Vielmetter Los Angeles congratulates Nicole Eisenman on Sturm und Drang, a solo exhibition at The Contemporary Austin–Jones Center and The Contemporary Austin–Laguna Gloria (February 27–August, 16 2020).

Encompassing a wide range of media including drawing, painting, and sculpture, this exhibition focuses on the artist’s anti-monumental and enigmatic three-dimensional work, and will be accompanied by a full-color catalogue.

"And in a time where black art is being celebrated, Gaignard emphasized that 'we’re more than just a moment. We’re actually completing the dialogue or the conversation because we’ve been excluded for so long. It’s hard for the majority to process that. We have to make very straightforward statements sometimes.'"

By Makeda Easter – 14 February 2020

"As the art world turns its eyes to the West Coast for the second edition of Frieze Los Angeles—held at Paramount Pictures Studios, February 13–16—make sure to save some time after the fair for these shows across the city.

Drawing on the history of “view paintings” made by artists before the dawn of photography, Whitney Bedford’s “Veduta” series aim to illustrate the effects that mankind has had on the natural landscape. It’s a savvy way of using art history to underscore the unavoidable reality of climate change."

By Sarah Cascone – 10 February 2020

Vielmetter Los Angeles congratulates Mary Reid Kelley and Patrick Kelley on their appointment as the Keith L. and Kathy Sachs Visiting Professors in the Department of Fine Arts for the 2019 – 2020 Academic Year at The University of Pennsylvania Stuart Weitzman School of Design. Mary and Pat will work with graduate students and will give a public lecture at Penn’s Institute of Contemporary Art in Spring 2020.

"I think John Sonsini may be the greatest portrait painter in the country.

That’s because his pictures of working-class men capture essential aspects of their individuality while revealing essential things about the world in which we live.

Sonsini’s portraits raise profound questions about identity — race, class, sexuality — while laying bare the cultural, economic and political underpinnings of the ways we see ourselves, especially as those visions take shape in relationship to others: people with different backgrounds, different upbringings, different dreams."

By David Pagel – 30 January 2020

Vielmetter Los Angeles congratulates Sadie Benning on their solo exhibition Pain Thing (February 1 - April 26, 2020), curated by Curator-at-Large Bill Horrigan. The exhibition is a single installation consisting of 63 small wood panels grouped into 19 discrete and separately titled sequences that extend through three galleries.

Vielmetter Los Angeles congratulates Stanya Kahn on her solo exhibition No Go Backs at the Wexner Center for the Arts (January 22 - April 26, 2020), curated by Associate Curator of Exhibitions Lucy I. Zimmerman. The exhibition premieres the artist's video No Go Backs, an intensely visceral, highly compressed work that begins by following two teens, immersing viewers in fragments of their journey.

"Sonsini has painted these same men over and over for the past fifty years, and one has the sense they comprehend and appreciate each other deeply. These are not only paintings but images that facilitate a deeply personal exchange between people whose experiences may be very different, but whose humanity is very much the same."

By Eve Wood – 20 January 2020

We are happy to announce that Berlin based Tobias Vielmetter-Diekmann has moved to Los Angeles to join Vielmetter Los Angeles as Senior Director of Development and Technology. Tobias joins the team of Senior Directors Kevin Scholl, Ariel Pittman, and Michael Smoler.

Technology has been an important driver in the gallery’s development from the beginning and Tobias’ role will be to further advance the gallery’s operations by utilizing cutting-edge technological solutions. This will include enhancing our state-of-the-art data management and communications systems, optimizing the gallery’s internal workflow and its digital presence for years to come and thus creating substantial benefits for the gallery’s clients and artists represented.

Most recently, Tobias collaborated with Berlin-based strategic consultant and UX designer Konstantin Haubrok (https://haubrok.co) to redesign the gallery’s brand identity and communication for social media, online platforms and print publications. For the gallery’s move to the new downtown location, they developed a new layout for the gallery webpage, which delivers access from mobile devices and a greatly enhanced opportunity to explore the gallery’s programming, exhibitions, news, and portfolios of artists.

Tobias has been part of the team since the founding of the gallery in 2000, up to now working remotely from Berlin in various capacities including the directorship of the gallery’s former Berlin branch. He developed the gallery’s integrated inventory and address management system and has managed its online presence from the beginning. Tobias has also helped gallery artists with ambitious technology-based productions for exhibitions both at the gallery and in major institutions as well as implementing advanced studio archiving solutions and data management.

Tobias holds a degree in software engineering in addition to a BA in Museum Studies from Hochschule für Technik und Wirtschaft Berlin with graduate studies in Art and Visual History at Humboldt University of Berlin. He has worked as Director at Praz-Delavallade Gallery, Berlin, and assisted the Curator’s Office of the Neue Nationalgalerie, Staatliche Museen zu Berlin. Tobias is the founder of the inventory and contact management software WrkLst (https://wrklst.art), which offers cloud based integrated data management solutions for commercial galleries, artists, collectors, and museums and is being used by a wide range of private and institutional customers worldwide.

"A pirate wench with the head of Martin Luther King Jr hangs upside-down from the ceiling, her bosom partially exposed, on the stand of Mitchell-Innes & Nash at Art Basel in Miami Beach. The ghostly figure also leaks a chocolate substance mixed with the paint thinner Floetrol. Altogether, the statue A Vessel in a Vessel in a Vessel and So On (2007), by the artist Pope.L, is a comment on the toxicity of black stereotypes."

07 December 2019

"Titled The Shape of Shape, it was chosen by the New York painter Amy Sillman, who orchestrated a dense installation that compared and contrasted work by around 70 artists. The result was a visual feast that might also be read as a reminder to MoMA’s brainy curators that pleasure is its own form of knowledge."

By Roberta Smith – 06 December 2019

"Sillman’s eye is sharp and witty. She makes brilliant, often hilarious connections between objects that may be wildly disparate. As part of the opening gambit at the new MoMA, Sillman chose seventy-one works from the institution’s collection, using shape as her conceptual lodestar. Walk around the small, anxiously stuffed gallery and you will recognize aspects of Sillman’s own work: lumps, lines, cuts, and lots of awkward, bulbous things."

By Nicole Eisenman – December 2019

Vielmetter Los Angeles congratulates Mickalene Thomas on her appointment as the 2020 Presidential Visiting Fellow in Fine Arts at the Yale School of Art.

Stavros Niarchos Foundation Dean Marta Kuzma notes: “We are honored to have Mickalene Thomas join the Yale School of Art faculty throughout 2020 as a black feminist artist whose practice contributes to the evolving conversation around post-blackness, sexuality and power. She is a fierce mentor who has supported emerging queer black artists, through fostering critical conversations and assisting with professional development.”