The year 2010 is proving to be one of tremendous transformation and growth in the LA artworld. In the past year a small number of highly dynamic spaces have moved in, offering more low-key but strong exhibitions in recent memory that were not solely driven by the market. Despite LA having lost a few dozen commercial spaces in the past two years, the rise of prominent artist run spaces such as Las Cienegas Projects (a 2,800 square foot space), WPA, Actual Size, The Company, Pauline (apartment gallery), and Phil; as well as the opening of a new space by LA collector Shirley Morales (Ltd. Los Angeles, on the Sunset Strip on a corridor with a small number of year and two old spaces such as Eighth Veil), have reinvigorated the LA scene in new and powerful ways.
Las Cienegas Projects
The decision of far more powerful and stories spaces such as LAXART and West of Rome (a regular player at Art Basel when it was a commercial gallery), along with the newly launched Los Angeles Nomadic Division (LAND), to all turn to doing remarkable public art programs in Los Angeles, was done to give LA a strong public art presence in a way that it has never had in the past. This coincides with the growing strength of the University of Southern California’s public arts degree, which is already providing trained personnel for on the ground engagement with the new and unique realities being developed by the increasing interest in Los Angeles as a special place for making art.
The Chinatown gallery situation is also in flux. The Katheryn Brennan gallery, formerly Sister gallery, born from Acme gallery in Mid-Wilshire, is moving to the LES (Lower East Side) and becoming Brennan Griffin. She joins Rental gallery as the second LA space to move to the center of the market, where the possible billion dollars in cost Whitney Museum space will open in the Meatpacking District, and where the new DIA Chelsea will also to be built from the ground up to be an artist paradise exhibition space. What was once the high energy scene of LA has been shifted to the new spaces on Hollywood’s Sunset boulevard.
Another Year in LA gallery, which has since inception hosted several important exhibitions, is moving, but has not made their plans public. They have operated out of the former Capital Records stamping plant. Cottage Home gallery, the 4,000 square foot shared gallery in Chinatown, is the most rewarding gallery going experience that remains in that part of LA’s ever-expanding artworld landscape.
VOLUME, a bicoastal exhibition featuring artists of local, national, and international standing
More VOLUME at the gigantic 12,500 square foot AT1 space in Atwater Village, curated by a New Yorker, in Los Angeles (photos bytryharder blogspot)
Mike Kelly Studio, a Voyage of Growth and Discovery
(photos by Fredrick Nilsen)
Emi Fontana’s West of Rome, one of the LA spaces presenting major new public art, is showing Mike Kelly and Michael Smith’s project, A Voyage of Growth and Discovery. The project debuted in NYC and is exhibited in Los Angeles in the vast former Farley building storage space, which is also Mike Kelly’s studio. A show of this magnitude in New York would have multiple reviews. This is probably why it opened in New York in the first place, even though the project was born and formed in Los Angeles.
The Faley building, Mike Kelly’s studio, where the project was conceived.
Phil gallery owner Tony Payne in Eastside of Los Angeles artist hood of Highland Park.
Cheesy burger and fries at The York, a really fun real beer bar in LA.
The York gastropub, which I prefer over the few other LA artist bars. The York avenue gallery scene also includes a few established spaces such as Kristie Engle gallery, whose space resides next to not one but two bars, one being The York gastropub, one of the most comfortable, accessible, relaxed yet fun and actually well designed bars in LA. The other is a biker bar.
8th Veil gallery on Sunset boulevard (photo by tryharder)
LA art collector Shirley Morales new space, Ltd.Los Angeles, on 7561 W. Sunset, in Hollywood.
She is interviewed about her space in the Flash Art issue 272, out now. Ltd. Los Angeles is a member of the NADA art fair. It should be noted that San Francisco has 9 NADA Fair members, while Los Angeles has 8.
Her upcoming program promises quite a bit of excitement. In July 2010, artist Erick Pereira will recreate the infamous nightclub which was in the space “Rodney’s English Disco” in the 1970s. Fall shows include a show by New York artworld sensation Kalup Linsay, followed by a group show curated by Matthew Higgins. This is one of the first project gallery spaces in LA to have visiting curators since LAXART came into Los Angeles in 2005.
Led Zepplin band at the club in 1972
The commercial gallery scene at the upper strata of the LA Artworld is seeing the New York art world move into town, to use LA as a platform for the sale of Contemporary, not Older, art. L&M Arts has already attracted the LA based sculptor Thomas Houseago, who left Kordansky gallery to join this global powerhouse secondary market gallery, now with a contemporary space opening in the fall of 2010 in Venice Beach. The début show will be the work of LA giant Paul McCarthy, which should be the not miss opening of the year. Another powerhouse from NYC, the Matthew Marks Los Angeles gallery opens in LA in the spring of 2011.
In the fall of 2010, LACMA’s 45,000 square foot Resnick gallery opens.
It will hopefully begin to bring in some of the several exhibitions LA has been unable to bring to town for lack of exhibition space. The Getty Museum was supposed to do this work as of over 2 decades ago, but clearly went in a different direction. Perhaps now there will be a true sea change in terms of their being prominent exhibitions coming to LA. Up the road – just 2 years from now, the Broad Museum is to open, most likely across from LA MoCA on Grand Avenue in downtown Los Angeles. It is hoped that with the joint institutions the number of visitors to both venues as a single destination, will prove to be both worthy and admirable.
Vincent Johnson is an artist and writer in Los Angeles. He has recently been named a 2010 United States Artists Project artist.
The USA site went live on December 7, 2010
Johnson received his MFA from Art Center College of Design in 1997. He studied with Mike Kelly, Jack Goldstein, Stephen Prina, Liz Larner, Chris Williams, Mayo Thompson (formerly of Art&Language), and Liz Larner. He is a 2005 Creative Capital Grantee, and was nominated for the Baum: An Emerging American Photographer’s Award in 2004 and for the New Museum of Contemporary Arts Aldrich Art Award in 2007 and for the Art Matters grant in 2008, and in 2009 nominated for Foundation for Contemporary Art Fellowship, Los Angeles. His work has been reviewed in ArtForum, The New York Times and the Los Angeles Times.
Vincent Johnson Artist Statement
Vincent Johnson’s work is a form of sustained cultural mining that explores the depths of his subjects. His photographic works created from 2001-2007 delved into architecture as fantasy, from the vernacular architecture of Los Angeles to that found throughout the American West. He has documented several of the no longer extant commercial vernacular structures in both South Los Angeles and the San Fernando Valley that came into existence during the birth of long distance family travel by car. In 2007 he presented a fully fabricated work of sculpture – a 12 foot long six-foot high replica of a 1956 Chrysler Air Raid Siren. This project developed as he was both researching and documenting a former military corridor in the San Fernando Valley that included a retired military airfield. His newest photographic works, all created in 2008 and 2009, are large-scale photographic montages, each of whichconfront significant cultural figures and several dramatic signal events of Cold War era Western cultural history, including Television, the launch of Sputnik, the Soviet Space program, American home-based bomb shelter program, and Vietnam. He is working on large-scale photomontages of the several major American political figures of 1960’s, including Martin Luther King, the Kennedy family, and Malcolm X, as well the representations of both Communism and Capitalism, Hollywood and Los Angeles and many related Cold War era subjects. Johnson’s photomontages can take several months to create as he captures hundreds of images from online sources, before selecting those which most well index a particular historical moment, personage or event. The creative juxtapositions and scale shifts of the found images is what he most relies on to develop his potent and illuminating photographic works.