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
SIS is a solo exhibition by Rikkí Wright analyzing the themes of the sibling relationship and exploring how it shapes the future of those involved in it. “This series of images are based around a subject matter that’s dear to me, sisterhood. Analyzing the themes of the sibling relationship and exploring how it shapes the future of those involved in it.” - Rikkí Wright. SIS is on view through March 29th at Nous Tous 454b Jung Jing Road, Los Angeles. photographs by Lani Trock
Landscapes is a selection of new work by David Black that explores paranormality and everyday life in Los Angeles. The images displayed in a sequential line present a day to night cyclical narrative of a landscape of our collected dreams. These visual glitches suggest the point of view of a passenger in a fast moving car on the city’s expansive freeway system. Black is interested in capturing opposing forces: light and dark, commercial and artistic, micro and macro, and they fuse to pose questions about illusion, mortality and truth. He also likes to play with archetypes: a dove flutters on the hood of a big car in its dark shadow; sunsets stutter into a strange series moiréd by the artifice of an LED screen from which they radiate. These allusive symbols and characters suggest a twisted storyline that feels fictional but also inherently autobiographical and vulnerable. Landscapes is on view through March 30 at the Lodge 10 24 North Western Avenue, Los Angeles. photographs by Agathe Pinard
Ari Marcopoulos has defined the pillars of his work as “noise, exertion, rebellion and chaos.” In Fergus McCaffrey’s exhibitions, the artist brings the guiding principles of his photographic approach to video work, where they are informed by a sense of equanimity, care, and grace, capturing the slow flow and punctuated ruptures of contemporary social life. Marcopoulos brings a formalist’s eye to public gathering spaces, transforming basketball courts, public parks, churches, and community centers into stages upon which the unplanned direction of daily life plays out. In each transatlantic location, a selection of newly produced washi prints by the artist will be on view. This body of photos is largely, but not exclusively, drawn from Marcopoulos’s 2010-2012 archive and reprinted on handmade paper carefully selected from a washi collective found only in Japan. The exhibition is on view through February 23 at Fergus McCaffrey 514 West 26th Street New York. photographs courtesy of Fergus McCaffrey
Don’t turn off the light is the second solo exhibition at Fridman Gallery for Brazilian artist, Nino Cais. It presents the artist’s take on male and female forms through installation, assemblages, and film. The artist utilizes his unique syntax, juxtaposing the banal and the fetishized, to create dreamlike unions of household objects and found photography. To read our 2014 interview of the artist, click here. Don’t turn off the light opens tonight @ 6pm and is on view through November 3 at Fridman Gallery 287 Spring Street New York. images courtesy of Nino Cais and Fridman Gallery
California Love, an exhibition by internationally acclaimed photographer and director Mike Miller. A native of Los Angeles, Miller is widely known for his iconic images chronicling the rise of the West Coast hip hop scene. California Love includes some of Miller’s most recognized images of artist Eazy-E, Snoop Dogg, and Tupac Shakur, along with never before seen photographs depicting the time, culture, and community that gave birth to West Coast rap. The exhibition runs from September 8 to November 3 at M+B Photo 1050 N Cahuenga Boulevard Los Angeles
Galerie Berinson is exhibiting 17 works by photo artist and designer Nathan Lerner. These are the originals from Lerner’s first solo show in 1973 at Bradley University in Peoria, Illinois, USA. At the curator’s suggestion Lerner for that made large prints of motifs, which he made during his studies at the New Bauhaus between 1938 and 1943 and which had never been exhibited before. The exhibition is on view through December 1 at Galerie Berinson Schlüterstraße 28 D-10629 Berlin
Fahey/Klein Gallery presents Irving Penn: Worlds in a Small Room, Seen & Unseen, a solo exhibition of works by renowned photographer Irving Penn. This exhibition will feature a powerful retrospective of Penn’s ethnographic studies, which illustrate the diversity of Irving Penn and his work. Following a long-established tradition of ethnographic photography, Penn abandoned the tradition’s passivity and instead applied his own unique approach. The photographs on view highlight Penn’s purposeful engagement with his subjects and his exacting attention to detail. A stark contrast from his personality portraits, the photographs in the exhibition are drawn from the images made from his travels to Peru, Dahomey, Morocco, and New Guinea. With the generous assistance from The Irving Penn Foundation, the photographs on view will be a combination of well-known images, as well as a small selection of lesser known and previously unexhibited works from the “Worlds in a Small Room” series. Worlds in a Small Room, Seen & Unseen is on view through October 6 at Fahey/Klein Gallery 148 North La Brea, Los Angeles.
Taking the name from the second chapter of Germaine Greer’s landmark text “The Obstacle Race” from 1979, “How They Ran” brings together a selected group of LA-based artists whose diverse practices represent the heartbeat of the Los Angeles art scene today. Greer’s book presented an art historical account of artists who are missing from academic literature and how they overcame historical obstacles to achieve notoriety anyway. Through this lens, Over the Influence will present a group exhibition of LA-based artists from different backgrounds, practices, and generations. "How They Ran" is on view through September 5th at Over The Influence 833 East 3rd Street Los Angeles. photographs by Lani Trock
Ambition is an exhibition of photographs by the late Bob Mizer. Mizer was one of the most significant figures of twentieth century homoerotic art and was a celebrated pioneer in developing the visual language for post-war gay culture. This is the artist's first solo exhibition with the gallery and will include over 30 never-before-exhibited images from the Bob Mizer archive. The show runs from June 23 to August 18 at the M+B Photo exhibition space 1050 North Cahuenga Boulevard Los Angeles. photographs by Oliver Maxwell Kupper.
This year’s Fair features 90 of the world’s most illustrious dealers in modern and contemporary art and design, with 24 new participants, including Gagosian, Gladstone Gallery, Hauser & Wirth, Marian Goodman Gallery, Lévy Gorvy, Matthew Marks Gallery, Mnuchin Gallery, Taffin, White Cube, and more. The exhibition is on view through May 8 at TEFAF Park Avenue Armory, New York City. photographs by Ava Berlin.
Nick Zinner, guitarist for New York based band Yeah Yeah Yeahs and the hardcore band Head Wound City, is currently exhibiting his photographic work in the Los Angeles gallery Lethal Amounts. “601 Photographs” consists of 601 images taken over the course of 15+ years on and off tours with various musical projects over 6 continents. Voyeuristic and documentarian at the same time, the images capture a wide spectrum of moments; from crowd shots and hotel beds, to intimate portraits and situational snapshots. “601 Photographs“ is a continuation of large-scale exhibitions that Nick has previously shown in New York City, Mexico City, San Francisco, and Tokyo. "601 Photographs" is on view now at Lethal Amounts, 1226 W. 7th Street, Los Angeles, CA. photographs by Lucia Ribisi
Magnum photographer Bruce Davidson is most known for his photographs of the teenage gangs of New York City in the 1950s. In 1964, Esquire magazine commissioned him to take photographs of Los Angeles. For whatever reason, the photographs were rejected. In Davidson's own words: "Esquire’s editors sent me to Los Angeles, and when I landed at L.A. International Airport I noticed giant palm trees growing in the parking lot. I ordered a hamburger through a microphone speaker in a drive-in called Tiny Naylor’s. The freeways were blank and brilliant, chromium-plated bumpers reflected the Pacific Ocean, but the air quality was said to be bad. People looking like mannequins seemed at peace on the Sunset Strip while others were euphoric as they watered the desert. I stood there ready with my Leica, aware of my shadow on the pavement. I walked up to strangers, framed, focused, and in a split second of alienations and cynicism, pressed the shutter button. Suddenly I had an awakening that led me to another level of visual understanding. But in the end, for some unknown reasons, the editors rejected the pictures, and I had to return home with a big box of prints, put them in a drawer, and forgot all about the trip." Today, venerable publishing house and champion of print, Steidl, is releasing the photographs in beautiful book form. You can purchase here.
After news emerged that Freddie Gray, Jr. had broken his spine and died while in the custody of police officers – a literal straw that broke the camel's back after countless public deaths of unarmed black men and women at the hands of authorities – riots and protests erupted in Baltimore; it soon spread to New York City. Mike Krim of subversive, cult publishing imprint Paperwork NYC and model Alex Papa grabbed their cameras and found themselves in the center of the action. "Alex Papa and I decided to grab some film and join in. Not knowing what to expect, we jumped in the crowd and started taking photos. That lasted roughly twenty minutes until we found ourselves chanting "No Justice No Peace Fuck The Police" and fully engaged in the protest, which took over city blocks and highways. As voices echoed loudly, we ran to fill in gaps, walking interlinked to shut down intersections, and marched forward. At times losing people to small pockets of raw emotion that took place. I'm not sure what the exact term of "peaceful assembly" is but I feel it was accomplished last night. Was anything achieved besides screwing up all the traffic in NYC? I'm not sure. I will tell you one thing, though, it felt fucking awesome approaching Times Square with that many people and taking over what some call the center of the universe." Click here to see the full photographic essay.