News
In 20/20: Accelerando, Albuquerque merges film, sound and performance to tell the story of a 25th century female astronaut who lands on Earth in the year 6,000 BC with a mission to seed interstellar consciousness on the planet. Upon entering Earth’s atmosphere, she forgets her mission: “Where was I? And why was I awakening at this moment, on this planet?”
Read MoreIn what feels like an inevitable, predestined union, small, quiet works by Giorgio Morandi and Robert Ryman come together in a vast white room. And yet they are not swallowed. Careful studies, these works dramatize and depict the melodrama that small details within a much larger whole can command.
Read MoreKohn Gallery has championed West Coast avant-garde artists from its space in Los Angeles for the past thirty years - beginning long before the postwar California art scene was recognized by the art world at large.
Read MoreToday’s show: “The West Coast Avant-Garde: 1950-Present” is currently on view at Kohn Gallery in Los Angeles. The group exhibition is a survey of art made in California starting in the mid-1950’s spanning until the present featuring works by Richard Diebenkorn, Ed Ruscha, and Larry Bell to name a few.
Read MoreIn 2006 Los Angeles conceptual artist Lita Albuquerque ventured to the South Pole and created the extraordinary Stellar Axis land art installation, arranging 99 blue fiberglass spheres of varying size in the Antarctic snow to reflect the configuration of stars in the night sky. “Light Carries Information,” a new show at the Kohn Gallery, features four large photographs of details from this unique work as well as a wordless eight-minute video presenting Stellar Axis in its geographic context.
Read MoreThe painter Mark Ryden made his name creating distinctive, cartoonish record sleeve art, most notably for Michael Jackson’s “Dangerous” album, Aerosmith’s “Love in an Elevator” single, and records by the Red Hot Chili Peppers and Tyler the Creator.
Read MoreIn the inaugural exhibition Mark Ryden, underscores his aesthetic forays into cultural kitsch through his exploration of the lost but not forgotten “Gay 90s”. Employing the visual trappings of the formally idealized 1890s in America—women dressed in satin skirts with large bows, large wheeled bicycles, Main St. USA, vaudevillian stages—Ryden recreates scenes from this marginalized slice of pop culture.
Read More
