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
Faux real is the deranged child of Franco-American brothers Elliott and Virgile Arndt. In the summer of 2018, they invoked the union of their inner-gene genies and gave birth to faux realism. The brothers started playing their first shows as a duo with nothing but a couple of microphones, a flute, some handmade costumes and a weird/incestuous/compelling 30-minute long choreography. With no music online or a single confirmed show on the horizon, they took off on a month-long US tour in march 2019, with high hopes and low expectations.
They ended up performing over 30 times that month from SXSW in Austin, to Los Angeles and New York City, performing anywhere and everywhere the city would allow, from large venues to sweaty nightclubs to street corners, house parties, art galleries, illegal raves, or hijacking existing bills with impromptu slots. The two brothers are quickly becoming notorious for their wild, unhinged, retro-futuristic and avant-garde anti-rock performances, ranging from flute-infused 808 ballads to feverish stooge-esque self-flagellation, tongue-in-cheek frenglish poetry, faux athletics and improvised quasi-ballet.
Parrasch Heijnen Gallery is participating in the multi-venue Dilexi Gallery retrospective with a historic presentation of works by Arlo Acton, Tony DeLap, Deborah Remington, Charles Ross, and Richard Van Buren. The Dilexi gallery began out of necessity--a deep-seated need to have a serious space for counterculture artists in the heart of vibrantly active beatnik San Francisco. In 1958, Jim Newman and Bob Alexander filled this void championing free-spirited and nonconformist artists. Dilexi, which derives from Latin “to select, to value highly, to love,” was the conduit necessary for these disparate artists to experiment with new materials and non-traditional techniques that eventually became their individual styles outside any singular art movement. Pivotal museum exhibitions such as Primary Structures (1966: Jewish Museum, New York, NY) as well as the locally founded ArtForum brought Dilexi artists international recognition.
Dilexi: Totems and Phenomenology is on view through August 10 at Parrasch Heijnen Gallery 1326 S Boyle Ave. Los Angeles, CA 90023. photographs courtesy of Parrasch Heijnen Gallery
Big Pictures Los Angeles presents I Dedicate This Song to You, an exhibition of new paintings and sculptures from Los Angeles based artist Lauren Spencer King. King weaves together personal experiences, in past work around death and grief but more recently an exploration of partnership and relationship, together with historical sites and practices rooted in relatively unknown ceremonial rites of passage. A constellation is created between the works in disparate mediums to create a new narrative woven from threads of personal and collective history.
I Dedicate This Song to You is on view through August 3 at Big Pictures Los Angeles 2424 W Washington Blvd. Los Angeles, CA 90018. photographs courtesy of Big Pictures Los Angeles
Inspired by Cuban Modernism, The Decorator’s Home, curated by Neville Wakefield, personifies the vision of a fictional interior designer, tracing their style evolution from the commercial, North American-influenced Modernist design of the 1950s to the revolutionary, Soviet-influenced style of the 1960s and 1970s. Through sculptural installations, watercolors, drawings and a video, The Decorator’s Home is an attempt to capture the work of a generation that was cut short. Click here to read our interview with the artist.
The Decorator’s Home is on view through July 13 at UTA Artist Space 403 Foothill Rd. Beverly Hills, CA 90210.
Dilexi Gallery: Seeking the Unknown is one of six exhibitions in a multi-venue retrospective honoring the pioneering San Francisco-based gallery led by Jim Newman. The Dilexi Gallery (1958-1969) was renowned for championing a diverse stable of artists, many of whom— through autonomous strains—presented their own cosmologies replete with systems of individuation. These strategies provided a modern allegory for ancient forms of magic. Revitalizing the notion that the artist has a proto-shamanic role, their work culled the latent powers of alchemy, Kabbalah, totemic thought, and hermetic diagrams, often convening with the unknown. The exhibition features work from Jeremy Anderson, Wallace Berman, Roy De Forest, Wally Hedrick, Alfred Jensen, Jess, Kurt Schwitters, H.C. Westermann and Franklin Williams. Dilexi Gallery: Seeking the Unknown is on view through August 10 at Parker Gallery 2441 Glendower Ave, Los Angeles. photographs courtesy of Parker Gallery
Allegiances and Convictions explores the American flag as a malleable symbol of ideals, promises, and identity. June Edmonds’s new Flag Paintings create space for the inclusion of multiple identities including race, nationality, gender, and political leanings. Each flag is associated with the narrative of an AfricanAmerican, past or present, a current event, or an anecdote from American history. Edmonds investigates the complexities of these stories through the creation of new symbols for Americanness. Allegiances and Convictions is on view through June 29 at Luis De Jesus 2685 S La Cienega Blvd, Los Angeles. photographs courtesy of Luis De Jesus Los Angeles. Click here to read an interview with June Edmonds and gallery owner/director, Luis De Jesus.
According to multiverse theory, every decision a person makes causes a split in the universe, wherein an alternate version of one’s self continues to exist in an alternate universe, living with the consequences of an alternate decision. There are an infinite number of variations of ourselves existing throughout time and space, having made an infinite number of differing decisions. BUT WHAT IF AN INDIVIDUAL IS ABLE TO OCCUPY MULTIPLE UNIVERSES SIMULTANEOUSLY? Trans World is on view through August 10 at Nicodim Gallery 571 S Anderson Street Ste 2, Los Angeles. photographs by Lani Trock
Making the rounds (a place to wait) is a new installation by Stephen Neidich is on view now at Wilding Cran gallery in Los Angeles. Comprised of long metal chains attached to mechanized camshafts that generate a circular rotation across blocks of urbanite, the resulting sculpture produces a mechanical melody that echoes throughout the gallery. This creates a contradiction of theory and practice – industrial forms rarely induce feelings of serenity, yet there is something hypnotic and oddly calming about the rhythm of metal hitting concrete. Neidich has repurposed but not totally decommissioned these moving parts. He does not attempt to fully disguise their recognizable forms but instead alludes to the performative nature of machines, focusing on their aesthetic qualities. On view through July 27 at Wilding Cran Gallery 939 South Santa Fe Ave, Los Angeles. photographs by Lani Trock
This collaboration takes place on the 20th anniversary of both Henzel Studio, the Swedish luxury rug manufacturer and Twentieth, a Los Angeles contemporary design gallery. The exhibition will unveil rugs by artists Ashley Bickerton, Olaf Breuning, Sanford Biggers, Carsten Höller, Jonathan Horowitz, Jack Pierson, Tony Oursler, Jwan Yosef and Lawrence Weiner. It will also include collaborations with Helmut Lang, Scott Campbell and The Andy Warhol Foundation for the Visual Arts, and will introduce a new and separate capsule collection with the designers of Videre Licet. The exhibition, opening June 20th, will be on view at THE NEW, 7466 Beverly Boulevard Los Angeles CA 90036, through Summer 2019.
The Shape of Content is an exhibition of works by Thomas Linder, Erica Mahinay and Andrea Welton. By definition, form is the essential nature of a thing as distinguished from its matter. In his book from which this exhibition takes its title, Ben Shahn expanded on this definition by writing that “form is the shape of content” and argues that form cannot exist without content. The Shape of Content contextualizes three artists, who each use distinct materials, in their exploration of relating content—experience, memory and idea, to form—gesture, color and material.The Shape of Content is on view through July 13 at Ochi Projects 3301 W Washington Blvd, Los Angeles. photographs by Lani Trock
Of Survival, Celebration, and Unlimited Semiosis is a group show featuring works from Dachi Cole, Tommy, Hartung, Alima Lee, Kyp Malone, Diamond Stingily.
… those who fail to reread are obliged to read the same story everywhere … [Barthes]
What does this paradoxical statement imply? First, it implies that a single reading is composed of the already-read, that what we can see in a text the first time is already in us, not in it; in us insofar as we ourselves are a stereotype, an already-read text; and in the text only to the extent that the already read is that aspect of a text that it must have in common with its reader in order for it to be readable at all. When we read a text once, in other words, we can see in it only what we have already learned to see before.
– Barbara Johnson, The Critical Difference
from “Of Survival, Celebration, and Unlimited Semiosis,” Neveryóna, Samuel Delaney
Relax Into the Invisible is an exhibition by Barbara Stauffacher Solomon comprising works on paper, artist books, a new body of sculpture, and site-specific Supergraphics. These works build upon the artist's signature design sensibility while cleverly playing with language, feminism, symbolism, technology, mass media, politics, and personal narrative. Relax Into the Invisible is on view through August 10 at LAXART 7000 Santa Monica Blvd Los Angeles. photographs courtesy of the gallery
Artists are often likened to inventors or scientists, and in the case of Max Hooper Schneider the comparison is more than metaphoric. Schneider’s background in landscape architecture and marine biology strongly informs his artwork. Research and scientific investigation are key to his process. He explores the relationships between philosophy and nature, the personal and the political, destruction and construction, and what he calls nonhuman and human agents. Blending his diverse areas of expertise, his idiosyncratic sculptures, installations, and drawings challenge conventional systems of classification, suggesting a worldview that strives to dislocate humans from their assumed position of centrality and superiority as knowers and actors in the world. Schneider created a new immersive installation for his Hammer Projects exhibition, his first solo museum show. The exhibition is on view through September 1 at the Hammer Museum 10899 Wilshire Blvd.
Los Angeles. photographs courtesy of the gallery
The Chicago Paintings is a selection of paintings on canvas and phone books all made over the past 7 years. After being bought out of his New York apartment, Geraldo Perez moved to the suburbs of Chicago, Illinois and purchased a house, where he was able to convert his entire basement into his studio. The Chicago Paintings present a survey of memories lived and experienced from Perez’s birth in 1962 in the Dominican Republic, to his family’s emigration to New York six years later, and to his day-to-day experiences with intimacy, family, and transition. The paintings reflect on a chance encounter with Basquiat at Danceteria, studying under Jack Whitten and Dore Ashton at Cooper Union in the 2000’s, war and death in the DR, being a father, being brown, seeing the MOMA for the first time, making love, and so much more. The Chicago Paintings is on view through June 23 at East Hollywood Fine Art 4316 Melrose Avenue, Los Angeles. photographs by Lani Trock
Eleanor Antin (b. 1935) is one of the most important artists of her generation and a pioneer of performance and conceptual art in Southern California. In 1972, she challenged definitions of sculpture, self-portraiture, photographic documentation, and performance with CARVING: A Traditional Sculpture. Consisting of 148 black-and-white photographs, CARVING shows the transformation of Antin’s body as she lost 10 pounds over 37 days. Eleanor Antin: Time's Arrow brings together both CARVING series, a new self-portrait, and a related serial work from the 1970s, provoking reflection on discipline, vulnerability, and the passage of time. Time's Arrow is on view through July 28 at Los Angeles County Museum of Art 5905 Wilshire Blvd., Los Angeles. photographs courtesy of the gallery
Over the past 30 years, Sarah Lucas has created a distinctive and provocative body of work that subverts traditional notions of gender, sexuality, and identity. Since the late 1980s, Lucas has transformed found objects and everyday materials such as furniture, cigarettes, vegetables, and stockings into absurd and 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. Au Naturel is on view through September 1 at the Hammer Museum 10899 Wilshire Blvd. Los Angeles. photographs courtesy of the Hammer
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