It's Been a Long, Long Time

Image from the Corey Helford Gallery's exhibit of "Legend of the Pink Cherry" featuring works by Buff Monster, which runs until May 5

It's been nearly three months since last I wrote about the gallery scene over in Culver City. Why the long neglect? I just haven't been able to spend quality time checking out the shows, especially not to an extent that would enable me to coherently review them.

Well, I was passing near the art district, not intending to stop and see things, but a strong passion to visit the galleries overcame me, even if only for a brief glimpse. And so I did.

Ideally, I would write up a bunch of reviews detailing why I appreciate each exhibit, providing context and commentary, linking to a vid to showcase the artist's body of work. Sadly, I was only able to get a few quick visits along Washington Boulevard sqeezed into my limited viewing time. But it was all good.

Detail of (A) Murder of Crows 8 by Stephanie Inagaki, part of Skotia Gallery's group show "Veneris XII" which runs until May 5

I figured that, while I may not have either the time or ability to write up proper reviews, at least I can share some photos with you. ;-)

A gallery view of Shay Bredimus' "Kotomi" at Koplin Del Rio, exhibiting until May 12.

Awesome work!

Passages and Thresholds

Detail of Crouching Tiger Monastery I (2011) by Kenny Harris

Each place has a presence, a spirit built up over the ages, formed by the experiences and events that have occurred therein. It is a goal of architectural painters to discern the soul of the structure and express it with clarity, using only the setting and space.

This is the approach taken by Kenny Harris in his exhibition "China" at Koplin Del Rio Gallery, which runs until February 18. Inspired during a recent trip, this show attempts to capture the unique nature of the various locales visited, from the posh colonial "Peace Hotel Shanghai" to the tranquil spirituality of the "Crouching Tiger Monastery" series. Through the nuances of light and space, along the lines of perspective, the enduring character of each place is revealed.

Although there are no people within these works, leaving the places to speak for themselves, without the clutter and bustle of habitation, the imprint of humanity is visible in each piece.

Detail of Zhouzhuang (2011) by Kenny Harris

Like classic images from the Dutch Golden Age of art, Harris explores the conceptual dichotomy between indoors and outdoors, where the delineations contrast and where they overlap. These images make one consider the emotional significances existing within such spaces, as well as the liminal or transgressive aspects of going from one type to the other, especially as it pertains to sacred or elite grounds, such as a monastery or the Forbidden City.

When Women Wore Gloves

Little Girl Go (2011) by DJ Hall


Koplin Del Rio Gallery in Culver City is currently exhibiting works by DJ Hall in "Kodak Moments, Portrait of a Los Angeles Artist in the 1950's." The artist under review in the '50s is DJ Hall as a child in Southern California. It's a playful show with a good mix of nostalgia and impudence. On one hand, there is a clear love for the details and nuances of the era, from Disney lunch boxes to girls attire to poolside birthday parties. On the other hand, there is a tongue in cheek campiness that portrays the era with a "Dick and Jane" simplicity.

In terms of emulating an era or setting, this show is fantastic. But there are other elements that make this show more than just a fine display of emulation. First, the painting and composition of the works are exceptional. These exuberant images are crafted with bold, expressive strokes. The vitality of the brushwork is the foundation from which these figures derive their powerful presence. Even the flowers seem to jump off the canvas towards the viewer. This paint has got punch!

Smell the Roses (2010) by DJ Hall

The second element that wins me over is the manner in which the artist uses her youthful self as a mirror or counterpoint to her mature self. In some of the paintings, the child has an adult's self-awareness. It's as if the artist has transferred her consciousness back in time into her young body. It's a powerful depiction of the way we all reflect back on our life, experiencing these childhood memories from the vantage of adulthood. In our memory, we inhale the fragrant flowers of our grandparent's garden with a poignant intensity that children rarely demonstrate. Kids aren't aware of the transience of life, wherein the flowers shortly pass away, as do beloved pets and family members.

We Travel the Space Ways

Detail of Fantastic Garveyite (2011) by Robert Pruitt

Back in May, I discussed my admiration for the music and style of Sun Ra. Well, imagine my enthusiasm when I saw the new exhibit at Koplin Del Rio, "Them from After the End of the World: Works by Robert Pruitt." The show features many of the same concepts of afrofuturism that can be found in Sun Ra's work, but given a contemporary expression in portraiture.

Rather than the glittery Egyptian-like headdresses and paraphernalia of Sun Ra and his Arkestra, Pruitt gives his subjects accouterments of technoscrap, reminiscent of neon signs, old fashion radio/television antennae, and early aerospace detritus. There is both a futurism and an obsolesce to these figures. They have a patient certainty in defiance to their abandoned state. They are not the sleek protagonists of standard Space Adventures, with shiny gadgets capable of conquering the challenges among the stars. No, Pruitt's subjects feel more like the determined survivors of a Post-Apocalyptic world, in which technology is resurrected from the junkyard of a failed civilization.



El Saturn (2011) by Robert Pruitt


There is no triumphalist afrocentrism in Pruitt's work, although there are plenty of African elements such as the various totems, fetishes, and headdresses that the subjects bear. And I think the lack of overt ethnic celebration is intentional. Afrofuturism and afrocentricism have often been used as forms of escapism. Pruitt's subjects are not drifting away into "the Mothership's" dreamspace. They are given a focused presence in the here-and-now, although they express a yearning for that escape into the stars.

The Body Never Lies

Insouciance (2011) by Robert L. Schultz

The Koplin Del Rio Gallery in Culver City currently has an exhibit of drawings by Robert L. Schultz. Of the 15 works on display, most of them are graphite on paper. And all of them are figure pieces, devoid of color. Yeah, that doesn't sound too exciting, but I really enjoyed the show. These works are exquisitely detailed with subtle gradations of value. This creates a physicality to the figures, with texture, contour, and depth. The images project a compelling material presence.

There really isn't a coherent theme to the show. Three pieces are standard nudes. Three are of luchadores. Four are of a female model. Three are of a male model with short hair. Two are of a male model with notable tattoos. The only commonality to these works is the aforementioned sense of physical authenticity. These figures look like you can reach into the drawing and touch them.



Woven Rug (2009) by Robert L. Schultz


But there is more to these drawings than mere material illusionism.

Freedom Found in Solitude

Unbound by Judy Nimtz

Although I love the company of others, I feel best when I am by myself. It's a peculiar sense of liberation, free from the expectations of social engagement. The pressure of delivering clever conversation, amiable attentiveness, and engaging prospects are lifted when I am in solitude. I don't need to be "on" or insightful. I have the luxury of being silent and contemplative, without seeming rude or arrogant.

Socializing requires a constant give and take. Sometimes I don't have anything convenient to give and am feeling too full to comfortably receive. Sometimes the energy just isn't there. I need the peace of isolation to reinvigorate my spirit. Then I can return to society and participate with the quality of insight and engagement that my friends and associates deserve.

In previous eras, we would call this the Contemplative Life.

That is what I feel when I look at these paintings of the Transfixed series by Judy Nimtz. The solitary figure is empowered by the contemplative isolation and simplicity of her environment.

Crux by Judy Nimtz

I was lucky enough to catch these works while they were on exhibit at the Koplin Del Rio gallery in Culver City. Their beauty and simplicity resonated with the yearnings of my soul.

I have great anticipation to see more from this promising artist.

Here's a link to Judy Nimtz's website.

Here's a link for the Koplin Del Rio gallery.

Enjoy!!!