• “This Brush for Hire: Norm Laich and Many Other Artists”

    Institute of Contemporary Art, Los Angeles
    1717 E. 7th Street
    June 3 - September 2

    Curated by John Baldessari and Meg Cranston 

    At the art-world Oscars, Norm Laich would be a perennial shoo-in for best supporting role. The Los Angeles–based artist, sign painter, and fabricator has been instrumental in producing the iconic works of a great number of big-name leads, including Kay Rosen, Stephen Prina, Mike Kelley, and Lawrence Weiner. This survey, organized by John Baldessari and Meg Cranston, both of whom have worked with Laich, brings together a selection of some twenty of these and other artists’ discrete canvases, wall paintings, sign works, and large-scale installations (including a new site-specific work by Arturo Herrera) that Laich helped realize over the past three decades. A new short doc by Pauline Stella Sanchez takes the place of a catalogue and will be viewable in the exhibition and online. Featuring interviews with Laich and many of the artists who worked with him, the film expands on the exhibition’s recognition of the complexities of collaborative artistic production.

  • Made in L.A. 2018

    Hammer Museum
    10899 Wilshire Boulevard
    June 3 - September 2

    Curated by Anne Ellegood and Erin Christovale

    This fourth edition of Made in L.A. promises a nonthematic tour of greater Los Angeles, with a heavy dose of artistic production that skews toward the political and the social. Curators Anne Ellegood and Erin Christovale have selected thirty-two artists in all, forming a group that is fully two-thirds women and includes midcareer stalwarts such as Linda Stark and Daniel Joseph Martinez alongside younger artists working in often-overlooked media, such as the weaver Diedrick Brackens. More than twenty years ago, Lucy R. Lippard published The Lure of the Local, which was a game-changer for artists working with ideas of site and placemaking. This exhibition feels similarly invested in considering geographical marginalization, ecocritical representation, and alternative bodies of knowledge centered in the land, ritual, and overlooked cultural histories.

  • Brassaï, A prostitute playing Russian billiards, Boulevard Rochechouart, Montmartre, ca. 1932, gelatin silver print, 15 3/8 × 11 1/4". © Estate Brassaï/RMN, Grand Palais.

    “Real Worlds: Brassaï, Arbus, Goldin”

    The Museum of Contemporary Art, Los Angeles (MOCA)
    250 South Grand Avenue
    March 4 - September 3

    Curated by Lanka Tattersall with Rebecca Matalon

    “I photographed whatever happened to catch my attention . . . any one of the thousands of chance events of everyday life,” wrote Brassaï in The Artists in My Life in 1982, at about the same time that Nan Goldin was prototyping the diaristic slide show that later became The Ballad of Sexual Dependency. A decade earlier, the posthumous monograph Diane Arbus had revealed the seldom-seen denizens of a world that moved in the same orbit as the secret Paris traversed by Brassaï in the 1930s and the louche haunts frequented by Goldin and her cohort in the late ’70s and ’80s. Curator Lanka Tattersall, with her finger on the pulse of today’s image-saturated media culture, brings these “Real Worlds” together with some one hundred photographs drawn from the three photographers’ seminal publications, as well as a digital presentation of Ballad. The catalogue places Tattersall in conversation with some of today’s most original voices in the realm of identity politics: Hilton Als, Maggie Nelson, and A. L. Steiner.