Diedrick Brackens shape of a fever believer at Oakville Galleries is reviewed in Frieze: “For his first solo exhibition in Canada, ‘shape of a fever believer’, US artist Diedrick Brackens distils the co-existence of illness, vulnerability, healing and love into a series of tapestries (all 2020) centred on silhouetted Black bodies.” Read the complete review here.
Gina Beavers Passionaries is featured by Contemporary Art Daily. See the complete feature here.
Art historian and Clarence Holbrook Carter scholar Marianne Berardi will present a Zoom tour and discussion on February 25 at 12pm PST/ 3pm EST hosted by VSF. Register here for the tour and discussion.
Artnews covers Lehmann Maupin’s announcement of joint representation of Calida Rawles: “Now, the artist has new representation at the global gallery Lehmann Maupin with locations in New York, Hong Kong, Seoul, and London, and whose roster also counts Nari Ward, Cecilia Vicuña, and Catherine Opie.” Read the article here.
Clarence Holbrook Carter American Surrealist is reviewed in Hyperallergic: “In 1982, Clarence Holbrook Carter explained, ‘Beyond reality I felt there must be another realm to explore.’ The statement reflects Carter’s approach to art.” Read the complete review here.
Gina Beavers Passionaries is reviewed in Artforum: “Like that hidden underground, a river of dangerous desire runs beneath Beavers’s portrayal of modern-day cravings, momentarily fulfilled.” Read the complete review here.
Diedrick Brackens: ark of the bullrushes opens at Scottsdale Museum of Contemporary Art February 20: “Known for making colorful textiles about African American and queer histories, Brackens has developed a process of combining the tactility of yarn with the ethos of storytelling. For this exhibition, the artworks tell timeless narratives about emancipation and remediation through pattern, body, and the power of craft.” Complete details exhibition details here.
Billy Al Bengston is included in Multiples, Inc.: 1965-1992 curated by Dieter Schwarz at Marian Goodman Gallery. “During its existence, Multiples, Inc. published seminal editions with some of the most important artists of the 20th century over a period of almost three decades between 1966 and 1992. The exhibition at the Marian Goodman Gallery New York gathers for the first time a selection of over 150 editions published by Multiples, Inc. in collaboration with over 70 artists.” Complete details are here.
Math Bass is interviewed by Isabelle Albuquerque for Cultured. Read the complete interview here.
VSF co-founder Esther Kim Varet joins Dexter Wimberly, a senior critic at the New York Academy of Fine Art, for a gallerist panel including David Klein and Monique Meloche. Watch the discussion here.
Jessie Homer French West Coast opens at Massimo de Carlo February 15, 2021. “The exhibition features nineteen works that range from the late eighties until the present day, all speaking about the lands of the Pacific Northwest and Southern California, where the artist lives and works. The paintings appear as sensitive commentaries on the places surrounding her, and the narrative element of her work is made clear by the titles placed on the recto of the canvases and plywood.” Complete exhibition details here.
American Surrealist, now on view at VSF Los Angeles, is noted by Hyperallergic in “Your Concise Los Angeles Art Guide for January 2021″: “Spanning from the 1920s to the 1990s, these works are a must-see.” Read the complete article here.
Gina Beavers’s current exhibition, Passionaries, is noted by Art Basel in “Seoul: 6 must-see shows.” See the complete feature here.
Glen Wilson’s recent exhibition, Slim Margins, is noted by Art Viewer. See the complete feature here.
Glen Wilson Slim Margins is featured in Contemporary Art Daily. See the complete feature here.
Contemporary Art Review LA reviews Glen Wilson Slim Margins: “Integrating the fence as a frame for multiple works imbues Wilson’s images with a compelling sense of place, poetically depicting realities of the African Diaspora and the disparity of freedom while also offering a space to celebrate the power of community.” Read the complete review here.
Calida Rawles is noted in artnet news: “In her hyperreal paintings, the Los Angeles-based artist Calida Rawles studies triple consciousness: Blackness, life as a woman, and the myths of America.” Read the complete article here.
The Harrisons are included in Tree Time at the Science Museum Trento, now through May 30, 2021. “The exhibition ‘Tree Time’ celebrates trees by focusing on an alliance between art and nature.” Complete details here.
T, The New York Times Style Magazine, notes Anna Sew Hoy at the recently opened Compound: “Anna Sew Hoy, whose installation ‘Slow Moon’s Rose’ (2020) will inhabit the complex’s courtyard, sees Compound as a reimagination of how people share space.” Read the complete article here.
Garage magazine presents Diedrick Brackens in conversation with Legacy Russell: “What does it mean to view weaving as algorithmic and coded, a medium with multiple languages that offers up a different mode of readership? I sat down with Brackens to explore the data embedded in his textiles, and to discuss the medium as a queer and Black software with radical ancestral roots.” Read the complete article here.
Observer profiles VSF co-founder Esther Kim Varet: “When New Yorkers learn of hip galleries over in L.A., Esther Kim Varet’s Various Small Fires tops the list.” Read the commplete profile here.
Forbes profiles Brackens: “Brackens, who creates gorgeous woven tapestries in myriad shades including ochre, violet and raspberry, draws on stories from the Bible and mythology to create deeply symbolic tableaus. Central to each work is the figure of a man, rendered entirely in black. That man is Brackens.” Read the complete article here.
Vogue profiles Brackens in, “With ‘Darling Divined,’ Textile Artist Diedrick Brackens Plumbs His Southern Roots”: “Brackens’s work is quite complex; his graphic, handwoven textiles—the biggest, around eight by eight feet—consider folklore, mythology, Christianity, and history through the lens of his own Blackness and queerness.” Read the complete article here.
Something Curated reviews Diedrick Bracken’s solo exhibition, the pondkeepers: “In these textiles, Brackens gathers together countless rapturous pastimes and childhood memories.” Read the complete review here.
Anna Sew Hoy will give a Visiting Artist Lecture at Minneapolis College of Art and Design Wednesday, September 23. More details here.
Calida Rawles will be in discussion LACMA curator Christine Kim in conjunction with View From Here, an exhibition of recently acquired artworks that represent a range of generational and global perspectives. The talk will happen online, Thursday September 17 at 12pm. RSVP here.
Calida Rawles is profiled in the New York Times’ “How Three Artists Are Exploring Mythology and Race”: “Ms. Rawles’s resulting art speaks to the triple consciousness of being Black, female and American, and how this identity is affected by microaggressions, violence, generational trauma and colorism, the judgment of Black people based on their skin tones.” Read the complete article here.
Joshua Nathanson is included in Art in the Age of Anxiety now on view at the Sharjah Art Foundation. “Art in the Age of Anxiety runs until September 26, and examines the way our everyday devices effect the way that we perceive the world individually and collectively. It also explores how things have shifted due to everyday reliance on smartphones and their accompanying networks.” More details here.
Los Angeles Times notes Billy Al Bengston and Anna Sew Hoy in their coverage Megan Tagliaferri Long Beach venue Compound: “Tagliaferri, a member of the Scripps media family… funded the $1.2-million adaptive reuse project, which she designed in conjunction with BOA Architecture of Long Beach.” Read the complete article here.
The New York Times Style Magazine notes Calida Rawles in “Nine Black Artists and Cultural Leaders on Seeing and Being Seen”: “And there are people who can’t swim who love them, too, and they like to get lost in the beauty of just seeing us in water. Sometimes you want to see yourself in places you’ve never been before.” Read the complete article here.
It’s Nice That profiles the work of Calida Rawles: “For Calida, water is a spiritually healing element. The key theme throughout her work, she turns towards this element for its heavily loaded context…” Read the complete article here.
Artsy notes the Diedrick Brackens and Calida Rawles lead initiative to raise funds for the Minnesota Freedom Fund, Equal Justice Fund Initiative, Black Visions Collective, and Black Lives matter. Read the complete article here.
Travis Diehl reviews Josh Kline Alternative Facts for Art in America: “Kline’s sculptures critique the values of a country that conflates freedom and property ownership, that prioritizes the ability to have your own version of the truth delivered to you on an imported television that you bought at half-price on Black Friday.” Read the complete review here.
Artforum reviews Jessie Homer French Chernobyl: “She gives equal weight to nature and culture, life and death, studying the rhythms of her area and others that have seen decimation and rebirth.” Read the complete review here. Chernobyl is on view at VSF Los Angeles through July 3.
KCRW’s “Art Insider” notes the Diedrick Brackens and Calida Rawles’ lead initiative to raise funds for social justice organizations: “‘My art speaks to the joys and pains of being Black in America. As such, I partnered with Diedrick Brackens, to infuse art into the conversation with the hope of supporting those who are doing the important work of standing on the frontline. And clearly, Black Lives Matter.'” Read the complete article here.
Judith Linhares is profiled in by Hyperallergic in “Artists Quarantine With Their Art Collections”: “In these long indoor days, the tendency toward reflection is pretty much endless.” Read the complete article here.
Art in America profiles Diedrick Brackens: “In a strange twist of fate, these works arrived in the world at about the same time as COVID-19, a disease that, like AIDS, disproportionately affects black Americans—black men most of all.” Read the complete article here.
Architectural Digest notes VSF in “How Art Galleries Are Paving the Way for Doing Big Business Online”: “Various Small Fires chose paintings of large-scale disasters by 80-year-old artist Jessie Homer French, whose self-taught, desert-based practice resonates with our current climate, according to gallery director Sara Hantman…” Read the complete article here.
Artsy notes the recipients of Louis Comfort Tiffany Foundation grants including Diedrick Brackens. Awardees were, “…selected from a pool of 110 nominees by a seven-person panel that included Kerry James Marshall and Cindy Sherman, both of whom serve on the foundation’s board.” Read the complete article here.
Diedrick Brackens is awarded a Louis Comfort Tiffany Foundation Biennial Grant: “The purpose of the funds is to give artists the opportunity to produce new work and push the boundaries of their creativity. Recipients were chosen from a pool of 110 nominees proposed anonymously by national nominators.” Read more here.
Various Small Fires participates in Gallery Platform LA: “81 Los Angeles art galleries have joined together to create an online platform to promote engagement with the local and international art audience.” VSF will be on view May 14 – 21, 2020.
ArtAsia Pacific notes Josh Kline Alternative Facts: “Through this body of work, Kline considers America’s changing global economic position as domestic manufacturing moves abroad, as well as the role of televised media in disseminating political misinformation within the US.” Read the complete feature here.
Jessie Homer French Chernobyl is noted in the Los Angeles Times “Essential Arts”: “The paintings, which show wildlife reinhabiting the area around the Chernobyl power plant, feature equal doses of whimsy and foreboding.” Read the complete article here.
Artnet news notes VSF in “He Clicked, But Does He Think It Clicks?”: “From DC Moore, Birchby clicks over to Various Small Fires, the innovative Los Angeles and Seoul-based gallery he knows well.” Read the complete article here.
Frieze notes the work of Jessie Homer French in “25 Works Under 25K”: “Homer French’s language perhaps stems more from Rousseau (the master of pastoral naive), another self-taught Artist who captured our ambiguous relationship with the natural world.” Read the complete article here.
Writing for Artforum, Travis Jeppesen discusses the virtual walkthough of Josh Kline’s Alternative Facts at VSF Seoul: “Who knew 2020 would end up this way, with someone asking me to stare at American flags through my laptop screen and write about it for Artforum? But that’s precisely what I’m doing on day thirteen of my fortnight of mandatory home quarantine in Shanghai…” Read the complete article here.
Artnet news profiles VSF in “‘It’s Liberating’: 3 Ways a Tech-Savvy Los Angeles Gallery Is Using the Lockdown Era to Leapfrog Into Future of the Global Art Market”: “With VSF’s location in Hollywood’s increasingly muscular gallery district still shuttered along with all other non-essential businesses, its Seoul space has now become the nucleus of an innovative three-part strategy that has leveraged physical space, digital engagement, and coalition-building.” Read the complete feature here.
Artsy interviews VSF founder Esther Kim Varet in “Galleries Are Taking Extraordinary Measures to Reopen during a Global Pandemic”: “…Esther Kim Varet, who runs Various Small Fires in Los Angeles and a Seoul outpost, is keeping her employees busy and doesn’t sound worried about how her gallery will survive COVID-19. She got out ahead of the crisis, she said, by anticipating its spread long before much of the country did.” Read the complete article here.
Writing for ArtReview, J.J. Charlesworth discusses Josh Kline Alternative Facts at VSF Seoul: “Kline’s messed-up Stars and Stripes obliterates this ‘window’ in a declaration of its own chaotic power and, perhaps, as a mournful tribute to the global utopian goals that the screen used to represent.” Read the complete review here.
Josh Kline Alternative Facts is featured in Contemporary Art Daily. See the complete feature here.
Artsy notes Jessie Homer French in “5 Artists on Our Radar”: “An avid fisherwoman living in rural California, French dedicates her paintings to nature, rural life, and the impact of human activity on the environment.” Read the compete article here.
Art in America notes the work of Liz Magic Laser in “Can You Teach Art Online?”: “Across disciplines, arts educators are introducing a new medium—video conferencing services—into their teaching.” Read the complete article here.
Art in America revisits the debate around Lee’s Project series. “Today, in a political climate dominated by Trump’s racist apologetics, artwork addressing identity has assumed a new weight.” Read the complete article here.
Artsy features Robin F. Wiliams in “Robin F. Williams Revels in the Craft of Painting”: “The artist might not have a sharply defined thesis about what this all means—how floating ideas of gender intersect with notions of various crafts—but these things somehow bubble up in the paintings.” Read the complete article here.
Amy Yao will be included in Prolonged: Narcissus or the flowering of the worlds at Frac Nouvelle-aquitaine Méca: “The omnipresence of flowers in contemporary art marks the profound renewal of a subject most often considered as ornamental.” Full details for the exhibition here.
Calida Rawles’ recent exhibition, A Dream for My Lilith, is noted by Art Viewer. See the complete feature here.
Contemporary Art Daily features Calida Rawles’ A Dream for My Lilith. See the complete feature here.
Financial Times notes Jessie Homer French at Independent New York 2020 in “Alarm sounds for art fairs across the world.” Read the complete article here.
artnet news notes Jessie Homer French at Independent New York 2020. “With a flattened, omniscient eye, self-taught artist Jessie Homer French hones in on scenes from her rural California town that toe the line between the mundane and the macabre.” Read the complete article here.
New York magazine profiles Calida Rawles in “The Artist Whose Paintings Have Captivated Ta-Nehisi Coates.” “…Rawles blends techniques from portraiture and landscape painting, photo-realism and conceptual art, generating a visual language that is wholly her own.” Read the complete article here.
Anna Sew Hoy is included in the 2020 Candlewood Arts Festival: “The Candlewood Arts Festival celebrates the connections between art, community, and our shared environment in the dramatic landscape of Borrego Springs, California.” The festival runs from February 29 – March 29, 2020. Complete details are here.
Artsy profiles the life and work of Diedrick Brackens. “The 31-year-old Brackens, who opens his first New York gallery show at Jack Shainman Gallery this April, has enjoyed a rapid rise in critical attention for tapestries that elicit complex and moving narratives. Uneven surfaces, dangling strings, and fringed edges give strong character to his works, which often feature silhouettes of black bodies.” Read the complete article here.
Wallpaper* magazine notes VSF’s Calida Rawles stand at Frieze LA. “Various Small Fires (VSF) is making its hometown Frieze debut with a showing of American photorealistic painter Calida Rawles in the fair’s new Focus LA section.” Read the complete listicle here.
W Magazine interviews Calida Rawles and Ta-Nehisi Coates. “There’s nothing quite like the quiet of being underwater. The hubbub of the world becomes a pulsating hush, something in between silence and sound—almost like hearing the rhythms of our own bodies amplified.” Read the complete article here.
Galerie magazine notes VSF’s Calida Rawles stand at Frieze LA. “Caught in stillness and in motion, her mostly youthful subjects display a joy for life that transcends our everyday existence.” Read the complete listicle here.
The Los Angeles Times notes Calida Rawles A Dream for My Lilith in “Frieze Week L.A. 2020: Your guide to talks, screenings, performances and parties”: “L.A. artist Calida Rawles’ photo-realistic paintings — portraits of family members and other loved ones submerged in water, typically in white clothing — touch on racial identity and spirituality.” Read the complete article here.
Catherine Taft reviews Liz Magic Laser’s People Per Hour: “More documentary than reality-TV show, this fascinating study of the globalized gigeconomy is differentiated as “art” through its ambitions of institutional critique. That is,the work points to the means and conditions of its own production and circulation.” Read the complete review here.
Amy Yao is included in Illumination: 21st Interactions with Art + Science + Technology at the San Diego Art Institute: “SDAI’s Illumination is positioned squarely at the intersection of art, science, and technology, and uses these interconnected fields to boost public understanding of contemporary issues and explore solutions, both real and imagined.” The exhibition opens February 8 and more details are here.
Liz Magic Laser’s recent exhibition, People Per Hour, is noted by Art Viewer. See the complete feature here.
Joshua Nathanson is included in Art in the Age of Anxiety at the Sharjah Art Foundation: “Featuring more than 30 artists, the exhibition will confront some of the most pressing issues of our time, including digital surveillance and privacy, data mining, the values of virtual existence and the effects of all-consuming technology on our consciousness.” Complete details about the exhibition here.
Robin F. Williams and Cindy Ji Hye Kim are included in Xenia: Crossroads in Portrait Painting at Marianne Boesky Gallery: “an exhibition that explores the resurgence of portraiture as an incisive platform through which to consider the nature and meaning of identity.” The exhibit is open through February 15. Complete details here.
The Guardian notes VSF in “Brave new world: the best-designed travel destinations for 2020.” Read the complete article here.
Anna Sew Hoy will be speaking as part of “Artists in Conversation: Michelle Lopez, Jackie Winsor, Anna Sew Hoy” at the Institute of Contemporary Art at the University of Pennsylvania on January 29. “This event convenes a group of intergenerational artists to discuss the gendered politics of sculptural practice from the 1960s to the present. Artists Jackie Winsor, Michelle Lopez, and Anna Sew Hoy will discuss their interventions to the traditionally masculinist and male-dominated canon.” Complete details are here.
Newton Harrison is interviewed by Fairplanet: “Long before global warming entered public consciousness, they considered its effects through maps, talks, and various other artistic means. They collaborated with biologists, historians, architects, and urban planners to initiate dialogues on biodiversity, climate change, and community development. Their artworks pushed the boundaries of what constitutes art. A conversation on the state of affairs.” Read the complete interview here.
Liz Magic Laser’s In Real Life is reviewed in The Believer magazine’s “Off Brand Video”: “Liz Magic Laser’s latest video piece, ‘In Real Life,’ interrogates these two sides of freelancing, how online work has simultaneously empowered and dehumanized the world’s labor force through a series of slick word and number games.” Read the complete review here.
VSF founder Esther Kim Varet is interviewed for Frieze.com‘s “Focus LA” about the gallery’s upcoming participation in Frieze LA 2020: “Los Angeles is our hometown, so it feels natural and essential to be part of the fair and represent LA’s art landscape.” Read the complete article here.
Diedrick Brackens is named in Out‘s “Out100 Artists of the Year”: “They’re changing the way queer people are seen—and how we see ourselves.” Read the complete article here.
Math Bass’ current exhibition at VSF Seoul, Fill It Up Silver, is feature in Artforum’s “Must-See Shows.” “Must See” is a feature of artguide, which provides a comprehensive index to all art-world events. The exhibition is open through January 18, 2020.
Dazed notes the work on The Harrisons in, “The artist-activists who predicted the climate crisis.” “A married collaborative pair, Helen Mayer Harrison and Newton Harrison are two of the earliest ecological artists who often worked with biologists, urban planners, and architects to create dialogues about how art can work with science to promote a sustainable future.” Read the complete article here.
Hiji Nam covers the Seoul contemporary gallery scene for Artforum: “But slacker aesthetics are not a natural fit in Seoul… and for the most part, people are hustling, reliably so in the contemporary gallery scene.” Read the complete article here.
Judith Linhares is included in Contemporary Art: Five Propositions at the Museum of Fine Arts Boston. “Through five thematic groupings, this exhibition seeks to rethink the stories that can be told with the MFA’s collection of contemporary art. The groupings address a range of topics, including artistic process, complex relationships between humans and the natural world, the body, materials, identity, and notions of utopia.” The exhibit is open through May 4, 2020 and more details are here.
The New Yorker notes Sew Hoy in Underdonk’s Fur Cup: “In 1936, at the age of twenty-three, the Swiss artist Meret Oppenheim made one of the most perverse and pleasing sculptures of the twentieth century when she lined a teacup, a spoon, and a saucer in fur. You can see that piece now, on the fifth floor of the new moma—and you can meet its unruly offspring in ‘Fur Cup,’ an excellent show of sculptural objects at Underdonk, an artist-run space in Brooklyn.” Read the complete feature here.
The Herald Chronicle notes the opening of Allegiance at The University Art Gallery at Sewanee. “In Allegiance, Brackens, an African-American whose ancestors picked cotton in Texas, self-consciously transforms that fraught material into beautiful textiles as he plays with the viewer’s expectations and associations, turning symbols, lyrics and materials to new purposes.” Read the complete feature here.
Diedrick Brackens and Calida Rawles are included in Presence at the Fullerton College Art Gallery. Notes the Fullerton Observer,”The latest exhibit at the Fullerton College Art Gallery features artworks addressing the presence of people of color in contemporary culture.” Read the complete details here.
Mousse Magazine notes Robin F. Williams’ With Pleasure, on view until October 26. See the complete feature here.
Diedrick Brackens is included in Thread at the Long Beach Museum of Art. “…a Los Angeles based textile artist, creates tapestries—made chiefly from cotton—employing techniques from West African weaving, quilting from the American South and European tapestry-making to create both abstract and figurative works.” Read more details here.
Diedrick Brackens speaks at the School of The Art Institute of Chicago for the Mitchell Lecture Series, Fiber & Materials Studies. Brackens will be lecturing October 10, 2019 at 4:15pm in the Sharp Building, Room 437. Complete details are here.
Garage takes an in depth look at Robin F. Williams’ Leave Britney Alone! on view at Frieze London 2019. Notes Williams, “I feel like [traditional] nudes, by definition, are not aware or if they are aware, it’s of no consequence. How they function for us culturally is that their persona—their nakedness—is an outfit. Their availability to us is a skin that they’re wearing…” Read the complete article here.
Los Angeles Times notes Robin F. Williams’ With Pleasure in “Art day in L.A.: A walker’s guide to gallery hopping along Highland Avenue.” Says reviewer Mizota, “‘Siri Calls for Help’ pictures Apple’s digital assistant as a woman straight out of a Hitchcock film… Yet the image not only gives Siri an emotional life, it also draws a connection between women’s perceived subservience and the tendency to exploit and terrorize us.” Read the complete article here.
The Harrisons recent exhibit, Counter Extinction Work, is reviewed in Artforum: “The Harrisons’ legacy will be their ability to reimagine what kinds of relationships humans could have with the land and with other species.” Read the complete review here.
Anna Sew Hoy is included in the sun is also a star at Artist Curated Projects. The exhibition opens September 27 and more details are available here.
Anna Sew Hoy is noted in Surface magazine’s “State of Clay: Los Angeles Ceramics Artists Break the Mold.” Read the complete article here.
Los Angeles Times notes Robin F. Williams’ With Pleasure: “The New York artist takes tropes of femininity and picks them apart on canvas, reimagining the sensual poses of advertising and imagining the physical embodiments of virtual assistants such as Siri and Alexa.” Read the complete highlight here.
Robin F. Williams is profiled in Galerie: “Social media is drawn to the fun and very female subject matter of Robin F. Williams’s paintings—women lounging around or acting playful in poses and scenes that feel sourced from advertisements and pop culture. ‘Figuration looks great on Instagram,’ she says.” Read the complete article here.
The University of California Los Angeles announced the appointment of Anna Sew Hoy to Assistant Professor in the ceramics area. “‘It is wonderful news that Anna Sew Hoy will be joining our faculty,’ said Department of Art Professor Russell Ferguson. ‘She is one of the most acclaimed and influential artists of her generation in Los Angeles. Our students have so much to learn from her.'” Read the complete announcement here.
Artforum notes, “Featuring nearly one hundred objects by roughly fifty artists, this exhibition—the first comprehensive scholarly survey of the P&D tendency—takes an expansive view of its subject, contextualizing signal works by canonical practitioners such as Joyce Kozloff, Kim MacConnel, and Miriam Schapiro, among others, alongside contemporaneous investigations by figures not typically seen in these environs, including Emma Amos and Billy Al Bengston.” Read the full article here.
LA Weekly names VSF in “Best Of L.A. Arts: The Galleries Of The Hollywood Media District.” Read the complete feature here.
Artnet News interviews Esther Kim Varet in, “We Asked Three of the Art World’s Most Plugged-In Young Women What They Can’t Wait to See (and Read) This Fall.” Read the complete interview here.
Artnet News notes Liz Magic Laser’s participation in the upcoming Peforma Biennial.”We are thrilled to be working with artists from more than a dozen different parts of the world, and to be introduced to the cultural and political references that make his or her individual work so essential and compelling to our understanding of the times in which we live.” Read the complete article here.
Bracken’s current solo exhibition at the New Museum, darling divined, is discussed in depth in T, The New York Times Style Magazine. “He also considers cloth the ideal medium in which to tell his stories, which are so woven through with symbolism that they’re rarely as straightforward as they may at first seem.” Read the complete article here.
Bracken’s current solo exhibition, darling divined, is extended through September 15, 2019. Full details about the exhibition are here.
i-D reviews Liz Magic Laser’s In Real Life, part of Real Work at the Foundation for Art and Creative Technology, Liverpool. Notes i-D, “Essentially a reality TV show, the exhibition takes the form of five films which follow creative workers as they navigate the world of the gig economy.” Read the complete review here.
The Harrisons’ current exhibition Counter Extinction Work is featured on Contemporary Art Daily. See the complete feature here.
Linhares is included in Eye Contact at the Pennsylvania Academy of Fine Arts: “contemporary figurative paintings from PAFA’s permanent collection explore the concept of gaze, and are arranged in this installation according to the subject’s gaze.” Read more about the exhibition here.
Linhares is included in the upcoming exhibition Landscape without Boundaries: Selections from the Jan Shrem and Maria Manetti Shrem Museum of Art at the University of California Davis. The exhibit addresses, “How painting, sculpture, and drawing addressed and reflected the Northern California landscape in the years after World War II is revealed through significant works by artists including Robert Arneson, Joan Brown, Bruce Conner, Gladys Nilsson, Martin Ramirez, and Wayne Thiebaud.” More details here.
Newton Harrison will give the keynote speech at the first Benátky Biennale, Benátky nad Jizerou, Czech Republic, on June 28, 2019. “The framework of the first Benátky biennale project is triggered by an urgent feeling of emergency and necessity to alter our current relations towards the environment.” Read the complete details here.
Culture Type discusses Brackens’ practice in depth and notes his recent representation by Jack Shainman Gallery. “NEW GALLERY REPRESENTATION for up-and-coming artists often follows a succession of critical recognition—high-profile awards, acquisitions, and exhibitions. Diedrick Brackens has achieved all of that and then some over the past year.” Read the full article here.
Billy Al Bengston & Ed Ruscha: Reunited at VSF Seoul is covered by Public Art. Read the complete feature here.
Declan Long reviews French at Mother’s Tankstation Dublin for Artforum International: “Forged over decades in close, sensitive contact with particular places—and in relative independence from the mainstream West Coast art world—Homer French’s art offers, now, a uniquely insightful account of the marginal spaces of American modernity, and of humanity’s ambiguous presence within them.” Read the complete review here.
Brackens’ first institutional solo show in New York, now open at the New Museum, is noted by Artnews: “Diedrick Brackens, who recently won Artadia’s inaugural Marciano Artadia Award and the Studio Museum’s $50,000 Wein Prize, will unveil a new installation of woven textiles in the New Museum’s lobby.” Read the full article here.
Edition Cantz has just published Billy Al Bengston: Paintings & Watercolors, “the first monograph on the Californian Pop Artist since more than thirty years with a representative selection of works from 1957 to 2014.” More information is available here.
Carolina Miranda notes The Harrisons’ current exhibition, Counter Extinction Work, in the Los Angeles Times “Datebook.” Writes Miranda, “This exhibition brings together works produced from 1970 to the present, works that dwell on extinction — and ways of countering it.” Read the complete detail here.
Goethe in the Skyways presents User Friendly, a performative workshop and audio installation designed by Liz Magic Laser, Cori Kresge and Hanna Novak: “User Friendly draws on the artists’ research into existent practices of ‘biohacking’, ecstatic movement, and mind-expanding corporate retreats.” Complete details here.
The Art Newspaper interviews Esther Kim Varet in “Confessions of a dealer: Esther Kim Varet.” Read the complete interview here.
Anna Sew Hoy’s exhibition The Wettest Letter is reviewed by Jennifer S. Li for Art in America. Says Li, “Sew Hoy’s work puts forth a vision for humanity and the spaces we inhabit in which there are no oppressive categories, no definite confines, and borders remain porous.” Read the complete review here.
The New York Times notes Diedrick Brackens at VSF’s Frieze New York 2019 booth in their fair round-up: “Nearby, Diedrick Brackens’s colorful tapestries at Various Small Fires, which has galleries in Los Angeles and Seoul, South Korea, join traditional materials with references to figures like African-American cowboys.” Read the complete article here.
Hyperalleric notes the Brooklyn Museum’s acquisition of the Diedrick Brackens work when no softness came in their roundup of recent, notable acquisitions. Read the full article here.
Galerie magazine notes Diedrick Brackens work at VSF’s Frieze New York 2019 booth: “Diedrick Brackens is shaking up the art world with his stunning contemporary tapestries, painstakingly crafted with a single loom in his LA studio.” Read the complete article here.
Artsy names VSF’s at Frieze New York one of “The 10 Best Booths at Frieze New York”: “With a single loom, he merges European, African, and American weaving techniques to create expansive, contemporary narratives about man and horse. The works are self-portraits, in a sense, as the artist often models his figures off of himself.” Read the complete article here.
Anna Sew Hoy is interviewed in BOMB magazine: “What if we were to let Sew Hoy’s work be, to not subject it to our paranoia? This would not necessarily be post- or anti-critical or art-for-art’s-sake, but rather an earnest and gentle attempt to allow bodies, objects, and words to exist for us and for themselves.” Read the complete interview here.
Diedrick Brackens’ current exhibition unholy ghosts is featured on Contemporary Art Daily. See the complete feature here.
Jessie Homer French’s concurrent London and Dublin exhibitions are reviewed in Frieze. Says reviewer Jenna Tipton, “There’s a timeless quality to these works: the exhibition at mother’s tankstation presents paintings made over the past 40 years, whose recurring style and subject matter demonstrate the artist’s persistent patience in exploring the world around her.” Read the complete review here.
Noted writer and activist Lucy Lippard will give the first annual Helen Mayer Harrison Memorial Lecture in honor of environmental art pioneer and UC Santa Cruz Professor Emerita Helen Mayer Harrison. The lecture will take place April 23rd in the Horticulture Building at the UC Santa Cruz Arboretum. Read the complete details here.
Robin F. Williams’ work is included in Post Analog Studio opening at The Hole, New York, NY on April 20th. The exhibit examines digital media’s impact on art making and focuses on digitally-influenced painting to look more closely at digital video and sculpture with specific interest in CAD rendering and 3D modeling. Read more about the exhibit here.
Diedrick Brackens’ current exhibition unholy ghosts is noted in Hyperallergic‘s “Your Concise Los Angeles Art Guide for Spring 2019.” “Fusing African, European, and American textile traditions, he uses this labor-intensive medium to depict narrative scenes that capture the complexity of African American identity.” Read the complete article here.
Leah Ollman reviews Anna Sew Hoy’s current exhibition, The Wettest Letter, for the Los Angeles Times. Ollman writes, “Sew Hoy takes what might be assumed to be binary oppositions — protection and exposure, psyche and skin, mind and material — and crafts them into convincing hybrids. There is much to smile at here, and plenty that swirls, wonderfully unresolved, long after in memory.” Read the complete review here.
Robin F. Williams is covered in S Magazine. “Her work is largely inspired by her love–hate relationship with 1970s magazine advertising, the work of old masters like Manet and Balthus, and the inevitability of the male gaze.” Read the complete article here.
Anna Sew Hoy’s current exhibition, The Wettest Letter, is noted in Cultured’s round-up of best Spring 2019 exhibits in Los Angeles. Says writer Vivian Chui, “There is an elegant tactility in the way that Sew Hoy shapes imperfect curvatures, and accentuates them with tattered pieces of fabrics commonly associated with human clothing: lace, denim, silk, suede, deconstructed T-shirts.” Read the whole article here.
Artforum notes VSF’s expansion into Seoul: “The new space’s inaugural exhibition is a two-person show with new works by Billy Al Bengston and Ed Ruscha, marking Bengston’s first gallery presentation in South Korea, and Ruscha’s first in the country since 1999.” Read the full news item here.
Robin F. Williams is interviewed on Art of Choice about her work and upcoming exhibition at VSF. Says Williams, “The show will feature paintings of mostly women and a few men. The women are either in time sensitive situations or unsustainable poses, expected to wait forever. They are looking out, asking the viewer to justify this mandate.” Read the complete interview here.
Bracken’s work is included in In Quest of Beauty: Assemblage in the Ahmanson Collection opening March 30, 2019 at the Ahmanson Gallery, Irvine, CA. “Assemblage has its roots in a desire for assembling objects in a stream of consciousness. As a highly flexible art form, assemblage is still employed by many contemporary practitioners today… Particularly within the realm of contemporary textile art, artists consciously use repurposed fabric for its embedded history and as a way to address environmental concerns.” Read the full details here.
The Institute of Fine Arts at NYU Great Hall Exhibition Series presents Authorized Personnel, a large-scale installation by Amy Yao. “The installation references the destruction that ensues from the rampant redevelopment of neighborhoods historically occupied by marginalized communities.” The exhibition runs March 25 – September 15, 2019. Read the full details here.
LA Times “Datebook” notes VSF’s current exhibitions: Anna Sew Hoy’s The Wettest Letter and Diedrick Brackens’ unholy ghosts. Read writer Carolina Miranda’s full comments here.
The NY Times’ “Critic’s Notebook” notes VSF’s latest exhibition and Seoul expansion in its coverage of the LA art scene. “Over half a century, L.A. has nursed its own practice of artistic experimentation, steered by the best art education programs in the country, with its own traditions of airy minimalism, wily conceptual projects, abject installations, and politically engaged performance and public art.” Read the full article here.
Liz Magic Laser is included in Psyche and Politics at Kunsthalle Baden-Baden, Germany: “The exhibition presents the positions of ten international artists who deal with the perception of the self and its transformation into the external world.” The exhibit is open March 16–June 16, 2019. Read more here.
Jessie Homer French’s exhibition Paintings 1978-2018 in Dublin is reviewed by the Irish Independent: “Her work, she agrees, is political but not in a drum-banging way, believing that ‘it’s better to sidle up to something sideways, so people can see for themselves.'” Read the complete review here.
LA Times covers Billy Al Bengston and Ed Ruscha’s upcoming, inaugural exhibition at VSF Seoul. Notes the Times, “‘At this point in their lives, Ed and Billy don’t do anything unless it gives them pleasure,’ adds Varet. ‘I promised them that this show will be driven by the pleasure principle. It will be driven by us looking back on their friendship over the past fifty years and really celebrating that.'” Read the full article and interview here.
Vogue covers Amy Yao’s contribution to the 2019 Honolulu Biennial: “In one piece, Nuanced outsider, Yao considers the problem of ocean pollution with a striking visual: a bunch of moldering teddy bears. With help from the team behind Algenesis Materials—a developer of sustainable biopolymers—she fashioned bears from entirely biodegradable, algae-based foam. Sat upon a dirt pile, the bears will gently decompose over the course of the two-month exhibition.” Read the full write-up here.
Liz Magic Laser’s Handle/Poignée is featured in Performatik 2019, Beursschouwburg Brussel, Belgium: “It’s Liz Magic Laser’s starting point for a colourful instructional video for a political dance therapy, guiding you through four sequences of therapeutic movements.” The screening will run from March 13–16, 2019. Read more about the exhibition here.
The New York Times notes Linhares’ booth at the Art Show: “Judith Linhares, who uses thick, glowing lines to depict titanic female figures…present a muscular and unapologetic femininity that feels not only welcome right now but necessary.” Read the complete article here.
Linhares’ current exhibition at P.P.O.W., Hearts on Fire, is reviewed by John Yau for Hyperallergic. Says Yau, “Unlike the cartoonists who influenced her, Linhares doesn’t feel the need to spell it all out, make clear what everything is. Her works follow an internal logic and sense of randomness that far outpaces anything found in cartoons…” Read the whole review here.
Artadia announces Diedrick Brackens as one of six 2019 Los Angeles Award finalists. Other finalist are Eddie Aparicio, Carmen Argote, Ron Athey, Gelare Khoshgozaran, and Jennifer Moon. Two artists will receive $10,000 apiece, and one will receive $25,000 through a new partnership with the Marciano Art Foundation. Read the full announcement here.
New Museum announces Brackens’ upcoming exhibit, “For the artist’s first institutional solo exhibition in New York, Brackens will present a new installation of weavings in the New Museum’s Lobby Gallery.” The exhibition is curated by Margot Nortonhow and opens June 4th, 2019. Read the full details here.
Artnet News covers VSF’s expansion in Seoul and notes the April 2019 opening exhibition with Billy Al Bengston and Ed Ruscha. Says Artnet News, “…the venture is uniquely personal to VSF proprietor Esther Kim Varet, a bilingual first-generation Korean-American who has maintained a strong relationship to her ancestral home.” Read the full article here.
Linhares’ current exhibition at P.P.O.W., Hearts on Fire, is reviewed by Clayton Press for Forbes. Notes Press, “Think of a visual brew of James Ensor, Vincent van Gogh, Philip Guston, Ernst Ludwig Kirchner, Willem de Kooning, Edvard Munch, Alice Neel, Henri Rousseau and…everyday Sunday painters, infused with radiant Southern California color, sometimes mixed with the gloom of Northern California fog.” Read the whole review here.
Nikki S. Lee’s current exhibition, Parts and Scenes, is noted in Artnews‘ “Pictures at an Exhibition.” See the whole feature here.
In an interview with Yuz Museum founder Budi Tek, Nathanson’s Project Room exhibit is noted. Says Tek, “Those artists are actually selected by me—either because I collect them, or maybe I loved it when I visited their studio, or saw their gallery show and said, ‘I’ll invite this artist to have a show in our Project Room, with the one condition that I want to collect this artist’s work, because I love him or her.'” Read the full interview here.
Liz Magic Laser and Cori Kresge present User Friendly at Elevation 1049, Gstaad, Switzerland: “In an exclusive guided experience, performer and healing practitioner Cori Kresge lead participants through a dynamic exploration of breath, sight and touch to radically reimagine our relationship to the screen.” Read more about the performance here.
Amy Yao is included in the first season of the United Brothers’ Fukushima Android Series Franchise, premiering at Freedman Fitzpatrick, Paris on January 19th, 2019. The series revolves around the topics of radioactivity and energy, but stretches them further to the question of the potential energy and power of art. The full details can be found here.
Liz Magic Laser’s Thought Leader (2015) is featured in Parts of Speech at the Museum of Contemporary Art Chicago. “Parts of Speech is by Public Fiction (Lauren Mackler) with Triple Canopy. The Commons Artist Project is organized by January Parkos Arnall, Curator of Public Programs, with Christy LeMaster, Assistant Curator of Public Programs.” The exhibition opens January 22 and runs through June 9, 2019. Read more about the exhibit here.
Billy Al Bengston is feature in West by Midwest at the Museum of Contemporary Art Chicago. The exhibit, “illuminates the ways that contemporary art practices spread and develop by tracing the intersecting lives of artists who have migrated from the American Midwest to the West Coast since the mid-20th century” and, “reveals social, political, artistic, and intellectual networks of artists and their shared experiences of making work and making a life.” The exhibition runs through January 27, 2019. Read the more here.
up the river down the tide is a Critic’s Pick in Artforum. Writer Lucas Matheson notes, “This is an exhibition concerned with ways of seeing the present through the lens of the marketed future. For all its techno-sheen, it plunges directly into the mainstream of art history, probing the visual and physical features of products to ask how a period understands itself and its direction.” Read the full review here.
Liz Magic Laser’s contribution to Group Therapy at the Fry Art Museum is noted in Art in America. Reviewer Emily Pothast says, “The psychological basis of political commitment is underscored further by Liz Magic Laser’s installation Primal Speech (2016), which revisits the primal therapy techniques popular in the 1970s.” Read the complete review here.
Billy Al Bengston’s work is included in Pop Minimalism Minimalist Pop presented by Gagosian and Jeffery Deitch at the Moore Building, Miami. The exhibit, “explores the intersections and legacies of two major American art movements of the 1960s—Pop art and Minimalism—and the ways in which features of Minimalism have been incorporated into a variety of contemporary art practices.” The exhibition opens December 4, 2018; read the full details here.
University of California Irvine will host “An Artist’s Glimpse: Billy Al Bengston” at the UCI Institute and Museum for California Art, November 13, 2018. The event will allow, “new insight(s) into the exhibition and the history of California art with a series of special guest speakers.” Complete details about the talk are here.
The Harrisons are included in the Taipei Biennial 2018 Post Nature—A Musuem as an Ecosystem, curated by Mali Wu and Francesco Manacorda. This iteration of the biennial is conceived as a, “platform for multi-disciplinary discussions of ecology, and to shed light on environmental issues through international artists’ perspectives.” The exhibition opens November 17, 2018. Read the complete details here.
Julie Curtiss is interviewed by Maria Brito for Cultured Magazine. Brito notes that Curtiss, “…also deals with nails, the female figure and her fascination with the spectacle of American women who transform and adorn their faces and bodies through cosmetic treatments, exaggerated makeup and plastic surgery.” Watch the video interview here.
Liz Magic Laser is included in An Unstoppable Force at the Cobra Museum of Modern Art, Amstelveen, the Netherlands. The exhibition, “explores the creativity, spontaneity and purity of children, and asks critical questions about the surrounding myths.” The exhibit is on view October 6, 2018 – February 17, 2019. Read the complete details here.
Williams’ contribution to VSF’s Frieze London 2018 booth is noted by Elephant. “… it’s more about the feeling you get when you fish hair out of the plughole than when you watch a Pantene advert—and that’s exactly the kind of thing we want from our contemporary art.” Read the full article here.
Anna Sew Hoy is featured in Contemporary Art Review LA‘s ongoing “Exquisite L.A.” “Exquisite L.A. is a blueprint of a collective shape. Drawing on the history of the Surrealist Exquisite Corpse, we wish to create a communal portrait of the current Los Angeles art world.” See the complete feature here.
Anna Sew Hoy is included in the upcoming exhibition Here at the Los Angeles Municipal Art Gallery. Here is, “a group exhibition examining the shifting physical and geographical boundaries, along with conceptual and imagined boundaries and boundlessness, in and around Los Angeles.” The exhibit opens October 21, 2018. Full details can be found here.
Joshua Nathanson’s current exhibition An Idea Because They Ate It is featured on Art Viewer. See the complete feature here.
The Harrisons’ Future Garden for the Central Coast of California is reviewed by Jonathon Keats in Forbes. Says Keats, “The global scale of change sought by the Harrisons makes the monumental land art of Michael Heizer and Robert Smithson look trifling by comparison. What distinguishes the Harrisons’ work even more is their idea of modifying the landscape functionally rather than aesthetically.” Read the complete review here.
Liz Magic Laser is included in Under Pressure – On Forms of Authority and Decision-Making Power at Free Space Q21, Vienna, Austria. The exhibition examines, “authoritarian tendencies that have been increasingly apparent in recent times and which are manifesting more and more in political and economic fields and around AI development.” The exhibit is on view September 27 – November 25, 2018. Read the complete details here.
Joshua Nathanson is interviewed on Art of Choice about his exhibition at VSF, An Idea Because They Ate It. Nathanson says, “I try to reflect on my way of seeing the world and to find small ways of seeing it differently. I hope that people will look at the work and think ‘wild, yeah that’s sort of how I see it too, I hadn’t really thought of it like that before.’ And hopefully through this experience they feel a bit more alive or at home in the world.” Read the complete interview here.
Amy Yao is included in the exhibition Fan Death in Bedroom at Miss Ruthless International, Hong Kong. The exhibition runs from September 16 – November 11, 2018. Full details can be found here.
In issue 15 of GARAGE magazine, Paige Katherine Bradley contextualizes Yao’s work within the history of feminist and abstract works from the late 20th-century: “The impurity of post-minimalism, its step towards extra, gets reincarnated into a contemporary art that roots around the job sites of industrial overproduction and goes home to get soaked in commercial aesthetics after reading up on its art history.” Read the article here.
Liz Magic Laser’s Handle/Poignée will be presented by Confort Moderne, where it was originally filmed: “…Liz Magic Laser offers an analysis of the types of leaders extended to a political cosmology in order to apprehend and rehabilitate relations between liberals and conservatives.” The exhibition opens September 15th, 2018. Read more about it here.
The Harrisons’ Future Garden is on view now at the UCSC Arboretum: “The Harrisons worked with scientists at UC Santa Cruz and botanists at the Arboretum, along with other artists, scientists, and visionaries, to create trial gardens within the domes in which native plant species are subjected to the temperatures and water conditions that scientists see for the region in the near future.” Read more about the project here.
Emily Nimptsch reviews David Leggett and Ryan Richey’s Mixed Emotions for Riot Material: “By laughing at what is traditionally taboo, both of these painters diffuse the tension and allow the viewer to investigate these topics with a renewed sense of clarity and understanding.” Read the full review here.
Newton Harrison returns to Aberdeenshire in September to continue this visionary project. His visit will include an exhibition, presentation/conversation and ceilidh at the Barn, as well as an event in the Scottish Parliament in Edinburgh. “Work with the Harrison Studio and the Centre for the Study of the Force Majeure forms the core of the Barn’s Art & Ecology programme for 2017-21, and will engage with environmental agencies, farming, fishing, forestry, government, academia, local communities and the creative sector.” Full details about the project here.
Judith Linhares’ work is included in the exhibition Hope and Hazard: A Comedy of Eros at The Hall Art Foundation. The exhibit is curated by artist Eric Fischl. “Approximately sixty-five artists are represented in Hope and Hazard: A Comedy of Eros, which includes over eighty paintings, photographs, works on paper and sculptures selected by Fischl from the Hall and Hall Art Foundation collections.” Read about the exhibition here.
Liz Magic Laser’s collaboration with Art 21 is featured on artnet News. “New York-based artist Liz Magic Laser…watches political speeches with the sound turned off. It throws into focus the elegant and highly precise choreography of oration.” Read the full article here.
Amy Yao is included in Eckhaus Latta: Possessed at the Whitney Museum of American Art. The exhibition, “highlights the work of Eckhaus Latta, a compelling young design team who belongs to a new generation of designers operating at the intersection of fashion and contemporary art.” Eckhaus Latta: Possessed is organized by Christopher Y. Lew, Nancy and Fred Poses Associate Curator, and Lauri London Freedman, head of product development. The exhibit opens August 3rd, 2018, and is on view through October 8th, 2018. More details here.
The New Yorker‘s Andrea K. Scott notes Liz Magic Laser’s contribution to Evidence, curated by Josh Kline at Metro Pictures. The exhibition is open through July 27, 2018. Read the full review here.
Julie Curtiss is included in the upcoming exhibition, Syphilis, curated by Adam Cohen and Anton Kern, at Rental Gallery. Syphilis runs from July 28 – August 22, 2018. More details about the exhibition here.
Julie Curtiss’ first solo exhibition with VSF Altered States is featured on Contemporary Art Daily.
See the complete feature here.
Will Heinrich notes Liz Magic Laser’s work, Primal Speech, included in Evidence curated by Josh Kline at Metro Pictures. Heinrich says he hasn’t, “seen anyone capture our current state of disconnect better…” Evidence is up now through July 27. Read the full review here.
Julie Curtiss is interviewed on Art of Choice. Curtiss discusses her solo exhibition at VSF, Altered States, her painting practice, and perception of changes in the art market. She says, “I am interested in inter-species relationship: the way we project onto animals, how closely we interact with them – we pet them and we feed off them. They are a constant reminder that we are animals ourselves.” Read the entire interview here.
Julie Curtiss is featured in the upcoming exhibition, Predatory behavior, at T239 in Rome. Also included in exhibit are Petrit Halilaj, Lin May Saeed, Virginia Russolo, Lorenzo Scotto di Luzio, and Sophie Vallance. The show will be on view from June 22 – July 28, 2018. More about the exhibition here.
Julie Curtiss’ exhibition, Altered States, was reviewed by Leah Ollman in the Los Angeles Times. “…Curtis delivers, with panache,” Ollman says, “She turns even the most ho-hum of domestic subjects — a steaming ham shank on a platter — into a psychologically barbed proposition…” The complete review can be found here.
SEED, curated by Yvonne Force, brings together a group of contemporary artists who explore the complexity and resonance of a long association between the natural world, sexuality and fertility, and spirituality and mysticism. Participating artists include Theodora Allen, Morgan Blair, Sascha Braunig, Cecily Brown, Ginny Casey, Jessica Craig-Martin, Lacey Dorn, Rachel Feinstein, Vanessa German, Loie Hollowell, Shara Hughes, Baseera Khan, Sanam Khatibi, Kate Klingbeil, Hein Koh, Emily Marie Miller, Sophia Narrett, Katherina Olschbaur, Yoko Ono, Ebony G. Patterson, Sarah Peters, Ruby Sky Stiler, Claire Tabouret, Ambera Wellmann, Summer Wheat, Robin F. Williams, HieJin Yoo, Lisa Yuskavage, and Sarah Zapata. More on the exhibition here.
At the Lobby and Groundfloor Galleries at the Centre Pompidou, Liz Magic Laser presents her immersive installation Handle / Poignée consisting of a performance, a film and workshops that propose a political cosmology for understanding and rehabilitating relations between liberals and conservatives. Opening performances June 7, 4–9pm. More information about the exhibition here.
Liz Magic Laser is included in Metro Pictures’ Evidence, a group exhibition organized by Josh Kline. Featuring the work of Paul Chan, Oto Gillen, Josh Kline, Gloria Maximo, Liz Magic Laser, Paul Pfeiffer, and Allyson Vieira, Evidence investigates the nature of documentation and reality in post-truth America and their potential for political manipulation. More information about the exhibition here.
Liz Magic Laser is included in the exhibition First Person Plural: Empathy, Intimacy, Irony and Anger at BAK, basis voor actuele kunst, Utrecht. The exhibition features works by Doug Ashford, Sven Augustijnen, Tala Madani, Liz Magic Laser, Eva and Franco Mattes, Otobong Nkanga, Sarah Vanhee, and Sepake Angiama. More information on the exhibition here.
Billy Al Bengston’s work is included in Endless Summer, a group exhibition at the Museum of Contemporary Art Chicago. Taking its title from the classic Bruce Brown surf movie from 1966, “Endless Summer,” it offers a snapshot of the seductive minimalism that emerged in Los Angeles in the 1960s and features work by Billy Al Bengston, Craig Kauffman, Edward Ruscha, John McCracken, Judy Chicago, Larry Bell, Peter Alexander, and Robert Irwin. Endless Summer is on view from January 27 – August 5, 2018. More information can be found here.
“HELEN MAYER AND NEWTON HARRISON, often referred to simply as ‘the Harrisons,’ became known for their ecological systems art, which first emerged in the early ’70s. Helen is no more on this earth she loved, but we can imagine her serenity at contributing to its energies on another level.” Read the full obituary here.
Helen Mayer Harrison, half of the husband-and-wife team known as the Harrisons, pioneers in the eco-art movement whose works blended elements of art, biology, environmentalism and more, died on March 24 in Santa Cruz, Calif. She was 90. Full obituary here.
Joshua Nathanson’s work will be included in L.A. Dreams at CFHILL Art Space, April 13 — May 19, 2018. The exhibition includes six artists born in the 70s and 80s who have all contributed to the art world in unique and significant ways through their various lifestyles and artistic practices. L.A. Dreams is curated by Shanghai and LA based curator Melanie Lum. More information can be found here.
Joshua Nathanson’s first solo exhibition in China, High Flow, opens February 3rd at Yuz Museum. Drawn from the artist’s residency in Shanghai last year, the new body of works will include five large-scaled paintings, a hand-painted mural, a video animation, and a towering 3D-designed sculpture. Read about the exhibition here.
Judith Linhares’ exhibition The Way She Goes to Town was recently reviewed by Sharon Mizota in the Los Angeles Times. Mizota describes Linhares’ “extraterrestrial” universe as one where, “long-limbed, pale-skinned women are surrounded by food and drink and live in landscapes that pulse with color,” and how Linhares’ work, “shines with the confidence of a woman who has been painting for five decades.” The complete review can be found here.
Judith Linhares’ exhibition The Way She Goes to Town was featured on Artillery Magazine as a “Pick of the Week” by reviewer Annabel Osberg. “Instead of posing,” writes Osberg, “Linhares’ impish women picnic, recline, climb trees, dig, roll logs, and play with tigers inside alien dreamscapes that they seem to have commandeered.” The complete article can be found here.
“Amy Yao on The Politics of Waste” is the most recent episode of SI: Visions, an online documentary series produced by the Swiss Institute, New York. In this episode Amy Yao explores the histories and challenges facing Long Beach, California and the way these concerns influence her art practice. A link to the video can be found here.
Anna Sew Hoy’s work will be included in All Hands on Deck, a group exhibition curated by Harry Dodge at the Ben Maltz Gallery at Otis College of Art and Design. The exhibition features artists who, “re-configure and conjure vital forms through material investigations and object scale.” The show will be on view from January 21 – April 22, 2018. More information on can be found here.
Hecate is reviewed by Ezrha Jean Black for Artillery Magazine. Says Black, “As we’re accustomed to celebrations of light in the darkest days of the year – and even the darkness of our auto-destructive civilization is eclipsed by the darkest days our planet has known since the demise of the dinosaurs – I’m hard pressed to think of a better place to usher in the solstice than this show of dark-bright lights.” Read the full review here.
Hecate, curated by Sara Hantman, was featured in LA Weekly as one of the “5 Free Art Shows to See in L.A. This Week.” Writer Catherine Wagley points to the way many of the “best works in the exhibit have their own internal logic,” including the surreal worlds with Anna Glantz’s Traveling Horse (2012) and the inviting forms that make up Anna Sew Hoy’s Circuit (2007). The complete article can be found here.
Art Viewer recently featured documentation of Joshua Nathanson’s solo exhibition Forest Lawn, which is currently on view at Downs and Ross in New York. The article can be found here. Forest Lawn is on view through December 17.
Billy Al Bengston’s It is the Moon Doggie was recently featured in KCRW’s Art Talk. You can listen to the program here. It is the Moon Doggie is on view through Nov 4.
Chloe Wyma has selected Amy Yao’s exhibition Weeds of Indifference at 47 Canal, New York, as an Artforum “Critic’s Pick.” Wyma argues that Yao’s “gnomic, desublimated sculptures,” refuse the readymade’s, “historical and contemporary postures—the cynical/ironic critique of the commodity form, the mystification of materials,” instead reflecting on the way, “the new authentic is used to eradicate what came before.” Read the complete review here. The exhibition was also featured in Cura Magazine and Art Observed.
Liz Magic Laser was recently included in Experimenta Make Sense: International Triennial of Media Arts, a touring exhibition that explores the effects of technological hyper-development. The show was reviewed in the Sydney Morning Herald, which can be found here.
Billy Al Bengston’s practice and legacy are the subject of a feature in LALA Magazine by Michael Slenske. The article contends that Bengston’s studio can be thought of as a long-running work in of itself. Ed Ruscha says that Billy Al was, “always remodeling, adding this or that, moving a wall three inches, building lofts and half-lofts, partitioning blind spots—no part of that building escaped his face lifts. And, like the storyline, Billy lives on to do more sawing and hammering. It is in his eternal bloodline.” The complete feature can be found here.
Amir Nikravan’s exhibition Rational Design at Nathalie Karg, New York was featured in a review in The Brooklyn Rail. “They seem to exist in a temporary, tidy equilibrium, which doesn’t collapse upon circling the objects because they are kept separate and appear seductive approached either way,” says writer Ian Cofre, “there is no wrong way to look at these works.” The complete article can be found here.
Various Small Fires’ presentation of The Harrisons received the Stand Prize in the Focus section of Frieze London by a jury comprised of Richard Parry (Director, Glasgow International), Christopher Lew (Curator, The Whitney Museum) and Hanne Mugaas (Director, Kunsthalle Stavanger). The jury felt the presentation, “stood out because it is both timely and conceptual, which is refreshing to see within an art fair context.” Read the complete article here.
Amir Nikravan’s solo exhibition Rational Design was featured in Sight Unseen as “This Week’s Must-See Exhibition”. Writer Jill Singer points to Nikravan’s interest in collapsing the boundaries between sculpture and painting: “His latest works take as their starting point a decorative, lozenge-shaped, architectural element from an Edward Durell Stone building in Pasadena; Nikravan divides the shape into modular quadrants, shuffles them, and reassembles them into more abstract works.” Read the complete article here.
Liz Magic Laser’s I Feel Your Pain (2011) will be featured in “Archive: Commissions from Performa’s Archives,” an exhibition at Whitechapel Gallery, London that draws from Performa’s archive of historical and newly commissioned cross-disciplinary events involving dance, music, film, and architecture. More information can be found here.
Newton Harrison will be a visiting artist at the MIT Department of Urban Studies and Planning this fall. Harrison, along with Professor Anne Whiston Spirn, will work with students on “A New River for Philadelphia,” a project that investigates how to re-create a river that was buried by a sewer in 1880. Throughout his residency, Harrison will meet with faculty and students and give public presentations tracing the evolution of the Ecological Art movement that he and Helen Mayer Harrison pioneered to current concerns and strategies for environmental research and design.
Anna Sew Hoy will have a solo presentation at MOCA as part of storefront, a curatorial project that invites artists and artist collectives to inhabit the anteroom space on the plaza level of the museum. For this iteration of storefront, Artist Curated Projects (ACP) will present a exhibition based on Sew Hoy’s Psychic Body Grotto, her public sculpture recently installed at Los Angeles State Historic Park in Chinatown. The exhibition runs from Oct 6 – Dec 31, 2017. More information can be found here.
Hurts To Laugh, curated by Sarah Lehrer-Graiwer, was recently featured in Blouin ArtInfo. The article points to the way the exhibition’s theme, “balances precariously between pity and absurd moments of fun.” Read the complete article here.
Sea Sick in Paradise, curated by Amy Yao, has been featured in a series of articles on KCET Artbound as part of UCLA’s Laboratory for Environmental Narrative Strategies (LENS). The articles use some of the themes in Sea Sick in Paradise to explore surf culture’s evolution and its connection to the issues of climate change and gentrification. The articles can be found here and here.
Hurts To Laugh was included in the LA Weekly as one of the “5 Free Art Shows to See in LA This Week”. The complete article can be found here. Hurts To Laugh is on view through August 19, 2017.
Andy Campbell has selected Hurts To Laugh, curated by Sarah Lehrer-Graiwer, as an Artforum “Critic’s Pick”. The works in this show, “attempt to meet this meshuggeneh political moment with a dose of caustic humor that acknowledges, rather than ameliorates, bad feelings,” writes Campbell. Read the complete review here.
Sea Sick in Paradise, an exhibition curated by Amy Yao, was featured by Jordan Reife in the LA Weekly. In the article, Yao discusses her interest in offering a broader view of surf culture, and speaks to some of the challenges facing this community. “You can think about this in terms of gentrification. It’s an issue we deal with in Los Angeles. Most coastal communities have gentrified in an intense way.” Read the complete article here.
Newton Harrison will be giving a lecture entitled “Topography of Terror to the Force Majeure” at Daad Galerie in Berlin on July 20, 2017. He’ll discuss their proposal for the Typography of Terror museum— a museum on the former site of the Gestapo headquarters. Harrison will discuss the influence of this experience on subsequent projects and its role in the formation of the Center for the Study of the Force Majeure studio. Additionally, Harrison will present the multi-part project Peninsula Europe, which proposes alternative forestry methods as a means to mitigate the risk of drought in Europe. More information can be found here.
Anna Sew Hoy, as part of the Hammer Museum’s “Artist Walk-through” series, will be leading a discussion of specific works in the exhibition Marisa Merz: The Sky Is a Great Space. The talk will take place on Tuesday July 11, 2017 at 6:00 PM. More information can be found here.
Sea Sick in Paradise is a summer group exhibition curated by Amy Yao at the Depart Foundation Malibu Village. The show features 46 artists whose “work lies at the intersection of art and surfing”. The opening reception is on July 8, 2017 from 6 – 9 PM. More information can be found here.
Anna Sew Hoy’s work will be featured in The Brightsiders, an exhibition at the Verge Center for the Arts bringing together painting and sculpture from eighteen Los Angeles based artists. “All the works have a direct connection to modes of production used in the tradition of feminist art history, and a conversation related to identity, place, and the fragility or temporal nature of our bodies is put forth in light of this art historical dialogue.” Opening reception is Saturday, June 10, 2017, from 6pm – 9pm. More information can be found here.
A large survey of Billy Al Bengston’s work from 1952 to the present will be featured in California Dreaming: Ed Moses, Billy Al Bengston, & Ed Ruscha at the New Britain Museum of American Art. “Taken together, the works present a galaxy of creative possibility in painting: from the gestural abstraction and relentless experimentation of Ed Moses to the smooth, process-cool, pop objectification of Billy Al Bengston, and the cerebral and excruciatingly precise word-play and craftsmanship of Ed Ruscha.” The show is on view June 23 – October 15, 2017. More information can be found here.
Andrea Longacre-White’s exhibition New Sculptures 2016-17 was reviewed in Flash Art. In the review, writer Lauren Mackler points to how “Longacre-White’s sculptures, a series of knots tighten and complicate the individual pieces,” forming “[…] a chain reaction of micro-compositions that unfold as the viewer approaches the work.” Read the complete review here.
Jessie Homer French’s exhibition Food Chain was reviewed by Artillery Magazine. “French’s depictions of subjects that include fishery, graveyards, road-kill, trash-ridden trailers, and burning paintings.” says writer Annabel Osberg, “She often portrays these unappealingly somber actualities with such tenderness that they seem almost bucolic.” Read the complete review here.
e-flux covers Anna Sew Hoy’s Psychic Body Grotto. “Psychic Body Grotto is a room-sized bronze sculpture or “figurative gazebo” for meetings and rituals that have yet to be invented. The sculpture evokes the illusion of being organically generated from the earth, creating a locus for contemplation and relaxation amidst the buzzing cityscape of Los Angeles.”
The opening reception for Anna Sew Hoy’s Psychic Body Grotto was featured as one of the “5 Free Art Shows to See in L.A. This Week” in the LA Weekly. The sculpture officially opens to the public on Sunday, May 21, 2017, 4-7 p.m. This free public opening event will also include artist activations by Ethernet (Benjamin Boatright and Dylan Mira), Cirilo Domine & Tala Mateo, Corey Fogel, and LA Fog. Read the complete article here.
Joshua Nathanson’s Is It Late Yet?, 2015 is on view at the MCA Chicago as part of the exhibition Eternal Youth. More information can be found here.
Andrea Longacre-White’s exhibition New Sculptures 2016-17, was included in LA Weekly‘s “5 Art Shows to See in L.A. This Week.” “Dense assemblages of rings, metal fasteners, ropes and sleek 3-D prints of lilies — hang from the wall vertically, reaching to the floor,” says writer Catherine Wagley, “They look elegant but also pent up, as if they’re full of energy that wants to explode but can’t.” Read the complete article here.
Billy Al Bengston was profiled by filmmaker Dale Schierholt in the new documentary Art and the Zen of Motorcycle Racing (or Lunch with Billy Al), which will be screened at the Laguna Art Museum on Thursday, May 18th. More information can be found here.
Jessie Homer French’s exhibition Food Chain was reviewed by Los Angeles Times‘ art critic Christopher Knight. Knight writes, “French paints what she knows — or wants to know — rather than recording what she sees. Mostly, this selection of modest easel paintings, made between 1988 and 2014, is a rumination on mortality.” Read the complete review here.
Anna Sew Hoy spoke to Alex Teplitzky on the Creative Capital blog about her site-specific sculpture Psychic Body Grotto and her upcoming event at LA State Historic Park. Sew Hoy talks about how she “created Psychic Body Grotto in order to show another way. What if rooms were usually round? What if instead of a grid we used a hexagonal field like a beehive? How can we conceive of free space? How many other ways can our bodies move? The ground beneath the Grotto has been carved out to form a shallow bowl. Walk in and you are enclosed in curves both above and below you.” Read the full interview here.
Discours primal, a solo exhibition of recent work by Liz Magic Laser, opens May 13, 2017, at CAC Brétigny. Envisioned as a space that is “designed with the user in mind,” the show also includes several films and objects based on personal expression formats and using a range of personal development methods to engage in and critique popular forms of public speech. More information can be found here.
Anna Sew Hoy’s public sculpture Psychic Body Grotto, 2017 was featured in an article in the Los Angeles Times about the opening of the Los Angeles State Historic Park in Chinatown. Read the full article here.
Amir Nikravan is featured in the most recent issue of Out magazine. “I’m particularly interested in how modularity signals possibility and a sense of openness,” says Nikravan, “and in turn how that relates to queerness.” Read the full article here.
Joshua Nathanson’s booth was featured in Architectural Digest as one of the most exciting discoveries at Art Basel Hong Kong 2017. Read the full article here.
Liz Magic Laser’s installation Primal Speech, at the Juniper Artland in Edinburgh, was included in an article in The Scotsman. “I am expecting, that with the issues of Scottish independence being readdressed, that this will be a major theme at the workshops in Edinburgh. I think it could be interesting as there is less likely to be a left and right split.” says Magic Laser. Read the full article here.
The Harrisons’ current exhibition was reviewed by Jennifer Peterson for Contemporary Art Review Los Angeles. Peterson points to the way that the exhibition proposes, “a series of speculations and hypotheses,” and to how, “these works don’t exactly offer plans for immediate action but rather operate on the level of poesis: bringing forth new visions of human dwelling and ecological survival.” Read the full article here.
The Harrisons exhibition was reviewed in the Los Angeles Times. Says writer Leah Ollman, “If the work oscillates between the juicy lyricism of poetry and the dry demands of policy, the narrative drive of storytelling and the analytical precision of environmental science, it remains never less than relevant, earnest, necessary.” Read the full review here.
The Harrisons’ exhibition is an Artforum “Critic’s Pick.” “The Harrisons’ works are a message from the past about a possible version of the future,” writes Steve Kando. “They call out our existing systems as inadequate but seem sustained by the belief that we can find creative solutions to the problems we’ve made for ourselves.”
Read the full review here.
Liz Magic Laser is included in Hand and Mind, an exhibition and series of performances at Grand Union, Birmingham, UK, along with Alex Ceccheti, Hanne Lippard, and Jesper List Thomsen. The program runs from February 4 – March 25, 2017, with workshops by Laser on Saturday, February 18 and Saturday, March 11, 2017.
Artnet News has named Amy Yao one of the “10 Most Exciting Artists in the United States Today.” Writer Eileen Kinsella notes Yao’s booth at Art Basel Miami Beach 2016 and writes that, “the artist focuses on tragedies surrounding manufacturing, contamination and environmental racism.” Read the full article here
Lena Daly’s current exhibition, Night Bell, has been selected as an Artforum “Critic’s Pick.” “Charged up like batteries,” reviewer Sarah Lehrer-Graiwer writes, “Daly’s sculptures and projections suggest ineffable phenomena at the far reaches of human perception, but now, post national debacle, they also read as emergency night-lights and beacons—positing a model of how bodies might generate, radiate, and emit light from within an environment of extreme darkness.” Read the full review here.
The New York Times‘ T magazine has included VSF in “The Freshmen: Four Art Basel Miami First-Timers to Know.” In the article, writer Kat Herriman speaks about VSF’s booth at Art Basel Miami Beach 2016 featuring works by Amy Yao. 2016 marks VSF’s first Art Basel Miami Beach, and owner Esther Kim Varet notes that Yao, “is an artist who definitely deserves a spotlight moment.” Read the full article here.
Artsy has named VSF directors Esther Kim Varet and Sara Hantman part of “15 New Dealers to Watch at Art Basel Miami Beach.” Written by Demie Kim, the article speaks about VSF as, “pushing forward existing art-historical and contemporary discourse through socially engaged programming—from fresh, generationally relevant shows by an over 50 percent female roster to reinstalls of major exhibitions from the ’60s.” Read the full article here.
Mernet Larsen is published in the third issue of Vitamin, Vitamin P3: New Perspectives in Painting.
Purchase the book here.
Mernet Larsen is interviewed in the Fall 2016 issue of Contemporary Art Review Los Angeles. The article—”Interview With Mernet Larsen,” by Julie Weitz—features an ongoing dialogue about the role of art education, the influence of technology, and the past/present patriarchy. Mernet is quoted saying, “I do feel the world of digital imaging has awakened, or reawakened, an interest in meta-opticality, an infinite 3D grid, where the viewer is no longer located in a specific viewing position, as on is in conventional representation.”
Read the full article here.
Work by Anna Sew Hoy is included in LA Exuberance: New Gifts by Artists at the Los Angeles County Museum of Art. “Since LACMA’s establishment, living artists have played an instrumental role in understanding the museum’s encyclopedic collection through a contemporary lens. L.A. Exuberance: New Gifts by Artists features a selection of works given to the museum for its 50th anniversary, as part of an unprecedented campaign led by artist Catherine Opie.” The exhibition is on view at LACMA October 30, 2016 – April 2, 2017.
Anna Sew Hoy is profiled in the Fall 2016 issue of Cultured Magazine. The article, “I’m With Her,” by Michael Slenske and Talia Jaffe, features studio visits with five Los Angeles-based female artists. “In art school these days we talk about de-skilling.” Sew Hoy is quoted as saying, “But my sculpture is handmade so it’s made to be viewed in the round, and it’s definitely made with the person looking at it in mind—it anticipates that.”
Read the full article here.
Liz Magic Laser is showing her video work, Kiss and Cry, in Against the Romance of Community at The Swiss Institute, New York. “Against the Romance of Community is an exhibition of artworks focused on social dynamics, as well as the rhetoric, images and processes that organize or influence group behavior.” Reads a synopsis of the exhibition. The show is on view from September 22nd—October 23rd, 2016.
Emily Nimptsch has written about Jeff Zilm’s exhibition, Relics of the Epoch. “Like the hazy droning sound outside,” writes Nimpstch about Zilm’s work in the VSF sound corridor in relationship to the paintings in the exhibition, “these patterns might represent the fuzziness of memory or how we try to alter and erase parts of our histories.” Read the full review here.
Superficial Abyss, a solo exhibition of new work by Amy Yao, opens September 2 at VI, VII, Oslo, Norway. The exhibition will feature, “a series of silver gelatin photographs printed from a vintage collection of glass plates. Each photograph represents a prototype of a surface acoustic wave (SAW) device designed for US military technology in the 1970’s & 1980’s.” More information can be found here.
Ezhra Jean Black has written a thorough review of GRIND, curated by Joshua Nathanson, for Artillery Magazine. GRIND, writes Black, is a, “slow/fast, flashing/slashing, burn/brew of a show,” in which, “Nathanson seems to have filtered the dystopic urban/suburban mental and physical actuality of Los Angeles through a kind of anti-flâneur sensibility, or possibly a somewhat better conditioned flâneur of the gutter.” Read the full review here.
Christopher Knight has reviewed the group exhibition, GRIND, curated by Joshua Nathanson, in the Los Angeles Times. “‘Grind’, writes Knight, “is among the more discerning of the group exhibitions that proliferate in galleries during the summer.”
Read the full review here.
Eve Wood has written about the exhibition, GRIND, in Artillery Magazine. “Spanning a variety of materials from Vanessa Conte’s beautiful and elegant acrylic on canvas works to Asha Schechter’s oddly idiosyncratic inkjet prints on adhesive vinyl of everyday objects like light bulbs and rotten persimmons, the works in this exhibition are all of a piece, and leaves one wondering if our all too digital future might very well consume us completely.” Writes Wood. Read the full review here.
“Invisible Tattoo”, the exhibition by Anna Sew Hoy at Koenig & Clinton Gallery has been listed by Martha Schwendener of the New York Times as a gallery show to see in New York City. “Anna Sew Hoy,” she writes, “teases the boundaries between art and craft, melding different artistic lineages and evoking a sense of vision and form as a kind of mirage.”
Read the full review here.
The current exhibition by Anna Sew Hoy at Koenig & Clinton Gallery in New York has been reviewed by William S. Smith of Art in America. Referencing Lucy Lippard’s “Eccentric Abstraction” essay, and works by Eva Hesse and Barbara Hepworth, Smith writes, “Sew Hoy’s project takes such historical examples as guides to embodied experience in contemporary life.” Read the full review here.
Amir Nikravan is featured on Artnet News in relation to his participation in the exhibition “Boys and Girls Can Still Draw” at Nathalie Karg Gallery in New York. “The show highlights the age-old practice of drawing—an art form that is somewhat overlooked in the contemporary art world,” writes Henri Neuendorf. Read the full piece here.
Mernet Larsen is the subject of a new solo exhibition of works at the Museum of Fine Arts in St. Petersburg, Florida. The exhibition, Vantage Points, features works from the museum’s collection that showcase Larsen’s signature style and commitment to the practice of painting. Says Larsen, “I want to celebrate the complex internal conflict that vitalizes life, using the particular experiences of my life as building blocks, as a novelist might.” Vantage Points is on view from July 2nd – October 30th, 2016.
Anna Sew-Hoy will participate in “I Know What You Did This Summer,” a series of presentations and lectures by Los Angeles-area artists at Otis College of Art and Design. On July 7, 2016, from 7pm—9pm Anna Sew Hoy will participate in the program with fellow artist Jesse Stecklow. More information can be found here.
Anna Sew Hoy’s current exhibition at Koenig & Clinton Gallery in New York City has been selected as an Artforum “Critic’s Pick”. “Sew Hoy’s everyday materials summon up the body—deformed, fragile, marvelous—cleverly, even viscerally,” writes Yin Ho. Read the full review here.
Aria Dean has selected No! I am No Singular Instrument, curated by Samuel Kenswil, as an Artforum “Critic’s Pick.” “Indeterminacy seems to be on everyone’s mind,” writes Dean. “Here, such distinctions as body/architecture or subject/object are treated as junctions, joints, and permeable boundaries. This exhibition refuses aseptic isolation, acknowledges the fragility and instability of the present, and asks what, if anything, could come next.” You can read the full review here.
Work by Amy Yao is included in A Change of Heart, curated by Chris Sharp, at Hannah Hoffman Gallery in Los Angeles. The exhibition runs from June 4th—July 16th, 2016. Works by Camille Henrot, Caitlin Keogh and Hannah Wilke are also included in the group show.
Amy Yao is showing work in collaboration with Lisa Jo at TMR a|s Hub: Galerie Chantal Crousel: Exquisite Corpse at The Mistake Room, Los Angeles. The exhibition also features work by Wolfgang Tillmans, Reena Spaulings, and Danh Vo, and runs from May 14th—June 2nd, 2016.
Catherine Wagley’s review of THIEF appears in the May 11th, 2016 issue of LA Weekly. You can read the review here.
Liz Magic Laser presents a new “Presented with BMW” and curated by Cecilia Alemani (High Line Art, New York), Frieze Sounds will be played in the VIP 7 Series cars at Frieze New York. The works will also be accessible via a listening station inside the new Reading Room and BMW Lounge. The commissions will also be streamed online at frieze.com.
Blouin ArtInfo named VSF’s booth at the Dallas Art Fair 2016, occurring April 14th—17th, as one of “5 Must See Booths At The Dallas Art Fair.”
Andrea Longacre-White is featured in World Won’t Listen at Capital, San Francisco, along with Bruce Connor, Cheyney Thompson and Kara Walker, running from April 22nd—May 28th, 2016.
Cat Kron’s review of Bay of Smokes is printed in the April 2016 issue of Artforum. You can read the review here.
Danielle Shang’s review of Bay of Smokes has been published in the April 2016 issue of Leap Magazine. You can read the review here.
Joshua Nathanson’s Is It Late Yet? (2015) has been acquired by MCA Chicago for their permanent collection, the work is currently on view at the museum.
A new survey show of Liz Magic Laser’s work opens at Kunstverein Göttingen on March 20th in Lower Saxony, Germany. This solo exhibition titled Identification Please is a new iteration of Laser’s Living Newspaper series (2012 – present). Laser and the students of a local Gymnasium will be setting up a forum to process the current refugee crisis. On view will also be the video works Kiss and Cry (2015) and The Though Leader (2015). The exhibition runs until May 15th, 2016.
Michael Shaw’s review of Amy Yao’s solo exhibition Bay of Smokes can be read here.
Crave Online has a review of Amy Yao’s Bay of Smokes.
Some Screen Mods opening on March 1st 6–8 p.m. The exhibition runs until April 1st, 2016.
Lossless Forms for Picture Plane is open January 16th – March 20th, 2016.
In his review of Bay of Smokes Jonathan Griffin writes, “Yao seems to make no judgment about which is preferable: everlasting faux-life or chemically ameliorated mortality. The choice, anyway, is not ours to make. Yao shows that we already live with them both.”
Sharon Mizota has written a review of Amy Yao’s Bay of Smokes: “Amy Yao’s art of contamination: Not everything is as perfect as it seems”.
Amy Yao, Sean Raspet, Emanuel Rohss, Sean Townley and Zoe Williams are in a group show celebrating Mr. Bow’s ‘multiethnic “Food of the World” restaurant chain’. You need to read more here and here to get to the bottom of this. The show opens in London on February 19th, 2016 at 6 p.m.
Andrew M. Goldstein’s Artspace article “7 of the Best Artworks at Art Los Angeles Contemporary 2016″ features Amy Yao.
Amir Nikravan’s Mask IV (2016) is featured in Lisa Adams’ Huffington Post article on Art Los Angeles Contemporary 2016.
Liz Magic Laser is giving a talk at California Institute for the Arts for the Paul Brach visiting artist lecture series on February 4th, 2016, 7 p.m. and at UCLA Graduate Studios on February 5th, 2016.
Joshua Nathanson’s solo exhibition Froth is opening on February 12th at the LUCE Gallery in Torino. The show is up until March 25th, 2016.
Degen Pener’s “How Hollywood Power Players Jump Through Hoops to Score a Unique Piece of Art” tracks how a wall desperately needing a Joshua Nathanson painting ends up getting one.
KPCC’s Off-Ramp has a list of “Five great things you should do in Southern California this week.”
Dancer/choreographer Flora Wiegmann and artist Anna Sew Hoy interact with Sew Hoy’s Magnetic Between sculptures in the Roof Deck Sculpture Garden of Aspen Art Museum on February 6th, 2016, at 4 p.m.
Joshua Nathanson is one of the artists in Yokohama Art Museum’s exhibition Superflat Collection―From Shōhaku and Rosanjin to Anselm Kiefer curated by Takashi Murakami. This exhibition is composed of works from Takashi’s personal art collection, culled over many years, and includes pieces from the fields of contemporary art, Nihonga, antiques, and contemporary ceramics. The exhibition is on view January 30th – April 3rd, 2016, at the Yokohama Art Museum, Yokohama, Japan. Hyperallergic has an article on the show.
VSF will be at Art Los Angeles Contemporary 2016 exhibiting works by BRACE BRACE (Annika Kuhlmann & Christopher Kulendroan Thomas), Andrea Longacre White, Samuel Kenswil, Joshua Nathanson, Amir Nikravan, Anna Sew Hoy & Amy Yao. The fair runs January 28th—31st, 2016. The Opening Night is on Thursday January 28th, 7–9 p.m.
Amir Nikravan’s exhibition MASKS is featured on Dodooba, the show at ARNDT Singapore runs December 13th, 2015—January 17th, 2016.
Amir Nikravan’s exhibition MASKS is up at ARNDT Singapore, the show runs December 13th, 2015 – January 17th, 2016.
Hyperallergic contributor A. Will Brown has written a review of April’s current show at VSF: “A Deconstructed Hunting Cabin Filled with Fabricated Memories”.
“LA’s new wave of galleries blend art and architecture” in Wallpaper Magazine focuses on the buildings that house LA’s art.
Jesper Just and FOS present an installation and performance for Performa 15 addressing notions of spectatorship and its dual nature. The one hour long performance in the shadow/ of a spectacle/ is the view of the crowd is staged within the top floors of the 225 Liberty Building adjacent to One World Trade Center. On view at 4:30 p.m. on 13th – 15th of November, 2015.
Catherine Wagley has written a review of the current VSF exhibitions for Contemporaryartreview.la. The shows run from October 30th – December 12th, 2015.
Mernet Larsen is featured in a nine page article in Mousse Magazine n. 50. The article, “Illusion and revelation in the Flat Lands”, is written by Andrew Berardini.
Liz Magic Laser’s new exhibition Kiss and Cry is on view at Mercer Union November 20th, 2015 – January 23rd 2016.
Jesper Just’s Servitudes explores society’s obsession with youth and beauty in November’s Midnight Moment in Times Square. The work is on view November 1st – November 30th, 2015, every night from 11:57 p.m. – midnight.
Mernet Larsen is participating in a group show Tightrope Walk: Painted Images After Abstraction. Curated by Barry Schwabsky at White Cube. The exhibition runs November 25th, 2015 – January 24th, 2016.
The University of Florida (UF) School of Art + Art History will hold its first invitational alumni exhibition titled sa+ah: Alumni Invitational Exhibition: Image, Object, Idea in University Gallery on UF’s campus September 8th – October 8th, 2015.
Let’s Get Figurative is on view October 15th — November 15th, 2015 and features works by Mernet Larsen, Gina Beavers, Johnny Bicos, Mira Dancy, Peter Eide, Volker Hüller, Caitlin Keogh Lily Ludlow, Chris Lux, Nikki Maloof, Orion Martin, Jill Mason, Annie Pearlman, Dustin Pevey, Alan Reid, Clayton Schiff, John Seal, Benjamin Senior, Lui Shtini, Nolan Simon, Alice Tippit and Alexander Tovborg.
Anna Sew Hoy presents a series of new outdoor sculptures created for Aspen Art Museum‘s Roof Deck Sculpture Garden. On view November 6th, 2015 – April 3rd, 2016.
The Walker Art Center has acquired the 2003 painting Ambush by Mernet Larsen.
Joshua Nathanson is featured in an artspace.com article 8 Rising Stars to Watch at EXPO CHICAGO by Andrew M. Goldstein. Concerning Nathanson’s relationship to Impressionists, Goldstein writes: “How the paintings relate to today’s technology, characterized by intuitive interfaces and clean graphics, as opposed to how Impressionism relates to the camera of its day might be a fertile path to explore.”
Anna Sew hoy is featured in Mrs. Benway, a group exhibition with Wynne Greenwood, Lara Kim, Jenine Marsh, and Emily Mae Smith at Fourteen30 Contmporary, Portland, from September 19th – November 14th, 2015.
Liz Magic Laser’s The Thought Leader is on view at the Museum of Contemporary Art San Diego until the end of August.
Liz Magic Laser is in A Video Exhibition at Boatos Fine Arts, Sao Paulo. The exhibition also features Darren Bader and Takeshi Murata. The show and runs from August 6th – 22nd, 2015.
Amy Yao is featured in Group Show: Object Painting – Painting Objects at Jonathan Viner, London, along with Aaron Brobrow, Graham Collins, Nick Farhi, Elias Hansen, Chalres Harlan, Leigh Johnson, Rosy Keyser, Jennie Jieun Lee, Sam Moyer, Pentti Monkkonen, Michael Rey, and Lucien Smith. The show runs from July 31st – August 29th, 2015.
The Slick & The Sticky was chosen by Eve Wood as Artillerymag.com’s pick of the week.
The Slick & The Sticky is reviewed by Travis Diehl as an Artforum Critics’ Pick on Artforum.com
Mernet Larsen and Diego Singh are featured in a group show, running from July 17th – August 7th,2015 with JPW3, Yann Gerstberger, Jordan Kasey, Austin Lee, Sofia Leiby, and Patricia Treib, at Michael Jon, Detroit.
Join us for Subject To Change, a VSF panel discussion on Thursday, August 6th, 2015 at 7:30 p.m. Featuring Andrea Fraser, Amelia Jones, Vanessa Place, and Hamza Walker, and moderated by Esther Kim Varet, panelists discuss the role of artists, curators, and critics in addressing work that escapes its intended institutional frame, and the question of the unforseen audience response.
On July 17th, Amy Yao is featured in Melbourne’s Centre for Style’s USA Tour at Chin’s Push, along with Anna-Sophie Berger, Bryan Morello, Chloe Maratta, D&K, Eckhaus Latta, H.B. Peace, Marcel Alcalá, Marisa Takal, Rare Candy, and Waggy Tee.
dis Magazine features an interview, by Natasha Stagg, with The Slick & The Sticky co-curator Vanessa Place.
Catherine Wagley covers The Slick & The Sticky for LAWeekly.com.
VSF was featured on Dazed Digital’s list of “The Best New Galleries To Seek Out In LA,” citing The Slick & The Sticky in particular.
Joshua Nathanson, Amir Nikravan, and April Street will be taking part in Piasa’s sale of emerging Los Angeles artists, many shown for the first time in France, kicking off on November 3rd, 2015 in Paris. Check out ArtInfo for further coverage.
Son, a solo exhibition by Diego Singh, is inaugurating the opening of Galleria Macca, Sardinia.
Jim Drain is featured in What Nerve! Alternative figures in American Art, 1960 – Present— as part of the collective Forcefield– at Matthew Marks, New York. The exhibition runs July 8th – August 14th, 2015.
TimeOut chose The Slick & The Sticky, co-curated with Vanessa Place, as one of their must-see shows in Los Angeles.
Please read a ‘snap review’ of The Slick & The Sticky, co-curated by Vanessa Place, at ContemporaryArtReview.la.
Anna Sew Hoy is featured in Freedom Culture, a group show curated by Graham Collins at The Journal Gallery, Brooklyn, from July 1st – August 8th, 2015.
Jesper Just’s Servitudes is on view at Palais de Tokyo from June 24th – September 13th, 2015. The piece will make its West Coast debut at VSF in the Fall.
Mernet Larsen and Amy Yao are featured in I Dropped The Lemon Tart at Lisa Cooley, along with Josef Bauer, Gene Beery, Leon Benn, Todd Bourret, Mathew Cerletty, Gelitin, Jenny Holzer, Ray Johnson, Sean Landers, Scott Reeder, David Shrigley, Emily Mae Smith, Ben Vida, and Yonatan Vinitsky. The exhibition is on view June 26th – August 21st, 2015.
Amy Yao is featured in …Looking at myself from the second floor of an Italian restaurant in the Catskills… at American Medium, Brooklyn, from June 19th – July 26th, 2015, along with Alex Chaves, Alex Felton, Sean Raspet, Carlos Reyes, and Sydney Shen.
The Whitney Museum is currently screening Liz Magic Laser’s 2011 video I Feel Your Pain, a part of the Whitney’s permanent collection, as part of America Is Hard To See, at the following times:
May 1st, 2015 1:30 p.m.
June 12th, 2015 11 a.m.
July 5th, 2015 1 p.m.
August 22nd, 2015 2 p.m.
September 18th, 2015 6 p.m.
Please visit Yes No Thank You, a solo exhibition by Diego Singh at Tomio Koyama, Tokyo. The exhibition is on view June 10th – 29th, 2015.
VSF Artist Andrea Longacre-White is participating in 6 Doors, the inaugural exhibition of The Other Room, a new space at the Foundation for Contemporary Art, New York. The exhibition is on view from May 19th – August 7th, 2015, and also includes Trisha Donnelly, Alex Robbins, Melanie Schiff, Marianne Vitale, and Mary Weatherford.
From June 9th – August 15th, 2015, Mernet Larsen will be featured in JUNE: A Painting Show at Sadie Coles HQ, London, along with other figurative painters such as Helen Johnson, Sylvia Sleigh, Yamashita Kikuji and more.
Jonathan Griffin reviews Chainsawer, Bicyclist, and Reading in Bed, Mernet Larsen’s recent solo exhibiton at VSF in the May 2015 issue of ArtReview.
Jody Zeller reviews Mernet Larsen’s VSF solo show Chainsawer, Bicyclist and Reading in Bed in Artillery Magazine’s May/June 2015 issue.
VSF is pleased to announce that Liz Magic Laser’s installation The Thought Leader has been acquired by the Museum of Contemporary Art San Diego. The Thought Leader was produced by Laser for VSF, where it debuted in Winter of 2015.
Please read issue one of Contemporary Art Review Los Angeles (CARLA), which features a review of Mernet Larsen’s recent solo exhibition at VSF, by Catherine Wagley. You can pick up a copy at the gallery.
Amir Nikravan’s solo exhibition at Jonathan Viner is on view from April 24th – May 23rd, 2015.
Please see Liz Magic Laser’s solo exhibition My Mind is My Own at Wilfried Lentz, Rotterdam, on view May 1st – June 28th, 2015.
Works by Diego Singh (pictured) and Joshua Nathanson appear in I Know You Got Soul at Arndt Singapore, curated by Amir Shariat, along with works by Phoebe Collings-James, Liam Everett, Amy Feldman, JPW3, Kika Karadi, Hugo McCloud, Leif Ritchey, Travess Smalley and Jeff Zilm, from April 19th – June 21st, 2015.
VSF is in booth D9 at Dallas Art Fair, showing April Street’s Lyra (behind frivolous voices)–pictured above–and more, from April 10th – 12th, 2015.
Mernet Larsen is the “real deal,” creating figures “strangely connected through what appears to be either disillusionment or awkwardness.” Eve Wood chooses Mernet Larsen’s solo exhibition at VSF for Artillery Magazine’s Pick of the Week.
VSF’s Esther Kim Varet gives her thoughts on Dallas Art Fair’s growth. Read what she has to say at Artnet News, and see our booth at the 2015 Dallas Art Fair.,
Sharon Mizota reviews Mernet Larsen’s Chainsawer, Bicyclist, and Reading in Bed, which “goes beyond a superficial resemblance to digital imagery to probe the vagaries of perception and physical experience.” Please read more at LATimes.com.
Please read Sarah Lehrer-Graiwer’s ARTFORUM.com review of Mernet Larsen: Chainsawer, Bicyclist, and Reading in Bed here.
Michael Slenske describes Scott Benzel’s “Mythical, Musical Journey into the Heart of the American West” in Modern Painters. Scott Benzel’s Inverted Capitol Spire, Programmatic Architecture Displacement 5 and Inversion V inaugurated our outdoor gallery and sound corridor in Fall 2014.
Ed Schad reviews Anna Sew Hoy’s current exhibition at VSF, FACE NO FACE calling it “her best yet” in FlashArt issue no. 301, March – April, 2015. Please read the entire review here.
Catherine Wagley lists Mernet Larsen’s Chainsawer, Bicyclist, and Reading in Bed as one of the “Best Free Art Shows to See in L.A. This Week.”
Hyperallergic contributor Jillian Steinhauer features Amir Nikravan as one of the artists in: Hyperallergic’s “The 2015 armory show in 23 superlatives.
TEDBlog contributor Tom Carter describes the experience of viewing Liz Magic Laser’s The Thought Leader in his article, “A satirical TED Talk, inspired by Dostoyevsky and given by a 10-year-old.” In case you missed the show, you may watch The Thought Leader by Liz Magic Laser with actor Alex Ammerman on her Vimeo.
Artnet and Brian Boucher make Armory Week simple by offering to help “Plan Your Armory Week 2015 With Our Guide to the Best Art on Show,” including VSF and Amir Nikravan.
Stop by VSF at The Armory Show, Pier 94 Booth #776.
Feeling overwhelmed by all to see at The Armory Show and “Art Fair Avalanche” this week? Check out the NY Observer guide with mention of VSF as a “young hot spot.”
VSF Presents Amir Nikravan Pier 94 Booth #776.
Priscilla Frank highlights Mernet Larsen’s process and background in a review of her first show at VSF as well as in Los Angeles, “Chainsawer, Bicyclist, and Reading in Bed” on HuffPost Arts & Culture.
Jens Hoffman interviews Liz Magic Laser on Vdrome, discussing The Thought Leader, Humanism, Dostoyevsky, and more.
The VSF Booth B14 at ALAC 2015 features works by Mernet Larsen, Joshua Nathanson, Amir Nikravan, Kathleen Ryan and Amy Yao. “In Los Angeles, a Crop of Art Fairs to Suit All Tastes,” reports Kevin McGarry at T Magazine.
Hunter Drohojowska-Philp reviews Anna Sew Hoy and Liz Magic Laser’s solo exhibitions at VSF, which you can listen to on NPR’s ArtTalk.
At Artinfo, Chloe Wyma reviews Liz Magic Laser’s VSF solo exhibition, The Thought Leader, a satire of “the trickle-down diffusion of official rhetoric, the obfuscatory power of readymade language, and the legitimizing props of the podium and the PowerPoint presentation.”
Catherine Wagley selects Liz Magic Laser’s The Thought Leader, as LA Weekly’s top art pick of the week.
Read the complete article here.
Travis Diehl selects Liz Magic Laser’s current exhibition at VSF, The Thought Leader, as “Critic’s Pick” in Artforum.
The Los Angeles Times’ Leah Ollman reviews Liz Magic Laser’s current exhibition at VSF, The Thought Leader, including Laser’s new TED Talk-inspired video of the same name.
Collector JoAnne Colonna lists Amir Nikravan’s recent exhibition Merge Visible at VSF as a favorite in a recent Hollywood Reporter article on the Hollywood art scene.
The Los Angeles Times journalist Carolina A. Miranda is “verrrry excited about” upcoming solo exhibitions Liz Magic Laser The Thought Leader and Anna Sew Hoy FACE NO FACE.
The Architect’s Newspaper highlights VSF’s new Johnston MarkLee-designed gallery in Hollywood.
Glasstire selected the upcoming openings of Liz Magic Laser, The Thought Leader, and Anna Sew Hoy, FACE NO FACE, as one of their Top 5 recommendations for Southern California art events this week. The two solo exhibitions open this Saturday, January 10th at VSF from 6 – 8 p.m.
Anna Sew Hoy’s work will be featured in the upcoming group exhibition The Heart is the Frame at Los Angeles Contemporary Exhibitions (LACE).
The Heart is the Frame opens January 7th, 2015 from 7 –10 p.m. and will remain on view until February 14th, 2015.
Anna Sew Hoy’s solo exhibition FACE NO FACE will also be opening that same week on Saturday, December 10th from 6 –8 p.m. at VSF.
LA Weekly journalist Catherine Wagley selects Anna Sew Hoy’s solo exhibition at VSF, FACE NO FACE, as one of her top picks for the new year.
VSF’s exhibition Artificial Complexion is featured on Contemporary Art Daily. Select works from the sound program, curated by Luke Fischbeck, Sarah Rara, and John Tain, are available for listening, as well as footage from Marie Karlberg’s opening night performance.
In conjunction with the closing of Artificial Complexion, Los Angeles-based experimental music composer Mark So will perform [readings 51 – The Recital] (2014) on Saturday, December 20th, 2014 at VSF. Readings will take place at 4 p.m. in the Outdoor Courtyard and 5 p.m. in the Main Gallery.
Presenting an ongoing piece that he has been making since June, So will continue to read through “The Recital” from John Ashbery’s Three Poems (1972) again and again – mostly to himself – accompanied by a looping tape recording that will occasionally pick up the surroundings as well as a few passages read aloud. Registering the passage of time as the text passes along our present, accumulating spacing and recorded residues even as the process continually erases portions of the audible and inaudible traces from its previous life- this is and this isn’t a simple reading of the poem. Mostly silent, its residual “memory” gives rise to something both real and distinct while immediately blending into the surroundings…
Mark So has produced a vast output of scores, tapes, and ephemera over the past decade, including a series of some 300 pieces concerning the poetry of John Ashbery. So’s work explores ordinary situations in various open frames of perception and action, proceeding through simple means of recording/transcription/reading as well as changing experiences of silence.
So’s reading of Eileen Myles’ “The End of New England” (2001), “though we haven’t read it, we know there is a script” (2012 – 2013), is also currently playing in VSF’s sound corridor as part of the Artificial Corridor audio program curated by Luke Fischbeck, Sarah Rara, and John Tain.
The New York Times profiles Pier 54, curated by Cecilia Alemani as a tribute to and a reaction against Pier 18– a legendary project organized by artist and curator Willoughby Sharp in 1971 that featured events and actions by 27 male artists on an abandoned pier in the city’s Financial District. In a contemporary twist on this historical show, Pier 54 featured 27 female artists, including Liz Magic Laser, who realized projects that responded to the location and engaged with the changing landscape of the waterfront.
High Line Art is also currently presenting a gallery exhibition of Pier 54 at 120 Eleventh Avenue in Chelsea, New York that will remain on view until December 13th, 2014.
Journalist Maura Egan profiles VSF’s Esther Kim Varet for “Los Angeles: City of Art” in the The Wall Street Journal.
Christina Catherine Martinez speaks with Esther Kim Varet about VSF’s new Hollywood location and the legacy of The Baroness Elsa von Freytag-Loringhoven- a Dadaist artist whose work is currently on view as part of the group exhibition Artificial Complexion– for Smashbox Studios’ blog The Hype.
Catherine Wagley writes on Artificial Complexion and the Baroness Elsa von Freytag-Loringhoven for LA Weekly.
Evan Moffitt writes on Artificial Complexion for the contemporary art blog Paris, LA. The exhibition, co-curated with Amy Yao, opened November 15th – December 20th, 2015.
The work of Amir Nikravan will be on view as part of the upcoming group exhibition The Go Between at the Museo di Capodimonte in Naples, Italy.
The Go Between opens December 13th, 2014 from 6 – 8 p.m. and will remain on view until January 12th, 2015.
Roy Dowell is currently on view as part of the group exhibition Death Ship: Tribute to H.C. Westermann at The Pit, Los Angeles. The exhibition brings together the works of nine LA-based artists, spanning three generations, to be shown alongside a woodblock print by the seminal artist and forerunner of the Bay Area “funk art” scene, H.C. Westermann.
Two of Amir Nikravan’s paintings will be on view as part of the group exhibition TALKlikeSEX curated by Amir Shariat at TBD, New York. The opening reception will be held on Thursday, November 13th, 6 – 10 p.m.
Amir Nikravan’s solo exhibition at VSF, Merge Visible, closes this Saturday, November 8th, 2014.
Diego Singh’s solo exhibition Plateau Plateau is on view from November 7th – December 1st, 2014 at Fredric Snitzer Gallery, Miami. The show marks the first showing of Singh’s “Oil Paintings” and the “Hinge Paintings” series.
An opening reception will take place on November 7th, 2014 from 7 – 9 p.m.
The accompanying catalogue for Liz Magic Laser’s recent solo exhibition Public Relations / Öffentlichkeitsarbeit (July 13th – September 22nd, 2013) at Westfälischer Kunstverein, Münster, Germany is now available through Sternberg Press.
Edited by Kristina Scepanski, the publication features contributions by Kristina Scepanski, Jordan Troeller, and Tom Williams.
LA Times journalist Leah Ollman reviews Amir Nikravan’s current solo exhibition at VSF, Merge Visible:
“The resulting works are media hybrids, monoprints of sorts, with sculptural origins and the disarming appearance of photographic traces. They are about about-ness. For all of the physical, performative aspects of their making, the works end up hanging in an intellectualized hall of mirrors…Elegant and confident, the works elicit an appreciation concomitantly cool.”
Merge Visible is on view at VSF until November 8th, 2014.
Amir Nikravan’s monograph, published by CRTXT with generous support from the Rema Hort Mann Foundation, is now available for purchase at both VSF and Art Catalogues at LACMA.
The publication features essays by Amanda Hunt, Assistant Curator at the Studio Museum, Harlem, and Patrick Steffen, US Editor of Flash Art, and costs $15.
Glasstire selects both Amir Nikravan and Scott Benzel’s current exhibitions at VSF for the #2 spot in their Top 5 Southern California arts round-up. Read the entire list for the week of October 16th, 2014 here.
Amir Nikravan, Merge Visible and Scott Benzel, Inverted Capitol Spire, Programmatic Architecture Displacement 5 & Inversion V remain on view until November 8th, 2014.
“When Creating Paintings, Amir Nikravan Tries to Mimic Photoshop.” Catherine Wagley reviews Amir Nikravan, Merge Visible, for LA Weekly.
Merge Visible remains on view at VSF until November 8th, 2014.
Amy Yao’s Support, 2014 is currently featured in the group exhibition Stairs Into My Eyes curated by Dianna Molzan at The Finley. The exhibition is located in a stairwell leading to a locked basement and will be on view 24/7 until November 15th, 2014.
Also, check Amy out in our group exhibition The Irrational Object come November.
Esther Kim Varet discusses both VSF’s Hollywood relocation and her vision for the new Johnston MarkLee designed gallery with W Magazine journalist Michael Slenske in “On Fire: Esther Kim Varet Expands Her L.A. gallery.”
Los Angeles-based artist Ragen Moss interviews Roy Dowell about his recent transition from two-dimensional to three-dimensional artwork on view-inter-view.
Art in America’s Christopher Wyrick speaks with Esther Kim Varet about the new Johnston Markucee designed VSF gallery, opening tonight with a reception from 6 – 9 p.m.
Andrea Longacre-White’s Artist Book is currently available for $75 as an Edition of 50 at Nicelle Beauchene Gallery.
Catalogues from her solo exhibition at Nicelle Beauchene Gallery, featuring a text by writer/curator Sarah Lehrer-Graiwer, are also available for $20 at VSF.
LA Weekly previews Scott Benzel Inverted Capitol Spire, Programmatic Architecture Displacement 5 and Amir Nikravan Merge Visible, opening October 9th, 2014 from 6 – 9 p.m. at the new VSF in Hollywood.
Sharon Johnston and Mark Lee of the architecture firm Johnston MarkLee discuss their recent projects in LA, including the new Hollywood location of VSF, with W Magazine journalist Kevin West.
Scott Benzel and Kathryn Andrews will respond to the architecture of Toronto’s City Hall in the multimedia performance Split Chorale for Viljo Revell on October 4th, 2014, as part of Performance Anxiety at Nuit Blanche 2014.
Anna Sew Hoy’s ceramic work Two Orbs will be featured in The Machine Project Field Guide to The Gamble House at the famed Gamble House in Pasadena, CA as part of the 2014 AxS Festival.
Liz Magic Laser and choreographer Wendy Osserman collaborated on From North Carolina to South Korea at the Carolina Performing Arts Center in Chapel Hill, NC. The multimedia performance was commissioned by UNC-Chapel Hill’s Art Department and Carolina Performing Arts and took place on September 13th and September 14th, 2014.
Andrea Longacre-White’s solo exhibition is on view from September 7 – October 5, 2014 at Nicelle Beauchene Gallery.
Miami- and Providence-based artist Jim Drain has completed the first of what will be an annual commission of artist-designed reception desks for VSF’s new Johnston Marklee-designed gallery in Hollywood. Drain’s desk, which will debut on October 9, 2014, is composed of a rebar frame with plexiglass panes and hand-woven nylon straps.
ARTINFO announces VSF’s relocation from Abbot Kinney in Venice Beach to a 5,000-square-foot, Johnston MarkLee designed space at 812 N. Highland Avenue in Hollywood. Read Esther Kim Varet discuss the new layout.
Amir Nikravan shows alongside the work of Wes Noble at Luce Gallery in Turin, Italy. The exhibition is on view from July 3rd – September 16th, 2014.
Anna Sew Hoy is featured in the group exhibition Fixing a Hole at Konenig & Clinton, NYC. Also on display are works by Vito Acconci/Acconci Studio, A.K. Burns, Alexandre da Cunha, Peter Dreher, Tamar Halpern, Nancy Holt, Cameron Martin, Yoshiaki Mochizuki, Ken Price, Paul Ramírez Jonas, Carolyn Salas, Anna Sew Hoy, Roman Signer, and Daniel Turner.
Fixing a Hole is on view from June 12th – August 2nd, 2014.
Roy Dowell is featured in the group exhibition A Poem for Raoul and Agnes curated by Sherman Sam at Ancient & Modern, London. Also on display are works by Ann Craven, Matthias Dornfeld, Fergus Feehily, Jane Freilicher, Clive Hodgson, Eithne Jordan, Alex Katz, Markus Karstieß, Winifred Nicholson, Norbert Prangenberg, Audrey Reynolds, and Phoebe Unwin.
A Poem for Raoul and Agnes is on view from July 3rd – September 6th, 2014.
LACMA acquired Anna Sew Hoy’s Practical Elegance, 2013 for the museum’s permanent collection during the 2014 Art Here & Now: Studio Forum.
LA><ART and LA Public Domain present Anna Sew Hoy’s public sculpture Look-see in collaboration with For Your Art and the City of West Hollywood’s Art on the Outside Program. Inspired by the work of Modernist architect Irving Gill, Look-see mobilizes simple forms and ornamentation to heighten engagement with the surrounding environment.
The sculpture is located at Kings Road Park (1000 North Kings Rd., West Hollywood, CA 90069) and will be on view from April 12th, 2014 – April 12th, 2015.
Roy Dowell’s solo exhibition, Roy Dowell: New Paintings and Sculptures is on view from April 3rd – May 3rd, 2014 at Lennon, Weinberg, Inc., NYC.
Developed through a series of interviews with journalists and members of the public, Liz Magic Laser’s Bystander will present an inverted dialogue between broadcast news and its viewers. Professional newscasters, including NY1’s Roger Clark, will perform personal stories collected from New York citizens. Actors Audrey Crabtree, Annie Fox, and Michael Wiener will also contribute factual reports in the vein of personal opinions. By re-contextualizing the television news scenario as theatrical dialogue, Laser lays bare the mechanisms at play in the both presentation and reception of current events.
Liz Magic Laser: Bystander will take place from March 27th – March 29th, 2014 at The Kitchen, NYC.
Bellwether, a project of the Cleveland Museum of Art with support from the Contemporary Art Society, presents Andrea Longacre-White: Ceiling.
On view from April 17th – May 4th, 2014 at the Ground Floor Gallery of the historic Goodrich Gannett Neighborhood Center building in Cleveland, OH, Ceiling features an installation of Longacre-White’s large-scale black and white scanner photographs.
Organized by Lisa Kurzner, Curatorial Researcher at the Cleveland Museum of Art, the exhibition will also include an artist talk on April 17th, 2014.
Andrea Longacre-White is named as one of 25 artists to watch in the December 2013 edition of Modern Painters.
Rozalia Jovanovic recaps a recent performance of Liz Magic Laser’s Absolute Event at Paula Cooper Gallery, NYC:
The performance is part of Laser’s current solo exhibition at the gallery, on view until November 30th, 2013. Another performance will take place on November 16th, 2013.
Sharon Mizota covers Roy Dowell’s solo exhibiton at Various Small Fires for the Los Angeles Times.
Listen to KCRW’s Art Talk with Roy Dowell and Ivan Morley.
Modern Painters names VSF one of 500 Best Galleries Worldwide.
Bianca Guillen of SFAQ reviews Anna Sew Hoy’s Home Office.
David Pagel at The Los Angeles Times reviews Anna Sew Hoy’s solo exhibition Home Office at VSF.
Juri Koll reviews Anna Sew Hoy’s Home Office for The Huffington Post.
Julia Halperin speaks with Esther Kim Varet about VSF at The Dallas Art Fair 2013 at Artinfo.
The Armory Show presents two limited edition artworks created by Armory Commissioned Artist Liz Magic Laser, all proceeds directly benefitting The Pat Hearn and Colin de Land Cancer Foundation and The Museum of Modern Art.
Le Monde covers Liz Magic Laser at the Armory Show.
BPO Group USA reports on Liz Magic Laser’s new branding for the Armory Show.
The Guardian reports on Liz Magic Laser’s “T-shirts worn by ubiquitous Armory staff, which proclaim that the average household income of fair visitors is $334,000 – almost exactly the cutoff for membership in America’s under-fire 1%.”
The Village Voice profiles Liz Magic Laser’s Armory commission, and installation at VSF’s booth.
Forbes covers Liz Magic Laser’s “tote bags that carry the slogan, ‘An average size booth at The Armory Show costs $24,000 and that comes with customized walls, lights, paint and carpeting.'”
Hyperallergic covers VSF and Liz Magic Laser’s commission at The Armory Show 2013.
Platform for Pedagogy writes on “The Psychology of Consumerism” and Liz Magic Laser.
Artinfo covers Liz Magic Laser’s Armory commission and related workshop, which “intends to raise the curtain on what is, at the end of the day, a moneymaking venture.”
Flash Art interviews Liz Magic Lazer about her Armory show focus group.
T magazine covers Liz Magic Laser and her Armory Show tote bags.
ArtFCity on Armory Show commissioned artist Liz Magic Laser in their Guide to Armory Week.
Noah Horowitz talks to Whitewall about working with Liz Magic Laser at the Armory Show.
Animal New York discusses “leading confrontational performance artist” Liz Magic Laser’s Armory Commission.
E-Flux covers Liz Magic Laser’s “comedic to politically provocative” commission for the Armory Show 2013.
Flash Art covers VSF’s Lucie Fontaine curated booth at Art Los Angeles Contemporary 2013.
Jonathan Griffin reviews Andrea Longacre-White’s solo show The Existing Term Has Become Inadequate for Art Review.
In Art in America, Brian Boucher discusses Liz Magic Laser’s focus group for her Armory show contribution.
Gallerist NY goes into how “Liz Magic Laser Will Use Focus Groups to Determine the ‘Liz Magic Laser Brand’ for 2013 Armory Show.”
Artinfo announces Liz Magic Laser as the 2013 Artist Commission for the fair’s next edition, which will run March 7th – 10th, 2013, and marks the 100th anniversary of the original Armory Show for which it’s named.
ArtInfo previews “Samara Golden and Davida Nemeroff’s current exhibition at Various Small Fires, a gallery located in Los Angeles. Originally, the show was called “Midnight Cowboy,” after the 1969 film.”
LA Weekly profiles “Venice-based Various Small Fires, [which] has already made a big splash in the local art community.”
“Samara Golden and Davida Nemeroff Face The Press” as they open their two-person exhibition at VSF, writes Paul Soto for Art in America.
“At Various Small Fires this month, Samara Golden and Davida Nemeroff present a collaborative video installation that Golden describes as ‘My Dinner With Andre mixed with Midnight Cowboy,” writes Modern Painters on Golden and Nemeroff’s exhibition of the same name.
Leah Ollman for the Los Angeles Times reviews Liz Magic Laser’s I Feel Your Pain at VSF.
LA Weekly’s Carol Chech covers Liz Magic Laser’s solo exhibition I Feel Your Pain at VSF, which includes “Glenn Beck and Sarah Palin on a date and an Obama-Bush Mime Face-off.”
ArtInfo announces Liz Magic Laser’s “I Feel Your Pain, her 2011 Performa Commission, as well as Flight (a performance based on cinematic chase scenes that took place in Times Square) and Digital Face (pictured above, with choreographed movements modeled on the gestures of George W. Bush and Barack Obama),” showing at VSF.
LA Weekly names VSF one of “25 Alternative LA Art Spaces to Check Out Now.”
On LA Confidential, “Esther Kim Varet, owner of Abbot Kinney’s hot new experimental space, Various Small Fires, talks to LAXART director and curator Lauri Firstenberg.”
Performance blog Another righteous Transfer covers Debo Eilers and Kerstin Brätsch’s performance Kaya 2 at VSF.
Andrew Berardini covers Fiona Connor’s Murals and Prints for ArtSlant.
Patrick Steffan interviews Liz Magic Laser in Flash Art.