Zap a Gap // Rosa Yaghmai // silicone, silk, tulle, gap filler, pigment, bricks // 78 x 47.5 x 3.75 in // 2017
Recently on view at Kayne Griffin Corcoran Gallery in Los Angeles was an exhibition on Rosa Yaghmai’s work called “The Courtyard.” LA artist Yaghmai transformed the gallery space to create an indoor courtyard equipped with light-color changing benches and standing sculptures, made of mixed-media such as corrective lenses, which resemble trees.
(L) Courtyard, Figerglass Bench // Rosa Yaghmai // fiberglass resin, UV LED lights // 18 x 72 x 20 in // 2017 (R) Imitation Crab // Rosa Yaghmai // silicone, quilting cotton, pigment, tin weave, bricks // 84.5 x 47.5 x 3.75 cm // 2017
Pipe #4 // Rosa Yaghmai // resin, corrective lenses, produce bags, aluminum, miscellaneous debris, steel, rust // 68 x 28.5 x 27.25 in // 2017
Lugi Luigi // Rosa Yaghmai // resin, plastic debris // 85 x 3.5 in // 2017
Untitled #49 // Roy Colmer // acrylic on canvas // 1970 // 190.5 x 127 cm
1960s NYC artist Roy Colmer utilized a spray gun to create works of art which blend colors. The sprayed colors consist of one colored canvas with a different color sprayed down the middle. The strips appear to vibrate, reflecting movement and flickering of video screens. This tribute to technology is a common theme throughout Colmer’s artistic practice.
Untitled #118 // Roy Colmer // acrylic on canvas // 1968 // 127 x 127 cm
Untitled #57 // Roy Colmer // acrylic on canvas // 177.8 x 127 cm
Reclining Figure – 1981 // Henry Moore
Reclining outside the Segerstrom Center for the Arts is a figure of a man. With a head far too small for his body it can only be the work of the famed British sculptor Henry Moore. Donated to the Segerstrom by the Angels of the Art on June 11, 1984, this work titled “Reclining Figure – 1981,” greets visitors as they approach the entrance to the art center.
In a tight hang, Zachary Armstrong’s “Keith’s Paintings,” were shown in China Art Objects gallery in Culver City. Armstrong’s paintings combine childhood imagination with adult themes to create a complex painting. Unicorns and flower crowns coupled with grimaces and menacing faces with tongues sticking out are juxtaposed in Armstrong’s works. He even painted a work of art specifically for the exhibition, a painting that states his name, title of the show and location.
The Bedroom // Vincent Van Gogh // oil on canvas // September 1998
Van Gogh, known to be inspired by his surroundings, featured a bedroom in Arles, France. In fact, Van Gogh depicted this bedroom three times. Now the paintings are dispersed around the world, one on view at the Vincent Van Gogh Museum in Amsterdam, another on at the Musée d’Orsay in Paris and the final work at the Art Institute of Chicago. “The Bedroom,” from the Art Institute of Chicago, is the second version Van Gogh painted and was recently loaned to the Norton Simon. In “The Bedroom,” Van Gogh turned the floor green, the walls purple and created a perspective that plays with the viewer’s perception.
Automatic Mojo // Britton Tolliver // 2016 // acrylic & mixed media on panel // 43 x 22.5 in
With a thick application of vibrant paint hues, Britton Tolliver’s works blend abstraction and grid-like patterns. Tolliver’s paintings evoke both to the natural and man-made worlds. The fluid designs sprawling across the panel resemble the natural world whilst the overlaid grid illustrates man’s influence. The perspective of overlaid, textural grids and smooth organic brush strokes appear to come from above, an ariel view of the world. This series of work was recently on view in the Luis de Jesus Los Angeles Gallery in a solo show titled “Powdered Toast.”
Stranded Islands // Britton Tolliver // 2015 // acrylic & mixed media on panel // 30 x 22.5 in
Hot Wishbone // Britton Tolliver // 2017 // acrylic & mixed media on panel // 30 x 22.5 in
Silke Otto-Knapp’s grisaille watercolors were inspired by the choreography of Frederick Ashton’s ballet. The figures represented in Otto-Knapp’s “Monotones” move with fluidity, resembling a ballerina dancing on the stage. These large scale watercolor canvases demand presence and grace, a shared characteristic with ballet.
Monotones (Seascape), 73 by 244 (4) // Silke Otto-Knapp // watercolor/canvas // 2016
Monotones (Figures and groups), 73 by 183 (3) //Silke Otto-Knapp // watercolor/canvas // 2016
Monotones (March), 73 by 61 // Silke Otto-Knapp // watercolor/canvas // 2016
A recent exhibition, “Nepalese Seasons: Rain and Ritual” at The Rubin Museum of Art in NYC explored the natural element of rain in the Kathmandu Valley in Nepal. On view were works which related to the importance of rain and rain deities for both Hinduism and Buddhism.
Divine Ancestor Hatha Dya // gilt copper alloy // Nepal, 16th century
Upper Section of a Torana // copper alloy; repoussé // Nepal, 1810
Pablo Picasso and Diego Rivera. Two artist living in different cities at the same time. What possibly could they have in common? Much more than you think. Despite Picasso living in Spain and Rivera living in Mexico, both artists were inspired by historical works (antiquities for Picasso, Mesomerica for Rivera) yet developed styles of 20th century modernism unique to them yet had remarkable similarities. Cubism is one such style painted by Picasso and Rivera. While Picasso is best known for his work in Cubism, as he is considered one of the founders of the movement, Rivera also made great strides in his cubist pieces. This can best be exemplified in Picasso’s Man with a Pipe (Homme au chapeau melon assis dans un fauteuil) and Rivera’s Sailor at Lunch (Fusilero marino).
Portrait of Sebastià Junyer Vidal // Pablo Picasso // oil on canvas // June 1903
The Era (La Era) // Diego Rivera // oil on canvas // 1904
Man with a Pipe (Homme au chapeau melon assis dans un fauteuil) // Pablo Picasso // oil on canvas // 1915
Sailor at Lunch (Fusilero marino) // Diego Rivera // oil on canvas // 1914
Woman in a Blue Veil (la femme au voile bleu) // Pablo Picasso // oil on canvas // Fall 1923
(L) Seated Standard Bearer // Mexico, Aztec, Veracruz, 1250-1521 // sandstone, laminated (R) Frida’s Friend (El Amigo de Frida) // Diego Rivera // oil on canvas // 1931
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