Mark Sheinkman New Paintings 2019
Von Lintel Gallery, Los Angeles
through October 12
On September 7th, Von Lintel Gallery opened its first solo show after moving recently to its new location in the Bendix Building, one of the art hubs of Downtown Los Angeles. This is the 13th solo exhibition for the artist, Mark Sheinkman, who has had a 22-year history with the gallery. Born in New York, Mr. Sheinkman still lives and works in the city that most certainly galvanizes his artwork.
The paintings in the show range from small (18” x 14”) to large (52” x 72”), but all have an equally strong impact. The energy present in the room is almost tangible. As the oil lines dance, and twist, and interlace into some complex dynamic configurations, they seem to exist in the spaces between the off-white surfaces of the paintings’ backgrounds and us, the viewers.
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More than 550 people came to Skid Row on a not-so-warm evening in May. Collective excitement was palpable in the air. Studio MOMÉ, co-founded by two artists, collaborators, friends and studiomates, Adam Mostow and Eric Mesplé, opened its doors to the public for the first time. Mostow and Mesplé, each a masterful creator and inventor in his own right, dedicated their grand opening to presenting a group show with artworks ranging from glass and metal sculptures, acrylic and spray paintings, and magical realism light boxes to murals, a taxidermy joystick-controlled sculpture, and ‘technology-mediated’ interactive installations.
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Gavlak Los Angeles
through May 25th
“Growing up I did not fit in. I never knew the Slang of the day. I was always ‘other’ & ‘outside of’, even in my own community I was strange. This changed for me when I had no other choice but to listen to my soul, to trust it. The parts of myself that only quake from the inside of the inside of the inside.” ~Vanessa German
Vanessa German is a powerful poet. Her potent charged words come forth in her riveting performances. Striking, they produce emotional ripples, provoke reflection, and inspire action. She speaks passionately about many urgent issues of the day – crime, violence, discrimination, identity, community, and hypocrisy of religious and political institutions. And just as fervently she speaks about Love – love for one’s family, neighbors, nature and our planet. When speaking of social ills, German doesn’t just point things out, she actively works within her community in Homewood (Pittsburgh, Pennsylvania), striving to bring lasting changes, protect, empower and also heal. All that the artist is and does literally and figuratively is imbedded in her artwork, which is magical and powerful in its imagery and the ideas it puts forward.
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A new gallery has just opened its doors on Miracle Mile sharing the courtyard with Praz-Delavallade and 1301 PE Projects and Editions. Los Angeles outpost of Galerie Photo 12, Paris officially opened on December 1 with a solo show of Kacper Kowalski introducing the Polish aerial photographer to the West Coast audience.
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Artist Jwan Yosef is cool, calm and collected. With serious countenance, he jokes often. Through his work, Yosef has been trying to answer his own questions–identity, politics, religion, sexuality and sense of belonging are the topics he addresses. The concept of duality presents itself frequently in Yosef’s work and the origin of it stems from his personal history, filled with many opposites that produced so much unity. Only a person who questions his feelings about and understanding of his environment and his place in it, can eventually arrive at certainty about feeling uncertain and find confidence in spite of the inner ambivalence.
A walk through the exhibition rooms at Praz-Delavallade in Los Angeles reveals a number of paintings, sculptures and objects that ambiguously fall in either of the two categories. If this is your first time seeing the work of Jwan Yosef, questions, one after another, will certainly pop up in your head. You may or may not think of the answers, but you most likely will not stay emotionally indifferent.
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As you walk into Joseph Gross Gallery in Los Angeles, you come to face a large sculptural tapestry that immediately transports you from Chinatown to the Middle East or the Ancient Greece or Rome. The hanging white cotton rag looks like a facade of a marble mausoleum. It gives a sense of solidity, grandiosity, and at the same time of beauty, delicacy, and serenity. The protruding middle part looks like a mashrabiya, known in English as a “harem window,” a characteristic architectural element of Arab residencies, famous for the latticework decorating its wooden window panels. Evoking this images, the middle part of the artwork has several cut-out vertical rectangles that look like windows. The ‘walls’ surrounding them display intricate patterns of crossing lines and smaller diamond-shaped cutouts that form a grid allowing the light to pass through and create shadows on the gallery wall behind the hanging sculpture. Shadow adds to the visual perception of the work creating the depth and adding another layer of hidden patterns.
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Claremont Graduate University
East and Peggy Phelps Galleries
Until September 28, 2018
Conversation with Dixie Lyn Boswell and H.C. Arnold, curators of The Shape of Sound exhibition, on view at the Claremont Graduate University until September 28. It is the first posthumous solo exhibition of work by sound artist Michael Brewster.
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After being senselessly attacked by strangers and experiencing terror of imminent death, artist John Duncan felt a range of intense emotions: panic, fear, anger and also relief. Such emotional high made him feel so alive that he wanted to share these sensations with others. That was the origin of Scare (1976), where Duncan was knocking on friends’s doors in the middle of the night, while wearing a mask, and shooting them in the face with a gun loaded with blanks.
Continue reading “John Duncan, career retrospective and a first solo show in Los Angeles at Nicodim Gallery (February 3 – March 17, 2018)”