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Beginning in the mid-1960s, Mary Corse's pursuit was to "put light into" her paintings. A logical next step was using l...
07/30/2020

Beginning in the mid-1960s, Mary Corse's pursuit was to "put light into" her paintings. A logical next step was using light itself, and in 1968 Mary Corse conceived a group of small “Untitled (Electric Light)” works. Composed of argon tubes housed within a Plexiglas box, the work was wirelessly illuminated by a high-frequency generator powered by a solid-state Tesla coil, built by Corse.
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The “Electric Light” pieces were significant to both Corse’s individual development as an artist and to their art-historical moment in the late 1960s. They advanced her engagement with space, light, perception, and experience—all critical themes in her studio output.
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Pictured is Corse testing components for these early light boxes, hovering the light components over Tesla coils that illuminate them wirelessly.

Around 1976, Mary Corse built a kiln on her Topanga Canyon property. Corse first attempted to collaborate with a variety...
07/29/2020

Around 1976, Mary Corse built a kiln on her Topanga Canyon property. Corse first attempted to collaborate with a variety of ceramists on the building process, but all of them told her that fabricating a kiln large enough to do what she wanted would be impossible. So, as she has so often done throughout her career, Corse simply figured out the process herself—specifically, by relying on an ancient Chinese method that involved spinning the enormous clay tiles inside the kiln so that they would heat evenly. This massive kiln was capable of firing tiles as large as eight-by-eight feet and it was in this kiln that she made her “Black Earth” Series.
The "Black Earth" works consist of black-glazed “fired earth clay tiles,” or ceramic, cast with impressions taken from a natural rock surface higher up in Topanga Canyon than Corse’s studio. She has talked in the past about driving around the canyon with the clay tied onto a friend’s borrowed car, looking for the perfect stone. When she found it, she hauled the clay off the car, pressed it face-down onto the rock to capture the impression, then drove it back to her studio for firing.
When lit correctly, the glazing creates a similar play of light as Corse’s microsphere paintings: an almost shimmering surface, reminiscent of lapping water. In this way, they too engage perception, with the exact appearance of the “Black Earth” pieces changing with environmental conditions and the viewer’s position in the space. Corse says that she embarked on the “Black Earth” Series because of a visceral need to reconnect with the physical world. She felt the need to bring the earth itself directly into her practice.
Pictured:
Mary Corse photographed with one of her “Black Earth” works; Corse with the kiln she built in Topanga Canyon; An installation view of “Black Earth” works in Corse’s 1985 exhibition at MOCA; Mary Corse, “Untitled (Black Earth Series),” 1981
@ Topanga Canyon

Mary Corse’s nearly six-decade long practice has been devoted to the perceptual qualities of light and the dynamic physi...
07/28/2020

Mary Corse’s nearly six-decade long practice has been devoted to the perceptual qualities of light and the dynamic physical and visual interplay between the viewer and the painting. Perhaps her best known and longest running series, Corse first created her glass microsphere “White Light” paintings in the late 1960s. By layering the microspheres over visible and expressive brush strokes in monochrome white paint, Corse created works that both capture and refract light, appearing to shift, move, or glow from within.
Included in our current exhibition "Painting" is a “White Light Inner Band” painting from this year, in which a defined inner band emerges and disappears from within the monochromatic white field as the viewer walks along the length of the work enabling Corse to create a dynamic interplay between her work and the viewer.
◽️Link in bio to make an in-person or virtual appointment◽️

This week's artist in focus will be Mary Corse. Born in Berkeley, CA in 1945, Corse has lived in Topanga since the 70s. ...
07/27/2020

This week's artist in focus will be Mary Corse. Born in Berkeley, CA in 1945, Corse has lived in Topanga since the 70s.
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In 2018, Corse's work was recognized for its innovation with a long-term installation at Dia Beacon . The works in the exhibition each highlight a specific series from the 1960s through 2010 and reflect the dedication to her unique vision. Presented are a selection of Corse's "White Light" paintings which are painted with glass microspheres that capture the light as one moves around the works as well as "Untitled (Black Earth Series)", 1979, an example of Corse's glazed ceramic tiles molded directly from a large flat rock found near her Topanga Canyon studio.
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Since the mid-1960s, Mary Corse has experimented with different ways to physically imbue her paintings with light. Her techniques have included the use of materials that project, reflect, and refract, such as electric light, glazed ceramic tiles, and retroreflective glass beads. Her refined vocabulary synergizes traits at the crossroads between Abstract Expressionism and American Minimalism: gestural brushstrokes; precise geometric compositions, and a palette rigorously reduced to white, black, and the primary colors. Yet these characteristics take on an exceptional quality through Corse’s innovative handling of materials that both capture and refract light, insuring that our perceptions of her paintings change as the lighting shifts or we move about the space. Through this visual push and pull, Corse makes the inherent abstractness of human perception felt instead of merely seen.
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Mary Corse, installation views, Dia:Beacon, Beacon, New York. © Mary Corse. Photo: Bill Jacobson Studio, New York. Courtesy Dia Art Foundation, New York
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@ Dia:Beacon

For we are excited to share an essay by Negar Azimi from “Huguette Caland: Everything Takes the Shape of a Person, 197...
07/24/2020

For we are excited to share an essay by Negar Azimi from “Huguette Caland: Everything Takes the Shape of a Person, 1970-78,” the first major monograph on the work of Huguette Caland, published by . The book, edited by Adam Moshayedi, focuses on works made between 1970-1979 and discusses in depth Caland’s interest in eroticism and the female body.
Negar Azimi is a writer and the senior editor of Bidoun, an award-winning magazine and curatorial project with a focus on the Middle East and its diasporas. In her essay, “Going to Pieces,” Azimi explores the origins of Huguette Caland’s interest in the female figure, the progression of her drawings in color into her colorful abstractions titled “Bribes de Corps” (body fragments), and the playfulness felt throughout her work.
“Caland’s treatment of female s*xuality— cozy, quirkily sensual— is as far from ‘evil’ as can be. Her women having s*x evoke fun and freedom. Theirs is a mirthful s*x without shame, without inhibition. […] But are Caland’s works actually erotic? Undoubtedly. And yet they demystify eroticism by embracing a remarkably diverse array of bodies— without pretentiousness, without artifice. These are imperfect bodies caught in perfect bliss.”
Accompanying the essay are a selection of paintings from the monograph that exemplify the eroticism and playfulness that Azimi identifies. Visit our Features page to read at the link in bio.
1. Huguette Caland, “Visage (Bribes de corps),” 1979. Courtesy Musée national d'art moderne, Gentre Pompidou, Paris. Gift of Galerie Janine Rubeiz, Beirut.
2. Huguette Caland, “Bribes de corps,” 1973
3. Huguette Caland, “Self-Portrait,” 1973

When Hugette Caland relocated from Paris to Venice, California in 1987, she became a member of the vibrant art community...
07/23/2020

When Hugette Caland relocated from Paris to Venice, California in 1987, she became a member of the vibrant art community working there. Amongst the artists and thinkers she became friends with was Ed Moses, a painter who showed at the . With Moses’ help, Caland was able to buy property from painter Sam Francis, who allowed the purchase from his deathbed. Huguette Caland then built her studio on the property, which became a hub for the area’s artists.
Pictured are Caland and Moses with paintings of Caland’s in the background, followed by a portrait Huguette painted of Ed Moses in 1988.
“Portrait of Ed Moses,” 1988
Oil on canvas
Framed Dimensions:
30 1/4 x 25 1/8 x 2 3/4 inches
76.8 x 63.8 x 7 cm

07/22/2020

Studio visit with Huguette Caland now up on our Features page! The video by Julienne Hsu focuses on how Caland approached her practice and how appreciating life was important to her daily routine. Link in bio to watch🌼

On Huguette Caland’s “Silent Letters” series: .With unlimited patience, elegance and lightness the “Silent Letters” seri...
07/21/2020

On Huguette Caland’s “Silent Letters” series:
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With unlimited patience, elegance and lightness the “Silent Letters” series of Huguette Caland invites us into her daydreaming. Every line, thin or thicker, short or longer, vertical or horizontal carries intense emotions. Transcending words the artist chooses to express pain and joy with her brushes. From one side of the page to the other, with artistic and personal command, the lines offer to those who take the time to decipher, her secret thoughts. A game, in which the unspoken is delicately whispered to the paper; a way for Caland to discreetly overcome life’s turbulences and move on towards the next adventure, an empty space yet to be filled.
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“Untitled,” 1999, pictured above, is from the “Silent Letter” series and is featured in our “Painting” exhibition, on view through September 5. Link in bio to schedule a tour of the show🌈

This week we will be focusing on Huguette Caland. Born in Lebanon in 1931, Caland lived in Beirut, Paris and New York be...
07/20/2020

This week we will be focusing on Huguette Caland. Born in Lebanon in 1931, Caland lived in Beirut, Paris and New York before settling in Los Angeles in 1973. Her home and studio in Venice became a meeting place for many Southern Californian artists and thinkers, such as Ed Moses, Ken Price, and Nancy Rubins.
In 2016, a number of ‘s works were featured in the “Made in L.A. 2016: a, the, though, only.” The exhibition included paintings from her “Bribes de corps” series as well as a selection of her famous kaftans, displayed on mannequins also made by Caland.
Made in L.A. 2016: a, the, though, only, June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.
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In the Fall of 2018, Sarah Crowner collaborated with on “Garden Blue,” a piece created for the American Ballet Theatre ...
07/17/2020

In the Fall of 2018, Sarah Crowner collaborated with on “Garden Blue,” a piece created for the American Ballet Theatre as part of the Women’s Movement initiative that works to balance the gender inequality in ballet.
designed the ballet’s costumes as well as set, including a 46 x 40 foot backdrop that plays with intersecting fields of blue and green. The dancers costumes—second skins— were bright hues of red, ochre, fuschia, with the exception of a single performer dressed in green and white. “I’m really interested in pure, saturated, unfiltered color, and in color relationships," Crowner said in a article about the work. Wing-shaped wooden structures rest on the stage and hang above the dancers. As the piece progresses the dancers manipulate the shapes that serve at times as supports, at others, as obstacles. The collaboration between Crowner and Lang resulted in a stirring exploration of movement, form and color. In May "Garden Blue" was scheduled to open the American Ballet Theatre's 80th anniversary season at the Met Opera, unfortunately canceled due the current pandemic.
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Link in our bio to visit our Features page and watch a clip of “Garden Blue”🩰
Photos:
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For today’s , we are looking back at our 2019 project with Sarah Crowner, “Three Concrete Sculptures.” The project, dev...
07/16/2020

For today’s , we are looking back at our 2019 project with Sarah Crowner, “Three Concrete Sculptures.”
The project, developed out of smaller-scale versions Crowner had presented in Mexico City in 2018, comprised of three individually tinted concrete sculptures. Installed in the gallery’s courtyard, the sculptures expanded on Crowner’s vocabulary of forms, textures and colors, taking into consideration various perspective shifts.
One of her sculptural forms for this exhibition is taken from a detail of a tree in an architectural drawing by Brazilian architect Paulo Mendes da Rocha (Casa Na Praia, Sao Paulo, 1970). The concrete medium itself alludes to Rocha’s use of the material throughout his practice. In another work, Crowner pulls from the world of Matisse—taking a fragment from one of his cut outs of a philodendron and materializing it into a three-dimensional work that one can perch on while spending time within the presented landscape.

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Last day of .la ! ✨Link in bio to view Anthony Hernandez’s portfolio of 10 prints from his larger “Everything” series, s...
07/15/2020

Last day of .la ! ✨Link in bio to view Anthony Hernandez’s portfolio of 10 prints from his larger “Everything” series, started in 2002. The series focuses on the storm drains and basins throughout Los Angeles, and utilizes aspects of the landscape that go unnoticed by passerby’s. The images are, as critic Luc Sante has said, “as charged as tarot cards.”

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