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SHARA HUGHES — DAY BY DAY BY DAY

What artworks never fail to make us feel is their author’s idea of us—how the artist considers the one watching the result, what he or she imagines this watcher is capable of… By using this common language that the painting and the spectator have in common—shapes—the ideas of Shara Hughes give dignity to the spectator. She trusts our capacity to understand this language: we fabricate these landscapes with her, these interiors, these flower bouquets, we are ready for this alternative reality that does not address our reason but our senses and knowledge. — Éric Troncy*

A selection of new works by Shara Hughes—drawings, monoprint drawings**, and paintings—is on view now in Zürich. A comprehensive catalogue depicting these “psychological or invented landscapes,” with an essay by Andrew Russeth, will accompany the exhibition.

SHARA HUGHES—DAY BY DAY BY DAY

Through September 19.

Galerie Eva Presenhuber

Rämistrasse 33, Zürich.

*Éric Troncy, “Shara Hughes,” in Shara Hughes: At Arm’s Length (Los Angeles: DoPe Press; Zürich: Galerie Eva Presenhuber, 2019), 51.

**The term monoprint drawing refers to a technique Hughes has developed, which consists of using the discarded sheets of former prints. In these prints, the artist removed most of the paint applied on the printing plate using a sheet of paper, thus creating a pale ghost of the motif made up of the diluted colors. This then served as the basis for the actual work, while the original, much more defined print constitutes the discarded remnants of the work. In her monoprint drawings, Hughes returns to these stark forms, which were initially used to create the ghost to serve as a subtle structure with colors that only can be produced in the printing process. Therefore, the monoprint drawings are neither a copy nor a different version of another print but rather a literal déjà-vu, a landscape one may have already seen before, or might be a mere effect of one’s imagination. — Galerie Eva Presenhuber

Shara Hughes, Day by Day by Day, Galerie Eva Presenhuber, June 2, 2020–September 19, 2020, from top: Full Moon Cove 2, 2020, printed ink and mixed media on paper; Shelter, 2020, mixed media on paper; Truth In Your Shadows 4, 2019, printed ink and mixed media on paper; The Slightest Mistake 3, 2019, printed ink and mixed media on paper; Trying To Seem Clean Cut 2, 2019, printed ink and mixed media on paper; Outsider 2, 2019, printed ink and mixed media on paper; Hopeful Self Portrait, 2020, mixed media on paper; Making It Work, 2019, oil and acrylic on canvas; Sun Shower, 2019, oil and acrylic on canvas; More Boundaries, 2020, mixed media on paper; Fiery Grounds, 2020, printed ink and mixed media on paper; Proud To Be Here, 2020, mixed media on paper. Images courtesy and © the artist and Galerie Eva Presenhuber.

ALEX HUBBARD — THE CORNER OF THE TABLE

The videos involve a long, slow process, hunched in front of the computer… The paintings, when they started, were about changing gears in the studio and working quickly… With most if not all of the materials I use, there is no going back. With the plastics, the urethanes, and the resins, once they are mixed, the clock is ticking. The slower I am to start, the less time I have to work with them.Alex Hubbard*

THE CORNER OF THE TABLE—Hubbard’s solo show at Regen Projects—includes his new multimedia works on linen and cotton as well as two handmade projectors streaming animated videos.

ALEX HUBBARD—THE CORNER OF THE TABLE

Through December 21.

Regen Projects

6750 Santa Monica Boulevard, Los Angeles.

*”Alex Hubbard in conversation with Debra Singer,” in Alex Hubbard—Eat Your Friends (Los Angeles: DoPe Press, 2015), 37–38.

Alex Hubbard, The Corner of the Table, November 16–December 21, 2019, Regen Projects, Los Angeles, from top: Youth Apparatus, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on linen; Vaper’s Salon, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on cotton; Romeo’s Purple Welcome, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on linen; The way things I wish they used to be, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on cotton; Boule’s, 2019, urethane, acrylic, UV print, epoxy resin, and fiberglass on cotton; Life Preserver, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on cotton; Animal Dance, 2019, urethane, acrylic, UV print, epoxy resin, and fiberglass on linen; Infrared, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on linen; 1,000,000 (Iguana), 2019, urethane, acrylic, UV print, and oil on linen. Images courtesy and © the artist and Regen Projects.

K8 HARDY’S OUTFITUMENTARY

“A record of the way a young lesbian feminist dressed in her coming of age” — K8 Hardy

K8 Hardy’s directorial debut OUTFITUMENTARY (2016) will screen this week as part of the Jason Simon series Blame the Audience at MOCA.

Also on the bill: If Andy Warhol’s Super-8 Camera Could Talk, directed by Roddy Bogawa, and Tiger Morse, directed by Warhol.

OUTFITUMENTARY

Thursday, March 7, at 6 pm.

MOCA Grand Avenue

250 South Grand Avenue, downtown Los Angeles.

From top: K8 Hardy, Outfitumentary, still; Andy Warhol, Tiger Morse, aka Tiger Morse (Reel 14 of ****), still; K8 Hardy, How To: Untitled Runway Show book cover, published by DoPe Press in 2013, cover design by Madame Paris.

FELIX AND FRIEZE LOS ANGELES

Sales are good, tickets are selling out, events are full, and the sun is shining—although a brief shower is forecast for midday Sunday—so the inaugural edition of Frieze Los Angeles should be followed by many more.

We hope Felix returns, too. Co-founded by Morán Morán brothers Al and Mills and collector Dean Valentine, it’s an intimate fair headquartered in Hollywood.

FELIX

Through Sunday, February 17.

Hollywood Roosevelt

7000 Hollywood Boulevard, Los Angeles.

An Arthur Jafa edition of Name That Tune has been added to today’s Frieze Talks, and the fair will close on Sunday with Miranda July and Maggie Nelson in conversation.

When you’re out on the Paramount studio backlot in the Frieze Projects section, stop by the Sqirl/Acid-Free space for Sqirl Away to-go items from the Los Feliz restaurant as well as a selection of art books and periodicals, including Liz Craft’s …my life in the sunshine—published by DoPe Press—and the new print issue of PARIS LA.

FRIEZE LOS ANGELES

Through Sunday, February 17.

Paramount Pictures Studios

5515 Melrose Avenue, Los Angeles.

From top: Ken Price, Return to LA, 1990, courtesy the artist and Matthew Marks (Frieze Los Angeles); Florian Morlat, collage, courtesy of the artist and The Pit (Frieze Los Angeles); Jessi Reaves installation at Felix, courtesy the artist and Bridget Donahue, New York; Kristen Morgin, Jennifer Aniston’s Used Book Sale (detail), ceramic, courtesy the artist and Marc Selwyn Fine Art (Felix); David Hockney, Peter Showering, 1976, C print, courtesy the artist and Matthew Marks (Frieze Los Angeles); Nan Goldin, Blue, 2016, courtesy the artist and Marian Goodman (Frieze Los Angeles).

LIZ CRAFT’S LIFE IN THE SUNSHINE

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The new artist’s book …MY LIFE IN THE SUNSHINE—LIZ CRAFT 2006–2017 is a stream-of-consciousness visual diary of Craft’s life and practice, featuring family and friends in California, Berlin, Washington State, Oslo, New York and beyond.

The 185 pages of color photographs include contributions by Craft’s partner Pentti Monkkonen, as well as Lena Henke, Paul-Aymar Mourgued’Algue, Dorothée Perret, and Fabian Marti and many others.

 

…MY LIFE IN THE SUNSHINE—LIZ CRAFT 2006–2017 (Los Angeles: DoPe Press, 2017).

dopepress.fr/liz-craft-my-life-in-the-sunshine

See Louisa Elderton on Craft:

docdroid.net/liz-craft-elephant-magazine

Above: Liz Craft, Mermaid (Becky), 2008–2015, Whitney Museum of American Art.

Below: Liz Craft, Mushroom Bubble (Black), 2016. Images courtesy of the artist.

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