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

NEWS

February 01, 2014

ZACKARY DRUCKER and MASOOD KAMANDY featured in "Unsparing Quality", February 1 - March 15, 2013, Diane Rosenstein Fine Art, Los Angeles, CA

Unsparing Quality, a group show curated by Farrah Karapetian, poses the question: where do Surrealist impulses manifest in contemporary practice? The response involves three generations of artists who engage the legacy of Surrealist practice and offer work that investigates the subtle madness of the ordinary world.

The title of this exhibition is derived from André Breton's First Manifesto of Surrealism (1924): "Beloved imagination, what I like most in you is your unsparing quality."  more

The imagination does not forgive nor does it spare the dreamer the pain and pleasure of everyday life. This exhibition includes photographs, drawing, video, and sculpture by twenty-eight artists - each an investigation into the poetic potential of the Everyday. The tempo is set by Man Ray: he appropriates, he abuses materials, he communicates at once with his subject and viewer, and he puts his fears and values on the line. His Indestructible Object (1923/63), is a metronome with a cut-out photograph of a blinking eye that opens and closes as the arm swings. Man Ray understood clearly what makes an indelible impact: he elevates the object, the Thing, into a haunting talisman.

Three contemporary sculptures will depict a displaced self, which is a persistent presence (albeit in absentia) in René Magritte's later paintings: Shana Lutker's "T." (2010), a form shaped like the letter, or a mysterious structure shaped like a gallows from a child's game of hangman; Julian Hoeber's Family (2011-12), an installation of adult-sized wooden cradles; and Carmen Argote's L'Altalena (2013), a seesaw, not for children, but fit for tigers one might imagine wandering out of Rousseau's The Dream. A series of wigged masks from My Barbarian's Broke People's Baroque Theater (2012) are sculptural artifacts of a collective performance and a perspective on economic inequity.

Two extraordinary series of self-portraits - one by Claude Cahun (1926) and the other in 2013 by Luke Gilford & Zackary Drucker, titled This Is What It Looks Like (To Go From One Thing To Everything), traverse the subtle terrain of the unseen self. Luke Gilford, who shares with Man Ray and René Magritte a background in fashion photography and advertising, will also present earlier photographs; namely, Untitled (Rya, L.A. Stories), a portrait of a housewife - her face and body obscured by a flesh bodysuit - who becomes a cipher, a mannequin, an avatar.

How we outfit our selves becomes a matter of discovery - not just in terms of costume, but in terms of which identity we uncover at all. "There must be more to life than just having everything," begins the narration in Zackary Drucker's film (with Flawless Sabrina), At least you know: you exist (2010-11). The film is a symbiosis of identity between two artists and an ode, therefore, to a genuine attitude of creativity towards one's changing sense of self. Eleanor Antin's I Invoke The Gods Of War (1974) is a sequenced suite of vintage silver gelatin photographs in which the artist walks among her people as her 'political self' - the bearded King of Solana Beach. Robert Therrien's Untitled (Beard) sculptures are similarly mythic adornments for a variety of bodies. For this exhibition, Mr. Therrien will assemble a "beard cart" that includes multiple beards as well as a variety of the tools of their upkeep.

In Tim Hawkinson's life-sized bronze, Samoa (2013), a cast of the artist's body includes chain links shackling his tongue to his hands. The joints of the chain are casts of the artist's tongue, lips, thumb, and index finger. Our senses and mind ensnare us, and we, as artists and humans, look for ways out of this bind. British artist Jane Wilbraham's Seven Month Frail (2013) is a whittled sycamore pitchfork with claw-like tines part animal/part human. In The Semi Transparent City (1950), Japanese avant-garde photographer Kansuke Yamamoto also separates adornment from flesh, and invokes the dystopic undertow of post-war Tokyo in his phantasmic image.

"Artwork comes out of some disobedient spirit against readymade things of society," wrote Mr. Yamamoto (1941). The Mexico City-based sculptor Martin Soto Climent wrenches new meaning from found objects, and in Tight on Canvas (Bridget) (2010) he fashions a perverse poetry from a friend’s pink stockings and leather pumps. New York-based photographer Tim Davis finds that reaction in L'Origine du Monde, 2004 an image that addresses its subject and the compromise of being seen; while Jacques Villeglé's décollage, Rue du Temple (1967) and Unica Zürn's torn and reassembled drawing similarly display an aesthetic of anarchy and distress.

Chloe Piene's expressionistic charcoal contour drawing, Pousette (2012), evokes Hans Bellmer's automatic drawing and Gustav Klimt's eroticism. Kim Schoen's film, The Horseshoe Effect (2013), showcases the absurdity of the language of commerce and the ease with which the contemporary subject slips into nonsensical improvisation in that sphere. Martha Rosler's photomontages from Bring The War Home: Iraq (2004) and Eleanor Antin's epic photographic tableau, The Tourists (from Helen's Odyssey) (2007), highlight the incongruent and non-real experience of those at war and those who visit it through the one-way mirror of their television sets. Matt Lipps and Deville Cohen each use re-photography to collapse perspective on time itself.

This exhibition also includes work by Ray Anthony Barrett (drawing), Max Rain (drawing), Mie Hørlyck Mogensen (photography), and Masood Kamandy (photography). There is a readiness in these artists to render real their fantasy, but to reveal the rendering as a part of the work. Psychological or political situation are not only the impetus for this work, but the practice and product of it as well.

The threads drawn here between artwork of the mid-20th century and the 21st century do not suggest that artists of these periods think literally about the work of the early surrealist movement. Instead, Unsparing Quality suggests a thriving continuum in the human impulse to reveal and refine psychological and political realities, using the flexibility of fantasy to face one's fears.

There will be a public program of artists' readings and performance throughout the run of this exhibition. On February 23rd, Eleanor Antin will read from her memoir, Conversations with Stalin and from her new memoir, An Artist's Life by Eleanora Antinova as told to Eleanor Antin, a work in progress. A limited edition catalogue has been published to accompany the show [ VISIT SITE ]

February 01, 2014

"Marcos Ramírez ERRE: A Game of Deception... Of Oil, Soccer and Other Bets", opens at Museum of Latin American Art, Los Angeles, February 1, 2014 - July 13, 2014

The first Project Room exhibition of 2014, "Marcos Ramírez ERRE: A Game of Deception...   more

Of Oil, Soccer and Other Bets (El juego del engaño...de petroleo, futbol y otras apuestas)", curated by Idurre Alonso, showcases the work of Marcos Ramírez ERRE, an artist who has made significant contributions to the development of contemporary art in the San Diego/Tijuana area.

Marcos Ramírez ERRE provokes by questioning and pondering about the contextual themes related to the spaces where his works are presented, converting spectators into agents involved with the reality that surrounds them. Born in Tijuana, Mexico in 1961, ERRE has been described as a binational, hybrid and transcultural border artist. Many of these adjectives are related to his most emblematic projects of the 1990s. However, in the last decade his work has become equally concerned with pointing out broader social issues, beyond the focus of border politics.

The expropriation of Mexico's petroleum production, in the beginning of the 20th century, from the hands of foreign private businesses was realized by President Lázaro Cárdenas del Río in 1938 and was considered, at that time, as one of the historic triumphs of Nationalism. With this exhibition, ERRE proposes an analysis of Mexico's current situation in facing the potential privatization of PEMEX, its national petroleum company.



Specifically for this exhibition, the artist has created a model that depicts a large monumental oil well tower leaning against the façade of MOLAA. The tower symbolically represents the collapse of Mexico's present-day energy industry. Another installation in the exhibition reproduces a soccer field propped on a platform of oil towers over which a ball swings, pointing out that under the apparent distraction (or hypnosis) of soccer, the population forgets important sociopolitical problems. Three additional components add to the exhibition: a series of crowd shields made of oil barrels with inscribed references to large oil companies, optometric eye charts with quotes by well-known figures such as Vicente Fox, George W. Bush, and John Paul Getty and a series of works on the wall with text written in an internet-based format used to prevent identity theft, which in reality are easily read but draw attention to the reader. Words such as democracy, nation and sovereignty are displayed before the spectator in a new format generating questions directly related to their significance in the present.

ERRE has participated in residencies, lectures and numerous individual and collective exhibitions throughout Latin America and the Caribbean, Europe and Asia. For example: InSite95 and InSite97; VI and VII Havana Biennials; 2000 Whitney Biennial; 2004 San Juan Poly/Graphic Triennial; 2007 Sao Paulo Biennial; 2007 Valencia Biennial; 2nd Moscow Biennial 2007; 2008 California Biennial; and 2012 ZERO1 Biennial. Solo and group exhibitions include: "Marcos Ramirez ERRE: A Reconstruction of Events-20-Year Retrospective", Museo Carrillo Gil, Mexico City; "How Many Revolutions?", LAX ART, Los Angeles; "The Body of Crime", Artpace, San Antonio, TX; "The Four Pilots of the Apocalypse", The Suburban, Chicago, IL; "Postcards from the Edge", EDS Galeria, Mexico City; "Strange New World", Museum of Contemporary Art, San Diego, CA; and "Baja to Vancouver: West Coast Contemporary Art", Seattle Art Museum, Seattle, WA, among others. Marcos Ramirez ERRE is represented by Luis De Jesus Los Angeles.
 [ VISIT SITE ]

January 31, 2014

REVIEW: Miyoshi Barosh - Feel Better by Annie Buckley

Upon entering Luis De Jesus in Culver City for Miyoshi Barosh's second solo exhibition with the gallery, a large mixed media work commands viewers to "Feel Better" in bulging nearly two-foot-tall black and gold letters. The floor in front of this piece is scattered with glittery chunks of debris, as if the letters were arduously carved from stone and the rubble was left behind but, in a wry twist, both letters and fallen bits are made from foam normally used in making upholstery.   more

One of numerous pieces in this ambitious and thought-provoking exhibition, the work's playful message and kinetic energy contrast with its dark palette and ominous size and suggest something deeper lurking beneath the friendly platitude. Through soft sculpture, collage, digital imagery, prints, and textiles -- the majority emblazoned with cute pictures of kittens gleaned from the Internet and, in some cases, enlarged to mammoth proportions -- Barosh explores the implications of societal pressure to feel good, to feel better, even, than you do.  [ READ ON ]

January 24, 2014

zackary drucker featured in Readykeulous by Ridykeulous: This is What Liberation Feels Like, January 24 - April 13, 2014, CAM | Contemporary Arts Museum St. Louis

Readykeulous by Ridykeulous: This is What Liberation Feels Like™, organized by artists Nicole Eisenman and A.L. Steiner, who together form the curatorial initiative Ridykeulous, presents an array of emotionally charged works by over forty artists and activists.

Founded in 2005, Ridykeulous mounts exhibitions and events primarily concerned with queer and feminist art. Using humor to critique the art world as well as culture at large, Eisenman and Steiner often reinvent language to reflect their sensibilities and concerns.   more

At CAM, Ridykeulous installs an expanded version of their 2011 exhibition at Invisible Exports in New York, Readykeulous: The Hurtful Healer. This presentation features printed ephemera from the Ridykeulous PATRIArchives™ as well as angry letters and diatribes across various media. Beginning March 7, the exhibition extends into the Front Room, featuring a selection of historically significant works of video art by Sadie Benning, Dawn Frasch, and others.

Featuring work by: Kathy Acker, Abe Ajay, Mike Albo, Artists Poster Committee (Frazier Dougherty, Jon Hendricks, Irving Petlin), Kathe Burkhart, Nao Bustamante, Jibz Cameron, Leidy Churchman, Dennis Cooper, Zackary Drucker, Nicole Eisenman, Tracey Emin, Daniel Feinberg, Louise Fishman, Glen Fogel, Hollis Frampton, Simon Fujiwara, Gary Gissler, Guerilla Art Action Group (G.A.A.G.), Harmony Hammond, Kathleen Hanna and Toby Vail, K8 Hardy, I.U.D., Donald Judd, Zoe Leonard, Ali Liebegott, Lucy Lippard, Catherine Lord, Bernadette Mayer, Allyson Mitchell & Deirdre Logue, Eileen Myles, Chuck Nanney, Genesis Breyer P-Orridge, Laura Parnes, Adrian Piper, William Powhida, Ad Reinhardt, Ridykeulous, Carolee Schneemann, Jack Smith, Nancy Spero, Nicola Tyson, Kara Walker, and David Wojnarowicz [ READ ON ]

January 21, 2014

killer pick of the week: miyoshi barosh

Imagine a bunch of felines on acid, driving through downtown Los Angeles in a supped up Caddy sipping martinis, purring to Lady GaGa and you’ve acquired just a taste of Miyoshi Barosh’s fantastical and scathing sensibility. Barosh’s kitties are ensconced in folksy decadence, and could be read as stand-ins for our own human failings, i.e. the things we value most are cute kittens, shiny cars, violent movies and plastic surgery while all around us the world goes to hell.   more

Barosh offers no panacea, no easy fix, just a seething, stagnant biosphere of gluttony, a fractured utopia. And be sure to check out Martin Durazo’s “Sub(versions)” in the Project Space. It’ll blow your mind.

~ Eve Wood 

January 19, 2014

KEN GONZALES-DAY featured speaker for "Photographic Fictions: Technology and the Digital Document", Photo LA, Sunday, January 19, 3:30-5pm

Natalie Bookchin (Artist; Photography and Media Faculty, CalArts) and Ken Gonzales-Day (Artist; Professor of Art, Chair of the Art Department, Scripps College) will discuss their work in relationship to technology, from digital manipulation and online publishing to large archives and social media [ VISIT SITE ]

January 18, 2014

MARTIN DURAZO featured in Pitzer College 50th Anniversary Exhibition: "MARTIN DURAZO: SLEEP TO DREAM", January 18 - May 17, 2014, Lenzer Art Gallery, Pitzer College

Martin Durazo's (Pitzer College, '91) multi-media installations combine elements of high-design "finish-fetish" minimalism with makeshift provisional structures. The work's compelling narratives reflect our engagement with high and low culture and explores the influence of mass media on shaping the way we think and experience the world. Impactful and experiential, Durazo's installations encourage us to question conventional values and expectations.   more

For Pitzer's 50th anniversary exhibition, Durazo has selected an object from Pitzer's evolving archive as a starting point for a site-specific installation that will reflect on his experiences at Pitzer during the late 1980s, early '90s. [ VISIT SITE ]

January 12, 2014

museums snap up HUGO CROSTHWAITE works; Recent Acquisitions include OCMA, MOLAA, and CECUT

We are pleased to announce the recent acquisition of Hugo Crosthwaite's, which come on the heel of his immensely successful presentations at the first California Pacific Triennial, curated by Dan Cameron. His work is now included in these institutions:
Orange County Museum Art (OCMA), Newport Beach, CA
Museum of Latin American Art (MOLAA), Los Angeles, CA
Centro Cultural Tijuana (CECUT), Tijuana, Mexico
 

January 11, 2014

Miyoshi Barosh at
Luis De Jesus Gallery
, Culver City, California

Google “feel better” and 130,000,000 suggestions for attaining happiness pop up in 0.24 seconds. If the American Dream is working, why are so many of us overdosing on sugar laden treats or seeking joy in the endless line-up of adorable pets that populate You Tube? Miyoshi Barosh opens her examination of this conundrum by confronting us with “Feel Better,” a mattress-sized wall sculpture of a chocolate bar flecked with gold, imprinted with its title, commanding us to improve our emotional state. [ READ ON ]

January 05, 2014

Michael Kindred Knight featured in New American Paintings, Pacific Coast, Issue #109, January 2014

Michael Kindred Knight is featured in the current edition of New American Paintings, Pacific Coast, Issue #109. The juror for this edition was Janet Bishop, Curator of Painting and Sculpture, San Francisco Museum of Modern Art. She states: "The most abstract among the works...(including) Michael Kindred Knight's beautifully gestural square piece...reveal their maker's deftness with line, shape, geometry, color and composition." New American Paintings, Pacific Coast, Issue #109  [ VISIT SITE ]