to Oct 27


Opening Reception: September 8th | 2-5pm

Antigone highlights the idea of choice in choicelessness, focusing on how the decisions artists make, inform and effect the choices and aesthetic conventions that follow. Antigone also reveals the visible and invisible interconnectedness of people, places and things. 

Marthe Aponte, Lorraine Bubar, Barbara Kolo, Lilah Lutes, Victoria May, Blue McRight, Lena Moross and Joan Wulf work with diverse materials: paper, paint, tape, textiles, wood and fire, that represents the aesthetic dynamism of Los Angeles: Their narratives describe landscape as well as internal, emotional environments such as love and longing. People experience these phenomena in multiple ways, and the works in Antigone reverberate with the correlations that bind the artists as women and storytellers with agency to the manifold ways their choices stimulate responses.

In the Greek plays about her, Antigone exercises her divine rights that ultimately forsake her. However, she takes control of her destiny, realizing that there still may be choice as a means when choicelessness is the only end. In the exhibition Antigone, narratives speak of the environment and conservation, the tenacity and tenuousness of human relationships, and the labor of women’s work. The artists invoke their responsibility as makers to animate these subjects with outcomes over which they may have little control. These trajectories do not stop them from the practices that they believe in and that are necessary to the artistic vibrancy in all its forms of LA. 


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LA Blacksmith
to Feb 16

LA Blacksmith

September 10, 2019 - February 16, 2020

Opening Reception: October 2nd, 2019 | Can’t stop, Won’t stop

CAAM | California African American Museum

600 State Dr

Los Angeles, CA 90037

For decades black artists in Los Angeles have worked with metal for its historic and symbolic significance, as well as for other sociocultural, political, and practical considerations. LA Blacksmith highlights this tradition, from historic Los Angeles metal sculpture that signifies the durability of West African metalsmithing aesthetics to contemporary explorations of iron and steel alloys, bronze, copper, tin, aluminum, and gold. Beginning with Beulah Woodard's homages to African mask making, LA Blacksmith examines how the Watts Rebellion and other political and aesthetic ideas shaped midcentury metalwork. Contemporary artists explore metal as appropriation, power, and play in twenty-first century Los Angeles. For these artists, metalwork layers the tension between tradition and resistance, preciousness and posture, as well as the sacred and the profane.

LA Blacksmith is guest curated by independent curator jill moniz. 

Complete list of artists:
Joseph Beckles, Kendell Carter, Adrienne DeVine, Charles Dickson, Melvin Edwards, Charla Elizabeth, Maren Hassinger, Artis Lane, Ed Love, Kori Newkirk, Noah Purifoy, John Outterbridge, Duane Paul, John Riddle, Alison Saar, Betye Saar, Gerard Basil Stripling, Kehinde Wiley, Glen Wilson, Beulah Woodard, and Suné Woods

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to Sep 29


LA #Unshuttered showcases the photography of young artists advocating for social justice. Located in the Museum Entrance Hall, Plaza Level, the projections in this installation provide a unique gallery experience. Featured are works by ten Los Angeles-based, high-school students who have been learning about, engaging in, and working for causes greater than themselves. They collaborated with nonprofit organizations and community establishments to explore topics such as mental health, African American hair and identity, immigration experiences, stereotypes about aging and beauty, religious tolerance, and LGBTQ+ pride.

This installation reflects the photographs of those who participated in the program at the Getty. Thousands more have contributed online. To learn more or to join our Unshuttered community, visit or download the Getty Unshuttered app.

Getty Unshuttered is inspired by Genesis Motor America.

The Getty

1200 Getty Center Dr

Los Angeles, CA 90049

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Telling, Making, Doing: women's work
to Aug 23

Telling, Making, Doing: women's work

Telling, Making, Doing: women's work: June 23rd - August 24th
Opening reception: June 23, 2-5 pm

Artist Talk: August 15th, 12-2 pm

All over the world, women do the work of creating, sustaining and retaining cultural knowledge and communities. Telling, Making, Doing: Women’s Work highlights Los Angeles-based artists Susan Feldman, Karen Hampton, Veronica De Jesus, Raksha Parekh, Monica Nouwens, Charla Elizabeth, Diane Silver, and Carla Weber who use aesthetic compositions in two and three dimensions to tell stories.

Stories are pieces of memories, language and feeling stitched together. The artists in Telling, Making, Doing use stories as a framework for the material investigations and vice versa, creating a closed, but not hermetic paradigm for their practices. These artists are doing women’s work of remembering, codifying and reinterpreting the telling of identity, of materiality and of aesthetics.

Quotidian has a mission to honor LA as incubator of robust visual language. The city makes space for innovative practices, including material explorations of narratives signified through dimensional forms. LA is also burgeoning with historic truths about women’s work, the acts of making and doing as women, mothers, sisters, wives, partners and artists that create root structures of cultural identity and meaning. Telling, Making, Doing merges ideational and visual topographies of moments, feelings and gestures into transformative expressions that resonate with viewer experience before, during and after exposure to the work.

Telling, Making, Doing is an exhibition about the ways we remember described in a language that is hard to forget. Feldman, Hampton, De Jesus, Parekh, Nouwens, Elizabeth, Silver and Weber are Angelenos by birth and by design who use the space the city provides to honor their history, their narratives and their artistry and in turn engage us in a profound exploration into women’s work.

For further information about Quotidian, the exhibit: Telling, Making, Doing: women's work and available artworks, please contact the gallery.

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to Jun 8



April 20 – June 8

Opening reception April 20, 6-9 pm 

Quotidian presents COLLAPse, featuring Rodney McMillian, Rosalyn Myles, Miguel Osuna, Jenny Hager, Charles Dickson, April Banks, Joe Davidson, Ana Rodriguez and Roy Thurston. Continuing Quotidian’s mission to highlight uniquely California visual literacy, Collapse looks at the ways artists articulate moments of impact, absorption and consolidation of materials, stories and aesthetics.  

Collapse is the investigation of materiality, challenging tradition with innovative approaches to composition – extending the language of landscape, reimagining the canvas, or the value of paint, and dissolving pigment into surfaces to sublimate artifice with dimensionality. These works coax the sublime out of the ordinary, collapsing our ideas of the hierarchy of media, objects and meaning. 

The exhibition also highlights artists who fold time and space in their narrative practices to make new work that merges the past and present, as well as explore Afro-futurism. These makers fuse ritual materials and significance into contemporary concepts, extending the allegorical nature of certain narratives into certain other material and aesthetic concerns. Collapse removes the liminal place between identity and creativity, and between the hard edge line and intimate and often feminine geometry that informs it. 

McMillian, Myles, Osuna, Hager, Dickson, Banks, Davidson, Rodriguez and Thurston are Los Angeles makers who through their art explore the elasticity of ideas, techniques and materials to make rich, new visual language. They construct bridges of awareness, understanding and appreciation that help us navigate the ongoing disassembling of systems to necessitate a more exact, yet broader understanding of collapse. 

curated by jill moniz

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Quotidian Talks: Narratives in art, literature, music and masculinity
7:00 PM19:00

Quotidian Talks: Narratives in art, literature, music and masculinity

Guest author Ed Pavlić reads from his latest novel "Another Kind of Madness" and talks with Serpentine Fire artists Umar Rashid and Duane Paul about art, music, border crossings and Chicago.

Reception and music following the conversation

About the participants:
Ed Pavlić’s has written ten other books, most recently: "Another Kind of Madness" and "Who Can Afford to Improvise?: James Baldwin and Black Music, the Lyric and the Listener" (2016), "Let’s Let That Are Not Yet: Inferno" (2015) and "Visiting Hours at the Color Line" (2013). His next book, poems, "Let It Be Broke" will appear in 2020. In 2018 his essays appeared in Boston Review, the New York Times, and Brick, A Literary Journal as well as at The Poetry Foundation. He is Distinguished Research Professor of English, African American Studies and Creative Writing at the University of Georgia.

In 2003, after relocating from Chicago to Los Angeles, Umar Rashid began to write and illustrate the history of the Frenglish Empire 1648- 1880 (a portmanteau of France and England) based on the supposition that the historically antagonistic empires of France and England made a tenuous peace and unified into a single, gargantuan, colonial empire. The main focus of Rashid’s work is the stories and reinvented histories of people of color who are oftentimes marginalized and omitted from the historical record, and the intricacies of race, gender, class, and overall power in the colonial world. In the process of writing and illustrating this history, he creates alternative narratives that reference history and focus on the cosmologies of the empires, paying particular attention to religion and spirituality. The common thread throughout the work employs iconography as a place marker between past, present, and future. This element is realized in the oeuvre in the “Imperial Tattoo System” (a classifying mechanism Rashid uses to define and differentiate the characters in the story) and within the maps, and cosmological diagrams. The narrative is also heavily informed by the hip hop culture of his youth (golden age), various (modern and ancient) pop culture references, gang and prison culture, and revolutionary movements throughout time.

Duane Paul is an Afro-Caribbean artist, trained at Parsons who has participated in DCA’s Public Art program with installations at LAX and in Pasadena and many exhibitions in and beyond LA. Paul's layered, multi-hued, organic, sculptures are subtle, invoking memories and experiences, and focus on "the impermanent". Paul’s practice celebrates the past, but allows the new and now to reveal itself in a "sense of stoic stillness, serving as venerated communicative emblems of my experience with people, family, lovers, linage, and my chosen kinships."

Serpentine Fire is an immersive moment of aesthetic innovation and black masculine joy. Based on the song of the same name by Earth, Wind & Fire, Serpentine Fire captures a group of artists who have radical art practices, much like the band’s early music. Mel Edwards, Henry Taylor, Ed Love, Todd Gray, Kori Newkirk, Umar Rashid, Lyndon Barrois, Glen Wilson and Duane Paul use divergent media to create visually rich language born from life in LA.

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Breadth: Curated by jill moniz @ Good Luck Gallery
to May 5

Breadth: Curated by jill moniz @ Good Luck Gallery

Breadth is curator jill moniz’s response to the exhibition Outliers and American Vanguard Art, in which she insists on a fresh look at the language and aesthetics to break down categories and controlling narratives. Breadth examines what it means to be a maker with intention and emotion, where making is the expressive conduit of creative energy without consideration of the canon or the exclusionary institutional gaze.

Sean Dougall and Andrew Paulson, Yrneh Gabon, Gronk, Debbie Han, Ed Love (1936 -1999), Dominique Moody, Marisela Norte, and Ann Weber, actively resist labels, expanding the idea that art is both an impulse and a sustaining practice. Each artist has been influenced by the multiple border crossings and intersections that constitute and give breadth to Los Angeles artists communities.

The work in Breadth defies boundaries. These artists are not interested in polite, distant viewing; instead they see their work as catalysts for a necessary visual literacy, creating art that lives.

The Good Luck Gallery presents Breadth, a glimpse into the possibility of art without labels.

The Good Luck Gallery

945 Chung King Road (Chinatown) 
Los Angeles, CA 90012 

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Serpentine Fire
to Mar 30

Serpentine Fire

Quotidian presents Serpentine Fire featuring LA’s standard bearers in iconoclasm who push boundaries, developing new techniques, modalities and aesthetics. This community of makers feeds artistic and cultural curiosity, realizes visions and sustains itself through their work. Serpentine Fire, based on the song of the same name by Earth, Wind & Fire, captures a group of artists who have radical art practices, much like the band’s early music. Mel Edwards, Henry Taylor, Todd Gray, Ed Love, Kori Newkirk, Umar Rashid, Lyndon Barrois, Glen Wilson and Duane Paul use divergent media to create visually rich language born from life in LA.

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