David Kordansky Gallery is pleased to announce its participation in Art Basel OVR: Miami Beach, December 2 – 6, 2020.
The gallery's viewing room will be accessible to registered users through ArtBasel.com/OVR. The VIP preview can be accessed by logging in with a designated Art Basel VIP account.
VIP preview days: December 2 – 4
Opens 10:00 am ET / 7:00 am PT
Public days: December 4 – 6
Opens 10:00 am ET / 7:00 am PT
An extended version of the presentation will be on view at DavidKordanskyGallery.com, December 2, 10:00 am ET / 7:00 am PT through December 6, 2020.
Presenting works by David Altmejd, Markus Amm, Huma Bhabha, Matthew Brannon, Andrea Büttner, Fred Eversley, Jason Fox, Sam Gilliam, Jennifer Guidi, Lauren Halsey, Evan Holloway, Rashid Johnson, Deana Lawson, Tala Madani, Calvin Marcus, Chris Martin, Joel Mesler, Ivan Morley, Shahryar Nashat, Ruby Neri, Jon Pestoni, Tobias Pils, Torbjørn Rødland, Linda Stark, Ricky Swallow, Richard Tuttle, Mary Weatherford, and Betty Woodman
David Kordansky Gallery is pleased to announce Firsthand: Matthew Brannon on Light Touch for the Heavy Handed / The Psychedelic Soldier / The Making of the Making of Apocalypse Now, an online exhibition in which the artist discusses, in his own words, a new series of large-scale, unique silkscreen works on paper informed by the 1979 film Apocalypse Now. The show will open at DavidKordanskyGallery.com on Wednesday, November 18, 8:00 am Pacific Time, and will remain on view through December 19, 2020.
Known for his expansive approach to printmaking, Matthew Brannon has spent the last seven years producing two- and three-dimensional works that explore the ramifications of the Vietnam War. His unique silkscreen works on paper, full of vibrant color, are like contemporary history paintings that teem with carefully researched details and moments of imaginative invention. They are also lenses through which to view intense periods of cultural and political change, not to mention the shifts in design, typography, and advertising that accompany them.
Light Touch for the Heavy Handed / The Psychedelic Soldier / The Making of the Making of Apocalypse Now (2020) finds Brannon widening his focus to the aftermath of the Vietnam War and its expressions in the American cinematic psyche. While Francis Ford Coppola’s vast, psychedelic, auteur production is a fictionalized, even mythological, account of the war, it registers how history was being written and analyzed over the intervening decade. Brannon’s unique prints shed light on several layers of behind-the-scenes fact and innuendo, departing from recreations of the film’s scenes and sets to reveal its complexities, absurdities, and contradictions.
Matthew Brannon (b. 1971, St. Maries, Idaho; lives and works in New York) has been the subject of solo exhibitions at the Marino Marini Museum, Florence (2013); Portikus, Frankfurt (2012); Museum M, Leuven, Belgium (2010); Whitney Museum of American Art at Altria, New York (2007); and Art Gallery of York University, Toronto (2007). Recent group exhibitions include Becoming American, San Juan Island National Historic Park, Friday Harbor, Washington (2018); Multiple Modernisms, Chrysler Museum of Art, Norfolk, Virginia (2017); True Faith, Manchester Art Gallery, England (2017); Trapping Lions in the Scottish Highlands, Aspen Art Museum, Colorado (2013): and Brannon, Büttner, Kierulf, Kierulf, Kilpper, Bergen Kunsthall, Norway (2012). Feature articles on Brannon's Vietnam project have been published in Artforum and frieze. Concerning Vietnam, a monograph dedicated to his work on the subject, was recently published by Gregory R. Miller & Co.
Congratulations to Deana Lawson, who has won the 2020 Hugo Boss Prize. The biennial prize, established in 1996 and administered by the Solomon R. Guggenheim Foundation, honors outstanding achievement in contemporary art, celebrating the work of remarkable artists whose practices are among the most innovative and influential of our time. Lawson is the first artist working in photography to be recognized with the award. She will present a solo exhibition at the Guggenheim Museum in New York in Spring 2021.
The 2020 Hugo Boss Prize jury is comprised of Naomi Beckwith, Manilow Senior Curator, Museum of Contemporary Art, Chicago; Katherine Brinson, Daskalopoulos Curator, Contemporary Art, Solomon R. Guggenheim Museum; Julieta González, independent curator; Christopher Y. Lew, Nancy and Fred Poses Curator, Whitney Museum of American Art; and Nat Trotman, Curator, Performance and Media, Solomon R. Guggenheim Museum.
David Kordansky Gallery presents Listening for the Unsaid, an online group exhibition curated by The Racial Imaginary Institute, featuring works by artists including Danielle Brathwaite-Shirley, Anaïs Duplan, Nona Faustine, Jon Henry, Nate Lewis, Azikiwe Mohammed, Public Assistants, and Kiyan Williams. The show will open at DavidKordanskyGallery.com on Wednesday, October 21, 8:00 am Pacific Time, and will be on view through December 19, 2020. All proceeds will benefit the featured artists and The Racial Imaginary Institute.
Listening for the Unsaid brings together artists, activists, and writers who partake in the impossibility of reconstructing an archive, while still trying to archive the impossible. In Saidiya Hartman’s 1998 essay Venus in Two Acts, she argues that writing counter-histories / counter-archives is inseparable from a history of the present or the "incomplete project of freedom." How can we, as Hartman asks, "revisit the scene of subjection without replicating the grammar of violence?" Taking Hartman's words, "listening for the unsaid," as a framework, The Racial Imaginary Institute offers a response to these times of acute precarity by presenting the work of Black artists, at various stages in their careers, whose works contribute to an ongoing conversation surrounding the multitude of Black life. The exhibition also becomes a way to engage with a strategy for imagining and archiving new and varied historical narratives.
Founded in 2016 by Claudia Rankine, The Racial Imaginary Institute (TRII) seeks to change the way we imagine race in the U.S. and internationally by lifting up and connecting the work of artists, writers, knowledge-producers, and activists with audiences seeking thoughtful, innovative conversations and experiences. As they describe, "the work of defining and changing culture is all of ours." Institute members curating Listening for the Unsaid include Sara'o Bery, Samantha Ozer, Claudia Rankine, Michelle Phương Ting, Stephen Wilson, and Simon Wu. David Kordansky Gallery is honored to serve as a West Coast outpost for TRII and its interdisciplinary cultural laboratory.
David Kordansky Gallery is pleased to announce its West Coast representation of Richard Tuttle. Over the last six decades, Tuttle has become one of the most representative American artists of the postwar period, occupying interstitial positions between several genres, including painting, sculpture, drawing, and poetry. He consistently opens new possibilities for a variety of mediums and materials, demonstrating how traditional categories of artmaking can function as starting points for unhindered, open investigations into the functioning of perception and language. His early encounters with artists and artworks associated with pop and minimalism laid the groundwork for a project precipitated on reinvention and change. As Tuttle developed a syntax remarkable for the frankness of its physicality and the poetry of its juxtapositions, he created a space in which a decidedly avant-garde strain of contemporary art could take on the organic sophistication and subtlety of the natural world. At the same time, he began to produce a number of iconic typologies—including stretched and pinned canvases, painted reliefs, and works on paper—in which divisions between object, image, making, abstraction, and observation fell away, leaving in their wake a mode of translating the multiplicity and complexity of life into discrete, often elegant constructions notable for their precision, radical informality, and immediately tangible intimacy. David Kordansky Gallery co-represents Richard Tuttle on the West Coast in collaboration with Pace Gallery.
Tuttle's first solo exhibition with David Kordansky Gallery will open in Spring 2021. A new work will debut in the gallery's Art Basel OVR: Miami Beach presentation, December 2 – 6, 2020.
Since the 1970s, Richard Tuttle (b. 1941, Rahway, New Jersey) has been the subject of numerous solo exhibitions at museums throughout the world, including most recently M Woods Museum, Beijing (2019); Phillips Collection, Washington, D.C. (2018); Kunstmuseum aan Zee, Ostend, Belgium (2017); Museo de Arte de Lima (2016); Metropolitan Museum of Art (2016); and Whitechapel Gallery and Tate Modern, London (2014). In 2005–2006, a retrospective exhibition organized by the San Francisco Museum of Modern Art traveled to five additional institutions, including the Whitney Museum of American Art, New York and the Museum of Contemporary Art, Los Angeles. His work is included in over sixty public collections, including those of the Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; Dallas Museum of Art; and Museum Boijmans Van Beuningen, Rotterdam. Tuttle lives and works in New York and Abiquiú, New Mexico.
David Kordansky Gallery is pleased to announce Begin Again, Adam Pendleton's first exhibition at the gallery. The show of new work will be on view November 7 through December 19, 2020 at the gallery's Edgewood Place location. David Kordansky Gallery is currently open by appointment. Timed reservations and virtual visits are available here.
Begin Again includes paintings from the Untitled (WE ARE NOT) series, works on Mylar, and a video portrait, unfolding across three exhibition spaces in the gallery.
Pendleton's montages, from painting to collage to video, engage in a kind of nonlinear iteration: never oriented toward any determinate position, they are constantly beginning and always resisting visual and semantic closure. This activity occurs at the level of language and syntax (the unfinished and unresolved statement) as well as at the level of artistic form (the suggestion that even finished works are still open to further transformation), thereby putting a stake in the experience of a continuous present. Drawing from a vast array of archives, he cycles through sets of sentences, fragments, images, artifacts, histories, and other propositions, developing what Gertrude Stein once discussed in Composition and Explanation (1926) as a "troubling time-sense." This mode of working does not redistribute or equilibrate time, but rather troubles it, generating a renewed form of history-telling, and participatory vision of both past and future.
In 2021, Adam Pendleton will present Who Is Queen, a major installation in the atrium of The Museum of Modern Art, New York. Other recent solo exhibitions include shows at Le Consortium, Dijon (2020); Isabella Stewart Gardner Museum, Boston (2020); MIT List Visual Arts Center, Cambridge, Massachusetts (2018); Baltimore Museum of Art (2017); KW Institute for Contemporary Art, Berlin (2017); Baltic Center for Contemporary Art, Gateshead, United Kingdom (2017); Museum of Contemporary Art Cleveland (2017); Museum of Contemporary Art Denver (2016); and Contemporary Arts Center, New Orleans (2016). Recent group exhibitions include Manifesto: Art x Agency, Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2019); Public Movement: On Art, Politics and Dance, Moderna Museet Malmö, Sweden (2017); The Eighth Climate (What does art do?), 11th Gwangju Biennale, South Korea (2016); and Personne et les autres, Belgian Pavilion, 56th International Art Exhibition, La Biennale di Venezia, Venice (2015). Pendleton’s work is included in the collections of the Dallas Museum of Art; Solomon R. Guggenheim Museum, New York; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Studio Museum in Harlem, New York; and Tate, London, among other institutions. Pendleton lives and works in New York.
David Kordansky Gallery is pleased to announce The Japan Drawings, an exhibition of works on paper by Mary Weatherford. The show will be on view November 7 through December 19, 2020 in the gallery’s newest exhibition space, part of the recent expansion of its Edgewood Place location. David Kordansky Gallery is currently open by appointment. Timed reservations and virtual visits are available here.
The Japan Drawings brings together four groups of works—all shellac ink paintings on Gampi Torinoko paper—that Weatherford produced during a 2019 residency at Troedsson Villa in Nikko, Japan. While a selection of these drawings was presented in the gallery’s Online Viewing Room in May 2020, this physical exhibition allows viewers to appreciate the full scope of the project, as well as both the intimacy and materiality of the individual works and their many moods and impressions.
The residency at Troedsson Villa, founded by artist Anne Eastman in 2015, provides immersion in a unique setting where notable examples of ancient and modern architecture (including famous shrines and temples) exist within a forest landscape. Weatherford’s new drawings reflect the nuances of this environment and her time in Japan more broadly, resulting in a range of compositional approaches, color palettes, and textures. They also emerge from the same kinds of prompts that give rise to her paintings: each represents a synthesis of abstract material experimentation and response to a particular place, time, experience, or idea. Their gestural brushwork and complex spatial effects offer clear parallels to her neon paintings, for instance, providing viewers with fresh points of access to the prevailing dualities—between heaven and earth, individual encounter and collective imagination, cultural history and direct sense perception—that have fueled Weatherford’s painting practice for more than 30 years.
Mary Weatherford (b. 1963, Ojai, California) is the subject of a survey exhibition, Canyon–Daisy–Eden, that was on view earlier this year at the Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, and will travel to SITE Santa Fe in 2021. She has also presented solo shows at the Marian Miner Cook Athenaeum, Claremont McKenna College, Claremont, California (2014); Todd Madigan Gallery, California State University at Bakersfield, California (2012); and LAXART, Los Angeles (2012). Recent group exhibitions include Aftereffect: Georgia O'Keeffe and Contemporary Painting, Museum of Contemporary Art Denver (2019); Feel the Sun in Your Mouth: Recent Acquisitions, Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2019); Between Two Worlds: Art of California, San Francisco Museum of Modern Art (2017); NO MAN’S LAND: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami (2015); Pretty Raw: After and Around Helen Frankenthaler, Rose Art Museum, Brandeis University, Waltham, Massachusetts (2015); and The Forever Now: Contemporary Painting in an Atemporal World, Museum of Modern Art, New York (2014). Her work features in the permanent collections of many institutions, among them the Los Angeles County Museum of Art; Museum of Contemporary Art San Diego; Museum of Modern Art, New York; Tate Modern, London; Brooklyn Museum, New York; K11 Art Foundation, Hong Kong; and Museum of Contemporary Art, Los Angeles. In 2019, Lund Humphries published an in-depth monograph surveying the artist's oeuvre. Weatherford lives and works in Los Angeles.
David Kordansky Gallery's new gallery expansion is now open. We're excited to share with you our new exhibition space and courtyard, which together form an integrated arts compound for a range of programming including outdoor sculpture, film, and performance. Timed reservations are required. Please click here to make an in-person appointment.
Developed by Kulapat Yantrasast and wHY, the expansion adds 12,800 square feet to our existing Mid-City, Los Angeles location, originally designed by wHY in 2014. The centerpiece is a skylit 2,000-square-foot exhibition space, which is divided into two contiguous volumes. Featuring chapel-like coved ceilings and proportioned to encourage a sense of intimacy, the space is designed for focused viewing.
In this spirit, we are pleased to present our first show with Linda Stark as the expansion's inaugural exhibition. Titled Hearts, the exhibition of paintings and works on paper opens today and will remain on view through October 24, 2020. Concurrently, an exhibition of new paintings by Lesley Vance, A Zebra Races Counterclockwise, is on view in our adjacent, original gallery, also through October 24, 2020.
New outdoor sculptures, Rashid Johnson's High Time and Will Boone's The Three Fates, are now installed in the courtyard, providing visual counterpoints to the surrounding landscape of drought-resistant plants and vines. The courtyard is accessed via a flowing, terraced exterior corridor, which leads visitors seamlessly between the original gallery and the expansion—and connects the unique spaces of the site together as a campus-like whole.
We look forward to seeing you at the expanded David Kordansky Gallery!
David Kordansky Gallery is pleased to announce its representation of David Altmejd. The gallery will present an online exhibition focused on a new sculpture by the Canadian-born, Los Angeles-based artist beginning this coming Wednesday, August 26, 8:00 am Pacific Time. The presentation will be on view at DavidKordanskyGallery.com through September 16, 2020.
David Altmejd explores the constitution and disintegration of the self, producing sculptures that expand the range of figurative representation, and conjuring abstract regions beyond the realm of recognizability. His work is centered on the human form, which in Altmejd’s vision includes not only the body but the mind, the imagination, and the soul, not to mention the ways the material world is perceived and felt through these channels. To this end, each of his works arises from an ongoing intuitive relationship with the large array of materials with which they are built, including clay, foam, mirror, quartz, resin, and both synthetic and human hair. Traditional processes like casting exist alongside idiosyncratic forms of bricolage; no two sculptures are alike, even when they seem to address related subjects. Altmejd approaches scale as a relative quantity, and over the course of his two-decade career he has treated room-sized installations and intimate busts with the same levels of intensity and commitment. Cosmological in scope, his work reveals a world-making ethos across its surfaces and in its details, where countless moments of invention and curiosity reflect ever-unfolding mysteries of consciousness.
David Altmejd (b. 1974, Montreal) has been the subject of solo exhibitions at Musées royaux des Beaux-Arts de Belgique, Brussels (2016); Kunsthal KAdE, Amersfoort, Netherlands (2016); Louisiana Museum of Modern Art, Humlebaek, Denmark (2015, traveled to Musée national des beaux-arts du Québec); Musée d’Art Moderne de la Ville de Paris (2014, traveled to Musée d’Art Contemporain de Montréal and Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean); MOCA Cleveland (2012); and Brant Foundation Art Study Center, Greenwich, Connecticut (2011), among other institutions. In 2007, Altmejd represented Canada at the 52nd International Art Exhibition, La Biennale di Venezia, Venice. Recent group exhibitions include In the Spotlight of the Night Life in the Gloom, Marta Herford Museum, Herford, Germany (2019); Zombies: Pay Attention!, Aspen Art Museum, Colorado (2018); ANIMA MUNDI, Museum Boijmans Van Beuningen, Rotterdam (2018); Voyage d'hiver, Château de Versailles, France (2017); and A Material Legacy: The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art, Nasher Museum of Art at Duke University, Durham, North Carolina (2016). His work is in the permanent collections of museums such as the Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Art Gallery of Ontario, Toronto; and Musée d'Art Moderne de la Ville de Paris. Altmejd lives and works in Los Angeles.
David Kordansky Gallery is pleased to announce its representation of Deana Lawson. Lawson makes photographs that explore the black familiar and its relationship to lore, global histories, and mystery traditions. She transforms observational picture-making into a powerful mode of expression, critique, and celebration. Romance and intimacy between subjects, as well as ritual and spirituality, appear throughout Lawson’s work, often within the same image. Her photographs emphasize formal approaches to film commonly associated with both Western and African 20th-century portraiture practices, in addition to appropriation and uses of vernacular imagery. Lawson engages her subjects with intention and intuition alike, in staged situations characterized by the piercing directness of the model’s gaze. With their meticulous mise-en-scènes filled with personal artifacts and decor, these portraits underscore the psychological connections between people and their domestic spaces, fusing biography, symbolism, and cultural observation, and creating expansive images of contemporary personhood.
David Kordansky Gallery will present work by Deana Lawson at the upcoming Art Basel Online Viewing Rooms, June 17 – 26, with a VIP preview June 17 – 19, 2020.
David Kordansky Gallery is pleased to announce its representation of Jason Fox. For almost thirty years, Fox has painted pictures that inhabit the charged psychological spaces within American culture, as well as within the medium of painting itself. Exhibiting frequently at Feature Inc., among other galleries in the 1990s, he moved against the grain of prevailing appropriation-based and conceptual methodologies. His idiosyncratic, risk-taking paintings then and since have been filled with imaginary beings informed by modernist art, autobiographical reflection, and mythological symbolism, and a recurring cast of characters from comics, fantasy cinema, and popular music. As such, Fox produces pictures that condense broad propensities in the collective imagination into intimate images whose every brushstroke and color choice carries emotional weight. These unlikely but arresting pictures—suffused with Dadaist humor—make the most of painting’s ability to register organic, intuitively rendered changes in form and perspective. In many works from the last few years, Fox fuses portraits of well-known figures as well as images of his dog, demons, and angels. These hybridized beings appear to morph before the viewer’s eyes, communicating a sense of the fluidity with which they take shape on the canvas. This makes his work as personal and introspective as it is accessible, immediately recognizable, and culturally resonant.
An exhibition of Jason Fox's new paintings is currently on view at David Kordansky Gallery through July 11, 2020. The gallery will present work by Fox at the upcoming Art Basel Online Viewing Rooms, June 17 – 26, with a VIP preview June 17 – 19.
A long-term installation of Sam Gilliam's early works from the 1960s and 1970s opens at Dia:Beacon, New York on Saturday, August 10.