photographs by Lani Trock.
Liz Larner’s As Below, So Above is a selection of new works that demonstrate her ongoing examination into sculpture, painting, drawing, and ceramics. The environment – the personal and the entrenched – are set together in these artworks that reach for an understanding of vulnerability through what is and has been considered low and directed, made capital of, and endangered. As Below, So Above will be on view through June 22 at Regen Projects 6750 Santa Monica Boulevard, Los Angeles. photographs courtesy of the gallery
Ranging from the monumental to the intimately-scaled, the featured sculptures capture Frank Stella’s ongoing exploration of the spatial relationships between abstract and geometric forms and the ways in which they behave in and engage with physical space. In these newest works, Stella combines interlocking grids with more fluid and organic lines, creating a dynamic interplay between minimalist and gestural visual vocabularies. Frank Stella: Recent Work will be on view from April 25 through June 22 across both of the gallery’s Chelsea locations at 509 and 507 W. 24th Street. photographs courtesy of the gallery
The centerpiece of the exhibition is Charles Ray’s first work in stone, Two Horses (2019), a relief carved from a single block of Virginia granite. The sculpture is ten feet tall and fourteen feet wide and weighs more than six tons. A smaller work displayed on a pedestal, Mountain Lion Attacking a Dog (2018), is a hypothetical scene from the hills around Ray’s home in Los Angeles. Each animal has been machined from a solid block of aluminum, producing a reflective surface that enhances the work’s finely sculpted details. Two Ghosts is on view through June 22 a Matthew Marks Gallery 7818 Santa Monica Boulevard, Los Angeles. photographs by Oliver Maxwell Kupper
New Works is a new series of sculptural works, and large-format drawings on paper, that continue to explore multidisciplinary artist: Tim Hawkinson's playful and morbid morphologies. The artist disassembles the familiar and stages dysfunctional propositions in which the self repeatedly appears as the only, albeit imperfect, measure of experience and inventive return to obsessive craft in service concept exists in an expanded and embodied field, dramatized by the inclusion of living variables like time, breath (sound), and movement. New Works is on view through March 30 at DENK Gallery 749 East Temple Street, Los Angeles. photographs courtesy of the gallery
Walking into Rosha Yaghmai’s studio is a little bit like walking into the laboratory of a junkyard hoarder/mad scientist. There’s a distinctly pleasant organization to the vast collection of Los Angeles detritus that extends from the studio to the backlot outside. The walls are plastered with images from torn magazine pages, postcards, posters, watercolors and collage works. It’s as though you could hold a microscope to any detail in the room and discover a tiny world within. Click here to read more.
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
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.
Through their very gothic and physical imagery of mutation, fragmentation, disintegration and masquerade, the works in Beside Myself position themselves as objects in opposition to the self-same body; by presenting themselves as its shadow. This show demonstrate the ways in which art maintains not just the historical but also the magical ability to conceive of expansive and malleable identities in the midst of all those that society and culture prescribe. Beside Me is on view through August 3rd at JTT Gallery 191 Chrystie Street New York. photographs by Adam Lehrer
Drake Carr presents Gulp, a new series of figurative sculptures composed in two parts. Like the composition of an album, Carr’s sculptural ensemble segues between genres, time signatures, and themes to populate a scene built of multiple tracks. Irregularities in scale and texture animate and describe the boundaries between each of the figures, casting kaleidoscopic patterning as the crux of the soiree’s representational and interpersonal logic. Stuffed and dressed, bodysuits and armatures shuffle and skip (like a scratched CD) in a warp of orientations. Gulp is on view through August 12th at The Hole 312 Bowery New York. photographs by Adam Lehrer
Death Drive Joy Ride is Catalina Ouyang’ s first solo exhibition in Los Angeles. The exhibition features a new body of sculpture, installation and video. Taking East Asian fox spirits as a departure point, the work positions mythic desires for immortality alongside a contemporary endeavor to find joy and community amid a seemingly inexorable drive toward planetary destruction. Death Drive Joy Ride speaks (or wails) honestly from the positionality of its maker: a lonely Chinese-American girl clawing her way through our Wicked Problems. Death Drive Joy Ride is on view through August 8 at Make Room 1035 North Broadway Los Angeles. photographs by Lani Trock
Noah Davis’ fourth exhibition curated from MOCA’s permanent collection features four seminal artworks by Olafur Eliasson, Hans Haacke, James Turrell and Fred Eversley that use natural phenomena as sculptural material, along with a poem installation by LA’s Poet Laureate, Robin Coste Lewis. The show is a meditation. Water. Flow. Woman. Moon. Aqueducts. Flint. Light. Climate. “Seeing yourself seeing”. Power. Water & Power is on view at the Underground Museum 3508 W. Washington Boulevard Los Angeles. photographs by Lani Trock
As Adam McEwen’s title suggests, anxiety resides even in the most common images and objects. His art draws attention to the vestigial dramas of daily life; the forgotten is memorialized, the subliminal laid bare. Narrative flow is tempting to seek yet impossible to find. See more exhibition images here. "Nighthorses" is on view through June 9 at Gagosian Gallery 456 North Camden Drive Beverly Hills. photograph by Oliver Kupper
Seven hundred years of sculptural practice—from fourteenth-century Europe to the global present—are examined anew in this groundbreaking exhibition. Like Life: Sculpture, Color, and the Body (1300–Now) explores narratives of sculpture in which artists have sought to replicate the literal, living presence of the human body. On view through July 22 exclusively at The Met Breuer 945 Madison Avenue New York. photographs Adam Lehrer
Peter Shire, noted local sculptor and ceramicist known for his zany post-modern teapots and his connection to the 1980s Memphis Milano design movement is showing is new solo-exhibiton called “Drawings, Impossible Teapots, Furniture & Sculpture.” The exhibition is on view through May 12 at Kayne Griffin Corcoran, 1201 South La Brea Avenue, Los Angeles. photographs by Summer Bowie
These stanzas of Wanda Coleman’s reach across time to help locate the work of Los Angeles-based artists Mario Ayala and Greg Ito. Following in the tradition of the city’s unofficial poet laureate, Ayala and Ito explore the ecology of symbols distinct to their birthplace, elevating and reconfiguring the ubiquitous visual language and objects central to the experience and mythology of Los Angeles. Sun Sprawl is on view through April 28th at Club Pro 1525 South Main Street, 3rd Floor Los Angeles. photographs by Lani Trock
"Inconsiderate Fantasies of Negative Acceleration Characterized by Sacrifices of a Non-Consensual Nature" is on show at the Marlborough Contemporary gallery in New York from January 6th to February 10th. 545 West 25th Street New York, NY 10001. photographs by Adam Lehrer