lull between storms

20 May – 5 September, 2026

1301PE is pleased to present Fiona Banner, Uta Barth, Kirsten Everberg, Petra Cortright, Simryn Gill, Ann Veronica Janssens, Judy Ledgerwood, Jorge Méndez Blake, Jonny Niesche, Jorge Pardo, Ana Prvaçki, Jessica Stockholder, Stolon Press, SUPERFLEX, Diana Thater, Rirkrit Tiravanija, Kerry Tribe, Pae White, and Paul Winstanley in lull between storms.

Wilshire Subway: Photographed by Ken Karagozian

1 May – 14 May, 2026

To celebrate the opening of the first segment of the Los Angeles County Metropolitan Transportation Authority’s (Metro’s) D Line Subway Extension, 1301PE is pleased to present a selection of photographs by artist Ken Karagozian that capture the monumental scale of construction alongside intimate portraits of the workers who brought it to life.

The exhibition is accompanied by a new book, Wilshire Subway: The Making of the D Line Subway Extension, a photographic cultural history of the construction project written and edited by India Mandelkern and photographed by Karagozian. The book features a foreword by former Los Angeles Mayor Antonio Villaraigosa and additional guest essays by literary critic David L. Ulin, architect Leo Marmol, and urban planner James Rojas, which contextualize the project within broader conversations about LA’s political, social, and geological complexities.

Wilshire Subway: The Making of the D Line Subway Extension can be purchased from 1301PE's Webstore and picked up at the gallery.

Stretching nine miles from Koreatown to Westwood, the D Line Subway Extension represents a major turning point for public transit in Los Angeles. It is the longest subway project ever to tunnel through tar-infested sands, the most expensive project to date in Metro’s history (costing over $9.7 billion!), and one of the region’s most ambitious transportation investments in decades. The first section stretches from the existing Wilshire/Western station to a new station at Wilshire/La Cienega, measures 3.92 miles, and was built by the joint venture Skanska-Traylor-Shea. 

“Given the long and fraught history of rail building ambition on Wilshire Boulevard, I was initially drawn to this project for historical reasons,” says Mandelkern. “But through my conversations with the tradespeople who built it, I quickly realized that the portraits tell a much more universal story about what it means to be an Angeleno today.”   

Ken Karagozian is a San Fernando Valley-based photographer who has spent more than three decades documenting the return of rail to Los Angeles. His work has been published in LIFE Magazine, the Los Angeles Times, and collected by The Huntington Library and Metro. 

Paul Winstanley

Utility

21 February – 4 April, 2026
Opening Saturday 21 February, 5-7pm

1301PE is pleased to announce its ninth solo exhibition with acclaimed British painter Paul Winstanley entitled Utility. For the past four decades, Winstanley’s paintings have investigated vacant spaces, the commonplace, and the dystopic, and, more fundamentally, painting’s ability to transform these familiar and occasionally melancholic landscapes into the sublime.

“Reality can often seem dismal and lacklustre compared with images of it. Pictures of all sorts mythologize reality, enlarge it, give it meaning.” – Paul Winstanley

In Utility, Winstanley’s new paintings continue or return to familiar themes: the veiled window view onto nature, the empty lobby, the graffitied subterranean pedestrian walkway. These empty interiors feel suspended in time. They are waiting; calmly yet insistently questioning how images, spaces, and meaning are produced.

Paul Winstanley was born in Manchester in 1954. He lives and works in London. His first retrospective Paintings 1989-2007 was held at ARTSPACE in Auckland, New Zealand. Institutional solo exhibitions of Winstanley's paintings have been presented at Tate Britain and Camden Arts Centre in London. Selected exhibitions include Opposing Forms, Pallant House Gallery, Chichester (2025); Contemporary Collecting: David Hockney to Cornelia Parker, The British Museum, London (2024); Family Affair, Bunker Art Space, West Palm Beach (2023); Conversations, Irish Museum of Modern Art, Dublin (2015); Aesthetic Harmonies: Whistler in Context, Colby Museum of Art, Waterville (2015); Art and Existence, Esbjerg Kunstmuseum, Esbjerg (2013); Lifelike, Walker Art Center, Minneapolis; New Orleans Museum of Art, New Orleans; Museum of Contemporary Art, San Diego; The Blankton Museum of Art, Austin (2012/2013); The Deer, Le Consortium, Dijon (2012); Out of Focus: After Gerhard Richter, Kunsthalle Hamburg (2011); Conflicting Tales: Subjectivity, Burger Collection, Berlin (2009); Self as Selves, Irish Museum of Modern Art, Dublin (2009); Inside Architecture, Museum of Contemporary Art, Los Angeles (2008); 8 Visions, One Dream, Today Art Museum, Beijing, China (2008); and Telling Tales: Narrative Impulses in Recent Art, Tate, Liverpool (2001).

Winstanley's work is represented in numerous institutional collections including British Museum, London; British Government Art Collection, London; Burger Collection, Berlin; Fonds National d'art Contemporain, Paris; Henry Art Gallery, Seattle; Irish Museum of Modern Art, Dublin; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Rochechouart; Museum of Modern Art, New York; Musee d'art Contemporain, Sintra; New York City Public Library, New York; Pallant House Gallery, Chichester; Tate, London; and Victoria and Albert Museum, London.

Fiona Banner AKA The Vanity Press

time, the anti-hero

11 November, 2025 – 7 February, 2026
Opening Tuesday 11 November, 5-7pm

1301PE is pleased to announce its sixth solo exhibition with acclaimed British artist Fiona Banner aka The Vanity Press. Following on from her lauded installation at Patronato Salesiano Leone XIII during the 59th Venice Biennale and this year’s Parcours at ArtBasel, this exhibition is the North American premier for four recent bodies of work. Her films, sculptures, drawings and paintings continue to explore the meaning of the body politic and the politics of the body through a playful questioning of language.

The title work “time, the anti-hero”, a one-armed clock in which a mannequin hand marks out the hours of the day, a wry look at narrative time and the myth of the hero. These themes play out through the exhibition which also features “VULVA/VOLVO” (2025) a sculpture cast in aluminum from Tornado and Harrier (the military aircraft Banner exhibited at Tate Britain’s Duveen Commission in 2010); the film, “DISARM (portrait)” (2023) described by Banner as: ‘a gravity defiant concrete poem – which is actually more fluid than concrete’ and a series of film stills in the form of paintings. Both individually and as a collective, the work embodies our current fractured state and proposes the possibility of lubricating a language that has calcified into its opposite.

Fiona Banner aka The Vanity Press was born in Merseyside in 1966. She studied at Kingston Polytechnic and Goldsmiths College. Selected recent solo projects and exhibitions include DISARM (landscape), CIRCA, Piccadilly Circus, London, UK (2024); DISARM, Chester Contemporary, Chester, UK (2023); Pranayama Organ, Zeppelin University, Germany (2023); Pranayama Typhoon – Soft Parts Wing Flap Fin, Hartware Medien Kunstverein Dortmund (HMKV), Germany (2022); Pranayama Typhoon, Patronato Salesiano Leone XIII, Venice, Italy (2022); P E R I O D, Voorlinden Museum, Wassenaar, The Netherlands (2020); Runway AW17, De Pont Museum, Tilburg, The Netherlands (2017); Buoys Boys, De La Warr Pavilion, Bexhill, UK (2016); Scroll Down And Keep Scrolling, IKON Gallery, Birmingham and Kunsthalle Nuremberg, Germany (2015-2016); Wp Wp Wp, Yorkshire Sculpture Park, Wakefield, UK (2014); Mistah Kurtz - He Not Dead, PEER, London, UK (2014); A Room for London, with David Kohn Architects and Artangel, Southbank Centre, London, UK (2012-13); Harrier and Jaguar, Tate Britain Duveen Commission, Tate Britain, London, UK (2010).

Banner’s film “Pranayama Typhoon” (2021) is currently on view in the exhibition PUSH THE LIMITS 2 at Fondazione Merz, Turin.

Petra Cortright

quicksilver sea bubble dramamine dream

17 September – 1 November, 2025
Opening Wednesday 17 September, 5-7pm

1301PE is pleased to announce quicksilver sea bubble dramamine dream, Petra Cortright’s fourth solo exhibition at the gallery. The exhibition features a new series of digital paintings by the Los Angeles-based artist. At the core of Cortright’s distinct artistic practice is the creation, manipulation, and distribution of digital files and images. Considered a pioneering figure within the ‘post-Internet art’ movement, Cortright rose to prominence with performative self-portrait YouTube videos such as VVEBCAM (2007). For the last several years, she has expanded her digitally based practice to include paintings and sculpture.

“What do you lose, what can you always have.”
– Petra Cortright

quicksilver sea bubble dramamine dream grapples with grief, loss, change, comfort, health, childhood, poison, toxins, nostalgia… anxiety. These deeply personal paintings continue a shift in Cortright’s practice where she is actively photographing subject matter around where she is living, as opposed to her earlier process of mining the internet for images. The distance from the natural world in Cortright’s recent body of work is magnified by the fact that the flora, fauna, and landscapes captured in her disjunctured paintings are sourced from photographs she has taken of the dioramas and exhibits of the Santa Barbara Museum of Natural History. In these paintings, Cortright transports and amalgamates the early 20th century traditions of plein-air painting and Californian Impressionism to the post-digital age while engaging with her own relationship to Santa Barbara’s locale.

Petra Cortright (Santa Barbara, CA, 1986) studied Fine Arts at Parsons School of Design, The New School, New York and the California College of the Arts, San Francisco. Recent institutional solo exhibitions include Paper-Thin Wood Veil Wide Range Hop Suisse! at Zeughaus Teufen, Switzerland (2025) and sapphire cinnamon viper fairy at the Palm Springs Art Museum (2022). Her work has also been included in exhibitions at Knoxville Museum of Art (2025); LACMA (2024); MCA Chicago (2024); MoCA, Los Angeles (2023); Santa Barbara Museum of Art, Santa Barbara (2021); Ludwig Museum of Contemporary Art, Budapest (2021); MoMA, New York (2021); Hammer Museum, Los Angeles (2019); Walker Art Center, Minneapolis (2019); 12th Bienniale de Lyon, France (2013); 53rd Venice Biennale (2009); amongst others. Her work can be found in the permanent collections of The Bass Museum, Miami; Crystal Bridges Museum of American Art, Bentonville; Getty Research Institute, Los Angeles; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; Moderna Museet, Stockholm; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art Chicago; Museum of Modern Art, New York; Palm Springs Art Museum; Péréz Art Museum, Miami; San Jose Museum of Art; Santa Barbara Museum of Art; and The Stedelijk Museum, Breda/Amsterdam.

Diana Thater

Drawings: 1999–2006

21 June – 23 August, 2025

1301PE is pleased to present its eleventh solo exhibition with Internationally acclaimed Los Angeles based artist Diana Thater.

As the 1990s were ending, Diana Thater’s work was evolving from concerns about structuralism to matters of color in space. With this shift she employed architectural renderings and collage to work through various possibilities of large-scale, color-saturated projections and monitor installations. These works capture an active mind formulating exhibitions at Tensta Konsthall and Hamburger Bahnhof, installations at the Beyler Foundation, Basel and the 99/2000 Carnegie International, and commissions in Vancouver or Pittsburg.

“I’m always working with multiple, simultaneous perspectives—both literally, in the installation, and figuratively, in the image.”

Drawings 1999-2006 pulls together these critical yet playful works as a further means to understand Thater’s practice.

Over the past decade, Diana Thater’s work has been the subject of solo exhibitions at prominent institutions that include the LUMA, Arles (2025); LUMA Westbau, Zurich (2025); Institute of Contemporary Art Watershed, Boston, Massachusetts (2018); Aspen Art Museum, Colorado (2015); San Jose Museum of Art, California (2015); Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria (2009); Natural History Museum, London (2009); Kunsthalle Bremen, Germany (2004); Museum für Gegenwartskunst Siegen, Germany (2004); Dia Center for the Arts, New York (2001); Secession, Vienna (2000); The Museum of Modern, New York (1997); and The Renaissance Society, Chicago (1995). In 2017, the solo show A Runaway World was first exhibited at The Mistake Room, Los Angeles and later traveled to Borusan Contemporary, Istanbul and the Guggenheim Bilbao, Spain. In 2015, a comprehensive mid-career survey of Thater’s work, The Sympathetic Imagination, was organized by the Los Angeles County Museum of Art and later traveled to the Museum of Contemporary Art Chicago.

Work by the artist is represented in museum collections worldwide, including the LUMA Foundation, Arles; Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Friedrich Christian Flick Collection im Hamburger Bahnhof – Museum für Gegenwart, Berlin; Los Angeles County Museum of Art; Solomon R. Guggenheim Museum, New York; San Francisco Museum of Modern Art, San Francisco; San Jose Art Museum, San Jose; and the Whitney Museum of American Art, New York.

Petra Cortright, Judy Ledgerwood, Jonny Niesche, Blake Rayne, Diana Thater, Paul Winstanley

INTERMISSION

12 April – 13 June, 2025

Jonny Niesche

Hovering

15 February – 22 March, 2025

1301PE is pleased to present Australian artist Jonny Niesche’s Hovering. In his second exhibition with the gallery, Niesche continues his use of archetypal materials such as MDF, voile, aluminum and stainless steel to create his anomalous paintings.

Niesche manipulates the viewing experience, rather than the object being viewed; Hovering identifies the action the artist assigns to our encounter. He shapes our perceptions and alters our visual imagination. Inspired by the work of Robert Irwin and the Mark Rothko retrospective at Fondation Louis Vuitton, Niesche’s paintings extend from their interiors and out across their environment. Like Irwin’s discs, or the AbEx notion of an all-encompassing, allover field, the paintings somehow evade their rectangular confinement and extend past their own boundaries. Rothko was determined to raise painting to the level of music and poetry, and Niesche embraces this same task. Colors levitate, metamorphose in a monochromatic fusion, and the paintings defy the static nature of a two- dimensional object fixed on a wall. They come to life and begin to breath in a world outside of painting, acting more like a symphony or choreographed movement. They begin to dance, sing, and play with one another, and with their audience. At first encounter, the paintings are still, fixed in a steady pause. Then, an element of magic enters the room, and they begin to rock, sway, and rupture, placing us within a new visual apparatus. We hover above, below, within and around the work. Hovering is as much a part of the paintings as their own substance.

Jonny Niesche (b. Sydney, 1972) lives and works in Sydney, Australia. Recent solo exhibitions include 1301SW, Sydney (2024); Art Gallery of South Australia, Adelaide (2023); Queensland Art Gallery, Brisbane (2023); Fundación La Nave Salinas, Ibiza (2023), WestLotto, Münster (2022); 1301PE, Los Angeles (2021); The Hole, New York (2021); Galerie Ron Mandos, Amsterdam (2021); Starkwhite, Auckland (2020); Station Gallery, Melbourne (2020), Zeller van Almsick, Vienna (2020); Sarah Cottier Gallery, Sydney (2019); LUNDGREN Gallery, Palme De Mallorca (2019) and Peter Von Kant, London (2017). He was recently chosen as the artist for the 2024 Munich Opera Festival. Niesche’s work has also been included in notable exhibitions in a number of Australian institutions, including Museum of Contemporary Art, Sydney (2019); Casula Powerhouse, Sydney (2019); Art Gallery of South Australia, Adelaide (2019); ArtSpace, Sydney (2017); National Gallery of Victoria, Melbourne (2016) and Australian Centre for Contemporary Art, Melbourne (2016).

1301PE is pleased to present our seventh solo exhibition with Jorge Pardo. Presenting a single painting in one room, Pardo’s work engulfs the viewer in swirling color, amorphous shape, and distorted texture.

Pardo has digitally combined and layered over 30 years of 1301PE exhibition posters, leaving only a semblance of their original characteristics, into a monumental conglomerate of organic forms. While the original posters become faceless, the large, printed-then-hand-painted canvas transforms into an exemplar of Pardo’s sensibility; his work shares a sense of color harmony, where painterly questions come into play in an oeuvre that otherwise tends to work in quite different art historical spheres, including sculpture, installation and architecture.

Oscillating between abstraction and representation, Pardo manipulates our understanding of the image and antagonizes our desire for clarification. Sections are deepened or softened with the stacking of acrylic paint, colors disperse or coalesce according to where our bodies stand in relation to the work, and our perspective is consistently challenged depending on our point of view. Pardo wants us stuck in the middle – of the painting, of the room, of knowing.

Jorge Pardo (b. 1963, Havana, Cuba) received his BFA from Art Center College of Design in Pasadena. In 2024, he was named the Landcraft Garden Foundation’s Sculpture in the Garden artist. His solo museum exhibitions include SCAD Museum of Art, Savannah, (2023); Museum of Art & Design, Miami (2021); Pinacoteca de Estado São Paulo, São Paulo (2019); Hacienda la Rojeña, Tequila, MX (2019); Musée des Augustins, Toulouse (2014); Irish Museum of Modern Art, Dublin (2010); K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2009); Los Angeles County Museum of Art (2008); and Museum of Contemporary Art, Miami (2007). Paintings by the artist were included in the 57th Venice Biennale (2017). He has been the recipient of the MacArthur Fellowship Award (2010); the Smithsonian American Art Museum Lucelia Artist Award (2001); and the Louis Comfort Tiffany Foundation Award (1995). His work is part of many public collections including the Centre Pompidou, Paris; Tate Modern, London; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Boijmans van Beuningen Museum, Rotterdam; Museum of Contemporary Art, Miami; Museum of Modern Art, New York, and the Whitney Museum of American Art, New York. Jorge Pardo currently lives and works in Mérida, Mexico.

Opening reception September 14 from 2-4pm.

1301PE is pleased to present Glitch, featuring Petra Cortright, Blake Rayne, Simryn Gill, SUPERFLEX, Keaton Macon and the Concinnitas portfolio. The exhibition tries to consider the imperfect relationship we have to technology and its various systems. It is neither Utopian or Dystopian, but rather a moment to meditate on the consequences of a belief system.

A glitch can be understood as a malfunction, an irregularity, or an error, beyond a website crash, a file deletion, or an iCloud document refusing to load. Usually temporary, and sometimes expected, it is momentary reminder of our lack of control. This brief interruption is frustrating and inefficient, but maybe necessary – a pause that allows us to realize technology’s promise to us is sometimes broken. Rather than working with us, it goes against us. Our effort to push technology forward and our desire for its constant improvement is not a mutual exchange. Technology owes us nothing.

The work in this exhibition addresses this lack of reciprocity and reminds us of its consequences. Petra Cortright interferes with the system of painting through her digitized strokes; Blake Rayne’s work tests how painting is responding to shifts in perceptual regimes, labor conditions, and temporal paradigms; Simryn Gill’s wordplay changes intended meaning and takes away context; SUPERFLEX’s large-scale mural points to asymmetric access to data and to the right of all people to information; Keaton Macon’s audio tapes alter the system of sound, changing its resonance according to where its recorded, and then played; the Concinnitas series finds a form of beauty derived from harmony in numbers and proportion. Glitch, in its brief pause, creates a space for this reflection.

1301PE is part of PST ART as a Gallery Program Participant. Returning in September 2024 with its latest edition, PST ART: Art & Science Collide, this landmark regional event explores the intersections of art and science, both past and present. PST ART is presented by Getty. For more information about PST ART: Art & Science Collide, please visit pst.art.

Please contact Nathalie Martin at info@1301pe.com for more information.

1301PE is pleased to present Uta Barth’s fifth solo exhibition with the gallery, featuring new work by the artist and segments of ...from dusk till dawn (2022), the project commissioned by the J. Paul Getty Trust for the Getty’s 20th anniversary and Barth’s major retrospective at the museum in 2022-23.

In a captivating convergence of photography, perception and architectural space, Barth graces the ground-floor gallery with three of the seven mesmerizing compositions that make up ...from dusk till dawn, a series derived from a year-long study of a single doorway within the Getty’s premises. The location was photographed every five minutes, from dawn to dusk, on two days each month for the entirety of the year; November, December and February are featured in this exhibition. Upstairs, Barth's latest pieces, stemming from this series, manipulate the building's appearance. Through color variations, softened outlines, nuanced lighting, blurred backgrounds and strategically placed circular motifs atop the rectangular structure, her alterations transform the original architectural setting. These works serve as a testament to Barth’s lifelong fascination with the interplay between the limits of the human eye and the photographic medium.

For the past twenty years, Uta Barth (b. 1958) has made visual perception the primary subject of her photographic work. A 2012 MacArthur Fellow, Barth was born in Berlin and currently lives and works in Los Angeles. Notable solo exhibitions have been presented at The Getty Museum, Los Angeles; the Art Institute of Chicago; Henry Art Gallery, University of Washington, Seattle; the SCAD Museum of Art, Savannah; SITE, Santa Fe; Contemporary Arts Museum, Houston; Lannan Foundation, Santa Fe; Museum of Contemporary Art, Chicago; and Museum of Contemporary Art, Los Angeles. Her work is well represented in both private and public collections worldwide, including the Whitney Museum of American Art, New York; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York and Bilbao; the National Gallery of Art, Washington, D. C., Tate Modern, London; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art, Texas; UCLA Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Los Angeles County Museum of Art, Los Angeles; The Getty Museum, Los Angeles; and The Walker Art Center, Minneapolis.

1301PE is pleased to present its eighth solo exhibition with Los Angeles based artist Kirsten Everberg. This new body of work focuses on the Hudson River Valley.

The Hudson River School was a 19th-century American art movement celebrated for its romanticized depictions of the American landscape. It grappled with tensions between the man-made and the natural, often framed through the lens of nationalistic fervor and industrial progress. Beneath the surface allure of pristine wilderness, rests layers of questionable ideologies, like the mythologizing of untouched landscapes and the neglect of indigenous lands and cultures.

Everberg's paintings address these underlying themes and allow viewers to reconsider this perception of the American wilderness. She observes the impacts of industry on natural ecosystems, questioning the unchecked pursuit towards “progress” and its effects on the environment. These works invite us to reflect on the historical complications of the idealized American landscape, while encouraging us to think about our present-day relationship with our environment and the shaping of our collective narrative.

Kirsten Everberg (b. 1965) lives and works in Los Angeles. She has had solo exhibitions at the Pomona College Museum of Art, CA, Le Consortium, Dijon, France; and the Scottsdale Museum of Contemporary Art, AZ. She has been included in exhibitions at several international institutions including Hayward Gallery, London, United Kingdom; FRAC Champagne-Ardenne, Reims, France; Vancouver Art Gallery, Vancouver BC, Canada; Museum of Contemporary Art, Los Angeles, CA; Hammer Museum, Los Angeles, CA; and Musée des Beaux-Arts, Nancy, France. Her work is in the public collections of Le Consortium, Dijon, France; Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, CA; Marciano Art Foundation, Los Angeles, CA; Musée des Beaux-Arts, Nancy, France; The Museum of Contemporary Art, Los Angeles, CA; The Museum of Modern Art, New York, NY; Benton Museum of Art at Pomona College, Claremont, CA; and UCLA Grunwald Center for the Graphic Arts, Hammer Museum, Los Angeles.

1301PE is pleased to present its first solo exhibition with preeminent Australian-based Malaysian artist Simryn Gill, Fall then will feature ink rubbings and photographs that continue Gill’s interest in impermanence, ecology and movement as well as personal themes such as locality, history and memory. 

“I could say these photos over such a long time are like a conversation, a greeting to that sliver of coast, whatever ships and boats may be there, birds, the sun where it sits in the sky, trees (in water or otherwise depending on the tide): a point of view, a way to look, a place to come to standstill. A habit.” – Simryn Gill 

In her series of photographs, Repeating Chasms, gazing out at a placid coastline on the Straits of Malacca, Gill communicates both her regular return to the same view from a specific location and the effects of global industry in that place. The photographs act not just as historical documentation or personal recollection but reposition the idea of what photography can be; memory is reshaped and retold in the present, directing photography’s compass towards mythmaking rather than truth-telling. These works are exhibited with Fall then, a large series of one-to-one scale direct impression ink rubbings of flora that grows on vacant land in Malaysia. The plants Gill includes, giant macarangas, rubber trees, lead trees, tapiocas, ferns, Lalang grass, acacias, papayas, hanging vines, have been variously described as native, domestic, introduced, invasive, pioneer, endemic. They envelop the viewer in a contradictory and exuberant wildness. The pairing of these works is a stark reminder of the consequences of voracious and intrusive modernity and the everlasting effects of humanity’s actions upon our environment and ourselves. 

Simryn Gill was born in 1959 in Singapore, and lives in Sydney, Australia. She represented Australia in the 55th Venice Biennale (2013). Her work has been included in the Sydney Biennial (2018), Dhaka Art Summit (2018), Documenta 13 (2012) 12th Istanbul Biennial (2011), Sharjah Biennial (2007), and has been the subject of one person exhibitions at the Tate Modern, London; Espace Louis Vuitton, München; the Smithsonian Institute, Washington DC; Lunds Konsthall, Sweden; M KHA, Antwerp; the Art Gallery of New South Wales, Sydney; and the Gallery of Modern Art, Queensland. Her work is in the collections of the Metropolitan Museum of Art, New York; the Guggenheim Museum, New York; the Museum of Modern Art, New York; the Getty Museum, Los Angeles; Hammer Museum, Los Angeles; Tate Modern, London; the Museum of Contemporary Art Australia, Sydney; and the Art Gallery of New South Wales.

"I commit to making my work as round as the earth and my performances as compressed as water. I aim for pedagogical meme pollination and maximum viewer titillation." - Ana Prvački 

 1301PE is pleased to announce its fourth solo exhibition with acclaimed artist Ana Prvački. Prvački’s cross-pollinating approach informs a practice that ranges from works on paper to video, performance and mixed reality. In this exhibition, Prvački debuts a new series of watercolors: tapping into a spontaneous and fluid form of sense-making through image and text. The technique of water-based painting dates to ancient times, and is interwoven into our visual lexicon as a ubiquitous representational tool through a myriad of cultures and art-historical spheres including fine art, illustration, and design. The precision of the hand combined with the fluidity and spontaneity of the medium lends itself well to Prvački’s formal and conceptual interest in the fluid transitions between analogue and digital, tradition and future. 

 Within the scope of her practice these watercolors often inform her videos and digital projects, honing her ongoing observations and curiosity with subjects such as bees and honey, botany, evolution, eroticism, Paleolithic art, and storytelling. The playful and often humorous paintings capture the viewer with their seeming naiveté, only to turn on their head and reveal latent urgent themes of the current moment–themes such as ecology, sexuality, and mental health, to name a few. 

 Ana Prvački was born in Yugoslavia and lives and works in Berlin. Her solo exhibitions and projects include the upcoming Gropius Bau, Berlin; Hammer Museum, Los Angeles; the Isabella Stewart Gardner Museum, Boston; Castello di Rivoli Museo d'Arte Contemporanea Turin; Artists Space, New York; and the Institute of Contemporary Arts, Singapore. Her work has been included in the following group exhibitions: 13th Gwangju Biennial, Korea, the 57th Oktobarski Salon, Belgrade, Serbia, 14th Istanbul Biennial SALTWATER: A Theory of Thought Forms, Istanbul, Turkey 2015, Contour Biennial in Mechelen Belgium 2015, dOCUMENTA 13 2012, Sydney Biennial 2007, Singapore Biennial 2006, the Turin Triennale 2005, and the Bangkok Arts Biennale in 2020. The Los Angeles Philharmonic and the Chicago Architecture Biennial have commissioned Prvački’s performances. In 2019 she was the de Young Museum artist in residence where she created a solo exhibition in collaboration with Google Arts and Culture that won the 2020 Webby Award for its use of augmented reality.

As the Gropius Bau’s inaugural Digital Artist in Residence in 2021-2022, Prvački is taking up a series of interventions that materialise the Gropius Bau’s overarching programmatic topics of hosting, natural structures, and ecology.

1301PE is pleased to announce Blake Rayne’s fourth exhibition with the gallery: a presentation of new paintings that evolve Rayne’s interest in reflexive material procedures in concert with modes of abstraction.

Quite simply, what is essential is neither the image nor the deep meaning, neither the representation nor its hall of mirrored reflections, but the system of relations. – Michel Serres, The Parasite

Over the last 20 years, Blake Rayne’s work has been central to questioning, expanding, and perforating contemporary beliefs regarding painting. This new body of work continues this engagement by alternatively revealing and obfuscating its stages of production. The surfaces of Rayne’s paintings are aggregates of various marks and materials. Gestural abstraction, color gradients, prepared and unprepared fabrics are sewn and spliced together in an assemblage of objects bearing contradictory relations to classification. In this way, Rayne’s Spit Tests and Reverse Strikes revel in their mark–making while critically examining the tense situation of painting.

Blake Rayne (b. 1969, Lewes, Delaware) lives and works in New York. He attended the California Institute of the Arts (CalArts), received a fellowship from the American Acadamy in Berlin (2010), and has taught at Columbia University’s School of Visual Arts. Cabin of the Accused, Rayne’s first survey exhibition, was presented at the Blaffer Art Museum in Houston, Texas. Solo exhibitions include Dog Ears, Miguel Abreu Gallery, New York, 2021;Yogurt Cinema, A Certain Lack of Coherence, Porto, 2019; Brother Ass, Central Fine, Miami, 2019; DOGSKULLDOGS, Miguel Abreu Gallery, New York, 2018, and Carbon Days, Nuno Centeno, Porto, 2018; among others. His work was included inCollected by Thea Westreich and Ethan Wagner at the Whitney Museum of American Art in 2016; Chat Jet: Painting <Beyond> the Medium Medium, Künstlerhaus, Graz, 2013, and group shows at Bergen Kunsthall, The Kitchen, SculptureCenter, Artists Space, Gladstone Gallery, Gagosian Gallery, Reena Spaulings, Greene Naftali, and American Fine Arts.

Rayne’s paintings are held in the collections of the Museum of Modern Art, the Whitney Museum of American Art, FRAC Poitou-Charentes, the Pinault Collection, Portland Museum of Art, and Institute of Contemporary Art, Miami.

Winter Darkness 

Kirsten Everberg, Jonny Niesche, Paul Winstanley, Uta Barth, Diana Thaler, and Judy Ledgerwood.

15 December, 2021 – 19 January, 2022

“Light, Of Course, is the Left Hand of Darkness and Darkness is the Right Hand of Light”  - The Left Hand of Darkness, Ursula Le Guin. 

 As winter envelopes the Northern Hemisphere, we are increasingly reminded of the importance of light within the scheme of our existence. Days grow shorter and shadows deeper, more and more we turn to artificial illumination to fill the hours no longer lit by the sun. For this exhibition the gallery will be keeping the lights off, choosing instead to focus on our relationship to darkness as one of a continuum of perception. As the shadows and reflections shift with the day, the viewer's attention is directed away from the object they are looking at and toward their own perceptual process, highlighting the unlikely beauty and poetry of viewing through the dim winter light. 

1301PE is delighted to present Diana Thater’s tenth solo exhibition with the gallery, The Conversation, 2021.

Since Thater began working with the gallery in 1992, she has produced a number of large-scale installations involving light and video in the space at 6150 Wilshire Blvd in addition to the seminal works first exhibited at the gallery’s original space at 1301 Franklin St in Santa Monica. The Conversation, debuts a new body of work, consisting of two video pieces, as well as Thater’s signature window gel-installations. The exhibition is on view through December 4, 2021.

“There are many that I know and I know it. They are many that I know and they know it. They are all of them themselves and they repeat it and I hear it. Always I listen to it.”
– Gertrude Stein, The Making of Americans

Many of Diana Thater’s works begin with the point at which the subjectivity of humans and animals meet. Through color, light, image, and form, the artist generates an experience with which the viewer can empathize without anthropomorphizing the natural world. In Talk to Us (2021) and Listen to Us (2021), the artist’s second major sound works, two human voices mirror each other in call and response, beginning with simple phrases and progressing into longer ones, mimicking a parrot-like voice. A third audio track of an African grey parrot vocalizing to himself without knowing he is being observed plays simultaneously as an external-internal monologue. The common misconception is that parrots are mimics, when in fact they process language as humans do, through socialization, rather than simply repeating what is heard. Like humans, a parrot’s subjectivity is expressed through its vocalizations, asserting its presence through speech and volume. With this work, Thater subverts the false notion that the use of language is what separates humans from animals. As demonstrated in this cacophonous dialogue, spoken language is indeed shared between the two species. Through her use of dramatic shifts in scale, both visual and auditory, Thater alters the viewer’s point of perception within the exhibition, creating an immersive installation that challenges the linear narratives humans rely on to make sense of themselves and the natural world.

Diana Thater (b. 1962, San Francisco, USA) has pioneered the use of film, video, light and sound since the early 1990s, continually challenging the boundaries of time-based media and installation art. Her work explores the relationship between the natural and man-made worlds while critically examining the structures of mediated reality. Drawing on a wide variety of sources, including literature, animal behavior sciences, mathematics, chess, and sociology, her evocative works directly engage their surroundings, producing an intricate relationship between time and space. Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. In addition to video walls and other innovative video installation practices, Thater has been an innovator in the art of 360-degree video installation with her groundbreaking works China (1995), relay (a collaboration with T. Kelly Mason, 2007), Chernobyl (2012), and, most recently, Yes there will be singing, a sound, video, and light piece that was first installed in 2020 by the artist in a remote location and could only be experienced digitally, via a multichannel livestream video feed.

In 2018, a solo presentation of the artist’s work was presented at the ICA Watershed, Boston. In 2017, the solo show A Runaway World was first exhibited at The Mistake Room, Los Angeles and later traveled to Borusan Contemporary, Istanbul and the Guggenheim Bilbao, Spain. In 2015, a comprehensive mid-career survey of Thater's work, The Sympathetic Imagination, was organized by the Los Angeles County Museum of Art. The show traveled to the Museum of Contemporary Art Chicago. Over the past decade, her work has been the subject of solo exhibitions at prominent institutions that include the Aspen Art Museum, Colorado (2015); San Jose Museum of Art, California (2015); Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria (2009); Natural History Museum, London (2009); Kunsthalle Bremen, Germany (2004); Museum für Gegenwartskunst Siegen, Germany (2004); Dia Center for the Arts, New York (2001); and the Secession, Vienna (2000), Museum of Modern Art, New York (1998), Basel Kunsthallle, Basel (1996), Rennaissance Society, Chicago (1995), Witte de With, Rotterdam (1994). Notable awards and fellowships include a California Community Foundation Fellowship for Visual Artists (2014), as well as an award for artistic innovation from the Center for Cultural Innovation, Los Angeles (2011), a James D. Phelan Award in Film and Video (2006), a John Simon Guggenheim Memorial Foundation Fellowship (2005), and a National Endowment for the Arts Fellowship (1993). Work by the artist is represented in museum collections worldwide, including the Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Friedrich Christian Flick Collection at Hamburger Bahnhof – Museum für Gegenwart, Berlin; Hirshhorn Museum, Washington DC; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Los Angeles; Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York. Also a prolific writer, educator, and curator, Thater lives and works in Los Angeles.

The birds in this exhibition live at the Intertwined Conservation Corporation, an exotic bird rescue run by Jenna Duarte. My thanks to her for her good work and for letting me film her birds – Diana Thater.

Petra Cortright

Predator Swamping

13 February - 27 March 2021

In order to maintain survival, some species hatch all at once. Floods of nascent turtles, crabs, or fish will overwhelm their predator by sheer volume. This oversaturation ensures that the breed will live on. For Predator Swamping, Petra Cortright exhibits a new body of work, made during the precarious months of 2020, in which she exercises a similar survival instinct.

 For her third exhibition with the gallery and her first since the birth of her son, Cortright continues to create paintings in Photoshop and prints them on Belgian linen. The paintings incorporate images of the High Desert, Bolivia, and Patagonia sourced from the internet which function as a base layer upon which she builds expanded landscapes. For the first time in her career Cortright has also created paintings in black and white. The stripping away of color reveals an overwhelming desolation that could bear a strong resemblance to 2020, while for some including Cortright, a homebody at heart, the imagery evokes doomsday bliss.

Petra Cortright was born in Santa Barbara in 1986 and lives in Los Angeles where she has been making works in video, painting, and sculpture for over a decade. She studied Fine Arts at Parsons School of Design, The New School, New York, NY and the California College of the Arts, San Francisco, CA. Solo exhibitions include City Gallery, Wellington, New Zealand (2017); Depart Foundation, Los Angeles (2015). Selected group exhibitions include “The Body Electric,” Walker Art Center, Minneapolis (2019); “I Was Raised On the Internet,” MCA Chicago (2018); The Metabolic Age, MALBA, Buenos Aires, Argentina; "On YouTube. Kunst und Playlists aus 10 Jahren,“ Kunsthaus Langenthal, Switzerland; "Im Inneren der Stadt," Künstlerhaus Bremen, Germany; Ural Industrial Biennial, Ekaterinberg, Russia (all 2017); "Electronic Superhighway,” Whitechapel Gallery, London, UK (2016); 12th Bienniale de Lyon, France (2013); New Wave, The Internet Pavilion, 53rd Venice Biennial (2009). Cortright’s works are in the permanent collections of The Museum of Modern Art, New York; The Péréz Museum, Miami; Los Angeles County Museum of Art; Hammer Museum, Los Angeles; Moderna Museet, Stockholm; MOTI, Breda, in collaboration with Stedelijk Museum; Museum of Contemporary Art, Chicago; Kadist Foundation, Paris, San Francisco; Berkeley Art Museum and Pacific Film Archive, Berkeley; San Jose Museum of Art, San Jose, and Museum of Contemporary Art, Los Angeles. 

 Recent publications include Petra Cortright published by SKIRA and E-Girl published by Hesse Press.

Paul Winstanley

AFTER THE WAR THE RENAISSANCE

10 October - 19 December 2020

1301PE is pleased to announce Paul Winstanley’s seventh exhibition with the gallery: After the War the Renaissance. The exhibition is comprised of nine new paintings from his series Situation, The Lilies and Interior with Large Window. For the past three decades, Winstanley’s paintings have investigated the subjects of vacant spaces, the commonplace, and the dystopic, and painting’s ability to transform these familiar and at times melancholic landscapes into the sublime. 

The role of the viewer is central to an understanding of Winstanley's paintings and his recent use of the figure echoes that active passivity which is reflected in his new Situation paintings. The gallery part of the paintings derives from photos Winstanley took in the Secession, in Vienna, a few years ago. It's a very early model of a modernist gallery that has been the inspiration for countless others works since. Winstanley says, “The aim is for them to approach a kind of realism, to subscribe to languages of photography, but also to teeter on the edge of falsehood.”

 Interior with Large Window (Red and Blue) are reminiscent of his 2008 diaphanous and translucent series Veil. Winstanley says of his new series based on a real life Hamburg church, “The modernism of the window’s design appealed to me directly because of the internationalism of this visual language and the sense of post-war renaissance embedded in it.” The Lilieswere started in 2019 long before the present viral situation arose, but since then they seem to have acquired this other possible layer of metaphor in relation to the passing from one to another. 

 Paul Winstanley was born in Manchester in 1954 and lives and works in London. His first retrospective was held at ARTSPACE in Auckland, New Zealand. Other solo exhibitions include Driven Landscapes, Camden Arts Centre, London and Annexe, Tate Britain, in London, UK. Selected group shows include Window to the World, Fondation de l'Hermitage, Lausanne, which traveled to Museo Cantonale d'arte and Museo d'arte, Lugano, Switzerland; Lifelike, Walker Art Center, Minneapolis; The Deer, Le Consortium, Dijon, France; Out of focus. After Gerhard Richter’, Kunsthalle Hamburg, Germany; Sea Fever: From Turner to today, Southampton City Art Gallery, UK; Terror and the Sublime: Art in an Age of Anxiety, Crawford Art Gallery, Cork, Ireland; Conflict Tales: Subjectivity, Burger Collection, Berlin, Germany; Self as Selves, Irish Museum of Modern Art Dublin, Ireland; Inside Architecture, Museum of Contemporary Art, Los Angeles; and 8 Visions, One Dream, Today Art Museum, Beijing, China. 

 For more information please contact Susan Sherrick or Brian Butler at 323.938.5822