Tag Archives: Alex Hubbard

ALEX HUBBARD — THE CORNER OF THE TABLE

The videos involve a long, slow process, hunched in front of the computer… The paintings, when they started, were about changing gears in the studio and working quickly… With most if not all of the materials I use, there is no going back. With the plastics, the urethanes, and the resins, once they are mixed, the clock is ticking. The slower I am to start, the less time I have to work with them.Alex Hubbard*

THE CORNER OF THE TABLE—Hubbard’s solo show at Regen Projects—includes his new multimedia works on linen and cotton as well as two handmade projectors streaming animated videos.

ALEX HUBBARD—THE CORNER OF THE TABLE

Through December 21.

Regen Projects

6750 Santa Monica Boulevard, Los Angeles.

*”Alex Hubbard in conversation with Debra Singer,” in Alex Hubbard—Eat Your Friends (Los Angeles: DoPe Press, 2015), 37–38.

Alex Hubbard, The Corner of the Table, November 16–December 21, 2019, Regen Projects, Los Angeles, from top: Youth Apparatus, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on linen; Vaper’s Salon, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on cotton; Romeo’s Purple Welcome, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on linen; The way things I wish they used to be, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on cotton; Boule’s, 2019, urethane, acrylic, UV print, epoxy resin, and fiberglass on cotton; Life Preserver, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on cotton; Animal Dance, 2019, urethane, acrylic, UV print, epoxy resin, and fiberglass on linen; Infrared, 2019, urethane, acrylic, UV print, epoxy resin, fiberglass, and oil on linen; 1,000,000 (Iguana), 2019, urethane, acrylic, UV print, and oil on linen. Images courtesy and © the artist and Regen Projects.

ACID-FREE 2019

ACID-FREE is back at Blum & Poe. Join nearly 100 publishers and galleries for a full weekend of talks, readings, signings, music, food, drink, and—of course—books and publications for perusal and sale.

This year, PARIS LA is happy to share a table with F magazine

See link below for schedule and details.

ACID-FREE LOS ANGELES ARTBOOK MARKET 2019

Friday through Sunday, November 1, 2, and 3.

Blum & Poe

2727 South La Cienega Boulevard, Los Angeles.

From top: PARIS LA 16, inside cover photograph of Michèle Lamy by Katerina Jebb; F magazine, no. 8; Kate Zambreno, Appendix Project, Semiotext(e) ; Animal Shelter 5, edited by Hedi El Kholti and Chris Kraus, Semiotext(e); Huma Bhabha, They Live, David Kordansky; Andrea Büttner, David Kordansky; K8 Hardy, How To: Untitled Runway Show, DoPe Press (2); Alex Hubbard, Eat Your Friends, DoPe Press. Images courtesy and © the artists, galleries, photographers, and publishers.

AVENGERS AT GAGA AND REENA SPAULINGS

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.

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.

THE MOTORMAN AT RICHARD TELLES FINE ART LOS ANGELES

Oscar Tuazon, Leisure, 2014 (photo by Marten Elder; image courtesy Richard Telles Fine Art)

Oscar Tuazon, Leisure, 2014, 55 gallon steel drum, office chair, 23 x 34.5 x 48″ (photo DR; image courtesy Richard Telles Fine Art)

“The Motorman” opened this past weekend at Richard Telles Fine Art in Los Angeles, and is on view until July 5th. The title of this group exhibition refers to David Ohle’s sci-fi novel The Motorman published in 1972. In the book, the main character inhabits “a world similar to our own, but with stark physical differences.” In the exhibition, familiar objects take on new and peculiar identities. Oscar Tuazon’s Leisure, for example, is a rocking chair assembled out of an oil drum and an office chair. It is both comical and disturbing. Mathieu Malouf’s photographs “stemming from a nascent film script about two males and their drunken, ill-fated departure from a gay bar” show familiar scenes gone awry – a car with skeleton passengers, a plate with a bloody heart. Alex Hubbard has constructed a functional bar inside of a shipping container. It is a bar big enough for only one person, who must play both bartender and drinker in front of a mirror. The exhibition also features Emily Sundblad’s drawings and a painting by Jon Pestoni.

Mathieu Malouf (image courtesy Richard Telles Fine Art)

Mathieu Malouf, Do You Want To Party?, 2014, unique inkjet print from film, 12 x 20″ (photo DR; image courtesy Richard Telles Fine Art)

Mathieu Malouf (image courtesy Richard Telles Fine Art)

Mathieu Malouf, Hybrid, 2014, unique inkjet print from film, 12 x 20″ (photo DR; image courtesy Richard Telles Fine Art)

Alex Hubbard, 2014 (image courtesy Richard Telles Fine Art)

Alex Hubbard, Montecore’s, 2013, multi-media assemblage with museum crate, 91.5 x 69 x 41″ (image courtesy Richard Telles Fine Art)

Emily Sunblad (image courtesy Richard Telles Fine Art)

Emily Sundblad, Living Currency, 2013, YSL eyeliner on club stationary, each drawing 5 7/16 x 4 1/4″ (photo DR; image courtesy Richard Telles Fine Art)

Jon Pestoni (image courtesy Richard Telles Fine Art)

Jon Pestoni, Deal Breaker, 2014, oil and mixed media on canvas, 78 x 68 x 1.5″ (photo DR; image courtesy Richard Telles Fine Art)