Tag Archives: Hammer Museum


The beautiful exhibition catalog for MADE IN L.A. 2020: a version—available to order from the Hammer Store—includes a folio of collages by Hedi El Kholti bound into the book, as well as a conversation with El Kholti and Chris Kraus. The artist-designer-editor has also created two posters, available as exhibition takeaways at the Hammer Museum and the Huntington.

El Kholti’s work can also be seen in Because Horror by Johnny Ray Huston and Bradford Nordeen—a recent publication from Dirty Looks Press and Semiotext(e).

All images © Hedi El Kholti—courtesy of the artist, the Hammer Museum, and the Huntington Library, Art Museum, and Botanical Gardens—from Made in L.A. 2020: a version (2020), the catalog for the exhibition curated by Myriam Ben Salah and Lauren Mackler, with Ikechukwu Onyewuenyi.


Prison has a lot of politics. Art was a neutral zone and a way to express the human emotions that both I and the other inmates were feeling… I’d love to meet other artists and find out what’s going on out here. I’m learning a lot about art politics on a day-to-day basis. — Fulton Leroy Washington

This week, join Washington (aka MR. WASH) in conversation with Made in L.A. 2020 assistant curator of performance Ikechukwu Onyewuenyi.

See link below to r.s.v.p. to the online event.


Made in L.A. 2020—a version

Hammer Museum and the Huntington Library

Thursday, February 11.

5 pm on the West Coast; 8 pm East Coast.

Fulton Leroy Washington (aka MR. WASH), from top: Mr. Rene # Man Power, 2011, oil on stretched canvas; Sands of Time, 2011, oil on stretched canvas; Political Tears Hillary, 2008, oil on stretched canvas; Eric Reese Tear Drop, 2011, oil on stretched canvas; Mondaine’s Market, 2005, oil on stretched canvas, collection of John and Juanita Mondaine; Michael Jackson Tears, 2010, oil on stretched canvas; Political Tears Obama, 2008, oil on stretched canvas. Images © Fulton Leroy Washington, courtesy of the artist.


In my own Crow community, we have a whole policing system that uses teasing. Any time a tribal member is getting egotistical, there is a cousin who will notice it, and their job in the community is to make fun of you and bring you down a couple notches. If you are sick, their purpose is to come and joke with you. So it’s very natural for me.

Humor is healing to me… To have that element in my work is quite Native, or Crow, and I’m glad that it comes through. It’s universal. People can connect with the work that way. Then they can be open to talking about race. — Wendy Red Star

This week, a livestream of Red Star’s UCLA DEPARTMENT OF ART LECTURE is presented by the university and the Hammer Museum. Red Star’s installation focused on the 1898 Indian Congress is currently at the Joslyn Art Museum in Omaha.

See link below for art lecture r.s.v.p. information.


Hammer Museum

Thursday , February 4.

6:30 pm on the West Coast; 9:30 pm East Coast.

Wendy Red Star, from top: Apsáalooke Feminist #1, 2016, pigment print; Catalogue Number 1948.102 Parade Rider: Unidentified, 2019, pigment print on archival paper; Déaxitchish / Pretty Eagle, 2014, from the series 1880 Crow Peace Delegation, inkjet print and red ink on paper, Birmingham Museum of Art collection; Stirs Up the Dust, 2011, Autry Museum of the American West, Los Angeles, collection image; Indian Summer, 2006, from the series Four Seasons, archival pigment print on Sunset Fiber rag; Wendy Red Star. Images © Wendy Red Star, courtesy of the artist and Sargent’s Daughters, New York.


Contemporary sculpture is populated by hybrid techno-bodies. But such connections between technology and the body reach far back into modernity. The symposium explores these lines of reference: How can sculpture be thought of and defined in relation to technological developments? How, in turn, does sculpture relate to changing concepts of the body and corporeality? What are the consequences for a theory of contemporary sculpture? These and other questions form the focus of the discussion with leading theorists from various disciplines.*

Museum Brandhorst presents the online symposium FUTURE BODIES FROM A RECENT PAST—SCULPTURE, TECHNOLOGY, AND THE BODY SINCE THE 1950S. Participants include Marta Dziewanska, Louis Chude-Sokei, N. Katherine Hayles, Namiko Kunimoto, Jeannine Tang, Ursula Ströbele, and many others.

See link below to register.


Museum Brandhorst

Thursday, January 21 through Saturday, January 23.

From top: Mark Leckey, UniAddDumThs, 2014–ongoing, detail from the section Man, installation view Mark Leckey: UniAddDumThs at Kunsthalle Basel, 2015, photograph by Philipp Hänger, image © Mark Leckey, courtesy of the artist and Kunsthalle Basel; Alina Szapocznikow, Untitled (Fetish VII), 1971, Ursula Hauser Collection, Switzerland, image © 2020 VG Bild-Kunst, Bonn, courtesy of the Estate of Alina Szapocznikow, Piotr Stanislawski, Galerie Loevenbruck, Paris, and Hauser & Wirth; BINA48 (Breakthrough Intelligence via Neural Architecture 48), robotic face combined with chatbot functionalities, owned by Martine Rothblatt’s Terasem Movement, modeled after Rothblatt’s wife, image © 2010 Hanson Robotics; Albert Renger-Patzsch, Marmor an der Lahn (Metamorphit), 1963, plate 55, Gestein, 1966, image © 2020 Albert Renger-Patzsch and VG Bild-Kunst, Bonn; David Smith, Forging series of sculptures in progress, Bolton Landing Dock, Lake George, New York, circa 1956, image © 2020 Estate of David Smith and VG Bild-Kunst, Bonn; Tishan Hsu, Autopsy, 1988, installation view Tishan Hsu: Liquid Circuit at the Hammer Museum, Los Angeles, 2020, private collection, image © Tishan Hsu, courtesy of the artist and the Hammer Museum; Aleksandra Domanović, production photograph of The Future Was at Her Fingertips, 2013, image © Aleksandra Domanović, courtesy of the artist.


Maybe within the museum dance can have another rhythm, temporality, be made more elusive. Dance could then escape the heavily prescribed regime often found in theaters, with concise beginnings and ends and a required length. Here then it could even be made “ghostly.”

Even then, I can attest to my general feelings of unease with the weight of History and the collecting of objects within the museological frame. This unease also bears on questions of site/sight as it pertains to the museum as space for viewing dance and performance. I have become increasingly more comfortable and, let’s say, provoked by the role of seeing and being seen by an audience. This relation to an audience is crucial and in large part where the resistance lies in my work. — Ligia Lewis*

As the Hammer Museum, the Huntington, and an art-starved public wait for the chance to experience Made in L.A. 2020: a version in person, artist and choreographer Ligia Lewis has created a video documenting deader than dead, her work for the biennial.

Performed by Jasper Marsalis, Jasmine Orpilla, Austyn Rich, and Lewis, deader than dead “began with an intrigue-based inquiry into deadpan, an impassive mannerism deployed in comedic fashion in order to illustrate emotional distance. Utilizing this expression as a type of stasis, Lewis initially developed a choreography for ten dancers that remained expressively flat or dead, resisting any narrative or representational hold tied to a climactic build or progression. Lewis had relegated deader than dead to this corner of the gallery (a kind of ‘dead’ space) where the dance would ostensibly emerge, although deadened in its repetition, limited in its fate, as it ricocheted from wall to wall.

“[Lewis] abandoned this recursive ensemble of death due to COVID-19, reducing the cast to four performers and pivoting to a more traditionally theatrical presentation. In this new work the dancers use Macbeth’s culminating soliloquy (‘Tomorrow, and tomorrow, and tomorrow,’ a reflection on repetition and meaninglessness) as the beginning of a work that unfolds in modular parts, each one an illustration or parody of death, stasis, and the void, each one tied to its own carefully selected soundtrack or sample.”**

See link below to watch the video.


Made in L.A.: a version

Hammer Museum and the Huntington Library, Art Museum, and Gardens

Through March 2021.

*“Ligia Lewis and Ikechukwu Onyewuenyi in Conversation,” in Made in L.A. 2020: a version (Los Angeles: Hammer Museum; Munich: DelMonico-Prestel, 2020).

Ligia Lewis, deader than dead (2020), Made in L.A. 2020: a version. Video images © Ligia Lewis, courtesy of the artist and Various Small Fires, Los Angeles and Seoul.