photographs by Lani Trock.
In recent years Ruby Neri has become increasingly recognized for her ceramic sculptures featuring figurative female forms. Almost always based on the centralizing idea of the vessel, these works are notable for the physicality of their construction and the intensity of their glazes, which are often applied using an airbrush. This exhibition will feature a group of some of the largest and most complex objects of this kind that Neri has made to date. The show will be on view through June 15 at David Kordansky Gallery 5130 W. Edgewood Pl. Los Angeles. photographs courtesy of the gallery
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
A sculptural interpretation of a drawing Nicole Nadeau made as a child, A Flower By Another Name is a conversation between present and past. Curated by Kyle DeWoody, the ceramic sculptures are the artist’s 3D interpretations of the drawing. In order to better understand the subconscious messages embedded in the flowers, Nadeau had her twin sister, Coryn Nadeau, a clinical art therapist, psychoanalyze the original drawing using Lowenfeld theory, The Silver Drawing Test of Cognition & Emotion, Kellogg & assessment symbology. Her finding help to inform the dimensional translation.
She suggested that the four flowers were an abstract representation of the four members of Nadeau’s family. Noting we have a capacity for symbolization in art, whereby we unconsciously project transitional objects or the family dyad onto the work. When objects are repeated in the same number sequence as the artist’s family dyad, it is said to reflect that individual’s family. This may be why the flowers are disproportionately large to their surroundings, given the strong feeling attached to them. The flowers are also the only objects in the drawing that exhibit variation, most noticeably in colored – even the rainbow is monochromatic. A Flower By Another Name was presented by That That Gallery from September 20-27 at WNDO 361 Vernon Avenue, Venice 90291. photographs by Oliver Kupper
‘Memory Remix,’ Mary Heilmann’s first Los Angeles solo exhibition in over 20 years, is a survey of paintings, ceramics, and furniture in which the artist’s unwavering dedication to abstraction merges with sly references to her favorite landscapes, songs, movies, and Mexican weavings. This preeminent American artist is acclaimed for her unique ability to deploy the analytical geometries of Minimalism with the spontaneous freehanded spirit of the Beat Generation from which her generation emerged, and for her weaving of pop culture influences into a wholly original and pioneering oeuvre. Heilmann’s deft handling of paint and spatially dichotomous compositions have exerted a profound influence upon a younger group of artists.
Grounded in the soul of California, Mary Heilmann’s work draws from her memories of the distinctive colors and lines of the West Coast’s landscape and surf culture. Throughout a childhood accompanied by the radio’s ubiquitous soundtrack, Heilmann often watched the ocean tumble to the shore, rode the ‘mountain waves’ at Manhattan Beach, and read Allan Ginsberg’s ‘Howl’ and Walt Whitman’s ‘Leaves of Grass,’ which stoked her great admiration for poetry, jazz, and the idea of the Beats. Under these influences and through the deceptively simple means of painting – color, surface, and form – Heilmann physically manifests nostalgic impulses, memories, and allusions to popular culture that remain accessible on both personal and universal levels. In this way, her work transcends the seemingly opaque structures of geometrical abstraction by infusing it with the content of daily life. ‘Memory Remix’ is on view through September 23 at Hauser & Wirth 901 E 3rd Street Los Angeles. photographs by Oliver Kupper
How do radical ambitions of “self-care” persist or depart from capitalist society’s preoccupation with wellness and the industry surrounding it, particularly when filtered through technological advances? How can we imagine personal wellness that complicates or diverges from capitalist and consumerist tendencies? Taking its name from the common valediction, which is both an expression of familiarity and an instruction of caution, take care, is a group exhibition that considers the many tensions surrounding the possibilities of self-care. Participating artists: Hayley Barker, Darya Diamond, Ian James, Young Joon Kwak, C. Lavender, Sarah Manuwal, Saewon Oh, Amanda Vincelli, and SoftCells presents: Jules Gimbrone. Gas is a mobile, autonomous, experimental and networked platform for contemporary art. take care will be on view through July 20, and can be seen from 12pm-6pm on Saturdays in front of BBQLA 2315 Jesse Street, Los Angeles CA 90023. photographs by Lani Trock