David Kordansky Gallery is pleased to open its new exhibition space with the gallery’s first show of new paintings and works on paper by Linda Stark. Titled Hearts, this inaugural exhibition will be on view September 19 through October 24, 2020. David Kordansky Gallery is currently open by appointment. Timed reservations and virtual visits are available here.
David Kordansky Gallery’s new exhibition space forms part of its expanded Edgewood Place location in Mid-City, Los Angeles. Designed by the architecture practice wHY, the 12,800-square-foot expansion adds an intimate, skylit 2,000 square feet of indoor exhibition space, as well as areas for storage and operations, all located around a landscaped courtyard built for a range of programming, including performance, film, and outdoor sculpture.
Over the course of three decades, Los Angeles-based Linda Stark has produced a body of painting in which material experimentation and concentrated symbolic energy go hand in hand. The work is visionary, open, and suffused with an unlikely combination of humor and pathos; at the same time, it represents one of the most sustained investigations of the mutable potential of paint—as both a physical medium and a site of rich cultural discourse—in contemporary art.
As the exhibition’s title suggests, the paintings in Hearts frequently address varied iconographies associated with this most resonant of forms. Hearts occupy the literal and figurative centers of human and animal life, but they also appear in a wide range of social and narrative contexts. Emphasizing the sculptural qualities of paint as much as its visual or color-based ones, Stark creates objects that reflect the multivalent potential of the heart as vessel and beacon, biological organ and mystical source. In so doing, she reveals a broad array of interests, notable for their historical depth and up-to-the-minute urgency alike.
The suffragette movement and the fight for women’s right to vote; the use of hearts in medals for military purposes; the transformational power of religious imagery; and the ability of a heart to transform another image, like a watering eye, into something richly metaphorical are a few of the thematic areas Stark explores in the show. But these are also highly personal paintings that arise as responses to inner experiences of mind and body. Often years in the making, they are meticulously planned and executed so that they engender intimacy, wonder, and surprise.
A work like Telltale Heart (2016), for instance, exemplifies Stark’s pitch-perfect ability to balance the "making" and "finding" tendencies that define divergent strands of contemporary artistic practice. By using a section of an Army surplus jacket as a support—the seller promised that it "had been to war and back"—she imports a pre-established camouflage pattern and a readymade history of use that expand the physical and conceptual fields upon and in which painting itself then occurs. The small, intricately rendered, upside-down heart at the center of the composition thereby gains in visual weight and poetic intensity, becoming a pulsing reminder of the vulnerability at stake in any conflict, armed or otherwise.
Another, related composition that also makes use of non-traditional materials nonetheless results in a very different kind of painting. In Burr Heart II (2020), Stark employs the painted upside-down heart as a receptacle for burrs—the pricking parts of river reeds collected in her own backyard—dropped in random arrangements and affixed to the canvas using red paint. The dark background that surrounds the heart, reminiscent of a night sky or oceanic expanse, is also notable for its distinct, dimpled texture. Throughout a work like this, paint does more than merely depict, represent, or serve aesthetic functions. It is enlisted here as an adhesive, and takes on an alchemical role as a substance that joins unlike things in a unified field of embodied meaning, coaxing order out of chaos and unexpected harmonies out of even the more dissonant or foreboding aspects of the natural world.
Like her paintings, Stark’s drawings are the products of intense focus and a constant renewal of her relationship to her materials. To this end, she organizes her studio so that she can dedicate herself to one of these modes of production at a time, allowing either drawing or painting to fully occupy her attention. Nonetheless, subjects and formal experiments carry over from one medium to the other, and the works on paper included in Hearts provide a sense of the scope of Stark’s interests and passions. They also demonstrate how she gives her motifs the space to come into focus at their own pace. As she returns to them over the years, they reveal their emotional complexities and reverberations, gaining in mystery and becoming only more elusive as she hones them and explores their intricacies. Knowledge and familiarity are never taken for granted; rather, Stark keeps the unknown squarely at the center of her gaze.
Linda Stark (b. 1956, San Diego) was previously the subject of a MATRIX series solo show at the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA), Berkeley, California (2013). Recent and forthcoming group exhibitions include New Time: Art and Feminisms in the 21st Century, BAMPFA (2021); Painting: Now and Forever, Part III, Matthew Marks Gallery and Greene Naftali, New York (2018); Made in L.A. 2018, Hammer Museum, Los Angeles; and Forms of Identity: Women Artists in the 90s, Orange County Museum of Art, Newport Beach, California (2017). Her work is in the public collections of institutions that include the Albright-Knox Art Gallery, Buffalo; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; and Museum of Contemporary Art San Diego. Stark lives and works in Los Angeles.
David Kordansky Gallery's new gallery expansion is featured in Wallpaper*: wHY’s new Los Angeles arts campus for David Kordansky Gallery by Carole Dixon. The article is online at Wallpaper.com.
Our expanded gallery opens on September 19 with our first exhibition by Linda Stark. Make a reservation to visit at DavidKordanskyGallery.com.
David Kordansky Gallery is pleased to present an exhibition of new paintings by Lesley Vance, A Zebra Races Counterclockwise. The show, which opens on September 12 and will be on view through October 24, 2020, takes place across two of the gallery’s exhibition spaces and features paintings that are Vance’s largest to date. David Kordansky Gallery is currently open by appointment. Timed reservations and virtual visits are available. Please visit DavidKordanskyGallery.com/Reservations for more information and to make a reservation.
Lesley Vance has honed an unmistakable visual language in which abstraction articulates its connections to realities both tangible and ephemeral. She has achieved this in numerous ways, emphasizing relationships between light and shadow, exploring different perceptions of space, and reckoning with the materiality of color. Her new exhibition’s title is taken from a line in Frank O’Hara’s Poetry, a poem that teases out connections between quickness, surprise, and desire, and that enacts, through its own slippery syntax, the ways in which the mind attempts to impart fixity to changing situations: "A zebra races counterclockwise. / All this I desire. To / deepen you by my quickness / and delight as if you were logical and proven..."
Several of Vance's most recent paintings are over six feet tall and therefore enter into dialogue with the body in wholly new ways. Like her works of the last few years, the underlying architecture of these paintings is based in freely flowing expressive gestures that she elaborates over time, transforming them into networks of lines, textures, and intercut volumes. Because of their increased scale, these marks communicate the sweep of an entire arm. Passages appear to speed up or slow down with newfound force. Furthermore, the vivid intensity of her palette creates fully immersive, intensely optical viewing experiences in which foregrounds and backgrounds constantly jostle for primacy. For all their formal power, though, these paintings are sensitive documents that record the action of intelligence and imagination as they intersect with sensate reality.
This reality includes the qualities of paint itself, especially at a larger scale. In Vance’s case, this means that color can convincingly communicate illusions of weight and depth, becoming the focus of the viewer’s awareness. The eye moves back and forth between two opposing modes of seeing: just as it begins to lose itself within surreal constructions of shapes, lines, and planes, it is confronted with the fact of the materials Vance uses to create them. The pristine nature of her surfaces only gain in seductiveness and complexity when seen in person, and they are revealed to be decidedly handmade, tactile things made from the movements of the artist's brush, arm, and hand.
Working alone and without assistants, Vance establishes levels of intimacy and close engagement that are immediately palpable regardless of the size of the canvas. In several of the works on view, layers of brushy transparency carry with them the energy of expressionist gestures, thereby disrupting the otherwise intact edges that distinguish one distinct shape or space from another so that the fluidity of paint assumes center stage. The ribbon-like forms that swerve across Vance’s canvases vary in density and composition, picking up or shedding hues as they go, momentarily pausing before slipping back into the thickets of color and luminosity from which they emerge.
Suffused with the feel of the physical world, Vance’s paintings are full of shifting moods and paradoxes that deepen in complexity the longer they are viewed. Attuned to ever-finer nuances of perception and physical presence, her work becomes both stranger and more naturalistic as it continues to unfurl.
Lesley Vance (b. 1977, Milwaukee, Wisconsin; lives and works in Los Angeles) has been the subject of exhibitions at the FLAG Art Foundation, New York (2012); Bowdoin College Museum of Art, Brunswick, Maine (2012); and The Huntington Library, Art Museum, and Botanical Gardens, San Marino, California (2012, with Ricky Swallow). Recent group exhibitions include Aftereffect: Georgia O'Keeffe and Contemporary Painting, Museum of Contemporary Art, Denver (2018); The Campaign for Art, San Francisco Museum of Modern Art (2016); Don’t Shoot the Painter. Paintings from UBS Art Collection, Galleria d’Arte Moderna, Milan (2015); Variations: Conversations in and Around Abstract Painting, Los Angeles County Museum of Art (2014); and Painter Painter, Walker Art Center, Minneapolis (2013). Her paintings are in the public collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Dallas Museum of Art; Hammer Museum, Los Angeles; and San Francisco Museum of Modern Art, among many others. A monograph documenting the last seven years of her work was recently published by Gregory R. Miller & Co.
David Kordansky Gallery presents One-on-One: David Altmejd, enter. The online exhibition features a new sculpture that expands upon previous ideas and serves as an engine for a host of new ones, illuminating a dynamic juncture in Altmejd's two-decade career. The presentation is now live at DavidKordanskyGallery.com and will remain on view through September 23, 2020.
With its multiple cast features, uncannily rendered surfaces, and refracted gaze, enter (2020) embodies the paradoxes that make Altmejd’s work such a compelling and vibrant feature of the contemporary landscape. Like many preceding works, the bust of a human figure is portrayed in a state of flux, emerging from its materials in a way that captures the energies of biological, geological, and perhaps even spiritual or metaphysical growth. At the same time, this growth leads to the disintegration of fixed identity, transforming the subject of the sculpture into a being that cannot be described as any one person or thing. Altmejd emphasizes this in-between status by intimately merging the ears of a rabbit—also multiplied—with the body of the bust, generating a hybrid of organs and species. Cradled in its hands, the rabbit acts as a kind of guide, leading us—and the artist—into mysteries of construction and consciousness. The sculpture opens spaces both within itself and within the minds of its viewers, and becomes a portal through which to encounter the past, present, and future of Altmejd’s visionary project.
To view the online exhibition, please click here.
David Kordansky Gallery is pleased to announce its representation of David Altmejd. The gallery will present an online exhibition focused on a new sculpture by the Canadian-born, Los Angeles-based artist beginning this coming Wednesday, August 26, 8:00 am Pacific Time. The presentation will be on view at DavidKordanskyGallery.com through September 16, 2020.
David Altmejd explores the constitution and disintegration of the self, producing sculptures that expand the range of figurative representation, and conjuring abstract regions beyond the realm of recognizability. His work is centered on the human form, which in Altmejd’s vision includes not only the body but the mind, the imagination, and the soul, not to mention the ways the material world is perceived and felt through these channels. To this end, each of his works arises from an ongoing intuitive relationship with the large array of materials with which they are built, including clay, foam, mirror, quartz, resin, and both synthetic and human hair. Traditional processes like casting exist alongside idiosyncratic forms of bricolage; no two sculptures are alike, even when they seem to address related subjects. Altmejd approaches scale as a relative quantity, and over the course of his two-decade career he has treated room-sized installations and intimate busts with the same levels of intensity and commitment. Cosmological in scope, his work reveals a world-making ethos across its surfaces and in its details, where countless moments of invention and curiosity reflect ever-unfolding mysteries of consciousness.
David Altmejd (b. 1974, Montreal) has been the subject of solo exhibitions at Musées royaux des Beaux-Arts de Belgique, Brussels (2016); Kunsthal KAdE, Amersfoort, Netherlands (2016); Louisiana Museum of Modern Art, Humlebaek, Denmark (2015, traveled to Musée national des beaux-arts du Québec); Musée d’Art Moderne de la Ville de Paris (2014, traveled to Musée d’Art Contemporain de Montréal and Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean); MOCA Cleveland (2012); and Brant Foundation Art Study Center, Greenwich, Connecticut (2011), among other institutions. In 2007, Altmejd represented Canada at the 52nd International Art Exhibition, La Biennale di Venezia, Venice. Recent group exhibitions include In the Spotlight of the Night Life in the Gloom, Marta Herford Museum, Herford, Germany (2019); Zombies: Pay Attention!, Aspen Art Museum, Colorado (2018); ANIMA MUNDI, Museum Boijmans Van Beuningen, Rotterdam (2018); Voyage d'hiver, Château de Versailles, France (2017); and A Material Legacy: The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art, Nasher Museum of Art at Duke University, Durham, North Carolina (2016). His work is in the permanent collections of museums such as the Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Art Gallery of Ontario, Toronto; and Musée d'Art Moderne de la Ville de Paris. Altmejd lives and works in Los Angeles.
Thank you, everyone! In just over a week, you confirmed $63,631 in contributions to the Summaeverythang Community Center founded and led by Lauren Halsey. With the gallery's $15,000 match, together we raised a total of $78,631 for the Community Center.
Summaeverythang's food distribution project packs and distributes boxes of farm-direct, organic produce free of charge to residents of South Central Los Angeles, where Halsey's family has lived and worked for generations. With your generous donations, the project will be able to sustain and scale up its food relief services for months to come. Please visit Summaeverythang.org and follow @summaeverythang on Instagram to stay up to date with the Community Center and its current and future projects.
Substantial, long-term change to the cultural landscape is an everyday commitment. We at David Kordansky Gallery look forward to sharing more initiatives and resources that combat systemic racism by building coalitions of support. The Summaeverythang Community Center provides an inspiring example of how each of us can effect change by directly reaching out to the people around us.
With our deepest gratitude, we celebrate all 504+ of you for supporting and spreading the love. Many thanks to:
Aandrea Stang, Adam Alessi, Adam Linder, Adam Siegel, Adrianne Rubenstein, Adrienne & Stephen Cole, Adrienne Sacks, Ako Castuera, Alee Peoples, Alex Allen, Alex Rojas, Alex White, Alexander Kujawski, Alexandra Gaty & Mark Hagen, Alexis Hyde, Alexis Luhrs, Alitash Kebede Arts, Allie E.S. Wist, Allyson Unzicker, Amanda Ross-Ho, Amanda Sawitzky, Amy Bessone, Analog Signs, Andie Eisen, André Martinez, Andrea Feldman Falcione & Greg Falcione, Andy, Angela Yang, Anna Glantz, Anna Pederson, Antonia Oliver, Asha Schechter, Ashleigh Parsons & Sean Ryan Pierce, Ashley Peters, Aurora Robles, Austyn Weiner, Autumn Beck, Ava & Daniel Kordansky, Beatriz Cortez, Becca Mann, Benjamin Lee Ritchie Handler, @bernhardtstudio, Bianca & Paloma Morán, Bijou Karman, Bogart Avila, Botanica Workshop, @BRANDEDARTS, Brenda Reyes-Chavez, Brett Westfall, Brian Calvin, Brittany Mojo, Brittney Read, Brooke Sauer, Brooks & Brad Hudson Thomas, Bryant Dao, Buck Ellison, Calum Sutton & Jennifer Joy, Camille Clair, Candi Kinyobi Obayashi, Carolyn Walsh, Carrie Cook, Carrie Nusbaum, Cash Machine, Cat Lee, Catherine Pham, Cathy Lightfoot, Catie Ginsburg, Charlotte Cornish & Huw Apted, Chase Hall, Chelsea Mosher, Chelsea Trinh, Chloë Waddington, Chris Black & Winnie Ng, Christie Torgerson, Christina Quarles & Alyssa Polk, Christian Bumala, Christine S., Christopher Mangum-James, Christopher Suarez, Christopher Yin, Claire Boutelle, Clare Elliott, Constance Melkonian, Corrina Peipon, Courtney Duncan, Dakota Higgins, Dalya B., Damir Inbar, Dana Bruington, Dana Meyerson, Daniele Hollander, Danielle & Paul Yip, Danielle B. Ashton, Danielle Shang, Davina Semo, Deborah Auda, Diana Brisca, Diana Y. Alvarado, Diane Rosenstein, Directed By Mom, Djuna Myers, Dominique Angell, ELEVATOR MONDAYS, Elizabeth Portanova, Elizabeth Sexton, Ellen Schafer, Emerald Woods, Emilia Shaffer-Del Valle, Emily Alli & Matthew Storrie, Emily Blythe Jones, Emily Gonzalez-Jarrett, Emily Miner, Emily Rose, Emma Cooper, Emma Rose Mead, Eric Sick, Erica Rawles, Erin Desmond, Ethan R. Tate, Evan Jourden, Fanny Singer, Filipinx for Black Lives, For Your Art, Francesca Gabbiani, François Ghebaly, Fredrik Nilsen Studio, Gabriel Garza, Gabrielle Antonette, Gabrielle Ferrer, Gayane Ahverdyan, Geraldine Chung, Gillian Garcia, Grace Kim, Grace Oh & John Chan, Graeme Flegenheimer, Grant Levy-Lucero, Hannah & Rebecca Howe, Hannah Howe, Hannah Kim Varamini, Hannah Spears, Harley Wertheimer, HEALTH, Heidi Turpin, Helen Sibila, Hilary Pecis & Andrew Schoultz, Holly & Albert Baril, Holly M. Crawford, Ian Solaski, IG Art, Isabel Osgood-Roach, Ivan Morley & Bianca Branaman, Ivan Rios-Fetchko, Ivette Soler, Jack Eisenberg, Jackie Martinez, James Skarzenski, Jamie Chang, Jana Silverton, @janebug20, Jane Panetta, Janet Cha, Jasmin Shokrian, Jasmine Jaisinghan, Jason Marquis, Jay Grimm & Emily-Jane Kirwan, Jeanne Vaccaro, Jeff Kopp, Jen Smith, Jen Stark, Jenay Meraz, Jenna T., Jennie Freeburg, Jennie King & Gordon Hughes, Jennifer Graves, Jennifer Guidi, Jennifer Lee, Jennifer Piejko, Jennifer Rodriguez, Jennifer Shear, Jeremy Larner, Jess Goehring, Jess Ornstein, Jessica Lieu, Jessie Mann, Jill & Peter Kraus, Joan Adams, John Buptle, JohnnyVisuals, Jonni Cheatwood Studios, Joshua & Luna White, Joy & Richard Ahn, Julia Haft-Candell, Julia V. Hendrickson, Julian Hoeber, Julie Niemi, Julien Elizabeth, Kaitlyn Darby, Kaitlyn Fong, Kaleen Juarez, Karen Kice, Karen Lee Williams, Kari Cholnoky, Kat Sung, Katarina Jerinic, Kate Caruso, Kate Peppard, Katherine Hunt, Kathryn Andrews, Kathryn Scanlan & Caleb Lyons, Kathryn Woods, Kathy Huang, Katie Bode, Kelly Akashi, Kelly Brumfield-Woods, Kelly Lamb, Kenna Dworsky, Kenneth Taylor, Kim, Kim Michalak, Kim Romero, Kira Doutt, Kirby Bittner, Kour Pour, Kristen Schroer, Kristin Cammermeyer, LA River Public Art Project, Laura & David Dvorkin, Laura Copelin, Laura Hyatt, Lauren Every-Wortman & Amit Shah, Lauren Kelley, Lavonda Manning, Leah Rom, Lee Thompson, Lesley Vance & Ricky Swallow, Leslie Bergmann, Leslie Dick, Leslie Lainer, Lester Monzon, Lisa Wahlander, Lisa Williamson, Lisa Yan, Liz Case, LMA, Loring Randolph, Lucia Fabio, Lucy Bull, Lukas Peter, Lynne McDaniel, Maddie Keyes-Levine, Magnus, Jonny & Stoney, Maisie Wilen, Malaika Zweig Latty, Marceline Graham, Maria Ahverdyan, Maria Ruiz, Mariah Garnett, Mariel Williams, Marina Contro, Marina Heintze, Marisa J. 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Joy Simmons, Veronica Rodriguez, Vinny Dotolo & Sarah Hendler, Viveca Paulin-Ferrell & Will Ferrell, Vivian Ritchie, Vivien Chung, Wendy Yao, Wood Kusaka Studios, Yasmine Diba, Yemisi Oyeniyi, YOSH, Yoshie Sakai, Yuka Murakami, Zoe Walsh, Zoe Weinberg & Tanner McCardle, and the many donors who chose to remain anonymous.
David Kordansky Gallery is pleased to announce its representation of Deana Lawson. Lawson makes photographs that explore the black familiar and its relationship to lore, global histories, and mystery traditions. She transforms observational picture-making into a powerful mode of expression, critique, and celebration. Romance and intimacy between subjects, as well as ritual and spirituality, appear throughout Lawson’s work, often within the same image. Her photographs emphasize formal approaches to film commonly associated with both Western and African 20th-century portraiture practices, in addition to appropriation and uses of vernacular imagery. Lawson engages her subjects with intention and intuition alike, in staged situations characterized by the piercing directness of the model’s gaze. With their meticulous mise-en-scènes filled with personal artifacts and decor, these portraits underscore the psychological connections between people and their domestic spaces, fusing biography, symbolism, and cultural observation, and creating expansive images of contemporary personhood.
David Kordansky Gallery will present work by Deana Lawson at the upcoming Art Basel Online Viewing Rooms, June 17 – 26, with a VIP preview June 17 – 19, 2020.
David Kordansky Gallery is pleased to announce its representation of Jason Fox. For almost thirty years, Fox has painted pictures that inhabit the charged psychological spaces within American culture, as well as within the medium of painting itself. Exhibiting frequently at Feature Inc., among other galleries in the 1990s, he moved against the grain of prevailing appropriation-based and conceptual methodologies. His idiosyncratic, risk-taking paintings then and since have been filled with imaginary beings informed by modernist art, autobiographical reflection, and mythological symbolism, and a recurring cast of characters from comics, fantasy cinema, and popular music. As such, Fox produces pictures that condense broad propensities in the collective imagination into intimate images whose every brushstroke and color choice carries emotional weight. These unlikely but arresting pictures—suffused with Dadaist humor—make the most of painting’s ability to register organic, intuitively rendered changes in form and perspective. In many works from the last few years, Fox fuses portraits of well-known figures as well as images of his dog, demons, and angels. These hybridized beings appear to morph before the viewer’s eyes, communicating a sense of the fluidity with which they take shape on the canvas. This makes his work as personal and introspective as it is accessible, immediately recognizable, and culturally resonant.
An exhibition of Jason Fox's new paintings is currently on view at David Kordansky Gallery through July 11, 2020. The gallery will present work by Fox at the upcoming Art Basel Online Viewing Rooms, June 17 – 26, with a VIP preview June 17 – 19.
UPDATE: The response to Summaeverythang has been nothing short of inspiring.
To keep it coming, David Kordansky Gallery will match another $5,000 in new donations.
We cannot thank you enough for generously supporting and spreading the love so far. Next week, we will acknowledge all 366+ of you!
Our friends GalleryPlatform.LA and Total Luxury Spa have new Summaeverythang donation matches for us to meet too. Across our three platforms, how much can we raise together for organic produce to be delivered to Watts and South Central Los Angeles?
This past weekend amidst the protests in Los Angeles and across the country, Lauren Halsey—with members of her Summaeverythang Community Center—packed and distributed over 300 boxes of farm-direct, organic produce free of charge to residents of South Central Los Angeles, where she and her family have lived and worked for generations.
We at David Kordansky Gallery stand in solidarity with Black Lives Matter and all those protesting police brutality and racial injustice. We are committed to supporting projects by our artists that actively seek creative ways to combat systemic racism by building coalitions of love and support. Halsey's Summaeverythang Community Center provides an inspiring example of how each of us can effect change by directly reaching out to the people around us.
For the next week, the gallery will match up to $10,000 in donations made by our audience to support Summaeverythang's food distribution project founded by Lauren Halsey.
To donate to the Summaeverythang Community Center, please click here.
Upon giving, please email your donation confirmation to Emerald@DavidKordanskyGallery.com. We will gladly match contributions received totaling $10,000. Donations must be made by Wednesday, June 10, 8:00 am Pacific Time. Please note that donations are not tax-deductible.
David Kordansky Gallery is proud to be participating in Gallery Platform LA, launching on May 15. For more information, please visit GalleryPlatform.LA.
Sixty Los Angeles art galleries have joined together to create an online platform to promote engagement with the local and international art audience. GalleryPlatform.LA will present twelve gallery “viewing rooms” each week, with each gallery appearing on the platform once every six weeks. The platform will also include an editorial section featuring video visits with Los Angeles artists, collectors, and gallerists.
The online gallery platform is the first project of what will become a Los Angeles Gallery Association, which will coordinate joint programming, gallery maps and itineraries, and other projects to enhance the art-viewing experience in Los Angeles.
Fore more information, please click here.
A long-term installation of Sam Gilliam's early works from the 1960s and 1970s opens at Dia:Beacon, New York on Saturday, August 10.