For her contribution to Made in LA 2020: A Version, the prestigious Los Angeles biennial, artist Sonya Sombreuil has invited other local artists, musicians, filmmakers, and designers to exhibit their work, on a rotating basis, alongside her clothing designs. Titled VIVID, the installation is a generous, unexpected gesture that expands the biennial beyond the 30 artists selected by the curators.
This month is a highlight, as Sombreuil chose to screen films by Fox Maxy, Alima Lee, and Maia Ruth Lee, and they are also available to stream on the Hammer Museum website. These are artists with a beautiful sense of curiosity who use video to explore, share, experiment, play, and invent. The editing is bold, the music choices entrancing, and the works hold your attention in a way that video — in my opinion — sometimes struggles to.
“Maat means Land” (2020) by Maxy, an Ipai Kumeyaay and Payómkawichum filmmaker, moves between scenes of everyday life with tenderness and humor. Maxy has said it’s “a film where I wanted to say ‘thank you’ and just acknowledge all these really important places and times that have made me who I am.” Maia Ruth Lee’s “The Stranger” (2018) travels through the green hills of Nepal, the artist’s father narrating in Korean. In an intriguing commentary on the role of translation, Lee wrote her own subtitles for the film, drawing on her diaries and writings, so that they don’t match her father’s words. And finally, Alima Lee’s “Flesh to Spirit” (2019), which also moves and progresses like an essay, is about the vulnerable and ecstatic journey to discovering and loving one’s body.
When: through June 30
Where: online and on-site at the Hammer Museum (10899 Wilshire Boulevard, Westwood, Los Angeles)
More info at the Hammer Museum
The Tweet comparing an ominous screen capture from the Tucker Carlson Show to one of Holzer’s Truisms is being sold as an NFT to benefit crucial organizations in the wake of the Supreme Court decision.
Rapper Maykel “Osorbo” Pérez was sentenced to nine years.
Shows at the Hudson Valley’s Hessel Museum of Art feature artists Dara Birnbaum and Martine Syms, as well as new scholarship on Black melancholia as an artistic and critical practice.
On the day of the Supreme Court’s decision to undo 50 years of constitutional rights to abortion, artist Elana Mann’s “protest rattles” feel especially poignant and urgent.
This week, Title IX celebrates 50 years, the trouble with pronouns, a writer’s hilarious response to plagiarism allegations, and much more.
PLEASE SEND TO REAL LIFE: Ray Johnson Photographs reveals the “career in photography” that occupied the artist in the last three years of his life.
Since antiquity, women’s eyebrows have been sites of intense scrutiny, constantly shifting between trend cycles.
A landmark show of 30 artists at Jeffrey Deitch gallery in New York keeps the category of Asian figuration open-ended.
Contemporary Black-Indigenous women artists Rodslen Brown, Joelle Joyner, Moira Pernambuco, Paige Pettibon, Monica Rickert-Bolter, and Storme Webber are featured in this digital exhibition.
Hall makes no attempt to entice the viewer to begin looking and to look again, letting her methodical craft compel viewers to reflect upon their experience.
In Benglis’s latest works, the forces of gravity that defined her seminal poured latex and polyurethane pieces are traded for luminous bronzes.
A new project by Columbia’s Queer Students of Architecture, Planning, and Preservation explores queer histories that have been suppressed by gentrification and urban development.