Please join us for a visit and conversation with gallerist Tarrah Von Lintel to view and discuss a special exhibition celebrating the 25th anniversary of her gallery. “Talk to Me” is an expansive four-room salon hanging of 40+ works from artists with whom Tarrah has had associations over the entire run of the gallery. This exhibition will include works by Roger Ackling, Marco Breuer, Sarah Charlesworth, Alan Charlton, John Chiara, Jeronimo Elespe, Adam Fuss, John Newman and David Row and Allyson Strafella.
If you have not yet visited the new Wende Museum of The Cold War in Culver City, this is a great opportunity! We will tour the exhibition Promote Tolerate Ban: Art and Culture in Cold War Hungary, which highlights Hungary’s unique artistic culture following WWII through the 1980s. This unique period in Eastern Europe was defined by loyalty to the Soviet Union combined with a liberal climate in domestic and cultural affairs. Through photographs and paintings along with advertisements and examples of material culture, this historical exhibition examines the provocative narrative of life in Hungary during this time.
Promote Tolerate Ban is a joint initiative between The Wende Museum and The Getty Research Institute.
Plenty of free parking.
Join us for an exhibition walkthrough with gallerist Stephen Zeigler.
THESE DAYS is happy to be partnering with UNITED AMERICAN INDIAN INVOLVEMENT (UAII) to unveil a selection of never before exhibited vernacular photography, including Polaroids and snapshots, that weave together the lives and critical events of UAII’s earliest beginnings on Winston Street near Skid Row. This historic and noteworthy photo exhibition will be presented in the exact same space where the photographs were taken over 40 years ago sharing a story of hope, community and resilience of America’s first and often forgotten people.
UAII was established as a nonprofit 501(c)3 by Marian Zucco and Baba Cooper in 1974 to provide shelter, food, and a welcoming place for American Indians living on the streets of Skid Row in downtown Los Angeles. Through the U.S. government program of relocation (1956-1979), a large portion of American Indians were encouraged to leave their homes on reservations throughout the country to move to urban areas, including Los Angeles, in hopes for a better opportunity for jobs and education, but the reality was a life of struggle (1).
UAII has grown to become the largest one-stop provider of human services for American Indian/ Alaskan Native families and youth living in Los Angeles County providing services to members from over 200 different tribes.
Join us for an exhibition walkthrough with curator Lanka Tattersall
The Museum of Contemporary Art, Los Angeles (MOCA), presents Real Worlds: Brassaï, Arbus, Goldin, an exhibition that brings together the works of three of the most influentialphotographers of modern life. Drawn largely from MOCA’s extraordinary collection of photography, the exhibition provides a remarkable opportunity to explore the ways in which Brassaï (Gyula Halász) (b. 1899, Brassó, Hungary (now Romania); d. 1984, Èze, France), Diane Arbus (b.1923, New York; d. 1971, New York) and Nan Goldin (b. 1953, Washington, D.C.) use the camera to reflect and transform the world around them. Real Worlds features an exceptional trove of approximately one hundred works by the three artists, including Brassaï’s unforgettable images of the nocturnal denizens of Paris, Arbus’s most memorable and unsettling portraits, and Goldin’s searingly poignant documentation of herself and her community. The exhibition is structured around MOCA’s nearly comprehensive collection of photographs that appear in three legendary photobooks: Brassaï’s The Secret Paris of the 30’s (1976), the posthumous Diane Arbus: An Aperture Monograph (1972), and Goldin’s The Ballad of Sexual Dependency (1986).
This event is limited to 30 members.
Image: Nan Goldin, Nan, one month after being battered, 1984
Please join us for a walkthrough with exhibition co-curator Eve Schillo, Assistant Curator, Wallis Annenberg Photography Department, LACMA.
Social media sites, beginning with Flickr as early as 2004 and soon followed by Facebook, Twitter, and Instagram, have helped to popularize the selfie by encouraging users to tag and share their photos online. Ten years later, Ellen DeGeneres caused a frenzy on social media when she tweeted her now legendary 2014 Oscar selfie with Meryl Streep, Julia Roberts, Bradley Cooper (who took the picture), and other stars. Shared a staggering two million times, her post became the most retweeted photograph of all time and confirmed the selfie as a ubiquitous form of contemporary self-representation.
Today, millions of selfies—from the funny and self-deprecating to the private and sexually explicit—are shared with friends and strangers around the world. But is the selfie the same as the fine art genre of photographic self-portraiture? How are these two forms of photographic self-expression different? Why is it important to make the distinction between the two practices?
This is Not a Selfie is touring show organized by the Los Angeles County Museum of Art (LACMA) and comprises 65 photographers exploring and expanding the definition of the self-portrait. Ranging from early 19th-century experiments through contemporary digital techniques, the exhibit includes works by Diane Arbus, Robert Mapplethorpe, Catherine Opie, Cindy Sherman, Alfred Stieglitz, Lorna Simpson, and Andy Warhol.
Attendance is limited to 20 members.
Image: Cindy Sherman, Untitled Film Still #5, 1977
After a five-year hiatus, Doug Harvey returns to his archive of found moldy slides to curate his first new presentation since Rhizomatic Transmissions, which screened at The Museum of Jurassic Technology, Hammer Museum, UCLA, Echo Park Film Center, and various other Los Angeles and West Coast venues.
Compiled from a collection of several thousand 35 mm photographic transparencies found in the detritus excavated from a local hoarder's house during an apparent intervention, the slides had been subjected to flooding and grown various types and degrees of fungal layers, altering the pictorial content of the emulsion -- sometimes slightly, sometimes transforming the image into a total abstraction. Harvey describes the resulting (washed and stabilized) artifacts as " a stochastically linked collaboration between the original vacation photographer, crazy hoarder dude, the mold, and me – plus the found and improvised soundtrack elements, and finally the audience.”
One Los Angeles critic describes the found moldy slides as "flat-out gorgeous... and just as fascinating on a conceptual/semantic level, introducing issues of authorship, truth, transcendence, intention, control, chaos, narrative, meaning, and analog physicality into a larger conversation about photography in the digital era."
Return of the Moldy Slides will consist of a new selection of the actual original slides using vintage Kodak carousel projectors, and will be accompanied by a live performance of improvised music by The Friendliness Happening.
Parking information and directions to the Art Building will be included in your RSVP confirmation.
Doug Harvey is an artist, writer and critic (for thirteen years the art critic for the LA Weekly), independent curator, experimental musician, and educator who lives and works in Los Angeles. F, his noise band with Marnie Weber, Daniel Hawkins, and Kane Lafia will be performing with the Bob Baker Marionette Theatre on June 2nd, and a secret curatorial project Less Art presents the LLM will debut in Chinatown this summer. His activities may be monitored online at www.dougharvey.blogspot.com and www.dougharvey.la.
Please join us for a walkthrough of Paper Promises: Early American Photography with curator Mazie Harris.
Paper Promises traces mid-nineteenth-century experimentation with and exploitation of photography on paper. Rare photographs and negatives are featured alongside iconic images from the formative years of photography in the United States. The exhibition demonstrates the importance of photographic reproduction in shaping and circulating perceptions of America and its people during a critical period of political tension and territorial expansion.
This event is limited to 20 attendees. Members only.
Jona Frank’s Cherry Hill is a photographic memoir about growing up in suburban New Jersey during the 70s and early 80s. Accompanying the photographs are 25 essays about her childhood and family history. Cherry Hill pushes the boundaries of photography by creating a one-to-one cinema that is part memoir, part photo-book and part cultural-study.
Frank is working with actors to meticulously produce the domestic recreations from her youth. Emmy winner and Academy Award nominee Laura Dern is portraying Frank’s mother and three young actors are playing her at different stages of her development. Frank’s intent is to give record to the poetic-memories of our past that we all carry. Her hope is that the viewer will experience a subtle recognition between reality and cinematic fantasy.
On our visit we will view Frank's work in a Santa Monica landmarked home built in 1910.The home at 401 Ocean is about to be remodeled, but before it begins Frank is using the location to reconstruct her childhood home, so in addition to being introduced to her new series, we will also be visiting the sets where the work is being made.
Please join us for an exclusive exhibition walkthrough with the artist.
In General Song, Valenzuela abstracts and adapts images historically associated with protest. Drawing on his longtime interest in poetic resistance and his experience growing up under the dictatorship of Augusto Pinochet in his native Chile—as well as research on resistance movements in countries such as the Ukraine and Venezuela—the artist focuses on simple physical structures that people build in times of oppression as a means to explore civil disobedience, as well as the masks worn to protect against the authoritarian response to dissidents. The title of the series refers to Canto General, Pablo Neruda’s volume of poetry which was first published in 1950, and narrates the history of the Americas from a Latin American perspective.
Please join us along with photographer Matthew Brandt as we view his fourth solo exhibition at M + B Gallery, AgX.Hb. The show will present new works from his recent Silver series, in addition to the debut of the Heidelberg Blankets.
In his Silver series, Brandt extends the limits of black and white photography (in its near obsolescence in the digital age) by utilizing the materials that are inherent to that process and experimenting with the elements' shape shifting nature. The exhibition also marks the debut of his new series Heidelberg Blankets. These vibrantly hued textiles contain images of working hands and various studio objects, all intricately embroidered onto fabric.
Please join us to view an exhibition of portraits by Yousuf Karsh.
In addition to the dialog regarding the portraiture, discussion will be presented regarding the trend seen at recent Paris Photo's and AIPAD of the re-purposing of vintage prints made for other purposes (press, promotion, etc) as fine art prints.
Yousuf Karsh was the 20th Century's best known portrait photographer. He photographed thousands of subjects during his decades-long career based from his studio in Ottawa, Canada. Duncan Miller Gallery presents the largest exhibition of vintage Karsh photographs ever assembled on the West Coast. See nearly 100 portraits, ranging from celebrities, musicians, writers, business leaders, politicians and others.
Please join us for a tour of Harald Szeemann: Museum of Obsessions, the new and unique exhbition at the Getty Research Library. Co-curator Pietro Rigolo will walk and talk us through this marvelous display of unusual works curated by one of the art world's most eccentric collectors.
A distinguished advocate of conceptual art and postminimalism, and a figure who became synonymous with the advent of globalism in contemporary art, Harald Szeemann (Swiss, 1933–2005) developed a new form of exhibition-making that centered on close collaborations with artists, and a sweeping international vision of contemporary culture. Szeemann's exhibitions covered vast areas of research, challenging traditional narratives of art history and often embracing creative fields outside the visual arts. For each of his more than 150 installations and exhibitions, Szeemann added materials to his vast library and research archive, which he referred to as the "Museum of Obsessions." His museum comprised not only the physical place of the archive but also a mental landscape that encompassed all moments of genius and artistic intensity.
Following the talk we can all meet in the Getty Cafe for lunch together, and an afternoon exploring the Getty campus. Attendance is limited to 18.
Join us for an artist-led tour of Hollywood Royale: Out of the School of Los Angeles, the latest exhibition from noted Hollywood photographer Matthew Rolston.
One of a handful of artists to emerge from Andy Warhol’s celebrity-focused Interview magazine, Rolston is a well-established icon of Hollywood photography. His latest exhibition and publication, Hollywood Royale: Out of the School of Los Angeles is a retrospective of his 1980s photography and presents a stunning array of portraits that beautifully capture the breadth of that decade’s iconic talent, from Michael Jackson to Madonna, from Cyndi Lauper to Prince.
Alongside such luminaries as Herb Ritts and Greg Gorman, Rolston was a member of an influential group of photographers (among them, Bruce Weber, Annie Leibovitz, and Steven Meisel) who came from the 1980s magazine scene. Rolston helped define the era’s take on celebrity image-making, ‘gender bending,’ and much more. The photographs in this collection recall the glamour of old Hollywood with postmodern irony, helping to point the way towards the cult of fame with which we live today.
Please join us for a visit to this new photography gallery on La Cienega Blvd. The artists, both PAC·LA members, will be present to talk about their work. For more information please visit the website Fabrik Projects.
E. F. Kitchen: Bayou City.
In 1986 E. F. Kitchen returned to Houston, where she lived as a small child, to recapture her early impressions of that time and place. The artist wanted to recreate the Houston of her past by photographing buildings and neighborhoods from the late 1950s. The older cityscapes in Bayou City, many of which are being destroyed to pave the way for new developments, evoke a timely and timeless chapter of American cities.
Sarah Hadley: Lost Venice.
The exhibition, Lost Venice, highlights the Renaissance past of Venice, a city that Hadley visited often as a child and where she later lived and worked. Her ethereal, sepia-toned photographs capture the allure of this magical city. Focusing her lens on the city's timeless architecture and ever-changing waterways, Hadley evokes an otherworldly place, one filled with grace and extraordinary beauty.
As part of the Photographic Arts Council’s grant program we have focused a portion of our gift-giving on local non-profits which serve low-income communities in Los Aneles.
We are pleased to announce a two-year program in support of Las Fotos Project, which specifically focuses on empowering teenage girls through photography. Specifically, our grants will provide the funding for their dark room instruction, individual photo based projects and various pop-up exhibitions of the girl's work in both B&W and color throughout 2018. Members will also be able to meet Executive Director and founder Eric V. Ibarra to gather a deeper understanding of this organization’s exceptional progress and accomplishments since its beginning in 2010.
On Saturday, January 6th we encourage you to join several board members in visiting the gallery space occupied by Las Fotos Project in Lincoln Heights. While modest physically, the impact that this organization’s mission has on these young women cannot be overstated. Las Fotos currently serves about 150 girls from the local community, and others from the Greater Los Angeles area. You’ll get to see the studio and dark room space, examine some of the latest work produced by the students and meet these young inspiring artists.
For those of you who are interested in non-profit volunteer work, Las Fotos not only provided quality photographic instruction but also helps the young women explore their identity, learn about new cultures, build leadership and advocacy skills and strengthen their social and emotional well-being.
Please come, this will be a studio visit unlike our traditional outings, but one which we think will both touch and inspire you.
There is no limit on attendance, but please RSVP here so we may properly plan for your participation. It will mark a wonderful beginning to a new year for all.
Join us for a walkthrough of Photography in Argentina, 1850-2010: Contradiction and Continuity with Idurre Alonso, Associate Curator of Latin American Art at the Getty Research Institute and Arpad Kovacs, Assistant Curator of Photographs at the Getty Museum.
More than 60 works of video art from Latin America, many never before seen in the U.S., are presented in a landmark exhibition at LAXART as part of the Getty’s city-wide art initiative Pacific Standard Time: LA/LA. Organized by LAXART in collaboration with the Getty Research Institute (GRI), Video Art in Latin America surveys groundbreaking achievements and important thematic tendencies in Latin American video art from the 1960s until today.
The emergence of video art in Latin America is marked by staggered and multiple points of development across more than a dozen artistic centers over a period of more than 25 years. The earliest experiments with video in Latin America began in Argentina and Brazil in the 60s and 70s, respectively. In the late 1970s artists in Colombia, Mexico, and Puerto Rico began to use video. Artists in Chile, Cuba, and Uruguay took up the medium in the 1980s and the 1990s and 2000s saw video art movements emerging in Ecuador, Guatemala, and Costa Rica.
Visitors will encounter several immersive video art installations in the center of the exhibition space as well as three galleries featuring single channel videos arranged in six thematic programs which include: The Organic Line; Defiant Bodies; States of Crisis; Economies of Labor; Borders and Migrations; Memory and Forgetting.
Image © Glenda León
Please join us at The Autry Museum for a walkthrough with curator Amy Scott of LA RAZA, the Autry's participating exhibition in Pacific Standard Time: LA/LA. We will also view Chicano Male Unbound, a suite of photographs by Harry Gamboa Jr., acquired through a generous grant from PAC/LA.
Published in Los Angeles from 1967 to 1977, the influential bilingual newspaper La Raza engaged photographers as journalists, artists and activists to capture the definitive moments, key players, and signs and symbols of Chicano activism during this pivotal time in the art and history of the United States. LA RAZA is the most sustained examination to date of the alternative press of the Chicano Movement, positioning photography as an artistic medium and a powerful tool of social activism.
In Chicano Male Unbound, photographer, essayist, and performance artist Harry Gamboa Jr. calls into question the relationship between the stereotypes of Mexican American men and the far more diverse community of artists, writers, academics, and creative thinkers who identify as Chicano. Photographed at night and situated within various aspects of Los Angeles’s distinctive urban geography, his subjects together comprise the Chicano avant-garde.
You are invited to a private walkthrough with Curator Rebecca Morse at LACMA of the Sarah Charlesworth show Doubleworld, followed by lunch and a walkthrough at The Craft and Folk Art Museum of their PST show The US-Mexico Border: Place, Imagination, and Possibility.
We will meet first behind the Urban Light sculpture at LACMA at 10:45 am for the talk at 11. Lunch will be self-serve, either at Ray's, from nearby food trucks, or you are welcome to brown bag it, and bring your own. We are invited to eat on the patio at CAFAM, across the street from LACMA, prior to our walkthrough there, which begins at 1:00 pm.
Please note that our tour does not include free admission to LACMA. LACMA members only will have free admission and can bring a guest as their membership allows. Non-members must be prepared to pay the $25 entrance fee, which gives all-day access to the entire museum. Parking is $15 in the LACMA lot. The entry fee to CAFAM has been waived.
Interdisciplinary artist Ken Gonzales-Day examines the mural landscape of LA—from East LA to Venice Beach, from Pacoima to South LA. Featuring over 140 photographs, Surface Tension by Ken Gonzales-Day: Murals, Signs, and Mark‐Making in LA considers what the city’s walls reveal about its diverse communities. Recording Los Angeles’s unique visual identity and the diversity of its population, Surface Tension asks: What is a mural? Who speaks, and who decides what counts as art?
Surface Tension by Ken Gonzales-Day is part of Pacific Standard Time: LA/LA, a far-reaching exploration of Latin American and Latino art in dialogue with Los Angeles at more than sixty cultural institutions across Southern California. PAC/LA is a significant sponsor of this exhibition.
Following our talk with Ken, there will be a brief talk devoted to the Anita Brenner exhibit, Another Promised Land, also a part of Pacific Standard Time: LA/LA.
Note that there is a 30 guest limit for this special event.
Please join us for a walkthrough with the artist, PAC member Cindy Bendat.
Join us for a visit to three La Cienega galleries. We begin at Luis De Jesus, where we will be joined by artist Ken Gonzales-Day for a walkthrough of his exhibition Bone-Grass Boy: The Secret Banks of the Conejos River We will then move to Von Lintel Gallery to see Floris Neusüs: Intent and Gesture: Photograms- Color (1966-2007). Then on to Kopeikin Gallery for two exhibitions: Alejandro Cartagena: The Collective Memory of the Worst Place to Live in the World Today if You Are Not White. and the group exhibition Tell Me A Story: Contemporary Mexican Photography, curated by Cartagena.
Bone-Grass Boy: The Secret Banks of the Conejos River (1993-1996; 2017) was created as an artistic response to the heated debates that raged in the late 1980s and early 90s around AIDS, gay and transgender rights, immigration and the border, and multiculturalism - and directly addressed mixed racial identity - at a time when the work by Latinx artists were rarely exhibited or written about. This significant body of work established Gonzales-Day's interest in uncovering missing histories in what can now be seen as his unique use of historical research, and it laid the groundwork for his future projects that include Searching for California Hang Trees, Erased Lynchings, and Profiled.
In 1960, the same year as the “anthropometries” of Yves Klein, Neusüss created his first nude figurephotograms, also known as “Nudogramms.” Neusüss was not concerned with using the photogram technique to record a nude form for the sake of documentation but rather to push experimental boundaries of the photogram medium. The works in this exhibition are experiments in photochemical action painting, which show Neusüss’ use of color in unexpected ways with astounding results. Sponges and rags soaked in fixer or developer are applied to the surface of exposed photograms producing painterly gestures, sometimes highlighted by brushstrokes of pigment.
In his newest body of work, The Collective Memory of the Worst Place to Live in the World Today if You are Not White Mexican photographer Cartagena continues his examination of social, urban and environmental issues but now has micro-trained his lens onto the city of Santa Barbara. Cartagena peels away at the immediate beauty and presents new impressions of the coastal community of Santa Barbara, California.
In Tell Me a Story: Contemporary Mexican Photography, Curator and Mexican photographer Cartagena presents an examination on the breadth of styles and subjects that are being addressed today in contemporary Mexican photography. From the personal to the public, and from the industrial urban city to the northern farmlands of Mexico, these six young creators are exploring the possibilities of the medium and how to address the current social and political situation of a country in crisis. The exhibition includes traditional photo based works and PST LA/LA site specific installation pieces. Participating artists are Aglae Cortes, Fernando Gallegos, Juan Carlos Coppel, José Luis Cuevas, Karla Leyva and Mariela Sancari.
Come for morning coffee and a walkthrough at Christie’s with Darius Himes, International Head of Photographs.
Join us for a visit to two LaBrea Avenue galleries.
Join us for an exclusive walkthrough with Amanda Maddox, curator of both exhibitions.