Tony Marsh, Jiha Moon, Tia Pulitzer and Matt Wedel
November 20, 2020, 2pm pt / 5 pm et
Each working with clay, but varied in approach, the artists will discuss the role ceramics play in their practice and the necessity to work within this medium as part of their artistic output -- from Tony Marsh's elemental use of glazing and forms, Jiha Moon's contemporary take on traditional vessels, Matt Wedel's larger-than-life constructions, and the elegant realism of works by Tia Pulitzer. Following the conversation, the artists will be available to answer questions during a live Q&A.
Venice, CA -- L.A. Louver is pleased to present the group exhibition 45 at 45, which includes works by 45 artists, timed to celebrate the forty-fifth anniversary of the gallery located at 45 North Venice Boulevard in Venice, California.
As the global pandemic has required we distance from one another and engage through screens, 45 at 45 celebrates L.A. Louver’s reopening of our gallery, and physical connection expressed through the materiality of the artworks on view. The largest group exhibition in L.A. Louver’s history, over half of the participating artists are based in Los Angeles, and reflects the gallery’s founding principle: To champion L.A. artists within an international program. 45 at 45 features long- represented L.A. Louver artists such as David Hockney, Ed and Nancy Kienholz, Alison Saar; those from L.A. Louver’s Rogue Wave program of emerging L.A.-based artists: Matthew Brandt, Tia Pulitzer, Eduardo Sarabia; well-established artists for whom the gallery has high regard: Nick Cave, Tacita Dean, Elliot Hundley, Liza Lou; and rising stars: Carmen Argote, Daniel Crews-Chubb, Gabriella Sanchez.
45 at 45 draws upon many thematic strands, from the body and sensuality, to personal narrative and magical thinking, among other connections we will highlight in curated, contextual online presentations. Artists also include Sarah Awad, Rina Banerjee, Wallace Berman, Deborah Butterfield, Rebecca Campbell, Gisela Colon, Richard Deacon, Marcel Duchamp, Jimmie Durham, Kohshin Finley, Gajin Fujita, Sherin Guirguis, Frederick Hammersley, Tim Hawkinson, Ben Jackel, Leon Kossoff, Tony Marsh, Heather Gwen Martin, Jason Martin, Patrick Martinez, Dave McDermott, Michael C. McMillen, Jiha Moon, Alice Neel, Christopher Pate, Sandra Mendelsohn Rubin, Analia Saban, Sui Jianguo, Juan Uslé, Matt Wedel, Flora Yukhnovich and John Zane Zappas.
The exhibition will encompass all areas of L.A. Louver, including a newly remodeled showroom that adds additional exhibition space on the second floor of the gallery. On view for an extended period of time through early 2021, 45 at 45 will allow for a singular in-person viewing experience, ensuring our visitors can enjoy our renovated gallery in optimum safety and comfort.
L.A. Louver will host a series of virtual programs throughout the duration of 45 at 45, including exclusive artist conversations, studio visits and special online features. For more details, please visit lalouver.com/45.
October virtual events
Artist Conversation: Rina Banerjee and Alison Saar (ZOOM) / October 14, 2020, 2pm pt / 5pm et Instagram Live: Studio visit with Matthew Brandt / October 21, 2020
For media inquiries contact
Darius Sabbaghzadeh firstname.lastname@example.org / Kyle Hinton email@example.com / Third Eye
Reception with the Artist: Friday, Nov. 13, 4 - 9 pm
Lucid Yellow New Work by Jiha Moon
Laney Contemporary is pleased to present Lucid Yellow, an exciting exhibition of paintings and ceramics by internationally-celebrated, Atlanta-based artist, Jiha Moon, whose work is now represented by the gallery. Lucid Yellow, a color name conceived by the artist, is bold, full of saturation and infused with cultural symbolism. Art historical references range from the wavy-haired blonde, Pop Art brushstrokes of Roy Lichtenstein to the golden coif of Warhol’s Marilyn to the exoticized, glowing locks of Renaissance goddesses. Colors have shifting references. Bold intensities of color, with a focus on yellow, wind and wander throughout Moon’s work. Yellow is at once the punk, rainbow hair dye of a teenager and also the historically-loaded notion of racial stereotyping within the U.S. of Asian identity. Her work embraces the idea that identity can be mutable at times like hair color; one is not necessarily born with a consistent sense of identity. Her work encourages dialogue and multi-valenced meaning. Intentionally playful, it moves with ease between new and ancient, political and cultural.
Moon’s paintings shimmer with luminous, acrylic brushwork on brown, Korean Hanji paper mounted on canvas or panel. This generates associations with the patina of antique books and the cultural tradition of works on paper. The meeting point between old and new is an essential part of Moon’s practice. Her signature evil eyes, milagros, iconic emojis, and corporate logos, like the Twitter bird, intermingle within each composition.
Lucid Yellow also features an installation of Moon’s wall-mounted masks and a large selection of her ceramic sculptures, earthenware and porcelain, often incorporating found objects. Blending high and low, energetic graphics and calligraphic linework form dynamic tensions between shape and surface. The cherry-red lips of a smiling mouth, not unlike the mouth at the center of a de Kooning Woman, are prominent in the recent ceramic compositions, adding to the brilliance of her shape-shifting and mischievous variations.
Reception Details: Our reception will be held on Friday, November 13th from 4 to 9 pm. A food truck will be on-premises with plenty of room on the lawn and within the gallery to maintain social distancing. Face masks are required for entry and numbers will be closely monitored for those viewing the exhibition.
Gallery hours and contact information:
Tuesday - Friday, 11-5 pm
Saturday, 11-2 pm and by appointment
Phone: (912) 438-4442
Address: 1810 Mills B. Lane Blvd, Savannah, GA 31405
Crystal Bridges begins the new decade with the opening of the Momentary, a new space for contemporary visual and performing arts, and the debut of State of the Art 2020 at both locations with free admissions. Lauren Haynes, curator of visual arts at the Momentary and curator of contemporary art at Crystal Bridges, is leading State of the Art 2020, along with Alejo Benedetti, associate curator of contemporary art, Crystal Bridges and Allison Glenn, associate curator of contemporary art, Crystal Bridges. The team visited studios across the country, resulting in the selection of a diverse group of 61 artists, from varied backgrounds and at different points in their careers.
The hotly anticipated group show shines a spotlight beyond the usual art-world centers.
by Caroline Elbaor November 13, 2019
In February of 2020, the Crystal Bridges Museum of American Art in Bentonville, Arkansas will publicly unveil the Momentary—a new, 63,000 square foot satellite space focusing solely on contemporary art. The Momentary will open its doors with “State of the Art 2020,” a highly anticipated, 60-artist exhibition with a roster reflective of the various artists and issues at the forefront of contemporary art.
Overseen by Lauren Haynes, curator of visual arts at the Momentary and curator of contemporary art at Crystal Bridges, “State of the Art 2020” promises to be sprawling in nature. More than 100 works—spanning painting, sculpture, photography, video, performance, and mixed media—will be on view across both the Momentary and Crystal Bridges venues, with a number of these being site-specific.
The 2020 exhibition is the second iteration (following 2014’s successful “State of the Art: Discovering American Art Now”) in what the institution has announced will be a series of exhibitions staged every five years. But unlike many other recurring art world events, ”State of the Art” privileges inclusion and geographic diversity, with artists hailing from across the United States, including cities and towns like Madison, Wisconsin; Albuquerque, New Mexico; and even Spotsylvania, Virginia.
Here, Artnet News highlights six artists to watch in “State of the Art 2020.”
Entanglements is an exhibition of recent work by three Savannah-based and three Atlanta-based artists whose formal and conceptual considerations are rooted in exploring complex social structures, relationships, and ecosystems. Working in a variety of media—painting, drawing, installation, and sculpture, including fibers and ceramics—each artist’s creative practice tracks, teases out, intuits, or otherwise systematizes observations about order and disorder, and perhaps all of the entanglements in between. Their formal decisions serve as conceptual metaphors for the tensions that can be found embedded, or deeply layered, within ourselves, our habits and practices, our cultural assumptions and interactions with others, and our interconnected relationship with the natural environment. The artists’ abstract mapping—in sinuous line work, dense and knotty gestural marks, and expansive and murky spaces—draw numerous connections to urgent and socio-political concerns, such as the impact of environmentalism and the power of personal narrative, while evoking notions of internal conflict and harmony. Many pieces are experimentations in materiality and range from the highly synthetic to the purely organic, sometimes merging both. As such, some works serve to question material dependencies and entire ecosystems, while others engender questions about cultural expectations. And all address the dynamism, associations, and energy of materials and process.
Suzanne Jackson’s layered, assembled or structured dimensional surfaces interweave nature and body, real experience with material significance. Sonya Yong James’ and Liz Sargent’s fibers-based practices connect to haptic, sculptural traditions, calling attention to the energy and entropy of materials as active and experimental, intertwined with nature. Sharon Norwood plays on tropes of historic and domestic narratives, and challenges what is considered decorative in her thought-provoking and playful use of ceramic. Jiha Moon’s pop-gestural layers swirl and wend, questioning cultural assumptions of authenticity and confronting misunderstanding. The work of Pam Longobardi, inspired by and created from found plastic detritus, calls immediate attention to a critical stewardship of our environment on a worldwide scale. Entanglements approaches an idea Longobardi often explores, that “not only is no person an island, no island is an island,” and emphasizes the strength of the bonds that can tie us together in this realization.