FEATURED ARTIST

Amia Yokoyama

AMIA YOKOYAMA

Midst of Bliss is an exhibition of new ceramic and video work by Amia Yokoyama at In Lieu in Los Angeles. This marks Yokoyama’s first solo exhibition with the gallery.

Amia Yokoyama is a multidisciplinary artist with a focus on animation and video. She lives and works in Los Angeles. She received an MFA from California Institute of the Arts in 2017 and attended Skowhegan School of Painting and Sculpture in 2017. She has participated in exhibitions at Brand Art Center (Glendale, CA), Dread Lounge (Los Angeles), Drawing Center (New York), ltd (Los Angeles), in lieu (Los Angeles) and participated in screenings at Echo Park Film Center (Los Angeles), REDCAT (Los Angeles), UCCA Center for Contemporary Art (Beijing), Anthology Film Archives (New York), among many others. She has been artist in residence at Kesey Farm Project (Eugene, OR), Bemis Center for Contemporary Arts (Omaha, NE), Flux Factory (Queens, NY), Vermont Studio Center (Johnson, VT), Joshua Tree Highlands Artist Residency (Joshua Tree, CA), and La Fragua (Belelcazar, ES).

ARTIST WEBSITE




SELECTED WORK

  • 2020

    Falling in Pursuit of Unruly

    Ceramic, glaze, and oil on wood panel
    24 x 18 x 4 inches

  • 2020

    Through World and New Worlds

    Porcelain, glaze
    17.5 x 17 x 6 inches

  • Installation view of Midst of Bliss

  • Installation view of Midst of Bliss

FEATURED ARTIST

Hend Samir

HEND SAMIR

Hend Samir (b. 1986) is a visual artist who lives and works in Cairo. She experiments with numerous techniques, including painting, printmaking, mixed media, video and installation art. Samir’s work destabilizes familiar systems within the matrixial of repulsion and attraction and other supposed boundaries. Her work has been exhibited internationally and was most recently featured on Gallery Platform Los Angeles via Real Pain Fine Arts. In the feature, Samir is in conversation with artist Tala Madani on her practice and process.

ARTIST WEBSITE




SELECTED WORK

  • 2018

    Reality vs. Expectations

    19.5 x 23.5 inches
    Acrylic on canvas

  • 2020

    Young Love Story

    17 x 21 inches
    Acrylic on canvas

  • 2018

    Dinner in Bed

    17 x 21 inches
    Acrylic on canvas

  • 2018

    Hide and Seek

    15 x 15 inches
    Acrylic on canvas

FEATURED ARTIST

Cool Intentions

COOL INTENTIONS

Cool Intentions is an exhibition of new paintings by Stephen Aldahl at Le Maximum in Los Angeles. Made over the course of a year of unprecedented difficulty and change, these layered compositions are at once expressionist and obscure. Aldahl uses photo-transfers, decals, text, and collage elements to mine the subcultural and mass media sights and sounds that have shaped his native Southern California. He draws on the techniques of West Coast assemblage artists, as well as the pictorial devices of early Pop art, building printed, embossed, and transferred materials into distinctly handmade paintings. These works aggregate images and references ranging from the iconic lifeguard towers of Newport Beach to the Bates house in Psycho, the lyrics of a Steffi track or the salmon-pink pages of The Financial Times. Adding and canceling image and text by turns, Aldahl guides us through fluid ruminations on a cultural landscape of dream and decay.

Stephen Aldahl lives and works in Los Angeles. Recent solo exhibitions include Realistic Art at Hot Wheels, Athens (2019), and New Realization at Young Art, Los Angeles (2016).

ARTIST WEBSITE




SELECTED WORK

  • 2020

    Cool Intentions II

    Oil, acrylic, enamel, decal and appliqué on linen
    47.24 x 35.43 inches

  • 2020

    Cool Intentions I

    Oil, acrylic, decal, graphite and sand on line
    47.24 x 35.43 inches

  • 2020

    Over the Influence

    Oil, acrylic, enamel, graphite and appliqué on linen
    47.24 x 70.87 inches

  • 2020

    Negative Nausea

    Oil, acrylic, UV ink and decal on linen
    26.62 x 35.43 inches

FEATURED ARTIST

Hande Sever

HANDE SEVER

Recently up at Actual Size LA was artist and Human Resources’ Time Space Money artist-in-residence Hande Sever’s exhibition 2 or 3 Things I Know About Her. 2 or 3 Things I Know About Her recalls Sever’s mother’s experience of the junta in Turkey through reconstructed memories, walnut frames, and oral history. After the coup, prisons became synonymous with torture centers – the most notorious of which were Metris, Diyarbakır and Ulucanlar. The artist’s mother was kept in the Metris Military Prison – now known as Metris Closed Penitentiary. Taking up her mother’s memories of being a political prisoner, the work tackles subjects such as military violence, censorship, and mass incarceration. Turning to the past in order to make sense of the present, 2 or 3 Things I Know About Her unearths the historical processes that led to the extermination of a generation, and replaces within the scale of bodies the violence perpetrated by US-backed political interests in West Asia, reminding its audience of the consequences of actions taken by military officials for national domination, and what the dominated was left to witness.  Hande Sever is a research-based artist, writer, and educator who was raised in Istanbul, Turkey. Her work often takes up her family’s history of persecution to explore divergent lines of inquiries, including issues of exile and postcoloniality. Sever’s works have been presented at Hauser & Wirth Somerset, UK; CICA Museum, Gyeonggi-do, South Korea; the Museum of Contemporary Art Chicago, IL; Flux Factory and A.I.R. Gallery in New York; Human Resources, Visitor Welcome Center, and BOX Gallery in Los Angeles, CA. As a writer, Sever is committed to articulating the histories and conceptual undertakings of artists and cultural producers belonging to the Majority World, with a focus on contemporary artistic and architectural practices originating from indigenous communities within Turkey. Her writing has been published by the Getty Research Journal, the Journal of Arts & Communities, the Stedelijk Studies journal, and X-TRA Contemporary Art Quarterly, among others. She is currently pursuing a PhD in the Art History, Theory, and Criticism at the University of California San Diego (UCSD), and prior to joining UCSD she was a visiting faculty member of the California Institute of the Arts’ Photography and Media program.

ARTIST WEBSITE




SELECTED WORK

  • 2020

    Framed Photograph From 2 or 3 Things I Know About Her

  • 2020

    Framed Photograph From 2 or 3 Things I Know About Her

  • 2020

    Framed Photograph From 2 or 3 Things I Know About Her

  • 2020

    Framed Photograph From 2 or 3 Things I Know About Her

FEATURED ARTIST

Ligia Lewis

LIGIA LEWIS

For Made in L.A. 2020, Ligia Lewis has conceived and directed deader than dead, which began with an intrigue-based inquiry into deadpan, an impassive mannerism deployed in comedic fashion in order to illustrate emotional distance. Utilizing this expression as a type of stasis, Lewis initially developed a choreography for ten dancers that remained expressively flat or dead, resisting any narrative or representational hold tied to a climactic build or progression. Lewis had relegated deader than dead to this corner of the gallery (a kind of “dead” space) where the dance would ostensibly emerge, although deadened in its repetition, limited in its fate, as it ricocheted from wall to wall. She abandoned this recursive ensemble of death due to COVID-19, reducing the cast to four performers and pivoting to a more traditionally theatrical presentation. In this new work the dancers use Macbeth’s culminating soliloquy (“Tomorrow, and tomorrow, and tomorrow,” a reflection on repetition and meaninglessness) as the beginning of a work that unfolds in modular parts, each one an illustration or parody of death, stasis, and the void, each one tied to its own carefully selected soundtrack or sample. The work is full of play but is also a meditation on “playing,” or acting, as well as on tragedy’s recurring cycles and familiarity within Black and brown experience; on time, as it loops; on performance; on touch, as an act of both care and violence. The work is built in the form of a musical lament, a protracted complaint on loop performed ad infinitum, decomposing itself along the way. Yet Lewis presents her grim subject—the farce of progress—with a healthy dose of humor and comedic tropes, riffing on the concept of “corpsing”—a theater term for unintentional laughter at a noncomedic moment, “playing straight” during a humorous scene, or simply breaking character. Corpsing, in the words of the philosopher David Marriott, is associated with “moments in which an actor exceeds the limits of theater and no longer is in command of a role.” But in those slippages in character, he states: “if black life matters, it cannot be as . . . the poetical grasp of a historical meaning, nor as the breathless emergence of a politics of ascent. For such roles are not meant for the living; they depend on the idea that blacks can only perform and perfect the role of their deaths, and that they should do so forever.” (Marriott, David. "Corpsing; or, The Matter of Black Life." Cultural Critique, vol. 94, 2016, p. 32-64. Project MUSE muse.jhu.edu/article/646458.)

Lewis’s performance was postponed because of limitations placed on the gallery’s capacity in response to COVID-19. Thus it will be presented at the exhibition’s end on an expanded version of the floor in the gallery, which serves as a set for the work. The floor acts as an index—a trace, a mark—of the performance that happened behind closed doors solely for documentation purposes. But perhaps more importantly, it represents the potential of the performance to come. The artist invites you to watch a film documenting the live work in the video embedded on this page, above.

Ligia Lewis was born in Santo Domingo, Dominican Republic, and raised in Florida. In her practice Lewis takes on a variety of roles—choreographer, director, dancer, performer—staging her work in different types of venues, including theaters, galleries, and museums. She carefully considers how the site of presentation shapes the experience of her work, how a body is ultimately seen. Each of her pieces explores genre through different forms of physical expression and a rotating cast of performers. Though Lewis focuses primarily on the point of friction between tragedy and comedy, melodrama and stasis, her work vacillates between the familiar and the unfamiliar. With rigor and detail, she utilizes the entire figure of the body as a space to develop expressive concepts. Be it through minute facial movements, speech and utterances, or a twitch of a finger to convey affect, she conceives a choreographic landscape illuminated by light, sound, and scenic design to develop dramaturgically unruly materials and embodiments that remind her audiences of the haunting legacies that permeate the present. Although Lewis’s work experiments with(in) the limits of representation, her pieces are in conversation with a thread of Black feminist thinking that endeavors to disrupt representation at the seams, making visible the corpse that is modernity or modern life and all that it has destroyed.

ARTIST WEBSITE




SELECTED WORK

  • 2020

    Still from 'deader than dead'

    Mixed-media performance documented on HD video, color, sound
    19:39 min

  • 2020

    Still from 'deader than dead'

    Mixed-media performance documented on HD video, color, sound
    19:39 min

  • 2020

    Still from 'deader than dead'

    Mixed-media performance documented on HD video, color, sound
    19:39 min

  • 2020

    Still from 'deader than dead'

    Mixed-media performance documented on HD video, color, sound
    19:39 min

  • 2020

    Still from 'deader than dead'

    Mixed-media performance documented on HD video, color, sound
    19:39 min

  • 2020

    Still from 'deader than dead'

    Mixed-media performance documented on HD video, color, sound
    19:39 min

FEATURED ARTIST

Glen Wilson

GLEN WILSON

On view at Various Small Fires Los Angeles is Glen Wilson: Slim Margins organized by jill moniz.

moniz writes: “Exploring the broad movement of African Diasporic cultural heritage from the vantage point of his Oakwood Neighborhood in Venice and from global travels, Wilson’s richly textured, forceful language gives voice to these narratives and aesthetics that would appear to lie outside the mainstream. Yet, they make up a central fabric, around which the American experience is woven. His interest in exercising the photographic medium to its full potential – beyond an authoritative gaze – is an aspect of the call and response he has with history and his subjects, visible in the relationship of the works to each other, as well as to the larger arc of cultural significance.”

The show runs until December 19, 2020.

Glen Wilson (b.1969, Columbus, OH, lives and works in Los Angeles, CA) received a B.A. from Yale University, New Haven, CT and an M.F.A. from the University of California San Diego. Recent group exhibitions include the California African-American Museum, Los Angeles; the Museum of Contemporary Art, Los Angeles, CA; Honor Fraser, Los Angeles, CA; Charlie James Gallery, Los Angeles, CA; Quotidian, Los Angeles, CA; Torrance Art Museum, CA; Eastside International Los Angeles, CA; and the Los Angeles Municipal Art Gallery, CA. Wilson received a Schomburg Research Fellowship from the New York Public Library Schomburg Center for Research in Black Culture, Harlem, NY.

jill moniz (b. 1969, Ankara, TR) builds understanding, creativity and inclusivity through the arts. She is an independent curator and advisor on visual literacy and community engagement to museums and galleries, and she creates large-scale exhibitions worldwide. Her curatorial investigations support local artists in sites around the world to create engaging, narrative visual language for the greater good. moniz received a doctoral degree in cultural anthropology from Indiana University.

ARTIST WEBSITE




SELECTED WORK

  • 2020

    
Ebeji, Racing Pharaoh's Light

    
Salvaged steel gate, chain link mesh, and UV print on synthetic resin
    
64 x 94 x 2 inches

  • 2020

    Deliver Us (90291 x 10037)

    Salvaged steel gate, steel posts, chain link mesh, and UV print on synthetic resin


    63 x 143 x 2 1/2 inches

  • 2020

    Ritual Unions

    Steel, chain link mesh, and UV print on synthetic resin, tension mounted
    
78 x 100 x 19 inches

  • 2014


    Higher Goals (Tribute)

    Salvaged steel basketball hoop and archival print on salvaged backboard

    36 x 55 x 25 inches

FEATURED ARTIST

four corners of the landscape

FOUR CORNERS OF THE LANDSCAPE

On view at Gaga & Reena Spaulings Los Angeles is four corners of the landscape. Curated by Jackie T. Kennedy, the exhibition can be catalogued as an homage to Los Angeles from Marcel Cavalla’s depictions of historic Bunker Hill to Frieda Toranzao Jaeger’s intimate vehicular scenes involving mobilizations on various levels. The imagined, projected to realistic landscapes of Los Angeles are presented via various forms ranging from sculpture to painting. The group exhibition includes works by William N. Copley, Beverly Buchanan, Larry Johnson and Jill Mulleady, amongst others.

ARTIST WEBSITE




SELECTED WORK

  • 2018

    Ranita

    by Pamela Ramos
    Plastic bag, rope, laser prints
    Dimensions variable

  • 1987

    See Yourself as Lovers See you

    by William N. Copley
    Oil on canvas
    53.5 x 65.98 inches

  • 1961

    Skeleton

    by Marcel Cavalla
    Oil on board
    36 x 15.5 inches

  • 1963

    Bunker Hill

    Marcel Cavalla
    Oil on board
    28 x 24 inches

  • 1964

    Bunker Hill

    Marcel Cavalla
    Oil on board
    28 x 24 inches

FEATURED ARTIST

Restless Index

RESTLESS INDEX

Restless Index is a group exhibition curated by Kelly Akashi and Cayetano Ferrer at Tanya Bonakdar in Los Angeles.

The show explores language as following: Inadequacies of language—whether legal, symbolic, written or visual—are cast into stark relief during moments of social upheaval. Associations once normalized by cultural hegemonies are opened up into sites of contention. Canons, monuments and institutional mandates are called into question, histories reassessed, and so too are visual codes that derive from those histories. Within this condition of restlessness, artists continue to revise, reshape, adapt and recondition existing cultural forms by breaking them down to their structural foundations or rehabilitating semantic objects in states of entropy. Employing a diverse range of media and underlying intentions, the work of the six artists presented in Restless Index represents a vision within a specific bandwidth of this paradigm drawing on language, figures, monuments and architecture.

ARTIST WEBSITE




SELECTED WORK

  • 2020

    Installation photo of Poem (Nest) and Poem (Quattro & Gren)

    by Lisa Williamson
    Acrylic, Flashe, microbeads on powder-coat primed aluminum
    132 x 3 x 3 inches

    Acrylic, Flashe, microbeads on powder-coat primed aluminum
    132 x 3 x 3 inches

  • 2020

    Installation photo of RUINER I

    by Nikita Gale
    Steel, towel, plaster
    78 x 60 x 14 inches

  • 1948 1984

    Paul Rand’s Women

    by Larry Johnson
    Video
    1 min, 40 seconds

  • 2020

    Body Board (Landscape)

    by Lisa Williamson
    Flashe, microbeads on powder-coat primed aluminum
    60 x 40 x 12 3/4 inches

FEATURED ARTIST

No More Land West

NO MORE LAND WEST

Visitor Welcome Center presents No More Land West, a series of exhibitions by 40 artists at Arm Gallery, courtesy of John Burtle. As the gallery (gently) seeks a new and accessible location as well as an expansive and inclusive model from which to operate, VWC is continuing 2020’s programming on the left arm of Burtle. After five years on the corner of Koreatown's 7th and Westmoreland, and in the midst of the world taking a break from each others' company, No More Land West asks each artist to take up humility and work small for a moment, with the hopes of when this is all over, each piece and all of us can be together in the same room, once again.

ARTIST WEBSITE




SELECTED WORK

  • 2020

    A One Act Play

    by Hannah Lee and Jordan Ruffin

  • 2020

    Galdona Ghoasts

    by Hannah Kim Varamini

  • 2020

    glass jump rope

    by Laub

  • 2020

    Mourning Ware (Funeral Fringe)

    by Anna Mayer

  • 2020

    Souvenir from Pioneer Village

    by Michael Zahn

  • 2020

    Spring Fish

    by Liz Ahn

FEATURED ARTIST

Julia M Leonard

JULIA M LEONARD

Julia M. Leonard in an artist based in Los Angeles. Leonard is known for her alternative space/project Either Way LA in addition to her outdoor exhibitions and collaborations throughout Los Angeles.

Julia M. Leonard’s works are featured in the “Mistake” issue of the LARB Quarterly Journal.

ARTIST WEBSITE




SELECTED WORK

  • 2020

    Main Public Library Fire

    Ink on paper

  • 2020

    Car in Pool, West Hollywood

    Ink on paper

  • 2020

    Bridge to Nowhere

    Ink on paper

  • 2020

    Car in Sinkhole, Cypress Park

    Ink on paper

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