Datebook: A key LA painter celebrates 90 years, Joan Snyder’s first LA show and Austronesian art
April 30, 2016 by admin
Filed under Lingerie Events
ONGOING EXHIBITIONS
Donald Baechler, Lily Stockman, Mike Davis, at Gavlak Gallery. Gavlak is opening a trio of solo shows that feature Baechler’s early paintings and collages, Stockman’s biomorphic abstractions and a series of funny-wry watercolors by Davis that explore the topics that occupy his thoughts — namely, Picasso, artists and Kermit the Frog. Through May 7. 1034 N. Highland Ave., Hollywood, gavlakgallery.com.
Lawrence Weiner, now in his 70s, is a stalwart of language-driven art, a conceptual sculptor of thought. In his characteristically spare, potent new works at Regen Projects, brief phrases appear in vinyl block letters on the walls and floor.
The words live out a range of dynamic functions. They…
Lawrence Weiner, now in his 70s, is a stalwart of language-driven art, a conceptual sculptor of thought. In his characteristically spare, potent new works at Regen Projects, brief phrases appear in vinyl block letters on the walls and floor.
The words live out a range of dynamic functions. They…
(Leah Ollman)
Lawrence Weiner, “Made to Be,” at Regen Projects. Weiner is a leading conceptual artist whose work plays with language and the ideas and images that it conjures. In his ninth solo show at Regen, he once again works with the power of words to tease the viewer in wry and canny ways. Through May 7. 6750 Santa Monica Blvd., Hollywood, regenprojects.com.
“Catherine Opie: 700 Nimes Road” at MOCA Pacific Design Center. For six months in 2011, Los Angeles photographer Catherine Opie documented the Bel-Air estate of Elizabeth Taylor — the clothes, the photographs, the jewelry, the little bits of personal ephemera that make a house a home. Now she is showing the series, one that chronicles a life of wealth and fame, at the Museum of Contemporary Art’s West Hollywood space. Through May 8. Pacific Design Center, 8687 Melrose Ave., West Hollywood, moca.org.
Wayne Koestenbaum, “A Novel of Thank You and Other Paintings,” at 356 Mission. Koestenbaum, a poet and cultural critic, is also a painter — known for vivid canvases that play with desire and bold patterns to electric effect. Runs through May 8, 356 S. Mission Road, Boyle Heights, 356mission.com.
“House Housing: An Untimely History of Architecture and Real Estate in Thirty-one Episodes,” at the MAK Center. An ongoing research project by the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University, this exhibition looks at the intersection of real estate development and architecture — from pre-fab apartment blocks to suburban gated communities. A timely show for Los Angeles as it furiously debates the future of development in the city. Through May 8. Schindler House, 835 N. Kings Road, West Hollywood, makcenter.org.
“John Divola: Dents and Abrasions” at Gallery Luisotti. This exhibition features a series of new works by Divola, who is known for capturing abandoned buildings and their environments in decidedly cool and unromantic ways. (No ruin porn here.) The pieces continue Divola’s tradition of marking the buildings in some way — with spray paint or found paintings — and then capturing the entire scene in a photograph. Through May 14. An artist’s reception will be held at 6 p.m. Saturday, Bergamot Station, 2525 Michigan Ave., Building A2, Santa Monica, galleryluisotti.com.
Ed Ruscha, “Editions,” at Leslie Sacks Gallery. The show is a gathering of recent and vintage print editions — from 1982 to 2015 — by the L.A. pop artist, including his inscrutable word-and-image pieces, which he has produced throughout his career, as well as his ghostly prints of ships from the 1980s. Through May 14. 2525 Michigan Ave., Santa Monica, lesliesacks.com.
“Noir: The Romance of Black in 19th Century French Drawings and Prints,” at the Getty Museum. Figures in deep penumbra and sprightly creatures in dim settings. In the middle of Europe’s industrial revolution, some artists became intrigued by the non-color of the color black, creating prints and charcoal drawings that evoked the nocturnal, the dark and the deep recesses of the cosmos — not to mention the not-quite-real state of dreaming. Through May 15. 1200 Getty Center Drive, Brentwood, getty.edu.
For a generation of young artists flanking World War II, Black Mountain College in rural North Carolina was the California Institute of the Arts of America’s avant-garde culture.
A school in the middle of nowhere, 200 miles west of the state capital of Raleigh, outside Asheville, with a semester…
For a generation of young artists flanking World War II, Black Mountain College in rural North Carolina was the California Institute of the Arts of America’s avant-garde culture.
A school in the middle of nowhere, 200 miles west of the state capital of Raleigh, outside Asheville, with a semester…
(Christopher Knight)
“Leap Before You Look: Black Mountain College, 1933-1957,” at the Hammer Museum. Black Mountain College in North Carolina wasn’t open very long, not even 20 years. But in its short lifetime it brought together bands of seminal artists, musicians, dancers and thinkers — John Cage, Merce Cunningham, Cy Twomby, Ruth Asawa, Robert Rauschenberg and countless others — as both teachers and students. Key to that dynamism was the presence of Josef and Anni Albers, a pair of Bauhaus artists who fled Germany to join Black Mountain in the late 1930s. This critically acclaimed exhibition, which first opened at the Institute of Contemporary Art in Boston, shows the far-reaching effects a single institution can have. Through May 15. 10899 Wilshire Blvd., Westwood, hammer.ucla.edu.
Jasmin Sanchez, “Flux,” at the Grand Central Art Center. The Orange County-based Sanchez is taking over the walls of the art center with drawings that meld landscape with abstraction and mapping to produce images that feel just a little bit magical. Through May 15. 125 N. Broadway, Santa Ana, grandcentralartcenter.com.
