to Oct 27



Direct Address

12 September – 27 October, 2018

1301PE is pleased to present Direct Address, its fourth exhibition with Fiona Connor. Connor will exhibit her latest body of work Monochromes.

Monochromes are resin casts of architectural surfaces found in public spaces that are each used as a community notice board. In some cases these surfaces were intended to be used as bulletin boards, while often they are windows or doors that have been boarded up with plywood and then co-opted for this use. The five monochromatic works in the 1301PE show have been cast from specific locations in Los Angeles.

The casts of five public notice boards will form an index of the real sites, compressing into one unified body the accumulated dents, weathering, paint, staples, and fragments of flyers that remain. Through the casting process, these multiple dimensions of the board are reconstituted in a single material through one process.  They are then painted in the color matching the original site. The multiplicity of the functioning notice board is transformed into a monochrome, unifying multiple contradictory actions, appeals, and entities.

The ephemera that accumulates on public notice boards represents a commons, a self-organizing democratic space. The cycle unfolds in time, as flyers go up and come down. There is a tension between the bottom-up gesture of people posting a request or an offer, making an announcement, and the top-down process of “cleaning up” these notice boards, through regular maintenance and renewal. The notice board bears traces of this dynamic, in one unified field, where these contradictory movements are encapsulated in one object. It pulls in multiple directions, towards expression, towards silence.

Fiona Connor was born in Auckland, New Zealand, 1981. She lives and works in Los Angeles. Connor was included in the 2017 Chicago Architecture Biennial and in the first Los Angeles biennial, Made in L.A. 2012 at the Hammer Museum. Her solo exhibitions include Closed Down Clubs, MAK Center for Art and Architecture, Mackey Apartments; Object Classrooms, Govett Brewster Art Gallery; Wallworks at Monash University in Melbourne, Murals and Print (the inaugural exhibition at Various Small Fires), Los Angeles. Recent museum group exhibitions include: Office of Unspecified Services (O.U.S.), Salt Galata, Istanbul, Turkey; Stories of Almost Everyone, Hammer Museum, Los Angeles; TL;DR at ARTSPACE, Auckland, New Zealand; Gap, Mark, Sever and Return, Human Resources, Los Angeles; Experimental Impulse, REDCAT, Los Angeles; and Octopus 8, Gertrude Contemporary, Melbourne, Australia. In 2010 she was a finalist for New Zealand’s most prestigious contemporary art award, the Walters Prize.

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

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to Aug 18



Under Water Sea Fantasy

28 June – 18 August, 2018                          

1301PE is pleased to present its fourth exhibition with the late Jack Goldstein. The show includes Goldstein’s significant film Under Water Sea Fantasy along with nine silkscreened text and color photographs: Portfolio of Performance, and James Welling’s Jack Goldstein’s studio.

A central figure of the “Pictures Generation”, Goldstein’s work included film, performance, writing, text, painting, sound, and sculpture. Under Water Sea Fantasy began production in 1983 and was completed before his untimely death in 2003. His film reveals Goldstein’s acute understanding of the perception of spectacle and the power of image. Using production values influenced by Hollywood studio techniques, he exploits the spectacular effects of visual presence and the interplay of sound and image. Footage of natural phenomena such as underwater life, volcanic eruptions and celestial events is montaged into a flow of appearing and disappearing energies with no clear narrative structure. At once serene and violent, the seductive visual impact of this film is mesmerizing. Underwater Sea Fantasy premiered in the 2004 Whitney Biennial.

Goldstein’s Portfolio of Performance documents and describes in exacting detail nine of his proposed art performances from 1976 - 1985: The Jump, Sound Performance, Two Boxers, Two Fencers, Records, The Murder, Fire/Body/Light, Body Contortionist and Burning Window. These performances are cinematic in nature and parallel his film work from this period. They remove the artist centric nature of performances. The portfolio serves almost as a set of instructions for additional stagings or interpretations of the original performances, essentially rendering the artist unnecessary to the process.  

James Welling’s Jack Goldstein’s Studio is a series of images that Welling shot of Goldstein and his studio in February 1977, when they both rented offices at the 506 Pacific Building on the corner of Santa Monica Boulevard and Fifth Street. Goldstein was working in restaurants to finance his film "Bone China” and lived in several offices within the building. Welling’s photographs document Jack’s sparse studio that included: a mattress, hangers, some cigarettes, photographs, 2 x 4’s and his body of work: Auphorisms, that are taped to the wall. Welling says: “For the portrait of Jack I used a very slow film, Polaroid type 55, ASA 25. The viewer can see his cigarette burning down itself as he remains motionless for the 30-second exposure.” Welling’s photographs prove to be significant, as they reveal a timeline of Goldstein’s thought process in imagery and content; photos of scuba divers, astronauts, depictions of natural phenomena, as well as text all already exist in 1977 at the time of Welling’s documentation, and will ultimately emerge in Goldstein’s future paintings.

Jack Goldstein’s (1945 – 2003) major solo and group exhibitions include: Gwangju Biennale, 2014; La Biennale di Venezia, 2011; Whitney Biennial, 1985; documenta 8, 1985 and documenta 7, 1982; The Jewish Museum, New York, 2013; Orange County Museum of Art, Newport Beach, 2012; MMK Museum für Moderne Kunst, Frankfurt, 2009; Whitney Museum of American Art, New York, 2002; Magasin, Centre National d'Art Contemporain, Grenoble, 2002; Künstlerhaus, Stuttgart, 1999; The Power Plant, Toronto, 1991; Fruitmarket Gallery, Edinburgh, 1988; Städtische Galerie Erlangen, 1985 and The Kitchen, New York, 1977, 1978 and 1980. His work is in the permanent collections of the Museum of Modern Art, New York; The Whitney Museum of American Art, New York, New York; Museum of Contemporary Art, Los Angeles, California, Musee d’Art Contemporani de Barcelona (MACBA), Barcelona, Spain, The Metropolitan Museum of Art, New York New York, The Tate Modern, London, United Kingdom, Museum of Contemporary Art, Chicago, Chicago, Illinois, Vancouver Art Gallery, Vancouver, Canada and The Broad, Los Angeles, California.

James Welling’s major solo exhibitions include: Stedelijk Museum voor Actuele Kunst in Ghent (S.M.A.K), 2017; Art Institute of Chicago, 2014; Fotomuseum Winterthur, Switzerland and Cincinnati Art Museum, Ohio, 2013; Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 2012; Carnegie Museum of Art, Pittsburgh, 1998. In 2000, the Wexner Center for the Arts, Columbus, Ohio organized a major survey of his work, which traveled to the Museum of Contemporary Art, Los Angeles, and the Baltimore Museum of Art. In 1990, the artist's first museum exhibition was presented by Kunsthalle Bern.

For more information please contact Susan Sherrick or Brian Butler 323.938.5822  

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to Jun 16


Cameron Platter

Teen Non_Fiction

19 May – 9 June 2018                          

1301PE is pleased to announce Teen Non_Fiction, an exhibition of new works by South African-based artist, Cameron Platter.  This will be his first exhibition with the gallery. This exhibition presents an installation of new charcoal drawings, pencil drawings, and bronze sculpture.

Incorporating aspects of sculpture, drawing, video, collage, poetry, tapestry, and web, Cameron Platter’s work appropriates and filters, in a highly personal and idiosyncratic way, the enormous volume of information available today.  Blurring the distinction between high and low, his eclectic and multi-disciplinary approach to art making, typically draws from sources as disparate as fast food, art history, photography, psychedelics, landscape, advertising, therapy, collage, and consumerism.

Platter’s drawings in particular step back and forth over the line between abstraction and figuration punctuated by outbursts of pop culture references and inner repression.  In this series of drawings titled “Teen Non_Fiction”, he explores the different connotations, high and low, that fall under the arrangement of those words.

Cameron Platter was born in 1978 in Johannesburg, South Africa.  He graduated with a BFA in painting from the Michaelis School of Fine Art at the University of Cape Town in 2001.  Recent exhibitions include Salami at GNYP Gallery, Berlin (2018); SCREAMING HALLELUJAH at Ever Gold (Projects) (2017); U-SAVED_ME at Depart Foundation, Los Angeles, (2016); 2015 Artist in Residence at the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA); Public Intimacy: Art and Other Ordinary Acts in South Africa, SFMOMA, San Francisco (2014); Imaginary Fact, Contemporary South African Art and the Archive at the 55th Venice Biennale (2013); De Leur Temps at Musee des Beaux-arts de Nantes (2013); Impressions from South Africa, 1965 to Now at MoMA, New York (2011); Les Rencontres Internationales at Palais de Tokyo, Paris (2014) and The Centre Georges Pomidou, Paris (2010); Le Biennale de Dakar 2010, Dakar Senegal; Coca-Colonized at Marte Museum, El Salvador (2010); and Absent Heroes at Iziko South African National Gallery (2010).

His work appears in the permanent collection of MoMA, New York; FRAC Pays de la Loire, France; Iziko South African National Gallery; The Margulies Collection, the Zeitz Collection, and the New Church Collection.  His work has been featured in The Guardian, The Wall Street Journal, Vice Magazine, NKA Journal of Contemporary African Art, The BBC, Utflukt, Art South Africa, Protocollum, and Artforum.  He lives and works in KwaZulu Natal, South Africa.


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to Jul 24


Life’s a riot at 25 celebrates 1301PE’s storied history through ephemera over the past 25 years. When 1301 was founded in 1992 the artist poster was central to the overall thinking of the gallery. Within this format the artist was free to extend the exhibition through ephemera.

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to Apr 22


1301PE is pleased to present the newest exhibition by MacArthur Fellow Uta Barth, on view from March 11 to April 22, 2017. Her third solo exhibition with the gallery will consist of two distinct yet related projects: “In the Light and Shadow of Morandi” and “Untitled 2017.” Both projects are continuations of a career long engagement with and exploration of visual perception.

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to Dec 20


Albers belongs to a young generation of conceptual artists who develop their work beyond the periodically supposed end of painting and is widely considered as one of the central positions of abstract contemporary art. Following Albers' critically acclaimed solo exhibitions at the Kunsthalle Wilhelmshaven and the Von Der Heydt-Museum Wuppertal in Germany, this exhibition presents new wedge pieces, 'chainsaw massacres,' as well as his hydraulically pressed automobile pieces.

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to Aug 30


Jan Albers, John Baldessari, Fiona Banner, Fiona Connor, Kirsten Everberg, Jorge Mendez Blake, Liliana Moro, Jorge Pardo, Jessica Stockholder, SUPERFLEX, Kerry Tribe, Rirkrit Tiravanija, Paul Winstanley & Pae White

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