TOM OF FINLAND
Highway Patrol, Greasy Rider, and Other Selected Works
January 13 – February 25, 2023
Opening Reception: Thursday, January 12 | 6 – 8 PM
Tom of Finland: Highway Patrol, Greasy Rider, and Other Selected Works features collages and drawings by the iconic artist. At the center of the exhibition is a full suite of impeccably rendered drawings from the series Kake vol. 22 - "Highway Patrol" (1980) and Kake vol. 22 - "Greasy Rider" (1978), both of which reference Tom’s collages and evolved from the artist’s preparatory sketches. These rarely exhibited panels are part of a larger collection of 26 Kake graphic novels made between 1968–1986. Titled after the comics’ protagonist and the artist's alter ego, the illustrations showcase Tom’s diverse material approaches to his meticulous figurations and underscore the intricacies of his artistic process. First published in 1968, the Kake series was revolutionary for the time and quickly inspired a broad scope of gay and queer zines to come. The fantastical stories and iconic imagery created a form that inspired sexual awakenings, emboldened members of the gay community to have more agency over their sexuality, and eventually extended into, and influenced, real-world queer liberation movements. Tom of Finland: Highway Patrol, Greasy Rider, and Other Selected Works offers a nearly complete glimpse into the transformative desire-driven approach to artmaking that has long distinguished the persona and vision of Tom of Finland.
HUMA BHABHA AND MICHAEL WILLIAMS
January 21 – February 25, 2023
Opening Reception: Saturday, January 21 | 4 – 6 PM
This two-person exhibition of new work by Huma Bhabha and Michael Williams marks the first time the artists have been paired together and exemplifies their individual projects as well as their mutual concerns. Bhabha and Williams share interests in the inherent qualities of their chosen materials and the cross-pollination of abstract and figurative modes. Bhabha’s sculptures—often made from cork, wood, and paint—are vivid depictions of beings whose earthiness is paradoxically the source of their strangeness. Williams’s paintings and drawings are as forthright as they are beguiling, and as attuned to the nuances of contemporary life as they are responsive to ever-shifting perspectives on art history. Seeing their work together sheds light on each artist’s trajectory, even as it shows how distinctions between painting and sculpture—and between the artists themselves—become secondary to conversations that arise between discrete objects, each of which expresses its own personality and mood. What results is an environment like a psychedelic forest where powerful objects attract, repel, and ultimately absorb all living things into their vivifying field.
January 21 – February 25, 2023
Opening Reception: Saturday, January 21 | 4 – 6 PM
Calder/Tuttle:Tentative is an exhibition featuring work by Richard Tuttle inspired by the seminal American artist Alexander Calder. Concurrently, Pace Gallery, in collaboration with the Calder Foundation, will present an exhibition of early Calder works curated by Tuttle.
Calder/Tuttle:Tentative comprises several parts. At David Kordansky Gallery, Tuttle presents a series of wall-based sculptures entitled Black Light and a group of works on paper entitled Calder Corrected. Informed by an ongoing engagement with Calder’s work, aesthetic philosophy, and observational temperament, both series find Tuttle exploring a range of phenomena that are among the fundamental features of visual art: the visual and physical experience of color, the perception of geometry and mass, and the associative communications between abstract and natural forms. The works are not so much meditations on Calder as they are responses to—and from—the contexts in which Calder’s project emerged. In this sense, Tuttle employs his own artistic vocabulary to refresh the contemporary take on Calder’s, shedding clarifying light not only on the abiding presence of modernist abstraction in art today, but on timeless facets of art’s presence in human lives.
David Kordansky Gallery is pleased to announce our representation of Mario Ayala. View a new work by Ayala in our Art Basel Miami Beach presentation at Booth F19 from November 29 – December 3. The artist's first solo exhibition with the gallery will be presented in Los Angeles in 2023.
Ayala reimagines a contemporary landscape where identity, observation, and the presence of material fact play equal roles. In his paintings, Ayala brings together figures and forms drawn from every corner of his experience living on the West Coast. Ayala's work lends interest in traditions and techniques with strong visual ties to California, such as muralism, tattooing, and industrial techniques used in automobile painting and commercial signage. Ayala's influences also extend into postwar art historical movements such as the Cool School of Los Angeles and Bay Area Funk art. Ayala's highly personal, often surreal, tableaux are vivid representations of the way in which images course through the world, carrying with them fragments of the past, present, and a future still in formation. His creations live as collectively inspired documents that reflect issues, energies, and aesthetics alive in Mexican American, Latin, and Brown communities throughout the region. Ayala's sculptures, site-specific works, and collaborations embody his capacity to envision the local and the global as interwoven phenomena. Like his paintings, they locate surprising—and even unsettling—moments of cohesion in a world defined by multiplicity and rapid, ever-changing flux.
Mario Ayala has been the subject of solo and two-person exhibitions at Jeffrey Deitch, New York (2022) and Ever Gold [Projects], San Francisco (2021). Recent group exhibitions include Hot Concrete: LA to HK, K11 Musea, Hong Kong (2022); Shattered Glass, Jeffrey Deitch, Los Angeles (2021); and Made in L.A. 2020: a version, Hammer Museum, Los Angeles (2020). His work is in the permanent collections of institutions including the Hammer Museum, Los Angeles and the Aïshti Foundation, Beirut. Ayala lives and works in Los Angeles.
David Kordansky Gallery is pleased to announce our representation of Jenna Gribbon. The artist's first solo exhibition with the gallery will be presented in Los Angeles in 2024. Read more about the artist in ARTnews.
Gribbon’s oil paintings constitute an important new entry in the long lineage of figurative art, extending its narrative possibilities to explore the act of looking. Her vivid portraits, frequently nudes or partial nudes, depict those closest to her, and sometimes the artist herself, in candid poses, during uncanny moments. Replete with saturated colors—and spotlit in awkward, uncomfortable, or humorous positions—the protagonists are often seen looking directly at the artist, blurring the line between observer and the observed. By including her own image in her paintings, whether it’s her legs brushed up against her partner’s or her dramatic shadow lurking in the foreground, Gribbon becomes both actor and director in an unfolding storyline that is equal parts comedic, tender, fantastical, and dark. She uses scale to decipher between true-to-life and constructed scenes. In her larger paintings, Gribbon employs strategically placed props––mirrors, blindfolds, clamp lights, colored gels, green screens––to explore different types of mediation that affect image consumption and investigate the power dynamics between subject, artist, and viewer. Her recent work most prominently features her partner, Mackenzie Scott, whose recurrence both personalizes and simultaneously establishes her as a kind of avatar; shifting the focus of the painting away from the figure and toward the way the figure is framed. Gribbon’s paintings often begin as a photo taken on her phone, forging a fluid relationship between photography and painting, the real and the surreal, and between the ephemerality of phone photography and the enduring quality of oil paint. By painting otherwise fleeting scenes, the artist adds texture, depth, and a sense of permanency to these temporal images, highlighting themes of pleasure, joy, and expanding the lexicon of queer iconography.
Jenna Gribbon (b. 1978, Knoxville, Tennessee) is currently the subject of a solo exhibition on view through February 19, 2023, at Collezione Maramotti, Reggio Emilia, Italy. Recent group exhibitions include Living Histories: Queer Views and Old Masters, The Frick Collection, New York (2022); and I will wear you in my heart of heart, FLAG Art Foundation, New York (2021); and Paint, also known as Blood: Women, Affect and Desire in Contemporary Painting, Warsaw Museum of Modern Art, Poland (2019). Her work is in the permanent collections of institutions including the Kunstmuseum The Hague, the Netherlands; Brant Foundation, New York; Dallas Museum of Art; Marjorie Barrick Museum of Art, Las Vegas, Nevada; New Orleans Museum of Art, Louisiana; Kurpfälzisches Museum, Heidelberg, Germany; Rubell Museum, Miami; and FLAG Art Foundation, New York. Gribbon lives and works in New York.
In collaboration with David Kordansky Gallery, Gribbon will continue to be represented by MASSIMODECARLO and LGDR.
In "A New Look at a Groundbreaking Ceramics Artist," a New York Times feature on Betty Woodman, Lissa McClure, Executive Director of the Woodman Family Foundation, says the artist's legacy is that "she broke through the confines of her medium. She wanted clay, ceramics, to go further than it had in millennia, to make it acceptable, to hybridize it, to combine ceramics with sculpture and painting."
On view October 29 through December 17, Betty Woodman: Conversations on the Shore, Works from the 1990s marks the first major presentation of Woodman's work in New York in six years. Join us for an opening reception from 6 to 8 PM on Friday, October 28. A walkthrough of the show led by Katarina Jerinic, Collections Curator at the Woodman Family Foundation, will take place on Tuesday, November 1 from 3 to 4 PM. A monograph documenting the exhibition will be published by David Kordansky Gallery next year.
The works on view include a number of wall-mounted and free-standing sculptures, each engaged in a range of conversations about materials, art history, function, architecture, sculpture, and painting. The presentation is anchored by Conversations on the Shore, a major installation featuring floor- and wall-mounted elements from 1994 that has not been exhibited since the late 1990s, when it appeared in a traveling solo show which originated at the Stedelijk Museum in Amsterdam. In the other objects from the 1990s—such as the diptych of vases, Still Life Vase #15 (1991), and the wall-based Balustrade Relief Vase sculptures—Woodman created increasingly complex juxtapositions of sculptural form and painterly glazing. This often meant bringing representational imagery of vessels, flowers, and plants into conversation with bold, geometric patterns, or dynamically combining vessel-like objects with glazed ceramic fragments that appeared to surround, animate, or emerge from them.
As Woodman continued to expand upon discoveries she made in installation and collaborative projects produced in the 1980s, which have been studied and shown alongside art associated with the Pattern and Decoration movement, she asked ever more probing questions about how space functioned both inside and outside of artworks. If she had long treated the lines between life and art—like those between history and the present, or sculpture and painting—as permeable divisions, in the 1990s her work began to embody that permeability more fully. It was during these years that her interest in rearticulating the formal achievements of modernist painters became fully embodied in objects that both acknowledged the wall and extended out from it; that revealed the possibilities of color when applied to three-dimensional form; and that examined how formalist ways of looking could not only enable people to become more sensitive to humor, curiosity, and pleasure, but to actively cultivate them throughout the cycles of everyday life.
Drawings, an exhibition of works on paper and drawings by Michael Williams, will open at The Power Station, Dallas, on October 21 and will be on view through March 11, 2023. The 250 works in the exhibition foreground Williams's drawing practice as an integral aspect of his approach to painting and to his negotiated relationship with cultural, critical, and personal observation.
For Williams, drawing is a tool for thinking. It encodes gesture with thought, where the two, like the pictures in each work, vibrate and interchange. There is much to be said about the calligraphic and choreographic, or the products of boredom and failure, in these works, but with each, Williams is able to make "necessary" the wayward potential of thinking and working as an act of drawing. "No problem can withstand the assault of sustained thinking," and, for Williams, drawing is the uninterrupted form of attention collected on paper.
Jennifer Guidi brings meditative vision, methodical practice, and a nuanced perceptual understanding of light, color, and landscape to works that are as immersive as they are finely detailed. Radiating networks of small marks, saturated hues, and tactile surfaces—generated through Guidi’s use of sand—have become characteristic components of a vocabulary in which an expansive sense of scale exists in large and small works alike. In the Heart of the Sun features a group of painted bronze sculptures installed in a rock garden-like setting; new Universe Mandala and Sand Mandala paintings and focused works on paper in which experiments with color and pattern reveal an endlessly shifting array of moods and inner vistas. Throughout the exhibition, Guidi shows how each individual mark, gesture, composition, and artwork—indeed, each observable phenomenon in the natural world—is part of an encompassing totality that is always in the process of creating itself anew.
Sam Gilliam (1933–2022) is one of the great innovators in postwar American painting. Each stage of his six-decade career was characterized by a quest for reinvention, formal and material experimentation, and a desire to renew his audience’s—and his own—understanding of what painting could become. White and Black Paintings, 1975–1977 brings together important works from a period when Gilliam experimented with color, texture, scale, and materiality in wholly new ways.
Beginning with the White paintings, Gilliam built up sculptural, all-over surfaces dominated by layers of white paint made viscerally frenetic through the incorporation of hardening mediums that give them a palpable presence. Other colors that emerge from behind and around these encrusted white veils engage in a limitless play of dark and light, introducing complex, shifting moods in these decidedly non-monochromatic images. He also continued his use of beveled-edge stretchers; previous beveled-edge works foregrounded juxtapositions of prismatic color and dynamic sculptural form. In the White and Black paintings, the stretchers further emphasize the architectural solidity of Gilliam’s approach to pigment and medium, and firmly root the works in the spaces where they are installed.
The White and Black paintings are characterized by marks made with everyday tools; among them are shag rug rakes that Gilliam first employed during this period and continued to use in subsequent bodies of work throughout the next five decades. The rake allowed him to introduce both energetic linearity and textural relief and, as seen especially in the Black paintings, to highlight the geological feel of the paints he was mixing. Through these works, Gilliam continued to envision how painting could be a fully encompassing experience, transforming the relationship between the hand and the gestural mark into one between the painter’s entire body and the complete range of their materials.
Deana Lawson, the first museum survey dedicated to the artist’s work, will open at High Museum of Art in Atlanta, on October 7, 2022, and will be on view through February 19, 2023. Through a selection of more than 50 works from 2004 to the present, Deana Lawson features the full range of the artist’s career to date and establishes a narrative arc of her expansive vision for the first time. The survey debuted at the Institute of Contemporary Art/Boston in 2021 and traveled to MoMA PS1 earlier this year.
Deana Lawson is co-organized by the Institute of Contemporary Art/Boston and MoMA PS1, Queens, New York, and is curated by Eva Respini, Barbara Lee Chief Curator, ICA/Boston, and Peter Eleey, Curator-at-Large, UCCA Center for Contemporary Art, Beijing and Shanghai, with Anni Pullagura, Curatorial Assistant, ICA/Boston. The exhibition is accompanied by a catalogue.
Fred Eversley: Reflecting Back (the World), a survey exhibition by the artist, will open at the Orange County Museum of Art (OCMA) in Costa Mesa, California, on October 8, 2022, and will be on view through January 15, 2023. Read more about Eversley in a major feature in The New York Times.
This exhibition expands on the groundbreaking 1976 exhibition of Eversley’s work at OCMA, formerly known as the Newport Harbor Art Museum. This year was a pivotal period for Eversley—he hit his stride with his primary mode of working at the same time the Light and Space movement gained momentum in Southern California. However, unlike his Light and Space peers who often relied on scientists and outsourced labor for the fabrication of their work, Eversley, as a trained engineer, had a technical understanding that enabled him to invent his own spin casting techniques and utilize polyester resin, industrial dyes, and pigments in pioneering ways—realizing his scientific energy concepts by movement and gravitational forces.
With a black parabolic lens created by Eversley in 1976 from OCMA’s collection as its springboard, Fred Eversley: Reflecting Back (the World) follows the logic of the black hole—the most luminous space in the universe—and takes the audience on a journey through time, space, and color where Eversley’s new cylindrical lens acts as a central anchoring axis. The exhibition was initiated by Cassandra Coblentz, OCMA’s former Senior Curator, and curated by Courtenay Finn, OCMA’s Chief Curator.
ALSO ON VIEW AT THE ORANGE COUNTY MUSEUM OF ART
Raul Guerrero included in
California Biennial 2022: Pacific Gold, curated by Elizabeth Armstrong, Essence Harden, and Gilbert Vicario
October 8, 2022 – February 26, 2023
Lucy Bull and Hilary Pecis included in
13 Women, curated by Heidi Zuckerman
October 8, 2022 – August 20, 2023
Raw Is the Red, a solo exhibition by Shahryar Nashat, will open at the Art Institute of Chicago on October 6, 2022, and will be on view through September 11, 2023. Nashat creates work that investigates the body and its image as sites of desire, fragmentation, tenderness, and resilience. Focusing on our physical limits and the possibilities of extension, Nashat treats digital and analog technologies—from LEDs to stone and cast resin—as prostheses, props, or stand-ins. For Raw Is the Red, the artist presents a newly commissioned sculpture alongside a vitrine-encapsulated "meat object." On Thursday, October 6, from 6 – 7 PM CT, join Nashat for a conversation on the artist's exhibition with Jordan Carter, curator at Dia Art Foundation, and Susanne Ghez, adjunct curator in Modern and Contemporary Art at the Art Institute of Chicago. To learn more about the event, please click here.
Raw Is the Red foregrounds the tensions between the human and the prosthetic, the interior and the exterior, the authentic and the drag. Coating the windows in pink film—a medium the artist frequently uses—Nashat expands the scenography to encompass the artwork’s architectural frame, enveloping viewers and queering their perception of the horizon.
The exhibition is curated by Jordan Carter, curator at Dia Art Foundation, and Susanne Ghez, adjunct curator in Modern and Contemporary Art at the Art Institute of Chicago.