Contemporary Art in the Americas Arte Contemporáneo en las Américas
Mud Mud

Mud

Sarah McMenimen

Garden Los Angeles, California, USA November 9, 2019 – January 11, 2020

Garden presents Mud, an exhibition of new work by Los Angeles-based artist Sarah McMenimen. In these sculptures and reliefs, McMenimen forges accretions and erosions of sand, stone, dirt, and resin, or reused post-industrial alloy metals. Formed with the indices of non-human matter and traces, including shells, plants, and animal prints, McMenimen here explores the rich

Sarah McMenimen, Mud (2019). Installation view. Image courtesy of the artist and Garden. Photo by Marten Elder Sarah McMenimen, Mud (2019). Installation view. Image courtesy of the artist and Garden. Photo by Marten Elder Sarah McMenimen, Full Moon Moth (2019). Cast, carved, and welded aluminum. Image courtesy of the artist and Garden. Photo by Marten Elder Garden presents

Privé Privé

Privé

Anna Uddenberg

Marciano Art Foundation Los Angeles, California, USA July 25, 2019 – December 22, 2019

Anna Uddenberg explores social conventions and norms that are the product of consumer culture. She challenges ingrained ways of thinking and seeing as well as ideas of mental and physical mobility. Through the lens of the feedback loop that is social media, she analyzes systems of representation, the performativity of femme expressions and its cross-connection

Installation view of Anna Uddenberg: Privé, 2019. Courtesy of the artist, Marciano Art Foundation and House of Gaga, Mexico City and Los Angeles. Photo: Jeff Mclane Installation view of Anna Uddenberg: Privé, 2019. Courtesy of the artist, Marciano Art Foundation and House of Gaga, Mexico City and Los Angeles. Photo: Jeff Mclane Installation view of

Brave New Worlds: Explorations of Space

Brave New Worlds: Explorations of Space

Curated by Mara Gladstone

Palm Springs Art Museum Palm Springs, California, USA June 1, 2019 – December 15, 2019

Palm Springs Art Museum presents Brave New Worlds: Explorations of Space. Curated by Mara Gladstone, Associate Curator, the exhibition features five women artists, Kelly Akashi, Gisela Colon, Victoria Fu, Karen Lofgren, and Adee Roberson, who work sculpturally to represent their unique understandings of the body’s connection to the external world. Brave New Worlds occupies a series

Kelly Akashi, Feel Me (Cranberry), 2018, bronze, glass. Courtesy the artist and François Ghebaly, Los Angeles Gisela Colon, Untitled (15-Foot Parabolic Monolith Iridium), 2017, engineered carbon fiber. Courtesy of GAVLAK Gallery, Los Angeles and Palm Beach, and the artist Adee Roberson, Yam Spirit and Neon Sunrise, 2019, acrylic on canvas. Courtesy of the artist Palm

marrow marrow

marrow

Catalina Ouyang

Make Room Los Angeles, California, USA September 27, 2019 – November 30, 2019

Make Room is pleased to present marrow, the gallery’s second solo show of new works by Catalina Ouyang. The exhibition includes sculptures that integrate abandoned chairs with heads made of carved stone, plaster, and bacterial skin; a soapstone figure looking into a mirror; alabaster sculptures; and a single-channel video installed on the ceiling of an

Catalina Ouyang, marrow (2019). Installation view. Image courtesy of Make Room Los Angeles and the artist. Photo by Yubo Dong and Make Room Los Angeles Catalina Ouyang, marrow (2019). Installation view. Image courtesy of Make Room Los Angeles and the artist. Photo by Yubo Dong and Make Room Los Angeles Catalina Ouyang, marrow (2019). Installation

B.A.T. State III

B.A.T. State III

Curated by Anita Bunn and Francesco X. Siqueiros

Carolyn Campagna Kleefeld Contemporary Art Museum Long Beach, California, USA September 9, 2019 – November 14, 2019

B.A.T. State III presented a diverse body of prints by women artists from the archives of El Nopal Press in Los Angeles. Co-curators Anita Bunn and Francesco X. Siqueiros engage themes of artistic representation and political activism while they examine how the evolution of printmaking is influenced by the cultural and geographic border between California

B.A.T. State III (2019). Installation view. Image courtesy of Carolyn Campagna Kleefeld Contemporary Art Museum B.A.T. State III (2019). Installation view. Image courtesy of Carolyn Campagna Kleefeld Contemporary Art Museum B.A.T. State III (2019). Installation view. Image courtesy of Carolyn Campagna Kleefeld Contemporary Art Museum B.A.T. State III presented a diverse body of prints by women artists from

Where the Sea Remembers Where the Sea Remembers

Where the Sea Remembers

Curated by César García-Alvarez, Nicolas Orozco-Valdivia and Kris Kuramitsu

The Mistake Room Los Angeles, California, USA July 13, 2019 – October 12, 2019

The Mistake Room presents Where The Sea Remembers, an interdisciplinary project comprised of an exhibition, a program series, and a website that explores Vietnamese contemporary art. This project marks the launch of an institutional restrictions on foreign investments, the privatization of state-owned enterprises, and the arrival of multinational corporate conglomerates, Vietnam also softened its borders—allowing for expanded

Where the Sea Remembers (2019). Installation view. Image courtesy of The Mistake Room Where the Sea Remembers (2019). Installation view. Image courtesy of The Mistake Room Where the Sea Remembers (2019). Installation view. Image courtesy of The Mistake Room The Mistake Room presents Where The Sea Remembers, an interdisciplinary project comprised of an exhibition, a program

Soul of a Nation: Art in the Age of Black Power 1963-1983 at The Broad, Los Angeles, USA Soul of a Nation: Art in the Age of Black Power 1963-1983 at The Broad, Los Angeles, USA

Soul of a Nation: Art in the Age of Black Power 1963-1983 at The Broad, Los Angeles, USA

By Brandon Drew Holmes Los Angeles, California, USA 03/23/2019 – 09/01/2019

Something predictable happens when white institutions exhibit Black artworks. It doesn’t matter what the artist’s original intentions were or what statements the work speaks on its own. Somehow both artist and work become simplified of their emotions and reality. This expectation of erasure is not surprising, it’s the conscious affect of the Western institution built

Vista de instalación de Soul of a Nation: Art in the Age of Black Power 1963-1983, en The Broad, Los Ángeles. Foto: Pablo Enriquez. Imagen cortesía de The Broad Algo predecible sucede cuando las instituciones blancas exhiben obras de arte Negras. No importa cuáles fueron las intenciones originales de lxs artistas o qué declaraciones hablan a

Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox

Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox

Curated by Dexter Wimberly and Larry Ossei-Mensah

Museum of the African Diaspora San Francisco, California, USA 05/08/2019 – 08/11/2019

“Those alive to ever-present signifiers of enslavement and colonialism have to look no further than the average bottle of rum. For the labels either contain supposedly comforting artistic renderings of benevolent plantation scenes, or these labels boldly and proudly declare that the product has a centuries-old manufacturing pedigree. We don’t have to do much speculating

Firelei Báez, How to slip out of your body quietly (2018). Acrylic and oil on paper. Collection of Alyssa and Gregory Shannon Angel Otero, Veranda (Sca02), (2013). Fired Steel and glazed porcelain. Courtesy of the artist and Lehmann Maupi Firelei Báez, Love that does not choose you (Collapse the rooms and structures that depend on you to hold

Kiss the Hand You Cannot Bite Kiss the Hand You Cannot Bite

Kiss the Hand You Cannot Bite

Pio Abad

KADIST San Francisco, California, USA 06/05/2019 – 08/10/2019

Culminating his residency at KADIST San Francisco, Kiss the Hand You Cannot Bite is Pio Abad’s first solo exhibition in the United States. The newly commissioned body of work draws from multiple histories of exile, resistance, and displacement from the ’70s and ’80s that brought Filipinos to California, home to one of the largest diasporas of

Pio Abad, a selection from the series Untitled (Bolerium) (2019). Digital photocopies. Image courtesy of KADIST Pio Abad, Kiss the Hand You Cannot Bite (2019). Cast concrete. Photo by Jeff Warrin Pio Abad, For Gene (2019), For Silme (2019). Acrylic on canvas. Photo by Jeff Warrin Culminating his residency at KADIST San Francisco, Kiss the

Unraveling Collective Forms Unraveling Collective Forms

Unraveling Collective Forms

Curated by Daniela Lieja Quintanar

LACE Los Angeles, California, USA 04/03/2019 – 05/26/2019

A Quipu or Khipu is a device made of dyed, knotted threads—an ancient Inka, multisensory, extinct language, quipus are the vanished narratives of resistance that this exhibition and public programming. Unraveling Collective Forms knots together artistic reflections centered around collectivity, autonomy, and group manifestations that crack systems. Artist Cecilia Vicuña defines a quipu as “a poem in space, a way to remember, involving the body

Performance Stranger’s Union organized by Arshia Haq, as part of Unraveling Collective Forms. Courtesy of the artists. Photo by Tina June Malek View of exhibition Unraveling Collective Forms at LACE. Courtesy of the artists. Photo by Christopher Wormald View of exhibition Unraveling Collective Forms at LACE. Courtesy of the artists. Photo by Christopher Wormald Desenredar