Tag Archives: Reena Spaulings Fine Art

AVENGERS AT GAGA AND REENA SPAULINGS

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This is the closing week of AVENGERS—SOMEONE LEFT THE CAKE OUT IN THE RAIN, a group show at Gaga & Reena Spaulings Fine Art, Los Angeles.

The exhibition features photographs by Julie Becker and Reynaldo Rivera—including several from the Cha Cha Girls ’87 series—prints by Juliana Huxtable, Stephen Willats, and Felix Bernstein & Gabe Rubin, paintings by Jill Mulleady, Mayo Thompson, and Bedros Yeretzian & Nicole-Antonia Spagnola, multimedia works by Harry Dodge, Megan Plunkett, Matthew Langan-Peck, and Larry Johnson, and videos by Ken Okiishi and Gary Indiana.

In addition, Hedi El Kholti’s Collage sketchbook #10 is here, as well as ABC Pong, Bernadette Corporation’s table piece, featuring audio by Sylvère Lotringer.

On closing night the gallery will host a video program, with work by Alexander Kluge, Alex Hubbard, and exhibition artists Dodge, Huxtable, Indiana, and Spagnola.

 AVENGERS—SOMEONE LEFT THE CAKE OUT IN THE RAIN

Through Saturday, August 10.

Video program:

Saturday, August 10, at 8 pm.

Gaga & Reena Spaulings Fine Art

2228 W. 7th Street, 2nd Floor (entrance on South Grand View Street), Los Angeles.

Avengers—Someone Left the Cake Out in the Rain, 2019, from top: Matthew Langan-Peck, Untitled, 2019, digital C-print, wood, acrylic, oil paint; Mayo Thompson, Alligator & Turtle, 2019, gouache on canvas; installation view with Juliana Huxtable’s prints The Feminist Scam, 2017 (left) and The War on Proof, 2017, on wall and Bernadette Corporation’s ABC Pong in foreground; Megan Plunkett, The Encounter 01/The Prime Mover, 2019; installation view; Jill Mulleady, A Place in the Sun (Larry), 2019, oil on linen; Larry Johnson, Untitled (Century Schoolbook, Annotated), 1991, foamcore, photo mechanical transfer, rubber cement, ink, paint; installation view with Hedi El Kholti’s Collage sketchbook #10, 2015–2019, on stand; Mayo Thompson (2), Column and Bather, both 2019, gouache on canvas; Felix Bernstein & Gabe Rubin, Free Dissociation II, 2019, inkjet print; Reynaldo Rivera, Untitled (Fausto), inkjet print; installation view with four C-prints by Julie Becker from her The Same Room series; Felix Bernstein & Gabe Rubin, Free Dissociation I, 2019, inkjet print; Harry Dodge, The Gross Part (Stencil Series), 2015, plexiglass, primer, paint, UV-proof varnish, polished aluminum frame; Ken Okiishi, Being and/or Time, 2013–2016, HD video, 17 minutes, 15 seconds; Matthew Langan-Peck, J-U-, 2019, silkscreen on aluminum, wood,acrylic, oil paint, LED; installation view with Gary Indiana’s 2014 digital video Stanley Park on left. Images courtesy and © the artists and Gaga & Reena Spaulings Fine Art, Los Angeles. Special thanks to Jacob Eisenmann.

KLARA LIDÉN

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Klara Lidén’s new video GROUNDING is now on view at Reena Spaulings.

Daniel Garcia was the videographer, and Askar Brickmann wrote GROUNDING’s soundtrack.

KLARA LIDÉN—GROUNDING

Through December 17.

Reena Spaulings Fine Art

165 East Broadway, New York City.

From top: Klara Lidén, GTG TTYL, 2018, HD video; Klara Lidén, Grounding, 2018, exhibition view. Photographs by Joerg Lohse, courtesy Klara Lidén, the photographer, and Reena Spaulings Fine Art, New York /Los Angeles.

JUAN JOSÉ GURROLA AT REENA SPAULINGS

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The sardonic paintings, videos, photographs, and sculptures of artist, filmmaker, and stage director Juan José Gurrola (1935-2007) are on view at House of Gaga/Reena Spaulings Fine Art, part of Pacific Standard Time: LA/LA.

Included are works from his Dom Art series (Domestic Art), his “bad painting” versions of Philip Guston canvases, the poems and photographs of Gurrola’s Monoblock series, and three of his films: Robarte el arte (1972, documenting Gurrola’s supposed theft of a Documenta 5 artwork), Porn (circa 1989), and Cinturón gay latino (1984), which documents Gurrola, David Hockney and others painting murals on the walls of Mexico City gay bar El 9.

 

JUAN JOSÉ GURROLA—1966–1989, through November 18.

REENA SPAULINGS FINE ART, 2228 West 7th Street, 2nd floor (entrance on South Grand View Street), Los Angeles.

gagareena.com/pr-jjg

gagareena.com/

Juan José Gurrola, Familia Kool Aid, 1962/1966. Image credit: Gurrola Foundation and House of Gaga.

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K8 HARDY AND RAÚL DE NIEVES AT PARTICIPANT

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“In K8 Hardy’s performances, the body makes itself a transmitter in order to update and queer the world with its broadcasts….If contemporary art is first and foremost a system for producing subjects in the form of contemporary artists…it’s probably time for artists to rethink their own role in this system’s reproduction….Instead of simply feeding the network in new and creative ways, artists would get more involved in de-creation, and engage subjectivization as an ever-recurring opportunity for unworking.” — John Kelsey*
K8 Hardy, Raúl de Nieves, and Participant present BEAUTIFUL RADIATING ENERGY, with de Nieves in a piece Hardy first performed at Reena Spaulings in 2004.
BEAUTIFUL RADIATING ENERGY, Sunday, May 21. Doors open at 7 pm.
PARTICIPANT, 253 East Houston Street, New York City.

participantinc.org/

At the 2017 Whitney Biennial, a room of de Nieves’ work—robed figures, taxidermy birds, a wall of faux stained glass—anchors the east end of the fifth floor. “Part church, part nightclub, part tomb.”**

RAÚL DE NIEVES—2017 WHITNEY BIENNIAL, through June 11.

WHITNEY MUSEUM OF AMERICAN ART, 99 Gansevoort Street, New York City.

whitney.org/Exhibitions/2017Biennial

 

*John Kelsey, “Information in Drag,” in K8 Hardy, How To: Untitled Runway Show, eds. K8 Hardy and Dorothée Perret (Los Angeles: DoPe Press, 2013), 111, 117–118.

**Charlotte Ickes, Whitney Biennial 2017, exh. cat., ed. Jason Best (New York: Whitney Museum of American Art, 2017), 152.


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Raúl de Nieves, 2017 Whitney Biennial. Image credit: Company Gallery, New York.