kurose For LA15 in the front room we are showing recent paintings by Kobe, Japan based artist Masaru Kurose. Kurose, who was trained as an architect, continues his exploration of oil paint on clear vinyl, an industrial support that belies the tradition and antecedent of his stretched "canvases." Vinyl allows the internal structure of Kurose's painting to show through, much in the way that a glass and steel building incorporates the supporting girder into its external sheathing. Kurose anticipates the collision of his drawn stroke with the exposed bracing of his painting's wooden chassis, and the drop effect of the paint's shadow cast unpredictably in different lights against the wall. He thus sets up a double plane, the skin of paint floating on its transparent ground against the solid wall, shadow and reflection each a measured step behind the other. Kurose's gesture is also a mixture of measure and hunch, his highly keyed hues carried by meandering strokes that are in turn considered and discovered. To see the paintings one must see through them. Their depth is sustained by an integrated drawing, an armature for color and light that supports both on more than one level and tends to splay itself wide open. Kurose's architecture, pervasive as it is across multiple surfaces, confounds the pictorial hierarchy of figure and ground we associate with the obvious historical precedent of stained glass, and positions these translucent works in the camp of painting's fresh potential, and in the ongoing understanding of painting's radical roots.

schumaker In the middle gallery for our 15th rotation in Los Angeles, we are showing the painted objects of Ward Schumaker, selections from a series of polychromed constructions he refers to as his Dumb Boxes. These are amongst the first works Schumaker completed after his move from San Francisco to New York last year, and in many ways reflect the energy, gridded planes and silvery daylight of his newly adopted city. Often an artist fresh to New York is caught in an onrush of memory and internal ponder that acts as ballast against the sensory overload from outside. The poet Michael McClure imagined the painter Franz Kline as caught in a world of night sweats. A certain kind of leeching occurs. Schumaker's characteristic layering of text and image and gesture and wit is particularly well-suited to externalizing reflection. I suspect upon arrival he simply found the flat plane of his canvases and panels suddenly inadequate for containing whatever poured forth. And yet a life in the studio instilled in Schumaker the discipline to contain it just so. The result is an isometric suspension between sculpture and painting, neutral in its initial effect and then persistently corrosive, eating away at the membrane between the unconscious and the waking life. His biographical titles reinforce this effect, but like reviews without spoilers, do nothing to curtail the necessity of simply looking, and participating in the unfolding, like pinewood origami gates, of Schumaker's open borders.

For our 14th exhibition in Los Angeles, we showcase in the front gallery recent work by esteemed New York painter Nancy Haynes. Haynes' career spans four decades and she is the recipient of numerous awards, including two NEA grants. She has shown in museums around the country, including the San Diego Museum of Art, the Rubin Museum in New York, the Hood Museum at Dartmouth, and the Harvard University Art Museums. Her work is in the collection of the Metropolitan Museum, MOMA, the Whitney, and the National Gallery. This is her second solo with us. Of her last show, critic Kenneth Baker wrote, "I think of her position as somewhat parallel to Mary Heilmann a decade ago: regarded by colleagues as a standard-bearer of the artistic life, yet little known outside a circuit of fellow professionals and collectors." Just how little-known depends on who you talk to. It is hard to find a serious painter of my generation who doesn't admire Haynes' accomplishment. She has convincingly extended forward into the current moment, something perennial at the root of post-war painting's aspiration. A younger generation, rediscovering the power of the slow reveal, will find inspiration in Haynes' ethic and her means. The challenge with work based on color and light is to preserve the substance, the body wrapped around the spirit, yet Haynes manages to stay firmly grounded. Descriptors we tend not to associate together, such as radiant and earthen, seem aptly paired. Haynes' melding of intellectual rigor and meditative abandon keeps her painting in abeyance, and reveals her image not only slowly, but sustainably.

Lawlor In the middle gallery we present a selection of recent paintings by British-born artist Erin Lawlor, who has been living and working in France since 1987. Her work has been exhibited in London, Brussels, Paris and more recently in San Francisco; this is her first solo in Los Angeles. Lawlor's work is characterized by wide, fluid marking, closely-valued, tertiary colors, and matte, light-absorbingsurfaces. Although her process involves discipline and self-editing, her painting seems effortlessly suspended, at once turgid and poised. In her own words, she is fascinated by "the small miracle of the way in which painting, in one stroke of the paintbrush and paint, can constitute all at once both space, volume, shape and time." She has synthesized much of the international diaspora of gestural painting (American Abstract Expressionism, in particular Kline and Rothko; the Sumi-inspired aspects of the Japanese Gutai movement such as Kazuo Shiraga, and the French Tachists such as Pierre Soulages come to mind) but with a release of the stress associated with these examples. The undulation between convexity and concavity in Lawlor's color-space recalls the natural rhythm of breathing. These are open images. The juxtaposition of these two artists this month sets up a serendipitous exchange about painting's adeptness at shedding light on the darker end of the chromatic spectrum, and the articulate range of touch.
Melchi We are opening the September season and our 13th exhibition in Culver City with two important painting exhibitions.

In the front gallery, we are showing new work by Los Angeles painter Jacob Melchi. Melchi was included here in last February's group of young LA painters; this is his first solo show with the gallery. A 2003 MFA graduate of Otis, Melchi's work has been shown previously at institutions such as The Center for Contemporary Art in Sacramento, The Torrance Art Museum, The Nordic Institute for Contemporary Art in Helsinki, and The Netherlands Media Art Institute in Amsterdam. 
Melchi practices a highly sensate, yet disciplined form of painting that uses geometry as its underpinning and the means of paint application as its mode. His process is iterative, his surfaces articulated and nuanced. He builds his image through pentimento and overpainting, paying close attention to the grain of his support and the viscosity of his medium. He leverages to great result slight biases and obliques off the regular weave of his grid, and slight shifts and stops in his stroke. The result is an agile and individuated vernacular that triggers abstract associations while grounding his work in concrete experience. Relatively modest in scale, Melchi's canvases nevertheless hold the wall with authority, and engage the viewer on every level.
Chaney In the middle gallery we are showing recent paintings by Seattle-based artist Alma Chaney, her second solo with the gallery. A 2010 MFA graduate of The San Francisco Art Institute, Chaney also completed post-Baccalaureate work at the Pont-Aven School of Contemporary Art in Brittany, holds a Certificate of Scientific Illustration from the University of Washington, and a BFA from the Rhode Island School of Design.

In her work Chaney tackles the perennial dichotomy between drawing and painting, employing Renaissance techniques of silverpoint crosshatching beneath layers of opaque, highly mixed, off-whites and translucent glazes of tonal color. Her work presents a real dilemma for a gallerist: it is impossible to reproduce, reveals itself even in person only slowly, and makes no concessions to fashion. What it does is reward patient engagement with a series of unfoldings that could be described as florescent. Chaney manages the studio equivalent of en plein air; she is a painter of shadow and light.
August is here and with it the summer gallery group show, as much a staple as white wine. This selection is anything but staple though. We have gems from our flat files in the back room, some surprises brought in by guests, some works done specially for the occasion: works on paper by gallery and invited artists.

Lorene Anderson
Judith Belzer
Sara Bright
Richmond Burton
David Eddington
Roger Herman
Tama Hochbaum
Linda Jacobson
Masaru Kurose
Jacob Melchi
Michael Moore
Marie Thibeault
Jennah Ward

Turbulence For the July show, our 11th in the Culver City space, we are presenting paintings by gallery veterans and a few newcomers to the program, works that in some manner address the kind of turbulence that occurs when streams converge. Angela Baker, a native of Philadelphia now living and working in San Francisco, employs a matte black calligraphy reminiscent of Franz Kline against simple colored grounds. Sara Bright, returning to the West Coast after a year in New York, mixes psychological narrative and richly tactile abstraction. Stephan Fritsch, a German artist living and working in Salzburg, comes out of the European dialogue about fundamental color painting, but pushes the boundaries of this genre to allow complex gestural overlays. Masaru Kurose from Kobe, Japan, combines hesitant, premeditated line with spontaneous marking on transparent supports. Erin Lawlor, a British painter living and working in Paris, uses dry, close-valued palettes with freely looping marks that create complex spatial relationships. Santa Monica-based Julia Schwartz works wet on wet with nuanced marking akin to Guston's abstract expressionist works. Painter Marie Thibeault who lives and works in San Pedro stacks turgid layers of openly networked planes. Los Angeles painter Catherine Tirr emulates cellular structures and marine currents in her paintings. All share a sophisticated understanding of how an image can be captured in the paint itself.
Rubio For our tenth exhibition in the front gallery we will be showing recent work by Los Angeles painter Nano Rubio. A 2011 Claremont MFA graduate, Rubio already has several shows to his credit, including Max Presneill's wonderfully curated To Live and Paint in LA at the Torrance Museum. Rubio has developed a sophisticated and robust procedural vernacular. His visual language—based on the juxtaposition of opposites such as the precision of an auto detailer's pinstriping wheel against the gestural loops of a house painter's brush—is at once abstract and grounded in the tools and techniques of painting, yet adept at carrying narrative, even socio-political content. Rubio's paintings embody the dynamism of his immediate environment without foregoing painting's deep history. They echo the contemporary dilemma of burgeoning technocracy, the checked impulses of organic life amidst the intrusions of distributed digital networks. In many ways he has crafted a contemporary version of the John Henry parable, swinging his brush like a hammer. This is Rubio's first solo show with our gallery. It is exciting to find a painter so young in his career this deeply and successfully involved in the potential of his medium.
Eddington In the rear gallery we will be showing recent works by seasoned British painter David Eddington, an artist who splits his time between Los Angeles and London. These paintings are selections from two series entitled Ontology and Water and Power, intimately-scaled oils on square panels made from found objects, in this case the perforated metal screening templates for old computer mother boards. Eddington utilizes an array of paint handling, from broadly washed marks to illustration techniques, set against the raw metal much as in Medieval panels with their backgrounds of tooled gold leaf. Eddington brings a deft touch and a dry sense of humor to issues of considerable gravity in the socio-economic sphere. Juggling a repertoire cast of symbols from boat hulls to propellers to foundation-less buildings, he always manages to strike the right balance while casting a critical eye that reminds one of the ethics in paint of Honoré Daumier. Eddington has shown extensively over almost forty years in Los Angeles, New Orleans, Spain, Belgium, France, The Netherlands and The United Kingdom. This is his first solo show with our gallery.
Hochbaum Our 9th exhibition in the front gallery showcases the recent photographic grids of East Coast artist Tama Hochbaum, her 4th solo exhibition with us since inaugurating our program in October of 2008. Hochbaum, originally from New York, currently lives and works in Chapel Hill, North Carolina. For the past several years she has used a soft focus, monochromatic palette and quasi-cubist compositions to offer up the sense impressions of her immediate surroundings and family. In this body of work she has turned her lens inward, constructing something of a dream journal of her vigilance in caring for her mother in her battle with old age and early stage Alzheimer's. Deeply personal, this imagery captures at once the struggle to hold on to memory along with a certain willingness to let memory fade. Train journeys record a receding past; self portraits become an overlay of ancestors; even an evening in front of the television provides an umbilical link to a familial history. Using dance as a metaphor, Hochbaum addresses the most difficult of questions, and in the process affirms her place in an ever-shifting continuum.
In the rear gallery we are showing a selection of recent paintings by Patti Oleon. Oleon works from manipulated photographic interiors to paint deftly executed oils, often constructed along a mirror symmetry. Her work might be described in short hand as romantic photo-realism. She currently lives and works in San Francisco and has shown in New York, Boston, San Francisco and Portland, though her exhibition history ties her closely to Los Angeles and includes past shows at Lora Schlesinger, Carl Berg, Angles, and Roy Boyd Galleries. In 2006 she was included in the Los Angeles Art Now show at S.E. Bergen, Norway. Her work is showcased in the 2006 edition of New American Paintings and she is the recipient of grants from the Gottlieb Foundation, the Pollock Krasner Foundation, the Ingram Merrill Foundation, the Ford Foundation, as well as a Fullbright Fellowship in conjunction with the German Academic Exchange Service. This is her first solo show with our gallery.
Crosby For our eighth exhibit in the Culver City space we are presenting recent work by British painter Clem Crosby. Included along with new paintings in oil on formica are selections from two series of hybrid works, one group form 2008 and one from 2012, done in oil stick, medium, and in some instances collage, on foam core panels. We refer to these as drawings, more for convenience than accuracy, hoping the term will weight the importance line plays while not obscuring the painting process. Crosby recently inaugurated London's Pippy Houldsworth Gallery in the Heddon Street space formerly occupied by Gagosian. He has shown at the Tate Britain Drawing Symposium, the UC Berkeley Art Museum, and Lisson Gallery in London. This is his third show at our gallery.

In the rear gallery we will show an installation of photograms, works done on light-sensitive paper using transparent theatrical gells, by Los Angeles photographer Jennah Ward. Ward's work has a longstanding association with New Concrete painters such as John Meyer and Alan Ebnother and shares many concerns with Los Angeles-based abstract photographers such as Uta Barth and Walead Beshty. A recent MFA graduate from Art Center College of Design in Pasadena, Ward's career is already underway with work represented in the Albright Knox Art Gallery, the Natalie and Irving Forman Foundation and the Wynn Kramarsky Collection. This is her first solo show with the gallery.

7 young painters
For our seventh exhibition in Los Angeles, we are showing examples of the work of seven Los Angeles-based painters in their 30s, including recent graduates of UCLA, Otis, Claremont, and Cal State Long Beach.

A panel discussion with the artists will be held at the gallery at 2:00 on Saturday, March 10th. Marie Thibeault will moderate.

Jonathan Apgar 
Sarah Awad 
Rema Ghuloum 
Christopher Kuhn 
Anne McCaddon 
Jacob Melchi 
Nano Rubio



We are pleased to be showing recent work from New York based painter Tad Wiley, his third exhibition in our gallery. For this show Wiley has chosen 28 from a group of 50 paintings on vellum paper that have occupied him since June of 2010. Approaching paper with the same rigor he brings to his wood panels, Wiley states, 

"The vellum support has been a perfect choice in that its smooth surface allows the paint to sit right up on top. However the surface is not without 'tooth', which traps the more thinned out color in a way reminiscent of the application of tusche on a lithography stone. The translucent cast allows overspills to creep around the back surface and appear on the front in a 'ghosting' fashion." 

Wiley's shift from his accustomed oil-based enamel to an alkyd painting medium for this series has allowed more spontaneity, a looser handling with expanded options for form and color within the field, resulting in a very dynamic body of work. In our new small gallery, we will show a selection of paintings in enamel on wood. Both bodies of work continue to develop Wiley's geometric language with its traces of architecture, wood joinery, and the natural world.