"Dynaton: Convocation of Radiant Beings" Curated by Laura Whitcomb in collaboration with Lucid Art Foundation @ Chateau Shatto

WOLFGANG PAALEN

Les Cosmogones, 1944

Oil on canvas

96 x 93 in / 243.8 x 236.2 cm

LEE MULLICAN

Untitled, c. 1950s

Acrylic on wood and twine

52 x 27 x 2 in / 132.08 x 68.58 x 5.08 cm

LEE MULLICAN

Tide of the Mud Sun, 1950

Oil on Canvas

32 x 72 in / 81 x 182 cm

WOLFGANG PAALEN

Messenger from the Three Poles, 1949

Oil on canvas

90 x 81 in / 228 x 205 cm

LUCHITA HURTADO

Untitled, 1950

Wax crayon, ink, crayon and watercolor on board

16 x 24 in / 40.6 x 61 cm

WOLFGANG PAALEN

Face, 1935

Marble

Overall: 20 x 15.5 x 9.25 in / 50 x 39 x 23 cm

HARRY PARTCH

Kithra I, 1938-43

Musical instrument

76 x 46 x 16 in / 193 x 116.8 x 40.6 cm

WOLFGANG PAALEN

Deux Tetes II, 1935

Oil and tempera on canvas

37.75 x 50.6 in / 95.9 x 128.5 cm

Framed: 40 x 53 in / 101.6 x 134.6 cm

WOLFGANG PAALEN

Paysage Boreal (Antarctic Landscape), 1934

Oil and tempera on canvas

36 x 28.25 in / 91.4 x 71.8 cm

Framed: 39 x 31.5 in / / 99 x 80 cm

Leonora Carrington

Luchita Hurtado

Roberto Matta

Lee Mullican

Gordon Onslow Ford

Wolfgang Paalen

Harry Partch

Alice Rahon

Jeanne Reynal

Dynaton: Convocation of Radiant Beings

Curated by Laura Whitcomb in collaboration with Lucid Art Foundation

Experimentations: The Art of Controlled Procedures @ Los Angeles Municipal Art Gallery

Analia Saban

Pleated Ink (National Semiconductor, Processing and

Control Element), 2021

Machine rendered acrylic on canvas

Two Lines: One Ascending, One Descending, 2022 

machine rendered acrylic on canvas

One-Stroke Representation of an Isometric Grid (White) #3, 2015

machine rendered acrylic on canvas

Broken Vase (One-Continuous-White-Line), 2016 

machine rendered acrylic on canvas

Charles Gaines

Numbers and Trees: Drawing 26, 2016

Ink on paper

Shana Lutker

Performance Script, No. 2, 2024

Performance script printed on letter-sized paper

Shana Lutker + John Baldessari

A---B, 2011

Mixed media installation, two tables, assorted objects, two flat screen monitors, two digital cameras, wall vinyl

Experimentations: The Art of Controlled Procedures @ Los Angeles Municipal Art Gallery

Pia Camil "Nidos y Nudos" @ Blum & Poe | Los Angeles

Nudo 7, 2021

Ink, oil stick, and clay on paper

41 1/4 x 29 1/4 x 1 3/4 inches framed,

Selva Maya, 2021

Steel, concrete, recycled newspaper pulp, pigment, inset newspaper photographs and plywood base

91 1/2 x 43 x 37 inches overall

Inframundo, 2021

Steel, concrete, recycled newspaper pulp, pigment, inset newspaper photographs and plywood base

69 x 53 x 36 inches overall

Pietà, 2021

Steel, concrete, recycled newspaper pulp, pigment, inset newspaper photographs and plywood base

70 1/2 x 40 x 21 1/2 inches overall

 Pia Camil "Nidos y Nudos" @ Blum & Poe | Los Angeles

Upon first glance, I was a bit confused given the forms, the subjects and the content really. Gone are the more decorative, abstract pieces that signified labor and discussed labor in vague terms but now look mostly just like art, as we would expect it to be. This, took me a moment until I started to think closer about color again which was present the first time I saw the first show at Blum & Poe in 2014 (see here and here).

The accumulation of color and its connection to imagery as you can see in the photographs, embedded in the mounds. While the work seems less obvious to me in terms of the concept of the mounds, they do seem to retain more of an art as art thus commercial value. Not quite sure what all of this amounts to, and perhaps that is the question, what do these things amount to? How do things accumulate? And how do things rise from the ground up ?

I also thought about David Adamo from from 2013 here and 2015 here.