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Your Concise Art Guide to Los Angeles for October 2021


Hey, LA! Below are 10 shows that we think are worth your time this month. Artists learn about AI biases, a show explores Japanese animation beyond manga, and two solo exhibitions spotlight original local artists June Edmonds and Pippa Garner. This, and more, below.


Pouya Afshar, “Displaced I” (2018), Soft pastel on paper, 33 x 65.5 inches. (Collection of Mehrdad Ariani. Courtesy of the artist and ADVOCARTSY.)

When: October 3, 2021 – January 9, 2022
Or: Contemporary Crafts (5814 Wilshire Boulevard, Miracle Mile, Los Angeles)

The charm of the unknown tells a story of displacement and migration through fantastic characters and imagery to directly engage with current issues surrounding immigration to the United States. Artist Pouya Afshar uses a wide range of mediums, from 3D printing and augmented reality to 19th-century animation and traditional oil painting, to take viewers on this journey. Although its migrants may seem deliberately ‘strange’ and ‘foreign’, they project themes of exile, hope and homesteading that convey a universal humanity.

Otobong Nkanga, “Double Plot” (2018), Woven viscose stockings, polyester, organic cotton, cash wool, acrylic, with photograph. (265x770cm). Installation view, Henie Onstad Kunstsenter, November 2020 – May 2021 (Courtesy the artist. Photo: Øystein Thorvaldsen)

When: October 10, 2021 – January 9, 2022
Or: Hammer Museum (10899 Wilshire Blvd., Westwood, Los Angeles) & Institute of Contemporary Art Los Angeles (1717 East 7th Street, Downtown, Los Angeles)

Witch hunt brings together an international group of 16 artists from 13 countries doing feminist and queer work. This two-venue presentation will be split between the Hammer Museum and the Institute of Contemporary Art in Los Angeles and will feature artists who are committed to exploring issues such as women’s rights, environmental justice, intersectionality and collective resistance throughout their careers. Participating artists include Minerva Cuevas, Lara Schnitger, Vaginal Davis, Teresa Margolles, Otobong Nkanga, Beverly Semmes, among others.

Kinke Kooi, “Visit (3)” (2019), Acrylic, colored pencil, gouache on paper, q-tips, 31 3/4 x 26 1/8 in (80.5 x 66.5 cm) (Images with courtesy of the artist and Bel Ami, Los Angeles. Photo credit: Paul Salveson)

When: until October 30
Or: Bel Ami (709 N. Hill St, Suite 105, Chinatown, Los Angeles)

Organized by artist Lucy Bull, Emblazoned world the features work loosely linked by intimacy, idiosyncrasy, and “an affinity for feeling over logic,” as the press release states. Named after a drawing by Lee Mullican from 1969, the exhibition features works by Mullican as well as his late widow, Luchita Hurtado, who is represented by one of his 1975 “Moth Light” paintings, intended to attract insects thanks to a bewitching light. Other works include crucifixion sculptures incorporating bikinis reused by Elizabeth Englander, biomorphic carved wooden stools by Nik Gelormino, and sultry abstract paintings by Kinke Kooi.

Lauren Lee McCarthy, “LAUREN” (2017-Ongoing), installed in Encoding Futures: Critical Imaginaries of AI at Oxy Arts. (Photo by Ian Byers-Gamber.)

When: until November 19
Or: Oxy Arts (4757 York Blvd., Highland Park, Los Angeles)

Algorithms, rather than actual humans, increasingly shape the way data is used and interpreted, but rather than represent cold objectivity, they often reproduce ingrained systems of prejudice and oppression. Co-organized by Oxy Arts and Mashinka Firunts Hakopian, Coding of futures contracts features artists who illustrate the failings of AI-generated algorithms and imagine how they could be used to produce a more equitable future. Alongside the exhibition, four artists – Nancy Baker-Cahill, Audrey Chan, Joel Garcia with Meztli Projects and Patrick Martinez – participated in a three-month residency resulting in “virtual monuments” across Los Angeles visible through the app. 4th Wall.

Motohiro Hayakawa, “X Planet Battles” (2021) (photo courtesy of Japan House Los Angeles)

When: until November 28
Or: Japan House Los Angeles (6801 Hollywood Boulevard, Hollywood, Los Angeles)

While manga and anime are well known around the world, less well known are the many other types of illustrations and animation from Japan. WAVE – New trends in Japanese graphic arts is organized by artists Kintaro Takahashi and Hiro Sugiyama, who have brought together the works of 55 contemporary Japanese artists working in underground manga, pop art, photorealism, etc.

June Edmonds, “Untitled” (1982), oil on canvas, 48 ​​x 72 in., (Collection of Dr. Lucia Edmonds, courtesy of Luis de Jesus Los Angeles and Laband Art Gallery)

When: until December 11
Or: Laband Art Gallery (Loyola Marymount University, Burns Fine Arts Center, 1 LMU Drive, Playa Vista, Los Angeles)

Full spectrum is a 40-year investigation of the work of Los Angeles-based artist June Edmonds, who has spent her career “centering the experience of black Americans.” The exhibition covers early portraits of herself and other black women, foreshadowing contemporary African-American domestic painters like Jennifer Packer, through recent abstract compositions comprised of hundreds of individual and distinct brushstrokes. At the same time, Luis de Jesus will present an exhibition of contemporary works by Edmonds, Joy of other suns, until October 30.

Clifford Prince King, “Pippa (2)” (2020), archival inkjet print. 72 x 48 inches (image courtesy of the artist and Joan)

When: until December 19
Or: Joan (1206 Maple Avenue, Suite 715, Downtown, Los Angeles)

A facial for the money and a “Magnificent Millennium Makeover” (involving adorning your eyes with lipstick) are just a few of Pippa Garner’s cheeky inventions now on display on the show that spans the entire spectrum. career. Immaculate misconceptions, curated by Summer Guthery. A dozen of Garner’s inventions were made for the show, bringing his singular sketches to life. For those who want to learn more about the Long Beach-based artist, keep an eye out for the documentary Pippa: the queen of the future, which relays, among other things, Garner’s gender transition journey in the late 1980s and how she felt abandoned by the art world.

Charlotte Moorman, “Valentines sent to Jean Brown” (ca. 1975-1980), pen and ink on wrapping paper (Getty Research Institute, Los Angeles, courtesy of D. Hoyt Moorman Estate / Pileggi Estate)

When: until January 2, 2022
Or: Getty Research Institute (1200 Getty Center Drive # 1100, Brentwood, Los Angeles)

In the 1970s, collector Jean Brown began amassing a remarkable collection of Dada, Surrealist and Fluxus artwork in his home in the Berkshire Mountains. Following her own eye, she made insightful connections between temporal art movements, drawing the attention of the Getty Research Institute, which acquired Brown’s collection in 1983. Although it is a prized collection, it has not been prominently displayed so far.

Lorna Simpson, “Reoccurring” (2021), Ink and silkscreen on gesso fiberglass, 102 x 144 x 1 3/8 in (© Lorna Simpson, Courtesy the artist and Hauser & Wirth, photo by James Wang)

When: until January 9, 2022
Or: Hauser & Wirth (901 E. Third Street, Downtown, Los Angeles)

Lorna Simpson emerged as a pioneer of conceptual photography in the 1980s, with her juxtapositions of photos and staged texts that questioned the veracity and objectivity of the medium. His current exhibition at Hauser & Wirth, All the time, showcases recent work produced during the pandemic, showcasing the diverse range of materials she has incorporated into her practice over the past decades. These include large-scale paintings of icebergs, intimate collages mixing images of women cut out of NS and Ebony magazines with science maps of the stars and a courtyard installation of singing bowls resting on stacks of stacked slates that produce a collaborative sound vibration when activated.

Lynne Marsh, “Camera Opera” (2008), (production photography: Hans-Georg Gaul), 2-channel SD video installation with sound (courtesy of the artist)

When: until January 9, 2022
Or: Culver Center of the Arts (3834 Main Street, Riverside, California)

Lynne Marsh’s video installations examine the work behind images, media and cultural production. For Who raised it so many times? it focuses on a range of sites, including a German TV station, a British opera house, and a Southern California-based virtual reality studio, laying bare the specialized – and often unnoticed – work that goes into making the shows. that we consume.

The lineup, which changes nightly, includes Anne Carson, Arto Lindsay, Lafcadio Cass and Rubin Kodheli.

Daisy Youngblood is a portrait sculptor whose themes include accepting her own mortality.

The project required 269,000 square feet of silvery blue polypropylene fabric, 32,300 square feet of red rope, and the combined efforts of 1,200 workers.

Your list of must-see, fun, insightful and very New York art events this month.