ERIC FISCHL AND STEPHEN SHORE IN CONVERSATION

On the occasion of Eric Fischl’s first local gallery exhibition of new paintings in twenty-five years and Stephen Shore’s first Los Angeles show in nearly fifteen, Sprüth Magers presents the artists in conversation with LACMA curator Britt Salvesen.

Fischl’s COMPLICATIONS FROM AN ALREADY UNFULFILLED LIFE and Shore’s eponymous show are both on view at the gallery through the end of August.

ERIC FISCHL, STEPHEN SHORE, and BRITT SALVESEN in conversation

Wednesday, June 19, at 7 pm.

Sprüth Magers

5900 Wilshire Boulevard, Los Angeles.

From top: Stephen Shore (2), Los Angeles, California, February 4, 1969, silver gelatin print, and New York, New York, March 11, 2018, printed 2019, pigment print; Eric Fischl (2), Untitled, 2018, and The Artist’s Assistant, 2018; Stephen Shore (2), Los Angeles, California, February 4, 1969, silver gelatin print, and Granite, Oklahoma, July 1972, printed 2012, chromogenic color print; Eric Fischl (2), The Exchange, 2018, and Promise of More to Come, 2019. Shore images © Stephen Shore, courtesy 303 Gallery, New York, and Sprüth Magers. Fischl images © Eric Fischl, courtesy Sprüth Magers.

MURDER MAGAZINE LAUNCH

Join the founding co-editors of MURDER MAGAZINE—artist Síta Valrún and author Bergrún Anna Hallsteinsdóttir—for the launch of the third issue of their publication.

Number 3—”Blood/Home”—includes the work of Nan Goldin, Silvia Gruner, Jenny Holzer, Kara Walker, Ida Ekblad, Deana Lawson, Forough Farrokhzad, Maggie Nelson, Warsan Shire, and Eileen Myles.

MURDER MAGAZINE No. 3 launch

Tuesday, June 18, 6 pm to 9 pm.

2228 West 7th Street (enter on South Grand View Street, 2nd floor), Los Angeles.

Murder Magazine No. 3 images courtesy and © the artists, Síta Valrún, and Murder Magazine.

ELEANOR ANTIN IN CONVERSATION

Eleanor Antin will join LACMA director Michael Govan for a talk about the artist’s landmark performance and intervention work over the last half century.

The talk is in conjunction with Antin’s exhibition TIME’S ARROW, which includes both the 1972 and 2017 iterations of her Carving series.

ELEANOR ANTIN and MICHAEL GOVAN in conversation

Tuesday, June 18, at 7:30 pm.

Bing Theater, LACMA

5905 Wilshire Boulevard, Los Angeles.

Eleanor Antin, from top: Carving: A Traditional Sculpture (detail, first day of 1972 performance, July 15, 1972, 8:43 am, 125.5 lbs), 1972, photograph; Carving: 45 Years Later (detail, first day of 2017 performance, March 7, 2017, 9:25 am, 130.6 lbs), 2017, photograph; The King, 1972, video; 100 Boots at the Bank , from the series 100 Boots, a set of 51 photo-postcards, 1971. Images courtesy and © Eleanor Antin and Ronald Feldman Gallery, New York.

BAUHAUS BEGINNINGS AT THE GETTY

“The aim is an alliance of the arts under the wing of great architecture.” — Walter Gropius, founder of the Bauhaus

BAUHAUS BEGINNINGS, now at the Getty Center, celebrates the centenary of the founding of the school in Weimar.

The exhibition “reexamines the founding principles of this landmark institution,” considering the school’s “early dedication to spiritual expression and its development of a curriculum based on elements deemed fundamental to all forms of artistic practice.”*

BAUHAUS BEGINNINGS*

Through October 13.

Getty Center

1200 Getty Center Drive, Brentwood, Los Angeles.

From top: Léna Bergner, Durchdringung (Penetration) for Paul Klee‘s course, circa 1925–1932, © the heirs of Léna Bergner; Walter Gropius, undated photograph by Lucia Moholy, © 2019 Artists Rights Society (ARS), New York and VG Bild-Kunst, Bonn; Gerd Balzer, Color wheel for Vassily Kandinsky’s Preliminary Course, 1929, gouache on paper, pasted on black paper; Material exercises in paper (2), photographs by Alfred Ehrhardt, circa 1928–1929, © Alfred Ehrhardt Stiftung; Erich Mzozek, Study for Vassily Kandinsky’s Farbenlehre (Course on color), circa 1929–1930, collage with gouache on paper, © Estate Erich Mrozek; Léna Bergner, Carpet design, circa 1925–1932, © the heirs of Léna Bergner; Joost Schmidt, Form and color study, circa 1929–1930; Benita Koch-Otte, Einfamilienwohnhaus auf der Ausstellung des Staatlichen Bauhauses (Single-family house at the exhibition of the State Bauhaus), 1923, Georg Muche, architect, 1923, from Staatliches Bauhaus in Weimar 1919–1923 (Munich: Bauhausverlag, 1923), p. 165, courtesy and © Bodelschwingh Foundation Bethel; Lyonel Feininger, Villa am Strand (Villa on the shore), 1921, from Bauhaus Drucke: Neue Europaeische Graphik, Erste Mappe [first portfolio], Meister d. Staatlichen Bauhauses in Weimar (Potsdam: Müller, 1921), © 2019 Artists Rights Society (ARS), New York and VG Bild-Kunst, Bonn; Ringl + Pit (Grete Stern and Ellen Auerbach), Bald Head (Johannes Itten), 1930, printed 1985, The Jewish Museum, © Ringl + Pit, courtesy Robert Mann Gallery, New York; Hilde Reindl, Color wheel and tone study for Paul Klee’s Course, circa 1927. Images courtesy of the Getty Research Institute.

JACQUES DEMY — MODEL SHOP

MODEL SHOP opens on a rough patch of Venice Beach in decay—an ambience its director maintains throughout this essential glimpse of untethered lives and anomie at the end of the sixties.

The first and last American film directed by Jacques Demy, MODEL SHOP stars Gary Lockwood and Anouk Aimée as two Los Angeles drifters. Agnès Varda made the trip over from France with Demy to scout locations for her own California story, Lions Love (… and Lies).

MODEL SHOP and THEY CAME TO ROB LAS VEGAS

Tuesday, June 18, at 7:30 pm.

New Beverly Cinema

7165 Beverly Boulevard, Los Angeles.

From top: Anouk Aimée and Gary Lockwood in Model Shop (2); film poster; opening titles shot; Lockwood.