previews

  • “Uh-Oh: Frances Stark 1991–2015”

    Hammer Museum
    10899 Wilshire Boulevard
    October 11 - January 12

    Curated by Ali Subotnick

    From her celebrated video My Best Thing, 2011, to recent works integrating her Instagram posts, Frances Stark has been exploring the kinds of relationships that might spark up between an artist and strangers, whether on far-flung continents or in nearby LA neighborhoods that can feel just as distant. Entwining her personal circumstances with her works in ways that feel necessary (and never spectacular or crudely confessional), Stark presents a new model of what it means to be an artist today. This hometown survey will include Stark’s projections and videos along with her mainly paper-based work of the 1990s and 2000s, showing that Stark has always asked questions about the artist’s place in the world—about how the life of the studio relates to financial and familial pressures, how to use and abuse texts to extract the poetic from the instrumental, and when, why, and how to turn from shaman to showman.

  • Diana Thater, Delphine (detail), 1999, five-channel digital video projection (color, sound, infinite duration), nine monitors, light filters, dimensions variable.

    “Diana Thater: The Sympathetic Imagination”

    Los Angeles County Museum of Art (LACMA)
    5905 Wilshire Boulevard
    November 22 - February 21

    Curated by Christine Y. Kim and Lynne Cooke

    Cackling temple monkeys and frolicsome dolphins, star-crossed dung beetles and dancing honeybees. For more than two decades, Los Angeles–based artist Diana Thater has produced immersive installations that combine scientific inquiry and perceptual magic to ponder the ways in which animals animate and interact with their environments. Accompanied by a catalogue, this full-scale retrospective—which begins with the artist’s breakthrough 1992 video installation Oo Fifi, Five Days in Claude Monet’s Garden, Part 1 and Part 2—will be the most comprehensive of Thater’s work yet and a homecoming of sorts for the artist. As ever, Thater’s elaborate projections, linked flat-screen displays, and careful manipulations of natural light will point to ways that humans, too, are animals occupying a habitat—including, foremost, the gallery. Travels to the Museum of Contemporary Art, Chicago, Oct. 2016–Jan. 2017.