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


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 ]

December 10, 2016

"Fool me once, shame on you. Fool me twice…" Edward Goldman talks about Chris Engman's Prospect - Refuge solo exhibition that fools you to much delight.

Here's an exhibition of color photographs by Chris Engman at Luis De Jesus Los Angeles that initially will fool you the way they fooled me. At first glance, you get the impression that you're looking at architectural images of low-key interior settings cleverly superimposed with beautiful, romantic landscapes.

But come closer, and spend a little bit more time staring at the Grand Canyon-like setting… and all of a sudden, you see, in the middle of the cliff, a small square window.   more

And looking even closer, more architectural details reveal themselves: the floor, the wood-panels of the ceiling, the florescent light fixtures. All that and more is part of the modest studio space where Chris Engman works.

In one of his photos, he reveals his studio as a simple working space, but then carefully covers all nooks and crannies with numerous photographic images that together create an effect of a singular ocean view. Unless you see it up close, you might not fully grasp what I'm trying to describe.

Although Chris Engman's photographs are the result of a labor-intensive process, the final images come across as effortless. Just think about the famous saying, “Fool me once, shame on you. Fool me twice, shame on me.” Even after uncovering the magic tricks behind the creative process, you continue to be “fooled” by his photographs, yes, fooled, to the utmost delight –– again and again and again. 

December 06, 2016


One of our favorite fairs is Untitled Art. The tent is always beautiful, with a transparent roof (providing nice, even light) and views of the beach. The layout is interesting, ignoring the conventional aisle and row system. And the curation is right on with great galleries and works. Tomorrow I'm posting some shots of Art Miami. In the meantime, enjoy scenes from this year's Untitled Art fair!  [ READ MORE ]

November 20, 2016

"Ken Gonzales-Day: Shadowlands" survey exhibition to open at the Minnesota Museum of American Art, January 19 through April 16, 2017

Ken Gonzales-Day is an interdisciplinary artist whose practice considers the historical construction of race. He supplements his photographs with research and writing that engage critically with history, art history, and Western conventions of race, blending historical tragedies with current events.   more

Using photography and video, he explores trauma and resistance as experienced and embodied by racially oppressed populations in the U.S.

This exhibit will be a concise survey of the artist’s career, including works from the Erased Lynching, Searching for California’s Hang Tree, and Run Up series. His most recent work draws parallels between historical lynchings and high profile cases of police brutality affecting communities of color today. The core of the Run Up series is a cinematic restaging of the 1920 lynching of Charles Valento. Utilizing details drawn from the coroner’s report and his own archival research, Gonzales-Day chose to focus on this particular event in order to draw attention to the police presence at the scene that tacitly condoned the extralegal violence.

A survey of Gonzales-Day’s work brings up one of his most poignant questions: What is the difference between collective resistance and racially motivated violence? It is a question being asked after recent tragic events in cities around the country, such as Ferguson and Los Angeles, as well as St. Paul and Minneapolis. By presenting historical occurrences in conjunction with contemporary events Gonzales-Day collapses the historical distance and exposes the unchanging reality of racialized violence in the United States. Exploring the dichotomy between presence and absence, Gonzales-Day draws attention to the selective vision of American history and the perception of people of color as expendable. He combines scholarly research and a photo-journalistic sensibility with rich aesthetics to create jarringly haunting portraits of historical trauma present in both the people and the land of the United States.

Education & Academic Career
Ken Gonzales-Day received a Painting (Art History minor) BFA at Pratt Institute and an MFA in photography at University California, Irvine. Gonzales-Day is a Professor of Art and Humanities at Scripps College. He has received many prestigious awards and museums fellowships, including the Terra Senior Fellow, Terra Foundation, Giverney, France; COLA Individual Artist Award, Los Angeles; Art Mattes Grant, New York City; Visiting Scholar/Artist-in-Residence, Getty Research Institute, Los Angeles; Senior Fellow, American Art Museum and National Portrait Gallery of the Smithsonian Institution, Washington D.C.; Fellow, Rockefeller Foundation Study and Conference Center, Bellagio, Italy; Van Lier Fellow, ISP, Whitney Museum of American Art.

His work also is in numerous permanent collections, including Smithsonian American Art Museum; Art Gallery of New South Wales, Sydney; Getty Research Institute; L’Ecole des beaux-arts, Paris; Los Angeles County Museum of Art; Los Angeles County Art Commission; Eileen Harris Norton Foundation; and Norton Museum of Art.

Ken Gonzales-Day: Shadowlands will be exhibited at the Minnesota Museum of American Art in St. Paul, Minnesota from January 19 through April 16, 2017. For more information on this exhibition and related events contact Christopher Atkins, Curator of Exhibitions and Public Programs at 651-797-2853 or email at 

November 15, 2016


The montage of attractions was a 1924 theory devised by the Russian film director Sergej Michajlovič Ėjzenštejn, who ranks among the most influential and revolutionary directors in film making history for his use of montage and innovative formal compositions of image—and made by unprecedented technical developments. The montage of attractions looks in all ways metaphorically incomplete, cluttered and misplaced, with the spectator having to put in an active effort to make sense of the plot’s elements and meanings. [ READ MORE ]

November 14, 2016

andre hemer recipient of 2016 New Generation Award by Arts Foundation

2016 New Zealand Arts Awards Recipients Announced — 14.11.16
The Arts Foundation is proud to announce the recipients of the 2016 New Zealand Arts Awards.   more

This year’s Awards feature eleven incredible New Zealand artists with major international influence.

From an extraordinary talent pool, eleven artists, two philanthropists and four arts organisations have been chosen as the 2016 recipients of the coveted Laureate and New Generation awards, Harriet Friedlander New York Residency, the Award for Patronage and the Katherine Mansfield Menton Fellowship.  [ READ MORE ]

October 20, 2016

Edith Beaucage is Vibrating off the Walls at Luis De Jesus

Edith Beaucage’s paintings pulsate with bright acrylic pigments at the Luis De Jesus Gallery in Culver City. This fresh and inspiring exhibition, “Sequencer – Spectrum – Reverb,” features 25 mostly small-to-medium sized paintings that interact with each other playfully.   more

Beaucage’s world is filled with techno music surround sound.

Her abstract, gooey, melodious and loosely representational portraits of millennials are aptly titled with Euro pop names, such as Basil and Zeek, Otto in Pottsdam, Producer Bruno B and DJ Ferdy Scholk. Most portraits portray an individual, head and shoulder only, but a few of her paintings are tightly gathered groups. Her artworks vibrate through their impasto-like, seemingly wet surfaces of paper mounted on to canvas. [ READ MORE ]

September 08, 2016

brian zanisnik's installation at Socrates Sculpture Park earns "Highbrow-Brilliant" status in NY Magazine's weekly 'Approval Matrix'

Artist Bryan Zanisnik will scatter life-sized busts of Christopher Walken across the grounds, paying homage to the Astoria-born actor through a farcical narrative that will be portrayed within a kiosk. [ READ MORE ]

September 05, 2016

FEDERICO SOLMI | Luis De Jesus Gallery

Federico Solmi’s “The Brotherhood” offers a dystopian nightmare-scape where the cult of celebrity overwhelms one’s every sense. The pseudo-cliché of the beautiful versus the profane collides in the meticulously painted frames of “smart” TVs projecting Solmi’s drawings and paintings, as rendered into 3D animation loops portraying some of the most notable times of history. The exhibit is overwhelming and would definitely terrify any suburban mom. [ READ MORE ]

July 16, 2016

See Your Favorite World Leaders Host an Exuberant Dinner Party

Pope Benedict XVI is hosting a lavish dinner party and—as long as you are another world leader—you’re invited! This is the premise of The Ballroom, one of many video installations by artist Federico Solmi on display at Los Angeles gallery Luis De Jesus.   more

The Brotherhood, his solo exhibition at the space, brings together historical figures like Marie Antoinette, Christopher Columbus, and Benito Mussolini in a variety of absurd scenarios in an effort to highlight the absurdity inherent in proclaiming yourself a “world leader.” [ READ MORE ]