I always knew that I wanted my work to function in the everyday world—more so than in the art world. And ultimately New York was not my culture… I loved it there so much, but I would walk around and think, “This place is so different from where I come from, from everything that I know, and I’ll never be able to participate in a way that really matters here.” The Southern California desert is a culture that I’m really comfortable with…
I’ve worked by myself mostly because I’m comfortable putting these demands on myself that I’m not comfortable putting on anyone else, even my son. There’s a very limited scope in terms of who I’m willing to preach to. It makes me happy if my ideas challenge people, but I would imagine people taking those ideas and making their own versions of those things for themselves. It would actually be pretty weird if everyone followed my programs. — Andrea Zittel*
WORKS 2005–2020—Andrea Zittel’s new exhibition at Regen Projects—”brings together a diverse array of works made over a fifteen-year period that examine conceptual aspects of production, materiality, and use, and reflect Zittel’s ongoing aesthetic inquiry into what it means to exist and participate in culture today.”
The show is on view by appointment only. See link below for further exhibition details.
Through August 21.
6750 Santa Monica Boulevard, Los Angeles.
*Andrea Zittel, interview by Alix Browne, Apartamento 18 (Autumn–Winter 2016–2017), 37–71.
See Zittel, “Silent Spring,” Artforum 58, no. 9 (May / June 2020).
Andrea Zittel, Works 2005–2020, Regen Projects, July 13, 2020–August 21, 2020, from top: A-Z Aggregated Stack #13, 2012, cardboard, plaster gauze; A-Z Cover Series 1 (Gold and Black Stripes) (detail), 2012, woven wool and steel, ten panels; RAUGH Furniture: Energetic Accumulator II, 2008, wood, Danish oil, rigid wrap, electric tea kettle, ceramic mugs, wool, radio, felt, glass jars with tokens on carpet; Study for Bench Sequence #2, 2019, watercolor and gouache on paper; Study for Cellular Grid #1, 2018, watercolor and gouache on paper; A-Z Aggregated Stacks, 2015, cardboard, plaster, gauze, paint; A-Z Aggregated Stacks, 2015, cardboard, plaster, gauze, paint; Planar Studies: Vast and Specific 12, 2020, watercolor and gouache on paper; Planar Studies: Vast and Specific 10, 2020, watercolor and gouache on paper; Linear Sequence #1, 2016, powder-coated steel and aluminum, tung oiled Birdseye Maple Plywood, brass, 3 cushions; Study for Radiating Arenas of Enhancement, 2006, gouache on paper; Study for Radiating Arenas of Enhancement, 2006, gouache on paper; A-Z Aggregated Stacks, 2015, cardboard, plaster, gauze, paint. Images courtesy and © the artist and Regen Projects.