Taking Faux Pas: Selected Writings and Drawings of Amy Sillman and Johnson’s The Law of Large Numbers: Black Sonic Abyss, or I do not walk a line that is thin, straight, or secure as its starting points, this conversation will deal with both artists’ writing practices and the central question of form in rethinking art history and aesthetic categories.*
Located at the gallery’s two New York locations and online, more than 100 artists are participating in the project, including Rita Ackermann, Kelly Akashi, IdaApplebroog, Genesis Belanger, Lynda Benglis, Katherine Bernhardt, Huma Bhabha, Carol Bove, Katherine Bradford, Sam Falls, Charles Gaines, Maureen Gallace, Joanne Greenbaum, Mona Hatoum, Mary Heilmann, Camille Henrot, Jenny Holzer, Roni Horn, Shara Hughes, Rashid Johnson, Joan Jonas, Sanya Kantarovsky, June Leaf, Simone Leigh, Zoe Leonard, Glenn Ligon, Sam McKinniss, Marilyn Minter, Sarah Morris, Angel Otero, Adam Pendleton, Elizabeth Peyton, Jack Pierson, R.H. Quaytman, Deborah Roberts, Ugo Rondinone, MikaRottenberg, Tschabalala Self, Amy Sherald, Cindy Sherman, Amy Sillman, Laurie Simmons, Taryn Simon, Lorna Simpson, Avery Singer, Sarah Sze, Kara Walker, Mary Weatherford, and the estate of Anne Truitt.
Over 100 artists and estates have donated works for a fundraiser supporting Democratic presidential nominee Joe Biden.* Presented on Platform.art—an initiative developed by David Zwirner—participating galleries include Regen Projects, Jack Shainman, Gladstone, Lehmann Maupin, Petzel, and MarianGoodman, as well as Gemini G.E.L.
Following a virtual kickoff earlier this week with vice-presidential nominee Kamala Harris, Carrie Mae Weems, and Catherine Opie, the sale is now live. See link below for details.
*Participating artists and estates include Marina Adams, Doug Aitken, Richard Aldrich, JohnBaldessari (donated by Gemini G.E.L.), Alvin Baltrop, Walead Beshty, McArthur Binion, DikeBlair, Sebastian Blanck, Carol Bove, Cecily Brown, George Condo, Patricia Cronin, SarahCrowner, N. Dash, Tara Donovan, Carroll Dunham, Marcel Dzama, William Eggleston, RafaEsparza, Shepard Fairey, Rochelle Feinstein, Radamés “Juni” Figueroa, Spencer Finch, SuzanFrecon, Charles Gaines, Jerrell Gibbs, Sam Gilliam, Joanne Greenbaum, Isca Greenfield-Sanders, Thomas Hager, Trenton Doyle Hancock, Tyler Haughey, Michael Heizer, Carmen Herrera, Lynn Hershman Leeson, Jenny Holzer, Ridley Howard, Alex Hubbard, John Huggins, Ayana V. Jackson, Rashid Johnson, Deborah Kass, KAWS, Ellsworth Kelly, Jon Kessler, Toba Khedoori, Christine Sun Kim, Jeff Koons, Doron Langberg, Liz Larner, Bonnie Lautenberg, An-My Lê, Roy Lichtenstein, Maya Lin, Robert Longo, Emmanuel Lubezki, Brice Marden, Julie Mehretu, Marilyn Minter, Ivan Morley, RebeccaMorris, Vik Muniz, Wangechi Mutu, Jordan Nassar, Alice Neel, Shirin Neshat, CatherineOpie, Angel Otero, Jack Pierson, Lari Pittman, Martin Puryear, Christina Quarles, Robert Rauschenberg (donated by Gemini G.E.L.), Alexis Rockman, Ugo Rondinone, Victoria Roth, Ed Ruscha, Alison Saar, Betye Saar, Fred Sandback, Fanny Sanín, Kenny Scharf, Richard Serra, Cindy Sherman, Amy Sillman, Gary Simmons, Laurie Simmons, Xaviera Simmons, Vaughn Spann, Tavares Strachan, Sarah Sze, Mika Tajima, Kyle Thurman, Fred Tomaselli, Leo Villareal, Charline von Heyl, Carrie Mae Weems, Lawrence Weiner, James Welling, Stanley Whitney, Kehinde Wiley, Chloe Wise, Christopher Wool, Rob Wynne, Lisa Yuskavage, and Andrea Zittel.
In January 2000, when I opened the doors of the gallery for the first time, the work that was being highlighted by the most prominent galleries in Los Angeles reflected the discourse of an astoundingly narrow cultural group. I felt this was starkly at odds with the incredibly rich and culturally layered reality that I experienced here. It seemed to be a strangely inaccurate representation of the city’s vibrant art community and a missed opportunity to bring attention to the wide range of powerful voices from the different cultural contexts Los Angeles had to offer. As a result, the gallery’s main goal at that time was not to find the best or most successful artists, because I didn’t trust the parameters according to which those categories were defined. Rather, the goal was to invite artists from diverse and underrepresented backgrounds to bring their practices and viewpoints to the gallery. The hope was that this would lead not only to a much richer and more complex cultural experience, but that this approach would disturb the ingrained hierarchies prevalent in the Los Angeles art world and beyond. What has remained at the heart of the gallery until today is this need to question the metrics by which artists are valuated and to challenge the hierarchies we bring to art and to most other areas of cultural life.
We acknowledge that we have a lot of work still to do, that in fact this work will never be finished. This year, we invite you to celebrate what the gallery has accomplished so far. — Susanne Vielmetter
Vielmetter Los Angeles celebrates twenty years with the first iteration of a remarkable group show, up through the end of the month.
The exhibition includes works by Laura Aguilar, Nick Aguayo, Edgar Arceneaux, Math Bass, Whitney Bedford, Andrea Bowers, Sarah Cain, Patty Chang, Kim Dingle, Sean Duffy, Genevieve Gaignard, Liz Glynn, Karl Haendel, Stanya Kahn, Hayv Kahraman, Raffi Kalenderian, Mary Kelly, Dave McKenzie, Rodney McMillian, Shana Lutker, Wangechi Mutu, Ruben Ochoa, Pope.L, Deborah Roberts, Steve Roden, Arlene Shechet, John Sonsini, Amy Sillman, Stephanie Schneider, Monique Van Genderen, Tam Van Tran, Esther PearlWatson, and Patrick Wilson.
As a native Texan, I have witnessed firsthand the discrimination that immigrants face in the United States. I have heard from friends who visited detention centers, and from lawyers representing those detained. I have heard the stories of those who are separated from their families, and read transcripts from underfunded courtrooms operating far beyond capacity. It is devastating. That all of this occurs in the name of “security” and “safety” is the greatest farce of all. — Molly Gochman
DO YOU KNOW WHERE THE CHILDREN ARE (DYKWTCA) is a call to action and exhibition of over 100 unique works of art by 100+ leading visual artists that is organized by the artists and activists Mary Ellen Carroll and Lucas Michael. Each work incorporates, or represents an actual account (in whole or in part) from a child who was separated from their family and detained by the U.S. government. This text may be in the native language of the child or a translation into English. The accounts are taken from the interviews that were conducted by the Flores investigators that included legal, medical and mental health experts who visited the detention facilities six months ago in June of 2019. Upon witnessing the deplorable, inhumane, and illegal conditions they found the children in, they decided it was necessary to act upon their findings. They went public.*
The exhibition—WHEN WE FIRST ARRIVED…,curated by Ruth Noack—will open this weekend in Washington, D.C., and proceeds from artwork sales will benefit and support the Safe PassageProject, Terra Firma, Team Brownsville, and the Innovation Law Lab.
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