Monday, November 16, 2009

Sueños / Yume: Fifty Years of the Art of Dora De Larios at the Craft and Folk Art Museum





September 27, 2009 – January 10, 2010
Internationally acclaimed, Los Angeles-born ceramist Dora De Larios is the subject of a breathtaking retrospective that opens this fall at CAFAM. Inspired by the interplay of diverse cultures and study of world religions, De Larios’s art speaks a universal language that reflects her unique pan-cultural vision. Whether in intimate ceramic pieces or large mixed-media public murals, De Larios strives to harmonize the animal and the spiritual, the earthly with the divine. Curated by preeminent American ceramics scholar Elaine Levin, Sueños / Yume (“dreams” in Spanish and Japanese)chronicles the life and dreams of Dora De Larios.

De Larios’s ability to translate universal human experiences into mystical works of art accounts for her international appeal. Recognized as one of America’s most important clay artists in Who’s Who in American Art, De Larios grew up in a downtown Los Angeles neighborhood in which Japanese nisei and Mexican-Americans lived side-by-side. She spent her childhood summers visiting family in Mexico and studied world religions and ancient art at the University of Southern California. After graduation, De Larios embarked on an around-the-world adventure to explore the diversity of cultures, religions, and art. “I began to see the patterns and similarities between myths in various cultures,” De Larios recalls. “There were different names for the deities, but they served the same purpose. They were positive or destructive forces.” This revelation, and her status as a Latina in an art world dominated by white males, concentrated De Larios’s subject matter on the exaltation of divine feminine forms.

De Larios’s body of work ranges from international commissions and large-scale sculptures to intimate figurines and functional pottery. Each piece is infused with a deep reverence of the spiritual and dream-like aspects of life: The face of a goddess emerges from a six-foot totem or wall sculpture; Hieroglyph-like shapes are incised on plaques and platters; Deep mineral colors and rich earthy glazes recall ancient traditions. Her artistic world is populated by mythological creatures and goddesses that are at once whimsical and fierce.

De Larios has been recognized nationally and internationally numerous times in the course of her fifty-year career. In 1977, De Larios was one of 14 potters selected to make a dinnerware set for the White House; In 1979, she created a 26-foot mural gift to sister-city Nagoya, Japan; Numerous site-specific sculptures are found in Southern California hotels, public spaces, and collections; and her work has been featured in exhibitions at the Museum of Contemporary Craft in New York, the Renwick Gallery in Washington D.C., and the Los Angeles County Museum of Art. Don’t miss this long-awaited retrospective this fall at CAFAM.

5814 Wilshire Blvd.
Los Angeles, CA 90036
Tel. 323.937.4230 / Fax. 323.937.5576
www.cafam.org

Sunday, September 13, 2009

Openings on 9/12/09 Pics: Kevin Appel at ACME, Jorge Pardo at 1301PE, and Victoria Gitman at Daniel Weinberg

Installation View of Jorge Pardo at 1301PE



Installation View of Victoria Gitman at Daniel Weinberg


Victoria Gitman


Kevin Appel


Victoria Gitman



Jorge Pardo

Jorge Pardo


Kevin Appel



Installation View of Kevin Appel at ACME





Friday, September 11, 2009

Gallery Season Preview - LA

September 12th marks the beginning of the gallery season not only here in LA, but also in New York. From Chelsea to Bergamont Station, hundreds of galleries will be showing their new exhibits and presenting new work. It was exactly one year ago, in the midst of a presidential election, that the financial melt-down began and the country slid into recession. The gallery scene looks alot different then a year ago. Some galleries have closed to my dismay, while some have consolidated and moved to new spaces. Galleries like Lizabeth Oliveria, Meisler & Hug, David Patton, Anna Helwig and others have closed since last year.

When I hear about a gallery closing, I do feel a sense of loss. I think Robert Smith in the New York Times put it most eloquently by saying, "An art gallery is like a single-cell organism: it is the crudest but also the most essential life form in the art-world food chain. It is among the easiest of public forums to start up, and therefore the most efficient means of introducing new blood into the system. All it takes is one person with the single-minded determination to get the work of an artist or two seen and a reasonably clean, well-lighted space of almost any size — something that is becoming a more affordable option as rents soften and storefronts..."

When a gallery closes, I feel that a conduit or a way for artists to show their work dies. As the new season begins, I go the openings tomorrow with greater appreciation of the galleries that take risks and show the most cutting edge art out there. I look forward to seeing as many gallery openings tomorrow. I will have a report as well pictures (an experiment, let's see how it works). Have a great weekend.

Frieze Los Angeles 2026 (A Review)

  Since it arrived in Los Angeles, Frieze Los Angeles has become a barometer of both the Los Angeles art scene and the art world. This is ye...