Saturday, December 10
In the lead-up to a retrospective at Tate Modern this winter, the artist’s seventh exhibition at this gallery takes a broad look at a diverse practice that alights on figurative portraiture, abstraction, digital vs analog technology, and documentary photography. Clinical vitrines of photos, heavy-hitting large framed pics, and small prints posted on the hiding-in-plain-sight backroom doors draw the white cube into cahoots with a more intimate bedroom-style display.
The late Austrian artist’s first solo exhibition in Los Angeles is a survey of works spanning half a century, examining her seesaw between painterly abstraction and the arguably more loaded abstractions of the body as both material fact and malleable emotional organ. Get ready to crumble.
Maria Lassnig A Painting Survey, 1950 – 2007
Founded in 1966, Gemini G.E.L. is celebrating its fiftieth anniversary as one of the country’s foremost printmaking shops with an exhibition of works on its home turf. In addition to fifteen series of prints, including editions by Jasper Johns, Robert Rauschenberg, Vija Celmins, Frank Stella, Michael Heizer, Richard Serra, Ellsworth Kelly, Josef Albers, John Baldessari, and Julie Mehretu, expect lithography, etchings, and screen prints to all put in an appearance.
The Serial Impulse at Gemini G.E.L.
While their name today sounds more like a support group for a certain US Presidential candidate, the Rat Bastard Protective Association was actually an artist collective created in 1957 and led by self-elected president Bruce Conner. Among his colleagues and cohorts were Bay Area glitterati Jay DeFeo, Wallace Berman, Joan Brown, Wally Hedrick, George Herms, and Carlos Villa, all of whom worked together in a building dubbed “Painterland” in San Francisco. Curated by Anastasia Aukeman, the show brings together nearly fifty works for a rare retrospective.
Wallace Berman, Joan Brown, Bruce Conner, Jay DeFeo, Wally Hedrick &more Rat Bastard Protective Association
Jay DeFeo is best known for her startling masterwork The Rose, 1958–66, which she modestly described as “a marriage between painting and sculpture” (the bonds of matrimony have nothing on that glorious monument). DeFeo’s first exhibition at this gallery, and her first in this city in almost two decades, focuses on her “Samurai” series of paintings on paper. Inspired by a trip the artist took to Japan in 1985 and by the exhibition “Spectacular Helmets of Japan, Sixteenth–Nineteenth Century,” which she saw the same year at the Asian Art Museum of San Francisco, many of the works are based on images from the show’s catalogue and feature bold gray, white, and beige strokes rendered in oil and acrylic paint along with oil pastel and collage. Walter Hopps considered DeFeo on equal footing with Rauschenberg, Johns, and Stella. Take a look and see if you don’t agree.
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.