Regen Projects is pleased to participate in the 2024 edition of Frieze Los Angeles with a presentation of works in varied media and styles by gallery artists who have continually redefined contemporary art, both in Los Angeles and internationally.
Featured artists include Doug Aitken, Matthew Barney, Kevin Beasley, Walead Beshty, Abraham Cruzvillegas, Georgia Gardner Gray, Rachel Harrison, Alex Hubbard, Elliott Hundley, Anish Kapoor, Liz Larner, Marilyn Minter, Rebecca Morris, Catherine Opie, Silke Otto-Knapp, Raymond Pettibon, Jack Pierson, Daniel Richter, Sable Elyse Smith, Wolfgang Tillmans, Gillian Wearing, James Welling, Alberta Whittle, Sue Williams, and Andrea Zittel.
Dates
February 29 – March 3, 2024
Address
Santa Monica Airport
3027 Airport Avenue
Santa Monica, CA, 90405
Booth
B04
Alberta Whittle
The girl I saw was myself not quite myself
2023
Acrylic on linen, painted wooden frame with fretwork
45 1/2 x 41 3/4 x 2 1/8 inches (115.6 x 106 x 5.4 cm)
Blending tender portraiture with more surreal passages and symbols, The girl I saw was myself not quite myself presents what might be a portrait, of the artist herself, but also, may not. Dressed in a striking fuchsia that echoes the sun cast color of the mountains that frame her, the central figure’s face presents solely a pair of softly closed eyes, surrounded by an orbiting halo of staccato rays. Ambient fencing both guards and bounds her off from us as the painting dissolves into tenuous drips of paint as if the entire scene has been caught out in a sudden, gentle rain. A wooden fretwork frame colored with evocative washes of romantic lilac, watery Caribbean blues, and golden hashes rhymes with the romantic palette and nostalgic pathos of the painting it frames. Embellished with a casual string of beads and shells, this custom housing for the image alludes to the ornamentation of many homes as well as the wider material culture of Alberta’s origins in Barbados.
Alberta Whittle’s paintings reflect her own lived and embodied experience and her desire to cultivate moments of rest, reflection, and kinship in and for others. Often built atop rich, jewel-like grounds, her paintings capture both histories and memories. Through watery fields and layered, sumptuous juxtapositions, the paintings intertwine histories of Black diaspora with portraits of friends, family memories, and photographs–as well as dreamscapes distinguished by coastal cues or lush flora. Recently the subject of presentations at the ICA Philadelphia and ICA Los Angeles, Alberta represented Scotland at the 59th Venice Biennale in 2022, and will debut her first exhibition at Regen Projects from March 16-May 18, 2024.
Doug Aitken
NOW
2013
Powder-coated metal, black felt, assorted plants
38 x 103 x 7 1/8 inches (96.5 x 261.6 x 18.1 cm)
Presented publicly for the first time ever at Frieze LA 2024, NOW, 2013 studs a familiar word and concept, a declaration of the present moment or some demand for immediate gratification, with succulents and other slow growing plants. In their quiet, sedentary, apparently impassive state, these string-of-pearls, donkey tails, and various air plants (as they are informally known), among others, encourage us to forget about the anxieties of contemporary human experience or make any sense of urgency feel absurd.
Indeed, many scientific and medical studies, as well as trickle down advice and anecdotal evidence circulated by mainstream lifestyle reporting argues for plants as an antidote for contemporary ailments, from screen-time stress or digital alienation to pandemic era burnout.
Whether creating a house from mirrors in the middle of the desert, filming wild animals in a hotel room, or making sculptures such as NOW, 2013, Doug Aitken has long been interested in the jarring juxtaposition between nature and technology. Often employing seemingly straightforward yet provocative words and symbols, Aitken’s sculptures invoke themes relating to existentialism, the American landscape, and contemporary life. The Museum of Contemporary Art Los Angeles produced a major survey of Aitken in 2016, which also traveled to the Museum of Modern Art, Fort Worth; this was followed by a retrospective at the Museum of Contemporary Art Sydney in 2022, among other notable recent exhibitions.
Georgia Gardner Gray
Sale
2024
Oil on canvas
56 x 48 x 1 1/4 inches (142.2 x 121.9 x 3.2 cm)
Recalling the artist’s own prior work in the world of fashion, Gardner Gray’s Sale, 2024 conjures an Absinthe-lit fever dream of contemporary ennui and alienation, from a threatening and deeply gendered landscape of display mannequins (here violently without heads or hands) to the endless absorption of a smartphone screen and the memento mori of an inert dumbbell, a dull reminder of the equally infinite mythology of fitness and self-improvement.
Whether Venus de Milo or department store display, the feminine figures here inherent the perpetually fraught uncertainty of the female form in Western art history, oscillating between the professed specificity of contemporary identities and the supposed universality of classical beauty. How do we navigate a world of constant images where figures are always on display and everywhere available? What and who can be seen? Who and what is for sale?
As Patrick Armstrong wrote in 2019, “Georgia’s practice relishes in these oppositions—order versus disorder, abundance versus decay, beauty versus the abject, control versus anarchy. The battle between these often takes place microcosmically—in the space of one train car, one restaurant, or indeed even one mind—but implication is broad…Like on train cars, these territories are where polite society can meet its opposite, where humanity can bristle up against itself” (Patrick Armstrong, “Georgia Gardner Gray at the Downer,” published by The Downer, 2019).
Gardner Gray will present her first exhibition at Regen Projects in 2025. The subject of an early career survey at Kunsthalle Lingen, Germany and an accompanying publication in 2018 (Georgia Gardner Gray, Mousse Publishing, 2018), she has had solo presentations at Unge Kunstneres Samfund/Kunstnernes Hus, Norway and Kunstverein Hamburg, Germany.
Liz Larner
green granted
2024
Ceramic, ceramic glaze, high polish aluminum and enamel paint
27 x 30 x 11 1/2 inches (68.6 x 76.2 x 29.2 cm)
green granted, 2024, pares back to an understated eggshell white punctuated by fissures of green. Folding and undulating like a butterfly wing, a floral petal, or the surface of land under pressure, this work alludes to organicism and the geological forces roiling beneath the earth’s ever shifting crust. Formally, it recalls the folded paper minimalisms of Dorothea Rockburne or the subtle, surprise pops of color that might sneak into the otherwise committedly snowy paintings of Robert Ryman. The polished aluminum armature that connects the work to the wall provides a sleek and rigid contrast suggestive of the relationship between industry and its raw materials. For Larner, the surface and its support are equally important.
In these works, Larner continues to explore material and technique with her constantly evolving series of ceramic wall sculptures that showcase her mastery of glazing techniques and her continued interest in the transformative possibilities of sculpture. Recalling the organic biomorphism of her Herbal Remedy works (wall-mounted porcelain forms inspired by floral petals), these new works suggest the seemingly autonomous beauty and compositional patterns, colors, and textures of nature, where striking juxtapositions arise with both a sense of chance and mysterious order. In each, ceramic forms float off the wall in tandem with metallic mounts. Like two moods or artistic modes meeting, they present esoteric emblems, or perhaps a kind of sculpture that animates a wall—not unlike the way fine metalwork and jewelry might animate a profile or neckline. They juxtapose strikingly distinct surfaces and conceptual touchstones with the honed dexterity of curiosity as it meets experience.
Recently the subject of a 2022 traveling exhibition organized by SculptureCenter, New York and the Walker Art Center, Minneapolis, Larner will present her next exhibition with Regen Projects in September 2024.
Jack Pierson
ALWAYS
2024
Metal and wood
99 x 39 1/2 x 3 1/2 inches (251.5 x 100.3 x 8.9 cm)
In ALWAYS, 2024, the latest of Pierson’s celebrated letter-based sculptures, familiar themes of linguistic subtlety and ambiguity imbued with the promise of forever find form in glistening shades of silver and gold. Composed of letters that seem to teeter upon each other like a small tower of Babel, this work suggests the vulnerability of love, meaning, and language itself, alluding to the tender fragility of ‘forever.’ Plays of scale between the letters and across the wall suggest an animate comedy or farce, as if they arise and hang before us in tandem with each other, stacking, dangling, or cavorting.
Like much of Jack Pierson’s work, the word sculptures for which the artist would become renowned have their origins on the streets of 90s New York City, where antiquated signage—the detritus of economically depressed movie palaces, porn theaters, and other urban offerings long past their heyday—amassed as a reminder of the past as well as, for Pierson, the aesthetic potential of the present and its scrapyard possibilities.
Kevin Beasley
Thoughts on Lake Gaston
2024
Graphite on Rives BFK
42 1/4 x 64 1/4 x 1 3/4 inches (107.3 x 163.2 x 4.4 cm)
In dialogue with the long tradition of American landscape imagery, Kevin Beasley here renders in fine graphite a view of Lake Gaston, Virginia. Born in Virginia, but currently based in New York City, Beasley consistently examines the complex and always shifting relationship between history, people, and the land. However these themes manifest, they are always informed by Beasley’s careful attention to American histories of appearance and erasure. In this drawing on Rives BFK paper, a surface made from pure 100% cotton (and thus conceptually and materially tied to his more monumental, resin encased abstractions), Beasley’s attention to fine detail and naturalistic rendering condenses his broader immersion in ongoing questions of locality, place, and site-specificity that run throughout his work.
Doug Aitken
NOW
2013
Powder-coated metal, black felt, assorted plants
38 x 103 x 7 1/8 inches (96.5 x 261.6 x 18.1 cm)
Matthew Barney
Retrograde
2019
Graphite on paper in ultra high molecular weight plastic frame
18 3/8 x 20 5/8 x 1 3/8 inches (46.7 x 52.4 x 3.5 cm)
Kevin Beasley
Garden II Amongst Flowers
2023
Polyurethane resin, raw Virginia cotton, Sharpie transfer, fiberglass
55 1/2 x 36 3/4 x 2 1/4 inches (141 x 93.3 x 5.7 cm)
Kevin Beasley
Vista XLI
2023
Polyurethane resin, raw Virginia cotton, Sharpie transfer
16 x 24 x 1 1/2 inches (40.6 x 61 x 3.8 cm)
Kevin Beasley
Thoughts on Lake Gaston
2024
Graphite on Rives BFK
42 1/4 x 64 1/4 x 1 3/4 inches (107.3 x 163.2 x 4.4 cm)
Walead Beshty
RA4 Contact Print / Processor Stall (CMY/Two Magnet: Los Angeles, California, March 6, 2023, Fujicolor Crystal Archive Super Type C, Em. No. 156-002, 01623), Kreonite KM IV 5225 RA4 Color Processor, Ser. No. 00092174
2024
Color photographic paper
55 x 31 x 2 inches (139.7 x 78.7 x 5.1 cm)
Walead Beshty
00.00.00
2022
Swiss Federal Railways split-flap display clock, GPS receiver
8 1/4 x 19 3/8 x 6 3/4 inches (21 x 49.2 x 17.1 cm)
Georgia Gardner Gray
Sale
2024
Oil on canvas
56 x 48 x 1 1/4 inches (142.2 x 121.9 x 3.2 cm)
Rachel Harrison
The Classics
2017
Ink on pigmented inkjet print
28 1/8 x 23 1/8 x 1 1/4 inches (71.4 x 58.7 x 3.2 cm)
Alex Hubbard
Redeemable Character
2024
Urethane, epoxy resin, fiberglass, acrylic and oil
77 x 69 1/4 x 2 inches (195.6 x 175.9 x 5.1 cm) AH 143
Elliott Hundley
2.2.24.1
2024
Colored pencil, encaustic, polymer clay, paper, fabric, plastic, and pins on linen over panel
72 1/2 x 72 1/4 x 5 1/4 inches (184.2 x 183.5 x 13.3 cm)
Elliott Hundley
Actor (Study)
2015
Oil on panel
37 1/4 x 31 1/8 x 1 3/4 inches (94.6 x 79.1 x 4.4 cm)
Elliott Hundley
Palette 2
2022
Wood, concrete, metal, plastic, wire, yarn, bamboo, fabric, feathers, glass, antler, horn
132 x 30 1/2 x 33 inches (335.3 x 77.5 x 83.8 cm)
Anish Kapoor
Pagan Gold and Burgundy Mist
2023
Stainless steel and lacquer
35 3/8 x 35 3/8 x 4 inches (90 x 90 x 10 cm)
Liz Larner
green granted
2024
Ceramic, ceramic glaze, high polish aluminum and enamel paint
27 x 30 x 11 1/2 inches (68.6 x 76.2 x 29.2 cm)
Marilyn Minter
Snow White
2022
Dye sublimation print
61 3/4 x 46 3/4 x 2 1/4 inches (156.8 x 118.7 x 5.7 cm)
Rebecca Morris
Untitled (#02-24)
2024
Oil and spray paint on canvas
75 x 75 1/4 x 2 inches (190.5 x 191.1 x 5.1 cm)
Rebecca Morris
Untitled (#121-20)
2020
Watercolor and ink on paper
21 1/8 x 15 1/4 x 1 1/2 inches (53.7 x 38.7 x 3.8 cm)
Rebecca Morris
Untitled (#115-20)
2020
Watercolor and ink on paper
21 1/8 x 15 1/4 x 1 1/2 inches (53.7 x 38.7 x 3.8 cm)
Catherine Opie
Frankie
1995
Chromogenic print
20 7/8 x 16 7/8 x 2 inches (53 x 42.9 x 5.1 cm)
Catherine Opie
Christian, 1990
1990/2024
Pigment print
38 1/2 x 31 x 2 inches (97.8 x 78.7 x 5.1 cm)
Catherine Opie
Surfer Landscape, 2003
2003/2024
Pigment print
31 x 38 1/2 x 2 inches (78.7 x 97.8 x 5.1 cm)
Silke Otto-Knapp
Islands
2019
Watercolor on paper
15 3/8 x 18 1/4 x 1 inches (39.1 x 46.4 x 2.5 cm)
Raymond Pettibon
No Title (Writing her name)
2015
Pen and ink on paper
22 1/2 x 30 inches (57.2 x 76.2 cm)
Raymond Pettibon
No Title (The mind (as))
1992
Pen and ink on paper
15 7/8 x 21 1/8 x 1 1/2 inches (40.3 x 53.7 x 3.8 cm)
Raymond Pettibon
No Title (It will save)
1987
Pen and ink on paper
14 x 11 inches (35.6 x 27.9 cm)
Sable Elyse Smith
Coloring Book 135
2023
Screen printing ink, oil pastel, and oil stick on paper
63 1/2 x 53 1/2 x 2 1/2 inches (161.3 x 135.9 x 6.4 cm)
Wolfgang Tillmans
Hampstead still life
2020
Inkjet print on paper mounted on Dibond aluminum in artist’s frame
83 5/8 x 57 1/8 x 2 3/8 inches (212.4 x 145.1 x 6 cm)
Wolfgang Tillmans
Fensterbank
2021
Inkjet print on paper
13 3/8 x 17 3/8 x 7/8 inches (34 x 44 x 2.2 cm)
Wolfgang Tillmans
Congo night (b)
2018
Inkjet print on paper
13 1/2 x 17 1/2 x 7/8 inches (34.3 x 44.5 x 2.2 cm)
Wolfgang Tillmans
studio party (b)
2009
Chromogenic print
13 3/8 x 17 3/8 x 1 inches (34 x 44.1 x 2.5 cm)
Gillian Wearing
No reflection
2023
Oil on thick board
23 5/8 x 23 5/8 x 3/4 inches (60 x 60 x 1.9 cm)
James Welling
Water
2009
Chromogenic print
24 3/4 x 21 1/8 x 1 1/2 inches (62.9 x 53.7 x 3.8 cm)
Alberta Whittle
The girl I saw was myself not quite myself
2023
Acrylic on linen, painted wooden frame with fretwork
45 1/2 x 41 3/4 x 2 1/8 inches
Andrea Zittel
Study for Cellular Grid #2
2018
Watercolor and gouache on paper
20 1/8 x 27 3/4 x 1 1/2 inches (51.1 x 70.5 x 3.8 cm)
Andrea Zittel
Panels and Portals 10
2020
Watercolor and gouache on paper
15 3/4 x 19 1/2 x 1 1/2 inches (40 x 49.5 x 3.8 cm)
