BLUM

BLUM is pleased to announce the representation of Bloomington, Indiana-based artist @petershear on the occasion of “Reality Show,” the artist’s first solo exhibition with the gallery—opening July 13, 6–8pm alongside a book signing with Shear. Utilizing the art of suggestion, Shear loosely renders recognizable forms in distinctive palettes to create paintings that trigger open-ended recognition in their viewers. Drawing inspiration from a range of topics as disparate as the internet is vast, Shear intakes a large quantity of visual information—a single painting may, for instance, be influenced by the oeuvre of Dutch Golden Age painter Judith Leyster, an image of several neatly arranged green Adidas Sambas, a drawing by contemporary British artist David Shrigley, and a news headline that reads “Where’s Princess Kate?” The resulting works broadly deploy intuitively familiar aesthetics to underscore our universally shared connection to the collective unconscious. Head to the link in bio for more about the artist, this upcoming exhibition, and the book signing taking place during the opening. Image: Peter Shear, “Body of Water” (2023) #petershear

Jacqueline de Jong, 1939-2024 Legendary artist Jacqueline de Jong shared her powerful work in our two-part survey exhibition of the CoBrA movement, curated by Alison Gingeras, back in 2015. She flew to New York and Los Angeles to install, do an artist talk, and generally pepper us all with the most delightful and imaginative presence, with unending original anecdotes. The image above is Jacqueline in the gallery offices, in a dress she spontaneously fashioned out of a sheet of paper—such an immensely luminous and deeply intellectual person, artist, and activist—she will be greatly missed. Photo: @alisongingeras

Opening today, June 30 📅 Following on the heels of the publication of her first career-spanning monograph, @sammemoyer ’s solo exhibition “Ferns Teeth” at the @parrishartmuseum will showcase the artist’s relationship to material and light as a through line in her practice, displaying the range of her processes, and bodies of work, across three galleries. Focusing each space on a specific material relationship, Moyer presents us with a large-scale stone painting tailor-fit to the architecture of the room, sculptural photographs whose composition are specific to the landscape of Eastern Long Island, and a series of smaller, more representational wall works. Consistent with Moyer’s habit of manifesting a directly tactile experience with the visual materials at hand, two of the three galleries will be outfitted with artist-made marble benches and visitors will be able to play on hand-cast concrete backgammon boards in the Museum’s lobby.⁠ ⁠ Since 2008, Sam Moyer has developed a distinctive language of abstraction that considers questions of value, labor, and beauty. Her practice has evolved from its more conceptual and process-based origins to address formal and theoretical issues regarding the construct of painting. Examining traditional roles of painting and sculpture, Moyer reframes the painted surface as a sculptural field in which fragments of previously used stone are paired with hand-painted canvas to create dynamic compositions. She manipulates these found textures and materials into powerful and evocative abstract works that evince beauty, humor, balance, and chance, employing the hand-made and readymade.⁠ ⁠ Head to the link in bio for more about the exhibition.⁠ ⁠ Image: Sam Moyer in her solo exhibition “Fern’s Teeth” at the Parrish Art Museum⁠ #sammoyer

Opening today, June 30 📅 Celebrated for his bright, bold, and colorful paintings, @eddie.martinez.studio will present a new body of work made specifically for the @parrishartmuseum . Taking full advantage of the Museum’s expansive space and high ceilings, Martinez is creating seven 12-foot tall “Bufly” paintings. Like much of his work, these canvases are imbued with a personal iconography. The artist started the “Bufly” series in 2021 when his son Arthur who was two at the time became fascinated with butterflies, mispronouncing them as “buflies.” Martinez has been painting them ever since.⁠ ⁠ Typically beginning with black paint to create an outline, Martinez then layers paint to bring each Bufly to life, injecting an abundance of texture and color to his canvases. Each painting reflects the joy and brightness that pervades Martinez’s practice, and is made surprisingly intimate by the artist, where viewers are reminded of the physical demands of such large-scale works, with some of the canvases even featuring traces of the artist’s shoeprint.⁠ ⁠ Head to the link in bio for more about the exhibition.⁠ ⁠ Image: Eddie Martinez, “Bufly No. 29” (2023), Courtesy of the artist⁠ #eddiemartinez

Today, June 29, is the last day to see @sebastiansilva79 ’s solo exhibition “Ivanhoe” at BLUM Los Angeles. With each canvas, Silva reiterates and reestablishes the parameters of his painterly vernacular. With sparkling colors and nods to the lighthearted style of childhood comic series, the artist invites onlookers into a dazzling and exuberant world of his own creation. Built from points of reference that are both universal and unique to the artist, Silva’s work makes itself equally accessible and endlessly complex. Image: Installation views of Sebastian Silva’s solo exhibition “Ivanhoe” at BLUM Los Angeles, 2024 Photo: Ed Mumford #sebastiansilva

Today, June 29, is the last day to see @ryansullivan_12 ’s solo exhibition at BLUM Los Angeles. Sullivan will be in conversation with art historian and critic @suzanne.hudson.50 beginning at 2pm at BLUM Los Angeles—head to the link in bio to RSVP or for more information on the exhibition. Sullivan’s output acknowledges art’s previously discrete ontologies relating to medium, and unflinchingly moves beyond them. Sculpting resin in a flat space is how Sullivan composes paintings—instinctually laying down an image and repeating the act until solid materiality can be achieved. These works crystallize their own spatial conjuring and behave as non-traditional paintings that, despite appearing as abstractions, categorize as material realism. Image: Installation views of Ryan Sullivan’s solo exhibition at BLUM Los Angeles, 2024 Photo: Ed Mumford #ryansullivan

Thank you to all who joined us last month at BLUM Los Angeles for a talk on Roberto Matta with @dannadel and Cornelius Tittel. For anyone who missed it, here’s a snippet—the full video is available to watch via the link in bio. Roberto Matta’s solo exhibition “All Things Changing in All Dimensions,” curated by @dannadel and Cornelius Tittel, at BLUM Los Angeles is on view through tomorrow, June 29. Video: Dan Nadel and Cornelius Tittel discuss Roberto Matta at BLUM Los Angeles, 2024 Videographer: Dan Finlayson #robertomatta

For the second edition of @tokyogendai , BLUM is pleased to present an exciting new selection of work from its internationally renowned roster of artists. Celebrating relationships new and old, the pieces shown here exemplify the three decades that the gallery has spent championing some of the most important perspectives in the contemporary art canon—with new work from some of the key artists in the gallery’s important 2019 survey exhibition "Parergon: Japanese Art of the 1980s and 1990s" to samplings from artists within the recent program such as Maureen Dougherty, Simphiwe Ndzube, Akane Saijo, Sebastian Silva, and Ryan Sullivan. Taken as a whole, this presentation acts as a cross section of the gallery’s revered program: its important history and its ongoing expansion. VIP Days: July 4, 2024 Public Days: July 5–7, 2024 Booth B04 PACIFICO Yokohama, Japan The preview is now accessible via the link in bio. Video: Kenjiro Okazaki, “Your bright eyes reveal my thought. A tear falls and is forgiven. A fragrant rose blooms on your lips. Wit, youth, love shine, fate pressed me, I gazed, undone. The noble fire died, its flame expanded my soul, drove glory. What wouldn’t I have given to know love! Imagine the unspeakable pleasure of being near the dear object of desire! Have not the gentle rules of peace and heaven driven this passion from your soft soul? Alas! I believed you free. One day, the rose tree flowered. It was spring, and there among the flowers was a white bird, and it sang, like an angel out of heaven. Away it flew to a cobbler’s shop and there it sang.” (2024), Photo: SAIKI; Simphiwe Ndzube, “Smiling at the Moon tripping over the Djembe drum” (2024), Photo: SAIKI; Maureen Dougherty, “Smoker” (2023), Photo: Hannah Mjølsnes; Sebastian Silva, “Untitled” (2023), Photo: Evan Walsh; Yuji Ueda, “Untitled” (2024), Photo: Takeru Koroda; Yukie Ishikawa, “TSUKISHIRO 7” (2024), Photo: SAIKI; Ha Chong-hyun, “Conjunction 22-72” (2022), Photo: Ahn Chunho; Alma Allen, “Not Yet Titled” (2023) #tokyogendai #tokyogendai2024

BLUM is pleased to announce the representation of pascALEjandro, the creation of @alejandro.jodorowsky (b. 1929, Tocopilla, Chile) and @pascale_montandonjodorowsky (b. 1972, Paris, France). An act of psychomagic in its own right, this existential and artistic project is the love child of two artists who are separated in age by over forty years. Manifested in extraordinary works on paper, the collaboration is comprised of the masculine: Jodorowsky’s illustrations, and the feminine: Montandon-Jodorowsky’s vivid colors. Trained as a painter with a dedicated practice for the last twenty-five years, Pascale Montandon-Jodorowsky’s work also traverses the mediums of photography and stage and costume design. Alejandro Jodorowsky has been at the forefront of every genre he has engaged with—from poetry to graphic novels, theater, and cinema. His cult classic, “The Holy Mountain” (1973), was produced with contributions from Allen Klein and John Lennon, and the term “midnight movie” was coined after his 1970 film “El Topo.” His unrealized film “Dune” has been acknowledged as “the most famous movie never made” and was the subject of an award-winning documentary in 2013. This Saturday, June 29 is the last day to see pascALEjandro’s exhibition “ANOTHER WORLD” at BLUM Los Angeles. Head to the link in bio for more about the artists. Image: pascALEjandro, “Pain that Heals” (2021) Photo: Evan Walsh #pascALEjandro

@highlineartnyc has announced the special exhibition “Oliver Lee Jackson, A Journey,” a series of massive new steel sculptures by venerated artist Oliver Lee Jackson, as now on view. The display of the five towering artworks marks a celebratory moment in the park’s Western Rail Yards. This northernmost section of the park recently reopened for the first time since 2022, as the High Line hits its milestone fifteenth year as a publicly accessible greenspace. “Oliver Lee Jackson’s creations feel elegant, mysterious, and strangely out of time, attuned to the spirit of the High Line’s Western Rail Yards section,” said Cecilia Alemani, the Donald R. Mullen Director and Chief Curator of High Line Art. “It’s an honor to showcase this chapter in Jackson’s long and storied career, with a series of sculptures that combine his masterful treatment of painting surfaces with the sculptural presence of his commanding forms.” While Jackson is better known for his expressive, figurative paintings, the artist also has a robust sculptural practice that he has honed over his five decade-long career. The works on view on the High Line were produced by the artist for this exhibition. Since 2020 Jackson has constructed several monumental, slotted steel sculptures, largely based on smaller works of his from the late 1990s. Jackson’s works are tightly composed but feel improvisational in approach. The artist honors his utilitarian material, and yet the painted, cut, and pockmarked surfaces animate the sculptures beyond their material properties. The exhibition is on view from June through October 2024. Image: Installation views of Oliver Lee Jackson’s sculptures on the High Line in New York Photo: Timothy Schenck #oliverleejackson

Opening at BLUM Tokyo on Friday, July 5, 12–6pm 🗓️ We are pleased to present “MOON,” a solo exhibition by Malibu-based artist @thomas_houseago_studio_ —his first with the gallery and his first in Tokyo.⁠ ⁠ “The central work of this new exhibition presented in Tokyo, entitled ‘Moon Tapestry for Tokyo (for D.S. and Basho)’ (2024), captures Houseago’s amazement of the infinite moods the moon is able to radiate. This tapestry literally embraces the show—a color-intense time-scape painting of night and day, on which the artist worked for over a month outside. Almost as a silent witness, an owl painting came into being alongside, with a set of new flower works, and a composition of an elder tree, which can also be seen as a constant in his work. The transmutation of these universal symbols throughout cultures and ages offers the capacity to provide a steadiness in a world falling apart. From that respect Houseago’s work is one of connection and of providing foundation—an aspect which also materializes in a set of diary-like smaller paintings, which are comparable to daily meditations. As massive as his works may appear, they remain precarious and operate on the verge of collapse, which can be said about his unique approach in general—an artistic practice that has always operated restlessly and without any safety net in its search for the next shell to break.” – Martin Germann⁠ ⁠ Head to the link in bio for more about the exhibition.⁠ ⁠ Image: Thomas Houseago’s studio in Los Angeles, 2024, Photo: Sai Tripathi, all artworks © Thomas Houseago Studio⁠ #thomashouseago

“At BLUM is an exquisite pocket exhibition comprising two 1978 redwood burl tables bearing arrangements of ceramics by the late Californian artist and craftsman J.B. Blunk—each functional item a marvelous abstract sculpture unto itself. Nearby is Harvest Moon Series (1956), a calligraphic casein painting by Gordon Onslow Ford, a near-neighbour and mentor to Blunk.” –@jonathangriffin on JB Blunk’s exhibition at BLUM Los Angeles, featuring work by Gordon Onslow Ford, for @ocula ⁠ ⁠ This Saturday, June 29, is the last day to see this exhibition. Head to the link in bio to read the full article or find more information about visiting the gallery.⁠ ⁠ Image: JB Blunk’s kiln c.1962, JB Blunk’s studio c. 1975⁠ #jbblunk @jbblunkestate