Anat Ebgi
Anat Ebgi
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Address
2660 S La Cienega Blvd
Los Angeles, CA 90034 -
Website
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Inquiry

Jibade-Khalil Huffman, Picture for Paul Mooney (Everybody Wants / Nobody Wants), 2018.
For Gallery Platform LA, Anat Ebgi is pleased to present a snapshot of our gallery program for 2020. From historical work by Tina Girouard to large scale anthropomorphic drawings by Cosmo Whyte, this curated selection looks back a recent shows and offers a glimpse into the future ones featuring Jibade-Khalil Huffman, An Te Liu, Robert Russell, Sigrid Sandström, and Sarah Ann Weber.

Jibade-Khalil Huffman, Picture for Paul Mooney (Everybody Wants / Nobody Wants), 2018
Inkjet on transparency
29 1/2 × 44 1/2 inches
Jibade-Khalil Huffman, Picture for Paul Mooney (Everybody Wants / Nobody Wants), 2018
Inkjet on transparency
29 1/2 × 44 1/2 inches

Sarah Ann Weber, We Wore Masks, 2020
Colored pencil on Arches
25 1/2 × 33 inches
Sarah Ann Weber, We Wore Masks, 2020
Colored pencil on Arches
25 1/2 × 33 inches

Tina Girouard, 13 Test Pattern Sequence, 1974
Artstick on vellum
8 × 8 inches
Tina Girouard, 13 Test Pattern Sequence, 1974
Artstick on vellum
8 × 8 inches

Cosmo Whyte, Pigtails, 2020
Charcoal and gouache on paper
55 × 41 1/2 inches
Cosmo Whyte, Pigtails, 2020
Charcoal and gouache on paper
55 × 41 1/2 inches

An Te Liu, Ada, 2020
Ceramic with marble base
6 1/2 × 5 1/4 × 4 inches
An Te Liu, Ada, 2020
Ceramic with marble base
6 1/2 × 5 1/4 × 4 inches
Gavlak
Gavlak
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Address
1700 South Santa Fe Ave, Suite 440
Los Angeles, CA 90021 -
Website
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Inquiry
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Sarah Gavlak founded GAVLAK in 2005 with a focus on representing women, LGBTQ, and BIPOC artists. Gavlak has intentionally maintained this mission and has presented early solo exhibitions by Lisa Anne Auerbach, Andrew Brischler, Wade Guyton, Simone Leigh, Marilyn Minter, and Betty Tompkins.

L: Marnie Weber, Of Caryatids, Of Rat, Of Marnie, Rebel Art Gallery, Hollywood, CA, 1987.
R: Marnie Weber, Songs From Intimacy Island, Los Angeles Contemporary Exhibitions (LACE), Los Angeles, CA, 1989.
Images courtesy of the artist and Gavlak Los Angeles / Palm Beach.
The Nineties
"In art school, I was making these big collages. I was inspired by Greek mythology. I started making work about other mythologies until I started making my own. Collage is more than a dumping ground of imagery. You just don’t put things together that don’t make sense. As I got further into collage work, I realized that I wanted to create a psychological moment. I try to make it look like a freeze frame of a movie, or as if you had walked into a play and all of a sudden, the characters had stopped. Like you walked into a scene and said, “What’s going on here? Now, my goal when I do a collage is to create an emotionally charged situation. I really believe that, over the years, I’ve found my voice." —Marnie Weber, Juxtapose (September 2016)

Marnie Weber, Passing Time, 1997
Paper collage
10 × 8 inches
Marnie Weber, Passing Time, 1997
Paper collage
10 × 8 inches

Marnie Weber, Nurse Mice, 1998
Paper collage
13 1/4 × 10 1/4 inches
Marnie Weber, Nurse Mice, 1998
Paper collage
13 1/4 × 10 1/4 inches

Marnie Weber, Prickly Passion, 1998
Photographic collage
23 3/4 × 35 3/4 inches
Marnie Weber, Prickly Passion, 1998
Photographic collage
23 3/4 × 35 3/4 inches
"Thurston and Kim saw my show of collages in New York and they contacted me and said, “We’d like you to do our next album cover.” They said the title was A Thousand Leaves, so in my mind, I kept thinking about trees and started sending them images with trees. They happened to get some slides from the gallery and chose the one used on the cover, which is a photo of me as a little girl. I was 12 years old and my family was living in Japan at the time. Some company was looking for a caucasian girl to model blankets. In every single picture, I’m not smiling and look terrified. In the collage, I added the hamster ears to my head." —Marnie Weber, Juxtapose (September 2016)

Marnie Weber, Bunny Hug, 1995
Paper collage
10 × 7 1/2 inches
Marnie Weber, Bunny Hug, 1995
Paper collage
10 × 7 1/2 inches

Marnie Weber, Blue Nude with Snow Bunnies, 1996
Paper collage
11 7/10 × 9 1/10 inches
Marnie Weber, Blue Nude with Snow Bunnies, 1996
Paper collage
11 7/10 × 9 1/10 inches

Marnie Weber's cover for Sonic Youth's 1998 album, A Thousand Leaves.
Hannah Hoffman
Hannah Hoffman
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Address
2504 W 7th Street, Los Angeles, CA 90057
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Website
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Inquiry

Installation image: Olga Balema in the Whitney Biennial 2019, Whitney Museum of American Art, New York, May 17 - October 27, 2019. Courtesy of the Whitney Museum of American Art.
Olga Balema constructs objects and installations from the found, the readymade, and the fabricated, moving fluently through various genres and stylistic points with a material intelligence that encompasses references to art history, cinema, literature, and personal narratives. While Balema is often described as a sculptor, her work in fact undoes many of the medium’s most traditional traits. Frequently situated low to the ground and integrated into their architectural surroundings, her objects frustrate expectations of sculptural monumentality. Composed from heterogeneous materials—ranging from electronics and plastics in day-glo hues to soft cloth and latex—they instead evoke instability, growth, and discomfort. While Balema eschews straightforward figuration, a sense of embodied experience nonetheless enlivens her work.

Olga Balema, Floor, 2019
Styrofoam, watercolor, tape, acrylic
30 × 60 × 70 inches
Olga Balema, Floor, 2019
Styrofoam, watercolor, tape, acrylic
30 × 60 × 70 inches

Olga Balema, Syphon of Identity, 2018
Canvas board, acrylic paint, vinyl, glue
37 × 31 × 8 1/2 inches
Olga Balema, Syphon of Identity, 2018
Canvas board, acrylic paint, vinyl, glue
37 × 31 × 8 1/2 inches

Olga Balema, Untitled, 2018
Styrofoam
18 × 27 1/2 × 25 inches
Olga Balema, Untitled, 2018
Styrofoam
18 × 27 1/2 × 25 inches

Olga Balema, Compassion, 2017
Monitor, video loop, vinyl
62 × 19 × 38 inches
Olga Balema, Compassion, 2017
Monitor, video loop, vinyl
62 × 19 × 38 inches

Video included in Compassion

Olga Balema, Untitled, 2018
Fabric, latex, steel, glue
34 × 15 1/2 × 12 inches
Olga Balema, Untitled, 2018
Fabric, latex, steel, glue
34 × 15 1/2 × 12 inches

Olga Balema, Everyone grows relief, 2016
Steel, fabric, latex, glue, water
21 × 12 × 16 inches
Olga Balema, Everyone grows relief, 2016
Steel, fabric, latex, glue, water
21 × 12 × 16 inches
Olga Balema (b. 1984, Ukraine) is an artist living and working in New York. She received her MFA in New Genres from UCLA and subsequently attended the Rijksakademie as a resident, as well as Skowhegan. Balema is the 2017 recipient of a Pollock-Krasner Foundation Grant. She has participated in national and international group exhibitions in venues including Haus der Kunst, Munich (2018); Kunstmuseum St. Gallen, Sankt Gallen (2018); High Art, Paris (2017); Croy Nielsen, Vienna (2017); Moderna Museet, Stockholm (2016); and in exhibitions including The Baltic Triennial 13, Vilnius (2018); 2015 Surround Sound Triennial, New Museum, New York (2015); and the 2019 Whitney Biennial, Whitney Museum of American Art, New York. Balema has held solo exhibitions at venues including Bridget Donahue, New York (2019); Swiss Institute, New York (2016); and Kunstverein Nürnberg, Nürnberg (2015).
Hauser & Wirth
Hauser & Wirth
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Address
901 East 3rd St
Los Angeles, CA 90013 -
Website
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Inquiry
Kate Abrams
kate@hauserwirth.com -
Hauser & Wirth Los Angeles, one of nine worldwide locations of the international gallery devoted to contemporary art and modern masters, is a vibrant communal space that links art and architecture with a dynamic events program.

Richard Jackson during the installation of Big Ideals, Rosamund Felsen Gallery, Los Angeles CA, 1984
A lifelong resident of California, LA-based artist Richard Jackson has played a key role in the art scene since he moved to the city in the late 1960s. Influenced by both Abstract Expressionism and action painting, Jackson has spent the last five decades exploring a performative painting process which seeks to extend the medium’s potential by upending its technical possibilities.
These seven works employ a mix of materials including neon, a Volkswagen car, fiberglass, oil paint, and steel in an array of expressive installations. The works showcase Jackson’s pursuit of ‘painting as performance; painting as experience’ and exemplify his high level of craftsmanship and engineering. For Jackson, paint is not a tool used to create a representational image, but a ubiquitous liquid to be spurted, splattered and sprayed over the surface of his installations.

Richard Jackson, The Dining Room, 2006-2007
Fiberglass, wood, hardware, glass, acrylic paint, steel
Dimensions variable
Richard Jackson, The Dining Room, 2006-2007
Fiberglass, wood, hardware, glass, acrylic paint, steel
Dimensions variable

Richard Jackson, VW Fan, 1999
Volkswagen, steel, fiberglass
149 5/8 × 108 1/4 × 173 1/4 inches
Richard Jackson, VW Fan, 1999
Volkswagen, steel, fiberglass
149 5/8 × 108 1/4 × 173 1/4 inches
I’m trying to change the way people think about painting and how they relate to it and how painting can occupy a space...
—Richard Jackson

Richard Jackson, Ain't Painting A Pain, 2012
Neon, paint cans, paint, funnel, plastic tubes, cables
10 × 155 1/2 × 2 1/2 inches
Richard Jackson, Ain't Painting A Pain, 2012
Neon, paint cans, paint, funnel, plastic tubes, cables
10 × 155 1/2 × 2 1/2 inches

Richard Jackson activating Ain’t Painting a Pain at the Crocker Art Museum, Sacramento, CA in 2019
You have a plan, you set up the situation, and then you just push the button and the whole thing does what it does. And you take the results, whatever happens. Don’t make any aesthetic judgments about it, that’s crazy.
—Richard Jackson

Richard Jackson, Bad Dog (Red), 2007
Aluminum, hardware, MDO, formica
27 1/8 x 29 7/8 x 18 1/8 inches
Pedestal: 42 1/2 × 16 3/4 × 24 1/2 inches
Ed. 1/5 + 2AP
Richard Jackson, Bad Dog (Red), 2007
Aluminum, hardware, MDO, formica
27 1/8 x 29 7/8 x 18 1/8 inches
Pedestal: 42 1/2 × 16 3/4 × 24 1/2 inches
Ed. 1/5 + 2AP

Richard Jackson, Nice, 1998
Oil and ink on mylar
5 parts, 31 7/8 × 31 7/8 inches each
Richard Jackson, Nice, 1998
Oil and ink on mylar
5 parts, 31 7/8 × 31 7/8 inches each
It’s performative or it’s evidence of a performance. But it’s also about how you choose to spend your time. All we have is time.
—Richard Jackson

Richard Jackson, Pain-t, 2012-2014
Group of 5 sculptures; fibreglass, acrylic paint, wood, air tanks
55 7/8 × 24 × 24 inches each (incl. plinth)
Richard Jackson, Pain-t, 2012-2014
Group of 5 sculptures; fibreglass, acrylic paint, wood, air tanks
55 7/8 × 24 × 24 inches each (incl. plinth)

Richard Jackson, Untitled (Study for Wall Painting for Los Angeles), 1970 / 2016
Oil and pencil on mylar
37 × 42 inches
Richard Jackson, Untitled (Study for Wall Painting for Los Angeles), 1970 / 2016
Oil and pencil on mylar
37 × 42 inches
The wall paintings were never performances. They are evidence of performances. I like to activate a work in private. Viewers see how the work was performed; they take their ideas from the completed piece. People need to imagine how a work is made.
—Richard Jackson
Born in Sacramento, California in 1939, Jackson first came to international attention with a major presentation of his installation works at the Menil Collection, Houston, in 1988, followed by the 1992 exhibition, ‘Helter Skelter,’ at the Los Angeles Museum of Contemporary Art. In 2019, Jackson presented a solo exhibition at the Crocker Art Museum in Sacramento. Since the beginning of 2020, he has opened a solo exhibition at the Schirn Kunsthalle Frankfurt and published a new monograph with Hauser & Wirth Publishers that investigates the myriad facets of his practice.
Kayne Griffin Corcoran
Kayne Griffin Corcoran
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Address
1201 S La Brea Ave
Los Angeles, CA 90019 -
Website
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Inquiry
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Kayne Griffin Corcoran is a Los Angeles based art gallery representing established, mid-career and emerging contemporary artists that are pivotal to their respective generations.

Everything
Kayne Griffin Corcoran presents a solo presentation of Anthony Hernandez’s “Everything” portfolio which consists of 10 prints from his larger “Everything” series that he began in 2002. For this series, Hernandez photographed the storm drains and basins throughout the Los Angeles river—illuminating these concrete basins that can often provide refuge for the homeless. His photographs are stark and minimal and utilize aspects of the landscape that go unnoticed by passerby’s. “Hernandez heightens the drama of these accidents, inventing for the viewer a new way to see,” as written by M.G. Lord.
Anthony Hernandez first began photographing in 1966 with a 35mm camera. His early works consisted of black and white street photography that were solemn and pensive. After receiving a grant from the National Endowment for the Arts, Hernandez purchased a large-format camera and began photographing urban landscapes and public spaces. Hernandez’s subject matter is born out of Los Angeles itself—a documentation of the common places that are accessible to all but also seldom used. Los Angeles is a city of erasure and through his photographs, Hernandez is able to capture a persistent feeling of loss. His pictures are often devoid of figural representation yet rampant with their lingering presence. The minimal and mindful framing of each image made Hernandez’s photographs “as charged as tarot cards,” according to critic Luc Sante.
[From 2002 – 2004,] Anthony Hernandez walked the basin of the Los Angeles River, recording what he saw—which as the title implies, was more or less Everything. For Hernandez, to explore the river was to explore his own past. As a boy growing up in Boyle Heights, a largely Latino neighborhood in East Los Angeles, he played in the concrete basin, or as he puts it, got into “mischief,” exploding railroad flares in its tunnel-like storm drains.”
—M.G. Lord


Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6
Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6

Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6

Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6

Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6

Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6

Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6

Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6

Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6

Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6

Anthony Hernandez, Everything (portfolio of 10), 2002
Inkjet prints
10 prints: 24 × 24 inches
Edition 5 of 6
Anthony Hernandez (b. 1947) lives and works in Los Angeles, CA and Idaho. He was most recently included in May You Live in Interesting Times curated by Ralph Rugoff as part of the 58th International Art Exhibition of La Biennale di Venezia and was subject to a solo-exhibition at the Nelson-Atkins Museum, Kansas City, MO. Hernandez was subject to his first career retrospective that traveled to the San Francisco Museum of Modern Art (2016), the Milwaukee Art Museum, WI (2017), and the Fundación MAPRE in Madrid, Spain (2019). In 1998 Hernandez was awarded the Rome Prize, and in 2018 he received the Guggenheim Memorial Fellowship
NICODIM
NICODIM
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Address
1700 S Santa Fe Ave, #160
Los Angeles, CA 90021 -
Website
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Inquiry
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Mihai Nicodim opened his gallery in 2006 with a focus on exposing emerging and overlooked American, African, Asian, and European artists to an international audience. The artists share an interest in reassessing art history from an outsider's perspective and challenging its established framework.

Installation view, Dominique Fung: Relics and Remains at Nicodim Gallery, Los Angeles
In Cantonese, jook-sing is a pejorative term for persons of Chinese descent who live overseas and identify more strongly with western culture. The term itself evolved poetically from the word for “bamboo pole.” Bamboo rods are hollow and compartmentalized, so if one is to pour water in one end, it is trapped, unable to flow through to the other side.
Dominique Fung was born and raised in Ottawa, Canada, to first-generation parents from Shanghai and Hong Kong. At home, she spoke Cantonese, at school English. Her early artistic passions were informed by Vermeer, Manet, Rembrandt, and Goya, but her sense of Chinese heritage was largely informed by vessels and objects she saw at home and on display in the Asian art section during visits to the Met in New York.

Dominique Fung, Transition from Signifier to a Sacred Relic, 2020
Oil on canvas
72 × 84 inches
Dominique Fung, Transition from Signifier to a Sacred Relic, 2020
Oil on canvas
72 × 84 inches

Dominique Fung, Through the Looking Glass, 2020
Oil on canvas
48 × 48 inches
Dominique Fung, Through the Looking Glass, 2020
Oil on canvas
48 × 48 inches

Dominique Fung, Material Manifestations in the Act of Remembrance, 2020
Oil on canvas
84 × 144 inches
Dominique Fung, Material Manifestations in the Act of Remembrance, 2020
Oil on canvas
84 × 144 inches
The relics in the museum, Fung thought, were jook-sing like her: anonymously Asian in appearance, separated and oftentimes stolen from their original contexts by oceans, hemispheres, and centuries, imbued with identity by masters long since deceased. She imagined what the objects’ lives were like when they were born, what they held within their bodies, who touched and used them, how they felt about it. She began to think of them as concubines, with personalities, secrets, and stories to share. She wondered what they’d look like with hair. She realized her relationship to her own Cantonese identity was shaded by a sort of 19th century Orientalism.
In her 2018 essay “Ornamentalism: A Feminist Theory for the Yellow Woman,” Anne Anlin Cheng defines 19th century Orientalism as such: “that opulence and sensuality are the signature components of Asiatic character; that Asia is always ancient, excessive, feminine, available, and decadent; that material consumption promises cultural possession; that there is no room ... for national, ethnic, or historical specificities.” The Asian art section at the Met is Orientalist, thought Fung. In a way, so was she.
Relics and Remains, Fung’s first solo exhibition with Nicodim, is the result of the subsequent years of research into her motherland’s cultural history, casting the objects in the Met she once fetishized as an entry point. These paintings are the artist’s dark and playful exploration of her own jook-sing-ness; they navigate and reclaim the water of her identity suspended within bamboo.

Dominique Fung, A Bridge to the Ancestral Plane, 2020
Oil on canvas
84 × 72 inches
Dominique Fung, A Bridge to the Ancestral Plane, 2020
Oil on canvas
84 × 72 inches

Dominique Fung, Mundane and the Divine, 2020
Oil on canvas
60 × 48 inches
Dominique Fung, Mundane and the Divine, 2020
Oil on canvas
60 × 48 inches

Dominique Fung, Near Death Experiences, 2020
Oil on canvas
60 × 48 inches
Dominique Fung, Near Death Experiences, 2020
Oil on canvas
60 × 48 inches
Dominique Fung (b. 1987, Ottawa, Canada) lives and works in New York. She received her BAA from Sheridan College Institute of Technology in Toronto in 2009. Recent exhibitions include Animal Kingdom, Alexander Berggruen, New York (2020); Hollywood Babylon: A Re-Inauguration of the Pleasure Dome, Nicodim, Jeffrey Deitch, and AUTRE Magazine, Los Angeles, USA (2020); If On A Winter’s Night A Traveller, MAMOTH, London, UK (2020); Skin Stealers, Nicodim Gallery, Los Angeles (2020); Trans World, Nicodim Gallery, Los Angeles, USA; Galeria Nicodim, Bucharest, Romania (2019); Wash Your Corners, Ross + Kramer, New York, USA (2019, solo); Dominique Fung, Taymour Grahne, London, United Kingdom (2019, solo); Barmecide Feast, The 14th Factory, Smithsonian National Air and Space Museum, Washington DC, USA (2018).
Nino Mier Gallery
Nino Mier Gallery
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Address
7277 Santa Monica Blvd
Los Angeles, CA 900467313 Santa Monica Blvd
Los Angeles, CA 90046 -
Website
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Inquiry

Installation view of Mindy Shapero, Midnight Portal Scars, at Nino Mier Gallery, Los Angeles.
Mindy Shapero is best-known for her sculptures and works on paper that employ a vivid color-palette and myriad use of often humble materials. Through a mixture of surrealism and kitsch, Shapero playfully manipulates her media in a process of accretion and repetition, resulting in objects that dare to contradict their reasons for being. Though Shapero traces visual histories of materials being put to use, her relationship to the material world is not defined by sheer pragmatism. Rather, she perceives how tangible things are capable of transporting us beyond ordinary experience, so that the intangible is just within reach.
Midnight Portal Scars, Shapero's first exhibition with the gallery, features new works on paper that recombines materials and techniques seen in her sculptures. Thus, these works on paper act as markers of process. Through layers of paint, spray paint and subsequent leafing, Shapero treats “viewing” or “looking” as a continuous state of transformation - “a state of mind that allows interiority and exteriority to mix and become a single metaphysical continuum.”
The works on paper, much like her sculpture, are a reflection of material and process. Stencil-like remnants of cut paper used to make sculptures are laid down as templates, thus the negative created by the stencil becomes the positive in the drawing. After spray paint and leafing are applied, the negative spaces left in their wake demarcate a dense layer of grids. Through these layers of grids, the ghostly shadows of everyday objects, such as buttons and jewelry, can be found. It is Shapero’s deliberate maneuvering of materials, forms and levels of transparency that pushes the resultant work to the edge of otherworldly, almost psychedelic, while maintaining hints of the natural world.

Mindy Shapero, Scar of midnight portal, crystallized to gold negative and positive, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
48 × 37 1/2 inches
Mindy Shapero, Scar of midnight portal, crystallized to gold negative and positive, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
48 × 37 1/2 inches

Mindy Shapero, Scar of midnight portal, crystallized to blue, lime, silver and gold, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
33 1/4 × 31 3/4 inches
Mindy Shapero, Scar of midnight portal, crystallized to blue, lime, silver and gold, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
33 1/4 × 31 3/4 inches
“Through the traces of the visual histories of materials being put to use, my relationship to the material world is not defined by sheer pragmatism. Rather, it is how tangible things are capable of transporting us beyond ordinary experience, so that the intangible is just within reach.”

Mindy Shapero, Scar of midnight portal, crystallized to silver bursting from inside to outside, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
36 × 32 1/4 inches
Mindy Shapero, Scar of midnight portal, crystallized to silver bursting from inside to outside, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
36 × 32 1/4 inches

Mindy Shapero, Scar of midnight portal, crystallized to solid silver outside, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
37 × 35 inches
Mindy Shapero, Scar of midnight portal, crystallized to solid silver outside, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
37 × 35 inches

The Artist’s studio

Mindy Shapero, Scar of midnight portal, crystallized to gold and silver and gold and silver, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
47 1/4 × 34 1/8 inches
Mindy Shapero, Scar of midnight portal, crystallized to gold and silver and gold and silver, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
47 1/4 × 34 1/8 inches

Mindy Shapero, Scar of midnight portal, crystallized to green and black and silver and gold outlines, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
58 1/4 × 35 7/8 inches
Mindy Shapero, Scar of midnight portal, crystallized to green and black and silver and gold outlines, 2020
Acrylic, spray paint, gold and silver leaf on paper, framed
58 1/4 × 35 7/8 inches
Mindy Shapero (b. 1974 in Louisville, KY) earned a Bachelor of Fine Arts from the Maryland Institute College of Art, Baltimore, MD (1997) and a Master of Fine Arts from the University of Southern California, Los Angeles, CA (2003). Shapero’s work has been shown extensively in institutions across the country in exhibitions such as, Highlights from the Collection, Orange County Museum of Art, Newport Beach, CA (2017); NO MAN’S LAND: Women Artists from the Rubell Family Collection, Miami, FL (2015); Storytelling as Craft, Kentucky Museum of Art and Craft, Louisville, KY (2013); New Art for a New Century: Recent Acquisitions 2000-2009, Orange County Museum of Art, Newport Beach, CA, (2010); Like color in pictures, Aspen Art Museum, Aspen, CO (2007); The Uncertainty of Objects and Ideas, Hirshhorn Museum, Washington, D.C. (2006); Thing: New Sculpture From LA, Hammer Museum, Los Angeles, CA (2005), and a two-person exhibition with Jockum Nordström at the Wexner Center for the Arts, Columbus, OH (2006), among others.

Ochi Projects
Ochi Projects
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Address
3301 W Washington Blvd
Los Angeles, CA 90018 -
Website
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Inquiry

Lilian Martinez, Bart, Beethoven, Wifi, 2020, installation view, Ochi Projects, Los Angeles
Courtesy of Ochi Projects
Bart, Beethoven, Wifi
Lilian Martinez’ work blends representation and iconographies of past with present and imagined future, combining classical architectural elements with contemporary pop cultural references to create the settings for her portraits, landscapes, and still lifes. Her flat, bold style recalls iconic predecessors like Matisse, while her impetus to center brown bodies that have historically been essentialized, if not omitted altogether, from these sorts of historical artworks recontextualizes the roles of the artist and subject at once.

Lilian Martinez, The Big T-shirt (Moonlight Sonata), 2020
Acrylic on linen
90 × 68 inches
Lilian Martinez, The Big T-shirt (Moonlight Sonata), 2020
Acrylic on linen
90 × 68 inches

Lilian Martinez, Blue Jogger, 2020
Acrylic on linen
90 × 68 inches
Lilian Martinez, Blue Jogger, 2020
Acrylic on linen
90 × 68 inches

Lilian Martinez, Small Waves, 2020
Acrylic on linen
70 × 56 inches
Lilian Martinez, Small Waves, 2020
Acrylic on linen
70 × 56 inches
Martinez’ newest body of work is both more commanding in scale, as well as increasingly focused on the figures she portrays. The figures are usually engaged in everyday leisure activities, and Martinez’ work indulges color and mood, all while maintaining a charming nonchalance. Even in the works bold simplicity, a matrix of historical and cultural signifiers exposes a boundlessness, both in connection through nostalgic specificity and limitlessness in the lack thereof. Towering above the line of sight, Lilian Martinez’ women portrayed welcome the viewer with open arms into a dreamscape of her making.

Lilian Martinez, New Realism, 2020
Acrylic on linen
78 × 60 inches
Lilian Martinez, New Realism, 2020
Acrylic on linen
78 × 60 inches

Lilian Martinez, Air, 2020
Acrylic on paper
40 × 30 inches
Lilian Martinez, Air, 2020
Acrylic on paper
40 × 30 inches
Lilian Martinez (b. 1986, Chicago, IL) lives and works between Yucca Valley and Los Angeles, CA. She earned a BFA in Photography from The School of the Art Institute of Chicago. She is the founder of BFGF, an art brand working with digitally printed and woven versions of her artwork. She has exhibited her work nationally and internationally.

Lilian Martinez & Daniel McKee, Art Handler, 2020
Acrylic on limestone
15 × 20 × 17 inches
Lilian Martinez & Daniel McKee, Art Handler, 2020
Acrylic on limestone
15 × 20 × 17 inches

Lilian Martinez, Fire, 2020
Acrylic on paper
40 × 30 inches
Lilian Martinez, Fire, 2020
Acrylic on paper
40 × 30 inches
For additional information please contact hello@ochiprojects.com
Residency Art Gallery
Residency Art Gallery
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Address
310 East Queen St
Inglewood, CA 90301 -
Website
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Inquiry
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Since our inception, our goal as a contemporary art gallery has been to serve the area of South Central Los Angeles. We celebrate contemporary artists that continue to make projects for communities of color. Residency Art Gallery is a safe space for all genders, races and cultures.

Installation shot from Residency Art Gallery at Felix Art Fair 2020. Captured by Elon Schoenholz
Residency Art Gallery proudly presents a selection of new offerings from texas isaiah, Devon Tsuno, Alanna Fields and Alfonso Gonzalez Jr. for Gallery Platform LA. Thank you for your consideration.

Texas Isaiah, don’t kill this vibe, 2019
Color Archival Inkjet Print
20 × 30 inches
Texas Isaiah, don’t kill this vibe, 2019
Color Archival Inkjet Print
20 × 30 inches
Available in larger sizes

Texas Isaiah, RETURN TO OUR FLOWERS, 2019
Color Archival Inkjet Print
20 × 30 inches
Texas Isaiah, RETURN TO OUR FLOWERS, 2019
Color Archival Inkjet Print
20 × 30 inches
Available in larger sizes

Since our inception, our goal as a contemporary art gallery has been to serve the area of South Central Los Angeles. We celebrate contemporary artists that continue to make projects for communities of color. Residency Art Gallery is a safe space for all genders, races and cultures. In addition to exhibitions, we encourage dialogue between artists, activists, and the community by regularly holding discussions within the space.

Texas Isaiah, A VIBRANT GOSPEL, 2019
Color Archival Inkjet Print
20 × 30 inches
Texas Isaiah, A VIBRANT GOSPEL, 2019
Color Archival Inkjet Print
20 × 30 inches
Available in larger sizes

Devon Tsuno, 90210 Labor (Azalea 5), 2020
Spray paint and acrylic on canvas
30 × 40 inches
Devon Tsuno, 90210 Labor (Azalea 5), 2020
Spray paint and acrylic on canvas
30 × 40 inches
More work available from artist

Devon Tsuno, 90210 Labor (Azalea 6), 2020
Spray paint and acrylic on canvas
30 × 40 inches
Devon Tsuno, 90210 Labor (Azalea 6), 2020
Spray paint and acrylic on canvas
30 × 40 inches
More work available from artist
Guest Curator Sarah Lehrer–Graiwer

Curated by Sarah Lehrer–Graiwer
Just getting through the day, another like the ones before. Not only is space constricted as we stay home with so many public places still off limits or tainted with risk, hoping to weather another wave safely (or is this still the first?), but time gets recalibrated and folded in on itself into an incessant loop. Longer term planning gets shelved, succumbing to the abiding uncertainty and unplanability of the year, so that the short, immediate term of day-by-day takes over. Always a key feature of the everyday, repetition looms larger than ever. With schools closed and work for many still on hold, the days of the week blur and fade. It is an entropic and timeless kind of time, destructured into a mostly stale equilibrium of suspension, delay, postponement, and waiting—waiting to enter a new phase, waiting for the zoo or school or museum to reopen, waiting for positivity rates to fall, waiting for test results, waiting for the incubation period to pass, waiting for some good news, waiting for some accurate and actionable information, waiting for a breakthrough, waiting to be able to reschedule, waiting to plan, waiting for a delivery, waiting for the election. Quarantine time can feel, alternately, frantic and uneventful—full of silent static. Days float by adrift, unmoored, undefined or defined routinely by meals and sleep; or they harden into a frozen block, paused, and stuck in a holding pattern. We look forward, we think ahead to when this is over.
—Sarah Lehrer-Graiwer

Joanne Petit-Frère,
Tapestry of Braids #1 (Woven while Discovering bell hooks on YouTube), 2020
Synthetic hair, thread, wire
54 × 54 inches
Joanne Petit-Frère,
Tapestry of Braids #1 (Woven while Discovering bell hooks on YouTube), 2020
Synthetic hair, thread, wire
54 × 54 inches
Courtesy of Philip Martin Gallery, Los Angeles

Anthony Lepore, Downtime, 2018
Archival pigment prints and wood
36 × 28 × 3 ½ inches
Edition of 1 + 1 AP
Anthony Lepore, Downtime, 2018
Archival pigment prints and wood
36 × 28 × 3 ½ inches
Edition of 1 + 1 AP
Courtesy of Moskowitz and Bayse, Los Angeles

Alex Olson, Cast Off, 2019
Oil and modeling paste on linen
24 × 18 inches
Alex Olson, Cast Off, 2019
Oil and modeling paste on linen
24 × 18 inches
Courtesy of Paul Soto Gallery, Los Angeles and Brussels

Alex Olson, Slice, 2019
Oil and modeling paste on linen
24 × 18 inches
Alex Olson, Slice, 2019
Oil and modeling paste on linen
24 × 18 inches
Courtesy of Paul Soto Gallery, Los Angeles and Brussels

Lew Thomas, TIME EQUALS 36 EXPOSURES (negative and positive sections), 1971 / 2015
72 gelatin silver prints, mounted and framed, 2-part
48 × 48 × 2 inches
Lew Thomas, TIME EQUALS 36 EXPOSURES (negative and positive sections), 1971 / 2015
72 gelatin silver prints, mounted and framed, 2-part
48 × 48 × 2 inches
Courtesy of Philip Martin Gallery, Los Angeles

Lew Thomas, CLOUDS, 1973 / 2015
36 gelatin silver prints, mounted and framed
52 × 64 inches
Lew Thomas, CLOUDS, 1973 / 2015
36 gelatin silver prints, mounted and framed
52 × 64 inches
Courtesy of Philip Martin Gallery, Los Angeles

Zach Harris, Twelve Months (for 2020), 2016-2017
Water-based paint on carved wood
71 ½ × 51 ½ × 1 7/8 inches
Zach Harris, Twelve Months (for 2020), 2016-2017
Water-based paint on carved wood
71 ½ × 51 ½ × 1 7/8 inches
Courtesy of Galerie Perrotin, Paris, France and David Kordansky Gallery, Los Angeles, CA

Zach Harris, 2020 Calendar/Chair, 2018-2019
Water-based paint, ink, graphite, conte crayon, and aluminum on carved wood
73 × 42 3/8 × 1 7/8 inches
Zach Harris, 2020 Calendar/Chair, 2018-2019
Water-based paint, ink, graphite, conte crayon, and aluminum on carved wood
73 × 42 3/8 × 1 7/8 inches
Courtesy of David Kordansky Gallery, Los Angeles

Despina Stokou, When This Is Over…I will get a divorce, 2020
Markers, watercolor, chalk crayon on Yupo paper
11 × 14 inches
Despina Stokou, When This Is Over…I will get a divorce, 2020
Markers, watercolor, chalk crayon on Yupo paper
11 × 14 inches
Courtesy of the artist

Despina Stokou, When This Is Over…I will clean up my couch from Play-Doh Residues, 2020
Markers, watercolor, chalk crayon on Yupo paper
11 × 14 inches
Despina Stokou, When This Is Over…I will clean up my couch from Play-Doh Residues, 2020
Markers, watercolor, chalk crayon on Yupo paper
11 × 14 inches
Courtesy of the artist
Sarah Lehrer-Graiwer is an art writer, curator, and educator in Los Angeles. She is the author of Lee Lozano: Dropout Piece (Afterall Books, One Work Series, 2014) and Can’t Reach Me There (Midway Contemporary Art, 2016). She is the editor of Pep Talk publications, begun 2009, and runs the non-commercial Finley Gallery, begun 2011.