The landmark, decade-long project, ‘Analogue’ (1998 – 2009) is comprised of 412 photographs arranged in grids and organized into 25 chapters. Originally conceived as a chronicle of the rapidly changing Lower East Side, where Leonard once had her studio, ‘Analogue’ evolved into a parable of cultural production, touching on issues of gentrification and the exchange of commodities as an extension of colonialism. The images in this installation depict storefronts and objects on the brink of obsolescence due to an expanding global economy and rapid technological advancements emerging at the turn of the millennium. An allegory for globalization, Leonard’s photographic series is the result of a peripatetic process that led her from the declining mom and pop shops of New York City to roadside markets in the Middle East, Africa, Eastern Europe, Cuba, and Mexico, tracing the circulation of recycled merchandise. The exhibition is on view through January 20, 2019 at Hauser & Wirth 901 East 3rd Street, Los Angeles. images courtesy of Hauser & Wirth
For going on two decades, the body, ecology and technology have been Davide Balula’s central interests. Whether using a canvas to collect sediment and organisms from a riverbed, creating wifi antennae that emit monochromatic signals, or installing heat lamps in the gallery to amplify the audience’s body heat, the material and the immaterial have always been of equal concern. The prosaic and poetic never assumed to be antithetical.
During the opening reception, Davide Balula presented two new performances: ATTENTION SPAN COLOR METER (Brain Activity) and SELF BREATHING LUNGS, with the participation of Julien Derancy, Louis Laurain, Laurent Pascal, Elisabeth St James.
Outsourced Affects is on view through December 22 at Galerie Frank Elbaz 66 rue de Turenne, Paris. photographs by Claire Dorn, courtesy the artist and Galerie Frank Elbaz
Manifesto (2015), the 13-channel film installation by visual artist Julian Rosefeldt. Manifesto pays homage to the moving tradition and literary beauty of artist manifestos, ultimately questioning the role of the artist in society today. ‘Manifesto’ draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogme 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers. Passing the ideas of Claes Oldenburg, Yvonne Rainer, Kazimir Malevich, André Breton, Sturtevant, Sol LeWitt, Jim Jarmusch, and other influencers through his lens, Rosefeldt has edited and reassembled thirteen collages of artists’ manifestos. Manifesto is on view through January 6, 2019 at Hauser & Wirth 901 East 3rd Street, Los Angeles. images courtesy of Hauser & Wirth
Impressions is an exhibition of recent videos by the American artist, Jillian Mayer. This will mark the artist’s first solo presentation in London. In Impressions, Mayer addresses the impact of technology on identity and broader humanity, something she attributes to her interest in the human experience. The exhibition features six videos presented on various devices, such as projectors, TVs and iPads. Impressions is on view through November 24 at Annka Kultys Gallery 472 Hackney Road, Unit 3, 1st Floor, London.
#followme is a group show composed of one-dozen-plus artists, among them, Scott Benzel, Steve Hash, Paul Verdell and Robert Lazzarini. The exhibition, curated by Michael Slenske, an arts writer and editor who opened Desert Center earlier this year, centers on themes of truth and deceit in an age when social media has turned the concept of following and gaining followers into a daily ritual. Follow @desertcenterlosangeles on Instagram. #followme closes this Sunday at Desert Center 7466 Beverly Blvd, Suite 207, Los Angeles. photographs by Oliver Maxwell Kupper
Medium of Exchange combines photographic tableaus with a scripted film. The freestanding photographs portray theatrical interplays between caricatured OPEC Oil Ministers and the western government officials who together control the oil industry. Solitary or group portraits are staged against backdrops composed of found images of oil fields and refineries, strewn with props relating to the commodities or cultural signifiers that shape each specific narrative. Medium of Exchange is on view through December 21 at Edel Assanti 74a Newman Street, London. photographs courtesy of Edel Assanti
Co-organized by The Museum of Modern Art and Laurenz Foundation, Schaulager Basel, Bruce Nauman: Disappearing Acts draws upon the rich holdings of both institutions and nearly 70 lenders. Encompassing Nauman’s full career and featuring a total of 165 works, the exhibition occupies the Museum’s entire sixth floor and the whole of MoMA PS1. This joint presentation provides an opportunity to experience Nauman’s command of a wide range of mediums, from drawing, printmaking, photography, and sculpture to neon, performance, film and video, and architecturally scaled environments.
Disappearing Acts traces strategies of withdrawal in Nauman’s art—both literal and figurative incidents of removal, deflection, and concealment. Close relatives of disappearance also appear in many forms. They are seen, for example, in holes the size of a body part, in the space under a chair, in the self vanishing around a corner, and in the mental blocks that empty creative possibility. “For Nauman,” said Halbreich, “disappearance is both a real phenomenon and a magnificently ample metaphor for grappling with the anxieties of both the creative process and of navigating the everyday world.”
Bruce Nauman: Disappearing Acts is on view through February 18 @ The Museum of Modern Art, and through February 25 @ MoMA PS1, 22-25 Jackson Ave, Long Island City, New York. photographs courtesy of MoMA
This Has No Name is the first major U.S. museum survey of New York-based sculptor B. Wurtz (b. 1948). For over forty years, Wurtz has developed a visual language that subverts the industrial austerity of Minimalism and centers the minutiae from daily life in ways poetic and whimsical. B. Wurtz’s idiosyncratic work in sculpture and assemblage revolves around the use of objects that refer, directly or indirectly, to the “acts of eating, sleeping and keeping warm,” inspired by an early drawing. By incorporating recognizable, everyday materials he has personally handled, Wurtz creates self portraits through materials, and peels away some of the mystery of artistic production to establish more intimacy between artist and viewer. This Has No Name will be on view through February 3, 2019 at ICALA 1717 E 7th St, Los Angeles. photographs by Oliver Kupper
On Sunday, October 14, Autre magazine hosted a mezcal bruncheon to celebrate our Fall/Winter 2018 issue and LA Eyeworks’ new collection at their iconic Neil Denari-designed flagship on Beverly Boulevard. Madre Mezcal provided cocktails and Tacos la Restirada provided brunch. Avant-garde percussionist and director of Monday Evening Concerts, Jonathan Hepfer, performed Iannis Xenakis 1975 composition, “Psappha.” photographs by Lani Trock
Artist Jordan Wolfson's (Female figure), 2014, is an immersive environment that features a robotic sculpture. For seven minutes, the robot gives monologues and dances to pop songs. Startling and unnerving, the work raises the specter of misogyny and exposes fissures in pop culture. It challenges the ways women are represented, and the ways images of women are consumed. (Female figure) will be on view through January 20, 2019 at The Broad 221 S. Grand Ave, Los Angeles. photographs by Oliver Kupper
Over the past thirty years, Lucas has created a distinctive and provocative body of work that subverts traditional notions of gender, sexuality, and identity. Since the late 1980s, she has transformed found objects and everyday materials such as cigarettes, vegetables, and stockings into disorienting, confrontational tableaux that boldly challenge social norms. The human body and anthropomorphic forms recur throughout Lucas’s works, often appearing erotic, humorous, fragmented, or reconfigured into fantastical anatomies of desire.
Initially associated with a group known as the Young British Artists (YBAs), who began exhibiting together in London in the late 1980s, Lucas is now one of the UK’s most influential artists. This presentation, which takes place across the three main floors of the New Museum, brings together more than 150 works in photography, sculpture, and installation to reveal the breadth and ingenuity of her practice. The exhibition addresses the ways in which Lucas’s works engage with crucial debates about gender and power, along with the legacy of Surrealism—from her clever transformations of everyday objects to her exploration of sexual ambiguity and the tension between the familiar and the absurd.
“Sarah Lucas: Au Naturel” features some of Lucas’s most important projects, including early sculptures from the 1990s that substitute domestic furniture for body parts and enlarged spreads from tabloid newspapers from the same period, which reflect objectified representations of the female body. Alongside the photographic self-portraits that Lucas has produced throughout her career, the exhibition features biomorphic sculptures including her stuffed-stocking Bunnies (1997–ongoing) and NUDS (2009–ongoing), the Penetralia series (2008–ongoing), and selections from her installations at the Freud Museum in London (2000) and the British Pavilion at the Venice Biennale (2015). These works, which complicate inscribed codes of sexual and social normativity, have never before been shown together in the US. Lucas has also created new sculptural works for the exhibition, including This Jaguar’s Going to Heaven (2018), a severed 2003 Jaguar X-Type—the car’s back half burned and its front half collaged with cigarettes—and VOX POP DORIS (2018), a pair of eleven-foot-tall thigh-high platform boots cast in concrete.
Au Naturel is on view through January 20, 2019 at the New Museum 235 Bowery New York, 10002. photographs by Adam Lehrer
Never Remember—the exhibition title a biting reversal of the slogan “Never forget”—takes place in the very gallery where Jasper Johns’s map paintings were shown thirty years before. Lowman’s Maps expand on his own shaped canvases begun in the early 2000s, depicting doodled hearts, trompe l’oeil decals of bullet holes, and air freshener trees.
Lowman’s Maps infuse the geometries of the United States with a gritty, gestural tactility, combining chance and intention in the generative possibilities of a single form. With sharp political skepticism, Lowman employs abstraction to point to the arbitrariness of borders and the limitations of jingoism, thus expounding on the complexities and contradictions of the American way. Never Remember is on view through December 15 at Gagosian 980 Madison Avenue, New York. photographs courtesy Gagosian
Beach Therapy is the first solo exhibition in Italy based on the series of the same name by British photographer Martin Parr. During his long career as a photographer, Parr has always photographed on beaches, particularly in the UK. He has often used the beach as a laboratory to experiment with new cameras and techniques. So, for example, when he changed from black and white to medium-format colour in the early 1980s, his first major project was about New Brighton, a run-down seaside resort near Liverpool. In recent months, he has started exploring the beach with the aid of a telephoto lens. This lens is rarely used in the world of art and documentary photography so it is a challenge to find new ways of using it. Often, this involves incorporating the vegetation on the perimeter of the beach as a backdrop, both in and out of focus. Over his long career he has thus tried everything from a close-up macro lens, a medium-format wide-angled camera and, finally, this latest offering with the telephoto.
On the occasion of the exhibition, a major monograph entitled Beach Therapy was published by Damiani. The book is also available in a special Collector’s Edition of 90 copies that includes the book and a pigment print entitled St Ives, Cornwall, England, 2017 each numbered and signed by the artist. In addition, there is also an even more special Collector’s Edition of 20 copies. It comes with a fabric cover and 5 prints signed and numbered by the artist. After Think of Scotland, Beach Therapy is the second monograph by Martin Parr published by Damiani.
Beach Therapy is on view through February 8, 2019 at Spazio Damiani, Via dello Scalo 3/2 ABC 40131, Bologna. photographs courtesy Spazio Damiani
Nina Chanel Abney: Royal Flush is the first solo museum exhibition of Chicago-born Nina Chanel Abney (b. 1982), and a ten-year survey of the artist’s paintings, watercolors, and collages. Abney is at the forefront of a generation of artists that is unapologetically revitalizing narrative figurative painting, and as a skillful story-teller, she visually articulates the complex social dynamics of contemporary urban life. By engaging loaded topics and controversial issues with irreverence, humor, and lampooning satire, Abney’s works are both pointed contemporary genre scenes as well as scathing commentaries on social attitudes and inequities. Royal Flush will be on view through January 20, 2019 at ICALA 1717 E 7th St, Los Angeles. Photographs by Oliver Kupper
Sexy Beast for Planned Parenthood Los Angeles is the shared vision of a group of influencers in the arts, united by a mission to harness the goodwill and powerful connections of the creative community to effect positive change, touch lives, and create a meaningful social impact. They believe we should all have access to safe, caring, and affordable healthcare services. During these challenging times for Planned Parenthood, it's more important than ever that the organization has our support, so it can remain focused on the vital care it provides. Since its founding in 2014, the Sexy Beast art auction and gala has raised nearly one million dollars for Planned Parenthood Los Angeles across two milestone events. This year, they raised almost one million dollars in one night alone, bringing Sexy Beast back for an unmissable evening of art, food, music and culture. photographs by Oliver Kupper
Zoe Crosher, enamored by Los Angeles, has an obsession that began during her time receiving her MFA from CalArts. Here, she has reimagined her “Day for Night” photographic works. In “Day for Night,” Crosher uses a photography technique used during the Film Noir days of Hollywood, by shooting images in such a way that they look like they were taken at night. She documents the disappearance of the Los Angeles River, using the sunlight to spotlight the image in frame. For this show, she has taken that process a step further and made light boxes out of the photographs, further emulating the film-like aspect by placing light behind the image, creating, in essence, a single-shot movie. Sunlight as Spotlight is on view through November 24 at Patrick Painter B2, 4031, 2525 Michigan Avenue, Santa Monica.
The part 5 of american fine arts is an allegory for americas. On view Sundays through October 28, 1–5pm or by appointment at Marvin Garden 1540 Decatur Street, Ridgewood, New York. photographs courtesy of BBQLA
The 45th edition of FIAC takes place in Paris from October 18 to 21, 2018 and will host 195 galleries at the Grand Palais. The selection is a composition of modern art galleries, contemporary and design among the most emblematic of the scene internationale and presents the best of artistic creation since the modern masters of the early twentieth century to emerging trends, notably represented by the Lafayette sector. photographs courtesy of FIAC
John Wolf Fine Art presents Secret Gay Box with Tom of Finland Foundation. Wolf was raised in an Evangelical Christian home where Homosexuality was viewed as a sin and flaw, and consequently as a child he kept a secret box from his parents. The ability to have a private world, and to collect, is ultimately what led Wolf to art world. Secret Gay Box features over fifteen artists who have navigated their sexuality through artistic expression. Like Wolf’s childhood box, this space will be one where art hides in plain sight, even where people might not think to look. The space itself as well as the artworks in it embrace the creativity that it can take to effectively conceal oneself, but also the beauty that can occur in freedom from whatever ‘box’ one might have. All humans have their own “secret gay box”, either conscious or subconscious. This show, the artists represented, and the act of creating a personal art collection are a way to simultaneously fill the box or open it for those around you. Secret Gay Box will be on view until November 17, 2018 at the Tom Of Finland Foundation, 1421 Laveta Terrace, Los Angeles, CA 90026. photographs by Oliver Maxwell Kupper