ARTIST DƏ ˈZHO͝OR:Caitlin Keogh

Anatomically correct, eschewing academic distinctions between the fine and applied arts.

   Interiors , 2016   Acrylic on canvas  84 × 63 in  213.4 × 160 cm

Interiors, 2016

Acrylic on canvas

84 × 63 in

213.4 × 160 cm

Thinking about Cecil Beaton’s controversial photographs of models posing in front of Jackson Pollock paintings (published in Vogue, March 1951).

   Untitled , 2016   Acrylic on canvas  81 × 108 in  205.7 × 274.3 cm

Untitled, 2016

Acrylic on canvas

81 × 108 in

205.7 × 274.3 cm

Depictions of patterns with a wit and playfulness that hints at their fetishistic status.

ARTIST DƏ ˈZHO͝OR: Brent Wadden

Equally as inspired by the handcrafted as he is disheartened by the glut of cheap products fueling consumerist culture.

  Alignment #47 , 2014  Hand woven fibers, wool, cotton and acrylic on canvas  65 87/100 × 107 9/10 in  167.3 × 274.1 cm

Alignment #47, 2014

Hand woven fibers, wool, cotton and acrylic on canvas

65 87/100 × 107 9/10 in

167.3 × 274.1 cm

“I draw inspiration from all over, but mostly I’m attracted to objects that are handmade and have some kind of special quality to them,” he describes. “It’s hard to explain, but I can admire a Picasso just as much as a crusty wooden lawn ornament my uncle made in 1987.”
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compositions that stand as formidable challenges to the ethics and aesthetics of unchecked consumption

ARTIST DƏ ˈZHO͝OR: Philip Taaffe

Exuberant, intricate work that celebrates man's ritualistic impulses toward image making, borrowing widely from world culture motifs like Northwest Coast Indian masks, Islamic ornamentation, and Japanese perforated screens. 

Konya, 2009

Mixed media on linen

56 × 64 1/2 in

142.2 × 163.8 cm

Known for its elaborate sampling of methods (a single work may use collage, monotype, relief printing, marbling, gilding, silk-screening, and the gestures of Action painting). 

   Ophiuran, Prismatic , 2014   Mixed media on canvas  76 1/2 × 70 in  194.3 × 177.8 cm

Ophiuran, Prismatic, 2014

Mixed media on canvas

76 1/2 × 70 in

194.3 × 177.8 cm

Taaffe's art is founded on his belief that painting should be a synthesis of visual forces rather than the ruptures sought by modernism. 

  Thronus , 2007  Mixed media on paper  19 3/4 × 17 1/2 in  50.2 × 44.5 cm

Thronus, 2007

Mixed media on paper

19 3/4 × 17 1/2 in

50.2 × 44.5 cm

References include Op Art, abstract artists Jackson Pollockand Robert Rauschenberg, the 1970s Pattern and Decoration movement, and 1980s appropriation art.

 

ARTIST DƏ ˈZHO͝OR: Bosco Sodi

The monumental, richly pigmented  

celebrations of pure color.

He creates his dense monochromes using raw pigment mixed with sawdust, wood pulp, natural fibers, and glue, which he applies, layer by layer, to large wooden slabs. As the pieces dry, the surfaces crack, calling to mind geological phenomena like lava and scorched earth.

Using materials such as lapis lazuli, indigo, carbon, and soot to make his paintings vibrate with organic energy.

The finished pieces are even further tied to the earth by aspects such as the altitude and humidity of where they were made.

Each piece is created, the artist has said, in one “continuous action, like a performance.”

ARTIST DƏ ˈZHO͝OR: Jeff Elrod

basic computer software as a starting point for his artistic process

Jeff Elrod
Nobody Sees Like Us, 2012
UV ink on fisher canvas
62 x 46 1/2 inches
(157.5 x 118.1 cm)

abstractions of video game imagery in the early 1990s

Jeff Elrod
Night Flight, 2013
Acrylic and ink on canvas
96 x 74 inches
(243.84 x 187.96 cm)

“frictionless drawing”

Jeff Elrod
Pieces of Sky, 2006
Acrylic and silkscreen on canvas
80 x 62 inches
(203.2 x 157.5 cm)

While software allows for the production of lines and color fields without direct intervention of the artist’s hand, Elrod aligns his work with the long history of painting and abstraction.

ARTIST DƏ ˈZHO͝OR: Aspen Mays

Postmodern Mystic

Her photographic work challenges the expectation of photography as a documentary and categorical medium.  

Her research explores the visualization of knowledge in both visual art and observational sciences. 

Interested in the fantasy of objectivity in photographic processes, the artifacts and archives of these processes, and the desire for transcendence in the ordinary and prosaic.

ARTIST DƏ ˈZHO͝OR: Stanya Khan

She's built a practice that balances the tragicomic with a morbid sensibility.

Delving deeper into the calamitous. Darkly comic drawings in the first two rooms depict partying witches and skeletons alongside bored and disaffected-looking young women wearing T-shirts emblazoned with slacker slogans like NO WAY and KEEP ON KEEPIN’ ON.

The works evoke an unsettled cool, a dull malaise lightly masking a foreboding fatalism.

Here's a link to one of my favorite videos of all time, that happens to be hers. 

https://www.artforum.com/video/id=27511&mode=large&page_id=0

ARTIST DƏ ˈZHO͝OR: Aaron Curry

I took my Grandpa to see this show when it was up at David Kordansky's new space off La Brea in LA...and WHAT A WIN. I first saw on of Aaron Curry's sculptures at a fundraiser at a collector's home. I didn't know it then, but that was a moment that I saw good contemporary art in someone's home and how they lived with it. I think it was between a coatrack and a piano. 

 

NOTICE IT. BE WITH IT. BE AROUND IT. DO A TRIPLE AXEL OFF IT'S DIVING BOARD. 

 

Ever since, I've been aware of Mr. Curry's production and really appreciate how consciously he roots his practice with references to massively important points in art history which include the distorted planes of Cubism, the bright colors and flat surfaces of Pop, and the sometimes disconcerting biomorphism of Surrealism. Yo, I would love a slice of that pie. Please and thank you. 

  Negative Creep  , 2016, painted aluminum, stainless steel, 96 3/4 x 24 x 25 inches (245.7 x 61 x 63.5 cm)

Negative Creep, 2016, painted aluminum, stainless steel, 96 3/4 x 24 x 25 inches (245.7 x 61 x 63.5 cm)

Bad brain, curated by Alexis Vaillant, 2014, CAPC musée d'art contemporain, Bordeaux, France, Installation view

ARTIST DƏ ˈZHO͝OR: Pope.L

a visual and performance-theater artist and educator who makes culture out of contraries.

The at SUSANNE VIELMETTER LOS ANGELES PROJECTS featured paintings and sculptures in an architectural installation surveying the artists object-based practice from the mid-1990s through the present. 

IMG_2489.jpg

Simultaneously with this show, "Desert," at Steve Turner presented a new film, "Obi Sunt," about the ghost of Joe Gans, the first African American World Boxing Champion, and the mythology that surrounds the resurrection of a past through biography. ALSO and most GENIUSLY accompanied by a GPS driving tour of the space in between the Forest and the Desert, Susanne Vielmetter Los Angeles Projects and Steve Turner.

ARTIST DƏ ˈZHO͝OR: Channa Horowitz

I was lucky enough to meet and help install one of her last installations in Los Angeles before she passed away a few years ago, This woman was something else. Nothing short of an inspiration for leading such an unfettered ad prolific career.

517527770ba5fHorwitz_Grid_1.jpg

She produced drawings, paintings, and installations using a rigid formal vocabulary of her devising, built on a standardized grid (that of graph paper) and a system of notations based on the numbers 1 through 8, each assigned its own color FOR OVER FOUR DECADES.

This system, which the artist termed “Sonakinatography,” was developed by Horwitz as a way of marking and expressing time, movement, and rhythm. 

Many of her works were originally intended as scores—detailed yet open-ended notations for dancers, musicians, and performers. The self-evidently labor-intensive and painstaking process of creating the drawings themselves suggests their additional role as records of the artist’s own time, labor, and thought.

ARTIST DƏ ˈZHO͝OR: Monique van Genderen

I was lucky enough to have Monique as a professor when I was at Art Center. What an amazing amazing person and absolutely rock solid painter. She's very subtle in person, but her work truly does bring me to my knees at moments. Needless to say. She rules. Monique...If you can feel my internet vibrations. Well. Okay. They are there. For you. Love Kinley.

Preoccupied with surface quality and color, creating varying levels of reflection and transparency in her work through the use of various types of paint.

 

   Painting in Place collection ("…the love of gold”) , 2013   Gold leaf on linen  4 × 11 × 1 3/4 in  10.2 × 27.9 × 4.4 cm   

Painting in Place collection ("…the love of gold”), 2013

Gold leaf on linen

4 × 11 × 1 3/4 in

10.2 × 27.9 × 4.4 cm

 

Her vibrant abstract paintings make me think about  Helen Frankenthaler’s  painting practice and Lorser Feitelson’s illusionistic designs.

 

MONEY in. The. Bank.

ARTIST DƏ ˈZHO͝OR: Wade Guyton

Messing with the limits of a home-office printer.

In his early “drawings,” from around 2003, he started incorporating a desktop printer, are filled with striking black Xs over ripped-out sheets from ’60s design books and interior catalogues. 

He elongated the image on his computer and what was now printing out before him had a kind of pattern of Benday dots, reminiscent of something Roy Lichtenstein would have made had he created abstract paintings.

UNTITLED, 2008

Epson ultrachrome inkjet on linen

93 × 55 × 1 1/2 in

236.2 × 139.7 × 3.8 cm

Best known for works on paper and canvas that exploit the painterly but erratic qualities of Inkjet printers. 

Untitled, 2005

Inkjet on linen

60 × 38 in

152.4 × 96.5 cm

 

“I never really enjoyed drawing or art classes,” said Mr. Guyton unapologetically as he described growing up in a small town in Tennessee. “I would prefer to sit in front of the TV or play video games.”

Employing large-format printers on pre-primed linen intended for oil painting, Guyton generates marks—typically Xs, stripes, and flames—that are irregularly absorbed to create random variations and patterns; seams and divisions in the composition result from folding and repeatedly feeding linen into the machine. 

In a recent series of black monochromes, paintings were overprinted with a Photoshop-drawn black rectangle.

BOOK DƏ ˈZHO͝OR: Figures in Air: Micah Silver

I picked this up a little over a year ago, and haven't really been able to get through it in one pass. At all. It's actually quite embarrassing. But it's dense. I mean really dense. References that you have to look up before you continue or you'll just be left behind on the fantastic voyage. And I want in on the journey. So there. Thank you Micah. Challenge quickly and calmly accepted. 

A sound artist and super-theorist Micah Silver produces sound installations and writes about the impact of sound on human behavior and social space.

His research ranges from Yves Klein s Air Architecture to La Monte Young's Dream House, and culminates in a discussion of historically significant sound systems and their physical and experiential impacts (e.g., the Grateful Dead's Wall of Sound custom PA).

 

NEVER THOUGHT OF THAT BEFORE

 

HERO DƏ ˈZHO͝OR: Nina Yashar

Oh Boy. OH BOY, does this woman have it together. When I think of the kind of woman I could be like...She comes to mind. Everytime. Not just some of the time. Her sense of texture>meets colour>meets dynamite. Count me in. For the win. 

By championing the work of midcentury masters alongside unusual antiques and cutting-edge pieces, the Milan-based dealer has redefined the experience of design.

Furniture and light fixtures could be mistaken for sculptures. Tables and cabinets groan with objets d’art.