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Current Los Angeles Contemporary Exhibitions
Doug Simay’s Best Picks
This edition of “Best Picks” is a two-fer.  March I was in London and then April in Los Angeles.  At the end of
this LA “Best Picks” is a link to my London art viewings.
Carlson Hatton at Patrick Painter (Bergamot thru May 21).
This being my second exposure to Carlson Hatton – my positive impression is even more amplified.  
Complex paintings, they bounce between figuration and abstraction, painting and drawing, adding and
subtracting, brush and stencil.  It would take a long while to figure out what Hatton is trying to say in each
of them.  But – I am content to just visually wander through an attempt to decode them.
Robin Mitchell at Craig Krull (Bergamot closing).
The press release for this show describes Mitchell’s work as “molecular structure of … imagery”.  Having
just been deeply exposed to the trajectory of Australian Aboriginal dot paintings (at the Gallery of New
South Wales in Sydney), I see strong parallels of both spirituality and the love of color interactions.
Hope Gangloff at Richard Heller (Bergamot thru April 30).
Gangloff paints her friends in their moments of modern American life.  These are exuberant, colorful works
that, as the press release states, “borrow heavily from…van Gogh, Egon Schiele, and Gustave Klimt.”
John Divola at Gallery Luisotti (Bergamot thru May 14).
The image above is called “Intervention C”.  Divola returns to idioms and image-making strategies that he
has used before.  They still work.  Divola is finally getting the critical and international attention he
deserves.
Channing Hansen at Marc Selwyn (Beverly Hills closing).
Hansen’s hand-made weavings are created from fibers he has spun, dyed, and knitted together.  His
materials and handling could be interpreted as feminist.  He operates as the obverse of Lee Bontecou.
David Amico at ACE Beverly Hills (Beverly Hills thru April).
David Amico has been a part of LA’s art scene as long as I have been observing it.  His work is ever-
changing.  His curiosity and inventiveness always offer pleasurable experience.  Straddling figurative
and abstract, it takes effort to figure out the “polarity” of his paintings.  In this exhibition he seems to be
channeling Joe Goode’s shotgun paintings of the late 1970s.  The works in this exhibition appear to be
records of surfaces – but then become surfaces themselves.
Armin Boehm at Susanne Vielmetter (Culver City thru April 16).
Berlin artist, Boehm, paints figures in recognizable locales in Berlin.  The depiction of figurative
narratives is the intellectual scaffolding on which Boehm acts out audacious color melded with collaged
fabric.  The fabric of life depicted in the painted fabric of imagination.
Ruben Ochoa at Susanne Vielmetter (Culver City thru April 16).
This is an unusual exhibition by Ochoa.  His paintings that use rust and acrylic on linen are metaphysical
musings on his sculptural practice of deconstructing the environment.  This is a curious new development
that has me curious as to what comes next.
Julian Schnabel 1975
Julian Schnabel at Blum & Poe (Culver City thru April 30).
Twelve of Schnabel’s primary works that were produced between 1975 and 2015 are presented here.  It is
an affecting show.  In person Schnabel’s work has great strength.  Make anything big enough and it
becomes more powerful.  His physicality with materials and flat-out audacity lead to what Schnabel defines:
“feeling cannot be separated from intellect”.
Julian Schnabel 1978
Michael Lange at Kopeikin (Culver City thru April 16).
Lange’s photographs of deep forests in his native Germany are as richly printed as they are richly shot.
Eric Yahnker at Zevitas Marcus (Culver City thru April 30).
In the spirit of Robbie Conal, Eric Yahnker uses his superb artistic skills to illuminate his subjects with
humorous unease.  His quality intellect is well served by adroit image making.
Nathan Mabry at Cherry and Martin (Culver City thru May 14).
Walking into this exhibition is quite exhilarating.  Mabry reinterprets sculpture of the 60s adding the
irreverence of cans and gloves propped upon them.  Precisely fabricated in plate and cast aluminum and
then painted flat black – the work has a comic formality to it.
Ten Years at Walter Maciel (Culver City thru April 30).
Walter Maciel celebrates his tenth anniversary with a group show of the artists he has represented (some
still with him and others not).  Walter is a true gentleman and strong representative for his artists.  Seeing
the personal and loving way in which some of his artists represent him in their works for this exhibition is
poignant.  Freddy Chandra did the piece above (2016).
Christiane Feser at Von Lintel (Culver City thru April 30).
Ms. Feser’s work is true trompe l’oeil.  She has taken photographic prints of geometric subjects and then
made them “sculptural” by incising them and opening “doors” to the negative space of the back of the print.
Roy Dowell at Tif Sigfrids (Hollywood thru April 30).
Roy Dowell changed-up his manner of creation for the mosaics that constitute this show.  Known as a
collagist, Dowell produced collages and then asked mosaic fabricators to create larger versions of them.  
So the work becomes collaborative in a manner similar to Alighiero e Boetti.
Ryan McGinness (detail)
Ryan McGinness at Michael Kohn (Hollywood thru April 22).
In a similar vein to Carlson Hatton, Ryan McGinness’ work involves stenciling and layering.  This is a well-
constructed exhibition that offers good insight into McGinness’ manner of working.  That helps me to finally
come to an appreciation for the work.  The amalgamation of icons reminds me of strategies used by Larry
Pittman.
Julius von Bismarck, Julian Charriere, and Felix Kiessling at Steve Turner (Hollywood thru April 23).
These three Berlin artists collaborate in producing this exhibition.  They are smart and resourceful in
producing a “museum” of their manufactured artifacts that “define” the American desert.  Germans seem
always fascinated with the weird landscape of the desert west.  There is the tumbleweed on a treadmill
being blown in a counter-direction.  There are brass cylinders that have been exploded with pyroblast-C
that are at one-and-the-same-time relics of mining and modern sculpture.  This exhibition presents itself a
way that recalls the Museum of Jurassic Technology in Culver City.
Mike Davis at Gavlak (Hollywood thru May 7).
For me, watercolor is a favorite medium.  An artist who can use this unforgiving, totally disclosing medium
must have supreme confidence backed up with a lot of practice.  This painting of Katharina Fritsch’s
“Hahn/Cock” (in residence on the Fourth Plinth at Trafalgar Square in London for 18 months beginning in
2013) foremost captures the mood of looking out through a rain splashed car window.  Mike Davis’ work
offers a view of the familiar often suggesting a sardonic twist.
Kent Twitchell at LAM (Hollywood thru May 14).
LA’s mega-murals are internationally recognized.  Victor Henderson and Terry Schoonhoven worked
collaboratively as the Los Angeles Fine Squad (from 1969-1974).  Their murals featured prominently in
the ethos of emerging Venice back in the 70s.  Kent Twitchell was just beginning his ascendancy as a
muralist in the early 70’s. We have all seen his murals while driving the freeways – LA Chamber Orchestra,
LA Marathon, The Freeway Lady.  His mural of Ed Ruscha (1978) was destroyed in 2006.  This exhibition
at LAM demonstrates all the sketches and planning that is going into a new Ed Ruscha mural to be
installed in the emerging arts district near the LA River (American Hotel).
Susan Logoreci at Pyo (Downtown thru April 30).
Susan Logoreci earned her MFA from Cal State Long Beach.  The works in this show are colored pencil
on paper.  The landscape component of these drawings remind me of Karla Klarin.  The white areas
create an overlying grid that puts a Modernist spin on a Post-Modern city-scape.  They are luscious to
look at given the richness of thick colored pencil.
Hauser Wirth & Schimmel
The LA River District takes a huge step forward with the opening of Hauser Wirth and Schimmel’s new
100,000 (yes that is the number – a city block) gallery in a former flour factory.  Given the effort and
scholarship that has gone into their inaugural show “Abstract Sculpture by Women 1947-2016” I came
away a bit let down.  The context of the space and cache that speaks volumes about power-money left me
pondering the dominance of “fashion” in the art world.  Glad to see the imperial Art Market coming into the
West Coast.  I hope domestic integrity can withstand the onslaught of investment grade money.
Kim Abeles at Post (Garment District through May 21).
It is a pleasure to see Habib, the artist HK Zamani, back at the helm of a public showspace.  Now a non-
profit, Post is located in the garment district near Pico and 12th.  Kim Abeles uses her downtown LA
experience to make smart works that analyze urban realities.  It is fitting to see her works at Post.  This
exhibition of self-portraits produced over the last 37 years firmly documents Abeles’ conceptual
credentials.
Constance Mallinson 2015  
Urbannature at Art Center (Pasadena thru May 8).
This exhibition ultimately is a “landscape” show with 14 artists participating.  Constance Mallinson is an
excellent painter.  She is also an adept curator – demonstrated by this exhibition.  This exhibition is truly
worth the drive out to Pasadena.  It is so satisfying to see terrific art by this selection of LA’s best artists.  I
share with you work by 5 artists in the show.
Don Suggs 2013
Don Suggs is probably the senior member of the group.  Showing with LA Louver Gallery his eclectic
range of output is presciently smart and aesthetically energized.
Merion Estes 2015
Merion’s aesthetic territory is all her own.  She is an originator rather than a follower.
Colleen Sterritt 2016
Regretfully seeing Colleen’s work is irregular.  Seems she has no local gallery representation and thus is
usually seen in group shows.  She is indeed one of the best sculptors working in the US today.  She
continues the visual legacy of Nancy Graves (1939-1995).
Elizabeth Bryant 2015
This in my first introduction to Elizabeth Bryant’s work.  Strange because she has had about ten exhibitions
in LA since 1988.  Oh well, better late than never.
This concludes my view on the LA art scene in April 2016.

For art seen in London in March 2016 click on the image below.
Covent Garden, London