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.

Installation shot of L.A. Narrative Painting at Craig Krull Gallery.

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.

Carl Dobsky, “Birds of Paradise.”

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.

Laura Krifka, “Grab Bag.”

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.

Installation shot of L.A. Narrative Painting featuring Carl Dobsky’s “Birds of Paradise” and James Doolin’s “Highway Patrol.”

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.

Installation shot of Elephant, “The Source.”

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.

Viewers mingling at Elephant Gallery.