Charles Gaines is a seminal figure in second-wave conceptualism, building on the legacy of artists like Sol Lewitt and Joseph Kosuth to consider the imperfect relationship between representation and perception. His signature “Gridworks,” which date back to the mid-70s, are photo-based works upon which the artist lays a numbered grid, sometimes on a plexiglas sheet mounted above the original image. Gaines often colors the squares following the numerical series, collapsing representational, logical, and aesthetic systems in a process that minimizes the artist’s hand. His recently opened solo exhibition at Hauser & Wirth’s Los Angeles outpost features new watercolor “Gridworks” based on images of palm trees from Palm Canyon near Palm Springs. These are accompanied by the latest in his Manifestos series, which transcribes revolutionary manifestos into musical notation, translating one form of communication into another.
In conjunction with the exhibition, Gaines will be presenting a 10-part lecture series titled Library of Ideas. Covering aesthetics and critical theory in art, the talks offer the public a chance to hear the artist discuss topics that are normally reserved for his classes at the California Institute of the Arts (CalArts), where he is on the faculty. Beginning this Thursday, the events are free but registration is required.
When: Begins Thursday, September 26, 5–6pm
Where: Hauser & Wirth (901 East 3rd Street, Downtown, Los Angeles)
More info at Hauser & Wirth.
From art fairs to alternative spaces that may not be on your radar, here’s a run-down of what to see (and eat and sip) in Miami. No NFTs, we promise.
Protests are erupting across the country in response to President Xi Jinping’s strict zero-COVID policy.
Join the New-York Historical Society on December 9 for a virtual conversation with Kellie Jones, Rujeko Hockley, and Cameron Shaw on the past, present, and future of Black art in the US.
What does it mean when the world’s richest person trolls us?
Ghenie’s paintings of Marilyn Monroe are a relentless representation of a howling, turbulent tragedy, a face broken into crude sideways slewings and gougings and gorgings of paint.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
What feels like the right way to write about Roman Catholicism, or Christian iconography, to most art critics is heavily influenced by museum discourse, which is far from neutral.
A group exhibition at the Americas Society investigates ideas of paradise, approaching the Caribbean region as a product of the visitor economy regime.
Visual artists who incorporate psychedelics into their practices maintain a foundational understanding that there is more to reality than meets the eye.
Many in the local Ukrainian community want the museum’s name to be changed to reflect the many artworks in its collection by artists from former Soviet states.