As Frieze LA takes over Paramount Studios in February, Conceptual Artist, Lisa Anne AUerbach Presents "Psychic Art Advisor", an interactive performance offering visitors guidance, both creative and commercial. Executive Director of Frieze LA, Bettina Korek checks in with Auerbach in advance of the persentation.
Please join us at Gavlak Los Angeles (1034 N. Highland Avenue, Los Angeles, CA 90038) on Saturday, January 12, at 5:00pm for a conversation between Maynard Monrow & William J. Simmons regarding Monrow's solo exhibition on view.
William J. Simmons is Provost Fellow in the Humanities in the art history PhD program of the University of Southern California. He received his BA from Harvard University and taught art history for three years at the City College of New York. His research and writing have appeared in numerous international books, journals, monographs, and magazines.
THE CRYSTAL BRIDGES MUSEUM of American Art announced the 2018 Don Tyson Prize has been awarded to visual and performance artist Vanessa L. German. The $200,000 biannual prize recognizes an individual artist or organization for exceptional achievement in American art. German was selected for “pushing boundaries and taking risks in the field of American art, as well as positively impacting her community through art experiences.”
December 11, 2018—Anonymous Was a Woman today announced the ten recipients of its 2018 awards, which recognize women artists over 40 years of age who have made significant contributions in their fields to date, while continuing to create new work. Each recipient receives an unrestricted grant of $25,000.
See a 360-degree video of the Israeli, New York-based artist Nir Hod at work as part of artnet's "In the Studio" series.
While Art Basel makes a splash in Miami, gallery owner Sarah Gavlak is shining a light on Palm Beach's thriving arts scene
Hauser & Wirth Los Angeles
December 1-2, 2018
In his intriguing, often provocative, interpolated show at the Brooklyn Museum, Rob Wynne builds, reflects, and—more literally—reflects on connections in American art. In doing so he manages to intervene in the course of art history itself. He pulls at the museum's paintings and sculptures and activates them through light and language, transmuting the collection by means of his signature hand-poured, mirrored glass.
Witty Watercolors by Konstantin Kakanias
In 2012, Deborah Needleman, then the editor of T magazine, approached the artist Konstantin Kakanias for a special commission to illustrate the standout heels of the season, from the likes of Louis Vuitton, Giorgio Armani and Christian Dior. The sketch he delivered, called “The Cat’s Meow” — in which a black cat delicately paws past a lineup of black stiletto pumps, gazing at them with bemusement — perfectly embodied Kakanias’s playful view of the fashion world.
by Leah Ollman
Alex Anderson has tremendous material wisdom in his hands and a penchant for barbed beauty. The ceramic sculptures in his intriguing show "Wonderland" at the L.A. gallery Gavlak slip in and out of familiar categories, settling uneasily in memory and enduring as strong, ambivalent impressions.
Entering the Luce Center for American Art on the Brooklyn Museum's fifth floor, one immediately encounters Rob Wynne’s ethereal glass works that activate the adjacent nineteenth-century neoclassical marble statues of Pandora, Nydia, The Lost Pleiad, and Bacchante. Rob Wynne’s work re-contextualize viewer perceptions of the historic sculptures perched atop black granite pedestals, enveloping them in a swirling timelessness of hand-poured mirrored-glass wall reliefs. On view through January 6, 2019, Wynne's 16 ephemeral glass works force a reexamination of historic American artworks and are presented in an exhibition entitled “Rob Wynne: FLOAT” curated by Brooklyn Museum chief curator Jennifer Y. Chi and assistant curator Margarita Karasoulas.
By Sarah Cascone
An in-your-face reminder of the women’s movement and its newfound ability to topple men in positions of power has risen in Los Angeles. Zoe Buckman’s Champ, a glowing neon pair of ovaries clad in boxing gloves, stands 43 feet tall outside of the Standard, Hollywood, overlooking Sunset Boulevard.
Organized by Art Production Fund, the British artist’s first public sculpture will debut today, just ahead of the Academy Awards, and will remain on view for a year.
By Lara Salmon
Zoë Buckman’s show “Let Her Rave” opened at Gavlak on March 3 to an excited crowd of Angelino feminists. The show is characteristic of Buckman’s familiar tropes: emboldened female empowerment, a battle cry against the patriarchy and celebration of femme aesthetics.
Hanging from the ceiling of the gallery are clusters of white boxing gloves, stitched over with fragments of wedding dresses. These sculptures combine two gendered archetypes, recalling the woman on her wedding day and a male-dominated sport based on punching.
Gavlak is proud to present Lonely Planet, a major exhibition of new work by Andrew Brischler that will take place simultaneously at both the Los Angeles and Palm Beach galleries. This is the artist’s fourth solo presentation with the gallery.
Andrew Brischler creates bold, energetic works on paper and panel using almost exclusively colored pencil. Richly colored and laboriously hand drawn, Brischler’s work investigates the intersection of graphic design and abstraction through his devotion to drawing.
Thanks to a quirk of the calendar, the Palm Beach Art Weekend will debut Friday through Sunday in Palm Beach and West Palm Beach.
The concept has been on Palm Beach gallery owner Sarah Gavlak’s to-do list for some time. Gavlak, who also operates a gallery in Los Angeles, has attended similar art weekends in Berlin and Brussels as well as ArtCrush, a multi-day fundraiser for the Aspen Art Museum in Colorado.
He’s disarmingly genteel, light, an effortless conversationalist, and endearingly candid. Like if Katy Perry and Prince Eric (from The Little Mermaid) had a lovechild. It’s official. Andrew Brischler is the closest thing you get to saccharine with a pulse. Yet, with razor-sharp execution, his paintings and color-pencil drawings are raw, undulating, boldly unflinching glimpses into the visual modalities with which we process words and shapes: loud colors, geometric tessellations, and surreal motion.
Gavlak is hosting Andrew Brischler’s exhibition titled “Lonely Planet” at its Los Angeles venue.
This major exhibition of new works by Brischler will take place simultaneously at both the Los Angeles and Palm Beach, Florida, galleries. This is the artist’s fourth solo presentation with the gallery. For this series, Andrew Brischler creates bold, energetic works on paper and panel using almost exclusively colored pencils.
by Andy Campbell
The duo made confounding, earworm pop at a moment when executives in the record industry were seemingly wringing their hands (but secretly filling their pockets) over the “crossover” successes of Latin American singers such as Ricky Martin and Shakira.
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