The Future (and past) is Female: Summer Wheat's whimsical, often tongue-in-cheek tableaux in rich jewel tones punctuated with bright neons, teem with fantastical figures that memorialize tribes of women hunting, collaborating, celebrating, and ultimately replacing millennia of images of male rulers and warriors. Summer Wheat's unique formative experiences with art growing up in Oklahoma were shaped by the aesthetic and conceptual drive of Native American art and Indigenous culture. Bridging those early influences with the canon of Western art (from ancient art to medieval tapestries) and popular references such as astrology and comic books, the artist's work centers female archetypes in her expansive practice of painting, sculpture, and large-scale installation. For the artist's first monograph, curator Jennifer Sudul Edwards discusses the wide range of subjects that inform Wheat's work, including the artist's interest in alchemy. Curator Anne Ellegood in conversation with the artist discusses Wheat's sculptural work, large-scale installations, and first foray into building a freestanding architectural space. Jennifer Krasinski explores Wheat's unique approach to painting; her impressive wall works resemble a cross between intricate beadwork and the pixel-like structure of a digital image.

Summer Wheat: Forager

Arts & Photography

Ellegood, Anne

Sudul Edwards, Jennifer

Krasinski, Jennifer

Brackens, Diedrick

History & Criticism

Rizzoli Electa

Widely regarded as one of the leading exponents of postminimalist art in the late 1970s, Charles Gaines (born 1944) is known primarily for his photographs, drawings and works on paper that investigate systems, cognition and language. Considered against the backdrop of the Black Arts Movement of the 1970s and the rise of multiculturalism in the 1980s, the works in Charles Gaines: Gridwork 1974-1989 are radical gestures. Eschewing overt discussions of race, they take a detached approach to identity that exemplifies Gaines' determination to transcend the conversations of his time and create new paths. Charles Gaines: Gridwork 1974-1989 gathers significant examples from several of the artist's most important series, including 75 key works from the mid-1970s through the late 1980s. It features drawings and photographs from public and private collections--some of which were previously considered lost--and essays by leading scholars and curators.

Charles Gaines: Gridwork 1974-1989

Martin, Courtney

Simpson, Bennett

Singerman, Howard

Gaines, Malik

Tani, Ellen

Schriber, Abbe

James, Jamillah

The Studio Museum in Harlem

This thematic selection of recent work from nine established and emerging international sculptors--the eldest born in 1947 and the youngest in 1974--collects the ways they are giving shape to the fleeting, ephemeral, theoretical and difficult-to-explain. From Charles Long's delicate, poetic and personal debris assemblages to Bjorn Dahlem's quirky, elegant models of black holes and Andrea Cohen's styrofoam and packing-peanut networks, their works are inspired by and address the history of their medium, as they explore how it can continue to challenge and expand our ways of seeing. The Uncertainty of Objects and Ideas is not only a look at current trends, but a tool in placing this new work within the history of Modern sculpture. It notes responses to the formal and material concerns of groundbreaking twentieth-century experiments such as Cubist collage, Dada and Fluxus, from 1960s California's "junk" sculptures to Robert Rauschenberg's postmodern Combines. Includes work from Isa Genzken, Mark Handforth, Rachel Harrison, Evan Holloway, Mindy Shapero, Franz West, as well as Cohen, Dahlem and Long.

The Uncertainty of Objects and Ideas: Recent Sculpture

Burton, Johanna

Hirshhorn Museum and Sculpture Garden

Brognon Rollin. L'avant dernière version de la réalité

COLLECTIF

Grégoire, Axelle

Fassin, Éric

Blanpied, Julien

Attal, Jean-Michel

Kayser, Lucien

Lamy, Frank

Rollin, Pierre-Olivier

MAC VAL

This book accompanies the latest bi-annual invitational exhibition organized by the Hammer Museum, which showcases the work of several Los Angeles-based artists, both established and emerging, as well as a number of artists from around the world. This catalogue to the 2011 exhibition highlights the work of fourteen contemporary artists across a wide range of media, including painting, sculpture, drawing, installation, performance art, moving image, and sound. Chosen for their interest in examining the nature of being and our experiential relationship to the world as well as their desire to make the process of artistic production visible to the viewer, this group of artists includes Karla Black, Charles Gaines, Evan Holloway, Sergej Jensen, Ian Kiaer, Jorge Macchi, Dianna Molzan, Fernando Ortega, Eileen Quinlan, Gedi Sibony, Paul Sietsema, Frances Stark, Mateo Tannatt, and Kerry Tribe. Their work explores the transient nature of materials, the limitations of structures and systems, and connections to music, sound, literature, mathematics, and time. This volume includes essays by the artist Charles Long and by Anne Ellegood and Douglas Fogle, the exhibition's curators, as well as a section of color plates and a brief text and biographical information for each artist, making this an exciting reflection on the nature of art-making today.

All Of This And Nothing

Fogle, Douglas

Reference

Prestel

Bringing together the work of 60 artists from in and around Los Angeles―many of them emerging or under-recognized―this collection of paintings, sculpture, installations, and stills from video and performance art offers a snapshot of the current trends and practices coming out of one of the world’s most active and energetic art communities. The book features 52 visual artists and 8 performance artists, each in double-page spreads, while an essay with contributions from the exhibition’s 5 curators highlights the challenges and rewards of mounting such an extensive project. This groundbreaking exhibition takes place simultaneously at multiple Los Angeles locations: the Hammer Museum, LA&gt;

Made in L.A. 2012

Subotnick, Ali

García, César

Firstenberg, Lauri

Published in conjunction with the first North American survey of the work of Jimmie Durham, this beautifully illustrated catalogue explores Durham’s vital contributions to contemporary art since the 1970s, both in the US and internationally. Born of Cherokee descent, in 1940s Arkansas, Jimmie Durham takes up such issues as the politics of representation, histories of genocide, and citizenship and exile. This volume collects an array of Durham’s sculptures, drawings, photography, video, and performance. It includes essays about Durham’s material choices and their metaphoric potential; his participation in the NYC art scene in the 1980s; his use of language; and his ties to Mexico after living in Cuernavaca. An interview with Durham traces his involvement with the American Indian Movement and his self-exile from the US, which along with his essays and poetry, illuminate his life and work. This book provides an opportunity to gain a deeper understanding of Durham, arguably one of the most important artists working today.

Jimmie Durham: At the Center of the World

This book presents work featured in the 2018 edition of Made in L.A., the Hammer Museum's biennial exhibition. Since its inception in 2012, Made in L.A. has been bringing together regional artists from every discipline and has been curated by some of the most exciting figures in the art world. 2018 is no exception. Spanning sculpture, painting, installation, film and video, music, and performance, the exhibition is dedicated to giving emerging artists a platform alongside influential artists of an earlier generation. This volume features texts on each artist's practice, alongside a round table conversation exploring the city's various artistic communities and the latest preoccupations and inspirations driving artists' work today. This sumptuous catalog reveals the enormous diversity among L.A.'s artists and what makes the city such a vibrant cultural capital. Published in association with the Hammer Museum

Made in L.A. 2018

Explore the sculpture and installation work of artist Lauren Halsey, winner of the coveted Mohn Award in 2018. Every two years, on the occasion of the Made in L.A. biennial, the Hammer Museum presents the Mohn Award to an artist whose work in the exhibition is exceptional. The 2018 winner was Lauren Halsey for her piece The Crenshaw District Hieroglyph Project (Prototype Architecture), a large structure made of plywood and gypsum and covered in bas-relief carvings. These carvings--depicting graffiti, community members, and other elements significant to South Central Los Angeles where Halsey grew up--evoke the hieroglyphs found on Egyptian temples. This book also explores a range of Halsey's earlier work and includes original texts by poet and performer Douglas Kearney, curator Anne Ellegood, as well as an interview between the artist and curator Erin Christovale. Published with the Hammer Museum

Lauren Halsey: Mohn Award 2018

Christovale, Erin

Individual Artists

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Books by Ellegood, Anne