Peter Williams At Luis De Jesus Los Angeles

Peter Williams, Westward and Eastward, Neither at Least, 2018, oil-based enamel and pencil on canvas, 60 x 72 in.
Peter Williams, Westward and Eastward, Neither at Least, 2018, oil-based enamel and pencil on canvas, 60 x 72 in.

Even as some voices are routinely silenced, Peter Williams acknowledges that it is a privilege to speak and be seen. Bearing witness to the times in which we live while honoring the lives and history of people of color, Williams’ new paintings build on four decades of his radical oeuvre with a renewed sense of urgency, defiantly calling out the violence and injustices that continue to be perpetrated against Black Americans and giving voice to those who stand up against hatred, corruption, and criminality.

Taking its name from the Greek mythological goddess and the River Styx, the river that forms a border between Hades and the world of the living, the paintings in this exhibition weave together historical events, allegorical myths and creation stories with current events and Williams’ own personal life experiences to address a range of subjects including oppressive social structures, white supremacy, police brutality, abuse of power, and political activism.

Created with oil-based enamel paint and pencil on canvas, Williams introduces a new painted dot technique that is a matrix of cultures and periods – from pointillism, folk art, and digital pixilation to Afrofuturism, Australian Aboriginal dot painting, and traditional African body scarification. The readability of each painting is mitigated as the field of vibrant, colorful marks and amusing cartoonish forms are transformed into a spectral vision caught in an endless moment of becoming or dissolving – a past, present and future in limbo. The works in River of Styx challenge the viewer to make sense of what they are seeing and confront their own understandings of who we are as a people and a country.

Exhibition Dates: October 20 – December 15, 2018

Luis De Jesus Los Angeles

Atul Dodiya At Galerie Templon

Ill : Black Petals - III, 2018, huile, mastic epoxy, stratifié sur bois, 183 x 122 cm
Ill : Black Petals – III, 2018, huile, mastic epoxy, stratifié sur bois, 183 x 122 cm

A dialogue of the film by Federico Fellini The Dolce Vita is the starting point of the exhibition: at a reception, facing a painting by Morandi, the hero expresses his fascination for the calm and beauty of the painter’s composition, before revealing his anguish at this apparent serenity: ‘Peace scares me, perhaps more than anything. I have the impression that it is only a facade that hides the face of hell ‘. The exhibition of Atul Dodiya is articulated around this tension between wonder and threat of destruction.

Twenty paintings taken directly from the film inaugurate the course. Then a series of paintings inspired by the Italian Renaissance frescoes conjures, in the midst of arcadian landscapes, figures of saints as well as God Shiva, as saviors of an environment threatened by collapse. Brancusi’s column becomes a recurring abstract motif. Atul Dodiya mixes references as much as he marries techniques (oil painting, putty, laminate) to offer his painting an unprecedented materiality. Three large windows bring together found objects and photographs of Atul Dodiya, acting as reminders of Morandi’s work. There is the paper flower that the Italian painter used as a model and gives its title to the exhibition. Although rigid and lifeless, it shows the beauty of the creation which one can, despite everything, imagine taking advantage of the perfume.

* * * * *

Un dialogue du film de Federico Fellini La Dolce Vita est le point de départ de l’exposition : lors d’une réception, face à un tableau de Morandi, le héros exprime sa fascination pour le calme et la beauté de la composition du peintre, avant de révéler son angoisse devant cette sérénité apparente : ‘la paix me fait peur, peut-être plus que tout. J’ai l’impression qu’il ne s’agit que d’une façade qui cache le visage de l’enfer’. L’exposition d’Atul Dodiya s’articule ainsi autour de cette tension entre émerveillement et menace de destruction.

Vingt peintures directement puisées du film inaugurent le parcours. Ensuite une série de peintures inspirées par les fresques italiennes de la Renaissance convoque, au milieu de paysages d’arcadie, des figures de saints autant que du Dieu Shiva, comme sauveurs d’un envir onnement menacé par l’effondrement. La colonne de Brancusi y devient un motif abstrait récurrent. Atul Dodiya mêle les références autant qu’il marie les techniques (peinture à l’huile, mastic, stratifié) pour offrir à sa peinture une matérialité inédite. Trois grandes vitrines réunissent des objets trouvés et photographies d’Atul Dodiya, agissant comme des rappels de l’œuvre de Morandi. On y trouve la fleur en papier que le peintre italien utilisait comme modèle et qui donne son titre à l’exposition. Bien que rigide et sans vie, elle manifeste la beauté de la création dont on peut, malgré tout, imaginer profiter du parfum.

Dates: 27 Octobre — 29 Decembre 2018
Vernissage: Le Samedi, 27 Octobre 2018 de 12h À 20h

Exhibition Dates: October 27 – December 29, 2018
Opening: Saturday, October 27, 2018 from Noon – 6pm

75003 PARIS

Michael Heizer At Gagosian Le Bourget

Michael Heizer, Ciliata, 1968 (top/en haut), and/et Slot Mass, 1968 (bottom/en bas)
Michael Heizer, Ciliata, 1968 (top/en haut), and/et Slot Mass, 1968 (bottom/en bas)

When I made the negative sculptures I realized the possibility of an entire vocabulary, making sculptures with basic materials such as earth. I felt that the areas of drawing and painting should also be enveloped so as to expose the whole vocabulary.
—Michael Heizer

This exhibition includes works by Michael Heizer, dating from 1968 to the present.

Over fifty years, Heizer has redefined the very idea of sculpture in his explorations of size, mass, and process. His earth-moving constructions, paintings, and drawings explore the dynamics of positive and negative space.

As a young artist in New York in the 1960s, Heizer began making “displacement paintings,” geometric canvases in light and dark tones. In the winter of 1967, in the Sierra Nevada mountains, he excavated several chasms in the earth, adapting the New York paintings to three dimensions. These “un-sculptures,” or “sculptures in reverse,” became the basis of a new sculptural vocabulary, as Heizer began using the land, and its removal, as his media.

Dates: October 16, 2018–February 2, 2019 | 16 octobre 2018 – 2 février 2019
Opening reception: Sunday, October 14, 2–6pm
Vernissage: dimanche 14 octobre, 14:00 – 18:00

26 avenue de l’Europe
93350 Le Bourget

Phil Sims At Brian Gross Fine Art

Phil Sims, Red/Violet Sea Painting, 2017  acrylic on linen, 60 x 60 inches
Phil Sims, Red/Violet Sea Painting, 2017
acrylic on linen, 60 x 60 inches

Long concerned with the physical nature of color, the coupling of Sims’ ceramics and paintings in the exhibition reveals his latest explorations in this line of inquiry. Best known for his monochromatic paintings, Sims has also been involved in ceramics for many years. Sims crafted the ceramic works in the exhibition using a wood fired anagama kiln of ancient Japanese design, using his glazes as an integral part of the sculpting act. Like the complex surfaces of his paintings, Sims combines his pitted, crazed and highly textured clay forms with richly hued glazes to a sublimely poetic effect.

Sims’ paintings display the same consideration of material properties found in his three dimensional works. Formed through the accumulation of numerous thin layers of color stained directly into raw linen, the finished surfaces of Sims’ paintings radiate the subtle nuance of perceptual color, yielding a deeply emotional and rewarding visual experience.

Phil Sims: COLOR / exploration in painting and ceramics
Exhibition Dates: November 3 – December 22, 2018
Reception for the artist: Saturday, November 3, 2018 from 4pm – 6pm; Artist talk: 4:30pm

Brian Gross Fine Art
248 Utah Street
San Francisco, CA 94103

Gillian Wearing At The Cincinnati Art Museum

Gillian Wearing, Me as Dürer, 2018.
Gillian Wearing, Me as Dürer, 2018.

The Cincinnati Art Museum presents a major exhibition featuring the world premier of Gillian Wearing’s four latest works, including a video made in collaboration with the advertising firm Wieden+Kennedy. The new self-portraits also shown in the exhibition are developments in an ongoing series of photographs in which Wearing inhabits the personas of other artists using masks and elaborate staging. In her new pictures Wearing engages with figures including Albrecht Dürer and Marcel Duchamp – both of whom have special relevance to the collection of the Cincinnati Art Museum. These works are presented alongside three major pieces from earlier in Wearing’s career. The exhibition is the Cincinnati Art Museum’s contribution to the 2018 FotoFocus Biennial: Open Archive, the largest photography and lens-based biennial in America.

Exhibition Dates: Through December 30, 2018

Cincinnati Art Museum
953 Eden Park Drive
Cincinnati, OH 45202