Hey LA, we hope you enjoy this selection as much as we do. Below are suggestions for 10 different art dates, from the much-anticipated Holbein show at the Getty to a takeover of the USC Pacific Asia Museum.
When: November 6–December 18
Where: Blum & Poe (2727 La Cienega Blvd, Culver City, Los Angeles)
There is revisionist history and then there is the work of Umar Rashid, who reimagines whole eras of colonial history to center those who have been pushed to the edges of accepted narratives. En Garde / On God is the latest entry in his saga chronicling the fictitious Frenglish Empire, which has taken shape over the past 15 years. Rashid draws on period artwork, afro-futurism, folk art, hip-hop, and a heterogeneous mix of styles and sources to create a tableau that is no more constructed than the histories which he critiques.
When: November 12, 2021–February 6, 2022
Where: USC Pacific Asia Museum (46 N Los Robles Ave, Pasadena, California)
Since its founding in 1971, the USC Pacific Asia Museum has showcased the broad sweep of historical and contemporary arts in Asia, from exhibitions of ceremonial arts in Indonesia and Korean folk paintings, to contemporary textiles in Pakistan and the influence of Mexican art on Chinese artists in the 20th century. Intervention features new artworks from seven Asian American artists and scholars who engage with the museum’s collection, presenting new perspectives on its history. Participating artists include Antonius Bui, Audrey Chan, Jennifer Ling Datchuk, Amir Fallah, Akiko Jackson, Alan Nakagawa, and kate-hers RHEE.
When: through November 20
Where: Make Room (5119 Melrose Avenue, Hollywood, Los Angeles)
Lips and eyes float across canvases, individuals in family portraits merge into one another, plants crawl out of sitter’s collars, and amazing sculptures composed of fur and toys resemble faces in Miguel Angel Payano’s work. In this solo show, the artist makes portraiture excitingly strange and sensual.
When: through December 4
Where: Fellows of Contemporary Art (970 N Broadway, Suite 208, Chinatown, Los Angeles)
Curated by Vinhay Keo and Evelyn Hang Yin, The Body is a Blade (that sharpens by cutting) brings together three artists who examine how Black, brown, and other marginalized bodies can counter the violence of representation. Works include Samira Yamin’s interventions into popular news media that call into question their objectivity; Kenneth Yuen’s sleek, fiberglass fortune cookie; and Charlotte Zhang’s automotive roll cage with straps, resembling a performance art prop. A virtual panel discussion with the artists and curators will take place Saturday, November 13, from 1 to 2pm (PST). Register here.
When: through December 11
Where: University Art Galleries at UC Irvine (712 Arts Plaza, Irvine, California)
Revolution Everywhere highlights the potential of art to engender solidarity and perseverance in the context of authoritarianism and rising tensions around the globe. The show takes its title from a 2020 conversation between the Lebanese journalist and activist Joey Ayoub and the Hong Kong based Lausan Collective, and features large-scale works by Panos Aprahamian, Heather M. O’Brien, and Simon Liu. Through video installation, photography, and text, the artists illustrate specific strategies to deal with similar political situations.
When: through December 12
Where: Los Angeles Municipal Art Gallery (4800 Hollywood Blvd, Barnsdall Art Park, Los Angeles)
The Los Angeles Municipal Art Gallery presents the first institutional solo exhibitions of three LA-based artists, who each emphasize materiality and process in their work. Lukas Geronimas presents new sculptures that recall ritualistic or devotional objects. Nevine Mahmoud crafts sensuously curved sculptures from marble, glass, and resin. And Vanessa McConnell’s paintings are defined by layered acrylic paint built up into textured surfaces that often incorporate found objects.
When: through December 18
Where: The Mistake Room (1811 E 20th Street, Central-Alameda, Los Angeles)
In popping paintings, Tiffany Alfonseca portrays Black Latinx grandmothers, mothers, and daughters going about their days, rearranging flowers, laughing with each other, and washing dishes. Based on Alfoneca’s own family photographs, the artworks reveal the home as another protagonist, a lens into the joys and struggles of Black Latinx people.
When: through January 9, 2022
Where: Getty Center (1200 Getty Center Drive, Brentwood, Los Angeles)
In this anticipated exhibition, visitors get an intimate look at Hans Holbein the Younger’s intricate, and often expressive, portraits of aristocrats and royal families. Holbein also designed several books and emblems, which are astonishing to see 500 years after their creation.
When: through January 10, 2022
Where: Norton Simon Museum (411 West Colorado Boulevard, Pasadena, California)
While prints are normally characterized by a uniformity in each edition, Unseen Picasso highlights works by the Spanish master that stand out for their distinctiveness. These include a version of the lithograph “Two Nude Women” (1946), the only one to be printed in color, as well as an artist’s proof of a 1939 aquatint of Dora Maar printed on Japan paper. Rather than focus on the breadth of his career, this selection of prints from the museum’s collection encourages close looking at a narrow slice.
When: through February 20, 2022
Where: American Museum of Ceramic Art (399 N Garey Ave, Pomona, California)
Don Reitz is hailed as one of the most influential ceramicists of the 20th century for the “muscular anarchy” of his works and the way he “wrestled clay off the dinner table,” according to his New York Times obituary. Life is Not a Dress Rehearsal presents his “Sara Series” (1983-91), a body of work he produced after a series of tragedies: a debilitating auto accident, the death of his father, and the cancer diagnosis of his niece Sara. Onto slabs of clay rolled by his students, Reitz painted fanciful scenes inspired by childhood, reigniting his creative fire.
At the center of the exhibition is a letter penned by artist and activist Dana Chandler Jr. to the Museum of Fine Arts, Boston, addressing racism at the institution.
The noble ambitions of these shows doom them to be listicles, box-ticking exercises struggling to meaningfully speak to the issues of our sociocultural moment.
The Japanese filmmaker’s international profile has skyrocketed over the past year thanks to his new films Drive My Car and Wheel of Fortune and Fantasy, both of which are now hitting theaters.
Philadelphia activists, UPenn students, and journalists contributed to the reckoning centering the museum’s holdings of the remains of MOVE bombing victims.
“There was no call out to galleries to submit any specific work, only to submit their best work,” said fair director Mia Nelsen.
The offerings include current students, as well as Tufts alumni like Wangechi Mutu and Sol LeWitt.