This American Life is Freighted in Race, Gender, and Politics @ Morán Morán in Los Angeles

Martine Syms, I miss the kids, 2021. Image courtesy of the artist and Morán Morán.

This American Life is an exhibition at Morán Morán about stories, how they are conjured, how they are communicated, and how they relate to lived experience. These accounts are freighted in race, in gender, and in sexuality. It is also about the relationship between contemporary art and its reframing of the imagery of American culture. While negotiating the skewed protocols of media, the loops and networks of distribution, this constellation of artworks insist upon the intimacy and proliferation of artistic experimentation.

Dena Yago, Bets Hedged, 2023. Image courtesy of the artist and Morán Morán.

The artists in This American Life intervene, dissecting narratives and reassembling them to offer a new perspective. In the process, fresh truths are revealed and a deeper insight into our shared American experience emerges.

The American Life is on view through October 28 @ Morán Morán, 641 N. Western Avenue Los Angeles, CA 90004

 

Ryan Trecartin, Please Knock Before Going Outside (Flood Season), 2023. Image courtesy of the artist and Morán Morán.

 

Ben Sakoguchi's Chinatown @ Bel Ami In Los Angeles

Ben Sakoguchi’s combinations of commercial signage, history painting, and Pop Art comment on the American Dream and its fraught entanglement with xenophobia and racism. With acrylic paint on canvas, Sakoguchi reassembles imagery from film posters, newspapers, comics, and internet searches to reveal subtexts of local discrimination, mass media exploitation, and state-sanctioned violence. A Japanese American who spent years of his childhood living in an internment camp during World War II, Sakoguchi comments on a century and a half of prejudice against diasporic Asians. Contending with overlapping histories that contribute to ideas of Asian American identity, Sakoguchi creates an ironic primer on capitalism’s treachery with an audacity that challenges and uplifts.

A publication with essays by Eli Diner (Critic, Curator, and Executive Editor of Cultured magazine), Steven Wong (Curator and the Director of the Vincent Price Art Museum, Monterey Park, CA), and Ana Iwataki (Writer, Curator, and PhD student in Comparative Studies in Literature and Culture, University of Southern California, Los Angeles) will be released in PDF and printed form during the course of this exhibition.

Chinatown is on view through April 24 @ Bel Ami 709 N Hill St. #105, Los Angeles

Ben Sakoguchi Chinatown, 2014 Acrylic on canvas, wooden frames (1 of 15 panels) 53 x 91 in (134.6 x 231.1 cm)

Ben Sakoguchi
Chinatown, 2014
Acrylic on canvas, wooden frames (1 of 15 panels) 53 x 91 in (134.6 x 231.1 cm)

Sue Williams Paintings And Collages @ 303 Gallery In New York

In 2020, the brutal reality of living in the waning days of American Empire has allowed Williams to consider how we might have arrived at this point. Her new paintings are suffused with images of colonial times: disembodied Pilgrim clogs, Tudor cabins, horses outfitted with blinders, the literal nuts & bolts that prefigured the industrial revolution, Betsy Ross as a dinosaur. The suggestion that America is founded on violence and manipulation, that the post-truth, post-Trump, post-COVID world is not an anomaly but a continuation of a status quo built over the past 400 years, doesn't seem far-fetched. A painting titled "Land Of Profit and Coincidence" would resonate equally in 1620 or 2020.

There is a wry and impertinent classicism in Williams' compositions - at first glance, they suggest the kind of maps early land surveyors might use. They also may intimate the strewn wreckage of a natural disaster, here the relentless and sadistic subversion of democracy, the American dream, and E Pluribus Unum. Couched in the archetypal imagery of our noble forefathers, of amber waves of grain and purple mountain majesties, American idyll itself becomes Machiavellian. Williams herself sums it up with two quotes: "The American people are the most brainwashed in the world" (Adam Curtis), and a hopeful note courtesy of Woody Guthrie: "You fascists never gonna win."

Sue Williams’ solo exhibition is on view through January 30 @ 303 Gallery 555 W 21st Street

Exclusive Preview Of "Kienholz: Five Car Stud" @ Fondazione Prada in Milan

Milan’s Fondazione Prada presents “Kienholz: Five Car Stud”. The exhibition brings together a selection of artworks by Edward Kienholz and his wife Nancy Reddin Kienholz, including the well known installation that gives the show its title. A self-taught artist from Washington State, Edward Kienholz’s work was described by Germano Celant as “making no attempt to sublimate the meanness and tragedy of life, its condition of loneliness and triviality, but on the contrary using them as a way of highlighting a low and popular universe in which the wasted and the dirty, the depraved and the filthy, represented a new and surprising beauty”. The exhibition features numerous installations and tableaux created by the couple between the early late fifties and the nineties, often directly representing death, violence, war and various kinds of social injustices. Looking at them makes the viewer feel uncomfortable and powerless but, at the same time, turns him into a participating witness as the urge to meticulously explore the details take over: Voyeurism and the power of crude beauty win over the common sense of morality. The main installation, “Five Car Stud”, catapults the viewer into a nightmarish situation, plunging him into a dimension of extreme violence. It recreates a dark, isolated environment, illuminated merely by the headlights of four cars and a pick-up truck,  at the center of which lies an African–American man, surrounded by five white men wearing Halloween masks. The aggressors grab his arms and legs while one of them prepares to castrate him. A woman is forced to watch, shocked and powerless, and a frightened little boy witnesses the scene from the backseat of his father’s car. This work was defined by Kienholz as the representation of “The Burden of Being American”. The exhibition will be on view until December 31 2016 at Fondazione Prada, Largo Isarco 2, Mila. Text and photographs by Sara Kaufman

[ON VIEW] The Portraits Richard C. Miller

Richard Crump Miller was a true American working class photographer. From photographing airplanes for service manuals during WWII, to his snapshots of the construction of the Hollywood freeway–and all the way to his unique, saturated carbro prints of celebrities, assignments for various magazines, and covers of the Saturday Evening Post, Miller is a photographer who has captured the pathology and false paradise of the American dream. Miller's photographs ooze with a tenderness of a country still in the cocoon of its innocence.  Moreover, Miller's iconic portraits of James Dean and Elizabeth Taylor on the set of Giant show not only a human side to celebrity, but the boredom suffered in the manufacture of our idols.  Richard C. Miller -- Portraits is on view at the Craig Krull Gallery at Bergamot Station in Santa Monica until June 11. www.bergamotstation.com