Gallery Openings: Mark Your Calendars For These LA Art Exhibitions

By RACHEL MANY
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Rain Room LACMA

Random International | Rain Room

LACMA | November 1st – March 6th, 2016

Random International’s Rain Room (2012) is an immersive environment of perpetually falling water that pauses wherever a human body is detected. The installation offers visitors an opportunity to experience what is seemingly impossible: the ability to control rain. Rain Room presents a respite from everyday life and an opportunity for sensory reflection within a responsive relationship.

lacma.org

False Scent

Katy Cowan | The Studio, The Sketch

Cherry and Martin | November 5th – January 2nd, 2016

Katy Cowan’s work blurs the line between abstraction and ideas of labor and craft. Employing common building materials like concrete, plaster, marble, and wood, as well as textiles and ceramics techniques, Cowan’s work breaks down barriers of typical categorization, emphasizing the notion of the “temporal” and the “concrete.”

cherryandmartin.com

 jeff colson

Jeff Colson | Stacked Desk

Maloney Fine Art | November 7th – December 19th

Opening Reception: Saturday, November 7th, 6 pm

Maloney Fine Art presents Jeff Colson’s second exhibition with the gallery, along with a new sculpture entitled “Stacked Desk.” The sculpture pokes fun at the strive toward efficiency while immortalizing the never-diminishing pile of paper that once symbolized “work.” Using his own handcrafted techniques, his sculptures are carved, cut, sawn, sanded, painted, welded, and molded, and focus on the ephemeral quality of paper—as a subject and a material.

.maloneyfineart.com

 star fucker

Aaron Curry | STARFUKER

David Kordansky Gallery | November 14th – January 16th, 2016

Opening Reception: Saturday, November 14th, 6 pm

In his exuberantly colored, expressive sculptures, Aaron Curry blurs boundaries between abstraction and figuration, painting and sculpture, flatness and dimensionality, as well as formalism and conceptualism, in order to demonstrate the richness of the middle ground between opposites. Curry regards his own sculptures as paintings, composing them out of an assortment of flat, whimsically cut pieces of plywood, cardboard, or aluminum, referencing the modernist works of Henry Moore and Alexander Calder.

davidkordanskygallery.com

blum

THE AVANT-GARDE WON’T GIVE UP: COBRA AND ITS LEGACY

Blum & Poe | November 5th – December 23rd

Opening Reception: Thursday, November 5th, 8 pm

This exhibition offers a broad and critical reassessment of Cobra—an essential postwar European movement often characterized by a method of figuration and abstraction that emerged in the traumatic wake of World War II, and named for the home cities Copenhagen, Brussels, and Amsterdam, The Avant-Garde Won’t Give Up, which takes its title from a seminal work by Cobra founder Asger Jorn (Danish, 1914-73), pays tribute to Jorn’s catalyzing role and traces the impact and legacy of Cobra in the art of the 1950s and ’60s through the present day, by juxtaposing historical work with a selection of contemporary practices.

blumandpoe.com

 jeff

John Outterbridge

Art + Practice (Hammer Museum) | December 5th – February 13th, 2016

Opening Reception: Saturday, December 5th, 5 pm

Outterbridge has been composing sculpture from found and discarded materials and debris—including rags, rubber, and scrap metal—for more than 50 years. The exhibition will focus on works made since 2000 and composed of materials such as tools, twigs, bone, and hair—including a recent series called Rag and Bag Idiom—that recall ancient healing rituals or talismanic objects, while also engaging in direct dialogue with the work of artists such as Edward Kienholz, Senga Nengudi, Noah Purifoy, and Robert Rauschenberg.

hammer.ucla.edu

whitney

Whitney Bedford

Susanne Vielmetter Los Angeles Projects | December 12th – January 23rd, 2016

Opening Reception: Saturday, December 12th, 6 pm

Drafting pictures from a hybrid of different images to form a new, collaged picture, Bedford’s work employs an array of mediums to further exaggerate the viewer’s understanding of the image at hand. By creating new works from older images, she is able to create a dialogue between the old and young, pushing the boundaries between direct depiction, imagination, and memory, connoting a wholly different space, one aged by time and impossible to revisit.

vielmetter.com

 

 

 

 

 




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