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Joakim Ojanen in Artillery
Oct 7, 2020

2 Ceramics Shows: Joakim Ojanen & Max Maslansky

by Jody Zellen

Stockholm-based artist Joakim Ojanen's delightful exhibition of paintings, drawings, and ceramics at Richard Heller Gallery is aptly titled: "A Show for the Lonely Distant Baby Souls." According to the artist, it is "a celebration of the human being." He goes on to say, "Let the stupid feelings take over. Get mad, get angry, get drunk, get happy, get sad! Find a friend, give them your heart, smoke a cigarette, look up in the blue sky, suck a flower, enjoy the day but also cry. Please don't forget to cry. There's many of us, we can make miracles together, beautiful things! But most of the time it's hard to understand each other, that's OK but just please be nice."

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Jackson Casady in Art Now LA
Jul 27, 2020

Jackson Casady: 'Peccadillo Soup'

Strange and Magical Images

Jackson Casady is a young Los Angeles artist (just 24 years old) whose surreal and satirical paintings cull their subject matter from the entertainment industry, popular culture and the manicured landscape of Los Angeles. His figurative canvases and works on paper have a dream-like quality— as if what is depicted is at once possible and impossible.

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Eric Croes in Architectural Digest
May 19, 2020

What 11 Artists Have Created During Quarantine

May 19, 2020 by Gay Gassman

Belgian artist Eric Croes has been quietly working away in his studio in Brussels, a five-minute walk from his house. He has taken advantage of the short commute to bring his dog, Mammouth, a little dachshund, to and fro. Croes has been one to watch these past few years, building up an artistic practice of fanciful and colorful ceramic totems and sculptures, all highly personal. He once told AD that these works were ways for him to tell personal stories without bothering anyone. As for the past few weeks on lockdown, the artist says, "God never closes a door without leaving a window open." Croes was meant to have a solo show mid-March at Sorry We're Closed, his Brussels gallery, but he says, "Instead of drowning in melancholy, I took advantage of the time to throw myself into my work: I started working on a commission for the city of Nantes and it took an unexpected turn during this strange period. During the modeling process, it became something like an ex-voto covered with good luck charms. I wanted it to be like a good genie protecting the passersby. It's also brought me good luck in the studio during this time."

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Joakim Ojanen in HYPEBEAST
Apr 21, 2020

Joakim Ojanen Welcomes You to His Fever Dream

Joakim Ojanen's work is a feverish childhood dream immortalized in oil paintings, charcoal drawings, ceramic sculptures, and installations. Over the years, the Swedish artist has played maker to a cast of humanoid creatures and their wacko companions.

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Baldur Helgason in Hypebeast
Apr 6, 2020

Baldur Helgason Creates "Spiritual Paintings for Emotional People" as part of a new virtual presentation with Richard Heller Gallery

April 6, 2020 by Keith Estiler

This past weekend, Balder Helgason virtually presented a new body of work as part of an exhibition titled "Spiritual Paintings for Emotional People" at Richard Heller Gallery. The works on show feature the Chicago-based artist's stripe-shirted cartoon character in varying, vivid scenes of the everyday mundane.

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David Jien in the New York Times
Apr 1, 2020

David Jien in the New York Times

April 1, 2020

Illustration for a piece written by Sophie Dahl.

Click here to see the illustration:

A Conversation with Sara Birns in Juxtapoz
Mar 31, 2020

Art In Uncertain Times: A Conversation with Sara Birns As She Celebrates Her First Solo Show in a Crisis

March 31, 2020 in Studio Time

"I has the privilege of introducing Sara Birns to oil paint just over a year ago," Juxtapoz alum Christian Rex van Minnen enthused about his protege, Santa Cruz, California-based painter Sara Birns. "To be this young with this kind of talent is insane. I can't wait to see where she goes, and I feel extremely fortunate to get to play a small role in her journey... Sara is a natural, a phenom."

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Ana Benaroya Interview in Juxtapoz
Mar 5, 2020

Ana Benaroya: Poetic Justice

March 5, 2020 by Kristin Farr

The great and powerful OZ was revered and feared, but secretly, a humble and quiet creator, empowering an alter-ego to express his emerald-hued, fiery feelings. Ana Benaroya's fervent paintings are akin to the Wizard's approach, but they speak for her rage as a female, which, considering global cultures and the perpetration of varying levels of violence, remains a second-c;ass gender or worse.

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David Jien in Hi-Fructose Magazine
Sept 11, 2019

David Jien Returns with 'All Is Not Lost'

Sep. 11, 2019 by Andy Smith

Rendered in colored pencil and graphite, the new works of David Jien expand his wild worlds in a show at Richard Heller Gallery. "All Is Not Lost," running though Nov. 2 at the Santa Monica space, moves between his strange scenes and shelves of curiosities.

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Orkideh Torabi Review in the LA Times
Jul 29, 2019

In her paintings, the glorious awkwardness of men failing to have fun

JULY 29, 2019 by David Pagel

The men in Orkideh Torabi's pictures at Richard Heller Gallery don't really know what they're doing.

That's not unusual: Some men have gotten so used to pretending to be experts, they've also gotten used to thinking they're more capable and intelligent than those around them, including women and children. What’s striking about the Chicago-based female artist’s cartoon dudes is that they’re just trying to have a good time — and failing, miserably.

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Orkideh Torabi Review in Artillery
Jul 24, 2019

Orkideh Torabi Review

July 24, 2019 by Annabel Osberg

Orkideh Torabi's painted burlesques of men offer sardonic commentary on patriarchal oppression of women in Iran and beyond. The Tehran-born, Chicago-based artist's 2017 LA show featured mostly frontal portraits of caricatural men whose stark, formal poses against Persian patterns heightened their appearances of self-satisfied foolishness. Her new paintings build on the previous with added humor and intricacy, depicting full-length male figures in pairs or groups engaging in activities from which women are excluded.

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Orkideh Torabi Review in ArtNowLA
Jul 14, 2019

Orkideh Torabi: 'Give them all they want'

Exploring Issues of Patriarchy

July 24, 2019 by Jody Zellen

Give them all they want refers to men: the subject and objects of Orkideh Torabi's gaze. Her colorful paintings, created by screening fabric dye onto cotton, explore issues of patriarchy, infusing this loaded topic with a wry sense of humor. Torabi is now Chicago-based, but was born in Iran during the revolution (1979). Her paintings depict Iranian men in domestic and nature settings where their portrayals are surprisingly intimate and vulnerable.

To read the full review click here:

Sean Norvet in Juxtapoz Magazine
May 6, 2019

In Conversation with Sean Norvet: From "High On Stress" to "Revenge of the Steersman"

May 6, 2019 by Sasha Bogojev

It's been 2 years since Sean Norvet had his last solo show in Tokyo, and after seeing his smaller works in group shows in the meantime, we were eager to see a full-on elaborate solo exhibition by the LA-based painter. And lucky for us, on May 11th, Richard Heller Gallery will be presenting Arrangements, Norvet's long-awaited solo debut with the gallery.

As fans of his work and the ways he is deconstructing and disrupting his subjects while collaging a wide range of familiar, everyday visuals, we were curious to see what he worked on for this showcase. His concept of patching up characters and surrounding scenes from goods they consume is an original take on the classic figurative painting that results in psychedelic and humorous visuals. After seeing some teasers on his Instagram, we've decided to get in touch with Norvet, have a peek inside of his studio and chat about the new body of work.

To view the full conversation please click here:

Oli Epp Review in the L.A. Times
Apr 15, 2019
Painter-on-the-verge Oli Epp's U.S. solo debut has human folly in full technicolor

April 15, 2019 by David Pagel

Oli Epp, born 1994, may be today's Roy Lichtenstein. Or tomorrow's Ed Ruscha. Or the next day's Philip Guston. Or all of the above. Or maybe none.

At Richard Heller Gallery, the London-based painter's U.S. solo debut, "Contactless," raises big questions about art, life and technology - and then ducks and runs.

If you look at art because you want to find out what other people think, you probably will be frustrated by Epp's crisply delineated pictures of humanoids do: behave like people while getting us to see the folly of our behavior.

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Amy Bennett: Nuclear Family - Brattleboro Museum
March 9, 2019 - Jun 16, 2019
Amy Bennett: Nuclear Family

March 9 - June 16, 2019 - The Brattleboro Museum and Art Center, Vermont

Working with common themes such as time, isolation, and transition, Amy Bennett is interested in the fragility of relationships and people's awkwardness in trying to coexist and relate to one another. To that end she creates miniature 3D models to serve as evolving still lifes from which she paints detailed narrative paintings. Using cardboard, foam, wood, paint, glue, and model railroad miniatures, Bennett constructs various fictional, scale models. Recent models have included a town, neighborhood, lake, theater, doctor's office, church, and numerous domestic interiors. The models become a stage on which she develops narratives. They offer her complete control over lighting, composition, and vantage point to achieve a certain dramatic effect.

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Farshad Farzankia in T The New York Times Magazine
Oct 24, 2018

The Artist Who Is Selling Out Shows Just Two Years After He Started Painting

Farshad Farzankia left his day job in 2016. Now, he's putting the finishing touches on his first major U.S. solo show, which will open later this month.

By Natalia Rachlin, October 24, 2018

At just past 10 on a late summer morning, the artist Farshad Farzankia is sitting at a desk in his sun-seeped studio on the outskirts of Copenhagen, wearing paint-splattered Vans and old track pants, like a '90s skater kid now fully grown. Nursing a can of Coke and occasionally puffing on a hand-rolled cigarette, he doodles on a sheet of printer paper. Stacked against the walls are the large hypersaturated canvases that consume his days (and often nights, hence the early soda fix).

Farzankia's paintings are instantly appealing: Simple, figurative compositions of androgynous bodies, birds, plant life and obscure symbols, rendered in bright pop palettes, they are well suited to the age of Instagram. Less apparent is that he's only been making this work for two years. In 2016, Farzankia, now 38, quit his day job as an art director at an advertising agency in order to turn his attention to painting, a hobby he had picked up some six months earlier, after years of idly drawing and sketching in his spare time. Since then, he has become one of Scandinavia's most buzzed-about emerging artists. When, last December, the Los Angeles-based gallerist Richard Heller presented a selection of Farzankia's work at Art Basel Miami's Untitled fair, it sold out instantly. Now, he is preparing for his first major U.S. solo show, at Heller's galleryin Santa Monica, opening on Oct. 27.

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Vanessa Prager featured in It's Nice That.
Oct 1, 2018
Vanessa Prager on embracing the chaos of life in her work, and collaborating with her sister, Alex Prager

by Billie Muraben, October 1, 2018

Vanessa Prager's paintings depict the female form in various degrees of abstraction. Her busy, tactile, portraits blend form and landscape in a sort-of kaleidoscope of colour and expressive mark-making; showing "the complexity of character, and the years of experience, good or bad, in each portrait", she says. "When I started working with paint, I wanted everything to be great and something akin to perfect, but perfect is an impossible standard and quite unattainable. Somewhere along the way, when life got more wild and messy, so did my painting, and I just kind of embraced it" Vanessa explains. "The layers, imperfections, the smooth glossy parts next to the pokey peaks and the bubbled extra bits, the excessive amount of paint and colours, it all just kind of made sense to me."

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Vanessa Prager - The New York Times Magazine
Sept 14, 2018
Vanessa Prager and Alex Prager collaborate on the New York Times Magazine cover portrait of Maya Rudolph.

Jake Silverstein, editor in chief:
"Maya Rudolph is such a game subject that we wanted to try something a little weird and collaborative. The photographer Alex Prager's sister, Vanessa, a painter, created a portrait of Rudolph that is inspired by a work by the 20th-century American portraitist Alice Neel. It was then cut to allow Rudolph's real face and hand to come through, creating a surreal image that blends fact and fiction, much the way she does as an actress."

Click here to watch a video on how the cover was made:

JUXTAPOZ - A Conversation with Paco Pomet
Sept 13, 2018
An Ailment You Enjoy: A Conversation with Paco Pomet

The Portuguese writer Manuel de Melo described Suadade as "a pleasure you suffer, an ailment you enjoy", though it's considered a word or feeling that is untranslatable. Paco Pomet is a painter, and I think he paints poetry. Resonate is too mild a word to describe the drama and color contained in each canvas, as it reels you in. There is no glancing at a Paco Pomet canvas. I spoke to the artist by email about his show, Melancholia, at Richard Heller's Santa Monica gallery, which runs through October 20, 2018.

Read the conversation here:

Eric Croes in Architectural Digest
Sept 1, 2018

Fantastic Beasts

To create his latest array of ceramic treasures, Belgian artist Eric Croes let his imagination run wild.

It's been a slow and steadypath for Belgian artist Eric Croes, who retired his paintbrush five years ago after painting for a decade. "I was fed up and wasn't finding my voice, so I stopped for two years and took up night classes to study ceramics ,'' he explains during a recent visit to his Brussels studio. "I became passionate about the material."

Following his highly successful show at Paris's VNH Gallery this past spring, it's clear he has now found his way creatively. At first glance, his ceramic works are fanciful and fun-full of bold hues and imaginary creatures that he has fashioned into totems, birdhouses, and table lamps. However, he explains, they are also highly intimate statements, "a way to speak about very personal things without bothering anyone." Taking inspiration from his own memories and surroundings, Croes builds up his sculptures like collage, piecing together images and forms.

At times he'll riff on games like exquisite corpse, wherein multiple players draw different parts of a figure. In other cases, he'll impose his own rules. For his upcoming solo exhibition, opening January 2019 at Santa Monica 's Richard Heller Gallery, Croes gave his family members disposable cameras to take pictures of their daily lives. (No Photoshop allowed, hence the old-school devices.) He has since developed their images - en larbring them, cutting out figures, mixing everything up. "The idea is to make a family portrait," Croes explains. "This will be a way for me to have them with me on my first trip to America. I don't even have a passport yet! I'm excited. I just want people to see my work." Gay Gassmann

Corey Arnold featured in National Geographic
Jul 30, 2018
How Explorers Sleep in Extreme Spots

by Alejandra Burunda

National Geographic photographer and active fisherman Corey Arnold knows the curse of the busy mind all too well. During the height of the commercial fishing season, sleep gets sidelined: When the choice is to sleep or to make thousands of dollars, he chooses to stay awake and work. And even when he carves out an hour or two for a nap, his brain is racing too fast to relax.

“After all the adrenaline of a long day, a big stormy day, your brain is vibrating,” he says. If he can get to sleep, his dreams are filled with waves crashing over boats. Sometimes, sleep just replays a dream-state reel of his waking experiences. When he fished for crabs, he spent the day counting each crab he pulled out of the pots and thre down into the hold.

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Los Angeles Times: Joakim Ojanen Review
Jul 25, 2018
Review: With 'Year of the Dog,' artist Joakim Ojanen crafts imaginary creatures full of real drama.

by David Pagel

The characters in "Year of the Dog," Joakim Ojanen's second solo show in the United States, are more diverse than those that appeared in the Swedish Artists' solo debut two years ago, also at Richard Heller Gallery in Santa Monica.

Made of clay, bronze, paint and charcoal, Ojanen's menagerie of sentient critters is also more fantastic: Less realistic and more cartoon, they suggest humans are most humane when we're in touch with our animal selves.

To read the entire review, click here:

DOT Magazine: David Jien - Epic Drawings
Jul 25, 2018

by Solvej Shou

"I'm inspired the most by nature: its textures, colors, the sun, sky, animals, trees," says fine artist David Jien (BFA 09). "My work is based on my own narratives, and also influenced by folklore, Greek mythology and the bible."

On a bright afternoon, Jien sits in his garage work studio, decorated with vintage monster, manga and robot figures. His stained glass sculptures—one looks like a psychedelic Humpty Dumpty—and his intricate graphite and colored pencil drawings of reptile-like beings line the room, along with a gigantic acrylic painting. Steps from his house in Baldwin Park, 30 miles east of ArtCenter, the garage is his creative inner sanctum.

To read the rest of the interview, please click below.

Art Now LA - Joakim Ojanen Review
Jul 6, 2018
Joakim Ojanen: Year of the Dog - High Art That Makes You Smile

by Jody Zellen

Joakim Ojanen is a Swedish artist based in Stockholm. He spent the last few months working in the ceramic studio at Long Beach City College to create many of the pieces in his current exhibition,Year of the Dog. Ojanen has filled the gallery with these ceramic sculptures, as well as drawings, paintings and bronze casts— all of which depict quirky, cartoon-like, part-human/part animal figures. These works have an immediate appeal. They are simultaneously seductive, melancholic, comic and tragic.

This ambitious installation includes a freize of charcoal drawings, a suite of paintings, two bronzes and more than 33 ceramic sculptures that range in size from just a few inches to over 50 inches high. Upon entering the gallery, it is hard not to first gravitate toward a rectangular group of tables where sculptures including Octopus Ballin' On Home Stone with Little Guest (all works 2018) are situated. Octopus Ballin' features an octopus perched on a tall, dome shaped grayish stone. Its long tentacles dangle and one of them holds an orange basketball. The frowning octopus sports a hat and has long white tears streaming from finger-like eyes that extend from the creature's face.

Read complete review and see additional images here:

Juxtapoz Magazine: Joakim Ojanen: Year of the Dog
Jun 25, 2018
Through a series of paintings, drawings and perhaps his strongest series of ceramic works to date, Joakim Ojanen just opened his most recent solo exhibit, Year of the Dog, at Richard Heller Gallery in Santa Monica, CA. Ojanen spent the last few months in a studio provided by Long Beach City College, giving the Swedish-born artist a Southern California base to realize this new body of work, which is on view through July 28, 2018.

Andrew Chuani Ho Interview in Elephant
May 5, 2018 - June 9, 2018
Andrew Chuani Ho on Animals and the Art of Sport

The characters in my drawings are surrogates that I live through vicariously." Andrew Chuani Ho's colourful, intricate drawings depict a world full of bright-eyed animals wearing sports jerseys and lounging in richly-patterned interiors.

Words by

Your show The Other Side has just opened at Richard Heller Gallery in Los Angeles. What can we expect from it?

I have made a new body of drawings that depict the story of a mythology that I'm creating. At this point in the story the characters are stuck in a sort of limbo. All my characters in this show are lost in a unique labour that they must overcome.

Continue Reading here

LA TIMES REVIEW: Christian Rex van Minnen
Nov 25, 2017
REVIEW: Christian Rex van Minnen's modern tales of male domination, painted like an old master

By: David Pagel

Christian Rex van Minnen makes icons for an age whose virtues have curdled. The scariest part of his gut-punch paintings, watercolors and monotypes at Richard Heller Gallery in Santa Monica is that that age is ours.

November 1, 2017 - November 30, 2017

Interview with Christian Rex van Minnen, by Evan Pricco, in Juxtapoz:

There are artists working today whose technical skills rival the museum stalwarts of 400 years ago, and there are those who combine humor, satire and the fantastical, along with the likes of Tim Burton and David Lynch. For years, Christian Rex van Minnen has balanced the incredible intuition of a fine painter with an almost cinematic approach to character creation. But, as this conversation will reveal, these are surface-level observations. The NYC-based painter works in a larger scope, one that examines not only his own personal identity, but some of the ugly truths and struggles for meaning that, perhaps, most American men have yet to understand in themselves. In a mood of self reflection, Christian and I dove into a wide-ranging talk about his recent stay in Colorado, Twin Peaks, UFC, male identity destabilization and the beauty that will emerge after this period of fear in America.

Oct 31, 2017

"Christian Rex van Minnen on Horror, Humour and Light"

Words by Rosalind Duguid

"There's this strange feeling of life being layered; there's a private life where I have a deeper sense of meaning, a spiritual practice, and then this constant, addictive, dopamine drip of social media layered on top." Christian Rex van Minnen's paintings are at once nightmarish and hilarious—grotesque fleshy creatures that look as though they've crawled from the darkest corner of the internet.

To read the interview please go to:

Oct 21, 2017

Richard Heller Gallery will be hosting an artist talk with KAJAHL on Saturday, October 21, at 4:00 p.m. Come meet KAJAHL and hear him talk about his exhibition, Unearthed Entities, currently on view at the gallery.

Jazz/Not-Jazz selections before and after the talk, between 3:00 to 5:00 p.m., provided by The Nonsemble.

September 9, 2017 - October 28, 2017


Kajahl's paintings vivify ancient statues, presenting them as dignified, mysterious multicultural personae. Embodying Western clichés from bygone eras, the characters in his current show titled "Unearthed Entities" include alchemists, explorers and conquerors. While these subjects assume old-fashioned European styles of posed oil portraiture, their carved facial features appear mostly African or Middle Eastern.

Kajahl's personified artifacts appear to be embracing European style in the same way that artists such as Picasso have appropriated African artifacts and styles. His portraits thus function as reclamations of Afro-Asiatic identity within Western tradition.

They could also be interpreted as self-portraits of an artist making sense of his own mixed lineage. In his artist statement, Kajahl notes the ambiguous space he transits between his parents' histories, never fully identifying with either, "as the son of a nomadic Italian-American mother and Belizean Rastafarian father." Aligning with his depicted personages' enigmatic presences, titles like Void Space (2014) and Ethereal (2014) bespeak mystical equivocality.

Kajahl's homogenized subjects evoke the fragmented experience of diaspora haunted by plurality of heritage. They suggest identities clouded by the passage of time and stereotypical pigeonholing. Africa is a huge landmass encompassing diverse cultures and peoples; but owing to migration, colonization and Western ideals, it is often agglomerated into a single unit tinged with mythical "Dark Continent" inscrutability. (An ideal example of this phenomenon within the art world is Robert Storr's controversial African Pavilion at the 2006 Venice Biennale.)

While the majority of "Unearthed Entities" depict hybridized individuals, a series of studies most effectively presents a disjunctive sense of identity. Each of these portrays a different Egyptian, Mesoamerican, Middle Eastern, or European artifact fragment. Arranged salon-style, together they reveal the mystical indefiniteness that often results from removal of context.

Despite surfeits of historic and genealogical postulations, the pedigree of any living person is similar to that of an artifact. Kajahl's imaginative composite portraits speak to the fact that once ancestral connections are severed and experiences forgotten, vague origin myths take on lives of their own.

Kajahl, "Unearthed Entities," September 9 – October 28, 2017 at Richard Heller Gallery, 2525 Michigan Ave. #B-5A, Santa Monica, CA 90404.

To view images accompanying this review please go to:

September 9, 2017 - October 28, 2017

Kajahl's Portraits Combine Cultures, Histories

by Andy SmithPosted on October 11, 2017

The new oil paintings of New York-based artist KAJAHL explore "the history and taxonomy of portraiture." The paintings take notes from differing cultures through time for hybrid reflections on the history of human creativity. The artist's current show at Richard Heller Gallery, titled "Unearthed Entities," presents a new collection of these works.

"KAJAHL's process entails sifting through history, both amassing and archiving imagery ranging from ancient art, vintage ethnography, historical portraiture and landscape, to strange alternative histories, pseudoscience, and the absurd. In Unearthed Entities, KAJAHL depicts a range of figures such as an alchemist, astronomer, cryptid-like amphibian, high-ranking dignitaries, and a navigational explorer. In this sense, a playful dissonance is achieved in what we would normally presume to be a tradition that depicts heroic leaders from a bygone era."

To view images in this article please go to:

Elephant, Expo Chicago: Gender, RYAN SCHNEIDER
Sept 14, 2017

September 14, 2017

Ryan Schneider, Richard Heller Gallery, Los Angeles

Ryan Schneider's works also explore the ecstatic, depicting the male and female forms in a manner that is undeniably sexual, yet not to the point of perversity. His male and female subjects get the same treatment, often with arched backs, receiving the welcome glow of sun or moonlight in a hyper-lush natural setting. Two works at Expo Chicago (
Infinite Man andInfinite Woman) sit above one another, showing a man and woman reclining in shallow water under a full moon that hangs in a deep green sky. The water ripples away from them and the hills behind them are soaked in a bright pinky red. They appear to be returned to their natural form, away from our cultural ideals of man and woman.

'EXPO Chicago' runs from 13-17 September at the Navy Pier, Chicago.

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Amy Bennett at Oakland University Art Gallery
September 9, 2017 - Nov 19, 2017

Ethics of Depiction: Still life, Landscape, Human curated by Dick Goody

September 9 - November 19, 2017

Ethics of Depiction: Landscape, Still Life, Human

This exhibition is about the way objects, landscapes, and people can be rendered unambiguously and ethically (as opposed to metaphorically or abstrusely). Most of the images in the exhibition act as metonyms and so are not to be interpreted because they speak precisely and specifically for what they are. Featuring: Matthew Albanses, Greta Alfaro Yanguas, David Allee, Jasper de Beijer, Amy Bennett, Julie Blackmon, Sharon Core, Roe Ethridge, Richard Finkelstein, April Gornik, David Hilliard, Alex Kanevesky, Patrick Lee, Richard Mosse, Michael Najjar, Toyin Ojih Odutola, Richard Renaldi, Becky Suss, Jörn Vanhöfen and Guido van der Werve

Oakland University Art Gallery
209 Wilson Hall
371 Wilson Boulevard
Oakland University
Rochester, MI 48309-4401

For more information please go to:

BLOUIN Modern Painters
July 31, 2017 - Jul 31, 2018

BLOUIN Modern Painters

500 Best Galleries Worldwide

United States / Los Angeles:

Richard Heller Gallery

Devin Troy Strother in Unobstructed Views
Jul 27, 2017

Library Street Collective and the Museum of Contemporary Art Detroit (MOCAD) are pleased to announceUNOBSTRUCTED VIEWS - a group exhibition at the historic W. Hawkins Ferry house. A modernist gem, the house was restored in 2015 with the owner's original intention in mind—to showcase a vast art collection and views of Lake St. Clair. Unobstructed Views will showcase a curated collection of over 30 groundbreaking contemporary artists, with each available for purchase on Paddle8. The home setting will also offer the opportunity for conversation about the original Hawkins Ferry House art collection, currently located in museums throughout the country.

Artist list includes: Nina Chanel Abney, Derrick Adams, Brian Bellot, Trudy Benson Katherine Bernhardt, Sanford Biggers, Greg Bogin, Kendell Carter, Jack Craig, Greg Fadell, Beverly Fishman, James Benjamin Franklin, Sayre Gomez, Tyree Guyton, KAWS, Mike Kelley, Paul Kremer, Andrew Kuo, Sadie Laska, Austin Lee, Tony Matelli, Charles McGee, Josh Reames, Scott Reeder, Jason Revok, Carlos Rolon, Holton Rower, Adrianne Rubenstein, Chris Schanck, Willie Wayne Smith, Agathe Snow, Sheida Soleimani, Devin Troy Strother and Spencer Sweeney.

Unobstructed Views will also serve as the Museum of Contemporary Art Detroit's fourth annual Interchange Art + Dinner Series summer fundraiser. Detroit's most avid art collectors and supporters open their homes and spaces for a range of exclusive evenings combining food, drink, and art to create truly unique experiences. This array of unique and diverse events will unite like-minded members of the community to benefit MOCAD and the ever-thriving creativity in the city of Detroit.

To purchase tickets and for more information please go to:

American Genre curated by Michelle Grabner
July 20, 2017 - Sept 15, 2017

Institute of Contemporary Art - Maine College of Art


Gina Beavers, Wendy Edwards, Dana DeGiulio, Francesca Fuchs, Hope Gangloff, Evan Gruzis, Angelina Gualdoni, Magalie Guerin, Jessica Halonen, Jonn Herschend, Tucker Nichols, Aliza Nisenbaum, Roger White, Griff Williams, Kelly Williams, Emi Winter, Mathew Zefeldt


Herman Aguirre, Lucas Ajemian, Deborah Brown, Kristin Calabrese, Brian Calvin, Susanna Coffey, Angela Defrense, Andreas Fischer, Howard Fonda, Richard Hull, Jose Lerma, Keith Mayerson, Frank Stockton, Henry Taylor, Storm Tharp


Dan Attoe, Peter Barrickman, Amy Bennett, Michael Berryhill, Patrick Chamberlain, Ann Craven, Cindy Daignault, Rackstraw Downs, Mari Eastman, Shara Hughes, Brad Killam, Eva Lundsager, Tyson Reeder, John Riepenhoff, Claire Sherman, Gail Spaien, Spencer Sweeney and Emily Sundblad

Catalog available.

For more information please go to:

Art and Cake - Vanessa Prager: Ultraviolet
Jun 15, 2017

By Amy Kaeser

Vanessa Prager's third solo show at Richard Heller Gallery is a series of impasto-abstracted self-portraits. The work in Ultraviolet delves deeper into the artist's psyche detailing the interrelationship between the art object and the unconscious drive of the artist. Whether Prager had a psychoanalytic theory in mind when creating this body of work is unknown, but the link between the heavily abstracted self-portraits and the unconscious mind of the artist seem to bear fruit. Prager operates in both small and large-scale for this show as well as the addition of untraditional materials in the use of neon lighting as a framing device on several panels.

At close examination, the individual pieces work on an intimate level; the thick paint captures the gesture of the brush Prager employees–swift, short strokes build up pigment as features of a face peering out from the canvases. The most compelling pieces in the show are those that obscure and only suggest feature of the face or body thus leaving the viewer to wonder if a portrait exists at all; Salt of the Earth (2017), an oil on panel with neon frame is a tightly focused image of what could be considered facial features. The eyes stare out as dark pools cast against a thick application of grey-green skin. The features neither confirms nor denies as belonging to the artist, the androgyny of the sitter in each work only adds to the abstract nature of Prager's series. Utilizing the artificial neon light as a frame, Prager emphasizes the built-up paint as deep valleys in shadow and the raised ridges in highlight. The dualities of light and dark work to further abstract to almost grotesque levels these self-portraits.

To read the complete article and see images, please go to:

Ryan Schneider: Museum Exhibition 6/13-9/9
June 13, 2017 - September 9, 2017

Ashland Daily Tidings

By: Vickie Aldous

ASHLAND — The Schneider Museum of Art is transformed into four separate galleries with art ranging from minimalist to lush for exhibits that will continue through Sept. 9.

An opening reception for the exhibits and artists will be held from 5 to 7 p.m. Tuesday, June 13, at the museum, near the corner of Indiana Street and Siskiyou Boulevard on the Southern Oregon University campus in Ashland.

The exhibit, part of the museum's celebration of its 30th anniversary, features the work of Liz Shepherd of Ashland, Tofer Chin and Amir H. Fallah of Los Angeles, and Ryan Schneider, who relocated from New York City to Joshua Tree, Calif.

"We turned our sights south and once again into our backyard for selecting the four artists for our four solo exhibitions this summer," says Scott Malbaurn, director of Schneider Museum. "Two are quickly emerging artists from Los Angeles and one from the desert of California adjacent to Joshua Tree National Park. The fourth artist lives and works in Ashland. Each artist works predominantly two-dimensionally with an emphasis on drawing and painting and each have their own distinct style."

To read the complete article, with images, please go to:

Juxtapoz: Interview with Paco Pomet
June 1, 2017 - Jun 30, 2018




Viewing the Twilight Zone in black and white, as it was filmed, evokes simultaneous feelings of connection and distance, but you don't just watch. The scenes linger and loop around with a searing shot, just like the paintings of Paco Pomet, who injects a jarring jolt of surprise or color into each seemingly serene image. Neither snack food nor stylized confection, this works like a time-released truth serum. A gash of crimson severs a glorious glacier. A poison pen suffuses a mountain lake. Somber faces engage (or are engaged) in incongruity. Something's been happening, and things just aren't what they appear to be. Educated at the University of Granada with further studies at New York's School of Visual Art, Pomet combines the austere color and time elements of the Spanish cubists and the ironic dreaminess of the Andalusian surrealists. A conversation with the thoughtful artist reveals that, indeed, "You are about to enter another dimension."

To read the complete interview and see images please go to:

Berlin Art Link: Vanessa Prager
May 18, 2017

Exhibition // 'Ultraviolet' at Richard Heller Gallery: An Interview with Vanessa Prager

Article by Liam Casey in Los Angeles // Thursday, May 18, 2017

Last Thursday, installation was in full swing at Richard Heller Gallery for Vanessa Prager's solo exhibition, 'Ultraviolet'. Prager has made a name for herself as a painter with her portraits that more often resemble colorful and rich topographies of paint, blurring the borders between portraiture and sculpture. In the gallery, works were placed meticulously on the ground, awaiting mounting, as installers etched measurements on the newly constructed dry walls. Beeping sounds, originating from the platform lift, permeated the gallery space, located in Bergamot Station. On one of the pieces, a gently glowing tube of neon circumscribed the canvas, something Prager was experimenting with; "It became interesting to me to just put it on like an outfit, 'here's how I am today, here's how I am in this situation'". Although the atmosphere in the gallery was industrious, Vanessa Prager took the time to speak with us about her work and the upcoming show.

To read the full interview, please go to:

Elephant Magazine-5 Questions with Vanessa Prager
May 15, 2017

Text by Emily Steer

"They have neutral expressions on their face while all this seemingly wild and messy and chaotic activity is happening, and that is very real to me." American artist Vanessa Prager discusses her new series of self-portraits, which are currently showing at Richard Heller Gallery in Los Angeles.

Can you tell me a bit about Ultraviolet, your new show at Richard Heller Gallery?

Ultraviolet is a series self-portraits. Not literal versions of me but characters, personae, and aspects of my personality represented. I have spent the last two years making multiple series of portraits based on others, that I had actually known or had made up, and finally just felt like there were pieces of me I wanted to get out. There are often times I've said or done things that I can't even believe, phrases I have repeated in my head over and over, certain scenes repeat themselves. Some things just get stuck in my head on loop. There is a kind of shame or embarrassment that goes with all of these events—and an obsession—and I just wanted to air them out, get the pressure off and admit, yeah, I've done these things or desired this quality or wanted to be this part of this person. And really this is my way of being a million versions of me.

These are much more figurative than your previous works but the faces are still abstracted in many ways. How did you come to this balance?

I wanted to bring it back in and share things about myself that scare me but in the most beautiful way possible. Sometimes I'm uncomfortable, and sometimes that leads to weird solutions. I still feel like hiding a lot of the time, I still don't want to go out and be social, I still feel like crawling out of my skin when I get rejected. These portraits are my way of hiding parts of myself and showing all the things I pile on and cover up with, intentionally or unintentionally: jokes, makeup, outfits, vocal quirks. I can't always be open and outright about how I actually am and feel, I have to hide it, jumble it, obfuscate it.

You have also increased the size of the works, and it's been mentioned that they have become more "experiential". Has this changed your own relationship with the pieces as you are working, and do you feel you surrender some control the larger they get?

Yes, I surrender some control. That is true with all of the works really just in working with oil paint, but especially on these larger ones. I don't have the ability to simultaneously see the full painting and work on it, so there is always that element of working on two images at once, the micro and the macro. And they are two entirely different worlds that ultimately combine to make one. That fits well with how I feel too, trying to have an individual personality while being part of a group and all of the awkwardness, mistakes and clumsiness that goes along with that.

Your pieces are incredibly hands-on. What is your process when making a painting? Do you have quite structured plans for composition or do you work instinctively?

I don't start with super detailed plans, mainly because I've found I'll throw them out along the way. Often though I will have a colour concept or general compositional forms in the shape of masses. I lay out a bunch of paint initially, slather it on and make a mess and then I go about bringing order to it, forming the figure and shaping it together, then destroying parts of it again by adding more to it and so on. It's a back and forth. I work on it and walk backwards to see it, it's sort of a dance really. It's very instinctive. I get in a zone where time passes at a weird rate, it seems like hours and then it's only minutes and then it seems like minutes and it's been hours. I fall into another dimension.

Your works have been described as "tortured souls", and they are incredibly complex and energetic. Would you describe them as emotional and if so, do they reflect your own emotions?

They are definitely emotional to me. It's funny because often they have neutral expressions on their face while all this seemingly wild and messy and chaotic activity is happening, and that is very real to me. I often have this feeling of standing back and just observing it all. This world is so crazy I often have felt I'm not part of it or I don't belong here really and there is this distance from huge chunks of it, that is self imposed. It is a way of protecting myself. If I'm not in it fully I can't be hurt by it. But unfortunately it doesn't work like that. I try to work out all of these things in the paintings and go through all of the things I think and feel and put them into the paint more than the actual expression of the figure. And then there's the overuse of paint itself. So if they seem tortured I think that is part of the human experience. There's always this element of trying to fit into a world where they don't actually belong.

'Ultraviolet' shows until 17 June at Richard Heller Gallery, Los Angeles.

To see images accompanying this interview, please go to:

CREATORS | - Interview w/Vanessa Prager
May 12, 2017

Self-Taught Painter Sculpts Monumental Portraits With Oil Paint


Vanessa Prager learned about art online—and turned it into a dynamic art practice.

Unless it's made to be seen online, art rendered in just about any medium needs to be appreciated in real life. Reading about an artist and viewing high-resolution images can be helpful, but let's be honest: most works are made to be engaged with physically, in order to truly be experienced. Take Vanessa Prager's dense, gravity-defying abstract paintings, for example. Throughout history, artists have aimed to infuse 2D images with dimensionality, but only since the 18th century has impasto, the technique of heavily applying paint so it extends from the canvas, become widely practiced. Prager's richly textured works on canvas are a rare contemporary example of this technique, and in her new solo show, Ultraviolet, she delivers paintings that are not only heavily-layered but are also self-portraits.

Up close and in person, Prager's works appear non-figurative, but step a few feet away, and a face materializes—Prager's own. It's a powerful departure for a woman used to working on a smaller scale and representing the world around her, rather than herself. It's also telling, given that her sister Alex Prager has achieved a measure of success as a photographer, challenging Prager to make a name for herself, too.

A native Angeleno, Prager works from a studio based in Boyle Heights, on the outskirts of Downtown LA. But the nature of her own arts education differs from that of many of her contemporaries. Rather than attend a prestigious arts college, she opted to learn about art online—an interesting choice, given that her work is so palpable.

"I consider my style maximalism," she tells Creators. "I work with large volumes of oil paint that I mostly get from a small manufacturer. Pints, quarts, and gallons—I work directly out of the containers using highly saturated colors, and any color-mixing is done directly on the canvas. The canvas is my palette. I try never to take materials away and only add to the whole, as I feel everything has a use, and if I can find what it is in the work, then I have done my job well."

Prager says her art stems from a need to "capture the feelings that life brings and study what it means to exist today." Likewise, she finds inspiration from such disparate sources as degraded VHS tapes, neon signage, melting ice cream, piles of trash, icing, bouquets, and wide open spaces. "I want the work to embody the franticness, the composure, the hysteria, and the resultant blanketing of it all," she says. "Opposing emotions can exist at the same time, and often do. There are often many things running through my head at any one moment, and I try to show all of that."

Beneath all her layers of paint, the artist has the simple goal to "make it all work," and though she's tried to do so elsewhere, it's only been in her hometown of LA where she's been able to truly develop a specific, unique style. "The characters that people put on—on and off screen—have impacted me a lot," she explains. "Just the idea of not really knowing who you are yourself, and yet putting on personalities as you would put on an outfit. [...] I became fascinated with that, and it has very much affected my art in general, and specifically this series. I see this in myself, and so in creating this new series of self-portraits, I was able to explore just how far-reaching this is. I can 'be' anybody, and it's actually quite liberating, and helps build empathy as well."

In the end, Prager's philosophy is simple, even though it sounds complicated. "The disgust, the excess, the stuff, the beauty, the ugliness—it all comes our way, and it's important to move forward despite everything. Even better to use it all to help you move forward," she says. "I think it can be really hard to make something, to start something, and to keep it going. But if all the worst parts of you are actually reasons to help you move forward, and each new thing you discover is another brick in the path, then it's welcomed instead of resisted. Try to flow with it instead of using it as a reason not to."

To see all images accompanying this article please go to:

Ultraviolet is on view May 13—June 17, 2017 at Richard Heller Gallery. Follow the artist on Twitter and Instagram

Ryan Schneider: Hall Art Foundation, Reading, VT
May 6, 2017 - Nov 26, 2017

The Hall Art Foundation is pleased to announce a group exhibition curated by American artist Eric Fischl to be held in its galleries in Reading, Vermont from 6 May – 26 November 2017. Approximately sixty-five artists are represented in Hope and Hazard: A Comedy of Eros, which includes over eighty paintings, photographs, works on paper and sculptures selected by Fischl from the Hall and Hall Art Foundation collections. In this fresh and provocative show, Fischl illustrates the absurd extremes associated with romantic and sexual love. Desire, passion, vulnerability, disappointment, pleasure and torment are expressed as a Greek or Shakespearian comedy – epic and tragic, hopeful and hazardous.

Hope and Hazard: A Comedy of Eros includes works by Siegfried Anzinger, Alexander Archipenko, Robert Arneson, Dan Attoe, Georg Baselitz, Lillian Bassman, Ellen Berkenblit, Katherine Bernhardt, Norbert Bisky, Josef Breitenbach, André Butzer, William Copley, John De Andrea, Carroll Dunham, Marcel Dzama, Peter Eide, Nicole Eisenman, Judith Eisler, Tracey Emin, Lee Friedlander, Dan Gluibizzi, Bendix Harms, Georg Herold, Jocelyn Hobbie, Thomas Houseago, Ridley Howard, Chantal Joffe, John Kacere, Craig Kauffman, Yves Klein, Jeff Koons, David Levinthal, Judith Linhares, Tala Madani, Robert Mapplethorpe, Tony Matelli, Jonathan Meese, Bjarne Melgaard, Gladys Nilsson, Jim Nutt, Julian Opie, C.O. Paeffgen, A.R. Penck, Enoc Perez, Alessandro Pessoli, Erwin Pfrang, Francis Picabia, Nathaniel Mary Quinn, Mel Ramos, Man Ray, Bettina Rheims, Jason Rhoades, Walter Robinson, Aura Rosenberg, David Salle, Peter Saul, Ryan Schneider, Lara Schnitger, Pieter Schoolwerth, Joan Semmel, David Smith, Luc Tuymans, Tom Wesselmann, Hannah Wilke, Erwin Wurm and Lisa Yuskavage.

For more details please go to:

The Cantor Arts Center introduces: Hope Gangloff
May 24, 2017 - May 26, 2017

The Cantor Arts Center introduces Artist at Work 2017: Hope Gangloff as part of the Diekman Contemporary Commissions Program, a recurring opportunity for artists to create new work

Hope Gangloff, the first visiting artist in the program, transforms the museum's historic Atrium into an active artist's studio this May

May 24–26, 2017

Stanford, California — The Cantor Arts Center at Stanford University is pleased to announce that Hope Gangloff has been chosen as the first Diekman Contemporary Commissions Program artist. For the inaugural presentation of the program—Artist at Work 2017: Hope Gangloff—she will paint several large-scale, site-responsive portraits to hang along the light-filled Atrium Balcony. She will create additional works on site in the museum's grand 1894 Atrium, painting for three days May 24–26, and display those works on handmade easels.

"This project allows contemporary artists to use the Cantor Arts Center as a laboratory of sorts as they respond to the architectural space and create new and unexpected works," said Alison Gass, Associate Director for Collections, Exhibitions and Curatorial Affairs. "This is a rare and exciting opportunity for the museum, since this type of boundary-pushing project can activate the experience of the visitor by altering otherwise familiar museum spaces and conceptually trigger a new engagement with the artistic ideas of our world. We are thrilled Hope Gangloff accepted our invitation to transform our Atrium into a space for contemporary creation and dialogue, and delighted that the public will be able to witness the artist's process."

As an extension of the contemporary commissioning program, Gangloff will mine the museum's permanent collection and select key historical works to hang alongside her own contemporary paintings in the exhibition Hope Gangloff Curates Portraiture. Using the format of artist as curator, this exhibition will contextualize contemporary art within the language of art history and investigate the traditional genre of portraiture. It will also invite viewers to experience the Cantor's rich historical collection through the eyes of a celebrated artist working today. The exhibition will be on view April 5–September 24, 2017.

Joakim Ojanen: Interview in Juxtapoz
Apr 28, 2017




Swedish artist Joakim Ojanen has created an entire universe packed with a diverse army of endearingly gloomy characters. His own Les Misérables, if you will. Over the past couple of years, these oddballs and their pet companions, sculpted in ceramic and painted in oils, quietly enjoy a pensive sadness while keeping their native cool. The life of these mavericks isn't an exciting one, but they are content—they hang out alone or in squads, occasionally read a book, draw, play, or have a cheeky beer or cigarette. So mundane, yet so lovable, they are cheery monuments to melancholy and its quirky beauty.

To read the interview, and see images, please go to:

Corey Arnold, Zafiri - Endurance and Outdoors
Apr 17, 2017

Nature Overuns in Corey Arnold's "Aleutian Dreams" Los Angeles Show

Will Ross

Currently on show at Los Angeles' Richard Heller Gallery at Bergamot Station, "Aleutian Dreams" gathers a series of burly sea-faring images from National Geographic photographer Corey Arnold. Photographs capture the hardy lifestyles of fishermen and everyday residents in Alaska's Aleutian Islands.

To read the complete article go to:

Hyperallergic: Dallas Art Fair Review
April 7, 2017 - April 9, 2017

At the 2017 Dallas Art Fair, Big Ambitions and the Big Mo

Mayor Mike Rawlings recently announced that the city's annual Dallas Arts Week would become Dallas Arts Month, starting on April 1. Its centerpiece, the Dallas Art Fair, now in its ninth edition, has become a symbol of the local arts scene's impressive growth and increasing momentum.

Edward M. Gómez

… From Los Angeles, Richard Heller Gallery is showing some of the humblest but most memorable selections of the whole fair — the Swedish artist Joakim Ojanen's cast-bronze sculptures of cute-quirky animals; human heads with long, ribbon-like ears; and little heads with caps or top hats. With their subversive charm, free of self-conscious irony, this is the kind of art a tired ironist-entertainer like Jeff Koons could not even imagine creating. That's because, for all its offbeat aura, Ojanen's work is filled with soul.

To read the complete article, with images, please go here:

Corey Arnold, Westside Today - TV
Apr 4, 2017

Aleutian Dreams | Richard Heller Gallery

By: Michael Ray Category: Westside TV

Photographer Corey Arnold presents his new photo exhibit Aleutian Dreams at the Richard Heller Gallery. The exhibition consists of photos from Alaska's Aleutian Islands, some of the photos are part of his larger series titled "Fish-Work." While the photos themselves are related to fishing, Corey was brought aboard the fishing vessels not as a fisherman but as a photographer. The Richard Heller Gallery is located at unit B-5A at the Bergamont Station in Santa Monica.

To watch the video, with images from Corey's exhibition, go to:

Corey Arnold, National Geographic
Apr 2, 2017


Fishers and crabbers in such a harsh environment occasionally create opportunities for beauty.

The Bering sea, near the chain of the Aleutian Islands, is one of the most intense patches of ocean on Earth. Strong winds, freezing temperatures, and icy water are normal conditions. The combination makes for some of the most ferocious waves on the planet, where the water can rise and fall 30 feet on a normal day.

What drives a person there? The bounty of the waters. The region is one of the most productive fisheries in the world for salmon, char, and crab.

Corey Arnold is a salmon fisherman during the June to July summer season. But during the punishing winter, he's also a photographer, the rare expert who turns his camera on an industry he knows well.

To read the complete article, with images, go here:

Corey Arnold - Los Angeles Magazine
Mar 30, 2017

Photo Exhibit in Santa Monica Offers a Chilling Look at Life in Alaska
And spoiler alert: the pictures are stunning


This Saturday, April 1, the Richard Heller Gallery in Santa Monica will open a new photography exhibit by Corey Arnold, a Portland-based photographer. The exhibit, called "Aleutian Dreams" will showcase photos from Arnold's time in the Aleutian Islands in Alaska. The Los Angeles magazine contributor's work explores the human relationship with nature, animals, and the environment. You can check out the collection until May 6.

To see more images include in this article go to:

The California Sunday Magazine - Corey Arnold
Mar 30, 2017

Dirty Birds

What it's like to live with a national symbol

By Laurel Braitman

Photographs by Corey Arnold

Dutch Harbor is a small town on a small island far out in Alaska's Aleutian chain, nearly 1,200 miles from Anchorage at the edge of the Bering Sea. It's the most productive fishing port in the United States. Every winter the tiny population swells with thousands of people who come to work in the fish processing plants, on the crab boats, or out on the big cod and pollack trawlers. But they're not the only ones trying their fortunes in town or out on the boats.

People in town call them Dutch Harbor pigeons. The rest of us call them bald eagles. In a community of just over 4,700 permanent residents, there live an estimated 500 to 800 eagles. They stare judgily down from light posts, peer intently into people's windows, eat foxes and seagulls while perched in the trees next to the high school, and sit on rooflines like living weather vanes. Down at the docks, they swarm every boat that comes into port like some sort of Hitchcockian nightmare, fighting for scraps of bait, elbowing one another for prime positions, crowding together on top of crab pots, and squawk-cheeping their opinions.

To continue reading, go to:

Corey Arnold, Wall Street International
Mar 22, 2017

Wall Street International


Corey Arnold

1 Apr — 6 May 2017 at the Richard Heller Gallery in Santa Monica, United States

Fifteen years ago, I wrote a job-wanted sign and hung it outside of a bathroom near Seattle's Fisherman's Terminal. It read: "Experienced deckhand looking for work on a commercial crab or halibut fishing boat in Alaska - hard worker - does not get seasick." I was 24-years old, energetic and ambitious, with a few years of salmon fishing experience (but naive to the world of high seas fish-work). After a few shifty respondents, I was hired by a seasoned Norwegian fisherman and flew on a small prop plane, past the icy volcanoes and windswept passes of Alaska's Aleutian Islands, eventually slamming down onto the short runway in Dutch Harbor. The experience would forever change the direction of my life and shape my identity as both a fisherman and photographer.

Isolated from the mainland by some of the world's roughest waters, Dutch Harbor is a thriving, working-class commercial fishing port surrounded by steep mountains and lonely windswept valleys. It's a place where industry and nature collide in strange and beautiful ways, a place where people harvest seafood on a massive scale, and share their meals and their refuse with local wildlife --- from rapacious bald eagles to curious foxes.

That first year I worked jigging for Codfish in the Bering Sea and continued to return for work as a crabber for the next seven seasons. What lured me back, though, wasn't only the money but the curious and often masochistic realization of the American dream happening in the Aleutian Islands. Those who come here often possess a desire to escape the safety of home to work in an environment filled with risk and visual grandeur that is far from ordinary. In recent trips, I joined fisherman at sea aboard crabbers and trawlers, and on land, documenting the surreal landscape of fishing culture that once captured my imagination as a young greenhorn. Aleutian Dreams is a collection of images from my journey through this wild and unforgiving frontier of Western Alaska.

To see more images from this article go to:

Jan 29, 2017

Richard Heller Gallery
is pleased to announce the representation of
Christian Rex van Minnen

Interview with Joakim Ojanen in The Hundreds
Jan 8, 2017

The Secret Life of Joakim Ojanen's Art

Like most artists, Stockholm-based painter and ceramicist Joakim Ojanen aims to make work that is timeless. But Joakim's approach to timelessness is unconventional: His woozy characters are intended to be both 8 and 30 years old at the same time. "I'm fascinated about the fact that we are aging and all the time changing a little bit," Joakim explains. "And all the time we still have the memories and experiences from all our previous years. I try to use that in my work."

What results are oil paintings and stoneware sculptures that appear both childlike and innocent, mature and melancholy. For example, at a recent exhibition at Richard Heller Gallery in Los Angeles—the artist's first solo show in the United States—a downcast duckbilled character strummed a guitar, and a boy with an aquamarine Pinocchio nose fiddled with a soccer ball. The figures were a combination of both playfulness and profundity. "I definitely think they look the way they do because of my illustration background," Joakim explains in the following interview with The Hundreds. "The expression of the characters is really important to me—that's how you make them feel alive."

To read the complete interview please go to:

Amy Bennett: “Small Changes Every Day"
Nov 10, 2016
Molly Enholm: Amy Bennett: “Small Changes Every Day” at Richard Heller Gallery, November 10

The Romantic landscape is a subject that has sparked the imagination for generations, from John Constable’s nostalgic visions to Turner’s overwhelming sublime to Church’s luscious portraits of the divine wilderness. Through these images of nature, the artists also evoked issues of identity, nationalism and a nascent 19th-century environmentalism. At first glance, New York-based Amy Bennett follows in the Arcadian tradition with her neat rows of suburban homes nestled into lush green hills and valleys. But don’t get too comfortable; it only takes a moment to realize all is not what it seems. The homes and shops, a little too perfect, exude a sort of Stepfordian cubic dystopia. And there’s another glitch, the paintings are not based on life but on the artist’s own handmade fiction. For this series, nearly four years in the making, Bennett created her own miniature landscape, using an 8-by-8-foot Styrofoam base and hand-carving the meandering hills, carefully planting the wire and foam trees, playing the role of city planner guided by Google earth, old city maps, and her own experiences of Upstate New York and the Hudson Valley. As she continued to work, making “small changes every day,” the fictional rural farming community grew into a fictional small town-each of these buildings also handcrafted by the artist. These paintings document this evolution. Throughout, Bennett’s hand remains evident through her deft brushwork, reminding the viewer of the painterly interpretation of the original mediation. A far cry from Cole, Church and the gang, the American wilderness has been tamed into a beautified Monopoly board.

As impressive as Bennett’s methodology is, what remains most captivating about these works is the subtle negation of utopia they present. The main gallery is filled with paintings that seem innocent enough, but there is something disturbing about the perfect grid-like streets coupled with charming cul-de-sacs crowded with buildings and cars but void of human forms. Also missing are the familiar elements of identity: the streets and stores bear no name; homes have no address; and churches have no denomination. In the second gallery, the playful deceit continues. From a similar aerial point-of-view the vista extends across a bucolic rural setting complete with lazy afternoon shadows-another “natural” element controlled by the artist-but similarly lacking any precise clue of locale or chronology. Without such designations, the nostalgic illusion is complete, and these quixotically wrought narratives remain suspended in time and the imagination.

Andrew Chuani Ho Review in Hi-Fructose
Nov 5, 2016

Andrew Chuani Ho's Absorbing Colored Pencil Drawings

by Andy SmithPosted on

Andrew Chuani Ho, a Los Angeles native, creates vibrant scenes with colored pencil on paper, with works that are both surreal and autobiographical. In his first solo show at Richard Heller Gallery, titled Days and Days, the artist brings his trademark insanity and blending components in a new set of works. The artist cites influences like Matisse, Marquez, and even Henry Darger. From the gallery: "Having a deeply spiritual upbringing, Ho's work exhibits the use of patterns, colors and symbols to reinterpret myths and fables of yore into meditatively drawn colored pencil drawings."

Andrew Chuani Ho in Juxtapoz
Nov 4, 2016



Andrew Chuani Ho just opened his first solo show at Richard Heller Gallery and from the looks of these images, it certainly won't be his last. From the gallery: "In his inaugural solo show, Days and Days, Ho stages the inception of his narrative with a set of drawings that draw from a diverse range of influences, including the likes of Henry Darger, Henri Matisse and Gabriel Garcia Marquez. Having a deeply spiritual upbringing, Ho's work exhibits the use of patterns, colors and symbols to reinterpret myths and fables of yore into meditatively drawn colored pencil drawings."

Review: Amy Bennett - Art and Cake
Oct 14, 2016

Amy Bennett: Small Changes Every Day

by Shana Nys Dambrot

Amy Bennett channels Thomas Cole and other Hudson River School painters in her latest exhibition, a series of oil paintings on canvas depicting the gradual transformation of pristine New England-style wilderness into farmland and townships — changes she herself inflicted over a four-year period on the 8-foot square 3D miniature model she built in her studio. Out of handmade mountains, verdant forests and sparkling rivers, she cleared crops, roads, and pastures. Over the years, she eventually fabricated and arranged over 450 wooden buildings in 1/500 scale — barns, churches, houses, industrial buildings, storefronts, silos, and schools. Her daily pausing to document the progress of this analog game of The Sims comes to resemble a kind of time-lapse of this self-generating fantasy as it was unfolding.

LA Times Review: Amy Bennett
Sept 27, 2016

"Are those model buildings or a painting? For artist Amy Bennett, the answer is both."

by Leah Ollman

Amy Bennett makes paintings that call little attention to the elaborate process of their creation, but what may seem like conventional landscapes come with a back story that gives us far more to absorb and ponder than what's visible on the wall.

For "Small Changes Every Day," her recent series at Richard Heller Gallery in Santa Monica, Bennett started with an 8-by-8-foot hunk of plastic foam and built a model of an undisturbed patch of verdant terrain. She painted a portrait of the land as seen from above, a handsome Eden dotted with ponds and etched with streams.

To read the complete review, please go to:

Modern Painters: Feature on Amy Bennett
Sept 5, 2016

Amy Bennett Builds a Miniature World

BY |

If not for the rapidly rising Brooklyn rents, Amy Bennett's last
series of paintings might never have come to fruition.
"Space- and money-wise, my husband and I felt pushed out,"
the artist, who earned her MFA at the New York Academy of
Art in 2002, explains. Hunting for a new place to call home,
the painter found herself spending hours "just image-
searching specific towns and looking down at them in Google
maps." By the time the couple and their young son decided
on Cold Springs, in Upstate New York, she "had the impulse
to build my own town." But for Bennett, that meant doing so
at 1:500 scale, or what she calls "Monopoly size."

To read the entire feature, please go to:

Modern Painters: 500 Best Galleries Worldwide
Aug 23, 2016
From Dallas to Dubai, Sydney to Shanghai, the global art market continues to swell its ranks. It can be a Sisyphean chore to keep track of this international scene — which is why Modern Painters has done some of the legwork for you, charting the most exciting and noteworthy galleries around the world. In its August issue, the magazine created a helpful guide that presents a snapshot of the ever-growing, globalized hunger for art. The issue also includes in-depth conversations with a dozen dealers, who talk about their passions, early days, and future ambitions. In the upcoming days, ARTINFO will publish Modern Painters' guide to the 500 Best Galleries Worldwide. Here, we present the magazine's selection of the top galleries in the Americas.

Richard Heller Gallery
Santa Monica
Richard Heller
Amy Bennett, Michelle Grabner, Sasha Pierce, Devin Troy Strother, Dustin Yellin
+1 310 453 9191

June 26, 2016 - July 30, 2016


Artillery Magazine "Pick of the Week"
Jul 7, 2016


Richard Heller Gallery
by Eve Wood ·
July 7, 2016

Joakim Ojanen's playfully enigmatic ceramic sculptures are strangely endearing. Throughout the exhibition, the artist has set up a series of intimate vignettes using small-scale ceramic figures of people with bald heads and duckbill faces engaged in the various and often mundane activities of living. More importantly though, Ojanen's figures appear alienated and lovelorn, part of a larger community, yet unable to fit in completely. This theme is certainly pertinent given all the tragedy that is happening in the world today. One wonders if these forlorn and confused little sculptures might know more about us than they let on.

Richard Heller Gallery
2525 Michigan Ave. #B-5A
Santa Monica, CA 90404
Show runs thru July 30, 2016

LA Times Review: Joakim Ojanen
June 25, 2016 - July 30, 2016
Review Joakim Ojanen: Innocence and melancholy, sculpted into old souls and teary dogs

By David C. Pagel
JULY 5, 2016, 6:00 AM

The figures in Joakim Ojanen's "What a Time to Be Alive :(" look like they might be the same guy: a sensitive soul who has suffered plenty of indignities growing up in a cruel world yet still brings an open heart to
every experience that comes his way.

Innocence and persistence come together in the Swedish artist's U.S. solo debut. By turns comic and tragic, his exhibition at Richard Heller Gallery in Santa Monica features 31 standalone sculptures, 10 oils on canvas and a pair of tableaux, each of which includes boys wise beyond their years and soccer balls, soda cans, beer bottles
and cigarettes.

The pitfalls and benefits of vulnerability are Ojanen's great subject. It takes shape in all his works, which suggest that the capacity for forgiveness is the source of real strength. Toughness, on the contrary, comes across as dimwitted insensitivity. In the eyes of the 31-year-old, the cost of growing up is too high a price to pay for what it
takes away from us.

Ojanen's paintings are whimsical. The seven largest are portraits of creatures that seem to have been modeled on dolls made from scraps of fabric by an eccentric aunt. Their creamy pastels and obsessive-compulsive paint handling give them terrific tactility.

But Ojanen's ceramic sculptures steal the show. Their expressions are far more complex — more wounded, befuddled, earnest, excited and surprised. Also more melancholic, mischievous, levelheaded and wise. All seem to be old souls trapped inside kids.

Many are simply heads that rest on tabletops. The smallest are no bigger than saltand- pepper shakers. Packing loaded emotions into a few cubic inches, they show Ojanen at his best.

Others, about the size of a child's head, similarly surprise in their capacity to elicit empathy. It's hard to tell if some of Ojanen's heads are human or canine. His dogs often use their long floppy ears to wipe away tears, to tug at their lowers lips (as if deep in thought) and to cover their eyes (as if they've seen enough). Four freestanding mutts are among the happiest — and most well adjusted — of Ojanen's creatures.

His full-body figures stand about 2ó feet tall. They have the presence of ventriloquist dummies that have run away and are now on their own. Most know they are in over their heads. But the responsibilities of adulthood have not extinguished their passion or joy. They make room for those moments when innocence and wisdom commingle.


Richard Heller Gallery, Bergamot Station, 2525 Michigan Ave., Santa Monica.
Through July 30. Closed Sundays and Mondays. (310) 453-9191,

Follow The Times arts team @culturemonster.

Interview: Devin Troy Strother - Elephant Magazine
Jun 1, 2016
Interview with Devin Troy Strother in Issue 27 of Elephant, The Art Culture Magazine (Summer 2016).

To purchase a copy of the magazine, please go to:

Fisk Frisk Magazine
May 12, 2016

Fisk Frisk Magazine

May 12, 2016

Matt Mignanelli / Brian Rochefort / Russell Tyler – Richard Heller Gallery – Santa Monica CA

Matt Mignanelli

Born in 1983 in Providence, Rhode Island. Mignanelli lives and works in New York City and is a graduate of the Rhode Island School of Design.

In his works, Mignanelli's approach to painting has evolved from subtle monochromes to a stark black / white, deep blue / white, and deep blue / black palette. While continuing to explore relationships between structure and nature, which are relayed through the use of harsh light and shadow against architectural elements, Mignanelli has been reexamining the evolving interactions amongst light and surface in these works.

The hard edge is applied over gestural strokes and drips of the background. Mignanelli allows for the hand to come through again on his surface through the use of hand­painted shapes and the imperfections the human hand creates amongst them. Chance enters into these paintings through the mode of execution; the works are all painted flat on a table. As Mignanelli moves around the work, painting in sections, the viscous enamel splashes and drips into the negative spaces. This spontaneity that emerges makes the paintings feel alive, and have allowed the works to become much more about painting itself.

The subtle variation of shapes in each painting creates areas of "disruption" within these environments. The visual breaks within the repetition of shape create a movement that forces the eye to dance.

The return to color in Mignanelli's works has been marked by another significant change in his life, the birth of his daughter last summer. The many sleepless nights that followed changed his work. The midnight blues of the night sky, and the early morning light inspired the deep blue palette for these new works. There is a certain serenity in the palette, representing those peaceful moments when the world is still asleep.

Mignanelli's paintings have been exhibited extensively throughout the United States and internationally with solo exhibitions at Richard Heller Gallery, Los Angeles, LUCE Gallery, Torino, and Dubner Moderne, Lausanne. He recently had a two­person exhibition at Anonymous Gallery, Mexico City (2015). His works will be included in Face to Face: Selections from the Ernesto Esposito Collection at Palazzo Fruscione, Salerno (forthcoming), and have been exhibited in Linear Abstraction at the SCAD Museum of Art, Savanna (2015), Ameringer, McEnery, and Yohe (2015), Dickinson Roundell (2015), Contemporary Istanbul (2015), EXPO Chicago with Richard Heller Gallery (2015), Regina

Rex (2014), Bleeker Street Arts Club (2013), GRAHAM (2013), Guerrero Gallery (2013), Art Copenhagen with Marianne Friis Gallery (2012), Goss­Michael Foundation (2012), and Quint Contemporary (2012).

Brian Rochefort

Born and raised in Rhode Island. Lives and works in Los Angeles, California. Rochefort received his BFA in Ceramics at the Rhode Island School of Design in 2007. He was awarded the Lillian Fellowship from the Archie Bray Foundation for the Ceramic Arts in Helena, Montana 2007/­2009.

Rochefort is a mixed media sculptor working in ceramics, glaze (on vessels) and automotive paint (on sculpture).

Rochefort's vessels, ceramic "paintings" and sculptures flaunt the anxious and risky mindset of disorder and chaos in the face of the viewer, reminding us that the Horror Vacui exists. His works are homages to both AbEx and contemporary painting, he builds layers slowly and uses multiple firings in his quest for texture.

The seductive messes and goo that spread out in our lives, regardless of our attempts to contain them, are the insistent presence at the forefront of the work. Freezing untidy, mucky moments, the works scream at us to pay attention to their nauseous ornament, throwing up our most base fun­house selves, celebrating the pleasure, beauty and horror of the entirety of what is worldly and human.

Rochefort has had recent exhibitions at Sorry We're Closed, Brussels, Retrospective Gallery, Hudson, New York, and Vault Exhibition, American Museum of Ceramic Art, AMOCA, Pomona, California.

Russell Tyler

Born 1981 in Summertown, Tennessee. Lives and works in Brooklyn, New York. Tyler received his MFA from Pratt Institute in Brooklyn and BFA from Concordia University in Montreal.

Tyler's practice consists of two complementary qualities: the gestural and the hard edge, or geometric.

The geometric paintings are redolent of both the history of abstract painting as well as the contemporary image space of the computer screen. While sensuous and tactile, with expressively applied oil paint and rich impasto, the work is also highly structured and unfolds with deliberate shifts in color schemes and forms. The work invites a playful dialogue with several dueling movements from the history of abstraction, including Minimalism, Concrete Art, and Expressionism. While Tyler's work shows the strong influence of artists from these movements such as Josef Albers, the work is also distinctly of its time, related to digital technologies both outmoded and new. The unfolding blocks of color refer to the computer's organization of virtual dimensional space on a flat surface.

The gestural paintings push the boundaries of confined space by allowing a certain cosmic wildness in which colors collide. Clearly influenced by Philip Guston and Cy Twombly, the work allows for drips, splotches, and textures which are meaningfully applied or randomly allowed to come through on the surface.

Tyler has had solo exhibitions at Denny Gallery in New York, B15 Gallery in Copenhagen and EbersMoore Gallery in Chicago.

To see all images included in this article please go to:

Hope Gangloff - Gallery Gurls
Apr 25, 2016

Hope Gangloff: A Mixture of Familiarity, Warmth, and Exuberance at her Los Angeles Exhibit

Jasmin Hernandez

Familiarity, warmth, and exuberance take center stage in Hope Gangloff's latest exhibit, a series of acrylic-based portraits currently on view at the LA-based Richard Heller gallery. The figurative works stem from tender encounters with close individuals, mostly friends from Gangloff's inner circle, who are presented in a succession of engaging and intimate moments. Gangloff continues in depicting creative life in Brooklyn through vivid, expressive, and highly textured canvases bursting with fluorescent waves. Artist peers such as Yuri Masnyj (former classmate from Cooper Union) and Benjamin Degen (Gangloff's husband), as well as rising actor Christopher Abbott (of 'Girls' fame) have all served as characters in her work, beautifully captured in a variety of vulnerable, pensive, and introspective states. Executing her paintings in a large-scale format coupled with a striking color palette, mundane aspects of everyday life - laying in bed, playing chess, waiting at the airport, getting dressed - become sublime and compelling scenes. In these casual snapshots, as seen through the artist's bright and vibrant lens, Gangloff presents contemporary American urban life and challenges us to cherish the ordinary in our daily lives.

Hope Gangloff was born in Amityville, Long Island and is a graduate of Cooper Union. Gangloff is represented by Susan Inglett in New York and by Art Dept for her illustration work. The artist lives and works in upstate New York. Hope Gangloff: New Paintings will be on view through April 30 at Richard Heller in Santa Monica, CA.

To see all images included in this review please go to:

Cover + Interview: SFAQ - Devin Troy Strother
Mar 27, 2016


Devin Troy Strother knows how his work can be perceived and he's not afraid to talk about it. I joined Strother in his LA studio, where we discussed the unique references in his work, and how he situates himself within the art world, the art market, and the black community.

Devin Troy Strother: Both of my parents worked all day so I was basically raised by television. They would just leave me at home with the television on so I watched a shit ton of TV and a lot of movies all the time.

Lindsay Preston Zappas: That's kind of a suburban condition, right, to be a latchkey kid? Do you watch TV a lot in the studio?

No, at home after I leave the studio. I have this publishing company called Coloured Publishing that my girlfriend Yuri and I started and work on at home. Basically, I watch TV whenever I'm at home, working on a book. I'm kind of hard of hearing so I play shit really loud, which my girlfriend hates. I used to go to a lot of shows when I was younger so I fucked up my ears. I listen to music really loud in the car. I play everything really loud. We started living together and it's usually just me drawing until 4 in the morning, blaring the TV (usually comedy specials) or podcasts hosted by comedians like Marc Maron, Joe Rogan, and Doug Benson, to name a few. I think a lot of my work comes out of that. A lot of the titles have an aspect of me trying to be a comedic storyteller—almost like the title is a one-two punch line to the visual element. The piece is the set up and the title is the punch line.

To read the whole interview, please go to:

LA Times Datebook
Mar 25, 2016


Datebook: Abandoned buildings, new paintings

and a show that tackles race and violence

By Carolina A. Miranda

MARCH 25, 2016, 2:24 PM

A trio of painters. Photography that records ruin in intelligent ways. And abstracted bits of landscape rendered as mosaic. Plus, the Underground Museum unveils a timely new exhibition.

Here are four shows to see this week:

Hope Gangloff, Benjamin Degen and Yuri Masnyj at Richard Heller Gallery. Heller's gallery is featuring a series of solo exhibitions by a trio of New York-based painters. These include Gangloff's moody portraits, Degen's glitteringly surreal landscapes and the diagrammatic paintings by Masnyj, which function as strange inventories of objects and things. Opens Saturday at 5 p.m. and runs through April 30.

Bergamot Station, 2525 Michigan Ave., Ste. B5, Santa Monica,

... read more at:

Arte Fuse Interview: Matt Mignanelli
Mar 11, 2016


Interview with Artist Matt Mignanelli

By Laura Mylott Manning, March 11, 2016

Recently, I saw your work in an exhibition at The Hole and was intrigued to learn more. You've stated previously 'A lot of my works are based on industrial facades and architectural elements.' How does working from your studio in Bushwick, Brooklyn influence your art?

The entire city has been a source of great inspiration, but the industrial landscape that Bushwick is comprised of has critically influenced the works as they have developed over the years. The roll down gates, corrugated metal walls, sidewalk hatches, diamond plate steel, surfaces in the subway that have been repainted hundreds of times all fascinate me. These industrial surfaces and the utilitarian applications of paint feel so pure to me, and something I strive to bring into my own works.

I am immediately drawn to the meditative quality of your paintings. Please discuss your process and the importance of repetition.

When analyzing the construction of surface, repetition is at the core of all we construct. It readily appears in the natural world; such as blades of grass that repeat to create a lawn, and has been copied by man to create surface as well, such as in the bricks we build structures with or the brush stoke that endlessly repeats to coat a wall. Repetition presents itself again in the form of time, and our daily routines.

Within this line of thinking, repetition feels so natural to me. Within my works, the choice to focus on repetition creates immersive environments.

The works are begun with gestural brush strokes using large house painting brushes to lay down a base coat. The painting is measured out with a pencil and ruler, and then painted entirely free-hand in enamel. The work is painted flat on a table. As I move quickly through the shapes, the viscous enamel splashes onto the surface.

Currently you have an exhibition at the Richard Heller Gallery; can you talk about the work you have included?

The new works being exhibited at Richard Heller mark the first exhibition where I have departed from the subtle black on black and white on white works, and returned to color after more than 4 years, moving into bolder black/white, blue/white, and blue/black works.

I have been thinking about these new works as "Disruptions," as the different shapes disrupt these repetitious fields and create a sense of movement within the picture.

Many of your works explore harsh light and structure. Would you ever consider an artist residency in the desert?

The desert does interest me quite a bit, the desert light enhances such a unique landscape. I would certainly consider working there, I have a couple of friends who have recently decamped to Joshua Tree and absolutely love it. I have been inspired by the structure and light in Mexico. The painted stucco in the harsh sun creates such beautiful shadows.

I can't wait to see more of your paintings! What's next?

I'm going to continue to explore the works focusing on disruption, and the reintroduction of limited color.

To see all images included in this article please go to:

Hope Gangloff - Modern Painters, March 2016
Mar 1, 2016
A social network, on canvas

"THERE IS A KIND of mania that I court when working," says Hope Gangloff. "I'll work on way too many pieces, ruining most and finding clarity in others. Decisions get made fast. I like when the brush is falling through space as fast as gravity." Gangloffs paintings-many hyper-contemporary, moody portraits of her friends, set against vibrant patterned interior&­ are imbued with this sense of motion.

As of press time, the artist wasn't certain which pieces would be among the new paintings on view in her upcoming show at Richard Heller Gallery in Los Angeles, opening March 26. (The artist also shows with Susan Inglett Gallery in New York.) But a likely candidate is Study for Wigmore, in which the lighting sculptor John Wigmore reclines on his side on a picnic blanket, button-down rumpled and Corona in hand. His form is accented by decorative patterns: crosshatch grass, blankets in checkered red and wavy blue-details typical of the artist's intimate canvases. Gangloff pulls in such textural elements from, she says, "the things that I surround myself with. I hold on to old sun catchers and books and ladders from my youth; I make quilts, sew dresses in particular patterns, make decorations, and buy plants, just so I can paint them." -THEA BALLARD

Interview with Ryan Schneider
Feb 16, 2016

Curate Joshua Tree

Ryan Schneider

February 16, 2016
Emily Silver

Right off of Old Woman Springs Rd. in Flamingo Heights, perched on top of a hill over looking this incredible landscape sits Ryan Schneider's cabin and painting studio.It's a gorgeous day, and exceptionally windy on this hill, we caught Ryan for a studio visit and interview as he is just about to ship off all this work for an upcoming show in March at Gerhard Hofland Gallery in Amsterdam (

Before we met, I sent a few questions to Ryan, below is what he had to say to those. Listen to podcast to hear the entire studio visit, Ryan talks about his shift from NYC to the Mojave, his spiritual act of painting and his new found patience in his work.

Tell us about where you are from and how you ended up here in Flamingo Heights area?

I grew up outside of Indianapolis, Indiana. Sort of a rural/suburban area but mostly rural where my family and I were. Just acres of woods, a creek, and up the road is just an endless sea of corn fields. I went to school at the Maryland Institute College of Art, so I lived in Baltimore for 4 years- those years are a little fuzzy. Then in 2002 I moved to New York, and never imagined I would live any where else because I loved it so much. Last year my wife Dana and I came out to Joshua Tree for what was supposed to be just a three-month retreat in the desert. We rented a house a few miles down a dirt road, near the back entrance of the park. I was painting outside, she was working and we were just enjoying the silence and nothingness of the desert, hiking, breathing, and sort of recovering from 13 years of intense living in the city. I think it was in March that we started to realize we weren't going back to New York. It was a shocking but titillating idea, and we didn't really tell anyone about it, until our friends offered us the house they were about to move out of in Flamingo Heights. We came to look at the place and as soon as I saw the green studio on the property, I knew we were not going back to New York. We were just seduced by the strangeness and openness out here, and ready for a radical change in our lives. I still love New York and consider it home as well. But now I can love it from a distance and get to work out here with my wife and two orange cats wandering around.


To listen to the podcast that accompanies this interview please go to:!podcast/n6v

ARTE FUSE Interview With: Sasha Pierce
Feb 14, 2016

Laura Mylott Manning
February 14, 2016

LM: Recently, I had the pleasure of viewing your paintings at the Richard Heller Gallery booth during the Untitled Miami Art Fair. I am very impressed by the meticulous detail of your work. Can you talk about your process and how you arrived at it?

SP: Thank you. During my Master of Fine Arts degree at the University of Waterloo, Ontario, Canada, I wanted to create a terry cloth texture on a section of a canvas. I wasn't satisfied with a painted illusionistic texture and so I carefully extruded thin thread-like lines of oil paint out of a little plastic bag to re-create the three-dimensional terry cloth texture that I desired.

I have continued to experiment with this technique, which has evolved to the work that you saw at Untitled Miami Art Fair. My current work has a multi-colored woven-like surface, and as I lay each thin line of it down it goes from a thicker to a thinner stream of paint and ultimately to a vanishing point. In my paintings you'll find a paradox of space between the textured surface and the illusionistic space created by a vanishing point.

LM: In a review of your paintings, it's been written that 'A connecting thread between the artworks of Sasha Pierce is literally thread… (and) reference textiles, even though they are not textiles in themselves.' In which ways has fiber arts influenced your work?

SP: Surprisingly it is not fiber arts but textile itself, which inspires my paintings and silkscreen collages. When I was a young child I remember sitting on the floor and enjoying the sensation of drawing temporary lines and patterns in the carpet. I was seduced by the soft, malleable and tactile qualities of the carpet. Now, as an artist, I am interested in visually representing the sensations of textile with oil painting and collage.

There is also a historical thread that connects me to my ancestors. My great grandmothers were quilters and knitters, and my maternal grandfather's occupation was fixing and selling sewing machines. For my ancestors working with textiles was not considered an art but a part of daily life.

That being said, just last week I had the opportunity to tour the textile storage facility at the Royal Ontario Museum (ROM), Toronto. I had no idea that looking at historical textiles and fiber arts from around the world would make me so happy. I am drawn to earthy hand-dyed colors and I enjoy the meticulous yet imperfect labor found in hand-woven textiles. This visit to the ROM was deeply inspiring and I look forward to continuing my research into historical textiles and allowing them to influence my work.

LM: Your compositions are very dynamic. What sparked your interest in using geometrical forms as a starting off point?

SP: I have an interest in math and I am fascinated by the possibility of representing 3D space on a 2D surface. The simpler shapes in my previous paintings have become more complex over time and my compositions have become more dynamic with the use of tessellations and vanishing points. A few years ago I came upon an amazing mathematical website called Tilings Encyclopedia which was created with support by the University of Bielefeld, Germany. This encyclopedia includes examples of substitution tilings, which are listed in lexicographical order. I love the colors of the diagrams and the names given to the each tiling. Currently I am using a substitution tessellation called Birds and Bees, which will be the name of the painting when it is complete. I often use tessellations as a starting point and then I sort of camouflage the geometry with my own processes.

LM: Ancient geometric art comes to mind because of your use of labor and patterns. Are there any specific time periods that you look to for inspiration?

There is no one specific time period influencing my work at the moment, however with the historical research that I'm doing now, that could change with my next paintings.

If, however, I were to pick a time period that I am generally interested in I would have to say the 9th century Islamic Golden Age of mathematics. I love the complexity of Islamic geometric patterns and Muqarnas, which is a form of architectural ornamented vaulting.

LM: I'm looking forward to seeing your paintings again. Any upcoming exhibitions?

SP: Yes, I am very happy to be working closely with Richard Heller Gallery – with the amazing Richard Heller as well as his awesome team: Associate Director Barry Belkin and Registrar Kaye Heller. Richard Heller Gallery is located in the Bergamot Station in Santa Monica and the gallery represents a talented group of artists. I am currently creating new work for a European art fair in June, and I am working toward a solo exhibition at Richard Heller Gallery early 2017.

In addition, I was just awarded an Ontario Arts Council Chalmers Research Fellowship to research the art practices and writings of Anni and Josef Albers. In order to conduct this research I will be travelling to Milan, Italy; Dusseldorf and Bottrop, Germany; Bethany, Connecticut, US; and New York, New York, US. I will also be participating in an upcoming 2016 residency at the Digital Painting Atelier at OCAD University in Toronto. I am excited to see what impact these experiences will have on my work.

To see the images included with this interview please go to the following link:

Charlie Roberts | Souland Collaboration
Feb 12, 2016
Men's Fashion News
Soulland Delivers Wearable Art For Its New Collection

Fashion and art collide for a one-of-a-kind collab between Soulland and artist Charlie Roberts


After Fashion Week, it's easy to feel that fashion has become depressingly monolithic. Dark and muted colourways in styles that look like you're prepping for the dawn of Ragnarok have been everywhere recently.

Thankfully, a few brands are infusing joy back into their collections, none more so than Soulland. For SS16, the brand has teamed up with Norwegian-based, American artist Charlie Roberts to create a unique and colourful collection that blurs the line between fashion and art.

Soulland and Charlie Roberts' partnership follows a successful collab during Soulland's LCM 2015 presentation in July. For this show, Roberts created a enormous spray paint piece, working as a complementary background for the models stood in front of it.

For the Soulland SS16 collection 'Iron Wheel Club', Roberts created unique, wearable art pieces. Different elements from his original artwork are embedded in the clothes, from jacquard woven patterns to cordelia embroidery and needle punch.

Roberts is known for his use of a wide range of materials, abstract patterns and flowing colours, in pieces that are often inspired by pop culture and hip-hop. It's no wonder then that Soulland felt such a kinship towards him, considering its focus on Scandinavian craftsmanship, mixing classic and simple designs with playful contemporary elements influenced by urban subcultures and skateboarding. We're calling it a masterpiece.

The Soulland x Charlie Roberts collection is available now in store at

For fashion images included in this article please go to:

Video Interview: Vanessa Prager
Feb 11, 2016

Wall to Wall | Vanessa Prager

from Dailymotion


Vanessa Prager is a Los Angeles based painter who uses an excess of paint on the canvas, creating portraits that are both textured and abstract.

To watch the video of Vanessa Prager talking about her practice please go to:

REVIEW: Ryan Foster - Art Scene, February 2016
January 9, 2016 - February 13, 2016

Art Scene, Vol. 35, No. 5, February, 2016
Continuing and Recommended

By: Jody Zellen

There is something disconcerting about Ryan Foster's paintings. Upon careful viewing, what is seen in the foreground of one painting appears in the mid-ground of the next - a bit out of focus and in the background of the next even further distorted. Foster is a skilled representational painter. What makes the images compelling is his ability to paint in myriad styles in a single painting. The Alabama based artist has perfected the illusion of painting one work that folds into another over and over again. The works allude to the passage of time as well as the dissolution of the object. Foster's subjects are surreal landscapes filled with homeless and disabled characters who pay no attention to that which unfolds around them. In these works the harder one looks, the more one sees. Also on view are small scale intimate gouaches by Oslo based artist Charlie Roberts.

January 9, 2016 - February 13, 2016


by Chad Saville / January 10, 2016

"Charlie Roberts opened a solo show in Los Angeles this past Friday. And it's gorgeous."

Charlie Roberts' lives and works somewhere in the forests outside of Oslo, Norway and made a name for himself a few years back by creating mesmerizing, sexually charged and sometimes violent images featuring hundreds of tiny characters and severed heads arranged together in something akin to Byzantine complexity. In 2012, Vice writer Milene Larsson said Roberts' work "looks like the mindstream of a comics-obsessed tween with a Ritalin prescription."

Roberts' latest series Halcyon Daze, which opened last Friday at Richard Heller Gallery in Los Angeles, the artist's Fifth solo show, is a strong departure from his past work. The images are astonishing, peaceful even. I'm particularly drawn to the image "Wet Lite," a figurative work featuring two characters lounging in a bathroom and framed by hypnotic black and white tile. I'm not one for artspeak, but the image is rad.

Born in 1984 in Hutchinson, Kansas, Roberts attended the Emily Carr Institute of Art and Design in Canada, and has exhibited internationally at Galerie Magnus Karlsson in Stockholm, David Risley Gallery in Copenhagen, and Vous Etes Ici in Amsterdam.

"Charlie Roberts' work takes us into the mind-stream of a manic, obsessive and eclectic collector of contemporary pop culture and art history," according to Richard Heller Gallery. "Everything is sampled and laid out without hierarchical order and judgements. Roberts uses a wide range of materials and masters a furious force as well as a sensitive subtleness. Abstract patterns, flowing colors and a primitive brutality alongside tender lines, seductive realism and psychedelic poetry."

Richard Heller Gallery opened Halcyon Daze, a series of gouache on paper works by Charlie Roberts on January 9. It will be on view through February 13 at their Santa Monica location.

To see all the images included with this review please go to:

Dec 16, 2015

MUHAN ZHANG, December 16, 2015

Los Angeles-based artist Devin Troy Strother wields humor with an acerbity not often seen in the prestigious exhibition spaces his work frequent.

With titles like "Gurrrl I'm just talking about that composition", "Gurrrrl what'chu know about that post modernism", Strother grounds his references and his art in the language and drollery of the ghetto. He refers to these titles as "the punchlines of the paintings".

As for the paintings themselves, Strother's style is characterized by the collaging and painting over of paper cutouts. The figurines of his paintings, which he fondly refer to as "little black people," are rearranged in various fictive narratives or abstract spaces, oftentimes in blatant, even satirical reference to the works of other artists. His 2012 painting, "A Black Marina Abramovic in "I'm gonna fuckin' shoot you with this arrow" ", for instance, references the 1980 performance piece, "Rest Energy", by artists Marina Abramovic and Ulay.

Strother's sculptures are magnified and monumentalized versions of his painted figurines, featuring his characteristic long-winded and humorous titles, such as "Look at my guuurl Shariece over there getting her shie on".

Strother has frequently expressed his ambivalence towards the framing of his art as black art and of himself as a black artist. The majority of his work indubitably feature themes of black identity; however, the double standard stands that a white artist painting white subjects would not receive such scrutiny about racial identity. In a cultural context where white identity remains the default, Strother's works are a poignant and accessible antithesis to intersectional elitism in the art world and society at large.

To see all images included with this profile please go to the following link:

Russell Tyler - Artspace
Dec 4, 2015


Susan and Michael Hort's Picks From Miami Art Week 2015


The dynamic collecting and philanthropic duo that is Susan and Michael

Hort is back with more picks, from Miami's annual Art Week. These

paintings, many of them by younger artists, are must-sees at Art Basel

Miami Beach, NADA Miami, and Untitled. Enjoy!




We loved how his minimalist paintings worked with his abstract paintings.

The one on the left looks like things flying through the air.

To read the complete list of the Hort's picks please go to:

Profile: Matt Mignanelli
Dec 1, 2015



Matt Mignanelli, born in Rhode Island in 1983, lives and works in New York City and is a graduate of the Rhode Island School of Design. His paintings have been widely exhibited throughout the United States and internationally with exhibitions at Richard Heller Gallery, Los Angeles, LUCE Gallery, Torino, SCAD Museum of Art, Savannah, Goss-Michael Foundation, Dallas, Quint Contemporary, San Diego, among others. His works will also be included in Face to Face: Selections from the Ernesto Esposito Collection at Palazzo Fruscione, Salerno.

His studio is located in Bushwick, a really industrial section of Brooklyn. This landscape consists of cinder block, diamond plate steel, roll down gates and corrugated metal buildings painted in basic colors: black, white, chrome, brick red and grey. There is vibrancy and work ethic in the neighborhood. Since architecture and environment play such a huge role in informing his work, Matt loves the utilitarian nature of it all. New York is a constant source of inspiration and there is the right energy around his studio for him to feed off. Check the pictures below and how they capture such a unique space.

To see all images in this article please go to:

Nov 22, 2015
Pg. F10


Critics' Choices

Devin Troy Strother To an oeuvre that includes paintings, sculptures and collages, Strother adds custom-made carpeting, custom wallpaper, neon signs and three new bodies of work. The double-barreled extravaganza is a throbbing, rollicking party that, like all great art, you have to experience for yourself (D.P.). Richard Heller Gallery, Bergamot Station, 2525 Michigan Ave., Santa Monica. Tue.-Sat. 11 a.m.-5 p.m.; ends Dec. 19.

To read the complete Sunday "Guide" please go to:

Exhibition "Halcyon Daze" begins January 9, 2016 - February 13, 2016

The Fine Print Magazine
PATRICK LABA, November 16, 2015

Find a physical comfort. Look at your fingers, your toes. Count them; order them in any kind of obscure way possible. Now, sprawl out on a mattress; loosen your limbs. Try; if possible, to feel your extremities stretch and curl around you like the smoke of a cigarette. Perhaps most people associate such body-bending images with the effects psychoactive drugs can produce, but artist Charlie Roberts offers a similar visual world through the pieces he dreamily creates. Originally from the United States, Charlie Roberts studied in Canada and currently resides in Norway, and has been unleashing his unique blend of pop-culture, day-in-the-live-of-an-angsty-adolescent work to the world of art and social media (you can follow him on Instagram at @colonelcatfish) throughout the years surrounding his relocations. Roberts' earlier work presents meticulous rows of animals, human heads, tombstones, sneakers, needles and everything in between. These early paintings present a dizzying attention to an obscure detail that Roberts seems to have perfected. Following this artistic phase, Charlie Roberts began to create scenes of contorted bodies, lying loosely and oftentimes intertwined with one another. These pieces explore themes such as lazily smoking joints, drinking beers, the absent-mindedness that accompanies our technological age and the seemingly elastic sensation of love when you're young, high and care free. Venturing through Charlie Roberts' repertoire is quite a jarring experience, but one that is remarkably exhilarating in the duality of his work. More recently, Roberts has expanded his talents to the art of creating sculptures. His work can be viewed at various exhibits, including the Kravets Wehby Gallery in New York, the Richard Heller Gallery in California and the David Risley Gallery in Denmark. A collaboration with Danish menswear brand Soulland is also due to be released in Spring of 2016. Although his work presents a comforting looseness, one can expect nothing short of total artistic tightness to come from Charlie Roberts in the future.

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Nov 13, 2015

Mo' Money, Mo' Art: The Psychedelic Mind Trip of Devin Troy Strother

By Jose Picon

Ever wonder what the inside of an artist's mind looks like? Devin Troy Strother isn't afraid to show us his.

Based in LA, Strother studied at the Art Center College of Design, and the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Strother's works are in permanent collections at the Los Angeles County Museum of Art, the Santa Barbara Museum of Art, and the Studio Museum in Harlem. He has also been featured in solo exhibitions at the Richard Heller Gallery in Santa Monica, the Marlborough Chelsea in New York, and the Bendixen Contemporary Art in Copenhagen.

In his new show at the Richard Heller Gallery, Strother explores the paradigm of an African American who pursues "the stereotypical route of becoming a rapper, an athlete, or some type of entertainer" and becoming successful; subsequently, making a lot of money and not knowing "how to spend their money wisely or invest it properly." It's unapologetically named "They Should've Never Given You N*ggas Money," after a Dave Chappelle comedy sketch about Rick James (you know, that "f*ck your couch, n*gga" sketch).

Strother focuses on furthering the conversation, adding a touch of humor as he does with all his work, with aluminum sculptures painted with acrylic, exploring with neon, wallpaper, and carpet. He masterfully transports his audience into another world as the visual aesthetics of his show are wonderfully correlated to the trope he attempts to bring to light.

Welcome to the Next Dimension: A Tour Through Strother's "They Should've Never Given You N*ggas Money"

After taking the first couple steps into the gallery, your mind goes into a psychedelic mind trip by everything that's going on. Think listening to Pink Floyd's "Dark Side of the Moon" while being stoned out of your mind.

To the left of the entrance is a matte, Barbie-pink wall with neon piece of a woman lounging in front the ocean and a palm tree; to the right is a multi-tasking aluminum wall highlighting mixed media pieces and wavy faces on a neon sign. All the while reflecting the full color spectrum from the neon pieces from the other wall and the lights from the roof which reminiscent of Newton's color spectrum experiment– but this time it's splattered on a wall instead of through a prism.

After orbiting through a handful of 10-foot-long sculptures of faces stacked on top of each other expressing every feeling imaginable, you find yourself gazing at the Picasso-esqe neon piece at the end of the wall.

Bright and harsh on the eyes, with salmons, whites, reds, blues, yellows all jumbled together in straight lines, squiggly lines, parallel lines, and half smiles and faces; all while being stared at an angry afro rocking dude to the top left corner.

Next to our afroman friend, you'll notice the end of the progression piece, "N*ggas on a 'nana," where several bodies are riding on bananas through rainbows and marshmallow clouds. Sitting below the progression piece: "Too many n*ggas & 'nanas to count (you count 'em up n*gga)" and "A bunch of n*ggas & 'nanas falling thru space (n*gga where's the rocket ship).

WEST GALLERY: Enter "What if Yayoi Kusama had Jungle Fever?"

Greeted by Strother's "Lazy B*tch," a blue neon piece depicting a woman positioned on her hands and knees, you'll experience a sort of head change, as if you are transitioning from our universe and into the matrix en route into the next dimension.

A blood-red wallpaper and carpet filled in with wavy faces, sausage-shaped smiles, Nike swooshes, and cartoon-esque expressional faces. Revisited by the smiley abstract sculptures, another Picasso-looking piece, and a bi-polar neon face that seems to not be able to make up its mind.

In the middle of the gallery, we are greeting once again by our sculpture friends, this time, each beaming a friendly glare, trying to express their unique personality like lonely rescue center pups showing themselves off to a potential owner.

My favorites?

"Oval shaped n*gga" expressing his curiosity for the world with with his head tilted and "single n*gga on a plate" sobbing away the crushing pain of solitude while his alter ego looks at your woman's behind with a smutty grin.

As you make your way out of the gallery, Strother reminds you of the travels ahead with his satirical piece brought back from his previous shows which says, "BABY, I HAD TO SWERVE THRU MORE F*CKING TRAFFIC YESTERDAY." Possibly a self-fulfilling prophecy, but most likely if Waze navigates you back home through the 10-FWY.

Devin Troy Strother runs through December 19th at Richard Heller Gallery
2525 Michigan Ave, B-5A
Santa Monica, 90404

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Nov 3, 2015

Critic's Choice Artist Devin Troy Strother's raucous, rollicking extravaganza in Santa Monica

By David Pagel

NOVEMBER 3, 2015

Devin Troy Strother wowed Los Angeles five years ago with a solo debut that linked pleasure and African American imagery.

That was groundbreaking because of the no-holds-barred nuttiness with which Strother approached fun, and also because pleasure had not played a big part in the discourse that had grown up, since the early 1990s, around art made by African Americans.

In 2012, Strother's second exhibition showed him to be a formidable storyteller, a master at broaching such loaded subjects as blood, money and sex — or race, class and gender— without getting heavy-handed or glossing over the tough stuff. In 2013, he upped the scale and intensified the impact of his art, making laser-cut silhouettes that amplified the sidesplitting hijinks.

All three shows pale in comparison to "They Should've Never Given You ... Money," Strother's fourth solo show in Los Angeles and his best yet. (The title includes a variation on the N-word.) At Richard Heller Gallery, the 29-year-old artist cranks up the volume, filling two rooms with enough art for six or seven exhibitions.

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INTERVIEW: Dustin Yellin in Architectural Digest
Oct 30, 2015


Artist Dustin Yellin Opens His First Permanent Installation Along Sunset Boulevard

The six sculptures are valued at $1.5 million

Posted October 30, 2015


Artist Dustin Yellin has been in the spotlight in the past few years—a cameo in rapper Jay-Z's 2013 video for "Picasso Baby"; being labeled the art world's It boy by Vanity Fair this past September—all the while creating works of art that sell for millions (one of his installations went for $1.7 million in a private sale in 2014). Now, the Brooklyn-based artist has left his mark on his hometown of Los Angeles.

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Michelle Graber - VICE SPORTS
Oct 21, 2015

B. David Zarley


In the end, it was the laziness—not the venom—that most disappointed Michelle Grabner.

As an artist, Grabner explores the vernacular and familiar through formalism, the application of shapes and patterns as art in and of themselves. These somewhat abstracted works can then reference a multitude of themes, including repetition, domesticity, and suburbia. A professor at the highly regarded School of the Art Institute of Chicago, Grabner's work has been exhibited around the world; she was one of three curators chosen for the 2014 edition of the Whitney Biennial, among the most important contemporary art exhibitions in the country.

Her eponymous exhibition at James Cohan Gallery last fall spawned a tempest when New York Times art critic Kevin Johnson appeared to write off the show with strokes broad and base enough to hazard accusations of sexism.

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WALLPAPER*: Dustin Yellin
Oct 19, 2015


New world: artist Dustin Yellin unveils his first outdoor installation in LA



Photography: Sarah Lawrence


6121 Sunset Boulevard
Hollywood, Los Angeles

About a year and a half ago, the Kilroy Realty Corporation approached Brooklyn-based artist Dustin Yellin about permanently installing six of his increasingly popular Psychogeographies in Columbia Square, the plaza outside the 1938 CBS Headquarters, which will re-open this month as the Los Angeles outpost of NeueHouse. Over this period, these monumental glass collage works — created by Yellin and a small army of assistants with small paint gestures and thousands of print images clipped from magazines — have anchored a TED Talk, an installation at Lincoln Center for the New York City Ballet, and a comprehensive Vanity Fair feature. This project, however, was Yellin's first al fresco installation; providing many new challenges, such as finding the right UV-protected laminated glass, stainless steel frames and concrete plinths to secure the work. He also had to consider his source of inspiration.

'It was the first movie studio and I got a bunch of historic shit from them, some I copied and some I destroyed,' says Yellin during a tour of the site, noting that Bob Dylan, Johnny Cash, and Orson Welles ('cats that I dig') all worked in the building over the years. 'There's the Lone Ranger, some movie tickets,' he says, pointing to hidden micro-clippings of CBS ephemera. 'For me, these pieces are supposed to be like if you put a piece of glass on one side of your body, and another on the other side and just started cranking yourself until your skull exploded into a thousand pieces, but instead of blood and guts you'd see your memories, your experiences.'

By trapping the collective consciousness of the Hollywood landmark — or 'DNA in images', as Yellin calls it — he hopes to project the city back onto itself. 'I think when you die you realise this layer was just one existence and you'll become aware of many worlds,' says Yellin, now 40, who first got the inspiration for this mode of thinking at 18 after going through a series of Altered States-like 'consciousness experiments' (think intramuscular ketamine injections) administered by Adam Trombly, a physicist in Aspen who once worked with Buckminster Fuller and tried to launch a Tesla-like free energy initiative. 'I think a lot of my work came from those days. I was on all these drugs making art and I had no culture, and I thought if I became the most famous artist in the world I could convince the billionaires and movie stars to give money to the scientists to make free energy.'

Though he hasn't fulfilled the latter promise, he has connected the monied classes and artists with various Nobel laureates ('my brain trust') at his Pioneer Works art centre in Red Hook, Brooklyn. 'It's mixing all these weird fucking people all the time,' he says. Having completed this installation, the artist-activist hopes to do more public projects should the opportunity arise. He's also busy making new works, be it his new 'ant farm' series (made from detritus paper stuffed between glass panels with a stick) or the 32-ft landscape inspired by the epic 12-ton triptych he showed at the SCAD Museum of Art, which all began simply as a 'series of accidents'.

'With the glass I can go backwards, change my mind, add perspective, build a city, put a horse in the city, cut the city in half or add an explosion. Then I saw the Terracotta Warriors and realised I don't want to make figurative art, I want to make an army,' says Yellin, who hopes to create 120 Psychogeographies for a huge retrospective, whenever or wherever that might happen. 'I don't believe in the art world, I just believe in the world. I just make shit that I would want to live with and shit that in 500 years would be artifacts I care about because I'm obsessed with artifacts. I don't think about anything else.'

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Dustin Yellin / LA TIMES
Oct 14, 2015

Dustin Yellin is an artist who comes in many guises.

In Vanity Fair last month, Yellin, posing naked but for mismatched socks and eyeglasses at his Brooklyn studio, was presented as the art world's "it boy."

Other images in the media collage that is his public history: Yellin break-dancing in Jay Z's 2013 performance art video, "Picasso Baby"; the sky-high dollar amounts that his elaborate sculptures command (one installation went for $1.7 million in a private sale at Sotheby's last year); Yellin's romance with actress Michelle Williams; the time in the late '90s when he was accidentally stabbed in the leg by model-actress Bijou Phillips; and the artist's 1999 mental breakdown, which landed him in a psych ward — but not before he recorded the entire episode, ultimately turning it into a performance art video called "The Crack-Up."

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Dustin Yellin - boing boing
Sept 25, 2015

bOinG bOinG


Dustin Yellin's stupendous, life-sized glass-pane humanoids made from NatGeo clippings

Earlier this month, I attended a two-day meeting at Pioneer Works, an art and innovation center in Red Hook, Brooklyn. The center is both physically beautiful and filled with interesting people from many disciplines doing work in open workshops. It was founded by sculptor Dustin Yellin, and the lobby has one of his remarkable, life-sized three-dimensional humaniform sculptures, composed of thousands of collaged magazine clippings pressed between many sheets of glass.

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Sept 22, 2015