James Hayward will have a solo exhibition at Miles McEnery Gallery, New York, on view September 6 – October 6, 2018. The exhibition is accompanied by a fully illustrated publication, featuring an essay by Frances Colpitt. James Hayward’s heavy impasto style and gestural, arcing brushstrokes give his paintings a wonderfully tactile appeal. In many of his works, the development from at to thick is evident as brushstrokes are layered atop one another. The relationship between weight and color is depicted as light hits the varied depths of the brushstroke, while the role of texture is explored in each movement lifting up towards the edge of the canvas. Rather than being an extension of self, as gestural paintings often are, his works represent a sense of sel essness, as they do not embody his character or emotions. In lacking a biographical quality, Hayward’s paintings have the ability to relate to the viewer directly, evoking a personal response from every individual. For additional information, please visit the following link.
“NOW & THEN: A DECADE OF BEAUTIFUL LOSERS” venerates the 10-year anniversary of the ‘Beautiful Losers’ documentary that made its US premiere on August 8, 2008 at the IFC center in New York. ‘Beautiful Losers,’ directed by Aaron Rose and Joshua Leonard, captured the characteristic spirit of a community of artists affiliated with the Alleged Gallery in Manhattan in the early 1990’s. ‘Beautiful Losers’ depicted a community of artists including Barry McGee, Ed Templeton, Mike Mills, Thomas Campbell, Jo Jackson, Shepard Fairey, Chris Johanson, and Margaret Kilgallen during the Alleged Gallery era. In present-day, a community to which these artists belong still exists in the form of the RVCA Artist Network Program. This program encompasses RVCA’s ongoing effort to advocate, promote, and lend support to artistic talents who embody the nonconformist spirit found in of street, youth, and skate culture and subvert the traditional art world. As such, RVCA has tapped longtime members of the RVCA Artist Network Program to participate in group exhibition that celebrates the ethos of the ‘Beautiful Losers’ film, and the era it encapsulated. For additional information, please visit the following link
Roberts Projects congratulates Daniel Joseph Martinez for receiving the Career Achievement Award honoring brilliance and resilience in conjunction with the Hammer Museum’s biennial, Made in L.A. 2018. The juried award recognizes the work of an artist who has made a significant contribution to contemporary art throughout their career. “Daniel Joseph Martinez has been active for decades as both artist and teacher, and the Career Achievement Award celebrates his contributions to the Los Angeles art community,” said Ann Philbin, Director of the Hammer Museum at UCLA. “Daniel Joseph Martinez has had a tremendous impact on several generations of artists in Los Angeles, and has helped to shape the development of the art scene through his involvement in seminal art spaces in the city. He is an artist whose work and discourse are always profound, always question, and always push at the edges, whether it is through interrogations of power dynamics, global politics, or the nature of being. He is tremendously deserving of this award, and it is so wonderful to celebrate him at this moment,” wrote Pilar Tompkins Rivas, one of three jurors to select the award. The Career Achievement Award, along with the Mohn Award and Public Recognition Award, is funded through the generosity of Los Angeles philanthropists and art collectors Jarl and Pamela Mohn and the Mohn Family Foundation as part of Made in L.A., the Hammer’s biennial exhibition series highlighting emerging and under-recognized artists from the Los Angeles region. Made in L.A 2018 is organized by Hammer curators Anne Ellegood and Erin Christovale. The exhibition is on view through September 2, 2018. For additional information, please visit hammer.ucla.edu
Jeffrey Gibson: Like a Hammer, the first major museum exhibition of the artist’s work, chronicles a pivotal moment in Gibson’s career when his contemporary artistic practice converged with his Native American heritage. About 65 objects created from 2011 to the present are featured including wall hangings, beaded punching bags, painted works on rawhide and canvas, and video. The exhibition shows how Gibson draws upon his heritage and remixes his older works to create a visual vocabulary that explores his multi-faceted identity and the history of modernism. Gibson’s abstract works take inspiration from his Choctaw and Cherokee heritage, pan-Native American visual culture, alternative subcultures, and the artist’s experiences living abroad as well as popular culture. Striking patterned and textured works incorporate text from poems, Gibson’s own voice, and song lyrics such as Stevie Wonder’s Sir Duke. Gibson frequently explores colonialism and the post-colonial mindset, reflecting on how American Indian experiences parallel other civil-rights movements. His work also revolves around universal themes of love, community, strength, vulnerability, and survival. Through this exhibition, catalog, and related programming, visitors will be able to gain an enhanced understanding of Gibson’s distinctive and complex creative practice, as well as how it has evolved from series to series. The exhibition is accompanied with a catalogue, the first to comprehensively detail Gibson’s career and body of work. Jeffrey Gibson: Like a Hammer is organized by the Denver Art Museum and curated by John Lukavic, Ph.D., curator of Native Arts. The exhibition will travel to the Mississippi Museum of Art (September 8, 2018 – January 20, 2019), the Seattle Art Museum (February 28 – May 12, 2019), and Madison Museum of Contemporary Art (June 7 – September 14, 2019). For additional information, please visit denverartmuseum.org