Resilience: Philip Guston in 1971 is Guston’s first solo Los Angeles exhibition in over half a century. The exhibition sheds light on a single pivotal year that launched Guston into the final prolific decade of his career, during which he painted what are now celebrated as some of the most important works of art of the 20th Century. On view will be two major series, the Roma paintings and the Nixon drawings, accompanied by a select group of larger works. Created immediately after the overwhelming critical rejection of his new figurative work, exhibited in October 1970 at Marlborough Gallery in New York City for the first time, during a time of social and political turmoil in the United States, these works bear witness to an artist at the height of his powers, exquisitely responsive to his world. Resilience: Philip Guston in 1971 is on view through 5 January 2020 at Hauser & Wirth 901 East 3rd Street Los Angeles. photographs courtesy of Hauser & Wirth
Viken’s paintings describe the human psyche in bold and unflinching terms. On view is a selection of the artist’s small format works from her Diary Notes series. Originally intended as a visual daybook of self-portraits, over time it has evolved into a larger body of paintings that explore the medium's ability to convey interior moods and fantasies. The exhibition also showcases new large-scale paintings by Viken that have never before been shown in the US. Unmasked is on view through October 12 at M+B 612 North Almont Drive Los Angeles. photographs courtesy of M+B
Running until November 2, Jeffrey Deitch, Los Angeles presents a remarkable body of Judy Chicago’s work that has been largely unseen for fifty years. On the occasion of this monumental show, Prospect and Judy Chicago created a Book of Postcards, including thirty-six 4 by 6 inch postcards featuring iconic works by the artist, many of which will be on view at the gallery. Additional items, never before seen in Los Angeles, will be available from the Prospect X Judy Chicago collection, including fine bone china plates, silk throw pillows, scarves, sweatshirts, t-shirts, and a new pomegranate goddess soap sculpture. Limited editions range from $18 to $225 and will be available online at prospectny.com
Colony is a solo exhibition by Erin Morrison. For this exhibition, Morrison unveils a new body of painted bas-relief sculptures influenced by historical currency produced in the European settled colonies of the New World. Colony is on view through October 5 at Ochi Projects 3301 W Washington Blvd, Los Angeles. photographs by Lani Trock
Featuring mostly large-scale acrylic paintings, THERE’S NO PLACE LIKE HOME elaborates on Todd James’ recent theme of surreal interiors rendered in a lush, saturated palette. These are deeply personal spaces, populated with slightly abstracted objects, which form engaging compositions that draw the viewer into the artist’s world. There’s not place like home is on view through October 27 at Over The Influence 833 E 3rd St, Los Angeles. photographs by Lani Trock and courtesy of Over The Influence
Son of the Soil is Moffat Takadiwa’s first solo exhibition in the United States. Takadiwa reassesses his own Korekore craft culture through the appropriation of garbage from the West, elevating found objects into sculptural forms that engage with issues of cultural identity, language, social practice, and the environment. All of his artworks are composed from the discarded remains of consumer waste, woven together in the language of traditional Zimbabwean textiles. Macrobiotic in his approach to material, his repurposed objects tell stories of each piece’s past lives to viewers brave enough to confront their own ecological and colonial legacies. Son of the Soil is on view through October 19 at Nicodim 571 S Anderson Street Ste 2, Los Angeles. photographs by Lani Trock and courtesy of Nicodim
GOOD TASTE is a collaborative project, curated by Paige Silveria, presenting an intimate take on the current state of arts and culture in our society. It blends various disciplines of contemporary art into the format of a group exhibition. GOOD TASTE simultaneously exists in the mainstream yet provokes and predicts the mainstream. Artists featured include Philip Ashley, Soft Baroque, Lisa Boalt, Ganna Bogdan, Erik Brunetti, Cali Thornhill DeWitt, DRx, Erik Foss, Taj François, Lukas Gansterer, Joe Garvey, Jan Gatewood, Julian Klincewicz, Alex Knost, Stephen McClintock, Jason Nocito, Hassan Rahim, Shay Semple, B. Thom Stevenson, Nick Stewart, Devin Troy Strother, Peter Sutherland and Stephen Zerbe. GOOD TASTE was on view from August 22-28 at 801 Mateo Street in The Arts District of DTLA.
‘Charrette’ is a group show of large scale sculptures, where the artists confront materiality, space, collage, light, time, discomfort, and the unknown as a way to bring difference together as one interdependent exhibit of work. The exhibition features works from artists Shagha Ariannia, Daniel T. Gaitor-Lomack, Thomas Linder, Mike Nesbit andJenny Rask. Charrette is on view at 3626 west Jefferson blvd, Los Angeles. photographs by Lani Trock
House Party 2 follows up Dane Johnson’s House Party exhibition from 2017, wherein in the course of a few short days he activated the whole of a condemned house in Silver Lake with floor-to-ceiling interlocking figurative installations made from wood and painted in bold primary colors. House Party 2 will expand on the first show, presenting a series of paintings and sculptures depicting various forms of human interaction, connected by functional pieces which change the viewer’s relationship to the work. The emotional temperature of the figures and their interplay remains warm, their intersections supportive and loving, and essentially chaste. Bodies stretch out in mutual support, hold hands, share ledges, and walk in unison. Sculptural paintings are pieced together to create stages, platforms, ledges, and curtains that frame the actions of the figures: walking, talking, embracing, kissing. The scenes depicted in the works are amplified and connected by an array of functional pieces installed within the gallery space. Benches, stairs, and platforms lead the viewer to rest, climb, and stand while regarding the work, sometimes mirroring the poses in nearby pieces. House Party 2, read against the backdrop of contemporary social tension and general unease, and seasoned with the simplicity of its figuration, operates like a primer on the foundational postures of human kindness and cooperation. House Party 2 is on view through August 31 at Charlie James Gallery 969 Chung King Road, Los Angeles. photographs by Lani Trock
Gagosian presents a sequel to the critically acclaimed Desert Painters of Australia, again drawing from the distinguished collection of Steve Martin and Anne Stringfield. This is the first time that the work of Indigenous Australian artists are being shown in Los Angeles since Icons of the Desert at UCLA’s Fowler Museum in 2009.
Evolving out of ancestral rituals of mark making practiced for many thousands of years, such as tree carving, body painting, and sand drawing, painting on canvas is a fairly recent phenomenon for remotely based Indigenous Australians, linked to the forced displacement in the late 1960s of communities such as the Pintupi, Luritja, Warlpiri, and Arrernte peoples to the Papunya settlement in the Northern Territory. This social upheaval inadvertently created a resilient hub of artistic production: out of communal work on canvas, wall, and ground emerged the movement now referred to as Western Desert painting.
Desert Painters of Australia Part II is on view through September 6 at Gagosian 456 North Camden Drive, Beverly Hills, CA 90210. photographs courtesy of Gagosian
Lizzi Bougatsos and Kim Gordon perform sonic improvisation to the projections of artist Penny Slinger's early experimental silent films from 1969. After returning from a Gang Gang Dance Japan tour last winter, Bougatsos found herself emerged in the films of Jane Arden, Niki de Saint Phalle, and Penny Slinger, part of an experimental feminist film series curated by Alison Gingeras and Nicoletta Beyer at the Anthology Film Archives. She began writing text while watching the Slinger films in the theater, and thereafter asked her friend Kim Gordon to perform a sonic reaction. The two artists improvised to the films teetering on the elemental, surreal, metaphysical, and distinctly feminine raw poetry of the sublime unconscious -- an almost Artaudian parallel for the unconscious leadings of the nature of improvisation in art and life, shared in the three practices of Bougatsos, Gordon, and Slinger. photographs by Julia Nicoletti
At the gallery entrance, Takuro Tamayama’s monochrome yellow new video “Dance”, 2019 is played on a small monitor. A red curtain leads to Tamayama’s transformation of the gallery’s largest space into a colored light saturated immersive experience, entitled “Eclipse Dance”, 2019. A cluster of tables forms a new plateau and divides the atmosphere’s light, red above and blue below. A rotating marble form, evocative of a human, is positioned in relation to another form, evocative of a celestial body. In the adjacent spaces, visitors encounter Tamayama’s Eclipse, a new large-scale video projection, with sound composed by the artist. In a third space, Tamayama’s spinning sculpture and clustered confronts Tateishi’s Rotating Fuji (1991), and a fourth room, painted yellow, displays Tateishi’s prints dating from 1973-1981.
The exhibition is on view through August 31 720 N. Highland Ave., Los Angeles. photographs courtesy of Nonaka-Hill
Local California band Allah Las announces their latest album LAHS out October 11 on Mexican Summer and their new video for first single " In The Air ," a tongue in cheek half baked version of Weekend at Bernie's .
“A ship in harbor is safe, but that’s not what ships are built for” the saying goes. But suppose the proverbial harbor is Los Angeles — a place not particularly known for being the origin of adventures. From the Spanish Conquistadors to the countless starry-eyed nobodies hoping to make it big, LA is usually the destination.
So it’s no wonder the Allah Las became fascinated with both the carefree spirit and glitter-in-the-gutter lifestyle of their hometown. After three records mining its lore and lure (from the desert to the sea) they have become global ambassadors of not just a place but a location.
Having taken their compact California on the road across the world (making stops in North, Central, and South America, Europe, South Africa, Australia, Russia, East Asia and beyond), they couldn’t help but peek through the other end of the telescope.
On their fourth LP, drummer Matt Correia , bassist Spencer Dunham , and guitarists Miles Michaud and Pedrum Siadatian turn their collective gaze outward and toward the horizon. Simply titled LAHS (a reference to a common misspelling of the band’s name), their forthcoming release on Mexican Summer finds the band turning in their most cohesive and ambitious work yet. LAHS is available for pre-order here
Organized by the Queens Museum, New York, The Wandering Lake, 2009-2017 is Chang’s most ambitious work to date: an eight-year project that redefines the role of artist, image, object and performance in the construction of narratives through an exhibition that integrates video projection, photography, sculpture, publication, and performance as one expansive body of work. The exhibition allows viewers to navigate through Chang’s personal, associative, and narrative meditation on mourning, caregiving, geopolitics, and landscape. The exhibition has been structured to replicate the complex way in which stories develop through geography, history, cultural mythology, fiction, and personal experience. While Chang’s multi-year project was in part inspired by turn-of-the-century colonial explorer Sven Hedin’s book The Wandering Lake (1938)—which tells the story of a migrating body of water in the Chinese desert—the project also chronicles the loss of Chang’s father as well as her pregnancy and the birth of her son.
The Wandering Lake, 2009-2017 is on view through August 4 at Institute of Contemporary Art, Los Angeles 1717 E 7th St, Los Angeles, CA 90021. photographs courtesy of Elon Schoenholz/ICA LA
Shulamit Nazarian presents Roommates, an exhibition of works by Chris Bogia, Woody De Othello, Rachel Granofsky, and Michael Stamm. These artists investigate the domestic space as a psychological, and at times psychedelic realm. Drawing from a variety of sources and forms that evoke a sense of home, these artists embed objects and environments with the peculiarities of living beings, illustrating our relationship to possessions that share our most intimate spaces. Like the dancing furniture in Disney’s Fantasia, subject and object wiggle back and forth with a magical realism. The home dweller melts into the sofa, while objects begin to take on a life of their own –all achieved through means similarly found in cartoon animation: flatness, movement, and artifice.
Roommates is on view through August 31 at Shulamit Nazarian 616 N La Brea Ave, Los Angeles, CA 90036. photographs courtesy of the artist and Shulamit Nazarian, Los Angeles
Karma International presents FUN HANG, a group show curated by Jools Braiman-Rothblatt and featuring artists Alex Becerra, Poy Born, Nick Farhi, Kim Fuck, Kezia Harrell, Ariana Papademetropoulos, Rachelle Sawatsky, Nicole-Antonia Spagnola, Ambrose Vallard, Bri Williams, and Phillip Zach.
What is a FUN HANG? Is hanging a fun activity? Subjects and objects that hang: fruits hang, friends can hang, art hangs once it has been hung, and, on a more macabre note, bodies can hang too. Does art hang as bodies, fruits, or friends? Can we separate the schema of art hanging from the bodies who made them and then the body who hung it? How is the body, the object and the hanger always in flux?
How fun is the process of FUN HANG? Did all bodies have fun hanging, participating, making, and being in the FUN HANG. Does the labor account for this FUN? If we accounted for this FUN could FUN still be had? Is the install FUN, does making need to be FUN, or is FUN more of an affect, a position of resistance, of jouissance, of pleasure that can not be removed from one's liberation to the world? How subjective are our FUNs?
Are these decisions situated in a kind of subjective relationship to FUN? Does FUN have or could have an aesthetic like cool could be said to once have had an aesthetic? Have FUN!
FUN HANG is on view through August 10 at Karma International 4619 W Washington Blvd. Los Angeles, CA 90016. photographs by Oliver Maxwell Kupper
If It Were A Snake It Would Have Bit Me, Lauren Quin’s first solo show in Los Angeles, presents a body of work characterized by a nimble image and a sentimental mark. Dipping into the networks of an organism, these paintings are biotic, and they need for their small and large elements to coexist as a whole being. With a drag of a dull knife or the tip of a fingernail, fine-lined drawings are carved into wet paint on the surface. They are sharp marks that pull themselves up and away from the whole of the painting; incisions that linger in a shallower focal plane, only to be discovered with a certain degree of intimacy.
Inspired by the exhibition The Wondrous Cosmos in Medieval Manuscripts, Ever Present brings together a group of artists who integrate the intergalactic into their varied work. Like their medieval forbearers, they quest for new artistic, analytic, and spiritual ways of understanding our connection to the cosmos. Performances include music by vocalist, multi-instrumentalist, and Vedic astrologer Deradoorian (known for her work with Dirty Projectors), choral scores translated from the constellations by experimental artist and composer Carolyn Pennypacker Riggs, an interdimensional ritual by A.S.T.R.A.L.O.R.A.C.L.E.S with live music accompaniment by ambient composer Ana Roxanne, a planetarium-style visual lecture on the multiverse by artists Jennifer Moon and laub, and site-wide energy work by multidimensional artist and Afrofuturist Jordi.
America is restless. And in the Golden State of California, the veneer of optimism and unlimited opportunity hides a countryside teetering on the edge of the Pacific. The hillside mansions risk burning in the wildfires while the views from ocean front properties remind their owners that one tectonic shift will sink it all.Surely the people who built Los Angeles on the desert landscape were aware of the delicate balance of their surroundings, but hope springs eternal. And indeed, LA became a place of dreams realized, even though Mother Nature and the hands of fate often destroyed those dreams. LA’s SadGirl are acutely aware of that reality, and their analog rock n’ roll has always somehow managed to approximate the relentless optimism of the pioneer spirit, but they’ve also exuded some degree of self-awareness of the anodyne properties of vintage pop. With their new album Water, the Los Angeles trio taps into the romantic and nostalgic spirit of their native city while exuding a time-tested authenticity suggesting that they’ve had a peek behind the curtain of the manicured lawns, glitzy boulevards, and relentless sunshine. SadGirl will be performing tonight, July 11, at the Teregram Ballroom