Tag Archives: Moran Moran


I have spent a great deal of time in Big Bend. I was first there during my Artpace residency, years ago. I fell in love with its remoteness and vast stretches of land and sky. It felt like what I imagined Texas would be, and with each visit, I see something new. I love being there because I feel the isolation of the desert. You can spend days in the backcountry without seeing anyone, and immersed in this solitude, you can begin to connect on a deeper level with the natural world and take notice of smaller things, such as cactus blooms and strange colored rocks.

In one of the pictures I made from here, Looking towards Mexico from the Chisos Mountains, Big Bend National Park, Texas, 2020, you can begin to understand the geography. I hiked an entire day upwards to take this picture from one of the high points. The views were incredible. The blue sky seemed to radiate on the mountain peaks, which is why I knew I had to print the picture in a blue hue. After watching the landscapes I photograph through the camera, I begin to take note of peculiar characteristics of color and light. Sometimes I end up staring into the sun while focusing my camera and I see colors and shapes that are not really there. This experience sometimes influences the color of my work, and to me, this color is what the place actually feels like – an embodiment of the place.

I have photographed Big Bend many times over the years, but could never seem to capture its grandness and beauty. I came to this one place a few times over the course of a few days to see how the light changed on the main limestone area behind the river. I decided I wanted to photograph the river illuminated just when the sun hits it for a few minutes, and this is where I took Santa Elena Canyon, Big Bend National Park,Texas, 2020. I was drawn to the pink hue because it softened the harshness of the massive walls, and I was interested in how it reflected its shimmering light into the water, which becomes the entryway into the picture.

Every late afternoon on my last trip to Big Bend, I would hike up to this particular area above the Rio Grande, watch the sun slowly set behind me and then point my camera at the Sierra Del Carmen Mountains; it was one of the most humbling and memorable areas I have visited. The stillness of the air and the solitude high above the river was like a dream. This is where I took Sunset on the Sierra Del Carmen Mountains along the Rio Grande, Big Bend National Park, Texas, 2020. The orange hue is meant to capture this majesty and also the meditative head space I was in.David Benjamin Sherry, April 12, 2020*


Morán Morán

Gallery Platform L.A.

David Benjamin Sherry, Big Bend National Park, Morán Morán, July 2020, Gallery Platform L.A., from top: Eye into the Sky, Grand Staircase-Escalante National Monument, Utah, 2020, chromogenic print; Santa Elena Canyon, Big Bend National Park, Texas, 2020, chromogenic print; the artist at Bears Ears National Monument, Utah, 2018; Sunset on the Sierra Del Carmen Mountains along the Rio Grande, Big Bend National Park, Texas, 2020, chromogenic print; Looking towards Mexico from the Chisos Mountains, Big Bend National Park, Texas, 2020, chromogenic print. Images courtesy and © the artist and Morán Morán.


FACE IT—a new show of multimedia works by Eric N. Mack—is now on view at Morán Morán.


Through March 7.

Morán Morán

937 North La Cienega Boulevard, Los Angeles.

Eric N. Mack, from top: We make it easy, you make it home, 2020, dye and acrylic on paper, index cards, and newspapers on moving blanket; Almond of paradise, 2020, gesso, spray paint, dye on paper, newspaper, index cards, and photograph on moving blanket; NAUTICA, 2019, acrylic on pegboard; IS IT MY BODY?, 2020, fabric; Thin Love, 2020, acrylic, ribbons, paper, and fabric on moving blanket; Die Kriese, 2020, acrylic, dye, and glitter on moving blanket. Images courtesy and © the artist and Morán Morán.


PLEASE RECALL TO ME EVERYTHING YOU HAVE THOUGHT OF—a group show of women artists at Morán Morán, curated by Eve Fowler—is on view for one more week.

This highly recommended exhibition includes the work of Etel Adnan, Frances Barth, Donna Dennis, Florence Derive, Simone Fattal, Magdalena Suarez Frimkess, Barbara Hammer, Harmony Hammond, Maren Hassinger, Suzanne Jackson, Virginia Jaramillo, Harriet Korman, Joyce Kozloff, Magali Lara, Mary Lum, Mónica Mayer, Dona Nelson, Senga Nengudi, Howardena Pindell, and Joan Semmel.

“The title of the show is from a Gertrude Stein text that Fowler selected for its ambiguous poetry that she felt honored the artists.”

I’m not asking the artists to tell me anything, but they allowed me in their studios—a private place where artists often feel vulnerable. — Eve Fowler*


Through August 24.

Morán Morán

937 North La Cienega Boulevard, Los Angeles.

Please Recall to Me Everything You Have Thought Of, curated by Eve Fowler, Morán Morán, 2019, from top: Howardena Pindell, Untitled #51, 2010, mixed media on board, courtesy Garth Greenan Gallery; Magdalena Suarez Frimkess, Untitled, 1972, glazed stoneware; Senga Nengudi, Rapunzel, 1981, silver gelatin print; Suzanne Jackson, finding joy in the mirror, 2016, acrylic, wood veneer, Bogus paper, loquat seeds, courtesy of O-Town House; Donna Dennis installation view; Florence Derive, Blue Manuscript, 2017, oil on raw linen; Maren Hassinger, Whole Cloth, 2017, photograph on fabric; Barbara Hammer, South Fork Yuba River, California, 1973, 2017, silver gelatin print, courtesy of Company Gallery; Barbara Hammer, Dyketactics, 1974, 16mm film transferred to video with sound; Harmony Hammond, Aperture #6, 2013, monotype on paper, courtesy of Alexander Gray Associates; Simone Fattal, Woman as Tree (1), 2010, porcelain, courtesy of Kaufmann Repetto; Frances Barth, A Tiny Pinch, 2017, acrylic on gessoed wood panel; Joan Semmel, Untitled, 2016, oil crayon on paper, courtesy of Alexander Gray Associates; Dona Nelson, Luka, 2015, acrylic and mixed media on canvas, courtesy of Michael Benevento; Etel Adnan, Mount Tamalpais, 2013, ink on handmade paper (2), courtesy of Callicoon Fine Arts; Mary Lum, Informations Practiques, 2019, acrylic on paper; Virginia Jaramillo, Visual Theorems 15, 1979, linen fiber with hand-ground earth pigments, courtesy of Hales Gallery; Harriet Korman, Untitled, 2016–18, oil on canvas. Images courtesy and © the artists and Morán Morán.


As part of the Frieze Art and Fashion Summit in New York, Jacolby Satterwhite will join Studio Museum associate curator Legacy Russell for “Self and Subjectivity—Breaking the Confines of Identity,” a discussion about Satterwhite’s focus on “power, politics, and a dystopian future.”* 



Tuesday, April 30, at 10:20 am.

The New School, Parsons

Tishman Auditorium

63 Fifth Avenue, New York City.

From top: Jacolby Satterwhite, photograph by Frank Sun, courtesy the artist, the photographer, and the San Francisco Museum of Modern Art; Jacolby Satterwhite, En Plein Air: Abduction I, 2014, courtesy of the artist and Morán Morán; Legacy Russell, photograph by Daniel Dorsa, courtesy of the writer and the photographer.


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.


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.


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).