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


December 12, 2015

Künstler des Monats unserer Dezember / Januarausgabe
Inspiration Internet

Josh Reames lässt in seiner Arbeit Malerei und Internetästhetik aufeinanderprallen – so wirken seine Bilder bisweilen eher wie Compilations oder ästhetische Mixtapes. Der 1986 in Dallas geborene und mittlerweile in Brooklyn lebende Künstler bringt in seinen Gemälden nicht nur unterschiedlichste künstlerische Techniken in einem Bild zusammenzubringen, sondern auch eine Spannbreite von Themenwelten, von bunten Früchten, über digitale Benutzeroberflächen, Graffiti, Landschaften bis hin zu abstrakten Farbflächen.   more

Frederike Wetzels hat mit dem Künstler über seine Malerei, deren Bezug zum Internet und die Ästhetik von Alltagsgegenständen gesprochen.  [ READ MORE ]

December 09, 2015

JAMES HYDE: Ground Review, by Hearne Pardee

Perceptual psychologists have long dismissed the notion that our brain records images like a camera; seeing is an interactive process of grazing, in a visual field that extends around us on all sides, rather than a series of flat images projected to a single point. Yet photographic images retain special authority as records of visual experience. In his current exhibition, James Hyde undertakes to dislodge this persistent prejudice.   more

Assuming the liberty of abstract painting, where elements can be combined freely, Hyde rotates, crops and juxtaposes his photographs of California landscapes, while disrupting the natural continuity of their spaces with large dots and curved bands of color. [ READ MORE ]

December 09, 2015

Zackary Drucker, Dolls and Feelings Jill Soloway’s post-patriarchal television.

In a scene from “Transparent,” the television series created by Jill Soloway, a women’s-studies professor stands before a room of listless undergraduates, haranguing them in the accusatory tone favored by a certain strain of academic. “Because women bled without dying, men were frightened!” the professor—played by Soloway, wearing a tent of a top and a pink dreadlock in her bun—says.   more

“The masculine insists to cut things up with exclamation points—which are in and of themselves small rapes, the way an exclamation point might end a sentence and say, ‘Stop talking, woman!’ ” [ READ MORE ]

December 04, 2015

Federico Solmi. Un troublemaker a Yale

Si è imposto su nomi come William Kentridge, Gary Hill e Laurie Anderson, vincendo il Ben Main Prize alla recente Biennale B3 di Francoforte, dedicata alla videoarte. A dicembre L'Haifa Museum Of Art in Israele inaugura una sua personale. La storica galleria Postmasters di New York ha appena chiuso la sua seconda personale, mentre a Napoli Dino Morra ospita The Great Dictator.   more

Federico Solmi è il self made artist che, dopo aver vinto il John Simon Guggenheim Memorial Fellowship nel 2009, viene ora chiamato dalla Yale University per insegnare nel Dipartimento di Arte Visive, con cattedra dedicata al Filmmaking sperimentale.  [ READ MORE ]

November 27, 2015

Displacement: Symbols and Journeys, featuring Hugo Crosthwaite

In our contemporary society, the notion of borders as geographic demarcations with political and economic ramifications is evoked frequently. Some of the artists in this exhibition make work that directly addresses the multifaceted and complex border region between Mexico and the United States, while others deal more broadly with issues of displacement. No matter how tall or wide the physical border between the United States and Mexico grows, cultural influences will continue to migrate, permeate, and even ignore physical boundaries.   more

Beyond the US/Mexico Border other borders and their political and economic influences shape societies—the borders can hinder the paths of tourists, immigrants, and most poignantly, refugees. The lines that are drawn between one nation and another can be reformed, the physical boundaries that are built can be traversed, and the creative ingenuity of artists who embody liminal spaces between multiple cultures cannot be denied. The artists in the exhibition make work that relate distinctive cultural signs, symbols, and/or journeys. Certain works emphasize cultural colonialism and appropriation, while others address immigration, alienation, isolation, and hybridity. Certain works in the exhibition construct new narratives, while others deconstruct myths.

Inspired in part by the Alfond Collection of Contemporary Art in the Cornell Fine Arts Museum of Rollins College, the exhibition looks at multiple manifestations of displacement. As a global existence is reinforced, displacement of symbols can occur. As a product of physical movement across borders, for some liminality becomes a powerful reality. Artists in the exhibition include Shimon Attie, José Figueroa, Alfredo Jaar, Hugo Crosthwaite, Ramiro Gómez, Sandra Ramos, Gonzalo Fuenmayor, and Meshac Gaba. Works from the permanent collection of the Cornell Fine Arts Museum will be accompanied by major loans. [ READ MORE ]

November 24, 2015

The Brotherhood Federico Solmi at Postmasters Gallery

Th  more

e last line of Heinrich von Kleist’s story ‘The Marquise of O’ seems appropriate to the subject matter of Federico Solmi’s dynamic new show at Postmasters Gallery on Franklin Street in Lower Manhattan: “…he wouldn’t have seemed like such a devil if he had not tried so hard to seem like an angel.” In the ‘Brotherhood’ which Solmi satirically depicts for us, we see a rogue’s gallery of past world leaders who effectively utilized the tools of self-aggrandizement and obtained the willing complicity of the spin-doctors of their times as very potent elements in their ability to obtain and wield power, usually for their own ends (while purporting much higher social goals and purposes). Yet Solmi also pointed out to me that his exhibit is not about the individuals in the show – Ratzinger, Washington, Napoleon et al. but about “…the way to obtain power, which is always very ruthless…” and the “…human weakness of the ruler.” [ READ MORE ]

November 20, 2015

Hugo Crosthwaite by Lauren Buscemi

Tijuana/Brooklyn-based artist Hugo Crosthwaite is having a prolific year. He gained attention for his standout exhibition "Tijuana Radiant Shine | Shattered Mural" this spring at Luis De Jesus Los Angeles. As the Grand Prize recipient of the XI Bienal Monterrey FEMSA, he exhibited work at Antiguo Colegio de San Ildefonso Museum, Mexico City.   more

He created site-specific wall drawing installations for "The House on Mango Street: Artists Interpret Community" at the National Museum of Mexican Art in Chicago, and for "Word Balloons" at San Diego State University's (SDSU) downtown gallery coinciding with San Diego's popular Comic-Con convention. Throughout all Crosthwaite's work, his Tijuana roots, deeply humanistic approach, affinity for narrative, and palpable passion for drawing are abundantly reflected.

Crosthwaite grew up in Rosarito, where he spent his days going to school in Tijuana and evenings at his father's curio shop, selling ceramics to American tourists, learning to speak English. To combat boredom in the shop, he recalls, "When I was very young my brother and I would pass the time by drawing… My brother would bring this huge piece of paper, he would start on one side and I would start on the other." This led to impromptu battles involving spaceships or soldiers played out through drawing. Crosthwaite notes, "If you are drawing through line you are actually telling a story through real time." This exercise set the stage for Crosthwaite's swift draftsmanship and improvised narrative. [ READ MORE ]

November 11, 2015

Will Philip Roth Sue Artist Bryan Zanisnik a Second Time?

Being sued by world-famous author Philip Roth has its perks: just ask New York-based artist Bryan Zanisnik, who is transforming Roth's vendetta against him into an exhibition dedicated to the writer at Miami's Locust Projects early next year.

In 2012, Roth threatened legal action against Zanisnik over a performance that took place at the Abrons Art Center in New York.   more

The artist sat inside a large Plexiglas and wood container silently reading Roth's 1973 homage to baseball, The Great American Novel, while baseball cards and money whirred into the air around him, propelled by a single, hardworking fan.

"It was very strange because the lawyers came and served the cease and desist letter within the first half-hour of the opening," Zanisnik told artnet News in a phone interview. "I was in this 12-foot container and I was kind of raised above the crowd. They came in and said 'we're here to serve Bryan Zanisnik with this legal document,' and security said 'well, he's not available right now.' And they're like 'he isn't here?' And security said, 'no, actually, he's inside that glass container.'" [ READ MORE ]

November 11, 2015

From Andy Warhol to Contemporary Art: Culture, Color, Body, featuring Federico Solmi

Modernism, in its various periods and in its aspiration to liberate the means of artistic expression from their dependence on external reality, was often characterized by a poignant use of colour. The technological age has turned colour into the commercial product of a mass, uniform assembly line.

Frank Stella stated his desire to use paint "straight out of the can – it can't get better than that."  more

Technological development has brought about far-reaching changes in the artist's self­ perception, in his understanding of the essence of his practice and creative work. These changes are the focus of the new cluster of exhibitions. The cluster addresses the period from the 1950s until the present day, with an emphasis on the Pop and Op Art movements and their successors.

In 1963 Andy Warhol proclaimed, "I want to be a machine," thereby noting the loss of authenticity in contemporary culture, and with it, the loss of legitimacy of the artist's emotional expression. The discussion of the representation of the real, the original, and the beautiful, and of the lack of authenticity in the technological age – from modernism until today – is the subject of this exhibition cluster. This subject is explored in relation to the way in which the technological and digital age has turned color into a mass uniform commercial product, in which there is no more room for individual, unique expression. The word "authenticity" was a key concept in modernism and the modernist avant­garde, whereas the rise of post-modernism introduced the opposite message, of fiction and illusion. New media technologies have created a situation in which human society replaces reality with its simulation, using signs, symbols, and a great multitude of visual means. [ READ MORE ]

November 03, 2015

review: CHRIS BARNARD at Luis De Jesus Los Angeles

Contrary to certain art historical narratives, painting has never waned, but only been ever more rigorously interrogated—usually by the artists engaged with the medium. Chris Barnard is one of those artists mining and turning over the modernist tropes of figural representation, abstraction, message and picture-making, as if to question the very forces driving them.