{"id":8252,"date":"2016-07-20T16:13:42","date_gmt":"2016-07-20T16:13:42","guid":{"rendered":"http:\/\/artzealous.com\/?p=8252"},"modified":"2016-07-20T18:24:57","modified_gmt":"2016-07-20T18:24:57","slug":"five-must-see-los-angeles-art-shows","status":"publish","type":"post","link":"https:\/\/artzealous.com\/five-must-see-los-angeles-art-shows\/","title":{"rendered":"Five Must-See Los Angeles Art Shows"},"content":{"rendered":"

Revolution in the Making: Abstract Sculpture by Women 1947-2016<\/em> @ Hauser Wirth & Schimmel<\/a><\/strong><\/p>\n

This museum-worthy exhibit, showcasing textile sculpture exclusively made by women, fills the new expansive LA compound of this international gallery. Chronologically organized rooms weave together a fascinating and cohesive exploration in texture, scale, and process that will tempt you to reach out and touch. A perfect instance of this phenomenon: British artist Phyllida Barlow\u2019s fantastically large-scale and colorful installation\u00a0(pictured)\u00ad. <\/em>An example of the anti-monument tradition, massive felt pompoms hang from a plywood structure held together by everyday materials, including tape.<\/p>\n

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Mark Gash: Intimate Strokes<\/em> (thru Aug. 21) @ Coagula Curatorial<\/a><\/strong><\/p>\n

\"Mark
Mark Gash “Meri” Photo\/\/ Coagula Curatorial<\/figcaption><\/figure>\n

Curated by performance artist Johanna Went, this survey of late works by punk painter\u00a0Mark Gash serves up a vibrant vision of LA in the 1980s. Models and muses dawning\u00a0iconic styles of the decade\u00a0(mullets\u00a0and\u00a0kimonos)\u00a0are depicted in neon portraits. His impasto technique is reminiscent of William de Kooning\u2019s 1950s Woman paintings without the implication of aggression towards the portrait sitter.<\/p>\n

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Made in LA: a, the, through, only<\/em> (thru Aug. 28) @ Hammer Museum<\/a><\/strong><\/p>\n

\"Arthur
Arthur Jafa Installation image of montage works<\/span><\/figcaption><\/figure>\n

Dance, film, sculpture, and more chime in theme and subject matter while highlighting the diversity of art making communities in the Los Angeles area. Rafa Esparaza\u2019s performance piece on Aug. 13 (location TBD) RED SUMMER, freedom is an endless meeting. and i don\u2019t miss your heat. but here we are again.<\/em>, is a day long act of digging dedicated to 2015, the deadliest year on record due to police killings in the US. Esparaza\u2019s endurance piece chimes with the prolific quality in Arthur Jafa\u2019s work on view, which celebrates the black aesthetic. With a goal reminiscent of Claudia Rankine\u2019s poignant posing of imagery and text in\u00a0Citizen<\/a>\u00a0<\/em>to illustrate constant\u00a0occurrences of racism, <\/em>Jafa fills 200 three-ring binders with montages of icons, historical references, and black individuals in scenes of glory, grief, athleticism, and the everyday. Museumgoers can learn more about artists and pieces involved in this show, during curator talks and film screenings<\/a> scheduled throughout the span of the exhibition.<\/p>\n

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Paul Lee: Layers for a Brain Corner<\/em>\u00a0(thru Aug. 12) @ Maccarone | Los Angeles<\/a><\/strong><\/p>\n

\"Paul
Paul Lee “Lung,” Photo\/\/ Lorraine Rubio<\/span><\/figcaption><\/figure>\n

London-born artist Paul Lee experiments with weight and the idea of the body in pieces made of household objects (towels) and musical instruments (tambourines). The most successful pieces in this successful are the studies in negative space posed by his towel sculptures (pictured) which feature blocks of cut fabric, frozen in time, depicted toppling downwards.<\/p>\n

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Cindy Sherman: Imitation of Life\u00a0<\/em> (thru Oct. 2)\u00a0@ The Broad<\/a><\/strong><\/p>\n

\"Cindy
Cindy Sherman “Untitled #122,” Photo\/\/ Lorraine Rubio<\/span><\/figcaption><\/figure>\n

Visceral depictions of meat, corpses, and disgraced socialites appear alongside iconic film stills\/self-portraits of chameleon Cindy Sherman. This massive chronological retrospective holds examples of all of Sherman\u2019s studies in identity, film, and photography and is an unintentional ode to the selfie generation. Despite the apparent foreshadowing of today’s selfie\u00a0popularity, Sherman explained<\/a>\u00a0in 1999\u00a0\u201cI\u2019m under so many layers of makeup that I\u2019m trying to obliterate myself in the images. I\u2019m not revealing anything.\u201d Though in\u00a0the last room of the exhibit, the\u00a0photographer more explicitly points to her own experience\u00a0in recent work depicting\u00a0aging female muses, such as Greta Garbo.<\/p>\n","protected":false},"excerpt":{"rendered":"

From Cindy Sherman Film Stills to 1980s punk portraiture<\/p>\n","protected":false},"author":9,"featured_media":8271,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,23,11],"tags":[],"_links":{"self":[{"href":"https:\/\/artzealous.com\/wp-json\/wp\/v2\/posts\/8252"}],"collection":[{"href":"https:\/\/artzealous.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artzealous.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artzealous.com\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/artzealous.com\/wp-json\/wp\/v2\/comments?post=8252"}],"version-history":[{"count":0,"href":"https:\/\/artzealous.com\/wp-json\/wp\/v2\/posts\/8252\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artzealous.com\/wp-json\/wp\/v2\/media\/8271"}],"wp:attachment":[{"href":"https:\/\/artzealous.com\/wp-json\/wp\/v2\/media?parent=8252"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artzealous.com\/wp-json\/wp\/v2\/categories?post=8252"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artzealous.com\/wp-json\/wp\/v2\/tags?post=8252"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}