I shoot a lot of crap,” Dennis Hopper once said of his photographs, most of which date from the early to mid-1960s, the period when the difficult actor, often unemployed, most avidly wielded a still camera.
Read MoreLaughing on the Outside: Selections from the Permanent Collection presents artworks from MOCA’s collection that register the ludicrous, the impossible, and the playful. On view are stairs that lead to nowhere, invitations to exhibitions that contain no objects, and boots that appear to walk by themselves.
Read More"Dennis Hopper: The Lost Album” is currently on view at Kohn Gallery in Los Angeles. The exhibition, on view through September 1, includes 400 photographs taken by the artist in the ‘60s, originally shown at the Fort Worth Art Center Museum in 1970.
Read MoreThe late actor Dennis Hopper is remembered for a lot of things. There is the volatile hippie he portrayed in “Easy Rider,” the 1969 counterculture classic he also directed. And there’s his depiction of an unhinged Frank Booth in David Lynch’s “Blue Velvet” in 1986.
Read MoreDennis Hopper, actor, director and art collector, apparently wanted his legacy to be his photography. From the time his actress wife Brooke Hayward bought him his first Nikon camera, he took thousands of black and white photographs.
Read MoreAs an actor, Dennis Hopper’s ability to go from raving lunatic (Blue Velvet) to passionate loser (Hoosiers) to lovable idiot (Cool Hand Luke) really came down to one asset: his eyes.
Read MoreDennis Hopper’s The Lost Album, a collection of the late actor’s poignant black-and-white photography on view now at L.A.’s Kohn Gallery through September 1, was made possible by two key actors: his Rebel Without a Causecostar James Dean, who encouraged him to try his hand behind the camera (albeit as a director), and his first wife, Brooke Hayward, who bought him a Nikon mirror flex in 1961.
Read MoreBefore he ruined Sandra Bullock’s commute by strapping a bomb to a city bus; before he maniacally inhaled gas from a plastic mask, morphing into one of David Lynch’s most sadistic, unhinged villains; and before he donned a hippie headband, straddled a custom chopper and rode easy with Peter Fonda across the American West, Dennis Hopper too
Read MoreDennis Hopper, “The Lost Album,” at Kohn Gallery. In addition to being an actor, Hopper was a devoted photographer, who, for a period of 10 years, principally through the ‘60s, carried his camera with him wherever he went. In the process, he captured scenes on the street, celebrities at rest and his artist friends (figures such as Ed Ruscha and Billy Al Bengston).
Read MoreDennis Hopper’s Lost Album, a trove of photographs taken by the artist and Hollywood star throughout the 1960s, is coming home to Los Angeles, where the entire group of over 400 images will go on display at Kohn Gallery.
Read MoreDennis Hopper often talked about his first photography show when he was alive. The exhibition of 400 black-and-white photos, shot between 1961-1967, took place in 1970 at the Fort Worth Art Center in Texas. It was an achievement that remained to him since, despite his prolific acting career, Hopper increasingly wished to be remembered as a photographer by the end of his life.
Read MoreOpening Reception
Thursday, June 29th
6:00-9:00 PM
6:30–7pm
Lecture, Jay Pasachoff
Field Memorial Professor of Astronomy,
Williams College, Massachusetts
7–9pm
Wine Reception
Dean Byington’s suite of large-scale mixed media paintings channel the fantastical precision of centuries-old etchings and a vigilant appreciation for minute cartographic detail, like a Thomas Guide of the Grand Tour.
Read MoreSimultaneously familiar and unfamiliar, utopian and dystopian, Dean Byington’s complex canvases are the result of a meticulously refined process that is both digital and analog. Byington begins by collaging photocopies of his own drawings in parallel with fragments from 18th and 19th Century prints.
Read MoreThere are a pair of chimerical blue orbs by Lita Albuquerque, an early study of boxy green forms by seminal Modernist Josef Albers and a series of monochromatic paintings by Félix González-Torres that depict the colors of the Palestinian flag — a sequence of white, green, red and black that was once outlawed by Israel.
Read MoreArtists of Color is The Underground Museum’s third exhibition curated by our co-founder Noah Davis. It presents color-driven work in the form of monochrome, hard-edge and color field painting, sculpture and immersive installations. The show includes works by artists Joe Goode, Josef Albers, Michael Asher, Dan Flavin, Carmen Herrera, Jennie C. Jones, Donald Judd, Ellsworth Kelly, Diana Thater, Felix Gonzalez-Torres, Lita Albuquerque and more.
Color is a building block of artistic practice and our own aesthetic experiences. Artists of all mediums use color to express shapes, light, mood and emotion. Think about the specific shades that represent serenity, nobility, energy, or purity. Color is also used by people and political movements to define culture and countries. It can make visible the often unseen connection between our bodies and the cosmos.
Our hope is that through this show you develop your own relationship to color. That together we expand the dialogue around color theory. That you take new notice of how colors interact with each other, both on the canvas and in life.
Joe Goode in LALA
“I have my impulses,” says the bearded, sturdy painter Dean Byington, gesturing at his nine immense black and white canvases in “Theory of Machines’’ at the Kohn Gallery. Looking at the pictures, you think, “These impulses are deeply sublimated.”
Read MoreFrom his London studio, artist Ori Gersht describes his practices in analogue and digital photography, filmmaking, and editing, and the environment in which he produces work. He highlights some of his still life works, including Pomegranate and Big Bang, which illuminate the use of particular exposure lengths and pictorial qualities, and which focus on depictions of violence. Gersht also discusses his work in terms of truth, materiality, and abstraction, describing his studio as a personal oasis.
Read MoreJoe Goode, Milk Bottle Painting 229, 2015, acrylic on board with milk bottle, 42 x 42".
I WAS ALWAYS AWARE THAT MY WORK WASN’T POP. And Walter Hopps knew it too, even though he included me in the Pasadena Art Museum’s “New Painting of Common Objects” in 1962. I had the attitude of, I don’t care where you show me as long as you show me. It’s not very often I choose to revisit a series I’ve done before.
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