Electric Lady Land at REBEL art space

Electric Lady Land at REBEL art space in the Back Street Arts District in Palm Springs is a survey of 14 LA based female artists curated by Susan Carter Hall. The show is part of REBEL art space’s goal to introduce local art collectors to a wide range of new and established talent, and this curatorial cross pollination at REBEL is a growing trend locally to bring LA based artists to the Coachella valley to show their work. One of the first curators to do this was Mike McLain, an LA and Coachella based artist, who began a geographic creative cross pollination project at the Coachella Valley Art Center called LAnCV. But Electric Lady Land strikes its own path by focusing solely on female artists from the LA area.

For more information about REBEL art space please check out their website at



Dianna Cohen, rainbow us, Plastic bags and thread, 2010


Dianna Cohen (detail))


Suné Woods, In Flight(3), Mixed media collage, 2016


Stephanie Vovas, Rachel in Los Angeles, Archival pigment print, 2015


Tanya Batura, Monochrome J, Clay & acrylic, 2010


Essi Zimm, I am the King of  the Cats, Mixed media collage and oil on panel board, 2016


Essi Zimm (detail)


Laurie Yehia, 18 AT BAY, Switch plates and oil paint on wood panel, 2016


Maja Ruznic, The Forgiver Has Forgiven But Emotional Memory Lingers

Oil on Canvas, 2016


Maja Ruznic, (detail)


Susan Carter Hall, In Loving Memory, Oil on Canvas, 2015


Susan Carter Hall (detail)


Erin Morrison, Red Palm, Ink and wax on gypsum cement, 2016


Erin Morrison (detail)


Kim Kei, Was it You, Was it Me, Ink and oil on paper, 2015

Length x Width x Depth at Conrad Wilde Gallery

For the last eleven years Conrad Wilde Gallery in Tucson, Arizona has hosted an annual exhibition devoted to works created from encaustic. This years Encaustic Invitational, Length x Width x Depth was terrific. Miles Conrad always does a great job of finding artists with unique voices, telling unique visual stories and he chooses works that are often surprising and engagingly tactile. And this years Invitational was no exception.


For more information about Conrad Wilde Gallery please consult their website at http://www.conradwildegallery.org


Sue Stover, Musings, 6 Pieces, Titles Various, 2015


Winston Lee Mascarenhas, Cardboard Study 8, Encaustic on Cardboard, 10″ x 10″ x 3″, 2014


Kathleen Cosgrove, Spiral with Antlers, Encaustic, Mixed Media, 9″ x 4″ x 4″,  2015


Katie Gutierrez, Heliopora 1, Encaustic Sculpture, 19″ x 7″ x 20″, 2016


Katie Gutierrez, Heliopora 3


Alison Golder, Best Cocao, Wood, Metal & Encaustic, 15″ x 9″ x 5″, 2014


Sue Katz, Moth Construct, Encaustic, Mixed Media, 35.5″ x 26″ x 3″, 2016


Alison Golder, Processed and Pasteurized, Wood, Metal & Encaustic, 13″ x 5″ x 3″, 2014


Alicia Forestall Boehm, The Power of Place , Encaustic, Fiber, Wire & Twine, 14″ x 9″ x 2″, 2014


From Left to Right: Alicia Forestall Boehm, Jane Allen Nodine & Deborah Kapoor


Jane Allen Nodine (Detail), Collected Oscula, Ablated Offerings & Selected Offerings,  Encaustic on Paper & Encaustic and Fiber, Works: 50″ x 4″ x 1″, 54″ x 4″ x 3″  , 48″ x 2″ x 2″, 2015


Deborah Kapoor, Grief Diary, Paper, Cording, Encaustic & Fabric, 12″ x 12″ x 1″, 2015


Beata Wehr, Letters From The Desert, Encaustic, Paper & Found Objects, 13″ x 17″, 2014


Dietlind Vander Schaaf & Jennie Frederick


Dietlind Vander Schaaf, Between, Encaustic, Oil and Graphite on Panel, 12″ x 12″ x 2″, 2016


Jennie Frederick, Beached, Kozo Fiber, Encaustic & Zip Ties, 48″ x 11″ x 8″, 2014


Deborah Winiarski and Milisa Galazzi


Milisa Galazzi, String Theory – WD Four, Paper, Thread & Encaustic, 48″ x 24″ x 9″, 2015


Deborah Winiarski, Lines Written III, Encaustic and Fiber on Panel, 37″ x 32″ 4″, 2015


Kay Hartung, Orbs 1 – 6, Encaustic Mixed Media, Dimensions Variable, 2013 – 2015


Kay Hartung, Orbs (Detail)


Helen Dannelly, Untitled, Encaustic on Paper, 6″ x 6″ x 8″, 2013


Laura Moriarty, Cleaved, Pigmented Beeswax, 24″ x 8″ x 4″, 2014


Howard Hersh, Pulse, Encaustic on Panel, 21″ x 13″ x 3″, 2012

Barbara Ellmann: An Open Book 2 at the Marks Art Center

I had the great pleasure of seeing Barbara Ellmann’s dynamic exhibition, An Open Book 2, at the Walter N. Marks Center for the Arts in Palm Desert, California last month. The exhibition, which ran from February 4 to March 11, was partially funded by the McCallum Theatre Institute’s Aesthetic Education Program, produced in conjunction with the Marks Art Center at the College of the Desert and was beautifully curated by Sophia Marisa Lucas. The Marks always presents terrifically exciting, innovative shows and I am continually impressed by the quality of their curatorial focus. An Open Book 2 was no exception.


For more information about the Marks Art Center and Barbara Ellmann:

















Donald Martiny: Gestures at Madison Gallery

In a world that is more and more removed and isolated, where finding contact and gesture and movement, both abstract and emotional, is increasingly difficult, Donald Martiny’s expressively lyrical solo, Gestures, at Madison Gallery in La Jolla, California is refreshingly immediate.


Alanic, 2014, Polymer and dispersed pigment on aluminum, 55 x 44 inches

One is instantly struck by the work’s visceral movement and vibrant color. But it would be too easy to reduce these forms to simply a discussion of color and flow. These enlarged brushlike strokes, formed from polymer and saturated pigment, are visual poems. They are the painterly equivalent of a verbal haiku, deceptively lean, but on reflection as complex and inevitable as breath. The simplified structure allows the viewer to look deeper. The swaths of undulating paint, dotted with glimpses of hidden color and seemingly random trace gesture, draw us closer, enticing us with their history. And the sensual , almost liquid quality of the forms woos us, like the touch of someones hand on bare skin, light but electric, the movement fleeting but the sensation enduring. The touch simple in form but resonant in understanding. That sensation is rare in this world of detachment. But as these paintings attest, and as has been said many times, “the simplest gesture is the most profound.” It is indeed.




Left: Togoyo, 2014, Polymer and dispersed pigment on aluminum, 68 x 43 inches

Right: Kore, 2015, Polymer and dispersed pigment on aluminum, 59 x 44 inches


Togoyo, 2014, Polymer and dispersed pigment on aluminum, 68 x 43 inches


Kore, 2015, Polymer and dispersed pigment on aluminum, 59 x 44 inches


From left: Kott, 2015, Polymer and dispersed pigment on aluminum, 88 x 5 inches

Ofo, 2015, Polymer and dispersed pigment on aluminum. 77 x 3 inches

Weyto, 2014 Polymer and dispersed pigment on aluminum. 91 x 46 inches


Weyto, 2014 Polymer and dispersed pigment on aluminum. 91 x 46 inches


Ngbee, 2015, Polymer and dispersed pigment on aluminum. 44 x 90 inches


Laua, 2015, Polymer and dispersed pigment on aluminum, 76 x 77 inches

Art Los Angeles Contemporary 2014


The element of surprise is a rare commodity these days, but Art Los Angeles Contemporary always hold surprise and this year was no exception. The sun was out and rainbows were shining on a pot of art fair gold in Santa Monica.

Simon Evans

Simon Evans, Jack Hanley Gallery, New York


Art Los Angeles Contemporary takes place every February at the Barker Hanger at the Santa Monica airport in Santa Monica, California. The show has a much more contemporary vibe than the more staid and at times weezingly grey LA Art Show. ALAC presents 70 established and emerging galleries from around the world. Each year I am introduced to new galleries and artists at this fair and its easy relaxed vibe is consistently punctuated with moments of  visual “wow” and a few moments of dumbfounded “what the *@$#”. Both are good things.


Obtaining information at ALAC is a mixed bag. I like to get to the fair early in the day and as a result some galleries are unattended and in others the gallerist may be busy or shockingly aloof. Wallcards are present at some booths and at others non-existent so it can be difficult to gather information about the work itself. I have included as much text as possible with the images that follow. In most instances I was able to include the name of the artist and the gallery. I have included materials, dimensions, date and some background information or links to more background information in cases where I was able to engage the gallerists directly and ask about the work.


Alex Hubbard, Standard (OSLO)


Alex Hubbard (detail)


Aaron Garber-Maikovska, Standard (OSLO)



Despina Stokou, Bad Curating, 2013
oil, spray paint, marker, oil crayon, charcoal, pastel chalk, collage on canvas
98.4375″ x 78.75″, Derek Eller Gallery, New York


Despina Stokou, Bad Curating (detail), Derek Eller Gallery, New York


Despina Stokou, Ruin Art (red), 2013
oil, spray paint, marker, oil crayon, charcoal, pastel chalk, collage on canvas
98.4375″ x 78.75″, Derek Eller Gallery, New York


Despina Stokou, Ruin Art (red), (detail) , Derek Eller Gallery, New York



Kendell Carter, Monique Meloche Gallery, Chicago, Illinois


Kendell Carter (detail)



Shezad Dawood, MGH 09, Acrylic on vintage textile, 2013, Paradise Row, London, UK


Shezad Dawood, MGH 09 (detail)


Shezad Dawood, MGH 07, Acrylic on vintage textile, 2013


Shezad Dawood, MGH 07 (detail)


There was, as the above and some of the following images attest, lots of great work. One of the themes percolating this year were works that were, in small or not so small ways, decaying or in some cases, partially erased. The following work was not a particular favorite of mine, but it does indicate  one of the present structural themes at the fair. Some of the works literally looked like they were falling apart, and the conservator in my head was taking note of the delicate state of much of the work and especially the fugitive nature of the materials themselves. The ephemeral nature of things and it’s translation into materials, process and the object itself is a story I am seeing from a lot of artists these days. Myself included.


JPW3 (J. Patrick Walsh 3)  Night Gallery, Los Angeles

I’m pretty sure the above painting is wax based. The gallerist wasn’t terribly forthcoming with information on this artist. There are links below to the gallery’s website and an interesting interview with J. Patrick Walsh 3.


JPW3 (detail)


JPW3, Night Gallery, Los Angeles, California



Robert Davis’ works were some of the more striking pieces to utilize not so common painting materials. Many of his organic yet strangely modern linen canvases were colored with rabbit skin glue or coffee.


Robert Davis, Picture of Silence, Rabbit skin glue and oil stick on linen, 2013, 72″ x 48″

Bill Brady/KC, Kansas City, Missouri


Robert Davis, Picture of Silence (detail)



There were also many works that were striking in their pared down simplicity.


Dan Bayles, François Ghebaly Gallery, Los Angeles, California


Dan Bayles, Strip Study, Photo and acrylic on panel, 2013, 20″ x 16″

François Ghebaly Gallery, Los Angeles, California



Alain Biltereyst, Untitled, 2013, Acrylic on plywood

Jack Hanley Gallery, New York



John Houck, Creased archival pigment prints, On Stellar Rays Gallery, New York


John Houck


John Houck




Imi Knoebel

From left to right, An Meine Grüne Seite C12-5, An Meine Grüne Seite B 12-8, last work same artist but unidentified.

All works Acrylic on aluminum, acrylic on plastic-coated paper and aluminum shelf

Galerie Christian Lethert, Cologne, Germany



Lisa Williamson, Tif Sigfrids, Los Angeles, California


Lisa Williamson, Tif Sigfrids, Los Angeles, California



Ry Rocklen, Dilation Disco, Crewel embroidery, copper and nickel plating, 2013, 17.5″ x 14.5″

Thomas Soloman Gallery, Los Angeles, California



Juan Capistran, Nothing Everything, Archival Pigment Print

Thomas Soloman Gallery, Los Angeles, California


York Chang, Greene Exhibitions, Los Angeles, California



York Chang (detail)


York Chang (detail)


Jennifer Nocon, Wool felt and ceramic, Tracy Williams, Ltd., New York, New York


Jennifer Nocon (detail)


Jennifer Nocon (detail)


Mike Pratt, Terracotta Olive, Workplace Gallery, Gateshead, UK


Mike Pratt, Terracotta Olive (detail)

This last image takes a bit of explaining. When I walked into the booth I saw the plastic jug on the floor and took a photo of it. The friend that I was with had some doubt about the jug being art. I said I thought it was because the placement was so deliberate. When the gallerist returned to the booth we asked, and yes, the jug was indeed a work. It was created by the artist Sean Raspet. Sean often creates sensory environments with signature scents and this jug was one of them. When the gallerist opened the jug I leaned down to smell it. Honestly I couldn’t smell much, but I liked the idea behind the work. Ideas were the highlight of this years ALAC. There were some great conversations about the works themselves and in most instances the conversations illuminated the works in ways that were unanticipated. Another eye-opener from a fair that never lacks for surprises.


From left Josh Kolbo & Sean Raspet, Société, Berlin, Germany


Sean Raspet (detail)


“TO BE A LADY” at Sundaram Tagore Gallery, Singapore

When I first saw the title for this exhibition I was put off. I’m not fond of the word “Lady”, and honestly, in the art world, when used to refer to an artist the term makes my stomach churn. “Lady” carries many subtle and not so subtle cultural signals, but the first thing that springs to mind is politeness and gentility which is, in the mind of this artist, death to the exploratory impulse. Great work is most certainly not polite. So, I was relieved to learn from the press materials that the title of the exhibition was meant to be a provocation of sorts. Still not in love with the moniker, but in this context it makes sense as a linguistic counterpoint to what is so obviously not a ladylike grouping of artists and work. It is simply strong work and the thread that happens to bind the work together is that it happened to be created by some of the greatest visual voices of the 20th century both past and present.


To Be a Lady was organized by Sundaram Tagore Gallery in collaboration with the Brooklyn-based non-profit Norte Maar. A previous iteration of the exhibition was presented in New York in 2012 at the 1285 Avenue of the Americas Art Gallery in collaboration with 1285 Avenue of the Americas and Jones Lang LaSalle. Both the current and 2012 versions of the exhibition were curated by Jason Andrew.

Sundaram Tagore Gallery has two galleries in New York, and one each in Hong Kong and Singapore. The Singapore gallery is in a gallery district called Gillman Barracks, which is an old regiment barracks that has been converted into a collection of contemporary art galleries in the heart of Singapore.


The photos that follow are some of my favorite works that were included in the exhibition. There was also an exquisite Helen Frankenthaler, but unfortunately I was not allowed to photograph it.

For more information about the exhibition please consult the websites of Sundaram Tagore Gallery and also the website of Norte Maar.




Janice Biala

Red Still Life, 1957

Oil on Canvas, 35″ x 46″, Estate of Janice Biala, courtesy Tibor de Nagy Gallery, New York


Installation View

From left, Janice Biala, Hermine Ford, Elizabeth Murray, Jane Lee, Lynda Benglis, Ruth Asawa, Viola Frey and

Ghada Amer



Lynda Benglis

Beatrice, 1979

Chicken wire, plaster, gesso and gold leaf 39″ x 19″ x 9″ Courtesy of the artist and Cheim & Read, New York


Dorothea Rockburne

Copal #14, 1977

Kraft Paper, copal oil varnish, Prismacolor pencil #3, 3M 415 tape 39″ x 29″

Courtesy of the artist and Van Doren Waxter Gallery, New York


Hermine Ford

Bird Music, 2012

Oil paint, ink, watercolor, gouache, pencil and colored pencil on canvas on shaped wood panel 87″ x 38 3/4″ x 3/4″

Courtesy of the artist and Norte Maar


Hermine Ford Bird Music (Detail)


Yin Xiuzhen

Body Temperature No. 6, 2010

Clothes, aluminum plate 85.8″ x 25.4″ x 3.9″ Courtesy of the artist and Pace Beijing


Yin Xiuzhen Body Temperature No. 6 (Detail)


Ruth Asawa

Plane Tree #16, 1960

Green ink on coated paper 19″ x 25″ Courtesy Amy Wolf Fine Art and Elrick-Manley Fine Art, New York



Ruth Asawa


Jane Lee

The Jane Lee piece had been taken off the wall for a small repair. It is meant to be wall mounted.


Jane Lee

Juju, 2013

Fry acrylic paint, acrylic heavy gel on fiberglass base canvas 110″ diameter

Courtesy of Sundaram Tagore Gallery


Jane Lee Juju (Detail)

Jane Lee Detail 2

Jane Lee Juju (Detail)


Pat Steir

Painting with red and gold in the center, 2012

Oil on canvas 60″ x 50″ Courtesy of the artist and Cheim & Read, New York


Kristen Jensen

Untitled, 2012

Unglazed porcelain and white oak 31″ x 15″ 19″ Courtesy of the artist and Norte Maar


Grace Hartigan

Pomegranate, 1961-62

Oil on canvas 62 3/4″ x 50″ Private collection, New York


Visible from left: Nancy Grossman, Vanessa German, Shirin Neshat, Dorothea Rockburne, Judith Murray and Niki de Saint Phalle


Niki de Saint Phalle

Study for sculpture Tyrannosaurus Rex, c. 1963

Marker, ink, pencil on paper 14.2″ x 19.3″ Virginia Dwan Collection, New York, courtesy Norte Maar


Niki de Saint Phalle Study for sculpture Tyrannosaurus Rex (Detail)


Judith Murray

Elements, 2011

Oil on linen 36″ x 40″ Sundaram Tagore Gallery


Shirley Goldfarb

Orage, 1955

Oil on canvas 51″ x 76 3/4″

Shirley Goldfarb Estate, courtesy Loretta Howard Gallery, New York


Shirley Goldfarb Orage (Detail)


Shirley Goldfarb Orage (Detail)

The Singapore Biennale

I had the great good fortune of experiencing the Singapore Biennale recently. 2013 marked the 4th Biennale and this year’s title “If the World Changed” was an invitation to the included artists to consider and rethink our world and the world we want to live in. The curators also asked  visitors to contribute their thoughts to the dialogue via an interactive installation.


The 2013 Biennale highlights the works of 82 artists and artist collectives from the Southeast Asian region and beyond. A 27-member curatorial team selected the artists and shaped the vision for this year’s exhibition, and the event is spread across nine venues with the bulk of the work being presented at the Singapore Art Museum, SAM at 8Q, the National Museum of Singapore and the Peranakan Museum. Many of the included works were commissioned for the event.


Zulkifli Yusoff, Rukunegara 1: Belief in God , 2013, Paint, varnish and screen-print on fiberglass, 6 pieces


Rukunegara 1: Belief in God : Detail

It took me two days to see most of the exhibition and some of the works deserved a second visit. Sound was a common element. Many of the works had sound components and some, like the work of Angie Seah, invited the viewer to create their own sound environment. Seah explored the idea of sound as memory. She created a sound console so that the viewer could create their own memories with sound.


Angie Seah, Conducting Memories , 2013, Multimedia Installation

Another work to include sound was Anahata by the artist Kumari Nahappan. The piece is comprised of over 4,000 kg of saga seeds and explores the idea of change in the abstract as potential embodied by the seed and the possibility for growth that seeds contain. In addition to the seeds and the room, there was the subtle sound of a heart beating which heightened the deep red pulsating color of the room.


Kumari Nahappan, Anahata, 2013, Saga seeds, sound, Dimensions variable

There was a lot of video, and many installation works included a video component. I particularly loved the installation Monument for a Present Future by the artist Kiri Dalena from the Philippines.


Kiri Dalena, Monument for a Present Future, 2013, Single-channel video and mixed media installation with wood, clay and stone, Dimensions variable

This work included video that documented the dirt road where 58 people were found after the Maguindanao massacre of 2009.


Monument for a Present Future (Detail)

Many works were interactive and some of the more striking works included sensory elements like smell that heightened their impact. The Great Puddle by Nguyen Huy An used smell to great effect. This work is comprised of a large pool of Chinese ink in the shape of a writing desk. The shimmering reflective surface of the ink and the smell of the liquid magnified the visual impact of the work and added an organic element to what was visually quite stark.


Nguyen Huy An, The Great Puddle , 2009, Installation with Chinese Ink and Plywood

I also really loved the Lam soon soap mops from Leroy Sofyan.


Leroy Sofyan, Chalk & Cheese, 2013, Marble, Lam Soon soap and wood


Chalk & Cheese (Detail)

Many works included text like the work of Iswanto Hartono & Raqs Media Collective.


Iswanto Hartono & Raqs Media Collective, The 5 Principle No-s , 2012

There were also quite a number of works that were composed of collections of objects installed both environmentally and collectively as sculpture. Nasirun’s work Between Worlds used a collection of Wayang puppets inside lit glass vessels to mimic and reference television and popular culture.


Nasirun, Between Worlds , 2013, Installation with leather puppets in glass bottles


Between Worlds (Detail)

Another dynamic collection of objects was the stunning installation created by Oscar Villamiel. Oscar planted a rather macabre garden where thousands of dolls excavated from a landfill in Manilla literally bloomed like damaged and forlorn flowers. The work is called Payatas after the landfill from which the dolls were salvaged. The landfill is home to 200,000 people. Many residents scavenge for anything that can be recycled, re-used or resold, including toys. Payatas is one of the most disturbing and beautiful works I have seen in a long while. I wasn’t able to capture the full impact of the work, but the photos give a small idea of what it was like.


Oscar Villamiel, Payatas , 2012, Mixed media installation with excavated dolls, bamboo rods, zinc shed, wood chips and drawing


Payatas (Detail)


Payatas (Detail)

Another ethereal collection of objects were the “Nuclear” Chandaliers created by Ken and Julia Yonetani.


Ken and Julia Yonetani, Crystal Palace: The Great Exhibition of the Works of Industry of All Nuclear Nations , 2012 -2013, UV Lights, uranium glass, 31 pieces

This piece was conceived in response to the Fukushima Daiichi nuclear disaster. The 31 chandeliers represent the 31 world nations with nuclear power and the size of each fixture represents the number of nuclear plants belonging to each nation.


Crystal Palace (Detail)

But above all the human element prevailed at the Biennale. Two works particularly resonated. The video cutouts of Nguyen Trinh Thi captured his artist friends eating as a way to investigate the artists right to freedom of expression and peaceful existence.


Nguyen Trinh Thi, Unsubtitled , 2010, Video projections on wooden cutouts

This piece also used sound to great effect. One could here the figures eating throughout. When one entered the room one could feel the presence of the figures.


Unsubtitled (Detail)

The work of TeamLab also used technology beautifully. They created an interactive environment exploring dance and indigenous festivals in Japan.


teamLab, Peace Can Be Realized Even Without Order , 2012, Interactive digital installation.

This work allowed the viewer to actually interact with the figures. Motion sensors throughout the room caused the work to shift both visually and musically as the viewer moved throughout the room.


Peace Can Be Realized Even Without Order (Detail)

After walking through Peace Can Be Realized Even Without Order several times I came to the conclusion that “if the world changed” I would want the world that teamLab created to remain exactly the same. Each moment in that space was pure magic.

Here is a link to more information about the Singapore Biennale


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