Byline: Avery Wheless

This week we made our way to Luis De Jesus’ opening of Britton Tolliver’s Bend To Play and Ethan Gill’s, New Paintings.

Upon walking into the gallery, we were met by the boldly colored geometric abstract paintings by Tolliver. The vibrant works featured thick layers of smoothly applied paint the resulting decisive forms suggestive of decadent topographical psychedelic maps. The satisfying hardy spreads of acrylic paint resulted in the paintings existing more as sculptures and exemplified the physicality of Tolliver’s practice, which requires pushing paint through sieve-like grids.

While walking through the show, I was lucky enough to gain some insight from the associate director at Luis De Jesus, Meghan Gordon. She revealed that Tolliver began his artistic practice while serving time in prison and it was through his painting process of tension and boundaries that he found expression and release.

The very title, Bend To Play, brings up themes of athleticism and sport, Tolliver’s lively and hallucinogenic imagery reminding us that we are all players in the game.

Next we ventured into the space displaying Ethan Gill’s, New Paintings.  These works depicted cropped figures submerged in water. Most compositions revealed only toes and torsos of the subject surrounded by bubbles, as if plunged into the pools merely moments before.

Although the figures are hearty and exist on primarily gridded backgrounds, Gill maintains a very strong sense of floating, which I found enjoyably evocative and poetic. Gill abstracts the patterns of the waters’ reflections beautifully, highlighting the psychological properties of light in a physical space.

I especially enjoyed one work, Shallow Standing, which depicted the arch of a foot wrapped around the ankle of a leg to an unknown swimmer. Pink reflective highlights wrap around the toes and legs reminiscent of a swim at the end of a warm summer day.  

Both Tolliver and Gill present works innately physical in process and product yet, both insinuate notions emotional and spiritual, leaving us with more to drive into and absorb. 

This past Thursday evening, we joined world-class artists, photographers, galleries, dealers, and publishers at photo l.a.’s opening night at the historic Santa Monica Barker Hangar.  The annual fair, which has been around for almost three decades, was packed with photography enthusiasts of all kinds and dealers from across the globe. From vintage works, to fashion and skate photography as well as video and multimedia installations, it was more than just a photography show. The exhibition also included speakers, panels, workshops and book signings—needless to say, there was something for everyone.

As I toured the booths, conversations were engaged and personable and a sense of comradery filled the airplane hanger’s 35,000 square foot event space. Many in attendance were equipped with their own cameras with which they thoroughly documented the event, extending the photo frenzy far beyond the booth walls. Whether with film or on iPhones, it’s certain that the fashionable crowd left the fair with a plethora of snaps, stories and photos of their own making.

The best part about art fairs is the variety of work experienced in one excursion and stumbling upon artists both new and familiar. A newfound favorite of mine was Tyler Haughey whose photos exhibited by Sears-Peyton Gallery depicted vibrantly colored, yet eerily unpopulated motels. The cheery hues of the vacation spots were a stark contrast against the eerie absence of human presence within the composition.

At FF-1051 Gallery, I enjoyed the work of Myles Hendrick, particularly one archival pigment print, “Rare Relief” which features a poetically unstaged still-life. Without the use of figures, the photo documents a good night—a dresser with an empty magnum of Dom Perignon and remnants of an In-N-Out burger. I also had the delight of talking to skater and photographer Chad Muska, whose passion for the practice of skateboarding and photo are in continual conversation, each informing the other in beautiful visual impact.

 At Galerie XII, I loved Anja Niemi’s work investigating concepts of self. The fashionable and sleek execution of each photo depicted a well-manicured blonde woman staged in a scene in which she is seemingly joined by her identical twin– or perhaps another version of herself.

All in all, the opening was a sensory overload of images and interaction; luckily I returned the following day for a much-needed second pass through the fair. Amazed by how much there still was to see, it became apparent that one could attend every day of the exhibition and still find nuances on the last day—from up and coming work to art world elite, Photo LA did not disappoint. 

This Thursday we had the pleasure of attending the press preview and breakfast at Fort Gansevoort’s new Los Angeles space featuring Christopher Myers’ inaugural show, Drapetomania.

Fort Gansevoort’s founders, Adam Shopkorn and Carolyn Tate Angel, hosted the event during which the enigmatic artist captivated the audience as he guided us through the exhibition—no surprise due to his background in theatre. The artists’ talk began gathered outside the gallery’s new space of the Merrick Building in East Hollywood. Enjoying the sunny morning, we then made our way through the building, which featured gorgeous high ceilings, Art Deco details and expansive walls—all beautifully showcasing the monumental textile and sculptural works of Myers.

The show incorporated sculptural works and three-dozen new textile pieces, which were hand-stitched in central Egypt by fabric workers. Myers reasoned that in a way, each served as its own flag for specific groups of people. The resulting imagery contained both personal and global mythology and portrayed stories of civil rights, contemporary activism, black identity and notions of freedom versus bondage. Myers explained that his inspiration lived in the ever-present question of, “What are you running away from and what are you running to?” This concept truly summarized the exhibition and its title, Drapetomania, which in 1851, was a fabricated mental illness hypothesized by American physician Samuel A. Cartwright as the cause of African American slaves fleeing captivity.

Through his concepts behind process and craft, Myers seamlessly weaves visuals depicting the magical and remarkable, while also referencing the everyday. One sculptural work, “Shackle and Light,” struck me in particular. Positioned in the center of the space, the massive collar made from steel, candles, and flame was placed around a mannequin’s neck. The restrictive collar branched out in various directions and at the end of each rod stood a candle, forcing distance between viewer and the fabricated concept of another body. Myers explained this scripted length of separation isolated the subject of the work—illuminating the social death of slavery.

Each of Myers’ work brilliantly served as objects of performance and in this way humanized wounded and segregated bodies easily seen as objects. In the presence of the exhibition, the conversation was opened of how to re-contextualize and liberate these once bonded ideas. Myers concluded his talk with the sentiment, “The only language I speak really well is making—and that’s what this is all about.” As we left the talk, we couldn’t agree more.

Curious about the current west side exhibitions, we started our gallery openings serendipitously early this week. As we strolled down La Cienega’s gallery row, we noticed some of our favorite spaces were unfortunately closed for installation, but to our delight, Megan and Luis at Luis De Jesus were gracious enough to give us a sneak peek to their upcoming show featuring work by Hugo Crosthwaite. His fourth solo exhibition with the Gallery, Hugo Crosthwaite’s, TIJUAS! (Death March, Tijuana Bibles and Other Legends), was a cohesive reflection of the beauty of human intimacy coupled with a raw portrayal of the more violent and uncomfortable aspects of life.

Composed mainly of large black and white drawings and paintings as well as a new series of animated videos and books, the “Tijuana Bibles,” Crosthwaite layers technical, figurative drawings with modern abstractions. Drawing from a personal narrative of working on both sides of the U.S. and Mexico border, Crosthwaite’s thoughtful and enticing imagery visually articulates the complexities of a continually adapting landscape and culture.  Crosthwaite’s works recontextualize passing moments of everyday life. His honest and visceral depiction links borders and visually communicates the human condition; insight we are forever grateful to have been granted. 

In contrast to the spontaneous and exclusive walkthrough of Crosthwaite’s exhibition, we attended the much-awaited opening of Shepard Fairey, Facing the Giant: 3 Decades of Dissent at Over the Influence Gallery later in the weekend. Known for his iconic imagery, the prolific artist behind the Obey Giant art campaign has certainly maintained a presence in the guerrilla street art scene while also producing an acclaimed body of commercial work. Fairey has forever influenced art in the urban scene as well as historical landscape and is known for work such as the “Hope” portrait of Barack Obama, which now lives in the permanent collection of the Smithsonian’s National Portrait Gallery.

Highly praised by his fans and peers, it was no surprise that the line to enter the exhibition extended out the door and around the block. Eager gallery-goers from far and wide came to witness the artist and his exhibition, which celebrated his concepts over the last 30 years. The energy and excitement of the opening was contagious, artists such a Cleon Peterson, Mark Whalen, and Peter Shire were in attendance as well as designer Ripley Rader and celebrities such as Joaquin Phoenix and Rooney Mara.

The gracious artist entertained questions and signed paraphernalia from adoring followers until closing. Fairey’s connection with each attendee spoke volumes to his authenticity as an artist. Despite the critical acclaim, Fairey stays true to utilizing art as a catalyst for dialogue and amongst his prolific works at this weekend’s opening, there was plenty of just that.

Guided by the energy of the growing full moon, we began our gallery excursion this weekend on Friday evening at the opening of Dark Fantasy, at UTA Artist Space.  Located in the heart of Beverly Hills and established in 2016, the hyped exhibition space is one I have wanted to check out for some time.  Curated by gallery director Ashlee Harrison, Dark Fantasy showcased a substantial array of artists selected from the Carpenters Workshop Gallery’s program featuring, Virgil Abloh, Atelier Van Lieshout, Maarten Baas, Aldo Bakker, Sebastian Brajkovic, Fernando and Humberto Campana, Nacho Carbonell, Wendell Castle, Vincenzo De Cotiis, Ingrid Donat, Vincent Dubourg, Najla El Zein, Kendell Geers, Steven Haulenbeek, Anton Hendrik Denys, Kostas Lambridis, Mathieu Lehanneur, Frederik Molenschot, Rick Owens, Random International, Robert Stadler, Studio Drift, Charles Trevelyan, and Verhoeven Twins.

Needless to say, this hearty hybrid of notable artists attracted a crowd.  Our arrival to UTA immediately confirmed this notion as the entrance was packed with an impressive congregation of swanky gallery-goers, spilling out of the gallery doors and onto the sidewalk.  As we made our way through the throng of people, which continued into the exhibit, we experienced over 50 sculptural works and functional objects. The masterful craft of each artist was blatantly apparent and works contained elements both natural and synthetic in an unexpected mixture of material and form.  Centralized on the theme of “Archeofuturism” and spanning from whimsical to technical, each piece evoked unique response in their combination of references to both past and future. Some works such as Robert Stadler’s, form “Spherical Bomb Armchair” constructed out of upholstered leather, resembled home furniture.  It’s “couch-like” presence resulted in a questionably inviting seat in the bustling crowd. As desirable as a seat on a sofa seemed, we resisted, but it remained enticing never the less.  Other works were more definitively interactive such as “You Fade To Light” by Random International. The light-activated sculpture complete with custom motion tracking software resulted in the wall hanging piece to light up in conjunction with the movement of viewers.

Overall, the crowd was lively and invigorated by each other as much as the work. One man even approached us and invited us to an impromptu vacation to Oaxaca, one that we declined as we had only just met and my friend’s wedding also happens to fall on that weekend.  All in all, the show’s display of art, design, and architecture exceeded expectation. The uncontainable energy remained beyond the gallery walls as we ventured into the beautiful evening illuminated by the glowing moon, stimulated and happy we partook.

In contrast to the hustling opening of UTA, I ended my weekend at the intimate opening of people moving through things and things that make people move at Kate’s Little Angel.  The renovated garage into exhibition space exists in the backyard of Kate Eringer’s home and is one I frequent for its sense of community and showcasing of brilliant art. The current exhibition curated by Ethan Tate, features work by Jordan Barse, Milano Chow, Bailey Connolly, Amy Garofano, Cherisse Gray, Lesley Jackson, Ethan Tate and Madeline Kuzak. 

The poetic exhibition consisted of various materials and forms such as wall sculptures, installations, paintings, and drawings. As a whole, the exhibition centralized around the notion of structure and how forms collapse and adapt as we move through them. Variation in scale and medium of the work allowed for an improvisational migration throughout the space, and manifested in an individual experience with each work.

As I moved throughout the space, I was thrilled by the powerful free-flowing conversation I found with each piece. An introspective dialogue from one to the next guided my exploration, granting structure, but also flexibility. After internal conversation within the walls of the gallery, I transitioned outside where several of the works proceeded to exist on the exterior of the gallery walls.

The expansion of the gallery structure itself, also pertained to the observation of space and barriers within the intrinsic experience in my mind. Upon exiting the space and into the intimate setting of Eringer’s yard, conversation circulated and barriers unseen in the context of a more traditional gallery space, ceased to exist.  Tate’s curation creating a fluid flow of conversation from internal to external. The glorious sunshine accompanying the show resulted in an afternoon of basking in conversation circulating the beauty of art and space and a comforting closeness in collective experience.

After a slight summer slumber, the LA art scene has officially turned the heat back on. This week I had the absolute pleasure of spending my Thursday morning in the LA Arts District at Hauser & Wirth for their press preview and breakfast featuring the work of Philip Guston and Charles Gaines. I was delighted to spend my time in the beautiful exhibition space, fully immersing myself in both artists’ work while gaining some new insights along the way.

First, we experienced Charles Gaines’ exhibition, Palm Trees and Other Works, which debuted new works from his signature Gridworks series. We all gathered in the South Gallery to view the exhibition, which was accompanied by a talk with the artist himself. The noted American artist and educator bestowed details in regards to his process. Much like Sol LeWitt, Gaines incorporates systems and symbols in a method of visual language. I was intrigued by the works featuring black and white photographs of native trees from Palm Canyon, which existed under sheets of colorfully painted gridded squares on acrylic. Gaines explained that he then formulaically assigns each tree a color and plots numbers within a gridded framework. Utilizing specific colors along the way, the pieces manifest in strategic visual understanding, resulting in an array of colorful, seemingly pixilated landscapes.

Next, we stopped by the North A and B Galleries that showcased, Resilience: Philip Guston in 1971. This exhibition curated by the artist’s daughter, Musa Mayer was the first solo Los Angeles exhibition in over half a century dedicated to Philip Guston. On view were the Roma paintings and the Nixon drawings, accompanied by a select group of larger works as well as a film featuring footage of the artist. The exhibition focused on 1971: one of the most inventive years of Guston’s practice despite his numerous rejections. Already familiar with the artists’ work, I was intrigued to learn more as Musa so eloquently recalled personal reflection in regards to her father’s practice. Mayer explained that Guston’s signature, flesh tone paintings and works on paper, now so familiar and celebrated, came through a time of deep criticism. She noted that these works were a result of him leaving the New York art scene and experiencing deep despair and isolation. Mayer notes she now realizes how fearless her father was to produce and explore work that mattered to him, despite the initial response. Like many prolific artists, Guston’s unfaltering boldness often led to criticism. Mayer reasoned, “He was an artists’ artist. He had a willingness to change rather than repeat what he was praised for.” Wandering through the exhibition and absorbing his daughter’s words, I was so glad he did.

After the press preview, we reflected on the talks and exhibitions over a spread of pastries, berries, yogurt, and coffee, complimentary of one of my favorite downtown spots, in Hauser & Wirth’s courtyard, Manuela.

Later that same evening we switched gears and headed to the group exhibition at HVW8 gallery, Thoughts Become Words, Words Become Images. Luckily, the lovely DJ Dana Boulos is a good friend and recommended we come early to beat the crowd. Although I knew little of the exhibition or space, I looked forward to the tunes by Boulos, so we made our way to the opening fashionably “on time.”  Pulling up to the gallery, we were thankful we did since at 6:15 there was already a line. We hopped in amongst the other fashionable early birds and eagerly anticipated entry.

The group show was composed of established artists Dev Hynes and Gia Coppola, as well as up-and-coming talents: musician Kelsey Lu, photographers Amanda Charchian and Lily Gavin, as well as the painter Cassi Namoda. The exhibition drew a hip crowd all who enjoyed the exhibition and the outdoor space where beverages included some refreshing wines by Gia Coppola. The gallery was pretty packed right when we entered, so I took a quick lay of the land, knowing I would come back in. We headed outside for some rosé to allow for the crowd inside to dissipate, so I could fully take in the work. Outside, I was lucky enough to have a moment with the curator, Anaïs Ngbanzo who graciously took some time to tell me that while organizing the show she prompted the artists to create work focusing on a specific piece of literary inspiration.

As we are a visually obsessed culture, I found it refreshing that Ngbanzo encouraged artists to rely on the mental imagery of words to inform their visual manifestations. The resulting show was a cohesive display of artistic mediums featuring photographs, paintings, and short films. Each artist celebrated the written narrative in his or her own unique marriage of image and word. The festivities abided into the warm evening as the crowd migrated to the lot outside where gallery exhibition turned into a dance party—a piece of art in and of itself.

During these last summer weeks, the LA heat gets to us all, making it essential to take a little breather. As a result, ’tis the season the LA art world slows, but honestly, the slight hiatus in the usually jam-packed agenda of openings was a nice reprieve, as I was able to check out some exhibitions whose openings I missed.`

First on my list was Craig Krull Gallery’s exhibition, L.A. Narrative Painting. I was familiar with the work of Laura Krifka and was drawn to the show knowing that she was one of the featured artists. Her stunning and provocative figurative paintings were pieces I have long awaited to experience in person. Little did I know just what a treat this luscious exhibition would serve as a whole. The show featured artists Sandow Birk, Carl Dobsky, James Doolin, Steve Galloway, Lola Gil, Ja’Rie Gray, D.J. Hall, F. Scott Hess, Laura Krifka, Dan McCleary, Milo Reice, John Valadez Shawn and Michael Warren. All artists displayed narrative works that heavily utilized allegories and symbols, largely referencing the dazzling allure and complexities of Los Angeles.

Although Los Angeles is primarily perceived as dreamy and idealistic, the collective of artists also tapped into the violent and complex underbelly of this city we call home. One striking painting by Carl Dobsky, “Birds of Paradise,” portrays a sprawling display of a classic “LA party”. The intoxicated guests participate in the debauchery of the night as they mingle, laugh, argue and sprawl out on lounge chairs beside a pool, overlooking the LA skyline. Yet amidst the jovial soirée, the seemingly unaware guests carry on as the horizon is ablaze in flames—unconcerned by the impending doom.

Laura Krifka’s beautifully confrontational painting “Grab Bag,” depicts a nude female who unapologetically rests her hands over her crotch and gazes down at the viewer. Krifka deconstructs the notation of ownership of a body, and brilliantly objectifies the viewer in a way that is continually important.

Another favorite was a graphic and extremely effective painting, “Highway Patrol,” by James Doolin. This large painting was a bold depiction of LA night traffic as told from the perspective of a driver. Featuring an LA overpass at sunset, the sea of headlights lead the eye of the viewer in each direction—a composition all of us LA commuters are all too familiar with.

The work of the show was insanely juicy, relatable and by far featured some of the best contemporary figurative works I have enjoyed lately. I passed through the show several times to reflect on the cohesive display of the “California Dream” as well as the nightmare that is all too relatable.

I was also able to make my way over to a space I have been meaning to visit right in my backyard, Elephant Gallery, and I am so glad I did. The gallery was celebrating the closing reception of Kari Reardon‘s new work, Reproductions, with music by Nolan Gray. Upon entrance, I was met by a wall installation, “The Source,” which featured an array of meticulously sculpted breasts, whose nipples were fashioned out of quartz. The crystals’ reflections resulted in rainbow orbs whose light danced throughout the space and bounced of the mobile hanging from the center of the space. The suspended work, “Constellations,” existed as a mobile of sorts and featured a cast of the artists’ pregnant belly.

The laid back gallery was filled with mingling viewers all who came out on the warm Saturday afternoon to celebrate the work and enjoy the sunshine and music out back. I was lucky enough to talk to the artist herself, who sat outside with her lovely baby, now a few months old. The beaming mother explained that the show served as a self-reflection of identity as an artist and now, as a mother. I was fascinated to learn that Reardon sculpted the breast as she was nursing her newborn, shaping them while feeding from her own and utilizing her artistic practice to process her motherly body. Through engaging in both roles as mother and artist, Reardon so beautifully and generously depicts the obvious affects birth has on a women’s body. Her intimate recontextualisation of her pregnant body granted new life. I was so inspired to see how Reardon found rebirth in her work in conjunction with the birth of her child and her introduction to motherhood. Despite the end of summer lull, the LA art scene is most certainly alive and kicking.

Last week we had the delight of attending The Broad museum’s “Black Fire Sessions.” Before even stepping through the doors, it was clear the night was in full swing. An outdoor garden was filled with enthused attendees who enjoyed a stocked bar of wines and cocktails under the full moon. The celebratory atmosphere was uncontainable and we excitedly wandered in from the warm summer evening to experience an array of live performances which accompanied the exhibition “Soul of a Nation: Art in the Age of Black Power 1963-1983.” The exhibition featured the work of 60 artists and throughout the event we experienced various interpretations of the language of jazz, which in a sense, served as a soundtrack to the exhibition.

Upon entrance into the museum, we were met by Teebs‘s innovative “beat music,” the member of Flying Lotus’s Brainfeeder label and the ‘My Hollow Drum’ Collective, was in the zone as he played his multifaceted-layered recordings. The captivated audience was intrigued by the experimental sounds, which served as an opening catalyst to the other musical aspects of the show. Other performances featured the co-founder of The Art Ensemble of Chicago and AfriCOBRA collaborator Roscoe Mitchell with world-renowned pianist, Brett Carson as well as several other Los Angeles-based musicians. We wandered through the museum and found ourselves in a room full of swaying bodies all moving to the sounds of Georgia Anne Muldrow with her partner, Declaime who showcased vocals, keyboards, and other instruments. Also performing was Busdriver, whose work incorporates a combination of funk, rap, and scat and Mecca Vazie Andrews whose three-movement and dance pieces were presented in the galleries.

Each unique rendition of performance coupled with the art exhibition highlighted a deeper meaning of the symbolism jazz and art in the struggle for equality since the early civil rights and Black Power movements. “Soul of a Nation” utilizes artistic expression to educate, exemplify and acknowledge the pain and hardships endured through the lens of empowerment and the vehicle of change. The Broad’s Black “Fire Sessions” was a night we will not forget and we were jazzed to be a part of it.

This weekend we shook up the typical gallery openings with some new experiences. On Thursday, we kicked off our weekend early and attended Members’ Brushstrokes: Beyond the Gallery, for an enchanting event at the Huntington Gardens. The evening included art talks, painting demonstrations, live music, complimentary wine, food trucks and explorations through the art gallery. I was lucky enough to know one of the artists participating in the live painting section of the evening, Kassia Rico, so I was thrilled to receive an invitation. Experiencing the gardens and grounds for the first time was a treat beyond imagination. The weather was perfect and we arrived just as golden hour hit the grounds, which couldn’t have been more breathtaking. The first stop on our agenda was the live painting section of the event. It was a picturesque display as artists were stationed on the lawn with easels and paints amongst the rows of trees and statues, which lead up to a fountain. Each artist completed a live painting to conclude a series of works requested by the event for their participation. The artists all varied in style and approach to their practice resulting in a well-rounded display of works from photo-real to impressionistic. We so enjoyed perusing the live display and interacting with the artists, which included Robert Vargas, Shenho Hshieh, Jeremy Lipking, Emily Gordon, Christine Orihuela, and Kassia Rico. Live music preformed by the Clover String Tri and Jazz by the People Musicq Jazz Group serenaded our stroll, making it that much more magical.

We also listened to several of the informative art talks, which occurred throughout the evening in various locations. There was “The Materials of a Masterpiece: Understanding the History and Science of Gainsborough’s The Blue Boy” by Melinda McCurdy, Associate Curator of British Art, and Christina O’Connell, Senior Paintings Conservator. The “Los Angeles: The Burgeoning Center of the Art World” by Edward Goldman, art critic and host of KCRW’s “Art Talk” on NPR, and “The ‘P-Word’: The State of Contemporary ‘Portraiture’ in Southern California Fine Art” by Ronald E. Steen, art historian, art educator, and contemporary art advisor. Next, we ventured into the Huntington Art Gallery, which featured exhibits, Project Blue Boy and Celia Paul. After an amazing well-rounded night, we concluded our Huntington Gardens experience with a stroll through the garden; a masterpiece of its own.

In contrast to the grandiose Huntington Gardens outing, I ended my weekend by popping by a much more intimate but just as enjoyable art venue I had never experienced before called Queens. The inconspicuous artist-run gallery featured the opening of Gabriel Cohen: First Separation Meditation and a group show, Slippers. As we pulled up to the space, I was struck by its impressive turnout. Viewers spilled out onto the streets where they mingled and enjoyed the warm evening. The opening featured two exhibitions; a group show which existed as customary: on the gallery walls, while the work of Cohen lived in a less than traditional format: within four flat-file drawers. The group show, which was more readily visible, featured artwork by Amy Adler, Vanessa Conte, En Plein Error, David Gilbert, Joshua Ross, and Ari Salka. The exhibition was composed of works featuring various depictions of bodies. While some were more rendered and others were mere impressions of form, each held a captivating specificity in regards to style and intention.

After spending time with the group show, my attention was called to the works within the filing cabinets. Within each drawer was a piece of Cohen’s that required maneuvering though the other bodies, crouching down to open the files and one by one experiencing each piece. The works held space for quiet introspection as the first drawer I opened contained a photo centered on a dead bird, which was in the middle of a frame, inside of a flat file. Its something you see quite often while walking down a street—a dead bird is not atypical, but it does always make me stop and question its death, my death even and so on. Experiencing it within the files made me stop in just the same way and maybe even more so than if on the street. Although there was a sense of seriousness with Cohen’s work, experiencing them also resulted in intrigue and humorous interaction. Crouching down and accessing the work within each drawer in the gallery filled with bodies was not an easily accessible or especially calming task. Cohen’s reflective images forced one to pause and reflect, while also forcing the viewer to be aware of their surroundings.

All in all this weekend provided a wide range of excursions. From expansive gardens to exhibitions existing within the confines of a flat file, the LA art world never ceases to expand the ways in which we celebrate art and we are always happy to partake.

This past Saturday was stacked with a number of intriguing openings, so we decided to join the sea of gallerygoers in a valiant effort to attend as many as possible. First on our list was Wilding Cran Gallery for their opening of Stephen Neidich’s “Making the Rounds (a place to wait)” and Marwa Abdul-Rahman’s “Eternal Return.” The front gallery featured the new installation by Neidich, which was composed of chains suspended from rotating mechanisms hanging from the ceiling. As they undulated, the chains struck a pile of concrete on the floor below, resulting in a cacophony of sound as the metal hit the rock. This rhythm coupled with the mingling voices of the audience produced an urban orchestra of sorts. I was thrilled to talk to Neidich as he described each chain had an individual life. He pointed out that some chains hit the rocks violently, while others brushed them more timidly. Some seemed too afraid to move and instead remained suspended—anxiously hovering above the concrete, yet not quite making contact. Since the work is composed of industrial materials hitting against each other the installation could be considered somewhat violent, yet, I found the contact quite poetic. As each chain struck the ground beneath them in a unique way, they became characters with movements indicative of their individual personalities—each sharing a different voice, but together resulting in something quite beautiful. 

In the back room of the gallery were works from Abdul-Rahman’s “Eternal Return.” I was interested to learn that the mixed-media sculptures were primarily composed of donated clothes for the homeless, but were deemed too old or damaged to be worn. The freestanding sculptures stood bound in wire and rope, their bulbous forms appearing to almost pulsate in their new life within the space. The gallery itself was lively, filled with a crowd whose movements and conversations melded with and enhanced the work itself.

Next, we headed to Baert Gallery where we were met by the works of Francesa Longhini for her opening “Golden Anesthesia.” The show featured large-scale marble printed pieces with gold leaf illustrations and smaller painted canvases depicting geometric forms. The show resulted in a range of works from large to small. The contrast between the more intimate works and the vast prints revealed how these two styles complemented each other well. Their flow created a cadence in conversation—each saying just enough to engage in a thoughtful reflection with viewers. As we left Baert, heading onward to our next stop, we were thrilled to refuel at the complimentary taco truck outside before carrying on.

Next was Night Gallery, which was already filled with an expanding crowd—several of whom we recognized from previous openings that evening. We were impressed by those as ambitious as us in their Saturday night of gallery-hopping and even more impressed by the array of works on display. The opening featured Paul Heyer’s exhibition titled “Blue Boy” and Jin Shan’s “Hall of Mirrors.” Heyer’s new body of work depicted illustrations both dark and playful. They featured skeletons that appeared to tease viewers and scenes of luminously glowing trees coupled with uncanny large floating circles, which interrupted the world portrayed.

Shan’s show featured sculptures inspired the classical human figure, composed of contemporary materials and whose forms are manipulated in a way to appear melting, disintegrating and adapted from their ideal state. Shan’s installation carried over to the surrounding walls where the artist burned silhouettes of classical Roman columns, further referencing remains of once idealist states.

Even though we didn’t get to all of the openings, it was undoubtedly a well-rounded gallery experience this past Saturday. From chain installations, to gold leaf paintings, to decomposing forms, we got a glimpse into the worlds of multiple diverse artists and were left with much to contemplate for one night.