After signing on with Kohn last fall, Mexican artist Lebrija makes his debut at the gallery this year with an ambitious exhibition. On view are paintings from the artist’s signature Veladuras series, which feature layers of muted semi-transparent paint that form prismatic abstractions, as well as a new sculptural work and film installation. Lebrija is not quite as well-known to American audiences as he is in his home country, but hat may be changing soon.
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It is difficult to categorize the boundary-breaking, multi-media trajectory of American artist Bruce Conner (1933 – 2008). Constant change and a wide-roving, obsessive curiosity are perhaps two constants in Conner’s work, which ranges from assemblage to drawing, painting and sculpture to conceptual art and experimental film.
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Gonzalo Lebrija is one of Mexico's most renowned contemporary artists. Across a connective thematic thread examining the porous borders between life and death, dreams and phenomena, mind and body, eye and spirit, Lebrija practices in a fluid continuum of materials including but not limited to painting, sculpture and video — examples of all of which will be on view at his exhibition opening this weekend at Kohn Gallery in Hollywood.
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In Leipzig-based painter Rosa Loy’s phantasmagoric compositions, the industrious, rosy-cheeked women of socialist realism are recast in Kafkaesque mise-en-scènes, in which they farm human-faced heads of lettuce, feed lollipops to Harpies wearing headbands, and recline on couches in poses of analysands more than odalisques.
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Propaganda and art are often thought of as opposites: The former rehashing cliches to serve the powers that be, and the latter inspiring individuals to believe they are in the presence of something special — a unique human expression, unlike anything else in the world.
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The women in Rosa Loy’s dreamlike figurative paintings have always been engaged in something significant: just don’t ask the artist what it all means. In a new show at Kohn Gallery in Los Angeles, the member of the so-called New Leipzig School is happy for her paintings to lead to a little confusion. Words by Katya Tylevich
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Kohn Gallery in Los Angeles now represents Guadalajara, Mexico–based artist Gonzalo Lebrija, who is perhaps best known for his painting series “Veladuras,” in which he layers shades of paint to create geometric abstractions.
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Artist Heidi Hahn will now be represented by Kohn gallery in Los Angeles and Nathalie Karg Gallery in New York.
Kohn will host its first solo show with the New York–based artist in the spring of next year, and Karg has a solo show on tap with her for March of 2020.
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Tony Berlant, like fellow Californian artists Ed Ruscha, Bruce Conner, and Joe Goode, has been instrumental in establishing the aesthetic sensibility of the West Coast Pop Art movement.
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Tony Berlant has been a busy man lately. The 77-year-old artist, a crucial influence in the West Coast Pop Art Movement of the 1960s, recently debuted a solo exhibition of new work at Kohn Gallery in Hollywood — and after six decades of making art, “Fast Forward” may be his most energetic show to date.
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Berlant collects decades-old tin packaging and metal signs, which he cuts into small shapes and proceeds to nail onto a wood panel, in his signature style of collage. The largest work in the exhibition, Self, is based on a Polaroid image of a young Tony Berlant taken by his friend, Andy Warhol.
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The Painting department presents Between the Clock and the Bed, a group exhibition in the Memorial Hall Gallery curated by faculty members Jackie Gendel and Jennifer Packer.
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Yuval Sharon, founder and director of LA’s The Industry, Broad collection artist Neo Rauch and painter Rosa Loy will discuss their production of Richard Wagner’s “Lohengrin” at the 2018 Bayreuth Festival, which – according to The New York Times – “made Wagner a feminist.”
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AYREUTH, Germany — In the 142 years since Richard Wagner made front-page news in New York with the first Bayreuth Festival, Americans have sung here, conducted here, made countless pilgrimages up a little green hill to sit, sweltering, in the temple that the composer built to his own art. But until now, no American had been entrusted with a production.
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"The thing about artists," quips Tony Berlant, "is that they say the work speaks for itself, then they can't stop talking about it!" Well, thank goodness for that, because during our tour of his new exhibition, it turned out Berlant had quite a lot to say about his newest work.
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For anyone interested in the long arc of art history, the contemporary art world’s obsession with youth, novelty, and spectacle can be exhausting. A welcome tonic has arrived in the form of a dazzling new show at Los Angeles’s Kohn Gallery that is dedicated to recent work by Tony Berlant.
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For most of his life, Tony Berlant has surrendered himself to his obsessions. Aside from making his own large-scale collages from vintage metal street signs and advertisements, the Santa Monica painter and sculptor has spent decades collecting ancient objects made by unknown artists.
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Whether in his collage-based art or his activities as collector/scholar/curator of ancient artifacts, Tony Berlant is penetrating into hidden levels of meaning.
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A lifetime-spanning survey of works by Jess (1923-2004) is bound to be a bit meta — because the work that Jess produced across his long career was itself always already a survey of his own life and times. From his earliest paintings in the 1950s to his latter-day collage-based compositions made well into the 1990s, with drawing, sculpture, and video collaborations along the way, Jess was at every moment consciously assembling an archive of his own obsessions.
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The Bay Area of the 1950s was the West Coast epicenter for poetry, jazz and art. Part of the excitement came from the close connections between those three art forms. This was especially true in collage, art composed from fragments of photographs, advertisements or newspaper articles, elements brought together in unexpected ways to tell new stories.
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