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Jim Isermann
Untitled, 2003
silver vacuum formed plastic
34 x 34 in
$750.00
Balancing composition and mathematical proportion, Jim Isermann employs methods of industrial design to create patterned murals, wall hangings, textile works, and sculptural installations. Isermann’s use of saturated color and industrial materials, such as vinyl and enamel, yield a Minimalist aesthetic that merges formal concerns with utilitarian design applications. For example, in an untitled installation made in 2000 at the Rhode Island School of Design, Isermann fabricated a tile pattern in nylon carpet, which served as the flooring of the school’s gallery space. In more recent years, Isermann has continued to explore the fusion of art and design through site-specific installations, his work often taking the form of large-scale, modular wall reliefs.
Barbara Kruger
Untitled (Platter War), 2018
Glazed Earthenware
15 in (diameter)
$6,000.00
Barbara Kruger is an American artist who challenges cultural assumptions by manipulating images and text in her photographic compositions. She attended Syracuse (New York) University and continued her training in 1966 at New York City’s Parsons School of Design. By the late 1970s Kruger had developed her trademark style: large-scale photographic works that appropriate anonymous cultural images and text and juxtapose them in unexpected ways. Kruger’s work appears in the permanent collections of several major museums, including the Whitney Museum of American Art and the Museum of Modern Art.
Barbara Kruger generously donated this artwork to Los Angeles Contemporary Exhibitions in conjunction with LACE’s 40th Anniversary in 2018. This edition is unsigned. It is Barbara Kruger’s practice not to sign her artworks.
Published by Los Angeles Contemporary Exhibitions (LACE)
Project coordination by Eric Gero Editions
Ceramic production by Creative Fire Studio
Amy Adler
Hotel Room, 2005
Series of 5 duotone prints
12.5 x 16 in
$4,000.00
Amy Adler was born and raised in New York City. She graduated from Cooper Union and received an MFA in Visual Art from UCLA and an MFA in Cinematic Arts from USC. She has had solo shows at the Museum of Contemporary Art Los Angeles, the Museum of Contemporary Art San Diego and The Aspen Art Museum as well as galleries worldwide. Her project, Amy Adler Photographs Leonardo DiCaprio, was shown at the UCLA Hammer Museum in Los Angeles in 2002. In the spring of 2005 Twin Palms Press released a monograph of her work entitled, Amy Adler Young Photographer. Her work is included in several permanent collections including The Broad Foundation, Los Angeles, The UCLA Hammer Museum, Los Angeles and The Museum of Contemporary Art Los Angeles. Amy Adler currently lives in Los Angeles and is Professor of Visual Art at the University of California San Diego.
Monica Majoli
Study for “Hanging Rubberman #1”, 2005
Original lithograph with multiple plates
30 x 22 in
Edition of 20 + 2 AP
$3,500.00
Monica Majoli’s artwork hauntingly engages issues of sexuality, mortality and transcendence. Since 1999, she has created an extensive series of watercolor and gouache drawings of men engaged in forms of fetish bondage that involve the wearing of rubber suits. Majoli created this print from one of her visually arresting images of a male subject suspended vertically in a harness. Her edition employs lithography printing techniques to capture the man’s fluid, disembodied consciousness encased within the confining rubber skin.
Lawrence Gipe
Apotheosis, 1993
Lithograph (unframed)
15 x 19 1/4 in
Edition of 25
$900.00
Lawrence Gipe is an American painter. He derives his paintings from an “irredeemable” image pool of ideological photographs. Since the 1980s, every work has come from an archive of propaganda tracts, social realist photography books and other art “approved” by politically driven authorities. Appropriating imagery from photo journals and magazines from the 1930s to the 1970s, his paintings translate small black and white images into large, visually seductive color works. Radically severed from their original contexts, the intention is for these reinterpretations to actively force the spectator to reconstruct the images’ ideological significance.
Jeff Burton
Untitled (K.C.), 1996, 2005
Cibachrome
9 3/4 x 14 in
Edition of 50
$750.00 / Member: $637.50
After receiving an MFA in painting from CalArts in 1989, Jeff Burton began a career as a stills photographer on the sets of adult movies. Untitled (K.C.) demonstrates Burton’s careful attention to the compositional possibilities of the pornographic scene. In K.C., as with much of Burton’s work, bodies hold more than the promise of sex – they offer the opportunity to reinvest in the urgent pleasure of looking. While genres collide and attentions wander, Burton’s work advocates for a desire that reaches beyond the proscribed boundaries of sex into the landscape of the everyday.
Jeff Burton lives in Los Angeles. He has had numerous solo shows in the U.S., Japan and Europe. His work has also been included in many group exhibitions, including Beau Monde/Site Santa Fe 4th International Biennial (2001), curated by Dave Hickey, and Stills: Emerging Photography in the 1990s (Walker Art Center, 1997). Burton’s photographs are collected in three monographs: Untitled (Composite Press/Hougado Corp., 1998), Dreamland (powerHouse Books, 2001), and The Other Place (Twin Palms Publishers, 2005), which includes an essay by Bruce Hainley. He is represented by Casey Kaplan, New York and Sadie Coles HQ, London.
This edition was generously printed by Weldon Color Lab.
John Baldessari
The Intersection Series: Statue/Bound Person, 2002
Iris print (unframed)
15 3/4 x 13 in (paper)
11 7/8 x 10 1/4 in (image)
Edition of 20
$4500 / Member: $3825
John Baldessari is a major figure in contemporary art. He has had numerous solo exhibitions including shows at the Reykjavik Art Museum in Iceland, the Marian Goodman Gallery in New York, the Sprengel Museum in Hanover, Germany, and the Margo Leavin Gallery in Los Angeles. His work has been included in group shows across the U.S. and abroad including exhibits at the Getty Museum, Los Angeles, Museu d’Art Contempoari de Barcelona, the Armand Hammer Museum in Los Angeles, and the Venice Biennial.
For this print, John Baldessari used two found images: one, a portion of a movie still that features the figure of a naked man, supine and loosely coiled in thick rope; the other, a photograph of an Art Nouveau-inspired female nude wearing nothing but a look of glee.
Meg Cranston
Untitled (Stick), 2005
Light-jet print
20 x 14 in
Edition of 20
$600.00
Meg Cranston’s work often combines text and imagery from popular culture. In producing these two prints for Contemporary Editions Los Angeles, Cranston took inspiration from posters in donut shops. In contrast to the slick and highly produced product shots that are seen in mainstream food advertising, Cranston selected her subjects, onion rings and a stick for their “grubby” appeal. She made the artwork by literally putting the onion rings directly on her scanner. Same for the stick. Each artwork reflects a deep appreciation for the texture of our everyday lives.
Meg Cranston
Untitled (Onion Rings), 2005
Light-jet print with matte laminate
20 x 14 in
Edition of 20
$600.00
Meg Cranston’s work often combines text and imagery from popular culture. In producing these two prints for Contemporary Editions Los Angeles, Cranston took inspiration from posters in donut shops. In contrast to the slick and highly produced product shots that are seen in mainstream food advertising, Cranston selected her subjects, onion rings and a stick for their “grubby” appeal. She made the artwork by literally putting the onion rings directly on her scanner. Same for the stick. Each artwork reflects a deep appreciation for the texture of our everyday lives.
Jeffrey Vallance
Man & Beast, 1993
Lithograph
35 x 28.5 in (88.9 x 72.39 cm)
Edition of 50
$750.00
Jeffrey Vallance is a contemporary artist who lives and works in Los Angeles, California. Vallance received a BA in Art from California State University, Northridge, in 1979, and an MFA from the Otis Art Institute, Los Angeles in 1981. Best known for projects that blur the lines between object-making, installation, performance, curation and anthropological study, Vallance’s work has long challenged critics to define the artist’s unique multidisciplinary cross-pollination.
Evan Holloway
Free Space Meter Boot, 2000
Steel box
18 1/4″ x 8″ x 9″ (installed interlocking)
Color photograph
8 x 10 in
Edition of 15
$1,500.00
Evan Holloway has made an object entitled Free Space Meter Boot. It is a steel box reminiscent of a Serra maquette — it is a finely scaled rectangle with an industrial patina. The box is designed to fit over a parking meter. Once in place, it cannot be removed unless the meter is actually cut away — thus offering a free (albeit temporary) parking space. Like much of Holloway’s work, this piece offers a kind of renegade hospitality or a small utopic gesture.
The steel sculpture consists of two interlocking five-sided steel boxes. Each box has a u-shaped cutout at one end with a diameter of approximately 3 1/2″. The work is installed by pressing the two box halves around meter or a single vertical pole until they snap together. Flexible 20 gauge interlocking tabs on the interior of each component prevent the box halves from being separated once installed. The sculpture has been chemically patinated on the outside and rubbed with linseed oil. Each edition includes an 8″ x 10″ color photograph documenting the installation of the Meter Boot Prototype on 29 March 2000.
Evan Holloway has had solo exhibitions at Marc Foxx, Los Angeles, where he is represented, and at Arts Commission Gallery and Galaxy Bizarre in Tacoma, WA. In addition, he has participated in such notable group shows as Standing Still & Walking In Los Angeles at Gagosian Gallery, Caught at 303 Gallery in New York, Play Mode at University of California, Irvine and University of Michigan, Ann Arbor, Brighten the Corners at Marianne Boesky in New York, Malibu Sex Party at PURPLE in Los Angeles, and Work and Progress at Los Angeles Contemporary Exhibitions.
Alexander Apostal
Think Blue, 2007
Giclee print on Hahnemuhle pearl paper
25.5 x 61 in
Edition of 25
$1,350.00
Alexander Apóstol studied photography with Ricardo Armas, and art history at the Universidad Central de Venezuela, Caracas. His focus is on the iconography of the urban landscapes in his native Venezuela and across South America, exposing fractures in modernist design. His 2012 video Chromosaturated Social Contract (Contrato colectivo cromosaturado) investigates the relationship between architecture, art, and urban planning in relation to Venezuelan history.
