The Hirshhorn Museum of Art had an interesting exhibition on view last month. Surprisingly it was not an art exhibition. Instead it was a showcase of orchids. The Smithsonian Gardens Orchid Collection contains over 8,000 different types of orchids, a selection of which were exhibited. A grid wall display contained niches to hold the orchid vases and tv screens displayed time-lapse videos of orchids blooming.
The Museum of Neon Art recently moved from downtown Los Angeles to its new home in Glendale, CA. In addition to the museum’s temporary exhibitions, three famous neon works are on permanent view: “Pep Boys: Manny, Moe, & Jack,” “Green Frog Market Howdy Folks,” and “Hillcrest Laundry” sign. The “Green Frog Market Howdy Folks” sign was originally a supermarket sign in Bakersfield while the “Pep Boys” sign was on view until 1990 when the logo changed to remove the cigar from Manny’s mouth.
Green Frog Market “Howdy Folks” // 1930s
Pep Boys: Manny, Moe, & Jack // 1970s
Hillcrest Laundry // 1950s
Who doesn’t love ice cream? And a museum dedicated to ice cream? Well guess what, there is such a thing. It is called The Museum of Ice Cream and it has officially come to LA! Each room of the museum is dedicated to a different aspect of ice cream – from local creameries, to gummy bears, to sherbet, to banana splits to a sprinkles pool. Various artists created immersive installations inspired by ice cream. Artists include Abel Bentin, Baker’s Son, Drew Billiau and David Guinn, Jourdan Joly, Lizzie Darden and Ramzy Masri. My favorite room, the sprinkles pool.
LOLLi SWiM
Abel Bentin
Mario Marsicano // Jellio
Baker’s Son
Tijuanatanjierchandelier // Jason Rhoades // mixed media // 2006
In an immersive exhibition of six installations is “Jason Rhoades: Installations, 1994-2006” at Hauser & Wirth Los Angeles. Each room is composed of one installation. Visitors are allowed to walk through the installations. In some of the rooms the blue print drawings of the work are on view, showing the artistic process of Rhoades. His works are politically charged relating to issues of stereotypes of cultures and women. My favorite work is “My Madinah. In pursuit of my ermitage…” The interactive installation pays homage to Rhoades’s own pilgrimage from Los Angeles to Mecca, California. This work resembles a temple and a mosque as it provides a critical commentary on how society perceives temples and mosques. The floor is made of overlaid towels held together with what appears to be drizzled glue. Visitors are invited to walk barefoot across the floor, seeing the work from different angels. Various ceramic objects, a box and a stool are located on the carpet. Suspended from the ceiling are 240 neon lights with crude phrases for female genitalia such as “magic cave,” “tuna taco,” “pussy” and “hot rocket.”
Tijuanatanjierchandelier // Jason Rhoades // mixed media // 2006
Swedish Erotica and Fiero Parts // Jason Rhoades // mixed media // 1994
Swedish Erotica and Fiero Parts // Jason Rhoades // mixed media // 1994
My Brother / Brancuzi // Jason Rhoades // mixed media // 1995
My Brother / Brancuzi // Jason Rhoades // mixed media // 1995
The Creation Myth // Jason Rhoades // mixed media // 1998
The Black Pussy…and the Pagon Idol Workshop // Jason Rhoades // mixed media // 2005
The Black Pussy…and the Pagon Idol Workshop // Jason Rhoades // mixed media // 2005
My Madinah. In pursuit of my ermitage… // Jason Rhoades // mixed media // 2004
My Madinah. In pursuit of my ermitage… // Jason Rhoades // mixed media // 2004
My Madinah. In pursuit of my ermitage… // Jason Rhoades // mixed media // 2004
Reversing Service (Oreo) // Kendell Carter // 2017 // cast latex // 38.1 x 28.1 x 5.1 cm
Kendall Carter addresses relevant themes of race and identity in a new body of work shown at Edward Cella Art & Architecture in an exhibition titled “Marvel.” Perhaps one of the most powerful works is “Cranes for Solange,” where Carter displays white denim jeans hanging on hooks that are locked. Above the jeans is a bathroom sign that states “Rest Rooms,” “White” and “Colored.” This site specific installation harks back to a dark time in history whilst simultaneously illustrating the problems that still exist.
Cranes for Solange // Kendell Carter // 2017 // denim jeans, lightbox, ephemera, locks, brackets
Effigy for a New Normalcy VI (Accepting Greatness) // Kendell Carter // 2017 // gold-plated sneakers
From left to right (1) Waves for My People // Kendell Carter // 2017 // cast latex & aerosol float mounted in frame // 71.8 x 57.8 x 5.1 (2) Thai Waves in Scandinavia // Kendell Carter // 2017 // cast latex & aerosol float mounted in frame // 101 x 85.1 x 5.1 (3) Waves for Breakfast // Kendell Carter // 2017 // cast latex & aerosol float mounted in frame // 118.8 x 95.9 x 5.1 cm (4) Waves on Beverly // Kendell Carter // 2017 // cast latex & aerosol float mounted in fame // 129.5 x 88.9 x 5.1 cm (5) Dirty Waves // Kendell Carter // 2017 // cast latex & aerosol float mounted in frame // 137.2 x 121.9 x 5.1 cm (6) Waves for Amit // Kendell Carter // 2017 // cast latex & aerosol float mounted in frame // 153.7 x 125.1 x 5.1 cm (7) Waves for McQueen // Kendell Carter // cast latex & aerosol float mounted in frame // 203.2 x 143.5 x 5.1 cm
Man with a Briefcase // Jonathan Borofsky // COR-TEN steel // 1979-1988
A colossal statue of a 27 foot tall man sporting a hat and carrying a briefcase is located outside the Smithsonian American Art Museum in Washington D.C. This figure resembles the classic image of a typical salesman, walking door to door. This subject is a reoccurring theme by Borofsky, seen in other large scale statues in cities such as Forth Worth, TX and Minneapolis, MN. This particular statue is a newly acquired work by SAAM.
Seydisfjördur Slides – Every View of a Town 1988-1995
In the Book & Printed Matter Lab at Hauser & Wirth Los Angeles is a display of photographs from the Icelandic town of Seydisfjördur. The photographs are not displayed in the traditional manner of ink on paper, rather the photographs are shown on the wall by four projectors. Created by Dieter Roth, his two sons Björn and Karl and Pal Magnússon, the photographs depict the Icelandic landscape, houses and roads. In an adjacent display are notes and the original photographic prints, allowing visitors to see the archived materials.
Seydisfjördur Slides – Every View of a Town 1988-1995
Seydisfjördur Slides – Every View of a Town 1988-1995
Seydisfjördur Slides – Every View of a Town 1988-1995
The Asheville Regional Airport created a mini gallery to showcase one artist who practices in Asheville’s River Arts District [RAD]. Right now the airport gallery is exhibiting the art of Jonas Gerard. Born in Morocco, Gerard lived in New York City and now currently resides in Asheville, North Carolina. Despite living in North Carolina, Gerard remains influenced by New York and Morocco. While painting, Gerard listens to Moroccan tribal music, Afro-Cuban rhythms and jazz, allowing the melodies to inspire him.
Our Beautiful World #2 // Jonas Gerard // acrylic on canvas // 30 x 48”
Enchanted Forest #3 // Jonas Gerard // acrylic on canvas // 36 x 72”
Floral Fantasy #23 // Jonas Gerard // acrylic on canvas // 20 x 20”
The Andy Warhol Foundation partnered with the sparkling water brand Perrier. Various works by Warhol will be shown on the Perrier logo along with famous quotes by the artist. This is one I found at the supermarket. It shows one of Warhol’s printed Perrier Bottles, fitting right?
London, Somerset, Gstaad, New York. Now Los Angeles. These are the locations of the internationally renowned gallery Hauser & Wirth. Their latest gallery, in Los Angeles, opened last year in the arts district. In an open design concept, the gallery consists of individual rooms to showcase art, an outdoor courtyard, bookstore and restaurant. The restaurant, Manuela, is farm to table, and is equipped with a chicken coop and herb and vegetable garden.
Pacific Ocean // Mary Heilmann // acrylic paint // 2016
Pacific Ocean // Mary Heilmann // acrylic paint // 2016
