Category Archives: ART

ALISON SAAR AND HANK WILLIS THOMAS

I want my work to be universally understood. Not necessarily appreciated but somehow to connect with people universally—which I think is a very utopic, if not moronic, approach to making art. [Laughter] But it’s something I aspire to. I think a lot of times, even beyond issues of race and gender and stuff like that, I’m also really interested in issues of humanity, and these utopic, kooky ideas of how [if] we can all come to understand each other, life will be better. — Alison Saar*

Join Hamza Walker in conversation with Alison Saar and Hank Willis Thomas., presented by the Jordan Schnitzer Museum of Art.

See link below to register for this online event.

ALISON SAAR and HANK WILLIS THOMAS IN CONVERSATION WITH HAMZA WALKER

Jordan Schnitzer Museum of Art at the University of Oregon

Thursday, April 15.

4 pm on the West Coast, 7 pm East Coast.

*Alison Saar, from forthcoming feature in PARIS LA 17.

From top: Alison Saar, Queen of the 88s, 2021, multi-block linocut on handmade Hamada Kozo paper backed with Sekishu Kozo, image © Alison Saar, courtesy of the artist and Elizabeth Leach Gallery, Portland; Saar, photograph by Paul O’Connor, courtesy of Saar and LA Louver; Hank Willis Thomas, courtesy and © Hank Willis Thomas Studio; Thomas, History is Past, Past is Present, 2017, print, lenticular, image © Hank Willis Thomas, courtesy of the artist and Jack Shainman Gallery.

OSCAR TUAZON — PEOPLE

Trees are embodied water, bodies of water, petrified fire, water on fire. A tree is a sculpture with no author, a sculpture of water… changing from seed, to plant, to tree, to log, to board, to frame, to building, to pulp, to paper, to ash, to dirt, and back again. — Oscar Tuazon*

An exhibition of new sculptural works by Tuazon is on view in Tribeca through mid-April. See link below.

OSCAR TUAZON—PEOPLE*

Through April 17.

Luhring Augustine Tribeca

17 White Street, New York City.

Oscar Tuazon, People, Luhring Augustine Tribeca, March 13, 2021–April 17, 2021, from top: NO ON, 2021, spruce and cedar; Oil City (Red Oak), 2021, charred wood post with Aqua-Resin; Tree of Smoke, 2021, mixed media; Oscar Tuazon, People, installation view; Sand Hammer, 2021, cast bronze; Natural Man, 2015/2021, bronze, fiberglass concrete, electric water pump. Images © Oscar Tuazon, courtesy of the artist and Luhring Augustine.

SULA BERMÚDEZ-SILVERMAN — SIGHS AND LEERS AND CROCODILE TEARS

In the show SIGHS AND LEERS AND CROCODILE TEARS—now in its final week in Los Angeles—Sula Bermúdez-Silverman “explores the expansive use of monsters ––in particular zombies–– and haunted spaces in the horror genre as metaphors for the actions societal systems inflict upon groups of people on a spiritual and physical level.”*

SULA BERMÚDEZ-SILVERMAN—SIGHS, AND LEERS, AND CROCODILE TEARS*

Through April 10.

Murmurs

1411 Newton Street, downtown Los Angeles.

Sula Bermúdez-Silverman, Sighs and Leers and Crocodile Tears, Murmurs, Los Angeles, March 7, 2021–April 10, 2021, from top: Porthole 2 (Parentheses of Blood), 2021, isomalt sugar, found object; Paradise Regained, 2021, isomalt sugar and glass found object; The Monster’s Bride (She’s Alive!), 2020, wool and viscose yarn; Repository II: Dead Ringer, 2021 (detail), glass, Himalayan pink salt, water; installation view with (foreground) Turning Heel, 2021, Himalayan pink salt, isomalt sugar, glass found object, (center) Repository I: Mother, 2021, isomalt sugar, Himalayan pink salt, epoxy resin, found object, and (against wall) Lady with the Ring, 2021, glass, carpenter bee; Carrefour Pietà/Be My Victim, 2021 (detail), wool and acrylic yarn; To Fear a Painted Devil’s Trumpet, 2021, Himalayan pink salt, kosher salt, sea salt, glass, carpenter bees, crushed emerald, Devil’s Trumpet seed pods (Datura inoxia), Devil’s Trumpet seeds (Datura inoxia), raw sugar; Porthole 6 (Julian’s Hatchet), 2021, isomalt sugar, epoxy resin, transparency film. Images © Sula Bermúdez-Silverman, courtesy of the artist and Murmurs.

SUSAN WEIL

To perceive something you have to visualize it. For me, working is putting together images that move you, and so on, but then you have to have a way to describe it to yourself. And it’s been marvelous. There are themes that go through my work for twenty or thirty years, but they take different forms. When I was a kid growing up on the Outer Island [Connecticut], the horizon was a very powerful thing for me. My father, we were in a boat together and he said to me, “That’s not a straight line. That’s the edge of the earth,” and that stuck with me forever. — Susan Weil

The exhibition SUSAN WEIL, in upstate New York, brings together the artist’s spray paint works on paper, her Soft Folds series on unstretched canvas, the Configurations collages, as well as a selection of her artist’s books published with Vincent Fitzgerald & Co.

SUSAN WEIL

Through April 17.

JDJ

17 Mandalay Drive, Garrison.

Susan Weil, JDJ, Garrison, February 27, 2021–April 17, 2021, from top: Untitled, circa 1971, spray paint on paper; Flower Folds, 1991, acrylic on canvas; Black Configuration, 2000 (detail), charcoal, watercolor, and acrylic on paper; Color Configurations 2 (Red), 2000, acrylic on paper; Susan Weil installation view; Susan Weil installation view with (foreground) Brideship & Gulls, 1991, text by James Joyce, handmade artist book with gold leaf, etchings, and watercolor; Moon (Half Moon), 1990 (detail), acrylic on canvas; Untitled, circa 1971, spray paint on paper. Images © Susan Weil, courtesy of the artist and JDJ.

BARBARA LONDON IN CONVERSATION

Barbara London—author of Video Art: The First Fifty Years, and founder of the video-media program at MoMA—will discuss her curatorial practice and forthcoming traveling exhibition Seeing Sound.

See link below to register for the online talk.

CURATOR’S PERSPECTIVE—BARBARA LONDON

Independent Curators International

Tuesday, April 6.

1 pm on the West Coast, 4 pm East Coast.

From top: Barbara London, courtesy and © London and Independent Curators International; London, Video Art: The First Fifty Years (2020), cover image courtesy and © Phaidon; Yuko Mohri, You Locked Me Up in a Grave, You Owe Me at Least the Peace of a Grave, 2018, installation view Childhood: Another Banana Day for the Dream-Fish, Palais de Tokyo, Paris, 2018, image © Yuko Mohri, courtesy of the artist and Project Fulfill Art Space, Mother’s Tankstation; Juan Cortés, Supralunar, 2018, custom-built mechanisms in perspex (dimensions variable), Arduino, LED lights, custom-built speakers, 4 channel sound, installation view, image © Juan Cortés, courtesy of the artist.