Congratulations to Deana Lawson, who has won the 2020 Hugo Boss Prize. The biennial prize, established in 1996 and administered by the Solomon R. Guggenheim Foundation, honors outstanding achievement in contemporary art, celebrating the work of remarkable artists whose practices are among the most innovative and influential of our time. Lawson is the first artist working in photography to be recognized with the award. She will present a solo exhibition at the Guggenheim Museum in New York in Spring 2021.
The 2020 Hugo Boss Prize jury is comprised of Naomi Beckwith, Manilow Senior Curator, Museum of Contemporary Art, Chicago; Katherine Brinson, Daskalopoulos Curator, Contemporary Art, Solomon R. Guggenheim Museum; Julieta González, independent curator; Christopher Y. Lew, Nancy and Fred Poses Curator, Whitney Museum of American Art; and Nat Trotman, Curator, Performance and Media, Solomon R. Guggenheim Museum.
David Kordansky Gallery presents Listening for the Unsaid, an online group exhibition curated by The Racial Imaginary Institute, featuring works by artists including Danielle Brathwaite-Shirley, Anaïs Duplan, Nona Faustine, Jon Henry, Nate Lewis, Azikiwe Mohammed, Public Assistants, and Kiyan Williams. The show will open at DavidKordanskyGallery.com on Wednesday, October 21, 8:00 am Pacific Time, and will be on view through November 18, 2020. All proceeds will benefit the featured artists and The Racial Imaginary Institute.
Listening for the Unsaid brings together artists, activists, and writers who partake in the impossibility of reconstructing an archive, while still trying to archive the impossible. In Saidiya Hartman’s 1998 essay Venus in Two Acts, she argues that writing counter-histories / counter-archives is inseparable from a history of the present or the "incomplete project of freedom." How can we, as Hartman asks, "revisit the scene of subjection without replicating the grammar of violence?" Taking Hartman's words, "listening for the unsaid," as a framework, The Racial Imaginary Institute offers a response to these times of acute precarity by presenting the work of Black artists, at various stages in their careers, whose works contribute to an ongoing conversation surrounding the multitude of Black life. The exhibition also becomes a way to engage with a strategy for imagining and archiving new and varied historical narratives.
Founded in 2016 by Claudia Rankine, The Racial Imaginary Institute (TRII) seeks to change the way we imagine race in the U.S. and internationally by lifting up and connecting the work of artists, writers, knowledge-producers, and activists with audiences seeking thoughtful, innovative conversations and experiences. As they describe, "the work of defining and changing culture is all of ours." Institute members curating Listening for the Unsaid include Sara'o Bery, Samantha Ozer, Claudia Rankine, Michelle Phương Ting, Stephen Wilson, and Simon Wu. David Kordansky Gallery is honored to serve as a West Coast outpost for TRII and its interdisciplinary cultural laboratory.
David Kordansky Gallery is pleased to announce its West Coast representation of Richard Tuttle. Over the last six decades, Tuttle has become one of the most representative American artists of the postwar period, occupying interstitial positions between several genres, including painting, sculpture, drawing, and poetry. He consistently opens new possibilities for a variety of mediums and materials, demonstrating how traditional categories of artmaking can function as starting points for unhindered, open investigations into the functioning of perception and language. His early encounters with artists and artworks associated with pop and minimalism laid the groundwork for a project precipitated on reinvention and change. As Tuttle developed a syntax remarkable for the frankness of its physicality and the poetry of its juxtapositions, he created a space in which a decidedly avant-garde strain of contemporary art could take on the organic sophistication and subtlety of the natural world. At the same time, he began to produce a number of iconic typologies—including stretched and pinned canvases, painted reliefs, and works on paper—in which divisions between object, image, making, abstraction, and observation fell away, leaving in their wake a mode of translating the multiplicity and complexity of life into discrete, often elegant constructions notable for their precision, radical informality, and immediately tangible intimacy. David Kordansky Gallery co-represents Richard Tuttle on the West Coast in collaboration with Pace Gallery.
Tuttle's first solo exhibition with David Kordansky Gallery will open in Spring 2021. A new work will debut in the gallery's Art Basel OVR: Miami Beach presentation, December 2 – 6, 2020.
Since the 1970s, Richard Tuttle (b. 1941, Rahway, New Jersey) has been the subject of numerous solo exhibitions at museums throughout the world, including most recently M Woods Museum, Beijing (2019); Phillips Collection, Washington, D.C. (2018); Kunstmuseum aan Zee, Ostend, Belgium (2017); Museo de Arte de Lima (2016); Metropolitan Museum of Art (2016); and Whitechapel Gallery and Tate Modern, London (2014). In 2005–2006, a retrospective exhibition organized by the San Francisco Museum of Modern Art traveled to five additional institutions, including the Whitney Museum of American Art, New York and the Museum of Contemporary Art, Los Angeles. His work is included in over sixty public collections, including those of the Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; Dallas Museum of Art; and Museum Boijmans Van Beuningen, Rotterdam. Tuttle lives and works in New York and Abiquiú, New Mexico.
David Kordansky Gallery is pleased to announce a solo presentation of photo-based work by Larry Johnson from the 1980s and 90s for Art Basel OVR:20c. A VIP Preview will take place from Wednesday, October 28, 3:00 am PT / 12:00 pm CET through Thursday, October 30. Access is available by logging into ArtBasel.com with a designated VIP account. Art Basel OVR:20c will be available to all registered guests October 30 – 31, 2020.
Larry Johnson's graphically embellished color photographs have influenced an entire generation of artists who use photography not to "capture" images but to make pictures that reveal the underlying social strata of contemporary culture. Johnson's signature technique involves photographing his drawings and collages, then further manipulating each reproduction so that it represents an idiosyncratic amalgam of popular history, text-based narrative, graphic design, and class awareness. In doing so, his pictures not only map the physical and mental geographies of Los Angeles, but establish a broader critique of the ways in which culture defines itself. Johnson often looks to the production of cartoon illustration, for instance, as a way of channeling the repressed libidinal energies of Hollywood. He hijacks pre-existing cultural forms and bends—or queers—them according to his own ends, appropriating signs and symbols through a kind of camp-inflected haunting, all the while locating vulnerability and humor in some of the darkest recesses of the social landscape.
From the late-1980s through the 1990s, Johnson made many of his most iconic and far-reaching photographs. These include works like Untitled (Why Say High School?) (1994), which showcases his inimitable command of language and his sui generis combination of genres and techniques. A candy-striped optical backdrop holds space for a string of distorted text—a pithy and mordantly sly critique of class, power, and economic status. Johnson’s ability to raid the culture for images, design strategies, and resonant histories is fully on view in Untitled (Heh, Heh) (1987), in which he uses a Paul Rand-inspired typeface and color scheme to render an activated block of text that alludes to some "off-screen" joke made at both the viewer’s and the artist’s expense. A work like Untitled (Morgan Camera and King O’Lawn) (1994), meanwhile, is a perfect distillation of Johnson’s keen sense of the stratification of postwar America. Appropriating recognizable symbols from the Southern California visual landscape—the logos for the now-defunct Morgan Camera shop and King O’Lawn mower company—Johnson sets up a dialectic between representations of an urbane photographer and a suburban homeowner, raising questions about who controls the cultural domain. As Dave Hickey noted in a 1994 essay on Johnson, "[A] good deal of the uneasy frisson that accompanies our perception of [his] work derives from its covert, aggressive insistence that we acknowledge the darker pleasures of our common culture and humanity—and own up to our common difference."
In November 2020, the work of Larry Johnson (b. 1959, Long Beach, California) will be featured in Made in L.A. 2020: a version, the biennial exhibition at the Hammer Museum, Los Angeles. He has been the subject of solo exhibitions at Raven Row, London (2015); Hammer Museum, Los Angeles (2009); and Morris and Helen Belkin Art Gallery, The University of British Columbia, Vancouver (1996). Recent group exhibitions include The Foundation of the Museum: MOCA's Collection, Museum of Contemporary Art, Los Angeles (2019); Brand New: Art and Commodity in the 1980s, Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2018); Récit d’un temps court, Musée d’art moderne et contemporain, Geneva (2018); and In the Crack of the Dawn, POOL at Luma/Westbau, Zurich (2014). Johnson was included in the 1991 Whitney Biennial and the 1988 Venice Biennale. His work is in the permanent collections of many institutions, among them the Art Institute of Chicago; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; and the Whitney Museum of American Art, New York. He lives and works in Los Angeles.
David Kordansky Gallery is pleased to announce an online solo presentation of new works by Lauren Halsey for the upcoming Frieze Viewing Room, Frieze London Edition. A VIP Preview will take place from Wednesday, October 7, 4:00 am PT / 12:00 pm BST through Thursday, October 8. Access is available by logging into ViewingRoom.Frieze.com with a designated VIP account. Frieze Viewing Room will be available to all registered guests October 9 – 16, 2020.
Lauren Halsey produces both standalone artworks and site-specific projects—particularly in the South Central neighborhood of Los Angeles—that rethink possibilities of art, architecture, and community engagement. Combining found, fabricated, and handmade objects, her work maintains a sense of civic urgency and free-flowing imagination, reflecting the lives of the people and places around her and addressing the crucial issues confronting people of color, queer populations, and the working class. This presentation at Frieze Viewing Room displays a broad range of Halsey’s studio-based work, featuring examples of three signature typologies: hair-extension paintings, gypsum engravings, and silver-insulation collages (both in three and two dimensions). Together, these works demonstrate Halsey’s ability to operate in multiple worlds and registers simultaneously, which has become a hallmark of her boundless, far-reaching approach.
A series of new works are composed from an array of synthetic hair extension wigs, resulting in wall-based objects characterized by riotous palettes and rich sculptural texture. Hair extensions are elements that adorn the human body and transform it into something more ecstatic and visually bolder than it might otherwise be. Such extensions have been a major part of the costume of one Halsey's most important inspirations, the musician George Clinton of Parliament/Funkadelic fame. She translates the emotional timbre of Clinton’s far-out, otherworldly persona into wall-based objects that celebrate local expression while maintaining a dialogue with numerous strands of art history, including Color Field painting and the soft sculptures of Mike Kelley.
Drawing from materials traditionally associated with architecture and construction, Halsey also creates wall-based works by hand-carving sheets of gypsum that combine the narrative vocabulary of ancient hieroglyphic markings, her love of vernacular forms, and her sharp eye for cultural signifiers. The works’ compositions and varied surface textures place them in conversation with tendencies often found in painting, while their palpable materiality feels decidedly sculptural. The key to this particular typology is Halsey’s understanding that each of these representations flow together in the public sphere and the collective imagination. The gypsum works function as documents as much as objects: inscribed images of local tags, for example, record neighborhoods and cultures in flux, steeped in both recollection and dreaming.
Similarly, in Halsey’s latest "silver" sculpture blocks and wall panels, markings are recorded by carving—here into each foil-insulated foam surface—but also through a kaleidoscopic collaging of neighborhood ephemera, including materials such as local signage, CDs, and incense. This technique allows her to simultaneously address, on one hand, the sociological space of South Central Los Angeles, and on the other, the fantastical space that borrows from broader Afrofuturist contexts and myths. Inspired by childhood recollections of school and church corkboards, each reflective foil surface acts as a sort of memory bulletin board, allowing her to remix and reimagine layered—and often omitted—identities and histories. In doing so, Halsey collapses linear timescales regarding issues such as gentrification and political protests in Los Angeles to show that building the future is not only a transformation of the present, but also a reckoning with the past.
Lauren Halsey has presented solo exhibitions at David Kordansky Gallery, Los Angeles (2020); Fondation Louis Vuitton, Paris (2019); and the Museum of Contemporary Art, Los Angeles (2018). She participated in Made In L.A. 2018, Hammer Museum, Los Angeles (2018), where she was awarded the Mohn Award for artistic excellence. Her work is included in the collections of the Hammer Museum, Los Angeles; the Museum of Contemporary Art, Los Angeles; and the Columbus Museum of Art. Halsey was the recipient of the 2019 Painter and Sculptors Grant from the Joan Mitchell Foundation, New York. In 2020, Lauren Halsey founded Summaeverythang Community Center and is currently developing a major public monument for construction in South Central Los Angeles, where she and her family have lived and worked for generations.
David Kordansky Gallery is pleased to announce Begin Again, Adam Pendleton's first exhibition at the gallery. The show of new work will be on view November 7 through December 19, 2020 at the gallery's Edgewood Place location. David Kordansky Gallery is currently open by appointment. Timed reservations and virtual visits are available here.
Begin Again includes paintings from the Untitled (WE ARE NOT) series, works on Mylar, and a video portrait, unfolding across three exhibition spaces in the gallery.
Pendleton's montages, from painting to collage to video, engage in a kind of nonlinear iteration: never oriented toward any determinate position, they are constantly beginning and always resisting visual and semantic closure. This activity occurs at the level of language and syntax (the unfinished and unresolved statement) as well as at the level of artistic form (the suggestion that even finished works are still open to further transformation), thereby putting a stake in the experience of a continuous present. Drawing from a vast array of archives, he cycles through sets of sentences, fragments, images, artifacts, histories, and other propositions, developing what Gertrude Stein once discussed in Composition and Explanation (1926) as a "troubling time-sense." This mode of working does not redistribute or equilibrate time, but rather troubles it, generating a renewed form of history-telling, and participatory vision of both past and future.
In 2021, Adam Pendleton will present Who Is Queen, a major installation in the atrium of The Museum of Modern Art, New York. Other recent solo exhibitions include shows at Le Consortium, Dijon (2020); Isabella Stewart Gardner Museum, Boston (2020); MIT List Visual Arts Center, Cambridge, Massachusetts (2018); Baltimore Museum of Art (2017); KW Institute for Contemporary Art, Berlin (2017); Baltic Center for Contemporary Art, Gateshead, United Kingdom (2017); Museum of Contemporary Art Cleveland (2017); Museum of Contemporary Art Denver (2016); and Contemporary Arts Center, New Orleans (2016). Recent group exhibitions include Manifesto: Art x Agency, Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2019); Public Movement: On Art, Politics and Dance, Moderna Museet Malmö, Sweden (2017); The Eighth Climate (What does art do?), 11th Gwangju Biennale, South Korea (2016); and Personne et les autres, Belgian Pavilion, 56th International Art Exhibition, La Biennale di Venezia, Venice (2015). Pendleton’s work is included in the collections of the Dallas Museum of Art; Solomon R. Guggenheim Museum, New York; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Studio Museum in Harlem, New York; and Tate, London, among other institutions. Pendleton lives and works in New York.
David Kordansky Gallery is pleased to announce The Japan Drawings, an exhibition of works on paper by Mary Weatherford. The show will be on view November 7 through December 19, 2020 in the gallery’s newest exhibition space, part of the recent expansion of its Edgewood Place location. David Kordansky Gallery is currently open by appointment. Timed reservations and virtual visits are available here.
The Japan Drawings brings together four groups of works—all shellac ink paintings on Gampi Torinoko paper—that Weatherford produced during a 2019 residency at Troedsson Villa in Nikko, Japan. While a selection of these drawings was presented in the gallery’s Online Viewing Room in May 2020, this physical exhibition allows viewers to appreciate the full scope of the project, as well as both the intimacy and materiality of the individual works and their many moods and impressions.
The residency at Troedsson Villa, founded by artist Anne Eastman in 2015, provides immersion in a unique setting where notable examples of ancient and modern architecture (including famous shrines and temples) exist within a forest landscape. Weatherford’s new drawings reflect the nuances of this environment and her time in Japan more broadly, resulting in a range of compositional approaches, color palettes, and textures. They also emerge from the same kinds of prompts that give rise to her paintings: each represents a synthesis of abstract material experimentation and response to a particular place, time, experience, or idea. Their gestural brushwork and complex spatial effects offer clear parallels to her neon paintings, for instance, providing viewers with fresh points of access to the prevailing dualities—between heaven and earth, individual encounter and collective imagination, cultural history and direct sense perception—that have fueled Weatherford’s painting practice for more than 30 years.
Mary Weatherford (b. 1963, Ojai, California) is the subject of a survey exhibition, Canyon–Daisy–Eden, that was on view earlier this year at the Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, and will travel to SITE Santa Fe in 2021. She has also presented solo shows at the Marian Miner Cook Athenaeum, Claremont McKenna College, Claremont, California (2014); Todd Madigan Gallery, California State University at Bakersfield, California (2012); and LAXART, Los Angeles (2012). Recent group exhibitions include Aftereffect: Georgia O'Keeffe and Contemporary Painting, Museum of Contemporary Art Denver (2019); Feel the Sun in Your Mouth: Recent Acquisitions, Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2019); Between Two Worlds: Art of California, San Francisco Museum of Modern Art (2017); NO MAN’S LAND: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami (2015); Pretty Raw: After and Around Helen Frankenthaler, Rose Art Museum, Brandeis University, Waltham, Massachusetts (2015); and The Forever Now: Contemporary Painting in an Atemporal World, Museum of Modern Art, New York (2014). Her work features in the permanent collections of many institutions, among them the Los Angeles County Museum of Art; Museum of Contemporary Art San Diego; Museum of Modern Art, New York; Tate Modern, London; Brooklyn Museum, New York; K11 Art Foundation, Hong Kong; and Museum of Contemporary Art, Los Angeles. In 2019, Lund Humphries published an in-depth monograph surveying the artist's oeuvre. Weatherford lives and works in Los Angeles.
David Kordansky Gallery's new gallery expansion is now open. We're excited to share with you our new exhibition space and courtyard, which together form an integrated arts compound for a range of programming including outdoor sculpture, film, and performance. Timed reservations are required. Please click here to make an in-person appointment.
Developed by Kulapat Yantrasast and wHY, the expansion adds 12,800 square feet to our existing Mid-City, Los Angeles location, originally designed by wHY in 2014. The centerpiece is a skylit 2,000-square-foot exhibition space, which is divided into two contiguous volumes. Featuring chapel-like coved ceilings and proportioned to encourage a sense of intimacy, the space is designed for focused viewing.
In this spirit, we are pleased to present our first show with Linda Stark as the expansion's inaugural exhibition. Titled Hearts, the exhibition of paintings and works on paper opens today and will remain on view through October 24, 2020. Concurrently, an exhibition of new paintings by Lesley Vance, A Zebra Races Counterclockwise, is on view in our adjacent, original gallery, also through October 24, 2020.
New outdoor sculptures, Rashid Johnson's High Time and Will Boone's The Three Fates, are now installed in the courtyard, providing visual counterpoints to the surrounding landscape of drought-resistant plants and vines. The courtyard is accessed via a flowing, terraced exterior corridor, which leads visitors seamlessly between the original gallery and the expansion—and connects the unique spaces of the site together as a campus-like whole.
We look forward to seeing you at the expanded David Kordansky Gallery!
David Kordansky Gallery is pleased to open its new exhibition space with the gallery’s first show of new paintings and works on paper by Linda Stark. Titled Hearts, this inaugural exhibition will be on view September 19 through October 24, 2020. David Kordansky Gallery is currently open by appointment. Timed reservations and virtual visits are available here.
David Kordansky Gallery’s new exhibition space forms part of its expanded Edgewood Place location in Mid-City, Los Angeles. Designed by the architecture practice wHY, the 12,800-square-foot expansion adds an intimate, skylit 2,000 square feet of indoor exhibition space, as well as areas for storage and operations, all located around a landscaped courtyard built for a range of programming, including performance, film, and outdoor sculpture.
Over the course of three decades, Los Angeles-based Linda Stark has produced a body of painting in which material experimentation and concentrated symbolic energy go hand in hand. The work is visionary, open, and suffused with an unlikely combination of humor and pathos; at the same time, it represents one of the most sustained investigations of the mutable potential of paint—as both a physical medium and a site of rich cultural discourse—in contemporary art.
As the exhibition’s title suggests, the paintings in Hearts frequently address varied iconographies associated with this most resonant of forms. Hearts occupy the literal and figurative centers of human and animal life, but they also appear in a wide range of social and narrative contexts. Emphasizing the sculptural qualities of paint as much as its visual or color-based ones, Stark creates objects that reflect the multivalent potential of the heart as vessel and beacon, biological organ and mystical source. In so doing, she reveals a broad array of interests, notable for their historical depth and up-to-the-minute urgency alike.
The suffragette movement and the fight for women’s right to vote; the use of hearts in medals for military purposes; the transformational power of religious imagery; and the ability of a heart to transform another image, like a watering eye, into something richly metaphorical are a few of the thematic areas Stark explores in the show. But these are also highly personal paintings that arise as responses to inner experiences of mind and body. Often years in the making, they are meticulously planned and executed so that they engender intimacy, wonder, and surprise.
A work like Telltale Heart (2016), for instance, exemplifies Stark’s pitch-perfect ability to balance the "making" and "finding" tendencies that define divergent strands of contemporary artistic practice. By using a section of an Army surplus jacket as a support—the seller promised that it "had been to war and back"—she imports a pre-established camouflage pattern and a readymade history of use that expand the physical and conceptual fields upon and in which painting itself then occurs. The small, intricately rendered, upside-down heart at the center of the composition thereby gains in visual weight and poetic intensity, becoming a pulsing reminder of the vulnerability at stake in any conflict, armed or otherwise.
Another, related composition that also makes use of non-traditional materials nonetheless results in a very different kind of painting. In Burr Heart II (2020), Stark employs the painted upside-down heart as a receptacle for burrs—the pricking parts of river reeds collected in her own backyard—dropped in random arrangements and affixed to the canvas using red paint. The dark background that surrounds the heart, reminiscent of a night sky or oceanic expanse, is also notable for its distinct, dimpled texture. Throughout a work like this, paint does more than merely depict, represent, or serve aesthetic functions. It is enlisted here as an adhesive, and takes on an alchemical role as a substance that joins unlike things in a unified field of embodied meaning, coaxing order out of chaos and unexpected harmonies out of even the more dissonant or foreboding aspects of the natural world.
Like her paintings, Stark’s drawings are the products of intense focus and a constant renewal of her relationship to her materials. To this end, she organizes her studio so that she can dedicate herself to one of these modes of production at a time, allowing either drawing or painting to fully occupy her attention. Nonetheless, subjects and formal experiments carry over from one medium to the other, and the works on paper included in Hearts provide a sense of the scope of Stark’s interests and passions. They also demonstrate how she gives her motifs the space to come into focus at their own pace. As she returns to them over the years, they reveal their emotional complexities and reverberations, gaining in mystery and becoming only more elusive as she hones them and explores their intricacies. Knowledge and familiarity are never taken for granted; rather, Stark keeps the unknown squarely at the center of her gaze.
Linda Stark (b. 1956, San Diego) was previously the subject of a MATRIX series solo show at the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA), Berkeley, California (2013). Recent and forthcoming group exhibitions include New Time: Art and Feminisms in the 21st Century, BAMPFA (2021); Painting: Now and Forever, Part III, Matthew Marks Gallery and Greene Naftali, New York (2018); Made in L.A. 2018, Hammer Museum, Los Angeles; and Forms of Identity: Women Artists in the 90s, Orange County Museum of Art, Newport Beach, California (2017). Her work is in the public collections of institutions that include the Albright-Knox Art Gallery, Buffalo; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; and Museum of Contemporary Art San Diego. Stark lives and works in Los Angeles.
David Kordansky Gallery's new gallery expansion is featured in Wallpaper*: wHY’s new Los Angeles arts campus for David Kordansky Gallery by Carole Dixon. The article is online at Wallpaper.com.
Our expanded gallery opens on September 19 with our first exhibition by Linda Stark. Make a reservation to visit at DavidKordanskyGallery.com.
David Kordansky Gallery is pleased to present an exhibition of new paintings by Lesley Vance, A Zebra Races Counterclockwise. The show, which opens on September 12 and will be on view through October 24, 2020, takes place across two of the gallery’s exhibition spaces and features paintings that are Vance’s largest to date. David Kordansky Gallery is currently open by appointment. Timed reservations and virtual visits are available. Please visit DavidKordanskyGallery.com/Reservations for more information and to make a reservation.
Lesley Vance has honed an unmistakable visual language in which abstraction articulates its connections to realities both tangible and ephemeral. She has achieved this in numerous ways, emphasizing relationships between light and shadow, exploring different perceptions of space, and reckoning with the materiality of color. Her new exhibition’s title is taken from a line in Frank O’Hara’s Poetry, a poem that teases out connections between quickness, surprise, and desire, and that enacts, through its own slippery syntax, the ways in which the mind attempts to impart fixity to changing situations: "A zebra races counterclockwise. / All this I desire. To / deepen you by my quickness / and delight as if you were logical and proven..."
Several of Vance's most recent paintings are over six feet tall and therefore enter into dialogue with the body in wholly new ways. Like her works of the last few years, the underlying architecture of these paintings is based in freely flowing expressive gestures that she elaborates over time, transforming them into networks of lines, textures, and intercut volumes. Because of their increased scale, these marks communicate the sweep of an entire arm. Passages appear to speed up or slow down with newfound force. Furthermore, the vivid intensity of her palette creates fully immersive, intensely optical viewing experiences in which foregrounds and backgrounds constantly jostle for primacy. For all their formal power, though, these paintings are sensitive documents that record the action of intelligence and imagination as they intersect with sensate reality.
This reality includes the qualities of paint itself, especially at a larger scale. In Vance’s case, this means that color can convincingly communicate illusions of weight and depth, becoming the focus of the viewer’s awareness. The eye moves back and forth between two opposing modes of seeing: just as it begins to lose itself within surreal constructions of shapes, lines, and planes, it is confronted with the fact of the materials Vance uses to create them. The pristine nature of her surfaces only gain in seductiveness and complexity when seen in person, and they are revealed to be decidedly handmade, tactile things made from the movements of the artist's brush, arm, and hand.
Working alone and without assistants, Vance establishes levels of intimacy and close engagement that are immediately palpable regardless of the size of the canvas. In several of the works on view, layers of brushy transparency carry with them the energy of expressionist gestures, thereby disrupting the otherwise intact edges that distinguish one distinct shape or space from another so that the fluidity of paint assumes center stage. The ribbon-like forms that swerve across Vance’s canvases vary in density and composition, picking up or shedding hues as they go, momentarily pausing before slipping back into the thickets of color and luminosity from which they emerge.
Suffused with the feel of the physical world, Vance’s paintings are full of shifting moods and paradoxes that deepen in complexity the longer they are viewed. Attuned to ever-finer nuances of perception and physical presence, her work becomes both stranger and more naturalistic as it continues to unfurl.
Lesley Vance (b. 1977, Milwaukee, Wisconsin; lives and works in Los Angeles) has been the subject of exhibitions at the FLAG Art Foundation, New York (2012); Bowdoin College Museum of Art, Brunswick, Maine (2012); and The Huntington Library, Art Museum, and Botanical Gardens, San Marino, California (2012, with Ricky Swallow). Recent group exhibitions include Aftereffect: Georgia O'Keeffe and Contemporary Painting, Museum of Contemporary Art, Denver (2018); The Campaign for Art, San Francisco Museum of Modern Art (2016); Don’t Shoot the Painter. Paintings from UBS Art Collection, Galleria d’Arte Moderna, Milan (2015); Variations: Conversations in and Around Abstract Painting, Los Angeles County Museum of Art (2014); and Painter Painter, Walker Art Center, Minneapolis (2013). Her paintings are in the public collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Dallas Museum of Art; Hammer Museum, Los Angeles; and San Francisco Museum of Modern Art, among many others. A monograph documenting the last seven years of her work was recently published by Gregory R. Miller & Co.
David Kordansky Gallery is pleased to announce its representation of David Altmejd. The gallery will present an online exhibition focused on a new sculpture by the Canadian-born, Los Angeles-based artist beginning this coming Wednesday, August 26, 8:00 am Pacific Time. The presentation will be on view at DavidKordanskyGallery.com through September 16, 2020.
David Altmejd explores the constitution and disintegration of the self, producing sculptures that expand the range of figurative representation, and conjuring abstract regions beyond the realm of recognizability. His work is centered on the human form, which in Altmejd’s vision includes not only the body but the mind, the imagination, and the soul, not to mention the ways the material world is perceived and felt through these channels. To this end, each of his works arises from an ongoing intuitive relationship with the large array of materials with which they are built, including clay, foam, mirror, quartz, resin, and both synthetic and human hair. Traditional processes like casting exist alongside idiosyncratic forms of bricolage; no two sculptures are alike, even when they seem to address related subjects. Altmejd approaches scale as a relative quantity, and over the course of his two-decade career he has treated room-sized installations and intimate busts with the same levels of intensity and commitment. Cosmological in scope, his work reveals a world-making ethos across its surfaces and in its details, where countless moments of invention and curiosity reflect ever-unfolding mysteries of consciousness.
David Altmejd (b. 1974, Montreal) has been the subject of solo exhibitions at Musées royaux des Beaux-Arts de Belgique, Brussels (2016); Kunsthal KAdE, Amersfoort, Netherlands (2016); Louisiana Museum of Modern Art, Humlebaek, Denmark (2015, traveled to Musée national des beaux-arts du Québec); Musée d’Art Moderne de la Ville de Paris (2014, traveled to Musée d’Art Contemporain de Montréal and Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean); MOCA Cleveland (2012); and Brant Foundation Art Study Center, Greenwich, Connecticut (2011), among other institutions. In 2007, Altmejd represented Canada at the 52nd International Art Exhibition, La Biennale di Venezia, Venice. Recent group exhibitions include In the Spotlight of the Night Life in the Gloom, Marta Herford Museum, Herford, Germany (2019); Zombies: Pay Attention!, Aspen Art Museum, Colorado (2018); ANIMA MUNDI, Museum Boijmans Van Beuningen, Rotterdam (2018); Voyage d'hiver, Château de Versailles, France (2017); and A Material Legacy: The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art, Nasher Museum of Art at Duke University, Durham, North Carolina (2016). His work is in the permanent collections of museums such as the Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Art Gallery of Ontario, Toronto; and Musée d'Art Moderne de la Ville de Paris. Altmejd lives and works in Los Angeles.
David Kordansky Gallery is pleased to announce its representation of Deana Lawson. Lawson makes photographs that explore the black familiar and its relationship to lore, global histories, and mystery traditions. She transforms observational picture-making into a powerful mode of expression, critique, and celebration. Romance and intimacy between subjects, as well as ritual and spirituality, appear throughout Lawson’s work, often within the same image. Her photographs emphasize formal approaches to film commonly associated with both Western and African 20th-century portraiture practices, in addition to appropriation and uses of vernacular imagery. Lawson engages her subjects with intention and intuition alike, in staged situations characterized by the piercing directness of the model’s gaze. With their meticulous mise-en-scènes filled with personal artifacts and decor, these portraits underscore the psychological connections between people and their domestic spaces, fusing biography, symbolism, and cultural observation, and creating expansive images of contemporary personhood.
David Kordansky Gallery will present work by Deana Lawson at the upcoming Art Basel Online Viewing Rooms, June 17 – 26, with a VIP preview June 17 – 19, 2020.
David Kordansky Gallery is pleased to announce its representation of Jason Fox. For almost thirty years, Fox has painted pictures that inhabit the charged psychological spaces within American culture, as well as within the medium of painting itself. Exhibiting frequently at Feature Inc., among other galleries in the 1990s, he moved against the grain of prevailing appropriation-based and conceptual methodologies. His idiosyncratic, risk-taking paintings then and since have been filled with imaginary beings informed by modernist art, autobiographical reflection, and mythological symbolism, and a recurring cast of characters from comics, fantasy cinema, and popular music. As such, Fox produces pictures that condense broad propensities in the collective imagination into intimate images whose every brushstroke and color choice carries emotional weight. These unlikely but arresting pictures—suffused with Dadaist humor—make the most of painting’s ability to register organic, intuitively rendered changes in form and perspective. In many works from the last few years, Fox fuses portraits of well-known figures as well as images of his dog, demons, and angels. These hybridized beings appear to morph before the viewer’s eyes, communicating a sense of the fluidity with which they take shape on the canvas. This makes his work as personal and introspective as it is accessible, immediately recognizable, and culturally resonant.
An exhibition of Jason Fox's new paintings is currently on view at David Kordansky Gallery through July 11, 2020. The gallery will present work by Fox at the upcoming Art Basel Online Viewing Rooms, June 17 – 26, with a VIP preview June 17 – 19.
David Kordansky Gallery is proud to be participating in Gallery Platform LA, launching on May 15. For more information, please visit GalleryPlatform.LA.
Sixty Los Angeles art galleries have joined together to create an online platform to promote engagement with the local and international art audience. GalleryPlatform.LA will present twelve gallery “viewing rooms” each week, with each gallery appearing on the platform once every six weeks. The platform will also include an editorial section featuring video visits with Los Angeles artists, collectors, and gallerists.
The online gallery platform is the first project of what will become a Los Angeles Gallery Association, which will coordinate joint programming, gallery maps and itineraries, and other projects to enhance the art-viewing experience in Los Angeles.
Fore more information, please click here.
A long-term installation of Sam Gilliam's early works from the 1960s and 1970s opens at Dia:Beacon, New York on Saturday, August 10.