Contemporary Art in the Americas Arte Contemporáneo en las Américas
Royal Flush Royal Flush

Royal Flush

Nina Chanel Abney

Institute of Contemporary Art, Los Angeles Los Angeles, California, USA 09/23/2018 – 01/20/2019

Nina Chanel Abney (b. 1982) is at the forefront of a generation of artists that is unapologetically revitalizing narrative figurative painting. As a skillful storyteller, she visually articulates the complex social dynamics of contemporary urban life. Royal Flush, her first solo museum exhibition, presents a ten-year survey of the artist’s paintings, watercolors, and collages. Abney’s

Nina Chanel Abney, Catfish (2017). Unique ultrachrome pigmented print, acrylic, and spray paint on canvas, 102 × 216 inches (259.08 × 548.64 cm). Courtesy of the artist and Jack Shainman Gallery, New York, New York. Image courtesy of the Nasher Museum of Art at Duke University. Photo by Peter Paul Geoffrion. © Nina Chanel Abney Nina

–one way or other–

–one way or other–

Edmund de Waal

MAK Center for Art and Architecture  Los Ángeles, California, USA 09/16/2018 – 01/06/2019

Renowned London-based artist and writer Edmund de Waal makes his first architectural intervention in the U.S. with an exhibition at the MAK Center for Art and Architecture at the Schindler House in West Hollywood, California. Titled –one way or other–, de Waal’s exhibition includes new and recent sculptures responding directly to the materials and integrated spaces of

Edmund de Waal, Letters de Londres: Sur l’Optique de Mr Newton (2016) ©MAK Center / Joshua White Edmund de Waal, case study #2 (2015) ©MAK Center / Joshua White Edmund de Waal, case study #1 (2015) ©MAK Center / Joshua White Renowned London-based artist and writer Edmund de Waal makes his first architectural intervention in the U.S.

Familial Technologies Familial Technologies

Familial Technologies

Jennifer Moon

Commonwealth and Council Los Angeles, California, USA 11/17/2018 – 12/29/2018

Family is often the first institution we encounter: through it, we learn to give and receive love—conditioning how we will transact affection in every other intimate and institutional relationship. Family is also often the site of formative trauma, which similarly will manifest in how we treat ourselves and others for the rest of our lives.

Jennifer’s “vision board”, 2018. Paint, wood, inkjet print, watercolor, collage, Rainbow Scratch Paper, pen, marker, stickers, mixed media. Dimensions variable. Photo: Ruben Diaz. Image courtesy of Commonwealth & Council Jennifer Moon, expansivelove’s Avakin Life, 2018. Image courtesy of Commonwealth & Council Jennifer Moon, expansivelove’s Black Forest apartment, 2018. Image courtesy of Commonwealth & Council Family is often the first institution

The Feminist School of Painting The Feminist School of Painting

The Feminist School of Painting

Ad Minoliti

KADIST San Francisco, California, USA 10/03/2018 – 12/15/2018

The Feminist School of Painting is a solo exhibition by Ad Minoliti. Culminating her residency at KADIST, the project transforms the galleries into an active classroom with new murals of vibrant silhouettes of animals, landscapes, and geometrical forms. Reimagining the structure of an art school, Minoliti collaborates with a group of Bay Area artists, scholars,

Ad Minoliti, Amigxs, 2018 Digital postcard. Courtesy of KADIST Ad Minoliti, Installation view of Dollhouse, 2018, at Peres Projects, Berlin. Courtesy of KADIST Ad Minoliti, PLAY C, 2016. Digital collage on canvas, 100 x 140cm. Courtesy of KADIST The Feminist School of Painting is a solo exhibition by Ad Minoliti. Culminating her residency at KADIST, the project

Anatomy of Oil Anatomy of Oil

Anatomy of Oil

Susanna Battin, Kate Kendall, LA Transcendental Listenings, Michael Mandiberg, Nina Sarnelle, Molly Tierney, Elia Vargas

Gas Los Angeles, California, USA 09/15/2018 – 11/24/2018

Anatomy of Oil is a group exhibition exploring oil production around Los Angeles. The oil industry greatly influenced the development of the city, which continues to maintain many active extraction sites, often in close proximity to schools, homes, and parks. In some cases, companies build creative solutions to hide oil derricks, disguising them as trees or towers. The

Anatomy of Oil, Installation Shot. Photo by Andy Bennett and Colleen Hargaden. Image courtesy of Gas Susanna Battin and Kate Kendall, Gas-for-Water, 2018. Photo by Andy Bennett and Colleen Hargaden. Image courtesy of Gas Nina Sarnelle, Sound for the long hole, 2018. Photo by Andy Bennett and Colleen Hargaden. Image courtesy of Gas Anatomy of Oil is a

Construyendo puentes. Arte chicano/mexicano de LA a CDMX Construyendo puentes. Arte chicano/mexicano de LA a CDMX

Construyendo puentes. Arte chicano/mexicano de LA a CDMX

Curada por Julián Bermúdez

Museo de Arte Carrillo Gil Ciudad de México 09/21/2018 – 11/25/2018

Nacida a mediados de la década de 1960, junto con los protestantes de la Guerra de Vietnam y el movimiento Black Power a favor de los derechos civiles, la lucha chicana desafió la categorización y los estereotipos burlones ampliamente divulgados entre la población anglosajona, así como a los centros educativos públicos, plagados de deserción, que

Patrick Martínez, América es para los dreamers (detalle), 2016-2017. Cortesía AltaMed Health Services Construyendo puentes. Arte chicano/mexicano de Los Ángeles a Ciudad de México. Vista de sala. Cortesía MACG Construyendo puentes. Arte chicano/mexicano de Los Ángeles a Ciudad de México. Vista de sala. Cortesía MACG. Nacida a mediados de la década de 1960, junto con

Somewhere in Between

Somewhere in Between

David Shrobe

Jenkins Johnson Gallery San Francisco, California, USA 09/22/2018 – 10/27/2018

Jenkins Johnson presents Somewhere in Between, an exhibition of new works by New York based visual artist and painter David Shrobe. He creates paintings and assemblages from repurposed, unconventional, or found materials. Shrobe’s first West Coast solo exhibition is on view through October 27, 2018. Somewhere in Between gives us windows and portals, as the

David Shrobe, Cross-Over, 2018. Acrylic, ink, and fabric on canvas. 34 x 27 inches. Somewhere in Between, Installation view at Jenkins Johnson Gallery. Photo courtesy of Jenkins Johnson Gallery David Shrobe, Night Vision, 2018. Oil, acrylic, graphite, paper, canvas, vinyl, and fabric. 60 x 49 x 2 inches. Somewhere in Between, Installation View at Jenkins Johnson Gallery. Photo courtesy

See You on the Flipside

See You on the Flipside

Rebekah Goldstein

CULT | Aimee Friberg Exhibitions San Francisco, California, USA 09/08/2018 – 10/27/2018

CULT | Aimee Friberg Exhibitions presents its third solo exhibition of new work by Rebekah Goldstein. See You on the Flipside marks a continued evolution of the artist’s signature lines, shapes, and gravity-challenging spatial treatment. In this exhibition Goldstein hones in on the tension between her two and three dimensional work, linking them conceptually with brand new shaped canvas

Rebekah Goldstein. See You on the Flipside. CULT Aimee Friberg Exhibitions. San Francisco, California. Photo by Phillip Maisel Rebekah Goldstein. See You on the Flipside. CULT Aimee Friberg Exhibitions. San Francisco, California. Photo by Phillip Maisel Rebekah Goldstein. See You on the Flipside. CULT Aimee Friberg Exhibitions. San Francisco, California. Photo by John Wilson White

Made in L.A. 2018, at Hammer Museum, Los Angeles, USA Made in L.A. 2018, at Hammer Museum, Los Angeles, USA

Made in L.A. 2018, at Hammer Museum, Los Angeles, USA

By Carribean Fragoza Los Angeles, California, USA 06/03/2018 – 09/02/2018

Imaginemos Cosas Chingonas: Astonishment and vision in Made in L.A. 2018 Think back to the last time you were astonished by something. I mean genuinely, viscerally astonished so that you felt gripped or overwhelmed in spite of yourself. Astonishment at an art show for the regular art-goer, like blushing for a correteadx, is hard to

Beatriz Cortez, vista de instalación, Made in L.A. 2018, 3 de junio – 2 de septiembre, 2018, Hammer Museum, Los Ángeles. Foto: Brian Forrest. Imagen cortesía de Hammer Museum. Imaginemos cosas chingonas: asombro y visión en Made in L.A. 2018 Piensa en la última vez que te asombró algo. Me refiero a estar asombrado genuinamente,

Pancha, the Colorful Bird and the Shining Snake

Pancha, the Colorful Bird and the Shining Snake

Jorge Satorre

REDCAT Los Angeles, California, USA 05/12/2018 – 07/08/2018

Pancha, the Colorful Bird and the Shining is the first solo exhibition by Mexican artist Jorge Satorre (Mexico City, 1979) in the United States. The commissioned installation by Satorre consists of a series of sculptures and drawings that collectively portray alternative and subjective historical narratives, developed by the artist in contrast to standard, institutional versions of

Jorge Satorre. Vista de la exposición Pancha, the Colorful Bird and the Shining Snake, REDCAT, Los Angeles, 2018. Courtesy of REDCAT. Photo: Brica Wilcox Jorge Satorre. Vista de la exposición Pancha, the Colorful Bird and the Shining Snake, REDCAT, Los Angeles, 2018. Courtesy of REDCAT. Photo: Brica Wilcox Jorge Satorre. Vista de la exposición Pancha,