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
Los Angeles is a perpetually changing landscape in a state of constant reinvention. Don’t Forget to Breathe, a new installation by Doug Aitken, meditates on the rapidly changing face of technology framed within a relic of our modern past. The atmosphere of the desolate storefront presents a possibility that a chapter of capitalism has completed its life cycle and we are entering the next era where the screen world mirrors the physical one. This new era is increasingly dematerialized, where human connection is evaporating and quickly being replaced by digital life. The open architecture of this empty retail store surrounds the installation of three isolated figures. The absence of commercial logos, goods and consumers renders the store haunting and minimal, a memorial to time past. The building is transformed into an architectural purgatory in sharp contrast to a new era where communication moves at the speed of light and technology’s very presence is dematerialized. Don’t Forget To Breathe will be on view until February 17, 6775 Santa Monica Boulevard
Untitled (America)/Debris Field/Synecdoche/Notes for a Poem on the Third World, is an exhibition of new work by Glenn Ligon now on view at Regen Projects. For this exhibition, Ligon will present a new series of silkscreen paintings based on abstracted letter forms and several neon installations. Glenn Ligon’s wide-ranging multimedia art practice encompasses painting, neon, photography, sculpture, print, installation, and video. His work explores issues of history, language, and cultural identity.
Over the years, Ligon has created neon sculptures that illuminate various phrases or words in charged and animated ways. Notes for a Poem on the Third World, Ligon’s first figurative sculpture, is comprised of a large neon based on a tracing of the artist's hands that takes its inspiration from an unrealized film project by Pier Paolo Pasolini. Pasolini claimed that it was the "discovery of the elsewhere" that drove his identification with the struggles of non-Western peoples and people on the margins of the West. Ligon's neon, with its ambiguous gesture of greeting, protest, or surrender, is the first of a series of works inspired by Pasolini’s project."Untitled (America)/Debris Field/Synecdoche/Notes for a Poem on the Third World " will be on view @ Regen Projects 6750 Santa Monica Blvd until February 17. photographs by Oliver Kupper.
For over fifty years, Graham’s expansive multidisciplinary practice has encompassed video, sculpture, photography, performance, installation, and a prolific body of writing on religion, music, art, architecture, garden design, and popular culture. Forming a central theoretical thread throughout the course of his career, his work has examined the function and role of architecture in contemporary society, and how it frames and reflects public life. Since the 1970s he has produced what he refers to as pavilions, hybrid constructions that are part architecture and part sculpture. Inspired by ornamental buildings found in 17th and 18th century European pleasure gardens, Graham’s sculptural pavilions are comprised of simple geometric forms and constructed using materials associated with corporate architecture like metal, aluminum, transparent and/or two-way mirrored glass, and sometimes juxtaposed with natural elements like hedges. Functioning as built environments, the pavilions create unusual optical and physical experiences for the viewer – blurring the lines between public and private space – and making apparent that our material surroundings structure the very core of our societies by determining the form of our vision and sight.
A selection of photographs relating to his seminal magazine artwork, Homes for America(1966), and taken by Graham during a 2006 visit to his native suburban New Jersey, feature images of diverse architectural styles punctuated with lawns, topiaries, and shrubs. Displayed in a sequenced formation on the gallery walls, each image highlights Graham’s interest in serial structures, topology, and systems of information as evident in the peculiar color ranges, materials, and repetitive geometries of the suburban American landscape. A series of architectural models and video works provide further context for his ongoing exploration of the built world. New Works By A Small-Town Boy is on view at Regen Projects through August 18. 6750 Santa Monica Boulevard, Los Angeles. photographs Oliver Kupper
Over the course of her decades-long career, Marilyn Minter has developed a singular and provocative pictorial language imbued with themes of desire, power, glamour, and beauty. Oftentimes simultaneously seductive and repugnant, her paintings and photographs mine the imagery of Hollywood, fashion, advertising, and pornography while also referencing the history of art. Inspired by feminism and sexual politics, her subversive pictures reframe the conversation about looking and the female figure in visual culture. The exhibition is on view through June 23 at Regen Projects 6750 Santa Monica Boulevard Los Angeles. photographs by Oliver Maxwell Kupper & portrait by Mathilde Huron
Photographs, sculptures, and collages populate the expansive space at Regen Projects, incorporating the traces of bodies, circulation, and labor within the surface of the artwork. In this highly charged, pithy and multi-dimensional body of work created roughly over the course of a year, Beshty drills through computers, a television, and an oversized, outdated printer. He slices flat screen televisions in half lengthwise and displays these brutalized devices with their power still connected to the electrical grid, leaving them in a desperate anthropomorphized state of survival - endlessly powering on and off again, their inner machinations on full display. Copper plates made from the artist's own pharmaceutical receipts and x-rays of the artist's own knee document the expected outcomes of his prescribed medications and are left to oxidize slowly over time. Positive and negative transparency film is left exposed in Beshty's checked baggage, the resulting works made during idol modes in transit. The dualities are endless; layered ad infinitum. Equivalents opens tonight and will be on view through April 7 at Regen Projects 6750 Santa Monica Boulevard. photographs by Summer Bowie
Regen Projects presents a group exhibition entitled What I Loved: Selected Works from the ‘90s. The 1990s marked a pivotal moment in American history and contemporary art. It was a time of economic recession, the first Gulf War, the Los Angeles riots, 24-hour news, the advent of the Internet and the dot-com bubble, and the fall of Communism. Regen Projects, which opened in 1989, developed alongside and in response to these events and established a roster of artists whose work expressed the zeitgeist of the times. What I Loved takes its name from Siri Hustvedt’s 2003 novel, which looks back at the constellation of relationships and events in the New York art world circa 1975 to 2000 through the eyes of an art historian and critic. Similarly, this exhibition revisits these formative years and brings together a group of artists who came of age during this time, and whose work became part of the critical discourse for addressing issues of race, gender, sexuality, identity politics, globalization, and the AIDS crisis, among others. Artists featured in the exhibition include Matthew Barney, Philip-Lorca diCorcia, Felix Gonzalez-Torres, Rachel Harrison, Mike Kelley, Toba Khedoori, Karen Kilimnik, Byron Kim, Liz Larner, Glenn Ligon, Robert Mapplethorpe, Marilyn Minter, Catherine Opie, Raymond Pettibon, Elizabeth Peyton, Jack Pierson, Lari Pittman, Richard Prince, Cindy Sherman, Gary Simmons, Wolfgang Tillmans, Kara Walker, Gillian Wearing, Lawrence Weiner, Sue Williams, and Andrea Zittel. What I Loved: Selected Works from the ‘90s will be on view until April 13, 2017 at Regen Projects in Los Angeles. photographs by Oliver Maxwell Kupper
photographs by Oliver Maxwell Kupper
1. Forbidden Fruit, a solo exhibition of neon and sculptural works by Patrick Martinez at New Image Art 2. Rainbow Body, a solo exhibition of rainbow splashed canvases by Millie Brown on view at 8473 Melrose Place 3. A Lil Taste of Cheeto in the Night, Parker Ito crams in canvases and sculptural renderings at Chateau Shatto 4. Grounds and Figures, Diana Al Hadid shows her mylar sculptures at OHWOW 5. Jerry Hsu presents some of his 'Nazi Gold' for A Love Like Mine Is Hard to Find at Slow Culture 6. Tomoo Gokita shows some of his strange and beautiful portraits for Besame Mucho at Honor Fraser 7. Andrew Gbur shows some of his Face Paintings at the Team Gallery bungalow in Venice Beach 8. Alien Flowers, an exhibition of exciting works by Joseph Arthur at Gallery Go 9. Glen Ligon says goodbye figuratively and literally at his exhibition ending this week at Regen Projects 10. Eric Stanton and foot fetishist Elmer Batters (long dead) get weird at the Taschen Books gallery
Regen Projects announces a solo exhibition of new works by Elizabeth Peyton. For her sixth show with the gallery, Peyton will show paintings, works on paper, and prints (etching and monotypes). Her work has included portraits of artists, musicians, historical figures, occasional athletes, and more recently still lifes, all derived from life or from photos. The show will be on view April 6 to May 12 at Regen Projects - 9016 Santa Monica Boulevard, Los Angeles, CA.