Chris Vroom just gave a lovely glimpse into the upcoming art season in New York, Chicago, and San Francisco. But, being in Los Angeles, I am much more excited about a different line-up.
Here are some autumn LA shows I'm not going to miss (and you shouldn't miss either):
"Elad Lassry's films and photographs draw from hauntingly familiar aspects of visual culture to create a matrix of non-linear narratives, illuminating a nuanced topography of image-making. Lassry treats appropriation and archive research as tools among many others, and is just as likely to hire a crew and shoot a new film based on archival images as he is to physically manipulate a purchased headshot into a one-off photographic readymade and place it in a matching-colored frame. While there are affinities between Lassry's work and that of the artists of the Pictures generation, he is less concerned with vagaries of social critique and ironic distance, adapting instead an almost anthropological approach to the question of why a particular image gets made."
"Among the first generation of American conceptual artists that also includes John Baldessari, Douglas Huebler, and Bruce Nauman who redefined artistic practice during the 1970s, this exhibition features two new major interactive installations created especially for the occasion."
Regen Projects. Doug Aitken, September 12 - October 17.
"This exhibition will present a series of new text-based light boxes and will feature the west coast debut of the film migration. Aitken explores the themes of temporality, space, memory, movement, and landscape in his work. History and themes of both the past and present are interwoven and reconfigured. His work deconstructs the connection between idea and iconography allowing each to reinvent itself. . .
Presented alongside the light boxes will be Aitken's first large scale public installation in Los Angeles, migration. The film, the first installment in a three-part trilogy entitled empire, debuted at the 2008 Carnegie International. This hallucinatory epic depicts the movements of migratory animals as they pass through vacant and deserted hotel and motel rooms, delineating a nomadic passage across America from east to west. Fittingly making its first appearance on the west coast, this large-scale cinematic installation will be presented to the public on Santa Monica Boulevard projected onto the courtyard of Regen Projects II; visible only at night from sunset to sunrise" (press release from Dexigner).
"For Brian Bress, point of view is a shifting and multilayered relation that invokes not only how we negotiate our interactions with others, but also how we negotiate our interaction with ourselves. Bress employs a variety of narrative structures ranging from the traditional to the paratactical, manipulating pictorial and sculptural convention and theatrical staging, as well as the editing approaches of both television and film. The result is an ever-changing situation in which expectations are exposed and assumptions are overturned."
Armory Center for the Arts. 'Inside/Out', September 20 – December 31
The description of this group event is a little dry and, I'll admit, I don't quite know what to expect, but I'm excited by this list of names:
"This exhibition will celebrate the 20th anniversary of the Armory Center for the Arts by commissioning twenty contemporary artists, who have created art installations in the past, to make new site-specific art installations both inside and outside the Armory. Artists in the exhibition will include Kim Abeles, Edgar Arceneaux, Deborah Aschheim, Daniel Buren, Carl Cheng, Seth Kaufman, Bruce Nauman, Barry McGee, Michael C. McMillen, Carlos Mollura, Matthew Moore, Jane Mulfinger, Sarah Perry, Rudy Perez, Ed Ruscha, Betye Saar, Barbara T. Smith, John Trevino, Pae White, and Mario Ybarra Jr."
Mark Moore Gallery. Ultrasonic IV, September 12 - October 10
Group show featuring emerging artists: "This rigorous faction of artists presents astute interpretations of the subjective parameters of reality through an array of mediums and observations.
Be it Matthew McGuinness' manipulated photos - which confront the disjointedness between physical and emotional disasters - or Martin & Muñoz's petite sculptural microcosms of dystopia, Fresh Perspectives exhibits work that grapples with the elemental framework of authentic experience, which oftentimes borders on the surreal as much as the commonplace. While Mario Ybarra Jr.'s installation examines the institutional dictations of socio-cultural "norms," Josh Azzarella's videos explore the power of context in the authorship of memory – both of which illuminate the individual encounter of communal events. These perceptions of realness can be rooted in the fantastic or the pragmatic, as well as their intersections – an acute point Tim Barber captures in his photographs of the beautifully mundane and stark Americana. As each of the five artists showcased in Ultrasonic IV reference a distinctive verisimilitude, they share a collective interest in addressing the relativity of experience in perception."
Parker Jones Gallery. Ry Rocklen, 'House of Return', September 9 - October 17.
No press release for this one yet, but Rocklen rehabilitates found objects in tender ways, making them seem almost human. He currently has a piece at the Hammer Museum that I'm taken with. Called 'Have a Ball', the sculpture consists of a metal bucket with a smudgless glass surface, a deflated ball, and a candle wick. Combined, these objects become a strangely self-possessed body.