We are deeply saddened to announce the passing of Sam Gilliam. His family requests that, in lieu of flowers, donations be made to the NAACP Legal Defense Fund, The Children’s Defense Fund, Rock Creek Conservancy, or an art institution of the donor’s choosing.
Our hearts go out to his wife and partner, Annie; his children, Stephanie, Melissa, and Leah Franklin; his family; Jenn, Joseph, and the greater Gilliam studio; and all those touched by Sam’s boundless soul.
"I first fell in love with Sam Gilliam’s work when I was an MFA student at CalArts in the early 2000s. The dramatic and kaleidoscopic dance of his materials and his masterful retooling of the notions of paint and support were mesmerizing. Sam wrestled not only with the weight of art history and the antecedents of painterly discourse, but also with the energies that move between life and the entire cosmos.
Years later, I found myself discussing Sam’s work with Rashid Johnson over late-night drinks, a conversation that lasted well into the early morning hours. At the time, Rashid was not represented by my gallery, but it was through our shared love and respect for Sam’s practice that a bridge was formed between us. Sam was a bridge in a myriad of other ways too. He conjured the daring spirit and divine power of John Coltrane, McCoy Tyner, Charles Mingus, Thelonious Monk, Miles Davis, and Pharoah Sanders—the jazz heavyweights of exploration and improvisation. Sam was an architect of color whose vision propelled him into cosmic realms where experimentation and the moral compass provided by brave beauty were the only constants.
In 2012, Rashid, Mike Homer, and I decided to find Sam and propose an exhibition of his work. At that first visit to Sam’s Washington, D.C. studio—the first of many over the years—he responded to our proposal with what we thought was laughter, but soon realized were tears of joy. He quipped, "What took you so long?" and then we all cried together. For me, it was the beginning of an incredible adventure and collaboration rooted in love, art, and friendship.
The show, which was curated by Rashid and presented at my Los Angeles gallery in 2013, featured Sam’s 1960s hard-edge paintings and provided a look at the beginning of his career through the interpretive lens of an artist half his age. Sam was an undisputed giant of postwar painting, and in the five decades since those pictures had been made, he had represented the U.S. in the Venice Biennale, had his work shown in and collected by the most important museums in the world, and had reinvented painting for himself a dozen more times. And yet, this exhibition was a long overdue revelation for so many.
A decade ago, we were on the precipice of a tidal shift in the larger art world. The contributions of the Black avant-garde working in the U.S. from the 1960s through to the present, neglected by textbook versions of art history, were finally being recognized for their genius and significance. Sam’s revolutionary position was and is at the forefront of this conversation—he held the torch and lit the way for so many artists to come. A glance at the work being made by contemporary artists reveals his influence everywhere.
In the '60s, Sam disrupted the attitudes and codes of Color School painting. When he took his canvas off the traditional two-dimensional support to create his Drape paintings, he completely transformed both the medium and the space in which it was seen. On formal terms, this radical proposition changed the narrative of American art and abstraction forever, but it was also a broader and deeper statement about what art means in a democratic society. It is no accident that Sam’s breakthroughs came during the height of the civil rights movement. He demanded that art, however abstract or resistant to discursive language, serve as nothing less than an artist’s primary means of engaging with the world.
Even after this formative period, Sam proved his commitment to this ethos time and time again, producing work that differed from one body to the next and which defied expectations at every turn. He was a profound thinker with original ideas about art, music, and literature of all kinds. His opinions could be sharp, but they were backed up by a confidence and warmth that epitomized the art of being human. As I write this, I can recall the laugh of the "Big Tree," a nickname I gave him during one of our visits. Like a tree, Sam was grounded firmly in the earth, and constantly reached up towards the sun, the moon, and the stars, charting vast spaces that were always characterized by greatness.
I am deeply honored and blessed to have known Sam through the last decade of his journey. To serve his vision has been a life-defining privilege. It has been about more than work or even passion—it is a form of devotion to principles that represent what is good, abiding, and true. Sam changed the course of my life, like he inspired the lives of many others, as a generous teacher, mischievous friend, and sage mentor. Above all, Sam embodied a vital spirit of freedom achieved with fearlessness, ferocity, sensitivity, and poetry.
I love you, Sam. Thank you."
June 27, 2022
David Kordansky Gallery is pleased to announce a solo presentation of new paintings by Calvin Marcus at the inaugural edition of Frieze Seoul. These square compositions zero in on the weeds and tiny leaves that have appeared in so many of his other works, often in the background. Here, they pull focus into obsessive foreground details, emphasizing an aspect of nature that is often taken for granted. The weeds—a relentless emergence of green—thrive despite inhospitable contexts, flourishing atop new backdrops of nothingness. The plants that arise, intricate and bright, appear very much alive, but eerily so. Though the paintings are exhaustive, Marcus is not trying to recreate nature. Using repetition, motifs, and texture, he sticks to a vernacular and methodically creates his subject matter. This depiction of the ordinary contrasts with the extraordinary, feverish manner by which it is manifested, which appears almost devotional.
데이비드 코단스키 갤러리는 올해 처음으로 개최되는 프리즈 서울을 통해 캘빈 마커스 (Calvin Marcus)의 회화 신작들을 소개한다. 그의 새로운 정사각형 회화 작품들에서는 그의 지난 작품 속에서 배경으로 찾아볼 수 있었던 잡초와 작은 식물들이 주제가 된다. 마커스는 자연스럽다 못해 지루하다고 생각될 수 있는 자연의 일부분을 강박적으로 묘사하는데 그림 속 잡초들은 척박한 환경 속에서도 무성하고 끝없이 자라며 기존의 잡초보다 더 단조로운 갈색 배경을 뒤덮는다. 섬세하고 생생하게 표현된 식물을 보면서 보는 이는 문뜩 왠지 모를 으스스함이 느껴지기도 한다. 이번 작업에서 작가는 묘사에 많은 시간을 쏟았지만 자연을 그대로 모방하지는 않았다. 마커스는 반복, 모티프, 질감을 사용해 그만의 체계적이고 소박한 표현 방식으로 그림 속 풀들을 그려나간다. 마커스가 평범한 주제에 몰두해 평범하지 않은 방식으로 작업을 진행해가는 모습에서는 무아지경에 빠진 작가를 볼 수 있다.
David Kordansky Gallery is pleased to present a pop-up exhibition in Seoul, the gallery’s first initiative in the city, on view from August 18 through September 5, 2022.
Coinciding with the gallery’s solo presentation of new paintings by Calvin Marcus at Frieze Seoul (on view September 2–5, 2022), the pop-up will introduce Korean and Asian audiences to the breadth of the gallery’s program. The exhibition includes work by a multigenerational range of artists that highlights the gallery’s roots in Los Angeles as well as the international reach it has developed over the last two decades. Featured artists include John Armleder, Huma Bhabha, Matthew Brannon, Aaron Curry, Fred Eversley, Derek Fordjour, Jason Fox, Guan Xiao, Jennifer Guidi, Evan Holloway, Shara Hughes, Hilary Pecis, and Adam Pendleton.
데이비드 코단스키 갤러리는 8월 18일부터 9월 5일까지 한남동에서 서울 최초 팝업 전시를 개최한다.
9월 2일부터 5일까지 프리즈 서울에서 열리는 캘빈 마커스 (Calvin Marcus) 솔로 부스와 함께 야심 차게 선보이는 이 전시는 지난 20년간 로스앤젤레스에 뿌리를 두고 국제적으로 행동반경을 넓혀 온 갤러리의 역사와 다양한 세대의 소속 작가들을 한국과 아시아 관객들에게 소개하는 기회가 될 예정이다. 이 전시에는 존 암레더 (John Armleder), 후마 바바 (Huma Bhabha), 매튜 브래넌 (Matthew Brannon), 애론 커리 (Aaron Curry), 프레드 에버슬리 (Fred Eversley), 데렉 포쥬어 (Derek Fordjour), 제이슨 팍스 (Jason Fox), 관 샤오 (Guan Xiao), 제니퍼 귀디 (Jennifer Guidi), 에반 할로웨이 (Evan Holloway), 샤라 휴즈 (Shara Hughes), 힐러리 페치스 (Hilary Pecis), 애덤 팬들턴 (Adam Pendleton) 등의 작가가 참여한다.
"Betty Woodman changed the history of American art. She revolutionized the use of ceramics, making connections to painting and sculpture that shed light on each discipline separately, while showing how deeply they are intertwined. Woodman was an aesthetic warrior who saw formal possibilities everywhere, and whose feminist critiques of assumptions about genres and materials changed my view of art forever. Like many, I was completely taken by her magical ability to play volumetric space against planar representations of form, and I have been a fervent admirer and collector of her work for as long as I have been a gallerist. It is an honor to collaborate with the Woodman Family Foundation to bring new audiences and scholarship to the entire span of her pioneering career, from its early references to Etruscan pottery to its later flourishings in large-scale projects where she went up against the heroic ambitions of Matisse and Picasso in her own inimitable way."—David Kordansky
David Kordansky Gallery is pleased to announce the representation of the estate of Betty Woodman, which is stewarded by the Woodman Family Foundation. This new chapter in the gallery’s relationship with Woodman and her work, which began in 2014, launches with a major solo exhibition at its New York location that will open on October 28, 2022.
Betty Woodman (1930–2018) is recognized not only as one of the most important artists to work in ceramics—and one of those most responsible for its inclusion in contemporary art historical discourse—but also as an iconoclastic figure whose advances in several mediums made her a major voice in postwar American art. She transformed the functional history of clay into a point of departure, engaging in bold formal experiments in which she acknowledged the central role of the vessel even as she deconstructed, reassembled, and expanded upon it. Woodman employed the surfaces of her objects, whose shapes themselves often hinted at figuration, as ceramic canvases, inscribing them with glazed images and patterns of all kinds. Often, these included depictions of vessels that generated complex spatial and perspectival effects.
Both before and since her death, Woodman has been cited by artists from a wide range of disciplines as a key influence, one who brought together an unabashed love of beauty with a nuanced understanding of art’s role in culture at large as well as in the intimacy of domestic spaces. Woodman’s work reveals overlooked intersections between gender, modernism, function, and architecture, making it a prescient example of a practice that has as much to say about formalism as it does about the ways that people create and inhabit their environments. During much of her career, Woodman divided her time between New York, Colorado, and Italy, and her art reflected a similarly varied and international range of influences and inspirations, from the ancient to the contemporary. Among other areas of exploration, Woodman addressed the human form, the evolution of the vessel, the painterly possibilities of glaze, drawing and printmaking, installation, outdoor sculpture, and multimedia collaboration.
Betty Woodman was born in Norwalk, Connecticut, raised in Newton, Massachusetts, and studied ceramics at The School for American Craftsmen in Alfred, New York from 1948 to 1950. She was the subject of numerous solo exhibitions worldwide during her lifetime, including a 2006 retrospective at The Metropolitan Museum of Art, New York—the first time the museum dedicated a survey to a living female artist. Other solo shows have been presented at K11 Art Foundation, Hong Kong (2018); Institute of Contemporary Arts, London (2016); Museo Marino Marini, Florence, Italy (2015); Gardiner Museum, Toronto (2011); American Academy in Rome (2010); Palazzo Pitti, Giardino di Boboli, Florence, Italy (2009); Denver Art Museum (2006); and Stedelijk Museum, Amsterdam (1996). Recent group exhibitions include The Flames: The Art of Ceramics, Musée d’Art Moderne de Paris (2021); Less Is a Bore: Maximalist Art & Design, Institute of Contemporary Art, Boston (2019); and Liverpool Biennial, England (2016). Woodman’s work is in numerous permanent collections worldwide, including The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; Museu Nacional do Azulejo, Lisbon, Portugal; Los Angeles County Museum of Art; Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; National Museum of Modern Art, Kyoto, Japan; Philadelphia Museum of Art; Stedelijk Museum, Amsterdam; Victoria and Albert Museum, London; Whitney Museum of American Art, New York, and World Ceramic Center, Incheon, Korea. Woodman lived and worked in Boulder, Colorado; Antella, Italy; and New York.
All Opposing Players, a group exhibition curated by The Racial Imaginary Institute, features works by Lotte Andersen, Ed Fornieles, and Shaun Leonardo, who will present a live workshop at 11 AM on Saturday, July 23. The goal of this workshop is to ask the question: Are we, through non-verbal action, able to model and momentarily restore purpose to the act of debate by seeing difference not as a hindering factor but as a necessary component to reaching consensus and enacting change? Using a somatic methodology of physical embodiment, participants will be guided through a process in which they become more attuned to how they consciously and subconsciously activate in the face of confrontation.
While many exercises in future thinking are often idealistic and imagine a new world divorced from our current one, Andersen, Fornieles, and Leonardo work from an understanding that there is inherent violence in world-building. Here, childhood games—such as role-play, sports, puzzles, and nursery rhymes—are used as devices to push and pull at existing social tensions. Games are imaginary situations with real-world consequences. As audience members, we are invited to test out their parameters for ourselves, to play games by their rules.
Founded in 2016 by the author Claudia Rankine, The Racial Imaginary Institute (TRII) seeks to change the way we imagine race in the United States and internationally by lifting up and connecting the work of artists, writers, knowledge producers, and activists with audiences seeking thoughtful, innovative conversations and experiences. The members of TRII believe that "the work of defining and changing culture is all of ours." Institute members curating this exhibition include Makayla Bailey, Samantha Ozer, and Simon Wu.
Casements features new wall- and pedestal-based sculptures by Anthony Pearson. The exhibition presents for the first time Pearson's new Casement works, a variety of cement sculptures that promote a full-body engagement with space. Because these sculptures present as shallow relief forms, they read as both images and objects, and emphasize the eye's status as a physical organ and a translator of ephemeral, light-based impressions. Light, in other words, is given a physical address both in the environment and in the human body. Pearson's use of color enriches this dynamic even further. In some Casements, he focuses on a single color, as in dramatic all-black works whose complex tonal variations only become apparent upon close inspection. In others, he introduces gentle gradations of warmer or cooler tones, evoking not only the sky at different times of day but also the density, temperature, and feeling of air itself.
The new paintings included in Ivan Morley combine thread, ink, and watercolor on canvas, creating multifaceted visual surfaces that contain a polyphonic range of textures, colors, and images. In some portions of the paintings, particularly those rendered in ink, the artist invokes something akin to the draftsmanship of an illustrator. Imagistic vignettes unwind from each other against a patchwork, quilt-like background rendered in pastel hues, occasionally marked by Xs or question marks. Morley's embroidery-based process is explicitly indicated by formal elements visible in the ﬁnal works, speciﬁcally in notations such as "STOP," "GOOD SIDE," and "NO." These elements are derived from the artist's notes to himself, operating as a form of drawing that places them slightly adjacent to painterly gesture or expression in the traditional sense. Before embroidering the canvas, Morley uses ink and watercolors as tools to determine what will be sewn, and these underdrawings often bleed through the embroidered surface of the completed painting, suggesting the porousness of both material and time.
Join us after hours from 6 to 8 PM on Wednesday, July 20 for the ADAA’s special 60th anniversary edition of the Chelsea Gallery Walk. Enjoy light refreshments and see our current exhibition, William E. Jones: Survey, at our W. 20th Street gallery.
For more information and to download a printable map and programming guide, please click here.
David Kordansky Gallery is pleased to announce our representation of Chase Hall. Hall's first solo exhibition with the gallery will be presented at our New York space in fall 2023.
Chase Hall’s paintings and sculptures respond to generational celebrations and traumas encoded throughout American history. Responding to a variety of social and visual systems, each of which intersects with complex trajectories of race, hybridity, economics, and personal agency, Hall generates images whose materiality is as crucial to their compositional makeup as their indelible approach to representation. A central body of paintings, made with drip-brew techniques derived from coffee beans and acrylic pigments on cotton supports, is notable for both its conceptual scope and its intimacy. The use of brewed coffee carries powerful symbolic weight since it evokes centuries-old geopolitical systems associated with the commodification of a plant native to Africa, but in Hall’s hands, it also becomes a means of achieving subtle visual textures, a range of brown skin tones, and a mark-making vocabulary precipitated on the closeness of touch. Above all, however, it is his improvisational willingness to immerse himself in the indefinable personal hieroglyphics of each picture that gives his work its resonance and impact.
Chase Hall (b. 1993, St. Paul, Minnesota) has been included in group exhibitions including Black American Portraits, Los Angeles County Museum of Art (2021); Young, Gifted and Black: The Lumpkin-Boccuzzi Family Collection of Contemporary Art, University of Illinois Chicago (2021); and This Is America | Art USA Today, Kunsthal KAdE, Amersfoort, the Netherlands. Hall has been an artist-in-residence at The Mountain School of Arts, Los Angeles; Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Massachusetts; and Skowhegan School for Painting and Sculpture, Maine. Hall’s work is in the permanent collections of institutions including the Los Angeles County Museum of Art; Institute of Contemporary Art, Miami; Fondation Louis Vuitton, Paris; Baltimore Museum of Art; Brooklyn Museum, New York; Hammer Museum, Los Angeles; High Museum of Art, Atlanta; Montreal Museum of Fine Arts; Walker Art Center, Minneapolis; The Studio Museum in Harlem, New York; and Whitney Museum of American Art, New York.
We're open late on Tuesday, July 12! Join David Kordansky Gallery, Jack Shainman Gallery, and David Zwirner from 6 to 8 PM to experience our current exhibitions including:
David Kordansky Gallery
520 W. 20th Street | William E. Jones: Survey
Jack Shainman Gallery
513 W. 20th Street | Yoan Capote: REQUIEM
524 W. 24th Street | Yoan Capote: PURIFICATION
537 W. 20th Street | Richard Serra and Selected Parkett Editions 1984–2017
519, 525 & 533 W. 19th Street | Barbara Kruger
Full Moon, Jennifer Guidi’s first institutional solo exhibition in China, is now on view through August 21, 2022 at the Long Museum West Bund, Shanghai. The exhibition surveys the artist’s work to date and premieres a number of important, new paintings. Full Moon showcases Guidi’s practice and the evolution of her artistic process.
Guidi’s immersive work operates within both the physical and metaphysical worlds. Her abstract compositions literally and visually reference the natural world as she mixes sand with paint to depict arresting natural and cosmological phenomena. Guidi’s daily surroundings in Los Angeles are palpable throughout her body of work: the immense skies of California, filled with the fleeting color of sunrises and sunsets; the particular hazy light that blurs together colors and casts deep shadows; and the mountains she passes each day on the way to her studio.
Guidi’s practice is also deeply rooted in what lies beyond physical surroundings. Each painting is an "energy source" and is indebted to the power of vibrations, and incorporates recurring symbols from Western and Eastern religions, ancient civilizations, and the esoteric sciences. Guidi’s process of creating these serene, repetitive artworks is akin to a meditative practice. Reveling in external and internal symmetry in her work—such as sunrise and sunset, light and dark—Guidi invites these ideas to sit alongside a scientific study of geometry and color theory, resulting in works that are not only in harmony visually with nature, but also epistemologically balanced as well.
The new paintings included in Ivan Morley draw upon the conventions of the still life genre and were made directly from his observation of constructed props and other objects in his studio, including a sawhorse, a backdrop made of triangular shapes, and a length of chain. Whereas Morley’s earlier works possessed a narrative sensibility influenced by his interest in vernacular source material—often related to anecdotal social histories of California—the paintings in this exhibition are primarily concerned with sensory perception. In previous paintings, as the art historian John C. Welchman has described, Morley "[inverted] and [modified] the rhetorical device of ekphrasis," creating "a drift of sensations… that flow from text to image, rather than the other way around." Just as these earlier works reversed the orientation of the ekphrastic exercise—taking up an artistic tradition while also subverting it—Morley’s new paintings position themselves as still lifes even as his integration of multiple techniques in their making enacts a certain resistance to such standardized classifications.
Casements features new wall- and pedestal-based sculptures by Anthony Pearson. The exhibition presents for the first time Pearson’s new Casement works, a variety of cement sculptures that promote a full-body engagement with space. A careful observer of ambient conditions and a Los Angeles native, Pearson is an artist who channels the spirit of the Light and Space movement. This exhibition, for instance, is a calibrated installation; individual works contribute to an overall composition where the play between luminosity, shadow, physical and visual weight, and the viewer’s eye and body unfolds with quiet intensity. Even when removed from an exhibition context and seen on their own, Pearson’s sculptures imbue their surroundings with a concentrated sense of repose and draw attention to the kinds of fleeting changes that make otherwise static architectural settings come alive.
The group exhibition All Opposing Players, curated by The Racial Imaginary Institute, examines the complex phenomenon of nationalism through the works of Lotte Andersen, Ed Fornieles, and Shaun Leonardo. As part of the exhibition, on Saturday, July 23 at 11 AM, Leonardo will present a live workshop that incorporates audience participation to investigate how platforms of discussion may be rethought and possibly reinvented.
Andersen, Fornieles, and Leonardo all utilize game-playing to explore the dangerous and the utopian potential of the "we." The artists’ objects, videos, and performances address these concerns on a variety of scales, ranging from the deeply personal to the outwardly global, sometimes in challenging and contradictory ways. This project is situated within The Racial Imaginary Institute’s (TRII) wider research into nationalism, and poses questions such as: How much should we invest in ideas of the "we"? And how can we reimagine nation, tribe, and community?
Founded in 2016 by the author Claudia Rankine, The Racial Imaginary Institute seeks to change the way we imagine race in the United States and internationally by lifting up and connecting the work of artists, writers, knowledge producers, and activists with audiences seeking thoughtful, innovative conversations and experiences. The members of TRII believe that "the work of defining and changing culture is all of ours." Institute members curating this exhibition include Makayla Bailey, Samantha Ozer, and Simon Wu.
Join us for an in-person event at our New York gallery at 3 PM ET on Saturday, June 25 with Los Angeles-based artist, filmmaker, and writer William E. Jones, who will read from his novel, I Should Have Known Better. A conversation with Jones and OSMOS founder and director Cay Sophie Rabinowitz will follow. Copies of the novel will be available for purchase and signing by the artist.
William E. Jones: Survey marks our second presentation at our New York gallery and includes works by the artist made over the last three decades. The exhibition features a representative selection of twelve videos divided among three simultaneous projections. Two projections account for a single program, mostly featuring works with sound, that repeats every other hour; the third is dedicated to Rejected (2017), a single silent work almost eight hours in length.
Survey, an exhibition of film and video works by Los Angeles-based artist, filmmaker, and writer William E. Jones, will mark our second presentation at our New York gallery and includes works by the artist made over the last three decades. His first New York survey exhibition in an art-specific context, the show will be on view June 24 through August 5, 2022. Join us for an opening reception on Thursday, June 23 from 6 until 8 PM.
Survey features a representative selection of twelve videos divided among three simultaneous projections. Two projections account for a single program, mostly featuring works with sound, that repeats every other hour; the third is dedicated to Rejected (2017), a single silent work almost eight hours in length.
Much of the work Jones selected for inclusion in this survey focuses on foreign affairs. There is a particular emphasis on material related to Soviet-U.S. relations during and after the Cold War. Born during the 1962 Cuban Missile Crisis, Jones has gone on record about his once unfashionable—and now unfortunately, prescient—interest in this period, as well as anxiety about imminent nuclear war. These works begin with research and the identification of footage that hides in plain sight, buried in official repositories like the Library of Congress and National Archives of the United States, which also includes the CIA Film Library.
The editing strategies to which Jones subjects these materials, however, render them unmistakably contemporary. In some videos, he creates dense, even stroboscopic, sequences in which color and pattern appear in new ways; the result of painstaking editing according to rigorous organizational systems, the videos transform pieces of the historical record into living things that evoke the shock, disorientation, and visceral pleasure felt by viewers of early cinema.
Our group presentation opens today at Art Basel. Visit us in person at Booth R2 at Messe Basel or explore our online viewing room.
Presenting works by John Armleder, Huma Bhabha, Lucy Bull, Andrea Büttner, Valentin Carron, Fred Eversley, Derek Fordjour, Sam Gilliam, Guan Xiao, Raul Guerrero, Jennifer Guidi, Chase Hall, Lauren Halsey, Zach Harris, Evan Holloway, Rashid Johnson, Deana Lawson, Calvin Marcus, Joel Mesler, Ivan Morley, Shahryar Nashat, Ruby Neri, Odili Donald Odita, Anthony Pearson, Mai-Thu Perret, Hilary Pecis, Adam Pendleton, Tobias Pils, Torbjørn Rødland, Ricky Swallow, Tom of Finland, and Betty Woodman.
Visit us next week at Booth R2 at Art Basel or preview the presentation here. Featuring works by John Armleder, Huma Bhabha, Lucy Bull, Andrea Büttner, Valentin Carron, Fred Eversley, Derek Fordjour, Sam Gilliam, Guan Xiao, Raul Guerrero, Jennifer Guidi, Chase Hall, Lauren Halsey, Zach Harris, Evan Holloway, Rashid Johnson, Deana Lawson, Calvin Marcus, Joel Mesler, Ivan Morley, Shahryar Nashat, Ruby Neri, Odili Donald Odita, Anthony Pearson, Mai-Thu Perret, Hilary Pecis, Adam Pendleton, Tobias Pils, Torbjørn Rødland, Ricky Swallow, Tom of Finland, and Betty Woodman.
Survey, an exhibition of film and video works by Los Angeles-based artist, filmmaker, and writer William E. Jones, will mark our second presentation at our New York gallery. His first New York survey exhibition in an art-specific context, the show will be on view June 24 through August 5, 2022. An opening reception will be held on Thursday, June 23 from 6 until 8 PM.
The exhibition features a representative selection of ten videos made by Jones over the last three decades, divided among three simultaneous projections. Two projections account for a single program, mostly featuring works with sound, that repeats every other hour; the third is dedicated to Rejected (2017), a single silent work almost eight hours in length.
Jones’s videos, which take a wide variety of forms, range from the documentary essay The Fall of Communism as Seen in Gay Pornography (1998) to kaleidoscopic arrangements of found footage like Shoot Don’t Shoot (2012) in which elaborate mathematical formulas are used to weave together archival material in bracing new ways. Jones occupies a stance in which formal experimentation is inseparable from sociopolitical critique, but his position cannot be reduced to platitudes of the sort that often characterize artists’ forays into charged or topical material. Rather, he seeks to immerse himself in the insoluble contradictions that rise to the surface when historical documents are excavated, rearranged according to new parameters, and seen in new contexts.
Jones (b. 1962, Canton, Ohio) has been the subject of many solo exhibitions and retrospectives at institutions including the Wexner Center for the Arts, Columbus, Ohio (2015); St. Louis Art Museum, Missouri (2013); Austrian Film Museum, Vienna (2011); Anthology Film Archives, New York (2010); and ar/ge kunst Galerie Museum, Bolzano, Italy (2009). Recent and notable group exhibitions include Histories of our Time, Kunsthaus Baselland, Basel, Switzerland (2019); FRONT International: Cleveland Triennial for Contemporary Art, Ohio (2018); Ordinary Pictures, Walker Art Center, Minneapolis (2016); and Whitney Biennial 1993 and 2008, Whitney Museum of American Art, New York. His work is in the public collections of the Australian Centre for the Moving Image, Melbourne, Australia; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; St. Louis Art Museum; and Tate, London, among other museums. His latest novel, I Should Have Known Better, was published in 2021. He is also the author of True Homosexual Experiences: Boyd McDonald and Straight to Hell, Halsted Plays Himself, and I’m Open to Anything. Jones lives and works in Los Angeles.
David Kordansky Gallery is pleased to announce our participation in Art Basel 2022. An online viewing room presentation will run concurrently on our website.
Our presentation highlights the breadth of the gallery’s program and includes artists new to our roster. Featured artists include John Armleder, Huma Bhabha, Lucy Bull, Andrea Büttner, Valentin Carron, Fred Eversley, Derek Fordjour, Sam Gilliam, Guan Xiao, Raul Guerrero, Jennifer Guidi, Chase Hall, Lauren Halsey, Zach Harris, Evan Holloway, Rashid Johnson, Deana Lawson, Calvin Marcus, Joel Mesler, Ivan Morley, Shahryar Nashat, Ruby Neri, Odili Donald Odita, Anthony Pearson, Mai-Thu Perret, Hilary Pecis, Adam Pendleton, Tobias Pils, Torbjørn Rødland, Ricky Swallow, Tom of Finland, and Betty Woodman.
David Kordansky Gallery is pleased to announce our representation of Philadelphia-based artist Odili Donald Odita in collaboration with Jack Shainman Gallery.
Odili Donald Odita brings heightened awareness to color and space in paintings where abstraction is an optically, physically, and culturally-felt phenomenon. Though they are rooted in a broad range of historical lineages—Africanist approaches to pattern; modernist painting and design; and contemporary conceptual positions, to name a few—his compositions make immediate appeals to the senses in the here and now. Odita's take on non-objective art is suffused with connectivity to the world around him, and arises from memories, philosophical reflections, and meditations on the ways in which political forces shape relationships between perception and form. His primary stance is one of constant engagement, as evidenced by Odita's interest in creating both discrete works and large-scale, site-specific installations. In both cases, he decenters figure-ground relationships to generate palpable experiences of the horizon and the periphery. These, in turn, become metaphorical carriers of possibility and surprise, as well as symbols of openness in the visual and social worlds alike.
Odili Donald Odita (b. 1966, Enugu, Nigeria) has been the subject of solo exhibitions at institutions including the Philadelphia Museum of Art (2021); Virginia Museum of Fine Arts, Richmond, Virginia (2020); Institute of Contemporary Art, Miami (2019); and Nasher Museum of Art at Duke University, Durham, North Carolina (2015). Notable group exhibitions include New Grit: Art & Philly Now, Philadelphia Museum of Art (2021); Generations: A History of Black and Abstract Art, Baltimore Museum of Art (2019); How We See: Materiality of Color, Laumeier Sculpture Park, St. Louis (2019); Front International: Cleveland Triennial for Contemporary Art: An American City, Cleveland (2018); Prospect 4: The Lotus in Spite of the Swamp, New Orleans (2017); Think with the Senses – Feel with the Mind: Art in the Present Tense, 52nd Venice Biennale, Italy (2007). Odita's work is in the permanent collections of numerous museums, including the Baltimore Museum of Art; Pérez Art Museum, Miami; Philadelphia Museum of Art; San Francisco Museum of Modern Art; and The Studio Museum in Harlem, New York. Odita lives and works in Philadelphia.
Join us from 7 – 9 PM on Wednesday, June 8 for a celebration of The Galaxy Song, a new publication documenting works by Matthew Brannon and Elijah Funk & Alix Ross (Online Ceramics) featured in their 2021 exhibition at our Los Angeles gallery. Purchase the book now at our online shop or at the event.
The Galaxy Song showcases unique silkscreen prints and paintings by Brannon and paintings and sculpture by Funk & Ross, the artists and designers behind the fashion design company, Online Ceramics. An essay by The New Yorker’s Naomi Fry contextualizes the writer's initial experiences with the music and visual graphics produced by the Grateful Dead and how these motifs appear in works by Brannon and Funk & Ross. The Galaxy Song is designed by Studio LHOOQ.
Recent Paintings features new paintings made by Chris Martin in the Catskill Mountains, New York, where the artist has maintained a lifelong connection. The paintings exemplify Martin's four-decade-long, freethinking approach to the medium. Abstraction, landscape, and collage coexist on equal, if repeatedly negotiated terms, so that taking in the show as a whole renders moot such categorical distinctions. Instead, Martin provides evidence for the overlapping and mutual influence of numerous artistic lineages. On several occasions, gestural and geometric brands of abstraction inhabit the same composition, though in other cases, one or the other of these modes dominates as Martin makes full use of its visual moods and textural possibilities. For instance, the bands of color intersected by zigzagging or diamond forms that have shown up in Martin’s work in different guises over the years, and that nod toward hard-edged aesthetics while maintaining a notably soft and surreal pictorial weight, appear here with a particularly crystalline clarity.
Learn more about the artist in Chris Martin: The Eighties, a new catalogue of the artist's 2019 exhibitions at David Kordansky Gallery, Los Angeles, and Anton Kern Gallery, New York, available now in our shop.
Barking Panting Sighs Heavenly, an exhibition of new sculptural works by Valentin Carron, explores the romanticized loneliness often associated with the lives of artists. Among other things, Barking Panting Sighs Heavenly is an investigation of what it means for things to feel familiar. Carron deftly points to the fact that the artistic longing to make something is often driven by a desire to make friends with impulses and emotions which originally present as strange, disturbing, or alien. The figures on view toggle back and forth between such extremes, with each aspect of their construction—including their material presence, their off-kilter and yet forthright sense of color, and their portrayals of various permutations of human/animal relationships—keying recognizable associations even as it suggests that the things and situations people know best are never quite what they seem. If art has been a means of confronting this contradiction throughout the ages, it too remains an essentially mysterious endeavor. Carron's concentration on simplicity and recognizability, and on the primacy of his own struggles to define the meaning of his chosen vocation, allows him to delight in this paradox, and to address its unsettling ramifications with humor and humanity.
GET HOME SAFE, Danielle Brathwaite-Shirley's immersive, interactive installation, is part of an ongoing archival project where the artist endeavors to remedy the state of erasure in which Black Trans lives have been removed from records of the past, accounts of the present, and visions of the future. Eliciting a felt sense of responsibility is a key component of Braithwaite-Shirley's work. Thus, her primary medium is the audience and its actions, decisions, and behavior as they unfold within the spaces of her digital and physical environments. Included in GET HOME SAFE are text-based drawings created by printing red letters on black acrylic panels that further explore the power of text as an engine to further define and communicate Black Trans existence. The red is similar to the color of blood, emphasizing the vital energies at stake and the intimacy they make possible. Mounted on custom wallpaper covering the entirety of the gallery and featuring images of the Kerry James Marshall portrait, A Portrait of the Artist as a Shadow of His Former Self (1980), the panels are components of a world-encompassing vision that has ramifications for every facet of life in the twenty-first century. This vision includes, most importantly, the negotiation of ever-shifting lines between individual storytelling and collective community-building.
David Kordansky Gallery is pleased to present our Art Basel Hong Kong presentation featuring new paintings by Lesley Vance and a selection of works from the 1960s and '70s by Czech artist Anna Zemánková (1908–1986). Visit us in person May 25 – 29 at Booth 1C08 at the Hong Kong Convention and Exhibition Center or explore our online viewing room.
The presentation will not only mark the first time that these two artists have been shown together, but will also be the most focused exhibition of each of their respective works in Asia to date. It will also call attention to visual, art historical, and philosophical correspondences that unite their projects despite the generational divide that separates them, revealing parallels in patterning and compositional intensity, but also—and perhaps most importantly—in emotional and intellectual impact. The booth will provide a sensitive and illuminating introduction to the work of two genre-defying artists, as well as a springboard for new critical approaches to the development of twentieth- and twenty-first-century painting. Vance’s and Zemánková’s respective approaches to abstraction can be read through interpretive frameworks associated with abstract expressionism, surrealism, and other canonical legacies, as well as the lenses of individualist and idiosyncratic visions that are entirely their own.
大卫·柯丹斯基画廊很荣幸地宣布将于2022年香港巴塞尔艺术展上推出莱斯利·万斯（Lesley Vance）的新绘画作品，以及捷克艺术家安娜·泽曼科娃（Anna Zemánková，1908-1986）创作于1960、70年代的一系列精选作品。本届香港巴塞尔艺术展将于2022年5月25日至29日举办。欢迎莅临画廊位于香港会展中心的1C08 展位，或点击进入线上展厅。
Sam Gilliam: Full Circle, Sam Gilliam's first solo exhibition at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. opens May 25 and will be on view through September 11, 2022. The exhibition pairs a series of circular paintings (or tondos) created in 2021 with Rail (1977), a landmark painting in the Hirshhorn’s permanent collection. With its immense scale of more than fifteen feet in length, stained underpinning, pieced canvas structure, and deep tones, Rail offers a resonant counterpoint to Gilliam’s recent tondos. The exhibition is organized by Evelyn C. Hankins, the Hirshhorn’s head curator.
Sam Gilliam: Full Circle reflects the breadth of Gilliam's multilayered practice, marking his first exhibition since 2007 in his chosen hometown of Washington, D.C. Gilliam’s tondos expand the body of Beveled-edge paintings that he first pioneered in the 1960s. Ranging in size from three to five feet in diameter, each tondo begins with a beveled wood panel, which the artist loads with layers of dense, vibrant pigments, their aggregate effect heightened through the addition of thickening agents, sawdust, shimmering metal fragments, wood scraps, and other studio debris. Using a stiff metal rake along with more traditional tools, Gilliam then abrades, smears, and scrapes the coarse surfaces to reveal a constellation of textures and colors below.
David Kordansky Gallery is pleased to present a solo presentation of new works by Mai-Thu Perret for Frieze New York. Preview the presentation here, and visit us at Booth B1 at the fair from May 18 – 22, 2022.
The sculptures and watercolors featured in this presentation are related to works in Perret’s solo exhibition Real Estate, on view at the Istituto Svizzero in Rome through June 26, 2022. These works draw on her interest in the goddesses of Roman mythology and elaborate upon her ongoing explorations of feminist counter-narratives and mystical and utopian impulses.
Diana, one of Perret’s new large-scale sculptures on view, references Diana of Ephesus, a distinctive incarnation of the Roman goddess of the hunt who is depicted with rows of bulbous, breast-like lumps on her torso. In two of the most well-known depictions of Diana of Ephesus—dating from the first and second centuries A.D.—the goddess’s lower body also features panels from which sculptural representations of bulls, lions, and other creatures emerge. Perret has recreated the rows of strange, breast-like protrusions, but in her sculpture, the ancient figure has been refashioned as a contemporary young woman with cropped, close-cut hair, wearing sneakers and an open-back dress. The rectangular panels that grid this floor-length skirt, absent the assortment of animals that characterize its historical counterparts, suggest underlying order and mystical geometries. Such anachronistic dissonances, alongside the material counterbalance between the ceramic figure and her bronze hands, position Perret’s Diana within myth as well as science fiction, generating new stories for this ancient goddess. The sculpture also serves as a companion to another recent sculpture by the artist, on view at the Istituto Svizzero, that depicts the Roman goddess Minerva.
Death Fan, Tala Madani’s first major solo exhibition in the Netherlands, opens today, May 14, at KM21, The Hague, and will be on view through August 21. The exhibition brings together a selection of paintings and video animations that punctuate the tension between comedy and humiliation that is seen across Madani’s ongoing series of works, including Shit Moms, Fans, and Concrete Suicide. Learn more about the exhibition here.
Congratulations to Deana Lawson, winner of the 2022 Deutsche Börse Photography Foundation Prize for her traveling solo exhibition, Centropy, which was on view at Kunsthalle Basel in Switzerland from June 9 through October 11, 2020. The jury was unanimous in their decision to award Lawson the prize, regarding her contribution to photography to be both groundbreaking and urgent. Lawson's photography, along with the work of three additional shortlisted artists, is currently on view at The Photographers' Gallery, London, through June 12, 2022.
The influential and longstanding prize, established by The Photographers' Gallery, London, in 1996 and presented in collaboration with the Deutsche Börse Group since 2005 and the Deutsche Börse Photography Foundation since 2016, awards artists and projects that have made a significant and original contribution to the medium of photography over the preceding twelve months. Previous awardees include Trevor Paglen, Walid Raad, Juergen Teller, Cao Fei, and Andreas Gursky.
The jury of the Deutsche Börse Photography Foundation Prize 2022 included Yto Barrada, artist; Jessica Dimson, Deputy Director of Photography, The New York Times; Yasufumi Nakamori, International Art (Photography) Senior Curator, Tate Modern; Anne-Marie Beckmann, Director, Deutsche Börse Photography Foundation; and Brett Rogers, OBE, Director, The Photographers' Gallery, as voting chair.
Lauren Halsey’s self-titled exhibition—the first solo presentation by the artist in New York—is now on view through June 11 at our new gallery located at 520 W. 20th Street in Chelsea. Read more about the artist in a major profile in today's print edition of The New York Times or online.
Halsey imagines new possibilities for art, architecture, and community engagement. Combining found, fabricated, and handmade objects, her work maintains a sense of civic urgency and free-flowing imagination, addressing crucial issues confronting Black people, queer populations, and the working class. This exhibition highlights Halsey’s visionary, collaborative ethos, and includes new examples from several bodies of work. Among them are funkmound sculptures, including one with a functioning waterfall; twelve-foot-tall, hand-painted columns; wall-based sculptures composed using synthetic hair; wall-based reliefs on Hydro-Stone, gypsum, and foil supports; and sculptures constructed from stacked, painted boxes that evoke the signs and symbols of neighborhood life, as well as a new type of sculpture that channels the vivid energy of a streetscape.
In a major profile of Lauren Halsey by Robin Pogrebin in The New York Times, Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem, says, "Lauren is a builder—a builder of art, a builder of objects, but also a builder of community. In that really potent combination is where her deep significance lies."
In her first solo exhibition in New York, opening tonight at 6 PM ET at our Chelsea gallery located at 520 W. 20th Street, Halsey documents and honors the communities, neighborhoods, and people of South Central Los Angeles, her generational home, through a series of new engravings, pillars, funkmounds, and box sculptures. The exhibition will be on view through June 11.
Read "Lauren Halsey Brings Her Vision of South Central Los Angeles to New York" online and in the May 9 print edition of The New York Times.
Lauren Halsey’s first solo exhibition in New York inaugurating our new gallery opens this Friday, May 6 and will be on view through June 11, 2022. Join us for the opening reception on Friday, May 6 from 6 until 8 PM.
In her self-titled exhibition, Halsey tasks herself with matters of time. For Halsey, time is that element that belongs to funk, a modality that presumes land, place, home, sound, and ephemera to be traveling things. Time pressurizes and symbolizes, time instructs and erects, time—within funk—is an emancipatory organism, belonging only to get free.
The exhibition features a series of architectural structures, geological manifestations, and vernaculars (hue, font, images) from South Central Los Angeles, her generational home. The exhibition continues her ever-growing lexicon of engravings, pillars, funkmounds, and box sculptures. Declarations and blessings ("GOD BLESS US!!!" And "WE’LL HOOK YOU UP") appear on neon ombre structures alongside businesses offering to save, adorn, and feed you. Signage from buildings now gone, and proclamations from those that still stand, stack alongside and atop each other forwarding Halsey's sensibility that time itself is a matter of design wherein the past is not merely present but is structuring our HERE and our NOW.
Limited edition tees designed by Online Ceramics in celebration of Lauren Halsey's solo exhibition inaugurating our New York gallery will be available for in-person purchase at the opening reception on Friday, May 6 from 6 until 8 PM. A limited number of tees are available now at our online shop.
100% of net proceeds from the tees will benefit Halsey's Summaeverythang Community Center based in South Central Los Angeles, which is dedicated to the empowerment and transcendence of Black and brown folks socio-politically, economically, intellectually, and artistically.
Pain in the Shell, an exhibition of recent work by Torbjørn Rødland, features a group of photographs in which symbolic engagement is squarely in the foreground. As one of the most prescient and critically minded of artists employing analogue photographic techniques, Rødland has developed a constantly evolving, carefully interwoven project in which images brim with interpretive potential and physical immediacy alike. Rødland’s willingness to explore the symbolic dimension—as it pertains to the biological, cultural, and spiritual facets of life, to name a few—means that his work resonates on numerous levels at once, provoking thought and feeling in equal measure, as well as confrontation with underlying and inexplicable mysteries of human experience.
Pain in the Shell finds Rødland probing further than ever into the core of what makes images exert their powerful effects on individual people. While he openly acknowledges the media- and information-saturated world that generates so much visual stimulus in contemporary life, he also presents tableaux in which signs of exchange are overwhelmed by visceral, primal forces. The photographs in Pain in the Shell are disarming precisely because they acknowledge that surface-oriented strains of contemporary culture, even when they are reduced to memes or other fleeting vessels of convention, conceal reservoirs of living material.
Magic, Mystery & Legerdemain, our first solo exhibition event by Derek Fordjour, is a multisensory experience that comprises various elements. The first consists of new sculptures and paintings—including the artist’s largest to date—constructed using Fordjour’s signature collage technique; the second is an architectural installation featuring a live performer at the gallery’s entryway; and finally, a live magic performance by Kenrick Ice McDonald and Nubia Bowe occurring daily at 2 PM through this Saturday, May 7 in the West Gallery.
In collaboration with artist/director Numa Perrier, Fordjour created a theatrical magic show reminiscent of vaudevillian era performances tinged with light camp, kitsch, and a live organist. The experience further advances Fordjour’s interest in power, narrative, rituals, and performance, allowing for full immersion in the mystery, humor, and pathos of a popular art form whose roots extend beyond the domain of visual art. At the same time, it underscores his interest in posing questions about magic’s ability to distort reality—or accurately represent a reality that is already distorted—and to explore the blurry space between belief and authenticity.
Barking Panting Sighs Heavenly, an exhibition of new sculptural works by Valentin Carron, explores the romanticized loneliness often associated with the lives of artists. A group of sculptures in which humanoid figures are accompanied by dogs reflects his ongoing interest in motifs whose appeal is universal but whose roots are local or personal. He produced the forms using children’s modeling clay; after baking them in his home oven, they were scanned and then either robotically carved in wood or cast in aluminum at human scale. As some of their titles indicate, these figures are distinguishable as either adults or children, but show no other legible markers of identity. This allows them to be read as the products of a bare kind of expression that privileges directness and simplicity. It also allows them to resonate with a wide range of classical, contemporary, and vernacular representations that appear throughout the histories of art and literature. At the same time, its rawness is somehow both sordid and metaphysical—a reminder that artistic renditions of solitude can be as cheerless and matter-of-fact as they are poetic and spiritual.
Chris Martin: Recent Paintings features new paintings made in the Catskill Mountains, New York, where the artist has maintained a lifelong connection. While some pictures in this exhibition include appropriated images of recognizable Martin forms like the planet Saturn, cannabis leaves, and mushrooms, even the works that remain entirely non-objective are full of palpable moods and a sense of place. Some communicate wintry austerity and the sense of spaciousness and wonder that accompany it; others pulsate with an awareness of the life cycle, as well as the human responses of pathos and humor that tend to crop up as one season gives way to the next. The natural world is never far away from Martin’s eye, process, or ethos. He has been known to work outside in the landscape itself, and to make plain the connections not only between earth, heaven, and light, but also between the many sense impressions that flood awareness when an artist—or a viewer—is immersed in an experience of the ambient environment.
Chris Martin: The Eighties, a new catalogue of the artist’s 2019 exhibitions at David Kordansky Gallery, Los Angeles, and Anton Kern Gallery, New York, will be available on our website in May.
GET HOME SAFE, Danielle Brathwaite-Shirley's immersive, interactive installation, is part of an ongoing archival project where the artist endeavors to remedy the state of erasure in which Black Trans lives have been removed from records of the past, accounts of the present, and visions of the future. At the center of the exhibition is a digitally animated work in which viewers explore a series of choices and their consequences in real time.
The pro-Black, pro-Trans game—in which viewers explore what it means to walk home alone at night in certain bodies—tasks the player with guiding the on-screen protagonist through a desolate cityscape. Prompts that elicit viewers to acknowledge their association with privileged identities—such as white, hetero, able-bodied, and/or cisgender—become important points of connection. Interactivity is also a key conceptual element, with viewers asked to take an active role in deciding how the narrative unfolds. As scenes shift based on decisions taken by the player, alerts show up when chosen actions cause harm to the very figure they are intended to protect. Subtle inactions, such as inert stillness, are called out— often with a reminder that inaction is a form of complicity.
David Kordansky Gallery is pleased to announce our Art Basel Hong Kong presentation featuring new paintings by Lesley Vance and a selection of works from the 1960s and ’70s by Czech artist Anna Zemánková (1908–1986). The fair will take place May 25 – 29, 2022. Art Basel Live: Hong Kong, a series of online viewing rooms, will run concurrently with the in-person show.
The presentation will not only mark the first time that these two artists have been shown together, but will also be the most focused exhibition of each of their respective works in Asia to date. It will also call attention to visual, art historical, and philosophical correspondences that unite their projects despite the generational divide that separates them, revealing parallels in patterning and compositional intensity, but also—and perhaps most importantly—in emotional and intellectual impact. The booth will provide a sensitive and illuminating introduction to the work of two genre-defying artists, as well as a springboard for new critical approaches to the development of twentieth- and twenty-first-century painting.
Vance’s and Zemánková’s respective approaches to abstraction can be read through interpretive frameworks associated with abstract expressionism, surrealism, and other canonical legacies, as well as the lenses of individualist and idiosyncratic visions that are entirely their own. The work of both artists is filled with forms whose organic modeling offers clear parallels to the natural world; their non-objective subjects carry the weight and presence of real things, even as they exude an alien unlikeliness that prevents them from being mistaken for representational images.
Lesley Vance (b. 1977, Milwaukee) has been the subject of solo and two-person exhibitions at the FLAG Art Foundation, New York (2012); Bowdoin College Museum of Art, Bowdoin, Maine (2012); and Huntington Library, Art Museum, and Botanical Gardens, San Marino, California (with Ricky Swallow, 2012). Her work is in the permanent collections of the Dallas Museum of Art; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Milwaukee Art Museum; San Francisco Museum of Modern Art; Whitney Museum of American Art, New York; Los Angeles County Museum of Art; and Hammer Museum, Los Angeles, among many others. In 2019, Gregory R. Miller & Co. published a monograph surveying the last five years of Vance’s work. Vance lives and works in Los Angeles.
Originally trained as a dentist, Anna Zemánková (b. 1908, Olomouc, Czechoslovakia; d. 1986, Prague, Czech Republic), exhibited her artwork during her lifetime in solo and group exhibitions in Czechoslovakia. In 2017, she was the subject of a solo exhibition at Collection de l'art Brut, Lausanne. Anatomia Metamorphosis, a 2011 solo exhibition that originated at Museum Montanelli, Prague, also traveled to Saarländische Galerie, Berlin; Hyogo Prefectural Museum of Art, Japan; and Hiroshima City Museum of Contemporary Art, Japan. In recent years, she has also been included in many shows dedicated to art brut and outsider art, as well as international survey exhibitions such as Il palazzo enciclopedico, 55th Venice Biennale, Italy (2013), and solo exhibitions at galleries including Cavin-Morris Gallery, New York and Christian Berst Gallery, Paris.
大卫·柯丹斯基画廊很荣幸地宣布将于2022年香港巴塞尔艺术展上推出莱斯利·万斯（Lesley Vance）的新绘画作品，以及捷克艺术家安娜·泽曼科娃（Anna Zemánková，1908-1986）创作于1960、70年代的一系列精选作品。本届香港巴塞尔艺术展将于2022年5月25日至29日举办。“巴塞尔艺术展现场：香港”（Art Basel Live: Hong Kong）将与现场展览同步进行，该项目旨在为观众呈现一系列线上展览。
莱斯利·万斯（1977年生于密尔沃基）的个展和双个展举办机构包括： FLAG艺术基金会，纽约（2012）；鲍登学院艺术博物馆，鲍登，缅因州（2012）；亨廷顿图书馆、艺术收藏和植物园，圣马力诺，加州（与瑞奇·斯瓦罗的双个展，2012）。她的作品被永久收藏于：达拉斯艺术博物馆；纽约现代艺术博物馆；大都会博物馆，纽约；密尔沃基艺术博物馆；旧金山现代艺术博物馆；惠特尼美国艺术博物馆，纽约；哈默艺术博物馆，洛杉矶等。2019年，Gregory R. Miller & Co 出版社推出了一本专题画册，收录了万斯在过去五年中创作的作品。万斯目前在洛杉矶生活和工作。
David Kordansky Gallery is pleased to present Lauren Halsey’s first solo exhibition in New York to inaugurate our new gallery located at 520 W. 20th Street in Chelsea. Join us for an opening reception from 6 until 8 PM on Friday, May 6.
In her self-titled exhibition, on view May 6 through June 11, Halsey tasks herself with matters of time. For Halsey, time is that element that belongs to funk, a modality that presumes land, place, home, sound, and ephemera to be traveling things. Time pressurizes and symbolizes, time instructs and erects, time—within funk—is an emancipatory organism, belonging only to get free.
Lauren Halsey features a series of architectural structures, geological manifestations, and vernaculars (hue, font, images) from South Central Los Angeles, her generational home. The exhibition continues her ever-growing lexicon of engravings, pillars, funkmounds, and box sculptures. Declarations and blessings ("GOD BLESS US!!!" And "WE’LL HOOK YOU UP") appear on neon ombre structures alongside businesses offering to save, adorn, and feed you. Signage from buildings now gone, and proclamations from those that still stand, stack alongside and atop each other forwarding Halsey's sensibility that time itself is a matter of design wherein the past is not merely present but is structuring our HERE and our NOW.
In this presentation, Halsey has folded these box sculptures into her funkmounds—curved, cavernous, plaster structures—forging a scale model of South Central. This funkified architectural endeavor asks: How can existing buildings merge with a geological structure which offers substantive support, respite, and permanence? Halsey’s funkmounds protect that which is still here by erecting an earth-driven structure around it. Here, each fold and turn of the mound offers both shield and shelter, placing the people and things of South Central as that which must be protected. In the spirit of June Jordan’s radical architectural plan Sky Rise for Harlem, Halsey presents architecture as a tool by which to imagine Black futurity through a persistent stake in our presence. As Jordan pivoted the language of redevelopment towards harboring an expansive and visionary spatial landscape for Black Harlem in 1960, Halsey’s scale model uses funk as a modality that demands "transcendence from the mess of this world."
The exhibition also includes a series of new hieroglyphic engravings continuing the artist’s practice in monument making. Carved silhouettes of Black people, businesses, pyramids, and a spectrum of South Central glyphs mark the panels. Halsey’s investment in the grammars of Black life—social, economic, and spiritual—mark the vertical structures which are built to support it. As Douglas Kearney noted in the essay "On Lauren Halsey," these panels signal not merely the building of a wall but also the "adorning of ones already up." Halsey is ever mapping a Black geography, cementing and confirming that which is/has/will be there.
Lauren Halsey has been commissioned by The Metropolitan Museum of Art, New York, to create a site-specific installation for the museum’s Iris and B. Gerald Cantor Roof Garden. Titled the eastside of south central los angeles hieroglyph prototype architecture (I), the installation will open in spring 2023. Halsey was awarded Seattle Art Museum’s 2021 Gwendolyn Knight and Jacob Lawrence Prize and was the subject of a solo exhibition at the museum in 2022. She has also presented solo exhibitions at the Museum of Fine Arts, Boston (2021); David Kordansky Gallery, Los Angeles (2020); Fondation Louis Vuitton, Paris (2019); and Museum of Contemporary Art, Los Angeles (2018). Halsey participated in Made in L.A. 2018, Hammer Museum, Los Angeles, where she was awarded the Mohn Award for artistic excellence. Her work is in the collections of the Institute of Contemporary Art, Miami; Museum of Fine Arts, Boston; Columbus Museum of Art, Ohio; Hammer Museum, Los Angeles; and Museum of Contemporary Art, Los Angeles. In 2020, Halsey founded Summaeverythang Community Center and is currently in the process of developing a major public monument for construction in South Central Los Angeles. Her work will be the subject of a catalogue published by David Kordansky Gallery in 2022. Halsey lives and works in Los Angeles.
David Kordansky Gallery is pleased to announce a solo presentation of new works by Mai-Thu Perret for Frieze New York. The fair will take place May 18 – 22, 2022, with VIP Previews from May 18 – 19.
The sculptures and watercolors featured in this presentation are related to works in Perret’s solo exhibition Real Estate, on view at the Istituto Svizzero in Rome through June 26, 2022. These works draw on her interest in the goddesses of Roman mythology and elaborate upon her ongoing explorations of feminist counter-narratives and mystical and utopian impulses.
While conceptually reframing archetypal narratives and iconography throughout this presentation, Perret has also revisited themes and forms from her previous works—particularly ones related to the female figure, symbolic interpretation, and art historical critique. Through such acts of retelling, Perret indicates the recursive nature of all stories, histories, and myths—repeated, revised, and reused indefinitely by individuals and communities across vast stretches of space and time.
The large-scale ceramic sculpture, The hundred flowers that come with the spring, for whom do they bloom ? I, renders the form of a corpse flower (Amorphophallus titanum), an immense plant native to Indonesia infamous for the potent, putrid smell (often compared to the stench of rotting flesh) released during its peak bloom in the night and early morning. Perret’s sculptural version emphasizes the abstract formal qualities of the plant’s botanical structure: the visual poetry of the spadix and spathe, and the phallic spike that emerges from the flower and the leafy sheath that contains it.
Mai-Thu Perret is currently the subject of the solo exhibition, Real Estate, on view at Istituto Svizzero, Rome, through June 26, 2022. In 2019, Perret was the subject of a survey exhibition at MAMCO Geneva (Musée d’art moderne et contemporain). She has also been the subject of solo exhibitions at Le Portique – centre régional d’art contemporain du Havre, France (2020); Badischer Kunstverein, Karlsruhe, Germany (2019); Spike Island, Bristol, England (2019); Nasher Sculpture Center, Dallas (2016); Le Magasin, Grenoble, France (2012); Haus Konstruktiv, Zurich (2011); University of Michigan Museum of Art, Ann Arbor (2010); San Francisco Museum of Modern Art (2008); and Renaissance Society at the University of Chicago (2006). Her work is in the permanent collections of institutions including the Centre National des Arts Plastiques, Paris; Collection Aargauer Kunsthaus, Arau, Switzerland; Fond National d’Art Contemporain, Paris; Migros Museum of Contemporary Art, Zurich; San Francisco Museum of Modern Art; and Walker Art Center, Minneapolis. Perret lives and works in Geneva.
We are pleased to announce the opening of David Kordansky Gallery New York on May 6, 2022, with an inaugural exhibition of new work by Lauren Halsey. The artist’s first solo exhibition in New York will highlight her visionary, collaborative ethos, and will present a series of architectural structures, geological manifestations, and vernaculars reflective of Halsey’s generational home in South Central, Los Angeles. Join us for an opening reception from 6 until 8 PM on Friday, May 6.
"Opening David Kordansky Gallery in New York has always been part of the dream, for both me and our artists," said David Kordansky. "I'm excited to provide a new platform for our growing program and to merge our sensibilities with the rich history and cultural trajectories of New York. I couldn't be prouder to launch this next phase with Lauren Halsey, an artist who celebrates past narratives while envisioning future spaces, and who honors and builds community through her art."
Lauren Halsey’s self-titled solo exhibition, on view May 6 through June 11, 2022, features new examples from several bodies of work by the artist. Among them are funk mound sculptures, including one with a functioning waterfall; twelve-foot-tall, hand-carved painted columns; wall-based sculptures composed using synthetic hair; wall-based reliefs on both plaster and foil supports; and sculptures constructed from stacked, painted boxes that evoke the signs and symbols of neighborhood life, as well as a new type of box sculpture that channels the vivid energy of a streetscape.
Located at 520 W. 20th Street, our 5,000 square foot New York gallery was designed in partnership with Kulapat Yantrasast and his acclaimed firm, WHY, with the firm's New York Director Andrija Stojic, marking our third collaboration together since 2014. Reflecting the architects' commitment to connecting people, cultures, and places, David Kordansky and WHY established a common language through unique visual and proportional cues. Our New York gallery space welcomes visitors with an engaging experience while foregrounding the artwork on view.
ANNOUNCING REPRESENTATION OF GUAN XIAO
David Kordansky Gallery is pleased to announce our representation of the Beijing-based artist Guan Xiao. To learn more about Guan Xiao’s work, please visit ARTnews for a feature on the artist.
Guan Xiao takes a playful approach to making sculptures, videos, and installations, identifying disparate relationships between unexpected materials to create a visual language that breaks historical and cultural boundaries alike. She often positions physical objects—such as industrial products and cultural artifacts—alongside images amassed from scrolling through the infinite universe of desktop and laptop screens. Her works generate cohesive textures between binaries sourced from contrasting and even conflicting worlds, and fuse old and modern, digital and analogue, and natural and artificial modes. Attuned to both possibilities and looming hazards, Guan Xiao’s prescient and puzzling arrangements critique the technological thrust of the present moment while providing indelible visions of our dislocated, rapidly approaching future.
Guan Xiao (b. 1983, Chongqing, China) has been the subject of solo exhibitions at institutions worldwide including Bonner Kunstverein, Bonn, Germany (2019); Contemporary Art Museum St. Louis (2019); Kunsthalle Winterthur, Switzerland (2018); Jeu de Paume, Paris (2016); and Institute of Contemporary Arts, London (2016). Recent and notable group exhibitions include Though It's Dark, Still I Sing, 34th Bienal de São Paulo, Brazil (2021); X Museum 1st Edition: How Do We Begin?, X Museum Triennial, Beijing (2020); Viva Arte Viva, 57th Venice Biennale, Venice, Italy (2017); La vie moderne, 13th Lyon Biennale of Contemporary Art, Lyon, France (2015); and Surround Audience, 2015 New Museum Triennial, New York. Her work is in the permanent collections of institutions including the Museum Ludwig, Cologne, Germany; K11 Art Foundation, Hong Kong; Kustmuseum St. Gallen, Switzerland; Long Museum, Shanghai; Boros Collection, Berlin; Fondazione Sandretto Re Rebaudengo, Torino, Italy; and Start Museum, Shanghai. Guan Xiao lives and works in Beijing.
关小曾在众多国际艺术机构举办过个展，其中包括：波恩艺术协会，波恩，德国（2019）；圣路易斯当代艺术博物馆（2019）；温特图尔现代艺术博物馆，瑞士（2018）；国立网球场现代美术馆，巴黎（2016）； 伦敦当代艺术中心（2016）。她近期参与的重要群展包括：“纵使黑暗，我仍歌唱”，第34届圣保罗双年展，巴西（2021）；“终端>_HOW DO WE BEGIN?”，首届X美术馆三年展，北京（2020）；“艺术万岁”，第57届威尼斯双年展，威尼斯，意大利（2017）；“现代生活”，第13届里昂当代艺术双年展，里昂，法国（2015）； “围绕观众”，2015年新美术馆三年展，纽约。她的作品被永久收藏于：路德维希博物馆，科隆，德国；K11艺术基金会，香港；圣加伦艺术博物馆，瑞士；龙美术馆，上海；博罗斯收藏馆，柏林；桑德雷托·瑞·瑞宝迪戈基金会，都灵，意大利；星美术馆，上海。关小目前在北京生活和工作。
This spring, the Hirshhorn Museum and Sculpture Garden will present a solo exhibition by Sam Gilliam from May 25 through September 4, 2022. Sam Gilliam: Full Circle will pair a series of circular paintings (or tondos) created in 2021 with Rail (1977), a landmark painting in the Hirshhorn’s permanent collection. With its immense scale of more than fifteen feet in length, stained underpinning, pieced canvas structure, and deep tones, Rail offers a resonant counterpoint to Gilliam’s recent tondos. The exhibition is organized by Evelyn C. Hankins, the Hirshhorn’s head curator.
Sam Gilliam: Full Circle is the artist’s first solo exhibition at the Hirshhorn and will reflect the breadth of his multilayered practice, marking Gilliam’s first exhibition in his chosen hometown of Washington, D.C. since 2007. Gilliam’s tondos expand the body of Beveled-edge paintings that he first pioneered in the 1960s. Ranging in size from three-to-five feet in diameter, each tondo begins with a beveled wood panel, which the artist loads with layers of dense, vibrant pigments, their aggregate effect heightened through the addition of thickening agents, sawdust, shimmering metal fragments, wood scraps, and other studio debris. Using a stiff metal rake along with more traditional tools, Gilliam then abrades, smears, and scrapes the coarse surfaces to reveal a constellation of textures and colors below.
Deana Lawson, the first museum survey dedicated to the artist’s work, will open at MoMA PS1 in Queens, New York, on April 14 and will be on view through September 5, 2022. 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.
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 will next travel to the High Museum of Art, Atlanta, from October 7, 2022 through February 19, 2023.
Our online exhibition featuring new terracotta sculptures by Huma Bhabha is now live on our website, produced in collaboration with Salon 94. The works were made during Bhabha’s recent residency at Fundación Casa Wabi in Puerto Escondido, Oaxaca, Mexico, which culminated in a solo installation curated by Nicholas Baume, Artistic & Executive Director, Public Art Fund, on view at the foundation through December 31, 2022.
"The appeal of Huma Bhabha’s work offers contrasts with the beauty of Egyptian art, which provides serenely entombed assurances that the elite will enter a gilded afterlife. Her figures show signs of torment. Is this one gasping for air? Was that one blown to smithereens? Lacerated, scarred, mutilated in battle? Yet the emotions of her figures remain mysterious. Otherness renders their feelings inscrutable. Are they hideously disfigured or, to paraphrase Lady Gaga, were they born this way? To my mind, that ambiguity is one reason why, despite the pervasive perfume and imagery of death, the installation doesn’t feel morbid."—Nicholas Baume, Artistic & Executive Director, Public Art Fund
Adam Pendleton is among the 63 artists included in the Whitney Biennial 2022: Quiet as It’s Kept, on view at the Whitney Museum of American Art, New York, from April 6 through September 5, 2022. For the Whitney Biennial 2022, the artist created two monumental paintings, both titled Untitled (Days) (2021–2022). Pendleton's new video portrait, Ruby Nell Sales (2020–2022) will also be shown for the first time at the Biennial.
Rather than offering a unified theme, the co-curators of the Whitney Biennial 2022: Quiet as It’s Kept pursue a series of hunches throughout the exhibition: that abstraction demonstrates a tremendous capacity to create, share, and sometimes withhold meaning; that research-driven conceptual art can combine the lushness of ideas and materiality; that personal narratives sifted through political, literary, and pop cultures can address larger social frameworks; that artworks can complicate the meaning of "American" by addressing the country’s physical and psychological boundaries; and that our present moment can be reimagined by engaging with under-recognized artistic models and artists we have lost. Deliberately intergenerational and interdisciplinary, this Biennial proposes that cultural, aesthetic, and political possibility begins with meaningful exchange and reciprocity.
The Whitney Biennial was established to chart developments in art of the United States. Now in its eightieth edition, it is the longest-running exhibition of its kind. The Whitney Biennial 2022: Quiet as It’s Kept is co-organized by David Breslin, DeMartini Family Curator and Director of Curatorial Initiatives at the Whitney Museum of American Art, and Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs, with Gabriel Almeida Baroja, Curatorial Project Assistant, and Margaret Kross, former Senior Curatorial Assistant. The Whitney Biennial 2022 is accompanied by a catalogue.
Huma Bhabha's solo installation of new terracotta sculptures is now on view at the Fundación Casa Wabi in Puerto Escondido, Oaxaca, Mexico through December 31, 2022. Curated by Nicholas Baume, the installation—accompanied by an outdoor work in Casa Wabi’s sculpture garden—is the result of a three-week residency at the foundation, which took place earlier this year. In collaboration with Salon 94, an online presentation of this new body of work will launch this week on Friday, April 1 on our website.
"At the Fundación Casa Wabi, Bhabha experimented with traditional methods and local materials like Oaxacan clay to create an installation that brings into dialogue with this remarkable place her own very distinctive aesthetic. Bhabha’s corporeal fragments are laid out on a series of concrete plinths, some low to the ground, others elevated, creating a sense of topography and interrelated parts. Designed to fit seamlessly into Tadao Ando's architecture, which houses the foundation, the natural concrete bases draw out the sculptures' varied terracotta hues. Their concrete solidity contrasts with the sculptures’ ossified fragility. At the same time, the objects' exploded vulnerability creates a tension with our sense of their occult power."—Nicholas Baume
Magic, Mystery & Legerdemain, our first solo exhibition event by Derek Fordjour, is a multisensory experience that comprises various elements. The first consists of new sculptures and paintings—including the artist’s largest to date—constructed using Fordjour’s signature collage technique; the second is an architectural installation featuring a live performer at the gallery’s entryway; and finally, a live magic performance by Kenrick ICE McDonald occurring daily at 2 PM Tuesdays through Saturdays during the run of the show in the West Gallery.
Taking its title from the magician Black Herman’s 1938 autobiographical book, Black Herman’s Secrets of Magic, Mystery and Legerdemain, this exhibition provides a multifaceted forum in which Fordjour explores magic as it relates to power, race, and a myriad of illusions throughout American history. In the exhibition, Fordjour’s exuberant visual materiality gives added rise to otherwise ambient scenes of interaction, conversation, and, as seen in Birth of Showtime, the serene moments away from the limelight. It also allows Fordjour to show how trickery and disappearance can function as necessary tools for survival, both within the arts and without.
Pain in the Shell, an exhibition of recent work by Torbjørn Rødland, features a group of photographs in which symbolic engagement is squarely in the foreground. Despite the potentially discursive, content-based elements that reside on the surfaces of these images, their depth becomes immediately apparent as each is filled with details that complicate and, in some cases, contradict purely topical-based readings.
Rødland’s prints are themselves surfaces that are alive with the presence of the material world, giving them an up-close-and-personal feel, even when the images they display are concerned with the syntax of contemporary life as it is experienced in the media. It also means that such images emerge in his work reinvigorated, charged with a humanity and sense of touch that tends to disappear when they are found in contexts of communication and commerce alone. As a result, the photographs also make emotional appeals to—or demands upon—their viewers, evoking uneasy combinations of pathos and humor that challenge preconceived notions about the ways in which power and vulnerability play out in the social and natural worlds.
Richard Tuttle: What Is the Object?, an exhibition showcasing over 70 items drawn from Tuttle's collection of objects and notecard notations by the artist, will be on view at the Bard Graduate Center Gallery, New York, from March 25 through July 10, 2022. Co-curated by Tuttle and Peter N. Miller, historian and Dean of Bard College's Graduate Center, the exhibition will be presented alongside a series of never-before-exhibited artworks by the artist. Tuttle also designed the exhibition furniture that will be used to display the objects from his collection.
Richard Tuttle: What Is the Object? emerges out of Tuttle’s lifelong curiosity and fascination with objects, and how humans use tangible things to make meaning. Reflecting the artist's inquisitive and playful approach to his practice, visitors of the exhibition can lift, touch, and interact with items ranging from ceramic teacups and decorative objects to vintage fabrics and antique curios.
The exhibition will be accompanied by the first publication to explore Tuttle’s object collection and notecard notations, which span the past five decades. The catalogue features photographs of Tuttle's collection, an interview with Tuttle, an analysis of objects by writer and artist Renee Gladman, and an essay by the co-curator of the exhibition, Peter N. Miller.
Real Estate, Mai-Thu Perret’s first major solo exhibition in Italy, will be on view at the Istituto Svizzero, Rome, from March 25 through June 26, 2022. An opening reception will take place on March 24 from 6 to 8 PM CET. Real Estate is curated by Gioia Dal Molin in close collaboration with Perret.
Real Estate includes existing and new works—including a major, life-size sculpture by the artist—which draw upon Perret’s interest in the gods associated with Roman mythology. The exhibition offers an overview of the themes, processes, and materials often explored by the artist: sculptures, paintings, ceramic works, performances, and texts that stand at the intersection of contemporary culture, art history, criticism, and materiality.
The title of the show is not only a play on "estate," the Italian word for "summer," but also a reference to the book Real Estate: A Living Autobiography by writer Deborah Levy. In this sense, Perret reflects on the themes present throughout the exhibition: the definition of home, domesticity, and the connotations of gender in architecture. Real Estate is accompanied by a new spoken word piece by musician Tamara Barnett-Herrin.
The Museum of Contemporary Art (MOCA), Los Angeles, will launch Building Art, a series of outdoor artworks created for the facade of the museum, with Derek Fordjour's Sonic Boom. Fordjour's monumental artwork, which spans more than 5,400 square feet, will be presented on the exterior of the MOCA Grand Avenue building beginning March 28, 2022.
Fordjour worked with MOCA to develop his concept for the artwork, engaging with museum staff to select the featured work. Sonic Boom features drum majors and majorettes in syncopated arrangements. Based on one of the artist’s most iconic series of paintings, these figures honor the Historically Black College and University (HBCU) marching band experience and symbolize the daily performance of Blackness itself. Sonic Boom takes its title from the Jackson State University marching band, known as the "Sonic Boom of the South."
Lauren Halsey has been commissioned by The Metropolitan Museum of Art, New York, to create a site-specific installation for the museum’s Iris and B. Gerald Cantor Roof Garden. Titled the eastside of south central los angeles hieroglyph prototype architecture (I), the installation will be on view at The Met from May 17 through October 23, 2022. Read more about Halsey’s Roof Garden Commission at The Met in The New York Times.
For the Roof Garden Commission, Halsey will create a full-scale architectural structure imbued with the collective energy and imagination of the South Central Los Angeles community where she was born and continues to work. the eastside of south central los angeles hieroglyph prototype architecture (I) is designed to be inhabited by The Met’s visitors, who will be able to explore its connections to sources as varied as ancient Egyptian symbolism, 1960s utopian architecture, and contemporary visual expressions like tagging that reflect the ways in which people aspire to make public places their own. By adapting elements of ancient Egyptian architecture and sculpture for a contemporary context, Halsey’s commission redeploys the hieroglyph as a tool for documenting and commemorating how community vitality and genre-defying creativity shape the built environments of South Central Los Angeles.
The Roof Garden Commission: Lauren Halsey was conceived by the artist in consultation with Sheena Wagstaff, Leonard A. Lauder Chair of Modern and Contemporary Art, and Abraham Thomas, Daniel Brodsky Curator of Modern Architecture, Design, and Decorative Arts, both of The Met’s Department of Modern and Contemporary Art. The tenth in a series of site-specific commissions for the outdoor space, Halsey’s installation will be accompanied by a publication that will include an interview between Halsey and poet, performer, and librettist Douglas Kearney and an essay by Thomas.
Adam Pendleton: These Things We’ve Done Together, the artist’s first solo exhibition in Canada, will be on view at the Montreal Museum of Fine Arts (MMFA) from March 17 through July 10, 2022.
Curated by Mary-Dailey Desmarais, Chief Curator, MMFA, the comprehensive exhibition includes new "Untitled (WE ARE NOT)" paintings, "Black Dada" drawings, and works on Mylar, as well as Just Back from Los Angeles: A Portrait of Yvonne Rainer (2016 – 2017), a video portrait of the dancer, choreographer, and filmmaker.
Shara Hughes’s painting, My Violet Lullaby (2021), will inaugurate FLAG Art Foundation’s new exhibition series Spotlight, which features new or never-before-exhibited artworks paired with commissioned pieces of writing. An essay by art writer and researcher Maddie Klett will accompany Hughes’s painting, which will be on view at the foundation from March 12 through April 16, 2022. An opening reception will take place Friday, March 11 from 6 to 8 PM ET.
Fred Eversley: Parabolic Lenses, the first major monograph dedicated to the artist’s work, is now available for pre-order. Published by David Kordansky Gallery, the book features lush documentation of Parabolic Lenses created by Eversley over the last four years. An essay by writer and curator Helen Molesworth provides historical and cultural context, while a text by the artist himself offers a firsthand account of the philosophical, scientific, and poetic underpinnings of his practice.
The monograph includes a fully illustrated conversation between Eversley and art historian and curator Danielle O'Steen that traces the artist's development from the beginning of his career to the present, as well as photographs of the Venice, California studio in which he lived and worked from 1969 to 2019. Fred Eversley: Parabolic Lenses is designed by Polymode, Los Angeles and Raleigh, North Carolina.
Magic, Mystery & Legerdemain, our first solo exhibition event by Derek Fordjour, is a multisensory experience that comprises various elements. The first consists of new sculptures and paintings—including the artist’s largest to date—constructed using Fordjour’s signature collage technique; the second is an architectural installation featuring a live performer at the gallery’s entryway; and finally, a live magic show that will be staged daily. Taking its title from the magician Black Herman’s 1938 autobiographical book, Black Herman’s Secrets of Magic, Mystery and Legerdemain, this exhibition provides a multifaceted forum in which Fordjour explores magic as it relates to power, race, and a myriad of illusions throughout American history.
Both the object- and performance-based works on view allude to how magic has been used to restructure stories, myths, and folklore across a range of cultures and diasporas. Here, Fordjour employs magic—and specifically the life of Black Herman—as a living metaphor in which the willful suspension of disbelief becomes a privilege afforded to some and eluding others.
Pain in the Shell, an exhibition of recent work by Torbjørn Rødland, features a group of photographs in which symbolic engagement is squarely in the foreground. While human subjects and narratives make appearances, many of the works on view focus on interactions between objects, substances, and light. Rødland here emphasizes the largest of his preferred print sizes, allowing the painterly qualities of color and texture that characterize the images to appear in newly vivid and immersive ways. He demonstrates how distinctions between surfaces and interiors are often made at a viewer’s interpretive peril: inanimate forms appear pregnant with life and even a kind of consciousness, and superficiality contains inner lives brimming with complexity, chaos, and creative potential.
In part because he remains dedicated to non-digital photographic processes, Rødland’s prints are themselves surfaces that are alive with the presence of the material world. This gives them an up-close-and-personal feel, even when the images they display are concerned with the syntax of contemporary life as it is experienced in the media. It also means that such images emerge in his work reinvigorated, charged with a humanity and sense of touch that tends to disappear when they are found in contexts of communication and commerce alone. As a result, the photographs also make emotional appeals to—or demands upon—their viewers, evoking uneasy combinations of pathos and humor that challenge preconceived notions about the ways in which power and vulnerability play out in the social and natural worlds.
Michael Williams: Fructis, a new catalogue of the artist’s 2018 exhibition at David Kordansky Gallery, is available now. The publication showcases the wide range of works that were featured in the show, including a selection of Williams’s signature Puzzle Paintings. Essays by art historian Suzanne Hudson and cultural critic Mark Greif further explore the artist’s painting processes and the experience of viewing the exhibition. Michael Williams: Fructis features art direction by Teresa Rotschopf and graphic design by Willi Schmid.
Join us in celebration of artist Aubrey Mayer’s limited edition book, Aubrey Mayer with Jonas Wood 08-19-20, 09-01-20, 10-27-20, documenting Jonas Wood’s process of painting Hanalei Bay (2021), a work featured in his first Los Angeles exhibition in four years, Plants and Animals (on view through March 5). This celebration will take place at David Kordansky Gallery (5130 W Edgewood Pl.) on Wednesday, February 16 from 10 AM - 12 PM.
This special limited edition publication includes 585 pages featuring photography of Wood in his studio and is presented in a custom box with printed imagery and hand-silkscreened text alongside a poster. Display copies will be available for viewing during the event.
Richard Tuttle: Chapters and Heads, a book published on the occasion of Nine Stepping Stones, the artist's first exhibition at David Kordansky Gallery, is available now for pre-order. Featured alongside images of head-like assemblages, developed while Tuttle recovered from Covid-19, is a group of new writings by the artist; these chapters foster synaptic connections with the heads and can be read both in conversation with them and as independent texts. Richard Tuttle: Chapters and Heads is designed by Purtill Family Business, Los Angeles, and the artist.
Sam Gilliam: Moving West Again, a comprehensive catalogue of the artist’s 2021 exhibition at David Kordansky Gallery, is available now for pre-order. The publication documents the group of recent, signature Beveled-edge paintings that were on view in the show, including Gilliam's largest mural-sized works to date. An accompanying essay by musician and artist Jason Moran illuminates connections between Gilliam’s sweeping body of work, musical composition, and improvisation. Sam Gilliam: Moving West Again is designed by Content Object, Los Angeles.
Lauren Halsey’s solo exhibition at the Seattle Art Museum (SAM), which awarded Halsey the 2021 Gwendolyn Knight and Jacob Lawrence Prize recognizing early career Black artists demonstrating significant contributions to contemporary artistic practice, is on view February 4 through July 17, 2022. The exhibition is curated by Catharina Manchanda, the Jon and Mary Shirley Curator of Modern and Contemporary Art at SAM.
The works on view include a recent selection of Halsey’s signature reliefs and We Are Still Here (2021), an example of the artist’s floor-based sculpture. Halsey’s hand-carved reliefs were developed by the artist as part of an ongoing project to create a multiuse architectural structure in South Central Los Angeles. Halsey’s floor-based sculpture, on the other hand, showcases iconology from around her community, continuing the artist’s critiques of gentrification and disenfranchisement that confront people of color, queer populations, and the working class. Taken together, Halsey’s body of work demonstrates a visionary form of culture that is at once radical and collaborative.
Will Boone, Lucy Bull, Jennifer Guidi, Lauren Halsey, Rashid Johnson, Hilary Pecis, and Adam Pendleton are included in a new exhibition marking the 30th anniversary of Interscope Records, opening this Sunday, January 30 at the Los Angeles County Museum of Art.
The show, Artists Inspired by Music: Interscope Reimagined, features over 50 original, new artworks by visual artists responding to albums and songs by some of Interscope’s biggest and most influential groups, rappers, and singers.
The resonant pairings, which provide a fresh perspective on influential music for the present moment, include a work by Will Boone responding to Helmet’s Meantime, while Lucy Bull's painting takes inspiration from No Doubt’s 1995 hit "Spiderwebs." Jennifer Guidi's piece responds to K-pop stars BLACKPINK, while Lauren Halsey and Rashid Johnson drew from Kendrick Lamar’s To Pimp a Butterfly and good kid, m.A.A.d city to create their respective works. Hilary Pecis's painting was influenced by Selena Gomez's album, Rare, and Adam Pendleton will present a work inspired by Dr. Dre’s iconic album, The Chronic.
Congratulations to Adam Pendleton, who is among the 63 artists included in the Whitney Biennial 2022: Quiet as It’s Kept. Established to chart developments in art of the United States, it is the longest-running exhibition of its kind. Now in its eightieth edition, the Whitney Biennial 2022 will be on view April 6 through September 5, 2022 at the Whitney Museum of American Art, New York. Learn more about the Whitney Biennial 2022.
The Whitney Biennial 2022 is co-organized by David Breslin, DeMartini Family Curator and Director of Curatorial Initiatives at the Whitney Museum of American Art, and Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs, with Gabriel Almeida Baroja, Curatorial Project Assistant, and Margaret Kross, former Senior Curatorial Assistant.
David Kordansky Gallery is pleased to announce a solo presentation of new Puzzle Paintings by Michael Williams for Frieze Los Angeles. The fair will take place February 17 – 20, 2022, with VIP Previews from February 17 – 18. Michael Williams: Fructis, a new catalogue of the artist’s 2018 exhibition at David Kordansky Gallery featuring a selection of his signature Puzzle Paintings, will be available for purchase on our website in early February.
Over the last two decades, Williams has utilized innumerable facets of painting’s processes, history, and internal and external dialogues in the service of making works that honor its many competing traditions while remaining beholden to none of them. His ongoing series of Puzzle Paintings, a group of which are featured in this presentation, exemplifies the rigor and commitment—as well as the provocative combination of faith and doubt—that characterize his approach. In these newest examples, Williams explores the places where systematic procedure and intuitive expression converge and diverge, examining the intersections between modes of looking and making that are often considered antithetical to one another, and locating their unexpected harmonies as well as their generative dissonances.
In the Puzzle Paintings, Williams uses an analog system of processing his drawings to find a starting place for painting. Cutting into a representational drawing, he replaces amorphous sections with new forms and interventions that disrupt, complicate, and further resolve the original composition. This second drawing then becomes the source material for the painting, with the translation to pigment, medium, and canvas bringing about its own adjustments and distortions.
Here, however, for the first time, Williams has relied upon a single "first" representational drawing to make a group of paintings; while each painting is based on a unique "second" drawing, each of them is connected to a common source, laying a groundwork of seriality that in turn becomes one more structural condition to obey, manipulate, or openly rebel against depending on the needs and dictates of the evolving painting. Taking this gambit one step further, Williams has also worked with a more or less consistent palette throughout the series. Grey, black, and flesh tones dominate, with notable exceptions that introduce a piquant artificiality: chief among these is a piercing green that cuts through the comparatively natural thicket, supported in its boldness by oranges, pinks, and purples that help maintain an aura of crisp geometry.
Michael Williams has been the subject of solo and two-person exhibitions at LOK, the Kunstzone in the Lokremise, Kunstmuseum St.Gallen, Switzerland (2021); Le Consortium, Dijon, France (with Tobias Pils, 2017); Carnegie Museum of Art, Pittsburgh (2017); Musée des Beaux-Arts de Montréal, Canada (2015); and Gallery Met, New York (2015). Recent group shows include .paint, Museum of Contemporary Art Chicago (2020); Joe Bradley, Oscar Tuazon, Michael Williams, Brant Foundation Art Study Center, Greenwich, Connecticut (2018); The Trick Brain, Aïshti Foundation, Lebanon (2017); High Anxiety: New Acquisitions, Rubell Family Collection, Miami (2016); Artists and Poets, Secession, Vienna (2015); and The Forever Now: Contemporary Painting in an Atemporal World, Museum of Modern Art, New York (2014). His work is in the permanent collections of institutions including the Dallas Museum of Art; Museum of Modern Art, New York; Whitney Museum of American Art, New York; and Musée des Beaux-Arts de Montréal, Canada. Williams lives and works in Los Angeles.
Lucy & Fengyi, a two-person exhibition featuring works by Lucy Bull and Guo Fengyi (1942 – 2010, Xi’an, China), will be on view January 9 through February 20, 2022 at the Pond Society in Shanghai.
Lucy & Fengyi marks the first time Bull and Guo have been shown together, and illuminates formal, material, and cross-cultural correspondences between artists who hail from different generations and different parts of the globe. Because their pictures emerge from transpersonal ideas about—and experiences of—internal and external perception, the distances that separate their ages and their countries of origin are in fact smaller than they might seem; indeed, the art of Bull and Guo alike draws from direct sensory participation in the living present, and posits that artmaking emerges as a response to constantly shifting inner and outer realities.
What Guo and Bull share, then, is an abiding faith in a picture-making force that resides not in the artist, viewer, or artwork alone, but somewhere between them. This force is activated only when certain conditions are met, and so the artist operates not only as a visionary or a technician, to name only the extremes of a range of roles the artist can inhabit, but also as a conductor who ensures that the necessary elements come into relation, including imagistic and gestural motifs, symbolic associations, and color-based relationships. Lucy & Fengyi provides ample testament to the fact that when brushstrokes burst forth into volumetric form, or when color rides high at almost unbearable intensity, artificial divisions between different artists—or between emotion and systematic thought—break down.
David Kordansky Gallery is pleased to announce Jonas Wood’s first Los Angeles exhibition in four years, Plants and Animals, on view January 22 through March 5, 2022. Join us for the opening reception on Saturday, January 22 from 4 – 8 PM. Please note that proof of full COVID-19 vaccination is required for all visitors who are eligible for vaccination. Masks are required for all visitors in all indoor spaces at the gallery, regardless of vaccination status.
In Plants and Animals, Wood’s new paintings and works on paper explore some of the most frequently recurring themes in his oeuvre, turning to a variety of formats and mediums to render images not only of flora and fauna, but also of detailed worlds of related forms, spaces, and moods. Wood foregrounds the processes of composition that are the driving forces in all of his pictures. The subtleties of scale, color, and visual texture that are found everywhere throughout this show, however, demonstrate both the evolving nature of Wood’s ideas and his ever-increasing commitment to his vision, including his passion for and preternatural understanding of the material elements of painting, drawing, and printmaking themselves.
What arises from all of these works, whether on canvas or paper, are images of life as remembered, imagined, invented, and observed. But as plants and animals often do for those who appreciate them, their subjects also speak to a deeply felt curiosity about—and affection for—the natural world. Deeply personal on the one hand and capable of generating broad appeal on the other, Wood’s pictures are antithetical to the kinds of separation and distance that mark so many attempts, artistic or otherwise, to analyze or represent the phenomena of daily life. They are testaments, rather, to what happens when art becomes another living phenomenon, as vivid and responsive as the things it depicts—and as able to elicit emotion from the humans who experience it.
David Kordansky Gallery is pleased to announce our participation in Art Basel Miami Beach 2021, taking place December 2 – 4, with VIP previews on November 30 and December 1. Visit us in-person at Booth F15 at the Miami Convention Center and or explore our online viewing room.
Our presentation includes works by Markus Amm, Kathryn Andrews, John Armleder, Huma Bhabha, Matthew Brannon, Lucy Bull, Andrea Büttner, Valentin Carron, Aaron Curry, Fred Eversley, Derek Fordjour, Jason Fox, Sam Gilliam, Raul Guerrero, Lauren Halsey, Evan Holloway, Shara Hughes, Rashid Johnson, Deana Lawson, Tala Madani, Calvin Marcus, Chris Martin, Joel Mesler, Ivan Morley, Shahryar Nashat, Ruby Neri, Mai-Thu Perret, Tobias Pils, Torbjørn Rødland, Ricky Swallow, Tom of Finland, Richard Tuttle, Mary Weatherford, Michael Williams, Jonas Wood, and Betty Woodman.
Our online exhibition featuring new wall-based sculptures by Anthony Pearson is now live on our website through December 17.
Produced using lengths of poured cement, the new objects (which Pearson calls Casements) have evolved organically from previous bodies of work—including those made in bronze and photography, as well as cement—and represent the latest iterations of Pearson’s ongoing, subtly expansive project. The artist filters hands-on material explorations through his awareness of light, mood, and other ambient factors that are ordinarily perceived as ephemeral or ineffable.
As Pearson responds to both the object's liquid nature of the cement in its original state and the unstable shape and dimensions of the fabric into which he pours it, he must remain attuned to slight nuances in their behavior, maintaining balance between their active and passive qualities. All of these elements are taken into account as Pearson navigates the languages and trajectories of painting and sculpture alike. The Casements speak to both mediums while positing possibilities for looking and sensorial experience that cannot be fully contained within either of them. In so doing, they open multiple modes of perception at once, illuminating the action of the eye as well as the movement of the mind.
Our presentation at ART021 Shanghai Contemporary Art Fair features sculptures by the renowned American artist Betty Woodman (1930 – 2018) alongside new paintings by Joel Mesler made in response to Woodman’s work.
The presentation foregrounds the genre-defying synthesis of painterly invention, sculptural experimentation, and art historical revisionism that characterizes Woodman's ceramic vessels over the course of a six-decade-plus career. Similarly, the presentation will highlight Mesler’s continual evolution as an artist, demonstrating the breadth of his references and his ability to transpose his passions and reflections into sharp, optically rich compositions that bridge personal and collective concerns.
大卫·柯丹斯基画廊很荣幸地宣布：将在ART021上海廿一当代艺术博览会上呈现美国著名艺术家贝蒂·伍德曼（Betty Woodman，1930 – 2018）的雕塑作品，以及乔尔·梅斯勒（Joel Mesler, b. 1974）为了回应伍德曼的作品而创作的新画作。
David Kordansky Gallery is pleased to announce our representation of Shara Hughes in partnership with Galerie Eva Presenhuber, Zurich and New York, and Pilar Corrias, London. New work by Hughes will be featured in our presentation at Art Basel Miami Beach 2021, which will take place November 30 – December 4, 2021.
Hughes uses dizzying brushwork, vibrant colors, and shifting perspectives to make paintings that defy many of the existing conventions associated with the landscape genre. Natural motifs and patterned elements recur throughout Hughes’s pictures: snake-like trees, floating moons, distorted reflections in bodies of water, and stippled night skies appear in various permutations, synchronized with harder-to-define forms in which abstract and representational impulses co-exist in unorthodox harmony. Hughes’s process rarely involves reference images; instead, she transposes the psychological complexity of her interior world into lush and layered compositions. She often mixes pigment directly atop her surfaces, and in this way creates intuitive, one-of-a-kind color palettes that simultaneously point to art historical movements like color field painting and Post-Impressionism. As she engages with these open-ended experiments in image-making, Hughes depicts kaleidoscopic visions of flora and fauna in processes of constant evolution.
Shara Hughes (b. 1981, Atlanta) is the subject of forthcoming solo exhibitions at the Yuz Museum, Shanghai (opening November 2021) and Kunstmuseum Luzern, Switzerland (opening 2022), and was recently the subject of solo exhibitions at the Contemporary Art Museum St. Louis (2021); Garden Museum, London (2021); Aspen Museum of Art, Colorado (2021); and Le Consortium, Dijon, France (2021). Recent group exhibitions include The Beatitudes of Malibu, David Kordansky Gallery, Los Angeles (2021); America Will BE! Surveying the Contemporary Landscape, Dallas Museum of Art (2019); and Whitney Biennial 2017, Whitney Museum of American Art, New York. Her work is in the permanent collections of institutions including The Metropolitan Museum of Art, New York; Denver Art Museum; High Museum of Art, Atlanta; M WOODS, Beijing; and Smithsonian American Art Museum, Washington, D.C., among others. Hughes lives and works in Brooklyn, New York.
Firsthand: Shahryar Nashat, an online exhibition featuring a new body of work, is now online on our website through November 19. In this wide-ranging conversation, Shahryar Nashat and Los Angeles-based artist and writer Juliana Halpert discuss his recent projects including THEY COME TO TOUCH, the artist’s spring 2021 pop-up exhibition in West Hollywood, California.
The works on view in this online exhibition, which include a major new group of floor-based works in which papier mâché forms serve as supports for resin and acrylic paint, constitute advances on several fronts of Nashat's practice. Biomorphic, geological—and above all, haunted by the absence of human figures that nonetheless feel palpably present—the papier mâché sculptures are experiments in shape, texture, and color. Nashat has long been interested in bodies that bruise and heal, that absorb violence and regenerate, and that exist very much in the flesh even as they navigate a world in which digital spaces proliferate. The new works address all of these concerns, but they also stand out as compelling non-objective forms with roots in modernist as well as traditional sculpture.
Firsthand: Shahryar Nashat coincides with the launch of a major new monograph on the artist, published by the Swiss Institute, New York and Kunsthalle Basel, Switzerland.
David Kordansky Gallery's presentation for ADAA: The Art Show features recent Parabolic Lens sculptures by Fred Eversley and new works on paper by Mary Weatherford. Public days will take place November 4 – 7, 2021, with a VIP Preview on November 3.
Eversley and Weatherford evince lifelong commitments to exploring light as a phenomenon with physical and metaphysical dimensions. The presentation provides Art Show viewers with a unique opportunity to observe how storied artists from distinct generations, working in different mediums, have responded to—and incorporated—luminosity in literal and metaphorical ways alike.
Featuring a rare group of recent Parabolic Lenses by Eversley, these works draw inspiration from the natural landscape and evoke the ephemeral atmospheric conditions like mist, and fog, as well as the eternal energy of the sun. Unlike the colors in Eversley’s more cosmically informed works, their palette belongs to the fluidity and temperatures of light and water, with masterful and subtle variations in translucency. As visual and metaphysical focal points, they concentrate and radiate energy, frame their surroundings and invite increased awareness of their immediate environs, even as they forge connections with the immaterial—and invisible—forces that lie within their viewers.
Works on paper by Weatherford constitute a career-spanning forum in which she has experimented with the properties of various mediums and supports, including inks, watercolors, and handmade papers. They foreground the incisive and adaptable nature of her mark-making, and like all her work, make evident her tactile, almost sculptural approach to her materials. In recent years, Weatherford has produced genre-expanding groups in response to places encountered during her travels; the works on view at The Art Show evoke the weather, light, and atmospheres of South Africa’s Western Cape, where she stayed for an extended period during the first half of 2020.
Redeemers, our first exhibition by Tobias Pils, features new paintings and works on paper by the artist. On view through January 8, 2022, the paintings in Redeemers depict a bulbous, feminine figure with biomorphic irregularities, while the works on paper underscore the more overtly spontaneous facets of the artist’s methodology. At the center of the exhibition is the eponymous Redeemer, who emerges from the canvases with arms stretched outward, as if tasked to hold together the world in which she is situated. Throughout the exhibition, she is seen participating in activities such as riding on horseback, giving birth to baby Redeemers, and rising like the sun above an allegorical landscape. Two smaller, circular canvases introduce shifts in scale and format, and take on the rounded shape of the Redeemer herself. They also feature groups of other mysterious figures that tunnel into, intertwine with, and collapse into one another. The overall impression is one of self-generative creation, with images of transcendence and decay suggesting natural—and supernatural—life cycles.
Mountains Mud Prisms Air features new paintings by Los Angeles-based artist Mary Weatherford. The exhibition, on view through January 8, 2022, includes her largest work to date, as well as paintings both with and without neon tubing that finds Weatherford expanding the boundaries of her vision on all fronts. Every element of the painting process has been considered and challenged, with support, scale, format, physicality, color, and content subject to reinvention and reimagination. Weatherford’s swooping brushwork in these works generates fields of high-key color informed by recent trips to Hawaii. Encounters with the islands’ weather, light, flora, fauna, and geology animate all of the paintings in the exhibition as well as its title, which hints at the broad array of sensorial and poetic perceptions Weatherford navigates as she brings each composition from experiential intuition to physical reality.
David Kordansky Gallery is pleased to present a solo presentation of new paintings by Lucy Bull at Frieze London. The fair will take place October 13 – 17, 2021, with VIP Previews from October 13 – 15. Visit us in person at Booth E1 or by exploring Frieze London's online viewing room.
Through a combination of impulsive marks and carefully manipulated color, Bull’s abstract paintings emanate a push-pull movement: an energetic balance of order and chaos, a tension and flow, that charge each canvas. While the works are the result of what the artist refers to as an "intuitive process," Bull intentionally aims to sustain the viewer’s gaze to provide an extreme sensory experience. By daubing and scratching into wet paint, pushing and lifting pigment, and using a range of tools in her execution of grattage techniques, she mines layers of hue and texture to create a scaffolding for the senses. As the psyche responds, the paintings seem to shift before the eye, offering unfolding journeys through varied internal and external spaces. Some of these journeys are time-released. Others are fast-acting. Yet each painting provides an opportunity to lose oneself in an array of endlessly proliferating non-objective narratives.
Lucy Bull (b. 1990, New York) has been the subject of solo exhibitions at David Kordansky Gallery, Los Angeles (2021); High Art (Arles, 2020; Paris, 2019); Human Resources, Los Angeles (2019); Smart Objects, Los Angeles (2019); and RMS Queen Mary, Mother Culture, Long Beach, California (2017). Recent group exhibitions include Present Generations: Creating the Scantland Collection of the Columbus Museum of Art, Columbus Museum of Art, Ohio (2021); Life Still, CLEARING, New York (2020); I Want to Eat the Sunset. We’re Talking About the Cosmos, Even. And Love, I Guess, Almine Rech, New York (2020); and El oro de los tigres, Air de Paris, Romainville, France (2020). Her work is in the permanent collections of MAMCO Geneva; Museum of Contemporary Art, Los Angeles; Rose Art Museum, Brandeis University, Waltham, Massachusetts; Museum of Contemporary Art San Diego; Dallas Museum of Art; and Institute of Contemporary Art, Miami. Bull lives and works in Los Angeles.
We are pleased to announce the opening of our new gallery in spring 2022 in Chelsea in New York with an inaugural exhibition featuring new work by Lauren Halsey. The New York space will be created by Kulapat Yantrasast and his acclaimed firm, WHY, who also designed our Los Angeles galleries. Read more about the New York gallery in the Financial Times.
"Opening our own space in New York is the beginning of an incredible new chapter in the gallery’s journey. We're honored to take this next step by presenting Lauren's first solo exhibition in the city," said David Kordansky. "Lauren embodies the visionary energies and histories of Los Angeles—and a collaborative ethos that is an inspiration for community-making everywhere."
Congratulations to Sam Gilliam, the recipient of the Distinguished Honor Award selected by Mayor Muriel Bowser as part of Washington, D.C.’s 36th Annual Mayor’s Arts Awards. Gilliam is the first visual artist to receive the Distinguished Honor Award. The award was presented by Mayor Bowser at the ceremony, which took place September 28 at The Howard Theatre in Washington, D.C.
The Distinguished Honor Award is a merit award given to an individual, group, nonprofit organization, or private entity whose contributions to arts and culture in the District of Columbia have been substantial and consistent, with achievements spanning twenty years or more with local, regional, and national impact.
In a profile by Hilarie M. Sheets in The New York Times, Rashid Johnson says, "My work has always had concerns around race, struggle, grief and grievance, but also joy and excitement around the tradition and opportunities of Blackness." With his solo exhibition Black and Blue (on view at the gallery through October 30), Johnson offers a story of recovery—personal and collective—through new bodies of work including painting, sculpture, works on paper, and a 35mm film.
Read "In Rashid Johnson’s Mosaics, Broken Lives Pieced Together" online and in the September 24 print edition of The New York Times.
David Kordansky Gallery is pleased to present our participation in Art Basel 2021, taking place September 24 – 26, with VIP previews from September 20 – 23. Visit us in person at Booth S2 or explore our online viewing room.
Featuring works by Markus Amm, Emanoel Araujo, John Armleder, Huma Bhabha, Matthew Brannon, Lucy Bull, Andrea Büttner, Valentin Carron, Fred Eversley, Derek Fordjour, Jason Fox, Sam Gilliam, Raul Guerrero, Jennifer Guidi, Lauren Halsey, Evan Holloway, Rashid Johnson, Deana Lawson, Calvin Marcus, Chris Martin, Joel Mesler, Ivan Morley, Shahryar Nashat, Ruby Neri, Hilary Pecis, Mai-Thu Perret, Tobias Pils, Torbjørn Rødland, Linda Stark, Ricky Swallow, Tom of Finland, Richard Tuttle, Lesley Vance, Mary Weatherford, Michael Williams, and Betty Woodman.
David Kordansky Gallery is pleased to welcome Hilary Pecis to the gallery. New work by Pecis is featured in our presentation at Art Basel 2021. To learn more about Pecis’s work and career, please visit ARTnews for a profile of the artist.
Pecis makes paintings and drawings in which tableaus rich with interlocking fields of saturated color, geometric patterning, and bold linework provide views of sun-drenched domestic still lifes and landscape environments. Books crowding a coffee table, the remains of a dinner party, and terrains lush with Southern California succulents make frequent appearances in her work; these meticulously arranged interiors and vibrantly rendered exteriors amount to an overarching portrait of the self that identifies objects and locations as signifiers for human characteristics. Pecis combines distorted perspectives and surprising juxtapositions of hue, placing her work in dialogue with modernist art historical movements like Fauvism in which subjective and analytical tendencies are synthesized. At the same time, her interest in images sourced from her personal experience allows her to transform recognizable mise-en-scènes into vivid explorations that celebrate the quiet moments of everyday life.
Hilary Pecis (b. 1979, Fullerton, California) has recently been the subject of solo exhibitions at Rockefeller Center, New York (2021); Timothy Taylor Gallery, London (2021); Spurs Gallery, Beijing (2020); Rachel Uffner Gallery, New York (2020); and Crisp-Ellert Art Museum, Flagler College, St. Augustine, Florida (2019). Recent group exhibitions include Present Generations: Creating the Scantland Collection of the Columbus Museum of Art, Columbus Museum of Art, Ohio (2021); The Beatitudes of Malibu, David Kordansky Gallery, Los Angeles (2021); FEEDBACK, Jack Shainman School, Kinderhook, New York (2021); L.A.: Views, Maki Gallery, Tokyo (2020); High Voltage, The Nassima-Landau Project, Tel Aviv, Israel (2020); and (Nothing but) Flowers, Karma, New York (2020). Her work is in the permanent collections of institutions including the National Gallery of Art, Washington, D.C.; Museum of Contemporary Art, Los Angeles; Aïshti Foundation, Beirut; and Yuz Museum, Shanghai. Pecis lives and works in Los Angeles.
Who Is Queen?, Adam Pendleton’s monumental floor-to-ceiling installation, is on view at The Museum of Modern Art (MoMA) in New York from September 18, 2021, through February 21, 2022. Who Is Queen? transforms MoMA’s Marron Atrium into a dynamic arena exploring Blackness, abstraction, and the avant-garde. In this installation, Pendleton has created a spatial collage of text, image, and sound—a total work of art for the twenty-first century. Challenging the traditional role of the museum as a repository for a fixed history, Who Is Queen? collages multiple voices and cultural touchpoints to generate new relationships between traditionally incommensurable subjects. According to Pendleton, the work “is not black or white. It articulates the ways in which we simultaneously possess and are possessed by contradictory ideals and ideas.”
Who Is Queen? is organized by Stuart Comer, The Lonti Ebers Chief Curator, with Danielle A. Jackson, former Curatorial Assistant, and Gee Wesley, Curatorial Assistant, with the support of Veronika Molnar, Intern, Department of Media and Performance.
David Kordansky Gallery is pleased to present Derek Fordjour in conversation with Ava DuVernay: Bookmaker's Dozen, an online exhibition featuring a new dozen-frame painting that is one of the definitive statements of Derek Fordjour’s career, now live on our website through September 17. In a wide-ranging conversation, Fordjour and award-winning director Ava DuVernay approach his cinematic painting, Bookmaker’s Dozen (2021), as a springboard for meditations on process and labor, framing in painting and film, the historical patterns at play in the making and reception of art, and the Black body.
Bookmaker's Dozen features twelve images of Black jockeys riding their horses; the artist has painted each image on its own canvas, and the entire group is framed in a single, unique frame so that each rider is both on his own and part of a collective. Together, Fordjour and DuVernay talk about how this Eadweard Muybridge-like composition captures the movement of time and the evolution of social structures alike, reflecting on their respective experiences working in different—but related—visual mediums.
ABOUT DEREK FORDJOUR
Derek Fordjour (b. 1974, Memphis, Tennessee) has recently been the subject of solo exhibitions at the Pond Society, Shanghai (2021) and the Contemporary Art Museum St. Louis (2020). In 2018, commissions for the Whitney Museum of American Art Billboard Project and the Metropolitan Transit Authority Arts & Design program resulted in major public projects in New York. Recent group exhibitions include Present Generations: Creating the Scantland Collection of the Columbus Museum of Art, Columbus Museum of Art, Ohio (2021); The Slipstream: Reflection, Resilience, and Resistance in the Art of Our Time, Brooklyn Museum, New York (2021); 100 Drawings from Now, The Drawing Center, New York (2020); and Plumb Line, the California African American Museum, Los Angeles (2019).
His work is in the permanent collections of institutions including the Whitney Museum of American Art, New York; Brooklyn Museum, New York; Dallas Museum of Art; Pérez Art Museum Miami; Los Angeles County Museum of Art; Museum of Contemporary Art Chicago; and The Studio Museum in Harlem, New York. Fordjour served as the 2020 Alex Katz Chair of Painting at The Cooper Union, New York, and serves on the faculty at the Yale University School of Art, New Haven, Connecticut as a core critic. Fordjour lives and works in New York.
ABOUT AVA DuVERNAY
Academy Award nominee and Emmy, BAFTA, and Peabody Award winner Ava DuVernay is a writer, director, producer, and film distributor. Her feature directorial work includes the Oscar-winning Civil Rights drama Selma, the Oscar-nominated social justice documentary 13TH, and the Disney children’s adventure A Wrinkle in Time, which made her the highest-grossing Black woman director in American box office history. Winner of the 2012 Sundance Best Director Prize for her independent film Middle of Nowhere, DuVernay amplifies the work of Black artists, people of color, and women of all kinds through her narrative change collective ARRAY, named one of Forbes Most Innovative Companies. She currently sits on the Board of Governors of the Academy of Motion Picture Arts and Sciences, the Advisory Board of the Academy of Television Arts & Sciences, and the Board of the American Film Institute.
David Kordansky Gallery is pleased to announce Black and Blue, a major exhibition by Rashid Johnson featuring new bodies of work, including paintings, bronze sculptures, works on paper, and the debut of a new 35mm film. Occupying all three of the gallery’s exhibition spaces, Black and Blue will be on view September 18 – October 30, 2021.
Since the beginning of his career, Johnson has pursued formal innovation in a diverse range of mediums while simultaneously honing a sophisticated and deeply personal vision on a variety of themes such as his autobiography, social history, philosophy, and art history. He addresses the existential conditions of his own life and life itself by making works born of both critical insight and free-form material exploration.
In Black and Blue, a group of new canvases that Johnson has titled "Bruise Paintings" represent a further development of themes present in his "Anxious Red Paintings." Made during the pandemic, the "Anxious Red Paintings" embodied the anxiety, isolation, and loss felt by many over the last two years. The "Bruise Paintings" fill the entirety of the North Gallery and are rendered in deep blue oil paint, conjuring the feelings of aftermath, reckoning, and healing, with half-geometric, half-human faces arranged in expressive, viscous fields of line and color.
The South Gallery will be dedicated to Johnson’s latest engagements in bronze sculpture. Totems of head-like forms that resemble the characters in his paintings, these works also function as planters and include living plants that assert their own organic, ever-changing formalism. Their surfaces are covered with frenetic, palpably emotional mark-making that brings them into further relation with two-dimensional disciplines like drawing and painting.
The contrast between the existential and the mundane is a driving force in the new film on view, also titled Black and Blue, which will be projected in the West Gallery. Shot on 35mm film, Black and Blue depicts the movements of the protagonist—played by Johnson himself—as he navigates his daily routine. A persistent melancholia inhabits each of the film’s segments; Johnson returns the gaze to the intimate endeavors of being human, which people do their best to sustain regardless of what is happening in the world at large.
Installed alongside the film in the West Gallery are a group of works on paper in which Johnson demonstrates how his vocabulary pivots between the abstract, the representational, and the conceptual, challenging the notion that these can be understood as separate categories. Their bristling fields of repeated marks have roots in non-objective minimalism and observed forms alike; accordingly, they are vehicles for both internally and externally oriented modes of awareness.
Across the various environments that make up the exhibition, Johnson establishes a continuum in which visceral, unmediated, or ungovernable expressions and aesthetic proposals co-exist with recognizable artifacts and honed visual and verbal languages. The result is a rich and provocative portrait of a moment in time—one that also serves as a self-portrait, a commentary, and an invitation: as has been the case since the beginning of his career, even Johnson’s most pointed examples of self-examination are open, generous documents that brim with possibility and metaphor.
Congratulations to Mary Weatherford, who has been named the 2021 Aspen Award for Art Honoree. The award will be presented on Friday, August 6 during the Aspen Art Museum’s ArtCrush Gala benefiting the museum’s artistic and educational programs, for which Weatherford and Ruby Neri have both donated artworks. To learn more about the ArtCrush Gala, please click here.
Weatherford will be in conversation with Nicola Lees, Director of the Aspen Art Museum (AAM); Simone Krug, Assistant Curator; and Luis Yllanes, Chief Operating Officer, who all worked closely with the artist on her recent AAM exhibition, Neon Paintings. The conversation will take place on the museum’s rooftop Thursday, August 5 at 11 AM MT. To learn more about the talk, please click here.
David Kordansky Gallery's online solo presentation of new paintings by Jon Pestoni for Frieze Viewing Room Los Angeles Edition is now live through August 1, 2021.
Since the beginning of his career, Pestoni has advanced his work by alternating between addition and subtraction, employing both modes to varying degrees and extremes—and sometimes within the same painting. Such is the case in these works, which reflect, on the one hand, a reduced and systematized compositional language and, on the other, an introduction of new elements that destabilize any singular reading of either their conceptual underpinnings or their visual structure. The silhouettes—and sometimes the more complete representation—of a pair of shoes provide one of the presentation’s throughlines. These forms are not always wholly recognizable, but nonetheless, they anchor the images and lend them a hard-to-define legibility. Neither wholly pop-inflected pictures nor wholly exercises in abstract geometry, the shoes constitute just one of the ways in which Pestoni formulates what amounts to a negative theology of painting, describable only by stating what it is not rather than what it is.
David Kordansky Gallery’s online exhibition Major Works: Rashid Johnson, which takes an in-depth look at Johnson's pivotal wall-based work Tell it on the Mountain (2013), is now live on our website through August 13.
Combining material languages from painting and sculpture, and driven by intellectual, emotional, and visual urgencies with roots in James Baldwin’s novel, Go Tell it on the Mountain, the visual iconography of hip hop group Public Enemy, Black secret societies, and his own experiences growing up as a Black man in Chicago, Tell it on the Mountain (2013) is an encompassing summation of Johnson’s first decade of work and a revelatory window into the artist's advances that would soon follow. Johnson takes on multiple legacies of abstract expressionism, introducing techniques and ideas often considered anathema to it, and thereby revitalizing the discourse for the twenty-first century while posing tough questions about American life in the past, present, and future.
On Friday, July 30, join us for an in-person conversation with Raul Guerrero and Pilar Tompkins Rivas, Chief Curator and Deputy Director, Curatorial and Collections at the Lucas Museum of Narrative Art, at 5 PM PT. Please click here to RSVP.
Guerrero and Tompkins Rivas will discuss, Fata Morgana, the artist’s first exhibition of paintings at the gallery. The works in this exhibition include a collection of paintings that examine the artist’s Mestizo ancestry (of Spanish and Indigenous descent) and the various cultural environments in which he’s embedded. Spending significant amounts of time in locations of specific interest, Guerrero approaches his subjects by sourcing and remixing elements that allow him to further excavate histories of place.
The Galaxy Song is an exhibition featuring unique silkscreen prints and paintings by Matthew Brannon, and paintings and sculpture by Elijah Funk & Alix Ross (Online Ceramics), who have become widely recognized for their t-shirt designs, among other projects. For both Brannon and Online Ceramics artists Funk and Ross, The Galaxy Song is an occasion to treat the motifs, cosmic mindfulness, and countercultural narratives associated with the Grateful Dead as springboards for open experimentation. While the 1960s-era, psychedelic origins of the Dead—as well as the band's propensity for inspiring its fans to reinterpret its densely interwoven iconographies—provide the show's major conceptual through lines, it is just as much a celebration of the possibilities inherent to the screen printing process as an improvisatory dive into the dark, weird, humorous spaces in America's past, present, and future.
Andrea Büttner: Grids, Vases, and Plant Beds features several bodies of new work in a broad range of mediums. The exhibition explores a range of interrelated themes: the inextricable link between the modern development of organic planting methods and back-to-the-land tendencies and fascist political movements like Nazism; the role played by grids as organizing structures, especially in modernist aesthetics; the deification of paintings in a secular age; and how devotion, suffering, cultural appropriation, and the tragic sublime reveal individual as well as collective effects. Büttner’s exhibitions are places where emotions and intellect are synthesized in highly visual, often tactile, works that are notable for their rich colors and formal directness. Projects born of historical research exist alongside those in which the presence of the artist’s hand is the most prominent element.
Fata Morgana, our first exhibition with Raul Guerrero, features new and recent paintings by the artist. Spending significant amounts of time in locations of specific interest, Guerrero approaches his subjects by sourcing and remixing elements that allow him to further excavate histories of place. This investigative approach is presented in the exhibition, where three bodies of work (grouped thematically by location: the Great Plains and the Black Hills of South Dakota, Latin America, and present-day Los Angeles) address the myths and realities of the settlement of Southern California, specifically as a region where Native, Latin, and European American identities converge. Taken together, the paintings depict historical contexts that address current themes of displacement, exile, and refuge. For Guerrero, this collection of locations function as a series of metaphors for examining his own Mestizo ancestry (of Spanish and Indigenous descent) and the various cultural environments in which he’s embedded.
David Kordansky Gallery’s solo presentation of paintings by Raul Guerrero for Art Basel OVR: Portals, featuring an interview with the artist, is now live. Please click here to view.
The paintings on view in this presentation address the settlement of Southern California and the American Southwest, both in a historic and contemporary context, through painterly depictions of popular imagery and media. Continuously informed by his experiences navigating cultures as an American of Mexican ancestry in Southern California, the paintings are characterized by visual elements pulled from primary sources such as modern Mexican cinema, European art-historical imagery, and Spanish Golden Age literature. Guerrero’s compositions are remixed and annotated to evoke the shifting realities excavated from intricate, colonial histories of Western regional places of interest to him. Through this process of sourcing, Guerrero utilizes these cultural signifiers and etymological strategies as a method of understanding personal concepts of self.
David Kordansky Gallery is pleased to welcome Raul Guerrero to the gallery. Our first collaboration with Guerrero is a solo presentation opening on Wednesday, June 16 for Art Basel OVR: Portals. In July, an exhibition of new and recent paintings by Guerrero will open at our gallery. To learn more about Guerrero’s work and career, please visit ARTnews for a profile on the artist.
For over four decades, Guerrero has made work informed by his experiences navigating cultures as an American of Mexican ancestry in Southern California. In his paintings, photographs, video, and performance works, Guerrero utilizes language and cultural signifiers to examine notions of place as a way to understand personal concepts of self. An aspect of his work depicts—and critiques—colonial narratives in the Americas such as the settlement of the Great Plains, the history of Latin America, and imposed notions of the American “West.” With compositions fusing Mexican, American, and European visual traditions, he incorporates influences ranging from the readymades of Marcel Duchamp to conceptually-oriented practices associated with a preceding generation of California artists, including John Baldessari and Ed Ruscha who emerged from Guerrero’s alma mater, the Chouinard Art Institute. A long-time exhibiting artist on the West Coast, Guerrero’s work reflects an intellectually rigorous approach suffused with humor and a deep engagement with legacies of visual art from Southern California and the Southwest.
Raul Guerrero (b. 1945, Brawley, California) has presented solo exhibitions at Ortuzar Projects, New York (2018); Air de Paris (project space), Romainville, France (2014); Athenaeum Music and Arts Library, San Diego, California (2001, 2007, and 2013); CUE Art Foundation, New York (2010); Long Beach Museum of Art, California (1977); and San Francisco Art Institute, California (1977). In 1989, the Museum of Contemporary Art San Diego presented a retrospective exhibition of his work. Guerrero has been the recipient of an NEA Photography Fellowship (1979) and the San Diego Art Prize (2006). He lives and works in San Diego, California.
In conjunction with our group exhibition The Beatitudes of Malibu, which brings together artists whose paintings, drawings, sculptures, photographs, and poems respond to, depict, question, or are inspired by landscapes of all kinds, David Kordansky Gallery is pleased to present a virtual reading with poets Tongo Eisen-Martin (also reading Bob Kaufman), Gabriela Jauregui, Ann Lauterbach, and Cedar Sigo. To attend the virtual reading (which will feature live closed captioning), please register here.
A selection of poems by Gabriela Jauregui, Bob Kaufman, Ann Lauterbach, Rowan Ricardo Phillips (whose poem, "The Beatitudes of Malibu," inspired the exhibition's title), and Cedar Sigo are included in a complimentary booklet published as part of the show.
Founded by Lauren Halsey, Summaeverythang is dedicated to the empowerment and transcendence of Black and brown folks socio-politically, economically, intellectually, and artistically. As part of Frieze New York's Tribute to the Vision & Justice Project and its founder, Sarah Elizabeth Lewis, David Kordansky Gallery launched a donation matching campaign in support of Summaeverythang that raised over $40,000 to provide hot meals and thousands of boxes of free organic produce from regional farms to neighbors in Watts and South Central Los Angeles.
With our deepest gratitude, we celebrate all of you for supporting and spreading the love. Many thanks to:
Maria Ahverdyan, Anonymous, Teresa Aversa, Tre Borden, Brian Calvin, Leslie Dick, Carol Eliel, Dawn and Chris Fleischner, Sarah Heinemann, Julia V. Hendrickson & Anthony B. Creeden, Steve Hirsch, Raymie Ladevaia, Mitchell Jacobson, Brian Kordansky, Liana Krupp, Nancy Lanier, Kurt Mueller, Nu Nguyen, Ralph Segreti & Richard Follows, Danielle Shang, Brian Sharp, V. Joy Simmons, MD., Carrie Ungerman, Page Wery, Annie Wharton Art Consulting and LADIES ROOM, Emerald Woods, and Danielle Yip.
David Kordansky Gallery is pleased to present a solo presentation of new sculptures and drawings by Huma Bhabha at Art Basel Hong Kong 2021 from May 19 through May 23. Art Basel Live: Hong Kong, a series of online viewing rooms, will run concurrently with the in-person show.
For over 25 years, Bhabha has been making objects, drawings, and other works that depict the strangeness and vulnerability of the contemporary figure. The drawings on view in this presentation depict heads animated by a wide range of moods, colors, and perspectival experiments. Rendered on supports that include collaged images of animals and etching proofs from Bhabha’s own printmaking practice, they are themselves hybrid objects. Beginning with the grounds on which the acrylic, ink, and pastel pigments are applied, and extending to the creatures that take shape on them, Bhabha allows the unpredictable forces of intuition to guide conversations with her creations.
Huma Bhabha (b. 1962, Karachi, Pakistan) has been the subject of solo exhibitions at institutions that include the BALTIC Centre for Contemporary Art, Gateshead, England (2020); Metropolitan Museum of Art, New York (2018); and MoMA PS1, Long Island City, New York (2012). Notable group exhibitions include NIRIN, the 22nd Biennale of Sydney (2020); Carnegie International, 57th Edition, Carnegie Museum of Art, Pittsburgh (2018); and All the World’s Futures, 56th Venice Biennale, Italy (2015). Bhabha’s work is in the permanent collections of the Centre Pompidou, Paris; Los Angeles County Museum of Art; and Hirshhorn Museum and Sculpture Garden, Washington, D.C. Bhabha lives and works in Poughkeepsie, New York.
大卫·柯丹斯基画廊很荣幸地宣布，将于2021年5月19日至23日香港巴塞尔艺博会期间，推出艺术家胡玛·芭芭（Huma Bhabha）的最新雕塑和绘画个展。伴随现场展览同时进行的是“巴塞尔线上展厅：香港”（Art Basel Live: Hong Kong），为观众带来一系列线上展览。
David Kordansky Gallery is pleased to welcome Joel Mesler to the gallery. Mesler’s paintings shed light on universal themes by filtering them through autobiography, humor, self-deprecation, and surprising compositional juxtapositions. Childhood memories fuel meditations on design and popular iconography, not to mention the liquid, fluid, and mutable nature of the painting process. In recent years, Mesler has explored the power of acceptance, allowing emotions—as well as the cultural forms in which they become constellated—to exist at the center of his project. Mesler has also broadened his visual range, incorporating new motifs in the patterned backgrounds that provide the foundation for each composition and experimenting with increasingly elaborate ways of rendering typography. Their wry surrealism and emphasis on words and phrases place Mesler’s paintings in dialogue with the work of artists like Ed Ruscha and Christopher Wool, who engage with language and the relationship between text and image. But Mesler’s concerns are very much his own, and however lighthearted their surfaces read upon first glance, his paintings pose serious questions: How is a self constituted when it is not consistent from moment to moment? Where does pain end and healing begin?
New work by Mesler will be featured in the gallery’s presentation at Art Basel, which will take place September 21 – 26, 2021.
Joel Mesler (b. 1974, Los Angeles) has been the subject of recent solo exhibitions at David Kordansky Gallery (2021); Harper’s Books, East Hampton, New York (2020); Simon Lee, London (2018); and Kantor Gallery, Los Angeles (2017). Mesler lives and works in East Hampton, New York.
The Hugo Boss Prize 2020: Deana Lawson, Centropy, a solo exhibition of Deana Lawson's work, is on view now at the Guggenheim Museum in New York through October 11, 2021. The exhibition is organized by Katherine Brinson, Daskalopoulos Curator, Contemporary Art, and Ashley James, Associate Curator, Contemporary Art.
In 2020, Lawson became the first photographer to receive the Hugo Boss Prize, a biennial award administered by the Guggenheim Museum that honors significant achievement in contemporary art and celebrates the work of remarkable artists whose practices are among the most innovative and influential of our time.
To learn more about Lawson's work, please visit The New York Times to read a major profile on the artist, which will also appear in the Sunday Magazine on May 9, 2021.
David Kordansky Gallery is pleased to invite you to a virtual conversation with artists Tobias Pils and Michael Williams in conjunction with Pils’s solo presentation at the Frieze New York 2021 Edition of Frieze Viewing Room. The conversation will take place on Thursday, May 6 at 11 AM PT / 2 PM ET / 8 PM CET. To attend the virtual talk (which will feature live closed captioning), please register here.
Pils and Williams will discuss The Islands, Pils’s new body of paintings and drawings featured in his solo presentation. The Islands are the result of significant changes in Pils’s working methods and constitute the beginning of a major new addition to his material and visual vocabularies. Like all of his work to date, these paintings have been rendered in black, white, and shades of grey. But while Pils has previously painted on the floor—leaving the fronts of his surfaces unprimed—here, he has painted vertically on primed and stretched canvas supported by a large easel. Compositionally, the paintings comprising The Islands are filled with scenes of creatures, humanoid and otherwise, that occupy their own delimited terrains—unique islands of vision and circumstance on which particular laws of nature and states of mind reign supreme.
David Kordansky Gallery is pleased to announce an online solo presentation of new paintings and drawings by Tobias Pils at the Frieze New York 2021 Edition of Frieze Viewing Room, a virtual fair that will run May 5 – 14 alongside Frieze New York at The Shed.
In conjunction with Frieze Viewing Room, Pils and artist Michael Williams will discuss The Islands, Pils's new body of paintings on view in the presentation, on Thursday, May 6 at 11 AM PT / 2 PM ET / 8 PM CET. To attend the virtual talk (which will feature live closed captioning), please register here.
The Islands are the result of significant changes in Pils’s working methods and constitute the beginning of a major new addition to his material and visual vocabularies. Like all of his work to date, these paintings have been rendered in black, white, and shades of grey. But while Pils has previously painted on the floor—leaving the fronts of his surfaces unprimed—here, he has painted vertically on primed and stretched canvas supported by a large easel. The images themselves are developed first in preparatory sketches, so that their allegorical landscapes, fantastical beings, and indelible earthly and cosmological motifs emerge on the canvas with startling clarity. The paintings comprising The Islands are filled with scenes of creatures, humanoid and otherwise, that occupy their own delimited terrains—unique islands of vision and circumstance on which particular laws of nature and states of mind reign supreme.
In 2020, a large-scale installation of paintings by Tobias Pils (b. 1971, Linz, Austria) was inaugurated at Kunstmuseum Bonn, Germany, and a major fresco was installed at the Renzo Piano-designed campus of École normale supérieure Paris-Saclay, Gif-sur-Yvette, France. He has been the subject of solo exhibitions at the Josef Albers Museum, Bottrop, Germany (2017); Le Consortium, Dijon, France (with Michael Williams, 2017); Chinati Foundation, Marfa, Texas (2016); and Secession, Vienna (2013), among other institutions. Recent group shows include Picasso et la bande dessinée, Musée Picasso, Paris (2020); Jay DeFeo – The Ripple Effect, Aspen Art Museum, Colorado (2018); and Spiegelnde Fenster, 21er Haus, Vienna (2017). His work is part of the permanent collections of the Albertina Museum, Vienna; Kunstmuseum Bonn, Germany; and Le Consortium, Dijon, France, among other institutions. Pils lives and works in Vienna.
David Kordansky Gallery is proud to contribute to Frieze New York 2021's Tribute to the Vision & Justice Project, an organization dedicated to examining art’s central role in understanding the relationship between race and citizenship in the United States, and its founder, Sarah Elizabeth Lewis.
Now until May 14, through the duration of the fair and viewing room, our gallery will match up to $25,000 in donations to Summaeverythang Community Center, based in South Central Los Angeles. Founded by Lauren Halsey, Summaeverythang is dedicated to the empowerment and transcendence of Black and brown folks socio-politically, economically, intellectually, and artistically. Give today to support Halsey's center, soon celebrating its one year anniversary, and its inspiring example of how each of us can effect change by directly reaching out to the people around us.
Recognizing the devastating local effects of the COVID-19 pandemic, including unemployment and food insecurity, Halsey and her collaborators took action by developing—from scratch—systems to source, pack, and distribute now over 2,600 boxes of fresh, organic produce from Southern California farms each weekend to neighbors in Watts and South Central Los Angeles. Ever-responding and evolving, Summaeverythang has recently started providing healthy hot meals on alternate Fridays. These logistical efforts cost upwards of $24,000 each week, and are funded exclusively through sales of Halsey’s art, grants, and the donations requested and matched here.
Upon giving, please email your donation confirmation to email@example.com. We will gladly match donations received up to a total of $25,000 through May 14. Summaeverythang Community Center is a 501(c)(3) nonprofit. All donations are tax-deductible.
The Beatitudes of Malibu includes works by more than 40 artists and poets that respond to, depict, question, or are inspired by landscapes of all kinds. The exhibition borrows its title from a poem of the same name by Rowan Ricardo Phillips; in the poem’s eight parts, the poet engages in a series of encounters with natural, social, and aesthetic landscapes associated with Los Angeles, but also with the full spectrum of myths, narratives, and allusions these landscapes elicit. The Beatitudes of Malibu employs a similarly broad range of approaches to the landscape genre by bringing together artists whose paintings, drawings, sculptures, photographs, and poems are born of divergent—and often conflicting—legacies.
Among the highlights in this diverse, multi-generational exhibition are new and recent paintings by Sayre Gomez, Jennifer Guidi, Angel Otero, Hilary Pecis, Mary Weatherford, and Jonas Wood; historical paintings and drawings by Milton Avery, Nell Blaine, Charles Burchfield, Jane Freilicher, Miyoko Ito, Helen Lundeberg, Agnes Martin, Richard Mayhew, Millard Sheets, and Alma Thomas; and works by Huma Bhabha, Lauren Halsey, and Sky Hopinka that transcend traditional discipline distinctions.
A selection of poems by Gabriela Jauregui, Bob Kaufman, Ann Lauterbach, Rowan Ricardo Phillips, and Cedar Sigo will be included in a complimentary booklet published as part of the exhibition.
An exhibition of new sculptures by David Altmejd will be the Los Angeles-based artist’s first show at the gallery. Unfolding across the south gallery, four individual chambers will house sculptures depicting faces in various degrees of dematerialization, gradually dissolving visual signifiers of the recognizable human form. Navigating the space, visitors will be taken on a journey inspired by "The Fool's Journey" of the Major Arcana tarot cards—representing the stages and lessons of life—as the artist explores a psychedelic path to self-discovery and change.
Experiencing Altmejd's constructed universe will invite visitors to reflect inward, suggesting a way of being that prioritizes a detachment of consciousness from the body and the mind.
Moving West Again features new paintings by Sam Gilliam that continue the artist’s six-decade exploration of color and materiality. The exhibition includes various scales of Gilliam's signature Beveled-edge stretcher paintings, a typology of work dating back to 1967 and which demonstrates several striking formal advances. The new works are suffused with densely layered materials including tin and copper raw metals, sawdust and aluminum shavings, and pieces of socks sourced from Gilliam's studio. Gilliam flings, splatters, and throws this media onto the canvas, creating cosmic fields of color marked over by the artist's hand or scraped into by a garden rake.
Relentlessly experimenting with the conventions of painting, these new works are thick with rich white, yellow, and blue impasto, demonstrating Gilliam’s ability to compose lyrical depth from the stretched canvas on a beveled frame. This effect, which Gilliam has perfected over decades, makes it seem as if the painting itself is emerging from the wall on which it is hung.
David Kordansky Gallery is honored to announce the joint acquisition of a major early work by Sam Gilliam, the monumental installation Double Merge (1968), by Dia Art Foundation, New York, and the Museum of Fine Arts, Houston (MFAH).
Comprising two Drape paintings, both titled Carousel II (1968), Double Merge has been on long-term view at Dia Beacon since 2019. Before going on view at Dia, these canvases had never before been shown together in public. In 2022, Gilliam's Double Merge will travel to the MFAH and will rotate between the two institutions every five years, allowing for this important work to be consistently on view to the public in both New York and Texas.
"Sam Gilliam’s early experimentations with form and color have had a transformative impact on what we imagine painting and sculpture to be," said Jessica Morgan, Dia’s Nathalie de Gunzburg director. "Having Gilliam’s work on view at Dia Beacon over the last two years, alongside focused displays of work by many of his artistic peers, has expanded our audience’s understanding of this period of art history. Bringing Double Merge, the centerpiece of this display, into Dia’s permanent collection represents just the beginning of a rich and in-depth relationship with the artist, which will span exhibitions, public programs, and further scholarship on both Gilliam and this period overall."
"Over the last fifty years, Gilliam has established himself at the forefront of American abstraction. His groundbreaking investigations blur the boundaries between artistic disciplines, emphasizing the process, materiality, and dimensionality of painting and its display. We are delighted to partner with Dia Art Foundation in bringing this landmark acquisition into both of our collections," said Gary Tinterow, director, the Margaret Alkek Williams chair, MFAH.
To read more about the historic acquisition, please visit the Financial Times.
David Kordansky Gallery is pleased to announce its representation of Lucy Bull. Our first collaboration with the artist is an exhibition of new paintings, Skunk Grove, on view March 20 – May 1, 2021.
Bull’s paintings are visceral works that appeal directly to the senses. Synesthetic fields of shape and color, the paintings are described in sonic, tactile, or even emotional terms that evade rational logic and are unique to each viewer. As their formal attributes function as visual bait, the eye is drawn into the atmospheric spaces of their compositions before encountering a seemingly limitless number of associative openings. Worlds take shape across their varied surfaces and just as quickly fall away again; similarly, just when the act of looking generates optical overload or disruptive dissonance, Bull’s accumulations of marks reveal discernible traces of planning and hard-fought negotiations with her materials, leading the viewer back toward the concrete realities of pigment, medium, and surface. As she engages in these open-ended painterly experiments, Bull makes room for both precision and abandon, inviting viewers to participate in ever-unfinished processes of creation that she choreographs but never fully controls.
Lucy Bull (b. 1990, New York) has been the subject of solo exhibitions at High Art (Arles, 2020; Paris, 2019); Human Resources, Los Angeles (2019); Smart Objects, Los Angeles (2019); and RMS Queen Mary, Mother Culture, Long Beach, California (2017). Recent group exhibitions include Life Still, CLEARING, New York (2020); I Want to Eat the Sunset. We’re Talking About the Cosmos, Even. And Love, I Guess, Almine Rech, New York (2020); and El oro de los tigres, Air de Paris, Romainville, France (2020). Her work is in the collection of the ICA Miami. Bull lives and works in Los Angeles.
David Kordansky Gallery is honored to welcome Derek Fordjour to the gallery. Fordjour makes paintings, sculptures, and installations whose exuberant visual materiality gives rise to portraits and other multilayered compositions. Born of both broad sociological vision and a keen awareness of the body’s vulnerability, Fordjour’s tableaux are filled with athletes, performers, and others who play key roles in cultural rituals and communal rites of passage. In his paintings, Fordjour methodically constructs the ground of each composition through a collage-based process involving cardboard, newspaper, and other materials and pigments. The varied and textural surfaces that emerge are as complex—and physically engaging—as the dynamic subjects that Fordjour inscribes on top, within, and through them. His ability to grapple with many strata of artmaking on physical, conceptual, and straightforwardly human terms alike allows his project to communicate the widest possible array of emotions, from celebration and ecstasy to melancholy and lamentation. This, in turn, allows Fordjour to connect to audiences inside and outside of traditional art venues.
A major, new painting by Fordjour will be the subject of an upcoming One-on-One online exhibition at DavidKordanskyGallery.com in April 2021. A solo exhibition at David Kordansky Gallery will follow in spring 2022.
In 2020, Derek Fordjour (b. 1974, Memphis, Tennessee) was the subject of a solo exhibition at the Contemporary Art Museum St. Louis. In 2018, commissions for the Whitney Museum of American Art Billboard Project and the Metropolitan Transit Authority Arts & Design program resulted in significant public projects in New York. Recent group exhibitions include 100 Drawings from Now, The Drawing Center, New York (2020); Plumb Line, California African American Museum, Los Angeles (2019); and Reclamation!, Taubman Museum of Art, Roanoke, Virginia (2019). His work is in the public collections of institutions including the Los Angeles County Museum of Art; Museum of Contemporary Art Chicago; Dallas Museum of Art; Pérez Art Museum Miami; Nasher Museum of Art at Duke University, Durham, North Carolina; Whitney Museum of American Art, New York; and The Studio Museum in Harlem, New York. Fordjour was the Spring 2020 Alex Katz Chair in Painting at The Cooper Union, New York, and currently serves as a Core Critic at the Yale School of Art, New Haven, Connecticut. He lives and works in New York.
David Kordansky Gallery presents Tobias Pils: Balancing and Coupling, an online solo exhibition featuring two new paintings by the Vienna-based artist. The show is now live at DavidKordanskyGallery.com and will be on view through February 12, 2021.
To access Tobias Pils: Balancing and Coupling, please click here.
Tobias Pils produces paintings that are bracingly contemporary. The two paintings featured in this in-depth look at Pils’ work—Balancing and Coupling 1—speak in both metaphoric as well as concrete terms to the fullest range of issues animating the medium. This includes the irresolvable tensions between figuration and abstraction and the ongoing dilemmas about where and how painting functions on individual and collective levels. But the two works also focus attention on the contemporary moment in even more immediate ways, since they arise from a heightened sense of how a painting emerges in real time, brushstroke by brushstroke, thought by thought, and feeling by feeling. The paintings exemplify Pils’ approach to each aspect of his process as an opportunity for inquiry. They demonstrate, for instance, how Pils, through confining himself to a grisaille palette, is able to evoke subtleties that get to the core of what it means to paint with color. Balancing, with its dark background and looming lunar presence, is a "night" painting while Coupling 1 may be considered a "daytime" one with its frank depiction of bodies engaged in acts of communion that could be physical, spiritual, or ritual. Full of hybrid beings and allegorical landscapes, as well as passages of dissonant abstraction and subtle brushwork, Pils’ new work evokes the paradoxes that characterize life, consciousness, and art as vital, unpredictable phenomena.
David Kordansky Gallery is pleased to announce Nine Stepping Stones, Richard Tuttle’s first exhibition at the gallery, and the first major presentation of the artist's work in Los Angeles in nearly fifteen years.
Featuring a new group of wall-based works, this exhibition highlights the recent production of one of the most representative American artists of the postwar period. Over the past six decades, Tuttle has occupied interstitial positions between several genres, including painting, sculpture, drawing, and poetry. In each case, his work demonstrates how traditional categories of artmaking can function as starting points for wide-ranging investigations into the functioning of perception and language, questioning not only how we see or experience, but also what is being seen or experienced. Such questions ultimately hinge upon how a person—whether artist or viewer or both—inhabits and makes sense of the thing that comes to be known as an artwork. Nine Stepping Stones is dedicated to a series of assemblages whose titles all include the word "head" and whose roughly head-like proportions and shapes symbolize the human (and humanistic) frame of reference through which they can be engaged. Built from plywood that in turn becomes a support for spray-painted marks, each is a lyrical conundrum defined by its mysteries of construction and palpable sense of aesthetic openness exercised within clear (if elusive) limits and expressed via humble materials. In these works, color is nominal and painting is diffracted, revealing a spectrum of constituent parts that goes beyond the visual and pushes the medium into uncharted territory. As has been the case throughout his career, Tuttle achieves visual and conceptual strength not by overpowering viewers or the spaces they inhabit, but by coaxing attention back to boundless acts of seeing, thinking, and feeling that are analogues for human freedom.
The group exhibition These lacustrine homes, curated by Mai-Thu Perret, features works by Valentin Carron, Isabelle Cornaro, Karin Gulbran, Matthew Lutz-Kinoy, and Perret herself.
The title of the exhibition takes inspiration from "These Lacustrine Cities," a poem by John Ashbery inspired by the geography of Switzerland and the social implications of living in proximity to large bodies of water. While the artists in this show hail from different locations, their objects favor an aqueous, amorphous quality that has been historically maligned as overly diffuse by the canon, but which represents a quasi-mystical drive for boundlessness in alternative cultural contexts. Exploring the tension between domestic materiality on one hand and a biomorphic, dream-like strangeness on the other becomes a way for them to consider the intrinsic life force of the art object from a vantage point defined by a kind of covert conceptualism. In a new animation, for instance, Isabelle Cornaro develops metaphors for unbridled consumption that are as humorous as they are horrific. Matthew Lutz-Kinoy’s large-scale depiction of leisure as romantic resistance, meanwhile, pictures nude Lake Geneva bathers embracing and conjures the fin-de-siècle symbolism of Swiss painter Ferdinand Hodler. Valentin Carron’s cast aluminum bathrobes connote the presence of the body precisely by its absence and perform a "dry" reading of the body’s abiding "wetness." Perret’s own ceramic sculptures test the limits of that medium’s mutability in physical and formal terms alike, and the vessels of Karin Gulbran—which take on traditional as well as surreal, animal-like shapes—exude an ensouled warmth that speaks to the transcendental tactility of the natural world. Taken together, the works on view in These lacustrine homes exist at the intersection of the symbolism and the visceral materiality inherent to artmaking.
Surrender, an exhibition of new paintings and works on paper by Joel Mesler, is the artist’s first show at the gallery.
In Mesler’s work, childhood memories and traumas fuel meditations on class, design, and popular iconography, as well as explorations of the liquid, fluid, and mutable nature of the painting process. Surrender finds the artist exploring the power of acceptance, allowing emotions—and the physical and cultural forms in which they become constellated—to exist at the center of his project. Mesler’s new canvases are sharply tuned juxtapositions of language and image in which resonant phrases like "Mom" and "Don’t Cry" are rendered in text that is itself a graphic construction, written in letters made to resemble fire, milk, cocaine, or a Mercedes-Benz hood ornament. The backgrounds against which these phrases appear are also suffused with autobiographical import, evoking key moments from the artist’s past. Mesler reproduces a 1980s Marimekko rainbow pattern, for instance, to channel both youthful wonder and over-determined menace; as the words "Hopes and Dreams" go up in flames atop it, he evokes a happy-sad reckoning with lost innocence. And in his new works on paper, each of which has been executed on a David Kordansky Gallery exhibition poster from the early 2000s, Mesler directly addresses his journey as both an artist and an art dealer, as well as his formative years in Los Angeles and the trials and triumphs that have made the last two decades an unlikely story of personal and professional homecoming.