Endless Enigma: Eight Centuries of Fantastic Art provide a unique opportunity to examine affinities in intention and imagery between works executed across a broad span of time. Endless Enigma explores the ways artists have sought to explain their world in terms of an alternate reality, drawn from imagination, the subconscious, poetry, nature, myth, and religion. Works on view range from gothic gargoyles; masterworks from the fifteenth and sixteenth centuries by Herri met de Bles, Hieronymus Bosch, Piero di Cosimo, and Titian; seventeenth- and eighteenth-century works by Damiano Cappelli, Pietro Novelli, and Salvator Rosa; nineteenth-century works by William Blake, James Ensor, Francisco de Goya, Gustave Moreau, Odilon Redon, and James Ward; and works from the twentieth century to the present day by Eileen Agar, Francis Alÿs, Louise Bourgeois, Salvador Dalí, Giorgio de Chirico, Max Ernst, Leonor Fini, Robert Gober, José Gutiérrez Solana, Sherrie Levine, René Magritte, Roberto Matta, Pablo Picasso, Wallace Putnam, Man Ray, Kay Sage, Yves Tanguy, and Lisa Yuskavage, among others. The exhibition is on view through October 27 at David Zwirner 537 West 20th Street, New York. photographs by Adam Lehrer
The speed of your attention is the new solo exhibition of Olafur Eliasson, it explores geometry, light, perception, and movement in new works that offer an array of interactive and meditative experiences as the viewer wanders through the galleries. In the entry, the viewer encounters Moving together, a freestanding installation of 54 crystal spheres. Arranged in a grid of six rows and nine columns, the spheres transition from completely transparent—in which the viewer sees her own upside-down reflection—to varying degrees of transparency and black, to solid black, depending on the viewing angle and the viewer’s movements. The speed of your attention is on view through December 22 at Tanya Bonakdar Gallery 1010 North Highland Avenue, Los Angeles. photographs by Summer Bowie
Chris Emile and No)one. Art House presented a choreographed performance in response to Haegue Yang’s Strange Fruit (2012-13), part of MOCA’s permanent collection. Yang’s work takes its title from the anti-lynching anthem famously recorded by Billie Holiday in 1939. Using Yang’s installation as its stage, Emile’s performance examines the public display and consumption of violence against marginalized bodies and investigates how Black Americans process trauma. The performance expands the dialogue between Yang’s Strange Fruit and the protest song of the same name. Chris Emile, the choreographer, is the cofounder of No)one. Art House, a collective that produces movement-based installations in unconventional spaces throughout Los Angeles. photographs by Lani Trock
Just as North Carolina faced yet another “500-year storm,” Los Angeles saw the opening of Karon Davis’s Muddy Water at Wilding Cran Gallery. The show takes it’s name from Bessie Smith’s 1927 recording of Muddy Water, a song about the Great Mississippi Flood. The body of work reflects on the effects of climate change, and subsequent migration and displacement, offering a glimpse into the experiences people encounter during natural disasters. Muddy Water is on view through November 4th at Wilding Cran Gallery 939 South Santa Fe Avenue Los Angeles. photographs by Summer Bowie
Few artists are as synonymous with the history of 20th and 21st-century American art as Frank Stella. His work across media, from painting to sculpture to printmaking, has continuously broken ground at each stage of his decades-long career, remaining influential and relevant to subsequent generations of contemporary artists. The selection of recent works presented at Sprüth Magers highlight the artist’s ongoing experimentation with spatial representation and includes the début of a new painting series. This is the first solo exhibition of Frank Stella’s painting and sculpture in Los Angeles since 1995. The exhibition is on view through October 26 at Sprüth Magers 5900 Wilshire Blvd, Los Angeles, CA 90036. photographs by Summer Bowie
Miu Miu Type is a capsule collection featuring poplin shirts, cotton hoodies and track pants that will be patched with one, two or three letters from the Miu Miu alphabet. A female face or body interlaced with a letterform coming together to create an alphabet of gestures created in collaboration with Miuccia Prada by M/M Paris for the Fall 2018 Collection. photographs by Summer Bowie.
“What’s returning and why was it repressed?” asks Ben Lee Ritchie Handler of Robert Yarber at the press preview for the artist’s first solo exhibition in Los Angeles in over twenty years. The double entendres abound and the disarming deconstruction of the artist’s psyche takes a crystal clear focus. The loss of innocence, the loss of control, the liberation therein, the empowerment in being ostracized by a professor, and the lasting impression left by witnessing the assassination of of President John F. Kennedy. The simultaneous flood of immediacy and nostalgia is disorienting and thrilling—his paintings are a cutting visual counterpoint to critical theory, anchored through dramaturgical events and eclipses of subjecthood. Backlit and reflecting a palette at once surreal and familiar, his forms summon those of Tintoretto on an acid trip, or maybe Titian on ecstasy. While his forbearers looked up to the heavens, however, Yarber’s is the iridescent chiaroscuro of nightlife long past the witching hour. Return of the Repressed is on view through October 20 at Nicodim Gallery 571 S Anderson Street Ste 2, Los Angeles. photographs by Oliver Kupper
A group of new paintings, drawings, and watercolors are currently on view at Kayne Griffin Corcoran, and they’re not at all for the faint of heart. They touch on the dark dualities of our most sinister dreams and tickle us in that somewhat uninvited, but not exactly unappreciated sort of way. Within these works Lynch functions as an omnipresent narrator who candidly describes his representation of objects and figures in situations that are simultaneously commonplace yet unexpected. I Was A Teenage Insect is on view through November 3 at Kayne Griffin Corcoran 1201 South La Brea Avenue Los Angeles. photographs by Oliver Kupper
Soul of a Nation: Art in the Age of Black Power shines light on a broad spectrum of Black artistic practice from 1963 to 1983, one of the most politically, socially, and aesthetically revolutionary periods in American history. Black artists across the country worked in communities, in collectives, and individually to create a range of art responsive to the moment-including figurative and abstract painting, prints, and photography; assemblage and sculpture; and performance. The exhibition is on view from September 14 through February 3 at Brooklyn Museum 200 Eastern Parkway Brooklyn, New York
Sublimating the natural world in works that both defy and embrace the basic functions of art, Sam Falls' works record specific moments in time as well as the infinite human impulse to commune with nature. For the series of paintings on view, Falls brings large sheets of canvas into the deepest corners of America's national parks, covering them with dry pigments and arranging bracken and found flora to create intricate patterns. These arrangements are then left exposed to the elements, where dewdrops, mist, rain, sun and atmosphere activate the pigments. This process, similar to a photogram, records not only the formal qualities of the plant life, but also a semblance of the psychological and climatic substrata that constitute a tenuous definition of 'place.' These works, large in a New York gallery but mere blips in the overwhelming space of nature, point to the inescapable omnipresence of the natural world in our lives outside society - the circadian rhythms and innate formal reflexes that determine what might be interpreted as beautiful, optimistic, pleasing, virtuous, ominous, or frightening. That nature itself has been perhaps the most pervasive concern of art since the beginning of mark-making should be no surprise. Sam Falls' exhibition is on view from September 12 to October 20 at 303 Gallery 555 W 21 Street, New York.
California Love, an exhibition by internationally acclaimed photographer and director Mike Miller. A native of Los Angeles, Miller is widely known for his iconic images chronicling the rise of the West Coast hip hop scene. California Love includes some of Miller’s most recognized images of artist Eazy-E, Snoop Dogg, and Tupac Shakur, along with never before seen photographs depicting the time, culture, and community that gave birth to West Coast rap. The exhibition runs from September 8 to November 3 at M+B Photo 1050 N Cahuenga Boulevard Los Angeles
3018 is an exhibition of new work by Daniel Arsham. This is his fifteenth exhibition with Perrotin since joining the gallery in 2005. Though the exhibition contains pieces never before seen in New York, visitors will recognize strains of previous works by Arsham, as signature forms and strategies recur, unifying Arsham’s involvement in different disciplines—sculpture, architecture, film, performance—into a total oeuvre. 3018 continues Arsham’s dystopian vision of the future, one in which culture as we know it today is eroded, and the objects of modern life have fallen into aestheticized obsolescence. 3018 opens this Saturday 8 and is on view through October 21 at Perrotin 130 Orchard Street New York
The intricate masking tape and mixed media sculptures of Willard Hill (b. 1934) draw from a lifetime spent in the small town of Manchester, Tennessee. Over twenty years ago, when Hill returned home debilitated after a hospital stay, the idea came to him to start making sculptures out of all the everyday detritus he had at hand. Primarily composed of masking tape, Hill’s sculptures also utilized plastic bags, wire, toothpicks, rocks and a plethora of other found materials. Whatever a piece reminded him of as he worked, that’s what it became and soon every surface in his small home was covered in evocative gems. The exhibition is on view through October 14 at Good Luck Gallery 945 Chung King Road, Los Angeles.
Galerie Berinson is exhibiting 17 works by photo artist and designer Nathan Lerner. These are the originals from Lerner’s first solo show in 1973 at Bradley University in Peoria, Illinois, USA. At the curator’s suggestion Lerner for that made large prints of motifs, which he made during his studies at the New Bauhaus between 1938 and 1943 and which had never been exhibited before. The exhibition is on view through December 1 at Galerie Berinson Schlüterstraße 28 D-10629 Berlin
Free and open to the public, COAL + ICE visually traces the trajectory of climate change — from coal mines and the burning of fossil fuels to the melting Himalayan glaciers, rising sea level and extreme weather events — bringing the environmental and human costs of man‐made climate change to life through images, videos and thought‐provoking events. The exhibition is on view through September 23 at Fort Mason Center for Arts & Culture 2 Marina Boulevard, San Francisco.
Artist Sylvie Fleury explores consumer culture in her work, and its relation towards gender and politics. American cars are also a passion for her and are often an important topic in her video works and installations. "I was thrilled by the chance to present Pablo Picasso’s last personal car in my frame at Grand Basel," said Sylvie Fleury. "His white Lincoln Continental, a huge, powerful machine, shows an interface between art and design. Picasso was a true car connoisseur, and this 1963 car is still owned by his family. I parked the car in my frame like it was a sculpture, and the masculine design is played off against my two-metre tall chromed shark tooth artwork, which harks back to a time when it was fashionable for women to wear a real shark tooth as a necklace pendant. The Last Picasso Car is on view through September 9 at Grand Basel Kemptpark 1 Gebäude 1235 / 3. OG 8310 Kemptthal, Switzerland.
Fahey/Klein Gallery presents Irving Penn: Worlds in a Small Room, Seen & Unseen, a solo exhibition of works by renowned photographer Irving Penn. This exhibition will feature a powerful retrospective of Penn’s ethnographic studies, which illustrate the diversity of Irving Penn and his work. Following a long-established tradition of ethnographic photography, Penn abandoned the tradition’s passivity and instead applied his own unique approach. The photographs on view highlight Penn’s purposeful engagement with his subjects and his exacting attention to detail. A stark contrast from his personality portraits, the photographs in the exhibition are drawn from the images made from his travels to Peru, Dahomey, Morocco, and New Guinea. With the generous assistance from The Irving Penn Foundation, the photographs on view will be a combination of well-known images, as well as a small selection of lesser known and previously unexhibited works from the “Worlds in a Small Room” series. Worlds in a Small Room, Seen & Unseen is on view through October 6 at Fahey/Klein Gallery 148 North La Brea, Los Angeles.
This is not a magazine about fashion, lifestyle, or celebrity. Indigenous Woman is an independent art publication dedicated to the celebration of Mayan Indian heritage, the navigation of contemporary indigeneity, and the ever-evolving self-image. It is a vision, an overture, a provocation. Indigenous Woman is on view through October 20 at Ryan Lee Gallery 515 West 26th Street, New York.
I Don’t Like Fiction, I Like History, with works by Thomas Demand, Andreas Gursky, Duane Hanson, Sharon Lockhart, and Jeff Wall opens at Gagosian Gallery. Using the pictorial languages of realism and illusion, the participating artists turn fragments of everyday life into legible narratives. Duane Hanson’s ensemble of construction workers at rest, Lunchbreak (1989), and a figure modeled after his own child in a quiet moment, Child with Puzzle(1978), are installed with photographic works that both reflect and complicate ideas of recorded reality and subjective, constructed composition. On view through September 28th at Gagosian Gallery 456 North Camden Drive, Beverly Hills.
Death and Dreams is the new solo exhibition of Tadanori Yokoo. Featuring the complete 1980 series Back of Head, the 2010 series Falling Woman, and the Mystery Woman series started in 2016, Death and Dreams examines the fascinating progression of the artist’s dialogue with portraiture, repetition, and appropriation of Japanese and Western popular culture over the course of four decades. On view from September 6 through October 13 at Albertz Benda 515 W 26th street New York