Contemporary Art in the Americas Arte Contemporáneo en las Américas
White Washed America White Washed America

White Washed America

Rubén Ortiz Torres

Royale Projects Los Angeles, California, USA 09/24/2017 – 12/10/2017

Royale Projects is proud to present Rubén Ortiz Torres’ first major solo exhibition in Southern California since 2011. This exhibition highlights new works including the tricked-out, hydraulic shopping cart titled Shopping Hopper and interactive paintings and sculptures influenced by low-rider cars, punk, anarchism, minimalism, and the destruction and now preservation of David Siqueiros’ mural América Tropical in Los Angeles.

Installation view. Rubén Ortiz Torres, White Washed America, 2017. Courtesy Royale Projects, Los Angeles Black Flag (detail), 2014. Urethane and metajuls paint on aluminum and corafoam, 72 x 24 x 6 each. Courtesy Royale Projects, Los Angeles Installation view. Rubén Ortiz Torres, White Washed America, 2017. Courtesy Royale Projects, Los Angeles Royale Projects is proud to present Rubén Ortiz

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

Dysfunctional Formulas of Love Dysfunctional Formulas of Love

Dysfunctional Formulas of Love

Curated with Corazón Del Sol and Víctor Albarracín Llanos

The Box Los Angeles, California, USA 09/17/2017 – 11/04/2017

Artists: Andrés Felipe Uribe, Andrés Matute, Beatriz Eugenia Díaz, Breyner Huertas, Carlos Bonil, Carolina Caycedo, Corazón Del Sol, Eider Yangana, Eusebio Siosi, Gabriel Mejía, Gala Porras-Kim, Henry Palacio, Jennifer Rojas, Juan Guillermo Tamayo, Julio Giraldo, Liliana Vélez, Lorena Espitia, María Angélica Madero, María Buenaventura, María Isabel Rueda, María Mercedes Salgado, Mario Llano, Milena Bonilla, Mugre, Nicolás Vizcaíno, Richard Bent Cano, Tupac Cruz, Vanesa Ortiz, Víctor Albarracín Llanos, William Contreras Alfonso, Wilson Díaz, Yaron Michael Hakim Dysfunctional Formulas of Love brings together 32 Colombian artists in order

Carlos Bonil, Choral Machine: Routine #, 2017, Video animation, obsolete appliances, transformed computer speakers. Dimensions: variable. Courtesy: the artist and The Box, LA. Fredrik Nilsen Studio. Beatriz Eugenia Díaz, Aria No. 23 (left) & Aria No. 15 (right), 2017 (both). Video (left), oil on paper (right),4:44 mins (left), 13 x 69 inches (right). Courtesy: the

This Too Shall Pass

This Too Shall Pass

Pablo Rasgado

Steve Turner Contemporary Los Angeles, California, USA 09/16/2017 – 10/28/2017

Steve Turner presents This Too Shall Pass, an installation by Pablo Rasgado that incorporates a selection of works by artists from Los Angeles and Latin America: Matthew Brandt, Joshua Callaghan, Jedediah Caesar, Emilio Chapela, Graham Collins, Gustavo Godoy, Tim Hawkinson, Kelly Kleinschrodt, Luciana Lamothe, Leo Marz, Knud Merrild, Matt Nichols, Brian Rochefort and Allen Ruppersberg. Rasgado’s architectural installation

Installation view: Pablo Rasgado: This Too Shall Pass, Steve Turner, 2017. Photo courtesy of the artists and Steve Turner Contemporary. Allen Ruppersberg, Poster Object (What Should I Do?, Where Should I Go?, Why Is Everything The Same?), 1988, Silkscreen on aluminum, 22 x 14 inches (55.9 x 35.6 cm). Photo courtesy of the artists and Steve

El hambre como maestra/Hunger As Teacher

El hambre como maestra/Hunger As Teacher

Carolina Caycedo

Commonwealth & Council Los Angeles, California, USA 09/09/2017 – 10/21/2017

El hambre como maestra/Hunger as Teacher is part of Carolina Caycedo’s ongoing project Be Dammed in which she collaborates with riverside populations in various bio-regions to address the socio-environmental impacts of dams. While engaged in fieldwork and research, Caycedo gathers objects, film footage, and testimonies. She also produces drawings, collages, sculptures, and films that document

Undammed/Desbloqueada, 2017, Hand-dyed fishing net, lead weights, metal gold pan, Navajo sand- stone, copper T IUD, thread, rope, 64 x 19 x 19 in. Courtesy the artist and Commonwealth Council. Photo: Ruben Diaz. Installation view: El Hambre Como Maestra/Hunger As Teacher, Courtesy the artist and Commonwealth and Council. Photo: Ruben Diaz. Installation view: El Hambre Como Maestra/Hunger