An ArtTable Southern California event once again provided my first introduction to an extraordinary Los Angeles art space--the Underground Museum. It is situated in a series of connected storefronts on Washington Boulevard in Arlington Heights, a largely working class Black and Latino neighborhood in the heart of L.A. The space once served as the family home and studio of Noah Davis, a young African American artist who a decade ago began to achieve considerable renown for psychologically penetrating figurative paintings based on Black experience. Davis was also a gifted curator and in 2012 established the space as an alternative art venue for exhibitions and events, with primacy given to community engagement. His shows were brilliant, … [Read more...]
Doug Aitken: Electric Earth at The Geffen
If you currently have no plans to be in Los Angeles before January 15th, when Doug Aitken: Electric Earth closes at The Geffen Contemporary at MOCA, make them, as the exhibition is a must see (it will also be shown at The Modern in Fort Worth, May 28-September 24, 2017). The exhibition is well worth the journey as it itself presents a journey, one whose images and experiences will long be impressed upon the eye and mind. The forty-eight-year-old Aitken was raised and trained as an artist in the Los Angeles area--its landscapes, cityscapes and sunsets figure prominently in his art--and he has long been familiar with The Geffen, whose spaces he has reconfigured so as to offer multiple paths of exploration to his work of the past twenty years … [Read more...]
Craft and Folk Art Museum, Los Angeles
Five years in Los Angeles and I finally made it to the Craft and Folk Art Museum with a Southern California ArtTable event and I'm glad I did. The museum is practically across the street from LACMA and is a few doors down from the new Los Angeles branch of the Sprueth Magers Gallery. Two exhibitions are on view through May 8, 2016. The first, Little Dreams in Glass and Metal, presents paintings, sculptures and objects selected from a vast collection of American work in enamel dating from 1920 to the present belonging to the Los Angeles-based Enamel Arts Foundation. Bernard N. Jazzar and Harold B. Nelson, who established the foundation devoted to this under-documented art form, are both specialists in design (the latter is Curator of … [Read more...]
On the Opening of Hauser Wirth & Schimmel
Over the course of the past year, I've had the privilege of attending the press previews of three remarkable public institutions devoted to modern and contemporary art. In May, the new Whitney Museum building opened on Gansevoort Street in lower Manhattan. In September, The Broad was inaugurated in downtown L.A. Today, the new campus of Hauser Wirth & Schimmel, located near the Los Angeles River in downtown L.A., offered the press its first view. Wait, you may well say, Hauser Wirth & Schimmel is not a public institution, but a commercial, for-profit gallery, yet another outlet of the mega-gallery Hauser & Wirth with locations in Zurich, London, New York, Somerset (England) and now Los Angeles. However, it is an art center … [Read more...]
Enrique Martinez Celaya Studio Visit
A few nights ago, I had the privilege of visiting the Culver City studio of Enrique Martinez Celaya, whose work I have long admired, together with a small group from ArtTable. Martinez Celaya moved back to Los Angeles two years ago after a ten-year hiatus, during which time he lived in South Florida (where he retains a studio) and Berlin. Martinez Celaya is an old-fashioned artist in the sense that he paints in oil and wax on canvas and creates sculptures cast in bronze that are rendered in a representational manner. However, his works go beyond naturalism to embrace poetry, poignancy and wonder, being rich in implied narrative and displaying a deep-rooted humanism. Each provides a journey into its own world and experience. Each is … [Read more...]
Art Los Angeles Contemporary 2016
Art Los Angeles Contemporary this year had terrific energy and featured a lot of interesting, high quality work. It continues to surprise me, however, given that L.A. now houses one of the world's more dynamic art scenes, being replete with artists of national and international reputation, galleries showing exciting and important work and a growing collector base, that this, the city's preeminent fair focused on current work, which is now in its 7th year, has remained so modest in scale. It is by no means just a local affair, as the galleries indicated below will testify, but I anticipate that in the coming years this fair will greatly expand its scope and become a magnet for collectors worldwide. Soon, the major New York galleries that … [Read more...]
John Outterbridge: Rag Man
Among the recent works by John Outterbridge on view at Art + Practice in Los Angeles are two very different series of modestly-scaled, wall-mounted assemblages, each of which evokes aspects of the African-American experience. One is sculptural in nature, the works being made with a wide assortment of castoff objects; the other is aligned with painting, the pieces consisting both of flat and "stuffed" (puffy) pieces of fabric painted in bright colors. Both series consist of works that appear to have been constructed in a most casual and offhand manner. Although contemplation reveals that formal and conceptual clarity underlies these works, their literal scrappiness and wholly unpretentious (almost Outsider Art) nature is fundamental to … [Read more...]
Njideka Akunyili Crosby on the Rise
If you haven't yet heard the name Njideka Akunyili Crosby, then you haven't been paying attention, as she is a young (32-year-old) Los Angeles-based artist on a meteoric rise and her work is phenomenal--the most jaw-droppingly wonderful and accomplished work I have encountered in an age. That said, I walked right by it at the New Museum's 2015 Triennial: Surround Audience, where both her two paintings on view and I were overwhelmed by the hubbub. Akunyili Crosby has since gone on to have simultaneous solo exhibitions at L.A.'s Hammer Museum and Art + Practice and to win the Studio Museum in Harlem's Wein Prize. As of November 23, 2015, a billboard entitled Before Now After (Mama, Mummy and Manna), which reproduces one of her paintings, … [Read more...]
Noah Purifoy: Junk Dada at LACMA
Despite the existence of a 10-acre sculpture park devoted to his work in Joshua Tree, CA, Noah Purifoy was largely unknown to the mainstream art world until the Getty's Pacific Standard Time exhibitions shed light on the artist, his career and his contributions. A single junk assemblage by Purifoy appeared in Crosscurrents in L.A. Painting and Sculpture, 1950-1970, at the Getty proper and a half-dozen works were featured in Now Dig This! Art and Black Los Angeles 1960-1980 at the Hammer. It is perhaps as a result of this newfound exposure that America Is Hard to See, the exhibition that opened the Whitney Museum's new building, presented a work by Purifoy in its "Scotch Tape" section devoted to assemblage and collage (see image below … [Read more...]
Mark Bradford: Scorched Earth at the Hammer Museum
In the way that Noah Purifoy's assemblage-based art had its source in the Watts Rebellion of 1965, Mark Bradford's artistic practice can be understood to have had its roots in the backlash after the Rodney King beatings in 1992, which Bradford experienced as a young man working in his mother's beauty shop in South L.A. For a gay, black youth, the police brutality and resulting race riots, which came at a time when he saw the AIDS epidemic running rampant around him, exerted an indelible formative influence. Since 2001, when Bradford emerged as a fully mature artist, his art has addressed injustice to African Americans, gays and women in an extension of the "Identity Politics" of the art of the late '80s and early '90s, but which … [Read more...]