spacer
spacer la louver logo
Home Now Next Then Artists Rogue Wave Publications Info Blog
Summer is almost over and our David Hockney exhibition will soon come to an end. Don’t miss the last chance to see his large-scale iPad works at L.A. Louver, on view through August 29.
Read a recent review of the show in the L.A. Times.
IMAGE: David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 18 March, 2011, iPad drawing printed on paper, 55 x 41 1/2 in. (139.7 x 105.4 cm), © David Hockney, Photo: Richard Schmidt

Summer is almost over and our David Hockney exhibition will soon come to an end. Don’t miss the last chance to see his large-scale iPad works at L.A. Louver, on view through August 29.

Read a recent review of the show in the L.A. Times.

IMAGE: David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 18 March, 2011, iPad drawing printed on paper, 55 x 41 1/2 in. (139.7 x 105.4 cm), © David Hockney, Photo: Richard Schmidt








"I made this thing… It was organic, but I painted it with a palette knife, and then I did three other paintings, the same kind of organic things. But I said, ‘A palette knife doesn’t work with this many curves. It’s too damn tedious.’ It relates to a brush. See? So I did organic paintings in 1964, maybe thirty or forty of them, one a day… Now, then the next step is the organic size, and I learned— It became conscious to me— Santa Barbara had a show Leonardo Visits Vinci. There was a small room. There were two of his drawings— You go this close to it, you see, and when I went that close, I’ll be a son of a bitch, it’s the size of my face, that shape. That drawing was the size of my face. So there’s a relationship. So the organic paintings are usually my face size, and then my arm size, and this [holds up hand] is snapshot size." - Frederick Hammersley, 2005
See paintings by Hammersley from this period in his forthcoming exhibition Frederick Hammersley: Cut-ups and Organics, 1963-1965, on view at L.A. Louver, September 12 - October 18, 2014. A fully illustrated catalogue, with text by E. Luanne McKinnon, will accompany the exhibition.
IMAGE: Frederick Hammersley, Slip stream, 1964, oil on linen, 18 x 22 in. (45.7 x 55.9 cm), framed: 25 1/4 x 29 1/2 in. (64.1 x 74.9 cm)

"I made this thing… It was organic, but I painted it with a palette knife, and then I did three other paintings, the same kind of organic things. But I said, ‘A palette knife doesn’t work with this many curves. It’s too damn tedious.’ It relates to a brush. See? So I did organic paintings in 1964, maybe thirty or forty of them, one a day… Now, then the next step is the organic size, and I learned— It became conscious to me— Santa Barbara had a show Leonardo Visits VinciThere was a small room. There were two of his drawings— You go this close to it, you see, and when I went that close, I’ll be a son of a bitch, it’s the size of my face, that shape. That drawing was the size of my face. So there’s a relationship. So the organic paintings are usually my face size, and then my arm size, and this [holds up hand] is snapshot size." - Frederick Hammersley, 2005

See paintings by Hammersley from this period in his forthcoming exhibition Frederick Hammersley: Cut-ups and Organics, 1963-1965, on view at L.A. Louver, September 12 - October 18, 2014. A fully illustrated catalogue, with text by E. Luanne McKinnon, will accompany the exhibition.

IMAGE: Frederick Hammersley, Slip stream, 1964, oil on linen, 18 x 22 in. (45.7 x 55.9 cm), framed: 25 1/4 x 29 1/2 in. (64.1 x 74.9 cm)

Here’s a little preview of works by Sui Jianguo, which will be included in his forthcoming exhibition at L.A. Louver this September.

Born in 1956, Sui came of age during Mao Zedong’s Great Proletarian Cultural Revolution (1966-1976). In the late ’80s, he attended the prestigious Central Academy of Fine Art, Beijing. It was during this time of political unrest that the Tiananmen Square protests of 1989 took place, an event that left an indelible effect on Sui’s work. Moving between figurative and non-representational approaches, his sculptures are often a response to current affairs, but remain poignant personal expressions.

Keep posted on our blog as we continue to explore Sui JIianguo’s works in the weeks leading up to his exhibition, opening on September 12, 2014.

In the coming year, L.A. Louver will also be showing works by Chinese artists Chen Man and Miao Xiaochun — stay tuned for this exciting new chapter in our exhibition programming!

IMAGES: (left to right/top to bottom): Bound Slave, 1998, Painted cast bronze, 90 1/2 x 31 1/2 x 23 1/2 in. (230 x 80 x 60 cm); The Blind #14, 2014, bronze, 35 3/8 x 11 3/4 x 15 3/4 in. (90 x 30 x 40 cm); The Blind #16, 2014, bronze, 12 1/2 x 37 1/2 x 19 5/8 in. (32 x 95 x 50 cm); Schwarzwald, 2014, bronze, 93 x 199 x 80 in. (236.2 x 505.5 x 203.2 cm)

Read all about it! Our David Hockney exhibition of large-scale iPad drawings was recently spotlighted in the Los Angeles Times. 

If you’ve always assumed that handmade works, like paintings and drawings, provide satisfactions that cannot be had from digital images, you’re in for a big surprise. Hockney’s lyrical pictures of the English countryside around his childhood home compel viewers of all ages to throw off old-fashioned ideas about the supposedly intrinsic opposition between manually crafted and machine-made works. — David Pagel

Read the complete article here. 
David Hockney: The Arrival of Spring will be on view at L.A. Louver through August 29.

Read all about it! Our David Hockney exhibition of large-scale iPad drawings was recently spotlighted in the Los Angeles Times. 

If you’ve always assumed that handmade works, like paintings and drawings, provide satisfactions that cannot be had from digital images, you’re in for a big surprise. Hockney’s lyrical pictures of the English countryside around his childhood home compel viewers of all ages to throw off old-fashioned ideas about the supposedly intrinsic opposition between manually crafted and machine-made works. — David Pagel

Read the complete article here

David Hockney: The Arrival of Spring will be on view at L.A. Louver through August 29.

Read a recent featured on our current Mark di Suvero exhibition in Artsy. His exhibition of sculptures and drawings will remain on view at L.A. Louver through August 29.
Click here to see more works. 
IMAGE: Mark di Suvero, Ring Neste, 2003, steel, stainless steel, 65 1/2 x 64 x 52 in. (166.4 x 162.6 x 132.1 cm)

Read a recent featured on our current Mark di Suvero exhibition in Artsy. His exhibition of sculptures and drawings will remain on view at L.A. Louver through August 29.

Click here to see more works. 

IMAGE: Mark di Suvero, Ring Neste, 2003, steel, stainless steel, 65 1/2 x 64 x 52 in. (166.4 x 162.6 x 132.1 cm)

We are thrilled to announce our fall exhibition with Chinese artist Sui Jianguo. For his first US gallery show, the artist will present a range of works, both representational and abstract, made between 1998 - 2014. The most recent works belong to his ongoing Blind series, where the artist works blindfolded in clay. By restricting his vision, Sui achieves an immediate and sensual connection with the materials, unmediated by vision or subjectivity. First modeled in clay, the works are then enlarged and cast in bronze.

Richard Deacon, a longtime friend of artist, contributed an essay on Sui’s Blind works for the exhibition’s catalogue. Here’s a short excerpt:

"The production has been constrained in various ways – most obviously by the use of a blindfold, but also by which part of his body the artist uses in modeling the initial form. One consequence of the constraint is the muffling of, or detachment from, subjectivity in the process. Not being able to see what you are doing makes things difficult and makes it hard to express yourself on the one hand, but equally hard to be objective on the other. It is these ‘blind’ works that I want to focus on. Since sight is such a dominant sense, its absence, whether actual or metaphorical, engenders multiple different possibilities for meaning, many of which hinge on questions of subjectivity and of the absence of intent."

Opening on September 12th, we’ll be sharing more insights in Sui Jianguo as the exhibition nears — stay tuned!

IMAGES: (top to bottom) Sui Jianguo in the studio; Blind Portrait, 2008, installation at JoyArt, Beijing.

This fall L.A. Louver will present an exhibition of early organic and rarely seen cut-up paintings by Frederick Hammersley. In the early to mid ’60s Hammersley moved away from a hard-edge geometric style of painting and began to create organic paintings characterized by free-form curvaceous shapes. During this time, a profusion of organic paintings emerged, some of which he cut and repositioned into a grid format. Hammersley only produced sixteen of these “cut-up” paintings, and we are thrilled to have eight cut-ups and a selection of early organics included in the exhibition.
Opening September 2014, this will be the first time many of the works will been seen in a public setting, since first shown at the Santa Barbara Museum of Art in 1965. 
To learn more about Hammersley’s work, visit our website: www.lalouver.com/hammersley.
IMAGE: Bernice, #10c 1965, oil on cb panel, 21 5/8 x 17 5/8 in. (54.9 x 44.8 cm) framed

This fall L.A. Louver will present an exhibition of early organic and rarely seen cut-up paintings by Frederick Hammersley. In the early to mid ’60s Hammersley moved away from a hard-edge geometric style of painting and began to create organic paintings characterized by free-form curvaceous shapes. During this time, a profusion of organic paintings emerged, some of which he cut and repositioned into a grid format. Hammersley only produced sixteen of these “cut-up” paintings, and we are thrilled to have eight cut-ups and a selection of early organics included in the exhibition.

Opening September 2014, this will be the first time many of the works will been seen in a public setting, since first shown at the Santa Barbara Museum of Art in 1965. 

To learn more about Hammersley’s work, visit our website: www.lalouver.com/hammersley.

IMAGE: Bernice, #10c 1965, oil on cb panel, 21 5/8 x 17 5/8 in. (54.9 x 44.8 cm) framed

"In winter in Woldgate the branches of trees seem to be stretching upwards, searching for nourishing light… When the snow came in late December 2010 (twenty-ten) I began to draw it on my iPad sitting in a car. I had the drawings printed out about five feet high. After making five or so like this I began to realise that using the iPad could be a very good method of recording all the changes that I knew would occur on this quiet road, and that I had already begun the work… Winter is not black and white; when the show is there it can be, but it doesn’t stay long around here. Even on dull days there is a lot of colour if you really look."

- David Hockney

David Hockney “The Arrival of Spring” is on view at L.A. Louver through August 29.

_______________________

IMAGES: (top) David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 4 January , 2011, iPad drawing printed on paper, 55 x 41 1/2 in. (139.7 x 105.4 cm), © David Hockney, Photo: Richard Schmidt; (bottom) Installation view of “The Arrival of Spring” at L.A. Louver

QUOTE: Excerpt from “The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty-eleven),” David Hockney: A Bigger Picture

We’re thrilled to share new work by Ben Jackel. Taking nearly two years to complete, Swiss Hydrant is the latest and most intricate sculpture to emerge from his ongoing hydrant series. 
To learn more about Jackel’s fascination with hydrants, and the significance of rendering these objects in clay, click here to view a recent video of Jackel in his studio discussing this body of work.
IMAGE: Ben Jackel, Swiss Hydrant, 2014, stoneware and beeswax, 28 x 9 x 9 in. (71.1 x 22.9 x 22.9 cm)

We’re thrilled to share new work by Ben Jackel. Taking nearly two years to complete, Swiss Hydrant is the latest and most intricate sculpture to emerge from his ongoing hydrant series. 

To learn more about Jackel’s fascination with hydrants, and the significance of rendering these objects in clay, click here to view a recent video of Jackel in his studio discussing this body of work.

IMAGE: Ben Jackel, Swiss Hydrant, 2014, stoneware and beeswax, 28 x 9 x 9 in. (71.1 x 22.9 x 22.9 cm)

We’re already prepping for our upcoming exhibition with Chen Man. Widely recognized as China’s preeminent fashion photographer, Chen Man is rapidly becoming a leading cultural voice of her generation. 
Although her exhibition doesn’t open until December 2014, we’ll be sharing previews and the latest news on social media. Be sure to follow us and Chen Man on instagram for real time updates!

We’re already prepping for our upcoming exhibition with Chen Man. Widely recognized as China’s preeminent fashion photographer, Chen Man is rapidly becoming a leading cultural voice of her generation. 

Although her exhibition doesn’t open until December 2014, we’ll be sharing previews and the latest news on social media. Be sure to follow us and Chen Man on instagram for real time updates!