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DTSTART;VALUE=DATE:20250717
DTEND;VALUE=DATE:20250831
DTSTAMP:20260726T162933
CREATED:20250616T142734Z
LAST-MODIFIED:20250616T142734Z
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SUMMARY:Ground Work\, Curated by Joey Lico
DESCRIPTION:Sean Kelly\, Los Angeles is delighted to present Ground Work\, a group exhibition organized by Los Angeles-based curator and Executive Director of The Cultivist\, Joey Lico. The exhibition brings together fifteen artists whose works respond to the material\, psychic\, and political dimensions of landscape. Anchored by Duchamp’s seminal photograph Dust Breeding\, 1920\, Ground Work considers the trace as a radical gesture\, foregrounding atmosphere\, residue\, and the weight of absence over pictorial representation. As Lico states\, the artists “gather materials touched by time—ashes\, dust\, silence\, memory—and offer us not declarations\, but traces. This is not a show about landscape. It is about what it means to inhabit one.” There will be an opening reception on Thursday\, July 17\, from 5 to 8pm. Curator Joey Lico and several of the featured artists will be present. \nGround Work unfolds through three thematic undercurrents: Traces of Passage\, Spatial Resistance\, and Temporal Compression. Taken on the surface of Marcel Duchamp’s The Large Glass\, Dust Breeding captures the entropy of material\, the residue\, and accumulation as a slow representation of time. It offers a conceptual and historical aperture for the exhibition\, introducing the idea that what we leave behind can speak louder than what we make. Through photography\, sculpture\, installation\, and painting\, the artists in Ground Work echo this ethos\, turning away from direct depiction to instead engage with memory\, pressure\, and transformation. \nArtists addressing the theme of Traces of Passage consider terrain as archive and absence as narrative. Harold Mendez’s works hold the imprint of migration\, labor\, and layered memory. Drawing from Latin American histories and cultural inheritance\, his practice is a quiet excavation—tracing resilience across geography and time. Dionne Lee’s silver gelatin prints layer fragility and resistance\, weaving diasporic placemaking into fractured geographies. Caleb Hahne Quintana paints atmospheric portraits suspended between memory and departure\, while Athena LaTocha embeds earth\, ash\, and ink into her monumental abstractions\, transforming the landscape into surface and scar. Cauleen Smith’s poetic photo-based works and sculptural interventions meditate on grief\, resistance\, and speculative care. \nSeveral artists demonstrate Spatial Resistance as they negotiate constraint and collapse in their work. Adrián S. Bará and Sofía Fernández Díaz use industrial and ephemeral materials to sculpt tension between structure and fragility\, form and failure. Jacqueline Kiyomi Gork’s installations transform the space through sculptural systems of sound and textiles\, creating a conceptual architecture imbued with spatial perception. Phaan Howng’s saturated post-landscape sculputres are rooted in speculative survival and ecological resistance. Maggie West’s immersive underwater projection\, lush with color and endangered marine life\, offers a crescendo of visual rupture and sensory immersion. \nTemporal Compression folds into form in the work of Rodrigo Valenzuela\, whose staged photographs of collapse interrogate labor\, construction\, and failure. Leslie Hewitt’s conceptual rigor lends gravitas to stillness\, with photo-sculptural works that compress personal and historical time. Jose de Jesus Rodriguez uses fragile materials—fresco\, lime\, wire—to evoke the vulnerability of built environments. Julian Charrière’s sculpture confronts the ruins of industrial progress and the sublime collapse of nature\, holding spectacle and decay in uneasy balance. In Nobuhito Nishigawara’s ceramic sculptures\, ancestral forms and contemporary abstraction collide\, collapsing generations into gesture and glaze. \nTogether\, these artists approach the landscape not as image but as site of erasure and endurance\, collapse and continuity. They negotiate with the ground\, registering its silences and tensions\, refusing to resolve it into a view. Ground Work is an excavation of what lingers: the poetic residue of time\, labor\, and memory pressed into form. \nFor additional information on the exhibition\, please visit seankellyla.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor inquiries\, please email Thomas Kelly at Thomas@seankellyla.com
URL:https://artinamericaguide.com/event/ground-work-curated-by-joey-lico/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250315
DTEND;VALUE=DATE:20250504
DTSTAMP:20260726T162933
CREATED:20250227T200429Z
LAST-MODIFIED:20250227T200429Z
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SUMMARY:Zipora Fried: Trust Me\, Be Careful\, I Like Your Shoes
DESCRIPTION:Sean Kelly is delighted to announce Trust Me\, Be Careful\, I Like Your Shoes\, Zipora Fried’s first solo exhibition in Los Angeles. Bringing together four bodies of work; large works on paper\, new intimately scaled drawings\, ceramic sculptures\, and a monumental hanging drawing\, this exhibition highlights Fried’s mastery of mark-making and her continued exploration of the transformative\, manipulative potential of form\, color\, and gesture. Simultaneously an overview of her oeuvre and a step into a new\, dynamic phase of her career\, the exhibition captures a shift in Fried’s practice toward heightened energy and a more liberated\, expressive engagement with her materials. There will be an opening reception on Saturday\, March 15\, from 5-7pm. The artist will be present.
URL:https://artinamericaguide.com/event/zipora-fried-trust-me-be-careful-i-like-your-shoes/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250118
DTEND;VALUE=DATE:20250309
DTSTAMP:20260726T162933
CREATED:20250107T203245Z
LAST-MODIFIED:20250107T203245Z
UID:111363-1737158400-1741478399@artinamericaguide.com
SUMMARY:Wu Chi-Tsung: Fading Origin
DESCRIPTION:Sean Kelly\, Los Angeles is delighted to present Fading Origin\, Wu Chi-Tsung’s first solo exhibition in Los Angeles. Known for his experimental approach to photography\, Chi-Tsung’s work bridges traditional Chinese art techniques and contemporary media\, integrating Eastern and Western aesthetics. The exhibition features new works in Chi-Tsung’s signature Cyano-Collage series and marks innovative new developments in his Wrinkled Texture works. There will be a reception from 5 to 7 pm. The artist will be present. \nWu Chi-Tsung was initially drawn to the cyanotype – an early form of photography requiring only basic chemicals and sunlight – in response to the rise of digital photography. For Chi-Tsung\, what digital photography loses\, and what his cyanotypes capture\, is the medium’s openness to chance and its connection to the material world\, qualities that make each cyanotype unique. Chi-Tsung’s renowned Cyano-Collage series synthesize his dual interests in Chinese landscape painting and experimental photography. This process begins by washing sheets of Xuan rice paper in photo-sensitive materials\, which\, when dried\, Chi-Tsung creases by hand and exposes to sunlight. The subsequent abstract elements are collaged together on aluminum panels. The resulting images are open to interpretation perhaps evoking sublime mountainous landscapes or tumultuous seascapes. With their stunning formal cohesion and classical grandeur\, the Cyano-Collages belie the inventive process of their creation. While Chi-Tsung conjures his panoramas through experimental photography\, his use of the cyanotype process retains a connection to both the artist’s hand and the natural world. In this way\, Chi-Tsung captures the spiritual depth of Eastern painting traditions dating back over a thousand years\, while renewing it with a contemporary aesthetic. \nIn the new Wrinkled Texture Fading Origin series the diptych and quadriptych works begin with a single\, full sheet of exposed cyanotype paper. This print then becomes the basis for recursive cyanotypes within the same work\, with each image becoming the negative for the adjacent sheet. The result is a mesmerizing shift between blue and white tones\, where the original image gradually dissipates into a field of color. This process captures the ephemeral and transient qualities of the natural world whilst also emphasizing the slight\, irreproducible differences unique to analog processes. By double-exposing the paper and exploring the faded origin of the image\, the Wrinkled Texture Fading Origin series reflect Chi-Tsung’s commitment to advancing the medium while preserving the poetic\, tactile qualities of analog photography. \nWu Chi-Tsung believes his generation is the last to transition from analog to digital photography\, a shift that profoundly informs his practice. Unlike digital images\, where copies retain perfect fidelity\, analog processes embrace subtle variations that reflect their individuality. In his Cyano-Collage series\, breathtaking images emerge from the meticulous accumulation of numerous cyanotype prints\, while his Wrinkled Texture works explore cycles of emergence and disappearance through innovative multiple exposures. Together\, these works emphasize the conceptual depth\, material innovation\, and aesthetic sensitivity that define Chi-Tsung’s body of work. \nWu Chi-Tsung’s work has been the subject of solo exhibitions at the Katonah Museum of Art\, New York and TAO Art\, Taiwan. His work has been included in international exhibitions at institutions such as the Mori Art Museum\, Japan; the National Museum Cardiff\, United Kingdom; the Long Beach Museum of Art\, Los Angeles; the Casino Luxembourg – Forum d’art Contemporain\, Luxembourg; the Museo Del Palacio De Bellas Artes\, Mexico; the Central Academy of Fine Arts\, Beijing; the Shanghai Art Museum and the Minsheng 21st Century Museum\, Shanghai\, China; the Seoul Museum of Art\, South Korea; the Hiroshima City Museum of Contemporary Art\, Japan; the Ullens Center for Contemporary Art\, Beijing\, and the Taipei Fine Arts Museum\, Taiwan amongst others. Wu Chi-Tsung was the recipient of the Liu Kuo Sung Ink Art Award\, Hong Kong in 2019\, the WRO Media Art Biennial award in 2013 and the Taipei Arts Award in 2003. His work is included in renowned collections such as the Xie Zilong Photography Museum\, the Post Vidai Collection\, M+ Hong Kong\, The Vero Beach Museum of Art\, The Santa Barbara Museum of Art\, and the Borusan Contemporary Art Collection. \nFor additional information about Wu Chi-Tsung\, please visit skny.com \nFor press inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Thomas Kelly at Thomas@seankellyla.com
URL:https://artinamericaguide.com/event/wu-chi-tsung-fading-origin/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250118
DTEND;VALUE=DATE:20250309
DTSTAMP:20260726T162933
CREATED:20241219T175032Z
LAST-MODIFIED:20241219T175032Z
UID:111256-1737158400-1741478399@artinamericaguide.com
SUMMARY:Lindsay Adams: Keep Your Wonder Moving
DESCRIPTION:Sean Kelly\, Los Angeles is delighted to announce Keep Your Wonder Moving\, the West Coast debut of Chicago-based artist Lindsay Adams and her inaugural solo exhibition with the gallery. Titled after a note written by poet Patricia Spears Jones to philosopher Audre Lorde\, the exhibition\, presented on the third floor\, consists of eleven abstract paintings. Keep Your Wonder Moving emphasizes the artist’s longstanding interest in world-building – Adams’ exploration of abstraction as a conduit for expanding the imagination while embedding deeply personal narratives. The exhibition opens on Saturday\, January 18 from 5 – 7 PM. The artist will be present. \nAdams’ work interrogates the boundaries of abstraction and representation\, seamlessly weaving together the materiality of paint with the intangibility of memory and cultural identity. Her layered approach—where pigments are built up\, washed away\, or otherwise manipulated—imbues each canvas with a sense of flux\, reflecting her assertion that painting is as much alchemical as it is artistic. Her process leaves behind not only a complex surface\, but also an ambiguity that invites sustained contemplation. \nKeep Your Wonder Moving pivots from her earlier figurative depictions of nature and Black subjects to a complex abstract vernacular. As Adams describes\, this transition emerged as “an inevitable shift toward expressing a conceptual story\, allowing myself latitude in my storytelling and cultural reflection.” The works on view highlight her interest in constructing imagined ecologies\, spaces in which rhythmic gestures and dynamic hues engage in a continuous dialogue. For instance\, in Rhythm With Blues\, electric yellow and lavender forms bloom against an inky blue background\, evoking a field of abstracted flowers that resist traditional representational constraints. Adams challenges the viewer to question the delineations of form to embrace the unknown. \nThematically\, Adams situates her practice at the intersection of resilience\, freedom\, and the quotidian realities of Black womanhood. Her work transforms the canvas into an aspirational site—one that allows for intimate encounters with self-discovery and resistance against societal constraints. This ethos resonates with her political and cultural identity\, as her paintings assert their presence within a broader discourse of artistic and social transformation. The exhibition thus positions painting as both a reflective and generative act\, with Adams’ compositions acting as sites where meaning is not prescribed but rather discovered. \nLindsay Adams is currently finalizing her MFA in Painting and Drawing at the School of the Art Institute of Chicago and received a BA in both International Studies and Spanish from The University of Richmond. She has already garnered critical recognition\, including the prestigious Helen Frankenthaler Award in 2024 and the New Artist Society Merit Award in 2023. Her work has been exhibited at the Baltimore Museum of Art\, MD and the Martin Luther King Jr. Memorial Library\, Washington\, D.C.\, and is included in the collections of the Baltimore Museum of Art and Northwestern Law School.
URL:https://artinamericaguide.com/event/lindsay-adams-keep-your-wonder-moving/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241116
DTEND;VALUE=DATE:20250112
DTSTAMP:20260726T162933
CREATED:20241016T183628Z
LAST-MODIFIED:20241016T183628Z
UID:110283-1731715200-1736639999@artinamericaguide.com
SUMMARY:Candida Höfer: Europa / America - Curated by Sharon Johnston and Mark Lee\, Johnston Marklee
DESCRIPTION:Sean Kelly is pleased to present Europa / America\, Candida Höfer’s first solo exhibition at the Los Angeles gallery\, curated by renowned architects Sharon Johnston and Mark Lee of the Los Angeles-based firm Johnston Marklee. Inspired by German-Prussian architect Erich Mendelsohn’s 1929 publication\, Russland Europa Amerika: Ein architektonischer Querschnitt (An Architectural Cross Section)\, Johnston and Lee have selected fourteen photographs taken by Höfer between 1993 and 2015. Through Höfer’s carefully composed photographs of interior spaces primarily intended for entertainment\, study\, and worship\, Europa / America explores sites that convey social significance in North American and European society. This novel grouping reveals a compelling impulse throughout Höfer’s oeuvre: to capture how architecture illuminates the cultural histories of a particular time and place. There will be an opening reception on Saturday\, November 16\, from 5 to 7 PM. The artist will be present. \nEuropa / America builds upon Höfer’s 2023 exhibition at Sean Kelly\, New York\, Heaven on Earth\, curated by architect Toshiko Mori. While Heaven on Earth probed the vertical relationship between architecture and its transcendent\, otherworldly connotations\, here\, Johnston and Lee have established a linear dialogue. The works on view span from West to East\, with the front half of the gallery featuring North American interiors\, and the back half consisting of European locations. The geographic dichotomy and shift mirrors Höfer’s journey in documenting North American spaces\, after years of focusing on her native Europe. Despite this dichotomy\, the photographs are united by Höfer’s distinct attention to symmetry\, lighting\, and an evocation of both vastness and intimacy\, transforming each location into its own\, complex world. \nErich Mendelsohn’s monograph\, Russland Europa Amerika: Ein architektonischer Querschnitt (An Architectural Cross Section)\, features images of architecture from New York City to Moscow after World War I accompanied by concise\, poetic descriptions with a political bent. The works in Europa / America follow a similarly contemplative migration\, a feeling that is heightened by their striking lack of human subjects. One of Höfer’s signature aesthetic choices\, this absence inspires one to conceptualize the ways in which a space— whether a quiet library in Connecticut\, or an ornate church in Düsseldorf—may inform the behaviors\, movements\, and psyches of its inhabitants over centuries. \nThe juxtapositions in Europa / America highlight one of Mendelsohn’s primary themes— that while economic\, political\, and social differences between Europe and North America persist\, the societies are fundamentally intertwined\, with one preceding another. Höfer’s Museum of Modern Art New York XII\, 2001\, and her Teatro Comunale di Carpi IV\, 2011\, exemplify this concept. The former\, built in 1929\, offers a glimpse into the quintessential modern American art institution\, while the latter\, a neoclassical Italian theatre constructed in 1860\, evokes an older\, more traditional cultural experience. The historical\, transnational relationship is central to the exhibition\, and to Höfer’s overall practice. With each photograph\, the artist invites new eyes to witness places that will always be\, in some way\, of the past. \nHöfer’s internationally recognized work has been featured in solo exhibitions at the Macao Museum of Art in China\, the Kunsthistorisches Institut Bonn and the Schloss Derneburg Museum\, Derneburg in Germany\, the North Carolina Museum of Art\, the Museo Amparo in Mexico\, the Hermitage Museum\, St. Petersburg in Russia\, the Irish Museum of Modern Art\, Dublin\, the Kunsthalle Basel and the Kunstmuseum Luzerne in Switzerland and the Louvre in Paris amongst others. Her work has also appeared in group exhibitions at The Museum of Modern Art\, New York; the Power Plant\, Toronto; the Kunsthaus Bregenz\, Germany; Museum Ludwig\, Cologne; the Guggenheim Museum\, Bilbao; and the Rollins Museum of Art\, Florida. Höfer participated in Documenta XI and represented Germany at the 2003 Venice Biennale. In 2018\, the Sony World Photography Awards recognized Candida Höfer for her outstanding contribution to photography and she was recently awarded the 2024 Käthe Kollwitz Prize. Her photographs are in major public and private collections worldwide. \nFor additional information on Candida Höfer\, please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Thomas Kelly at thomas@seankellyla.com
URL:https://artinamericaguide.com/event/candida-hofer-europa-america-curated-by-sharon-johnston-and-mark-lee-johnston-marklee/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240914
DTEND;VALUE=DATE:20241103
DTSTAMP:20260726T162933
CREATED:20240806T190153Z
LAST-MODIFIED:20240806T190153Z
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SUMMARY:Brian Rochefort: Staring at the Moon
DESCRIPTION:Sean Kelly is delighted to present Staring at the Moon\, Brian Rochefort’s first exhibition at Sean Kelly\, Los Angeles. Rochefort will present new sculptures in an installation that will reconfigure the architecture of the gallery. Rochefort’s mixed-media sculptures incorporate a variety of different textures\, surfaces and colors to create rich\, otherworldly forms. Referencing his travels to some of the most remote parts of the planet\, such as the Amazon Rainforest\, the Galápagos Islands\, and the Ngorongoro Crater\, in Tanzania\, Rochefort internalizes and translates his experiences in these secluded\, ancient landscapes into potent sculptural forms. There will be an opening reception on Saturday\, September 14\, from 5pm to 7pm. The artist will be present. \nRochefort’s sculptures are built up in a unique process of layering\, wherein the initial form undergoes multiple firings. Between each firing\, Rochefort airbrushes the works and applies glazes\, many of which he has developed himself through extensive experimentation. This process pushes the technical limits of ceramics in pursuit of evocative\, otherworldly new forms. As Rochefort states\, “Some of the most successful pieces that I’ve done in the past have been works that I’ve built up too fast… but somehow I’ve managed to save the form\, and it turns into a different monster.” Rochefort works intuitively to build a composition\, not unlike an abstract painter\, and cites artists such as Albert Oehlen\, Joan Mitchell\, Franz West\, and even photographer Aaron Siskind as influences for their daring deployment of color and texture. Rochefort’s virtuosic control of his medium is tempered by the element of chance inherent to the process of firing the sculpture. In this way\, the completed works are the result of a dynamic interplay between Rochefort’s highly developed technique\, the distinctive character of each sculpture\, and ultimately chance. \nRochefort is equally inspired by his travels to remote and untouched ecosystems\, such as barrier reefs and rainforests. A vital form of inspiration for Rochefort\, the rare and vibrant natural forms found in such locations are apparent in the works. As Rochefort describes\, “It’s as if the piece came from outer space\, was born that way\, or it came from the depths of the ocean.” Rochefort’s intent\, however\, is not to directly represent the landscapes that he visits\, a task he describes as “nearly impossible to do.” Instead\, Rochefort’s sculptures take on the formal qualities of the landscapes through an almost volcanic layering of form upon form\, color upon color\, and texture upon texture\, ultimately blooming into vivid\, texturally sumptuous works. His larger freestanding works\, which he refers to as Craters\, evoke the fundamental quality of Rochefort’s sculptures: a powerful moment of contact with something deeply elemental and otherworldly. \nBrian Rochefort holds a BFA from the Rhode Island School of Design\, 2007 and he participated in the Lillian Fellowship Residency at the Archie Bray Foundation\, 2009. Rochefort’s first solo museum exhibition\, Absorption by the Sun\, was exhibited at the Santa Barbara Museum of Art\, CA\, 2019. His work has been featured in museum exhibitions Artifices Inssables\, Stories of Ceramics at Nouveau Musée National de Monaco\, Monte Carlo\, Monaco; Cool Clay at Crocker Art Museum\, Sacramento\, CA; Regarding George Ohr at Boca Raton Museum of Art\, FL; and From Funk to Punk at Everson Museum of Art\, NY. He lives and works in Los Angeles\, California. \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com
URL:https://artinamericaguide.com/event/brian-rochefort-staring-at-the-moon/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240518
DTEND;VALUE=DATE:20240728
DTSTAMP:20260726T162933
CREATED:20240429T143413Z
LAST-MODIFIED:20240429T143413Z
UID:108030-1715990400-1722124799@artinamericaguide.com
SUMMARY:It Never Entered My Mind
DESCRIPTION:Sean Kelly is delighted to present It Never Entered My Mind\, a group exhibition featuring fifteen artists working in painting and sculpture\, curated by Los Angeles-based collector and producer Michael Sherman. There will be an opening reception on Saturday\, May 18\, from 5-8 pm. \nTitled after Miles Davis’ rendition of the iconic showtune “It Never Entered My Mind\,” each artist in the exhibition takes up the perennial concerns of art making — including place\, personal and cultural history\, and the body — in their own\, distinctive manner\, not unlike a great jazz ensemble. Eschewing an overarching theme\, It Never Entered My Mind presents the singular talents and conceptual concerns of each artist\, many of whom are exhibiting in Los Angeles for the first time. The exhibition brings together artists living and working in disparate parts of the world in a variety of styles and media. In addition to the works on view\, It Never Entered My Mind features music direction by Los Angeles-based musician and record producer MELO-X\, inspired by each artist’s studio practice.
URL:https://artinamericaguide.com/event/it-never-entered-my-mind/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/04/JUDG-23015-Untitled-waist-and-back-and-front-embrace-2023_001-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240316T110000
DTEND;TZID=America/New_York:20240504T180000
DTSTAMP:20260726T162933
CREATED:20240226T154031Z
LAST-MODIFIED:20240226T154031Z
UID:107186-1710586800-1714845600@artinamericaguide.com
SUMMARY:Callum Innes: Turn
DESCRIPTION:Sean Kelly is pleased to announce the opening of Turn\, Callum Innes’s first solo exhibition in Los Angeles in over thirty years. The exhibition features a group of his latest Tondo works\, alongside his iconic Exposed Paintings\, Split Paintings\, and Shellac Paintings. There will be an opening reception on Saturday\, March 16\, from 5-7 pm. The artist will be present. At 6pm\, Callum Innes will be in conversation with writer and curator\, Hunter Drohojowska-Philip. The talk will be followed by a signing of Innes’ newest publication produced by Sean Kelly Gallery. \nFrom the onset of his career\, Innes has created lushly painted and subtly nuanced canvases in a rectilinear format. In 2022\, the artist added a striking new format to his repertoire\, the Tondo. The catalyst for this transformative shift occurred when Innes was asked to paint the end of a whisky cask for a charity event. With these works\, the artist mastered an entirely new set of technical and aesthetic challenges\, confronting a format rich with art historical resonances. \nWhile his working methodology remains consistent—the repeated addition and removal of pigment in the Exposed Paintings and Split Paintings and the interaction of two different substances in the Shellac Paintings— the Tondos have necessitated a number of important evolutions in the way that Innes makes the work\, both psychologically and formally. The materiality of the plywood panels accelerates Innes’s practice\, providing a quick\, firm surface. He also uses a smaller\, rounded brush which introduces a completely different physicality\, offering more fluidity and enabling a more direct interaction with the work. In contrast\, his previous works on canvas offer a slower\, softer surface\, inviting a more meditative way of working. \nThe exhibition also includes rectangular Exposed and Split Paintings. The rectangle\, with its rational four points and sides\, symbolizes elements\, seasons\, and reason itself\, while the oval\, with its earthier\, sensuous nature\, signifies unity and balance. This exhibition makes evident the expansion of Innes’ language and his mastery of technique\, materiality\, and emotional resonance throughout his acclaimed body of work. \nCallum Innes’s new publication\, extensively illustrated with images from the Tondos series and installation views of key exhibitions\, explores how the artist has challenged traditional perceptions of shape and form to create dynamic and immersive visual experiences. A pivotal essay by art historian Éric de Chassey\, traces Innes’ encounter with the tondo and its progenitors in the history of art\, firmly cementing his breakthrough in the pantheon of important works rendered in this distinctive style. \nCallum Innes lives and works in Edinburgh\, Scotland and Oslo\, Norway. In 1992\, Innes had major exhibitions\, at the ICA\, London\, and the Scottish National Gallery of Modern Art\, Edinburgh. In 1995\, he was short-listed for the Turner Prize and was awarded the Nat West Prize in 1998 and the Jerwood Prize for Painting in 2002. His critically acclaimed museum exhibition\, From Memory\, traveled throughout Europe and Australia from 2006-2008. In 2016\, he was the subject of a major retrospective survey exhibition and accompanying monograph\, I’ll Close My Eyes\, at the De Pont Museum in Tilburg\, Netherlands. In 2018\, his first major solo exhibition in France\, In Position\, took place at Château la Coste in Provence\, with an accompanying publication. Innes will have an exhibition at Kode – Lysverket Museum\, Bergen\, Norway in 2024. His work is included in major public collections worldwide including: the Tate Gallery\, London; the Kunsthalle\, Bern\, Switzerland; the National Galleries of Scotland\, Edinburgh; the Solomon R. Guggenheim Museum\, New York; the Centre George Pompidou\, Paris; The Irish Museum of Modern Art\, Dublin; The Museum of Fine Arts\, Houston; the Museum of Modern Art\, Fort Worth; The Dallas Museum of Art; The San Francisco Museum of Modern Art; The Philadelphia Museum of Art; the Phillips Collection\, Washington\, D.C.; The National Gallery of Australia\, Canberra; the Museu d’Art Contemporani de Barcelona; the Albright-Knox Art Gallery\, Buffalo\, New York; the Art Gallery of Ontario\, Toronto; the Hilti Art Foundation\, Vaduz\, Lichtenstein; and Deutsche Bank\, London\, and Sydney. \nFor media inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Thomas Kelly at Thomas@seankellyla.com or Cecile Panzieri at Cecile@skny.com
URL:https://artinamericaguide.com/event/callum-innes-turn/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240120T110000
DTEND;TZID=America/New_York:20240309T180000
DTSTAMP:20260726T162933
CREATED:20231222T195540Z
LAST-MODIFIED:20231222T195540Z
UID:106357-1705748400-1710007200@artinamericaguide.com
SUMMARY:Jose Dávila: Photographic Memory
DESCRIPTION:Opening reception: Saturday\, January 20\, 5 – 7pm \nSean Kelly is delighted to announce Photographic Memory\, Jose Dávila’s first exhibition at the Los Angeles gallery. Photographic Memory is comprised of a series of Dávila’s signature cut-out works\, which reference Richard Prince’s solo exhibition at LACMA in 2018. The exhibition features large-scale photographic works in which Dávila has removed the main figure of Prince’s influential Untitled (cowboy) series. Challenging conventional connotations and limitations of photography in today’s image driven society\, Dávila’s cut-outs interrogate originality\, appropriation\, and the truth behind an image. There will be an opening reception on Saturday\, January 20\, from 5-7pm. The artist will be present. \nDávila began making cut-outs in 2008\, an ongoing series in which he simultaneously pays homage to and critiques icons of 20th century art and architecture through acts of excision\, physically removing the central subject from photographic reproductions of original works of art. With these works\, Dávila investigates whether an artwork can be produced through a reductive rather than additive process. This technique is inspired by the Mexican folk-art tradition of papel picado or Cut-Paper\, which Dávila applies to contemporary art to explore the importance of negative space. \nDávila revisits Richard Prince’s series in which he photographed and enlarged widely recognized advertisements for Marlboro cigarettes featuring imagery of cowboys on horseback in iconographic American Western landscapes. Prince cropped the advertisements to remove any text and left the torn edges and tape as a reminder of their original context in mass-market magazines. This controversial practice raises questions about what constitutes an original work of art. Dávila’s photographs\, similarly scaled at up to six feet high by eight feet wide\, include the uneven edges and tape to pay homage to\, and keep the conceptual and theoretical congruency of\, the works referenced. Dávila takes the conversation a step further by removing the focal point of the image\, transforming the scenes into a poetic discourse about the power of negative space. “By subtracting the main subject\, I intend to compel the viewer to perform a creative act\, because they have to somehow fill in that central image from their memory and imagination\,” states Dávila. “Even if it’s an image you’ve seen many times\, whatever you might recall might not be the same thing that I recall.” \nIn Photographic Memory\, Jose Dávila explores the boundaries of artistic influence\, skillfully intertwining homage and critique. He simultaneously challenges authorship through the alteration of iconic images to create new artworks and a distinctive oeuvre all his own. \nJose Dávila has presented solo exhibitions at the Museum Haus Konstruktiv\, Zürich\, Switzerland; Dallas Contemporary\, Texas; JUMEX Museum\, Mexico City; Hamburg Kunsthalle\, Hamburg and the Museo del Novecento\, Florence\, amongst others. His work is in the permanent collection of numerous institutions including the Museo Universitario Arte Contemporáneo (MUAC)\, Mexico City\, Mexico; Museo Nacional Centro de Arte Reina Sofía\, Madrid\, Spain; Inhotim\, Brumadinho\, Brazil; the Perez Art Museum\, Miami\, Florida; the Buffalo AKG Art Museum\, Buffalo\, New York; the San Antonio Museum of Art\, San Antonio\, Texas\, the Solomon R. Guggenheim Museum\, New York; the Centre Pompidou\, Paris; Hamburg Kunsthalle\, Hamburg; and the Museum of Modern Art\, Luxembourg. Dávila was the winner of the 2016 BALTIC Centre for Contemporary Art’s New Annual Artists’ Award\, Artists honoree of the Hirshhorn Museum in Washington DC in 2016\, the 2014 EFG ArtNexus Latin America Art Award\, and has been the recipient of support from the Andy Warhol Foundation\, a Kunstwerke residency in Berlin\, and the National Grant for young artists by the Mexican Arts Council (FONCA) in 2000. In 2022\, Hatje Cantz published a major monograph illustrating the past twenty years of Davila’s practice.
URL:https://artinamericaguide.com/event/jose-davila-photographic-memory/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/JDa-23.98-Untitled-Cowboy-2023_Photo-Agustin-Arce_001-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240120T110000
DTEND;TZID=America/New_York:20240309T180000
DTSTAMP:20260726T162933
CREATED:20231222T195524Z
LAST-MODIFIED:20231222T195524Z
UID:106359-1705748400-1710007200@artinamericaguide.com
SUMMARY:Ana González: VERDES
DESCRIPTION:Sean Kelly is delighted to present VERDES\, Ana González’s first solo exhibition in Los Angeles. Through her artistic practice González captures the duality of the natural world – its fragile state due to humanity’s extraction of natural resources and the political and spiritual power inherent to it. Drawing upon the landscapes of her native Colombia\, and her collaborations with the indigenous communities that protect them\, González’s work serves as both a warning of the gradual disappearance of a vital\, historic ecosystem and a celebration of its sensual power. Occupying Sean Kelly\, Los Angeles’ third-floor space\, the exhibition features paintings\, textiles\, works on paper\, and sculptures. There will be an opening reception on Saturday\, January 20\, from 5 – 7pm. The artist will be present. \nThe title of the exhibition\, VERDES\, simultaneously references the verdant green González captures in her landscape paintings and textiles\, as well as the dull green color of the US dollar. González juxtaposes these two motifs\, the ancient\, mutualist ecosystems of Colombia\, and the unsustainable\, capitalistic consumption of natural resources. In her Devastations series\, González prints photographs of South American landscapes onto woven textiles which she then partially unravels by hand. González manipulates the surfaces of her images to reflect the precariousness of these spaces; the jungles surrounding the Amazon River\, revered by some as the heart of the world\, are threatened by the mining\, ranching\, and logging industries. González’s unraveling represents the slow\, but consequential\, disappearance of an ancient ecosystem. Her textiles preserve the potential of these spaces as sites of power\, abundance\, and renewal. As the artist states\, “When I think of the green of the tropics\, I think about the damp soil\, the hot land\, the waterfalls\, the mountains\, the jungles… all that remains on this planet which allows us to breathe.” González’s works are a call to rejuvenate the landscapes she depicts\, an invitation towards stillness and reflection. She argues for a reorientation of our principles – from the monetary to the sacred values of the natural world. \nAlso on view are González’s sculptural works\, including a series depicting the Cattleya\, an orchid native to South America. Executed in Limoges porcelain\, a technique González’s learned while studying in Paris\, the Cattleya sculptures and related works render\, in vivid detail\, the soft and sensual surfaces of the plants. As with the Devastations textiles\, the fragility of the porcelain underscores the precarious nature of the environment they represent. Some of the flowers are enclosed in bell jars\, as though they are preserved specimens of a lost environment. Other sculptures depict detailed renderings of birds\, which reappear in the artists’ Sacred Bird drawings. To the artist\, birds serve as doors to the spiritual world. In VERDES\, their presence invites the viewer to access the transcendent qualities of the earthly scenes on view. \nAn architecture graduate from Universidad de Los Andes in Bogotá\, Colombia\, Ana González specialized in Art and Gender at Trinity College in Dublin\, Ireland and completed a Master’s Degree in Arts and Media (Photography-Printing-Publishing) at École Nationale Supérieure des Beaux-Arts and École Supérieure de Commerce de Paris in Paris\, France. Her work is included in several private and public collections\, including The Patricia Phelps de Cisneros Collection\, the Havremagasinet Länskonsthall Museum in Sweden\, the National Museum of Colombia and the Bogotá Museum of Modern Art (MAMBO). In addition\, González has developed several social projects with the Colombian indigenous communities of Sierra Nevada de Santa Marta and humanitarian projects with the Nukak community in Guaviare and the Misak women in Cauca. She is currently working on the construction of a traditional house with the Tikuna women of the Colombian Amazon. \nOn the occasion of her exhibition at Sean Kelly\, Los Angeles\, González has collaborated with the Misak community of Cauca\, Colombia to produce an edition of woven bags made using traditional weaving techniques of the Misak. The bags\, with an engraving by the artist\, will be available for purchase at Sean Kelly\, Los Angeles. All proceeds will go directly to the Misak women artisans of Cauca. \nFor additional information on the exhibition please visit skny.com \nFor additional information on Ana González\, please visit anagonzalezrojas.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com
URL:https://artinamericaguide.com/event/ana-gonzalez-verdes/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/AnGo-293-AMAZONAS-2023-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231111
DTEND;VALUE=DATE:20240114
DTSTAMP:20260726T162933
CREATED:20231025T143439Z
LAST-MODIFIED:20231025T143439Z
UID:105786-1699660800-1705190399@artinamericaguide.com
SUMMARY:Ilse D'Hollander: A Harmony
DESCRIPTION:Sean Kelly is delighted to present A Harmony Parallel to Nature\, the first solo exhibition of Ilse D’Hollander at Sean Kelly\, Los Angeles\, and her first exhibition on the West Coast. Spanning the entirety of her career 1989–1997\, the exhibition presents a survey of paintings and works on paper drawn from the artist’s estate including To Goethe\, 1991\, one of only three known serial bodies of work made by the artist. This remarkable selection of paintings emphasizes the lyrical and metamorphic character of D’Hollander’s oeuvre ­— qualities inherent to the processes found in nature that influenced her approach as a painter. There will be an opening reception on Saturday\, November 11\, from 5-7pm. \nA Harmony Parallel to Nature\, takes its name from an excerpt found in a letter Paul Cézanne wrote to one of his dear friends in the 1890s. In it\, Cezanne proclaimed that art should be a “harmony parallel to nature\,” as opposed to an imitation of nature. In his estimation\, the artist was not to be bound by notions of representing reality\, but rather\, to consider the ways in which the viewer can develop their own interpretations. As a painter\, D’Hollander’s intuition led her to arrive at a practice which combined total abstraction with discernable elements of the natural world. The subject matter of her paintings encompasses bursts of thick pigments suggesting the nuances of the everchanging landscapes of the Flemish countryside to the geometric configurations of the interior of her studio. Ilse D’Hollander’s highly poignant body of work demonstrates a profoundly developed sense of linear compositions\, intense shifts in color\, and richly textured surfaces. Through the use of a sophisticated palette in her pared down compositions\, D’Hollander’s paintings highlight the rich dialogue between representation and abstraction. Her canvasses invite viewers to become immersed in the work\, in which layers of paint bring out the subtle changes of hue\, visible brushstrokes\, and trembling lines of color with a humanistic touch revealing D’Hollander’s tangible and sensual exploration of the medium. \nIn the only extant text D’Hollander is known to have written about her work\, she observed\, “a painting comes into being when ideas and the act of painting coincide. When referring to ideas\, it implies that as a painter\, I am not facing my canvas as a neutral being but as an acting being who is investing into the act of painting.” It is through this investment that the artist was able to expertly cross back and forth between the subtly representational and the purely abstract\, between her interior and exterior realms. Her work provokes extended contemplation and exists as a remarkable testament to the fundamental and generative act of painting. \nBorn in Belgium in 1968\, Ilse D’Hollander graduated from the Hoger Instituut voor Schone Kunsten\, Antwerp\, in 1988\, and the Hoger Instituut voor Beelende Kunsten\, St. Lucas\, Ghent in 1991. Her work has been the subject of solo exhibitions at institutions including The Arts Club\, London; FRAC Auvergne\, Clermont-Ferrand\, France; and M Museum\, Leuven\, Belgium. She has also been featured in group exhibitions at the Museum Dhondt-Dhaenens\, Sint-Martens-Latem\, Belgium; the Provinciaal Cultuurcentrum Caermersklooster\, Ghent\, Belgium; and the Center for Contemporary Non-Objective Art\, Brussels\, Belgium amongst others. \nFor additional information on Ilse D’Hollander\, please visit skny.com \nFor media inquiries\, please email Brandon Tho Harris at Brandon@skny.com \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com or Janine Cirincione at Janine@skny.com
URL:https://artinamericaguide.com/event/ilse-dhollander-a-harmony/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/10/IdH-PR-Image-scaled.jpeg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230914
DTEND;VALUE=DATE:20231105
DTSTAMP:20260726T162933
CREATED:20230811T174810Z
LAST-MODIFIED:20230811T174810Z
UID:104747-1694649600-1699142399@artinamericaguide.com
SUMMARY:Julian Charrière: Buried Sunshine
DESCRIPTION:Sean Kelly is delighted to present Buried Sunshine\, Julian Charrière’s highly anticipated first solo exhibition at Sean Kelly\, Los Angeles. Buried Sunshine explores the entangled histories of Los Angeles and the discovery of petroleum there in the late 19th century\, a catalyst which industrialized the region and transformed LA into the second largest city in the United States. Capturing the delirium of the petroleum industry and the burning of lithic landscapes\, focused through the lens of Los Angeles—the world’s largest urban oil field—Charrière brings his film Controlled Burn together with sculptures and a new series of heliographic photographs\, to unearth the ‘fossilized sunshine’ upon which the mythos of the city was built. Examining the material reality of hydrocarbons and how our modern world is organized around the energy they provide\, the exhibition draws parallels between the image-making machine of Hollywood and our dependence on fossil fuels\, both of which exert gravitational forces that bend our perceptions of reality. There will be an opening reception on Thursday\, September 14\, from 6-8pm. The artist will be present. \nIn his new series Buried Sunshines Burn\, Charrière reveals Los Angeles as a spatial anomaly: a place built not only by hydrocarbons\, but on top of them\, with 5000 active oil wells hidden throughout the city. Employing heliography\, one of photography’s oldest techniques\, first developed by French inventor Nicéphore Niépce in 1822\, Charrière uses a light-sensitive emulsion incorporating naturally occurring tar collected from the La Brea\, McKittrick\, and Carpinteria Tar Pits in Califorina to create photographic imprints on highly polished stainless-steel plates of local oil fields\, shot from a bird’s eye perspective. The series surveys some of the state’s largest reserves\, including the immense Kern River Oil Field in the San Joaquin Valley\, the Placerita and Aliso Canyon Oil Fields in Santa Clarita\, and the giant Inglewood Oil Field situated in the heart of LA. \nCharrière’s film Controlled Burn invites viewers on a cosmic journey through deep time\, soaring through an aerial landscape of imploding fireworks. Shot with a first-person drone\, this disorienting voyage takes place in open pit coal mines\, decommissioned oil rigs\, and rusting cooling towers. Amid whirling smoke and fire\, implosions are intercut by flashing images of primordial unfurling ferns and fluttering moths—beings that evolved during the carboniferous geological period. Appearing at subliminal speed\, Charrière offers these organisms as both spirit guides and living tokens for the vitality of fossil fuels and as markers for how the agency of coal\, oil\, and tar has come to haunt our contemporary imagination. Linking celebratory pyrotechnics with architectures of extraction\, explosive momentum\, and technological obsolescence\, Controlled Burn stages the fantasy of a dramatic return to sources of energy via implosion. \nAlso featured in the exhibition are two monumental obsidian sculptures\, Thickens\, pools\, flows\, rushes\, slows. Made from large pieces of volcanic glass–cooled magma which has erupted from the Earth’s core–the works are punctuated by polished concave disks. Charrière draws on this material as an ancient means of divination\, believed by both Mayan and Aztec civilizations to unlock doors to other times and realms. With obsidian being a readily available resource in Mesoamerica\, the hardness of the glass also made it one of the earliest materials to be traded across vast distances. In the present\, the dark vitality of the obsidian is eerily reminiscent of our technological black mirrors\, themselves questionable portals beyond the present. \nAs an exhibition\, Buried Sunshine expands on Julian Charrière’s ongoing inquiry into how our species inhabits the world\, and how it in turn inhabits us. Charrière combines Los Angeles’s unique industrial history with the iconic image-making for which the city is famous\, creating an immersive landscape where our most urgent ecological concerns can be addressed. Utilizing photography\, film and sculpture\, Buried Sunshine investigates Los Angeles through the lens of geological time\, in the process urging viewers to reflect on how our relationship with the materials we appropriate as fuel come to inform how we perceive the world around us. \n  \nJulian Charrière was born in Morges\, Switzerland\, in 1987 and currently lives and works in Berlin. His work has been the subject of solo presentations at major international institutions\, including SFMOMA\, San Francisco; Langen Foundation\, Neuss; Dallas Museum of Art\, Dallas; MAMbo\, Bologna; Berlinische Galerie\, Berlin; Parasol Unit Foundation\, London; Musée des Beaux-Arts\, Lausanne; and Centre Culturel Suisse\, Paris. Charrière has also been prominently featured at the 59th Biennale di Venezia; 57th Biennale di Venezia; the Antarctic Biennale; the Taipei Biennial; the 12th and 16th Biennale de Lyon; Centre Pompidou\, Paris; Sprengel Museum\, Hannover; Aarhus Kunstmuseum\, Aarhus; SCHIRN Kunsthalle\, Frankfurt; Hayward Gallery\, Southbank Centre\, London; and Palais de Tokyo\, Paris. Julian Charrière is a former participant of the Institute for Spatial Experiments\, an experimental education and research project at the Berlin University of the Arts led by Olafur Eliasson. A nominee for the Prix Marcel Duchamp in 2021\, Charrière in 2022 received the 14th SAM Prize for Contemporary Art. \nThe publication Julian Charrière: Controlled Burn documents his solo exhibition curated by Dehlia Hannah and Nadim Samman\, which was on view at the Langen Foundation in Neuss\, Germany from September 4\, 2022 – August 6\, 2023. A meditation on the flame as a figure of excess\, containment\, and renewal for our warming planet\, it features essays by Emanuele Coccia\, Dehlia Hannah\, and Nadim Samman. It is published by Mousse Publishing. \n  \nFor additional information on Julian Charrière\, please visit skny.com and julian-charriere.net \nFor media inquiries\, please email Brandon Tho Harris at Brandon@skny.com  \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com or Lauren Kelly at Lauren@skny.com \nImage: Julian Charrière – Controlled Burn\, 2022\, film still (copyright the artist; VG Bild-Kunst\, Bonn\, Germany)
URL:https://artinamericaguide.com/event/julian-charriere-buried-sunshine/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/08/16_JulianCharriere_ControlledBurn_2022_FilmStill_CopyrightTheArtist_VGBildKunstBonnGermany-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230714
DTEND;VALUE=DATE:20230826
DTSTAMP:20260726T162933
CREATED:20230620T133433Z
LAST-MODIFIED:20230620T133433Z
UID:103989-1689292800-1693007999@artinamericaguide.com
SUMMARY:New Solid Light Works and Early Drawings
DESCRIPTION:Sean Kelly is delighted to present New Solid Light Works and Early Drawings\, Anthony McCall’s first solo exhibition in Los Angeles. Occupying the entire gallery\, the exhibition features two new ‘solid-light’ installations on the first floor\, and a survey of black and white photographs\, works on paper and preparatory drawings that span McCall’s career on the third floor. There will be an opening reception on Thursday\, July 13\, 6-8pm. The artist will be present.
URL:https://artinamericaguide.com/event/new-solid-light-works-and-early-drawings/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/AMC-252-image-1.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230429
DTEND;VALUE=DATE:20230701
DTSTAMP:20260726T162933
CREATED:20230406T201952Z
LAST-MODIFIED:20230406T201952Z
UID:102787-1682726400-1688169599@artinamericaguide.com
SUMMARY:Dawoud Bey: Pictures 1976-2019
DESCRIPTION:Sean Kelly is delighted to announce Dawoud Bey: Pictures 1976 – 2019\, the artist’s first solo exhibition in Los Angeles. Surveying five decades of work through the lens of five iconic series—Harlem\, U.S.A. (1975-1979) Street Portraits (1988-1991)\, Harlem Redux (2014–2017)\, Night Coming Tenderly\, Black (2017)\, and In This Here Place (2019)—this presentation illuminates Bey’s foundational importance to the development of photography as fine art\, historical documentation\, and social practice in the United States. The exhibition coincides with Dawoud Bey & Carrie Mae Weems: In Dialogue\, on view at the Getty\, April 4–July 9\, 2023. On Saturday\, April 29\, the gallery will be open from 10am-7pm. The artist will be present for a reception and artist’s talk from 5-7pm.
URL:https://artinamericaguide.com/event/dawoud-bey-pictures-1976-2019/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/04/DB-HR.16.0131-West-124th-Street-and-Lenox-Avenue-2016-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230311
DTEND;VALUE=DATE:20230423
DTSTAMP:20260726T162933
CREATED:20230320T150258Z
LAST-MODIFIED:20230320T150258Z
UID:102545-1678492800-1682207999@artinamericaguide.com
SUMMARY:Rebecca Horn: Labyrinth of the Soul: Drawings 1965-2015
DESCRIPTION:Sean Kelly is delighted to announce Labyrinth of the Soul: Drawings 1965-2015\, a major exhibition featuring fifty years of drawing by Rebecca Horn. This historical presentation\, which includes rarely seen works on paper\, will open at Sean Kelly\, Los Angeles in March following its presentation in the New York gallery in January\, two cities in which Horn lived and for which she has a strong affinity. This will be the most significant presentation of Horn’s work on the West Coast since her 1990 exhibition at MOCA\, Los Angeles\, entitled Driving through Buster’s Bedroom. This significant survey will be the first opportunity for visitors to see many of these critically important works\, most of which have never been shown in the United States. The occasion also marks the thirty-four-year professional relationship between Rebecca Horn and Sean Kelly.
URL:https://artinamericaguide.com/event/rebecca-horn-labyrinth-of-the-soul-drawings-1965-2015-2/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/RH-BL-3042-Goyas-Feuer-2014_photo-Adam-Reich-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230311
DTEND;VALUE=DATE:20230312
DTSTAMP:20260726T162933
CREATED:20230223T220712Z
LAST-MODIFIED:20230223T220712Z
UID:101952-1678492800-1678579199@artinamericaguide.com
SUMMARY:Rebecca Horn: Labyrinth of the Soul: Drawings 1965-2015
DESCRIPTION:Sean Kelly is delighted to announce Labyrinth of the Soul: Drawings 1965-2015\, a major exhibition featuring fifty years of drawing by Rebecca Horn. This historical presentation\, which includes rarely seen works on paper\, will open at Sean Kelly\, Los Angeles in March following its presentation in the New York gallery in January\, two cities in which Horn lived and for which she has a strong affinity. This will be the most significant presentation of Horn’s work on the West Coast since her 1990 exhibition at MOCA\, Los Angeles\, entitled Driving through Buster’s Bedroom. This significant survey will be the first opportunity for visitors to see many of these critically important works\, most of which have never been shown in the United States. The occasion also marks the thirty-four-year professional relationship between Rebecca Horn and Sean Kelly.
URL:https://artinamericaguide.com/event/rebecca-horn-labyrinth-of-the-soul-drawings-1965-2015/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230114T100000
DTEND;TZID=America/Halifax:20230114T190000
DTSTAMP:20260726T162933
CREATED:20221214T203709Z
LAST-MODIFIED:20230126T200010Z
UID:100905-1673690400-1673722800@artinamericaguide.com
SUMMARY:Janaina Tschäpe: Restless Moraine
DESCRIPTION:Sean Kelly\, Los Angeles\, is delighted to announce Restless Moraine\, Janaina Tschäpe’s first solo exhibition in LA. This new body of work presents Tschäpe’s intricately layered abstract landscapes featuring imagery evocative of the natural world\, suggesting growth\, transition\, and metamorphosis. Created entirely with oil paint and oil stick\, these new paintings exponentially expand the artist’s investigation of the relationship between gesture and painting. The gallery will be open from 10am – 7pm on Saturday\, January 14\, the artist will be present for a reception from 5-7pm. \nTschäpe’s dynamic yet\, carefully nuanced canvases evoke associations with nature that at times suggest both sea and land\, as her atmospheric images shift subtly between representation and abstraction. In previous painting cycles\, Tschäpe combined casein\, watercolor\, colored pencils and crayons with oil and oil stick; in this new body of work\, she is working solely in oil. With this medium\, Tschäpe feels she can “dive further into the layers” of the painting\, creating much more fluid and gestural surfaces\, while also creating distinct layers of stratification. Building up the image with large\, sweeping brushstrokes provides a foundation and structure for Tschäpe’s vigorous compositions. In this manner\, her signature mark making becomes embedded in both the foreground and background. \nDescribing her process\, Tschäpe states\, “I want the brushstroke to conquer the canvas… To me\, painting means feeling something right up close\, being physically in the present with body and soul.” Indeed\, Tschäpe’s paintings are extremely physical compositions\, reflecting the dynamic range of motion and intensity of focus the artist brings to their making. At the same time\, these are contemplative and suggestive compositions that translate Tschäpe’s observations and memories of natural phenomena\, such as changes in light\, the movement of leaves\, the rushing of water and movement of the wind\, into a language of abstraction that is at once lively and serene; deeply personal\, yet open to interpretation. \nJanaina Tschäpe’s work has been the subject of solo exhibitions at the Den Frie Center of Contemporary Art\, Copenhagen\, Denmark; the Sarasota Art Museum\, Florida; the Musée L’Orangerie\, Paris\, France; the Museum of Contemporary Art Tucson\, Arizona; Kasama Nichido Museum of Art\, Kasama\, Japan; the Irish Museum of Modern Art\, Dublin\, Ireland\, and the Contemporary Museum of Art\, St Louis. She has been featured in numerous group exhibitions at venues including NCA Taipei\, Taiwan; Whitechapel Gallery\, London; TBA21-Augarten\, Vienna\, Austria; CCBB\, Rio de Janeiro\, Brazil; Centre D’Art Contemporain de Normandie\, France; 21st Century Museum of Contemporary Art\, Nanazawa\, Japan; Instituto Tomie Ohtake\, São Paulo; Storefront for Art and Architecture\, New York; National Museum of Women in the Arts\, Washington D.C.; Kunsthal Kade\, The Netherlands; Ronnebaeksholm\, Denmark; Museum of Fine Arts Boston\, Massachusetts; and Museum of Contemporary Art Taipei\, Taiwan. Her work is found in important public collections including the Centre Pompidou\, Paris\, France; Museo Nacional Centro de Arte Reina Sofía\, Madrid\, Spain; Harvard Art Museum\, Massachusetts; Museu de Arte Moderna do Rio de Janeiro\, Brazil; Moderna Museet\, Stockholm\, Sweden; Thyssen-Bornemisza Art Contemporary\, Vienna\, Austria; and the Solomon R. Guggenheim Museum\, New York\, amongst others. \nFor additional information on Janaina Tschäpe\, please visit skny.com For press inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com or Cecile Panzieri at Cecile@skny.com
URL:https://artinamericaguide.com/event/janaina-tschape-restless-moraine/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20221119T000000
DTEND;TZID=America/Halifax:20230128T180000
DTSTAMP:20260726T162933
CREATED:20221201T212924Z
LAST-MODIFIED:20230126T200124Z
UID:100764-1668816000-1674928800@artinamericaguide.com
SUMMARY:Zalszupin 100
DESCRIPTION:Sean Kelly\, Los Angeles\, is delighted to announce the first exhibition in our third-floor project space. Zalszupin 100\, presented in collaboration with Ulysses de Santi\, celebrates the one-hundredth anniversary of the birth of legendary Brazilian modernist\, Jorge Zalszupin. While working as an architect\, Zalszupin designed several important buildings and iconic homes in São Paulo\, however\, it was through his practice and contributions to Modern Design that he became so widely known and venerated. Zalszupin is recognized for creating sophisticated furniture of exceptional quality\, incorporating tropical woods and an originality that spanned generations\, cementing his reputation as one of the greatest designers of the 20th century. There will be an opening reception on Saturday\, November 19 from 5-7pm. \nZalszupin 100\, an exhibition two-years in the making\, brings together a selection of rare and unique pieces sourced exclusively in Brazil. Featuring works from the late 1950s to early 70s\, these historical objects were custom-made for official buildings and offices in Brasília\, and private residencies. The Ina armchair\, featured in the exhibition\, belonged to\, and was named after Zalszupin’s sister. Characterized by its orthogonal lines\, voluminous upholstery\, and sophisticated details it was photographed for the first publication on his work\, Jorge Zalszupin Modern Design in Brazil. Also featured in the exhibition is his JZ Tea Trolley\, a bar-cart inspired by the baby trolleys from his hometown in Poland. Elegant and inventive\, Zalzupin’s artisanal creations range from delicate wooden objects with exquisite brass accents to plastic accessories. He has created a legacy that embodies the epitome of Brazilian modernism\, serving as an inspiration to many designers\, gallerists\, and artisans. \nBorn in Warsaw\, Poland\, Jorge Zalszupin (1922-2020) studied architecture in Bucharest and began his career as an architect during the reconstruction of Dunkirk\, France after WWII. In 1949\, he immigrated to Brazil and launched his architecture firm Escritório Téchnico Prumo in São Paulo\, through which he collaborated with Oscar Niemeyer designing furniture for the expansive new capital city of Brasília\, the most significant commission in the nation’s history. Shortly thereafter he founded L’Atelier\, a design studio\, manufacturer\, and retailer of high-quality modern furniture. In 1962\, the first store was inaugurated in the iconic Conjunto Nacional building\, on Avenida Paulista. There were ultimately ten showrooms in Brazil\, making L’Atelier one of the most important studios of the 1960s\, alongside Oca\, Mobilia Contemporanea\, Mobilinea and Lafer. \nFor additional information on Jorge Zalszupin please visit ulyssesdesanti.com \nFor press inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com
URL:https://artinamericaguide.com/event/zalszupin-100/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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