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\u201cGrand Saloon\u201d featuring artwork by:<\/p>\r\n

AJ Ainscough, Robert Armstrong, Aaron Baker, Roger Betka, Michelle Bickford, Jana Marie Cariddi, Sarah Chon, Guy Colwell, Audrey Densmore, Melissa Domino, DREYFUS, Alejandra Fernandez, Joel Hernandez, Jason Herr, Brett Hollis, Blake Jones, Rachel Gregor, EE Kono, Gretchen Lewis, Justin Henry Miller, Matthew Mora, Rachel O\u2019Donnell, Carles Garcia O\u2019Dowd, Charlie Powell, Bunnie Reiss, Frau Sakra, Michael Schuetz, Andrea Shear, Sea Monster, Sean Stepanoff, Juliette Toma, Jared Tharp, Alex Van Brasch, Teresa Watson, Chris Youssef\u2026and more!<\/p>","video":null,"gallery":"{gallery}70295{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"The Grand Saloon\"},{\"id\":\"3\",\"value\":\"group show\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2021-12-04\"},{\"id\":\"2\",\"value\":\"2022-01-02\"},{\"id\":\"10\",\"value\":\"La Luz de Jesus\"},{\"id\":\"9\",\"value\":\"Los 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When we thinkg of the salon, you can't help but think of 27 rue de Fleurus, the home of Gertrude Stein and Alice B Toklas in Paris on the Left Bank. That apartment is the home of the salon, the way we think of group shows and composition of exhibitions and the excitement of seeing different genres and peers placed together. La Luz de Jesus, a hub of Los Angeles for years now that feels like 27 rue de Fleurus, is hosting its own salon show, Grand Saloon<\/em><\/a> as it were, featuring a mix of different painters and illustrators across a wide range of aesthetics and narrative directions. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70296","title":"Odell Beckham Jr Curates "Well Dressed" with Seasons LA @ SURFACE Area, Miami","alias":"odell-beckham-jr-curates-well-dressed-with-seasons-la-surface-area-miami","catid":"23","published":"1","introtext":"It all started on a flight to the Bahamas last year. I was looking through a Juxtapoz article on LeRoy Neiman. I wasn't too familiar with his work at the time, but I liked his style and recognized so<\/span><\/span>","fulltext":"

Linking Fri&nds (pronounced \u201cand friends\u201d - a series and platform I started to empower creatives to share their work with the world) and my love for Miami only seemed right. I always wanted to get involved in Miami Art Week. I bought a place out there a couple of years back and really fell in love with the city. Drew from my team at Void reached out to his friends Guy and Jordan at Seasons LA<\/a>, who work with Pierce and LeRoy's estate. That's how I met Pierce's son, Paris, who showed me to Reko Rennie's work.<\/p>\r\n

This show is about personality, style, accessibility, inclination, and technology \u2013 all of the things that make up our public and private selves. Like me, the artists in this exhibition express themselves with our clothes and styles. Fashion, acting, sports, art - I see them as one and the same \u2013 all as forms of self-expression. We all, myself included, have always valued childhood and learning and want to make sure we all have a chance to express ourselves artistically and creatively. For this Fri&nds event, a portion of proceeds will go to NFT Classroom, a non-profit that empowers the youth through blockchain and art education.<\/p>\r\n

\"Well, I'm a believer in the theory that the artist is as important as his work...They are the work, and the work is them.\" - LeRoy Neiman.
\"unnamed\"
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<\/em>I was surprised to discover that in conjunction with his acting career, Pierce has maintained a studio practice for decades\u2013resulting in hundreds of wonderfully surprising artworks. It has been inspiring seeing Pierce open up and share this side of his artistry \u2013 I was specifically drawn to his depiction of faces, so I picked a series of self-portraits from the last 30 years. I think it'll be great for people to see a side of Pierce that's unexpected \u2013 yet expected in hindsight. Pierce is a true creative. We will also showcase Pierce's next NFT, which I'm very excited about. Most people don't know that Pierce released a sold out an NFT collection in the summer of 2021, which he kept low key while experimenting with the new medium.<\/p>\r\n

As for LeRoy \u2013 his work speaks for itself. LeRoy's artwork made me aspire to be like the beautiful and vibrant people in his paintings. LeRoy was the Classic Man. I'm excited to show pieces from the archives that focus on style and tastes in fashion. The first piece dates back from when he was as young as 10yrs - a similar age to when I started watching Pierce. Again teasing as an upcoming NFT, this time a project based on LeRoy's studio floor.<\/p>\r\n

Much like his father, Pierce's son Paris is also an artist. At the age of 20, his work already crosses the worlds of fashion, filmmaking and fine art. Although Paris already enjoys a successful career in the fashion and film industry, he too has kept his studio practice rather private. All of us in this show know that publicly performing\/showing\/being can make you feel vulnerable at times. Still, you learn a lot about yourself in that process and I'm excited that Paris is open to sharing and exploring this part of himself alongside his father and other fellow artists.<\/p>\r\n

Reko Rennie's work is cool because it personifies his unique roots - Aboriginal background and upbringing in Australia's streets. Street art and culture have shaped him and I like how I can see the ways he makes sense of his identity throughout his work. He uses traditional designs and camouflage to make the \"invisible\" visible and focuses on his Aboriginal roots.<\/p>\r\n

A show about how others see you and how you see yourself. Dressed up, and Well Dressed. \u2014Odell Beckham Jr., November 2021, Los Angeles<\/em><\/p>","video":null,"gallery":"{gallery}70296{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Well Dressed\"},{\"id\":\"3\",\"value\":\"Group Show\"},{\"id\":\"8\",\"value\":\"Odell Beckham Jr Curates \\\"\\\" with Seasons LA @\"},{\"id\":\"1\",\"value\":\"2021-12-02\"},{\"id\":\"2\",\"value\":\"2021-12-02\"},{\"id\":\"10\",\"value\":\"Seasons LA\"},{\"id\":\"9\",\"value\":\"SURFACE Area, Miami\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"23\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Well Dressed Group Show Odell Beckham Jr Curates \"\" with Seasons LA @ Seasons LA SURFACE Area, Miami USA Miami ","created":"December 02, 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It all started on a flight to the Bahamas last year. I was looking through a Juxtapoz article on LeRoy Neiman. I wasn't too familiar with his work at the time, but I liked his style and recognized some of his bright sports-themed work. After digging some more, I noticed that Pierce Brosnan, an icon I grew up admiring on the screen, authored the piece on LeRoy.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70283","title":"Nothing Remains the Same: Amani Lewis @ Salon 94, NYC","alias":"nothing-remains-the-same-amani-lewis-salon-94-nyc","catid":"23","published":"1","introtext":"\"Nothing Remains the Same marks many firsts in my practice\u2014the first time working at this scale, and the first time centering my family as a collective body of work. My practice typically focu<\/span><\/span>","fulltext":"

Amani Lewis (b. 1994) is a Miami- and Baltimore-based artist whose dynamic, mixed-media paintings foreground their subjects\u2019 humanity and inner resilience. Lewis\u2019 process incorporates photography, digital collage, screenprinting, and glitter into kaleidoscopic, large-scale portraits.<\/p>\r\n

During the pandemic, Lewis went home to Baltimore. Having never painted themself or their family, they documented family members, capturing video and audio recordings and mining family photo albums as source material. The result, Amani Lewis: Nothing Remains the Same<\/em>, meticulously combines storytelling, the spiritual, and hometown imagery in a new series of monumental works.
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Faded in both memory and time, faces are obscured or abstracted, yet Lewis\u2019 great-great-grandmother Mary, whom Lewis never met, comes into close focus. Signature outlines\u2014like veiny roots on the faces and fingers of Lewis\u2019 elders, as in Mother Mary and Brenda<\/em>\u2014are the unifying and fragmenting traces of time. Here, Lewis\u2019 great-great-grandmother Mary\u2019s hands are mapped and marked with an elegant endurance, each crease an indicator of the fiery, feared, and respected matriarch\u2019s force and determination. Lewis, in speaking with their great grandmother, grandmother and aunt, reflected on the memory and experiences of Mary. They spoke about how she worked full time and was also the caretaker for her grandchildren and great grandchildren. They said it was hard to like her, because she, like many elders, was trained to not speak about her pain or burden others. With this being said, they spoke of an emotional detachment to Mary, and not until their twenties did they finally sit down with her and ask about her story. These conversations changed their bond forever. Lewis got to know Mary through their lense.<\/p>\r\n

Lewis asks us to reflect on the responsibilities and tensions within family relations, and the possibility of easing them by sharing\u2014either the burden, or the unspoken, or both\u2014with transparency.<\/p>\r\n

Centered over the fireplace in Salon 94\u2019s Wood Room, Ayyyy it\u2019s a family reunion! Bring all the girls here!<\/em>, features a group of female relatives, the young ones in their 80s streetwear. Upon first study of the source photograph, Lewis was amused to see so many faces they didn\u2019t recognize, which stirred questions in them as to who these relatives were, and why they faded away. Lewis partially shadows the subjects\u2019 faces, communicating an unfamiliarity with some.<\/p>\r\n

The eight paintings in Nothing Remains the Same<\/em> allude to the place, role, and responsibility of women within the Lewis family, and establish spirituality as cornerstones of Lewis\u2019 home experience. When you get the chance to sit it out or dance...I hope you dance <\/em>depicts a child (Cousin Tiffany) in motion\u2014knee up, elbow back\u2014jiving within an ecstatic palette of reds and oranges. Religiosity and movement thus emerge as the binding glue, in lieu of conversation. Lewis says in Black family life, dance is an integral part of gatherings and a form of expressing spiritual moments.

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Lewis\u2019 fine art beginnings in photography and graphic design continue to underlie this series, a clear nod to Romare Bearden and Robert Rauschenberg. The many stages required to produce a composite painting begin with a source image (in this case, a family photograph) that Lewis then digitally alters, emphasizing and extracting moments that articulate a particular stance, gesture, and story. The digital collage is then screen printed onto canvas, whereupon its surface is further treated, or tended to, with paint, pastel, and glitter. Looking at We barely knew her... but one did we did know was...she was the flyest of them all. Ms. Mary,<\/em> the process reveals itself: one may observe curved, kinetic swaths digitally cut from the image alongside the often blocklike aesthetic of a screenprint, all bearing the aforementioned surface materials.<\/p>\r\n

Lewis\u2019 thoughtful approach and practice is based on a commitment to human well-being, healing, and care, which is evident in the tenderness of their work. Says Lewis, \u201cA goal of mine is to make room to receive and to give more love. Sometimes to do that, you have to release trauma or pain. Looking inward, acknowledging that which is inside of you, and letting it go is an important practice, and a practice I had to exercise while making this body of work.\u201d<\/p>","video":null,"gallery":"{gallery}70283{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Nothing Remains the Same\"},{\"id\":\"3\",\"value\":\"Amani Lewis\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2021-11-12\"},{\"id\":\"2\",\"value\":\"2021-12-18\"},{\"id\":\"10\",\"value\":\"Salon 94\"},{\"id\":\"9\",\"value\":\"NYC\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"3\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Nothing Remains the Same Amani Lewis Salon 94 NYC USA New York ","created":"November 30, 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\"Nothing Remains the Same<\/a><\/em> marks many firsts in my practice\u2014the first time working at this scale, and the first time centering my family as a collective body of work. My practice typically focuses on how I can show up and support my community with the resources I've garnered as an artist, but for this exhibition I decided to focus on myself and my family histories. I knew that to conjure and achieve an accuracy in the sensation of complicated family dynamics in this space, I needed to build multi-panel works that towered over my singular position within this larger Black legacy. There are unspoken challenges that changed the nature of my relationship with certain members, but in acknowledging them in this work, I implement the practice of release towards healing. \"\u2014Amani Lewis, cover artist, Winter 2021 Quarterly<\/a><\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70286","title":"Considering Unknow Know With What Is: An Organic, Moving New Show by Chris Johanson","alias":"considering-unknow-know-with-what-is-an-organic-moving-new-show-by-chris-johanson","catid":"23","published":"1","introtext":"Mitchell-Innes & Nash is pleased to announce its third solo presentation of work by Chris Johanson, Considering Unknow Know With What Is, And, featuring ne<\/span><\/span>","fulltext":"

Over the last five years, Johanson has made a significant departure from previous bodies of work. Reflecting on life and the material footprint that humans leave behind, Johanson has abandoned wood substrates for discarded drop cloths and clothing stretched over found stretcher bar materials, creating slow and meticulous paintings reminiscent of ancient frescoes or mandala paintings.  <\/p>\r\n

A deliberately measured and thoughtful method, Johanson considers his work on these paintings to be a meditative process. He contemplates themes of impermanence,\u202ffluidity\u202fand the overall fleeting nature of existence. The subject matter ranges from swirling abstractions to floating emotive heads to armies of ants.\u202fJohanson seeks to emphasize the potential healing effects of art making as we all deal with the over-stimulation, anxiety and loss that go hand in hand with recent pandemic life.  <\/p>\r\n

Alongside the paintings, Johanson will incorporate six artworks by his late friend and fellow artist, Chris Corales (1969-2018), that will be displayed in an architectural intervention constructed by the artist on site in the days leading up to the opening. Additionally, a collaborative furniture piece by the artist and his partner, Johanna Jackson, will be included. This underscores the artist\u2019s exploration of both bereavement and collaboration as meaningful components of a meditative and balanced artistic practice.  <\/p>\r\n

The exhibition will be accompanied by a fully illustrated catalogue dedicated exclusively to Johanson\u2019s recent explorations on recycled canvas. Designed by Perron-Roettinger, the publication features new essays by both the artist and Jenny Gheith, Associate Curator of Painting and Sculpture at the San Francisco Museum of Modern Art (SFMOMA).  <\/p>\r\n

In her essay for the catalogue, \u201cHarmonic Meditations: Chris Johanson\u2019s Form of Deep Listening,\u201d Gheith writes:   <\/p>\r\n

\u201cJohanson uses words like \u2018therapeutic\u2019 when describing the process of making his recent \u2018peaceful paintings.\u2019 Foregrounding the work\u2019s healing effects, Johanson paints in a way that is \u2018slow and deliberate, and because of that creates a calm meditative headspace.\u2019 He has been working in this manner in order to \u2018slow down my thoughts, to reduce the noise of my life.\u2019 Just as in his continual search for personal and creative growth, Johanson has used his tinnitus\u2014the persistent illusion of sound in his ears\u2014to reimagine his sonic environment and relationship to listening, so have the sonic elements in his artworks and installations quieted and slowed down. Not only have they shifted in tone and register, but some have nearly disappeared. For example, Johanson\u2019s recent compositions rarely speak to us through speech bubbles and text; rather, his paintings emphasize a more formal visual language grounded in an energetic flow. These rhythmic hums manifest as swirling shapes based on the curvature of his hand as it shifts against the surface. Johanson\u2019s vivid palette has transformed into more muted tones and organic forms that are less saturated and at times seem to fade into or look worn against the cotton surface.\u201d <\/p>","video":null,"gallery":"{gallery}70286{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Considering\\u00a0Unknow Know\\u00a0With\\u00a0What Is\"},{\"id\":\"3\",\"value\":\"Chris Johanson\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2021-11-04\"},{\"id\":\"2\",\"value\":\"2021-12-18\"},{\"id\":\"10\",\"value\":\"Mitchell Innes Nash\"},{\"id\":\"9\",\"value\":\"NYC\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"3\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Considering\u00a0Unknow Know\u00a0With\u00a0What Is Chris Johanson Mitchell Innes 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innes nash","published":"1","link":"\/tag\/mitchell-innes-nash\/"},{"id":"2324","name":"chris johanson","published":"1","link":"\/tag\/chris-johanson\/"},{"id":"645","name":"installation","published":"1","link":"\/installation\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/f7eeb2ab47f37c6384628ea077ff0d10_XS.jpg?t=1638305491","imageSmall":"\/media\/k2\/items\/cache\/f7eeb2ab47f37c6384628ea077ff0d10_S.jpg?t=1638305491","imageMedium":"\/media\/k2\/items\/cache\/f7eeb2ab47f37c6384628ea077ff0d10_M.jpg?t=1638305491","imageLarge":"\/media\/k2\/items\/cache\/f7eeb2ab47f37c6384628ea077ff0d10_L.jpg?t=1638305491","imageXLarge":"\/media\/k2\/items\/cache\/f7eeb2ab47f37c6384628ea077ff0d10_XL.jpg?t=1638305491","imageGeneric":"\/media\/k2\/items\/cache\/f7eeb2ab47f37c6384628ea077ff0d10_Generic.jpg?t=1638305491","cleanTitle":"Considering Unknow Know With What Is: An Organic, Moving New Show by Chris Johanson","numOfComments":"0","text":"

Mitchell-Innes & Nash<\/a> is pleased to announce its third solo presentation of work by Chris Johanson<\/a>, Considering Unknow Know With What Is, And<\/em>, featuring new paintings on recycled canvas. The exhibition will be on view through December 18.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"70273","title":"Personal Effects: Paul Insect with Avant Arte in Amsterdam","alias":"personal-effects-paul-insect-with-avant-arte-in-amsterdam","catid":"23","published":"1","introtext":"As for most people out there, the past two years were an absolute roller coaster of personal and professional ups and downs, yet, in the midst of all that, Paul Insect managed to produce a truly mass<\/span><\/span>","fulltext":"

Realized in collaboration with Avant Arte, an edition platform that Insect has been work with in the past couple of years, the exhibition is following up on the smaller solo presentation earlier this year in Athens<\/a>. Occupying a vacant spacious venue in Amsterdam's historic Jordaan neighborhood, Personal Effects<\/em> brings a rundown of the London-based artist's eclectic practice. From iconic paintings on canvas, over paintings on found objects, sculptural assemblages from found objects, new series of glass figures, drawings, Polaroids, to a couple of new limited editions produced especially for the event, the work is seamlessly unifying the variety of influences that inform Insect's current practice and process.<\/p>\r\n

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A post shared by Paul Insect (@paulinsect)<\/a><\/p>\r\n<\/div>\r\n<\/blockquote>\r\n