Featuring the work of Beverly Buchanan, Njideka Akunyili Crosby, Karon Davis, Nona Faustine, LaToya Ruby Frazier, Steffani Jemison, Jennie C. Jones, Simone Leigh, Julie Mehretu, Senga Nengudi, Lorraine O’Grady, Sondra Perry, Howardena Pindell, Faith Ringgold, Betye Saar, Alma Woodsey Thomas, and many more—along with an accompanying essay by writer and scholar Andrianna Campbell—this show’s title could hardly be more apropos. What’s more, it derives from a 1970 gospel song by artist and preacher Sister Gertrude Morgan; get thee to this church, post-haste.
Owens is responsible for draping an army of men, women, and anything in between in his visionary garments, but his furniture takes the (dim) spotlight here, with thrones—it would be insulting to just call them chairs—made of bone and long slabs of marble chiseled into sofas suitable for fainting on, if getting back up isn’t really in the stars. Accompanied by a video of the designer’s partner, Michèle Lamy—the main producer and credited force behind the Owens furniture line—and other pieces made of foam, along with paintings from the late Steven Parrino, these rigorous works will make anyone question their own wan taste in interior decorating.
Rick Owens Furniture
Here three rows of eighteen sunsets and several more figurative compositions that look straight outta MS Paint congregate, all rendered in the artist’s by-now signature medium of shaped aqua resin colored by acrylic gouache and casein. Benning’s wimpy imagery gets gumptious via her just-so arrangements and exacting palette though, raising a tall flag for the freaks and the fun.
Nineteen new sculptures along with an array of drawings are featured here for Nagle’s largest exhibition in Los Angeles to date. The artist is best known for his ceramics, and his sculptures here employ traditional glaze techniques that mix it up with newer elements such as epoxy resin, catalyzed polyurethane, and high-gloss automotive paint. Their energetic Pop colors latch onto paper-weight-size forms that, encased on top of pedestals, seem constellated to recall relics but resemble nothing so much as exclamations from some other, better world.
Ron Nagle Ice Breaker
Before his untimely death last year, artist and Underground Museum cofounder Noah Davis conceived a series of exhibitions of works from MoCA’s collection, but installed here, west of the trending downtown area and away from the city’s usual gallery districts. This show, titled “Non-Fiction,” is the second such collaboration between the two institutions, redistributing works by Kara Walker, Henry Taylor, Theaster Gates, Robert Gober, David Hammons, and Deana Lawson, among others, back into the city to address the systemic violence perpetrated on black people.
The first North American retrospective for Native American artist, activist, poet, and performer Jimmie Durham, titled “At the Center of the World,” is a rare chance to see work from a major American artist who not only left the US in 1987 but has since then intentionally withheld much of his practice from audiences here. With close to two hundred objects dating from 1970 to the present, the exhibition will notably feature his sculptural assemblages, often made from natural materials such as bone, stone, and wood. Finally, we have a chance to at least glimpse the edges of Durham’s expansive world.
Jimmie Durham At the Center of the World
Southern California? Books, zines, and prints? Sounds on trend! If overwhelmed by the deluge of the new, take a tour through “Chapters” to brush up on a rich history of independent publishing and artists’ editions in the region. Featuring the output of Kim Abeles, Edgar Arceneaux, John Baldessari, Wallace Berman, Suzanne Lacy, Laura Owens, Raymond Pettibon, Elliott Pinkney, Allen Ruppersberg, Edward Ruscha, Betye Saar, and Barbara T. Smith, among many others, the exhibition is a promising immersion in the self-publisher’s realm.
Chapters: Book Arts in Southern California