Mar
22
to Apr 27
Jan
16
to Mar 16
Simryn Gill
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.
Sep
16
to Dec 31
Rirkrit Tiravanija
1301PE is pleased to present its sixth solo exhibition with internationally revered Thai artist Rirkrit Tiravanija entitled “NO MORE REALITY (FOR PP)”. In August 2020, Tiravanija collected American newspapers that are still published daily. This is the starting point for “NO MORE REALITY” which references Philippe Parreno’s seminal 1991-93 series of work. Focusing on this phrase in large painted text which forms an expansive floor to ceiling installation, while upstairs Tiravanija refines it to a single text per the front and back page of the newspaper. The phrase continually renews itself through Tiravanija’s work and finds new relevancy each time it is exhibited–it purposefully welcomes its reinterpretation and renewal. The phrase “NO MORE REALITY,” which invites a certain interpretation, pushes back on the viewer’s preconceived notions commenting not on the news itself but of the interpretation of the news. The varied newspapers come from different towns with different ideas, politics and beliefs which in turn is reflected by what is valued and displayed by the local news.
“Everywhere, we feel the shift of power under our feet; how can we not address it, even with our tongues in our cheeks!” -Rirkrit Tiravanija
For more than thirty years, Tiravanija’s work has had resounding effects on the entire field of contemporary art. Participation, both active and passive, has been a primary element of his artistic practice, which in a way that is unique to Tiravanija dissolves the onlooker and object dichotomy.
Tiravanija’s work has been the subject of numerous major museum exhibitions including: the Hirshhorn Museum, Washington D.C. (2019); Luma Arles, France (2018); Bonnierskonsthall, Stockholm (2011); the Guggenheim Museum, New York (2005), the Serpentine Gallery, London (2005); ARC Musee d’Art Moderne, Paris (2005); the Secession, Vienna (2002), and the Sculpture Project Munster (1997). As well as significant group exhibitions including: The Paradox of Stillness…, the Walker Museum, Minneapolis (2020); Take Me (I’m Yours), the Pirelli HangarBicocca, Milan (2017); Being Modern: MoMA in Paris, the Fondation Louis Vuitton (2017); Take It or Leave It, Hammer Museum, Los Angeles (2014); All The World’s Futures, the Venice Biennale (2013); Day For Night, the Whitney Biennial, New York (2006); Public Offerings, MOCA, Los Angeles (2001); Crossings, the National Gallery of Canada, Ottawa (1998); Traffic, CAPC Musee d’Art Contemporain, Bordeaux (1996); the Whitney Biennial, New York (1995). He lives and works in New York, Berlin, and Chiang Mai.
Jul
1
to Aug 12
Jorge Méndez Blake - I remember it was raining…
1301PE is pleased to present its fourth solo exhibition with Mexican artist Jorge Méndez Blake titled “I remember it was raining...” The exhibition centers around Méndez Blake’s dismantling of American poet Elizabeth Bishop’s (1911-1971) poems Dimensions for a Novel, The Flood, Electric Storm and Rain Towards Morning. These
component parts will coalesce as paintings and a ceiling mural. Two additional large paintings using the form of the famous calligrammes by Guillaume Apollinaire (1880-1918) will continue his Il Pleut Fort paintings.
“...writing is itself a kind of construction and reading is a way of creation.” -Jorge Méndez Blake For more than twenty years, Méndez Blake’s use of structure, both literary and physical, has
always been of paramount importance. His use of the concrete poetic form becomes an important focal point, concentrating and distilling the artist’s varied interests around language, form, meaning-making and our relationship to life.
Jorge Méndez Blake’s (b. 1974) work has been the subject of solo exhibitions in museums, including a commission for the Bass Museum in Miami (2022); the Museo Tamayo (2020) and the Museo de Arte Moderno (2019); MARFA Contemporary (2017); the Kunsthalle Mulhouse (2015); the Museo Universitario Arte Contemporáneo (2015); the Museum of Contemporary Art Denver (2014); Museo D'Arte Contemporanea Villa Croce (2012); the Museum of Latin American Art, Los Angeles (2010). His work has been part of group shows at the National Gallery of Victoria (2017); the Hessel Museum of Art (2016); the Museum of Contemporary Art Santa Barbara (2014); the Frankendael Foundation (2013); the Queensland Art Gallery, Australia (2013); the Fundación Marcelino Botin (2012); the Aspen Art Museum (2012); the Museé d’Art Moderne (2011); Artspace (2011); the Bass Museum (2009); the Stedelijk Museum Schiedam (2009) and the Casa Encendida (2005).
May
10
5:00 PM17:00
Apr
12
to May 24
Feb
14
to Mar 25
Jonny Niesche
1301PE is pleased to announce its first solo exhibition with Australian artist Jonny Niesche. An alchemist of color, light, and form, Niesche’s work dances with the viewer—a routine of subterfuge and grace, a deft painterly discotheque dressage abound with vitality. The surface of the work is alive, as is the border, changing with you and the time you view it.
“I’m not trying to create an optical illusion as much as I’m trying to manipulate aesthetic experiences. The viewers’ perception is challenged, which hopefully slows down the viewing experience.” –Jonny Niesche
In Haptic sfumato, Niesche presents a variety of new works. Sfumato is considered to be one of the main techniques of Italian High Renaissance painting. The word describes the gentle gradation and blending of one tone to another. Three works of vertical rectangles, a motif which he has used separately, has now been melded together. These rectangular works contrast with the unity of the large scale, brass bounded works, which are executed in Niesche’s signature style. Here he has iterated the creation of these works to include a study size and intermediary size, which echoes their fashion week inspiration.
The work carefully elides traditional dichotomies eroding distinctions and celebrating the indeterminacy of its categorization. The moiré effect of the voile surfaces are akin to looking at your reflection in a jewel case—not enough to place the viewer firmly there but with just enough subtlety to remind you of your own subjectivity before the work. Niesche’s work has long drawn inspiration from fashion, cosmetics and music. These three interests coalesce into the works having been inspired by Niesche’s travels to this year’s Milan and Paris Fashion week. Niesche’s work is always infused with his surroundings, and his work is carefully orchestrated to reflect these sensibilities
Jonny Niesche (b. Sydney, 1972) graduated with a Master of Visual Arts, from Sydney University, AU in 2013. Recent solo and group exhibitions include: Furry Light at WestLotto Münster (2022); Atoms Encode at 1301SW (2022); Dreaming after all, is a form of planning at 1301PE (2021); poikilos at STARKWHITE (2020); Zeller van Almsick (2020); Ways of Seeing, Art Gallery of South Australia (2019); Sculptur Garden, Vienna (2019); New Acquisitions from the Collection, Museum of Contemporary Art, Sydney (2019); Museum of Contemporary Art Commission for Vivid festival, Sydney (2018); Museum of Contemporary Art, Sydney (2018); Shut up and Paint, National Gallery of Victoria, Melbourne (2016).
Nov
12
to Jan 22
Ann Veronica Janssens
1301PE is pleased to announce its fourth solo exhibition with renowned Belgian artist Ann Veronica Janssens. For more than thirty years Janssens’s work has been widely recognized for her ability to challenge, interrogate and disjoint perception.
“There’s no secret, I’m in the world’s mysteries.” –Ann Veronica Janssens
Janssens presents Leisure and Survival. The aluminum letters are carefully placed throughout the gallery to spell out Leisure and Survival, implying a contradiction between the
two and that one’s existence is not without the other. The juxtaposition of Leisure and Survival can be seen everywhere, from yachts gallivanting through the Mediterranean next to migrants swimming for their safety.
Janssens presents a selection of new glasswork—a material Janssens has vigorously investigated for its multitudinous optical and physical qualities. “Observing the world, and in the process of not quite recognizing it,” as Anders Kold writes “is a key aspect of Ann Veronica Janssen’s art – a premise of the artist’s practice and methodology, and a condition...for experiencing her work.” Frisson Rose, for example, reorders our experience of it, taking itself outside of its objecthood and foregrounding our experience. Frisson, the French word for thrill or excitement, can also refer to the bumps on our skin as we experience intense emotion. Here the glass, which literally mirrors us, disguises its materiality by mimicking ours.
Janssens is also exhibiting a new work of Glitters. It engages us spatially and plays with its many dichotomies. The space is then occupied by the work and the viewer, our knowledge of glitter’s near formlessness contrasts with our ability to move within the exhibition space and even the presumption of preservation is set against ephemerality with the work being swept up and repackaged after the exhibition closes resolving the contradictions it once contained.
Born in Folkestone, England in 1956, Janssens lives and works in Brussels. In 1999 Janssens represented Belgium at the 48th Venice Biennale. Janssens’s work has been the subject of major solo and group exhibitions around the world. Recent exhibitions include: Collection Lambert in Avignon, France (2022); The Pantheon in Paris, France (2021); South London Gallery in the United Kingdom (2020); Louisiana Museum of Modern Art in Humlebæk , Denmark (2020). Janssens has significant forthcoming exhibitions at the Fondazione Pirelli Hangar in Milan, Italy (2023) and M WOODS Museum in Beijing, China (2023). A selection of solo exhibitions include: FRAC Corse, Bonifacio, France; Serendipity, WIELS - Contemporary Art Centre, Brussels, Belgium; Are you experienced?, Espai d’art contemporani de Castelló, Castelló, Spain; ARTSPACE, Auckland, New Zealand; Neue National Galerie, Berlin, Germany. Janssens’s work is held in major public and private collections worldwide.
For more information please contact Tate Smith or Quaja Butler at 323-938-5822.
Sep
14
to Oct 21
Kerry Tribe
1301PE is pleased to announce its fourth solo exhibition with internationally acclaimed Los Angeles artist Kerry Tribe. Tribe is known for expansive and profound works in film and mixed media that explore consciousness, communication and memory. Her work embeds these themes in phenomenological cinematic experiences that collapse narrative and perception.
“Where is it, this present? It has melted in our grasp, fled ere we could touch it, gone in the instant of becoming.” –William James
Tribe’s latest exhibition finds the artist positioned as caregiver, looking after loved ones in the surrounding generations. Corner Piece, a video projected into the corner of the gallery, features animated text exchanges with Tribe’s mother on the right wall and Tribe’s growing children on the left. The artist’s “outgoing” messages,” always in blue, appear on one or the other side of the divide as they navigate requests for transportation, medical advice, technical assistance, weekly allowance and moral support.
A related series of works on paper, made with a homespun combination of watercolor and oil pastel, document recent text messages Tribe has received or sent. Elegant, funny and intimate, they capture the constant insect buzz of communication within a family, like room tone, traffic or weather.
Included in this exhibition are five large “scratch drawings” in rainbow-hued wax crayon and black pastel. These reproduce diagrams, made by western philosophers, that attempt to explain the present moment from a first person perspective. Experientially, “now” is never the indivisible, non-durational point one sees on a timeline, but a continuum of consciousness that enfolds the past and future within it. How else could we recognize duration, movement or change?
Tribe’s work has been the subject of solo presentations at SFMOMA, Camden Arts Centre, London and the Power Plant, Toronto, among others. She has received multiple awards, including the Herb Alpert Award, the USA Artists award, the Presidential Residency at Stanford University, and was a fellow at the American Academy in Berlin. Tribe’s work is in the public collections of MoMA, the Whitney, the Hammer Museum, and LACMA. Her films have been screened at the International Film Festival Rotterdam; the New York Film Festival, and the BFI London Film Festival, among others. Tribe lives in Los Angeles with her husband, two kids, three chickens, two cats, a goldfish, a tarantula, and a praying mantis.
For more information about Double Bumblefoot or Kerry Tribe, please contact Brian Butler, Tate Smith or Quaja Butler at info@1301pe.com
Jun
3
to Jul 16
Jun
3
to Jul 16
Uta Barth
Uta Barth: Figure/Ground, Figure/Ground
3 June – 16 July, 2022
1301PE and Tanya Bonakdar Gallery are pleased to present a joint exhibition of Uta Barth’s work, which will span the artist’s entire career. Titled Uta Barth: Figure/Ground, Figure/Ground, this exhibition is curated by writer Jan Tumlir, and will be divided between the two galleries in Los Angeles. At Tanya Bonakdar Gallery will be featured photographs in which a figure appears – typically the artist’s own, and often only in partial view – whereas at 1301PE, the selection of photographs will be devoid of figures, displaying all ground. Also featured in this two-part exhibition will be a range of contextualizing material, drawn from a cadre of artists who have proved influential on Barth’s practice: Michelangelo Antonioni, John Cage, Harry Callahan, Robert Irwin and Agnes Martin. A selection of books from Barth’s own library will be included as well. And, finally, David Horovitz (who once was Barth’s student) has conceived of a project to link the two galleries by way of an exchange of photographic postcards that will unfold throughout the duration of the exhibition.
Jan Tumlir writes, "As steadfast as this line of division between Figure and Ground might seem on paper, it quickly turns porous in actual practice. In Barth’s work, we are always looking for some sort of synthesis between these two poles that nevertheless holds them in tension. A figure appears against its ground when conceived as just a background, but if we add to it the qualities of surface and support, then this also is the place of the figure’s medial grounding, and thus fundamentally indistinguishable from it. And, reciprocally, it could be argued that even in those pictures where no figure encroaches upon the field of vision, the ground nevertheless remains suffused with it. Those hands and feet that, here and there, reach into the picture from the edges of the frame serve to remind us that a person is always there, even when wholly invisible. The photograph records the presence of the photographer on the scene; this witness who once stood before it, now lurks behind it – a haunting figure."
This exhibition has been conceived in anticipation of Uta Barth: Peripheral Vision opening November 15, 2022, at The Getty Center at the Getty Museum in Los Angeles.
For the past twenty years, Uta Barth (b. 1958) has made visual perception the primary subject of her photographic work. Barth first gained critical acclaim in the 1990s for her Ground and Field series, in which she turned her attention to the information contained in a photograph’s often forgotten and peripheral background. Emptying images from what would often be considered a traditional subject matter or narrative, Barth makes the viewer aware of the phenomenological experience of perceiving. The question of how we perceive – versus what we see – differentiates Barth from the dominant trajectory of photography that is tied up with pointing at things in the world and in which subject and content are mostly one and the same thing. Making the "the choice of no choice", Barth has confined her practice to the ambient, incidental, and ephemeral.
A 2012 MacArthur Fellow, Uta Barth was born in Berlin and currently lives and works in Los Angeles. Notable solo exhibitions have been presented at 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.
For more information please contact Tate Smith or Brian Butler at info@1301pe.com.
Apr
20
to May 21
Ana Prvački
"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.
Feb
5
to Apr 2
Blake Rayne
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.
Dec
15
to Jan 19
Winter Darkness
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.
Sep
25
to Dec 4
Diana Thater: The Conversation
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.
Jul
17
to Sep 11
Dreaming, after all, is a form of planning
Dreaming, after all, is a form of planning.
Yuk King Tan, Ani O’Neill, Rebecca Baumann, Jonny Niesche
17 July – 11 September 2021
1301PE is pleased to present, Dreaming, after all, is a form of planning, a group exhibition of artists Yuk King Tan, Ani O’Neill, Rebecca Baumann, and Jonny Niesche. This exhibition is presented in partnership with Starkwhite, Auckland. The exhibition continues through August 22.
Spanning aspects of sculpture, performance, installation and painting; Dreaming, after all, is a form of planning brings to Los Angeles four artists from across the Pacific, who together form a multivalent network of formal experimentation; indigenous knowledge systems; as well as performative investigations of political issues, such as value and economy.
“Without leaps of imagination, or dreaming, we lose the excitement of possibilities. Dreaming, after all, is a form of planning.” - Gloria Steinem
Art is deeply connected to our experience of the world, and taking in its material is one way in which we recalibrate our sense of it. In this vein, artists are uniquely primed to provide alternative metrics for understanding how we intuit, parse, traverse, share, and value our uniquely human experiences. This is the common thread which weaves together the work of Yuk King Tan, Ani O’Neill, Rebecca Baumann, and Jonny Niesche –an investment in transforming their viewer’s perception of the world and its material. Put another way, an interest in how altered, ambiguous, or re-contextualized perception (dreaming, if you will) can facilitate self-discovery, and bring into being new meanings.
—
Yuk King Tan (b. Australia, 1971) is an Australian-born Chinese-New Zealand artist currently based in Hong Kong. Tan graduated in 1993 from Elam School of Fine Arts, Auckland University, New Zealand. Major solo and group exhibitions include: the Camden Art Centre in London, Ludwig Forum für Internationale Kunst in Aachen, Museum Fridericianum in Kassel, Kunstverein in Hamburg, Museum of Contemporary Art (MOCA) in Los Angeles and Wellington City Gallery, New Zealand, Hong Kong Arts Centre, and Artists Space in New York. She has held residencies in Dunedin, New Plymouth, Queensland, Aachen, Sydney and London and has participated in international biennales/triennials in Queensland, Vilnius, Auckland and Sao Paulo.
Ani O’Neil (b. Auckland, 1971) graduated from Elam School of Fine Arts, Auckland University, New Zealand in 1994 and currently lives between the Cook Islands and Auckland, New Zealand. O’Neil has exhibited extensively in New Zealand and the Pacific Region, as well as the United Kingdom, Australia, Poland, Brazil, Singapore, Los Angeles, New York, Paris, and Lithuania. O’Neill is a member of the Pacific Sisters collective, and has held many prestigious residencies including the Rita Angus Artist in Residence, Wellington, Artist in Residence APEXART, New York.
Rebecca Baumann (b. Perth, 1983) received a Bachelor of Fine Arts from Curtin University of Technology, Perth in 2003. Since 2003, Baumann has participated in numerous major exhibitions including; Radiant Flux, Carriageworks, Sydney, Untitled (exploded view), Kaleidescope: Abstract Aotearoa, te Papa, National Gallery of New Zealand; Dunedin Public Art Gallery; Set in Motion, Govett Brewster Art Gallery; WA Focus - Rebecca Baumann, Art Gallery of Western Australia, Perth; New Romance, MCA, Seoul, South Korea; Here & Now 15, Lawrence Wilson Art Gallery, Perth; Encounters, curated by Yuko Hasegawa, Art Basel Hong Kong; Everyday Magic, GOMA, Brisbane; Contemporary Australia, Women, Queensland Art Gallery/GOMA, Brisbane; Primavera, Museum of Contemporary Art Sydney, and NEW 11, Australian Centre for Contemporary Art, Melbourne.
Jonny Niesche (b. Sydney, 1972) graduated with a Master of Visual Arts, from Sydney University, AU in 2013, after completing Heimo Zobernig’s Masters class in sculpture at the Academy Fine Arts, Vienna, AT in 2012. Major solo and group exhibitions include: Zeller van Almsick, Vienna, AT; Museum of Contemporary Art Commission for Vivid festival, Sydney; Commission for Vivid festival, ' Virtual Vibration' Collaboration with Mark Pritchard and Spinifex, Museum of Contemporary Art, Sydney; Sculpture Garden, Vienna, AT; New Acquisitions from the Collection, Museum of Contemporary Art, Sydney; Ways of Seeing, Art Gallery of South Australia; ENTKUNSTUNG/VERKUNSTUNG, Austrian Cultural Forum Berlin; February 2, ARTSPACE, Sydney; Shut up and Paint, National Gallery of Victoria, Melbourne; The Kaleidoscopic Turn, NGV Collection, National Gallery of Victoria, Melbourne; Fishers Ghost Award, Campbelltown Arts Centre, Sydney.
Apr
24
to Jun 12
Drafting Space
Drafting Space
Fiona Connor, Morgan Fisher, Jessica Stockholder, Diana Thater
April 24 - June 12, 2021
For this group exhibition the artists consider first drafts, technical drawing, preparatory sketches, or blueprints for things yet to be realized. Throughout the past year of uneasy limbo, the prospect of making plans for the future has become fraught. We’ve had to ask ourselves: What do we plan for? What can we plan for? What if the plan is all we have?
The quality of this work is often technically intricate yet loose, full of movement, with a relationship to a material environment but also existing in a somewhat playful, imaginary space where a potential future is drafted on paper.
Feb
13
to Apr 10
Petra Cortright: Predator Swamping
Petra Cortright, installation view, Predator Swamping
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.
Oct
10
to Dec 19
Paul Winstanley: After the War the Renaissance
Installation view: Marten Elder
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
Sep
15
to Oct 3
Jun
24
to Aug 15
Ana Prvački: Post Apis
Installation view. Photo: Marten Elder
Ana Prvački
Post Apis
24 June - 15 August 2020
1301PE is pleased to announce its third solo exhibition with Ana Prvački. Prvački’s new paintings focus on bee imagery adopted universally for its symbolic and political connotations, by monarchs and the church as well as republics and trade unions. Bees have adorned Napoleonic robes and have been used in IBM advertising campaigns, but more significantly, they exemplify as well as provide evidence of the delicacy and fragility of our ecosystem. They are one of our main pollinators: without them, food wars will be rampant. They are hyperorganized but also hypersensitive, with their actions being driven by intricate internal chemistry, pheromone signals and subtle choreographies, all qualities that connect them deeply to our current environmental crisis.
There are approximately 20,000 species of bees; in Prvački’s new sculpture, The Bee Memorial, which pays homage to the European honeybee, Apis Mellifera, otherwise known the Common Bee, a precious insect that has been on the planet for over 80 million years. Now, in the 21st century, it is nearing extinction. The sculpture is a 1:1 replica of a classic beehive reproduced in black granite.
Prvački’s multi-faceted practice takes the form of diverse projects that draw on performance, daily practices, consumer aesthetics, and popular concerns. Her projects foreground experimentation in content and form their ephemeral nature both is strategy for creating unique experiences and a nod to an environmentally conscious artistic practice.
Ana Prvački was born in Yugoslavia and lives and works in Berlin. Her solo exhibitions and projects include the 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: 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, and the Turin Triennale 2005. 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 and in October she will participate in the 2020 Bangkok Arts Biennale.
For additional information please contact Susan Sherrick or Brian Butler at info@1301pe.com
Jan
18
to Mar 14
Jessica Stockholder: Digital Thoughts
Jessica Stockholder, Four Eyes, 2019
Jessica Stockholder
DIGITAL THOUGHTS
18 January - 14 March 2020
1301PE is pleased to announce it’s third exhibition with Jessica Stockholder. Beginning with a love of color and abstraction Stockholder’s groundbreaking work for more than 30 years has merged every day objects into painterly sculptural forms while subverting our ideas regarding what is worthwhile or worthless.
In selecting works for Digital Thoughts, Stockholder expressed her thoughts on the digital beginning with its definition:
Digital: Adjective 1 (of signals or data) expressed as series of the digits 0 & 1. 2 (of a clock or watch) showing the time by means of displayed digits rather than hands or a pointer. 3 relating to a finger or fingers. (which do point). She continues: The relationship between the machine made and the handmade are mixed up in this work. Digital thought is stored in many different physical places. In metal computer boxes, in the Cloud which is itself supported by metal boxes, wires, and bits and pieces of plastic, scattered throughout the landscape in places not often pointed to. Digital thoughts are coded pieces of information that are in themselves abstract – abstracted from the things that they point at. The work in this exhibition is at once tangible, haptic, sensuous, and physically in support of many different kinds of disembodied abstraction. Thought, which feels disembodied though it occurs inside the body of each one of us is generated by the confluence of physical event in each work, and amongst them in the room.
Digital Thoughts features new wall installations and freestanding works composed of different materials and forms that shape a colorful composition and form a cohesive oeuvre.
Jessica Stockholder was born in 1959 in Seattle, Washington and currently lives and works in Chicago, Illinois. She has exhibited widely in museums and galleries internationally including: Solo exhibitions include Dia Center for the Arts and P.S.1, New York, NY; The Renaissance Society, Chicago, IL; Power Plant, Toronto, ON; Kunsthalle Brandts Klaedefabrik, Odense, DK. Selected group exhibitions include SITE Santa Fe and The Whitney Biennial. Her work is represented in the permanent collections of numerous museums including the Whitney Museum of Art, New York; The Art Institute of Chicago; MOCA, Los Angeles; SF MoMA; the Museum of Fine Arts, Boston; The British Museum, London; and the Stedelijk Museum, Amsterdam. Recent solo museum exhibitions include Stuff Matters at the Centraal Museum, Utrecht and Relational Aesthetics at The Contemporary Austin. Stockholder’s major installation “White Light Laid Frozen” is included in MOCA’s The Foundation of the Museum: MOCA’s Collection until January 20, 2020.
For additional information please contact Susan Sherrick or Brian Butler at 323.938.5822
Sep
7
to Dec 21
COLOR WALKS
Judy Ledgerwood, Crossing Over, 2012, Acrylic, oil and metallic oil on canvas
Judy Ledgerwood
COLOR WALKS
7 September - 26 October 2019
1301PE is pleased to present its fourth exhibition with Chicago based artist Judy Ledgerwood.
Color has always been the primary vehicle for content in Ledgerwood’s work. From the early wall-sized pastel-hued monochromes that feminized the palette of heroic color field painting, to the later works that have been made in response to the light and scale of the locations in which they are placed. These works allow her to contribute to the forceful tradition of abstraction, and open up a conversation to a new and audacious palette informed by a history of fashion and interior design.
Often her work appears to be strongly graphic, but a number of painterly devices work to complicate the viewing experience upon second look. Subtle shifts in hue from warm to cool within the narrow range of a single tone, or variations in surface from matte to shiny, might reflect or absorb changing light and alter the initial perception. Figure-ground relationships shift depending on viewer position and ambient light, encouraging and rewarding a physical engagement with the space and the painting. A conscious act of looking deepens an awareness of the subjectivity of vision.
Ledgerwood’s practice addresses the relationship between the pictorial and physical space containing the work in a way akin to color field painting, to which her work is often linked. The paintings and ceramics do not decorate surfaces or otherwise supplement architecture; but function to orient the viewer to the richness of this specific place. Her work creates an experience that is grounding, and yet elusive.
Judy Ledgerwood lives and works in Chicago. Her work has been exhibited both in the United States and internationally. She is the recipient of The Richard H. Driehaus Foundation Award, an Artadia Award, a Tiffany Award in the Visual Arts, a National Endowment for the Arts Award, and an Illinois Art Council Award. Her work is included in prominent public collections: the Art Institute of Chicago, IL, the Metropolitan Museum of Art, New York, the Museum of Contemporary Art Los Angeles, the Milwaukee Museum of Art, the Museum of Contemporary Art Chicago and UCLA Hammer Museum, Los Angeles.
For additional information please contact Susan Sherrick or Brian Butler at 323.938.5822
Aug
17
to Oct 30
As the crow flies: Kerry Tribe and Rirkrit Tiravanija
As the crow flies:
Kerry Tribe
Rirkrit Tiravanija
17 August – 30 September 2019
“Mein Herr looked so thoroughly bewildered that I thought it best to change the subject. “What a useful thing a pocket-map is!” I remarked. “That’s another thing we’ve learned from your Nation,” said Mein Herr, “map-making. But we’ve carried it much further than you. What do you consider the largest map that would be really useful?” “About six inches to the mile.”
“Only six inches!” exclaimed Mein Herr. “We very soon got to six yards to the mile. Then we tried a hundred yards to the mile. And then came the grandest idea of all! We actually made a map of the country, on the scale of a mile to the mile!” “Have you used it much?” I enquired. “It has never been spread out, yet,” said Mein Herr: “the farmers objected: they said it would cover the whole country, and shut out the sunlight! So we now use the country itself, as its own map, and I assure you it does nearly as well. Now let me ask you another question. What is the smallest world you would care to inhabit?”
Lewis Carrol, Sylvie and Bruno Concluded
Chapter 11: “The Man in the Moon” 1893
Kerry Tribe has had solo exhibitions at the Anderson Collection, Stanford University, Palo Alto; San Francisco Museum of Modern Art (SFMOMA), San Francisco (SF MoMA); Parque Galeria, Mexico City' 356 Mission Rd., Los Angeles; Institute of Modern Art, Brisbane; Carpenter Center, Cambridge; and the Contemporary Art Center, Irvine. She has staged performances at the Museum of Modern Art, New York, the Kadist Art Foundation, San Francisco and the TATE Modern. In 2017 she received an Herb Alpert Award in Film and Video, a California Community Foundation Fellowship in 2015, an Artadia Award in 2013, and both a USA Artist Fellowship and Creative Capital Grant in 2012. In 2016 the City of Los Angeles awarded Tribe a public commission to produce Exquisite Corpse, a film about the Los Angeles River, which will screen nightly on the High Line in New York, Summer 2018.
Rirkrit Tiravanija was born in 1961 in Buenos Aires. For over twenty-five years, he has focused on the social ties connecting audience, artwork and artist, blurring the boundary between art and life. He is on the faculty of the School of Visual Arts at Columbia University, and is a founding member of The Land Foundation, an educational-ecological project in Chiang Mai, Thailand. He is the winner of the 2010 Absolut Art Award and the 2004 Hugo Boss Prize awarded by the Guggenheim Museum. Notable exhibitions include On Air at the Centre Pompidou (2012), Less Oil More Courage at the Kunsthalle Fridericianum (2009), and retrospectives at the Kunsthalle Bielefeld (2010), Serpentine Gallery (2005), and Museum Boijmans Van Beuningen (2004). He recently presented Soup / No Soup at La Triennale 2012 in Paris, for which he transformed the main nave of Grand Palais into a communal banquet featuring a meal of Tom Ka soup. do we dream under the same sky?, Chaos Omotesando, Tokyo, (2018); The NG Teng Fong Roof Garden Commision: Rirkrit Tiravanija, National Gallery Singapore, Singapore, (2018)
For further information please contact: Brian Butler or Susan Sherrick at (323) 938 5822.
Aug
8
to Aug 30
GROUP EXHIBITION OF WORK BY FIONA CONNOR, PETRA CORTRIGHT, KIRSTEN EVERBERG, JORGE MÉNDEZ BLAKE AND PAE WHITE
Pae White, Vivo Qui, 2019, cotton, polyester and trevisa
8 August - 30 August 2019
For more information, please contact Susan Sherrick or Brian Butler at 323.938.5822 or info@1301pe.com.
The gallery is open Tuesdays to Saturdays, 11am to 6pm, or by appointment.
May
18
to Jun 29
LIFE STILL
Kirsten Everberg
LIFE STILL
19 May - 29 June 2019
1301PE is pleased to present its seventh solo exhibition with Los Angeles based artist Kirsten Everberg.
With a new body of work that is based primarily on the genre and history of Dutch Golden Age still life paintings Everberg replaces the traditional elements with plant and animal species simultaneously listed as extinct or endangered, native and non-native. Symbolic not just as demonstrations but for their ability to transcend deceptively “earthy splendors”, these paintings have the capacity to create meaning in the larger moment we find ourselves in while being contained primarily in architectural settings. Everberg’s attention to detail is highlighted by the shifting perspective that is at the same time unstable and precise, and the scale is amplified, elevating the objects and creatures to sometimes imposing monumentality, refusing to be unseen or marginalized.
Using a unique combination of oil and enamel paint, Everberg’s works hover between representation and pure paint. There is always a tension here between the convincing depiction of space and the abstract skeins of color that dance across the canvas. What appears to be the exterior of a house or a dense jungle from far away is reconfigured into glossy pools of paint close-up. Everberg’s mastery of her medium is demonstrated by how deftly she walks this line. Narrative and image; truth and fiction; surface and what lies beneath – are all woven together in her captivating works.
Kirsten Everberg 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 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.
Apr
10
3:30 PM15:30
God is an Audiobook
![Mieke Marple, Eternal (Kiss/Wildflowers), 2019, Acrylic paint and inkjet on canvas, 70 x 54 x 2" [HxWxD] (177.8 x 137.16 x 5.08 cm)](https://images.squarespace-cdn.com/content/v1/59cc690fcf81e0b2a21215aa/1554934409820-DG209BMPIZDO4T4NBTQ3/2019_03+-+Mieke+Marple-19.jpg)
Mieke Marple, Eternal (Kiss/Wildflowers), 2019, Acrylic paint and inkjet on canvas, 70 x 54 x 2" [HxWxD] (177.8 x 137.16 x 5.08 cm)
MIEKE MARPLE
God is an Audiobook
1301PE Annex on Wilshire
10 April - 10 May 2019
1301PE is pleased to present God is an Audiobook, Mieke Marple’s first solo exhibition at the gallery. Marple is an artist and writer and this new series of paintings combines her interests in both visual and textual narrative.
In White Girls Have Depth Too, a mini-memoir presented as a companion piece to the paintings on view, Marple describes becoming familiar with the work of Eckhardt Tolle via audiobooks. Initially skeptical that “self-help” content would appeal to her, Marple developed a deep interest in the material, one that bordered on obsession. Her early skepticism stemmed from many of the same value judgments made in the field of visual arts, in which “high art” is contrasted with “low-brow art,” “folk art,” “graphic art,” et cetera and where highly emotional content in artwork is often seen as naïve or in conflict with intellectual/commercial interests. In her mini-memoir, Marple also attempts to portray whiteness, historically treated as “neutral,” as a distinct and articulable experience. It is also one in which, despite the relatively low-brow status of the self-help genre, understanding self-actualization as an act of privilege is often overlooked.
In this new series of paintings, Marple presents different archetypes—skeletons, clowns, ballerinas, hermits, et cetera—and creates a bright and vivid atmosphere by layering these images with renderings of flowers. These flowers do not function in a symbolic manner in the paintings; instead, Marple suggests, “They are mood. They simply are and in this way resemble consciousness or presence.” In A New Earth, Tolle writes that flowers were likely the first non-functional objects to be appreciated by humans because of their ability to mirror consciousness back to us. Marple considers the flowers, rendered realistically, to be analogous to "situation" in writing, i.e. uninterpreted moments that happen in a specific place and time. By contrast, the central, unpainted archetypes are analogous to “story” in writing, i.e. larger themes that run through the course of a text. To accompany her paintings, Marple also created a short video animation pairing several of her drawings with the sound of Tibetan bells, the same sound Tolle uses in his audiobooks to demarcate chapters.
In these artworks and mini-memoir, Marple attempts to balance the personal with the universal and the specific with the abstract. Marple picks subjects that are open to projection and then fleshes them out through the addition of flowers in her paintings and conversations in her mini-memoir to create an embodiable experience by which the reader/viewer can access universal tropes.
Mieke Marple (b. 1986, Mountain View, CA) received her B.A. from the University of California, Los Angeles in 2008. She was co-owner of Night Gallery (Los Angeles) from 2011 until 2016. In 2012, Marple produced the web series Feast of Burden, directed by filmmaker Eugene Kotlyarenko and distributed by MOCAtv. In 2014, she co-founded the “Sexy Beast Benefit for Planned Parenthood Los Angeles” gala and art auction, and remains on the organization’s advisory board. Marple has been written about by The New York Times and W Magazine, among other publications. Recent exhibitions include The Internet Archive’s 2018 Artist In Residence Exhibition and Relocation Tarot (2018) at Ever Gold [Projects] (San Francisco). In November 2019, she will be having her first solo exhibition at Ever Gold [Projects]. Marple lives and works in San Francisco.
The exhibition will take place in the 1301PE Annex and the entrance is on Wilshire Blvd.
Jan
19
to Mar 2
Lucky Duck Lights Out
PETRA CORTRIGHT
Lucky Duck Lights Out
19 January 2019 - 2 March 2019
1301PE is pleased to announce Lucky Duck Lights Out, Petra Cortright’s second solo exhibition at the gallery. The exhibition will feature a new series of digital paintings by the Los Angeles-based artist. At the core of Cortright’s distinct artistic practice is the creation and distribution of digital files. Considered to be one of the early proponents of what some term ‘post-Internet art’, Cortright rose to prominence with such performative self-portrait YouTube videos as VVEBCAM, 2007, which she created using her computer’s webcam and default special effect tools. In recent years Cortright has expanded her practice to also include paintings and sculpture.
Lucky Duck Lights Out is the name of two types of Dahlias growing in Cortright’s garden. The new paintings mark a shift in Cortright’s practice where she is photographing the flowers grown in her garden, which are the source material, with a Google Pixel Smartphone and a Sony point and shoot instead of mining the Internet for images.
The works in Lucky Duck Lights Out with their brilliant colors, great energy and extensive attention to detail bring to mind the work of Dutch Golden Age painter Rachel Ruysch who like Cortright found much inspiration for her paintings through her garden and gained attention by inventing her own style of making art.
Using the computer as her canvas, Cortright has created a series of luminous, frenzied floral still-lifes in Photoshop, utilizing digital brushes that she has downloaded or developed herself. Yet even when printed on aluminum, Belgian linen, rag paper, or face-mounted, the works continue to maintain evidence of their very digital making:
“All the physical pieces are unique, but there are deep elements of a digital process that I would never want to hide or remove—instead they are celebrated.” – Petra Cortright
Petra Cortright (Santa Barbara, CA, 1986) lives and works in Los Angeles, CA. She studied Fine Arts at Parsons School of Design, The New School, New York, NY (2008) and the California College of the Arts, San Francisco, CA (2004). Cortright’s work has been included in: “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); City Gallery, Wellington, New Zealand (both solo, 2017); "Electronic Superhighway,” Whitechapel Gallery, London, UK (2016); Depart Foundation, Los Angeles (solo, 2015); 12th Bienniale de Lyon, France (2013); The 53rd Venice Biennial (2009), New Wave, The Internet Pavilion and upcoming “The Body Electric,” Walker Art Center, Minneapolis (2019). Her works are in the permanent collections of The Pérez Museum (Miami), Los Angeles County Museum of Art, the Hammer Museum (Los Angeles), Moderna Museet (Stockholm), MOTI (Breda) in collaboration with Stedelijk Museum (Amsterdam), MCA Chicago, Kadist Foundation (San Francisco), BAMPFA (Berkeley, CA) and the San Jose Museum of Art.
Nov
17
to Jan 12
ELEGANT SCIENCE
ELEGANT SCIENCE
17 November – 12 January 2019
Opening: Saturday, 17 November 6 - 8 pm
Berenice Abbott
Man Ray
Laszlo Moholy Nagy
Eadweard Muybridge
Trevor Paglen
Thomas Ruff
Thomas Struth
Hiroshi Sugimoto
Kerry Tribe
Christopher Williams
1301PE is pleased to announce Elegant Science, an exhibition curated by Susan Sherrick that focuses on the artists who have mastered the art of photographing science, space and technology: Berenice Abbott, Man Ray, Laszlo Moholy Nagy, Eadweard Muybridge, Trevor Paglen, Thomas Ruff, Thomas Struth, Hiroshi Sugimoto, Kerry Tribe and Christopher Williams.
In 1939 while Berenice Abbott was living and working in New York City she wrote on the subject of science and technology in photography. However it wasn't until the late 1950s while at MIT creating a new body of work that she was able to achieve and put to words the backbone of this exhibition: " We live in a world made by science, but we, the millions of laymen - do not understand or appreciate the knowledge which controls daily life. To obtain wide popular support for science, to that end that we must explore this vast subject even further and bring as yet unexplored areas under control, there needs to be a friendly interpreter between science and the layman. I believe that photography can be this spokesman, as no other form of expression can be; for photography, the art of our time, the mechanical, scientific medium which matches the pace and character of our era, is attuned to the function. There is an essential unity between photography, science’s child, and science, the parent."
Man Ray made his "rayographs" without a camera by placing objects directly on a sheet of photosensitized paper and exposing it to light. He had photographed everyday objects before, but these unique, visionary images immediately put the photographer on par with the avant-garde painters of the day. Hovering between the abstract and the representational, the rayographs revealed a new way of seeing that delighted the Dadaist poets who championed his work, and that pointed the way to the dreamlike visions of the Surrealist writers and painters who followed.
Laszló Moholy Nagy was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts. His interest in qualities of space, time, and light endured throughout his career and transcended the very different media he employed. Whether he was painting or creating "photograms" or crafting sculptures made of transparent Plexiglass, he was ultimately interested in studying how all these basic elements interact. His preoccupation with the phenomenon of light was a defining influence on every period of his work, and one of his great strengths lay in his effortless skill in translating light and spatial dimensions from one medium to another. By the time the first color photographic processes became widely available in the early 1930s, he had mastered black-and-white, and he turned immediately to this next big thing. Color proved to be one of his most important mediums, not only during his early years in Germany, but also as he reestablished himself at the New Bauhaus and the Institute of Design, both of which he initiated upon moving to the United States and settling in Chicago. Until now, with only a few exceptions, his work in color has been unknown.
Eadweard Muybridge is known for his pioneering work on animal locomotion in which he used multiple cameras to capture motion in stop-motion photographs, and his zoopraxiscope, a device for projecting motion pictures that pre-dated the flexible perforated film strip used in cinematography. In the 1880s, while making work at the University of Pennsylvania in Philadelphia, he produced over 100,000 images of animals and humans in motion and was able to capture what the human eye could not distinguish as separate movements.
Trevor Paglen’s bucolic Fiber Optic Cable Landing Site, Keawaula, Hawaii is one image from his series of NSA-tapped telecommunications cable “choke points.” The seemingly benign looking seascapes depict some of the NSA’s most controversial surveillance activities. “Choke points are places where clusters of fiber optic cables connect the continents to each other. These cables come on shore in several places connecting the US with Europe. These points hold the interest of the NSA because they are information gold mines.”
Thomas Ruff’s press++ features large-scale photographs of archival media clippings from American newspapers that relate to the theme of space exploration. Ruff scanned the front and back of the original documents, which he has been collecting over several years, and combined the two sides in Adobe Photoshop. Interested equally in the subject matter (and any touch-ups) on the front of the paper and the words, stamps, signatures, and smudges on the back, he thus created seamless montages of image and text, in the process compromising the integrity of the former as well as adding relevant context.
Cassini 23 is based on photographic captures of Saturn taken by NASA's Cassini-Huygens Spacecraft, which launched in 2004 and completed its initial four-year mission in June 2008. Ruff acquired these black and white raw images from NASA's website, where they were broadcast directly from the spacecraft and made available for public download. Through computer manipulation, Ruff infused each gray-scale image with saturated color.
Thomas Struth’s Six-Degree-of-Freedom Dynamic Test System, JSC, Houston
is one of his many images that penetrates the key places of human imagination in order to scrutinize the landscape of enterprise, invention and digital engineering as well as the complex hidden structures of advanced technology---the image records the structural intricacy of remote techno-industrial and scientific research spaces. It reveals a fascinating critical scrutiny of the high ambitions in which the promises of scientific advancement entangle us.
Hiroshi Sugimoto uses a Van De Graaff 400,000-volt generator to apply an electrical charge directly onto film. The result in each case is a unique, instantaneous image of an electrical current, sometimes resembling a meteor shower, or a “treeing effect” on the film. William Henry Fox Talbot, was the father of calotype. His momentous discovery of the photosensitive properties of silver alloys led to the development of positive-negative photographic imaging. The idea of observing the effects of electrical discharges on photographic dry plates reflects Sugimoto’s desire to re-create the major discoveries of these scientific pioneers in the darkroom and verify them with his own eyes.
Kerry Tribe’s Parnassius mnemosyne is a butterfly wing as seen under a microscope. In Greek mythology Mnemosyne’ refers to the personification of memory. Author Vladimir Nabokov, also a renowned lepidopterist, included his drawing of Parnassius mnemosyne in his autobiography, "Speak, Memory". The memoir is known for having been published in a string of ever-changing iterations, reflecting the instability of subjectivity and recall.
Christopher Williams’s work addresses the sociopolitical history of the medium within the context of image making. Considering our contemporary, consumer-driven society, Williams’ photographs evoke a subtle shift in our perception by questioning the communication mechanisms and aesthetic conventions that influence our understanding of reality.
UNIT 5 will be open during normal gallery hours of 11- 5 Tuesday – Saturday or
by appointment. For more details please contact Susan Sherrick at (323) 938 5822.
UNIT 5 is an exhibition space shared by 1301PE and PRAZ-DELAVALLADE
Nov
8
to Jan 12
BLAKE RAYNE: BURN IT CLEAN
Burn It Clean
17 November 2018 – 12 January 2019
Opening: Saturday, 17 November 6 - 8 pm
Carver Audain
Ralph Fasanella
Jacqueline Humphries
Blake Rayne
Georgia Sagri
Peter Schoolwerth
Cheyney Thompson
Kyle Thurman
Sep
22
to Oct 6
FIONA BANNER & SUPERFLEX
FIONA BANNER
SUPERFLEX
22 September – 6 October 2018
1301PE is pleased to announce the opening exhibition of two works touching on the idea of hubris at UNIT 5 (the former Marc Foxx space) at 6150 Wilshire Blvd.
In a time when the negative impact of human behavior is staring us in the face, our hubris blinds us from the consequences.
Fiona Banner’s “Black Bunting”
SUPERFLEX’S “Experience Climate Change”
Fiona Banner was born in 1966 and came to prominence in the 1990s with her ‘wordscapes’, epic transcriptions of iconic films retold in the artist’s stream-of consciousness writing. Banner lives and works in London, where she also runs her own imprint The Vanity Press. She is represented in major collections including The Museum of Modern Art, New York; Philadelphia Museum of Art; and the Walker Art Center, Minneapolis. In 2002, Banner was short-listed for the Turner Prize at Tate Britain. Her work has been the subject of solo exhibitions and commissions at Museum De Pont, Tilburg, Netherlands; Tate Britain, London; Whitechapel Gallery, London; The Power Plant, Toronto; Yorkshire Sculpture Park, Wakefield, United Kingdom; and IKON, Birmingham, United Kingdom.
Founded in Copenhagen in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen, SUPERFLEX creates “tools” that invite people to participate and communicate in the development of experimental models. In 2017 SUPERFLEX was the recipient of the Hyundai Commission, for which they presented their installation One Two Three Swing! in the Turbine Hall at the Tate Modern, London. Museum solo exhibitions and projects have included: Hammer Museum, Los Angeles; The Hayward Gallery, London; 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa, Japan; Perez Art Museum, Miami; Fundación Jumex, Mexico City; Kunsthal Charlottenborg, Copenhagen; Sharjah Biennial, UAE; and the Venice Biennale.
UNIT 5 will be open during normal gallery hours of 11- 5 Tuesday – Saturday or by appointment. For more details please contact Susan Sherrick at (323) 938 5822.
UNIT 5 is an exhibition space shared by 1301PE and PRAZ-DELAVALLADE
