Hollywood's Greatest Hits: John Waters Solo Exhibition @ Sprueth Magers In Los Angeles

 
 

Hollywood’s Greatest Hits marks John Waters’ first solo exhibition with Sprueth Magers. Featuring a selection of works, most of which have never been seen before in LA, the series sheds light on the artist’s decades-long, wide-ranging art practice, and in particular, his humorous and irreverent takes on the movie industry. The over 30 works on view encompass videos, photographs, sculptures and installations that skewer film tropes and culture while also offering cutting, but loving, critiques of mass media, celebrity and insider art-world knowledge.

In the early 1990s, Waters began shooting photographs straight from his television screen. The results were grainy, arty-looking images that he pieced together into evocative photomontages, creating storyboard-like sequences read from left to right. These playful acts of appropriation and juxtaposition, which transform favorite or forgotten films into what Waters calls his "little movies," create condensed stories or testimonies that offer narratives the original directors never intended.

Hollywood’s Greatest Hits is on view through May 1 @ Sprueth Magers 5900 Wilshire Boulevard Los Angeles

James Gobel Presents Shadrach, Meshach, and Abedne’no She Betta Don’t @ Bozo Mag In Los Angeles

BLACK SCREEN

Twenty-five lines of bright light slowly open across the screen. The lines continue to broaden, revealing that we’re looking through window blinds that are being opened. The light is from a rising sun. Handclaps fade up. Cheerleader claps. A hypervariation of the old “Wipe Out” riff. Stomping feet come in. Then a bass line. The sound is jagged and jubilant. The martial music of the suburban high school tribes. The title track surges in and we:

CUT TO

CHEERLEADERS

Shadrach, Meshach, and Abedne’no She Betta Don’t is on view by appointment through April 4 @ Bozo Mag 815 Cresthaven Drive, Los Angeles

All That Spring Promises Group Show @ Tyler Park Presents In Los Angeles

All That Spring Promises serves as a precursor to the season of spring, which will run through the meteorological beginning of spring (March 1) and end on March 20, 2021, the almanac's astrological first day of spring. Through various mediums and artists of varied practices, the exhibition includes elements of flora, animals, the body, and mysticism in reference to the season, which has long been associated with new hope, new beginnings, and inspiration. From this, All That Spring Promises seeks to point ahead that better days are on the horizon with new life and new possibilities, as winter succumbs to spring.

Featured artists include Louis Heilbronn, Daniel Ingroff, Angie Jennings, Anabel Juárez, Christina Mesiti, Paul Pescador, and Evan Whale.

All That Spring Promises is on view through March 21 @ Tyler Park Presents 4043 West Sunset Blvd.
Los Angeles

Zandile Tshabalala's Enter Paradise @ ADA \ contemporary art gallery In Accra

 
 

Zandile Tshabalala’s latest series of paintings, titled Enter Paradise, places the Black female figure at the heart of her sensual dreamscapes, thereby revisiting the representation of the Black woman throughout art history. Marking the artist’s debut solo career, and the gallery’s third consecutive debut solo show since opening in October 2020, the new paintings include a selection of figurative self-portraits in which Tshabalala revisits the representation of the Black female figure.

Enter Paradise is on view through April 18 @ ADA \ contemporary art gallery Villaggio Vista, North Airport Road, Airport Residential Area , Accra, Ghana 

Static: New Paintings By Vanessa Prager @ Diane Rosenstein Gallery In Los Angeles

Vanessa Prager’s recently completed series of oil paintings, Static, continues her exploration of sculptural impasto techniques and revisits 19th-century post-Impressionism in the 21st century. Prager’s new paintings pack a sensory and emotional impact, redefining perception in a high-def world. Her impasto pieces resist the quick take and allow us to discover the hidden treasure of the work itself; in these paintings, more is more. In this time of pandemic, when screens dominate as a means to work, play, connect and exist, Prager is the analog compass directing us back to the tangible. With big, heavy, drippy canvases and what can only be referred to as extreme painting, Prager rejects artificial crispness and reminds us how an abstract work can help us locate feelings so precisely.

Static is on view through April 10 @ Diane Rosenstein Gallery 831 N Highland Avenue, Los Angeles

Samson Young's Closer Reading @ ORDET In Milan

Formal construction and imperfect forms, time and consciousness are just a few territories that Samson Young (b. 1979, lives and works in Hong Kong) explores in his first solo exhibition in Italy. Renowned for a practice that weaves multicultural paradigms and cross-media experiences, the artist takes a group of works that he created during a residency at the Ryosoku-In at the Kennin-ji temple [1] the oldest zen temple in Kyoto—as a point of departure for Closer Reading. During those weeks, Young carried on his ongoing research on what form and its rethinking are.

At ORDET, Young deploys video, drawings, sound works and installations to generate an articulated, absorbing environment. Each work is connected and at the same time reveals its uniqueness in the hope of unveiling some fundamental beliefs about the way things work. There are different truths that await exploration. The video installation Sonata (2020, revised 2021) is a sequence of actions and images with a sense of a general direction and a recurring motif, in a choreography of events happening in time and space. A few objects complete the installation: a group of light clay pieces bear on their surface indented impressions of architectural features of the temple and a book of Zen scriptures with a circle drawn on it.

Closer Reading is on view through April 17 @ ORDET Via Adige 17, 20135 Milan

Robert Nava's Angels @ Vito Schnabel Gallery In New York

 
 

Angels debuts a new series of paintings devoted to the archetype of the seraphim, the winged figure that has animated art history since the early Christian era of the 4th century. With these works, the angel takes its place in Nava’s contemporary visual mythos, joining riotously colored monsters, knights, and chimerical beings that populate his deceptively carefree canvases and works on paper.

Angels is on view through April 10 @ Vito Schnabel Gallery 455 West 19th Street in the Chelsea Arts District. photographs courtesy of Vito Schnabel Gallery

Digital Mourning: A Solo Exhibition By Neïl Beloufa @ Pirelli HangarBicocca in Milan

The French-Algerian artist, Neïl Beloufa, is one of the leading voices of the past decade and a keen observer of our times, offering vivid representations of the world through films, videos, installations, and sculptures. 

Avoiding direct judgments and forceful declarations, Beloufa successfully conveys a reality that, in its subtlety, is often awkward to behold, focusing on highly topical issues such as power relationships, the technological control, the perils of data collection, as well as on a possible collapse in the management of a pandemic. 

Digital Mourning is on view through July 18 @ Pirelli HangarBicocca Via Chiese 2 20126 Milan

Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection In Miami

Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection celebrates their most recent acquisitions, which consists of a sizable selection of international African and African Diaspora artists. Inspired by his upbringing in a number of Latin American countries, Pérez began collecting the work of Cuban and Afro-Latino artists several years ago. Recently he has expanded that focus to include artists of the full African diaspora. Allied with Power shows the result of these years of dedicated effort and exploration.

The exhibition highlights artists whose works embody the possibilities and complexities of our contemporary moment. Allied with Power showcases a wide range of practices and thematics, including abstraction, representation, politics, spirituality, and race. Collapsing national borders, the artists in the exhibition ally with power, representing a kaleidoscope of voices that declare their authority.

The exhibition includes works by Igshaan Adams, Juan Carlos Alom, Firelei Báez, María Magdalena Campos-Pons, Kudzanai Chiurai, Jonathas de Andrade, Edouard Duval-Carrié, Tomás Esson, Genevieve Gaignard, Sam Gilliam, David Goldblatt, Sonia Gomes, Nicholas Hlobo, Pieter Hugo, Kudzanai-Violet Hwami, Rashid Johnson, Isaac Julien, Kiluanji Kia Henda, David Koloane, Guido Llinás, Arjan Martins, Misheck Masamvu, Manuel Mendive, Zanele Muholi, Christopher Myers, Odili Donald Odita, Naudline Pierre, Robin Rhode, Deborah Roberts, Chéri Samba, Yinka Shonibare, Elias Sime, Pascale Marthine Tayou, Mickalene Thomas, Guy Tillim, Kara Walker, Stanley Whitney, Sue Williamson, and Portia Zvavahera.

Allied with Power: African and African Diaspora Art is on view through summer 2021 @ Pérez Art Museum Miami 1103 Biscayne Blvd.

Hugh Steers: Strange State Of Being @ Alexander Gray Associates In New York

Strange State of Being is an exhibition of paintings and works on paper by Hugh Steers (1962–1995). A figurative painter, the artist was diagnosed with HIV in 1987, ultimately succumbing to AIDS-related complications in 1995 at the age of 32. The gallery’s show takes its title from a 1994 quote by the artist, “There seems to be a buzz. … I’m in such a strange state of being, and nothing’s ever going to be the same.” Reflective of his state, Steers’s compositions, enigmatic scenes of sickness and tenderness, unflinchingly bear witness to the true cost of the AIDS epidemic while speaking to our present health crisis and political fragility.

the majority of Steers’s compositions articulate his inner fears and desires as he made art under the specter of the virus. Highlighting the influence of the Western canon on his practice, a series of images, including Girl in Blue and Red (1987), feature an imp-like child whose eerie presence recalls that of the creature from Henry Fuseli’s The Nightmare (1781). In Gold Box (1988), Steers presents this being blinding a man as a snake slithers from an open box. Referencing the myth of Pandora, who released sickness into the world, this menacing painting—created one year after the artist tested positive for HIV—expresses his despair at the diagnosis. Similarly ominous, additional canvases from this period also contain snakes, as well as harbingers of death like crows.

Despite these portents, while indelibly shaped by the AIDS crisis, Steers’s work always rises above its grim realities. As the writer Justin Spring suggests, at the core of the artist’s oeuvre is “… a lingering desire for something transcendent.” Searching for transcendence in the midst of the epidemic, Steers’s paintings gain new resonance in 2021. Their imagery, limned by what the artist once described as the “soft glow of brutality,” anticipates the isolation, loss, and uncertainty of the Covid-19 pandemic.

Strange State of Being is on view through April 3 @ Alexander Gray Associates 510 West 26 Street, New York

Devendra Banhart's The Grief I Have Caused You @ Nicodim Gallery In Los Angeles

“Nothing is more gall-bitter than suffering, nothing more honey-sweet than having suffered.” 
— Meister Eckhart

The recursive abstracted forms within Devendra Banhart’s canvases are a non-hierarchical alphabet of allegories for the diminishment and destruction of ego. Each mouth, prick, eye and ass breaks apart and reconstructs itself until they become a collective commune of equally all-important, yet weightless pieces of the tantric universe. They are a cycle of mala beads through the fingers of time.

The Grief I Have Caused You is on view through March 20 @ Nicodim Gallery 1700 S Santa Fe Avenue, #160. photographs by Lani Trock

Simphiwe Ndzube Presents Like the Snake that Fed the Chameleon @ Nicodim Gallery In Los Angeles

My skin is tightening
soon I shall shed it
like a monitor lizard
like remembered comfort
at the new moon rising
I will eat the last signs of my weakness
remove the scars of old childhood wars
and dare to enter the forest whistling
like a snake that had fed the chameleon
for changes
I shall be forever.
— excerpted from Audre Lorde, “Solstice,” 1978

With Like the Snake that Fed the Chameleon, Simphiwe Ndzube continues to develop and expand his cosmology, reimagining Black bodies as mythical and fantastic beings capable of inhabiting multiple dimensions. His figures fly, flail, fall, and dance their way from sculpture, to sound, to canvas through multiple environments, highlighting the fluidity and permeability of identity itself. Like the snake, his characters can be cold-blooded and stealthy; like the chameleon, they are capable of change.

Whereas the bodies in Ndzube’s earlier works are often faceless or headless, this series includes detailed portraits of a number of the individual characters and further develops their unique personalities. In prior exhibitions, Ndzube’s figures reckoned with drought and desolate environments, but the landscapes in Like the Snake that Fed the Chameleon have grown fertile and sensual along with the humanoids that populate them. Where once the earth was dry and barren, it has now been sown and is ready for harvest. Within the paintings, pink flowers rise to the sky and spread their fleshy petal-tongues to the sunlight, begging to be kissed. Around them, a sculptural cornfield grows throughout the exhibition. A seven-foot dandy traipses throughout the proceedings, peacocking his vibrant couture to anyone who will pay attention. A Bacon-esque figure in a Garden of Earthly Delights, perhaps he is trying to draw the eyes of the couple making love in the sunlight on a canvas nearby.

Like the Snake that Fed the Chameleon is on view through March 20 @ Nicodim Gallery 1700 S Santa Fe Avenue, #160. photographs by Lani Trock.

Stephen Neidich Presents New Kinetic Sculptures @ Wilding Cran In Los Angeles

Two years ago, at the end of the summer, Stephen Neidich set about creating a new kinetic sculpture, Wake Me Up When It’s Over for the L.A. On Fire group show at Wilding Cran Gallery. The piece was constructed from a fully fabricated Venetian blind, rendered in steel with exposed motor sprockets, roller chain, and backlit by a fiery red light. When Neidich began thinking about five more minutes please, his second solo show with Wilding Cran—his 2019 debut with the gallery, oikkm56, which featured a single kinetic installation fit with over a dozen steel chains affixed to 14 camshafts that monotonously smashed the chains against rubble sourced from construction sites around the artist’s Frogtown studio—he wanted to reexamine the movement of kinetic blinds, this time using the chain as a more painterly line within the works.

“Without the light you only see the movement, but with the light you get this eerie flicker, the shape and projections of fire masked by these sharp, simple movements that are a result of the shapes and shadows of the blind. The kinetics of the sculpture become the fire. But it’s not fire, it’s this hollow idea of a fire…. Ultimately these are machines, and the integrity comes not from their obsolescence, but from the grace of their intended performance,” says Neidich. “I started to think about the movement of this often dysfunctional object and how best to enhance it to the point of being performative.”

The gallery is lit only from the glow of each work and visitors to the space activate the dozen works in the exhibition (each varying in blind orientation and size, from 24 x 24 inches to 9 x 16 feet) by tripping a motion sensor upon entry that sets off a subtle symphony, placing each visitor inside a surround sound panopticon, a voyeuristic platform with a vantage upon a series of abstract horizons.

five more minutes please is on view by appointment through April 3 @ Wilding Cran Gallery 1700 S. Santa Fe Avenue, unit 460. photographs by Lani Trock

Nikita Gale's Thank God You're Here @ 56 Henry In New York

“Thank God you’re here” is an exclamation of relief at the presence of another person. This presence offers a sense of safety or comfort—delivery from whatever was occurring before they arrived. The phrase is also a simple instruction: thank God—a body that is both present and absent, a body whose presence is contingent on social agreements that are substantiated through ritual and repetition—that you are here.

The differences in meaning are less important than the situation that is implied: an experience of the presence of others. Each of the works presented in this exhibition is a meditation on the indeterminate boundary between presence and absence, and, in particular, how presence is read in the absence of bodies.

Like lungs, caves are hollow spaces within solid forms. They delineate—and facilitate exchanges—between inside and outside, whether by providing people with shelters or forums for sharing information. Caves are the ancestral homes of homo sapiens. In caves, we began to tell stories to one another with sounds and images—around fires, surrounded by walls inscribed with records of our experiences. (In a cave in Indonesia, archaeologists recently discovered a life-size painting of a wild pig that was made 45,500 years ago, making it the oldest known cave drawing.) Just as caves were spaces in which domestic, social, and theatrical life coalesced, COLLAPSE I–IV, a series of collages, compresses images of caves onto those of coliseums, arenas, and other types of performance venues. The formal gesture of collapsing these images into a single plane allows the prehistoric to haunt the present. The erasure of the distinctions between the contemporary categories of domestic, social, and theatrical throws into relief the discursive relationship between them.

Thank God You’re Here is on view through March 22 at 56 Henry Street New York

Headlines: Recent Drawings By Derek Boshier @ Night Gallery In Los Angeles

Derek Boshier’s practice has taken many forms over the years: he has produced films, paintings, sculptures, album covers as well as theatrical sets, but drawing has remained central the entire time. Magazines and newspaper clippings are the primary source for his “Headline” drawings and the immediacy of the medium has allowed him to react to current events in real time. While the drawings exhibited here are all recent, they are the culmination of decades of dedication to drawing and conviction to understanding the world at large through lines on paper.

Headlines is on view through March 13 by appointment and online viewing room @ Night Gallery 2276 E 16th Street

Christine Wang & Luke Murphy Present Screen Time @ Night Gallery In Los Angeles

Screen Time is an exhibition of new work by Luke Murphy and Christine Wang. Both artists address the screen as a digital intermediary for experience. Though its trajectory began long ago, the screen's total encroachment upon daily life reached new heights in 2020, becoming the primary tool of community engagement, creative exploration, and consumer activity in response to long-term shelter-in-place restrictions. Murphy and Wang consider the omnipresence of the screen without dogma, addressing its cultural and perceptual implications with a sense of humor and an appreciation of unexpected beauty.

In equal parts euphoric, critical, escapist, hilarious, and mournful, their work presents a kaleidoscopic approach to a moment of cultural inundation and mass uncertainty, finding value in the sheer play of perception and the long standing role of art to illuminate through confusion.

Screen Time is on view through March 13 by appointment and online viewing room @ Night Gallery 2276 E 16th Street

Jeffrey Gibson's It Can Be Said of Them @ Roberts Projects In Los Angeles

Jeffrey Gibson’s solo exhibition, It Can Be Said of Them, features new work exploring themes of identity–as it relates to diversity and inclusivity–to uplift the unique experiences, struggles and personal victories shaping the current fight for LGBTQIA visibility. It Can Be Said of Them takes its title from a print produced by Sister Corita Kent in 1969. Kent’s print was part of her “Heroes and Sheroes” series, undertaken after she formally left the church as a serving nun, and depicts images of Jesus, Martin Luther King, Jr., John F. Kennedy and his brother Robert Kennedy. The men are surrounded by a quote by author E.B. White that reads, “It can be said of him, as of few men in like position, that he did not fear the weather and did not turn his sails, but instead, challenged the wind itself to improve its direction and to cause it to blow more softly and more kindly over the world and its people.”[1] A strong supporter of the Civil Rights Movement, Kent viewed these four figures, among many others, as modern day martyrs, especially during a time of aggressive political and social unrest.

It is in these works and others on view, that Gibson expands on how gender, as identity, is a liminal space; one that occupies and explores the in-between, the threshold, the reconfigured and the temporal. As a transitory space or state, it is characterized by ambiguity, hybridity and fluidity, with the great potential for subversion and radical transformation. Writing about anti-structure, cultural anthropologist Victor Turner argues that this liminal state is “a conceptual space where the ordinary world falls away, and the hierarchies of everyday life are no longer applicable.”[2] It is in this sublimation of surrender where joy can be found; where one re-articulates a new identity beyond the restricted spheres tied to tradition, geography, or social construct, and lives openly after abandoning the constraints of the everyday. Gibson’s most recent work is a reaffirmation of this profound and total freedom.

It Can Be Said of Them is on view through February 27 @ Roberts Projects 5801 Washington Boulevard Culver City. photographs courtesy of the artist and Roberts Projects, Los Angeles, California

Something Vexes Thee? New Paintings By Jessie Makinson @ François Ghebaly Gallery In Los Angeles

 
 

The title of the exhibition, Something Vexes Thee? is a rhetorical question, at once sarcastic and decorous. It’s what’s up with you? wrapped ironically in genteel robes. It is also what the witch asks of The Sheriff of Nottingham after his plans have been foiled once again by the trickster Robin Hood in the 1991 film adaptation of the English legend. Jessie Makinson’s painting of the same name is a decentered diptych crawling with potentially vexing vignettes. A couple of fighting dogs have upset a basket of peaches, a parlour game in a backroom equivocially suggests sensuous and sinister play, various limbs jut in and out of frames and doorways, suggesting narrow escapes. Along the right foreground, where painters traditionally place a repoussoir to gently guide the viewer’s eye back into the composition, the eyes of a steely, nymph-ish character gaze back at you over a crooked arm, annoyed, perhaps, at the intrusion. Makinson reimagines the hierarchical grid of the painting into a complex and generous container for many stories at once.

In her essay “The Carrier Bag Theory of Fiction” Ursula Le Guin explains how the vessel, as opposed to the weapon, is the earliest and most significant “cultural device.” What has been gained, she asks, by characterizing history as a spear, an arrow, a sword piercing lines of victims and losers that span the centuries? What if we see the human story as a container, a sack, a vessel allowing for the jumbled freeplay of many narratives at once? Jessie Makinson takes this as an invitation to muss up the fixities that haunt historical painting. Instead of villains, heroes, or even genres, she offers story—not as an escape from reality, but as a tool for imagining a new one.

Something Vexes Thee? is on view through February 27 @ François Ghebaly Gallery 2245 E Washington Blvd.,
Los Angeles

magic passed life Features Work By Mike Linskie & Lucia Love @ darkZone In New Jersey

This place changes a little each time I come back to it. Even through a mask, the dust can find a way to settle into the back of your nostrils. The light has shifted, and the air has a frenetic energy in it. There’s a leak in the crawlspace in the far back corner, which has collected in a pool and traveled down the gentle slope of the retaining wall all the way to the opposite corner. The space seems to be salivating, maybe in expectation of my arrival, or maybe in the anticipation of being one step closer to an impending finality. Or is it bleeding? What will it’s scabs look like? This peculiar codependence has done damage to us both. Visit by visit, wounds are inflicted, moved passed, and brushed over. How will we heal together?

magic passed life was on view February 1 @ darkZone in New Jersey

Bojan Sarcevic: L'Extime @ Galerie Frank Elbaz In Paris

Bojan Sarcevic’s ensembles explore the technoid fascination of our society today while offering unsettling relics of a future in which bodies and machines commune with an intimacy so odd that it becomes an extimacy.

Each marble block is scored with geometric cuts and hosts a functioning industrial freezer inserted into or placed atop of it. Like alien sarcophagi, the marble blocks in a deeply veined blue, green, or rose tone seem to engulf the machines. Three slightly larger-than-life muscular figures surround and engage with the marble sculptures. Their distinct postures and carved stone heads create an eerie unison. Contrasting with their seemingly unbridled masculinity, the figures are draped in delicate silk blouses cut in characteristically 1980’s silhouettes, while shibari rope bondage dresses their hips and feet.

The title of the exhibition, L’Extime (extimacy), sets a stage. The term denotes how even our most intimate feelings can be strange and foreign to us.

L’Extime is on view through February 27 @ galerie frank elbaz, Paris 66 Rue de Turenne