In: Los Angeles
Artist Alexa Meade is a painter who does not use a canvas.
Her artistic practice hovers somewhere between painting, installation, and performance art. She paints directly onto the bodies of her live models, using loose brushstrokes to collapse the appearance of depth and make her subjects appear two-dimensional. She then photographs her models, and the still images visually resemble paintings on canvas.
Trompe l’oeil is an artistic technique that artists have been using for centuries to trick the eye into believing that a two-dimensional image looks as real as a three-dimensional one by creating extremely detailed, hyper-realistic depictions of objects. Meade takes the concept of trompe l’oeil and turns it on its head. Once painted, that which is three-dimensional looks as if it was created on a two-dimensional surface. She paints her subjects and their surroundings with heavy, large brushstrokes, which creates an optical illusion that collapses any sense of depth.
Meade is entirely self-taught; as she ruminates on in her TEDx talk “Your body is my canvas,” after earning her degree in political science from Vassar College she made a career path U-turn and ended up teaching herself how to paint in her parent’s basement. At first, she used her own body as her canvas, creating a series of self-portrait photographs of herself covered in angular paint strokes.
These initial works of art were only documented and circulated as photographs. In the past year, the Los Angeles-based artist has broken out of that format and created more interactive works that have appeared at Art Paris Art Fair, Boom Basel in Miami, and the United Nations in New York City. These “Living Paintings” are created on temporary sets in public spaces, where viewers can see Meade painting the model, and then see the finished product. She has had live models pose in gallery settings and has even done a live painting session in the streets of Tokyo as a promotional event for Mini Cooper in 2013.
Meade’s performance art-style displays ride the same wave of Instagram-able art that Pipilotti Rist’s Pixel Forest & Yayoi Kusama’s infinity rooms. This is probably because you can photograph her work from any angle and the illusion still holds up. Her immersive, painted environments simulate the act of walking into a painting. And in some cases, it is her models walk out of their paintings. Her latest collaboration with hip hop dancer Jon Boogz in “The Color of Reality” has the two central dancers move out of their painted space onto the street.
Alexa Meade wants her audiences “to find the strange in the familiar… to look beyond what’s already been brought to light, and to see that there can always be more than meets the eye.”
February 8, 2017
“Picasso & Rivera: Conversations Across Time,” on display at the Los Angeles County Museum of Art, delves into the friendship between Pablo Picasso and Diego Rivera. It explores how the lives of these two 20th-century artists briefly intersected, and the ways they drew inspiration from the ancient visual culture of their respective countries.
The exhibition, which is arranged in a very linear manner, compares Picasso’s and Rivera’s artistic trajectories. This allows the visitor to see how both artists progressed through their early academic training, experimented with different stylistic modes, and shared an interest in antiquity. The works reveal that there was a dialogue between these two artists that spanned cultural and geographic boundaries.
The display presents a give-and-take between the two artists: Picasso’s Cubism heavily influencing Rivera’s work when they were both in Paris in 1914, and Rivera’s colorful, hefty figures subtly impacting Picasso’s classical style. The paintings included in the exhibition allow for a great deal of one-to-one comparisons between the two artists. But at times, the artworks are dwarfed by the scale of the galleries, giving the viewer a sense that they may have been better viewed in a smaller gallery space.
The largest and most striking room is at the center of the exhibition. Rivera and Picasso’s images are juxtaposed with ancient sculptures that reveal how their styles absorbed the influence of ancient forms. This was the first time I had ever seen ancient Mesoamerican sculpture displayed in tandem with ancient Classical sculpture. During the interwar years, Rivera reexamined the tradition of Aztec sculpture in his native Mexico which informed the mature style that he is most recognized for. The exhibition includes loans from the Anthropological Museum in Mexico City that are paired with Rivera’s gorgeous Flower Day (1925).
Picasso was in still in Paris between World War I & II, and his more traditional classicizing figures demonstrate his renewed interest in Greco-Roman antiquity and Iberian art. In the exhibition, classical sculpture -mostly loans from the Getty Museum- is juxtaposed with Picasso’s ‘return to order’ paintings such as Etudes (1920) and Three Women at the Spring (1921).
The final rooms explore how Picasso and Rivera’s artistic practices diverged after World War I. Mexico’s Ministry of Education commissioned Rivera to create murals that would unify the nation through revolutionary imagery. Through his study of Pre-Columbian sculpture (and his collection of over 6,000 ceramic and stone figurines) and Aztec creation myths, he imbued his images of a new, modern Mexico with aesthetics of the past. On the other hand, during the 1930s Picasso was revisiting Greek and Roman mythology -especially Ovid’s Metamorphoses and the myth of the Minotaur- and reworking classical tropes of depicting these narratives.
Beyond comparing the two artists’ work, the exhibition aims to stress how Picasso and Rivera were inspired by ancient sources throughout their careers, and how their friendship or artistic rivalry fueled those investigations.
“Picasso & Rivera: Conversations Across Time” is on view at LACMA through May 7th, 2017, and will travel to the Museo del Palacio de Bellas Artes in Mexico City in June 2017.
June 13, 2016
Before this massive retrospective, I had only seen a few of Cindy Sherman’s portraits here and there. That’s what made The Broad’s first special exhibition, Cindy Sherman: Imitation of Life, so overwhelming to me. I was taken aback by the vast expansion of her creativity.
The Broad’s exhibit holds over 120 works by Sherman and is curated by Philipp Kaiser. Kaiser flawlessly presents Edye and Eli Broad’s collection, the largest Sherman collection in the world, as well with works on loan from Metro Pictures, the Museum of Fine Arts, Houston, The Menil Collection, and the Whitney Museum of American Art, all with Sherman herself as the subject.
The retrospective covers over forty years of Sherman’s work, and is curated in a loosely chronological order including works from the centerfolds, the fairy tales, the history portraits, the sex pictures, the clown pictures, society portraits, and a full length feature film entitled Office Killer. The exhibition begins with her Untitled Film Stills in 1975 and concludes with works completed this year. Kaiser’s curation perfectly captures Sherman’s artistic evolution. The exhibition itself feels like its own museum due to the drastic variations in her style. If a viewer walks in only having heard the name “Cindy Sherman,” they leave enthralled by Sherman’s chameleon-like talent to move through the barriers of genre that define so many other artists.
Upon arrival, the viewer is immediately greeted by two floor-to-ceiling murals of Sherman, imagined by the artist herself for the exhibition. One instantly gets the impression that this exhibit will be intense, humbling and exciting. Reminiscent of film stills, these murals perfectly tie in both Los Angeles and the influence of film, pop culture, and the stereotypes involved in both pop culture and film that have had a profound effect on Sherman’s work and, in turn, her identity as an artist.
The first gallery holds Sherman’s black and white film stills and is an impeccable introduction to those unfamiliar with her work. In one, she is seen standing in the corner of a room with her hand on her hip in an apron and long dress. In Untitled Film Still #47, we see Sherman in another classic 50’s inspired look: she is pantless and wearing a white collared shirt with a straw hat and big sunglasses. She seems to be caught in the midst of gardening and surprised by the intrusion of a viewer, as the viewer has been placed in the perspective of the photographer. Quickly, one can recognize the sacrifice of Sherman’s own identity as an individual and, in this case, her submersion into an identity characterized by the clichés and stereotypes of women in the 50’s and 60’s.
The exhibition then moves into her fashion pictures. When arranged together, the transition of Sherman in terms of persona from one portrait to the next is drastic and awe-inspiring. I was astonished by her incredible attention to detail, the expansive emotional coverage, and her clearly inherent ability to see a style for what it is, bring herself into it, and create something so unique out of a form already so familiar. All completed in the 80’s, the constant changes in the lighting, mood, and character being portrayed show how quickly Sherman can commit herself to an identity we imagine to be entirely different from her own. In Untitled #119 she is a powerful force of a woman, her arms stretched wide as she seems to be caught mid belt of an opera song. The image radiates light and the power of femininity. In Untitled #122 she stands hunched over, drowned in black fabric, fist clenched, and one eye looking directly at the camera. In every image of her fashion series, she is unrecognizable. Her fashion pictures are potentially the greatest in showcasing her incredible diversity as a subject and an artist, especially for the untrained or unfamiliar viewer.
The gallery that holds the Centerfolds and the Pink Robe photos is a perfect combination of Sherman’s most iconic photos, as well as what many consider a glimpse at “the real Cindy Sherman.” The four centerfolds are arranged in a single line directly opposite the room of her four pink robe photographs. The Centerfolds show Sherman as the star of each photograph in a style that reminded me of Hitchcock’s films. The women are the primary focus of each photograph, all of them with very little background, all on the floor, fully-clothed, unaware of the camera, and fixated on something just outside of the image. Though each of the Centerfolds is structurally similar, each one differs in the emotional state of the subject: detachment, fear, daze, and apprehension. When thinking of the name “Centerfolds,” one imagines the sexual objectification of women in magazines such as Playboy, but the women in Sherman’s Centerfolds makes one consider the vulnerability that inevitably accompanies the sexual portrayal of women. The Centerfolds, a comment on the powerless women of an age of sexual objectification in pop culture, are the perfect juxtaposition to the Pink Robe Photos, which immediately shatter the notion that all sexualized women are weak. The Pink Robe Photos show a powerful and in-control woman in a highly-sexualized state, more so than the Centerfolds. Also arranged in a single line, Sherman again as the subject makes direct eye contact in each photograph, exuding dominance. This woman is a far cry from those pictured in the Centerfolds. She has power in her eyes, and though she is seen covering her naked body with a pink robe, her varied body language gives way to a sense of commandment.
The exhibition closes with new photographs produced this year. A room is filled with what appear to be the aging starlets of an age long gone. One is instantly drawn to Untitled #512, which is different from the rest in terms of her body language and color-scheme. Sherman is shown in a short brown wig and long feathery coat, photoshopped onto a background of rough terrain. This woman is lonely and displaced, but her facial expression would say otherwise; she appears soft and intense, the contrasting aspects of the photograph blending in harmony. She stands angled in a way where she seems thin and more petite, her left knee brought to her right, similar to the pose of a pin-up model. These works reminded me of the Untitled Film Stills, although they are structurally dissimilar, they seem to be a comment on the power dynamic women held in the 20’s as the Untitled Film Stills were on the 50’s and 60’s. The exhibition ends as it begins; Sherman acts as the subject of the work as she both embraces the characteristics of the times and disputes them by infusing her works with power and femininity.
Cindy Sherman created her own style by having the ability to idealize reality. Her flawless execution and comprehensive understanding of the characteristics that define so many periods of art make her one of the most successful artists of modern time. The retrospective is brave, overwhelming, at times terrifying, and incomprehensible. In the beginning, I found myself enamored by how she is able to become so many different subjects, but by the end I was left shellshocked by the unbelievable fact that all of these works came from one, clearly uninhibited mind.
Cindy Sherman: Imitation of Life is on view at the Broad Museum in Los Angeles from June 11, 2016- October 2, 2016.
Hauser & Wirth is on the path to redefining the Arts District in Los Angeles. The global gallery enterprise has teamed up with former Chief Curator of the Museum of Contemporary Art in Los Angeles, Paul Schimmel, to create a gallery that takes up a whole city block on East 3rd. Street. With free admission, a restaurant, and public walkways that run right through the middle, this gallery is different in the best way.
The Mid-Century flour mill turned art gallery is actually more like a museum. It is only slightly smaller than its neighbor, The Broad, which opened in downtown L.A. last year. So how did they choose to fill 112,000 square feet of gallery space for its first show? With over 100 pieces from 34 female artists, that’s how.
“Revolution in the Making: Abstract Sculpture by Women, 1947-2016” takes the past 70 years of women artists and revisits their relevance during a dominantly masculine period. The inaugural exhibition, curated by Paul Schimmel and Jenni Sorkin, explores the influence these women had on abstract sculpture through a diverse range of form, material and method.
The first part of the exhibition focuses on the women of the immediate post-war era (1940-1960). Beautiful white columns line the naturally lit room. The space is simple, elegant, and urbanized. The tall ceilings allow for Ruth Asawa’s twenty-one foot long looped wire sculpture (one of several on display) to hang and unfold gracefully at one end of the gallery. Lee Bontecou’s series of steel and canvas bas-relief sculptures are fixed on the back wall, while Louise Bourgeois sleek “Personages” sculptures stand like viewers in the center of the room. Further down, placed below a balcony, are five of Claire Falkenstein’s mixed material sculptures entitled, “Sun” and “Iron Sun.” This first room is so rich in the themes of this exhibition. These specific artists have, each in their own way, used new materials and created a subject matter that is begotten by nature and the feminine experience.
Ruth Asawa’s Untitled series of wire sculptures hang vertically from the ceiling, imitating a drop of water as it slowly separates from its original source. These sculptures are obviously not a direct representation of the body, but something about their poetic curvature exudes femininity. The repetition in form is a testament to Asawa’s craft of woven wire, which could be considered an evolved form of basket weaving. The pieces themselves are highly abstracted, yet they are rooted in nature and geometry. The interlocking weavings seen in these sculptures brings to mind the same sort of natural pattern that is evident in a seashell or a plant, for example. Asawa weaves the metal wire with such attention, one cannot help but to feel the artist’s immersion within her sculptures.
A selection of Louise Bourgeois “Personages” sculptures create a nice juxtaposition next to the fluidity of Ruth Asawa’s pieces. Their sharp linear forms are placed about the center of the room, in a way that mimics the surrounding people strolling the gallery. Bourgeois created “Personages” between the years of 1945 and 1955 and there are around eighty sculptures in total. Out of the eighty, there are only about a dozen of the carved and painted wood sculptures on view at Hauser Wirth & Schimmel. The form of each of these pieces is individualized and inventive, yet there is a connectedness between the artist and her work that goes beyond the method used.
Each piece is representative of an individual Bourgeois knew personally. They all had some sort of relationship with Bourgeois that differed from the other, which is, perhaps the reason for their different characteristics. These sculpted portrayals can also be seen as a reflection of Bourgeois as a female and how her role as a women differs between each individual. This internal feminine experience exists within many of the pieces shown throughout the gallery, but most prominently in the work shown by Eva Hesse, Shiela Hicks, Ursula von Rydingsvard.
“Revolution in the Making: Abstract Sculpture by Women, 1947-2016” will be shown at Hauser Wirth & Schimmel until September 4th.
Hauser Wirth & Schimmel
901 East 3rd Street
Los Angeles, CA 90013
Wednesday, Friday – Sunday
11 am – 6 pm
11 am – 8 pm
March 11, 2016
The City of Angels, home to celebrities and heat waves, is quickly becoming a major hub for the international contemporary art community. Although it is still somewhat of an underdog when compared to cities like New York City, Paris, and London, Los Angeles is holding its own in the art world.
If ever you find yourself in LA with a need to see some great works of art, this list will point you to some of the best galleries around.
First opened by Randy Sommer and Robert Gunderman in Santa Monica in 1994, ACME is now located on a stretch of Wilshire Boulevard known as “Miracle Mile,” where you can also find LACMA and other galleries amongst some of LA’s famous art deco buildings. ACME exhibitions include a wide range of mediums and prominent artists. Some past shows include; Jennifer Steinkamps inventive digital installation, “It’s a Nice Day for a White Wedding”; Tomory Dodge’s profound series of oil paintings “Outside Therein”; and Carlee Fernandez’ surreal “Installation, 2010.” ACME never fails to showcase pieces that are at the foreground of today’s art world.
The independent nonprofit gallery was founded by artists for artists in order to create a concentrated presence in the art community. They have created programs and platforms for contemporary artists to thrive in and the results are evident in the dynamic work that is produced and shown at LAXART. Last year they had more than twenty rising artists show their work. Among them were Mark Hagen, Kelly Lamb and Alexander May.
One of Culver City’s many galleries, Honor Fraser, stands out as one of the most cutting edge in its exhibitions of installations, digital media, paintings, performances and sculptures. Its exhibitions tend to be more along the lines of street-art and it typically draws in the younger crowd of Culver City. The gallery has shown contemporary work by Rosson Crow, Victoria Fu, and Alexis Smith. Most popular show of last year was definitely KAWS and his installation “Man’s Best Friend.”
Nicodim gallery, which just recently moved to downtown Los Angeles after five years in Culver City, has displayed some very prominent exhibitions. Romanian founder and art dealer, Mihai Nicodim, opened Nicodim in 2006 with the hopes to introduce more European artists to LA. He has been successful in doing just that. Artists like Adrian Gehney, Michael Ceulers and Zsolt Bodoni have shown in the Nicodim Gallery and have brought a vast range of diverse contemporary artists and artworks to LA.
Gallerist Adam Lindemann converted an abandoned warehouse in downtown L.A. into a beautifully spacious gallery. Though sister to Lindemann’s New York Gallery, Venus Over Manhattan, this new gallery is not an extension of the East Coast gallery, but rather a new space for experimentation in large scale artwork that would not be possible in the inevitably smaller Manhattan space.
Founded by painter Noah Davis and The Museum of Contemporary Art, the Underground Museum takes pieces of art found in some of the high-end museums of Los Angeles and shows them in this space, located in a mainly working class neighborhood. Davis says that this new space is not only for him to display his works, but “a place to create crackling dialogues between his work and that of other prominent artists, as well as the surrounding neighborhood.”
The Hammer museum off Wilshire Boulevard in L.A. holds Armand Hammer’s private collection. However, it also has multiple gallery spaces within the museum for temporary exhibits of current artists, like Catherine Opie. The museum partnered up with the University of California, Los Angeles to make sure they are showing the most relevant art. One more thing, it’s free!
LACMA is the largest museum of the western United States with over 120,000 pieces. The museum exhibits many pieces throughout the history of art, ranging from Ancient Art to Contemporary works. Though the museum has pieces from the past, it really strives to represent Los Angeles and its diverse population as well as what is happening in the art world TODAY. Just this past year, they have exhibited some very prolific artists. Exhibitions included James Turrell’s “Breathing Light”; Diane Thaters “The Sympathetic Imagination”; a two-part show featuring multiple Islamic photographers entitled “Islamic Art Now”, and the very popular “Rain Room,” which is a collaborative experimental installation created by Random International.
In the heart of Downtown, kiddie-corner from Frank Gehry’s “Disney Music Hall” is the L.A. Museum of Contemporary Art. The architecture of the building itself is a sight to see, but once you get inside there is an abundance of unique works by revolutionary, Modern and Post Modern artists. The MOCA holds a permanent collection of about 7,000 pieces of art that were created post-1945, including works from Mark Rothko, Roy Lichtenstein, Franz Kline, Claes Oldenburg Jackson Pollock and many others. Contemporary artists in the permanent collection include Greg Colson, David Hockney and Kim Dingle.
Los Angeles’ biggest & newest museum dedicated to contemporary art opened September, 2015. The Broad, named after its founder, Eli Broad has pieces from Jeff Koons, Barbara Kruger, Robert Rauschenberg, John Baldisseri and many other famous artists for the inaugural exhibition. It’s located in central downtown LA almost exactly across the street from the MOCA.
February 16, 2016
On a recent marvelously sunny and warm “winter’s” day in Los Angeles, I faired the ferocious freeways, intent upon seeing the Hammer Museum’s latest exhibition—“Catherine Opie: Portraits” featuring twelve works by the acclaimed American photographer.
Within the few first seconds of stepping into the gallery that is temporarily housing Opie’s portraits, the chaos of speeding cars and the rapidity of everyday life almost paused completely. Entering the gallery, I was struck by the phenomenon that occurs when your eyes attempt to adjust to a bright light: all you really see is blackness and white dots, pulsating. The room was stark white and Opies’ nearly life sized portraits lined the room, each with a black background. As I focused on the first photograph, time slowed.
John was the simple title to a profound portrait. The subject appears to be a floating head in a sea of blackness, as Opie’s lighting caresses his head and subtlety moves down his neckline and right shoulder. His gaze emits that time-ceasing effect. The world pauses. His eyes are not fixed on anything, but they emanate the expression of a trance-like contemplation. John’s seemingly moonstruck hair softly breaks the barrier of contrast as its feathery white fibers float over the stark black background like satellites in space. The portrait seems to exist in the moment right before someone yells “John” to snap him out of his trance.
I continued around the room, each photograph exuding as much of a time-encapsulating effect and intrigue as the next. There was one portrait in particular to which I was drawn back. That image was the portrait entitled Jonathan. In this portrait, a man sits with his back turned to the viewer, cross-legged, with the novel “War and Peace” on his lap. This portrait stood out because, unlike the others, the focus and the brilliance of Opie’s light hit on an inanimate object: the book.
Although my eyes were initially drawn to the novel, I found myself intrigued by the slightly illuminated profile of the sitter’s expression. The light hitting the pages of “War and Peace” reflects off the paper and onto his face. He is similar to a character in a movie opening up a chest full of treasures, but he does not seem triumphant or amazed. He appears to be uncritically satisfied.
The premise of this series of photographs erases preconceived notions of what portraiture should be. Unlike portraits of the past where lineage, wealth, and importance were depicted alongside the subject in order to illustrate their story, Catherine Opie depicts her subjects in a way that forces the viewer to look at the individual in a certain moment in time, free from any artificial and external distraction.
“Catherine Opie: Portraits” will be on display at the Hammer Museum from January 30th until May 22nd.