Brenna Youngblood, “I” (2011), mixed media on panel and found piano bench, 59 x 36 x 3 inches (image courtesy the artist and Honor Fraser, via

Issues of race, gender, and representation in art have taken on a sense of urgency as of late, although they are certainly nothing new, especially for artists of color and female artists. At the Landing Gallery, Signifying Form, curated by Jill Moniz, former curator of the California African American Museum (CAAM), is nonetheless a timely show, featuring sculpture by African-American women artists working in Los Angeles between 1935 and 2016. These range from narrative sculptures by Betye and Alison Saar, to more abstract, minimalist works by Senga Nengudi and Brenna Youngblood. The show is given some historical depth with contributions from Beulah Woodard and Elizabeth Catlett, pioneering women whose careers date back to the first half of the 20th century.

The opening will also feature a staging of Maren Hassingers 2006 piece “Women’s Work.” Through this public performance, Hassinger will instruct participants on how to turn strips of newspaper into strands of fiber, which will then be used to create a collaborative sculpture.

When: Opens Saturday, April 1, 6–9pm
Where: The Landing (5118 W. Jefferson Blvd, West Adams, Los Angeles)

More info here.

Matt Stromberg is a freelance visual arts writer based in Los Angeles. In addition to Hyperallergic, he has contributed to the Los Angeles Times, CARLA, Apollo, ARTNews, and other publications.