Bloody Red Sun

Transcription

Bloody Red Sun

Bloody
Red Sun
of Fantastic L.A.
Curated by
René-Julien Praz
LUNDI 9 NOVEMBRE 2015
PIASA
Bloody
Red Sun
of Fantastic L.A.*
Curated by
René-Julien Praz
Vente : lundi 9 novembre 2015 à 20 heures
PIASA
118 rue du Faubourg Saint-Honoré 75 008 Paris
Exposition publique
Mercredi 4 novembre 2015 de 10 à 19 heures
Jeudi 5 novembre 2015 de 10 à 19 heures
Vendredi 6 novembre 2015 de 10 à 19 heures
Samedi 7 novembre 2015 de 11 à 19 heures
Lundi 9 novembre 2015 de 10 à 12 heures
Téléphone pendant l’exposition et la vente
+33 1 53 34 10 10
Enchérissez en direct sur www.piasa.fr
* Voir les conditions de vente
Bloody Red Sun of Fantastic L.A.
Curated by René-Julien Praz
“Bloody Red Sun of Fantastic L.A. s’est imposé à moi
comme une évidence tant la densité des images que ce
titre véhicule traduit avec une justesse chirurgicale tout
le pathos d’une ville où le glamour s’oppose au vulgaire,
le kitsch au sublime, l’esprit cultivé à la culture populaire,
la séduction au dégoût.
Cette ville embrasse tout et son contraire. Elle porte en ses
gènes les combats, les heurts, les espoirs, les ambitions,
les renoncements de millions d’immigrés qui ont conquis
dans le sang, les larmes, la duperie, le mensonge mais
aussi le courage, la volonté, l’engagement, l’intelligence
et la solidarité, un eldorado composé de chicanos, de
chinois, de coréens, de japonais, d’iraniens, de noirs
et de blancs.
Juifs, catholiques, protestants, mormons, bouddhistes,
musulmans, orthodoxes, athées, mécréants cohabitent
sur cette terre du grand ouest Américain. L’écrivain Jack
Elliot en s’inspirant de Bloody Red Sun of Fantastic L.A.,
sa chanson préférée (du groupe mythique les Doors) pour
son roman de 2014, avoue combien ce titre est approprié
et va bien au-delà de la simple signification des mots.
C’est bien à downtown L.A. que les Doors débutèrent.
“Los Angeles, cité des Anges ou le soleil est la star la
plus proche et Hollywood la cité des Stars.” “Mon récit
est en pertinente proximité avec ce monde là” précise Jack
Elliot. En 2006 le Centre Pompidou présentait à Paris
une imposante exposition intitulée “Naissance d’une
Capitale Artistique” faisant état pour la première fois ou
presque en France de la richesse culturelle d’une ville
image, outrancière, insaisissable, ouverte, généreuse et
indéfinissable tant les limites du possible hantent cette
mégapole.
“Il était temps de montrer au public européen
l’importance et la spécificité de ce berceau artistique
d’une richesse multiforme longtemps éclipsé par sa
rivale New York” écrivait alors Bruno Racine (Président
du Centre Pompidou 2002 - 2005).
La création artistique de Los Angeles s’offre aujourd’hui
comme un modèle, celui d’une scène alternative qui
transforme rétrospectivement notre perception de l’art
américain en l’inscrivant hors des cadres structurels
et théoriques des principaux mouvements constitués.
Faisant écho à son modèle urbain que tout singularise,
depuis sa démesure jusqu’à sa dimension multiculturelle,
L.A. se signale par son caractère protéiforme et par
une énergie réactive qui l’entraîne dans un constant
renouvellement.
"Once I’d thought of the title, ‘Bloody Red Sun of
Fantastic L.A.’, nothing could seem more fitting. The
sheer wealth of images that these words evoke portrays
with surgical precision the pathos of this mythical city,
where glamour meets vulgarity and highbrow culture,
the mainstream. Only in L.A. could kitsch rub shoulders
with the sublime and seduction with repulsion: this city
truly is a world of contrasts.
The struggles, clashes, hopes, ambitions and despair
of millions of immigrants are an integral part of the
city’s DNA. The city is built from their blood and tears
as they fought and won their place in this multicultural Eldorado, facing lies and duplicity with courage,
commitment, intelligence and solidarity, to finally be
able to live together, whatever their colour or origin:
Mexican, Chinese, Korean, Japanese, and Iranian... In
this great melting pot, the religious - Jews, Catholics,
Protestants, Mormons, Buddhists and Muslims – live
alongside agnostics and atheists on these lands of the
American Far West.
Jake Elliot’s 2014 short story, ‘Bloody Red Sun of Fantastic
L.A.’, took its title from the lyrics of his favourite Doors’
song (a band which also started out in Los Angeles) and
he explains just how appropriate the title seemed to him
and how it went way beyond the face value of the words
themselves. “Los Angeles, the City of Angels, where the
Sun is the closest star and Hollywood the city of stars.
My story takes place in the heart of this world.”
In 2006, the Centre Pompidou in Paris presented a
grandiose exhibition: ‘Los Angeles 1955-1985: The birth of
an art capital’, which documented, for near enough the
first time in France, the cultural wealth of this city. A city
of images: outrageous and elusive, open, generous and
above all indefinable, seeing the extent to which this
metropolis flirts with the very limits of what is possible.
As Bruno Racine (president of the Centre Pompidou
from 2002 to 2005) explained at the time: “It was high
time to show the European public the importance and
the specificity of a city that had been the birthplace of
such a broad scope of art and which had, for so long,
lived in the shadow of its rival, New York.”
Artistic creation today in Los Angeles is seen as a model,
an alternative scene that retrospectively transforms
our perception of American art, by taking it beyond
the theoretical and structural frameworks of identified
movements. Reminiscent of its urban model, which is
noteworthy by its uniqueness, its immensity and multicultural dimension, L.A.’s art stands out by its protean
nature and a proactive dynamic that means it is
in constant renewal.
“A l’art de l’assemblage, au pop art, au minimalisme ou
à l’art conceptuel, les artistes de Los Angeles répondent
avec ce sens de l’excès, cette tendance aux mélanges
et à l’hybridation." (Bruno Racine, Los Angeles - Naissance
d’une capitale artistique Edition Centre Pompidou 2006).
Il faut comprendre que les données climatiques,
géographiques, urbanistiques, historiques, humaines,
sociales, économiques, culturelles, s’y condensent de
manière particulière, offrant des effets de démesure et des
décalages spectaculaires, qu’on pourrait opportunément
dresser un portrait de la ville au travers de l’étude de sa
scène artistique.
“Pourtant ces spécificités ne suffisent pas à rendre compte
d’un art qui s’est nourri continûment d’interactions
variées, avec la scène artistique new yorkaise, avec la
culture européenne comme avec les territoires originels
du multiculturalisme angelinos, qu’il s’agisse du
Mexique voisin, des Amériques du Nord et du Sud, de
l’Afrique et de l’Asie." (Catherine Grenier, Los Angeles Naissance d’une capitale artistique Edition Centre Pompidou
2006)
Los Angeles est plus que jamais centrée sur sa
communauté artistique, une mutation qui s’est opérée
dès les années 1980, date à laquelle le développement
des musées est marqué par l’ouverture du MOCA
(Museum of Contemporary Art) qui accueille en 1983
une exposition exceptionnelle Paintings and Sculptures
1940-1980 regroupant huit collections parmi lesquelles
celles de Dominique de Menil, Dr Peter et Irene Ludwig,
Guiseppe et Giovanna Panza di Biumo, Charles et Doris
Saatchi ou encore celle de la famille Weisman.
L’art se nourrit de la complexité de cette “ville-monde”
où les mouvements underground se mêlent à la
culture populaire californienne et à ses expressions
communautaires, comme à l’univers de ces fabriques de
rêves que sont Hollywood et Disneyland.
La mise en place d’un système de galeries et d’un nouveau
réseau de collectionneurs associés au rayonnement des
écoles d’art (USC, CALARTS, UCLA, OTIS : College of
Art & Design ) transforment Los Angeles en une scène
artistique internationale de premier plan.
"From assemblage to Pop Art, or from Minimalism to
Conceptual Art, L.A.’s artists express this same sensation
of excessiveness, a desire to mix and experiment with
hybrid art forms. You need to understand that the
climate, together with the city’s geographical, urban,
historical, human, social, economic and cultural features
come together in a totally unique way. The effect of this
concentration leads to this impression of immensity, to
these spectacular juxtapositions, making it possible to
portray the city itself by analysing its art scene."
1. Bruno Racine in ‘Los Angeles 1955-1985: Naissance
d'une capitale artistique’ published by Editions Centre
Pompidou 2006).
"And yet these specific characteristics are not enough
to explain an art form that has found a continual source
of inspiration in its diverse interactions with the New York
art scene, with both European culture and that of the
cultural origins of its multi-ethnic population, whether
from neighbouring Mexico, other regions of North and
South America, Africa or Asia."
2. Catherine Grenier in ‘Los Angeles 1955-1985: Naissance
d'une capitale artistique published by Editions Centre
Pompidou 2006).
More than ever, Los Angeles is focussing on its artistic
community; a mutation that began back in the 1980s,
in parallel to the development of its museums, a period
marked in particular by the opening of MOCA (Museum
of Contemporary Art) that hosted an exceptional
exhibition in 1983. ‘Paintings and sculptures 1940 – 1980’
brought together eight collections, including those
of Dominique de Menil, Dr Peter and Irene Ludwig,
Guiseppe and Giovanna Panza di Biumo, Charles and
Doris Saatchi and the Weisman Family collection.
L.A.’s art draws its creative nourishment from the very
complexity of this ‘city/world’, where underground
movements mingle with more mainstream Californian
culture and its communal expression, as seen in such
makers of dreams as Hollywood and Disneyland.
The creation of a system of galleries and a network of
collectors, combined with the increasing influence of
the city’s art schools (USC, CALARTS, UCLA) have put
Los Angeles under the spotlight on the international art
scene. “I still remember my first experiences of the L.A.
scene, which I first visited in 1980.
J’ai souvenir de mes premières expériences de cette
scène Angeline lors mes séjours dès 1980. J’ai eu
le privilège de rencontrer quelques généreuses figures
dont Rosamund Felsen qui accueillait dans sa galerie
sur la Cienega et ensuite Santa Monica Boulevard à
West Hollywood les plus talentueux artistes basés à Los
Angeles. Cet incroyable mentor m’ouvrit les portes de
cette communauté artistique unique.
Comment ignorer une telle scène quand elle a donné
naissance à Chris Burden, Charles Ray, Mike Kelley,
Paul McCarthy, Jim Shaw, John Baldessari, Larry Bell,
James Turrel, John McCracken, Robert Irwin, Ed Rusha,
Douglas Huebler, Michael Asher, Bruce Nauman, James
Welling, Raymond Pettibon, Vija Celmins, Bill Viola,
Jeffrey Valance, Billy Al Bengston et plus récemment
Sam Durant, Mark Grotjahnn, Tim Hawkinson, Sharon
Lockhart, Walead Beshty, Larry Pittman, Mark Bradford,
Elliot Hundley, Catherine Opie, Toba Khedoori, Sterling
Ruby… Une liste impressionnante qui se bonifie au fil
des promotions et des générations montantes qui animent
les nouvelles galeries, centres d’art expérimentaux (Red
Cat, Lax >< Art, The Mistake Room, les musées tels que
le Hammer, LACMA, MOCA, Geffen et prochainement
le Broad) et autres lieux alternatifs d’expositions qui
fleurissent comme genets au printemps.
C’est précisément cette création en devenir que j’ai eu
envie de vous faire découvrir. Tout bouge aujourd’hui à la
vitesse vertigineuse des réseaux sociaux ; de Facebook à
Instagram en passant par Twitter, il m’a paru nécessaire
de faire une halte et de vous offrir un snapshot qui, s’il
n’embrasse pas la scène contemporaine de Los Angeles
dans son entièreté, se propose toutefois de vous faire
découvrir les artistes et les œuvres de certains d’entre eux.
Ils participent à préserver ce particularisme, cette
générosité et cette diversité chers à la Cité des Anges.”
René-Julien Praz,
Commissaire de
I was fortunate in that I met some very generous people
such as Rosamund Felsen, who used to show the works
of Los Angeles’ most talented artists, first in her gallery on
La Cienega Boulevard, then on Santa Monica Boulevard
in West Hollywood after it moved. This incredible mentor
was my passport to a unique community of artists.”
How can we ignore an art scene that gave birth to
Chris Burden, Charles Ray, Mike Kelley, Paul McCarthy,
Jim Shaw, John Baldessari, Larry Bell, James Turrel, John
McCracken, Robert Irwin, Ed Rusha, Douglas Huebler,
Michael Asher, Bruce Nauman, James Welling, Raymond
Pettibon, Vija Celmins, Bill Viola, Jeffrey Valance, Al
Bengston and more recently Sam Durant, Mark Grotjahn,
Tim Hawkinson, Sharon Lockhart, Walead Beshty, Larry
Pittman, Mark Bradford, Elliot Hundley, Catherine Opie,
Toba Khedoori and Sterling Ruby? An impressive list that
just gets longer and longer as more students graduate
and young artists arrive in new galleries and experimental
art centres (Red Cat, Lax><Art, The Mistake Room;
museums such as The Hammer Museum, LACMA,
MOCA and in the near future, the Broad Museum; and
so many other independent exhibition spaces that are
popping up like daisies).
And it is precisely this upcoming generation of artists
that I would like you to discover.
Social media – Facebook, Instagram and Twitter – means
that today everything happens at breakneck speed.
I decided it was time to say ‘stop’ and to provide you
with a snapshot which, if it does not cover the whole
contemporary L.A. art scene, is however a means to
discover its artists and the works of some of them,
these artists who are all continuing to preserve the
idiosyncrasy, generosity and diversity of which the City
of Angels is so fond."
René-Julien Praz
Exhibition Curator
Jarl Mohn has been the CEO at NPR - National Public Radio, Inc.
since May, 2014.
He serves as a Professional at Lightspan, Inc, Executive Advisor
at Corridor Capital, LLC, and Business Advisory Team at Rexter,
LLC. He has a successful 19-year career in radio, where he began
as a D.J.,programmer, General Manager and Owner of a group
of radio stations.
Founder President and CEO of Liberty Digital, Inc., he created the iconic
E! Entertainment Television, Inc. serving as the President and Chief
Executive Officer. Previously he served as an Executive Vice President
and General Manager of MTV and VH1.
With a wide-ranging résumé there is one area of his life where he is
laser focused: his art collection. or, more accurately, collections, plural:
of Minimalism and Light and Space artworks from the 1960s and ’70s,
and of emerging L.A. artists of the 21st century, which he loves sharing
with museum groups, curators, and other visitors to his homes. The
collectors’ current cause is the Hammer’s “Made in L.A.” biennial, for
which they fund a $100,000 prize. The previous editions featured such
rising stars as Kathryn Andrews, Liz Glynn, Ry Rocklen, Analia Saban,
Brian Sharp, and Brenna Youngblood, all of whom the Mohns have been
collecting in some depth for the past few years.
“I wanted to start collecting something else for the sense of learning
and challenging myself to break out of this aesthetic, which I love, but
there’s so much more going on.” says jarl, “Especially in L.A. I think it is
the most exciting place on the planet for all of creativity—film, television,
music—and now it’s the epicenter for the creation of art.“
“Los Angeles, c’est le centre du monde de la création.
En voilà une déclaration audacieuse, voire arrogante,
je l’admets. Mais j’y crois profondément. Il en est ainsi
depuis pas mal de temps. L’activité cinématographique
s ’e s t d é p l a c é e ve r s l ’o u e s t d e p u i s Ne w Yo r k ,
dès le début des années 1990. En 1911 déjà, il y avait
16 studios indépendants à Los Angeles.
Ensuite, ce fut au tour du secteur télévisuel de
s’y déplacer. Cela s’est fait dans les années soixante.
L’industrie de la musique en prit le même chemin dans
les années 1970.
Depuis les années 1970, la communauté des arts visuels
connaît une croissance rapide. Un climat magnifique,
des loyers moins chers, une communauté dynamique
pour les artistes, et un puissant réseau d’écoles d’art –
telles CalArts, Art Center, Otis, USC et UCLA… voilà ce
qui incite de plus en plus d’artistes à s’installer dans la
Californie du Sud.
Selon l’Académie Internationale USC, “davantage
d’artistes, d’écrivains, de cinéastes, d’acteurs, de danseurs
et de musiciens vivent et travaillent à Los Angeles, que
dans n’importe quelle autre ville et à n’importe quel
moment de l’histoire.”
Je dirais qu’aujourd’hui, Los Angeles est aux arts visuels
ce que Paris fut au début du XXe siècle, et que New York
a été pendant les années 1950 - 1960. Il y a ici davantage
de grands artistes, qui produisent davantage de grand
art, que n’importe où dans le monde.
Nous sommes fiers d’être des fans et des supporters
de cette communauté dynamique. Ici, nous adorons
les artistes, et nous sommes fous de leur travail !”
"LA is the creative center of the universe. A bold, cocky
statement, I know. But I believe it deeply. It has been
that way for some time. The motion picture business
moved west from New York in the early 1900s. In 1911
there were 16 independent studios in Los Angeles.
The television business was the next to move. That
occurred in the 60s. The music industry moved west
in the 70s.
And since the 60s the visual arts community has been
growing rapidly. Great weather, less expensive studio
rents, a vibrant community for artists and a powerful
collection of art schools like CalArts, Art Center, Otis,
USC and UCLA attracted increasingly more and
more artists to move to Southern California.
The USC International Academy notes that "more
artists, writers, filmmakers, actors, dancers and
musicians live and work in Los Angeles than any other
city at any time in the history of civilization."
I believe LA today is to the visual arts what Paris was
at the turn of the century and New York was in the
50s and 60s. More great artists are making more
great art here than anywhere else in the world.
We are proud to be fans and supporters of this vibrant
community. We love the artists here and we are crazy
about their work."
Jarl Mohn August 2015 LA
Photo : © Stephen Voss
Jarl Mohn
b l o o d y r e d s u n o f f a n t a s t i c L . A . Travis
Diehl
Trois Contes d’une Ville en Fleurs
Travis Diehl is a curator, writer, art critic and video artist. His writing foregrounds the ways in which artistic rhetoric, like that
surrounding the Cold War or the War on Terror, has substantial consequences in our shared reality. In this vein, he has reviewed
shows by Rigo 23, Jennifer Bolande, Ehren Tool, and Henry Taylor; as well as by younger artists such as Liz Glynn, Matthew Brandt,
Fiona Connor, and Candice Lin. Travis Diehl received a BA from the University of North Carolina at Greensboro and a dual MFA
from CalArts. He writes frequently for Artforum, and has contributed to X-Tra, Art Papers, and Salon, among others—focusing
on work that addresses contemporary political issues through irrational and metaphorical arguments. He has also contributed
critical texts to various exhibitions at galleries such as Cirrus Gallery and Public Fiction in Los Angeles, Anthony Greaney in Boston,
and Curtat Tunnel in Lausanne. He is drawn to the various conceptions of Los Angeles as an art capital, center of industry, and
refuge of metaphors. In 2012, he founded the arts journal Prism of Reality.
"Bien que le soleil se lève à l’est,
il finit par se coucher au bon endroit"
"The sun may rise in the east
at least it settles in a fine location"
Red Hot Chili Peppers : Californication
Red Hot Chili Peppers : Californication
INDUSTRIEL
20 janvier 2013
INDUSTRIAL
20 January 2013
Douze grandes toiles lumineuses, à la finition parfaite, arrivent à remplir
l’entrepôt. 356 S. Mission Road s’ouvre en 2013 avec Twelve Paintings By
LO, avec des tacos et des fûts de bière gratuits, du mezcal gratuit, et avec
quasiment tous ceux qui comptent sur la scène artistique de Los Angeles
soit des centaines de gens. Personne ne veut rater l’évènement : une telle
fête est rare par ici, surtout une fête aussi généreuse, sans chichi, sans liste
d’invités, sans frais d’entrée, où tout le monde peut se bourrer la gueule…
Cette soirée, sans que l’on s’en rende compte, marque le début d’une nouvelle ère.
Exactly one dozen big, bright, manicured canvases manage to make the
warehouse feel full. 356 Mission Road opens in 2013 with “Twelve Paintings
by LO,” free tacos, several kegs of free beer, plenty of free mescal, and
just about everyone you can think of in the Los Angeles art scene is here—
hundreds of people—who would miss it—parties this big are rare here, more
rare still one so unpretentious and generous, with no guest list or cover
charge or anything, and everyone is getting shitfaced, and why not—maybe
we don’t quite realize it—but tonight is the start of a new era. The warehouse
rented by LO’s New York gallerist, GB, will turn into an independent outpost
soon enough, in collaboration with WY, who will open Ooga Booga #2 in
the front room. For now the space is equal parts pop-up, squat, and rave.
Meanwhile, love them or hate them, nobody knows what to do with these
giant photoshop-inflected paintings of grids and classified ads and blownup, iridescent worms of paint—not at this early stage, anyway—and besides,
we are all getting drunk on GB’s booze...
L’entrepôt loué par GB, galeriste new yorkais de LO, ne tardera pas à se
transformer en avant-poste indépendant – en collaboration avec WY, qui
ouvrira Ooga Booga #2 dans la salle de devant. Pour l’instant, ça reste un
endroit à la fois pop-up, squat et rave. Quant aux peintures géantes, de
grilles et de petites annonces retravaillées au photoshop, avec leurs énormes
serpents en peinture irisée… faut-il les adorer ou les détester ? Les gens ne
savent pas quoi penser, et pour cause : ils sont tous en train de se saouler avec
l’alcool offert par GB.
Nous sommes au printemps 2015. La Night Gallery et François Ghebaly se
retrouvent dans d’énormes entrepôts. La Mistake Room a ouvert ses portes
dans un ancien bâtiment de textiles. Ibid. dispose d’une succursale à Santa
Fé, dans le vrai quartier artistique, à côté de Harmony Murphy. Hauser &
Wirth se sont également offert un bâtiment dans le coin, tout comme l’Ace
Hotel d’ailleurs. Mais, quand Mission Road se lance, le bâtiment le plus
proche, c’est un entrepôt rempli d’ateliers d’artistes, au bout du pont de la 4e
Rue à Anderson.
Au-delà du quartier officiel artistique, recouvert de graffiti, l’espace Mission
Road règne sur une zone d’entrepôts géants, que j’ai appris à connaître lors
de longues balades nocturnes à vélo, parmi les clochards qui dorment sur les
quais. Avec IJ et EW, nous cherchions le meilleur endroit pour descendre nos
cannettes de Modelo.
Mais enfin…. Ce qui compte, c’est qu’il fait nuit, les bars vont se fermer, et qu’il
reste encore du vin. Un Ecossais, qui fréquente la Mountain School, se trouve
au bout de la table. Il me tend une bouteille de rouge qu’il vient de déboucher.
J’ai perdu de vue SK et SM. Je ne me souviens plus avec qui je suis venu. Je ne
suis pas venu en voiture. J’aperçois LLC à travers la foule. Elle discute avec
HT, dont elle reprendra plus tard (après LG) le vieil atelier dans Chinatown,
avant de le perdre dans un incendie. Ce soir, HT propose de lui peindre son
portrait, ce qui semble l’emballer, même un peu trop. Bientôt, ivres tous les
deux, LLC et moi nous battons pour la première fois, en buvant une dernière
bière au bord du fleuve, près de son appartement dans la Frogtown.
J’apprends par la suite que SK est rentré avec FC, à l’arrière de son camion
avec tous ses outils, et avec je ne sais quoi encore. Il en est ressorti avec
d’énormes bleus dont il ignore l’origine. Le lendemain matin, gueule de
bois aidant, je pense deviner comment GB veut détruire l’art à Los Angeles :
en nous faisant tous picoler comme des new yorkais.
By Spring 2015 Night Gallery and François Ghebaly had moved to big DTLA
warehouse spaces; the Mistake Room had opened up in an old garment
building; Ibid. had a branch on Santa Fe in the arts district proper, adjacent
Harmony Murphy; Hauser & Wirth had bought a building in the area; and
so, for that matter, had the Ace Hotel. But when Mission Road debuts, its
nearest neighbors are a warehouse full of artist studios at the east end of
the 4th Street bridge at Anderson, another on Anderson and 6th which is
now being torn down. Past the fringes of the official, graffitified arts district,
the Mission Road space rules a zone of big warehouses which I knew mostly
from long bike rides at night, seeing bums sleeping on the loading docks, IJ
and EW and me looking for a good place to drink our tall cans of Modelo.
All of this, though, is beside the point. The point is that it’s late, things are
supposedly closing down, but there is still so much wine. A Scotsman who’s
here attending the Mountain School is manning the table. He hands me a
full, uncorked bottle of red. I’ve lost track of SK and SM. I can’t remember
who I came with. I didn’t drive. Through the crowd I see LLC talking to HT,
whose old studio in Chinatown she would later take (after LG), then lose
when the building’s wiring caught on fire. Tonight HT offers to paint her
portrait, a prospect LLC seems to like, a little too much, and soon, both of
us very drunk, having one last beer on the river path down the block from her
apartment in Frogtown, LLC and I have our first fight. Later I learn that SK
rode home in the back of FC’s truck, with all her tools and who knows what
else, and after that had a couple of big bruises that he doesn’t remember
getting. The next morning, my paranoia sharpened by hangover, I detect
the outlines of GB’s perfect plot to destroy Los Angeles art: let us all drink
like New Yorkers.
RESIDENTIAL
13/14 February 2015
RESIDENTIEL
13/14 février 2015
FLW a construit la Hollyhock House (‘maison des roses trémières’) pour AB
en 1921, sur une colline à l’est de Hollywood. Puis ils se sont brouillés, et elle
n’y a jamais vécu. Aujourd’hui c’est la ville qui s’occupe du parc, connu sous
le nom du Barnsdall Art Park, qui comprend une galerie d’art conçue par
FLW. Les gens du coin y piquent-niquent et promènent leurs chiens sur la
pelouse ouest (qui semble pousser sous les effets de l’urine), ce coin inondé de
soleil qui surplombe le siège de Capitol Records, la tour CNN, l’horizon de la
‘Century City’ et, juchée contre le sommet voisin, la Ennis House, également
conçue par FLW.
Toute la journée, les vagabonds garent leurs camionnettes et leurs chariots
en bas de la colline. Des chauffeurs de taxi se retrouvent sur le parking pour
jouer aux cartes. Ce soir, après dix ans de travaux, Hollyhock s’ouvre à la
visite pendant vingt-quatre heures.
C’est un vendredi 13. BW vient me chercher à la nuit tombée, un brin
inquiète. Nous irons à Hollyhock plus tard. D’abord, quelques visites. BW
à la prochaine exposition au Windo, une nouvelle galerie d’appartement,
qui ouvre ce soir pour la première fois. BW doit y être. Nous nous garons à
quelques centaines de mètres, puis errons dans le secteur, à côté de Wilton. Je
connais un peu l’endroit pour l’avoir traversé en me rendant vers la 10. Nous
trouvons enfin le bon endroit, au deuxième étage dans une petite cité. Les
fenêtres brillent d’un magenta cosmique.
La Windo Gallery est gérée par BZ, nouvellement installée à Los Angeles. Je
l’ai déjà croisée deux fois – chez Del Vaz à Venice, puis lors d’un vernissage
de DA à Regen Projects. Elle avait vidé son salon pour y installer une vitrine
ainsi que plusieurs dessins à l’encre par ZR, un gamin de la Valley, dont la
musique est devenue l’objet d’un véritable culte, alors qu’il avait à peine
seize ans. Ses dessins montrent de bulbeuses caricatures lysergiques des
habitants de la Valley : un type avec des pupilles serpentines et une langue
fourchée, qui porte un chapeau de Monster, cette boisson énergétique ; un
‘washout’ new-age aux yeux de biche, chez Starbucks; une cougar dans un
débardeur noir, en train de charger son chariot de gourdes phalliques…
Des sculptures bizarres, humides et cristallines, recouvrent le bar dans la
cuisine. La bière est bien fraîche. Une machine à fumée et quelques plantes
tropicales s’entassent dans la salle de bains sous une lumière violette, à côté
d’un autre dessin, à peine visible.
Nous prenons congé et roulons vers le sud, vers West Adams, où KR et JZ,
pendent la crémaillère. Ils viennent de se fiancer et de s’acheter une maison
victorienne, avec cour arrière, vestibule, et assez d’espace pour qu’ils aient
chacun leur atelier. Deux mauvais poètes déclament au salon. Je les écoute
depuis la halle d’entrée. SM débarque en pleine forme, avec H, son jindo
bâtard, qui se bagarre avec d’autres chiens. Du sang coule. SK et MH sont
là, tout comme MR et RJ. Il est toujours sympa de bavarder avec de vieux
copains, mais il nous reste encore une visite à faire, donc ne nous y attardons pas.
En remontant vers le Barnsdall Art Park, la circulation sur l’avenue
Normandie est assez dense, même pour un vendredi soir. Devant nous se
trouve un gars sur une espèce de cyclomoteur maison, comme un VTT
équipé d’un moteur de débroussailleuse. Tout d’un coup il s’envole, puis
s’écrase sur la chaussée.
‘Mon Dieu !’ s’écrit BW. Elle s’arrête, appelle le 911. Je m’approche du
motard. Il gît à côté d’une berline noire, toujours casqué, mais loin de son
cyclomoteur. Il garde connaissance.
‘Ça va? Tu m’entends ?’
‘Mon dos…’ frémit-il.
‘Comment tu t’appelles ?’
‘F_.’
‘Bon, F_, ne bouge pas! Accroche-toi ! L’ambulance arrive…’
‘Peux-tu prévenir mon amie… ?’ dit-il, en essayant de montrer la poche de sa
veste. Il n’arrive pas à soulever le bras.
‘Plus tard, hein ? Essaie de ne rien bouger. Respire…’
Sa roue avant, écrasée, s’est détachée. A quelques mètres de là, je remarque
un trou dans la chaussée, grand comme une chaussure d’homme, dont il
empreint la forme.
‘Toujours là, F_?’
‘Ouais.’
‘Bon. Respire. Les secours arrivent….’
L’ambulance et une voiture de police arrivent en même temps.
‘Qui est-ce ?’
‘Il s’appelle F_.’
‘Vous le connaissez ?’
‘Non.’
Le paramédical se penche, prend le relais. Nous donnons nos noms au flic.
Pendant ce temps, deux femmes sortent d’une maison voisine et s’approchent
de la berline.
‘Que s’est-il passé ?’ demandent-elles. Un agent le leur explique.
‘A-t-il frappé ma voiture?’ dit l’une. ‘A-t-il endommagé ma bagnole?’
Au nord sur la Normandie, puis vers l’est sur la Hollywood. La circulation est
toujours aussi démentielle. Nous nous garons dans la rue, puis remontons
vers Hollyhock à pied. Il est 2 heures du samedi matin, jour de la St-Valentin,
mais la foule reste tout aussi dense. La queue s’étend depuis l’entrée et
traverse les pins du parc Barnsdall pour atteindre le double-garage au bout
de la propriété, toujours à l’abandon.
FLW built the Hollyhock House for AB in 1921 on a hill overlooking East
Hollywood, but they had a falling out, and she never lived there. Now the
city runs the grounds, known as the Barnsdall Art Park, which include a
FLW-designed art gallery; locals picnic and walk their dogs on the tough
grass of the house’s west lawn, seemingly kept alive by urine, which offers
sunshine and sweeping views—the Capitol Records Building, the CNN Tower,
the skyline of Century City; and, against the nearby ridge, FLW’s textile-block
Ennis House. During the day vagrants park their vans and carts at the hill’s
base; cab drivers gather in the parking lot to play cards. Tonight, after a
decade of restorations, the Hollyhock House itself will reopen for twentyfour hours of tours.
It’s Friday the 13th. BW picks me up at sundown. She’s a bit anxious. We’ll visit
the Hollyhock later—but first, a couple of social calls. BW has the next show
at Windo, a new apartment gallery, and tonight is their first opening—so
she had better be there. We park a few blocks away and wander around
a neighborhood, somewhere off Wilton, I’d only driven past on my way to
the 10, until—on the second floor of a small complex, the windows glow a
spacey magenta—that is the place.
Windo Gallery is run by BZ, a relatively new arrival in Los Angeles, who it
turns out I’d met twice already—once at Del Vaz in Venice, another time
at a DA preview at Regen Projects. She’d cleared out her living room and
installed a vitrine and several framed ink-on-paper sketches by ZR, a kid
from the Valley whose club music as SFV Acid already had a cult following
when he was something like sixteen. His drawings depict bulbous, lysergic
caricatures of Valley dwellers—a dude with snake pupils and a split tongue
in a Monster energy drink hat; a doe-eyed nu-age washout at Starbucks; a
cougar in a black tank top loading her shopping cart with phallic gourds.
Weird, wet crystal-like sculptures cover the kitchen counter. The beer is cold.
A fog machine and some jungle plants crowd the bathroom under purple
light, and there’s a drawing in there too that you can barely see.
We say our goodbyes. Next we drive south to West Adams for KR and
JZ’s housewarming. They’re newly engaged, and they’ve bought a woodpaneled Victorian, complete with backyard and porch, and enough extra
space for them to both have studios. A couple of bad poets give readings in
the living room for the occasion; I listen from a builtin nook in the foyer. SM
shows up, in good form, with H, her Jindo mix; H, though, gets in some fights
with other dogs. Blood is drawn. SK and MH are there; so are MR and RJ. It’s
always good to catch up with old friends. But BW and I have one more stop,
and we don’t stay long.
Heading north on Normandie toward the Barnsdall Park, traffic is pretty
heavy, even for a Friday night. Ahead of us is a guy on some kind of
homemade moped, like a mountain bike rigged with a weedwhacker motor.
We watch him fly off the bike into the road.
“Oh my god,” says BW. She stops the car.
BW calls 911. I walk over to the rider; he’s supine beside a parked black sedan,
thrown clear of the bike, helmet still on.
Are you ok? Can you hear me? “My back...” he says. Can you tell me your
name? “F_.” F_? Ok, F_—don’t move, ok? Just hang tight. An ambulance is
on the way...
“Can you … call my friend..?” He tries to gesture at the breast pocket of his
motorcycle jacket, but he can’t really lift his arm. There’ll be time for that
later, ok? Just try not to move. Just take steady breaths...
The front wheel of his bike is crushed and has come off the fork. A few feet
down the road I see a pothole the size and shape of a man’s shoe.
You still with me, F_? “Yeah.” Ok. Just keep breathing. There’s the siren. That’s
for you.
An ambulance and a patrol car show up at the same time.
“Who’s this?” His name’s F_. “Do you know him or something?” No. The
paramedic bends down and takes over. We give the cop our names.
Meanwhile two women come out of a nearby house, edge over to the black
sedan beside F_’s body. “What happened?” they ask. An officer tells them.
“Did he hit my car?” says one. “Did he damage my car?”
North on Normandie, east onto Hollywood. There’s still a lot of traffic, so we
park on the street and follow the road up the hill to the Hollyhock House.
By now it’s 2 AM on Saturday, Valentine’s Day, but the crowd is thick, the
line hours long, winding back from the entrance through the pine trees in
the Barnsdall courtyard and almost to the two-car garage on the property
edge, which is still a ruin.
COMMERCIAL
30 janvier 2015
COMMERCIAL
30 January 2015
Tout au sud de Chinatown, à quelques encablures de la fameuse zone des
galeries datant des années fastes du début du XXIe siècle, mais désormais
à sec, vous traversez une ligne de haies vertes, embellies par des canettes de
bière (qui n’y resisteront pas jusqu’à l’aube, tellement il y a de charognards
qui rôdent par ici), vous montez un escalier en béton, peint en rouge, puis
vous traversez une grille de sécurité en acier, avec des barres devenues roses
au soleil, et qui s’étend sur toute la longueur du deuxième étage (ce que
MS appelle la ‘cage aux singes’)… Là, enfin, se trouve un bureau, du genre
boîte à chaussures, peint en blanc comme une galerie, avec des carreaux
vert moucheté et des lumières fluorescentes, pris en sandwich entre les
studios de ses propriétaires, MS et IJ. Il s’agit de la dernière grande galerie de
Chinatown gérée par les artistes eux-mêmes : metro pcs.
At the southernmost end of Chinatown, several blocks from the storied
strip of dried-up galleries from the boom of the early 2000’s, through a
line of dark green hedges studded here and there with beer cans (in this
neighborhood they will not see the dawn, there are so many scavengers),
up some concrete stairs painted red, through a steel security grill of bars
bleached pink by the sun and that extends the length of the second
floor (what MS calls the “monkey cage”), is a shoebox-style office space
painted gallery white, with speckled green tile, exposed fluorescent
lights, sandwiched between the studios of its proprietors, MS and IJ:
Chinatown’s last great artist-run gallery: metro pcs. From the balcony
you can see, at all hours, cars and bikes and city buses careen down
Hill Street from the Civic Center, barreling through or screeching to a
stop at the intersection of Hill and Ord. On the southwest corner is the
Chinatown Public Library, on the northwest the neon-laced pagoda of
the Asian Tower mall, on the northeast the barren dirt lot still marked
by a sign for the Velvet Turtle Lounge. Below the gallery is a Vietnamese
restaurant with a sanitation grade of B. And on the building’s roof rises
a naked flagpole.
Du balcon, à toute heure de la journée, l’on voit des vélos et des bus qui
partent du Centre Civic pour descendre Hill Street, fonçant à travers le
croisement des rues Hill et Ord (voire s’y arrêtant avec fracas). Au coin sudouest se trouve la bibliothèque publique de Chinatown ; au nord-ouest, la
Asian Tower, centre commercial avec sa pagode entubée de néons ; au nordest, un lotissement en terre battue, toujours avec son panneau vantant les
mérites du Velvet Turtle Lounge.
Sous la galerie se trouve un restaurant vietnamien, classé ‘b’ au niveau
sanitaire. Un mât sans drapeau se dresse sur le toit de l’édifice.
Je me pointe au milieu d’une performance de CAAST, troupe danois. Je vois
à travers la foule un danois barbu, debout, immobile, qui s’éclate au jazz. Un
deuxième danois lui tourne autour, comme un derviche au ralenti ; pendant
qu’un troisième tourne autour du second, comme la lune autour de la terre,
voire comme la terre autour du soleil. AF s’accroupit et s’occupe du son.
Les barreaux sont humides. Je grimpe à travers la trappe, jusqu’au toit de
l’immeuble. Le toit, qui s’affaisse, est bourré de matériel. Des décennies de
grabuge peu esthétique, puis des réparations à l’emporte-pièce, se vitrent
de l’eau de pluie suite à une averse dans la journée. Nous enjambons des
conduits et des tuyaux pour atteindre le devant de l’immeuble, là où le mât de
drapeau surgit de la façade, au-dessus d’un petit sceau oval – deux vestiges
de l’époque où la galerie servait de consulat cambodgien… jusqu’à ce que le
Consul quitte sa famille américaine pour une femme cambodgienne, suite à
quoi le consulat ferma ses portes.
Je suis MS et NK vers la porte d’accès à l’arrière du bâtiment. NK nous éclaire
le chemin avec son iPhone. Des centaines de rouleaux de papier hygiénique
s’entassent dans l’escalier mal éclairé. En haut des marches se trouve
une échelle métallique, qui mène vers une trappe dans le toit. MS monte
le premier, puis NK. Je fourre une cannette de PBR dans la poche de mon
manteau, puis monte à mon tour. Avec prudence. Avec précaution.
La performance de CAAST se termine. La foule se déverse sur le trottoir
pour l’acte suivant : la levée d’un drapeau conçu par les artistes JM et NK. Il
n’y a pas de vent. Alors NK jette le drapeau vers le haut, pendant que MS le
hisse juste assez pour que les gens d’en-bas le voient. Cela ne suffit pas. Le
drapeau pend mollement pendant quelques minutes, jusqu’à ce que NK le
redescende, puis le rattache à l’intérieur de la grille rose sur le balcon. Il y
a une image en tissu blanc, d’un fœtus sur le dos, cousue sur une carte des
Etats-Unis au-dessus d’un fond rouge, légèrement brillant. Les hommes se
tuent parce qu’ils n’arrivent pas à s’aimer, voilà le titre du drapeau.
De l’autre côté de la rue, une femme adossée au mur de la bibliothèque nous
hurle à tous (quoiqu’à personne en particulier) ‘VOUS QUI VIVEZ LADEDANS, C’EST UNE MAISON DE REPOS ILLEGALE ! UNE MAISON
DE REPOS ILLEGALE !’
Elle menace d’appeler les flics. A_, de CAAST, traverse la rue. Naïf, il pense
pouvoir la raisonner. Impossible d’entendre ce qu’il lui dit, mais voilà sa
réponse qui fuse :
‘JE NE VEUX PAS VOUS PARLER ! DEGAGEZ !’
Le mur d’une galerie trop éclairée, une plaque de verre, un seau à glace, de la
bière peu chère, des amateurs d’art, un drapeau, les barres d’acier… La nuit
est tombée sur Chinatown.
I show up about midway into a performance by Danish art troupe
CAAST. Through the plate-glass storefront, between the backs of the
crowd, I watch a bearded Dane standing still and making jazz hands to
a twinkling piece of music; a second Dane turns around him like a slowmotion dervish; a third orbits the second—the Moon around the Earth,
the Earth around the Sun. AF crouches on the floor, tweaking the sound.
I follow MS and NK around the back of the building to the access door.
NK lights the way with his iPhone. Hundreds of rolls of toilet paper are
stacked in the dark staircase. At the top of the stairs is a metal ladder
leading to a hatch in the roof. MS climbs up first, then NK. I stuff a
PBR in my coat pocket and climb. Extra careful. Very careful. The rungs
are damp. I climb up through the hatch and onto the building’s saggy,
equipment-studded roof. Decades of unaesthetic gear and patch jobs
are glazed with rainwater from a shower earlier that day. Stepping over
conduits and pipes we reach the front lip, where the flagpole juts up over
the building, above, on the facade, a small oval seal—both remnants of
the days when the gallery was the Cambodian consulate. Those days
ended, supposedly, when the diplomat left his American family for a
Cambodian woman, and the consulate closed.
CAAST finishes up. The crowd spills out onto the sidewalk for the next
act: the raising of a flag designed by artists JM and NK. There’s no wind
tonight, so NK tosses the flag upward as MS hoists, just enough for folks
below to catch a glimpse of the design. Not good enough. The flag
hangs limply for a few minutes until NK brings it down and ties it to the
inside of the pink grating on the balcony. There in clear view is an image
of a fetus on its back, cut from white cloth, sewn on a solid blue map
of the United States, above a slightly glossy red ground. “Men Kill Each
Other Because They Can’t Love Each Other,” is the flag’s title.
From across the road a woman slouched against the library wall yells
at us—at all of us—at no one in particular: “ARE YOU LIVING IN THERE?
THIS IS AN ILLEGAL REST HOME! THIS IS AN ILLEGAL REST HOME!” She
threatens to call the cops. A_ from CAAST walks across the street. He
has the naïve idea that this woman can be reasoned with. We can’t
hear what he says, but her reply is clear. “I DO NOT WANT TO TALK TO
YOU RIGHT NOW! GOODBYE!”
The gallery wall, the overlit gallery, the plate glass, the bucket of ice and
cheap beer, the art crowd, the flag, the steel bars, the Chinatown night
and its citizens.
Blake Byrne
Blake Byrne, dedicated collector, philanthropist, and retired broadcast executive, has been collecting in earnest since 1988.
On the advice of a long-time friend, mentor and gallerist in New York, Byrne went to Art Basel that summer and left with his
first cutting-edge contemporary purchases, including works by Marlene Dumas, Juan Muñoz, Cristina Iglesias, Richard Tuttle,
Mario Merz and Martin Disler.
From there, he has built a collection that is both expansive and focused, maintaining strong commitments to certain artists
including Marlene Dumas, Martin Kippenberger, Rita McBride, Dirk Bell, Juan Muñoz, Richard Tuttle, Thomas Scheibitz, Philippe
Decrauzat and many Los Angeles based artists including Marnie Weber, Ry Rocklen, Analia Saban, Iva Gueorguieva, Jim Shaw,
Mark Bradford, Mike Kelley, Alexander Kroll, Richard Hawkins….
Byrne has been an integral part of the continued growth and development of the Museum of Contemporary Art, Los Angeles and
The Nasher Museum at Duke University, his alma mater and a strong support of the Parisian art scene,his favorite European City.
In 2005, Blake Byrne made a promised gift of major works of art to MoCA—the largest private donation in the history of
the museum and in 2015 he made a similar promised gift to Duke University.
Byrne’s passion for art is paralleled by his passion for philanthropy. In 1995, he founded The Skylark Foundation, a philanthropic
family foundation that is committed to encouraging innovation, striving for social justice and supporting diversity.
"L.A. – La combinaison gagnante"
"L.A. A Winning Combination"
Votre décision de monter à Paris cette exposition d’artistes de Los Angeles,
Bloody Red Sun of Fantastic L.A., est très excitante ! Tellement d’Européens
considèrent toujours New-York comme le centre de l’art contemporain aux
Etats-Unis – mais vous êtes bien mieux informés. Los Angeles, c’est là que ça
se passe dans le monde de l’art contemporain d’aujourd’hui !
It’s very exciting to know that you have decided to have an exhibition of
Los Angeles artists in Paris with « Bloody Red Sun of Fantastic L.A. ». So
many europeans still look at New York as the center of Contemporary art
in America but you know better. Los Angeles is where it’s at today in the
contemporary art world.
Pourquoi cela est-il vrai, et comment cela est-il arrivé ? Quand vous avez
une liste de 75 artistes émergents, qui vivent tous dans la même ville,
cela en dit long, car il y en a des centaines d’autres qui ne figurent pas sur
cette liste. Et quand je parle d’artistes émergents, il ne s’agit pas d’artistes
ayant déjà émergé, tels Mike Bradford, Mark Grotjahn, Jack Pierson, Barbara
Kruger, Cathy Opie, Betye Sarre et beaucoup d’autres.
Why is that true and how did that happen ? When you have a list of 75
emerging artists and they all live in the same town, that says something
right there because you left several hundred off the list. And when we say
emerging artists, we aren’t talking about the artists that have already
emerged like Mike Bradford, Mark Grotjahn, Jack Pierson, Barbara Kruger,
Cathy Opie, Betye Saar and many others.
Comment en est-on en arrivé là ? A mon avis, c'est parce que nous avons
les meilleures écoles d’art de la planète : UCLA, OTIS, UC Irvine,
UC Riverside, Cal Arts, la Claremont Graduate School, l’Art Center…
Extraordinaire, n’est-ce pas ? Par ailleurs, beaucoup de nos plus grands
artistes y enseignent – donc l’attrait de Los Angeles, ce n’est pas seulement
son climat magnifique ! C’est toute une ambiance intellectuelle qui aurait
hissé Los Angeles au sommet. Bon, je pense quand même que la météo y est
pour quelque chose, vu que les précédentes villes au sommet se nomment
Londres, New-York ou Berlin….
So how did this happen ? It is my impression that this happened because
we have the finest art schools of anywhere on the planet; UCLA, OTIS, UC
Irvine, UC Riverside, CAL ARTS, Claremont Graduate School and Art Center.
How extraordinary is that ? And many of our leading established artists are
teaching in these institutions, so it is more than just the fantastic weather.
It is the intellectual atmosphere that has brought Los Angeles to this apex.
Though I’m sure weather has something to do with it, since the last leaders
of the pack have been London, New York and Berlin !
Depuis toujours, les artistes se retrouvent pour partager leurs idées, créer
de nouvelles tendances et de nouvelles formes de communication. Ainsi,
si vous commencez quelque chose, d’autres vont suivre. Et si vous offrez
les meilleures écoles, les meilleurs étudiants arrivent et en profitent,
intellectuellement stimulés, ils s’y installent… voilà une combinaison
gagnante !
Combien de temps ceci va-t-il durer ? Qui le sait ! Mais vu l'importance
et l’ampleur du phénomène, cela peut durer des décennies. N’oublions pas
que Los Angeles se situe sur la côte ouest des Etats-Unis. Les prochaines
terres d’accueil s’appellent le Japon et la Chine….
Je ne suis pas un expert, mais j’aurais tendance à croire que les Chinois
et les Japonais profitent de Los Angeles autant que les Européens.
Félicitations, donc, d’avoir alerté Paris et l’Europe à la scène artistique de
Los Angeles !
John Sonsini
Blake, 2005
Oil on canvas
72 x 60 in
Collection of Blake Byrne
Enfin, pour terminer, je voudrais citer l’ambassadeur de la France
aux Etats-Unis qui, en visite à Los Angeles il y a quelques années,
aurait déclaré ‘combien il est agréable de se trouver à Los Angeles,
capitale mondiale de l’art contemporain.’
Artist throughout history have tended to group together to share ideas and
create new trends and new forms of communication. So when you start
something, others follow. And if you start with best schools and then best
students come here, enjoy, and can afford living here, and at the same time
are intellectually stimulated, that’s a winning combination.
How long will this last ? Who’s to say, but when you have this much depth
and breadth, it could last for decades. We must not forget that after Los
Angeles, being on the west coast of the United States, the next major
landmass stopping point in China and Japan.
And though I’m no expert, my impression is that the Chinese and Japanese
enjoy Los Angeles attributes as well as Eastern and Europeans.
So congratulations for making Paris and Europe aware of the art scene in
Los Angeles.
And I might quote your ambassador from France to the United States when
he spoke on a visit to Los Angeles several years ago. He said, « it’s nice to be
in Los Angels the capitol of contemporary art world ».
table ronde
conférence
"Bloody
red sun
of Fantastic L.A.
La scène artistique émergente
de Los Angeles "
Mardi 3 Novembre à 18 heures
chez Piasa
Avec la participation de
Blake Byrne - collectionneur & René-Julien Praz - Commissaire indépendant,
En présence des artistes
Dan Levenson, Ben Wolf Noam, Robert Schwan, Brian Wills, Jason Yates,
Animée par
Patrice Joly - éditeur et rédacteur en chef de 02 Magazine
Entrée libre sur inscription par email :
rsvp@piasa.fr
VENTE le lundi 9 novembre à 20 heures
PIASA 118 rue du Faubourg Saint-Honoré 75008 Paris
Téléphone : +33 1 53 34 10 10
www.piasa.fr
b l o o d y r e d s u n o f f a n t a s t i c L . A . April Street
There is no better way of approaching a work of art than to stand
before it face to face, confront it head-on, and take possession of
it. This apparently simple idea tends to be forgotten when we view a
painting. ‘It’s amazing how attractive a work can be when you look at
it intimately’ explains April Street. Her painting mirrors her personality:
seductive, intriguing and full of emotion derived from her highly
personal repertoire. Her work involves fabric, volume and technique to
create physical tension, unleashing a common appeal between the
viewer and the canvas. Her use of paint, hosiery, swimming-costumes,
papier-mâché, bronze and wood evokes skin, labour and adaptation.
‘I began as a sculptress and figurative artist’ says Street. ‘I both adore
and hate this relationship with painting, which also provokes its own
tension. I am strongly attached to beauty and romanticism in my work,
and keen to maintain this equilibrium. To my mind it reminds us how
flaky our inner fragility can be.’
01. April Street (née en 1975)
Eridanos (The Nowhere Existing), 2014
Acrylique et bonneterie couverts de nylon noir
sur contreplaqué
81 × 61 cm
Provenance : galerie Various Small Fires,
Los Angeles et atelier de l'artiste
—
Acrylic and hosiery covered with black nylon
on plywood
31.9 × 24 in
Courtesy of Various Small Fires Gallery,
Los Angeles and the artist
3 000 / 5 000 €
Cette œuvre est vendue au bénéfice de LINK
pour l’association AIDES.
This work is to be sold to benefit LINK for AIDES.
01 b l o o d y r e d s u n o f f a n t a s t i c L . A . Amir Nikravan
Los Angeles-based painter Amir Nikravan’s work fuses the logic of painting,
photography, and sculpture onto one deceptively flat plane. Using negative
space to create a positive representation of an image/object, he produces
photorealistic ‘still life’ paintings of paintings that ultimately question the legacy
of art and objecthood.
Nikravan (b.1983) has presented exhibitions of his work at ABC Berlin, Berlin,
Germany; Luce Gallery, Turin, Italy; Brand New Gallery, Milan, Italy; Greene
Exhibitions, Los Angeles, CA; Pepin
Moore, Los Angeles, CA; Jessica Silverman, San Francisco, CA; Contemporary
Arts Center, Irvine,
CA; Workspace @ Art Platform LA, Los Angeles, CA; Las Cienegas Projects,
Los Angeles, CA and Infernoesque, Berlin, Germany. He is represented by VSF:
Various Small Fire Los Angeles
ƒ 02. Amir Nikravan (né en 1983)
Untitled (Site 12), 2015
Acrylique sur toile sur aluminium
Signée et datée au dos
75 × 75 × 2,8 cm
—
Acrylic on canvas on aluminium
Signed and dated on the back
29.9 × 29.9 × 1 in
6 500 / 8 500 €
02 Photo : © Sharon Suh
b l o o d y r e d s u n o f f a n t a s t i c L . A . Alexandra Grant
Alexandra Grant’s latest body of work, Antigone 3000, is inspired by images
of the Rorschach test, and the mythical character of Antigone. Antigone, the
heroine and title of Sophocles’ ancient Greek tragedy, is a woman willing to defy
manmade law in the name of divine law, proclaiming that she “was born to
love, not to hate.” This declaration made her an important character for Grant,
who finds love the most compelling and powerful of human emotions (Grant
founded the grantLOVE project early on in her career, which raises funds for art
non-profits through the sale of her art and design). Re-imagined by writers and
artists throughout history, Antigone is an enduring symbol of opposition, and
for standing up for one's beliefs. While continuing her interest in collaboration
and writing, Grant has abandoned her signature text-based painting-style with
these new works. Instead, she employs Rorschach inkblots and geometric grids
as non-written symbols of communication. Using a “ruler” (the object) to make
her geometric patterns, and freely allowing paint to fall on the canvas to make
what she calls "stains" or “half-Rorschachs,” Grant explores her fascination with
the concept of “rules,” “rulers” (authority figures), and the role that language
and imagery play in their proliferation. Exploring these concepts without using
actual language, Grant employs the ideas behind Rorschach’s psychological
tests, which were designed to reveal a viewer’s subconscious beliefs. The
juxtaposition of the half-Rorschachs against the tidy geometric backgrounds
reminds us that life, specifically love, is a complicated, messy emotion, but
ultimately worth fighting for.
ƒ 03. Alexandra Grant (née en 1973)
Antigone 3000 (Prelude), 2015
Huile sur toile de lin
Signée, datée et titrée au dos
114,3 × 101,6 × 5,1 cm
Provenance : atelier de l'artiste
—
Oil on linen
Signed, dated and titled on the back
45 × 40 × 2 in
Courtesy of the artist
6 500 / 8 500 €
03 b l o o d y r e d s u n o f f a n t a s t i c L . A . Nick Kramer
Rooted in the formal and emulating the organic, Nick Kramer practice
metabolizes materials in ways both beautiful and virulent. In his newest work
he makes large painted styrofoam collages which he infuses with liquid resin,
causing them to break down, distort, and then harden in a new state. During
this process they boil like the toxic sludge they are; he is left with a distillation
of the paint, forms, cuts, and other decisions he has made. His personal and
intuitive ? making? process solidifies into an object that he has never seen
before, and can approach as if it were ?found.? Spanning painting, sculpture,
and collage, these works are abstract, materialist, personal, and evocative.
Like a liver full of lead or a tropical fish in a dirty ocean, he imagines them
as abject organs which slowly become what they process, creating a bizarre
superorganism that is human, color, and chemical.
Surd State comes from a body of work made by casting painted Styrofoam
collages in polyester resin. These works function as surrogate or supplemental
organs for processing and circulating material and ideas. Surd State is
a meditation on bowels made under the sign of Spiral Jetty.
ƒ 04. Nick Kramer (né en 1979)
Surd State, 2015
Résine sur feuille de métal
161,3 × 124,5 × 3,8 cm
—
Cast resin paint and foil
63.5 × 49 × 1.5 in
3 200 / 4 200 €
04 b l o o d y r e d s u n o f f a n t a s t i c L . A . Devin Farrand
My work references the everyday world while questioning the illusion of reality. In
my practice I investigate typologies associated with materials and process. The
seductive surfaces, minimal forms, and appropriation of materials create a
familiarity that has to be sought out but is not instantly recognizable. Some
forms allude to ordinary objects and are often stand-ins, others are in fact
found objects that are reinterpreted and transformed. I layer and combine
these relationships to engage the viewer in conversations that question how
we perceive our environment and the objects around us. I am not interested in
illustrating a singular idea but rather creating a setting for dialog between the
viewer and my work to exist.
05. Devin Farrand (né en 1986)
OSB to Crush 01, 2014
Panneau de grandes particules orientées, tissu
de tweed et pigments acrylique
Signé et daté
95 × 50,2 × 6,4 cm
—
Oriented strand board, tweed fabric
and acrylic pigment
Signed and dated
37.4 × 19.8 × 2.5 in
2 400 / 3 500 €
05 b l o o d y r e d s u n o f f a n t a s t i c L . A . Nathaniel Mellors
The complex relationship between language and power is a leitmotif in the
work of Nathaniel Mellors. It shows itself via absurd, funny tales that reveal a
penchant for satire and the grotesque. Mellors is recognized for his offbeat
films, but equally happy to express himself in vast installations, sculpture, film,
music, performance, collage or paint. In 2002 this versatile artist launched
Junior Aspirin Records, a non-commercial music label producing limited-edition
recordings by young musicians. He also plays bass guitar in the rock group Skill
7 Stamina 12. ‘My experience with the music world was a big plus for my artistic
output’ he explains. Mellors is based in California and his work was selected for
the Hammer Museum’s biennial exhibition Made in L.A. 2014
06. Nathaniel Mellors (né en 1974)
Neandergram (for the betterment of the species)
#9494, 2013
Photogramme couleur
61 ×51 cm
Provenance : Monitor Gallery, Rome
et atelier de l'artiste
—
Color photogram
24 ×20.1 in
Courtesy of Monitor Gallery, Rome and the artist
2 500 / 3 500 €
06 b l o o d y r e d s u n o f f a n t a s t i c L . A . Molly Larkey
Molly Larkey combines elements of language, painting, and sculpture to point
to both impossibilities of communication in our current world and an imagined
future of fluidity, movement, and the possibility of transparent meaning. Her
paintings/sculptures are informed by the idea that the basis of language, the
alphabet, becomes an agent of oppression once it becomes a fixed system.
It imagines a different basis for language, not yet as a concrete project of
revolution, but as an individual act of imaginative rebellion. For Larkey, since this
imagined language or alphabet can’t be made real, it has to be brought closer
to our field of vision through art.
Lackey's work has been featured in exhibitions at PS1 MoMA, New York; The
Saatchi Gallery, London; LACMA, Los Angeles; The Drawing Center, New York;
Horton Gallery, New York; Ochi Gallery, Ketschum; Samson Projects, Boston;
and Human Resources, Commonwealth & Council, Control Room, Post, and
Weekend, all in Los Angeles. She is represented by Luis De Jesus Los Angeles.
ƒ 07. Molly Larkey (née en 1971)
The Not Yet (Signal 16), 2015
Acier, lin et acrylique
Signé et daté au dos, en haut
144,8 × 22,9 × 53,3 cm
Provenance : galerie Luis de Jesus, Los Angeles
—
Steel, linen and acrylic
Signed and dated on the back, on top
57 × 9 × 21 in
Courtesy of Luis de Jesus Gallery, Los Angeles and
the artist
5 000 / 7 000 €
07 b l o o d y r e d s u n o f f a n t a s t i c L . A . Danny First
Molly Larkey combines elements of language, painting, and sculpture to point
to both impossibilities of communication in our current world and an imagined
future of fluidity, movement, and the possibility of transparent meaning. Her
paintings/sculptures are informed by the idea that the basis of language, the
alphabet, becomes an agent of oppression once it becomes a fixed system.
It imagines a different basis for language, not yet as a concrete project of
revolution, but as an individual act of imaginative rebellion. For Larkey, since this
imagined language or alphabet can’t be made real, it has to be brought closer
to our field of vision through art.
Lackey's work has been featured in exhibitions at PS1 MoMA, New York; The
Saatchi Gallery, London; LACMA, Los Angeles; The Drawing Center, New York;
Horton Gallery, New York; Ochi Gallery, Ketschum; Samson Projects, Boston;
and Human Resources, Commonwealth & Council, Control Room, Post, and
Weekend, all in Los Angeles. She is represented by Luis De Jesus Los Angeles.
ƒ 08. Danny First (né en 1966)
Juan, 2010
Céramique
Signée et datée
33 × 45,7 × 33 cm
—
Ceramic
Signed and dated
13 × 18 × 13 in
2 500 / 3 500 €
08 b l o o d y r e d s u n o f f a n t a s t i c L . A . John Monn
Drawing has always been the first and most immediate way I find expression.
After years of pointillism, with slow deliberate accumulation of detail, I arrived
at a new plateau with a different viewpoint. This changed the way I think about
constructing a piece. Representational works on paper with ink dots evolved
into the ammunition of testosterone-fueled suburban youth: airsoft BBs.
In this body of work plastic ammunition is aggressively arranged to form
abstractions frozen in time. Each panel has its own unique patterns and
characteristics enclosed within epoxy with the suggestion that imperfections
reach the visible surface from deeper internal depths. Each BB retains its
own origin, its own history, similar to the formation of inclusions in natural
gem crystals, and a person accumulating both physical and mental scars
throughout a lifetime.
Vivid gem-tone colors and reflective metal coatings in the Ammunition Paintings
act as internally-flawed filters to allow the viewer to actually see themselves
and their surroundings, maybe conjuring up thoughts of self-reflection.
ƒ 09. John Monn (né en 1982)
Ammunition Painting XXVII (Migration), 2015
Munitions airsofts époxydes recouvertes d'un
miroir argent, sur toile marouflée sur panneau
teinté à l'uréthane
157,5 × 157,5 cm
Provenance : The Cabin Los Angeles
—
Mirror silver coated airsoft ammunition in epoxy
on canvas over panel with tinted urethane clear coat
62 × 62 in
Courtesy of The Cabin Los Angeles and the artist
8 000 / 12 000 €
09 b l o o d y r e d s u n o f f a n t a s t i c L . A . Masood Kamandy
An interdisciplinary artist, Masood Kamandy's studio practice explores mediums
that involve the 'technical image', photographic representation, and image
dispersion. Kamandy, who was featured in dOCUMENTA (13) in Kassel,
Germany, and Kabul, Afghanistan, writes computer programs to manipulate
his digital images, a process that encourages a new level of interaction with
the photograph's fundamental numeric elements, treating this raw material
in the same manner analog photography manipulates filters and chemicals.
Experimental in nature, his practice is not about breaking down or atomizing
photography, but rather acknowledging that photography is a slippery and
indefinable reality unto itself.
Kamandy has recently been included in exhibitions at LACMA, Contemporary
Jewish Museum (San Francisco), the UCLA New Wight Gallery, The Torrance Art
Museum and Control Room (Los Angeles). He was included in the American
Photography Annual (2010, 2008), is an Art Director’s Club “Young Gun”
(2006) and has received commissions from The New York Times Magazine. He
helped found the photography department at Kabul University, Afghanistan
(2002–05) and is an arts educator in Los Angeles. His artworks are in the
permanent collection of the Los Angeles County Museum of Art and the US
State Department's Office of Art in Embassies. Kamandy is represented by Luis
De Jesus Los Angeles.
10 ƒ 10. Masood Kamandy (né en 1981)
Cherry, 2014
Tirage chromogénique
Édition 1/4
111,8 × 167,6 cm
—
C-Print
Edition 1/4
44 × 66 in
Courtesy of Luis de Jesus Gallery, Los Angeles
and the artist
8 000 / 12 000 €
b l o o d y r e d s u n o f f a n t a s t i c L . A . Amy Garofano
"Marilyn Manson, sipping iced tea on his patio, said to me, "You never wanted to
share your concept with any other gods or worshippers." Your book isn't burned
it was never written."
Amy Garofano selects forms and materials from architecture and design,
questioning the cultural conditions they articulate. By extracting these elements
from their context onto the gallery wall, she tests aesthetics and pushes against
her own taste.
ƒ 11. Amy Garofano (née en 1980)
Garden Goth, 2015
Tissu sur contreplaqué
76 × 61 × 2 cm
Signé et daté au dos
—
Fabric over plywood
30 × 24 × 0.75 in
1 800 / 2 800 €
11 b l o o d y r e d s u n o f f a n t a s t i c L . A . Josh Mannis
Josh Mannis' detailed ink on paper drawings explore the intricacies that develop
between bodies in close spaces. Each scene conveys a sense of allegory that is
neither symbolic of the artist's personal experience nor representative of moral
conventions. Mannis' characters situated within a certain crammed proximity
share a vacant gaze that at once addresses the viewer while staring straight
through them. Mannis has had solo exhibitions at Anthony Greaney Gallery,
Boston, Thomas Solomon Gallery, Los Angeles, 40000, Chicago and Small A
Projects, Portland. Mannis was included in group shows at the Suburban, Oak
Park, Illinois and Milwaukee International, Milwaukee, the Tate Modern, London,
Museum of Contemporary Art, Chicago, and the Mattress Factory, Pittsburgh.
ƒ 12. Josh Mannis (né en 1976)
You Handyman, 2014
Encre sur papier
63,5 × 57,2 cm
—
Ink on Paper
25 × 22.5 in
2 500 / 3 500 €
12 b l o o d y r e d s u n o f f a n t a s t i c L . A . ƒ 13. Josh Mannis (né en 1976)
My Roots are in the Legitimate Theater, 2014
Encre sur papier
63,5 × 57,2 cm
—
Ink on Paper
25 × 22.5 in
2 500 / 3 500 €
13 b l o o d y r e d s u n o f f a n t a s t i c L . A . ƒ 14. Josh Mannis (né en 1976)
No Contract, No Work, 2014
Encre sur papier
63,5 × 57,2 cm
—
Ink on Paper
25 × 22.5 in
2 500 / 3 500 €
14 b l o o d y r e d s u n o f f a n t a s t i c L . A . Peter Harkawik
Peter Harkawik is an artist working in sculpture and photography. He creates
objects with the problem solving acumen of a seasoned engineer. Adopting
techniques from industrial design and strategies from corporate branding, his
practice is not constrained by craft, but is defined by an unending chain of
information. While each decision has been made through precise calculations,
they have been unified not by a singular logic but rather a lyrically anecdotal
structure that confronts our personal desires.
15 Peter frequently explores themes of visual perception and intersubjective
communication, often drawing from the fields of architecture. Writing in the
New York Times, Roberta Smith described him as "a younger sort-of painter
who favors decals on clear vinyl. » His works engage a concept of time and
longitudinal art practice via his subtle and complex works that are equally
visually perceptive and intersubjectively communicative. Additionally, his
works often explore the concept of Critical Regionalism, or the propensity for
Western culture and Modern architecture to colonize space, as theorized by
the architect and critic Kenneth Frampton. He graduated from the University
of California, San Diego and Yale University School of Art.
in 2013, he co-curated exhibitions with Laura Owens at Night Gallery in Los
Angeles and at Gavin Brown's enterprise and Venus Over Manhattan in New York.
ƒ 15. Peter Harkawik (né en 1982)
Control Group (Pinwheel), 2015
Crayon sur tirage jet d'encre découpé
Signé, daté et titré au dos
53,3 × 69,9 cm
—
Pencil on cut inkjet print
21 × 27.5 in
1 800 / 2 800 €
b l o o d y r e d s u n o f f a n t a s t i c L . A . Keith Varadi
Poet, painter, writer, performer, and curator, Keith J. Varadi born in 1985 lives
in Los Angeles. Best known for his paintings created without the use of a
paintbrush. In what he calls “oil and canvas” works, Varadi makes an initial
painting, immediately stretches an additional raw canvas over the painting,
and then uses the resulting imprint as a base for the final piece. Varadi is
influenced by the artists John Baldessari, David Reed, and Sol LeWitt, and is
inspired by the surprising outcomes that materialize from controlled systems.
In addition to his painting practice, Varadi is a cofounder of the artist collective
Picture Menu and is the associate director of Greene Exhibitions in Los Angeles.
What is my work about?
" Anecdotes of antidotes; i.e. temporary pain relief. Basketballs dribbling like
saliva from an addict?s mouth. Cars hugging other cars on state highways.
Dead skin in the summer sun. Eradicating misguided antagonism. Freedom,
according to America. Gangsterism in the biblical sense. Hope as a four-letter
word. Ignorance, excavated. Jason as a form of premeditated nostalgia. Keith
as a form of humble narcissism. Luxury as a form of anarchy. Man, anarchism
is depressing. No, depression is anarchic. Oh my god, I am so ignorant. Quixotic
is an overused word, or at least in most instances. Really, Kafkaesque is probably
the most overused word among my peer group. Sifting through ethical quarries.
Trying to take a stand. Universal codes do not exist. Varadi is a castle; no, it?s
a hologram. Weathered internal compass. X-acto knives slicing particles, deaf
and blind. You don?t have to do this anymore. Zero is just an infinite link."
— Excerpt of Varadi's statement in Rema Hort Mann Foundation
16. Keith Varadi (né en 1985)
Tarasov, 2015
Huile sur toile
122 × 91,5 cm
Provenance : Brand New Gallery, Milan
—
Oil and canvas
48 × 36 in
Courtesy of Brand New Gallery, Milan
and the artist
5 000 / 7 000 €
16 b l o o d y r e d s u n o f f a n t a s t i c L . A . Evan Nesbit
Highly influenced by phenomenological philosopher Maurice Merleau
Ponty, Evan Nesbit (born 1985) harnesses philosophical investigations
of human perception to address issues within image making in an effort to
not only exist as an object, or momentous glance, but as an invitation for
a suspended visceral exchange.Evan is known for his contemporary color
field paintings, tactile compositions, and large-scale color works. He readily
takes advantage of the kinetic potential of organic forms and explores the
overlap of patterns and experiences that structure and surpass one's vision.
Among his creations, Nesbit is best known for his works on burlap that challenge
the traditional bounds of painting, thus capturing performative gesture
via his textured surfaces. These works describe a sexual energy in their tactility
and sense of movement. Nesbit holds an MFA from Yale University and a BFA
from the San Francisco Art Institute.
ƒ 17. Evan Nesbit (né en 1985)
Proposity (Steal Softly Thru Snow), 2015
Acrylique, teinture et toile d'emballage
106,7 × 91,4 cm
Provenance : galerie Roberts & Tilton, Los Angeles
—
Acrylic, dye and burlap
42 × 36 in
Courtesy of Roberts & Tilton Gallery, Los Angeles
and the artist
6 500 / 8 500 €
17 b l o o d y r e d s u n o f f a n t a s t i c L . A . Ben Wolf Noam
Though his paintings pay homage to the landscape and art history of Southern
California, Ben Wolf Noam developed the process for his signature foliage
paintings while on the East Coast. Newly graduated from the Rhode Island
School of Design, he began pulling ivy from the walls of his Brooklyn home
and transposing it onto paintings to signify the struggle between weed and
architecture. Nowadays, Noam collects foliage from the Los Angeles River, an
ecosystem famously strangled and stunted by concrete. He lays his findings
out on a canvas, which he sprays with color gradients that evoke the visual
language of digital image making, layering masks so that the flora creates
imprints. In his exhibitions, Noam stretches out his two-dimensional images
into columns, geodesic domes, and other architectural forms. Noam’s latest
work, inspired by the Dadaist tenet of simultaneity, blends his paintings with
richly detailed photographs of rush-hour traffic on LA’s freeways.
ƒ 18. Ben Wolf Noam (né en 1987)
April DTLA Rush Hour, 2015
Acrylique, dispersion de pigments et encre UV
sur toile
198,1 × 127 cm
—
Acrylic, Pigment dispersion, and UV Ink on canvas
78 × 50 in
7 000 / 9 000 €
18 b l o o d y r e d s u n o f f a n t a s t i c L . A . Benjamin Barretto
Chandelier Sandals is part of an ongoing series which Barretto refers to as
‘Painting Paintings’. For these oil paintings, multicolored dots of paint are spread
across two canvases and the surface of each canvas is repeatedly stamped
against the other. This action is repeated until an even layer of coverage is
achieved – reading as a color gradient. He then uses the corner of one canvas to
draw into the surface of the other, interrupting the gradient with several marks
and revealing the original dots of solid color.
These rhythmic gestures reference the paintings’ method of creation and bring
to mind Barretto’s video works, which themselves investigate the act of painting
as a performance.
ƒ 19. Benjamin Barretto (né en 1985)
Chandelier Sandals, 2015
Huile sur toile
71,1 × 45,7 cm
—
Oil on canvas
28 × 18 in
2 500 / 3 500 €
19 b l o o d y r e d s u n o f f a n t a s t i c L . A . Peter Wu
Intuitively shifting between painting, video and sculpture, Peter Wu’s work
interrupts and expands a subject’s meaning to arrive at a space between its
past self and renewed potential. In his latest body of work, Wu repeats and
fractures a production still from “Return of the Fly” (1959). Repurposing an
image from the film, and its repeated silhouette expressed in rubbings taken
from impressions of found objects, he questions how memory and history can
be reconstructed through multiple representations. In his upcoming exhibition,
“The Rise of the Fly,” the paintings will merge with a sequence of video
projections creating an abstract sequel to the original “The Fly” trilogy.
ƒ 20. Peter Wu (né en 1976)
The Fly XXI, 2015
Encre et acrylique sur toile
96,5 × 71,1 cm
Provenance : Greene Exhibitions, Los Angeles
—
Ink and acrylic on canvas
Signed, titled and signed on the back
38 × 28 in
Courtesy of Greene Exhibitions, Los Angeles
and the artist
2 000 / 3 000 €
20 b l o o d y r e d s u n o f f a n t a s t i c L . A . David Hendren
I often use the vocabulary of sound to describe what I'm doing with an artwork.
I see my work deconstructed through the gestures that made it, imbuing it
with an active element of time more associated with sound. While the actual
gestures are not sound related, the conceptual framework for those gestures
lies in a visualized sound phenomenon. For example, I've employed feedback,
chance composition, and improvisation as strategies for making paintings
and sculptures. These methodologies form systems of composing the multiple
layers within each work.
The result is an artwork of layered visual vocabularies. Figurative elements
temper the work's modernist overtones, and conversely, abstraction dilutes
the emotive pull of figuration. Tight control clashes with a free gesture. The
rubbing of these disparate vocabularies speaks to negation, a flattening of
conventional hierarchies. This oppositional structure conceives the work.
ƒ 21. David Hendren (né en 1978)
Drift Painting with Standing Figure, 2015
Encre, tempera, émail et tissu sur toile
177,8 × 134,6 cm
Provenance : 5 Car Garage Art Project,
Santa Monica
—
Ink, tempera, enamel and fabric on canvas
70 × 53 in
Courtesy of 5 Car Garage Art Project,
Santa Monica
6 000 / 8 000 €
21 b l o o d y r e d s u n o f f a n t a s t i c L . A . Kristin Calabrese
Kristin Calabrese, Caitlin’s Floor Plus Words, 2012
This is a painting of rearranged paint splatters on Caitlin Lonegan’s studio floor
with stream of consciousness words, rants, jokes, lists and overheard snippets
painted over it. The painting was the result of the artist’s interest in both
shifting the color of her palette and making paintings that look abstract yet
have rendered light, texture and space (thus needing some sort of basis in
observation).
ƒ 22. Kristin Calabrese (née en 1968)
Caitlin's Floor Plus Words, 2012
Huile sur toile
97 × 78 cm
Provenance : galerie Brennan & Griffin
—
Oil on canvas
38 × 31 in
Courtesy of Brennan & Griffin Gallery, New York
and the artist
7 500 / 8 500 €
22 b l o o d y r e d s u n o f f a n t a s t i c L . A . Ruben Ochoa
Ruben Ochoa is best known for his dramatic sculptural installations that invite
the viewer to re-think the existing environment and question their surroundings.
His objects are re-evaluations of objects and materials that can easily be glossed
over as mundane or merely pragmatic: concrete freeway walls, wooden ladders,
ficus trees. In recent years, Ochoa has made a return to painting in his practice
as a way to continue his exploration of the vocabulary of minimal, post-minimal,
and land art. Each series of paintings is a permutation of the artist’s explorations
of volumetric space, relative space, and figure-ground relationships. Rendered on
small areas of large, untreated linen; painted with latex house paint and foraged
gravel; or literally composed from rust, the paintings, like Ochoa’s sculptures,
emphasize “inappropriate” or unexpected approaches to materials.
Ruben Ochoa graduated from the University of California, Irvine, with an MFA
in 2003. Last year, his monumental sculpture, “Flock in Space,” was featured in
the exhibition, “Nasher XCHANGE: 10+ Celebration,” curated by Jeremy Strick at
the Nasher Sculpture Center, Dallas, TX. In 2014, Ochoa had a solo exhibition as
part of the Wadsworth Atheneum’s prestigious MATRIX program, and in 2013 he
exhibited work alongside B.J. Vogt for the inaugural exhibition of Duet St. Louis,
curated by Daniel McGrath and Dana Turkovic. His work has also been featured in
solo exhibitions at Locust Projects, Miami, FL; the Museum of Contemporary Art
San Diego, CA; at the Charles H. Scott Gallery at Emily Carr University, Vancouver,
British Columbia, Canada; and at SITE Santa Fe, Santa Fe, NM. Group exhibitions
include “The Artist’s Museum: Los Angeles Artists 1980-2010”, at the Geffen
Contemporary, MOCA, Los Angeles; “The Future Generation Art Prize @ Venice”
Pinchuk Art Centre, Venice, Italy; the 2008 Whitney Biennial, Whitney Museum
of American Art, New York, NY; and exhibitions at the Los Angeles County
Museum of Art, Los Angeles, CA; Miami Art Museum, Miami, Florida; Instituto
Cervantes, Madrid, Spain; Haubrok Foundation, Berlin, Germany; The Center for
Contemporary Arts, Tel Aviv, Israel; and the 2004 California Biennial at the Orange
County Museum of Art, Newport Beach, CA, among others. He was received a
John Simon Guggenheim Memorial Fellowship in 2008 and was nominated for
the Pinchuk Art Centre’s Future Generation Art Prize in Venice, Italy in 2011.
23 ƒ 23. Ruben Ochoa (né en 1974)
Dreaming of the People, 2015
Rouille sur toile de lin
45,7 × 61 cm
Provenance : Susanne Vielmetter Los Angeles,
LLC et atelier de l'artiste
Un certificat d'authenticité sera remis à l'acquéreur
—
Rust on linen
18 × 24 in
Courtesy of Susanne Vielmetter Los Angeles
Projects, LLC and the artist
A certificate will be provided
12 000 / 18 000 €
b l o o d y r e d s u n o f f a n t a s t i c L . A . Jennifer Boysen
Jennifer' s works, though technically monochromes on canvas, feel less like
paintings and more like substantial objects, even strange totems. The canvases
stretch over supports that remain unknown to the observer, and the surfaces
are full of protuberances, notches, slopes and dips. These anomalies usually
come in patterns and can be arranged symmetrically, giving the impression
that the background is articulate and whole before it receives its covering. One
background might be an IKEA winerack (best guess); another may be an upsidedown plastic storage palette. Like good sculptures, how Boysen’s paintings look
from the front seems to have little to do with how they look from the side.
All these details collect into an air of mystery—each work a different ghost in a
sheet—and the effect is only increased by how delicately and intensely. Boysen
covers the canvases in soft, egg-tempera-based paint. Her browns are creamy,
bright and deep. Her greys have the ancient feel of slate. Her black might best
be paralleled with staring into the maw of a cavern. Boysen applies the paint
over and over until the labour becomes seamless with the surface and nearly
disappears. The end products look as effortless and assertive as an Ellsworth Kelly
painting or a late-in-the- day shadow.
ƒ 24. Jennifer Boysen (née en 1976)
Untitled, 2015
Tempéra et pigments sur toile
Signée au dos
102,9 × 76,2 × 3,9 cm
Provenance : galerie Cherry and Martin,
—
Tempera and pigment on canvas
Signed on the back
40.5 × 30 × 1.5 in
Courtesy of Cherry and Martin Gallery,
6 000 / 8 000 €
24 Photo : © John Ingiaimo
b l o o d y r e d s u n o f f a n t a s t i c L . A . JPW3
Patrick Walsh, the artist otherwise known as JPW3, looks like he should be in a
cologne ad or modeling Speedos. He's the kind of good looking that makes you
check your breath or admire your shoelaces when he glances your way. All long
limbs, dark hair, dark eyes, scruff and symmetrical angles. Then he opens his
mouth. What emerges is a mellow, good-natured, sensitive dude. The kind of
dude that vocalizes apprehension about walking through the community mural
garden of a nearby housing project, happily accepts a purple button that reads
"Capitalism is Fucking the Queer Out of Us," and pins it to his shirt, admits that
he first wanted to be a writer, and still writes, and offers to buy a reporter lunch,
because he is generous and polite. A bit like, a high school guidance counselor
hoping to meet you at your level. There is something both comforting about
Walsh's work to anyone who has spent time in museums discovering pop art.
The moment formalism was replaced by conceptualism the rules as a viewer
were turned upside down. Staring for instance at Jasper John's "Flag" at the
Met, one wondered what new and exciting things the world of culture had to
offer. It's this feeling that the work strikes to invoke, a new sense of wonder.
It's as if Walsh references each moment the pop world transformed, bringing
them together on his own terms, mapping a twenty-first century crash course
in radical moments of conceptual rupture. The moment the kernel alchemizes
into something new.
Excerpts from an interview by Nikky Darling
ƒ 25. JPW3 (né en 1981)
I.T., 2015
Transfer d'encre et pastel à la cire sur toile
50,8 × 40,6 × 2,5 cm
—
Ink and pastel transfer with wax on canvas
20 × 16 × 1 in
Courtesy of and the artist
4 500 / 6 500 €
25 b l o o d y r e d s u n o f f a n t a s t i c L . A . Amalia Ulman
Amalia Ulman, a self described "transatlantic expat", lives and works in Los
Angeles, London, New York and Gijon. She observes a worldwide globalized
style reflective of a society moving toward equalization and uniformity in which
the non-identical is suppressed. "So we've all become tourists and our office is
Starbucks." The notions of beauty and loveliness are central to Ulman's practice.
Flowers, butterflies, hearts and latte art reoccur in her visual imagery. Ulman now
includes plastic surgery and the agony that precedes such searches for beauty.
Her continuing focus to highlight the growing unequal economic realities and
attempts to replace happiness with consumerism is evidenced in the above
tapestries. In a world where life has become a commodity, she exposes the
obscenities of contemporary marketing in her new film, International House of
Cozy, which debuted in her solo exhibition at Showroom MAMA. This film, which
she wrote and stars porn actors, takes her research into the boundaries of
authenticity and consumerism to its extreme. The film's title refers to a feeling
of coziness and 'home' as marketed through lifestyle blogs and websites. Ulman
is represented by ltd los angeles, Arcadia Missa and James Fuentes.
Ulman has exhibited internationally with institutions, biennials and galleries.
Ulman has been reviewed in artnet, ARTnews, Art Review, Dis Magazine, Dazed
and Confused, New York Observer and New York Times, amongst others.
26. Amalia Ulman (née en 1989)
Best Wishes 04, 2014
Best Wished 05, 2014
Best Wishes 06, 2014
Triptyque
Tirage numérique sur acrylique
149,9 × 111,8 cm
Provenance : galerie ltd los angeles
—
Triptych
Digital print face-mounted to acrylic
59 × 44 in
Courtesy of ltd los angeles Gallery and the artist
15 000 / 20 000 €
26 b l o o d y r e d s u n o f f a n t a s t i c L . A . Jesse Stecklow
Jesse Stecklow was born in 1993 in Massachusetts and currently lives and works
in Los Angeles. He is interested in building systems that mediate informational
experiences through physical and spatial forms.
"A lot of my interest has been around pursuing modes of aggregating material
or more specifically data collection, and how that might manifest and function
through a sculpture. I’ve been thinking about art objects as human-assisted
traps through which information can flow. I’m exploring mediating experiences
to varying degrees through those objects. Things are often motivated in a
reactionary way. Sometimes it’s just about an object that I feel needs to exist as
a precedent for conversation. I get a lot of pleasure out of that."
— Excerpt of K.r.m. Mooney's interview MOUSSE 48
His recent exhibitions include “Potential Derivatives,” Los Angeles (2014),
“Trios,” Retrospective Gallery, Hudson, New York (2014), and “Passive Collect”
at Chin’s Push, Los Angeles (2014), a curatorial project at Martos Gallery,
Los Angeles, summer 2015. Stecklow is also a cofounder of the design studio
Content Is Relative.
ƒ 27. Jesse Stecklow (né en 1993)
Untitled (Fly tapes: Potential Derivatives), 2015
Tirage jet d'encre monté sur un plateau en
aluminium
38,1 × 27,3 × 2,5 cm
Provenance : galerie M+B, Los Angeles et atelier
de l'artiste
—
Archival inkjet print mounted to aluminum in
chemical tray
15 × 10.7 × 1 in
Courtesy of M+B Gallery, Los Angeles
and the artist
2 000 / 3 000 €
27 b l o o d y r e d s u n o f f a n t a s t i c L . A . Kristian Burford
Kristian Burford: " When I think about a work I am thinking about how an
individual will engage with it. I don’t think of that person in terms of their place
in the art world or their place in the world in general, rather, I think of their
qualities, I imagine that they are perceptive and open to experience, I imagine
that their experience will not be distorted by insecurity or self-interest–other
than their desire to feel the pleasure of engagement. I exclusively imagine the
audience member alone with the work. I don’t think about who will own the
works–probably because I believe that what is important about an artwork
cannot be isolated to the work itself and, to that extent, cannot be bought.
It seems to me that what is valuable in art exists only in the minds of those
who experience it and, fortunately, the experience of a work of art does not
necessitate the burden of ownership. The limitations of making large sculptural
works available to a wide audience is certainly something that I have considered
but, despite these practical disadvantages, I believe that the physical presence
of the sculptural object, as a talisman of an imagined world, has a unique and
powerful potential to draw us in to that world as conscious agents."
Kristian Burford was born in 1974 at Waikerie, South Australia. He studied at the
South Australian school of Art between 1992 and 1995 earning a Bachelor’s
degree with Honors. In the four years following he taught at his alma mata in
the capacity of a tutor and exhibited in Australia including multiple museum
surveys of Australian contemporary art. He completed a Masters degree at Art
Center College of Design, Pasadena, California in 2002 where he studied under
Mike Kelley, Stephen Prina, Sylvere Lotringer and Jan Tumlir amongst others.
Since that time he has exhibited consistently in the US and Europe. Work was
included in Mike Kelley’s re-staging of ‘The Uncanny’ at The Tate, Liverpool
and MUMOK, Vienna. Other major exhibitions include A Triple Tour: Collection
Pinault at The Conciergerie, Monument Nationale, Paris. His work is represented
in the Pinault Collection, France, and the MEFIC Collection, Spain.
ƒ 28. Kristian Burford (né en 1974)
Couple Fucking, 2011
Bronze
Édition 1/5 + EA de 2015
Numéroté KB 1/5
10,2 × 22,9 × 15,2 cm
Provenance : atelier de l'artsite
Bronze
Edition 1/5 + AP from 2015
Marked KB 1/5
4 × 9 × 6 in
6 000 / 8 000 €
28 Photo : © Walead Beshty. Courtesy Paula Cooper Gallery, New York
b l o o d y r e d s u n o f f a n t a s t i c L . A . Liz Glynn
Liz Glynn’s Still Life Compositional Reconstructions draw upon fictional
narratives and still life paintings to examine the objects at the center of these
depictions, and the larger ideas about ambition and desire they represent.
The most recent series draws from objects described in short stories from
Honoré de Balzac’s The Human Comedy. Each composition is based on a
quintessential scene in which the objects depicted take on a critical role in
the narrative, revealing details of their owner’s aspirations and desires. The Red
Inn unfolds at the end of a dinner party hosted by a Parisian banker. A crystal
decanter (featured in the Still Life) at the center of the table, a porcelain basket
of fruit has been picked over, and remains of pits and peels litter the tabletop. A
German businessman tells a long story of two young French medical students
who spend the night at an inn on the banks of the Rhine, when a horrible crime
takes place in the night. The story weaves between a past recollection and
moments of recognition in the present, as those gathered around the table
begin to suspect the involvement of one of the dinner guests in the crime that
occurred years ago. The Still Life Compositional Reconstructions explore how
such objects become infused with meaning through narrative, an ongoing
interest in Glynn’s practice.
Liz Glynn creates sculptures, large-scale installations, and performances
drawing upon different historical epochs, architecture, artifacts, and literature.
Her work seeks to explore the individual agency within complex superstructures
in the face of an increasingly abstract economy. Her practice seeks to embody
dynamic cycles of growth and decay by evidencing process, encouraging
participation, and inciting future action.
ƒ 29. Liz Glynn
Still Life Composition (After The Red Inn), 2014
Bronze avec patine de nitrate d'argent
13 pièces
45,7 × 48,3 × 73,7 cm
Provenance : galerie Paula Cooper, new York
—
Bronze with silver nitrate patina
13 pieces
18 × 19 × 29 in
Courtesy of Paula Cooper Gallery, New York
16 000 / 20 000 €
29 b l o o d y r e d s u n o f f a n t a s t i c L . A . Jason Bailer Losh
Jason Bailer Losh’s works are composed of everyday materials repurposed into
wholly new objects. He uses these items and constructs them into particular
compositions, sequences and arrangements. They feel visible and familiar, yet
relate outside of their tactility and functionality. Through the artist’s hand,
common, commercial and domestic objects are exposed of their sculptural,
formal and physical dimensions.
ƒ 30. Jason Bailer Losh (né en 1977)
Tighten the Caboose, 2015
Laiton, gourde, bambou, érable, Ultracal et
ficelle
180,3 × 25,4 × 25,4 cm
Provenance : galerie Anat Ebgi, Los Angeles
—
Brass, gourd, bamboo, maple, Ultracal, twine
71 × 10 × 10 in
Courtesy of the Anat Ebgi Gallery, Los Angeles
and the artist
4 500 / 6 500 €
30 b l o o d y r e d s u n o f f a n t a s t i c L . A . Ry Rocklen
Ry Rocklen works with vintage objects that are chimerically transformed by
the artist into farcical performative objects. In his hands, abandoned debris or
kitsch is quixotically plasticized into a brand of postminimalist sculpture with
a seductive touch of bling. Mundane objects are amplified and aestheticized
when chromed or covered with mosaic tiles, producing a sculptural language
that is theatrical, absurd, and graceful—a kind of wry ornamental formalism.
A modular tiled floor made from paintings bought at thrift stores and flea
markets becomes a stage for sculptures, including a tree composed of copper
pipes, concrete, and VHS tape and a golden hay bale. In the production of
a concretized uncanny, Rocklen attempts to achieve a fantasy of material
alchemy that strips objects of their purpose and familiarity while revitalizing
their use, circulation, and value. Trinie Dalton, writing in the 2008 Biennial
Catalogue, remarked, "Ry Rocklen’s sculptures paradoxically reflect at once
a respect for the Duchampian sculptural tradition and an anarchic rebellion
against art historical constraints. Collecting cast-off objects from the streets,
dumps, or thrift stores, he doctors and assembles them into readymade
sculptures charged with an eccentric delicacy that gives them a second,
more “poetic” life. Rocklen strategically capitalizes on the viewer’s mental
and emotional associations, as Robert Rauschenberg did for his Combines, by
selecting objects as much for their cultural connotations as their form. Born in
1978 in Los Angeles, Ry Rocklen lives and works in Los Angeles. He received his
MFA from the University of Southern California, Los Angeles and his BFA from
the University of California, Los Angeles.
31. Ry Rocklen
Pink T, 2014
Céramique
33,5 × 24,5 cm
Provenance : galerie Praz-Delavallade
Paris/Bruxelles et atelier de l'artiste
—
Porcelain clay
13.2 × 9.6 in
Courtesy of Praz-Delavallade Gallery,
Paris/Brussels and the artist
4 500 / 6 500 €
31 Photo : © Aubrey Mayer
b l o o d y r e d s u n o f f a n t a s t i c L . A . Amanda Ross-Ho
My practice originates in the act of negotiating understanding-rigorously
interrogating the intimate territories and artifacts of observed experience, and
locating points of intersection with broader universal structures. By oscillating
between local and global points of view, I navigate complex totalities, and map
a connective matrix of existence and the visual world.
The work is an evolving organism and language system. My vocabulary
demonstrates a promiscuous yet devoted intimacy with form that lends to
a growing set of consistent terms regularly combined with new signifiers.
Generative operations have evolved within the system that function like
autonomous engines, allowing the work to practically make itself fueled by its
own internal momentum.
In an effort to cultivate a consistently heightened state of self-awareness, my
activity combines calculated combinations of intuitive and analytic maneuvers,
in which I play the role of both maker and observer.
The studio functions simultaneously a laboratory and a theatre, each gesture
embodying both performance and controlled experimentation. This collapse of
choreography and authentic gesture forms one of the major trajectories within
the work, resulting in reflexive forms that test the limitations of impulse and
authored activity.
The work weaves together data from a broad hierarchy of opposing structures.
Autobiographical indices and found cultural strata, monolithic architectural
forms and minute details, memory and observation, concept and indulgent
materiality. I am ultimately concerned with the holistics of form and the
overlapping ecologies of interior and exterior worlds.
The work also aims to renegotiate the contract of viewership, treating
expectation, legibility, and experience as sculptural materials and creating
metabolic tensions between the production and reception of the work. I aim
to level the hierarchy between primary and peripheral spaces, decentering
experience and aiming to promote an elevated level of attention on the part of
a viewer. This method of inclusiveness maintains an insistent connectivity to the
complicated external and interior worlds in which the work originates.
ƒ 32. Amanda Ross-Ho (née en 1975)
BLUE GLOVE RIGHT #2, 2014
Satin de coton teint extensible, acrylique, tube
de coton et armature métallique
177,8 × 106,7 cm
Provenance : galerie Praz-Delavallade,
—
Dyed stretch cotton sateen, acrylic paint,
cotton piping, armature wire
70 × 42 in
Courtesy of Praz-Delavallade, Paris/Brussels
and the artist
20 000 / 30 000 €
32 b l o o d y r e d s u n o f f a n t a s t i c L . A . Erik Frydenborg
My recent works are cryptic, human-scaled structures, loosely resembling
oversized science fiction paperbacks. They pair arcane figurative forms with
vivid, landscapeadorned monoliths.
Playing on the notion of mass market paperback design as a pastiche of
modernist styles, the sculptures also imagine books themselves as memorialized
objects. These works enshrine the traits of postwar sci-fi cover illustration—
manifold combinations of the primitive and the futuristic, of the classical and
the surreal—while conceiving of the actual book as an impenetrable enigma.
Both pictorial and dimensional, the works are dioramic hybrids of sculpture
and painting. Symmetry and simple geometry are incorporated in their designs.
Standing plinths function as backdrops for orphic figures, whose presence in
the third dimension feels tentative, in the manner of archaic votive statuary.
But instead of mimicking the reduced color of weathered relics, these works
employ the bright polychrome common to ancient sculpture at its inception.
ƒ 33. Erik Frydenborg (né en 1977)
Moons of Mirada: FG, 2015
Aluminium polychromé, écran de soie sur bois
polychromé, impression jet d'encre sur jersey
de compression
144,8 × 88,9 × 61 cm
—
Polychromed aluminum, silkscreen on
polychromed wood, inkjet on compression jersey
57 × 35 × 24 in
5 000 / 7 000 €
33 b l o o d y r e d s u n o f f a n t a s t i c L . A . Elad Lassry
Elad Lassry creates or rediscovers images from a vast array of sources,
redeploying them in a variety of media, including photography, film, drawing
and sculptures. Despite the diversity of his approach, Lassry has developed
one of the most distinctive visual idioms in contemporary art and a rigorous
practice that investigate the nature of our perception and the meaning of the
contemporary image.
Lassry describes his pictures, which are all exactly the same scale, as something
that's suspended between a sculpture and an image. The artist achieves this
through a play of virtual and actual space. The image in each picture proposes
a virtual space, while the frame, which is not a supplement to the image but
an extension for it, carves out an actual space for the object to occupy. The
image might be found - anything from a magazine snapshot to a hollywood
headshot - or photographed in studio conditions that reflect many of the
concerns of traditional still life. Lassry then deploys the image as an ambiguous,
free-floating signifier, which combines with the frame to create a new set
of conditions. This hybrid entity becomes a kind of epistemological puzzle,
engaging the viewer's perceptual faculties.
34 34. Elad Lassry (né en 1977)
Untitled (Cheetah), 2008
Édition 3/5 + 2 EA
29,2 × 36,8 cm
Provenance :
- Importante collection européenne
- Galerie David Kordansky, Los Angeles
—
C-print
Edition 3/5 + 2 AP
11.5 × 14.5 in
Provenance :
- Important European collection
- David Kordansky Gallery, Los Angeles
10 000 / 12 000 €
b l o o d y r e d s u n o f f a n t a s t i c L . A . Phil Chang
The work presented in "Bloody Red Sun of Fantastic L.A." is photographic
monochrome from 2015. I am interested in how the monochrome can insist
that the viewer confront the photograph solely as a work of art. The lack of
perspective or illusion of receding space complicate any desire to have these
photographs perform that fundamental function of the medium, depiction.
35. Phil Chang (né en 1974)
Untitled (Purple Monochrome 03), 2015
Tirage chromogénique unique
153,5 × 123,5 cm
Provenance : galerie Praz-Delavallade
—
Unique chromogenic print
60.4 × 48.6 in
6 000 / 8 000 €
35 b l o o d y r e d s u n o f f a n t a s t i c L . A . Brian Wills
From Gene Davis in the 1960s to Tim Bavington in the 2000s, stripes have been
a resilient format for abstract paintings. That's surprising, given the seemingly
limited range of possibilities of parallel straight lines on a canvas. Now, add
Wills to the list of inventive practitioners. Los Angeles-based Brian Wills makes
multimedia works that bridge painting and wall sculpture. He creates his works
by wrapping colored thread around thin strips of wood, which he then encases
in paint and polyurethane and mounts on the wall. His process has a labor
intensity that the artist associates with craftsmanship; in Will’s own words,
his works could be considered “minimal in nature” and “a bit obsessive”. The
juxtaposition of paint and thread emphasizes the surface as a physical skin.
One result is a disconcerting sense of line and color as material objects, as
something you might be able to reach out and hold in your hand. While his
compositions are frequently geometric and patterned, the simultaneously
glossy and textured surface of these works is meant to reflect light differently
depending on the position of the viewer. Brian Wills has more recently begun
to create freestanding sculpture using a similar process. His influences include
James Turrell, Pieter Brueghel, Josef Albers, and Agnes Martin.
Brian works are already in major collections :The Jarl Mohn Family Foundation,
Fundación/Colección Jumex, Dallas Price Van Breda, The Frederick R. Weisman
Foundation, The Estee Lauder Collection …..
36 ƒ 36. Brian Wills (né en 1970)
Untitled (Black and White Vertical Horizon), 2015
Huile et fil de reliure sur bois
91,4 × 121,9 cm
Provenance : galerie Gavlak et atelier de l'artiste
—
Oil and single-strand thread on wood
36 × 48 in
Courtesy of Gavlak Gallery and the artist
13 000 / 18 000 €
b l o o d y r e d s u n o f f a n t a s t i c L . A . Chris Engman
Chris Engman's photographs are documentations of sculptures and
installations as well as records of elaborate processes. The work takes the
human condition as its central theme and examines the most fundamental
of issues: the inexplicable fact of our existence, the ungraspable experience
of time, and the illusive and unknowable nature of reality. It calls attention to
our misperceptions: the gulf that exists between how we see and how we think
we see, and the inconstant and constructed nature of memory. The images
are visualized expressions of ways of ordering the world in which an illusion is
created and shattered in such a way as to allow the viewer to reconstruct the
entire process. "Logic," he says, "is a beautiful thing built upon nothing at all."
In 2013, Engman participated in “Staking Claim: A California Invitational,”
at the Museum of Photographic Arts, San Diego, and “NextNewCA” at the
Institute of Contemporary Art, San Jose, CA. He has presented solo exhibitions
at Roski Fine Arts Gallery, University of Southern California, Los Angeles, among
others. His work is included in the collections of the Orange County Museum
of Art, Newport Beach, CA; Houston Fine Arts Museum, Houston, TX; Portland
Art Museum, Portland, OR; Sir Elton John Collection, Atlanta, GA; Seattle Art
Museum, The Henry Art Gallery, and the Microsoft Collection, Seattle, WA.
His site-specific environmental installation “The Claim” can currently be seen
at High Desert Test Sites, Joshua Tree, CA. He is represented by Luis De Jesus
Los Angeles.
ƒ 37. Chris Engman (né en 1978)
Yellow Ink on Paper, 2014
Tirage numérique couleur, UV laminés
Signé, daté, titré et numéroté au dos
Édition 4/6
108 × 108 cm
—
Digital pigment print, UV laminate
Signed, dated, titled and numered on the back
Edition 4/6
42.5 × 42.5 in
and the artist
5 000 / 7 000 €
37 b l o o d y r e d s u n o f f a n t a s t i c L . A . Stuart Sandford
Since obtaining his Bachelor of Arts degree at Sheffield Hammam University
(England) in 2006, Stuart Sandford’s artistic path has led him from New York
to Berlin via Rotterdam, Rome, Madrid and Vienna. This young curator,
writer and photographer documents the gay scenes in these capitals
with passion and communicative enthusiasm, capturing their most sociologically
evocative idiosyncrasies. He took advantage of this documentation to organize
two exhibitions that earned him nascent fame. Today Sandford is continuing his
work as a photographer in Los Angeles –getting involved with, and chronicling,
the L.A. gay scene. His work unashamedly affirms his homosexuality – serenely
but with the blunt determination dear to this new generation of artists.
38 "Remove Clothes" the work included in this current exhibition translates
the spirit conveyed and shared by these emerging art scenes where artists
freely unveil, if not lay bare, their experiences in a discreetly unbridled manner.
Stuart Sandford is no exception.
38. Stuart Sandford (né en 1978)
Remove Clothes, 2010
Néon jaune sur plaque acrylique
85 × 45 × 10 cm
—
Yellow neon on acrylic slate
33.5 × 17.7 × 3.9 in
3 500 / 4 500 €
b l o o d y r e d s u n o f f a n t a s t i c L . A . Matt Lipps
If photography has not yet been completely dematerialized, it's on its way to
that point. To belabor this fact is to beat a dead horse. But the conversation
surrounding photography's mutation into a digital medium tends to focus
on the recent past—the time after the introduction of digital alternatives to
what were once analog processes—at the risk of ignoring how photography has
always been concerned with reproduction, seriality, and taxonomy.
Giving the deceased a second life is a fundamental aim of Matt Lipps, who has
always felt profoundly affected by the premature deaths of legions of gay men
at the peak of the AIDS crisis. As a teenager he had felt a deep longing for the
beautiful faces and bodies he saw in magazines and posters, and these glossy
idols would become the primary vehicle for his art. By cutting them out and
mounting them on cardboard, these lovely, vanished beings could once again
stand up and be counted – a “magical, miniature resurrection” shared with the
artist for a brief moment before being returned to what Roland Barthes (Lipp’s
guiding spirit) has called the “flat death”. Lipps’ dream-like Home series also
deals with the past and another kind of yearning: the call of the wild.
So for the past decade, Matt has made curious hybrid photo-sculptures that
simultaneously catalogue, lament, and celebrate photography's radical 21stcentury transformations. Lipps creates large-scale "stages" for cutout elements
of images from old photography publications—some of them recognizable as
the iconic photos or images of well-known artworks; others are family portraits
or other anonymous snapshots—which he arranges in three-dimensional arrays
and then re-photographs. The resulting prints combine sculpture, collage,
assemblage, and pictures generation -style seriality.
ƒ 39. Matt Lipps (né en 1975)
Travel, 2013
Édition 1/5 + 2 EA
Signé au dos
166,4 × 101,6 cm
Provenance : galerie Marc Selwyn Fine Art,
—
C-Print
Edition 1/5 + 2 AP
Signed on the back
65.5 × 40 in
Courtesy of Marc Selwyn Fine Art Gallery,
8 000 / 10 000 €
39 b l o o d y r e d s u n o f f a n t a s t i c L . A . Robert Schwan
"I work with collage, artifacts and video in the tradition of Pop Artists
from the 50’s and 60’s.
I am greatly influenced by the ‘Tabula Rasa’ that is Los Angeles.
40 I rearrange the inundation of information into my own anthropological
and mythological visions."
ƒ 40. Robert Schwan (né en 1952)
Proof of Heaven, 2012
Tirage Duratrans sur boîte lumineuse
Édition 1/4 + 2 EA
Signé, daté, titré et numéroté au dos
50,8 × 81,3 cm
—
Duratrans in lightbox
Edition 1/4 + 2 AP
Signed, dated, titled and numered on the back
20 × 32 in
3 000 / 5 000 €
b l o o d y r e d s u n o f f a n t a s t i c L . A . Paul Mpagi Sepuya
Like his fellow-photographer Stuart Sandford, Paul Mpagi Sepuya asserts
his status as a gay, and his cultural commitment within a community.
He is one of those creators who are open to the world and concerned about
their environment – men of strong convictions ready to defend their social
responsibility, as well as their identity of gender and thought. Sepuya perfectly
embodies what the New York Times calls the ‘burgeoning of gay male art.’
His images stress the relationship between the photographer and his subject.
His gift for capturing grain of skin, delicate gestures, shy glances or embarrassed
nudity reveals an empathy for others. Paul tells stories of life – with snapshots
that, over and beyond the image, portray beings of flesh and blood: passing
life, quite simply. By magnifying life, Paul Mpagi Sepuya calls on us to give
it generous celebration.
41. Paul Mpagi Sepuya (né en 1982)
Studio, February 8, 2011
Edition 2/3
35,5 × 28 cm
—
C-Print
Edition 2/3
14 × 11 in
900 / 1 200 €
41 b l o o d y r e d s u n o f f a n t a s t i c L . A . 42. Paul Mpagi Sepuya (né en 1982)
James (unfurnished Capote, after Van Vechten),
2012
Edition 2/3
35,5 × 28 cm
—
C-print
Edition 2/3
14 × 11 in
900 / 1 200 €
42 b l o o d y r e d s u n o f f a n t a s t i c L . A . Daniel R. Small
In the City of Angels, can we still have confidence in the scriptwriters from
the Majors – given how much their imagination tends to exceed the truth,
without hesitating to ‘risk pulling a muscle doing the splits’ to ensure their
scenarios have maximum appeal? Hollywood blockbusters have captivated
millions for decades, with Spartacus, Ben Hur and The Ten Commandments
becoming historic monuments that we return to time and again – a fictional
addiction that the movie industry strives to maintain. And it is not alone! In his
own way, Daniel R. Small takes part in prolonging this curious phenomenon
by articulating his artistic approach as an archeologist of the fake. Fake truer
than nature – fake truth, or true fake? Small is a raider of lost cinema locations,
cloaked in the dust of passing time. He has made this passion all his own –
reconstituting the objects, documents, costumes and artefacts that once
peopled movie locations. He tells us not just about himself but also, through his
reconstituted works (fake books, pottery, medals, sculptures, photos, etc.), how
Cleopatra, Caesar Augustus, Homer and Alexander the Great have become
involved in contemporary history. History, diverted by Hollywood, becomes, in
turn, a victim of appropriation. Turning the tables? Yet this fiction created in
1896 could hardly have been more French.
43 43. Daniel R. Small (né en 1984)
Hylozoic Parachute Test, 2011
Tirage pigmentaire qualité archive
64,5 × 44,5 cm
—
C-print in archival inks
25.3 × 17.5 in
1 000 / 1 500 €
b l o o d y r e d s u n o f f a n t a s t i c L . A . Jason Yates
Jason Yates is as any true artist should be: utterly preoccupied with his creative
output. Once one work is finished, his thoughts have been on the next one for
sometime. Growing up in Detroit gave him a unique perspective. Childhood
memories spent cruising in his father’s security van installing steel bars
on residential and commercial properties continue to resonate with him.
However, the rising steam from the manhole covers in these urban streets are
a long way from his existence today in the sunny, breezy neighborhood of Encinitas
in Southern California.
Describing himself as someone who “never outgrew drawing”, his family was
made up of artists and craftsman who encouraged his artistic spirit. Jason always
knew what he would do with his life. Having completed a Master of Fine Arts at
the Art Center of Design College Pasadena and working as a studio assistant for
the late and famed artist Mike Kelley, he has continued to surround himself with
inspirational characters.Art and life are inextricably linked for this charismatic soul.
— Excerpt from an interview with Freuden von Freuden 2013
ƒ 44. Jason Yates (né en 1972)
Friends Forever
Tissus
9 pièces
122 × 61 × 61 cm
—
Fabric and polyfill
9 pieces
48 × 24 × 24 in
10 000 / 15 000 €
44 b l o o d y r e d s u n o f f a n t a s t i c L . A . Kyla Hansen
As a native rural Nevadan, living in Los Angeles, I am committed to exploring the
shifting aesthetic culture, economic landscape, language, and idiosyncrasies
of the West in my artwork. For the first time in history, more of the world ʼs
population is living in urban rather than rural areas. I use my artwork as a lens
through which to view this shift and its multiple implications. As both scavenger
and conjoiner, I “Frankenstein” together bits and pieces of visual and linguistic
information from the open desert, domestic interiors, Las Vegas architectural
anomalies, the urban landscape, furniture, colloquialisms, Hollywood prop
house aesthetics, patterned textiles, and make-shift rural desert construction.
My text quilts live in a slippery space between 2 and 3 dimensions, moving
back and forth between being abstract shapes and narrative words, between
being inanimate and organic. They are empty and familiar symbols filled with
meaning
ƒ 45. Kyla Hansen (née en 1983)
Tarbender, 2015
Tissu, fils et ouatine
147,3 × 113,3 cm
—
Fabric, thread, and batting
58 × 45 in
2 000 / 3 000 €
45 b l o o d y r e d s u n o f f a n t a s t i c L . A . Barry Johnston
Another eminent representative of this emerging generation of Los Angeles
artists is Barry Johnston, a man of astonishing temperament with a unique
sense of performance, who has a rare ability to transmit his dreams and
passion to others. This poet, writer and performer makes bravura use of the
humblest materials he finds in the world around him: an approach similar
to that of Arte Povera, but in appearance only – this brilliant plastic artist is a
master of transforming the tiniest rebus into a work rich in wit and meaning.
He starred at the Hammer Museum’s biennial exhibition Made in L.A. 2014, and
has established himself as a key figure among California’s artistic community –
displaying an artistic approach midway between optimism and pessimism, with
his performances transcending the social, economic and political conditions of
a certain Capitalism.
46. Barry Johnston (né en 1980)
Let All Your Life Out, 2014
Peinture sur toile de jean
12,7 × 182,9 cm
Provenance : Overduin & Co Gallery, Los Angeles
—
Paint on jean
5 × 72 in
Courtesy of Overduin & Co Gallery, Los Angeles
and the artist
900 / 1 200 €
46 b l o o d y r e d s u n o f f a n t a s t i c L . A . Mario Ybarra Jr
The drawing shown here comes from the Heroes and Villians series, with Mario
Ybarra deliberately modifying the spelling to conform to Latino pronunciation.
His work explores how the popular culture (toys, cinemas, souvenirs, craft-work,
music and comic-strips) of the Hispanic community navigates, consumes and
fraternizes with ambient American culture – while at the same time preserving
its own heritage. In this startling account of an orthodox friendship between
1980s adolescents, Ybarra succeeds in finding a coherent entry-point to mix
these worlds. He does not hesitate to exaggerate when describing these youths’
habits, tastes and hobbies – evoking their penchant for home-made ‘Latino
sweets’ or pastries made with their grandparents, a characteristic of the intergenerational links between Latino families… where an absent father may often
be presumed to be in jail! Ybarra is perfectly lucid in his ethnological exploration,
yet remains full of good will, with his drawings often leading towards a Happy
End: there is prevailing empathy as he narrates, with great sincerity, the
conflicts, contradictions and struggles he has endured in the community of
Wilmington (California).
47 47. Mario Ybarra Jr (né en 1973)
The Good Stuff, 2013
Encre sur papier dans une boîte Américaine
43,2 × 71,1 × 21 cm
Provenance : Honor Fraser Gallery, Los Angeles
—
Ink on paper in an American box
17 × 28 × 8.3 in
Courtesy of Honor Fraser Gallery, Los Angeles
and the artist
3 500 / 4 500 €
b l o o d y r e d s u n o f f a n t a s t i c L . A . Alessandro Moroder
In his paintings, drawings, and installation, Moroder examines the masculine
psyche through the notion of the spectacle by exploring it through various
cultural lenses, languages, and personal time periods. He investigates specific
vernaculars and archetypes from a deliberate outsider’s perspective, he is able
to translate his findings into paintings and installations of action, chance,
and memory. His work is treated more as a performance, a medium through
which the material exists, whether it be by the using of safety flares to mimic
European football crowd’s, his using of spray paint over cloth to mimic
Norwegian death metal culture, or the tedious gathering of soot and ash
in his black paintings, there is a deliberate removal of the mediums initial
intended purpose and translated into materials based on memory, spectacle,
and group dynamic. The application is painting without paint, an erasure
of the past, and a study in tonality. The idea of a sense of belonging, whether
it be to oneself or to a larger group, is studied.
ƒ 48. Alessandro Moroder (né en 1989)
Tension Between the Strange, 2014
Suie, cendre et huile de bébé sur toile de coton
101,6 × 76,2 cm
—
Soot, ash and baby oil on cotton canvas
40 × 30 in
2 000 / 3 000 €
48 b l o o d y r e d s u n o f f a n t a s t i c L . A . Spencer Longo (right) with his buddies
Keith Varadi (left) and Jesse Stecklow (center)
Spencer Longo
Spencer Longo is a Los Angeles-based artist who uses the architectures
and aesthetics of global network services to create objects, images and
text reflective of the relationships and patterns native to these structures.
In addition, he works collaboratively on projects as a member of The Jogging.
Recently his work has been included in Sneakerotics, Edouard Malingue Gallery,
Hong Kong; Rematerialized, New Galerie, Paris with Dis Images; Temporary,
Perfect Present, Copenhagen; Soon, The Still House Group, New York;
Dis Images Stock Photography Series, Suzanne Geiss Company, New York; and
Go With The Flow, Favorite Goods, Los Angeles. His work has been featured in
Rhizome, Dis Magazine, O FLUXO, and Dazed & Confused.
Recent exhibitions include the solo show “Premium Blend” at Brand New Gallery
in Milan and group shows at LOYAL Gallery, Stockholm, Future Gallery, Berlin.
He will have work in upcoming show organized 63rd–77th Steps in Bari, Italy.
49. Spencer Longo (né en 1986)
Sacred and Heart-Healthy, 2015
Toile de jean, encre, décolorant, caoutchouc, fil,
bourre de soie de broderie et matériaux mixtes
107,5 × 68,5 × 4,5 cm
—
Denim, canvas, ink, bleach, rubber, thread,
embroidery floss and hardware
42.1 × 27.2 × 1.9 in
and the artist
3 000 / 5 000 €
49 b l o o d y r e d s u n o f f a n t a s t i c L . A . Laeh Glenn
Laeh Glenn culls images from the collective archive to explore the formal and
symbolic nature of imagery. By flattening and unifying genres and formal
precedents, she re-arranges familiar vocabularies to create new meaning.
She lives and works in Los Angeles CA.
ƒ 50. Laeh Glenn (née en )
The Nose Knows
Huile sur panneau
48 × 38 cm
Provenance : galerie Altman Siegel, Milan
—
Oil on panel
18.5 × 14.5 in
Courtesy of Altman Siegel Gallery
and the artist
3 500 / 4 500 €
50 b l o o d y r e d s u n o f f a n t a s t i c L . A . E.J Hill
E.J. Hill is a Los Angeles-based artist, writer, poet, known for his durational,
physically demanding performances.
Hill's performances often possess an element of institutional critique or are
direct in their address of politics around constructed identity and the body in
gendered, racial and sexualized terms.
Hill graduated from the New Genres program at UCLA in 2013 and obtained
his BFA from Columbia College in Chicago. He has presented solo and group
exhibitions at Commonwealth & Council, Los Angeles; Charlie James Gallery,
Los Angeles; Grace Exhibition Space, Brooklyn; RAID Projects, Los Angeles; NEXT
Fair, Chicago; and A+D Gallery, Chicago. He was recently granted a one year
residence at the Studio Harlem Museum located 125th street New York along
with Jordan Casteel and Jibade-Khalil Huffman. Begun in 1968, the Studio
Museum’s Artist-in-Residence program is designed to support emerging artists
of African and Latino descent. E.J.Hill is regarded today as one of the promising
talented artist of the new Los Angels art scene.
ƒ 51. EJ Hill (né en 1985)
I Still Believe in Anchors, 2015
Acrylique sur toile
121,9 × 91,4 cm
—
Acrylic on canvas
48 × 36 in
3 500 / 4 500 €
51 b l o o d y r e d s u n o f f a n t a s t i c L . A . Alexander Kroll
Alexander Kroll fully embraced abstraction and improvisation in painting only
after moving to Los Angeles: This distinction in art experience being specifically
not New York is important because Alexander is a native to the city and grew
up in Greenwich Village. He’s been in Los Angeles since graduate school and
has found the city to be a very cathartic and enabling location for him. He
explains that growing up in New York meant visiting the Metropolitan Museum
of Art every week and having deep, personal relationships with historical pieces
of art. He went to a high school with a very strong arts program and eventually
attended Yale to study art. “This was very important,” he details. “I worked
with some really, really tremendous painters. At the time the people who were
teaching were artists like Kurt Kauper and Sam Messer (who lived in LA and
commuted to Yale once a week), who were my advisors. Then you had people
like Jessica Stockholder, who was a huge influence on me.
“I never planned these paintings,” he says. “In fact, they’re really a lot like Los
Angeles: there is a total lack of concern with planning.” Kroll, who considers
himself a lifelong student of the “technology of painting,” is known for his
mixed-media, multi-layered works, in which oil, acrylic, and enamel bleed and
run into one another. Layers are integral to Kroll’s imagery and process; he
employs underpainting, collage, and subtractive techniques to imbue a work
with multiple surfaces. Since moving to California, Kroll has also been able to
paint works in a greater variety of sizes, though he is careful no work is ever
larger than his own arm span. In that way, all of his works physically correspond
to his body.
ƒ 52. Alexander Kroll (né en 1981)
Ariel Again, 2015
Huile, acrylique et flashe sur toile
122 × 152,5 cm
Provenance : galerie Praz Delavallade,
—
Oil, acrylic and flashe on canvas
48 × 60 in
Courtesy of Praz Delavallade, Paris/Brussels
and the artist
8 000 / 12 000 €
52 b l o o d y r e d s u n o f f a n t a s t i c L . A . Dwyer Kilcollin
A totality known through trials and travels was circumscribed by a ribbon
whose girth grew so round, they pronounced a sphere. It was wholesome
via its contents, and quite knowledgeable about its surface, till a wave crashed
it under and the tales of its purpose cause the ribbon to ripple and fray.
She rejoiced in the chaos, catching the tail as it fell. The perfect instrument
to bundle these flowers.
ƒ 53. Dwyer Kilcollin (né en 1983)
Bouquet, Edda over Geographica, 2015
Résine, feldspar, carbonate de calcium, quartz,
silice, verre et lazurite
61 × 45,7 × 48,3 cm
Provenance : galerie M+B, Los Angeles
—
Resin, feldspar, calcium carbonate, quartz,
silica, glass, and lazurite
24 × 18 × 19 in
Courtesy of M+B Gallery, Los Angeles
and the artist
4 000 / 6 000 €
53 b l o o d y r e d s u n o f f a n t a s t i c L . A . Joe Reihsen
Joe Reihsen uses varying thicknesses of paint to create textured, abstract
works that are simultaneously ethereal and dense. His primarily pastel palette
and rough geometric compositions lend his paintings a near-mystical quality,
while the tactile masses of paint applied as top layers possess an undeniable
materiality. With flat underlayers that often appear to have been produced
through the scraping away of paint, the works' tension lies in their contrast of
surfaces: smooth is juxtaposed with rough, addition with subtraction. Reihsen
seems at home in L.A. Light and space and slow gradients of sunsets appear a
source, as do the soft topographical musings of Richard Diebenkorn. With titles
like I Should've Gotten Your Number After the Orgy (2013) and Busty Bombshell
In Pasadena (2013) or I just love to dance including in the show Bloody Red Sun
of Fantastic L.A., Reihsen’s paintings are also whimsical, alluding to narratives
and ideas outside the picture frame.
Reihsen was born in Blaine, MN, U.S.A. in 1979. He currently lives and works
in Los Angeles. He attended the San Francisco Art Institute, CA and received
a BFA for Painting and New Genres in 2005, and a MFA at the University of
California in Santa Barbara, CA in 2008. Reihsen founded JAM in 2003 for an
exhibition at San Francisco’s New Langton Arts. The program was designed
to help average people attain success with art. JAM has traveled nationally,
offering free workshops from 2003 until its final seminar at the University of
California, Santa Barbara on September 19, 2006.
ƒ 54. Joe Reihsen (né en 1979)
I JUST LOVE TO DANCE, 2015
Acrylique sur panneau
76,5 × 64 cm
Provenance : galerie Praz Delavallade,
—
Acrylic on panel
30 × 25 in
Courtesy of Praz Delavallade, Paris/Brussels
and the artist
4 500 / 6 500 €
54 b l o o d y r e d s u n o f f a n t a s t i c L . A . Brad Eberhard
Eberhard works slowly, building the surfaces of his paintings with innumerable
layers, revisions, additions, subtractions, and methods of paint application. All
of these erosions and accumulations eventually coalesce into the finished work,
leaving only a suggestion of the artist’s geological process. Eberhard’s paintings
reference the visual and conceptual language of high modernist abstraction.
Klee, Ernst, and Johns all make appearances in the fine lines, cobblestone
compositions, and constructed presentation of Eberhard’s new paintings.
As Eberhard works in the studio, archetypal images come and go, narratives
emerge and are sublimated back into the all over composition, patterns
develop and disappear. The paintings suggest that abstraction is a universal
human phenomenon. The paintings combine visual references to the aesthetics
from various cultures and moments in history: totems, obelisks, flags, masks,
weavings and other cultural evidence of the slippage between symbol and
abstraction.
Brad Eberhard lives and works in Los Angeles. He earned his MFA from Claremont
Graduate University in 2007. Eberhard has had exhibitions at Thomas Solomon
Gallery, Los Angeles, CA; Ameringer | McEnery | Yohe, New York, NY; Irvine Fine
Arts Center, Irvine, CA; Los Angeles Contemporary Exhibitions, Los Angeles,
CA; the Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga
Springs, NY; and the Torrance Art Museum, Torrance, CA.
ƒ 55. Brad Eberhard (né en 1969)
Dress Nautical, 2015
Huile sur panneau
39,4 × 44,5 × 2,5 cm
Provenance : Susanne Vielmetter Los Angeles
Projects, LLC et atelier de l'artiste
—
Oil on panel
15.5 × 17.5 × 1 in
Courtesy of Susanne Vielmetter Los Angeles,
6 000 / 8 000 €
55 b l o o d y r e d s u n o f f a n t a s t i c L . A . Matthew Chambers
With quick, gestural brushstrokes, Matthew Chambers paints representational
images inspired by pop culture, movies, and art history, as well as abstract
works comprising layered strips of torn canvases rejected by the artist in making
other works. For Chambers, the practice constitutes his method of processing
image overload. His subjects, all rendered in a painterly style, range from a
comical, boot-sporting, umbrella-toting cat, to a portrayal of two formally
dressed women so intimate it leaves viewers feeling like they are intruding, to a
homoerotic depiction of a man in boxers toweling another, nude man. Noting
the characteristic threads trailing from the canvases, warped stretchers, and
other flaws, critic Jeff Frederick writes in Art in America, “What Chambers has
to say is too urgent, his passion too great, for him to get caught up in the
niceties of facture. And roughness is part of the appeal.” Progressing on his
painting journey, Chambers devotes himself to his practice almost religiously
every day. He paints compulsively, without his glasses on, beginning from
images and never knowing where a piece will find completion. Once again,
Chambers dictates no rules as to how his paintings are to be received, their only
responsibility is to listen. Each is a frame in a visual story that can be re-written
infinite times.
ƒ 56. Matthew Chambers (né en 1982)
Only the One Sensation Throbbed, 2015
Huile, acrylique et émail sur toile dans un cadre
en bois de peuplier
83 × 62,5 cm
Oil, acrylic and enamel on canvas in artist's
poplar frame
34 × 26 in
6 000 / 8 000 €
56 b l o o d y r e d s u n o f f a n t a s t i c L . A . Max Malansky
Max Maslansky’s paintings are of ten of lurid scenes filled with people
tangled together, culled from their exhibitionist poses as he renders them
in intimate, dreamy colors. Rendered in his signature stain technique, much
of Maslansky’s work takes source images from Red Light Lacuna (2011- ),
his found archive of compromising selfies and cringe-worthy esoterica, which
he shares through social networking websites. Browsing through Red Light
Lacuna is pure schadenfreude, but given that it comprises mostly male subjects,
the album offers a sly commentary on the operative strategies of the male gaze.
Maslansky’s most recent paintings are an extension of this underlying premise.
For these works, he reproduces vintage 1970s and 1980s porn production
stills. For each painting, Max swaps unprimed canvas for old bed sheets,
which give the image an almost soft-focused, sensitive quality. Countering
this sensitivity with clownish, gesso-laden body parts, Maslansky disassembles
the constructed pornographic fantasies and turns the act of peeping into
a slow, unfixed experience.
57 ƒ 57. Max Malansky (né en 1976)
Fresh Bounty (Half-double bed), 2015
Acrylique sur fragment de drap de lit de
polyester de coton
94 × 137,2 cm
Provenance : 5 Car Garage Art Project, Santa Monica
—
Acrylic on cotton-polyester bed sheet fragment
37 × 54 in
Courtesy of 5 Car Garage Art Project, Santa Monica
6 500 / 8 500 €
b l o o d y r e d s u n o f f a n t a s t i c L . A . Joshua Nathanson
Over the past five years, I have been sculpting ceramic busts of fictional
characters. These imaginary portraits consist of subtle variations on a pared
down face: two holes for eyes, a nose, and a horizontal line for a mouth. By
slightly altering the arrangement of these four elements, the subjects of my
work each take on their own personality. Their blank gaze is haunting and
uncanny. Each of these characters is a little pathetic, which makes them all
the more human. By working with such a strict visual language, I want to leave
room for the viewer to recognize them self in the sculptures.
I am interested in playing with the divide between the formality of traditional
sculpture and the empathy I have for my characters. I want to balance the
material heaviness with humor, levity, and above all, pathos.
ƒ 58. Joshua Nathanson (né en 1976)
At the Beach with Stacks and Stacks of People, 2015
Huile sur toile
94,5 × 71,5 cm
—
Acrylic on canvas
37 × 28 in
2 800 / 3 800 €
58 b l o o d y r e d s u n o f f a n t a s t i c L . A . Matthew Carter
Matthew Carter's paintings constructed of recycled stretcher bars on veil like
scrims or linen are a reminder that the traditions of abstraction and figuration,
though treated as "trends" supplanting one another throughout modern and
postmodern art history, are traditions of simultaneity. This is most eloquently
manifested within Carter's consistent use of the harlequin pattern and skewed
forms. The resulting abject forms are at once sensual and coy, garish and
artificial and affix the work with performative connotations. They question our
perception and can be read as an abstraction or a stand-in for the performing
figure.
Carter's work has been featured in the 2013 MexiCali Biennial at the Vincent
Price Art Museum, Los Angeles, CA; Los Angeles Contemporary Exhibitions
(LACE); Torrance Art Museum, Torrance, CA; Bolsky Gallery, Otis College of Art
& Design, Los Angeles; and California State University Long Beach, Long Beach,
CA. He is in the collection of the Museum of Contemporary Art Sand Diego as
well as private collections in the United States and Europe. He is represented by
Luis De Jesus Los Angeles.
ƒ 59. Matthew Carter (né en 1981)
Balloon Dance, 2015
Acrylique, brillant, crayon, lin, châssis de
récupération
121,9 × 71,1 cm
—
Acrylic, glitter, pencil, linen, repurposed stretchers
48 × 28 in
and the artist
5 000 / 7 000 €
59 b l o o d y r e d s u n o f f a n t a s t i c L . A . Dennis Koch
Working primarily in the medium of drawing, Dennis Koch makes meticulously
structured abstract works inspired by the scientific fields of physics,
cosmology, dimensional mathematics, parapsychology, and altered states of
consciousness. Inspired by Versor algebra--a means of modeling a rotation
three-dimensional sphere in two-dimensional Euclidean space--the series of
Versor Parallel drawings depicts the implosion of a circular toroid.
Koch has exhibited in Los Angeles with Marine Projects, Happy Lion, Kantor
Gallery, High Energy Constructs, Royale Projects, and the Torrance Art Museum,
as well as Galerie Zurcher, New York; Galerie Sabine Knust, Munich; and Miyake
Fine Art, Tokyo. He is represented by Luis De Jesus Los Angeles.
ƒ 60. Dennis Koch (né en 1978)
Untitled (Versor Parallel), 2015
Crayons de couleur sur papier
106,7 × 86,4 cm
Provenance : galerie Luis De Jesus, Los Angeles
—
Color pencil on paper
42 × 34 in
Courtesy of Luis De Jesus Gallery, Los Angeles
and the artist
9 000 / 12 000 €
60 b l o o d y r e d s u n o f f a n t a s t i c L . A . Channing Hansen
Hansen is a polymath. He manages to simultaneously convey both a downhome appreciation of craft and staggering wonder at advances in technology,
and he frequently melds the two in his videos, performances, sculptures,
paintings and lectures at L.A.’s alternative art school-cum-residency, The
Mountain School of Art. In Hansen’s “paintings”—hand-knitted constructions
stretched on wooden frames—loops of yarn give form to a painterly abstraction
or assert its uncertainty. Hansen picked up knitting almost a decade ago to
preoccupy his restless mind and has been making paintings that way since
2010.Hansen is meticulously involved in every step of the process from start to
finish. He dyes and spins different fiber blends—silk, alpaca, mohair, and wool,
sometimes with holographic polymer threads added in—and then knits the
strands on wooden needles. The slightly improvisatory appearance of his work
is actually predetermined by a decision-making computer algorithm. Hansen’s
work delves into questions of math and physics, both reflected in the time and
manner that he devotes to making his paintings. As Hansen has said, “craft
solves questions; art asks them,” and in this sense, his paintings remain portals
of possibility.
ƒ 61. Channing Hansen (né en 1972)
Plutonium Ode, 2015
Compositions en fils
Signé, et daté au dos
78,7 × 76,2 cm
Provenance : galerie Marc Selwyn Fine Art, Los
Angeles et atelier de l'artiste
—
Mixed yarn
31 × 30 in
Courtesy of the Marc Selwyn Fine Art Gallery, Los
Angeles and the artist
5 000 / 7 000 €
61 b l o o d y r e d s u n o f f a n t a s t i c L . A . Amir H. Fallah
Amir H. Fallah approaches his current paintings as an investigative, analytical
historian, though a knowingly imprecise one. He is interested in truthfulness and
limitations, and his current body of work grapple with those issues in a way that
almost seems backwards: by taking the mistakenly truthful photograph and
converting it back into the always suspect, uncontestably subjective medium
of painting.
Fallah begins his process with field research. He enters people’s homes--until
recently, these have primarily been homes of friends and acquaintances-and assembles “evidence” of their stories and identities from among their
things. He particularly gravitates toward those mundane objects that seem
loaded with sentimental meaning; maybe he’ll pick out a worn afghan, an
idiosyncratic plant, a figurine, a doll or running shoes. Then he arranges these
selected objects around his subjects, and photographs them along with the
stuff of their lives. Already at this stage, he has edited and shaped the image
of his subjects and begun to interpret and create his own histories. Sometimes,
subjects appear in dramatically Neoclassical poses, lounging across a wooden
table or perched on a pedestal.
It is clear from the outset that Fallah will be the final arbiter of how personal
histories are told. He will have editorial control and will not attempt to beautify
or flatter his subjects. But such freedom brings some danger, and to protect
his subjects from being implicated in his own misinterpretations or far-flung
imaginings, he usually cloaks them, covering or at least surrounding their faces
and much of their bodies with fabric.
In the studio, only photographic evidence of the encounter between artist and
subjects is used as a source. The artist’s own process and proclivities influence
the paintings as much, if not more, than those initial images. Because he
layers his canvases with paper before even beginning and works back and
forth between collage and painting, canvases quickly become dense, visceral
and idiosyncratic. They also reflect his own cultural alliances: references to
Persian miniatures may appear in the form of careful borders along the edge
of a canvas, and blankets may start to resemble the long veils associated with
Eastern cultures.
Does the imposing of the artist’s self on to the image-making process make
it egotistical? If the only insight art can really communicate is about its own
limited ability to tell the truth, is it still offering something of value? If nothing
more, obsessive consideration of truth’s limitations can help us understand
each other, and that’s no small feat
ƒ 62. Amir H. Fallah (né en 1979)
A Father, A Dad, A Friend (Home Brew), 2015
Acrylique, crayon de couleur, collage et huile
sur papier monté sur toile
183 × 122 cm
—
Acrylic, colored pencil, collage and oil on paper
mounted on canvas
72 × 48 in
6 000 / 8 000 €
62 b l o o d y r e d s u n o f f a n t a s t i c L . A . Raffi Kalenderian
Kalenderian’s intimate portraits are concerned with process, solitude, and
psychological states. These new paintings continue to feature the artist’s friends,
often other artists, musicians, and writers. Kalenderian’s close relationships with
the subjects of his paintings elevate their intimate mood. While Kalenderian
does occasionally paint from photographs, most of his subjects sit for their
portraits. Some are painted in private spaces, amongst their belongings and
personal affects. Others sit for Kalenderian at his studio, and in these works we
see a playful referentiality — his subjects among the canvases, either freshly
prepped or in allusion to works in progress — illuminating the studio as a site of
both creative and contemplative interaction. These paintings within paintings
allow not only for an opportunity for an artist to crystallize a moment in the
studio; but also to reveal the process itself as an open, yet personal system.
Kalenderian’s new body of work exhibits a new refinement and maturity, not
in the familiar content, but on the surfaces of the paintings themselves. The
canvases are thick with impasto, stain, and glaze. The process of applying the
paint is slow and diligent; charging the paintings with emotional information
and creating a palpable atmosphere around his often languid and melancholic
figures. It makes for an unconventional portraiture, concerned less with the body
of its muse as with the fragility of their psyche, the details of its surroundings,
the relationship between inner and outer states and the phenomenology of the
mundane.
Raffi Kalenderian graduated with a BFA from UCLA in 2004. His work has been
featured in solo exhibitions at Buchmann Galerie, Berlin, Germany; Galerie Peter
Kilchmann, Zurich, Switzerland; Brand New Gallery, Milan, Italy; Marc Jancou
Fine Art, New York, NY; and at the Black Dragon Society, Los Angeles, CA.
Kalenderian’s work has been featured in group exhibitions at the Saatchi Gallery,
London, UK; University Art Museum, Long Beach; Kunstmuseum St Gallen, St
Gallen, Switzerland; Eleven Rivington, New York, NY; Co-Lab, Copenhagen,
Denmark; and at Kantor/Feuer Gallery, Los Angeles, among others.
ƒ 63. Raffi Kalenderian (né en 1981)
Jenny (Night), 2015
Huile sur toile
152,4 × 121,9 cm
—
Oil on canvas
60 × 48 in
18 000 / 24 000 €
63 b l o o d y r e d s u n o f f a n t a s t i c L . A . Dan Levenson
Levenson's work tells a completely fictional narrative about a community of
Swiss artists in a generic modernist past. The institutions that surround the
artists are the protagonists of the story, while the individual identities of the
artists remain unknown. These institutions include an art school, an art gallery,
an art and office supply manufacturer, a publishing company, a philanthropic
tobacco company, and the quasi-governmental Swiss Standards Organization.
Although the setting is ostensibly Zürich in the year 1997, Levenson treats both
time and place with total license. He avoid any claims to authenticity.
The fragmented history is told through a wide variety of media, which represent
the material remnants of a forgotten culture. At the center of the project are
the paintings. Six years ago Levenson began creating a series of paintings
meant to represent the foundation exercises completed by students at the
State Art Academy, Zürich (SKZ). The paintings are aged recto and verso
and all the materials: stretcher bars, linen, steel tacks, oil paint, and gesso,
are scuffed, cracked, rusted, and yellowed. Each painting is named for an art
student and signed onthe back. The names never repeat and nothing else is
known about the students’ individual biographies. Each painting fits inside
a storage box rescued from the ruins of the art school. Each box represents
a classroom and the number of possible classrooms is infinite. The boxes fit
together with classroom furniture: desks, flat files, work tables, drawing horses
and floorboards. This furniture doubles as Levenson’s studio furniture so that the
accretions of his process create the impression of many years of use.
Dan Levenson received his MFA from the Royal College of Art, London in 1997. He
was the recipient of the 2011 MacDowell Fellowship and a 2007 Pollock-Krasner
Foundation Grant. He has had solo exhibitions at Vox Populi, Philadelphia, PA;
USF, Bergen, Norway; and White Columns, NY among others. He has been
featured in group exhibitions at Cabinet, Brooklyn, NY; LAXART, Los Angeles,
CA; PARTICIPANT, INC, New York, NY; Columbia University, New York, NY; Triangle
Project Space, Brooklyn, NY; and International Studio and Curatorial Program
(ISCP), Brooklyn, NY. He was a fellow at Yaddo in Saratoga Springs, NY from
2000 to 2001, the MacDowell Colony in Peterborough, NH in 2011, and was an
artist in residence at USF Verftet in Norway in 2008 and Skowhegan School of
Painting and Sculpture in 2009.
ƒ 64. Dan Levenson (né en 1972)
A3 Painting Storage Box 439, 2015
Boîte contreplaquée, ferrure et peinture & huit
huiles sur toile de lin
Signées au dos :
I: Michaela Wettstein
II: Flavia Margstahler
III: Olli Zinggeler
IV: Donata Ballauf
V: Urg Gessner
VI: Artur Oberholzer
VII: Fabia Meyer
VIII: Bettina Deringer
Boîte: 48,3 × 23,5 × 36,2 cm
Peintures: 41,9 × 30,5 cm (chaque)
—
Plywood box, paint, hardware & eigh paintings:
oil on linen
Signed on the back:
I: Michaela Wettstein
II: Flavia Margstahler
III: Olli Zinggeler
IV: Donata Ballauf
V: Urg Gessner
VI: Artur Oberholzer
VII: Fabia Meyer
VIII: Bettina Deringer
Box: 19 × 9.3 × 14.3 in
Painting: 16.5 × 12 in (each)
18 000 / 24 000 €
64 b l o o d y r e d s u n o f f a n t a s t i c L . A . 64 b l o o d y r e d s u n o f f a n t a s t i c L . A . Genevieve Gaignard
The work of Genevieve Gaignard exists in a space of liminality. The artist, who
is mixed race, uses a range of character performance, self portraiture and
sculpture to explore blackness, whiteness, femininity, class and intersections
therein. The daughter of a black father and white mother in a Massachusetts
milltown, Genevieve’s youth was marked by a strong sense of invisibility. Was her
family white enough to be white? Black enough to be black? Genevieve thus
uses her art to interrogate notions of “passing.” She positions her own female
body as the chief site of exploration, challenging viewers to navigate the powers
and anxieties of intersectional identity.
Influenced by the soulful sounds of Billy Stewart, the kitschy aesthetic of
John Waters and the provocative artifice of drag culture, Genevieve uses
low-brow pop sensibilities to craft dynamic visual narratives. From the
identity performance ritualized in ‘‘selfie’ culture to the gender performance
of hyper-femme footwear, the artist blends humor, persona and popular culture
to reveal the ways in which the meeting and mixing of contrasting realities can
feel much like displacement.
Genevieve received a Master’s of Fine Arts in Photography at Yale University.
She lives in Los Angeles, CA with her collection of wigs and three house cats.
ƒ 65. Genevieve Gaignard (née en 1981)
P.Y.T. (Pretty Young Thing), 2015
Séries "Mirror Mirror"
Technique mixte
35,6 × 27,9 cm
Provenance : The Cabin, Los Angeles
—
Serie "Mirror Mirror"
Mixed-media
14 × 11 in
Courtesy of The Cabin, Los Angeles
and the artist
1 000 / 1 500 €
65 b l o o d y r e d s u n o f f a n t a s t i c L . A . Joel Kyack
Hinting towards an encroachment upon moral boundaries and a malevolent
undercurrent to our civilization, Joel Kyack brings together a combination of
unlikely components in his interdisciplinary practice. With materials sourced from
hardware stores, thrift shops and Hollywood prop houses, Kyack creates surreal,
darkly humorous objects and paintings that evince the same dysfunctional
and chaotic social context as their origin. Maintaining a Dadaist anti-bourgeois
position, Kyack rejects ‘taste’ and traditional aesthetic sensibilities, finding
instead pragmatic yet subversive relationships between functional objects. He
achieves an outcome that relates, inevitably, back to the body and the abject
absurdity of the individual in relation to a disturbing and complex social world,
always maintaining potential for both violence and the grotesque.
66. Joel Kyack
Collectors Choice Flash Sheet, 2014
Crayons de couleur et marqueur sur papier
Signé au dos
45,7 × 61 cm
—
Colored pencil and marker on paper
Signed on the back
18 × 24 in
Courtesy of Praz-Devalavallde Gallery,
1 500 / 2 000 €
66 b l o o d y r e d s u n o f f a n t a s t i c L . A . Claude Collins-Stacensky
My interest in art is how it is experienced, and how that experience can translate
into insight and understanding for its viewer. The primary components of my
work are light, time, space and the perceptual experience that happens for a
viewer when those elements come together in perfect balance. The process of
the work is equal parts play, physics, research, and experimentation to create
an experience that allows a viewer insight and participation into a process of
joy and awareness of the simple elements that create our surroundings.
ƒ 67. Claude Collins-Stracensky (né en 1975)
Untitled (Framing Past and Present), 2011
Plexiglas coloré, flore, peinture, papier,
cire et bois
42,5 × 29,2 × 10,2 cm
—
Colored Plexiglas, flora, paint, paper, wax, wood
16.8 × 11.5 × 4 in
4 000 / 6 000 €
67 b l o o d y r e d s u n o f f a n t a s t i c L . A . Paul Pescador
Comprised of film, performance and photography, Paul Pescador’s practice
explores personal relationships from the point-of-view of daily interactions
– whispering in bed late at night, walking one’s pet, visiting the doctor, and
romantic text messaging, among others. Utilizing a vocabulary of quotidian
materials and objects, which shift in form and function within each of his
bodies of works (series or episodes), Pescador constructs abstract vignettes
through a queer lens that together comprise broken narratives that couch the
daily shaping of our own selves within American suburban culture.
ƒ 68. Paul Pescador (né en 1983)
Color/d Vol. III (04), 2014
56 × 40,5 cm
Provenance : Park View et atelier de l'artiste
—
C-Print
22 × 16 in
Courtesy of Park View and the artist
800 / 1 000 €
68 b l o o d y r e d s u n o f f a n t a s t i c L . A . ƒ 69. Paul Pescador (né en 1983)
Color/d Vol. III (05), 2014
56 × 40,5 cm
Provenance : Park View et atelier de l'artiste
—
C-Print
22 × 16 in
Courtesy of Park View and the artist
800 / 1 000 €
69 b l o o d y r e d s u n o f f a n t a s t i c L . A . Kate Bonner
Through a process of reduction and transformation, Kate Bonner's work
withholds explanation and proposes simple fictions. Using digital brushes,
power tools, and a language of fragmentation, she seeks to expand space,
to break through the surface of the image. Her work is an attempt to see
in, around and under images—it questions limits and points of entry. Bonner
began this process of questioning with progress shots and reference photos
of drawings and paintings. In these off–frame photos, and later scans and
photocopies, she seeks out objects that could operate as mere objects rather
than symbols. Cutting apart photographs, folding them, rolling them, and
flipping them around in an attempt to use representational imagery for formal,
abstract purposes— she denies a narrative.
Bonner was included in NextNewCA, a survey of selected MFA graduates at the
San Jose Institute of Contemporary Art. She has exhibited at the Wattis Institute
for Contemporary Art, San Francisco, San Jose Institute for Contemporary
Art, San Jose, NADA New York, UNTITLED Miami and Paris Photo Los Angeles,
among others, and is represented by Luis De Jesus Los Angeles.
ƒ 70. Kate Bonner (née en 1980)
Out of Another One, 2014
Tirage numérique sur CA-MDF
121,9 × 91,4 cm
et l'artiste
Digital print on CA-MDF
48 × 36 in
and the artist
5 000 / 7 000 €
70 b l o o d y r e d s u n o f f a n t a s t i c L . A . Chris Coy
"As an adolescent, sex was a topic I often explored at night—alone. Twisting
the television antennae revealed distorted visuals of soft-core pornography on
cable channels that my parents didn’t pay for. This series of paintings echoes
that young desire. Starting with the computer, I crop Playboy centerfolds and
use them to deform a standardized gray "photoshop" grid. The resulting image
is transferred to canvas and hand-painted with greenscreen and bluescreen
paint, a material whose vibrance, and technoconceptual importance is
something that figures in much of my other work."
ƒ 71. Chris Coy (né en 1980)
Deformer (1983-12), 2015
Rosco DigiComp bleu 5705 sur toile
91,4 × 91,4 cm
Provenance : galerie Anat Ebgi, Los Angeles
—
Rosco DigiComp Blue 5705 on canvas
36 × 36 in
Courtesy of the Anat Ebgi Gallery, Los Angeles
and the artist
3 000 / 5 000 €
71 b l o o d y r e d s u n o f f a n t a s t i c L . A . Matthew Brandt
How the subject of a photograph relates to the material properties of the
print is one of my fundamental interests when presenting a picture. When a
photograph becomes more blurred or scratched, an invisible veil or screen
emerges between viewer and subject. This veil, which is always present but
conventionally repressed, is allowed to breath. Extending this photographic veil
allows me to focus on the unique objectness of the photograph in relation to
the other kind of object-ness that was photographed. By reducing illusionist
depth, one is confronted with a dilemma. It is the dilemma of attending to two
simultaneous realities, that of the present image surface and that of the past
image depth. And it is this distance between these two points that encourage
my photography.
72. Matthew Brandt
Woodblock BL, BR, 4N, OR, YL, 4Y, BK 3, 2014
Encre sur papier par procédé d'impression
sur panneau de pin
99 × 53,3 × 5 cm
—
Ink on paper made from pinewood in pine wood
block frame
Signed dated and titled on the back
39 × 21 × 2 in
6 000 / 8 500 €
72 b l o o d y r e d s u n o f f a n t a s t i c L . A . Jed Ochmanek
Ochmanek’s recent paints are produced by pouring highly thinned, oil-based
enamels onto aluminum plates in Joshua Tree, California. The site was chosen
for its aridity and extreme heat - factors necessary to enable unique behavior
and rapid drying cycles of the poured solvent and paint solutions. The plates are
tilted to allow material to pour off, adjusted to catch or deflect the wind, and
baked in full exposure sun.
The rich, unrepeatable diversity of tonal and textural dispersions achieved
through their successive layers resonates deeply with the bareness of the
desert’s features: as the paintings draw the viewer to experience the duration
and conditions of their making, so too does the dimension of geological time
make itself apparent throughout the sparse expanse of the Mojave.
ƒ 73. Jed Ochmanek (né en 1982)
Phase, 2014
Huile sur acier
121,9 × 91,4 cm
Signée, datée et titrée
—
Oil on steel
Signed, dated and titled
48 × 36 in
4 000 / 6 000 €
73 b l o o d y r e d s u n o f f a n t a s t i c L . A . John Knuth
John Knuth feeds acrylic paint to hundreds of thousands of houseflies. The flies
regurgitate the paint on to the canvas, leaving behind what is typically known
as a 'flyspeck.' To control this process, the artist builds contraptions that limit
the flies’ movements to the surface area of the canvas. The final paintings are
comprised of millions of small dots of paint. While created with a degree of
chance, the artist, through research and continued refinement of his process, is
largely in control of where and to what amount the paint is applied. The colorful
paintings reside in a space between landscape and abstraction. For Knuth,
these paintings are analogous to the infrastructure of Los Angeles, a dense
and sprawling metropolis.
ƒ 74. John Knuth (né en 1978)
Soleil Ascendant, 2015
Acrylique et excréments de mouche sur toile
213,4 × 91,4 cm
—
Acrylic and fly speck on canvas
84 × 36 in
and the artist
7 500 / 8 500 €
74 b l o o d y r e d s u n o f f a n t a s t i c L . A . Matt Connolly
Matt Connolly moved to California after finishing college in New York in
2007. He spent six month living in a tent, helping run a marijuana farm in
Northern California before coming to Los Angeles. "I've always defined myself
in opposition to things, but moving here showed me the downsides of taking
that punk attitude to its extreme. Eventually, I found really amazing people
to hang out and work with." *Matt's body of works demonstrate the artist’s
interest in physicality and movement, text, pattern and, perhaps above all,
repetition. Connolly’s process and his practice are both extremely disciplined:
the artist is concerned not with the outcome, but rather with the flurry of activity
that builds towards the attainment of the composition, irregularities and all.
Connolly believes in the transformative capacity of work, which is evidenced
in his recent pieces.Born1985 and based in LosAngeles,Matt has had solo exhibitions
at Smets Gallery Brussels ( Oct - Nov 2015 ), Night Gallery, Los Angeles (2013)
and CCA, San Francisco (2011, curated by Amanda Hunt. Night Gallery
published a collection of his writing, entitled POLLONY'S in 2013.
Connolly opened his first public art commission at Equitable Vitrines, Los Angeles
in September 2014.
*Excerpt from INTERVIEW - Ben Noam / May 2013
ƒ 75. Matt Connolly (né 1985)
BEATOS OR OPE / HEY / NOPE HAVEN'T FORG
NOPE / OPE / BE A CORN OR NO / BEAN NO
CORT, 2014
Encre sur papier
Signé et daté au dos
129,5 cm × 122 cm
Provenance : galerie Stems, Bruxelles
—
Ink on Paper
51 × 48 in
Courtesy of Stems Gallery, Brussels and the artist
3 500 / 5 500 €
75 b l o o d y r e d s u n o f f a n t a s t i c L . A . Alex Becerra
Alex Becerra's drawings and paintings lend themselves to abstraction
and repetition, by controlling every inch of his surface and manipulate
his images. Becerra's gestures activate the picture plain and constantly dip
into the past or present by making organic connections to his surrounding
culture. His work allows for contradictions to exist in the same space, not
lending themselves to easy answers, but rather leaving questions unanswered.
Becerra uses humor in his art practice because it allows him to escape
the day to day struggle and to explore the potentials of painting and its
limits with materiality. Becerra uses simple, economical materials in his work
to give anyone access and to invite the viewer rather than to intimidate.
Alex's paintings and drawings create a new vocabulary that is fresh and critical.
Becerra recently held solo exhibitions with Levy Delval, Zona Maco Sur and ltd
Los Angeles. He participated in the inaugural group exhibition Reagan Babies.
Becerra has been reviewed in Frieze, Modern Painters, Los Angeles Times,
New York Times and Zoo Magazine, amongst others. Becerra completed his BFA
from Otis College of Art and Design, he currently lives and works in Los Angeles.
ƒ 76. Alex Becerra (né en 1989)
Why Bother, 2015
Huile et acrylique sur toile tendue sur panneau
123 × 96,5 cm
Provenance : galerie ltd los angeles
—
Oil and acrylic on canvas streched over panel
48 × 36 in
Courtesy of ltd los angeles and the artist
5 000 / 7 000 €
76 b l o o d y r e d s u n o f f a n t a s t i c L . A . Justin B. Hansch
How desire may be subverted by the means one takes to qualify desire is an oftrecurring theme in Hansch's work. His casual colored canvases range in subject
matter from still lives including hamburgers, hotdogs, cheetos and salads, to
playful terrestrial figurations. Along side his studio practice, Hansch was the
founder and director of JMOCA (Justin’s Museum of Contemporary Art), which
he operated out of his Los Angeles home.
“This work in particular comes from a series that launched a decade ago which
I refer to as “Colors”. It began as a painting joke of sorts in that they were copies
of my painting pallets… I noticed that the pallets were often more interesting
than the paintings themselves and began to repaint them, producing charming
abstract results. I then learned of another more successful artist using a similar
apparatus and decided to abandon idea, only to realize that that was stupid
and took up the project again. Eventually I no longer needed the pallets to
make the paintings and I was able to create the works out of thin air. Oddly
enough, the project had morphed into the very thing that they were poking fun
at in the first place. These indulgent beautiful abstractions are independent of
their original motive, free to stand on their own.” -JBH
ƒ 77. Justin B. Hansch (né en 1979)
Colors, 2015
Huile et graphite sur toile
Signée et datée en bas à gauche, titrée au dos
121,9 × 91,4 cm
—
Oil and graphite on canvas
Signed and dated on the lower left side,
titled on the back
48 × 36 in
2 000 / 3 000 €
77 b l o o d y r e d s u n o f f a n t a s t i c L . A . Conor Thompson
Conor Thompson's most recent body of work is about the act of painting as a
methodology of risk-taking. He describes these works as secular compositions
structured using a process of rhythmic disambiguation. Art history is treated
generatively, yet the majority of the references in his work manifest from
imagination and memory- they are universal, contingent, and unruly forms. For
Thompson the canvas is a site of improvisation and reverie
ƒ 78. Conor Thompson (né en 1983)
Another Couple, 2014-2015
Huile sur toile
Signée au dos et datée en bas à droite
121,9 × 91,4 cm
—
Oil on canvas
Signed on the back and dated
on the the lower right side
48 × 36 in
3 500 / 5 500 €
78 b l o o d y r e d s u n o f f a n t a s t i c L . A . Exhibition solo show 2014 - David Hendren at 5 car garage santa monica
79. David Hendren (né en 1978)
Drift Painting with Broken Vase n°2, 2014
Encre, laque et tissu sur toile
76 × 56 cm
Provenance : 5 Car Garage Art Project,
Santa Monica, Meliksetian-Briggs Gallery,
West Hollywood et atelier de l'artiste
—
Ink, lacquer and fabric on canvas
29.9 × 22 in
Courtesy of 5 Car Garage Art Project, Santa
Monica, Meliksetian-Briggs Gallery, West
Hollywood and the artist
3 500 / 5 500 €
79 b l o o d y r e d s u n o f f a n t a s t i c L . A . Annie Lapin
When confronted with one of L.A.-based artist Annie Lapin’s paintings, viewers
are often struck by a strange sense of recognition. It’s not so much the abstract
nature of Lapin’s paintings as it is her haunting style. The works linger on the
cusp of revealing figures or landscapes but never do, leaving the viewer in a
limbo between reality and dreams. Lapin’s paintings trick the eye with their
abstract imitations of realism and representational images. She is interested
in functions of perception and memory work, as well as certain recognizable,
established genres of historic painting. From a glance, her works look as though
they have definite, narrative subjects—like landscapes or group portraiture—but
upon looking, reveal themselves to be flurries of abstract marks describing no
specific object. She is known for a rich-hued palette and thick impasto. Since
2011, Lapin’s style has become more formal, with attention to abstracted marks
and their placement. Lapin also has created several sculptural canvases, in
which the cloth is mounted on its frame in a distorted, crumpled way.
Lapin's process of making paintings is intentionally visible in the works
themselves. "The way the works are constructed," she says, "is to allow each
painterly decision and mark to be left out there. Annie Lapin has likened
the viewer's interaction with her works to the moment between sleep and
wakefulness, noting that the "experience of the constructed nature of one's
own cognition which can occur when you view a painting is quite similar to
either lucid dreaming or the moment of awareness of being awake after a
dream. » Among her influences are fellow Los Angeles-based abstract painters
Mark Bradford and Rebecca Morris.
ƒ 80. Annie Lapin (née en 1978)
Universe Face, 2015
Charbon de bois sec et mica, acrylique
et aquarelle sur toile de lin
Signée et daté au dos
35,6 × 30,5 cm
Provenance : Honor Fraser Galerie, Los Angeles
—
Dry charcoal and mica, acrylic
and watercolor on linen
14 × 12 in
Courtesy of Honor Fraser Gallery and the artist
2 800 / 3 200 €
80 b l o o d y r e d s u n o f f a n t a s t i c L . A . Matt Lifson
"My focus in painting is chiefly to begin with something familiar and then
watch it dissolve into something ethereal. I want paintings to be derived from
contemporary images to imply a fabricated history, treading where fiction
and history re-inform each other. I am interested in a picture’s trajectory, and,
through the frame of painting, am able to extract multiple, even contradictory
narratives that exist in a picture’s peripheral by overlaying gestural abstraction
on silk over the figurative painting."
ƒ 81. Matt Lifson (né en 1985)
Mountain Song, 2014
Huile sur toile et huile sur voile étiré
149,9 × 109,2 cm
—
Oil on canvas, oil on voile stretched
59 × 43 in
5 000 / 7 000 €
81 b l o o d y r e d s u n o f f a n t a s t i c L . A . Iva Gueorguieva
"For me painting is a productive/destructive encounter with space, time,
and material. I construct illusionistic spaces and then destroy them by means
of collage. I move freely from paper to canvas, cardboard, metal, concrete
and clay. I cut and collage hand-painted materials as well as images produced
in the print-making studio using various techniques including soap ground
etching, cyanotype, photo gravure and woodcut. For me the act of painting
is a way of stitching, juxtaposing, overlapping, reiterating, remembering,
and erasing multiple phrases, stories, memories, and impressions. Painting
for me is bearing witness, to many or all things, and also to the very process
of painting."
ƒ 82. Iva Gueorguieva (née en 1974)
Rose Ruin, 2015
Acrylique, peinture à l'huile et collage sur toile
de lin
73,7 × 58,4 cm
—
Acrylic, oil stick and collage on linen
29 × 23 in
9 000 / 12 000 €
82 b l o o d y r e d s u n o f f a n t a s t i c L . A . b l o o d y r e d s u n o f f a n t a s t i c L . A . conditions générales de vente
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par lot, les frais et taxes suivants :
Frais de vente
En sus du prix de l’adjudication,
l’adjudicataire devra acquitter par
lot et par tranche dégressive les
commissions et taxes suivantes :
28,80% TTC sur les premiers 50 000€
(24 % Ht + TVA 20%) puis 24 % TTC de
50 001€ à 1 000 000€ (20% HT + TVA
20 %) et 14,4% TTC au-delà de
1 000 000€ (12% HT + TVA 20%)
Pour les livres :
25,32 % TTC sur les premiers 50 000€ (24
% HT + TVA 5,5%), puis 21,10 % TTC de
50 001€ à 1 000 000€ (20% HT + TVA
5,5 %) et 12,660% TTC au-delà de
1 000 000€ (12% HT + TVA 5,5%)
Pour le vin :
21,60 % TTC (18 % HT + TVA 20 %)
piasa en ligne
Si vous souhaitez recevoir
gratuitement par e-mail nos catalogues
ainsi que les informations sur nos ventes
en préparation, veuillez nous adresser
par e-mail à : contact@piasa.fr,
vos nom, adresse et numéro de téléphone
en mentionnant les spécialités qui
retiennent particulièrement votre
attention. Vous pouvez aussi imprimer
vos ordres d’achat, consulter nos
catalogues ainsi que les résultats
complets de nos ventes sur notre site :
www.piasa.fr
INFORMATION
L'opérateur de vente volontaire est
adhérent au Registre central de
prévention des impayés des
Commissaires priseurs auprès duquel
les incidents de paiement sont
susceptibles d'inscription.
Les droits d'accès, de rectification et
d'opposition pour motif légitime sont à
exercer par le débiteur concerné auprès
du Symev 15 rue Freycinet 75016 Paris.
Les lots dont le n° est précédé par le
symbole ƒ sont soumis à des frais
additionnels de 5,5 % HT, soit 6,60 % TTC
du prix de l’adjudication. Les lots dont le
n° est précédé par le symbole • sont soumis
à des frais additionnels de 20 % HT + TVA.
TTC du prix d’adjudication.
Dans certains cas, ces frais additionnels
peuvent faire l’objet d’un remboursement
à l’acheteur. Pour de plus amples renseignements, veuillez contacter notre
service comptabilité au :
Tél. : 01 53 34 10 17
En cas de contestation au moment des
adjudications, c’est-à- dire s’il est établi
que deux ou plusieurs enchérisseurs ont
simultanément porté une enchère
équivalente, soit à haute voix, soit par
signe, et réclament en même temps cet
objet après le prononcé du mot « adjugé »,
le dit objet sera immédiatement remis en
adjudication au prix proposé par les
enchérisseurs et tout le public présent
sera admis à enchérir à nouveau.
Les éventuelles modifications aux
conditions de vente ou aux descriptions
du catalogue seront annoncées
verbalement pendant la vente et notées
sur le procès-verbal.
Paiement
1. La vente sera conduite en Euros.
Le règlement des objets, ainsi que celui des
taxes s’y appliquant, sera effectué dans la
même monnaie.
2. Le paiement doit être effectué
immédiatement après la vente.
3. L’adjudicataire pourra s’acquitter
par les moyens suivants :
– Par carte bancaire en salle :
VISA et MASTERCARD.
– Par chèque bancaire certifié en euros
avec présentation obligatoire d’une pièce
d’identité en cours de validité.
– Par virement bancaire en euros :
RÉFÉRENCES BANCAIRES
HSBC, CENTRE D'AFFAIRES OPÉRA
3 RUE DES MATHURINS 75009 PARIS
Numéro de compte international (IBAN)
FR76 3005 6009 1709 1700 3866 868
BIC (Bank Identification Code)
CCFRFRPP
4. Les chèques tirés sur une banque
étrangère ne seront autorisés qu’après
l’accord préalable de PIASA, pour cela, il est
conseillé aux acheteurs d’obtenir, avant la
vente, une lettre accréditrive de leur banque
pour une valeur avoisinant leur intention
d’achat, qu’ils transmettront à PIASA.
5. En espèces :
– jusqu’à 1 000 € frais et taxes comprises
lorsque le débiteur a son domicile fiscal
en France ou agit pour les besoins d’une
activité professionnelle.
– jusqu’à 15 000 € frais et taxes comprises
lorsque le débiteur justifie qu’il n’a pas son
domicile fiscal en France et n’agit pas pour
les besoins d’une activité professionnelle,
sur présentation d’un passeport et
justificatif de domicile.
coNdiTionS of sALe
IMPORTANT NOTICE TO BUYERS ON
STORAGE & COLLECTION OF PURCHASES
Potential purchasers are invited to
examine and assess the condition of
items they may wish to buy before the
auction, notably during the pre-sale
viewing. PIASA is happy to provide
condition reports for individual lots
upon request. No claims will therefore
be entertained after the fall of the
hammer.
No collection will be allowed at Piasa, 118 rue
du Faubourg Saint Honoré, 75008 Paris.
All purchases can be collected 24 hours
after the sale in the storage, only if the
payment has been made.
No payment will be allowed at the
storage.
PIASA
5, boulevard Ney 75018 Paris
Entrance by : 215 rue d’Aubervilliers 75018 Paris
Niveau -1, zone C-15
Maximal height for the truck : 3,90 m
Contact : Olivier Pasquier at +33 1 40 34 88 81
For further information, please contact
Chloé Blaix at +33 1 53 34 10 10
Items will be kept free of charge for 30 days.
Thereafter the purchaser will be charged
storage costs at the rate of €3 + tax,
per day and per lot.
Il ne sera accepté aucune enchère
téléphonique pour les lots dont
l’estimation est inférieure à 300 €.
Conditions of sale
The highest and final bidder is deemed
to be the purchaser, and must provide
his / her name and address. No lot will
be transferred to the purchaser before
it has been paid for in full.
In the event of payment by cheque or
bank transfer, property may be withheld
until payment has been cleared. Any
storage costs that may result are to be
paid by the purchaser. In addition to the
amount of the winning bid, the following
premium per lot is also due :
Buyer’s premium
In addition to the lot’s hammer price,
the buyer must pay the following costs and
fees / taxes per lot and on a sliding scale :
28.80 % inc. tax, up to €50,000 (24 % + VAT
20 %) 24 % inc. tax, from €50,001 to €1,000,000 (20 % + VAT 20 %) 14.40 % inc.
tax, above €1,000,000 (12 % + VAT 20 %)
For books :
25,32 % inc. tax, up to €50,000 (24 % + VAT 5.5 %) 21.10 % inc. tax,
from €50,001 to €1,000,000 (20 % + VAT
5.5 %) 12.660 % inc. tax, above €1,000,000 (12 % + VAT 5.5 %)
For wines :
21.60 % inc. tax (18 % + VAT 20 %)
Piasa-Comptabilité Acheteurs
est ouverte aux jours ouvrables :
de 9 h à 12h30 et de 14h à 18h
Tél. : 01 53 34 10 17
Ordres d’achat
Un enchérisseur ne pouvant assister à la
vente devra remplir le formulaire d’ordre
d’achat inclus dans ce catalogue. PIASA
agira pour le compte de l’enchérisseur,
selon les instructions contenues dans le
formulaire d’ordre d’achat, et au mieux des
intérêts de ce dernier.
Les ordres d’achat écrits ou les enchères par
téléphone sont une facilité pour les clients.
Ni PIASA, ni ses employés ne pourront être
tenus pour responsables en cas d’erreurs
éventuelles ou omissions dans leur exécution
comme en cas de non exécution de ceux-ci.
Lorsque deux ordres d’achat sont identiques,
la priorité revient au premier ordre reçu.
Estimates
An estimate in euros of the likely sale price
is published after each lot. This is provided
for indication only. The hammer price may
of course be above or below this estimate.
piasa on line
If you wish to receive information
about our sales, please contact :
contact@piasa.fr, quoting your name,
address, telephone number, and fields of
interest. To print out absentee bid forms
and consult our catalogues and auction
results, please visit our website :
www.piasa.fr
INFORMATION
As an operator of voluntary auction sales,
PIASA is a member of the Central
registration preventing non-payment and
any incident in lots payments liable to be
registered.
Any claim from a debt contractor or/and
a person registered, relating to access
right, modification and counteraction
should be addressed to Symev 15 rue
Freycinet 75016 Paris.
Lots preceded by the symbol ƒ are subject
to an additional premium of 5.5 % + VAT
(6.60 % inc. VAT) on the hammer price.
Lots preceded by the symbol • are subject
to an additional premium of 20 % + VAT
on the hammer price. In some instances
these additional costs may be reimbursed.
For further information, please call our
accounts department on
Tel. : +33 1 53 34 10 17
In the event of a dispute at the fall of
the hammer, i.e. if two or more bidders
simultaneously make the same bid,
either vocally or by sign, and claim title
to the lot after the word adjugé has
been pronounced, the said lot shall be
immediately reoffered for sale, at the
price of the final bid, and all those
present may take part in the bidding.
Any changes to the conditions of sale
or to the descriptions in the catalogue
shall be announced verbally during the
sale, and appended to the official sale
record (procès-verbal).
Payment
1. The sale shall be conducted in euros.
All payments must be effected in the
same currency.
2. Payment is due immediately
after the sale.
3. Property may be paid for in the
following ways :
– by credit card in the saleroom
(VISA or MASTERCARD)
– by crossed cheque in euros,
upon presentation of valid
proof of identity
– by bank transfer in euros :
BANK REFERENCES
HSBC, CENTRE D'AFFAIRES OPÉRA
3 RUE DES MATHURINS 75009 PARIS
IBAN
FR76 3005 6009 1709 1700 3866 868
BIC (Bank Identification Code)
CCFRFRPP
4. Wherever payment is made by cheque
from a foreign bank account, the purchase
will not be delivered until Piasa receives
the bank agreement.
5. In cash :
– up to €1,000 (inc. premium) for French
citizens or professionnal activities
– up to €15,000 (inc. premium) for foreign
non professionnal citizens upon
presentation of valid proof of identity.
PIASA’s Buyers’ Accounts Department
is open weekdays :
9am to 12.30pm – 2pm to 6pm.
Tel. : +33 1 53 34 10 17
Absentee bids
Bidders unable to attend the sale must
complete the absentee bid form in this
catalogue. PIASA will act on behalf of the
bidder, in accordance with the instructions
contained in the absentee bid form, and
try to purchase the lot(s) at the lowest
possible price, in no circumstances
exceeding the maximum amount
stipulated by the bidder.
Written absentee bids and telephone
bidding are services provided for clients.
PIASA and its employees decline
responsibility for any errors or omissions
that may occur. Should two written bids
be identical, the first one shall take
precedence.
Telephone bids are not accepted for
lots estimated less than €300.
* PIASA wishes that bidders abstain from
reselling purchased artwork at auction
for thee years ( 3). If a bidder wishes to sell
the artwork before that time, we wish
that they give the artist and their primary
gallery the first right of refusal. With
these terms, PIASA hopes to both promote
innovative artwork and help define how
auctions can best serve institutions,
artists, their representatives, and the
larger community of collectors.
BLOODY RED SUN
OF FANTASTIC L.A.
Curated by René-Julien Praz
Lundi 9 novembre 2015 | Monday 9th November 2015
PIASA
118 rue du Faubourg Saint-Honoré 75008 Paris
Fax :+ 33 1 53 34 10 11
Ordre d’achat | ABSENTEE BID
Enchères par téléphone | BIDDING BY TELEPHONE
Nom et prénom | Name & First Name:
Adresse | Address:
Téléphone | Telephone:
Portable | Cellphone:
Téléphone pendant la vente | Telephone during the sale:
E-mail / Fax | E-mail / Fax:
Banque | Bank:
Personne à contacter | Person to contact:
Adresse | Address:
Téléphone | Telephone:
Numéro du compte | Account number:
Code banque | Bank code:
Code guichet | Branch code:
Joindre obligatoirement un RIB ainsi qu’une copie d’une pièce d’identité (passeport ou carte nationale d’identité).
Please enclose your bank details and a copy of your identity card or your passport.
Les ordres d’achat écrits ou les enchères par téléphone sont une facilité pour les clients. Ni PIASA, ni ses employés ne pourront
être tenus responsables en cas d’erreurs éventuelles ou omission dans leur exécution comme en cas de non exécution de ceux-ci.
Absentee and telephone bidding are services offered to clients. Neither PIASA nor its staff can accept liability for any errors or omissions
that may occur in carrying out these services.
Lot n°
Description du lot | LOT DESCRIPTION
Limite en € | LIMIT IN €
J’ai pris connaissance des conditions générales, informations et avis imprimés dans le catalogue et accepte d’être lié(e) par leur contenu ainsi que par toute
modication pouvant leur être apportée, soit par avis affiché dans la salle de vente, soit par annonce faite avant ou pendant la vente. Je vous prie d’acquérir pour
mon compte personnel, aux limites en euros, les lots que j’ai désignés ci-contre (les limites ne comprenant pas les frais à la charge de l’acheteur).
I have read the terms and conditions of sale as printed in the catalogue and agree to be bound by their contents as well as by any modifications that may be made to them,
indicated either by notice in the saleroom or as announced before or during the sale. Please bid on my behalf up to the limit stipulated in euros, for the lot(s) designated
opposite (exclusive of buyer’s premium).
Date:
Signature obligatoire | Signature obligatory:
Comptabilité
Acheteurs
Gaëlle Le Dréau
Tél. : +33 1 53 34 10 17
g.ledreau@piasa.fr
ART CINÉTIQUE
Vendeurs
Odile de Coudenhove
Tél. : +33 1 53 34 12 85
o.decoudenhove@piasa.fr
LIGHT SHOW
MERCREDI 29 NOVEMBRE 2015
Dépôt et stockage
Du lundi au vendredi
de 9 à 12h et de 14 à 17h00
5 boulevard Ney 75 018 Paris
Entrée par :
215 rue d’Aubervilliers
75 018 Paris
Tél. : +33 1 40 34 88 81
Olivier Pasquier
o.pasquier@piasa.fr
Stéphane Rennard
s.rennard@piasa.fr
Frédéric Farnier
f.farnier@piasa.fr
Estelle Laporte
e.laporte@piasa.fr
Notre réseau
en province
PIASA S.A.
DÉPARTEMENTS
ART MODERNE
POST WAR
Domitille d’Orgeval
Tél. : +33 1 53 34 13 26
d.dorgeval@piasa.fr
Chloé Blaix
Tél. : +33 1 53 34 12 80
c.blaix@piasa.fr
Art contemporain
Adrien de Rochebouët
Tél. : +33 1 53 34 10 02
a.derochebouet@piasa.fr
Chloé Blaix
Tél. : +33 1 53 34 12 80
c.blaix@piasa.fr
sculpture
Maylis Gazave
Tél. : +33 1 53 34 10 10
m.gazave@piasa.fr
Chloé Blaix
Tél. : +33 1 53 34 12 80
c.blaix@piasa.fr
Mobilier objets d’art
Chasse et art animalier
Armes et souvenirs
historiques
Art islamique Archéologie
Grands vins et spiritueux
Pascale Humbert
Tél. : +33 1 53 34 10 19
p.humbert@piasa.fr
Bijoux et argenterie
Bandes dessinées
Dora Blary
Tél. : +33 1 53 34 13 30
d.blary@piasa.fr
Art d’asie
Céramique ancienne
Marie-Amélie de Préville
Tél. : +33 1 53 34 10 12
ma.pignal@piasa.fr
ART GREC, XXe XXIe SIÈCLES
Laura WilmotteKoufopandelis
Tél. : +33 1 53 34 13 27
l.wilmotte@piasa.fr
Haute-époque
Giulia Ponti
Tél. : +33 1 53 34 12 38
g.ponti@piasa.fr
Photographie
Fannie Bourgeois
Tél. : +33 1 53 34 10 07
f.bourgeois@piasa.fr
Tableaux et dessins anciens
Alix de Saint-Hilaire
Tél. : +33 1 53 34 10 15
a.desainthilaire@piasa.fr
Arts décoratifs du xxe siècle
et Design
François Épin
Tél. : +33 1 45 44 43 54
f.epin@piasa.fr
Archibald Pearson-de Brantes
Tél. : +33 1 45 44 43 53
a.pearson@piasa.fr
Cindy Chanthavong
Tél. : +33 1 45 44 12 71
c.chanthavong@piasa.fr
Eléonore Floret
Tél : +33 1 45 44 43 55
e.floret@piasa.fr
Johanna Colombatti
Tél. : +33 1 53 34 10 06
j.colombatti@piasa.fr
ESTAMPES
LETTRES ET MANUSCRITS
AUTOGRAPHES
LIVRES ANCIENS ET MODERNES
TIMBRES
Dora Blary
Tél. : +33 1 53 34 13 30
d.blary@piasa.fr
Président Directeur Général
Alain Cadiou
Vice-Président associé
Directeur Général
Frédéric Chambre
COMMISSAIRE-PRISEUR directeur
Henri-Pierre Teissèdre
SECRETARIAT
Laurence Dussart
Tél. : +33 1 53 34 12 87
l.dussart@piasa.fr
PIASA
PIASA
118 rue du Faubourg Saint-Honoré
75 008 Paris
Tél. : +33 1 53 34 10 10
Fax : +33 1 53 34 10 11
contact@piasa.fr
www.piasa.fr
Piasa SA Ventes volontaires aux
enchères publiques
agrément n° 2001-020
Inventaires
Henri-Pierre Teissèdre
Frédéric Chambre
les commissaires-priseurs, sont
à votre disposition pour estimer
vos œuvres ou collections en
vue de vente, partage, dation ou
assurance.
Ventes généralistes
INVENTAIRES
Carole Siméons
Tél. : +33 1 53 34 12 39
c.simeons@piasa.fr
Nantes & angers
Georges Gautier
3, place Graslin 44 000 Nantes
Tél. : +33 2 28 09 09 19
27 rue des Arènes 49 000 Angers
Tél. : +33 2 41 42 04 04
Port. : +33 6 08 69 81 07
georges@gautierfineart.com
Alberto Biasi (né en 1937)
Quadrifoglio dinamico, 1995
Technique mixte
Signé, titré et daté au verso
102 x 102 cm
Marseille & lyon
Jean-Baptiste Renart
35 rue du dragon
13 006 Marseille
Tél. : +33 4 91 02 0045
21 rue Gasparin 69 002 Lyon
Tél. : +33 4 72 40 23 09
Port. : +33 6 37 15 22 73
jb.renart@orange.fr
www.piasa.fr
Notre correspondant
en belgique
Michel Wittamer
379 avenue Louise Boîte 6
1050 Bruxelles
Tél. : +32 474 010 010
galeriewittamer@swing.be
CRÉATION ORIGINALE
Mathieu Mermillon
RÉALISATION graphique
Clément Masson
Basilicstudio
(Charly Bassagal)
Photographies Xavier Defaix
Impression
Telliez Communication
Tél. : +33 3 44 20 21 50
PIASA
118 rue du Faubourg Saint-Honoré
75 008 Paris
Tél. : +33 1 53 34 10 10
Fax : +33 1 53 34 10 11
contact@piasa.fr
www.piasa.fr
PIASA SA — Ventes volontaires
aux enchères publiques
agrément n° 2001-020

Bloody Red Sun

Transcription

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