Nonspace marks Hauser & Wirth’s first exhibition in LA for world-renowned artist, Alexander Calder. Following the landmark Somerset exhibition From the Stony River to the Sky, the presentation in LA focuses on a radically different facet of the artist’s work with a two-part exhibition of primarily monochromatic, abstract sculptures that simultaneously fill space and coexist with it. Nonspace is on view through January 6, 2019 @ Hauser & Wirth 901 East 3rd Street, Los Angeles. photographs courtesy of Calder Foundation New York / Art Resource New York
Beach Therapy is the first solo exhibition in Italy based on the series of the same name by British photographer Martin Parr. During his long career as a photographer, Parr has always photographed on beaches, particularly in the UK. He has often used the beach as a laboratory to experiment with new cameras and techniques. So, for example, when he changed from black and white to medium-format colour in the early 1980s, his first major project was about New Brighton, a run-down seaside resort near Liverpool. In recent months, he has started exploring the beach with the aid of a telephoto lens. This lens is rarely used in the world of art and documentary photography so it is a challenge to find new ways of using it. Often, this involves incorporating the vegetation on the perimeter of the beach as a backdrop, both in and out of focus. Over his long career he has thus tried everything from a close-up macro lens, a medium-format wide-angled camera and, finally, this latest offering with the telephoto.
On the occasion of the exhibition, a major monograph entitled Beach Therapy was published by Damiani. The book is also available in a special Collector’s Edition of 90 copies that includes the book and a pigment print entitled St Ives, Cornwall, England, 2017 each numbered and signed by the artist. In addition, there is also an even more special Collector’s Edition of 20 copies. It comes with a fabric cover and 5 prints signed and numbered by the artist. After Think of Scotland, Beach Therapy is the second monograph by Martin Parr published by Damiani.
Beach Therapy is on view through February 8, 2019 at Spazio Damiani, Via dello Scalo 3/2 ABC 40131, Bologna. photographs courtesy Spazio Damiani
Australian artist Madeleine Pfull’s inaugural exhibition at Nino Mier Gallery illustrates a stylized narrative of a complex suburban universe inspired by her youth. Littered with images and subjects that are familial, humorous and peculiar, the paintings center around the lives of these richly imagined characters. The subjects she paints exude a specific type, mostly middle-class women, likely from the 1980s. Her women wear big-box store clothing, live in homely domestic interiors, but with an earnestness and sense of pride that makes them all more intellectually interesting. Pfull explains that ‘they appear as the quotidian details of middle-class suburbs. They can appear fed up or bored but it is more of a sense of importance and stoicism.
The subjects could be one of many mothers, aunts and neighbors, with their familiar awkward sweaters, botched perms, floral aprons and old-fashioned curtains. Most of the works grow richly from these known phenotypes, and the artist enjoys when the viewer enhances the character’s narrative by implying extended storylines. Pfull explains further that her work articulates her fascination with taste and expressing one’s social status and personal pride through material things. For the women she portrays, she asserts that the ones who try the hardest to appear superior are the ones most uncomfortable with their lack of taste. This duality to their identity, of inferiority and superiority, is exaggerated through the medium of painting, where, like the current embracing of retro culture and fashion, time adds prestige to kitsch. Madeleine Pfull’s eponymous solo exhibition is on view through November 17th at Nino Mier Gallery 7313 Santa Monica Blvd. photographs by Summer Bowie
Just as North Carolina faced yet another “500-year storm,” Los Angeles saw the opening of Karon Davis’s Muddy Water at Wilding Cran Gallery. The show takes it’s name from Bessie Smith’s 1927 recording of Muddy Water, a song about the Great Mississippi Flood. The body of work reflects on the effects of climate change, and subsequent migration and displacement, offering a glimpse into the experiences people encounter during natural disasters. Muddy Water is on view through November 4th at Wilding Cran Gallery 939 South Santa Fe Avenue Los Angeles. photographs by Summer Bowie
Beyond the Funny Farm! Crypto-K, Cutouts, Cut-ups, Copies, Mirrors, Membranes, and Temporal Algorithms marks Dennis Koch's third solo exhibition with Luis de Jesus. In this exhibition, Koch creates a mind-map of relationships that find, build, and amplify meaning in the form of sculptures and drawings. Wooden newsstand-like sculptures display 100 vintage copies of LIFE magazine, each carved page by page to reveal interior images. Known as the first all-photographic American news magazine, LIFE revitalized itself during the 1960s in response to the popularity of television media. Koch's interest in LIFE as a cultural artifact stems from a time-parallel between contemporary political upheaval and the equally tumultuous events of the 1960s. The exhibition is on view through July 28 at Luis de Jesus 2685 S La Cienega Blvd. Los Angeles. photographs by Summer Bowie
Come Undone explores the nuanced processes of aging and loss. Set against cultural constructions of beauty ideals that pedestal the flawless and utilize digital modes of erasure, this series of new latex sculptures use the language of tactile vulnerability. The artist prods dominant adverse representations and perceptions of aging, while considering the stigmas of trauma and grief. Come Undone highlights the power of disorder, metamorphosis and the body in flux. Reservations for overnight stays in Ali Prosch's Come Undone are open. Guests are read a bedtime story and served a full breakfast in the morning, prior to checkout. For reservations, contact firstname.lastname@example.org. The exhibition will be on view through May 20 at Bed & Breakfast. photographs by Lani Trock
The Taste Of Metal In Water is a body of new paintings in a sculptural sound installation. This show marks the artist's first solo exhibition with the gallery and unspools like a vivid session of lucid dreaming. Metal pipes slice the space into particular trajectories. The pipes, extensions of the guts of the building, carry neither electricity nor water, but instead small and resonant hiccups that spread throughout the space. A series of new paintings operate collectively as a stream of memories. The show will be on view through April 14 at Ghebaly Gallery 2245 E Washington Blvd. Los Angeles. photographs by Lani Trock
Reality Projector is a site-specific installation created for the foundation’s expansive first floor Theater Gallery. Eliasson has conceived of a seemingly simple, yet complex installation that uses projected light and the existing architecture of the space to create a dynamic shadow play. The artwork references the space’s former function as a theater as well as the history of filmmaking in the city by turning the entire space into an abstract, three-dimensional film. Eliasson’s exhibition offers visitors the opportunity to fully experience the magnificence of the space free of objects. Reality Projector will be on view beginning March 1, 2018 and will remain on view until August. photographs by Oliver Kupper
Detroit-based gallery Library Street Collective opens a new LA outpost with a solo exhibition from artist Jordan Nickel, AKA POSE. The exhibition, entitled Frankly, will be on view until October 11, 2016. asphotograph by Oliver Maxwell Kupper
U-SAVED-ME is Cameron Platter’s first solo exhibition in the United States, featuring work made over a two-year period. Comprising video, sound, sculpture, tapestry, and drawings, the works in the exhibition cohere to form an immersive installation that captures the artist’s eclectic and multi-disciplinary approach to research and art making. Blurring the distinction between high and low, Platter’s work appropriates, references, and filters, in a highly personal and idiosyncratic way, the enormous amounts of information available to us today. U-SAVED-ME draws on sources as disparate as R. Kelly, fast food, Constantin Brâncuși, historical South African artists and Arts and Crafts movements, LSD, landscape, Deepak Chopra, poetry, interracial pornography, cheese curls, advertising, therapy, psycho-collage, and consumerism. Cameron Platter "U-SAVED-ME" will be on view until September 24, 2016 at Depart Foundation, 9105 West Sunset Boulevard, Los Angeles
Susanne Vielmetter Los Angeles Projects presents "Forest," their first solo exhibition with the legendary William Pope.L. The exhibition features paintings and sculptures in an architectural installation surveying the artists object-based practice from the mid-1990s through the present. William Pope.L is a visual and performance-theater artist and educator who makes culture out of contraries. "Forest" will be on view until December 5, 2015 at Susanne Vielmetter Los Angeles Projects, 6006 Washington Blvd Culver City, CA. photographs by Oliver Maxwell Kupper
This is your last chance to check out Fight in an Elevator at Petzel Gallery—a solo exhibition of new paintings and works on paper by Dana Schutz. As Fight in an Elevator, the title of Dana Schutz’s second exhibition at Petzel Gallery suggests, Schutz’s figures are placed within compressed interiors where they are forced to struggle against the boundaries of their painted environments and up onto the physical edge of the canvas. Her characters find themselves helpless in the mouth of a lion, exchanging blows in a mirrored elevator, or somnambulating down a narrow staircase. These highly structured spaces, which are both intensely public and utterly private, point to how Schutz tackles the subject of interiority—rather than offering a voyeuristic view, her frontal facing subjects stare directly back at the viewer, seemingly with the desire to extend outside of themselves. Fight in an Elevator will be on view until October 24, 2015 at Petzel Gallery, 456 W. 18th Street, in New York. photographs by Tenlie Mourning
In Dan Levenson's first solo exhibition, he has created a fictional and immersive narrative about a community of Swiss artists at the now-defunct State Art Academy, Zrich (SKZ). In one room, a set of paintings represents the results of a single composition exercise assigned to one class of students. The paintings appear to have suffered from time and neglect; their surfaces are cracked and discolored. In an adjacent gallery, an installation of storage racks, student lockers, paint-splattered studio floors and modular art school furniture collapses the imagined space of the art school with the real space of the gallery. The sculptural furniture serves a practical function in Levenson's studio so that the accretions of his process create the impression of many years of use. Traces of the lost culture of the art school abound, particularly in Levenson's use of standardized international paper sizes, which dictate the scale and composition of every painting and object he produces. Each painting fits inside a storage box recovered from the ruins of the art school. The boxes fit together with classroom furniture: a desk, flat files, work tables, and drawing horses. Dan Levenson "SKZ Painting Storage" will be on view until October 10, 2015 at Susanne Vielmetter Gallery, 6006 W Washington Blvd, Culver City, CA. photographs by Oliver Maxwell Kupper