Opening reception September 14 from 2-4pm.

1301PE is pleased to present Glitch, featuring Petra Cortright, Blake Rayne, Simryn Gill, SUPERFLEX, Keaton Macon and the Concinnitas portfolio. The exhibition tries to consider the imperfect relationship we have to technology and its various systems. It is neither Utopian or Dystopian, but rather a moment to meditate on the consequences of a belief system.

A glitch can be understood as a malfunction, an irregularity, or an error, beyond a website crash, a file deletion, or an iCloud document refusing to load. Usually temporary, and sometimes expected, it is momentary reminder of our lack of control. This brief interruption is frustrating and inefficient, but maybe necessary – a pause that allows us to realize technology’s promise to us is sometimes broken. Rather than working with us, it goes against us. Our effort to push technology forward and our desire for its constant improvement is not a mutual exchange. Technology owes us nothing.

The work in this exhibition addresses this lack of reciprocity and reminds us of its consequences. Petra Cortright interferes with the system of painting through her digitized strokes; Blake Rayne’s work tests how painting is responding to shifts in perceptual regimes, labor conditions, and temporal paradigms; Simryn Gill’s wordplay changes intended meaning and takes away context; SUPERFLEX’s large-scale mural points to asymmetric access to data and to the right of all people to information; Keaton Macon’s audio tapes alter the system of sound, changing its resonance according to where its recorded, and then played; the Concinnitas series finds a form of beauty derived from harmony in numbers and proportion. Glitch, in its brief pause, creates a space for this reflection.

1301PE is part of PST ART as a Gallery Program Participant. Returning in September 2024 with its latest edition, PST ART: Art & Science Collide, this landmark regional event explores the intersections of art and science, both past and present. PST ART is presented by Getty. For more information about PST ART: Art & Science Collide, please visit pst.art.

Please contact Nathalie Martin at info@1301pe.com for more information.

1301PE is pleased to present Uta Barth’s fifth solo exhibition with the gallery, featuring new work by the artist and segments of ...from dusk till dawn (2022), the project commissioned by the J. Paul Getty Trust for the Getty’s 20th anniversary and Barth’s major retrospective at the museum in 2022-23.

In a captivating convergence of photography, perception and architectural space, Barth graces the ground-floor gallery with three of the seven mesmerizing compositions that make up ...from dusk till dawn, a series derived from a year-long study of a single doorway within the Getty’s premises. The location was photographed every five minutes, from dawn to dusk, on two days each month for the entirety of the year; November, December and February are featured in this exhibition. Upstairs, Barth's latest pieces, stemming from this series, manipulate the building's appearance. Through color variations, softened outlines, nuanced lighting, blurred backgrounds and strategically placed circular motifs atop the rectangular structure, her alterations transform the original architectural setting. These works serve as a testament to Barth’s lifelong fascination with the interplay between the limits of the human eye and the photographic medium.

For the past twenty years, Uta Barth (b. 1958) has made visual perception the primary subject of her photographic work. A 2012 MacArthur Fellow, Barth was born in Berlin and currently lives and works in Los Angeles. Notable solo exhibitions have been presented at The Getty Museum, Los Angeles; the Art Institute of Chicago; Henry Art Gallery, University of Washington, Seattle; the SCAD Museum of Art, Savannah; SITE, Santa Fe; Contemporary Arts Museum, Houston; Lannan Foundation, Santa Fe; Museum of Contemporary Art, Chicago; and Museum of Contemporary Art, Los Angeles. Her work is well represented in both private and public collections worldwide, including the Whitney Museum of American Art, New York; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York and Bilbao; the National Gallery of Art, Washington, D. C., Tate Modern, London; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art, Texas; UCLA Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Los Angeles County Museum of Art, Los Angeles; The Getty Museum, Los Angeles; and The Walker Art Center, Minneapolis.

1301PE is pleased to present its eighth solo exhibition with Los Angeles based artist Kirsten Everberg. This new body of work focuses on the Hudson River Valley.

The Hudson River School was a 19th-century American art movement celebrated for its romanticized depictions of the American landscape. It grappled with tensions between the man-made and the natural, often framed through the lens of nationalistic fervor and industrial progress. Beneath the surface allure of pristine wilderness, rests layers of questionable ideologies, like the mythologizing of untouched landscapes and the neglect of indigenous lands and cultures.

Everberg's paintings address these underlying themes and allow viewers to reconsider this perception of the American wilderness. She observes the impacts of industry on natural ecosystems, questioning the unchecked pursuit towards “progress” and its effects on the environment. These works invite us to reflect on the historical complications of the idealized American landscape, while encouraging us to think about our present-day relationship with our environment and the shaping of our collective narrative.

Kirsten Everberg (b. 1965) lives and works in Los Angeles. She has had solo exhibitions at the Pomona College Museum of Art, CA, Le Consortium, Dijon, France; and the Scottsdale Museum of Contemporary Art, AZ. She has been included in exhibitions at several international institutions including Hayward Gallery, London, United Kingdom; FRAC Champagne-Ardenne, Reims, France; Vancouver Art Gallery, Vancouver BC, Canada; Museum of Contemporary Art, Los Angeles, CA; Hammer Museum, Los Angeles, CA; and Musée des Beaux-Arts, Nancy, France. Her work is in the public collections of Le Consortium, Dijon, France; Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, CA; Marciano Art Foundation, Los Angeles, CA; Musée des Beaux-Arts, Nancy, France; The Museum of Contemporary Art, Los Angeles, CA; The Museum of Modern Art, New York, NY; Benton Museum of Art at Pomona College, Claremont, CA; and UCLA Grunwald Center for the Graphic Arts, Hammer Museum, Los Angeles.

1301PE is pleased to present its first solo exhibition with preeminent Australian-based Malaysian artist Simryn Gill, Fall then will feature ink rubbings and photographs that continue Gill’s interest in impermanence, ecology and movement as well as personal themes such as locality, history and memory. 

“I could say these photos over such a long time are like a conversation, a greeting to that sliver of coast, whatever ships and boats may be there, birds, the sun where it sits in the sky, trees (in water or otherwise depending on the tide): a point of view, a way to look, a place to come to standstill. A habit.” – Simryn Gill 

In her series of photographs, Repeating Chasms, gazing out at a placid coastline on the Straits of Malacca, Gill communicates both her regular return to the same view from a specific location and the effects of global industry in that place. The photographs act not just as historical documentation or personal recollection but reposition the idea of what photography can be; memory is reshaped and retold in the present, directing photography’s compass towards mythmaking rather than truth-telling. These works are exhibited with Fall then, a large series of one-to-one scale direct impression ink rubbings of flora that grows on vacant land in Malaysia. The plants Gill includes, giant macarangas, rubber trees, lead trees, tapiocas, ferns, Lalang grass, acacias, papayas, hanging vines, have been variously described as native, domestic, introduced, invasive, pioneer, endemic. They envelop the viewer in a contradictory and exuberant wildness. The pairing of these works is a stark reminder of the consequences of voracious and intrusive modernity and the everlasting effects of humanity’s actions upon our environment and ourselves. 

Simryn Gill was born in 1959 in Singapore, and lives in Sydney, Australia. She represented Australia in the 55th Venice Biennale (2013). Her work has been included in the Sydney Biennial (2018), Dhaka Art Summit (2018), Documenta 13 (2012) 12th Istanbul Biennial (2011), Sharjah Biennial (2007), and has been the subject of one person exhibitions at the Tate Modern, London; Espace Louis Vuitton, München; the Smithsonian Institute, Washington DC; Lunds Konsthall, Sweden; M KHA, Antwerp; the Art Gallery of New South Wales, Sydney; and the Gallery of Modern Art, Queensland. Her work is in the collections of the Metropolitan Museum of Art, New York; the Guggenheim Museum, New York; the Museum of Modern Art, New York; the Getty Museum, Los Angeles; Hammer Museum, Los Angeles; Tate Modern, London; the Museum of Contemporary Art Australia, Sydney; and the Art Gallery of New South Wales.

"I commit to making my work as round as the earth and my performances as compressed as water. I aim for pedagogical meme pollination and maximum viewer titillation." - Ana Prvački 

 1301PE is pleased to announce its fourth solo exhibition with acclaimed artist Ana Prvački. Prvački’s cross-pollinating approach informs a practice that ranges from works on paper to video, performance and mixed reality. In this exhibition, Prvački debuts a new series of watercolors: tapping into a spontaneous and fluid form of sense-making through image and text. The technique of water-based painting dates to ancient times, and is interwoven into our visual lexicon as a ubiquitous representational tool through a myriad of cultures and art-historical spheres including fine art, illustration, and design. The precision of the hand combined with the fluidity and spontaneity of the medium lends itself well to Prvački’s formal and conceptual interest in the fluid transitions between analogue and digital, tradition and future. 

 Within the scope of her practice these watercolors often inform her videos and digital projects, honing her ongoing observations and curiosity with subjects such as bees and honey, botany, evolution, eroticism, Paleolithic art, and storytelling. The playful and often humorous paintings capture the viewer with their seeming naiveté, only to turn on their head and reveal latent urgent themes of the current moment–themes such as ecology, sexuality, and mental health, to name a few. 

 Ana Prvački was born in Yugoslavia and lives and works in Berlin. Her solo exhibitions and projects include the upcoming Gropius Bau, Berlin; Hammer Museum, Los Angeles; the Isabella Stewart Gardner Museum, Boston; Castello di Rivoli Museo d'Arte Contemporanea Turin; Artists Space, New York; and the Institute of Contemporary Arts, Singapore. Her work has been included in the following group exhibitions: 13th Gwangju Biennial, Korea, the 57th Oktobarski Salon, Belgrade, Serbia, 14th Istanbul Biennial SALTWATER: A Theory of Thought Forms, Istanbul, Turkey 2015, Contour Biennial in Mechelen Belgium 2015, dOCUMENTA 13 2012, Sydney Biennial 2007, Singapore Biennial 2006, the Turin Triennale 2005, and the Bangkok Arts Biennale in 2020. The Los Angeles Philharmonic and the Chicago Architecture Biennial have commissioned Prvački’s performances. In 2019 she was the de Young Museum artist in residence where she created a solo exhibition in collaboration with Google Arts and Culture that won the 2020 Webby Award for its use of augmented reality.

As the Gropius Bau’s inaugural Digital Artist in Residence in 2021-2022, Prvački is taking up a series of interventions that materialise the Gropius Bau’s overarching programmatic topics of hosting, natural structures, and ecology.

1301PE is pleased to announce Blake Rayne’s fourth exhibition with the gallery: a presentation of new paintings that evolve Rayne’s interest in reflexive material procedures in concert with modes of abstraction.

Quite simply, what is essential is neither the image nor the deep meaning, neither the representation nor its hall of mirrored reflections, but the system of relations. – Michel Serres, The Parasite

Over the last 20 years, Blake Rayne’s work has been central to questioning, expanding, and perforating contemporary beliefs regarding painting. This new body of work continues this engagement by alternatively revealing and obfuscating its stages of production. The surfaces of Rayne’s paintings are aggregates of various marks and materials. Gestural abstraction, color gradients, prepared and unprepared fabrics are sewn and spliced together in an assemblage of objects bearing contradictory relations to classification. In this way, Rayne’s Spit Tests and Reverse Strikes revel in their mark–making while critically examining the tense situation of painting.

Blake Rayne (b. 1969, Lewes, Delaware) lives and works in New York. He attended the California Institute of the Arts (CalArts), received a fellowship from the American Acadamy in Berlin (2010), and has taught at Columbia University’s School of Visual Arts. Cabin of the Accused, Rayne’s first survey exhibition, was presented at the Blaffer Art Museum in Houston, Texas. Solo exhibitions include Dog Ears, Miguel Abreu Gallery, New York, 2021;Yogurt Cinema, A Certain Lack of Coherence, Porto, 2019; Brother Ass, Central Fine, Miami, 2019; DOGSKULLDOGS, Miguel Abreu Gallery, New York, 2018, and Carbon Days, Nuno Centeno, Porto, 2018; among others. His work was included inCollected by Thea Westreich and Ethan Wagner at the Whitney Museum of American Art in 2016; Chat Jet: Painting <Beyond> the Medium Medium, Künstlerhaus, Graz, 2013, and group shows at Bergen Kunsthall, The Kitchen, SculptureCenter, Artists Space, Gladstone Gallery, Gagosian Gallery, Reena Spaulings, Greene Naftali, and American Fine Arts.

Rayne’s paintings are held in the collections of the Museum of Modern Art, the Whitney Museum of American Art, FRAC Poitou-Charentes, the Pinault Collection, Portland Museum of Art, and Institute of Contemporary Art, Miami.

Winter Darkness 

Kirsten Everberg, Jonny Niesche, Paul Winstanley, Uta Barth, Diana Thaler, and Judy Ledgerwood.

15 December, 2021 – 19 January, 2022

“Light, Of Course, is the Left Hand of Darkness and Darkness is the Right Hand of Light”  - The Left Hand of Darkness, Ursula Le Guin. 

 As winter envelopes the Northern Hemisphere, we are increasingly reminded of the importance of light within the scheme of our existence. Days grow shorter and shadows deeper, more and more we turn to artificial illumination to fill the hours no longer lit by the sun. For this exhibition the gallery will be keeping the lights off, choosing instead to focus on our relationship to darkness as one of a continuum of perception. As the shadows and reflections shift with the day, the viewer's attention is directed away from the object they are looking at and toward their own perceptual process, highlighting the unlikely beauty and poetry of viewing through the dim winter light. 

1301PE is delighted to present Diana Thater’s tenth solo exhibition with the gallery, The Conversation, 2021.

Since Thater began working with the gallery in 1992, she has produced a number of large-scale installations involving light and video in the space at 6150 Wilshire Blvd in addition to the seminal works first exhibited at the gallery’s original space at 1301 Franklin St in Santa Monica. The Conversation, debuts a new body of work, consisting of two video pieces, as well as Thater’s signature window gel-installations. The exhibition is on view through December 4, 2021.

“There are many that I know and I know it. They are many that I know and they know it. They are all of them themselves and they repeat it and I hear it. Always I listen to it.”
– Gertrude Stein, The Making of Americans

Many of Diana Thater’s works begin with the point at which the subjectivity of humans and animals meet. Through color, light, image, and form, the artist generates an experience with which the viewer can empathize without anthropomorphizing the natural world. In Talk to Us (2021) and Listen to Us (2021), the artist’s second major sound works, two human voices mirror each other in call and response, beginning with simple phrases and progressing into longer ones, mimicking a parrot-like voice. A third audio track of an African grey parrot vocalizing to himself without knowing he is being observed plays simultaneously as an external-internal monologue. The common misconception is that parrots are mimics, when in fact they process language as humans do, through socialization, rather than simply repeating what is heard. Like humans, a parrot’s subjectivity is expressed through its vocalizations, asserting its presence through speech and volume. With this work, Thater subverts the false notion that the use of language is what separates humans from animals. As demonstrated in this cacophonous dialogue, spoken language is indeed shared between the two species. Through her use of dramatic shifts in scale, both visual and auditory, Thater alters the viewer’s point of perception within the exhibition, creating an immersive installation that challenges the linear narratives humans rely on to make sense of themselves and the natural world.

Diana Thater (b. 1962, San Francisco, USA) has pioneered the use of film, video, light and sound since the early 1990s, continually challenging the boundaries of time-based media and installation art. Her work explores the relationship between the natural and man-made worlds while critically examining the structures of mediated reality. Drawing on a wide variety of sources, including literature, animal behavior sciences, mathematics, chess, and sociology, her evocative works directly engage their surroundings, producing an intricate relationship between time and space. Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. In addition to video walls and other innovative video installation practices, Thater has been an innovator in the art of 360-degree video installation with her groundbreaking works China (1995), relay (a collaboration with T. Kelly Mason, 2007), Chernobyl (2012), and, most recently, Yes there will be singing, a sound, video, and light piece that was first installed in 2020 by the artist in a remote location and could only be experienced digitally, via a multichannel livestream video feed.

In 2018, a solo presentation of the artist’s work was presented at the ICA Watershed, Boston. In 2017, the solo show A Runaway World was first exhibited at The Mistake Room, Los Angeles and later traveled to Borusan Contemporary, Istanbul and the Guggenheim Bilbao, Spain. In 2015, a comprehensive mid-career survey of Thater's work, The Sympathetic Imagination, was organized by the Los Angeles County Museum of Art. The show traveled to the Museum of Contemporary Art Chicago. Over the past decade, her work has been the subject of solo exhibitions at prominent institutions that include the Aspen Art Museum, Colorado (2015); San Jose Museum of Art, California (2015); Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria (2009); Natural History Museum, London (2009); Kunsthalle Bremen, Germany (2004); Museum für Gegenwartskunst Siegen, Germany (2004); Dia Center for the Arts, New York (2001); and the Secession, Vienna (2000), Museum of Modern Art, New York (1998), Basel Kunsthallle, Basel (1996), Rennaissance Society, Chicago (1995), Witte de With, Rotterdam (1994). Notable awards and fellowships include a California Community Foundation Fellowship for Visual Artists (2014), as well as an award for artistic innovation from the Center for Cultural Innovation, Los Angeles (2011), a James D. Phelan Award in Film and Video (2006), a John Simon Guggenheim Memorial Foundation Fellowship (2005), and a National Endowment for the Arts Fellowship (1993). Work by the artist is represented in museum collections worldwide, including the Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Friedrich Christian Flick Collection at Hamburger Bahnhof – Museum für Gegenwart, Berlin; Hirshhorn Museum, Washington DC; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Los Angeles; Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York. Also a prolific writer, educator, and curator, Thater lives and works in Los Angeles.

The birds in this exhibition live at the Intertwined Conservation Corporation, an exotic bird rescue run by Jenna Duarte. My thanks to her for her good work and for letting me film her birds – Diana Thater.

Petra Cortright

Predator Swamping

13 February - 27 March 2021

In order to maintain survival, some species hatch all at once. Floods of nascent turtles, crabs, or fish will overwhelm their predator by sheer volume. This oversaturation ensures that the breed will live on. For Predator Swamping, Petra Cortright exhibits a new body of work, made during the precarious months of 2020, in which she exercises a similar survival instinct.

 For her third exhibition with the gallery and her first since the birth of her son, Cortright continues to create paintings in Photoshop and prints them on Belgian linen. The paintings incorporate images of the High Desert, Bolivia, and Patagonia sourced from the internet which function as a base layer upon which she builds expanded landscapes. For the first time in her career Cortright has also created paintings in black and white. The stripping away of color reveals an overwhelming desolation that could bear a strong resemblance to 2020, while for some including Cortright, a homebody at heart, the imagery evokes doomsday bliss.

Petra Cortright was born in Santa Barbara in 1986 and lives in Los Angeles where she has been making works in video, painting, and sculpture for over a decade. She studied Fine Arts at Parsons School of Design, The New School, New York, NY and the California College of the Arts, San Francisco, CA. Solo exhibitions include City Gallery, Wellington, New Zealand (2017); Depart Foundation, Los Angeles (2015). Selected group exhibitions include “The Body Electric,” Walker Art Center, Minneapolis (2019); “I Was Raised On the Internet,” MCA Chicago (2018); The Metabolic Age, MALBA, Buenos Aires, Argentina; "On YouTube. Kunst und Playlists aus 10 Jahren,“ Kunsthaus Langenthal, Switzerland; "Im Inneren der Stadt," Künstlerhaus Bremen, Germany; Ural Industrial Biennial, Ekaterinberg, Russia (all 2017); "Electronic Superhighway,” Whitechapel Gallery, London, UK (2016); 12th Bienniale de Lyon, France (2013); New Wave, The Internet Pavilion, 53rd Venice Biennial (2009). Cortright’s works are in the permanent collections of The Museum of Modern Art, New York; The Péréz Museum, Miami; Los Angeles County Museum of Art; Hammer Museum, Los Angeles; Moderna Museet, Stockholm; MOTI, Breda, in collaboration with Stedelijk Museum; Museum of Contemporary Art, Chicago; Kadist Foundation, Paris, San Francisco; Berkeley Art Museum and Pacific Film Archive, Berkeley; San Jose Museum of Art, San Jose, and Museum of Contemporary Art, Los Angeles. 

 Recent publications include Petra Cortright published by SKIRA and E-Girl published by Hesse Press.

Paul Winstanley

AFTER THE WAR THE RENAISSANCE

10 October - 19 December 2020

1301PE is pleased to announce Paul Winstanley’s seventh exhibition with the gallery: After the War the Renaissance. The exhibition is comprised of nine new paintings from his series Situation, The Lilies and Interior with Large Window. For the past three decades, Winstanley’s paintings have investigated the subjects of vacant spaces, the commonplace, and the dystopic, and painting’s ability to transform these familiar and at times melancholic landscapes into the sublime. 

The role of the viewer is central to an understanding of Winstanley's paintings and his recent use of the figure echoes that active passivity which is reflected in his new Situation paintings. The gallery part of the paintings derives from photos Winstanley took in the Secession, in Vienna, a few years ago. It's a very early model of a modernist gallery that has been the inspiration for countless others works since. Winstanley says, “The aim is for them to approach a kind of realism, to subscribe to languages of photography, but also to teeter on the edge of falsehood.”

 Interior with Large Window (Red and Blue) are reminiscent of his 2008 diaphanous and translucent series Veil. Winstanley says of his new series based on a real life Hamburg church, “The modernism of the window’s design appealed to me directly because of the internationalism of this visual language and the sense of post-war renaissance embedded in it.” The Lilieswere started in 2019 long before the present viral situation arose, but since then they seem to have acquired this other possible layer of metaphor in relation to the passing from one to another. 

 Paul Winstanley was born in Manchester in 1954 and lives and works in London. His first retrospective was held at ARTSPACE in Auckland, New Zealand. Other solo exhibitions include Driven Landscapes, Camden Arts Centre, London and Annexe, Tate Britain, in London, UK. Selected group shows include Window to the World, Fondation de l'Hermitage, Lausanne, which traveled to Museo Cantonale d'arte and Museo d'arte, Lugano, Switzerland; Lifelike, Walker Art Center, Minneapolis; The Deer, Le Consortium, Dijon, France; Out of focus. After Gerhard Richter’, Kunsthalle Hamburg, Germany; Sea Fever: From Turner to today, Southampton City Art Gallery, UK; Terror and the Sublime: Art in an Age of Anxiety, Crawford Art Gallery, Cork, Ireland; Conflict Tales: Subjectivity, Burger Collection, Berlin, Germany; Self as Selves, Irish Museum of Modern Art Dublin, Ireland; Inside Architecture, Museum of Contemporary Art, Los Angeles; and 8 Visions, One Dream, Today Art Museum, Beijing, China. 

 For more information please contact Susan Sherrick or Brian Butler at 323.938.5822

Ana Prvački

Post Apis

24 June - 15 August 2020

1301PE is pleased to announce its third solo exhibition with Ana Prvački. Prvački’s new paintings focus on bee imagery adopted universally for its symbolic and political connotations, by monarchs and the church as well as republics and trade unions. Bees have adorned Napoleonic robes and have been used in IBM advertising campaigns, but more significantly, they exemplify as well as provide evidence of the delicacy and fragility of our ecosystem. They are one of our main pollinators: without them, food wars will be rampant. They are hyperorganized but also hypersensitive, with their actions being driven by intricate internal chemistry, pheromone signals and subtle choreographies, all qualities that connect them deeply to our current environmental crisis.

There are approximately 20,000 species of bees; in Prvački’s new sculpture, The Bee Memorial, which pays homage to the European honeybee, Apis Mellifera, otherwise known the Common Bee, a precious insect that has been on the planet for over 80 million years. Now, in the 21st century, it is nearing extinction. The sculpture is a 1:1 replica of a classic beehive reproduced in black granite.

Prvački’s multi-faceted practice takes the form of diverse projects that draw on performance, daily practices, consumer aesthetics, and popular concerns. Her projects foreground experimentation in content and form their ephemeral nature both is strategy for creating unique experiences and a nod to an environmentally conscious artistic practice.

Ana Prvački was born in Yugoslavia and lives and works in Berlin. Her solo exhibitions and projects include the Hammer Museum, Los Angeles; the Isabella Stewart Gardner Museum, Boston; Castello di Rivoli Museo d'Arte Contemporanea Turin; Artists Space, New York; and the Institute of Contemporary Arts, Singapore. Her work has been included in the following group exhibitions: the 57th Oktobarski Salon, Belgrade, Serbia, 14th Istanbul Biennial SALTWATER: A Theory of Thought Forms, Istanbul, Turkey 2015, Contour Biennial in Mechelen Belgium 2015, dOCUMENTA 13 2012, Sydney Biennial 2007, Singapore Biennial 2006, and the Turin Triennale 2005. The Los Angeles Philharmonic and the Chicago Architecture Biennial have commissioned Prvački’s performances. In 2019 she was the de Young Museum artist in residence where she created a solo exhibition in collaboration with Google Arts and Culture and in October she will participate in the 2020 Bangkok Arts Biennale.

For additional information please contact Susan Sherrick or Brian Butler at info@1301pe.com

Jessica Stockholder

DIGITAL THOUGHTS

18 January - 14 March 2020

1301PE is pleased to announce it’s third exhibition with Jessica Stockholder. Beginning with a love of color and abstraction Stockholder’s groundbreaking work for more than 30 years has merged every day objects into painterly sculptural forms while subverting our ideas regarding what is worthwhile or worthless.

In selecting works for Digital Thoughts, Stockholder expressed her thoughts on the digital beginning with its definition:

Digital: Adjective 1 (of signals or data) expressed as series of the digits 0 & 1. 2 (of a clock or watch) showing the time by means of displayed digits rather than hands or a pointer. 3 relating to a finger or fingers. (which do point).  She continues: The relationship between the machine made and the handmade are mixed up in this work. Digital thought is stored in many different physical places. In metal computer boxes, in the Cloud which is itself supported by metal boxes, wires, and bits and pieces of plastic, scattered throughout the landscape in places not often pointed to. Digital thoughts are coded pieces of information that are in themselves abstract – abstracted from the things that they point at. The work in this exhibition is at once tangible, haptic, sensuous, and physically in support of many different kinds of disembodied abstraction. Thought, which feels disembodied though it occurs inside the body of each one of us is generated by the confluence of physical event in each work, and amongst them in the room.

Digital Thoughts features new wall installations and freestanding works composed of different materials and forms that shape a colorful composition and form a cohesive oeuvre.

Jessica Stockholder was born in 1959 in Seattle, Washington and currently lives and works in Chicago, Illinois. She has exhibited widely in museums and galleries internationally including: Solo exhibitions include Dia Center for the Arts and P.S.1, New York, NY; The Renaissance Society, Chicago, IL; Power Plant, Toronto, ON; Kunsthalle Brandts Klaedefabrik, Odense, DK. Selected group exhibitions include SITE Santa Fe and The Whitney Biennial. Her work is represented in the permanent collections of numerous museums including the Whitney Museum of Art, New York; The Art Institute of Chicago; MOCA, Los Angeles; SF MoMA; the Museum of Fine Arts, Boston; The British Museum, London; and the Stedelijk Museum, Amsterdam. Recent solo museum exhibitions include Stuff Matters at the Centraal Museum, Utrecht and Relational Aesthetics at The Contemporary Austin. Stockholder’s major installation “White Light Laid Frozen” is included in MOCA’s The Foundation of the Museum: MOCA’s Collection until January 20, 2020.

For additional information please contact Susan Sherrick or Brian Butler at 323.938.5822

Judy Ledgerwood

COLOR WALKS

7 September - 26 October 2019

1301PE is pleased to present its fourth exhibition with Chicago based artist Judy Ledgerwood.

Color has always been the primary vehicle for content in Ledgerwood’s work. From the early wall-sized pastel-hued monochromes that feminized the palette of heroic color field painting, to the later works that have been made in response to the light and scale of the locations in which they are placed. These works allow her to contribute to the forceful tradition of abstraction, and open up a conversation to a new and audacious palette informed by a history of fashion and interior design.

Often her work appears to be strongly graphic, but a number of painterly devices work to complicate the viewing experience upon second look. Subtle shifts in hue from warm to cool within the narrow range of a single tone, or variations in surface from matte to shiny, might reflect or absorb changing light and alter the initial perception. Figure-ground relationships shift depending on viewer position and ambient light, encouraging and rewarding a physical engagement with the space and the painting. A conscious act of looking deepens an awareness of the subjectivity of vision.

Ledgerwood’s practice addresses the relationship between the pictorial and physical space containing the work in a way akin to color field painting, to which her work is often linked. The paintings and ceramics do not decorate surfaces or otherwise supplement architecture; but function to orient the viewer to the richness of this specific place. Her work creates an experience that is grounding, and yet elusive.

Judy Ledgerwood lives and works in Chicago. Her work has been exhibited both in the United States and internationally. She is the recipient of The Richard H. Driehaus Foundation Award, an Artadia Award, a Tiffany Award in the Visual Arts, a National Endowment for the Arts Award, and an Illinois Art Council Award. Her work is included in prominent public collections: the Art Institute of Chicago, IL, the Metropolitan Museum of Art, New York, the Museum of Contemporary Art Los Angeles, the Milwaukee Museum of Art, the Museum of Contemporary Art Chicago and UCLA Hammer Museum, Los Angeles.

For additional information please contact Susan Sherrick or Brian Butler at 323.938.5822

As the crow flies:
Kerry Tribe
Rirkrit Tiravanija

17 August – 30 September 2019

“Mein Herr looked so thoroughly bewildered that I thought it best to change the subject. “What a useful thing a pocket-map is!” I remarked. “That’s another thing we’ve learned from your Nation,” said Mein Herr, “map-making. But we’ve carried it much further than you. What do you consider the largest map that would be really useful?” “About six inches to the mile.”

“Only six inches!” exclaimed Mein Herr. “We very soon got to six yards to the mile. Then we tried a hundred yards to the mile. And then came the grandest idea of all! We actually made a map of the country, on the scale of a mile to the mile!” “Have you used it much?” I enquired. “It has never been spread out, yet,” said Mein Herr: “the farmers objected: they said it would cover the whole country, and shut out the sunlight! So we now use the country itself, as its own map, and I assure you it does nearly as well. Now let me ask you another question. What is the smallest world you would care to inhabit?”

Lewis Carrol, Sylvie and Bruno Concluded
Chapter 11: “The Man in the Moon” 1893 

Kerry Tribe has had solo exhibitions at the Anderson Collection, Stanford University, Palo Alto; San Francisco Museum of Modern Art (SFMOMA), San Francisco (SF MoMA); Parque Galeria, Mexico City' 356 Mission Rd., Los Angeles; Institute of Modern Art, Brisbane; Carpenter Center, Cambridge; and the Contemporary Art Center, Irvine.  She has staged performances at the Museum of Modern Art, New York, the Kadist Art Foundation, San Francisco and the TATE Modern.  In 2017 she received an Herb Alpert Award in Film and Video, a California Community Foundation Fellowship in 2015, an Artadia Award in 2013, and both a USA Artist Fellowship and Creative Capital Grant in 2012.  In 2016 the City of Los Angeles awarded Tribe a public commission to produce Exquisite Corpse, a film about the Los Angeles River, which will screen nightly on the High Line in New York, Summer 2018.

Rirkrit Tiravanija was born in 1961 in Buenos Aires. For over twenty-five years, he has focused on the social ties connecting audience, artwork and artist, blurring the boundary between art and life. He is on the faculty of the School of Visual Arts at Columbia University, and is a founding member of The Land Foundation, an educational-ecological project in Chiang Mai, Thailand. He is the winner of the 2010 Absolut Art Award and the 2004 Hugo Boss Prize awarded by the Guggenheim Museum. Notable exhibitions include On Air at the Centre Pompidou (2012), Less Oil More Courage at the Kunsthalle Fridericianum (2009), and retrospectives at the Kunsthalle Bielefeld (2010), Serpentine Gallery (2005), and Museum Boijmans Van Beuningen (2004). He recently presented Soup / No Soup at La Triennale 2012 in Paris, for which he transformed the main nave of Grand Palais into a communal banquet featuring a meal of Tom Ka soup. do we dream under the same sky?, Chaos Omotesando, Tokyo, (2018); The NG Teng Fong Roof Garden Commision: Rirkrit Tiravanija, National Gallery Singapore, Singapore, (2018)

For further information please contact: Brian Butler or Susan Sherrick at (323) 938 5822.

Kirsten Everberg

LIFE STILL

19 May - 29 June 2019

1301PE is pleased to present its seventh solo exhibition with Los Angeles based artist Kirsten Everberg.

With a new body of work that is based primarily on the genre and history of Dutch Golden Age still life paintings Everberg replaces the traditional elements with plant and animal species simultaneously listed as extinct or endangered, native and non-native. Symbolic not just as demonstrations but for their ability to transcend deceptively “earthy splendors”, these paintings have the capacity to create meaning in the larger moment we find ourselves in while being contained primarily in architectural settings. Everberg’s attention to detail is highlighted by the shifting perspective that is at the same time unstable and precise, and the scale is amplified, elevating the objects and creatures to sometimes imposing monumentality, refusing to be unseen or marginalized.

Using a unique combination of oil and enamel paint, Everberg’s works hover between representation and pure paint. There is always a tension here between the convincing depiction of space and the abstract skeins of color that dance across the canvas. What appears to be the exterior of a house or a dense jungle from far away is reconfigured into glossy pools of paint close-up. Everberg’s mastery of her medium is demonstrated by how deftly she walks this line. Narrative and image; truth and fiction; surface and what lies beneath – are all woven together in her captivating works.

Kirsten Everberg lives and works in Los Angeles. She has had solo exhibitions at the Pomona College Museum of Art, CA, Le Consortium, Dijon, France; and the Scottsdale Museum of Contemporary Art, AZ. She has been included in exhibitions at several international institutions including FRAC Champagne-Ardenne, Reims, France; Vancouver Art Gallery, Vancouver BC, Canada; Museum of Contemporary Art, Los Angeles, CA; Hammer Museum, Los Angeles, CA; and Musée des beaux-arts, Nancy, France.