photographs by Oliver Maxwell Kupper
photographs by Oliver Maxwell Kupper
photographs by Oliver Maxwell Kupper
Meals’ first presentation ‘COCKTAIL PARTY’ took place on October 12th at Various Small Fires gallery. The show was styled by legendary LA stylist, Shirley Kurata, and featured a food-centerpiece and delicious agar-agar pouches by ascendent food artist, Nünchi. photographs by Oliver Maxwell Kupper
Matt Savitsky’s new installation, The Pleasure Ground, contains two video installations Savitsky conceived this year while on a self-created residency in his hometown (Lancaster, Pennsylvania). Crop Circles and Turn Bridge (2019) construct viewpoints by way of a fixed configuration between a sculptural element to a single camera. In both video images a disconcerting interplay of figure and ground is produced by the movement of each sculptural device relative to the camera’s position, which turns each in a continuous 360 degree rotation. Before becoming video objects, the images prompt a deconstruction of their viewpoint into a relationship defined by the coexistence of subject, object, and support.
The Pleasure Ground is on view through October 26 @ Cloaca Projects 1460 Davidson Avenue San Francisco. photographs by Andreas Tagger
Drawn from an archive of personal photographs, self-portraits, advertising imagery and anatomical studies, the figures that Hood paints seem to be in a trancelike state — dreaming, sleepwalking, or hypnotized — suggesting that the disparate images that make up the compositions may be organized by dream logic or governed by a series of undetermined associations. With “portal” vignettes of sunsets, caves, and mountains, the paintings create a telescopic sensation of simultaneous depth and flatness. These sly structural allusions to the devices of artificial perspective act in constant tension by disorienting interpenetrations of layered images and the flatness of the stained surface. Their chief interest is in the complication and the relinquishment of boundaries: between the individual and the archetypal; media and medium; the subjective and the collective; the front and the back of the canvas. What may appear as collage is revealed to be a collision, with the picture plane serving as an interface between the image and the imagined.
PARA is on view through November 9 at Praz Delavallade 6150 Wilshire Blvd Los Angeles, CA 90048. photographs by Marten Elder, courtesy of the gallery
Zoe Buckman’s solo show is explicitly linked to women’s work. Culled from deeply personal experience, the exhibition embraces the domestic archetype by balancing an ambiguity between vulnerability and strength. Occupying the three floors of the gallery, the bodies of work are interconnected by the manifestation of the artist’s relationship to physical spaces—the home, her mother’s kitchen table, the boxing gym. After learning of her mother’s terminal diagnosis, Buckman began to employ a variety of techniques and materials traditionally adorned by women; embroidered tea towels, quilting and pottery. The works which take form as misshapen tea cups, clusters of boxing gloves, and framed flatworks are intrinsically referential to the bodily form; all at once unveiling a complex dichotomy of trauma and pleasure and the slippage in between. Heavy Rag is on view through October 12 at Fort Gansevoort 5 Ninth Avenue, New York. photographs courtesy of the artist and Fort Gansevoort, New York
I Am With You Until the End of Time is an exhibition of works that range in scale from the intimate to the monumental by Brooklyn-based Naudline Pierre. Her paintings and works on paper serve as portals into a mysterious world. Informed by her religious upbringing, Pierre’s works conflate the aesthetics of centuries-old traditions found in Western art history with the artist’s personal narrative. I Am With You Until the End of Time is on view through October 26 at Shulamit Nazarian 616 N La Brea Avenue, Los Angeles. photographs courtesy of the gallery
English for Foreigners (abridged) isolates two sections of a project—a portfolio of lithographs and the listening station with soundtrack—for its New York première. The lithographs feature all of the illustrations from Second Book in English for Foreigners in Evening Schools by Frederick Houghton (American Book Company, 1917), a book passed down to the artist from his father. The soundtrack is comprised of covers of preexisting compositions, arranged and performed by the artist for vocal and guitar, with the assistance from a clarinetist, including an instrumental version of “Giovinezza,” or “Youth,” the anthem of the Italian Fascist Party, with the clarinet—the father’s instrument in the village band—as solo instrument; “Bella Ciao,” the Italian Resistance anthem, and “Sabato Sera,” a then-current, hit single by Bruno Filippini that was gifted to the artist by his parents in 1964 upon their return from their first trip to Italy together and the first his father made since his emigration in 1923. In addition, the artist has composed a song, the lyrics of which are guided by notes and annotations his father inscribed in his copy of Second Book in English for Foreigners in Evening Schools. English for Foreigners (abridged) is on view through October 26 at Petzel 35 E 67th Street, New York. photographs courtesy of the gallery
Rebecca Morgan: "Town and Country" shows the extent of Morgan's achievement in painting, with forays into printmaking and brass sculpture, new endeavors for the artist. With archly symbolic portraits and complex scenes, Morgan weaves a grand narrative of gendered subversion buttressed by broader societal scale. Morgan's characters straddle both the timelessness of morality tales, and the specific moment that we find ourselves in - redefining gender relations and reviewing historical representations in works from John Hughes movies, to stylized exemplars like Rubens and Fragonard, to Norman Rockwell's foundational Americana lore. While always emanating from a contemporary socio-political yet diaristic lens, Morgan's works now chart a wider continuum of referents. Archetypal characters strain against their roles, undermine fabricated notions of romance, and confront the hollowness and fear behind current masculinity, with both levity and tension. Town and Country is on view though November 2 at Asya Geisberg Gallery 537b West 23rd Street, New York. photographs courtesy of the gallery
Los Angeles art weirdo brand, WHOLE has just dropped a capsule clothing collab with legendary LA punk band, The Germs. The collaboration consists of album and poster artwork as: t-shirts, sweatshirts, sweatpants and a wool cap. Don Bolles (drummer of The Germs) has been a staple of the Los Angeles music scene since the 70's and has also modeled for Skim Milk and WHOLE back in 2018. The unisex capsule collection is available for purchase on WHOLE's website and they will be doing a pop up event at Virgil Normal on October 5th where the items will be for sale and Don Bolles and Josh Scholl (WHOLE) will be spinning records.
Halfmoon creates powerful, often large-scale ceramic sculptures that speak to the artist’s identity as both a citizen of the Caddo Nation and as a woman. The Caddo people are renowned for ancient ceramics, with this in mind, Halfmoon utilizes the medium as a way to represent Caddo people in today’s society. Continuing a legacy of craft and clay, Halfmoon also secures her place within that tradition and cultural history. By excavating her past, as well as the history of her tribe, Halfmoon addresses the ever-relevant, but often forgotten, story of “the other,” but also the provocative questions of cultural appropriation that haunt contemporary society. Raven Halfmoon is on view through October 26 at Nino Mier Gallery 7313 Santa Monica Blvd, Los Angeles. photographs courtesy of the gallery
Lenz Geerk is a figurative painter whose subjects of portraits, landscapes and still-lifes are portrayed in exceptional intensity and luminosity.He manipulates traditional techniques to bring distinct render to every figure through soft acrylic color. The nearly monochromatic palettes, only occasionally warmed by other colors, add an aura of heightened emotional tension. Geerk’s new series is an insightful examination into the undercurrent of the threat, uncertainty, and fear of the current day. Unlike “The Table Portraits”, Geerk’s first solo show with the gallery, there is no formal link between the individual works of this show. What ultimately connects the works on view is an underlying feeling of domestic suspense, fueled by an unsettling lack of faith in larger institutions. Mixed Blessings is on view through October 12 at Roberts Projects 5801 Washington Boulevard, Culver City, California. photographs courtesy of Roberts Projects
Through her paintings, Celeste Rapone invokes the willing suspension of disbelief and the engagement of suspicion aligned along particular interests or ideas communicated to us by the characters she portrays. Initially conceived as coping mechanisms for a future as a failed painter, Rapone’s portraits now tap into consequences of exposure: humiliation, vulnerability, self-doubt and self-deprivation. Her autobiographical characters –most often women–are proxies to her discomfort felt at new ideas and approaches, the doubt in her own representation and object-making, her inability to mediate attention once exposed to it, and the abstract possibilities opened up and emphasized by these failures. Future Amateur is on view through October 12 at Roberts Projects 5801 Washington Boulevard, Culver City, California. photographs courtesy of Roberts Projects
Four new works from Richard Serra’s Rounds series fills the entire West 24th Street gallery. Each forged steel sculpture is composed of multiple -ton elements of differing diameters and heights. Bisecting the West st Street gallery space will be Reverse Curve, a sculpture measuring feet long and feet high. Originally conceived in for a public project in Reggio Emilia, Italy, Reverse Curve is finally being realized for the first time. In conjunction with these exhibitions, Gagosian and Anthology Film Archives will present a three day retrospective of Serra’s films and videos from October 17 through 19, drawn from the collections of the Museum of Modern Art, Anthology Film Archives, Joan Jonas, and Stiftung Situation Kunst. This is the first time that all of the artist’s film and video work will be shown together. The screening on October will be followed by a panel discussion between curators Søren Grammel, Chrissie Iles, and Jeffrey Weiss, moderated by art historian Benjamin Buchloh. Additional screenings of the full program will take place on October 20 and 23. The exhibition will be accompanied by a fully illustrated catalogue with an essay by Julian Rose. Forged Rounds is on view through December 17 at Gagosian 555 West 24th Street, New York.
To coincide with Frieze London, Rachel Mansur and Floriana Gavriel, of Mansur Gavriel, collaborated closely with the Calder estate and Alexander Calder’s grandson, Sandy Rower, to create a limited edition capsule collection consisting of four of the brand’s classic bag silhouettes, each featuring one of four iconic Calder artworks painted onto the exterior. The full collection drops on October 2, 2019.
For the last twenty years, Darren Romanelli, or DRx, has been alchemizing his disparate interests through experiments with fashion and art, through his agency Street Virus, and through his brand Dr. Romanelli. It’s a laboratory of sorts where he has dreamed up collaborations with the likes of Kendrick Lamar, Black Sabbath, Nike, Coca Cola, and artist Richard Prince. Art is the foundation of everything and art is everywhere in his agency’s office. With the upcoming 2020 Olympics in Tokyo, Romanelli has been thinking a lot about Japanese culture and his countless visits there. To celebrate the 20th anniversary of his agency, Romanelli and Tortoise Agency will be hosting a unique one-night invitation-only Japanese street market called Darren San’s Sushi at LA’s premiere fish distributor, Art & Fish. Click here to read more.
Today, lauded recording artist Tei Shi announces details of her highly anticipated sophomore album La Linda, to be released on November 15th on Downtown Records.
Tei Shi says, “I made this song with two of my closest collaborators - Dev Hynes (Blood Orange) and Noah Breakfast. It came together in pieces between LA and New York but sprouted from the lyrics Dev and I kept on singing - 'even if it hurts...I just don't mind'. The concept is really the realization and acceptance that pain is a natural consequence of love. It's a duet about the ways in which we make ourselves vulnerable to those we love, sometimes at a high cost. The video was directed by Cara Stricker and with an incredible and almost exclusively female creative crew. It features a multitude of amazing designers like Collina Strada, Vaquera, Christopher John Rogers, Mugler, Maryam Nassir Zadeh . I wanted to capture the romantic and melancholic elements of the song but put them in a world that feels removed from the every day, its own little odd paradise where Dev and I existed parallel to one another but never really together.”
Inspired by artist Dorian Wood's song of the same name, PAISA is an immersive fever dream that celebrates the beauty of queer brown sensuality, body positivity and individuality. Says Dorian: "We have been marginalized and painted into tight corners for far too long. But even in our darkest times, we make room to celebrate ourselves and others within our communities. With PAISA, I wanted to create a permanent reminder for us queer, trans and non-binary folks of color that our beauty stretches within and far beyond our times, in either direction. We embrace individuality and respect, even when the rest of the world struggles with these 'radical' concepts. We exist and we don't need for the rest of the world to get wise to our existence. We are sensual beings, in all forms and flavors. Even the sexual moments we share with those on the 'downlow', we find love and positivity there, and we acknowledge the fact that these secretive moments are taboo because of an oppressive morality that has decimated humans for decades. Sex positivity grounded in mindfulness and consent. We are wiser than this world gives us credit for. We are powerful and plentiful. We are forever."
Hannah Greely is known for her imaginative sculptures of commonplace objects that teeter on the edge of the absurd, the artist’s works are simultaneously imbued with a sense of ambiguity and humor, fantasy and reality. At turns uncanny and surreal, Greely’s subjects are both of and outside of this world. For this exhibition, the artist has created a colorful environment in which distinct works can be read in a loose narrative. Among the works on view are a standalone door, whose knobs, hinges, nails, and accessories are inlaid into the surface, denying the structure its traditional functionality. Elsewhere, suggestions of the home and built environment are echoed in a tabletop vase with flowers and wilted tools. Here, the vase becomes a domestic toolbox in which all elements playfully conform to the logic of plant life. Parker Gallery is open Thursday–Saturday, 12–6pm and by appointment. photographs courtesy of Parker Gallery
Works from the 1980s includes large-scale paintings from the early 1980s, together with graphite and oil pastel drawings. This body of work represents a crucial development in Marcus’s practice. In these works, the artist combined photographs from multiple newspapers to create a composite image, oftentimes flipping the images upside down to construct vertiginous and enigmatic compositions. Parker Gallery is open Thursday–Saturday, 12–6pm and by appointment. photographs courtesy of Parker Gallery
Over the weekend, COS partnered with LA Dance Project on the launch of their Fall festival “L.A. Dances”, celebrating the future of dance in LA. The evening started with a showcase of three performances from the festival at the LADP Theater in Downtown LA. One of these pieces – “Adagio in B Minor” - was choreographed by LADP principal dancer Janie Taylor, and featured costumes by COS. The performances were followed by an after party “L’After”, hosted by LADP’s Creative Director/Founder Benjamin Millepied and actress Margaret Qualley. Photos by Stefanie Keenan/Getty Images for COS