEN MARTIN

Mischievous and studious, 33-year old San Diego-based Heather Gwen Martin utilizes humor to produce acidic saturated abstract paintings. Subverting traditional rules of composition, organic and mechanized forms co-mingle in futuristic environments. Drawing from comics and television, Martin explores playfully violent scenarios in which imagined forces battle within a controlled framework, creating tensionand awkward balance.   more

In Bound (2009)”currently included in the ballyhooed “Here Not There” exhibition at the Museum of Contemporary Art San Diego”household objectsmorph into cartoonish weapons set against a lime-hued background. Using word play, ambiguous titles such as Attractive Repulsion and Freezing Fuels”Snap! encourage double entendre. Splashy group shows aside, this September will mark Martin’s second solo exhibition at the Luis De Jesus Los Angeles gallery.

At 17 years old, early acceptance to UC San Diego provided Martin with access to top art professors, such as Kim MacConnel, Ernie Silva, and Eleanor Antin. MacConnel (known for infusing high abstraction with kitsch decoration) immediately recognized a sophistication in Martin’s early paintings he considered above the work of graduate students. A decade later, MacConnel continues to respect Martin’s sensibility demonstrated by his 2010 San Diego emerging artist prize nomination for Martin. Applauding her ability to break the rules, he notes that Martin’s “canvas space, while flat, opens up almost three dimensionally and in ways that skew balance, proportionality, and composition.” In turn, Martin appreciates MacConnel’s support for “work that was tongue in cheek and funny to me.”

Martin’s early developed ability to experiment with color, line, and shape result partly from her background in computer illustration for comic book companies. Although a full-time college student, she worked full time applying color for DC Comics. The clean, controlled brush work and highly saturated color found in Martin’s paintings are directly associated with this experience. Martin acknowledges, “technology has affected the way that my hand, eye, and brain work because I spent a lot of time at a computer with my hand making shapes and color. You have to be precise with your hand. It’s not real color”it’s the color on the computer, instant and artificial with clean lines precise down to the pixel.” She observes we often “conform to technology as opposed to technology conforming to us.”

Despite this background, Martin consciously pursed painting in the face of an art environment dominated by new media. “I wanted to be making a painting, because it slows things down and brings back the human element in the making and in the looking. I wanted to be able to one day make a painting that’s interesting and engaging and will compete against whatever is the flashiest loudest thing.” Martin is equally effusive when discussing the physical and perceptual experience of painting. She describes staring at her work from an inch away, “the way the colors interact and are bouncing off each other. That’s all you are taking in for so long and then you look away and everything else“is different and skewed.” Yet, when pressed to discuss specifics behind the scenarios she draws from she balks arguing that it would “kill the experience.” Since Martin first took advantage of UCSD’s renowned cognitive studies program a decade ago, she continues to be interested in “how we respond to stimulus and different interfaces in the world””painting reminds us that the brain is a physical organ and that our bodies are systems with reactions that cannot always be controlled.
”LAUREN BUSCEMI

“Here Not There: San Diego Art Now” runs through September 19 at Museum of Contemporary Art San Diego in La Jolla. In September, Heather Gwen Martin will be the subject of a solo show at Luis De Jesus Los Angeles, at Bergamot Station, Santa Monica.

www.luisdejesus.com [VISIT SITE]

June 18, 2010

LOS ANGELES TIMES REVIEW: "JOURNEY THROUGH SPACE AND TIME", FRIDAY JUNE 18, 2010

SHARON MIZOTA

Lael Corbin’s quirky exhibition at Luis De Jesus plays with scale and the idea of space travel, reminding us that our knowledge of the universe is entirely a matter of perception. The show’s conceit is reminiscent of the movie “Men in Black,” in which an entire universe is found in a small globe attached to a cat’s collar.   more

But Corbin’s work has less to do with aliens living among us than with the Milky Way of creamer found in a cup of coffee, or how a pan of brownies resembles the cracked surface of a sun-baked planet.

The artist photographed both of these foodstuffs up close, so that it’s nearly impossible to ascertain their actual size. But the illusion is not hard to discern. For one thing, the brownies also appear framed on the wall like so many squares of moon rock (albeit smelling faintly of chocolate). They remind us that, with the exception of astronauts, our knowledge of outer space is always filtered through a lens of some kind, whether a telescope or a camera.

In addition to the photographs and brownies, the room is filled with small sculptural pieces that also effect amusing shifts of scale and perspective. In one, an astronaut, about a centimeter high, stands at one end of a framework tunnel, as if about to go on a space walk. Through the other end, the viewer sees him magnified and slightly distorted through a lens. Behind the filmy surface, he not only looks larger and more heroic, but somehow more real, less toy-like. In this simple transformation, we’re made aware of the simultaneous transparency and opacity of the lens: how it can bring things closer, but also obscure their true nature.

Such works are reminiscent of pieces by French artist Mathieu Briand, who has explored similar territory in life-size video projections of moonscapes that turn out to be live feeds from tiny three-dimensional models. The exhibition also raises the specter of conspiracy theorists who claim that the moon landing was an art-directed hoax. Corbin’s work leavens these references with a playful, sometimes poetic use of everyday materials.

The exhibition’s title, “Greetings from Earth,” refers to the salutations in 55 languages recorded on the “Golden Record””an introduction to life on Earth for extraterrestrials”sent into space on the Voyager spacecraft in 1977. Corbin has created his own, decidedly down-market version in a pair of musty leather shoes. Embedded in one shoe is a small video screen displaying images of what looks like a planet or an eclipse, followed by shots of random groups of people. It looks pretty nonsensical, and things aren’t improved by the static-filled soundtrack heard on an attached handset. But by encapsulating this message”intended to extend endlessly outward”in the sole of a shoe, Corbin suggests how that basic greeting might turn infinitely inward as well. In this sense, the show’s chief subject is not inner or outer space, but rather the understanding that inside and outside are continually collapsing into one another.


 [VISIT SITE]

June 16, 2010

LAEL CORBIN ARTIST'S TALK: "Xtraterrestrial Sounds & Bites", Saturday, June 19, 2PM

Lael Corbin will host an informal talk and slide presentation on Saturday, June 19th, at 2:00 p.m., that will shed light on his past installations and his current solo exhibition, "Greetings from Earth", at Luis De Jesus Los Angeles. Taking his cues from the space programs of the late 1970s, like NASA's Voyager spacecraft and its Golden Record, the works in this show compel us to explore and redefine our understanding and relationship to material reality.   more

From a hovering Holstein to a Space Cadet Twinkie-cam, this collection of images and objects draw upon both personal narrative and poetic relationships to language while evoking such notions as history, science, space and time-as well as play, curiosity, and wonder. This event is free and open to the public. The exhibition will be on view through June 26, 2010.  

June 03, 2010

KAREN ANN MYERS: "THINKING OF YOU", SOLO EXHIBITION, OPENS JULY 3-AUGUST 7, 2010

Luis De Jesus is very pleased to present Karen Ann Myers in her debut solo exhibition, titled "Thinking of You", opening July 3 through August 7, 2010. An artist's reception will be held on Saturday, July 3rd, from 5:00 to 8:00 p.m.

In this new series of paintings and screen prints, Karen Ann Myers continues to explore what it means to be a young woman in contemporary society. Rooted in self-portraiture and autobiography, her paintings are documents that capture both the world around her and within her.   more

Myers approaches her paintings like short stories or mini-narratives that are influenced by her intimate experiences with friends, family, and lovers. While the female figures that she depicts are often strong and confident in their sexuality, the paintings also offer a glimpse into the confusion and doubt felt by women in their moments of solitude. In this way, her paintings serve as psychological self-portraits. Each one is a reflection of feelings and experiences that she has lived through, as well as a projection of the moods and emotions experienced while painting them.

Myers also imparts these paintings with an emphasis on sex and glamour inspired by the cult of beauty in today's mass media. In exploring how this world affects her central female figures--how beauty can be used to camouflage feelings of isolation, addiction and fear, and how sex, desire and intimacy can be misleading and destructive--she strives to present a personal yet universal depiction of women that invites the viewer to question their continuing struggles. Whether her images evoke a narrative, explore a relationship dynamic or focus on a solitary figure, the duality of three-dimensional human forms juxtaposed against the flat, intricately patterned surroundings in each painting offers an opportunity to better understand her private person and life.

Karen Ann Myers is a graduate of Boston University (MFA, 2008) and Michigan State University (BFA, 2005). "Thinking of You" is her first exhibition in Los Angeles. In addition to being an artist, she is executive director of Redux Contemporary Art Center, in Charleston, South Carolina. Her work has been exhibited at Robert Steele Gallery, New York; Danforth Museum of Art, MA; Katzen Arts Center, Washington, D.C.; 808 Gallery, Boston; Metrospace, East Lansing; and SCOOP Contemporary, Charleston, SC, among other venues.

For further information, please call 310-453-7773 or email gallery@luisdejesus.com.

(Note: LAEL CORBIN's solo exhibition, "Greetings from Earth", will be on view through June 26th.)


 

June 01, 2010

TWO HIGHLY ANTICIPATED EXHIBITIONS TO FEATURE GALLERY ARTISTS: HERE NOT THERE-SAN DIEGO ART NOW & THE 2010 CALIFORNIA BIENNIAL

Luis De Jesus is thrilled to announce the participation of our artists and others affiliated with the Gallery in two highly anticipated exhibitions: Here Not There: San Diego Art Now, June 6-September 19, 2010, at the Museum of Contemporary Art San Diego, in La Jolla, CA, and the 2010 California Biennial, October 24-March 13, 2011, at the Orange County Museum of Art, in Newport Beach, CA.   more

The Gallery will represent a combined total of seventeen artists, many of who are either represented by or have been featured in solo or group shows at the gallery over the past few years. Congratulations to all of them!

Artists participating in Here Not There include: David Adey, Brian Dick, Steve Gibson, Matthew Hebert, Glenna Jennings, Heather Gwen Martin, May-Ling Martinez, Jessica McCambly, Gretchen Mercedes, Christopher Puzio, Jason Sherry and Matt Hoyt, Tristan Shone, Perry Vasquez, Stephen Tompkins, Robert Twomey, and Allison Wiese. For more information, go to: http://www.mcasd.org/exhibitions/612/here-not-there

Artists participating in the 2010 California Biennial include: David Adey, Brian Dick, Glenna Jennings, Andy Ralph, and Allison Wiese. For more information, go to: http://www.ocma.net/index.html?page=upcoming

 

May 07, 2010

LAEL CORBIN "GREETINGS FROM EARTH" OPENS SATURDAY, MAY 22, 2010

“Eventually everything had a name and this would change the way you and I related to these things forever, for once we had named them, we stopped looking at them. From now on we only referred to them by name.” ”Lael Corbin

Luis De Jesus is very pleased to present LAEL CORBIN in his second solo exhibition at the Gallery, titled “Greetings from Earth", opening May 22 through June 26, 2010. An artist’s reception will be held on Saturday, May 22nd, from 5:00 to 8:00 p.m.   more

The exhibition runs concurrent with “Bird”, his CERCA Series solo show on view at the Museum of Contemporary Art San Diego through June 20, 2010.

In an 2006 essay titled “A Brief Story about the Naming of Things”, Lael Corbin elucidates on the role that language plays upon his work, noting that his work “is an expression of his interest in language as it relates to our experience and understanding of reality’”a conceptual framework that from the beginning ‘allowed us to express our experiences and knowledge about the universe, ultimately shaping our view of reality.” In “Greetings from Earth” Corbin compels us (again) to redefine our understanding and relationship to material reality. Taking his cues from the space programs of the late 1970s, like NASA’s Voyager spacecraft and its Golden Record, Corbin examines ideas and ways in which we might communicate with extraterrestrial life. In “Greetings from Earth” he offers an installation of unique images and objects that draw upon both personal narrative and poetic relationships to language while evoking such notions as history, science, space and time, as well as play, curiosity, and wonder.

Throughout his work, Corbin has dealt with language through the use of fable, allegory, narrative, and poetry, exploring how fictitious or inanimate objects can convey precept or truth, and calling into question the very materials and methodologies that form “the multitude of other conceptual frameworks that shape our perception today.” This has led him to experiment with a broad range of methods and unconventional materials, employing a strategy in which research, building, and manufacturing processes mix seamlessly together with dream-like imagery, fragments of information, syntax, memory, and competing timelines. Stripped of a normal context objects and processes that at first glance may appear familiar in the end force us to question how these forms fit into our larger consciousness.

Lael Corbin’s past “workspace” installations”"Latitute" (2006), "Research" (2007), "Remodel" (2008), and "Bird" (2010)”have explored themes of geology, biology, construction, interior renovation, aviation, and other concrete frameworks of understanding, and addressed his own personal experiences and memories, some of which extend far back into his early childhood. Often, the installations explore a physical space in flux, its relationship to his consciousness, and the impulse to identify, name, and classify “things”. Ultimately, the question of whether the objects in “Greetings from Earth” are artifact or artificial, or the implied narratives fact or fiction, may not be as relevant to our experience of them as our tenacious search for truth and meaning in the face of insurmountable ambiguity.

Lael Corbin is a graduate of San Diego State University (MFA, 2007) and Point Loma Nazarene University (BFA, 2005). He is currently presenting “BIRD”, his CERCA Series solo exhibition, at the Museum of Contemporary Art San Diego, Jacobs Building, through June 20th. His installation “Peculiar Velocity”, a room within a room that comprises part of the “Bird” exhibition, has been acquired by MCASD for its permanent collection. Corbin was selected by Marcos Ramirez ERRE as the recipient of the 2007-2008 San Diego Art Prize in the Emerging Artist category.

In the adjunct space, the Gallery is pleased to present a group exhibition featuring recent works by Christopher Barnard, Margie Livingston, Tadashi Moriyama, Christopher Russell, Jason Sherry, and William Staples.

For further information, please contact Luis De Jesus at 310-453-7773, or email gallery@luisdejesus.com.


UPCOMING 2010 SOLO EXHIBITIONS:

LAEL CORBIN: May 22 “ June 26
KAREN ANN MYERS: July 3 “ August 7
HEATHER GWEN MARTIN: September 11 “ October 16
CHRISTOPHER RUSSELL: October 23 “ November 27
SETH AUGUSTINE: December 11, 2010 “ January 15, 2011

 

May 07, 2010

VISUAL ART SOURCE: "THIS WEEK'S RECOMMENDATIONS...DAVID ADEY"

Continuing through May 15, 2010 Luis De Jesus Los Angeles, Santa Monica, California

One of the most intriguing and inspiring aspects of all aesthetic processes is the bit-by-bit construction of an object or image. When care and patience has been visibly invested it naturally arouses our admiration. A labor intensive production may be muscular or delicate, it may be large in scale with industrial materials or miniscule and done with a needle.   more

The ethos speaks reassuringly to our psyche: if the artist has invested gobs of their time and careful attention to create something, the few minutes we might spend looking at it seems like a fair enough investment to ask. But if our attention is readily earned, our admiration, indeed our personal investment in the resultant artwork cannot be assumed without a powerful aesthetic foundation that will finally justify the labor.

Taking in David Adey's installation of a peculiar "bridge" of books stretching across from one wall of the gallery to the opposite wall, one must resist the urge to select a volume and thus bringing the whole edifice down. Adey isn't shy about selling us on the physical side of the works' execution; the show title is "John Henry." If John Henry was a steel drivin' man, well he sure wasn't the only one.

According to folklore, John Henry, a man of near-mythical strength and determination, made fifteen feet of railroad line to the steam drill's nine. In the face of the machine's purported ease and convenience, Henry made his stand with his bare hands. Inspired by Henry's mythical dedication to human accomplishment, artist David Adey uses bridge-building principles to wedge several hundred books across a gallery room using thousands of pounds of pressure on the facing studs. The sculptural effect is monumental and anti-monumental at the same time - think of a giant-sized card catalog suspended at eye level, but just the cards between two thin metal rails - no card catalog bureau. The books themselves make for an odd assortment of literature; crime fiction jostling up against "Fly Away Home," but they were chosen for size and binding, nothing else. In fact, that is what makes the proposition interesting; the idea propelled the object making and there really is a "sense of human purpose" here.

- Jeannie R. Lee
 

May 07, 2010

Group Exhibition: Christopher Barnard, Margie Livingston, Tadashi Moriyama, Christopher Russell, Jason Sherry, and William Staples, Through June 26, 2010

The Gallery is pleased to present a group exhibition in Gallery Two featuring recent works by Christopher Barnard, Margie Livingston, Tadashi Moriyama, Christopher Russell, Jason Sherry, and William Staples, opening May 22 through June 26, 2010. An artist’s reception will be held on Saturday, May 22nd, from 5:00 to 8:00 p.m. The exhibition runs concurrent with LAEL CORBIN: "Greetings from Earth", in the main gallery.

Christopher Barnard is a graduate of the University of Southern California (MFA 2005) and Yale University (BA, 1999).   more

His paintings represent an ongoing examination of the connections and gaps between landscape painting and contemporary socio“political events. More specifically, they focus on the manifestations of American expansion and its consequences on various environments. Employing different methods of representation, Barnard’s work critiques the country’s ongoing ideology for power and military expansion by focusing on ideas of authority, imperialism, and environmental degradation. Chris has presented solo exhibitions with Luis De Jesus and Sam Lee galleries and the Denison Museum of Art in Granville, Ohio. He lives and works in Los Angeles.

Margie Livingston A Fulbright Scholar (2001-2002) and graduate of the University of Washington (MFA 1999), Livingston is the recipient the 2010 Neddy Fellowship Award in Painting, awarded annually by Seattle’s Behnke Foundation. Letting accident and discovery meet invention and experimentation, Margie’s goal is to make works that surprise and direct the viewer into new territory. Her recent work investigates the properties of paint pushed into three dimensions. Reversing her usual process of building “organic” objects as models for painting, she now uses paint to construct objects that are both dimensional paintings and sculptures made of paint. Margie will have her first solo exhibition at Luis De Jesus Los Angeles in February 2011.

Tadashi Moriyama Born in Tokyo and raised in Japan and the United States, Moriyama attended Tyler School of Art (BA 2003) and the University of Pennsylvania (MFA 2006). His intricately detailed aerial views of post-apocalyptic landscapes explore themes of creation and subsequent collapse of cities, memories, space and time, where technology and digital media function as manipulators and instigators of fear, death and hopeful renewal. Inspired and influenced by Buddhist and Hindu miniature painting, Italian Renaissance painting, as well as personal experiences, his overcrowded, over-systematized metropolises sprout consumptive organs, and breeding buildings evolve into chaotic knots of life-sustaining connective tissue. This will be Tadashi’s first exhibition with Luis De Jesus Los Angeles. He lives and works in Brooklyn, NY.

Christopher Russell A graduate of Art Center College of Design (MFA 2004) and California College of the Arts and Crafts (BFA 1998), Russell employs photography, bookmaking, writing, drawing, and digital-media printmaking to illustrate his explorations of the darker side of the human psyche. Investigating, and sometimes fabricating, the reasons people live or behave outside of socially acceptable margins, his work offers visions of what many would deem dirty, broken, useless, or criminal. Chris was the subject of a Hammer Projects exhibition in 2009 and from 2001 to 2005 designed, edited, produced, and distributed the “destroy-to-enjoy” literary art zine Bedwetter. He also wrote and edited an essay for the catalog that accompanied his curatorial debut, Against the Grain, at LACE in 2008. He is now represented by Luis De Jesus Los Angeles, where his solo exhibition will open on October 23, 2010.

Jason Sherry An intrepid scavenger and collector of vintage negatives, pulp photography and ephemera, Sherry’s work sheds light on the absurd, irrational, and unpredictable side of human nature. He employs a broad range of media and techniques (printmaking, photography, collage, sculpture, and video), weaving together images of long-forgotten Hollywood celebrities, rock stars, and politicians into richly layered works that skewer history and contemporary society. His new video, “Antartichuh?”, will premiere this coming June in Here Not There, a survey exhibition being organized by the Museum of Contemporary Art San Diego. Jason will have his third solo exhibition with Luis De Jesus in September 2011. He is a graduate of San Diego State University (BFA 2001).

William Staples A graduate of the University of Illinois at Chicago (MFA 2002), where he lives and works, Staples was the subject of a 12x12 Series solo exhibition in 2005 at the Museum of Contemporary Art, Chicago. He is also a co-founder of BAT: A Quarterly Art Journal. Staples sees his practice as a continuum with the tradition of western painting; a tradition, as he sees it, that advances through color, line, form and pictorial space”toward a “psychology of truth.” He draws on a variety of themes to insure that the work is about painting not content, using the iconic setting or figure--interpretations of cultural and media images, domestic interiors and scenes, as well as variations of paintings from western art history--as a springboard for abstraction and contemplation, and a launching pad for his explorations into artifice.