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Luis De Jesus Los Angeles
2685 S La Cienega Blvd. Los Angeles, CA 90034 | T 310 838 6000


April 25, 2016


Seattle-based multi-media artist Margie Livingston explores age and destruction in her new solo exhibition at Culver City’s Luis De Jesus Gallery.

Merging the body with acrylic sculpture and action paintings, Margie Livingston takes the viewer through the painful process of entropy and dysfunction. Her collapsed grids made of poured paint skins over three-dimensional string sculptures ache with frailty and disuse.  [ READ MORE ]

April 12, 2016

Why Is Margie Livingston Dragging Her Painting Behind Her?

The Seattle painter Margie Livingston has a show coming up at Luis De Jesus Gallery in LA called Holding it together, in which she deploys her dry sense of humor. She harnessed stretched canvases to herself using a contraption she sewed based on bodybuilder harnesses. Then she set out on the streets. (Did you see her? Did you think you might be dreaming?) [ READ MORE ]

April 08, 2016

brandon andrew: On Beauty and Repulsion: Whiteness, Art, and Inviting Discomfort

Brandon Andrew is an artist. He is white, he is queer, and he excels at making people uncomfortable. Maybe this is why I fell so deeply in love with him when I met him.   more

He goes all the way, and so does his art.

I was in Los Angeles earlier this month at the opening of his new show.

Standing in the glow of a stunning neon and stucco piece, I was drawn to the light, to the glow –attracted on an almost pheromonal level.

I spent the rest of the night walking around the gallery, but kept returning to stand in the halo of warm light coming off this one piece.

It felt good. It was beautiful. [ READ MORE ]

March 20, 2016

Featuring work by Ken Gonzales-Day: 'Une deuxième image'

Après notre exposition Time Capsule, en 2012 à la Maison des Arts, dans laquelle nous montrions des œuvres qui rassemblaient plusieurs temps dans une même image, nous nous sommes interrogés, en guise de deuxième volet d’un diptyque d’expositions, sur le fait que certains artistes activent plusieurs images dans une même image.

Pour la Deuxième image, nous avons choisi des œuvres où coexistent des images activées et d’autres désactivées.   more

Que signifie l’activation d’une œuvre ? Toute création est-elle une activation ? Quels sont les différents types possibles d’activation ? L’activation d’une œuvre passe-t-elle par la désactivation d’un objet ?

Certaines œuvres semblent pouvoir être activées en fonction de corps qui les parcourent, des yeux qui les regardent, des énergies qui les traversent, des silences qui planent sur elles, en fonction d’une absence, d’un hors-champ, d’un geste de l’artiste ou de la disparition même de cette œuvre. Parfois des images sont activées à l’intérieur d’une œuvre. Toutes donnent à voir une autre image, une deuxième image, visible ou invisible, qui se superpose au réel. [READ MORE]

March 05, 2016

Ken Gonzales-Day included in the exhibition 'Our America: The Latino Presence in American Art'

Organized by the Smithsonian American Art Museum, Our America: The Latino Presence in American Art presents the rich and varied contributions of Latino artists in the United States since the mid-20th century, when the concept of a collective Latino identity began to emerge. Our America showcases the rich diversity of Latino communities in the United States and features artists of Mexican, Puerto Rican, Cuban, and Dominican descent, as well as other Latin American groups with deep roots in the United States.   more

It explores how Latino artists shaped the artistic movements of their day and recalibrated key themes in American art and culture. The exhibition presents works in all media by more than 50 leading modern and contemporary artists. [READ MORE]

March 03, 2016

Josh Reames and Jose Lérmas at Luis De Jesus Los Angeles

When I lived adjacent to my university’s football stadium, an aural read of its emanating roar could be deeply confusing: celebration or war? Far from the harmonies of a choir, the sour cacophony of competing cheers sounded, I’m sure, better from within.

Josh Reames and Jose Lérma have created something of a visual equivalent at Luis de Jesus.   more

He Hath Founded It Upon the Seas (I and II), depicting aspects of the Cayman Islands’ “Pirates Week” festival, is more fun to observe than to inhabit—an ambivalent “wish you were here.” Celebratory cannon fire causes real damage to the island gift shop, and damp clouds of smoke. The palm trees of the tropical setting nod to L.A. (the work was created on site), while a turtle perching a pineapple on its nose-beak alludes to both the welcoming of guests symbolized by the pineapple and the performative, circus-like trickery of tourism.

March 03, 2016

Exhibit | José Lerma & Josh Reames at Luis De Jesus Gallery

A collaboration between two talented artists results in a monument of meaningful sociopolitical satire.
Culver City is buzzing about two monumental paintings created in collaboration between internationally exhibited artists José Lerma and Josh Reames, on display at Luis De Jesus gallery through March 6, 2016.   more

Both contemporary pop-style artists are known for their spatial and sequential interplay, but this collaboration synthesizes Lerma’s allegorical portrayals with Reame’s digital-like renditions and pacing, together attaining a new kind of two-dimensional adventure for viewers. [ READ MORE ]

March 01, 2016

Freewheeling: Josh Reames and José Lerma Collaborate

The collaborative paintings of Josh Reames and Jose Lerma are a pas de deux in draftsmanship: Lerma’s freewheeling, skinny line cavorts with Reames’s softer, rounded marks and carefully taped off volumes. The two artists here join forces for the first time, having spent all of January working in situ at the Luis De Jesus gallery, a habitual approach for Lerma but a first for Reames.   more

They first met at the School of the Art Institute of Chicago (Lerma was Reames’s adviser), and have since become friends.

The front room holds two enormous paintings on facing walls, He Hath Founded It Upon the Seas I and II, both depicting fantastical assemblies of pirates, colonialists, or figures that amalgamate the two. The figures appear in a tropical setting referencing the Cayman Islands, notorious as a tax shelter and invoked in the first painting by images of a lion, three starfish, a turtle, and a pineapple, all found on the islands’ official crest (as is the paintings’ title) and in the second by inclusion of Ugland House, the administrative center for the territory. Ranging in color from jet blacks to faint grays and a few neutral hues, the scenes are composed with energetic goofiness. Lerma’s multi-eyed caricatures jostle in tight clusters amidst the chaos of Reames’ cannonballs, beer bottles, googly eyes, cigarettes, and blocky exclamation marks hovering illusionistically above the canvas surface. [READ MORE]

February 27, 2016

Josh Reames and Jose Lérma

Josh Reames' crafty airbrushed and trump l'oeil-heavy paintings are given a healthy re-fresh through a collaboration with his friend and fellow painter Jose Lérma. Together they've created two mural-sized paintings (which were custom made to fill both long walls of the front gallery) dubbed "He Hath Founded It Upon The Seas (I and II)."  more

They’re simultaneously cartoony and epic, replete with seafaring and island iconography and doodle-like caricatures of disembodied noses, colonizers hauling bowling ball/bombs and an immense sandal-clad leg stepping across the middle of the expanse. [ READ MORE ]

February 27, 2016

Daughter, Mother, Mirror: Zackary Drucker's Southern For Pussy

Throughout Zackary Drucker's work, there's a consistent theme: collaboration. From Translady Fanzine, her photographic collaboration with Amos Mac, to She Gone Rogue, the film that brought Drucker and Rhys Ernst to the 2014 Whitney Biennial, to Transparent,'s Emmy Award-winning television series on which Drucker serves as associate producer, Drucker seems to work best in dialogue with others. Southern For Pussy (2015), Drucker's recently-released pilot for OpenTV, is no exception.   more

In this mini-episode, Drucker returns again to a collaboration that has fueled some of her most striking work, as she writes and acts alongside Penny Sori, her mother. Yet with Southern For Pussy, Drucker not only revisits her collaboration with her mother. In addition, she continues to explore a visual vocabulary of collaboration that she has developed through the image of the mirror and the figure of the double.  [ READ MORE ]