The New Art Dealers Alliance (NADA) announced on Thursday that it plans to launch a new digital art fair to support member galleries who have been impacted by Covid-19. Titled “FAIR,” the online initiative will boast of a profit-sharing model designed to give participants who have recently experienced revenue loss due to the closure of their physical locations a financial boost. Kicking off next week, FAIR will run from May 20 through June 21.

Galleryplatform.la launches May 15, featuring online viewing rooms for small and blue-chip galleries, video profiles of artists, and a column on the history of LA galleries — all to help galleries stay afloat. Luis De Jesus also added that “this period has been a welcome respite from the hectic, nonstop schedule of back-to-back gallery shows and art fairs. It’s given me time to think about the business — what’s working and what isn’t.”

Greetings from the timeless void of quarantine, where we all feel like astronauts who have been in space just a little too long. I’m Carolina A. Miranda, staff writer at the Los Angeles Times, with your essential guide to all things arts — and operatic krumping. On Instagram, I’ve been very much enjoying Hugo Crosthwaite’s stop motion animations of his quarantine drawings.

Within figuration, the materiality of oil paint has been bound to its relationship to the depiction of skin. Velasquez went so far as to say that if not for skin, oil painting wouldn’t exist. ...This obsession with material skin seems to have lost its privileged position due in no small part to how incredibly realized it’s been within the traditions of western art history. There is a completeness to Freud’s Benefits Supervisor Sleeping (1995) and Saville’s surgical portraits that followed, that have made contemporary artists disregard flesh, instead pursuing a frontier that  investigates the body as one that is weightless, boneless, hollow, thin, and digital- phantom bodies.

Since 2017, The Universe in Verse has been celebrating the natural world — the science, the splendor, the mystery of it — through poetry, that lovely backdoor to consciousness, bypassing our habitual barricades of thought and feeling to reveal reality afresh. And now here we are — “survivors of immeasurable events,” in the words of the astronomer and poet Rebecca Elson, “small, wet miracles without instruction, only the imperative of change” — suddenly scattered six feet apart across a changed world, blinking with disorientation, disbelief, and no small measure of heartache.

Federico Solmi (Italy, 1973) currently lives and works in New York. Solmi’s work utilizes bright colors and a satirical aesthetic to portray a dystopian vision of our present-day society His exhibitions often feature articulate installations composed of a variety of media including video, painting, drawing, and sculpture. Solmi uses his art as a vehicle to stimulate a visceral conversation with his audience, highlighting the contradictions and fallibility that characterize our time. Through his work, Solmi examines unconscious human impulses and desires in order to critique Western society’s obsession with individual success and display contemporary relationships between nationalism, colonialism, religion, consumerism.

J'ai rendez-vous avec Nicolas Grenier dans so atelier de l'îlot Bellechasse. Ce n'est pas la première fois que j'y recontre des artistes, mais il se pourrait bien que ce soit la dernière... / I have an appointment with Nicolas Grenier in his workshop on the Bellechasse block. It is not the first time that I meet artists there, but it may well be the last ... 

How are you overcoming the challenges we are now facing? 

Like many other galleries, we are looking for ways to stay present and relevant. We recently launched our new website and we’re in the process of adding a new page that will pull together all of our artist’s video and film projects as well as links to other feeds and impromptu and intuitive content. We’re in production mode—a good thing.

Art galleries provide necessary spaces for creative discovery and connection—experiences we all may be seeking in our current existences. Luckily, many galleries across the country can still be visited virtually, and at your work-from-home leisure through Artnet Galleries. 

If you’re in need of an art break, here are 13 of our favorite exhibitions, from New York to California, that you can gallery hop through your laptop. 

The $10,000 Aware Prize for solo presentation by women artists was awarded to June Edmonds, whose politically charged paintings were represented at the fair by Luis De Jesus Los Angeles.

“Citizenship acknowledges the political power of images,” [curator Georgia Erger] said, “and the power that comes from the fact that photos, and graphics and ultimately video and film can be so widely and easily disseminated, and therefore, much more accessible.” The works of art include 20th-century photographs by Leonard Freed, a series of etchings by Francisco de Goya, and engravings by William Hogarth, along with “Erased Lynchings,” which Mr. Gonzales-Day produced from 2006 to 2019. Based on actual postcards, and his visits to where lynchings took place, Mr. Gonzales-Day’s work shows crowds gathered at places across America, such as California and Montana, to watch the hangings.

June Edmonds’ dark, seemingly abstract paintings at Luis De Jesus Los Angeles (Booth 827, Pier 94) are actually based on flags and their palettes are derived from a spectrum of black and brown skin complexions.

June Edmonds’s Flag Paintings explore the American flag as a symbol of ideals, promises, and identity. Each flag is associated with the narrative of an African American, past or present. Edmonds explores the psychological construct of skin color, utilizing the primary colors of brown skin tones to build symbols of American identity that reflect the broader changes in the racial and ethnic makeup of the country's population and the ideals and promises enshrined in the Constitution.

Drucker of Los Angeles explores the novel’s themes of gender and time as part of her photo series “Rosalyne,” which show trans elder and activist Rosalyne Blumenstein in a variety of poses that evoke some of the classical imagery of the novel as well as the blending of time periods. A photo of a nude Blumenstein mimicking the pose of a nearby Venus de Milo also manages to recall the aesthetic of Potter’s film.“Rosalyne is a legend in the trans community,” says Drucker, who lives in Los Angeles. “The photos came about because I felt she was the perfect living Orlando, she was traveling through time and crossing genders.”

Additionally, the inaugural edition of the $10,000 Aware Prize for solo presentations by women artists—presented by the Paris-based nonprofit AWARE (Archives of Women Artists, Research, and Exhibitions) in partnership with the Armory Show—was given to June Edmonds, whose work at the fair is presented by the Los Angeles-based gallery Luis De Jesus. Edmonds is known for abstract paintings that explore race, gender, and politics, and the prize was juried by a cast including AWARE co-founder Camille Morineau, writer and curatorial activist Maura Reilly, and Swiss Institute director Simon Castets, among others.

The first-ever winner of the Armory Show's AWARE Prize is artist June Edmonds. The $10,000 juried prize was given for the excellence of the artist’s work and for the Luis de Jesus Los Angeles gallery’s courage to present a solo-female artist’s work in a market that has systematically undervalued art made by women. The prize's short list of five finalists also included Rina Banerjee, Yuko Nasaka, Aase Texmon Rygh and Alexis Smith. AWARE co-founder Camille Morineau said, “Edmonds was unanimously selected by the jurors, who coalesced around the discovery of her new Flag Paintings—a breakthrough body of never-before seen work by the artist presented by Luis de Jesus Los Angeles at this year’s Armory Show.” 

CBC Listens IDEAS with Nahlah Ayed interviews the four 2019 Sobey Art Awards Finalists across two episodes, "The New Masters: Sobey Art Awards: Part 1 & 2." Nicolas Grenier discusses his practice and two projects, The Time of Work and Vertically Integrated Socialism. 

This week we made our way to Luis De Jesus’ opening of Britton Tolliver’s Bend To Play and Ethan Gill’s, New Paintings. Upon walking into the gallery, we were met by the boldly colored geometric abstract paintings by Tolliver. The vibrant works featured thick layers of smoothly applied paint the resulting decisive forms suggestive of decadent topographical psychedelic maps. The satisfying hardy spreads of acrylic paint resulted in the paintings existing more as sculptures and exemplified the physicality of Tolliver’s practice, which requires pushing paint through sieve-like grids.

Peter Williams doesn’t make things easy for the viewer, and why should he? Peter Williams is a painter who paints both abstractly and figuratively, with a jaunty, cake frosting palette as the main connection between the two approaches. I first saw his work in the 2002 Whitney Biennial (March 7–May 26, 2002), curated by Lawrence R. Rinder, Chrissie Iles, Christian Paul, and Debra Singer.

If comedy equals tragedy plus time, artist Peter Williams is defying the mathematics of the aphorism in his newest paintings. In his works, Williams compresses time and expands painterly space to extract a subversive sense of humor from acts of violence and oppression, even in the midst of their perpetuation. “Peter Williams: Incarceration,” a show of his work on view at the Cressman Center, tackles themes of black incarceration — both historical and contemporary — through paintings that sing with exuberant form and hyperbolic color. The overall effect is, by turns, shocking, joyful and unnerving.

We came across an installation from Puerto Rican Edra Soto. It's called Open 24 Hours and looks like different stands with several polished glass bottles inside, some clear, some green. And the art has a creative story to go with it: On her walks through Garfield Park, Edra Soto noticed how the streets became a "24/7 living history of a place," always collecting waste on display for all to see. Inspired by the high number of liquor bottles, she began taking them home, removing their labels and photographing them. One man's trash is another woman's art.

As the kick off to the 2020 edition of the Armory Show edges closer and closer, the fair has announced a new art prize to add to its list of juried awards. The AWARE Prize, which will be presented for the first time this March, will deliver a $10,000 prize to one deserving female artist, or the artist’s estate, whose works will be exhibited in a solo presentation in the Galleries section of the Armory Show.

Perspective is constantly shifting, from Lia Halloran’s cyanotype of The Great Comet, 2019, trailing clouds of glory, to the spider who does an unscripted walk-on in Christopher Richmond’s looped video of a rotating asteroid, Viewing Stone, 2018. The spider remminds the viewer how ultimately small we, and spiders, are in the cosmic view of things.

Hugo Crosthwaite, the 2019 first place winner was recognized for a stop-motion animated drawing. “A Portrait of Berenice Sarmiento Chávez” (2018) depicts a young woman from Tijuana and explores her pursuit of the American dream. The animated video project is part of a series based on oral histories Crosthwaite has gathered at the U.S.-Mexico border.

The artists shortlisted for the prize, funded by French nonprofit AWARE, are Yuko Nasaka, Rina Banerjee, Aase Texmon Rygh, Alexis Smith, and June Edmonds. The perception that art made by women is less valuable is one that the French nonprofit Archives of Women Artists, Research and Exhibitions (AWARE) seeks to correct. For the 2020 Armory Show, the international art fair held every year in New York City, AWARE will recognize a solo booth of a woman artist by a gallery at the fair with a $10,000 award to either a living artist or her estate.

Drawing its title from my Pulitzer Prize-nominated book of the same name, Lynchings in the West: 1850-1935, this series considers the transracial nature of lynching in California, from statehood to the last recorded lynchings in 1935, as well as other western states and territories outside the historically better-known Southern black lynching areas. Given the broad number of people touched by this history (Asians, Anglos, Blacks and American Indians), many will be suprised to learn that Latinos (Mexican, Mexican- American, and persons of Latin American descent) were statistically more likely to die of lynching than those of African, Asian or European descent. 

Artist Lia Halloran has skateboarded through runoff drains in pitch darkness, piloted a plane solo over Los Angeles and navigated dense theories of interstellar wormholes.Her diverse studio practices simply follow her personal curiosities, which she said often land her in interdisciplinary spaces where she can warp and manipulate concepts of space and time.The alumna most recently experimented with spatial distortion through an audio-visual installation called “Lia Halloran: Double Horizon,” on display at the ArtCenter College of Design’s Peter and Merle Mullin Gallery until March 15.

Sometimes a sausage is just a sausage, but not in Miyoshi Barosh’s archly adorable world. Her kielbasa-shaped glass sculpture, Untitled (Sausage) from 2015, gleams suggestively from a vitrine at Luis De Jesus Los Angeles. In case you doubt its Freudian implications, its cellmates are a penis and a pair of breasts, also made of glass, both trussed with twine as if ready for the oven. The vitrine’s fourth occupant, Untitled (Meat), is a smooth hunk of reddish-brown glass, tied up like a small ham. Equating body parts with meat is nothing new, but these works put a sharper point on Barosh’s more prominent work in textiles, which tends to be exuberantly domestic and slightly macabre.

In the early 2000s Los Angeles-based artist Miyoshi Barosh started making large-scale textile sculptures that combined the intimacy of craft with the bold, irreverence of Pop. Though vibrantly colorful and often playfully ironic, a dystopian sense of decay and death characterized these pieces. After the artist’s untimely death last year, the artworks have taken on new poignancy; they’re spirited, contradictory, and full of mischief and the carnivalesque madness of contemporary life. 

Art Los Angeles Contemporary (ALAC) returns to Hollywood for its international art fair producing a dynamic and informed cross-section of international contemporary art. The massive exhibition will feature 50 artists at the historic Hollywood Athletic Club on Sunset Boulevard utilizing the ballroom, bars and athletic spaces of the once celebrity hot spot.

Lia Halloran, Double Horizon, at Peter and Merle Mullin Gallery. To create large-scale filmic views of Los Angeles, Halloran takes to the air, mounting four cameras to an airplane that she piloted during more than 30 flights. She has put the footage together into an immersive, three-screen projection that is accompanied by a score created by Allyson Newman. Runs through March 15. ArtCenter South Campus, 1111 S. Arroyo Pkwy., Pasadena

A painter, photographer, and science enthusiast, Lia Halloran fuses together artistic creativity with a splash of scientific elements into her works. As an investigative explorer of space in its physical, psychological, and scientific forms, Lia uses these concepts as a major point to begin her creations; art allows her to express various concepts in science and gives her an outlet to explore many different themes that relate to humans, such as our place in the world, both psychologically and emotionally. 

For the past four years, Margie Livingston has been dismantling the line between painting and performance. In a hybrid form of Action Painting, performance, and Land Art, she drags constructed paintings across terrain, inscribing the canvases with the ground to what she calls Extreme Landscape Painting or “non-painting painting.”  Inherent in this process is the use of chance procedures and the knowledge that the ideas change and evolve as she gets into the work. 

Three local galleries are honoring the groundbreaking artist and L.A. native with simultaneous exhibits: Before she succumbed to uterine cancer last February at age 59, artist Miyoshi Barosh spent the better part of three decades cultivating an art practice that was compassionate yet contrarian, conceptual yet craft-made, and Pop yet profoundly personal.

Throughout L.A., three galleries have teamed up to honor artist Miyoshi Barosh, who passed away last year. Barosh’s fiber-based work is exuberant and joyful. LOVE!, one proclaims, next to a giant oversized yarn tassel. At Night Gallery, a collection of pink oversized and fabric cartoon legs called Large Legs spew off the wall. At Luis De Jesus, I ♥ Kitties is a photograph of a cat’s head, embellished with embroidered patches. While this all might sound saccharine, Barosh’s work intentionally tugs our heartstrings to get at larger messages of consumerism, ecological failure, and social control. By using techniques associated with “woman’s work” and a cutesy aesthetic, Barosh slyly pokes at our associations with each, while uncovering a rawer, more unnerving element underneath. 

Luis De Jesus Los Angeles announced the opening of two new galleries, “The Earth is a Brush” and “Love,” on Saturday, Jan. 11.

Margie Livingston’s “The Earth is a Brush,” the artist’s fourth solo exhibition with the gallery, will be on view through Feb. 15. Miyoshi Barosh’s “Love,” the late artist’s third solo show with the gallery, will also be on view through Feb. 15. Her work combines humor and dystopian irony in a style she dubbed “conceptual pop.”

While researching Latino portraiture from the 1800s, the photographer Ken Gonzales-Day found an image of a young Latino man. "Last man hanged in Los Angeles," was written on the back. When he read that phrase, Gonzales-Day came to the conclusion that he didn't have a clear understanding of California history. To make sense of his discovery, he began to work on the series of photographs that's now known as "Erased Lynching" (2006). The Santa Clara University Art Department's exhibit "Ken Gonzales-Day" features several of his photographs from the collection.

Santa Clara University (SCU), a flag bearer in an ongoing crusade for social justice, regularly raises awareness of social issues through the arts. A free exhibition of 25 Erased Lynching and California Hang Tree photos by Los Angeles-based artist Ken Gonzales-Day is on view through Jan. 24 in the Gallery of the Art and Art History building.

“Ken Gonzales-Day is an artist who makes work as an act of compassion,” said exhibition curator Renee Billingslea, a senior lecturer in the Department of Art and Art History.

Yale School of Art faculty member and alumna Sarah Oppenheimer ’99 ART, along with some former faculty members and alumni, are featured in the current Artspace exhibition “Strange Loops,” on view through the end of February. The group exhibition explores psychological affect and the human condition expressed through instruments, systems, and objects of human design.

Hugo Crosthwaite's La Güera, 2018, is featured in the "Readings" section of Harper's Magazine in print in January 2020.

I have never before seen an artist who can sidle right up to Goya’s Caprichos or Desastres de La Guerra and not only survive the comparison but generate mutual enrichment. Hugo Crosthwaite’s TIJUAS! (Death March, Tijuana Bibles, and Other Legends) at Luis De Jesus Los Angeles presents a breathtaking collection of drawings ranging from small to mural-size, as well as video animations and books, all made over a period of over a decade. Crosthwaite’s work addresses life on both sides of the US–Mexican border where he conveys the feeling of life bottled up beneath a merciless cork, his observations packed with violence, tenderness, pain, boredom, and his mind-boggling draftsmanship. —Daniel Gerwin 

...The selection includes far more photographs and videos than paintings and drawings, although some entries blur those categories. The top prize went to Hugo Crosthwaite for a series of black-and-white drawings, animated into a video, of Berenice Sarmiento Chavez. She is a young Mexican woman who ventured north across the border in search of the American Dream, but has since been deported. The artist encountered her in Tijuana. As winner of the top prize, Crosthwaite will be commissioned to do an official portrait. The 2016 winner, Amy Sherald, made a painting of Michelle Obama that became one of the gallery’s most popular attractions.

Ken Gonzalez-Day’s images from the series Erased Lynchings sees the artist digitally remove the dead hanging body of a nameless murdered person of colour, in order to avoid re-victimising the individual. This places our attention on the real guilty subjects, those white people who take it upon themselves extrajudicially to police black and brown bodies. The black body is here removed from the gaze of white eyes, a form of sight which undergirds the social dominance of whiteness. Gonzales-Day writes: “The work asks viewers to consider the crowd, the spectacle, the role of the photographer, and even the impact of flash photography, and their various contributions to our understanding of racialized violence in this nation.”

Ultimately, spending time with artists is what truly “floats her boat.” Currently, she is working with her dear friend and renowned artist Antonia Wright on a project called “WWWW - Suffer in Style” that will be the next ARTSail residency. The two plan to produce a luxury chain of accessories inspired by environmental causes in an effort to make climate change more stylish. “It is about talking about dark issues with irony and humor,” she says, “while making it all — art, fashion, etc. — as accessible as Mother Nature.”

Positioned at entrance to UNTITLED, overlooking the South Beach is Ruben Millares and Antonia Wright’s It’s not down on any map; true places never are (presented by Luis De Jesus Los Angeles), a motorized public sculpture made out of flagpoles, chains, a steel platform, and 16 flags of countries currently involved in migration crises, such as Venezuela, United States, South Sudan, Myanmar, Turkey, Germany, and Mexico. Rotating in a steady half loop, the chain structure moves the flags up and down, creating a metallic machinery noise as the flags ascend, squeeze through the chains, and rise again. Flags which have traditionally been placed on high ends of dwarfing poles are upside down, crumbled, and eventually risen, in a system that recalls the instability and interchangeability of sociopolitical power and nationalistic ideologies. 

The National Portrait Gallery in Washington, D.C., named Hugo Crosthwaite the 2019 winner of the Outwin Boochever Portrait Competition, an astute selection for several reasons. Crosthwaite’s entry, a meditative, three-minute stop-motion animation about a woman migrating from Mexico to the United States, stretched the conventional bounds of portraiture and affirmed the genre’s relevance, both of which are aims of the prize. Over nearly two decades, Crosthwaite has applied portraiture’s concentrated attention not only to individuals but even more avidly to place.

Don’t miss: The greenspace of Lummus Park has been commandeered for public art displays under the auspices of the fair, all of them large-scale works—look for the kinetic sculpture from Miami-based artists Antonia Wright and Ruben Millares. Make sure, too, that you pick up a copy of Untitled News—or whatever writer-in-residence Osman Can Yerebakan chooses to call the daily dispatch he’s been tasked with producing about the fair and its fairgoers.

Double Horizon reflects the artist’s ongoing investigations of the body’s relationship to space in three simultaneous, large-scale, aerial views of the greater Los Angeles landscape. Double Horizon is Lia Halloran’s most recent work in her ongoing investigations into the physical, psychological and scientific explorations of space.

The Baltimore Museum of Art has announced that it will dedicate the next year to women artists, most notably by spending its entire acquisitions budget for the year on works of art by women, as part of its 2020 Vision campaign. The museum’s permanent collection contains over 95,000 pieces of art, but only about 4% of those pieces were created by women. Next year’s initiative is meant to help rectify that imbalance. “You don’t just purchase one painting by a female artist of color and hang it on the wall next to a painting by Mark Rothko,” the museum’s director, Christopher Bedford, told the Baltimore Sun. “To rectify centuries of imbalance, you have to do something radical.”

It’s an exciting year for UNTITLED Miami Beach, the fair situated on Ocean Drive and 12th Street that’s celebrated for being highly curated, architecturally mindful, and pleasant to navigate. The 2019 edition launches Monuments, a new program of large-scale, site-specific installations such as It is not down on any map; true places never are (2019). This kinetic outdoor sculpture by collaborative artists Antonia Wright and Ruben Millares, presented by Luis De Jesus Gallery in Los Angeles, consists of a group of flags sliding up and down on a flagpole in an allegory of complicated global hierarchies.

NADA, December 5–8: With representation from 25 countries and 56 cities, the 17th annual NADA (New Art Dealers Alliance) art fair will take place at Ice Palace Studios, putting a focus on supporting new voices in the contemporary art community. Joined by 136 presenters this year, the fair will feature 71 NADA member galleries and will also include 28 first-time exhibitors.

Fairgoers can expect to see solo showings of artists like Agnieszka Brzezanska (BWA Warszawa), Guadalupe Maravilla (Jack Barrett), Ariana Papademetropoulos (Soft Opening), Aaron Gilbert (Lulu), and Peter Williams (Luis De Jesus Los Angeles)...

Vibrant and joyful with eye-popping colors and textures, Thread at the Long Beach Museum of Art pushes the boundaries of textile art. Selected works range from modern to contemporary and display the ability to use thread to create narratives, sculpture and political comment.

Laura Krifka's The Game of Patience at Luis De Jesus Los Angeles is at its core about seduction, built through scenarios of being seduced, and how the artist constructs each painting to both seduce, and, by revealing subtle (metaphorical) cracks in the foundation. The interview covers topics such as: playing with repulsion; the frank reactions Krifka’s received from more non-Art World audiences about being a ‘weird lady’ for the things she paints; her process of working with models, and more...

The title of this year’s winning work, by Hugo Crosthwaite, tells us the name of the person represented in the artist’s three-minute stop-motion animation of black-and-white drawings. It is A Portrait of Berenice Sarmiento Chávez, a young woman from Tijuana, Mexico, who is seeking a better life in the United States. Her face emerges from a blank space, like a piece of paper or canvas, and then we watch as her body is sketched in, as though she’s materialized from nothing. In a series of brief vignettes, we learn about the danger that she, like other migrants, has faced, including violence and sexual harassment.

The new exhibition at Luis De Jesus Los Angeles by Mexican-American artist Hugo Crosthwaite (b. 1971) grabs your attention the moment you walk into the gallery. The artist, who lives and works in San Diego and Rosarito, Mexico, created a monumental, 27-foot wide multi-panel work called Death March. Multiple human figures and skeletons compose a funeral march, appearing to honor the deceased in a manner that calls to mind Día de los Muertos, the Mexican holiday Day of the Dead.

For painter and video artist Hugo Crosthwaite, life has unfolded in equal parts on both sides of the U.S.-Mexico border, and he has come to understand that in a way the border region itself is its own nation, with a unique culture that is both blended and divided, and a population comfortable with dualities. Both his films and graphite and ink drawings on canvas—often at monumental scale—exist in a black-and-white palette and are rich with regal, stylized detail.

The painter is showing a new series of drawings, panel paintings and animations that chart the ebb and flow of humanity, along with unseen magical phenomena, in the U.S.-Mexico-border region where he lives and works. (The artist divides his time between Rosarito and San Diego.) Crosthwaite, a painter whose work is as influenced by comic books as it is by Gustav Doré, recentlywon the top prize in the National Portrait Gallery’s Outwi Boocheyer Portrait Competion, pays tributes to Goya’s Caprichos. A recent series capturing grotesqueries and folly.

Los Angeles artist Lia Halloran wants to touch the heavens and to celebrate women who had the same ambition long before her. Her The Same Sky Overarches Us All, at the University of Maryland Art Gallery, mostly consists of seven-foot-high vertical prints inspired by a group of women known as the Harvard Computers. Halloran weaves their story, along with her own and the universe’s, into cosmic vignettes.

The video begins with the sound of a guitar strumming and a voice singing in Spanish. The main character is sketched quickly, beginning with her eyes, then face, hair and shoulders. She gazes into the distance. Over the course of the three-minute stop-motion drawing animation video, we watch as the main character goes about her life, immigrating to the United States and trying to succeed in her new country.

The National Portrait Gallery in Washington, DC, has announced the winner of the Outwin Boochever Portrait Competition, a triannual contest honoring artists that “challenge the definition of portraiture.” Hugo Crosthwaite, a San Diego-based artist, will take home the $25,000 prize, which also comes with a commission to create a new portrait for the museum’s permanent collection.Crosthwaite follows in the footsteps of now-veritable art star Amy Sherald, who won the last Boochever award in 2016.

The Smithsonian’s National Portrait Gallery announced that artist Hugo Crosthwaite has been named the first-prize winner of the fifth triennial Outwin Boochever Portrait Competition, which aims to reflect the contemporary state of portraiture in the United States. Recognized for his stop-motion drawing animation A Portrait of Berenice Sarmiento Chávez, 2018, Crosthwaite is the first Latinx artist to receive the $25,000 award since the national competition was founded in 2006. Following in the footsteps of Amy Sherald, the previous winner of the prize, the San Diego–based artist will receive a commission to create a portrait of a living individual for the National Gallery’s collection. 

Portraiture is due for a reframing. Although the art form has traditionally served to memorialize the affluent and the powerful, the finalists of the 2019 Outwin Boochever Portrait Competition point to a future where portraits empower the disenfranchised. The triennial competition, founded in 2006 by an endowment from the late Virginia Outwin Boochever, calls for artists to “challenge the definition of portraiture.” First-prize winner Hugo Crosthwaite does just that. His 2018 stop-motion animation, A Portrait of Berenice Sarmiento Chávez, illustrates one woman’s journey from Tijuana, Mexico, to the United States.

Laura Krifka enjoys doing things she is not supposed to do. Having absorbed the tenets of neoclassical painting, she bypasses high-minded seriousness by adding a candy-coated veneer of hyper-artificiality adopted from 1950s MGM musicals to the domestic decor of private scenes she then undercuts with a deviant sexual subtext recalling David Lynch’s Twin Peaks. This irresistible mix of dexterity, decor, decorum and deviance makes viewing her paintings a guilty pleasure — rather like sneaking into a peep show or secretly spying on neighbor’s forbidden acts. 

"Painting is an interesting medium — it's old and traditional, and in that respect it has inherent qualities that keep it grounded. It is the most primary visual language, pigments on a flat surface, and to me it acts as a constant reminder of the temporality and physicality of our bodies. By contrast, the types of socio-political power dynamics that I often explore are rather intangible, diffused and abstract."

Laura Krifka is a superlative, if shifty, storyteller — a cross between a delectably unreliable narrator and a canny ventriloquist. Her intriguing recent oils on canvas and panel at the Los Angeles gallery Luis De Jesus Los Angeles are painted with brushless exactitude, their crisp and controlled surfaces belying personal and interpersonal complexities beneath. Krifka tells it super-straight, but the “it” is slant.

Past and present, history and amusement, reality and spectacle are conflated and distorted in Federico Solmi’s monumental media work, The Great Farce (2017), recently acquired by Northwestern University’s Block Museum of Art. The Block received the multiscreen, limited-edition work as a gift from the artist’s studio in recognition of the museum’s upcoming 40th anniversary and its related initiative “Thinking about History.”

Speaking of pop culture, if you’re excited to see the upcoming Joker film,  you may want to stop by Frederico Solmi’s work at the gallery of Luis De Jesus Los Angeles. The animation and colors present in his five-minute video, The Drunken Boat, are eerie and mesmerizing. Notable historic figures are seen partying together, vulgar smiles on their faces. It’s like a nightmare steeped in a rainbow of colors that you can’t stop watching.

At Luis De Jesus Los Angeles in Culver City, Laura Krifka’s hyper-realistic figurative paintings build to create an uncanny mood. In each work, figures are placed within an interior domestic space, and subtle sexual cues build as you view the works. The breast of a sleepy figure mimics the egg-patterned wallpaper behind her; lemons in various stages of juicing are laid on a table next to a bare buttox. These more overt sexual themes are soon overtaken by more subtle ominous ones—strange shadows fall over the furniture in each painting, as if someone or something is looming just outside of the picture. 

With sweeps of blue and white, painter and photographer Lia Halloran explores the often overlooked accomplishments and progression of women astronomers through her exhibition The Same Sky Overarches Us All. Curated by Taras Matla, acting director of the University of Maryland’s Art Gallery, the exhibit is beautiful — and it has an admirable purpose. “Everyone’s promoting gender equality… this is a good place to portray female accomplishments,” said Victoria Hernandez, a senior art and communication major who works in the art gallery.

Throughout The Body Electric,groupings of artists demonstrate shared engagements with themes of transgender identity (Rhys Ernst and Zackary Drucker, Juliana Huxtable), visualizing queerness (Paul Mpagi Sepuya), and race (Howardena Pindell, Lyle Ashton Harris), speaking to how we negotiate our sense of self in relation to media-driven systems of representation.

Drucker, the 36-year-old transgender artist, activist, actress and producer of the television series Transparent, who The New York Times described as “tall and blonde with eyes as blue as swimming pools”, momentarily loses her train of thought.I had asked her what she sees when she sits in front of a mirror. “That's such a revealing question, it's wonderful,” she says, smiling. 

The Smithsonian’s National Portrait Gallery announces the acquisition of a photograph of the bust of Shonke Mon thi^, who was a prominent warrior and spiritual leader of the Osage people and hereditary Chief of the Pa tso li^ Big Hill Band at the turn of the 20th century. This work by Latino artist Ken Gonzales-Day was first displayed by the Portrait Gallery in UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar, which was presented as part of the museum’s 50th anniversary exhibition program.

Laura Krifka takes on the classical stance of European academic painting in her first solo show with Luis De Jesus Los Angeles, smashing ivory tower patrician preciousness with a cheeky wit, advanced technique, and lush elements of both social realism and rococo modernism. The new work represents an evolution from her Flemish Renaissance style toward more modern visual cues and a crisper hand that is less folk-inflected and while not quite surreal, are certainly uncanny.

Ken Gonzales-Day is a historian, and the author of the book Lynching in California. He included the Callahan lynching story in his book as an unconfirmed case. And he says that people don’t often realize how common racist violence was in the history of the Western US. “I wanted to write a book to clearly demonstrate racialized violence was active in California, and that it wasn’t just some sort of race-neutral wild-west frontier sort of activity, which is what many people thought at the time,” he says.

Concordia grad Nicolas Grenier has been shortlisted for one of the world’s most prestigious contemporary art prizes, the Sobey Art Award. Global’s Tim Sargeant meets the Montreal artist who could walk away with a $100,000 prize.

Few other places in New York conjure up such strong feelings. For residents, those feelings range from irritation to revulsion. For tourists, it’s a must-see falling somewhere on their itinerary between the Statue of Liberty and the Empire State building. From the unwashed hordes to stores that can be found in any mall to the neon sorcery decking every block, there’s no question that Times Square is a repository of excess in every way. Whether you find it distasteful or endearing, there’s no denying its pull, even if your personal contact with it is limited to TV on New Year’s Eve or, for locals, a train transfer on its many platforms. 

Best known as a co-producer of the TV series Transparent, Zackary Drucker is an artist-activist who has devoted her career to making the world less grey and lonely for people who, like her, define themselves as transgender or non-binary. Her photographic and video artwork has been shown at the Whitney Biennial in New York, the Venice Biennale, and nominated for an Emmy. But in one of her most recent projects, she has resorted to direct action, creating an open-access database of pictures available to any media outlet, anywhere in the world, wishing to represent people who don’t fit into traditional gender moulds.

When tasked with defining America, the forefathers of this country attempted to create a union that, though forged in rebellion to an oppressive regime, was ultimately funded by slave labor. By declaring this land a union where all men are created equal, only to deny representation and basic civil liberties to all who are not white men, the framers of our constitution bequeathed to us a contradiction that we are still working to correct today. Almost 250 years later, with the divisive nature of our political system and a multitude of bifurcation points within each party, it seems that defining the American identity has become nearly impossible. 

“My transition from young white boy with a false sense of privilege in the 1970s to young tranny-girl with little or no privilege was a real smack in the face,” Rosalyne Blumenstein wrote in her 2003 autobiography, Branded T. “My spirit and soul seemed to be uplifted and smashed on a daily basis.”Blumenstein is an icon. I met her, in 1993, when I came to New York as a newbie trans activist from San Francisco and visited the Lesbian and Gay Community Services Center, where Blumenstein, a self-described “woman of transexual experience,” lent street cred as director of the center’s pioneering Gender Identity Project, which included an HIV-prevention program for trans people. 

Jamie Martinez: Congratulations on your recent shows, especially the solo booth with Ronald Feldman at the last Armory. It was one of the top booths in many publications. We’ll have to get back to that. Can you first talk about your background in the arts and your journey to becoming an artist in New York? Where did it all begin? Federico Solmi: Well, it’s a long story. It all began almost 20 years ago, when I left my hometown: Bologna, Italy, and I decided to move to New York to pursue a career in the arts. It was the best decision of my life, of course; not an easy decision, but it proved to be the right one. 

Transamerica/n: Gender, Identity, Appearance Today celebrates the authentic, beautiful, and vulnerable voices of contemporary, North American artists who express their true selves through a broad gender spectrum. Some of the artists identify as LGBTQ+, and some do not. The art in Transamerica/n speaks to family, community, self-discovery, and ultimately identity. Artists’ experiences are highlighted as part of the McNay’s dual commitment to artistic excellence and community impact. 

Concordia grad Nicolas Grenier, BFA 04, is among five shortlisted candidates in the running for the Sobey Art Award, the largest prize in Canada for young artists. The prestigious prize for contemporary Canadian art is awarded annually to a Canadian 40 or younger who has exhibited work in a public or commercial art gallery in the previous 18 months.

Your Body is a Space That Sees is a series of large-scale cyanotype works (approximately 6ft x 6ft) that source the fragmented history and contributions of women in astronomy to represent a female-centric astronomical catalog of craters, comets, galaxies and nebula drawing from narrative, imagery and historical accounts of a group of women known as ‘Pickering’s Harem’ or the ‘Harvard Computers’. This little-known group of up to forty women made significant influences in the field of astronomy by setting up classification systems that are still used today to measure the distance,at and chemical content of stars and yet were paid less than half the wages of men.

Caitlin Cherry’s growing invaluability to the art world should come as no surprise; her commitment to black female subjectivity places the oft-imitated but systematically dismissed aesthetics of hip-hop hustle front and center, posing a real threat to the sleepy status quo we've come to expect from genre figuration. Smart, subversive, and incontrovertibly sexy, Cherry's pieces hum with radioactive irreverence, transforming viewers into beholders with the flick of a brush. Her blockbuster turns at the Brooklyn Museum, Performance Space in New York, and Luis De Jesus Gallery in Los Angeles have secured her spot as a needed, disruptive force in contemporary art dialogue. Currently a professor at Virginia Commonwealth University, Cherry is not only a steward of pictorial anarchy, but also a deeply funny Instagrammer, dedicated hairless cat mom, and white wine connoisseur. 

The Sobey Art Foundation and the National Gallery of Canada are delighted to announce the five finalists for the 2019 Sobey Art Award. As one of the world's most prestigious contemporary art prizes, the Sobey Art Award is presented annually to a Canadian visual artist age 40 and under."The Sobey Art Award helps to keep the National Gallery of Canada current within the dynamic landscape of contemporary art in Canada. It offers invaluable opportunities to exchange ideas between curators and artists across the country, and the chance to learn about a myriad of different artistic practices." notes Dr. Sasha Suda, CEO and Director of the National Gallery of Canada. 

The Sobey Art Foundation and National Gallery of Canada have named the five finalists for the 2019 Sobey Art Award, which is presented annually to a Canada-based artist age 40 or younger. The finalists represent Canada’s five geographic regions, with Nicolas Grenier representing Québec. An exhibition of works by the short-listed artists will open at the Art Gallery of Alberta on October 5, and the 2019 Sobey Art Award winner—to be revealed on November 15—will receive 100,000 Canadian dollars ($75,300).

A Toronto artist showing in Berlin, a Montrealer working in Los Angeles and an Inuvialuk artist based in Calgary are among this year’s finalists for the $100,000 Sobey Art Award. The leading visual-art prize for younger artists, the award recognizing Canadian artists 40 and under from five regional categories, will be announced in November.

A flag, any flag, is the very definition of a symbol, a thing that exists in the service of what it represents, such as a nation for example, or a movement. At the same time, a flag is also a color story, a designed image, and a made object. The American flag in particular enjoys status as both image and object as well as symbol. Its distinct patterns are perhaps the most recognizable and narratively fraught in the world. Laws prohibit its physical destruction, but not its use as elements of corporate logos, fashion items, and superheros.

First published in 1985, the essay by Donna Haraway known as The Cyborg Manifesto made waves by criticizing the gender essentialism and idenity politics of feminism and encouraging people to unite with others baded on affinity. It proposes the symbol of the cyborg as rejection of boundaries "unfaithful to their orgins" and that this symbol can help to free peple from racist, male-dominated capitalism. The essay also purports that the "boundary between science fiction and social reality is an optical illusion."

For Aperture’s Summer 2019 edition, guest editor Tilda Swinton turned to Virginia Woolf’s 1928 novel Orlando for its uncannily prescient explorations of gendered identity.Set in the 16th century, the titular protagonist lives for 300 years, sliding back and forth between the genders on the way. Swinton’s fascination with the novel began when she starred as the titular character in the 1992 film adaptation directed by Sally Potter.

Jasper Johns famously attributed the origin of his iconic painting of the American flag to a vision he had at night; likewise, June Edmonds arrived at her first stroke-by-stroke reconstitution of a flag through a dream she had in 2017, after she returned to her home town of Los Angeles from a residency in Paducah, Kentucky. In her case, though, it wasn't about the same stars and stripes; during her residency, while driving to Memphis, she had seen a wall-size Confederate flag—a looming, unapologetic beacon still standing on the Southern hillside—to which she later responded in a series of paintings.

The actress makes her first foray into art curation in a photography show that revolves around the gender-defying themes of Woolf’s novel Orlando.Tilda Swinton can boast of many achievements, having performed in more than 70 films, including Michael Clayton, for which she won an Oscar in 2008. In a way hers is the broadest of careers, stretching from her salad days of the 1980s working with the acclaimed independent director Derek Jarman to her appearance in this year’s Avengers: Endgame, which is already one of the highest-grossing movies of all time.

Long relegated to the margins of the art world, LGBTQ artists have always tested the borders of expression. Now they’re claiming their place at center stage.Zackary Drucker’s videos delight in deconstructing gender binaries (she’s also a producer on Transparent).

June Edmonds, Allegiances and Convictions, at Luis De Jesus Los Angeles. An exhibition by the L.A.-based painter dwells on the significance of flags — both as visual statements and tokens of identity. In this case, each of her flags pays tribute to African American history past and present.

The solo exhibition of Los Angeles-based artist June Edmonds at Luis De Jesus Los Angeles is a series of multi-colored paintings inspired by the American flag. All of them, vertical, and in earth tones, evoking the variety of brown skin colors. 

TRhe Festival of Jewish Arts and Music (FOJAM), formerly Shir Madness Melbourne, takes over the Melbourne Recital Centre in a day-long immersion of contemporary Jewish culture with 30 performances across music, theatre, dance and conversation on Sunday 8 September, 2019.

El Museo del Barrio, the NYC museum dedicated to Latinx, Caribbean, and Latin American culture turns 50 years old this year. Frieze New York, the biggest week of the year for art in New York, kicks off on Thursday, and it won't overlook the milestone of the institution, which was founded in 1969, when Latino artists were largely overlooked by mainstream museums.

Another themed section of the fair turns a spotlight on contemporary and modern Latin artists. Taking cue from the legendary performance artist Ana Mendieta, Diálagos presents works from artists whose practice includes a bold sense of color, pageantry and performance, alongside a highly politicized examination of identity. Ken Gonzales-Day explores, through various media, the material legacies of identity-based oppressions, casting an unflinching eye over histories of slavery, colonialism, gender-normativity and other systemic evils.

The anchor fair of the week promises to be just as chock-full of programming as in previous years. There are also some new additions, including the Diálogos section, which will show works by Latinx and Latin American artists like Ana Mendieta, Ken Gonzales-Day, and Marta Chilindron; and the Frieze sculpture prize, a new commission made this year by up-and-coming artist Lauren Halsey.

Double Horizon takes its title from Lia Halloran’s three-channel video installation composed from documentation of roughly thirty flights the artist made in the course of her training in air piloting and navigation and early aviation experiences over the greater Los Angeles area. In its play of continuous moving and transformed moving images, the work represents a significant departure from work that precedes and continues alongside it. 

How far will an artist go to create their work? ORLAN altered her physical appearance, transforming herself using elements from famous paintings and sculptures via plastic surgery. Marina Abramovic invited Museum of Modern Art visitors to sit still and silently across from her for unspecified durations of time over 10 weeks in 2010. Lia Halloran, an artist who grew up surfing and skateboarding in the San Francisco Bay Area, learned to fly airplanes in order to film the landscape of Los Angeles from the sky.

Downtown Baltimore got a surprise this April, with the reveal of a large format work of art affixed to the side of Harbor Park Garage, a parking garage located at 55 Market Place. The artwork, which is visible from the Jones Falls Expressway, is a custom piece by artist Edie Beaucage.

The Olde Towne of Flushing Burial Ground in Queens holds the remains of around 1,000 people, many of them African or Native Americans—but it only has four grave markers, all naming men. The women buried at the landmarked site are now publicly remembered at the Queens Museum, in the exhibition Alexandria Smith: Monuments to an Effigy (18 August), the Bronx-born artist’s first solo show in New York City. “My focus was to honour the women,” Smith says of the show.“Traditionally, women of colour—their stories have been buried or changed, or just not really told.”

Stock photos don't have a great reputation when it comes to gender-inclusivity. Options are limited at best or non-existent at worst. 

That's why Vice Media's feminist channel Broadly decided to launch their own stock photo library of gender-inclusive images. The Gender Spectrum Collection includes over 180 images featuring 15 trans and non-binary models

On Tuesday, Broadly, Vice’s vertical covering women, gender non-conforming folks, and the LGBTQ+ community, published a stock photo library featuring more than 180 images of trans and non-binary models that, according to the site’s announcement, “go beyond the clichés of putting on makeup and holding trans flags.” It is the first database of its kind, and, while stock photos might seem like the stuff of goofy memes, it actually represents a historic step forward for queer representation in media.

Lately, I have been thinking of 1 minute short stories when I paint. I want to know who the character is, what is she doing and that she is being herself. I am interested in finding an emotional value to the portrait; then I feel the character has landed. It’s similar to finding the right tone when you play music. My work can range from emotional loss and fragility to bravura and extravagant characters. It is all improvisation and it varies with my mood.

There is no single archetype of the art dealer. Many gallerists are known for their selflessness and devotion to the creative process, but there are certainly bad apples, infamous for running glorified racketeering schemes. It can present a tricky dilemma for a young artist seeking representation—eager to take her career to the next stage, but wary of locking herself into a relationship that might not pay off.

Refraction features Containment, a site-specific work originally commissioned for the FotoFocus Biennial 2018 in Cincinnati, Ohio, as well as new photographs from the Prospect and Refuge and Ink on Paper series. These various photographic projects range from architectural to sculptural to two-dimensional, each acknowledging strategies of seeing. Refraction explores the relationship between illusion and reality by exposing the deceit inherent in photographic image-making while engaging in philosophical and material play around slips in translation.

In Culver City, I stopped by Luis de Jesus Los Angeles, to see the exhibition of Los Angeles photographer Chris Engman. The trademark of his art is fooling your eye not once, not twice, but many times. And the more his art fools you, the more pleasure it delivers. At the entrance to the gallery, you are confronted by a full-scale installation made out of several vinyl photographs that make you believe you are stepping into water, walking through a forest, and seeing the light at the end of the tunnel.

A review of Nicolas Grenier's monograph Structures. Après un baccalauréat ès Beaux-arts de l'Université Concordia (Montréal), en 2004, et une maîtrise du California Institute of the Arts (Valencia, CA), en 2010, Nicolas Grenier est récipiendaire du Prix Pierre-Ayot en 2016. / After a bachelor of fine arts from Concordia University (Montreal), in 2004, and a master's degree from the California Institute of the Arts (Valencia, CA), in 2010, Nicolas Grenier was awarded the Pierre-Ayot Prize in 2016.

The first thing one notices upon entering Caitlin Cherry‘s show at Luis De Jesus is her sensational palette so improbable that it seems to have dropped from outer space. Clashing vibrant colors contrast, oscillate and dazzle as though her paintings were a laser light show. As the shock of hue subsides, you find yourself drawn into a bizarre alternate world ruled by curvaceous mystic black women who exude eccentric glamour while confronting discriminatory stereotypes.

In a world where every image is distorted, manipulated, aspirational and dysmorphic, what is to become of painting's history of generating interpretive, fantastical pictures? Beauty is both longed-for and suspect, female power is both lauded and feared. What is a self-assured paint warrior with an operatic talent and a love of disruptive art history supposed to do?

Public art is the icing on the cake in the transformation of Liberty Station from a formal, staid Navy training center into a vibrant entertainment, shopping and arts destination. This year, six artists participated in Installations at the Station, the NTC Foundation’s public art program, which will continue next year. This year’s projects included community-painted skateboards representing a wave and a ship on a rooftop, a braided rope bench inspired by the native tribes and the Navy and murals of border scenes by Tijuana artist Hugo Crosthwaite as part of an ongoing narrative in multiple locations that started in 2009.

Four and Twenty Blackbirds (2018) is subdivided by a tree whose branches spread across the canvas, filling it with foliage painted by means of closely packed green dots, patches of sky denoted by blue dots, and passages of red dots interspersed throughout. Among the branches are six birds and three human faces, two of the faces in profile are barely evident, the third, fully articulated face, looks out from the trunk’s base.

And so we come to the Wildass Beyond of the exhibition itself, a dystopian beyond in the “no where” here and now. You forget that you’re in a city, least of all New York City, when you enter into the idyllic and rustic space, your feet literally in the dirt, so you feel at once reminded of and ensconced in Earth, something that is so easy to forget in the epicenter of global capital and its technologies of cable, wire, concrete and steel. Yet this is the imagined earth that remains after the end of the world.

A panel of nationally recognized curators, local arts professionals and community members from the Purple Line Extension Section 1 area has selected artists to create site-specific, integrated artworks for Wilshire/La Brea, Wilshire/Fairfax and Wilshire/La Cienega Stations.  The diverse range of accomplished artists includes: Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Eamon Ore-Giron, Fran Siegel, Susan Silton, and Mark Dean Veca.

Having seen two exhibitions of James Allen's collected photographs of lynchings — both of them in New York, in 2000—I braced myself for The Legacy of Lynching: Confronting Racial Terror in America, at Haverford College's Cantor Fitzgerald Gallery. The horrific images I saw 18 years ago are permanently seared into my mind.I was curious how this new exhibition of works by prominent contemporary artists would treat such an appallingly inhumane period in American history and its reverberations today.

I first came across Caitlin Cherry’s work through her excellent Instagram account, where she jokes about her art (one of her paintings mocks her for ripping off George Condo), posts pictures of her sphynx cat, and displays new work (recently, a tote bag emblazoned with a W-9 form). Her installation at New York’s Performance Space, A Wild Ass Beyond: ApocalypseRN, brings her into collaboration with Nora N. Khan, American Artist, and Sondra Perry.
 

The Seattle-based artist fastens long straps to a canvas or wooden panel, which is usually covered in several alternating layers of gouache and acrylic paint. Livingston then attaches the straps to a harness inspired by those worn by body builders for strength training, and drags the painting facedown behind her across varying environments, like hiking trails, city parks, and asphalt roads.

Edra Soto’s Open 24 Hours is an exploration of consumption, waste, and vernacular architecture. Discarded liquor bottles accumulated during Soto’s daily walks through East Garfield Park in Chicago are transformed into jewel-like totems. Rejas, decorative iron screens enclosing outdoor domestic areas in Puerto-Rico, also serves as an influence on the work—highlighting an interplay between security and ornamentation. They are beautiful, haunting, socially conscious works.

Peter Williams’ pointillist painting technique, crowding thousands of tiny dots of enamel color within pencil-drawn contours of people, places and things, is not the same as the celebrated one pioneered more than a century ago by Georges Seurat and Paul Signac. His look yields a very different feel from the measured, careful tone of those French Postimpressionists. Brash color is plainly important to the 14 Williams paintings in his Los Angeles debut at Luis De Jesus Los Angeles, most (though not all) of which explode with pointillist dots.

In each of the four paintings in Josh Reames’s exhibition BO-DE-GAS, uniformly distributed idiomatic images floated graphically on raw canvas surfaces. Punctuating each of the intimate gallery’s four walls, the paintings were supplemented with three black, wall-mounted handrails that sported a selection of attitude-declaring bumper stickers.

To say that Los Angeles-based artist Chris Engman’s photographs are trompe l’oeil illusions would be a gross understatement. Created through an elaborate and time consuming physical process, his work evocatively merges indoor and outdoor environments into mesmeric compositions that both perturb and dazzle viewers with their non-binary disposition.

Who doesn’t love a good magic trick?! Photographer Chris Engman masterfully demonstrated that augmented reality and light projections are not the only way to create mesmerizing perspective illusions. Good old traditional photography will get you there as well if you’re creative enough. Chris Engman transformed 2D landscape photos into awe-inspiring rooms, where each inch is covered with prints to give off a 3D perspective.

DnA explores moments in the school’s history, which track with LA’s growth as an art and design capital--from its founding on Wilshire Boulevard  through its transition from what artist Billy Al Bengston calls its "constipated" years in the 1950s. Alum Garth Trinidad recalls the struggles in the 1990s and remarks on its blossoming in Westchester today. Edie Beaucage talks about being part of the new generation that has revived painting.

Photographer Chris Engman is one of his landscape photos at a large scale in an unusual way: instead of showing it as a 2D print, Engman transformed a room into his photo by covering the wall, ceilings, and floors with prints.It’s essentially what you’d get if you used a projector to project the photo into the space, except he used prints instead of light.

For the first time in its 11 years, the Creative Time Summit, the world’s premier conference at the intersection of art and politics, will convene in Miami from Nov. 2-3 at the Adrienne Arsht Center, Perez Art Museum Miami, Little Haiti Cultural Complex and other venues.This international platform for socially engaged art not only will consider topics of relevance to Miami, but that also were generated by Miami. For instance, sea level rise and borderlessness will be highlighted by Miami’s unique positioning as the major U.S. mainland link to the Caribbean and Latin America, and as a place particularly vulnerable to climate change.

Among purchases by notable individual collections was Kenneth Montague’s acquisition of Jim Adams’s Centurion (Self Portrait) (1977) from Luis De Jesus Los Angeles for the Wedge Collection. The large acrylic on canvas work was purchased on opening night. “Adams grew up directly under a major flight path in Philly, and dreamt of one day flying his own plane,” Montague explained on Instagram. “Upon arrival to Canada’s West Coast while still in his 20s, he immediately got his pilot’s license… and started painting. 

We carried onward with excitement to Luis De Jesus gallery where we were met by the work of Peter Williams for his opening, River of Styx. The show’s array of colorful, multi-figurative, narrative pieces was seemingly bright and cheery, yet it alluded to a heavier history. With the political climate so out of wack, Williams’s images address topics quiet poignantly. I had the treat of talking to the delightful artist as he explained that his paintings composed of many marks, were in fact not pointillism.

The 19th edition of Art Toronto includes 102 exhibitors from seven countries, and it kicks off tonight at the Metro Toronto Convention Centre. For years, the Surrey Art Gallery has been highlighting important artists overlooked by other Canadian art institutions. Among these talents is the 75-year-old Surrey local Jim Adams, whose retrospective The Irretrievable Moment they presented by the Surrey Art Gallery (as well as the Reach in nearby Abbotsford) in 2017.

Paul Anthony Smith’s show Containment was expressly concerned with what cannot be contained, what exceeds the bounds of a single photograph to render, or an individual consciousness to reconcile. The discontinuous self, memory as an act of creative nonfiction, history as endlessly splintered and unreliably narrated – over the past few decades, these have all gelled into foundational truths and served to underpin myriad image-making strategies favoring montage, disruption, and contradiction. 

“This painting stopped me in my tracks,” wrote Katherine White, a Fairfax resident and community organizer at Network NoVA, on her Facebook as she shared it with the public and created some conversations. I decided to reach out to the National Portrait Gallery (NPG) and ask them why and how: Curator of painting and sculpture & Latino art and history at the Smithsonian National Portrait Gallery, Taína Caragol, said to Fairfax times: “I co-curated UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar with Dr. Asma Naeem, as part of the National Portrait Gallery’s 50th anniversary program.

Chris Engman’s Prospect and Refuge teaches us not to trust our eyes. On display at the Alice F. and Harris K. Weston Art Gallery through November 18, the exhibit unsettles our senses of depth and scale, interior and exterior, origin and reproduction. It ushers us into artificial spaces and then immerses us in the tropes of nature. Engman achieves his uncanny effects mainly by taking enormous, high-density photographs and then affixing them to walls, ceilings, floors, and objects in domestic rooms and workspaces...

Though Luis De Jesus and Tarrah Von Lintel technically share an address in the Culver City gallery district, their operations are independent of each other. However, this month these neighboring exhibitions are very much in conversation. Unintended as this confluence is, in each of the three artists having solo shows at 2685 S. La Cienega we see a version of the same dynamic—a totally unexpected, materially subversive and exceptionally analog, labor-intensive take on what would otherwise be traditional mediums of photography and drawing.

Three large wooden tables that feature in-process paintings, resource books and a host of media are installed in the middle of the Lux Art Institute’s main gallery. The impromptu workshop has started to resemble the studio of artist Lia Halloran as she begins her residency at the museum. Halloran will continue to make work in the space for the next few weeks, while the current exhibit frames her interest in invisible histories and reimagined possibilities in astronomy.

In 2016, poet and author Claudia Rankine received $625,000 as a stipend from her MacArthur Genius Grant and decided to put the funds toward founding The Racial Imaginary Institute, an organization that gives artists and writers a platform to address issues of race. This summer, the Institute has found its new home at The Kitchen in New York, through a series of programs surrounding the exhibition On Whiteness, incorporating a day long symposium, a library of books, residencies, and performances.

Photographer Chris Engman invites you to enter a world within a world. His photography installation, titled Containment, is an immersive work that features images spanning the walls, ceilings, and floors of a specially constructed room. Upon stepping foot inside the space, you’re transported from a gallery setting to the middle of a bustling stream surrounded by a dense forest with trees cloaking most of the blue sky above.

Artist Chris Engman transports natural landscapes such as waterfalls, caves, and vast deserts to domestic interiors by securing large-scale photographs to the room’s walls, ceilings, and floors. “I believe photography derives its power precisely from the fact it can’t be entered, however much we may want to,” Engman tells Colossal. “When I make photographs I try to be mindful of this, even to exploit it.”

From a distance, Paul Anthony Smith’s “picotage” pieces, 2012–, resemble movie stills interrupted by television static. Up close, they look like pictures dotted with tiny dabs of white paint. Smith creates these small, textured imperfections by carefully picking apart his mounted photographs with a ceramic needle, exposing their white undersides. 

Prospect and Refuge, an ongoing series of work by photographer Chris Engman, investigates the medium of photography through complicated juxtapositions. this body of work explores the relationship between illusion and materiality, nature and the man-made universe, moment and memory. through engman’s documentation and detailed re-creation, the artist asks the viewer to consider how we understand photographs and how we experience the world.

An exhibition of new works by an internationally acclaimed Canadian artist was inspired by a motorcycle trek across North America.

Danica Phelps draws with uncommon grace. Her line moves with liquid ease, following the momentum of time. It describes what happens in her life, and it also makes things happen. As her beautifually affirming show at Luis De Jesus Los Angeles attests, her line has agency. 

Since 1996, Danica Phelps has been keeping track of her income and expenses, integrating details of her financial life into her artworks. Often placed below simple, yet elegant and descriptive pencil drawings, Phelps creates long strips of short vertical lines— red for expenses and green for income—where each painted mark on the page represents a dollar. Using her finances as a point of departure, her layered and multi-dimensional artworks investigate the relationship between labor and value, both within and outside the art marketplace.

Luis De Jesus Los Angeles is very pleased to announce DANICA PHELPS: Many Drops Fill a Bucket, the artist's first solo exhibition in Los Angeles since 2011, to be presented from August 4 through September 1, 2018. The drawings and sculptures that Danica Phelps has created for Many Drops Fill a Bucket record the experiences that she and her son, Orion, shared together during trips to California and India earlier this year.

A Tijuana artist is painting murals to raise awareness about the Trump administration’s family separations in San Diego. Hugo Crosthwaite is painting Mexican families on the beige walls of the Arts District Liberty Station. In one painting, a mother clutches her son. In another, a family behind bars, separated.

Luis De Jesus hopes that a new class of Latinx collectors will emerge in the US like it has in the African-American community. A former artist and one of only a few successful Latinx dealers in the US, Luis De Jesus understands the difficulty of getting the art world to pay attention. Since founding his gallery Luis De Jesus Los Angeles in 2010, he has made a career of showing young artists with something to say, and has quietly become a staple of the city’s art scene in the process.

When did you start incorporating printed imagery/print techniques into your work? About seven years ago my practice was driven by drawing and painting, but I became more conceptually interested in the off-handed quick cell phone pictures that I took as progress shots, than in the actual drawings or paintings. The camera added an extra layer of remove and movement and calculation that felt right.

After years of tenaciously applying, Brooklyn native Alexandria Smith got the news she’d been waiting for—the mixed-media visual artist had been accepted into the Bemis Center for Contemporary Arts residency program. Her patience had finally paid off. 

Although many artists and non-artists alike engage with the process of collaging, a successful collage is not that easy to achieve. For the merger of unrelated images and/or texts to resonate beyond the obvious, there is much to take into consideration— point of view, message, cohesion of elements, formal arrangement, etc. Juxtaposing disparate elements from various sources does not necessarily construe art. Collage has a broad history and those who venture into collaging must take into consideration their historical precedents.

“THE GREATEST SCIENTISTS are artists as well,” said Albert Einstein. For as long as artistic expression has existed, it has benefited from interplay with scientific principles – be it experimentation with new materials or the discovery of techniques to render different perspectives. Likewise, art has long contributed to the work and communication of science. We asked four outstanding artists to comment on their work and its relationship to science.

Sometimes what’s absent from a museum says more about history than what’s included. Two contemporary artists—Titus Kaphar, who is African-American, and Ken Gonzales-Day, who is Mexican-American—have spent their careers addressing this issue. In the National Portrait Gallery’s newest exhibition, Unseen: Our Past in a New Light, the two artists take contrasting approaches—and work in two different mediums—to tell the stories of the missing and overlooked. The museum’s director Kim Sajet says Unseen hopefully will act as a town square. 

Even before pie charts and bar graphs, before we’re plotting curves and breaking down conic sections in algebra and analytic geometry, we become very accustomed to the graphic visual representation of every kind of trend, concept, and systematized data or information. It almost goes hand in hand with the way we structure ideas, systems, and organizations.The visual concepts become part and parcel of the systems and ideas they express. They become integral to the way we extrapolate, track progress, draw conclusions, predict outcomes.

News media, despite respective biases, seem to agree in the description of contemporary politics as  “complicated” and “divided.” While accurate, this semantic admission fails to demonstrate the accountability of the status quo. Soul Recordings, a group exhibition currently on view at Luis De Jesus Los Angeles, examines ideas around representation and meaning amid the persisting trauma of colonial histories.

The opening movement of “Soul Recordings” is a polka-dot revelry, a bedazzled wake-up call, a cymbal-clap altarpiece, a plastic-bead trumpet blast, and a monster of a skull-ringed, glitter-bombed orchestral chord breaking in fuchsia major. This is Ebony G. Patterson’s heartbreaking and eminently Instagrammable mixed media installation work, and the poignant grandeur of its regal and folkloric memento mori is alert and ineffable.

Soul Recordings, at Luis De Jesus Los Angeles. A group exhibition featuring works by artists such as Lisa C. Soto, Deborah Roberts, Caitlin Cherry and Lex Brown shines a spotlight on our state of political unease. This includes work that examines neocolonial architecture, painting that toys with the nature of stereotype and textile work that takes on issues of gender. Accompanying the exhibition will be an essay written by independent curator Jill Moniz, who organized the very compelling show of sculpture by African American female artists at the Landing last year.

A special in-studio episode of The Limit Does Not Exist! podcast. Lia Halloran is the type of artist who knows no bounds, exploring everything from the depths of our solar system to her local skate park. In this episode, Halloran shares her keys to successful collaborations and why she seeks out learning new skills. Plus, she offers advice on funding your ideas and why personal embarrassment can be a really good thing.

Her work is centered on ideas concerned with cultural and individual “Failure” (the failure to make life better), Utopia, and Ruins. Materials such as fabric, glass, steel, Plexiglas, foam, fiberglass, paint, and found objects together with fabrics and yarn are used with both comic irony and heartfelt sincerity, pointing to both material and emotional excess. The uses of vernacular craft processes and folk traditions in combination with digital technologies contradict ideas about progress and technological determinism. While socio-economic questions are raised around ideas about authenticity, labor, and value in the use of craftwork, value is also seen as a projection of ourselves onto things, like cute animals on the Internet, mythic American landscapes, and the built environment.

In these days of digital magic, it’s rare to have an “Oh, wow!” moment looking at a photograph. When everything is possible, nothing is exceptional. But Los Angeles artist Chris Engman doesn’t rely on computer wizardry to create his weirdly surrealistic images. Instead, he constructs elaborate, labor-intensive installations, which he uses a camera to document. 

Même si elles sont conçues individuellement, les peintures de Nicolas Grenier se regroupent autour de ses préoccupations socio-environnementales. L'artiste de 35 ans, qui vit en partie à Los Angeles, a été marqué par l'élection de Donald Trump à la présidence des États-Unis et par sa coïncidence avec la montée des partis d'extrême droite en Europe. / Even if they are designed individually, Nicolas Grenier's paintings are grouped around his socio-environmental concerns. The 35-year-old artist, who lives in part in Los Angeles, was marked by the election of Donald Trump as President of the United States and by its coincidence with the rise of far-right parties in Europe.

IntoThis Podcast is delighted to present our conversation with Montreal artist Nicolas Grenier. With an impressive display of talent, Nicolas lays down a path for self-scrutiny paved with paintings, architectural installations, videos, texts, etc. His works both, seduce and confront the viewer with formalist elements and objective imagery. He holds a BSA from Concordia University and a MFA from the California Institute of the arts. He is represented by Galerie Antoine Ertaskiran in Montreal and by Luis de Jesus Los Angeles in LA.

Upon coming up with this idea, Grenier then asked himself: “How do I, as a painter, visually display [it]?” The artist, who sometimes spends months developing his projects, admitted he liked the idea of land as a starting point for the pieces in Precarious Geographies. He used it to build upon the ideas and concepts in his paintings.

In our culture we find “space” everywhere. It is prevalent as a type of background noise in our speech and writing. Space is taught in geometry, physics, architecture, and even in psychology, with terms like “personal space” and “psychological space.” The (often subliminal) purpose of adding space to terms that stand-alone is to make those terms more passive, and to give the term’s user distance from the subject.

It says a great deal about the post-genre moment that these works would be at home now in a range of sculptural contexts, even if, for instance, the use of pantyhose was a dramatic, disjunctive move when Senga Nengudi first started engaging with it decades ago. There are striking pieces here using fake fur and innertube rubber (Victoria May), vinyl (May Wilson), industrial felt (Lloyd Hamrol) and found afghans (Miyoshi Barosh). Allusion to the body is one through line, many of the soft surfaces evoking skins, pelts or protective coverings. Contrasts between the animate and the mechanical, the organic and the industrial, is another.

Nicolas Grenier’s Vertically Integrated Socialism, presented at Centre Clark from May 18 to June 23, is also a kind of ambiguous moral fable. Grenier’s “architectural fiction,” delivered as a live lecture-performance by artist with video accompaniment, takes the form of a condo pitch presentation and warps it into something vaguely dystopian. Originally conceived in the post-crash aftermath of 2009, while he was a student at CalArts with a studio in Los Angeles’ Skid Row, the project is an attempt to conceive a “Machiavellian solution” (i.e., one that “solves” a problem by dispensing with ethical considerations) to the overlapping problems of homelessness, gentrification and real-estate speculation.

Visual artist Lia Halloran's newest exhibit, Your Body is a Space That Sees, features large-scale paintings of astronomical objects that were photographed and catalogued by women working at the Harvard Observatory in the late 1800s. Those women, along with their male colleagues, took thousands of photographs, catalogued and characterized the cosmic objects therein, and changed the landscape of space science. Despite the impact their work had on the world, those women were left out of history for many decades, a fate suffered by many female scientists that is now being somewhat remedied.

Théâtre-vérité, récit-mise en abyme ou exposition-conférence ? Un peu tout cela, le projet proposé par Nicolas Grenier dans un centre Clark méconnaissable. L’espace est feutré et les miroirs tout autour précipitent le public au coeur de l’intrigue. / Truth theater, story-telling or exhibition-conference? A little of all this, the project proposed by Nicolas Grenier in an unrecognizable Clark center. The space is hushed and the mirrors all around bring the audience to the heart of the intrigue.

Artist and photographer Ken Gonzales-Day explores the history of racial violence in America and a survey of his work, Shadowlands, which opens today and runs through April 16 at the Minnesota Museum of American Art, investigates how this history informs our current reality. Among the works is Gonzales-Day's series Erased Lynchings, a set of digitally altered 19th and 20th century lynching postcards, where hanged figures of various races have been removed by the artist, allowing the remaining participants to take focus.

For more than a decade, Ken Gonzales-Day has been exploring the history of racialized violence in America, creating several bodies of work that are brought together for the first time in this exhibition. Cumulatively, his work is a powerful and complex statement that challenges what we thought we knew about this country’s great dilemma. The Los Angeles–based artist has extensively researched lynchings in California, where Mexican Americans and Asian Americans were widely targeted during the late nineteenth and early twentieth centuries. 

Although I have known Peter Williams for decades, and have written about his work in the past, we had never sat down and done a proper interview—it’s been more of a 30-year-long conversation. Recently, however, I wanted to get down his thoughts on several of his latest bodies of work: urgent paintings that are at once timely and have art historical resonance. His inclusion in the November group exhibition As Carriers of Flesh, at David & Schweitzer, saw the artist confronting Whiteness and police brutality against black men and women in colorful canvases that unite history, biography, and allegory. 

If it seems like Adams’s paintings have a story to them, that’s intentional. He tries to capture “the irretrievable moment” (the title of his art exhibit), which he describes as “where you’re committed to the action but the action hasn’t actually happened yet.” Such is the case with the signature image of his show, Nighthawks (Homage to Hopper). 

There's sculpture that requires viewing from multiple angles, then there's the kind that stops viewers in their tracks. In artist Miyoshi Barosh's case, audiences are compelled to do both. Her inexplicable, intriguing creations are fashioned from unpredictable stuff such as yarn and cast-off clothes, as well as more "traditional" elements including paint, steel, glass, and more. But the aesthetic arrangement of unconventional raw material yields methodically rendered artworks with a conceptual core. Wry, dystopian undercurrents lurk in the various textures, patterns, and forms all waiting to be teased out.

Last week, Pioneer Works held a lecture discussing Dava Sobel's new book The Glass Universe: How the Ladies of the Harvard Observatory Took the Measure of the Stars, as part of a series of events bridging the arts and sciences. In a collaborative conversation with artist Lia Halloran and the center's director of science Janna Levin, Sobel took to introduce the audience to the untold story of Harvard’s first female computers.

From the lynching of Charles Valento (aka “Spanish Charlie”) in 1920 to the police shooting of Michael Brown in 2014, Los Angeles-based photographer Ken Gonzales-Day brings America’s violent racial past into the present in a visceral show at the Minnesota Museum of American Art in St. Paul. Shadowlands, on display through April 16, amounts to a smart critical analysis of race in America. One series in the show, Erased Lynchings, presents images that Gonzales-Day created from vintage postcards of lynchings in the 19th and early 20th centuries — but the victim has been removed, in order to show only the crowd.

Photographer and Scripps College professor Ken Gonzales-Day decided to take a look at history to see if it would shed any light on the situation. "Initially, I was just trying to understand it as a Mexican-American myself," he said. "I was trying to understand the context in which people could turn against a whole part of the community."

A ghostly tree caught in the glare of headlights at night. A few scattered trees framed by a barbed wire fence in what seems to be a random field. The gnarled branches of a massive oak tree. Los Angeles artist and academic Ken Gonzales-Day creates these and other images. The story they tell is deeper than the roots of the trees, though.

Aude Moreau and Nicolas Grenier are conceptual artists who use the forms and symbols of architecture to make social and political statements in the guise of great visual art. They were recently honoured by the city of Montreal and the Contemporary Art Galleries Association. Moreau won the Prix Louis-Comtois for a mid-career artist, worth $10,000, and Grenier won the Prix Pierre-Ayot for an artist under 35, worth $7,500.

In 2001, Ken Gonzales-Day set out to write a book on Latino portraiture in 19th- and 20th- century California; his research led to his discovery of dozens of images and written records of lynching, and, ultimately, to his 2006 book Lynching in the West, 1850-1935. On view through April 16 at the Minnesota Museum of American Art, Shadowlands, which grew out of this publication, comprises his own photographs, archival images, books, and ephemera. All of this material, along with his photographs about this country’s recent racial violence, deftly compresses history and raises questions about our historic construction of race.

This past summer, in a stand-alone cube not much bigger than a closet, Montreal-and-LA-based artist Nicolas Grenier reversed the give-and-take polarities of art-world commerce. For The Time of the Work, Grenier invited 14 artists and one collective to contribute works to the Leonard and Bina Ellen Art Gallery’s “SIGHTINGS”project series.

Edith Beaucage’s paintings pulsate with bright acrylic pigments at the Luis De Jesus Los Angeles in Culver City. This fresh and inspiring exhibition, Sequencer – Spectrum – Reverb, features 25 mostly small-to-medium sized paintings that interact with each other playfully. Beaucage’s world is filled with techno music surround sound. Her abstract, gooey, melodious and loosely representational portraits of millennials are aptly titled with Euro pop names, such as Basil and Zeek, Otto in Pottsdam, Producer Bruno B, and DJ Ferdy Scholk.

...Allowing them to gawk for a while, I took in the success of the show before rounding up the troops to see the rest of what Culver City had to offer that night, stopping at Edward Cella‘s for a crazy terrific installation by Jun Kaneko and Luis De Jesus’ two-person show with Bryan Zanisnik and Edith Beaucage. We couldn’t make it to ALL the Culver City openings unfortunately, but finished the night at The Mandrake to retrieve our buzzes...

Edith Beaucage, “Sequencer, Spectrum, Reverb,” at Luis De Jesus Los Angeles. In loose, wild brush strokes, the L.A. artist captures figures in hallucinatory landscapes that evoke a painted rave. Also on view will be an exhibition of photographs and large-scale video by Bryan Zanisnik, a New York-based artist preoccupied by the architecture of monuments and theatrical sets. 

Un projet original intitulé Le temps de l'oeuvre, le temps du travail débutera lundi dans l'espace d'exposition SIGHTINGS de l'Université Concordia. Cet été, des amateurs d'art vont acquérir une oeuvre d'art en restant dans le cube transparent SIGHTINGS le temps que l'artiste a mis pour la créer. / An original project called The Time of the Work will begin on Monday in the SIGHTINGS exhibition space at Concordia University. This summer, art lovers will acquire a work of art while staying in the transparent SIGHTINGS cube the time it took for the artist to create it.

Skin—dragged and torn, wrapped and layered, weeping and fossilized—resonates from Margie Livingston’s latest exhibition, Holding it Together. On view at Luis De Jesus Los Angeles, Livingston’s exhibition offers nine pieces that contemplate structure and form as an enduring plexus. Acrylic and leather are employed as canvases, which become the base by which Livingston plays with and blurs sculpture, painting, and dimensions. These pieces, what Livingston names “paint objects,” reach out from the walls and draw in the light of the gallery, glowing and nearly vibrating, beckoning viewers for a closer look.

Why did you decide to integrate 3D space into your photography? It might be the other way around—that I was interested in integrating photography into 3D space. Even when I work with flat planes mounted on a wall, I’m thinking about space. I’m thinking about the allegory of space, the language of including and excluding, of interior space and exterior space. And I just happen to be using photographs as a material to break into that space, to layer, to cut into it, to fold it, to splice it, to create multiple spaces in one flat area.

Here’s our Lookbook from Volta NYC the 2016 Edition of the art fair. All photos courtesy of POVarts staff. Edith Beaucage, "Gudbjorn and Petunia" and "Zest" at Luis De Jesus Los Angeles.

Using a combination of sculpture, photography, and painting, Kate Bonner speaks to our current state of confusion about what, exactly, photographs are and where they live (in the "cloud," on paper, or in memory, to name a few possibilities). Made with the help of CNC routers and scanners, her works manipulate images in ways obvious and not and force them to interact with colorful frames and supports. Bonner, who is based in Oakland, has an upcoming show at Luis De Jesus in Los Angleles.

One of the great things about the fairs is the amount of painting on exhibition. For painters it's a slice of heaven. Even if you don't love everything you see, the sheer variety is satisfying. I started with some last-century work and moved into a few installations and individual artworks. 
 

Ken Gonzales-Day’s manipulated archival photographs of Western lynching victims and the crowds that witnessed and committed their mob-mad murders allude to these lost lives by erasing the victims and their ropes from his images. The works are subversive – titles like This is What He Got or Five in a row cue viewers to search for the victims/subjects in the images and to imagine them in the spaces they once occupied. The voyeuristic point of view creates a kind of complicity that aligns the viewer with the pictured mob rather than with the victims, with whom most might seek to empathize. There is a kind of moral presence in the corporeal absences in Gonzales-Day’s images that picture atrocities, whether we can see them or not.

The surprise of the week was Untitled Art Fair located on Miami’s South Beach. I found it risky and full of discoveries. The selection of galleries was diverse and prospective. The booths were spacious and well installed to appreciate large-scale works that also included installation and sculpture. Adriana Minoliti at Diablo Rosso (Panama), Nino Cais at Central (São Paulo), and Edith Beaucage at Luis De Jesus Los Angeles (Los Angeles), are some highlights of my selection. The fair therefore affirms itself to be a great spot to glimpse aspects of Latin American art, both in the emerging and very en vogue rediscovery range, but also as a place for different U.S. and Canadian proposals.

Entering James Hyde’s show at Luis De Jesus, one immediately wonders: What sort of pictures are these? At first glance, it is difficult to determine whether the expansive images are manual or mechanical, painterly or photographic. Materially, they are hybrids. Each canvas is inkjet-printed with one or more intricately detailed landscape photos that are subsequently covered, divided and framed by abstract hand-painted curves and circles suggestive of Minimalist and Color Field painting.

Positioned south of the Convention Center at 10th and Ocean Dr., the Untitled Art Fair returns to its prime beach real estate this year, bringing with it another year of tightly-curated booths, installations and special projects. It’s a refreshing change of pace from the bustle of ABMB, complemented by the fair’s signature tent design, which boasts wide aisles and spacious booth for exhibitors that gave the exhibition a distinctly relaxed air, while offering ample light to emphasize the works on view.

Alkotója, a mindössze harminchárom éves, éppen krisztusi korban levő Nicolas Grenier megfogalmazásában a Vertikális Szocializmus olyan építészeti típusterv, amely „a modern nagyváros körülményei között kezeli a gazdasági, politikai és társadalmi egyenlőtlenséget.” / In the formulation of its creator, Nicolas Grenier, who is only thirty-three years old and just in age, Vertically Integrated Socialism is an imagined architectural design and ideology that “addresses economic, political, and social inequality in the context of a modern metropolis.”

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.  

In this conversation, Flawless Sabrina, Zackary Drucker, and Elisabeth Sherman, Senior Curatorial Assistant at the Whitney, discuss the tarot card readings; the first drag contest Flawless Sabrina initiated in 1959; and the ever-changing landscape of New York City. The interview is illustrated by snapshots taken by Drucker inside the apartment.

FAITH, a hot-button issue in the political arena these days, is the subject of a messy, restless new exhibition at Real Art Ways in Hartford. The exhibition, organized by James Hyde from New York, with assistance from the National Endowment for the Arts, the Andy Warhol Foundation and others, consists of artworks in all media by a dozen artists. Some of the artists, like Matt Collishaw, Patty Chang and Josiah McElheny, are rising stars. This is a fashionable show.

The vast majority of the art we see — in Jackson Hole and pretty much everywhere else — comes in neat, tidy packages: a surface, covered with paint, contained by a frame, displayed on an otherwise blank span of wall. Artist Kate Bonner, however, mutilates that neat package, exposing the guts of our traditional ideas about what a piece of art is and thus forcing us to confront and question those ideas.

Aujourd'hui, dans les grandes villes du monde, la manière dont nous concevons le développement immobilier et l'urbanisme est constamment remise en question par la croissance démographique, la migration, le fossé grandissant entre les riches et les pauvres. / Today, in the big cities of the world, the way we understand real estate development and urban planning is constantly challenged by demographic growth, migration, the widening gap between the rich and the poor.

Tell us a little bit about yourself and what you do. I grew up in multiple cities in Texas and Michigan. I’ve lived in Japan, Chicago, Brooklyn, San Francisco and now Oakland. Maybe it is because I have lived in so many cities, or because I was very shy when I was young, that I am interested in location and structural divisions and how they shape perspective. Part photo, part sculpture, my work is an attempt to expand space and to bar entry. I use scissors, scanners, digital erasers and jigsaws to break apart images and deny story to the viewer.

Een werk dat mij aangenaam verrast is Vertically Integrated Socialism van de Canadese kunstenaar Nicolas Grenier. Grenier, die geïnteresseerd is in ongelijkheid binnen politieke, economische, culturele en sociale systemen en principes, ontwierp een experimenteel huisvestingsconcept dat de sociale piramide in één enkel gebouw integreert. / A work that pleasantly surprises me is Vertically Integrated Socialism by the Canadian artist Nicolas Grenier. Interested in inequality within political, economic, cultural and social systems and principles, Grenier designed an experimental housing concept that integrates the social pyramid into a single building.

This narrative, however, is merely a scaffold for Beaucage’s sun-drenched, acid-hued palette and the assurance with which she renders loose portraits — in broad, fluid strokes as relaxed as her subjects. The lush, Arcadian surroundings get the same treatment. Trees are little more than wavering verticals: a kelp forest in a rainbow of shades. Mountains, lakes and sky are rendered breezily in lemon yellows and cobalt blues, appearing to glow with energy. 

Our artists are crafting stories and expanding upon themes in this week’s gallery picks. #4: Edith Beaucage’s Chill Bivouac Rhymes invites you to follow a small group of teens at a rave concert. In parallel to Roland Barthes search for openness of interpretation in literature; Beaucage organized her current exhibition to allow for a looseleaf narrative.

There’s something unnervingly sinister in Nicolas Grenier’s Promised Land Template (2014). The work’s looming wooden exterior dominated one of the Biennale’s central galleries with a mysterious, monolithic weight. On one side, a doorway leads into a small interior cell. A potted cactus sits on the tiled floor. A pair of paintings hang lit by a false skylight, their desert ochres, pinks and blues mapped by texts that hint at utopian dreams. It’s another world; calm, eerie, claustrophobic. For Grenier, who splits time between Montreal and Los Angeles, it’s a metaphor for the failed systems of integration and immigration, a transitory space that at once promises and denies hope.

If the images on display in the Torrance Art Museum’s latest photography exhibit cause people to gaze with curiosity or take a second look, that’s OK. The show is meant to challenge the definition of a photograph. “This exhibit shows how artists are using photography in new and different ways, how they’re redefining the medium and challenging the medium."

Nicolas Grenier’s Promised Land Template (2014), an elegant, corporate-looking folly, made of wood, that fast-forwards viewers into a honey-coloured dystopia. The tomb-like structure suggests an art gallery in which glowing paintings on warm walls invoke the digital in their colour and graphics style, and speak to the displacement of ethnic populations. The central painting, recalling a labelled illustration, represents the “End of the Line: Designated area for problematic population groups,” which cynically offers up a mock utopia with “green grass,” “decent facilities” and “proper graves” interred in “indifferent dirt.”

Like Wolkoff, Margie Livingston makes sculptural objects from acrylic paint, which she thickens with a gel medium. She pours and pools it into swirls of color. Once it dries, she takes the highly elastic skins and folds or drapes them. Other works are carved from dry chunks of paint into remarkable shapes. Livingston says of her process: “I’m playing with the weight of paint, letting gravity reveal the material’s flexibility.”

Kate Bonner lives and works in Oakland, CA creating sculptural works through both digital and manual processes that combine photography with physical structures. Chopped up glimpses of photographs are mounted, layered, and reassembled on solid surfaces, variously bent and reaching away from the wall, or simply leaning up against it; their unexpected forms exceed the typical photographic frame, in turn making the entire wall or room the frame.

La iglesia del Gran Seminario acoge la obra Vertically Integrated Socialism del artista canadiense Nicolas Grenier. Propone un alojamiento experimental que integra toda la pirámide social en un único edificio, que expresa y critica la estratificación de la estructura social. / The Church of the Grand Seminary houses the work Vertically Integrated Socialism by Canadian artist Nicolas Grenier. He proposes an experimental accommodation that integrates the entire social pyramid in a single building, which expresses and criticizes the stratification of the social structure.

L’installation de Nicolas Grenier, Promised Land Template, exposée au Musée d’art contemporain pour la Biennale de Montréal, ne manque pas de surprendre. Dans cette œuvre, réalisée en 2014, l’artiste aborde la question de l’immigration et de l’intégration dans les sociétés modernes. / Nicolas Grenier's installation, Promised Land Template, exhibited at the Museum of Contemporary Art for the Montreal Biennale, is sure to surprise. In this work, produced in 2014, the artist addresses the question of immigration and integration in modern societies. 

As it happens these are extremely interesting, held together in an engaging architectural installation, a wooden box with weird traction sandpaper flooring, by local artist Nicolas Grenier, and one of them, Incoming Flux (2014), in oil and acrylic on wood, is among the most intriguing and accomplished paintings I’ve seen for a long while. But it is typical that these paintings are seemingly only considered acceptable for the Biennale because they deal with a subject matter, a topic, a social or intellectual issue, rather than just being purely visually or aesthetically rewarding.

Nicolas Grenier's paintings reference visual maps of information that merge abstraction with polemics. They take their cues from data visualizations where gradients are often used to depict transitions from one state to another, often with arrows that flow in multiple directions indicating the different ways that information can move. Under the title "One Day Mismatched Anthems Will Be Shouted in Tune" Grenier creates a suite of paintings in which colors are mixed to form earth-toned gradients sharing space with cryptic texts and looping arrows.

Par des moyens symboliques et architecturaux, Nicolas Grenier transpose la réalité des populations apatrides en une expérience pénétrante. Son œuvre Promised Land Templateest présentée au Musée d’art contemporain (MAC) dans le cadre de la Biennale de Montréal. / By symbolic and architectural means, Nicolas Grenier transposes the reality of stateless populations into a penetrating experience. His work Promised Land Template is presented at the Museum of Contemporary Art (MAC) as part of the Biennale de Montréal.

SculptureNotebook is an online platform that features artists, events, books, and other cultural material pertinent to issues in contemporary sculpture. FEATURED ARTIST: Kate Bonner, Seen through the side, 2013. Digital print on MDF. 36 x 44 x 10 in.

Last Saturday (September 13) at the Craft in America Center, Miyoshi Barosh shared a retrospective of sorts at our open house in celebration of the Body Conscious exhibition. Here’s a few photos from the talk and open house.

Ink on Paper represents a temporary shift in Engman’s artistic practice from photographic documentation on environmental installation phenomena – records of processes and the passage of time – to a consideration of photographs themselves as an inherently false, mediated and distancing way to experience the world. By focusing not on outer constructions but on the photograph as a constructed challenge to perception, this new body of work continues Engman’s inquiry into the illusive and unknowable nature of reality.

What are you working on in your studio right now?

I’m making draped paintings out of white paint skins. Just to clarify, a paint skin is what I get after pouring out whole gallons of acrylic paint to form a sheet and then leaving that sheet to dry. So far, most of my paint skins have been multicolored, but I’m pouring special white skins for the draped paintings, and I’m developing a way to create a white-on- white pattern so the surface of the painting will shimmer in the light, kind of like a damask tablecloth. I stumbled across the idea of making draped paintings when I tied some scraps of dried paint into a big loopy

At last weekend's Paris Photo LA, many works stood out to us for their ability to talk about photography in fresh, captivating ways. One such artist at the helm of sculptural photography pieces is Kate Bonner, who showed two of her works at Luis De Jesus Los Angeles booth this year. Bonner's works typically combine photography, sculpture, and installation for pieces that appear to come out of walls and corners. At the fair in particular, one seemed to be trying to leave the fair entirely, as it was positioned at an exit. 

A trompe l’oeil photograph may seem like an oxymoron — photographs are constantly fooling the eye with their verisimilitude. Yet in his exhibition at Luis De Jesus, L.A. artist Chris Engman has managed to create photographic images that evoke this playful artistic tradition while examining the mechanisms of their own presentation. They engage in a kind of generative navel-gazing: Photography has caught itself looking.

Edith Beaucage sought to capture the courage it took to chart one's path as an immigrant in "Dragon Frederick Louis of Rimouski," a lush painting full of bold strokes and melting colors. "I'm not Asian, I'm French-Canadian, but I connected with their story of immigration. I believe that all immigrants have to have a dragon with them to undertake such a big move. They have to be courageous. These two men were that and their story had that underlying American theme of being able to do what you want in a new place."

FEEL BETTER: The exhortation, wish, or command, chiseled in “stone” calls to me in huge upholstered capital letters from what looks like a black vertical gravestone in relief hung as a tapestry on the wall. On it and on the floor are shiny gold-colored nuggets or “rocks.”

Miyoshi Barosh’s 2013 installation concentrates in one piece her deft use of linguistic slippage, and the dark humor of double entendre. Through the intense materiality of language-as-sculpture, the work activates a kind of monumental craftsmanship that oscillates between the fleeting virtuality of a Facebook “wall” and the timeless finality of a tombstone. That the work is made of illusionistic movie prop materials (fabric, paint, foam, fake gold) adds to this collision.

The clash produces in the viewer a Brechtian estrangement effect, as when we are obliged to stand at a certain distance from the work, a distance that prevents us from being sucked in by the face value of language or the seduction of workmanship in the materials alone. According to the philosopher Ludwig Wittgenstein, “words are deeds.” Language

This strong group exhibition at Catherine Clark Gallery is rounded out by Kate Bonner, Lauren Marsden, Bruno Fazzolari, Josh Greene, Patricia Esquivias, and collaborators Gareth Spor and Piero Passacantando celebrates the contributions made by CCA graduates and staff and further strengthens Clark's ties to the neighborhood.

Using photography as a main component, the artists visit and revisit objects and images, manipulating them, cutting them and repositioning them until the originals are transformed into new iterations. The iteration becomes a documentation of the changes that take place between originals and the outcome. The final pieces are collages and configurations of process, landing in a space pushing the boundaries of three-dimensionality. Kate Bonner’s new work is a strong example of that push, disrupting the limitations of two-dimensional images.

Featuring works by Kate Bonner, Andrew Chapman, Anthony Discenza, Aaron Finnish, Chris Hood, and Cybele Lyle, the overall aesthetic of the installation is chromatically minimal, which helps to keep the room from feeling cluttered. In a continuation of the exhibition title, the works are all deliciously anti-cathartic. What we see is a biopsy from a larger narrative that the artists never full reveal. Instead the works confront the viewer with tension and aura, encouraging the consideration of the exhibition as a whole.

A baker’s dozen of arts-centric individuals and organizations were celebrated by White Rock council as ‘community inspirations’ Monday. The list of nationally and internationally known honourees was far from complete, Mayor Baldwin noted in recognizing the 13 artists in attendance and another nine who were invited but were unable to attend.

Bidibidiba is a figure of speech for love, pleasure & sentimentality. Bidibidiba is where characters are build with painting activation in mind. Childlike multicolored brushstrokes are used to build abstractions that are part of the figure. There is a lot of interesting interaction with the background & the figure in the painting.

Bidibidiba is the title song of the 1970 movie “L’homme Orchestre” (“The Orchestra Men”) with French comedian Louis De Funes. Specifically, the Bidibidiba dance within this comedy had the effect of molding a desire in Beaucage for a modern and colorful life. Bidibidiba is light, entertaining, new, and full of sentimentality: idealistically bound portraits of diverse characters including girls and philosophers, art students (both fictional and real), hipsters with mustaches, Egyptian girls, princesses, knights, dragons, musketeers, wigged women, bearded men, and dandies. They are sometimes in conversations or simply doing their jobs of being portraits and holding the paint together.

Imagine glancing quickly past photographer Chris Engman’s work, Transplant—where the entire image of a tree is constructed using panels of images—while in development. Is it any less real when you are unaware that it is a set of constructed images? Is it more false because the images are broken into smaller, square frames? Can you say, definitely, that the tree exists at all, despite being photographed in one place and constructed in another? These are all questions Engman forces the viewer to confront after his first, quick, absorbing glance, and all questions Engman himself considers in the process of developing his work.

CB1 Gallery hosts artist Edith Beaucage from February 26 through April 3, 2011. Her exhibition .hurluberlu, explores the relationship between her characters and their abstractions. Beaucage talks about her exhibition.

Edith Beaucage’s “hurluberlu” paintings, which feature idiosyncratic figures and architectural references are about the rich interaction of the imagination and social spaces. Beaucage’s new series has a Rococo energy, and is peopled by an engaging cast of lusciously painted faux-naif characters. The paintings are sweet, challenging, and utterly original. To better understand the artist’s ideas, I sent her a set of questions, and also asked her husband, Glen Irani, if he would add his perspective.

A hurlyburly is a real-world Tumblr of sensory and dimensional elements, but it denotes a vision or experience that's more captivating and even funhouse than actual chaos or anything destructive. The idea that not only modern art but life itself is a bit of a hurlyburly is at the heart of Edith Beaucage: .hurluberlu.

It started with a hairball. Margie Livingston wondered if she could draw the light filtering through that hairball — and with this challenge, launched herself into an exploration of depicting 3D space in 2D space, but always by first constructing and then copying a model. In order to produce one of her early paintings, Livingston would build a model, often a grid-like structure of string and wood. Then the small object standing in her studio would provide inspiration for an atmospheric, tasteful oil study in space, form and light. But recently those objects, built as models and collectively saved over the years, began to garner as much if not more interest than the paintings.

Such exhibitions are always hard to find, but there’s one on view now at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College here in upstate New York. Consisting mostly of paintings, and with work by 60 artists, it’s called “The Jewel Thief.” Piece by piece it’s a modest affair, but as an ensemble it’s vibrant. It makes even minimally interesting components feel vivacious... The surface of a Styrofoam bench by James Hyde incorporates photographic details of a Stuart Davis painting.

Chris Engman's series Landscapes is based on the vast open spaces of Washington State outside of Seattle, where Engman lives. The title of the series, just like the images themselves, suggests one thing, while revealing many others. He has a show on at the Greg Kucera Gallery in Seattle until Christmas Eve 2010. This interview with Engman was done for the Talent Issue (#24) of Foam magazine which came out in September 2010.

But none of these artists seems to have as much fun as Edith Beaucage, whose confidently spontaneous figures are breezy, casual and exuberantly expressive. Usually isolated on plain white grounds, Beaucage’s characters — and they are characters, not just figures — emerge from strikingly economical means. “Monster With Blue Eyes” is a Muppet-like figure whose “fur” has been quickly delineated in a fan of broad, blue-green brushstrokes. In the diptych “Hexagon” a brushy sketch of a woman on one canvas calmly looks at another, hexagonally shaped canvas painted in thick concentric stripes. It’s a succinct commentary on viewership that makes us aware of our own position in a network of gazes.

PHONG BUI (RAIL): I think the first time I was exposed to your work was in 1989 at the John Good gallery, where Chris [Martin] had his show a year later, which was the first time I was exposed to his work. What I remember from your show was a group of frescoes painted on all kinds of materials: glass, slate, wood, medium-density board, and so on. They were installed quite irregularly.

So it started with admiration....Well, I never wanted to paint like him, but he did get me into dealing with language in art. I was always interested in the way he seemed to go from shape to sign, using letters as an intermediary step in that process. The paintings you see here in my studio are also based on Davis, though they’re a bit different from the ones at the Boiler because they incorporate actual words. There is a type of reading involved, which is a way of looking at something while not looking at the same time. 

James Hyde is a painter who can rarely contain himself within two dimensions. His semiotic explorations of the medium have taken him in the direction of paint filled Plexiglass vitrines that approach the condition of sculptural installation, Styrofoam supports as deep as they are high or wide, and furniture. When he does play within a conventional painting support, as often as not found objects are affixed. But he will as good as ask you to step outside if you question his membership of the painting guild.

Consisting of thick lashings of acrylic over humongous vinyl prints of details taken from 1930s Stuart Davis canvases, [James] Hyde’s muscular manipulations (he used a housepainter’s roller) pay homage to an underappreciated American modernist while supersizing issues of influence, quotation, and sampling. A feat that owes something to James Rosenquist’s literal magnification of pop culture, Hyde’s riffs on abstract painting scale up the impacts of gestural rhythm with Times Square results. 

“It's hard for me to separate Nathan, the person, from the Nathan, the artist—the two were inextricably bound,” says Luis De Jesus, director of Luis De Jesus Seminal Projects, San Diego, who was Nathan's best friend and was with him when he died.Anyone who knew him personally can see his quirky, yet elegant sense of style, sharp wit, all-encompassing knowledge, refined appreciation of the classics and, above all, his oddball sense of humor reflected throughout his work.

The effectiveness of UNBUILT is less the result of mercy than rigor. What the viewer sees upon breaching Southfirst’s gallery is a salon-style wall of rectilinear, mostly flat paintings of various sizes. But from the outward noise, an internal structure begins to emerge. The majority of the pieces originate in photographic images of building skeletons, which Hyde, depending on one’s point of view, embellishes, reworks, conceals, defiles, augments, punctuates, comments on, or contributes to, by painting over them.

Under most circumstances, the desert does not seem like an ideal working atmosphere. If not for the hot, dry, and desolate environment, then certainly for the lack of cell-phone reception and Internet connectivity.

James Hyde paints blocks of color a la Hans Hofmann on a wide swath of indoor carpeting. Roxy Paine dips a small canvas in cool white paint until what look like icicles hang from its lower edge, and Bruce Pearson gives a monochrome coating to a large panel of Styrofoam with labyrinthine trails (they look like they could have been carved by giant termites).

["Painting Outside Painting," the 44th Biennial Exhibition of contemporary American painting at the Corcoran Gallery of Art] aims to provide an update on the perennial desire among painters to take painting beyond itself, that is, the compulsion to stretch the medium's physical limits and prod its conventions with unorthodox materials and techniques... Among those who take painting's basic formula to extremes, the most interesting is James Hyde, who paints with a gestural flair in oil on glass or in fresco on big blocks of Styrofoam that wittily conjure chunks of plaster cut from the monumental walls that challenged the fresco painters of old.