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Perpetual Portrait

July 8August 18, 2023

Gallery I & II & III

This image illustrates a link to the exhibition titled Perpetual Portrait

Vielmetter Los Angeles is excited to present Perpetual Portrait, a group exhibition featuring the work of thirty artists drawn both from and outside the gallery’s program who engage in notions of portraiture. Focusing on artists who have made the portrait a central part of their practice, the exhibition will span all three galleries and will be on view from July 8 to August 18. It brings together a multitude of approaches and perspectives by artists from different generations and cultural perspectives to situate our understanding of the genre into a new and complex framework. While cross references abound, several themes resonate throughout the exhibition and show how the portrait is used: as self-reflection, as a symbol, as a trigger, and as a tool to address larger societal and historical issues.

Participating artists include Laura Aguilar, Andrea Bowers, Ever Baldwin, Ellen Berkenblit, Sadie Benning, Sara Berman, Kwesi Botchway, Brian Calvin, Kim Dingle, Nicole Eisenman, Luis Flores, Nash Glynn, Genevieve Gaignard, Roger-Edgar Gillet, Salomon Huerta, Lavaughan Jenkins, Karl Haendel, Raffi Kalenderian, Nate Lewis, Helina Metaferia, Celia Paul, Pope.L, Tatiana Preciado, Robert Pruitt, Paul Mpagi Sepuya, Amy Sillman, John Sonsini, Nicola Tyson, Hannah van Bart, Monique Van Genderen, and Esther Pearl Watson.

Installation photo credit: Brica Wilcox

Press Release

Nicole Eisenman’s monumental sculpture entitled Perpetual Motion Machine inspired the exhibition’s focus. First featured in the 2019 Whitney Biennial, the bronze depicts the artist as a larger-than-life figure perpetually moving a paint stick from which tuna fish cans jangle, a gesture that both expresses the perpetual labor of an artist or, on a more fundamental level, the ever repetitive struggle of every-day life. Situating themselves into a European male dominated history, Eisenman condenses notions of labor and futility, struggle and pleasure, tediousness and hope into a powerful figure that is both rooted in the past and leads to the future. Luis Flores is recognized for his ongoing series of hand-crocheted, life-sized sculptures of himself theatrically staged in various poses and dressed in blue jeans rolled at the cuff, a navy blue crew neck t-shirt, and blue Vans. In the exhibition, his “soft” self-portrait in an impossibly still and permanent one handed “push-up” pose offers a poetic juxtaposition to the hardness and solidity of Eisenman’s bronze and the perpetual motion of their arm. Tackling constructs of masculinity, Nash Glynn presents nude self-portraits and imagines the architectural space created within the expanse of the canvas as a space her body can rightfully inhabit. In the painting entitled Night, she has removed architectural boundaries all together, letting the glowing pink tones of her body radiate against the darker hues of the evening sky.

By photographing her nude body in nature–in the wild, expansive and undisturbed landscapes of the desert– Laura Aguilar highlighted her identity as a large-bodied, working-class queer Chicana woman and initiated conversations about the body, equity, and representation long before these themes became central to our current moment. Nicola Tyson portrays the often-abstracted embodiment of the female form—frequently herself—in bold applications of primary colors that suggest the vulnerability and strangeness of the physical body. Her forceful and dramatic figures often cross the boundaries into the natural world as she fuses human, plant, and animal features into mythic hybrid beings of great expression, humor, and strength. Tatiana Preciado’s self-portrait is inspired by biblical narratives, particularly the stories of saints who mirror the dynamics of sado-masochistic relationships. Her work reflects her grappling with conflicting emotions revolving around her identity as a queer Mexican American woman who was raised Catholic.

In what she calls “imaginary portraits,” Hannah Van Bart explores atmospheric effects of light and color through figurative imagery to reproduce a specific sensation of felt experience. The various characters she invents feel like members of a large family related to the artist and display a nuanced lexicon of beautifully rendered emotions through light and paint. Celia Paul, who spent the formative years of her life posing for a well-known artist many years her senior, has created an expansive body of repetitive and unflinching self-portraits in which her frank and uncompromising gaze back at the viewer is surrounded by a sea of glorious light and color. In the exhibition she presents herself seated in a bare room on her bed as if floating on a green sea of shimmering water. A beautifully rendered expanse of turquoise and green ripples of water fills the large canvas of Ghanaian artist Kwesi Botchway’s new painting in the exhibition. Entitled Swimming Lesson, the work depicts two people engaged in a moment of joy and support, expressing the artist’s intent to evoke positive, self-affirming images of the black body. In this portrayal of leisure and relaxation, the artist not only offers a counter image to the idea of the laboring and suffering artist but encourages participation in pleasures historically denied to the black body.

Known for visually dense and highly patterned portraits imbued with a potent psychological charge, Raffi Kalenderian’s new painting Chris Odili-Obi (Before the Moon Falls) depicts his friend in an elaborate living room surrounded by sumptuous details, thickly laid paint, and vivid color. Here, the figure triggers a joyful exploration of paint which is thickly lathered, spackled, brushed, and sculpted onto the canvas to create a powerful aura round the depicted subject. Brian Calvin’s portraits similarly revel in the joyfulness of color, but its application is strictly two dimensional and the expression of his subjects emerges from the exuberant exaggerations of their features into a much more abstracted territory. Taking this approach into a different direction are the portraits of the late Roger-Edgar Gillett, whose brilliant earth-toned brushstrokes have turned images of faces into abstracted apparitions akin to uncanny masks or ghosts.

Throughout the exhibition the artists suggest numerous perspectives on the potential for portraiture to convey larger cultural issues. Andrea Bowers’ intensely detailed pencil drawing taken from an image of a 2015 worker’s rights march for the right to a minimum wage is a heart-breaking document to the perpetual struggle to grant workers a living wage and dignified working conditions. Genevieve Gaignard’s work often retools found imagery from the 19th and 20th centuries that have perpetuated racist stereotypes as a way to relinquish and redefine their symbolic meaning. Gaignard’s collage, And Still We Bloom: Fields of Joy, is part of the artist’s “And Still We Bloom” series that transforms imagery of the mammy figure into a potent symbol of cultural strength. The ubiquitous image of the mammy is no longer a household object but instead a vessel that blossoms with an arrangement of flowers and adorned with an array of Black and Brown faces–the collages embodying the enduring spirit of Black women as vessels of growth and unshackling.

In labor-intensive, photorealistic pencil drawings, Karl Haendel uses drawing to discover connections and affinities between seemingly disparate nodes of cultural data, drawing attention to the overlaps between the social, political, and personal. In his recent portraits of Barbara Streisand and the late Ruth Bader Ginsburg, Haendel pays homage to two iconic cultural figures underscoring the wealth of meaning their images convey. In her work, Kim Dingle has infiltrated all manners of scenes and depictions of the American West with the figures of misbehaving little girls who wreak havoc on myths and truths held dear in the mainstream. For the exhibition, she created a new painting featuring the portraits of 350 psychiatrists and mental health professionals who deemed Trump unfit to serve in office and warned the public about it before the 2016 election. Painted on a nursery wallpaper sprinkled with images of innocent lambs and hearts, Dingle employs deft humor and painterly skill to effectively communicate her message.

The jokester/trickster harlequin motif underlying Sara Berman’s paintings is obscured as the artist works additional layers of paint onto the surface—scraping and wiping—and in the process suggesting the distortions from which we, the audience, view the female body. Honoring the roles that specific women have played in his life along with the unfairly outsized role that Black women play in bending the arc of history towards justice, Lavaughan Jenkins paints expressionistic images of women as icons of resilience and beauty with thick layers of paint applied with his fingers or a palette knife. As an Ethiopian-American, Helina Metaferia’s collage Headdress 59 features a portrait of Black Lives Matter co-founder Ayo Tometi, whom the artist photographed in Los Angeles. Her head adorned by a crown composed of archival images from Black Panther Newspapers, the figure draws upon traditional African sensibilities, where visual art and ritual fuse to create layers of meaning. Robert Pruitt’s monumental portraits weave past, present and future into intergalactic visions for a Black joyous future through transcendent imagery and mythological references. In his new work Standing Woman with Quantum Headdress, a woman with thickly braided hair wearing an intricately filigreed headdress seems like a royal ambassador visiting us from a future, more evolved society.

Paul Mpagi Sepuya’s work probes portrait photography through ambiguous images of sitters and his studio, creating a visual puzzle of surface, screen, and reflection. In Model Study (0X5A9487) a triple portrait occurs as the camera, out of view, captures the mirror reflection of the artist and his friend. Riffing on an European idea and history of the bohemian artist studio, Sepuya creates a new space for himself and his friends–a space of friendship and pleasure where the gaze abounds in many directions and where approval by an audience is neither requested nor required. For over forty years, John Sonsini has created nuanced and richly painted portraits of men, mostly day laborers he has befriended over many years. Painted directly from life, his paintings are a poetic and contemplative homage to each of his subjects, acknowledging and dignifying the hardship they have experienced. In the exhibition he presents a portrait of his partner, capturing his physical and psychological presence through masterfully and seemingly effortlessly applied strokes of thick oil paint. Salomon Huerta pays homage in a different way: in a series of still life paintings of fruit and guns he is remembering his father who always kept his gun nearby to keep his family safe in his east LA neighborhood. In his work, Pope.L sets language, performance, image making, and duration into a slippery relationship where language is seen as image and image as language, and where meaning often emerges only once the viewer reads the text featured in his paintings aloud. Presented here is a large scale painting referencing his well-known Skin Set works in which the absurdities of human classifications are exposed in powerful and poetic ways.

Another theme present in the exhibition is the use of portraiture as a way to convey meaning, ranging from the personal to the spiritual. Here, for example, Ever Baldwin balances both the exploration of inner and outer worlds through a mystical evocation of abstracted bodily configurations contained within elaborate handmade charred wooden frames. Sadie Benning’s work M consists of a 16-panel grid that arranges found photographs into a sequence suggestive of a narrative. Benning fractures the portrait of an unknown character and, through the application of a highly glossy resin surface suggesting the surface of a digital screen, foregrounds an additional layer of distance and ambiguity. Known for her distinctive paintings featuring a narrow lexicon of mysterious characters, from pointy-nosed or screaming women, to lightbulbs, peacocks and horses, Ellen Berkenblit invokes a sense of a narrative into which the viewer is only permitted intermittent glimpses. The suggestion of a larger context for her figures teeters on the edge of abstraction and figuration, signaling a dreamlike, yet powerful moodiness that hovers over the strange and ritualistic interactions between her characters.

Monique Van Genderen, who is known for her abstract paintings, presents a large canvas of dripping reds dedicated to the Austrian performance artist Herman Nitsch who is equally known for his boundary breaking bloody performances as he is for his machismo attitude as an artist. Riffing on the theme of dripping red paint, Monique has created a series of smaller abstractions that are attached to and lean against her large canvas in an attempt to both digest this historical lineage and to make it her own. Esther Pearl Watson presents two portraits of “guardian angels” executed in silver foil, characters that her father invented to navigate the challenges of every- day life and that help her sift through the traumas of her own childhood. Nate Lewiss figures seem to float through a beautiful and vast universe and have a similarly angelic composure as they gracefully float through time and space. The three works presented by Amy Sillman outline her interest in the human figure that is at the very heart of her practice. The tender portraits of her friends, in which elbows, knees and other human features abound, have slowly merged over time into beautifully complex abstractions that have never strayed away from the awkwardness and the hilariousness of the human form and the discomfiture of its physical presence.

Laura Aguilar
“Nature Self Portrait #3,” 1996
Gelatin silver print
20" x 16" [HxW] (40.64 x 50.8 cm); 21 ¹⁄₂" x 20 ¹⁄₂" x 1 ¹⁄₂" [HxWxD] (54.61 x 52.07 x 3.81 cm) Framed
Edition 7 of 10
Inventory #AGL103.07
Courtesy of Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed, numbered, dated verso
agl103.07_hires.jpg
Laura Aguilar
“Nature Self Portrait #8,” 1996
Gelatin silver print
20" x 16" [HxW] (40.64 x 50.8 cm); 21 ¹⁄₂" x 20 ¹⁄₂" x 1 ¹⁄₂" [HxWxD] (54.61 x 52.07 x 3.81 cm) Framed
Edition 6 of 10
Inventory #AGL108.06
Courtesy of Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed, numbered, dated verso
agl108.06_hires.jpg
Laura Aguilar
“Stillness #41,” 1999
Gelatin silver print
12" x 9" [HxW] (30.48 x 22.86 cm) photo size; 20" x 16 ¹⁄₂" x 1 ¹⁄₂" [HxWxD] (50.8 x 41.91 x 3.81 cm) framed
7 of 10
Inventory #AGL141.07
Courtesy of Vielmetter Los Angeles
Photo credit: Jeff McLane
agl141.07_hires.jpg
Laura Aguilar
“Stillness #30,” 1999
Gelatin silver print
14" x 17" x ³⁄₄" [HxWxD] (35.56 x 43.18 x 1.9 cm) framed
Inventory #AGL217
Courtesy of Vielmetter Los Angeles
Photo credit: Jeff McLane
agl217_hires.jpg
Ever Baldwin
“!!,” 2023
Oil on canvas in charred wood frame
20" x 11" x 4" [HxWxD] (50.8 x 27.94 x 10.16 cm)
Inventory #BAL1000
Courtesy of the artist, Marinaro, and Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed, dated and titled verso
bal1000_hires.jpg
Ever Baldwin
“Say Less,” 2023
Oil on canvas in charred wood frame
51" x 36" x 4" [HxWxD] (129.54 x 91.44 x 10.16 cm)
Inventory #BAL1001
Courtesy of the artist, Marinaro, and Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed, dated and titled verso
bal1001_hires.jpg
Brian Calvin
“Sidebar,” 2023
Acrylic on linen
20" x 16" [HxW] (50.8 x 40.64 cm)
Inventory #BC1000
Courtesy of the artist, Anton Kern Gallery, and Vielmetter Los Angeles
Photo credit: Robert Wedemeyer
Signed, dated and titled verso
bc1000_hires.jpg
Brian Calvin
“Negative Space,” 2023
Acrylic on linen
14" x 11" [HxW] (35.56 x 27.94 cm)
Inventory #BC1001
Courtesy of the artist, Anton Kern Gallery, and Vielmetter Los Angeles
Photo credit: Robert Wedemeyer
Signed, dated and titled verso
bc1001_hires.jpg
Sadie Benning
“M,” 2018
Wood, acrylic paint, aqua resin, photographic transparencies and resin
38 x 31" [HxW] (96.52 x 78.73 cm) overall dimensions
Inventory #BEN737
Courtesy of the artist and Vielmetter Los Angeles
Photocredit: Chris Austin
ben737_hires.jpg
Ellen Berkenblit
“Mostly,” 2023
Oil on linen
50" x 31" [HxW] (127 x 78.74 cm)
Inventory #BER254
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed and dated verso
ber254_hires.jpg
Sara Berman
“Sitting Pretty,” 2023
Oil on linen
59" x 51 ¹⁄₄" [HxW] (149.86 x 130.18 cm)
Inventory #SAR1000
Courtesy of the artist, Kristin Hjellegjerde and Vielmetter Los Angeles
Photo credit: Robert Wedemeyer
Signed, dated and titled verso
sar1000_hires.jpg
Kwesi Botchway
“Swimming Lessons,” 2023
Oil on canvas
88" x 79" x 1" [HxWxD] (223.52 x 200.66 x 2.54 cm); 89 ³⁄₄" x 80 ³⁄₄" x 2 ¹⁄₄" [HxWxD] (227.96 x 205.1 x 5.71 cm) Framed
Inventory #BOT1014
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Robert Wedemeyer
Signed, dated, titled and annotated verso
bot1014_hires.jpg
Andrea Bowers
“Fight for $15 March (December 4, 2014),” 2015
Graphite on paper
15" x 22" [HxW] (38.1 x 55.88 cm) framed
Inventory #BOW466
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Robert Wedemeyer
bowers_421_466_fightfor$15march(december42014)_hires.jpg
Kim Dingle
“Untitled Mouse with Girl,” 1989
Oil on mahogany panels
48" x 72" x 2" [HxWxD] (121.92 x 182.88 x 5.08 cm); 73 ¹⁄₂" x 49 ¹⁄₂" x 2" [HxWxD] (186.69 x 125.73 x 5.08 cm) Framed
Inventory #DIN406
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
dingle_406_untitledmousewithgirl_hires.jpg
Kim Dingle
“350 Psychiatrists and other Mental Health Professionals Warn Americans Trump Is Unfit To Serve High Office -2016,” 2023
Oil, ink, wallpaper on mahogany panel
60" x 48" x 2" [HxWxD] (152.4 x 121.92 x 5.08 cm); 61 ¹⁄₂" x 49 ¹⁄₂" x 2 ¹⁄₂" [HxWxD] (156.21 x 125.73 x 6.35 cm) Framed
Inventory #DIN408
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
dingle_408_350psychiatrists_hires.jpg
Kim Dingle
“Toxic Blue Balls,” 2023
Oil on carpenter’s chalk and cotton balls
7" x 15" x 1 ¹⁄₂" [HxWxD] (17.78 x 38.1 x 3.81 cm)
Inventory #DIN409
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
dingle_409_toxicblueballs_hires.jpg
Nicole Eisenman
“Perpetual Motion Machine,” 2019
Bronze
103 ⁵⁄₃₂" x 125 ³⁄₁₆" x 65 ¹¹⁄₃₂" [HxWxD] (262 x 318 x 165.98 cm)
Edition 3 of 3, 2 AP
Inventory #EIS546.03
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Robert Wedemeyer
eis546.03_hires-(5).jpg
Nicole Eisenman
“Emerged, Not Me,” 2023
Oil on canvas
18" x 14" x ¹⁄₂" [HxWxD] (45.72 x 35.56 x 1.27 cm)
Inventory #EIS632
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
eis632_hires.jpg
Nicole Eisenman
“Head with Roti,” 2023
Oil and collage on linen
40" x 32" x 1" [HxWxD] (101.6 x 81.28 x 2.54 cm)
Inventory #EIS633
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed, dated and annotated verso
eis633_hires.jpg
Luis Flores
“Push Up,” 2020
Yarn, AAA T-shirt, Levi's jeans, Socks, Vans shoes
37" x 65" x 24" [HxWxD] (93.98 x 165.1 x 60.96 cm)
Inventory #LFL1000
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
flores_1000_pushup_hires.jpg
Luis Flores
“Venus (Red Moon),” 2023
Crocheted yarn over EPS foam with Wenge base
19 ¹⁄₂" x 12" x 12" [HxWxD] (49.53 x 30.48 x 30.48 cm)
Inventory #LFL1001
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
flores_1001_venus(redmoon)_hires.jpg
Genevieve Gaignard
“Chasing the Moon,” 2022
Birdcage with stand, custom porcelain figurine, doily, fabric ladder
67" x 15" x 15" [HxWxD] (170.18 x 38.1 x 38.1 cm)
Inventory #GEN402
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
gen402_hires-(1).jpg
Genevieve Gaignard
“Off With Their Heads: Sweet Magnolia,” 2022
Chromogenic print
40 ³⁄₄" x 60 ³⁄₄" x 2" [HxWxD] (103.5 x 154.3 x 5.08 cm) framed; 40" x 60" [HxW] (101.6 x 152.4 cm) print size
Edition 1 of 3, 2 AP
Inventory #GEN382.01
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
gen382.01_hires.jpg
Genevieve Gaignard
“And Still We Bloom: Fields of Joy,” 2022
Mixed media collage on panel
36" x 24" [HxW] (91.44 x 60.96 cm); 37 ¹⁄₄" x 25 ¹⁄₄" x 2 ¹⁄₄" [HxWxD] (94.61 x 64.13 x 5.71 cm) framed
Inventory #GEN393
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
gen393_hires-1688674057.jpg
Roger-Edgar Gillet
“Apôtre,” 1997
Oil on paper mounted on canvas
24" x 18 ¹⁄₈" [HxW] (60.96 x 46.05 cm)
Inventory #GIL1005
Courtesy of the Galerie Nathalie Obadia, Paris/Brussels
Photo credit: Brica Wilcox
Signed and dated recto
gil1005_hires.jpg
Roger-Edgar Gillet
“Apôtre,” 1997
Oil on paper mounted on canvas
24" x 18 ¹⁄₈" [HxW] (60.96 x 46.05 cm)
Inventory #GIL1003
Courtesy of the Galerie Nathalie Obadia, Paris/Brussels
Photo credit: Brica Wilcox
Signed and dated recto
gil1003_hires.jpg
Roger-Edgar Gillet
“Apôtre,” 1997
Oil on paper mounted on canvas
25 ¹⁄₂" x 18 ¹⁄₈" [HxW] (64.77 x 46.05 cm)
Inventory #GIL1002
Courtesy of the Galerie Nathalie Obadia, Paris/Brussels
Photo credit: Brica Wilcox
Signed and dated recto
gil1002_hires.jpg
Roger-Edgar Gillet
“Apôtre,” 1997
Oil on paper mounted on canvas
24" x 18 ¹⁄₈" [HxW] (60.96 x 46.05 cm)
Inventory #GIL1001
Courtesy of the Galerie Nathalie Obadia, Paris/Brussels
Photo credit: Brica Wilcox
Signed and dated recto
gil1001_hires.jpg
Roger-Edgar Gillet
“Apôtre,” 1997
Oil on paper mounted on canvas
25 ¹⁄₂" x 18 ¹⁄₈" [HxW] (64.77 x 46.05 cm)
Inventory #GIL1004
Courtesy of the Galerie Nathalie Obadia, Paris/Brussels
Photo credit: Brica Wilcox
Signed and dated recto
gil1004_hires.jpg
Nash Glynn
“Night,” 2023
Acrylic on canvas
30" x 40" [HxW] (76.2 x 101.6 cm)
Inventory #NAS1023
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed, dated and titled verso
nas1023_hires.jpg
Karl Haendel
“RBG (high contrast),” 2023
Pencil on paper
60 ¹⁄₂" x 45" [HxW] (153.67 x 114.3 cm); 60 ³⁄₄" x 45 ¹⁄₄" x 2" [HxWxD] (154.3 x 114.93 x 5.08 cm) Framed
Inventory #HAE618
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed and dated verso
hae618_hires.jpg
Karl Haendel
“Not Titled (Streisand 7),” 2022
Pencil on folded paper
63" x 52" [HxW] (160.02 x 132.08 cm); 63 ¹⁄₄" x 52 ¹⁄₄" x 2" [HxWxD] (160.65 x 132.71 x 5.08 cm) framed
Inventory #HAE598
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Robert Wedemeyer
hae598_hires-1689118070.jpg
Salomón Huerta
“Gun with Orange,” 2023
Oil on canvas over panel
14" x 16" [HxW] (35.56 x 40.64 cm)
Inventory #HUE1000
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Jeff McLane
Signed verso
hue1000_hires.jpg
Salomón Huerta
“Gun with Lemons,” 2023
Oil on canvas over panel
14" x 16" [HxW] (35.56 x 40.64 cm)
Inventory #HUE1002
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Robert Wedemeyer
hue1002_hires.jpg
Salomón Huerta
“Gun with Peaches,” 2023
Oil on canvas over panel
14" x 16" [HxW] (35.56 x 40.64 cm)
Inventory #HUE1001
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Jeff McLane
Signed and dated verso
hue1001_hires.jpg
Salomón Huerta
“Untitled Head,” 2016
Oil on canvas over panel
12 ¹⁄₄" x 12" [HxW] (31.12 x 30.48 cm)
Inventory #HUE1003
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Robert Wedemeyer
hue1003_hires.jpg
Lavaughan Jenkins
“summer breeze,” 2023
Oil on panel
30" x 24" [HxW] (76.2 x 60.96 cm)
Inventory #JEN1049
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed and dated verso
jen1049_hires.jpg
Raffi Kalenderian
“Chris Odili-Obi (Before the Moon Falls),” 2023
Oil on linen
98" x 70" [HxW] (248.92 x 177.8 cm)
Inventory #KAL329
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Evan Bedford
kalenderian_329_chrisodiliobibeforethemoonfalls_hires.jpg
Nate Lewis
“A dissonant tentacle,” 2023
Hand sculpted inkjet print, ink, graphite, colored pencil sticks, frottage, embossing of musical score
70" x 44" [HxW] (177.8 x 111.76 cm); 74 ¹⁄₄" x 48 ¹⁄₄" x 2" [HxWxD] (188.59 x 122.55 x 5.08 cm) framed
Inventory #LEW1000
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
lew1000_hires-(1).jpg
Helina Metaferia
“Headdress 59,” 2023
Mixed media collage
96" x 48" [HxW] (243.84 x 121.92 cm); 98" x 50" x 2" [HxWxD] (248.92 x 127 x 5.08 cm) Framed
Inventory #MET1000
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Robert Wedemeyer
metaferia_1000_headdress59_framed_hires.jpg
Celia Paul
“My Green Bed,” 2022
Oil on canvas
58" x 58" [HxW] (147.32 x 147.32 cm); 61" x 61" x 2" [HxWxD] (154.94 x 154.94 x 5.08 cm) Framed
Inventory #PAU1000
Courtesy of the artist, Victoria Miro Gallery, and Vielmetter Los Angeles
Photo credit: Brica Wilcox
pau1000_hires-(1).jpg
Celia Paul
“Painter In Her Studio,” 2022
Oil on canvas
56" x 56" [HxW] (142.24 x 142.24 cm); 59" x 59" x 2 ¹⁄₄" [HxWxD] (149.86 x 149.86 x 5.71 cm) Framed
Inventory #PAU1001
Courtesy of the artist, Victoria Miro Gallery, and Vielmetter Los Angeles
Photo credit: Brica Wilcox
pau1001_hires.jpg
Pope.L
“Edit Painting,” 2018
Acrylic, oil, pastel, pencil, ballpoint, charcoal, flashe, sock monkey, photocopy, thread, tape, mylar, push pins, and cardboard on linen
92" x 78" x 10" [HxWxD] (233.68 x 198.12 x 25.4 cm)
Inventory #POP322
Courtesy of the Artist and Vielmetter Los Angeles. © Pope.L
Photos credit: James Prinz
pop322_hires-1688667149.jpg
Tatiana Preciado
“Whispers of the Song of Songs,” 2022-2023
Oil on panel
78 ¹⁄₄" x 36 ¹⁄₄" x 1" [HxWxD] (198.76 x 92.08 x 2.54 cm)
Inventory #TAT1000
Courtesy of the artist
Photo credit: Brica Wilcox
tat1000_hires.jpg
Robert Pruitt
“Seated Woman with Quantum Headdress,” 2023
Conté pastel, coffee wash
84 ³⁄₄" x 60" [HxW] (215.27 x 152.4 cm); 87 ³⁄₄" x 64" x 2" [HxWxD] (222.88 x 162.56 x 5.08 cm) Framed
Inventory #PRU1017
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
pru1017_hires.jpg
Robert Pruitt
“Standing Woman with Quantum Headdress ,” 2023
Conté pastel, coffee wash
84 ³⁄₄" x 60" [HxW] (215.27 x 152.4 cm); 87 ³⁄₄" x 64" x 2" [HxWxD] (222.88 x 162.56 x 5.08 cm) Framed
Inventory #PRU1018
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
pru1018_hires-(2).jpg
Paul Mpagi Sepuya
“Model Study (0X5A9487),” 2021
Archival pigment print
36" x 24" [HxW] (91.44 x 60.96 cm); 36 ³⁄₄" x 24 ³⁄₄" x 2" [HxWxD] (93.34 x 62.86 x 5.08 cm) Framed
Edition 1 of 5, 2 AP
Inventory #SEP809.01
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
sep809.01_hires.jpg
Amy Sillman
“N & V v3 (from life),” 2007
Acrylic and ink on paper
14 ³⁄₄" x 22 ¹⁄₂" [HxW] (37.47 x 57.15 cm); 22 ³⁄₄" x 30" x 1 ¹⁄₂" [HxWxD] (57.78 x 76.2 x 3.81 cm) Framed
Inventory #SIL212
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Jeff McLane
sil212_hires.jpg
Amy Sillman
“N & V v2 (from memory),” 2007
Ink on paper
22 ¹⁄₄" x 29 ¹⁄₄" [HxW] (56.52 x 74.3 cm); 23 ³⁄₄" x 31" x 1 ¹⁄₂" [HxWxD] (60.32 x 78.73 x 3.81 cm) Framed
Inventory #SIL211
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Jeff McLane
sil211_hires.jpg
Amy Sillman
“N & V (study for final etching),” 2007
Color soft ground etching with sugar lift and soap ground aquatints
33 ⁵⁄₈" x 28 ¹⁄₈" [HxW] (85.4 x 71.43 cm) paper size; 34 ³⁄₄" x 28 ¹⁄₄" x 1 ¹⁄₂" [HxWxD] (88.26 x 71.75 x 3.81 cm) framed
Inventory #SIL210
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Jeff McLane
sil210_hires.jpg
John Sonsini
“Gabriel, 2023,” 2023
Oil on canvas
20" x 16" [HxW] (50.8 x 40.64 cm); 21 ¹⁄₄" x 17 ¹⁄₄" x 1 ¹⁄₂" [HxWxD] (53.97 x 43.81 x 3.81 cm) Framed
Inventory #SON156
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed, dated and titled verso
sonsini_156_gabriel_hires.jpg
Nicola Tyson
“Self-portrait: Out of the Woods,” 2023
Acrylic on canvas
56" x 45 ¹⁄₂" [HxW] (142.24 x 115.57 cm)
Inventory #TYS264
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed, dated and titled verso
tys264_hires.jpg
Hannah van Bart
“Untitled,” 2023
Oil on linen
47 ¹⁄₄" x 31 ¹⁄₂" [HxW] (119.99 x 79.98 cm)
Inventory #BAR131
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
Signed, dated, titled and annotated verso
bar131_hires-1688667864.jpg
Monique Van Genderen
“Not Yet Titled,” 2023
Oil on linen
78" x 165" [HxW] (198.12 x 350.52 cm)
Inventory #VGE433
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
vangenderen_433_notyettitled_hires.jpg
Monique Van Genderen
“Not Yet Titled,” 2023
Oil on linen
16" x 12" [HxW] (40.64 x 30.48 cm); 16 ³⁄₄" x 12 ³⁄₄" x 1 ¹⁄₂" [HxWxD] (42.54 x 32.38 x 3.81 cm) framed
Inventory #VGE439
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
vangenderen_439_notyettitled_hires.jpg
Monique Van Genderen
“Not Yet Titled,” 2023
Oil on linen
16" x 12" [HxW] (40.64 x 30.48 cm); 16 ³⁄₄" x 12 ³⁄₄" x 1 ¹⁄₂" [HxWxD] (42.54 x 32.38 x 3.81 cm) framed
Inventory #VGE438
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
vangenderen_438_notyettitled_hires.jpg
Monique Van Genderen
“Not Yet Titled,” 2023
Oil on linen
30" x 24" [HxW] (76.2 x 60.96 cm); 30 ³⁄₄" x 24 ³⁄₄" x 1 ¹⁄₂" [HxWxD] (78.1 x 62.86 x 3.81 cm) framed
Inventory #VGE440
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
vangenderen_440_notyettitled_hires.jpg
Monique Van Genderen
“Not Yet Titled,” 2023
Oil on linen
18" x 14" [HxW] (45.72 x 35.56 cm); 18 ³⁄₄" x 14 ³⁄₄" x 1 ¹⁄₂" [HxWxD] (47.62 x 37.46 x 3.81 cm) framed
Inventory #VGE442
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
vangenderen_442_notyettitled_hires.jpg
Monique Van Genderen
“Not Yet Titled,” 2023
Oil on linen
18" x 14" [HxW] (45.72 x 35.56 cm); 18 ³⁄₄" x 14 ³⁄₄" x 1 ¹⁄₂" [HxWxD] (47.62 x 37.46 x 3.81 cm) framed
Inventory #VGE441
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
vangenderen_441_notyettitled_hires.jpg
Monique Van Genderen
“Not Yet Titled,” 2023
Oil on linen
16" x 12" [HxW] (40.64 x 30.48 cm); 16 ³⁄₄" x 12 ³⁄₄" x 1 ¹⁄₂" [HxWxD] (42.54 x 32.38 x 3.81 cm) framed
Inventory #VGE437
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
vangenderen_437_notyettitled_hires.jpg
Monique Van Genderen
“Not Yet Titled,” 2023
Oil on linen
18" x 14" [HxW] (45.72 x 35.56 cm); 18 ³⁄₄" x 14 ³⁄₄" x 1 ¹⁄₂" [HxWxD] (47.62 x 37.46 x 3.81 cm) framed
Inventory #VGE435
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
vangenderen_435_notyettitled_hires.jpg
Monique Van Genderen
“Not Yet Titled,” 2023
Oil on linen
16" x 12" [HxW] (40.64 x 30.48 cm); 16 ³⁄₄" x 12 ³⁄₄" x 1 ¹⁄₂" [HxWxD] (42.54 x 32.38 x 3.81 cm) framed
Inventory #VGE434
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
vangenderen_434_notyettitled_hires.jpg
Monique Van Genderen
“Not Yet Titled,” 2023
Oil on linen
18" x 14" [HxW] (45.72 x 35.56 cm); 18 ³⁄₄" x 14 ³⁄₄" x 1 ¹⁄₂" [HxWxD] (47.62 x 37.46 x 3.81 cm) framed
Inventory #VGE436
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
vangenderen_436_notyettitled_hires.jpg
Esther Pearl Watson
“Rocket or Jet Driven: Using Vertical Turbo Fan,” 2023
Graphite and foil on paper
12 ³⁄₄" x 9 ³⁄₄" [HxW] (32.39 x 24.77 cm); 16 ¹⁄₄" x 13 ¹⁄₄" x 1 ¹⁄₂" [HxWxD] (41.27 x 33.65 x 3.81 cm) Framed
Inventory #EPW525
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
watson_525_rocketorjetdrivenusingverticalturbofan_hires.jpg
Esther Pearl Watson
“Power Storage,” 2023
Graphite and foil on paper
12 ³⁄₄" x 9 ³⁄₄" [HxW] (32.39 x 24.77 cm); 16 ¹⁄₄" x 13 ¹⁄₄" x 1 ¹⁄₂" [HxWxD] (41.27 x 33.65 x 3.81 cm) Framed
Inventory #EPW526
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
watson_526_powerstorage_hires.jpg