FEATURED ARTIST

Sofu Teshigahara

SOFU TESHIGAHARA

On view at Nonaka-Hill from February 8 to March 28, 2020 was the first solo exhibition of works by Sofu Teshigahara (1900-1979) in Los Angeles.  The exhibition introduced a selection of rarely seen metal sculptures and calligraphic works produced from the 1950s to the 1970s.  The artist was founder of the Sogetsu School of Ikebana (1927 – ongoing), which is recognized as having made a significant mark on the history of postwar Japanese art.  A grand-scale ikebana work composed by Teshigahara’s direct Sogetsu student, ikebana-master Kaz Yokou Kitajima, Ikkyu Shihan Riji of Sogetsu School of Ikebana spanned the exhibition spaces.  In the gallery’s back room, vintage photographs by Ken Domon (1909-1990) of Teshigahara’s ikebana works were also on display.

Teshigahara, who had spent decades working with ephemeral materials and saw his sculptural ikebana efforts come and go, chose more lasting materials for his sculptural practice.  Around 1955, he devised a method of overlaying carved wood forms with brass, bronze or lead sheets covering the wood entirely or partially.  The result was a hybrid of the organic and manmade, which covered and accentuated the forms underneath.

ARTIST WEBSITE




SELECTED WORK

  • (attributed to Ken Domon) A work by Sofu Teshigahara

    by Ken Domon
    Gelatin silver print, framed. Not stamped.
    Image size: 8 x 9 3/4 inches

  • 2020

    Installation view of exhibition

  • 1969

    by Sofu Teshigahara
    Bronze
    12 5/8 x 11 7/16 x 6 5/16 inches

  • 2020

    Installation view of exhibition

FEATURED ARTIST

2020Solidarity 

2020SOLIDARITY 

2020Solidarity is a project initiated by artist Wolfgang Tillmans and his foundation Between Bridges, aimed at helping cultural and music venues, community projects, and publications that are existentially threatened by the current crisis.

Over fifty artists have come together to design one poster each, which can be offered on different crowdfunding sites as a reward for donations.

Between Bridges does not sell the posters, instead organizes, prints and distributes them to organizations in need, free of charge. Over 35 organizations are currently hosting the posters in the U.S., UK, Hong Kong, Bulgaria, Spain, Netherlands, Poland, Switzerland, France, Germany, and Italy.

Each poster is 23.4 x 16.5 inches, can be listed as a reward for a $50 donation, and is an unlimited edition, only available for a limited period of time.

ARTIST WEBSITE




SELECTED WORK

  • 2020

    A Changeling Can Change

    Mark Leckey
    Offset print on paper
    23.4 x 16.5 inches

  • 2019

    Schmetterlingshaft

    Jochen Lempert
    Offset print on paper
    23.4 x 16.5 inches

  • 2020

    still life (Bühnenbild)

    Wolfgang Tillmans 
    Offset print on paper
    16.5 x 23.4 inches

  • 2015

    Untitled

    Isa Genzken
    Offset print on paper
    23.4 x 16.5 inches

FEATURED ARTIST

100 Strawberries

100 STRAWBERRIES

100 Strawberries is a social art project by Alberto Cuadros. Each painting in the series is a stand-in for an individual person, which ultimately forms a network of loose associations. 

The iconic strawberry signs found along the coastal highways of California  serve as both an avatar for the artist, a native Californian, as well as a point of departure and framework for a meditative painting series. 

Alberto Cuadros (b. 1989, San Francisco Bay Area) lives and works in Topanga, California.

ARTIST WEBSITE




SELECTED WORK

  • 2019

    Untitled (Strawberry 66)

    Flashe on Canvas
    9 inches x 12 inches

  • 2019

    Untitled (Strawberry 53)

    Flashe on Canvas
    9 inches x 12 inches

  • 2019

    Untitled (Strawberry 48)

    Flashe on Canvas
    9 inches x 12 inches

  • 2019

    Untitled (Strawberry 40)

    Flashe on Canvas
    9 inches x 12 inches

FEATURED ARTIST

Michael LeVell

MICHAEL LEVELL

Michael LeVell’s solo show at Tierra del Sol Gallery in Los Angeles include his two and three-dimensional works inspired by his deep appreciation of architectural imagery.  The show is available by appointment only or viewable through the video walk through.

LeVell began making art with Tierra del Sol’s First Street Gallery studio program in Claremont, California in 1989.  While legally blind, LeVell is a connoisseur of magazine Architectural Digest. He studies the periodical’s images closely, then reduces the architectural gaze to its most salient lines and forms. LeVell moves easily between works on paper and sculpture. In similarity to the works of other visually impaired artists, LeVell presents an intuitive spatial awareness that offers the viewer a glimpse into an abstracted articulation of the world around us. LeVell’s work has been shown extensively, including a solo show at White Columns, NY in 2018.

ARTIST WEBSITE




SELECTED WORK

  • Untitled (21C)

    Ceramic
    N.D., 7 inches x 8 inches x 5 inches

  • 2009

    Untitled (88)

    Graphite and color pencil on paper
    9 inches x 12 inches

  • Untitled (25C)

    Ceramic
    N.D., 2 inches x 6 inches x 3 inches

  • 2005

    Untitled (10)

    Ink, illustration marker, acrylic, and prisma pencil on paper
    12 inches x 18 inches

FEATURED ARTIST

Bernadette Mayer

BERNADETTE MAYER

In July 1971, poet Bernadette Mayer embarked on an experiment: For one month she shot a roll of 35mm film each day and kept a journal. The result was a conceptual work that investigates the nature of memory, its surfaces, textures and material. Presaging Mayer’s groundbreaking durational and constraint-based diaristic works of poetry such as Midwinter Day and The Desires of Mothers to Please Others in LettersMemory also evinces her unheralded contribution to conceptual art.

Memory, published by Siglio Press and releasing May, 25, 2020, brings together the full sequence of images and text for the first time in book form. Originally exhibited in 1972 by pioneering gallerist Holly Solomon, it was not shown again in its entirety until 2016 at the Poetry Foundation in Chicago and then again in 2017 in New York City at the CANADA Gallery. For the exhibition in 1972, Mayer had over 1100 snapshots made from the slides, which she mounted on boards in the sequence in which they were shot, using handwritten cards to denote each day’s sequence. A six-hour audio recording in her voice of the entire text also played in the gallery. The text was also published in 1975, albeit without the images. This edition was made from scans of the original slides that are housed at the Bernadette Mayer Papers, Special Collections & Archives, at the University of California, San Diego.

ARTIST WEBSITE




SELECTED WORK

  • 2020

    Memory

    by Bernadette Mayer, Siglio

  • 2020

    Memory

    by Bernadette Mayer, Siglio

  • 2020

    Memory

    by Bernadette Mayer, Siglio

  • 2020

    Memory

    by Bernadette Mayer, Siglio

FEATURED ARTIST

Woman Laughing Alone in the Woods at Night

WOMAN LAUGHING ALONE IN THE WOODS AT NIGHT

In “Woman Laughing Alone in the Woods at Night”, Tanya Merrill’s solo exhibition at Half Gallery in New York, Merrill questions human’s destructive need to conquer, from the prized taxidermy of nearly extinct game, to the wives in 18th century English countryside portraiture. Do the characters in Merrill’s work rage against the dying necessity of their presence in daily life (a horse now relegated to a role of decoration) or does the horse find itself face-to-face with Double Cowgirl in a stickup? Either way, Merrill allows the viewer to marvel at the splendor of the equine for one last canter.

Tanya Merrill (b. 1987, New York) received her MFA from Columbia in 2018. She has been in group exhibitions at Gagosian Gallery, NY; Almine Rech, London; and Unclebrother, Hancock, NY; and exhibited at FIAC, Paris in 2019 with Half Gallery. She lives and works in New York. 

ARTIST WEBSITE




SELECTED WORK

  • 2019

    Woman with Dog

    Oil and oil stick on canvas
    62 inches x 70 inches

  • 2019

    Woman in the Painting Playing at the Cinema

    Oil on linen
    30 inches x 24 inches

  • 2020

    High Flying Rooster

    Oil on linen
    20 inches x 16 inches

  • Installation view of Woman Laughing Alone in the Woods at Night

FEATURED ARTIST

Sula Bermúdez-Silverman

SULA BERMúDEZ-SILVERMAN

Sula Bermúdez-Silverman: Neither Fish, Flesh, nor Fowl is Los Angeles-based artist Sula Bermúdez-Silverman’s first solo museum exhibition at the California African American Museum in Los Angeles. Bermúdez-Silverman investigates and critiques social structures through a conceptual and multidisciplinary practice that examines economic, racial, religious, and gendered systems of power.

Bermúdez-Silverman mines her personal and familial histories as a woman of Afro-Puerto Rican and Jewish descent, transforming genetic data into colorful pie charts that call to mind hard-edged abstractions. In the works debuting at CAAM, Bermúdez-Silverman addresses early global trade, the beginnings of commodification, and economic hierarchies by taking molds of her childhood dollhouse and creating casts of it in sugar, a material whose history has dictated that of her ancestors. While temporarily closed the exhibition is expected to run until August 23, 2020.

ARTIST WEBSITE




SELECTED WORK

  • 2019–20

    Installation shot Neither Fish, Flesh, Nor Fowl

    Sugar, glass, wood, resin, and metal
    26 x 19 x 27 inches each

  • 2019–20

    Installation shot Neither Fish, Flesh, Nor Fowl

    Sugar, glass, wood, resin, and metal
    26 x 19 x 27 inches each

  • 2015

    Red Hook, New York

    Plastic and found materials
    72 x 48 inches

  • 2019–20

    Detail of Neither Fish, Flesh, Nor Fowl

    Sugar, glass, wood, resin, and metal
    26 x 19 x 27 in.

FEATURED ARTIST

Ron Nagle

RON NAGLE

Ron Nagle (b.1939, San Francisco) is known for his exquisitely crafted, jewel-like sculptures, each made by hand. Although he works in traditional mediums like ceramic, he combines them with other materials, including epoxy resin and catalyzed polyurethane, to create forms that cannot be achieved in clay alone. Despite the work’s three-dimensionality, Nagle explains, “everything is done, even subconsciously, from a flat point of view.”

Ron Nagle’s first one-person exhibition took place in 1968, and since then he has had one-person exhibitions at numerous museums, most recently at the Vienna Secession and the Fridericianum in Kassel, Germany. In 2013 his work was included in the exhibition The Encyclopedic Palace at the 55th Venice Biennale. Nagle is also a musician, and a deluxe edition of his acclaimed 1970 album Bad Rice was released on Omnivore Recordings in 2015. He lives and works in San Francisco.

ARTIST WEBSITE




SELECTED WORK

  • 2013

    Fiestasiesta

    Ceramic, glaze, epoxy resin, and catalyzed polyurethane
    3 3/4 x 4 3/4 x 2 3/4 inches

  • 2013

    Kingsford Special

    Ceramic, glaze, epoxy resin, catalyzed polyurethane, and polyester resin
    7 x 6 x 3 1/2 inches

  • 1999

    Lobster Boy

    Ceramic, glaze, china paint, and epoxy resin
    3 1/2 x 4 1/4 x 2 1/4 inches

  • 2019

    Still Live

    Ceramic, glaze, epoxy resin, catalyzed polyurethane, and acrylic
    4 1/2 x 2 3/4 x 2 1/2 inches

FEATURED ARTIST

Anna Oppermann

ANNA OPPERMANN

Beginning in the mid-1960s through the early ‘70s Anna Oppermann (1940-1993) created an astonishing series of surreal, almost psychedelic drawings that uniquely and quietly explode the private space of the home, a traditionally feminine sphere. These early drawings contribute to a feminist re-centering of such spaces associated with women, casting everyday objects as symbolic, consequential protagonists: houseplants sprawl to take over the picture plane, windows and mirrors provide views into other worlds, and tables display drawings that open out into new domestic scenes. By placing her own body— her knees, arms, the back of her head— as reference points in the work, Oppermann coaxes the viewer to take on her subjectivity and perspective, emphasizing the gendered realms of the home and the relationships that we form both within and to our private spaces.

Anna Oppermann: Drawings, the newest release from Inventory Press, is a book of drawings by the late German artist Anna Oppermann. The publication will be the first book on Oppermann produced in the United States and will feature a number of new texts on her work by Connie Butler, Chief Curator, Hammer Museum, UCLA; Meta Marina Beeck, Assistant Curator, Kunsthalle Bielefeld; and a conversation between Carpenter Center director Dan Byers and Ute Vorkoeper, Curator, Anna Oppermann Estate. Published by Inventory Press and the Harvard Carpenter Center for the Visual Arts.

ARTIST WEBSITE




SELECTED WORK

  • 1968/1970

    With ashtray

    Part of the ensemble “Antidesign”
    Mixed media on Masonite

  • 1970

    Untitled

    Mixed media on cardboard

  • 1970

    Untitled

    Mixed media cardboard

  • 1968

    Beans

    Mixed media on Masonite

FEATURED ARTIST

Johanna Went

JOHANNA WENT

Passion Container is a solo exhibition with Johanna Went at The Box in Los Angeles. Went is best known as a radical figure of the Los Angeles punk and performance scene of the early 1980s; she orchestrated extravagant, often grotesque and darkly comedic performances. Passion Container presents a selection of the artist’s elaborate archive of performance materials, costumes and props ranging from the late 1970s to 2000s, alongside photographs by Edward Colver, Alan Peak, Ann Summa, Peggy Morrison, and Tom Vinetz, and video footage from performances otherwise not publicly available. Archival materials, original show flyers and performance and music publications such as Slash, No Mag, Search and Destroy, Ben is Dead, High Performance, and more are also on view. 

ARTIST WEBSITE




SELECTED WORK

  • 2020

    Installation View of Passion Container at The Box, LA

  • 1979

    Still from Hollywood Central Theater Los Angeles, CA

    Video
    6 minutes, 8 seconds
    Music: Paul M. Young (Serge Modular), Z'EV (percussion)

  • 1979

    Still from Hollywood Central Theater Los Angeles, CA

    Video
    6 minutes, 8 seconds
    Music: Paul M. Young (Serge Modular), Z'EV (percussion)

  • Vitrine

    Clockwise from upper left:
    a. Velvet Magazine (Sept 1981)
    b. Ego (1982), Issue #3
    c. No Mag (1982)
    d. No Mag (1982) interior
    e. SLASH (1980), Vol.3, #4 May 1980
    f. SLASH (1980) clipping with photo collage, Vol.3 Jan/Feb

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