Contemporary Art in the Americas Arte Contemporáneo en las Américas
Drifting on a Dream Drifting on a Dream

Drifting on a Dream

Eduardo Sarabia

The Mistake Room Los Angeles, California, USA 09/16/2017 – 01/20/2018

The Mistake Room (TMR) presents Eduardo Sarabia: Drifting on a Dream—the Los Angeles-born, Guadalajara-based artist’s first solo exhibition in his home city in nearly a decade. Made possible through the support of the Mike Kelley Foundation, and coinciding with the Getty Foundation’s PST: LA/LA initiative, the exhibition brings together a selection of Sarabia’s most iconic projects

Eduardo Sarabia: Drifting on a Dream, Installation View at The Mistake Room, Los Angeles, CA, 2017. Photo credit: Nicolas Orozco-Valdivia Eduardo Sarabia: Drifting on a Dream, Installation View at The Mistake Room, Los Angeles, CA, 2017. Photo credit: Nicolas Orozco-Valdivia Eduardo Sarabia: Drifting on a Dream, Installation View at The Mistake Room, Los Angeles, CA,

Fantasías Fantasías

Fantasías

Elisabeth Wild

Ruberta Los Angeles, California, USA 11/05/2017 – 12/16/2017

Elisabeth Wild was born in Vienna (Austria) on February 6th, 1922. In 1938 she emigrated with her parents Franz and Stefanie Pollak to Buenos Aires, Argentina, fleeing Nazism in Europe. Coming from a family of female artists (her Grandmother was a painter), she learned to paint in Vienna’s Academy of Art and then explored figurative

Untitled, 2017. Collage on paper, 24.5 × 21.5 cm. Courtesy of Ruberta Elisabeth Wild, Fantasías, 2017. Exhibition view, Ruberta. Courtesy of Ruberta Untitled, 2017. Collage on paper, 26 × 20 cm. Courtesy of Ruberta Elisabeth Wild was born in Vienna (Austria) on February 6th, 1922. In 1938 she emigrated with her parents Franz and Stefanie

G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg) G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg)

G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg)

Adriana Minoliti

Cherry and Martin Los Angeles, California, USA 09/12/2017 – 11/04/2017

Minoliti’s exhibition, G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg), includes paintings, wall murals and domestic environments that build upon the artist’s exploration of the relationship between eroticism, queer theory, history and geometry. Minoliti’s “cyborg paintings” are made through a mixture of hand and machine. First the canvas is stenciled and airbrushed to create a color landscape with outlines of anthropomorphized

Ad Minoliti, G.S.F.C. #4, 2017. Acrylic on printed canvas. 38.2 x 38.2 in / 97 x 97 cm. © Adriana Minoliti. Courtesy Cherry and Martin, Los Angeles At the bottom: Yaoska Davila, Picasso Asshole. Espresso brown sear sucker silk, cotton Lutyens blue, chainette fringe, foam insert, down feather insert bolster cushions: 6 x 23 x

Martín Ramírez. His Life in Pictures, Another Interpretation, at ICA, Los Angeles Martín Ramírez. His Life in Pictures, Another Interpretation, at ICA, Los Angeles

Martín Ramírez. His Life in Pictures, Another Interpretation, at ICA, Los Angeles

by Daniel Garza Usabiaga Los Angeles, California, USA 09/09/2017 – 12/31/2017

Around 1958, Esther McCoy took a photograph of Juan O’Gorman during his visit to Watts Towers in Los Angeles. In the image, the Mexican architect lifts his head to take in the sculptures built by Simon Rodia between 1921 and 1954. Rodia was an Italian immigrant who moved to the United States in 1895 at

Existe una fotografía de Juan O´Gorman, tomada por Esther McCoy alrededor de 1958, durante su visita a las Torres Watts en Los Ángeles. En esta imagen, el arquitecto mexicano observa, levantando el rostro, esta construcción edificada por Simon Rodia entre 1921 y 1954. Rodia fue un inmigrante italiano que se estableció en los Estados Unidos

León Ferrari at REDCAT & Juan José Gurrola at House of Gaga, Los Angeles León Ferrari at REDCAT & Juan José Gurrola at House of Gaga, Los Angeles

León Ferrari at REDCAT & Juan José Gurrola at House of Gaga, Los Angeles

By Michaela Bathrick Los Angeles, California, USA 09/13/2017 – 12/17/2017

The Getty’s Pacific Standard Time: LA/LA is charged with revisiting, if not revising, history through art. A huge number of the exhibitions which collectively make up PST are invested in giving due attention to artists and movements which have been left out of the western art narrative. Two such artists are León Ferrari, with work

Vista de instalación. Juan José Gurrola, 1966-1989, en House of Gaga. Imagen cortesía de House of Gaga. El festival del Getty, Pacific Santandard Time: LA/LA esta encargado de volver a visitar, si no de revisar, la historia a través del arte. Una gran cantidad de las exposiciones que colectivamente componen PST se comprometen en prestar

Bearing Witness Bearing Witness

Bearing Witness

Regina José Galindo

Baik Art Los Angeles, California, USA 09/09/2017 – 10/28/2017

Baik Art presents Bearing Witness, a solo exhibition by Regina José Galindo, contemporary Guatemalan performance artist born in 1974, 14 years into the bloody, 36-year armed conflict in Guatemala. By pushing her body to the limit and creating works that depict her own reality as both a Guatemalan and a woman, Galindo challenges the inequities and

Regina José Galindo, Libertad Condicional/Contional Freedom, 2009. Photos, chains, stakes, padlocks, ring of keys. 8 x 10 in. and dimensions variable. Courtesy of the artist and Baik Art. Photo: Michael Underwood Regina José Galindo, Installation view, 2003-2017. Photos, videos, mixed media. Dimensions variable. Courtesy of Baik Art. Photo: Michael Underwood Regina José Galindo, Tierra/Earth, 2013.

Vivian Suter and Elisabeth Wild Vivian Suter and Elisabeth Wild

Vivian Suter and Elisabeth Wild

Elisabeth Wild

Karma International Los Angeles, California, USA 09/15/2017 – 10/28/2017

The gravel avocado and mango trees in their green                 shadows            Volcanoes,                 and their shoot The paintings breath    The paintings move and are moved by the wind              the     

Installation view at Vivian Suter and Elisabeth Wild by Karma International, Los Angeles, 2017. Photo courtesy of the artists and the gallery. Installation view at Vivian Suter and Elisabeth Wild by Karma International, Los Angeles, 2017. Photo courtesy of the artists and the gallery. Installation view at Vivian Suter and Elisabeth Wild by Karma International, Los Angeles,

TESTIGO / WITNESS: Popular Fiction and the Dismembered Object TESTIGO / WITNESS: Popular Fiction and the Dismembered Object

TESTIGO / WITNESS: Popular Fiction and the Dismembered Object

Thomas Glassford

Quint Gallery San Diego, California, USA 09/09/2017 – 10/28/2017

Quint Gallery presents a multi-faceted exhibition of new work by Thomas Glassford, along with an extensive selection from his personal collection. Part cabinet of curiosities, part ready-made surreal museum; Glassford’s assemblage offers a unique speculative, formal and fictional detour informing his sculptural practice. Living and working in Mexico City since 1990, Thomas Glassford has immersed

Thomas Glassford, Autogol Rojo, 2009, Fiberglass, automotive paint, 36″ x 27″ x 26″ (90 cm x 69 cm x 66 cm), QG – 8574 © Thomas Glassford. Photo courtesy Quint Gallery Installation view at Testigo/Witness: Popular Fiction and the Dismembered Object, Quint Gallery, 2017. © Thomas Glassford, Photo credit: Tim Hardy, Photo courtesy Quint Gallery

Building Material: Process and Form in Brazilian Art

Building Material: Process and Form in Brazilian Art

Rodrigo Cass, Ivens Machado, Paulo Monteiro, and more...

Hauser & Wirth Los Angeles, California, USA 09/14/2017 – 10/18/2017

The exhibition begins with a series of geometric abstractions rendered in Formica by de Barros, along with silver gelatin photographs from both the beginning and end of his career. In their use of Formica, a plastic laminate that became particularly popular and even ubiquitous in Brazilian homes, offices, and stores during the postwar era, de

Erika Verzutti, Flowers, 2017. Papier mache, polystyrene and wax. 53 x 66 x 8 cm | 20 7/8 x 26 x 3 1/8 in. Courtesy Fortes D’Aloia & Gabriel. Photo: Ding Musa Erika Verzutti, Dark Matter, 2016. Papier mache and styrofoam. 51 x 76 x 11 cm | 20 1/8 x 29 7/8 x 4 3/8

Primordial Saber Tararear Proverbiales Sílabas… Primordial Saber Tararear Proverbiales Sílabas…

Primordial Saber Tararear Proverbiales Sílabas…

Curated by Abraham Cruzvillegas and Gabriel Kuri

Regen Projects Los Angeles, California, USA 09/09/2017 – 10/28/2017

Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas Regen Projects presents an exhibition curated by gallery artists Abraham Cruzvillegas and Gabriel Kuri concurrent with Pacific Standard Time: Los Angeles / Latin America. The exhibition examines the influence of the Latin American diaspora by bringing together a group of works by

Installation view of Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas – Pedro Salazar Torres (Partido Socialista Trabajador), curated by Abraham Cruzvillegas and Gabriel Kuri, on the occasion of Pacific Standard Time: LA/LA. Regen Projects, Los Angeles. September 9 – October 28, 2017. Photo: Brian Forrest, Courtesy Regen