Tag Archives: Blum and Poe

PIA CAMIL OPENING

To celebrate the installation of HERE COMES THE SUN—her new work for the Guggenheim rotunda—join Pia Camil in conversation with Pablo León de la Barra for a discussion of her practice, with a reception to follow.

HERE COMES THE SUN, a crowdsourced fabric sculpture, “extends the artist’s engagement with collaboration, the impact of consumer culture, contemporary trade routes, and the legacies of modernism.”*

PIA CAMIL and PABLO LEÓN DE LA BARRA IN CONVERSATION*

Friday, November 8, at 6:30.

PIA CAMIL—HERE COMES THE SUN RECEPTION

Friday, November 8, at 7:30 pm.

Solomon R. Guggenheim Museum

1071 Fifth Avenue (at 88th Street), New York City.

From top: Pia Camil; Camil, Telón de boca, Museo Universitario del Chopo, Mexico City, 2018, installation view; Camil, Bara bara bara, Tramway, Glasgow, 2019, installation view. Images courtesy and © the artist, the photographers, the exhibiting institutions, and Blum & Poe.

TONY LEWIS AND HAMZA WALKER

In conjunction with CHARLATAN AND ULTIMATELY A BORING MAN—the Tony Lewis exhibition at Blum & Poe that takes as its point of focus the 1965 Cambridge University debate between James Baldwin and William F. Buckley, Jr.—Lewis will join Hamza Walker for a talk at the gallery.

TONY LEWIS AND HAMZA WALKER in conversation

Saturday, June 29, from 2 pm to 4 pm.

Blum & Poe

2727 South La Cienega Boulevard, Los Angeles.

Tony Lewis, from top: …The Gravamen Of Mr. Baldwin’s Charges Against America…, 2019, graphite and Epson UltraChrome ink on paper; Man, 2018, pencil, graphite powder, and correction tape on paper and transparency; Tony Lewis—Charlatan and Ultimately a Boring Man, 2019, Blum & Poe, installation views (2); Boring, 2019, graphite, pencil, and colored pencil on paper mounted on wood (2, first 76 x 99 inches, second 76 x 100 inches); Tony Lewis—Charlatan and Ultimately a Boring Man, 2019, Blum & Poe, installation views (2). Images courtesy and © the artist and Blum & Poe.

HENRY TAYLOR IN TOKYO AND LOS ANGELES

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An exhibition of new paintings by Henry Taylor will be up in Tokyo through mid-May. In Los Angeles, Taylor will be honored at the ICA LA benefit brunch, with a tribute by Mark Bradford.

“For Taylor, portraiture is much more than an artistic convention of a realistic painter; the variety that he produces within the genre reshapes what might be considered a conventional language into a flexible vehicle for a much larger goal, which is to produce a multivalent but also highly specific view of contemporary life as seen through the eyes of an African American artist at the beginning of the twenty-first century.” – Laura Hoptman*

 

HENRY TAYLOR, through May 19.

BLUM & POE, 1-14-34 Jingumae, Shibuya, Tokyo.

blumandpoe.com/henry-taylor

ICA LA BENEFIT BRUNCH, Saturday, May 12, at noon.

INSTITUTE OF CONTEMPORARY ART LOS ANGELES, 1717 East 7th Street, downtown Los Angeles.

theicala.org/brunch

Top: Henry TaylorIsland: Antiparos, Greece, 2017, acrylic on canvas, 40 x 36 x 7/8 inches.

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WEEKLY WRAP-UP: JAN. 12-16

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This week, we passed by Blum & Poe to see Alma Allen‘s exhibition; we listened Hurricane performed by MS MR; we learned about Alice Könitz‘s work; we walked in the Mojave Desert; we visited Carl Kay’s buildings in hollywood hills and we talked about ‘a woman under the influence‘ a movie by John Cassavetes.

EXHIBITION: ALMA ALLEN AT BLUM & POE

Blum & Poe in Culver City opened its newest exhibition of Alma Allen’s work last night. Allen’s elegant biomorphic forms in wood and stone filled the spacious galleries like toadstools and lava rocks, creating a kind of fantastical garden–both intimate and vast.

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From the exhibition statement:

“Constructed primarily in stone, wood, and bronze, Allen’s mid- and large-scale sculptures had never been publicly shown before their inclusion and wider discovery in the 2014 Whitney Biennial. A teenage runaway without a high school degree, the self-taught artist began an initial period of intense hand carving using salvaged materials while often homeless. Demonstrating an attunement with imbalance and precariousness, Allen’s sculptural forms are a marked departure from iconic stone carvers Constantin Brancusi and Isamu Noguchi, to whom his untrained sensitivity for shape and material have been compared. Recurring forms in Allen’s work take a cue from quantum particles and body organs and make indirect associations to psychological pain and wonder.

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Many of Allen’s new sculptures, made of marble, travertine, and Claro walnut, weigh several tons. Despite their solidity, the works appear to undulate and vibrate, as if they are about to be sucked in or pushed out by some external force to the point of dissipation. In a series of bronze sculptures, the edges of an unknown trajectory are revealed, as tensive and fluid as the expanding universe. Presented in groupings and as individual forms, Allen’s sculptures arrive out of inherent chaos and chance provided by nature, as well as the precision of technological operation and mastery, all the while suggesting a range of anthropomorphic and visceral associations”

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