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David Kordansky Gallery  @davidkordanskygallery

David Kordansky Gallery at FOG Design+Art San Francisco, January 17 - 20, 2019
Booth 112
Preview Gala benefiting @SFMOMA takes place on Wednesday, January 16 for invited guests.
Visit FOGFair.com for more information.
Presenting works by: #KathrynAndrews #ValentinCarron #FredEversley #SamGilliam #RashidJohnson #MaiThuPerret #TorbjørnRødland
Images (l-r): Kathryn Andrews, 'Déjeuner No. 28 (Girl with Poker Chips and Pasta),' 2018, aluminum, Plexiglas, ink, and paint, 60 1/4 x 48 1/4 x 3 1/4 inches; Mai-Thu Perret, 'Stand on the crest of a high, high peak; walk the bottom of the deep, deep sea,' 2017, glazed ceramic, 17 x 21 x 4 1/2 inches; Torbjørn Rødland, 'High Heel,' 2018, chromogenic print, 30 x 23 1/2 inches, framed: 30 1/2 x 24 x 1 1/2 inches, Edition of 3 with 1 AP

David Kordansky Gallery is pleased to announce 'Outdoor Sculpture,' an exhibition of major new works by #EvanHolloway. The show will open on January 12 and remain on view through March 2, 2019. An opening reception will take place on Saturday, January 12 from 6:00pm until 8:00pm.
Over the last 20 years Evan Holloway’s revisionist take on the modernist sculptural lexicon has become an indelible feature in the Los Angeles cultural imagination. He synthesizes compositional and conceptual rigor with a passion for handmade things, creating a body of work driven by intuition and the meanings resulting from the methods, restrictions, and possibilities of materials. His sculptures retain a democratic openness and accessibility even as they address specific art historical legacies and readily lend themselves to esoteric readings. 'Outdoor Sculpture' is Holloway’s first exhibition to consist solely of objects conceived for outdoor installation. Though they require intensive planning and fabrication, the open-air settings for which they are intended are necessarily less predictable than white-walled galleries. Holloway thereby reimagines the ephemerality and provisional quality of his earlier work, which often included performative elements or unorthodox materials, in a more expansive register and at a larger scale.
'28 Incense Sticks,' 2018, aluminum, incense, 110 x 97 x 66 inches (279.4 x 246.4 x 167.6 cm), unique

David Kordansky Gallery is pleased to announce 'Chromospheres,' its first exhibition by Fred Eversley. The show of new sculptures will open on January 12 and remain on view through March 2, 2019. An opening reception will take place on Saturday, January 12 from 6:00pm until 8:00pm.
Based in Venice Beach for five decades, Fred Eversley is a key figure in the development of contemporary art from Los Angeles during the postwar period. His work is the product of a pioneering vision attuned to enduring principles of energy, motion, space, gravity, time, light, and color, and synthesizes elements from several 20th-century art historical lineages with roots in Southern California––most notably the Light and Space movement, with which he has long been associated. 'Chromospheres' will feature the latest examples of Eversley’s iconic Parabolic Lens sculptures, an ongoing typology that is the result of continuous experimentation over the course of five decades. Made using clear resin and commercial dyes, these objects generate complex and highly luminous optical events for their viewers, encapsulating the mechanics of sight and the action of physical and metaphysical energies.
'Untitled (parabolic lens),' (1969) 2018, 2-color, 2-layer cast polyester, 19 1/4 x 19 1/4 x 6 inches (48.9 x 48.9 x 15.2 cm)

“You get a volcano, put snow on it, you get sticky things, then you put a brown mat— then all different color mats— then you paint it a little bit. Then you find some plants and you paint the plants, and you/then you... There’s too much words, because doesn’t it look hard to build? So that’s why, and doesn’t it look like there’s a lot of stuff? So that’s why it’s hard”. -Leo

The video 'Contraband' (2010) by @William.E.Jones will screen TOMORROW, December 13 @MOCALosAngeles at 7pm as part of 'Blame The Audience,' a film series organized by Jason Simon accompanying the exhibition 'One Day at a Time: Manny Farber and Termite Art.'
'Contraband,' 2010 (STILL), sequence of digital files, color, silent, 3:59 minutes, Edition of 5 with 2 AP
#WilliamEJones #MannyFarber #TermiteArt

'Shoulders,' our current exhibition of new sculptures by #RickySwallow, closes THIS SATURDAY, December 15. The show was recently reviewed as an @Artforum Critics' Pick by Andy Campbell:
'In 'Floor Sculpture with Pegs # 1'and '# 2' (both 2018) cast bronze Shaker pegs are lined up on their rounded points and attached to coursing, curvilinear banisters; the sculptures’ monochrome treatments formally suggest that these two handily recognizable domestic embellishments are a new, quixotic thing. Installed on the floor, they relay a centipede-like energy (each has close to a hundred pegs)—playfully recalling Louise Bourgeois’s many-legged wooden composite, 'The Blind Leading the Blind,' 1947–49/1989.' — Andy Campbell
'Floor Sculpture with Pegs # 2,' 2018, patinated bronze, 4 x 40 1/4 x 41 1/2 inches (10.2 x 102.2 x 105.4 cm), unique

Last chance to see 'Olvera St.,' #IvanMorley's show of new paintings, which closes THIS SATURDAY, December 15. The artist was recently interviewed by Osman Can Yerebakan in @ElephantMagazine:
'I’ve spent the last few years reaching a comfort level with non-representation as opposed to being figurative. I stopped making a distinction between my various materials. For example, I work with thread in addition to five or more other techniques, yet I don’t see a hierarchy between fine arts materials and so-called craft materials. I work past the language of modernist painting. A drip or a gesture used to intimidate me because of its baggage from the 1950s and sixties. I ended up working with oil paint in reverse on glass so that I could abandon the brushstroke and the drip. Everything the Modernists wanted to empty out of the painting, I am taking on now—I find them rich.'
'Fandango,' 2018, thread and ink on canvas, 70 x 67 3/4 x 1 3/4 inches (177.8 x 172.1 x 4.4 cm)
@IvanMorley @OsmanCanYerebakan

A book signing celebrating a new monograph of the work of #AaronCurry, published by Hatje Cantz on the occasion of his solo exhibition #TuneYerHead at the #BassMuseum of Art, Miami, will take place at the museum THIS AFTERNOON. Join Curry and exhibition curator @LeilaniLynch_ from 4:00pm - 5:00pm for the launch and an exhibition walkthrough. The book contains essays by Lynch, Dan Nadel, and Jason E. Smith, as well as an interview with the artist by Trinie Dalton.
Visit TheBass.org for details.
@TheBassMOA #TheBass @HatjeCantzVerlag #HatjeCantz @TrinieDalton #TrinieDalton @DanNadel #DanNadel #JasonESmith

#KathrynAndrews, #AaronCurry, #EvanHolloway, and #RashidJohnson are included in 'More/Less' @delaCruzCollection in Miami, which opens TODAY. During Art Basel Miami Beach, the Collection will be open through Saturday, December 8, from 9:00am until 4:30pm daily. Visit delaCruzCollection.org for more information.
Images (l-r): Kathryn Andrews, 'Gift,' 2011, serigraph, painted aluminum, 44 x 352 x 1.5 inches, Edition of 2 with 2 AP; Aaron Curry, 'Untitled,' 2010, silkscreen, gouache and ink on paper, 106.25 x 75.25 inches; Evan Holloway, 'Right Twist,' 2012, powder-coated aluminum, high-temp spray paint, bulbs, fixtures, wiring, and lighting controller, 106 x 18 x 18 inches; Rashid Johnson, 'Houses in Motion,' 2012, branded red oak flooring, black soap, wax, 96 x 120 x 2.75 inches
@BadDimension @RashidJohnson #delaCruzCollection

Works by #JenniferGuidi and #RashidJohnson are included in the Third (RED) Auction to support the fight against AIDS, which takes place on Wednesday, December 5 at the Moore Building in Miami. Online bidding has already begun; visit Sothebys.com for more information.
Images (l-r): Jennifer Guidi, 'Energy of Love (Painted Universe Mandala SF #4, Red, Natural Ground),' 2018, sand, acrylic, and oil on linen, 92 x 74 x 1 1/2 inches; Rashid Johnson, 'Untitled Bust,' 2018, kiln-fired clay with glaze, 9 x 6 x 5 3/4 inches
@jenguidi @rashidjohnson @Red @Sothebys

#LaurenHalsey is featured in the 2019 edition of @Cultured_Mag's #30Under35 list, online now and on newsstands next week.
''I’ve always questioned who’s designing the architecture I live in, as well as the architectures that define a neighborhood. I can’t separate architecture from other oppressive forces that have the ability to reinforce stereotypes, deplete the morale of a place and instigate violence.' Halsey interrupts those forces by creating monuments to Black creativity that are always in flux and announce their connection to the community from which their energy is drawn—or in Halsey’s words, remixed.' — William J. Simmons
Images (l-r): Portrait by @mayera69; Lauren Halsey, 'The Crenshaw District Hieroglyph Project (Prototype Architecture),' 2018, gypsum, wood, tape, and acrylic, installation dimensions variable, 'Made in L.A. 2018,' Hammer Museum, Los Angeles, Installation views
@summaeverythang @wj_simmons @Hammer_Museum #CulturedMagazine

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