Avery Wheless is a Los Angeles-based painter who was born and raised in Petaluma, California. With her mother, a ballet instructor, and her father, an animator for LucasFilms, it’s no wonder she became a painter and video artist with a penchant for the theatrical. Her video works often depict movement artists performing choreography, and her painted portraits often depict everyday people engaging in the unconscious performativity of everyday life. Her current solo exhibition Stage, Presence on view at a private residence in Beverly Hills with BozoMag includes portrayals of the artist and her friends occupying glamorous spaces, caught in moments that subtly reveal the effort that comes with looking at ease. These acts are not celebrated or bemoaned. They just are. One friend reaches into the cocktail dress of another to lift and expose the fullness of her breast in anticipation of reuniting with an ex. Other figures unwittingly become subjects as they applaud an unseen performer or spy pensively on others while sipping martinis. The pageantry of hyper femininity is as vulnerable as it is manicured when you look at it from the right angle and Avery Wheless has a way of depicting it all simultaneously like an emotional lenticular on canvas. Read more.
Keith Duncan's Bayou Classic Online Exhibition @ Fort Gansevoort
Bayou Classic is an online exhibition featuring new drawings and paintings in which the artist pays tribute to a grand New Orleans tradition inextricably linked to the wider sweep of Black cultural heritage in America: established in 1974, the Bayou Classic is an annual football game between two of Louisiana’s Historically Black Colleges and Universities (HBCUs), Southern University and Grambling State University. The highlight of this event is the Battle of the Bands, a resplendent halftime show in which the marching bands of the two schools compete to deliver the most sensational performance. For Duncan, the pageantry and ceremonial elements that are hallmarks of the HBCU band performances are contemporary analogs for African American traditions. The drum majors and musicians depicted in his work in brilliant, vibrating hues, are “symbols of African warriors dancing in front of the king or the queen, like a pageantry of ceremonious splendor.” The artist further explains, “I saw them in that light and it’s part of our heritage beyond New Orleans.” Indeed, thousands of supporters of the Bayou Classic travel from across the nation to participate in the various festivities that unfold around the event; a multi-generational audience of students, alumni, and relatives gathers for this moment, paralleling an all-encompassing family reunion. For many, “the Classic” is an essential tradition that helps to preserve the mission of the HBCUs, which were established to nourish the talent and brilliance of African American people in a mutually supportive environment.
Keith Duncan: Bayou Classic is on view online through April 17 @ Fort Gansevoort