45 at 45

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 darius@hellothirdeye.com / Kyle Hinton kyle@hellothirdeye.com / Third Eye 


Jiha Moon: Lucid Yellow

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 ​f​ood 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
Email: ​​info@laneycontemporary.com
Address: 1810 Mills B. Lane Blvd, Savannah, GA 31405


The White Melting Pot - Hyperallergic

The work of Jiha Moon and Stephanie H. Shih is both aesthetic and political, a commentary on assimilation as a process in which one’s national origin is not forgotten or erased.

by John Yau
June 27, 2020

Something I noticed after the country went into quarantine was that people began to post pictures on their social media platforms of the foods they were making at home. For a while, many people baked sourdough loaves. I saw lots of ethnic food as well as views of elaborate meals, even though no one was coming to dinner. I also noticed that little attention was paid in the photos to the plates and platters on which the food was served. It got me thinking: The vessel is integral to the history of ceramics. When we think of food, we might not care what delivers it to the table, but when we think of ceramics, we might wish that no food or beverage ever dirtied it. Until the 1950s, ceramics was a genre connected primarily with function, and rarely accepted as fine art. Peter Voulkos is widely considered the first ceramic artist to break down the barrier separating the functional with the purely aesthetic object. Voulkos’s breakthrough, which has been well documented, took place during the 1950s, and culminated in his 1959 exhibition of huge ceramic sculptures at the Landau Gallery in Los Angeles. Voulkos was invited to teach at the Los Angeles County Art Institute (now Otis College of Art and Design) in 1954. He remained there until his controversial Landau Gallery show, at which point he took a teaching position at UC Berkeley. Voulkos’s students at Otis included John Mason and Ken Price, both of whom gained a reputation for their ceramic sculptures. Robert Arneson, who was not Voulkos’s student, was nonetheless changed by his encounter with the latter’s work.

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A Survey of American Art That Isn’t Just Coastal - Hyperallergic

This thoughtfully curated exhibition is evidence that much compelling and adventurous art is indeed being produced all around the country.
by Gregory Volk
March 7, 2020

BENTONVILLE, Arkansas — A follow up to the 2014-15 survey show State of the Art, State of the Art 2020 at Crystal Bridges Museum of American Art and its new non-collecting sister site, the Momentary, is intended to be “a cross-section of artists working today.”

Organized by Momentary and Crystal Bridges curator Lauren Haynes, with Crystal Bridges associate curators Alejo Benedetti and Allison Glenn, it includes 61 artists whose works span painting, sculpture, photography, performance, video, digital media, textiles, and ceramics. It is similar in scale, intent, and ambition to, say, the Whitney Biennial. That’s where things get interesting. For all its equity and diversity, the last Whitney Biennial still focused squarely on East and West Coast artists, especially those from New York and Los Angeles (John Yau provided a helpful by-the-numbers analysis). 

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State of the Art 2020

February 22 - May 24, 2020

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.

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