Drive by an industrial lot, past a few factories, and over a widen of tyrannise marks and you’ll come to a 12,000-square-foot room that contains what competence be a many engaging gallery in Los Angeles right now.
356 S. Mission Road—just easterly opposite a L.A. River from a Arts District nearby Downtown—is a collaboration between a absolute New York gallerist Gavin Brown, Laura Owens (a painter who’s represented by Brown), and Wendy Yao (the owner of a art bookstore Ooga Booga, which has an outpost in a front of a building). It functions as an spontaneous village clubhouse, eventuality space, and area for energetic exhibitions of artists immature and old.
West Coast Vibes
While many L.A. galleries have a feel of a standard New York gallery—cold and open, with one or dual gallery assistants who omit we when we come in—356 S. Mission is comfortable and informal. There’s coffee and tea set out as refreshments, a hulk village dining list for people to lay down during and hang out, and a staff who’s happy to lay around and fire a breeze. It could never exist in New York, not only since of a size, though also since it feels so totally relaxed.
The building started as a copy press in 1926, afterwards became a piano storage trickery with hundreds of baby grands were built building to roof (and run, as it happens, by Liberace’s manager). Owens incited a building into a studio in 2012, and after several months she used her possess art to theatre a space’s initial muster in 2013. Since then, there have been 26 shows, including one that featured a work of Elaine Sturtevant, and another comprised of Alex Katz’s giant flower paintings.
On View Now
The blurb gallery (as in: a art we see is art we can buy) now has dual solo exhibitions on view: one by Katy Fischer, a 356 S. Mission artist in residence, and one by a initial musician and artist Ben Vida.
The Fischer show, that occupies a tiny second-floor loft, is superb. Fischer’s art—geometric and colorful collages, ceramic assemblages, and textiles—are commissioned in a quasi-residential setting. Vitrines filled with scrap-like pieces of ceramic are set around a room, and colorful, firmly organised epitome collages are mounted on a walls. There’s even a bed, list lamp, couches, and chairs. Her art is quite decorative, though distinct many of a colorful condensation now flooding New York galleries, Fischer’s designation is considered, surprising, and skilfully executed.
What truly sets 356 S. Mission Road detached from many LA galleries (and really, many galleries anywhere), is a extra-curricular programming.
There are a few gallery clusters in LA, though like roughly all else in a city, to see a best shows you’ll have to expostulate (sometimes for hours, depending on a time of day). Along with creation we import your CO footprint opposite your art appreciation, it means that visitors frequency simply eventuality onto a gallery or museum. Whatever we go to had improved be value it.
Last year, Meredith Monk played piano for an spontaneous throng of admirers; a other week a artist Renee Green screened a film, that was followed by a reading by a producer and censor Fred Moten. Three weeks ago a gallery hosted a “coloring event,” where a artist Eric Wesley, whose uncover sealed final week, led a color-by-numbers convention where children and adults done their possess versions of a stained-glass window he’d installed. (The window is a cross-section of a burrito.) For a while there was even a weekly eventuality called “Scrabble Sundays,” that is accurately what it sounds like.
In a universe where marketplace pressures are omni-present, and a artists on perspective are as mostly dignified for their prices as they are their tangible art, a laid-back, village atmosphere of 356 S. Mission Road comes as something of a balm. It’s corroborated by one of a many absolute dealers in a world, true, though a programming, exhibitions, and ethos are strikingly, maybe troublingly, unique.