Category Archives: ART

DASH SNOW — THE DROWNED WORLD

“Dash [Snow] and David Hammons are both artists with a witch-doctor feel to their work, which is important, because ultimately what is the value of art?… In an increasingly secular society, it’s even more important as people try to form their belief systems. If you’re not going the readymade route, then you look around for the tools available to make something of your own. That’s a big part of the artist’s job or the writer’s job…

“It’s found in the moment, not in an academic way. You find it in the practice. I think the academic and institutional part of the art world is a big problem. Artists often collaborate with them to their detriment, because they think they need the institution as a go-between, a translator for the public. Dash, like Hammons, understood that you don’t need the middleman. Cut out the middleman. Make him wait in line with everyone else. It has to be on the artist’s terms.” — Glenn O’Brien on Dash Snow*

The new exhibition THE DROWNED WORLD presents work from the late artist’s archive, including a selection of rarely seen sculptures.

DASH SNOW—THE DROWNED WORLD

Through May 12.

Participant Inc

253 East Houston Street, New York City.

*”I Don’t Believe in Masterpieces AnywayGlenn O’Brien on Dash Snow,” Ursula 2 (Spring 2019).

See David Rimanelli on Snow.

Dash Snow, from top: Mixed-media sculpture, 2000–2009; The Drowned World: Selections from the Dash Snow Archive, 2019, installation view, Participant Inc, New York, photograph by Mark Waldhauser; Untitled, 2000–2009, Polaroid (Kunle Martins (left) and Snow); Untitled (Past, Present), 2006, mixed-media sculpture; Untitled, 2007, collage; Untitled (Her Kisses Were Dangerous), 2006–2007, collage. Images © Dash Snow, courtesy of the Dash Snow Archive, New York City and Participant Inc. Special thanks to Lia Gangitano.

KRAFTWERK — DANCE FOREVER

The exhibition KRAFTWERK—DANCE FOREVER—drawn from the collection of Toby Mott—documents the visual side of the highly influential electronic ensemble.

On view this weekend at Arcana are the promotional materials, sheet music, obsolete recorded media, posters, photographs, and musical toys that so distinguished the German ensemble’s aesthetic values.

The evening will feature Kraftwerk-themed musical sets by Rose Knows and Sean Horton, and Kraftwerk shirts and bags designed by Alex McWhirter.

Copies of the nearly 100-page, limited-edition catalogue—signed by Mott, who is attending the event—will be available.

KRAFTWERK—DANCE FOREVER

Saturday, April 13, from 5 pm to 9 pm.

Arcana—Books on the Arts

8675 Washington Boulevard, Culver City.

From top: Kraftwerk, materials designed by Toby Mott (2); Kraftwerk. Images courtesy the artists and Arcana Books.

L.A. ART BOOK FAIR

DoPe Press is extremely happy to see the return of the Printed Matter–LA Art Book Fair to the Geffen Contemporary at MOCA. We will be in section H07 on the main level.

Our newest publications—the journal PARIS LA 16: “The Fashion and Writing Issue” and the artist’s book …my life in the sunshine—Liz Craft 2006–2017—will be available, as well as our back catalogue and a selection of out-of-print titles.

For art and fashion lovers: In 2013 the artist Max Hooper Schneider created a silk scarf edition with P.P.M. Studio, Milan. We are offering the edition for purchase, as well as his last available original artwork from this series—dense, hand-drawn graphic lines recalling imaginative worlds and biologies—which will be part of a forthcoming book published by DoPe Press in September 2019.

In addition, we have invited some friends and family from Paris to share their publications and journals: Paraguay Press, MAY, and Profane.

PRINTED MATTER—L.A. ART BOOK FAIR 2019

Opening night, April 11, from 6 pm to 9 pm.

Friday, April 12, from 1 pm to 7 pm.

Saturday, April 13, from 11 am to 7 pm.

Sunday, April 14, from 11 am to 6 pm.

Geffen Contemporary at MOCA

152 North Central Avenue, downtown Los Angeles.

From top: Cassi Namoda, Love and compromise between a clock and hyena, 2018, from “Selected Paintings,” PARIS LA 16; Liz Craft, …my life in the sunshine–Liz Craft 2006-2017 page layout; image from PARIS LA 16, drawing of Lotta Volkova by Cédric Rivrain, 2018; image from PARIS LA 14, photograph of Elizabeth Schmitt Jennerjahn and Robert Rauschenberg at Black Mountain College by Hazel Larsen Archer; image from Alex Hubbard, Eat Your Friends (DoPe Press, 2015); Max Hooper Schneider, silk scarf edition for P.P.M. Studio, 2013, photograph by Nuage Lepage, 2019; image from PARIS LA 14, Juliana Huxtable, Sympathy for the Martyr, 2015; image from Oscar Tuazon, Live (DoPe Press and Buchhandlung Walther König, 2014); cover image, Pentti Monkkonen, Box Truck Paintings (DoPe Press, 2014); PARIS LA 16 inside covers, Michèle Lamy, photograph by Katerina Jebb, 2018.

CONVERSION THERAPY — DIRTY LOOKS AT THE L.A. ART BOOK FAIR

Join Rick Castro, Mariah Garnett, Nguyen Tan Hoang, William E. Jones, and Brontez Purnell at the L.A. Art Book Fair for the Dirty Looks event CONVERSION THERAPY.

The panelists will discuss “the language of filmmaking and how it relates to underground publishing.”*

CONVERSION THERAPY*

Friday, April 12, at 6 pm.

Geffen Contemporary at MOCA

152 North Central Avenue, downtown Los Angeles.

From top: William E. Jones, The Fall of Communism as Seen in Gay Pornography, 1998, still, courtesy the artist and David Kordansky Gallery, Los Angeles; Brontez Purnell, courtesy the artist; Nguyen Tan Hoang, courtesy the author; Mariah Garnett, Encounters I May or May Not Have Had with Peter Berlin, 2012, still, courtesy the artist; Tony Ward in Hustler White (1996), written and directed by Bruce LaBruce and Rick Castro, courtesy the artists.

BLACK MODELS AT ORSAY

“The French exhibition is a welcome change … but in bringing black people to the fore of such art we must be careful to frame the images correctly. Black people were present in this history and paintings, not as equals but as subjects. Renaming them and removing racist epithets does not change the subservient role many of the paintings portray. It is tempting to get carried away celebrating our presence, while forgetting why we were there and continue to be here. In the most part, we remain subjects oppressed to the margins of the canvas.” — Kehinde Andrews

BLACK MODELS—FROM GÉRICAULT TO MATISSE, an exhibition of paintings featuring black sitters—some of which have been retitled to honor their subjects—is on view in Paris through mid-summer.

BLACK MODELS—FROM GÉRICAULT TO MATISSE

Through July 21.

Musée d’Orsay

1 rue de la Légion d’Honneur, 7th, Paris.

From top: Mickalene Thomas, Din, a very beautiful black woman #1, 2012, © Mickalene Thomas, Artist Rights Society, New York; Marie-Guillemine Benoist, Portrait of a Black Woman, 1800, renamed Portrait of Madeleine; Eugène DelacroixPortrait of a Woman in a Blue Turban, circa 1827, Dallas Museum of Art; Jean-Léon Gérôme, Slave for Sale, 1873; Edouard Manet, Olympia, 1863, renamed Laure, Musée de Louvre; Charles AlstonGirl in a Red Dress, 1934, collection Harmon and Harriet Kelley Foundation for the Arts, San Antonio; Henri MatisseDame à la robe blanche, 1946, Des Moines Art Center Permanent Collections, © 2018 Succession H. Matisse, ARS, New York, photograph by Rich Sanders. Images courtesy Musée d’Orsay.