Past Exhibitions

Al Loving. Untitled, 1982. Mixed media, 60 1/4 x 48 inches.  Courtesy of the Estate of Al Loving and Garth Greenan Gallery, New York.

Al Loving. Untitled, 1982. Mixed media, 60 1/4 x 48 inches. Courtesy of the Estate of Al Loving and Garth Greenan Gallery, New York.

Spiral Play

Loving in the '80s

April 22, 2017 - July 29, 2017

Opening: April 22, 2017, 3:00 PM - 5:00 PM
3401 W. 43rd Pl, Los Angeles, CA 90008

Al Loving. Untitled, 1982. Mixed media, 60 1/4 x 48 inches.  Courtesy of the Estate of Al Loving and Garth Greenan Gallery, New York.

Al Loving. Untitled, 1982. Mixed media, 60 1/4 x 48 inches. Courtesy of the Estate of Al Loving and Garth Greenan Gallery, New York.

For forty years, Al Loving experimented with materials and process to expand the definition of modern painting, drawing on everything from experimental jazz to his family’s quilting tradition. In the 1980s, Loving broke free of the flat image, using heavy rag paper to make three-dimensional collages in brilliant colors. The work is radical, beautiful, and deeply human. In the artist’s words, “I chose the spiral as a symbol of life’s continuity. It became an overall wish for everyone.”

Tschabalala Self,  _Untitled 2_,  2014.  Oil on canvas. 54 × 34 inches. Private collection.

Tschabalala Self, Untitled 2, 2014. Oil on canvas. 54 × 34 inches. Private collection.

A Shape That Stands Up

March 19, 2016 - June 18, 2016

Opening: March 19, 2016, 3:00 PM - 5:00 PM
3401 W. 43rd Pl, Los Angeles, CA 90008

Tschabalala Self,  _Untitled 2_,  2014.  Oil on canvas. 54 × 34 inches. Private collection.

Tschabalala Self, Untitled 2, 2014. Oil on canvas. 54 × 34 inches. Private collection.

A Shape That Stands Up examines the gray space between figuration and abstraction in recent painting and sculpture. The artists in this cross-generational show treat the figure as material and the history of representation as one, long open-ended question with many possible answers. Following a historical lineage of artists working similarly. Participating artists include Robert Colescott, Carroll Dunham, Jamian Juliano-Villani, and Sue Williams, among others.

Alex Da Corte, _A Night in Hell, Part II_(video still), 2014. Standard digital video, TRT 10:16. Courtesy of the
artist.

Alex Da Corte, A Night in Hell, Part II(video still), 2014. Standard digital video, TRT 10:16. Courtesy of the artist.

Alex Da Corte

A Season in He’ll

July 9, 2016 - September 17, 2016

Opening: July 9, 2016, 3:00 PM - 5:00 PM
3401 W. 43rd Pl, Los Angeles, CA 90008

Alex Da Corte, _A Night in Hell, Part II_(video still), 2014. Standard digital video, TRT 10:16. Courtesy of the
artist.

Alex Da Corte, A Night in Hell, Part II(video still), 2014. Standard digital video, TRT 10:16. Courtesy of the artist.

The Philadelphia-based interdisciplinary artist Alex Da Corte (b. 1980, Camden, NJ) is known for his pop-informed sensibility and embrace of theatricality. In his elaborate, surreal set pieces, banal objects and consumer goods serve as both actors and props. Da Corte’s videos, sculptures, paintings, and installations ruminate on personal and cultural politics, alienation, and the complexities of the human experience. An active scavenger of high and low culture, his material explorations have included using dollar-store soda and shampoo as paint; “curating” the works of other artists into hybrid objects; and creating immersive environments that consider and modify the entirety of a space, from lighting fixtures to flooring. For his first solo exhibition in Los Angeles, Da Corte will present a survey of recent videos within a site-specific installation at Art + Practice.

Fred Eversley, _Untitled_, 1974.  Collection of the artist.  Photo: Joshua White/JWPictures.com.

Fred Eversley, Untitled, 1974. Collection of the artist. Photo: Joshua White/JWPictures.com.

Fred Eversley

Black, White, Gray

November 12, 2016 - January 28, 2017

Opening: November 12, 2016, 4:00 PM - 6:00 PM
3401 W. 43rd Pl, Los Angeles, CA 90008

Fred Eversley, _Untitled_, 1974.  Collection of the artist.  Photo: Joshua White/JWPictures.com.

Fred Eversley, Untitled, 1974. Collection of the artist. Photo: Joshua White/JWPictures.com.

Over more than four decades, Fred Eversley (b. 1941, Brooklyn) has produced a singular body of work that considers materials, light, and the optical qualities of shapes and colors as part of a broad investigation of individual perceptual experience. This exhibition examines a series of black, white, and gray sculptures that Eversley began in the early 1970s. As lenses through which we see and mirrors in which we are reflected, these works challenge our perception of and create new perspectives on the world around us.

John Outterbridge, _Rag and Bag Idiom I_,  2012.  Mixed media. 14 ½ x 15 ¾ x 3 ½ inches. The Eileen Harris Norton Collection. Image courtesy of Tilton Gallery, New York.

John Outterbridge, Rag and Bag Idiom I, 2012. Mixed media. 14 ½ x 15 ¾ x 3 ½ inches. The Eileen Harris Norton Collection. Image courtesy of Tilton Gallery, New York.

John Outterbridge

Rag Man

December 12, 2015 - February 27, 2016

Opening: December 12, 2015, 2:00 PM - 5:00 PM
3401 W. 43rd Pl, Los Angeles, CA 90008

John Outterbridge, _Rag and Bag Idiom I_,  2012.  Mixed media. 14 ½ x 15 ¾ x 3 ½ inches. The Eileen Harris Norton Collection. Image courtesy of Tilton Gallery, New York.

John Outterbridge, Rag and Bag Idiom I, 2012. Mixed media. 14 ½ x 15 ¾ x 3 ½ inches. The Eileen Harris Norton Collection. Image courtesy of Tilton Gallery, New York.

A solo exhibition focusing primarily on works made during the past decade by the groundbreaking Los Angeles-based assemblage artist John Outterbridge (b. 1933) will take place at A+P in Leimert Park. Inspired by personal experiences growing up in the south as well as distinct events in American history like the migration of African-Americans from south to north and the Watts uprising of 1965, Outterbridge’s works are as rooted in folk and African art as they are in dialogue with twentieth century art movements such as Dada, assemblage, and the readymade.

Njideka Akunyili Crosby,  _I Still Face You_,  2015.  Acrylic, charcoal, color pencils, collage, and transfers on paper. 84 x 105 inches. Courtesy of the artist and Victoria Miro, London.

Njideka Akunyili Crosby, I Still Face You, 2015. Acrylic, charcoal, color pencils, collage, and transfers on paper. 84 x 105 inches. Courtesy of the artist and Victoria Miro, London.

Njideka Akunyili Crosby: The Beautyful Ones and Two Films by Akosua Adoma Owusu

September 12, 2015 - November 21, 2015

Opening: September 12, 2015, 3:00 PM - 5:00 PM
3401 W. 43rd Pl, Los Angeles, CA 90008

Njideka Akunyili Crosby,  _I Still Face You_,  2015.  Acrylic, charcoal, color pencils, collage, and transfers on paper. 84 x 105 inches. Courtesy of the artist and Victoria Miro, London.

Njideka Akunyili Crosby, I Still Face You, 2015. Acrylic, charcoal, color pencils, collage, and transfers on paper. 84 x 105 inches. Courtesy of the artist and Victoria Miro, London.

Njideka Akunyili Crosby: The Beautyful Ones is the artist’s first exhibition in Los Angeles. In this new body of work, Akunyili Crosby (b. 1983, Enugu, Nigeria) explores intimacy and interiority in her depictions of domestic life. The artist often appears as the subject of her paintings, depicted with her back turned to the viewer, looking away or in partial view, amidst large family gatherings, in quiet contemplation, or in private moments with her husband. Her large scale works on paper, which combine collage, drawing, painting, and printmaking, challenge conventions of portraiture, even as they filter a number of art historical and literary influences. This exhibition is presented in conjunction with Hammer Projects: Njideka Akunyili-Crosby at the Hammer Museum, on view October 3, 2015–January 10, 2016.

Concurrent with Njideka Akunyili Crosby: The Beautyful Ones is Two Films by Akosua Adoma Owusu in Art + Practice’s project room. The presentation will include the award-winning Kwaku Ananse (2013) and the experimental short Intermittent Delight (2007).

Installation view of _Artists-in-Residence: Aalia Brown, Dale Brockman Davis, Sandy Rodriguez_.  Art + Practice, Los Angeles.  July 11- August 29, 2015.  Photo: Joshua White/JWPictures.com

Installation view of Artists-in-Residence: Aalia Brown, Dale Brockman Davis, Sandy Rodriguez. Art + Practice, Los Angeles. July 11- August 29, 2015. Photo: Joshua White/JWPictures.com

A+P Artists in Residence 2014-2015:

Dale Brockman Davis, Aalia Brown, and Sandy Rodriguez

July 11, 2015 - August 29, 2015

Opening: July 11, 2015, 3:00 PM - 6:00 PM
3401 W. 43rd Pl, Los Angeles, CA 90008

Installation view of _Artists-in-Residence: Aalia Brown, Dale Brockman Davis, Sandy Rodriguez_.  Art + Practice, Los Angeles.  July 11- August 29, 2015.  Photo: Joshua White/JWPictures.com

Installation view of Artists-in-Residence: Aalia Brown, Dale Brockman Davis, Sandy Rodriguez. Art + Practice, Los Angeles. July 11- August 29, 2015. Photo: Joshua White/JWPictures.com

Founded in 2014 by the artist Mark Bradford, the philanthropist Eileen Harris Norton, and the social activist Allan DiCastro, Art + Practice launched its residency program by inviting three Los Angeles-based artists to participate in 14-month residencies. The artists were offered access to on-site studios and the opportunity to interact with the community through public programs such as artist talks and open studios For its first year, the residency program hosted two artists (Brown and Rodriguez) with traditional studio practices, providing facilities and materials to support an ongoing archiving project for the Brockman Gallery and Brockman Productions, an art gallery and curatorial office founded by the brothers Alonzo and Dale Brockman Davis in Leimert Park in 1967.

Charles Gaines,  Prototype for _Librettos: Manuel de Falla/ Stokely Carmichael_, Set 1,  2014.

Charles Gaines, Prototype for Librettos: Manuel de Falla/ Stokely Carmichael, Set 1, 2014.

Charles Gaines

Librettos: Manuel de Falla/Stokely Carmichael

February 28, 2015 - May 30, 2015

Opening: February 28, 2015, 4:00 PM - 7:00 PM
3401 W. 43rd Pl, Los Angeles, CA 90008

Charles Gaines,  Prototype for _Librettos: Manuel de Falla/ Stokely Carmichael_, Set 1,  2014.

Charles Gaines, Prototype for Librettos: Manuel de Falla/ Stokely Carmichael, Set 1, 2014.

In collaboration with Charles Gaines: Gridwork 1974–1989 at the Hammer Museum, Art + Practice presents Charles Gaines: Librettos: Manuel de Falla / Stokely Carmichael at its space in Leimert Park. Employing a systems-based conceptualism that Gaines has long embraced and highlighting the enduring influence of composer John Cage’s experiments with chance, the new 12-part body of work brings together the score of a tragic love story, the opera La Vida Breve (c. 1904) by Spanish composer Manuel de Falla, and a fiery 1967 speech by the civil rights activist and Black Panther Party member Stokely Carmichael. The unexpected combination of music and text foregrounds the universality of long-standing class and racial struggles and the power of music to bridge difference.

Loving in the '80s

April 22, 2017 - July 29, 2017

Black, White, Gray

November 12, 2016 - January 28, 2017

A Season in He’ll

July 9, 2016 - September 17, 2016

A Shape That Stands Up

March 19, 2016 - June 18, 2016

Rag Man

December 12, 2015 - February 27, 2016

Librettos: Manuel de Falla/Stokely Carmichael

February 28, 2015 - May 30, 2015