Collage-paintings that examine human frailty. A permanent collection exhibition that looks at the identities people create for themselves and others. The winners of Los Angeles’ C.O.L.A. grant program. And a show about the disappearing boundary between the man-made and the natural. Plus: A surreal play at LACMA, art by California prisoners, and a darkly comic documentary about the 2008 financial bust. Here are seven shows to see this week.
Elliott Hundley “There is No More Firmament,” at Regen Projects. The Los Angeles-based artist is known for his wild fusions of collage, assemblage, photography and painting — producing wall objects that come off as totally painterly, providing endless layers for the viewer to get lost in. For his fourth show at Regen, he has created a series of works inspired by the work of 20th century French dramatist Antonin Artaud. Expect a riotous, engrossing, obsessive tour examining different states of anxiety. Opens at 6 p.m. today and runs through June 18. 6750 Santa Monica Blvd., Hollywood, regenprojects.com.
“Reflections on the Self,” at the California African American Museum. Drawn from the museum’s permanent collection, this wide-ranging exhibition looks at the representation of the self, examining the idealized and mythicized ways that artists have portrayed pop and cultural icons, from Malcolm X to Thelonious Monk to a New Orleans grand marshal. Also on view at the museum is “Oh Snap! West Coast Hip Hop Photography,” which will feature an array of hip-hop artists who came up in the ’90s, such as Ice Cube, Tupac Shakur and others. Through Sept. 18. 600 State Drive, Exposition Park, Los Angeles, caamuseum.org.
“C.O.L.A. 2016,” at the L.A. Municipal Art Gallery. Every year, the Municipal Art Gallery features work by the winners of the City of Los Angeles (C.O.L.A.) Artist Fellowships, which honor a dozen mid-career artists from around the city — one of the rare municipal programs to directly fund artists in the United States. This year, the visual arts winners include Paolo Davanzo, Marsian De Lellis, Keiko Fukazawa, Megan Geckler, Won Ju Lim, Sarah Maclay, Blue McRight, Sandeep Mukherjee and Christine Nguyen. A separate public event in Grand Park will honor C.O.L.A.’s three literary winners: Sarah Maclay, Claudia Rodriguez and Lynne Thompson. The art exhibition opens at 2 p.m. Sunday and runs through July 3; 4800 Hollywood Blvd., Hollywood. A reading with the literary winners will take place at Grand Performances at 7 p.m. June 11 at Grand Park in downtown Los Angeles, lamag.org.
FOR THE RECORD
May 16, 11:38 a.m.: This article incorrectly states that the reading with C.O.L.A.'s literary winners will take place in Grand Park. It will take place June 11, at 7 p.m., at California Plaza, 350 S. Grand Ave., in downtown Los Angeles.
“Asher Hartman: The Silver, The Black, The Wicked Dance,” at LACMA. Hartman is known for his wildly surreal theatrical pieces — like “Purple Electric Play,” which was staged at Machine Project last year and featured a giant tongue prop wiping the stage clean. For this performance, Hartman sets his unusual tale of predation at various locations, including the tar pits, the Great Plains and an imagined outer space setting. Should be good and weird. At 7:30 tonight and 5 and 7:30 p.m. Saturday. Tickets are free and will be available one hour before the performance. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.
Prison Arts Collective Presents, “Through the Wall,” at CB1 Guest Gallery. The downtown gallery is donating its arts space for an exhibition that features paintings, drawings and handmade objects by participants from the Cal State San Bernardino Prison Arts Collective, which offers art-making classes in three California state prisons: the California Institution for Men and the California Institution for Women in Chino and the California State prison in Los Angeles County. Any works sold help raise money for this program. Opens at 3 p.m. Saturday and runs through May 29. 1923 S. Santa Fe Ave., downtown Los Angeles, cb1gallery.com.
A screening of “Boom Bust Boom,” at the Skid Row History Museum & Archive. A comic look at the 2008 financial collapse (it’s narrated by Monty Python alum Terry Jones), this documentary looks at the unreliable nature of our economic system. Afterward, KPFK programming director Alan Minsky will lead a discussion. At 7 tonight, 440 S. Broadway, Mezzanine Level, downtown Los Angeles, lapovertydept.org.
“John Divola: Dents and Abrasions” at Gallery Luisotti. This exhibition features a new series by Divola, who is known for capturing abandoned buildings and their environments in decidedly cool and unromantic ways. (No ruin porn here.) The pieces continue the artist’s tradition of marking the buildings in some way — with spray paint or found paintings — and then capturing the entire scene in a photograph. Through Saturday. Bergamot Station, 2525 Michigan Ave., Building A2, Santa Monica, galleryluisotti.com.
Ed Ruscha, “Editions,” at Leslie Sacks Gallery. The show is a gathering of recent and vintage print editions — from 1982 to 2015 — by the L.A. pop artist, including his inscrutable word-and-image pieces, which he has produced throughout his career, as well as his ghostly prints of ships from the 1980s. Through Saturday. 2525 Michigan Ave., Santa Monica, lesliesacks.com.
“Noir: The Romance of Black in 19th Century French Drawings and Prints,” at the Getty Museum. Figures in deep penumbra and sprightly creatures in dim settings. In the middle of Europe’s industrial revolution, some artists became intrigued by the non-color of the color black, creating prints and charcoal drawings that evoked the nocturnal, the dark and the deep recesses of the cosmos — not to mention the not-quite-real state of dreaming. Through Sunday. 1200 Getty Center Drive, Brentwood, getty.edu.
Jasmin Sanchez, “Flux,” at the Grand Central Art Center. The Orange County-based Sanchez is taking over the walls of the art center with drawings that meld landscape with abstraction and mapping to produce images that feel just a little bit magical. Through Sunday. 125 N. Broadway, Santa Ana, grandcentralartcenter.com.
“Linda Arreola: Architect of the Abstract,” at the Vincent Price Art Museum. This one-woman exhibition looks at roughly a 10-year period in the work of this abstract Los Angeles artist. Arreola is known for creating taut, grid-like arrangements using bright blocks of color. Her work extends into the sculptural realm too. Through May 21. 1301 Cesar Chavez Ave., Monterey Park, vincentpriceartmuseum.org.
“LA Rebels: Photographs by Janette Beckman,” at Project Gallery. Beckman, who is known for photographing some of hip-hop’s most iconic figures (including Ice Cube and Dr. Dre), is showing two sets of works at this show. The first features her collaborations with artists, who often drew and painted over her photographs; the second is a series from the ‘80s that documents the El Hoyo Maravilla gang from East L.A. Through May 21. 961 Chung King Road, Chinatown, Los Angeles, projectgallery.com.
Deveron Richard, at Good Luck Gallery. Unicorns get groovy on light-up disco floors, polar bears rock lipstick and buxom birds wear rainbow dresses in the humorously electrified scenes imagined by this South Bay artist. Through May 21. 945 Chung King Road, Chinatown, Los Angeles, thegoodluckgallery.com.
“Portraits and Autobiographies by Kim Abeles,” at Post. The Los Angeles artist known for using smog — some of her works literally trap particulates onto their surfaces — takes a more inward view in this, her latest solo exhibition. The show includes self-portraits, photo-based works, research projects and sculptural works that often employ the body. Through May 21. 1206 Maple Ave., Los Angeles, postlosangeles.org.
“PLAN,” at the El Segundo Museum of Art. An exhibition organized by the Wende Museum and the El Segundo Museum of Art brings together works by disparate figures — from Camille Pissarro to Egon Schiele to Vitaly Komar and Alexander Melamid — exploring the idea of plans and planning. This includes references to five-year plans, a map for the projected Soviet invasion of West Berlin and other works that play with the idea of fate versus meticulous intention. Through May 22. 208 Main St., El Segundo, esmoa.org.
Abel Alejandre, “Public Secrets,” at Coagula Curatorial. The Wilmington-based artist, known for his hyper-detailed graphite drawings, is unveiling a new series of paintings at the gallery that contend with secrets — from the family sort to UFOs. All of this comes in advance of the opening of his public commission for the Westwood/Rancho Park Metro Station in May. Through May 22. 974 Chung King Road, Chinatown, Los Angeles, coagulacuratorial.com.
Gerald Davis, “House With Buried Figure,” at Ltd. Los Angeles. The Los Angeles painter has his first solo exhibition at the gallery with a series of eight, large-scale expressionistic canvases that depict quivering house-like structures obscuring a human figure within. Through May 27. 7561 Sunset Blvd., No. 103, Hollywood, ltdlosangeles.com.
“TRI(…ed): Revisiting TRI Gallery,” at Wilding Cran Gallery. In 1992, artist Rory Devine established a gallery in his home at Hayworth Avenue in L.A., in which he showed one work by three artists in one room of the house. That evolved into a storefront in Hollywood that lasted for 4 1/2 years. Over its life, the gallery presented more than 30 exhibitions. This show gathers work by artists who showed in the space, including figures such as Mary Heilmann, Kathleen Johnson and Leonardo Bravo, Trudie Reiss and George Stoll. Through May 28. 939 S. Santa Fe Ave., downtown Los Angeles, wildingcran.com.
“Margie Livingston: Holding It Together,” at Luis De Jesus Los Angeles. Livingston doesn’t make paintings; she makes “paint objects” — canvases wrapped in acrylic paint skin that she straps to her body, then drags through the city’s streets. Part penance, part performance, these actions leave behind a work that is as much a wall hanging as it is evidence of something darkly destructive. Through May 28. 2685 S. La Cienega Blvd., Culver City, luisdejesus.com.
Lily Simonson, “Midnight Sun,” at CB1 Gallery. The painter known for her electric renditions of icy snowscapes is having her third exhibition at the gallery, showcasing work that was inspired by a recent trip to Antarctica with the National Science Foundation. Expect otherworldly vistas from both above and below the ice. Through May 29. 1923 S. Santa Fe Ave., downtown Los Angeles, cb1gallery.com.
Catherine Fairbanks, “Two Chimneys,” at Wilding Cran Gallery. A pair of chimney sculptures crafted out of geologic layers of papier-mâché evoke the ruined domestic buildings throughout the West. But while they may call attention with their scale and their dexterous construction, don’t miss the pair of abstractions, on a rear wall, exquisitely woven together from different shades of horse hair. Through May 28. 939 S. Santa Fe Ave., downtown Los Angeles, wildingcran.com.
Delicious Taste, “Re-Corded History,” at C. Nichols Project. The duo of Grant Levy-Doolittle and Bruce Yonemoto, known as “Delicious Taste,” has created an installation that takes on the ephemera of our digital lives and marries it to pre-Columbian tradition. Phones, monitors and surveillance cameras are connected by a vast array of knotty wires that evoke ancient Andean quipús, the knotted strings that served as record-keeping devices. Through May 28. 12613 1/2 Venice Blvd., Mar Vista, cnicholsproject.com.
John Kilduff, at Daniel Rolnik Gallery. Kilduff, known as “Mr. Let’s Paint” for his wild painting performances on treadmills, has a show at Daniel Rolnik that is part conceptual flower shop, part paean to vintage Americana. For the former, the artist is painting specially commissioned canvases of flowers for $100 a pop and in the area he calls “The Cavern” he is featuring works inspired by the show “American Pickers,” which includes renderings of bits of garage sale detritus, as well as a full-blown pinball machine crafted out of cardboard. Through June 1. 2675 S. La Cienega Blvd., Culver City, danielrolnikgallery.com.
Amy Park, “Ed Ruscha’s Every Building on the Sunset Strip” at Kopeikin Gallery. Park takes Ruscha’s iconic 1966 photo book, which documented every building on West Hollywood’s Sunset Strip, and re-creates it as a series of watercolor paintings — a 97-foot immersive environment that wraps the gallery and therefore the viewer. It’s a new way of seeing a familiar Los Angeles work. Through June 4. 2766 S. La Cienega Blvd., Culver City, kopeikingallery.com.
Joan Snyder, “Womansong,” at Parrasch-Heijnen. The prominent abstract painter has seven new canvases on view at this new Boyle Heights space, which explore aspects of landscape and the female figure, as well as one of the early “stroke” paintings for which she is well known. These are canvases composed of bold strokes of paint on gridded backgrounds — works that ride the divide between abstraction and conceptualism. Through June 10. 1326 S. Boyle Ave., Los Angeles, parrasch-heijnen.com.
“43: From Ayotzinapa to Ferguson,” at Self Help Graphics & Art. In partnership with the Social Public Art Resource Center (SPARC), the venerable Eastside print workshop and gallery is bringing together a panoply of L.A. artists — including David Botello, Sandy Rodriguez and Eye.One — to take on the issue of abuses of the state around the Americas. Through June 10. 1300 E. 1st St., Boyle Heights, Los Angeles, selfhelpgraphics.com.
“A Shape That Stands Up,” at Art + Practice. A group show that treads the line between abstraction and figuration features works by Amy Sillman, Henry Taylor, Sadie Benning and a host of other interesting names. Through June 18. 4339 Leimert Blvd., Leimert Park, Los Angeles, artandpractice.org.
Morgan Fisher and Karina Nimmerfall, “Past Future Housing,” at the MAK Center. This exhibition brings together two artists — one German, one from Los Angeles — who look at the question of mass-produced housing in the United States. This includes the creation of a fictional prototype for a new utopian city inspired by historic development plans for Los Angeles. Through June 25. Mackey Garage Top, 1137 S. Cochran Ave., Mid-Wilshire, Los Angeles, makcenter.org.
“Peter Opheim: Fables of the Eleven Rooms and Six Houses,” at Zevitas Marcus. Opheim paints clay renderings of bulbous Venus of Willendorf-ish figurines that are charmingly grotesque. The show includes 11 paintings, as well as a series of sculptures made from the discarded clothing of friends and family members. Through June 25. 2754 S. La Cienega Blvd., Culver City, zevitasmarcus.com.
Berman, “American Aleph,” at Kohn Gallery. This is the first comprehensive Los Angeles retrospective for the pioneering Southern California assemblage artist in roughly four decades. The artist, who was also the publisher of the influential arts and literary magazine Semina, had an international influence. The exhibition gathers works from the 1940s to his death in 1976, including numerous examples of his Verifax collages, photocopied and painted assemblages that play with the tropes of popular culture. This is one not to miss. Through June 25. 1227 N. Highland Ave., Hollywood, kohngallery.com.
Ed Moses, “Moses@90,” at William Turner Gallery. To celebrate the prominent L.A. painter’s 90th birthday, this survey exhibition gathers works from throughout his career. This includes drawings from the 1950s to the 1970s, his more gestural paintings from the 1990s, as well as a slew of recent works. Through June 25. Bergamot Station, 2525 Michigan Ave., E-1, Santa Monica, williamturnergallery.com.
“Salomón Huerta,” at Christopher Grimes Gallery. A new series of works by the Los Angeles artist features his watercolor portraits of celebrated boxers, including Muhammad Ali, Rocky Marciano and Mike Tyson — an intimate look at the hyper-masculine figures of one of the world’s most brutal sports. Opens Saturday at 6 p.m. and runs through July 1. 916 Colorado Ave., Santa Monica, cgrimes.com.
“Marilyn Minter: Pretty/Dirty,” at the Orange County Museum of Art. The New York-based painter and photographer has long played with the tropes of feminine beauty in works that seamlessly stir the alluring with the mildly grotesque. Through July 10. 850 San Clemente Drive, Newport Beach, ocma.net
Alex Israel, at the Huntington. In 2012, the San Marino library and museum unveiled the first of its contemporary interventions with low-key works by Ricky Swallow and Lesley Vance. Now the museum is getting bolder, with a series of installations by painter Alex Israel, whose pop-inspired canvases and objects touch on topics such as celebrity, glamour and power. Through July 11. 1151 Oxford Road, San Marino, huntington.org
José Montoya, “Abundant Harvest: Works on Paper / Works on Life,” at the Fowler Museum. Throughout his life, activist, poet and painter Jose Montoya drew — on whatever was at hand: napkins, hotel stationery and notebooks. And in those drawings he recorded the quotidian aspects of Mexican American life in the United States: dogs and children, women and sailors, pachucos and pachucas, the architecture of low-lying Central Valley neighborhoods, industrial warehouses and agricultural settings, as well as the glamorous profile of lowrider cars. It is the first comprehensive look at this vital Chicano artist’s drawing practice. Through July 17. UCLA, 308 Charles E. Young Drive North, Westwood, fowler.ucla.edu.
Robert Mapplethorpe, “The Perfect Medium,” at the L.A. County Museum of Art and the Getty Museum. A two-part exhibition spread over a pair of L.A. museums explores the photographic legacy of an artist who brought as much grace to images of flowers as he did to S&M. The LACMA portion features early drawings, collages, sculptures, Polaroids, still lifes and archival material. The Getty will present his more formal portraits, along with the infamous “X Portfolio,” with its elegant S&M imagery. The LACMA runs through July 31. 5905 Wilshire Blvd., Miracle Mile, Los Angeles, lacma.org. The Getty exhibit also runs through July 31. 1200 Getty Center Drive, Brentwood, Los Angeles, getty.edu.
“Sam Maloof Woodworker: Life/Art/Legacy,” at the Maloof Foundation. The foundation is celebrating the centennial of the birth of the renowned Southern California woodworker, whose elegant objects and furnishings are in the collections of the Metropolitan Museum of Art, the L.A. County Museum of Art and the Smithsonian. The exhibition will feature more than 60 objects from throughout the artist’s life, including furnishings, drawings, photographs and other ephemera. The show is part of a year’s worth of events that will celebrate Maloof’s life and work. Through Aug. 27. 5131 Carnelian St., Alta Loma, malooffoundation.org
“In Focus: Electric!” at the Getty Museum. Electricity: It powers your home, it powers your work and it powers the phone on which you are likely reading this post. This photographic exhibition at the Getty gathers historic images that showcase the allure of light and power. Through Aug. 28. 1200 Getty Center Drive, Brentwood, Los Angeles, getty.edu.
“Duchamp to Pop,” at the Norton Simon Museum. Drawing mostly from the Norton Simon’s permanent collection, this exhibition looks at the influence Duchamp likely had on generations of artists, from assemblagists to pop painters — figures who have appropriated elements of the everyday world and transformed them into art. Through Aug. 29. 411 W. Colorado Blvd., Pasadena, nortonsimon.org.
“Revolution in the Making: Abstract Sculpture by Women, 1947-2016,” at Hauser Wirth & Schimmel. The debut exhibition at the city’s newest gallery tackles more than half a century of sculpture by women, featuring key works by important international figures (Louise Bourgeois, Lee Bontecou) and key California artists (Ruth Asawa, Clare Falkenstein). Pieces range from the ethereal (Lygia Pape’s golden threads) to downright hilarious (Lara Schnitger’s lacy/cat/fur assemblage sculptures). Altogether, the show offers an alternative to the narrative of the macho man postwar painting scene that has so dominated the story of 20th century art. Through Sept. 4. 901 E. Third St., Los Angeles, hauserwirthschimmel.com.
“Claire Falkenstein: Beyond Sculpture,” at the Pasadena Museum of California Art. The 20th century California artist, whose name has is circulating once again after being included in the debut exhibition at Hauser Wirth & Schimmel, is now the subject of her own retrospective, tracking her entire career, from the 1930s to the ‘90s. (She passed away in 1997.) The artist, who worked in San Francisco and Los Angeles — as well as Paris — produced prints and murals, among other works, but she is best known for her sculpture: in particular, her often gritty assemblages made out of wire studded with chunks of glass. Through Sept. 11. 490 E. Union St., Pasadena, pmcaonline.org.
Hito Steyerl: Factory of the Sun, at the Museum of Contemporary Art. A video installation by the German artist takes the viewer into a dystopia where the movements of workers are harvested to create artificial sunshine. The piece, which debuted at the Venice Biennale in 2015, is a mash-up of contemporary communication, told as video game, news report documentary film and Internet video. Through Sept. 12. MOCA Grand Ave., 250 S. Grand Ave., Los Angeles, moca.org.
“MOLAA at Twenty: 1996-2016,” at the Museum of Latin American Art. The Museum of Latin American Art in Long Beach is celebrating two decades in existence with a show that draws from the museum’s permanent collection of more than 1,600 objects. These include works by renowned Modernists Joaquín Torres-García and Wifredo Lam, Argentine conceptualist León Ferrari as well as contemporary figures such as Alexandre Arrechea and Patssi Valdez. Through Jan. 1. 628 Alamitos Ave., Long Beach, molaa.org.
“Senses of Time: Video and Film-Based Works of Africa,” at the Los Angeles County Museum of Art. For one of its long-term installations, the museum has gathered works of video or film by contemporary African artists that explore the body and the looping nature of time. This includes pieces by figures such as Yinka Shonibare, Sammy Baloji, Berni Searle, Moatax Nasr and Theo Eshetu. Through Jan. 2. 5905 Wilshire Blvd., Mid-Wilshire, lacma.org.
“Non Fiction” at the Underground Museum. An emotionally charged exhibition curated by the late Noah Davis, in collaboration with the Museum of Contemporary Art Los Angeles brings together works that explore issues of race and violence. This includes important works from MOCA’s permanent collection by artists such as Robert Gober, Kara Walker, Henry Taylor and David Hammons. Through March 2017. 3508 W. Washington Blvd., Arlington Heights, Los Angeles, theunderground-museum.org.
“Geographically Indeterminate Fantasies,” hosted by Providence College Galleries. Don’t worry if you’re nowhere near Providence College in Rhode Island. A new digitally-minded exhibition by the art writing team at Art F City features more than two dozen works by artists who use animated GIFs to create work — from Brenna Murphy’s dizzying electronic architecture to Jacolby Satterwhite’s pulsing alternate universe. It’s the sort of thing that will encourage you to spend quality time online (and away from awful Facebook). pcgalleries.providence.edu.
“Islamic Art Now: Part 2” at the Los Angeles County Museum of Art. Contemporary works from LACMA’s permanent collection by 20 artists who live in or have roots in the Middle East look at questions of society, gender and identity. Runs indefinitely. 5905 Wilshire Blvd., Mid-Wilshire, lacma.org.