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DTSTART;VALUE=DATE:20240914
DTEND;VALUE=DATE:20241103
DTSTAMP:20260726T170816
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:20260726T170816
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
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240316T110000
DTEND;TZID=America/New_York:20240504T180000
DTSTAMP:20260726T170816
CREATED:20240226T154031Z
LAST-MODIFIED:20240226T154031Z
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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:20260726T170816
CREATED:20231222T195540Z
LAST-MODIFIED:20231222T195540Z
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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
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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:20260726T170816
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
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231111
DTEND;VALUE=DATE:20240114
DTSTAMP:20260726T170816
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
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230914
DTEND;VALUE=DATE:20231105
DTSTAMP:20260726T170816
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
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230714
DTEND;VALUE=DATE:20230826
DTSTAMP:20260726T170816
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:20260726T170817
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
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230311
DTEND;VALUE=DATE:20230423
DTSTAMP:20260726T170817
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:20260726T170817
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/02/RH-BL-3042-Goyas-Feuer-2014_KarinWeyrich-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230114T100000
DTEND;TZID=America/Halifax:20230114T190000
DTSTAMP:20260726T170817
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/12/JTs-P.22.5549_002-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221119T000000
DTEND;TZID=America/Halifax:20230128T180000
DTSTAMP:20260726T170817
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/11/Photo-Sep-01-2022-3-13-37-PM-scaled.jpg
END:VEVENT
END:VCALENDAR