Featured Artist

The “Featured Artist” page archives the artworks that grace the homepage of the LARB website every week. Each gallery compiles four images of works, followed by a short text. This section reflects LARB’s longstanding commitment to honor not only verbal but also visual culture, and to increase the reach of artists not only from the United States but from all across the world. The art on the homepage and the gallery archive is an ongoing nonverbal contribution to the larger conversation between here and there, between the past, present, and future, that LARB seeks to foster.

  • Graciela Iturbide White Fence

    Graciela Iturbide White Fence

    Graciela Iturbide: White Fence features notable Mexican photographer Graciela Iturbide’s images of the Chicano community in Boyle Heights. The title refers to the historical street gang known as White Fence that has held established territory in Boyle Heights since 1900. The publication includes two volumes with photographs Iturbide took in 1986 on assignment for the magazine A Day in the Life of America and culminating in a reunion in 2019.

    Graciela Iturbide was born in 1942 in Mexico City. Her photographic documentation of Indigenous tribes of Mexico resulted in the publication of her book Juchitán de las Mujeres in 1989. Between 1980 and 2000, Iturbide continued to gain international recognition and was invited to work in various places, including Cuba, East Germany, India, Madagascar, Hungary, France and the United States.

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  • Anchor in the Landscape

    Anchor in the Landscape

    Anchor in the Landscape brings together Adam Broomberg and Rafael Gonzalez portraits of Palestinian olive trees in the Occupied Territories of Palestine. Published by MACK, the affecting photography book centers the olive tree as a totem of Palestinian identity, culture, and resistance. Each portrait bears witness to the presence and resilience of the Palestinian people and their relationship with the land.

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  • Terra Incógnita

    Terra Incógnita

    Terra Incógnita is an exhibition of new paintings by Raul Guerrero on view in New York at David Kordansky Gallery. For over four decades, Guerrero has made work informed by his experiences navigating Southern California and northern Mexico as an American of Mexican ancestry paired with an abiding engagement in global art historical movements like Surrealism. Guerrero’s work emerges from an interest in examining Southern California’s connection to the continent at large, taking the form of visual and object-based references commonly found in the region. 

    The exhibition runs until June 8.

    Raul Guerrero has been the subject of solo exhibitions at David Kordansky Gallery, Los Angeles (2021); Ortuzar Projects, New York (2018); Air de Paris (project space), Angeles (2021); Ortuzar Projects, New York (2018); Air de Paris (project space), (2001, 2007, and 2013); CUE Art Foundation, New York (2010); Long Beach Museum of Art, California (1977); Museum of Contemporary Art San Diego (1989); and San Francisco Art Institute, California (1977). Guerrero was included in the California Biennial 2022: Pacific Gold at the Orange County Museum of Art, Costa Mesa, California (2022–2023), and was the recipient of an NEA Photography Fellowship (1979) and the San Diego Art Prize (2006). Guerrero lives and works in San Diego.

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  • Toshiko Takaezu

    Toshiko Takaezu

    Toshiko Takaezu: Worlds Within is a major touring retrospective and monograph centered on the life and work of artist Toshiko Takaezu (1922–2011). Opening first at The Noguchi Museum, the exhibition is the first nationally touring retrospective of Takaezu’s work in twenty years.

    Of Okinawan heritage and born in Hawai‘i, Toshiko Takaezu was a groundbreaking twentieth-century abstract artist most celebrated  for her prolific output of expressively glazed “closed form” ceramic sculptures that ranged in scale from palm-sized works to immersive sculptural environments.

    Featuring approximately 200 objects from public and private collections across the country, Toshiko Takaezu: Worlds Within will present a comprehensive portrait of Takaezu’s life and work. This chronological retrospective will chart the development of Takaezu’s hybrid practice over seven decades, documenting her early student work in Hawai‘i and at the Cranbrook Academy through her years teaching at the Cleveland Institute of Art and later at Princeton University. To represent this evolution, the show will present a series of installations loosely inspired by ones that Takaezu created in her own lifetime: from a set table of functional wares from the early 1950s to an immer-sive constellation of monumental ceramic forms from the late 1990s to early 2000s.

    The exhibition runs until July 28, 2024

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  • Sanaa Gateja

    Sanaa Gateja

    NOURISHMENT is Sanaa Gateja’s first solo exhibition in Los Angeles at Karma. The show precedes Gateja’s inclusion in the Venice Biennale’s Ugandan Pavilion, curated by Acaye Kerunen. Gateja builds intricate assemblages from thousands of hand-rolled paper beads sewn onto bark cloth.

    Gateja’s work and practice is inspired by the blacksmiths, potters, and basket weavers he grew up admiring. He joined Uganda’s Ministry of Culture and Community Development shortly after graduating secondary school. In 1972, he opened Sanaa Gallery in Kenya and specialized in the sale of traditional Kenyan crafts, especially beadwork. Later on, he studied interior design and jewelry-making in Osaka, Florence, and London. It was not until John Cass College of Art (now London College of Art and Design) in London that he first encountered paper beads which now populate his artworks. In 1990, he returned to Uganda, bringing the techniques with him and teaching them to locals, who in turn assemble the beads that become the basis of Gateja’s works. In the years since, a whole economy has sprung up around the production of paper beads in the country and beyond. The works in NOURISHMENT contend with this cycle of mutual influence and support.

    The exhibition runs until May 18.

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  • Shining Lights: Black Women Photographers in 1980s–90s Britain

    Shining Lights: Black Women Photographers in 1980s–90s Britain

    Shining Lights: Black Women Photographers in 1980s–90s Britain is the first critical anthology to bring together the groundbreaking work of Black women photographers active in the UK during the 1980s and 1990s. The anthology is published by MACK and edited by renowned artist Joy Gregory alongside art historian Taous Dahmani.

    Amongst the fifty-seven photographers included are Maxine Walker, Ingrid Pollard, Claudette Holmes, Mohini Chandra, Carole Wright, Sutapa Biswas, Maud Sulter, Brenda Agard, Anita McKenzie, Mitra Tabrizian, Poulomi Desai, Virginia Nimarkoh, Nudrat Afza, Merle Van den Bosch, and Eileen Perrier.

    The innovative and diverse work created during this period spanned documentary and conceptual practices, including the experimental use of photomontage, self-portraiture, staged imagery, and photography in dialogue with other media. Shining Lights includes new writings by pioneers of the period, including Pratibha Parmar, Roshini Kempadoo, and Symrath Patti, alongside a foreword by Sonia Boyce.

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  • Exteriors: Annie Ernaux and Photography

    Exteriors: Annie Ernaux and Photography

    Exteriors: Annie Ernaux and Photography brings together the celebrated writing of Annie Ernaux with photographs from Maison Européenne de la Photographie’s collection by photographers selected by writer and curator Lou Stoppard. The book is the product of an exhibition following Stoppard’s residency on using the photography from the MEP collection for new research.

    The book includes texts from Ernaux’s book Exteriors (Journal du dehors), 1993: a record of moments in trains, shops and streets around Cergy-Pontoise between 1985 and 1992. The photography in the book features work from the second half of the 20th century throughout the globe.

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  • Candace Hill-Montgomery

    Candace Hill-Montgomery

    “Pretty Birds Peer Speak Sow Peculiar,” is Candace Hill-Montgomery’s first show in the five boroughs of New York City since the 1980s. The exhibition is organized by Lawrence Kumpf and Tyler Maxin and is currently showing at Blank Forms in NY.

    Over the last ten years, Hill-Montgomery (b. 1945) has largely worked with weavings made on homemade looms, cunningly fusing an assemblage of techniques and materials including sheep’s wool, mohair, linen, paper yarn, and other fabrics, often augmented by found objects. The exhibition includes a spread of weaves produced between 2016 and 2023.

    Raised in suburban east Queens, she grew up with the pre-fame Ronettes and babysat Count Basie’s daughter. From her late teens to early twenties, she did runway and print modeling for designers such as Jacques Tiffeau, Bill Blass, and Oscar de la Renta, before enrolling in the studio art program at Fordham University. In 1979, she was in residence at the Studio Museum in Harlem and presented an artwork inter-rogating public space, dually installed at Artists Space and a tenement on Frederick Douglass Boulevard. She soon intermingled with the bustling downtown arts scene of the ’80s, presenting a work responding to the FBI raid against Fred Hampton at Colab’s “The Times Square Show,” staging a performance at Franklin Furnace, exhibiting at the New Museum in a 1982 solo show, producing a number of artists’ books, and collaborating closely with figures such as Ntozake Shange, providing sets (“built-poems”) for theatrical performances, and Lucy R. Lippard, with whom she co-curated the 1983 exhibition “Working Women/Working Artists/Working Together,” at Gallery 1199, operated by a local of the Service Employees International Union representing hospital workers. For roughly three decades, Hill-Montgomery worked as a high school art and journalism educator. Since her retirement in 2011, she has lived full-time in Long Island.

    Hill-Montgomery continues to produce artwork and poetry prolifically; her latest publications include the collection Muss Sill (Distance No Object, in 2020) and Short Leash Kept On (Materials, 2022), a long poem inspired by detective fiction and the writing of Lloyd Addison and Russell Atkins.

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  • Ouattara Watts

    Ouattara Watts

    Abidjan-born, New York–based artist Ouattara Watts’s new paintings are currently exhibiting at Karma in Los Angeles. The presentation marks the artist’s first exhibition in Los Angeles. Characteristic of Watt’s practice, the large-scale works place cosmograms, numerals, cloth, and other symbols and relics from around the world in relation with one other. Alongside acrylic and gouache, the artist uses various materials such as papier-mâché, fallen leaves, textiles gleaned from flea markets, and photographic reproductions. Watts alternates between working on the wall and the floor. Since the late 1990s, he has utilized drop cloths stained with acrylic as substrates for new paintings.

    The exhibition runs until March 16.

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  • Winogrand Color

    Winogrand Color

    Winogrand Color is the first monograph of renowned American photographer Garry Winogrand’s early work exclusively in color. Born and raised in the Bronx, Garry Winogrand (1928-84) was a highly influential American photographer who came into prominence for his trailblazing contributions to street photography. The book includes 150 photographs selected from the archives at the Center for Creative Photography in Tucson, Arizona.

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  • Hanna Hur

    Hanna Hur

    Hanna Hur’s solo exhibition Two Angels was recently shown at Kristina Kite Gallery in Los Angeles. The exhibition marks the gallery’s last exhibition at its Washington Boulevard location. 

    Hanna Hur (b. 1985, Toronto) lives and works in Los Angeles. Recent exhibitions include: Shadow Tracer: Works on Paper, Aspen Art Museum; Drawing Down the Moon, Hammer Museum, Los Angeles; and The Inconstant World, Institute of Contemporary Art, Los Angeles (2021). Her work is included in the collections of the Museum of Contemporary Art, Los Angeles and the Grunwald Center Collection at the Hammer Museum, Los Angeles.

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  • Tender


    Tender is the first monograph by artist Carla Williams published by TBW Books. Made in private between 1984 and 1999 and kept mostly to herself for more than thirty years, the images in Tender comprise a complete, personal self-portrait of a young, queer, Black woman intimately exploring the realm of her own possibility. When Williams was eighteen and studying photography at Princeton, she began making the black and white and color portraits in Tender to create pictures in her own image. Made with instant Polaroid 35mm and 4×5 type 55 film formats, Williams profited from the near instant result to continuously play with her own expression and form. The book includes essays by the artist and scholar Dr. Mireille Miller-Young.

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  • Noon Has No Shadows

    Noon Has No Shadows

    Noon Has No Shadows is a multi-site exhibition of Rosemary Mayer’s work presented for the first time in Los Angeles.

    A more traditional focused presentation is presented at Marc Selwyn, where two related bodies of Mayer’s work from the late 1970s and early 1980s will be displayed side by side, and an expansive, non-linear presentation at Hannah Hoffman that contains work crafted as early as 1971 through 1993, and including a new work created by the Estate of Rosemary Mayer.

    The presentation at Marc Selwyn focuses on a series of unrealized proposals for elaborate tents on the roofs of city buildings and sculptures based on classical Greek vessels. The combination suggests ideas of containment and safety alongside a yearning for celebration. Mayer’s drawings and watercolors at both sites are in dialogue with her three-dimensional configurations but exist as compelling works in their own right. A set of drawings from 1971 depict “impossible” fabric constructions, fantasies of sculpture unfettered by space, size, material, or money. They exude an unrealized melancholy, embracing the nuance that undergirds the traditionally beautiful. Many of the works on paper also employ text, which pervades much of her work. The title of the show, “Noon Has No Shadows,” comes from a series that pairs evocative phrases with images of beautiful flowers.

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  • Samia Halaby

    Samia Halaby

    Samia Halaby (b.1936, Jerusalem) is a leading abstract painter and an influential scholar of Palestinian art. Although based in the United States since 1951, Halaby is recognised as a pioneer of contemporary abstraction in the Arab world.


    Halaby began her career in the early 1960s, shortly after graduating from Indiana University with a MFA in Painting. During her studies of geometric abstractions in Islamic architecture in the Eastern Mediterranean, Halaby launched a series of experiments. These experiments would initiate a career-long investigation of the materialist principles of abstraction: how reality can be represented through form.


    Also influenced by the abstract movements of the Russian avant-garde, Halaby works with the conviction that new approaches to painting can redirect ways of seeing and thinking not only within the realm of aesthetics but also as contributions to technological and social advancement. This underlying notion has led to additional experiments in drawing, printmaking, computer-based kinetic art, and free-from-the- stretcher painting. From the 1960s until the late 1980s, Halaby taught at universities throughout the United States. She was the first full-time female associate professor at the Yale School of Art


    Halaby has been collected by international institutions since the 1970s, including the Solomon  R.  Guggenheim  Museum  of  Art  (New  York  and  Abu  Dhabi);  Yale University Art Gallery; National Gallery of Art, Washington D.C.; Art Institute of Chicago; Cleveland Museum of Art; Institut du Monde Arabe; and the British Museum. Selected solo shows for the artist include Ayyam Gallery (2010, 2011, 2013, 2014, 2015); Birzeit University Museum, Ramallah (2017); Beirut Exhibition Center, Lebanon (2015).


    She has participated in recent group shows at Grey Art Gallery, New York City, USA (2020); Palestinian Museum, Birzeit, Palestine (2019); Ayyam Gallery (2017, 2018); Katzen  Art  Center,  American  University  Museum,  Washington,  USA  (2017); Palestine Museum, Birzeit, Palestine (2017); Galerie Tanit, Munich, Germany (2017); The School of Visual Arts, New York, USA (2017);  Zürcher  Gallery,  New  York,  USA  (2016);  3rd  Qalandiya  International Biennial (2016); Darat Al Funun, Amman (2015); the National Academy of Arts, New York (2015); The Guggenheim Museum, Abu Dhabi (2014); Broadway 1602, New York (2014); and Institut du Monde Arabe, Paris (2009).

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  • Rosalind Nashashibi

    Rosalind Nashashibi

    Rosalind Nashashibi’s Electrical Gaza includes  footage of Gaza the artist shot with her film crew, drivers, and translator, along with animated scenes. Gaza is shown in the quiet moments before the Israeli bombardment in the summer of 2014.

    Nashashibi’s mediation eschews images of extreme violence and suffering global audiences have come to associate with Gaza, as well as sentimentalized imagery. Instead, the artist films daily life. Scenes of boys and horses cooling down in the Mediterranean, of vibrant streets filmed from the back of a moving car, and of a young man spreading falafel over bread are interspersed with animations of the alleys, the border crossing, and the coast. The film indicates both the richness of Gazan life and its hostile enclosure.

    In her reflections on the history and the making of the film, Nashashibi compares the state of existence in Gaza to enchantment, as in, “under a spell; because it exists, it existed, isolated by the world and on a different plane of reality to everything that surrounded it.” Enchantment, as the film suggests, accounts for the particular marking of time, experience, and memory in Gaza. These cultivations also emerge as the enchanted object of settler-colonial violence. The film, however, does not end with the image of an animated and ever-expanding black hole, but cuts to an image of children swimming in the sea. The abrupt shift upsets the death-driven narrative of erasure so many viewers will have come to expect. Throughout the viewing experience, we struggle as we confront those deep-seated narratives and reconsider our roles as watchers and witnesses. You can view the film here (password: 31£C74!CV16V%V-40$1£).

    Rosalind Nashashibi (b. 1973 in Croydon, UK) received her BA in Painting from Sheffield Hallam University, Sheffield (UK) in 1995, after which she attended the Glasgow School of Art, Glasgow (UK) where she received her MFA in 2000. As part of her Master’s degree, Nashashibi participated in a three-month exchange program in Valencia, California (US) at CalArts in 2000. Nashashibi became the first artist in residence at the National Gallery in London (UK), after the program was re-established in 2020. She was a Turner Prize nominee in 2017, and represented Scotland in the 52nd Venice Biennale. Her work has been included in Documenta 14, Manifesta 7, the Nordic Triennial, and Sharjah 10. She was the first woman to win the Beck’s Futures prize in 2003. 

    Nashashibi has had solo exhibitions at venues including, Nottingham Contemporary (UK); Musée Art Contemporain Carré d’Art, Nîmes (FR); Radvila Palace Museum of Art, Vilnius (LT); S.M.A.K., Ghent (BE); The High Line, New York, NY (US); Tate Britain, London (UK); Scottish National Gallery of Modern Art, Edinburgh (UK); The Art Institute of Chicago, Chicago, IL (US); Imperial War Museum, London (UK); and ICA, London (UK). Nashashibi has participated in group exhibitions at, Centre Georges Pompidou and Forum des Images, Paris (FR); Tate, London (UK); Sculpture Center, New York, NY (US); Museo Tamayo, Mexico City (MX); Whitechapel, London (UK); Kunstverein, Frankfurt am Main (DE); UCLA Hammer Museum, Los Angeles, CA (US), among others. 

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  • RaMell Ross

    RaMell Ross

    The first book by artist, filmmaker, and writer RaMell Ross, Spell, Time, Practice, American, Body (published by MACK) brings together Ross’s large-format photographs, sculptures, conceptual works, and selected films. The book presents a historical and imaginative narrative of the American South and includes texts by RaMell Ross, Tracy K. Smith, Richard McCabe, and Scott Matthews.

    RaMell Ross (b. 1982) is an artist, filmmaker, writer, and liberated documentarian. His work has appeared in places like Aperture, Hammer Museum, Institute of Contemporary Arts, London, MoMA, Georgia Museum of Art, National Gallery of Art, and Walker Art Center. His feature experimental documentary Hale County This Morning, This Evening won a Special Jury Award for Creative Vision at the 2018 Sundance Film Festival and 2020 Peabody Award. It was nominated for an Oscar at the 91st Academy Awards and an Emmy for Exceptional Merit in Documentary Film. RaMell holds degrees in Sociology and English from Georgetown University and is an associate professor in Brown University’s Visual Art Department.

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