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An American Beauty: Grateful Dead 1965–1995 is reviewed in The Brooklyn Rail as “an efficient, thoughtful tribute” that ultimately transcends “the atomization and nihilism of America’s past, present, and future.” Read more here.

Ahead of his upcoming solo presentation with David Kordansky Gallery at Frieze Seoul, Chase Hall discusses how fatherhood has reshaped the direction and rhythm of his practice, and the unexpected inspiration he finds in an ancient junkheap on his Upstate New York property. Read more here.

In an interview with Observer, Jay and Ricki Blakesberg discuss the making of An American Beauty: Grateful Dead 1965–1995, sharing insights into the archival process and their curatorial approach behind the exhibition. Read more here.

In a recent article published by The Gay & Lesbian Review, Ignacio Darnaude writes, “Tom’s Stretch ultimately argues that Tom’s legacy lies not simply in his iconography but in the permission he gave artists to exaggerate the body, to celebrate desire without apology, and to imagine identities unconstrained by social convention.” Read more here.

Cultured Magazine highlights Tom's Stretch, a group exhibition currently on view at our LA gallery, exploring Tom of Finland's lasting impact through interviews with nine participating artists on his legacy and the role of erotic art. Read More here.

Ricki Blakesberg and Jay Blakesberg speak with Artnet News about An American Beauty: Grateful Dead 1965–1995, an exhibition of rarely seen photographs documenting the Grateful Dead and the culture legacy surrounding the band. Read more here. 

Rashid Johnson’s large-scale mosaic, drawn from his "Broken Men" series, is installed at the Obama Presidential Center opening in June. The work is among 30 artwork commissions by Barack and Michelle Obama. Read more here.

In The New York Times feature on sister dreamer, Lauren Halsey shares: “For me to be able to sleep at night, my artwork needs to be charged with something more. This is the first time in my practice where I’ve been able to assert that something more and to be in collaboration with a neighborhood to do it.” Read more here.

A recent Los Angeles Times feature looks at Lauren Halsey’s sister dreamer as “both a once-in-a-lifetime artwork and a free, public venue where every day, from dawn till dusk, people can live and imagine.” Read more here.