by David Pagel
If you’ve even been to a dinner party with great food and even better conversation, you’ll know what it’s like to visit “Flaming June VII: Flaming Creatures” at Gavlak in Los Angeles. The exhibition of 34 pieces by 27 artists mixes art of all shapes and stripes to form a freewheeling feast. Lively back-and-forths take on lives of their own as they inspire, challenge and satisfy — often deeply and dramatically.
The sixth floor of the Beverly Center shopping mall in LA might seem like a weird spot for smart art with an activist edge, but artist Lisa Anne Auerbach is used to making powerful statements in unexpected places. She's known for knitting protest sweaters with slogans like "Keep Abortion Legal" and "My favorite thing about the war on terror is the language of the war on terror—exaggeration, obfuscation, hyperbole, sound byte, doublespeak, nonsense, bad grammar."
There are no pictures in “Under the Influence,” Maynard Monrow’s exhibition at Gavlak Gallery.
Monrow works exclusively with words.
His pithy sayings are displayed in standardized white letters on black, grey or pink cafe boards. (Cafe boards are those black signs with white letters that communicate information such as “wait to be seated” at restaurants or room schedules at convention centers.)
Stitched into the Macy’s wing of the Beverly Center — now an eyesore of construction scaffolding and detour signage due to a massive renovation — is recently installed art by Lisa Anne Auerbach to temper the clutter. The temporary, site-specific work, “Strik Strikke, 2017,” is a mural more than 1,000 feet long depicting intricate knitting patterns rendered in candy-colored hues and a pixelated effect.
I wanted to try it so they suited me up and I held a ladle and scooped some molten glass that was really heavy and promptly flipped it over and dropped it on the floor. They were all explaining to me what I had done wrong but I was mesmerized by the piece I dropped as it started to cool and form and had this nice dimpling texture to it. I saved this, and it became my first piece.”
"Try it again without the death metal voice, Doug!" I'm inside a bulky latex ram-horned devil mask, wearing a swaky maroon dinner jacket and cravat, tending bar for a coven of witches in a ruinous hut in a crumbling bohemian campground in the foothills of the San Gabriel Mountains, and Lee Lynch is getting sarcastic. Five hours earlier I'd cought a ride with my bandmate, the sculptor Daniel Hawkins, up the winding precipitous incline to Zorthian Ranch, a definitively unfurnished art environment dating from the antebellum heyday of West Coast Assemblage. Daniel was multitasking various production duties on artist Marnie Weber's first full-length feature film, which I'd been recruited to do a cameo.
Friday, October 14
7 - 9 pm
Feminist Friday is a casual but directed conversation about contemporary issues related to feminism. This intersectional conversation is open to any and all community members. The purpose of Feminist Friday is to create a safe environment in which people can share questions, concerns, resources, and experiences pertaining to feminism. The ‘unofficial’ motto of Feminist Friday is “Cocktails, Conversation, and Consciousness-raising”.
It's a bit of a struggle to analyze the meaning behind the work of Marnie Weber. But then, that might be the point - there is no concrete explanation. Her work is full of dazzlingly profound imagery, teetering on the brink of reality and fantasy. She has created her won world in which the viewers are invited into that void, where at times, they can lose themselves in the mystery of the subconscious.
Entering through a white picket fence that surrounded a lush spirited garden, Ms. Weber’s studio and home are clearly an extension of her work.
We began the interview by talking about her music background and how it has influenced her work.
Two thick brown, purple, and green globs of oil paint are dolloped onto the top half of a small white canvas—the word “erotic” is outlined in red below. Next to it are similarly sized paintings emblazoned with the words “seiki” (“genitals” in Japanese), “weich” (“soft” in German) and “fanny flange” (British slang for “clitoris”), each painted with a different treatment.
Since the 1970s, New York artist Betty Tompkins has created frank, unvarnished paintings and drawings of female genitalia and explicit sex acts. These, on view at Gavlak Gallery with paintings of words used to describe women, form a potent examination of our culture’s attitudes toward women and sex.
There’s plenty of porn in Betty Tompkins’ solo exhibition, which is newly open at Gavlak’s Los Angeles gallery. But that’s the least provocative part of it.
Artist Dean Sameshima worked in MOCA’s bookstore in 1992, when he was arrested for lewd conduct. A cop had “caught” him in a public restroom, during a sting operation (some LAPD officers had heard certain restrooms were playgrounds for pleasure seekers). For his show at Gavlak Gallery, Sameshima, who now lives in Berlin, hand painted the pages of his arrest report across five canvases
Indeed, the paintings are all about their process, they’re overflowing with it: the layering, the configuring, the re-configuring. The residual components of her paint sprayings and splatterings take center stage, and this fusion of the residual and the primary into the same field appears to provide her with a process that’s eternally rewarding, though certainly not easy to execute.
Lily Stockman’s strikingly simple geometric abstractions at Gavlak gallery possess a mysterious confidence. Her softly curved lozenges, U-shapes and circles, rendered in a mostly muted palette of grays, yellows and pinks, refer to 1970s feminist abstraction, but also feel strangely unique.
Lily Stockman speaks about the work in her show "Pollinator" and how her home in Joshua Tree inspires her practice
"I made this series of work over the past six months while working on my desert garden, so the botanical and structural shapes – cactus pads, rock perimeters of garden beds, etc.– come through subconsciously, not because I set out to paint plants but because that’s the shape language I’ve immersed myself in."
Listen to the podcast: https://soundcloud.com/curate-joshua-tree/sets/curatejoshuatree
Christopher Jobson reviews Bovey Lee's new show Divertical
Review of Bovey Lee's new exhibition Divertical
Jan Sjostrom reviews Judith Eisler's solo exhbition
"Gallerist Sarah Gavlak on expanding your influence while staying true to your core interests."
"I’m not doing it to titillate anybody’s interests," photographer and model Bunny Yeager said of her work in an interview with The New York Times. "I want to show off how beautiful my subjects are, whether it’s a cheetah or a live girl or two of them together."
Sandwiched between the performative, gender-blurring self-portraiture of Claude Cahun in the 1920s and the glossary of female roles enacted in Cindy Sherman's self-starring Film Stills of the late '70s, is the work of Bunny Yeager.
Having dedicated her life to photography and modeling, not to mention publishing 30 books on the subject (one of which shares a name with the Gavlak exhibition), Yeager had an influence on a generation of artist-photographers including Diane Arbus and Cindy Sherman. Arbus even went as far to call her “The world’s greatest pin-up photographer.”
LOS ANGELES — I visited Lecia-Dole Recio in the Echo Park neighborhood of Los Angeles, where she lives on a quiet curving street at the top of a hill, close to Dodger Stadium. Her house is set into the hillside, with an outer staircase and a view across the city, where jacaranda trees were in bloom, to the Hollywood sign in the distance. It was beautiful but non-imposing: with unpainted wood construction throughout the interior and exterior, a lush garden alongside the stairs, and her young son popping in a couple times to show me insects on the foliage and report on his excursion for ice cream. Moving through her indoor-outdoor space felt calm and relaxed; we talked on the terrace over beer and snacks.
Photographer David Haxton is fascinated by light. Since the late 1960s, he has been playing with its ability to define space and color. A rich group of works from the 1970s to the 2000s at Gavlak suggests that when it comes to making a photograph, light is everything.
STRUCTURES AND GESTURES
Location: Floor Three, Susan and John Hess Family Gallery and Theater
The works in this screening play with the structural properties of film to investigate time, memory, form, and illusion:
Orion. The Big Dipper. Gemini. They’re all familiar star constellations.
But how about I Promise, 4-Ever and The Magic Elevator? They’re Hubert Bush’s inventions.
It’s about time we updated the constellations, Bush said. After all, many names date to back to Ancient Greece. He’s done that in several of the paintings on view in “Star Maps and Flying Couches,” his solo show at Gavlak Gallery.
Ms. Leigh, who lives and works in Brooklyn, grew up in Chicago, with Jamaican parents. After graduating from Earlham, she held on to the idea of becoming a social worker, but an internship at the National Museum of African Art, part of the Smithsonian Institution, pulled her back into the world of ceramics, as did a stint near Charlottesville, Va., where she lived in a yurt and learned how to use a Japanese wood-fired anagama kiln. Art took over.
Living between Vienna and New York provides Judith Eisler with a variety of cultural influences that she could reference, yet her focus remains clear: notice underrated moments in film, press pause, record the frozen image through a camera, and use the resultant photograph to create a painting. Her paintings often distort the subject matter, blurring the lines between and exploring the ideas of iconography, motion, and light. In previous works, the distorted actors and actresses remain entirely anonymous. However, in her most recent works, which are now on view in the exhibit "Close-Ups & Two Shots: Judith Eisler" at Gavlak in Los Angeles, portraits of Hollywood icons such as Dorothy Malone, Liz Taylor, and Rock Hudson are immediately recognizable. Despite the presentation of clearer imagery, Eisler retains her focus on light through the use of shadow and contrasting colors, as well as devoting entire canvases to the subject of light itself.
While installing the show, Eisler took a break and spoke with her peer and friend of 16 years, Wade Guyton, a post-conceptual, digital artist. Eisler and Guyton were at Gavlak; we listened in from New York.
This Oscar Sunday, like any before it, will honor performances involving a towering scene, a chewy monologue, a ghastly physical transformation. But there will also be less showy roles that accumulate, slowly but surely, a body of minute inflections and barely perceptible tugs of the mouth...
When thinking of bike-centric cities, Los Angeles isn't the first to come to mind. If you're intrigued, however, by the experience of pedaling through the stretched out city's traffic-laden streets without risking your life in the process, admiring the artwork of Lisa Anne Auerbach is a notable alternative.
Beauty Reigns: A Baroque Sensibility in Recent Painting features the work of thirteen intergenerational emerging and mid-career abstract painters, working in studios across the United States. Global visual vocabularies are expressed in works by Jose Alvarez (D.O.P.A.), born in Venezuela and based in Florida; Kamrooz Aram, Iran/New York; Jiha Moon, South Korea/Georgia; Fausto Fernandez, born in Texas, raised in Mexico, and currently based in California; and Beatriz Milhazes, a Brazilian native who continues to live and work in her home country.
The exhibition features nine contemporary artists working in a variety of mediums. Far from being reductive, their work if often complex and diverse. Abstract America Today features work by Lisa Anne Auerbach, Trudy Benson, Paul Bloodgood, Keltie Ferris, Wyatt Kahn, Ivan Morley, Jackie Saccoccio, Brent Wadden and Cullen Washington Jr.
Gallerist Sarah Gavlak has announced the opening of a second space in Hollywood, Los Angeles. Gavlak Gallery, which opened in West Palm Beach in 2005, represents artists including Scott Reeder, Orly Genger, and Whitney Biennial artists Lisa Anne Auerbach and Keith Mayerson. With the new space, 5,000 square feet at 1034 North Highland Avenue, Gavlak plans to stage bigger more ambitious shows by her artists.
Palm Beach’s Gavlak gallery has announced that it will open a second location in Los Angeles on June 26. The 5,000-square-foot Hollywood space at 1034 North Highland Avenue is located near Hannah Hoffman Gallery, Michael Kohn Gallery, and Regen Projects. An inaugural group show of gallery artists Orly Genger, Scott Reeder, and T.J. Wilcox, among others, will kick off the new venue.
Gavlak Gallery, of Palm Beach, Fla., will open a 5,000-square-foot Los Angeles outpost this June. Its 1034 North Highland Ave. address in Hollywood is not far from Regen Projects, Hannah Hoffman Gallery and Michael Kohn Gallery.
The Whitney Museum of American Art announced nearly a year ago that a trio of outside curators would be organizing the 2014 Biennial, each taking a floor of the museum. Each brings a different set of eyes and interests to the show. Craft seems to be part of the equation too. Lisa Anne Auerbach, a conceptual artist based on the West Coast, has knitted sweaters; artists including Shio Kusaka, John Mason and Sterling Ruby have made ceramic works. There will also be textiles by Ms. Hicks; tooled leather wall pieces created by Carol Jackson and woodworking from the sculptor Alma Allen.
SCAD exhibitions presents "Undertone," an exhibition of recent work by Orly Genger. Genger is renowned for her ambitious environmental sculptures of intricate, hand-knotted rope coated in paint, most recently "Red, Yellow and Blue," which debuted in New York City's Madison Square Park in 2013. The foundation of Genger's process is rooted in the traditional female crafts of crochet and knitting. However, the scale and physicality of her process brings to mind such Modernist masters as Richard Serra and Robert Smithson.
Gavlak Gallery is pleased to exhibit at
Art Basel Miami Beach
Presenting works by :
Works also available by:
Lisa Anne Auerbach, David Haxton, Marilyn Minter
Scott Reeder, Betty Tompkins, Bunny Yeager
It would be this month’s annual Art Basel Miami Beach fair, drawing a who’s who of contemporary art collectors and curators for a week’s worth of see-and-be-seen parties, celebrity-studded dinners, and not least, pricey purchases. For a young dealer like Gavlak, one of only three Florida galleries to be selected for a booth among the fair’s Convention Center aisles, it presents an incredible career-solidifying opportunity.
Red, Yellow and Blue features Orly Genger's renowned usage of 1.4 million feet of hand-knotted nautical rope covered in paint to create bright, undulating walls in three primary colors that will wind through the lawn, pathways, and hillside. Slated to be on view at deCordova from November 1, 2013, through summer 2014, it is among deCordova’s largest and most ambitious installations to date. Originally commissioned by the Madison Square Park Conservancy (MSPC) in New York City, where it was on view during the summer of 2013, Genger’s project is a notable collaboration for both MSPC and deCordova, as it marks the first collaboration between the two institutions.
T. J. Wilcox (b. 1965), still from In the Air, 2013. Panoramic film installation: Super 8 film transferred to video and HD video, black-and-white and color, silent; 35 min., looped. Collection of the artist; courtesy Metro Pictures. Image courtesy the artist
Bovey Lee’s meticulously crafted paper-cut drawings explore the struggle between nature, urbanization, and the ownership of natural resources. Lee’s drawings are rooted in her study of Chinese calligraphy and pencil drawing, mediums in which she was immersed while growing up in Hong Kong.
New York-based artist Rob Wynne, who creates stunning and beautiful sculptures, reliefs, and installations inspired by diverse sources such as art, literature, and nature, will create the second site-specific project for the Norton’s main lobby.
There are multiple types of humor: dark, off color, smart, subtle, and downright hilarious. I am particularly interested in the pause that occurs between the delivery of a joke and the smile that indicates someone “gets it.” Unlike contemporary art, where there is no single meaning to a particular work, with humor people usually either think something is funny or they don’t. As with art, however, there are subtleties regarding the degree to which someone wants to participate in or play along with a jest. So it is not surprising that humor in art has a wide variety of manifestations. Richard Prince uses Borscht Belt–jokes that continue to deliver head-shaking laughs after all of these years, even in serious art contexts. Matt Johnson and Sarah Lucas manipulate or reassociate everyday objects to elicit a knowing smile.
GirlTalk: Women and Text explores the construct of language, its persistent ambiguity and shifting character in the age of new media. Featured work represents a diverse range of artistic styles ranging from political textiles to large scale installations that employ portions of texts as building blocks. This exhibition takes its title from common nomenclature; “girl talk” is a term that emerged in the 1990s to describe a sense of belonging and conversations between women.
Watch This! New Directions in the Art of the Moving Image takes stock of the cutting-edge tools and materials used by video artists during the past forty years. The current installation features key artworks from the history of video art as well as a new generation of artists on the cutting edge of new media art practices.
Over the past decade, New York–based artist Wade Guyton (b. 1972) has pioneered a groundbreaking body of work that explores our changing relationships to images and artworks through the use of common digital technologies, such as the desktop computer, scanner, and inkjet printer. Guyton’s purposeful misuse of these tools to make paintings and drawings results in beautiful accidents that relate to daily lives now punctuated by misprinted photos and blurred images on our phone and computer screens.
Comedy and unchastity are key in this American artist's vivid patchwork paintings and sculptures, which call for social change even as they flag up failures of cultural revolutions past
Gavlak Gallery is pleased to announce our sixth consecutive participation in Art Basel Miami Beach. The gallery will feature the intelligently provocative work of three women artists: Lisa Anne Auerbach, Orly Genger and Alexis Marguerite Teplin. These three artists based in Los Angeles, New York, and London respectively share overlapping formal and conceptual concerns with respect to materials, notions of female desire and perspective, sexuality and gender, and the history of art from the Rococo through Pop Art and Minimalism. Each of these artists plays with the cultural and political significance of the materials used, such as found photography, wool, rope and existing vintage fashion items. The artists use both “high and low”, appropriated, banal, and common materials to produce an object, sprawling installation or painting that guides the viewer through their very specific perspectives on art and culture. They draw upon commonly recognized crafts, such as sewing, knitting and crocheting, which are frequently dismissed as “woman’s work”, and therefore not valuable, and re-contextualize it.
For Art Nova 2010, Gavlak Gallery presented a two-person exhibition featuring work by Marilyn Minter and Rob Wynne. Both artists produced new, major works specifically for Art Basel Miami Beach. Marilyn Minter (b. 1948, Shreveport, Louisiana) and Rob Wynne (b. 1950, New York) are both currently living and working in New York. Minter and Wynne are two artists of the same generation dealing with ideas of beauty, decadence, fantasy and glamour, but with two very different approaches
For Art Nova 2009 Gavlak presents Phillip Estlund (b. 1974, Athens, Greece), a South Florida-based artist whose work deals with concepts that while at times are more urgent to the region, are also global concerns. Estlund is an observer of nature- both human and environmental- and an explorer of psychological space, physical terrain and raw, found materials. By taking the raw detritus that is left behind from natural disasters, such as hurricanes and tornadoes or manmade waste from old construction, he collects and reconfigures these materials as formal sculpture that reflects the "lower" architectural vernacular of South Florida.
Gavlak is pleased to present a solo exhibition of new work by Jose Alvarez (b. New York City, 1968) at Art Basel Miami Beach 2008. For this exciting exhibition in the Art Supernova section (Booth Q4), Alvarez will present a powerful combination of newly created mica paintings, collaged works-on-paper and video animations that continues his exploration of the complex intersection of mysticism, science, spirituality, and the construction of belief systems. Drawing on his long-standing dialogue with James Randi, the famous magician and renowned challenger of paranormal phenomena, and on his own recent visits to Houston's NASA Space Flight Center and to Australia's Parkes Observatory telescope, Alvarez explores how the unfolding of psychic hoaxes, the perceived supernatural energy of charmed objects, and the mysterious quests underlying space exploration all connect to the strong human desire for knowledge and transformation.
For Art Positions Gavlak, West Palm Beach presents a solo presentation of works by Los Angeles based artist Lisa Anne Auerbach.
Lisa Anne Auerbach works in a variety of media: photography, knitting, and small publications. Living in Los Angeles since completing her master's degree at Art Center College of Design in 1994, she has exhibited most recently at White Columns, New York (curated by Matthew Higgs), Margo Leavin Gallery, Los Angeles, Socrates Sculpture Park, Long Island City. Auerbach has also been involved with High Desert Test Sites since its inception in 2003 with artist Andrea Zittel and produced the daily publication for Zittel's costumed hiking club project at the Frieze Art Fair in 2005.