Just when you think you have the measure of them, these composites of painting and sculpture slip out of mental reach. At first glance Moreland’s latest body of work evokes the geometry of industrial spaces: a saw roof; bi-fold windows; up-and-over garage doors…. But the closer you approach, the more the architectural undertones are disrupted. In the face of brightly painted, leather-hinged, canvas-covered wooden panels, architecture gives way to a story of making. Tacks, tucks, folds: no part of fabrication is disguised. These crafted elements may lurk in the shadows but they are handled in such a way as to become significant features. Like the sixties Minimalism movement that it references, Moreland’s work is without pretension; unlike the Minimalists, it is not devoid of emotion or artistic gesture. There are just discernible brush strokes on the painted surfaces, and his striking use of color points up the geometry of each piece. Deliberation is on view through October 27 at Wilding Cran Gallery 939 South Santa Fe Avenue, 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
In White Noise, Christian Eckart is re-presenting romantic sublime imagery for the purpose of reconsidering its primal power specifically in the context of the potential extinction of the human species as a result of climate change. Without humankind, who will be left to appreciate, collect, and share the Earth's ineffable beauty and awesome grandeur? The exhibition title is an acknowledgement to the profound impact Don DeLillo's 1985 novel by the same name, and presenting similar undercurrents, had on the artist many years earlier. White Noise is on view through March 17 at Wilding Cran Gallery 939 South Santa Fe Avenue, Los Angeles. photographs courtesy of Wilding Cran Gallery
The Los Angeles cultural world came out in droves to the Underground Museum September 15 to celebrate the closing of Water & Power and the opening of Muddy Water. Water & Power featured four artworks from the MOCA permanent collection, curated by the late Noah Davis at the Underground Museum. Muddy Water is a solo exhibition by Karon Davis currently on view at Wilding Cran Gallery through November 4. photographs by Lani Trock
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
The Good Part is a mixed-media installation by Jeremy Everett. Acting as interventions, the various works on view offer notions of tension, movement, resistance, and corruption. The Good Part is on view through May 19th at Wilding Cran Gallery 939 South Santa Fe Avenue Los Angeles. photographs by Lani Trock
Marty Schnapf's Fissures in the Fold is on view through March 10 at Wilding Cran Gallery in Los Angeles. photographs by Summer Bowie
Taking inspiration from imagined spaces, vintage magazines, and books, Papademetropoulos creates environments that juxtapose ideas of perception and delusion. By using both realism and trompe l'oeil she references the history of painting while further developing the sense of illusion within her work. Featuring new paintings and installation, this exhibition focuses on our relationship to decor and interior space- it invites us to question functionality and taste, reality and fantasy. In a painting of a church interior the walls blur to the outside where the viewer is transported to a ‘Disneyfied’ realm; a surrealist dysfunctional home interior takes us ‘down the rabbit hole’ to a topsy-turvy space where everything is out of our reach, questioning our assumptions of home as comfort and retreat. Finally, the artist brings together a collection of more than 200 gothic romance novels, all written by women. Each paperback has a different title and a different story, yet all of the book covers share the common theme of a woman running out of a house from a presumed horrific fate. With this, she invites the viewer to confront the contradictions of fantasy vs horror, and ultimately the duplicity and hypocrisy within our popular culture. Ariana Papademetropoulos "The Man Who Saved A Dog From An Imaginary Fire" will be on view until October 26, 2017, at Wilding Cran Gallery, 939 South Santa Fe Ave, Los Angeles. photographs by Oliver Maxwell Kupper
In Jeremy Everett’s latest, most ambitious work of art, entitled FLOY – a magnum opus of grandiosity and scale – the artist crashes a 60-foot truck on a highway in Utah, leaving milk spilled across the asphalt. The wreckage was filmed from a helicopter – the artist had to race from the crash site to the helipad before the milk evaporated. Indeed, evaporation is an important part of Everett’s oeuvre – in his Double Pour series, for which his current exhibition at Wilding Cran is named after, the artist captured water spilled on a generic parking lot in Los Angeles before it dried and disappeared into the ether. While most artists apply material to material, Everett’s practice seems almost like a VHS tape on constant rewind; a fuzzy layering of time, space and ephemerality that makes you realize the illusion of time, the impermanence of life and the absurdity of everything. Read our interview with the artist here.
Wilding Cran Gallery Unit B is pleased to present "Disconnection," a group show curated by Justin Tyler Close of Lab Magazine, featuring new work by Eliot Lee Hazel, Ariana Papademetropoulos, Nouel Riel, Logan White, Darian Zahedi, and Amanda Charchian in collaboration with Eli Craven. "Disconnection" explores ideas about living in today's world where everyone is more connected than ever and how that has led to a loss of mystery and suspense within relationships because of the constant need for immediacy. Disconnection will be on view until June 13, 2015, at Wilding Cran Gallery in Los Angeles.