Kenturah Davis' conversation and photoshoot for the Crenshaw/LAX metro line. She is one of the 14 artists selected to create site-specific, intergrated artworks. Those who reside, work or maintain a significant connection with Inglewood are called to be a part of history as the subjects of the drawings that will develop the Florence/La Brea Station.
Kenturah has the entire Narratives I-IV series included and on view now in a group exhibition taking place during the Venice Biennale.
We Must Risk Delight: Twenty Artists from Los Angeles
@ la Biennale di Venezia, Biennale Arte 2015
Exhibition Dates: May 9 - November 22, 2015
Magazzino del Sale No.3, Dorsoduro 264, Venezia, Italy
Presented in collaboration with Accademia di Belle Arti di Venezia
We Must Risk Delight: Twenty Artists from Los Angeles is an exhibition that presents, for the first time on the international stage, a group of exceptional contemporary Los Angeles artists whose work makes Los Angeles one of the most exciting hubs of creativity in the world today.
We Must Risk Delight is inspired by the poem A Brief for the Defense by a Pulitzer Prize for Poetry finalist, Jack Gilbert. In his viscerally visual poem, Gilbert calls on humanity to recognize every moment of delight even in the most ominous of impressions. By slicing through the somber depictions of the world we live in with sharp and vibrant moments of joy, the poet presents an irrefutable case for our happiness as being our most requisite expression of freedom, not in spite of the cruelty that is a part of our world, but because of it.
A work of art represents the artist’s vision of the world and, when embraced, it can be seen as a way of making a world. The artists presented in We Must Risk Delight will give the audiences of the Biennale Arte 2015 an opportunity to discover the city of Los Angeles through the kaleidoscope of its creative community, while also encouraging us all to risk delight and celebrate the act of creating as humanity’s pathway to joy: both within ourselves and in the collective world around us.
We Must Risk Delight: Twenty Artists from Los Angeles is being presented as an official Collateral Event of the 56th manifestation of la Biennale di Venezia, Biennale Arte 2015.
Brandy Eve Allen Tanya Batura Jamison Carter Carolyn Castaño
Robbie Conal Kenturah Davis Amir H. Fallah Alexandra Grant
Margaret Griffith Sherin Guirguis Ben Jackel Mark Licari
Rebecca Niederlander Stas Orlovski Natasa Prosenc Stearns Tony de los Reyes
Frank Ryan Shizu Saldamando Carole Silverstein Alexis Zoto
Samuel Levi Jones and Derek Fordjour both have work on view now in NY at Sotheby's S2 Gallery. I Like It Like This is a collaborative exhibition with musician Drake. Samuel Levi Jones has this piece titled Brutality while Derek Fordjour has a painting titled Concatenation.
"Today, musicians rap about painters and commission artists to design their album covers; in the same vein artists look to music as inspiration for their paintings. Influences flow in both directions to create a fertile creative environment, producing some of the most resonant and profound artistic output in American history.
I Like It Like This, presented by S|2 in collaboration with Drake is a celebration of influential Contemporary black American artists. Grammy winning artist Drake has provided musical curation by selecting songs to accompany highlighted works in the exhibition."
Intrigued by relationships and mesmerized by storytelling, Wedgeworth’s studio practice is informed by both the personal and the collective memory. By mining these memories, excavating narratives from her own experiences and collecting narratives gathered from gossip, oral history and popular culture, she examines the connections we make, as well as, the internal and external responses or consequences of these connections. It is the intersection where the story-telling and the image-making meet, that she employs painting, sculpture and video to investigate memory and madness.
Lisa Diane Wedgeworth lives and works in Los Angeles.
"I’m attracted to the lost people of life. I come to them rather intuitively and they wash past me in much the same way. Each of us feeding one another's need. People collecting people."
Kenyatta A.C. Hinkle will debut her Kentrifican Museum project next month at our downtown space P.I.A. Projects. Our original home (Papillion Institute of Art) is being relaunched and reopened to the public next month as a project space. P.I.A. Projects will invite an artist to come and activate the 1200sq ft store front space with a new or continued idea that can be developed, executed and/or completed with in a year.
Hinkle's expansive and long term Kentrifica Project and the diaspoiric Kentrifican Museum of Culture will take up residence. The Kentrifica Project is based upon the continent of her ancestral origins that has a melange of cultures and influences, including a close connection to her familial lineage in Kentucky and parts of West Africa. The project is a meditation on what can and cannot be mapped when dealing with constructions of cultural identity and belonging. It is a project that blurs ficition and reality in which the artist presents lectures, curates exhibitions, and performs. She will use the storefront as an open workspace in which visitors can see behind the scenes re-creation of Kentrifican artifacts and research. Visitors can also collaborate and add to the ever evolving archive of Kentrifican knowledge via participation in events and workshops that will be held periodically in the space.
Kenturah Davis along with 13 other amazing artists have all been selected to create new public art works for the new LAX/Crenshaw metro line!!!
Other artists include Mickalene Thomas (who will be doing the metro stop that is across the street from the gallery Crenshaw/Vernon) Shinique Smith & Geoff McFetridge.
Sadie Barnette is from Oakland, California. She received her BFA from CalArts in 2006, and her Masters in Visual Arts at the University of California, San Diego, in 2012. Sadie is currently living in New York City while participating in the 2014-15 Artist-in-Residence program at the Studio Museum in Harlem.
Andy Robert works across boundaries, varied source material and found objects to address fragments as states of being. Robert is interested in what happens to things when they come into proximity and/or collide. He sees art as a viable tool, a mode and form of criticism and critical reflection. He is currently in the Whiteny ISP program in New York City.
"She's changing the art world" was the subject line in millions of inboxes this morning as The Coveteur talks about my interview on art x style x and all things LA.
"I'm an art dealer and a gallerist. I run a contemporary art space here in L.A. where I show emerging artists. Part of what I do, and what my specialty is, is that I develop artists and I develop collectors. I find people who are interested in getting into the art world by buying art works and becoming an arts patron, but don't necessarily have a direct connection in doing that. I facilitate that entry point for new people to be in the mix. Same thing for artists: for artists that I think have an immense amount of talent and skill and could be very successful, we help to build a good foundation for them to become the next great art star."
4 Questions: Samuel Levi Jones
There’s something to be said (and held closely) about quietude in a time when shock and volume are firmly aligned with power and value. It’s something more to explore that power and value, in all its systems and intricacies, through a lens of stillness. But Samuel Levi Jones does it and does it well, in a most thoughtful manner, through his brilliant works on canvas that incorporate the covers of encyclopedias and law case text books.
It is this engagement to material, raw and aggressive, that put him in the running for the Studio Museum’s lusted-after Joyce Prize of which he took home along with a cool $50,000 and that brought on solo shows at the Studio Museum in Harlem (opening today) and Indiana’s Museum of Contemporary Art (opening this fall). He’s also in this year’s Mistake Room biennial exhibition. So we caught up with the artist, represented by Papillion, Los Angeles, to discuss his first exhibition in New York, his interest in material, and what that quietude is all for.
This is your first exhibition in New York. Can you tell me about Unbound, how it came to fruition, the work that will be on view, and how it speaks to your practice as a whole?
I’m extremely excited about my first show in New York being at the Studio Museum Harlem. In late 2014, Naima Keith (Associate Curator, Studio Museum Harlem) and I started having a conversation about exhibiting at the Studio Museum. Unbound is a continuation of the work that I have been constructing from encyclopedias, which is about the exploration of systems of knowledge and power. For this exhibit I chose to use law books, as I felt that it was pertinent to current events. This work is site specific, and the three works are much larger than any of my previous works.
Your critical exploration of systems of power and knowledge is the main focus of the exhibition. Can you explain its relationship to materiality and form? Is there a direct relationship to the body?
The relationship of the material to systems of power is very direct. I viewed the source material as the system of power. Encyclopedias in particular, contain a vast amount of information, but it is selective, and much equally important content is omitted. When working with the material I think about how the information was compiled and the methodology. I am ultimately thinking about information that is selectively left out. Much of the material I work with are the covers of the books. I refer to them as skins, and they define, and contain, the body of my work.
I find the evisceration of text in your work interesting given that you employ books as a symbol of knowledge. Can you talk a bit about this deconstruction and quieting of content?
The removal of the text pertains to numerous ideas that are competing for my attention. One thing that I think about are narratives which are not consistent with their contexts and do not fit. Deconstructing the material is a cathartic act as I physically handle these inconsistencies.
You stay within a limited color palette. Is this intentional? What is the significance of color within your practice?
The color is based upon what the material naturally gives me to work with. It is not intentional unless I choose to do some mixing of the source materials. Most of the time, the color palette is based upon the particular set of books with which I am working. Early in my work, I would typically construct a single piece from one set of books. More recently, I have been experimenting more with mixed materials to keep the aesthetic fresh. The color is not as important as the texture and other qualities of the material. I enjoy the challenge of working with a constantly changing source of materials.
Unbound is on view at the Studio Museum Harlem, New York through June 28, 2015. The TMR Benefit Exhibition is on view in Los Angeles through May 9, 2015.
Jones celebrated his first museum solo show last night when he debuted new ambitious works in his site specific installation Unbound big huge congratulations to Samuel and the great effort that went into this show!
Filmmakers Malik Hassan Sayeed and Arthur Jafa make a short film about Adrian Younge's analog universe.