Exhibit View

Please enjoy this striking #JeanDubuffet sculpture from the mid 1960s that we photographed for collectors @tobias.faber & @sharonzoldan at their home in #Strassen, Luxembourg.

Delighted to photograph this intimate #MaryWeatherford painting in the home of collector and private art advisor @sharonzoldan .

Rega Brio 3 Integrated Amplifier & Planet 2000 CD player. Brio 3 Specifications: Solid-state integrated amplifier with phono section. Rated output power (RMS continuous at 1kHz): 30Wpc into 8 ohms, both channels driven (14.8dBW); 35Wpc into 8 ohms, one channel driven (15.4dBW). Line-level input sensitivity: 150mV. Phono input sensitivity: 4.2mV. Power consumption: 100W at maximum output. Planet 2000 Specifications: Digital Outputs: coax digital, optical digital Analog Outputs:  single-ended via RCA Power: toroidal mains transformer, detachable AC cord DAC: Rega 24-bit Sigma Delta IC40 DAC, 24-bit converter with 64 level sigma delta DAC design, three stage linear phase FIR filter followed by a 16x over-sampled linear interpolator Enclosure: extruded aluminum, Rega VCS case isolation system CD Mechanism: Sony Other: RADS conversion stage CD Text Display

A wonderful #RachelWhiteread sculpture of books cast in bronze in the Los Angeles home of advisor and collector Sharón Zoldan. Image courtesy of @exhibit.view

Constanze Schweiger and 69: Continuous Composition @makcenter May 2 – June 29, 2019 Mackey Apartments 1137 S Cochran Ave Los Angeles, CA 90019 Image courtesy of @exhibit.view From the Press Release: Before there was a gallery, the only items hanging above the garages at Schindler’s Mackey Apartments were sheets and clothing. A series of parallel clotheslines were rigged by the MAK Center Artists and Architects in Residence atop the once-gravel rooftop, picking up the sea air and Santa Ana winds crossing through Mid-City Los Angeles. For some years, generations of residents maintained this make-shift drying system prior to the installation of more high-tech appliances. Borrowing from Gertrude Stein’s 1926 lecture Composition as Explanation, Constanze Schweiger remembers this act as making “a natural composition in the world as it has been.” For Continuous Composition, Schweiger will dye a 39 x 9 ft. roll of cotton muslin with turmeric powder to hang for drying on a steel wire spanned across the length of the Garage Top Gallery space. The dyed material will remain installed at the gallery for the duration of the exhibition, where it will be exposed to direct sunlight. Day by day, the sun will cause the infused dyestuff to change from bright yellows to pale beiges. Aside from being a spice for cooking, turmeric is one of the earliest dye plants along with madder and indigo. Dyeing with turmeric has since become outmoded while indigo is still common today in the mass production of denim, at least in its synthetic form. Schweiger has invited the fashion house 69 to collaborate for this iteration of MAK Center’s Garage Exchange, where they will extend their ongoing use of denim with a large-scale installation involving a plane of fabric and letter-shaped pillows forming a sentence. Further exploring this experiment in impermanence, 69 has created the entire alphabet in the same material for visitors to arrange as they wish. In Gertrude Stein’s 1935 lecture Portraits and Repetition, she stated, “each time there was a difference just a difference enough so that it could go on and be a present something.” Stein was inspire

Artworks by Lita Albuquerque & Carmen Herrera hung side by side in the exhibition “Artists of Color” at The Underground Museum. Image courtesy of @exhibit.view From the press release: Artists of Color was The Underground Museum’s third exhibition curated by our co-founder Noah Davis. It presented color-driven work in the form of monochrome, hard-edge and color field painting, sculpture and immersive installations. 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 our visitors developed their own relationship to color. That together we expanded the dialogue around color theory. And, moving forward, we take new notice of how colors interact with each other, both on the canvas and in life. Carmen Herrera (born May 30, 1915) is a Cuban-American abstract, minimalist visual artist and painter. She was born in Havana and has lived in New York City since the mid-1950s.Herrera's abstract works have brought her international recognition late in life. She turned 100 in May 2015 Lita Albuquerque is an American installation, environmental artist, painter and sculptor. In the 1970s, Albuquerque emerged on the California art scene as part of the Light and Space movement and won acclaim for her epic and poetic ephemeral pigment pieces created for desert sites. She gained national attention in the late 1970s with her ephemeral pigment installations pertaining to mapping, identity and the cosmos, executed in the natural landscape.

Kazumi Nakamura - Mt. Minamikoma II, 1991 @blumandpoe Los Angeles. Photo by @exhibit.view From the press release: When the U.S. and Europe were witnessing a return to Expressionism alongside a postmodern aesthetic of simulacra and deconstruction characterized by the Pictures generation, this zeitgeist of cultural capitalism was instead manifest under Japan’s unique social and geo-political conditions resulting from the rise and burst of the bubble economy. Artists began to explore subversive artistic languages and integrate underground subcultures into their practice using a variety of media, ranging from experimentations in electro-acoustic music, geopolitical and conceptual photography, and appropriations of advertisement culture. Others addressed the internalization of historical avant-garde and modernist aesthetics that were filtered through a new poetics of form, space, and language. In the post-1989 Hirohito era, politics of gender, nuclear crisis, and critique of nationalism are especially poignant among artists from the Kansai region. This period also witnesses the rise of art collectives in the mid-90s and their darkly humorous performances and conceptual practices that reevaluated the history of Japan’s postwar avant-garde. These events reflect on a subculture generated out of a profoundly unique “infantile capitalism,” anticipating the explosive rise of the Neo-Pop generation. This exhibition is presented on the occasion of Blum & Poe’s 25-year anniversary. Parergon commemorates a special facet of the gallery’s history rooted in this very timeframe in Japan—with Tim Blum’s early years as an art dealer and curator spent in Tokyo in the early ‘90s—and charts a bridge between the Japanese art historical territories the gallery has long championed. Parergon pursues the creative significance of the years between the milestones of Mono-ha and the Neo-Pop generation now synonymous with Takashi Murakami and Yoshitomo Nara.

Sterling Ruby - Skull (6900), 2018 from his exhibition “Damnation” at Sprüth Magers, Los Angeles Image courtesy of @exhibit.view From the press release: Since the early 2000s, Sterling Ruby has developed an eclectic and uncompromising practice that has mined the triumphs, tragedies, and peculiarities of the American experience across an ever-evolving range of media. Finding a tensile balance between chaos and order, grand and intimate gestures, and high and pop cultural references, Ruby’s paintings, sculptures, ceramics, collages, textiles, and videos expose the cracks within many of the aesthetic and social constructs we take for granted as fixed or immovable. Uniting his work is an overarching compendium of visual archetypes that continue to unfold into a distinct and rich artistic vocabulary. Monika Sprüth and Philomene Magers are proud to present DAMNATION, the artist’s fifth solo exhibition with Sprüth Magers and his first at the Los Angeles gallery. In the upstairs gallery, the artist presents SKULLS, a new body of sculptural works. These oversized, animal-like skulls are in fact facsimiles of the underlying armatures of Hollywood special effects creatures. Some of their surfaces are realistically bone-like, while others are obsidian, and some appear raw and mottled as if their skin has been removed. Ruby has overlaid each with large, brightly colored wigs and eyes that add an element of levity to the apotropaic beasts. Their bared teeth and bulging eyes, evoking exaggerated and heightened emotions, also resemble the Hannya masks of Japanese Noh theater. In the context of the exhibition, and its title DAMNATION, they also recall Cerberus, the mythological multi-headed dog who guards the gates to the Underworld. The sculptures act as harbingers, standing at the crossroads between life and death. Fierce, if also rife with fantasy, they present a departure for Ruby and a counterpoint to the austere and disquieting imagery of STATE. One hundred percent of the artist's exhibition proceeds from STATE will be contributed to the ACLU of Southern California, an organization with initiatives to end mass incarceration.

Charles Ray - Unpainted Sculpture, 1997 Image courtesy @exhibit.view From the exhibition Charles Ray: Sculpture, 1997-2014 at The Art Institute of Chicago. Press Release: The first major exhibition devoted to celebrated Chicago-born, Los Angeles–based sculptor Charles Ray since a midcareer retrospective in 1998, this display of 19 works fills the second floor of the Modern Wing and flows into the museum’s South Garden, presenting a full range of Ray’s most recent achievements with particular emphasis on figurative experiments. The exhibition, co-organized by the Art Institute and the Kunstmuseum Basel, can only be seen in the United States at the Art Institute, and six sculptures—including four new works in their museum debut: Horse and Rider, Huck and Jim, Silver, and Girl on Pony—are on view only in Chicago. On technical and formal levels, Ray has been redefining the possibilities of contemporary sculptural practice since the early 1980s. His recent pioneering use of solid, machined aluminum and stainless steel is entirely new to the history of art, its reflective qualities and fluid effects belying the tremendous weight of many of Ray’s life-size and over-life-size works. As the exhibition demonstrates, Ray’s latest sculptures evidence a verisimilitude that can range in a single work from painstakingly exact to a softer, more stylized rendering. The works, materially and conceptually dense, often emerge from a long process of study, experimentation, refinement, and meticulous execution. Ray himself has described his objects not as the product of an obsessive practice but rather as the manifestation of “discipline and persistence.” With works sometimes ten years in the making, Ray’s process can be likened to a river eroding or reshaping stones over time.