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Byline: Eve Wood
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Deveron Richard
Sometimes “outsider” artists are really not that far outside, though they may indeed be “far out” in content and imagination. Deveron Richard, whose first exhibition at The Good Luck Gallery in Chinatown, is far out in its glorious exploration into the fantastical worlds of quivering prehistoric birds and jovial dancing cows flaunting their udders like rare jewels. These watercolors are rich and exceptionally detailed, but more than that, they are imbued with the spirit of curiosity and wonder—a rarity among today’s trendy art-world “insiders.”
The Good Luck Gallery
945 Chung King Rd, Los Angeles, CA 90012
Show runs through May 21st, 2016
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Claudia Parducci
“The Space Between Us,” Claudia Parducci’s first solo exhibition at Ochi Projects, represents the artist’s commitment to understanding and investigating the darkest sides of human nature. This intense examination is largely atmospheric and abstracted, though the skeletal forms of decaying architectural sites remain palpable within each of these images. “The Space Between Us” originates specifically from images of the 1995 Murrah Federal Building attack in Oklahoma City, though Parducci expands this original central image into a series of darkly suggestive works that are confoundingly beautiful. Made from charcoal on canvas, which in and of itself suggests a shifting and unpredictable materiality, these five large-scale paintings fragment the idea of time and our own reliance on it into strangely unsettling units of space that fade in and out of focus even as we stand gazing upon them.
These paintings propose a singular temporality drawn from images of destruction and iconoclasm, yet within the framework of each of these striking works is the possibility of order drawn from disorder, or hope drawn from chaos. The larger paintings become the framework that holds the main space, which is occupied by an installation of ropes hung from delicate black wires. The black ropes perhaps suggest a cage or a holding ground into which only air may pass. Again, as with the paintings and the two beautifully intricate drawings, the sculpture insinuates an invisible narrative about the larger human condition, a narrative that is at once disquieting and strangely hopeful. The air that surrounds and passes through the sculpture becomes the sculpture itself just as the empty or wiped away spaces in the paintings and drawings are as powerful and commanding as the gestural lines.
Claudia Parducci, After Murrah, 2015, image courtesy of the artist and Ochi Projects. More importantly still, these works do not “ask to be loved” as most art does these days. If these paintings happen to complement your sofa, you might want to consider your sofa more closely. These works were not made to match any fashionable statement, and do not derive from any mainstream LA trends, but exist as talismans of grief and loss in a world rife with it. The gestural smears, erasures and evacuations in these paintings can be read as metaphors for human brutality but also as points of recovery, moments where the space is deliberately left open, perhaps as a visual invitation for us as viewers to begin considering these events and how we might begin to make sense of them within the scope and cadence of our own individual lives.
The works that stand out most in the exhibition are two framed drawings in the back of the gallery, hung side by side. As with the larger paintings, the drawings capture the same devastated landscapes, and are actually sketches for the sculpture; however, there is an intimacy, a delicacy of line and intention to these drawings that makes them appear nearly ethereal. Parducci’s intense subject matter seems lighter in these works, and there is a profound stillness within them that allows for the deeper, more metaphoric content to surface.
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Jimi Gleason
Jimi Gleason’s newest body of work on view at William Turner Gallery almost seem like painterly mirrors reflecting the artist’s continued investigation into materiality and form. These large-scale paintings are brightly colored and luminously reflective, giving them the appearance of glass or an ever-deepening silver glaze, and indeed Gleason’s working process involves utilizing silver nitrate as a final application over densely painterly acrylic surfaces. The effect of this process is spectacular wherein the paint glows and shifts at various turns depending on the viewer’s position to the work and the way the light hits the surface.
BERGAMOT STATION ARTS CENTER
2525 Michigan Avenue Suite E-1
Santa Monica, CA 90404Show runs through March 19, 2016
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Jessicka Addams
I’ve got to be honest. I’m a sucker for images of bloodied fingers and dead birds. Kind of an acquired taste I suppose, so Jessicka Addams newest exhibition entitled “Please Stop Loving Me,” struck a cord of familiarity, stirring an odd reprisal of grief, and Goth-like sensibilities. These small paintings and sculptural works derive from the artist’s need to share a weighty personal history albeit with a flare for the overtly dramatic and a definite nod toward theatricality. Works like I’m Having A Nervous Breakdown, are the strongest in the show where the artist uses animals as a kind of stand-in, a foil as it were for human frailty and suffering.
La Luz de Jesus
4633 Hollywood Boulevard
Los Angeles, CA. 90027Show runs through Feb 28, 2016
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Bettina Hubby
Bettina Hubby displays a raucous sense of humor in her second solo show aptly titled “The Sexual Bronze Show” at Klowden Mann. Mining a territory that expounds on the sexual pun, Hubby identifies objects from the grocery store that in some way compliment one another or more specifically suggest a sexual allusion. Thus yellow latex gloves cast in bronze stand on a pedestal alongside a package of sausages. The relationship may or may not appear obvious, but the impulse behind this eccentric body of work is so wonderful that the associations simply fall into place. Hubby will definitely be invited to my next dinner party!
6023 Washington Blvd.
Culver City, CA 90232Show runs through Feb 20, 2016
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Love Potions
“Love Potions” at Maloney Fine Art is a wonderfully subtle and wistful exhibition of works by three Los Angeles artists. Kim McCarty, Roger Herman and Mona Kuhn have created a mélange of ceramics, watercolors and photographs that play off each other, creating tangential relationships between the discreet works wherein the female forms in Herman’s vessels, all of whom appear to be in some state of physical ecstasy echoes McCarty’s beautifully enigmatic watercolors, specifically the luminous Double Portrait, 2015, where two faces float side by side like strangely misbegotten twins.
Love Potions
2680 S La Cienega Blvd, Los Angeles, CA 90034
Show runs through February 20, 2016
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Rosette
Mary Anna Pomonis has curated a thoughtful and nuanced exhibition entitled Rosette in the project space at Charlie James Gallery. Working with the central idea of the constructed image of a rose with all its itinerant histories and meanings, etc. the works in this exhibition, which include Mark Dutcher’s lovely albeit sorrowful rosebush made of colored wax and Sabina Ott’s Mater Rosa I from a series of lithographs that depict the rose as a strangely regressive shape, mirroring the circle, in some way echo both the fragility and decadence of the rose as a central and narrative trope in our ever-shifting human history.
Rosette
Charlie James Gallery
969 Chung King Road, Los Angeles, CA 90012Show runs through February 20, 2016
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Rebecca Campbell: You Are Here
Rebecca Campbell believes in paying it forward as her most recent exhibition entitled You Are Here at LA Louver so elegantly demonstrates. Each of these eighteen portraits represents an image of a woman artist whom Campbell knows and admires, but more importantly perhaps the paintings express a wondrous and mysterious collaborative process between the artist and the sitter. The paintings convey the specificities and nuances of each unique relationship as it unfolds in space and time. There is tremendous dignity expressed in these faces, and one has the keen sense that these images derive from a deep and abiding respect that goes both ways.
Rebecca Campbell:
You Are Here
LA Louver
45 N Venice Blvd, Venice, CA 90291Show runs through Feb. 13th, 2016
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Ned Evans
Ned Evans’ recent survey exhibition entitled Slight Return; A Selection of paintings 1985 – 2015 at Craig Krull comprises a long-standing commitment to abstraction with the oft visual nod to great abstractionists like Helen Frankenthaler and Mark Rothko. As a whole, these paintings create visual conversations between one another wherein a deepening flow of red paint counterweights the starkness of an oddly familiar painterly object à la Robert Rauschenberg, yet more weightless. Evans’ masterful handling of materials allows for myriad shifts and changes within a relatively simple formal visual system, yet each work breathes a nearly ostensible inner life.
Craig Krull Gallery
2525 Michigan Ave #B-3,
Santa Monica, CA 90404
Slight Return runs through Nov. 21, 2015 -
10 Part Invention
Let’s face it. Artists make the coolest and best gallerists, and when they don their artist’s hats, as in the recent exhibition “10 Part Invention” at Jaus gallery, where gallery collective Tiger Strikes Asteroid flex their art muscles, it’s truly a pleasure to witness. Standouts include Norm Paris’ Bernie, Bernie, a strangely ominous little resin sculpture of a football helmet set on its side. Also of interest is Vincent Como’s mysterious graphite drawing on carbon paper, which reads like a tableaux for the end of the world. In fact, much of the work in this exhibition has a strangely otherworldly quality about it, as though these artists, when not playing gallerists, have somehow tapped into the strained and broken pulse of the world.
11851 La Grange Ave.
Los Angeles, CA, 90025Show Runs through Nov. 29, 2015
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KAZUNORI HAMANA, YUJI UEDA, OTANI WORKSHOP
Ceramics are all the rage these days, and certainly it’s a tradition richly steeped in ceremony, especially as it applies to Japanese ceramic work. Art star Takashi Murakami has assembled a group of artists who not only push the boundaries of possibility within the medium itself, but also maintain their attachment to the specific lineage of ceramics within Japanese culture. There is also a great deal of humor in many of the works presented, with sensitivity to nuance and form. The Otani Workshop’s Sister Bear for example is both playful and delicately rendered. Is it a utilitarian vessel or a talisman from a long forgotten age?
Blum & Poe
2727 S La Cienega Blvd,
Los Angeles, CA 90034
Show Runs thru Oct. 24, 2015
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States of Being
“States of Being” currently on view at Torrance Art Museum examines the nature of existence not so much as a physical inevitability, but more as a phase or process by which each of the artists included, expose themselves through their work at pivotal moments of existence. Artists like David McDonald create sculptural cornerstones at each end of the gallery by which the entire viewing experience is “grounded,” while Rebecca Campbell’s lushly enigmatic paintings of flora and fauna are dense, encapsulating a feeling of foreboding and mystery despite their seductiveness. Julia Schwartz’ small painting Untitled (head) (2015) is unnervingly raw, yet so real—the skewed face in the image a strangely moving talisman for both grief and rebirth.
TAM
3320 Civic Center Drive
Torrance, CA 90503
Show runs through Oct. 31, 2015 -
James Hayward
Red-on-red is difficult to pull off, yet James Hayward makes it work beautifully in his most recent survey entitled “At Last” at Roberts & Tilton where an entire room is painted red to showcase his very dense red paintings. And that’s just the side gallery. Throughout the exhibit, lush and loosely rendered, these mostly red, black and white abstractions are so seductive in their presence they practically call you toward them in a deep sonorous whisper. Paint, thickly and heavily layered, gives these works their power and strength, wherein each brushstroke becomes its own significant gesture within the framework of the entire image. As a whole the exhibition stands as living testament to gestural abstraction as only James Hayward can deliver and own.
Roberts & Tilton
5801 Washington Boulevard
Culver City, California 90232
Show runs through October 31, 2015 -
Chris Goennawein
Chris Goennawein is an artist who “theorizes” painterly surfaces and the underlying structures that support them. His first exhibition at c.nichols project explores various notions of place wherein the signification of an object wrestles with the process by which it is created. Goennawein’s acrylic paintings on aluminum panels do not overtly suggest theorization however, and are actually quite visually seductive from a painterly point of view, utilizing a completely flat picture plane and deliberately chalky palette, however one can certainly tease out an “Aristotelian” impulse lurking just beneath the surface.
Chris Goennawein: No Wrap For My Candy
c.nichols project
12613 Venice Blvd, Los Angeles, CA 9000
Show runs through October 10, 2015 -
Sarah Awad
Sarah Awad’s paintings are large-scale and meditative—images that exude a sense of “place” and attitude, a timelessness as it were, even as they remain powerfully contemporary. Awad has chosen to paint gates and with that choice comes an entire visual history of compositional motifs involving the gate as metaphor to the unknown or simply a passage out of somewhere and into somewhere else. Awad’s paintings writhe and twist, yet within each of these beautifully rendered works is the kernel of form, breaking free from the surrounding abstraction. Desert Comfort is particularly arresting, simultaneously still and wild.
Diane Rosenstein Gallery
831 Highland Ave, Los Angeles, CA 90038
Gate Paintings
One view through Oct. 10, 2015 -
Mick Rock: Shooting For Stardust; The Rise of David Bowie and Co.
Who doesn’t love David Bowie? Some would argue that Ziggy Stardust was Bowie at his best, and at Taschen Gallery on Beverly Boulevard one can experience the “Bowiesque” 1970s in all their weirdness and colorful splendor. Noted photographer and bandmate Mick Rock focused mostly on capturing not only the strange and wonderful performative highlights of Stardust, but the more intimate moments between Bowie and his fellow performers, friends and fans. The deep saturated colors of these images makes them that much more alluring aside from the obviously sexy narrative that was and still is BOWIE.
Taschen Gallery
8070 Beverly Blvd.
Los Angeles, CA 90048
Show runs through Oct. 11, 2015