Honor Fraser Gallery is pleased to present new paintings by Kaz Oshiro at The Armory Show.

Kaz Oshiro turns exhibitions into still life studies by bringing the image of the painting into the three-dimensional space of the gallery. His subjects such as guitar amplifiers, stereo speakers, cabinets, household appliances, and other banal objects are easily perceived to be the actual thing until the viewer moves around the piece to see the exposed wooden stretchers and canvas. Oshiro is a highly skilled and meticulous artist, but his interests in making such work goes beyond mere trompe l’oeil.

In recent years, Kaz Oshiro has been creating compositions based on construction materials such as the I-beam. Simultaneously referring to industrialization, architecture, and Minimalism, the artist complicates the relationship between fabrication and studio practices in conceptual art. Moving beyond the primary structures that come straight from the factory, Oshiro presents depictions of weathered materials at The Armory Show. Some have been marked for construction, others are rusting from exposure, and still others are defaced with graffiti, left out and neglected. Though symmetrically composed and carefully balanced by the artist, they convey an imperfect world.

Kaz Oshiro was born in Okinawa, Japan in 1967 and lives in Los Angeles. He received a Bachelor and Master of Fine Arts from the California State University, Los Angeles. One- person exhibitions of his work have been presented at Los Angeles County Museum of Art’s Charles White Elementary School Gallery, Los Angeles, CA (2013); Tokyo Institute of Technology, Tokyo, Japan (2007); Las Vegas Art Museum, Las Vegas, NV (2007); and Pomona College Museum of Art, Claremont, CA (2005). His work has been included in thematic exhibitions such as Space Between, The FLAG Art Foundation, New York, NY (2015); Visual Deception II: Into the Future, Bunkamura: The Museum, Tokyo Japan (2014); Between Critique and Absorption: Contemporary Art and Consumer Culture, Haggerty Museum of Art, Marquette University, Milwaukee, WI (2013); Simulacrum, Columbus College of Art and Design, Columbus, OH (2012); Bruce Connor and the Primal Scene of Punk Rock, Museum of Contemporary Art, Denver, CO (2012); Lifelike, Walker Art Center, Minneapolis, MN (2012); American Exuberance, Rubell Family Collection, Miami, FL (2011); New Image Sculpture, McNay Art Museum, San Antonio, TX (2011); Artist’s Museum, Museum of Contemporary Art, Los Angeles, CA (2010); Less is less, more is more, that’s all, CAPC Musée d’art contemporain, Bordeaux, France (2008); One Way or Another: Asian American Art Now, Berkeley Art Museum, Berkeley, CA (2007); Red Eye: Rubell Collection, Rubell Family Collection, Miami, FL (2006); THING: New Sculpture from Los Angeles, Hammer Museum, Los Angeles, CA (2005); Nothing Compared to This, Contemporary Art Center Cincinnati, Cincinnati, OH (2004); and California Biennial, Orange County Museum of Art, Newport Beach, CA (2004). His work can be found in the collections of Fonds National d’Art Contemporain, Paris, France; Frederick R. Weisman Art Foundation, Los Angeles; Los Angeles County Museum of Art; Margulies Contemporary Art Collection, Miami, FL; The Museum of Contemporary Art, Los Angeles; Nora Eccles Harrison Museum of Art, Logan, UT; Oakland Museum of California; Peter Norton Family Foundation, Los Angeles; Rubell Family Collection, Miami, FL; Sheldon Museum of Art, Lincoln, NE; and Zabludowicz Collection, London, United Kingdom.

Art Basel Miami Beach Brenna Youngblood, Public sector December 7–10, 2017

Honor Fraser Gallery is pleased to present Brenna Youngblood’s first large-scale outdoor sculpture M.I.A. (2017) for the Public sector at Art Basel Miami Beach 2017.

M.I.A. (2017) is a bronze version of her 2011 sculpture by the same name in the collection of the Los Angeles County Museum of Art. This will be the artist’s first work in bronze, her first work to be situated outdoors, and her first work intended for physical interaction.

Youngblood’s interest in language permeates her work, and M.I.A. is part of a series of sculptures that investigates its ability to signify multiple identities. The title of her 2011 exhibition at Honor Fraser Gallery, “M.I.A.” refers to unaccounted soldiers in battle and to the Montgomery Improvement Association, a group co-organized by the Reverend Martin Luther King, Jr. to guide the bus boycott that began in December 1955. Combined with these two allusions, the acronym can be extended to encompass community members lost to substance abuse, violence, or incarceration and the increasing domestic militarization of the United States.

Formally modeled after the blocks used to teach children to read and to experiment with architecture, M.I.A. is a literal structure upon which meaning is built. Hollowed by the artist, Youngblood’s blocks evoke cages as well as the open cubes of Sol LeWitt. For this new iteration of M.I.A., Youngblood scaled up the work and chose a material strong enough to support a child, deepening the sculpture’s formal connection to a jungle gym and thereby highlighting the formative and foundational power of language.

Brenna Youngblood was born in Riverside, CA and lives in Los Angeles. Youngblood received a Bachelor of Fine Arts from California State University, Long Beach in 2002 and a Master of Fine Arts from the University of California, Los Angeles in 2006. One-person exhibitions of her work have been presented at the Seattle Art Museum, Seattle, WA (2015); Pomona College Museum of Art, Claremont, CA (2015); Contemporary Art Museum, St. Louis, MO (2014); Wignall Museum, Rancho Cucamonga, CA (2007); and the Hammer Museum, Los Angeles, CA (2006). Her work has been included in thematic exhibitions such as Sonic Rebellion: Music as Resistance, Museum of Contemporary Art Detroit, Detroit, MI (2017); Face to Face: Los Angeles Collects Portraiture, California African American Museum, Los Angeles, CA (2017); The Future is Abstract, Harvey B. Gantt Center for African American Arts + Culture, Charlotte, NC (2017); L.A. Exuberance: New Gifts by Artists, Los Angeles County Museum of Art, Los Angeles, CA (2016); AFRICA FORECAST: Fashioning Contemporary Life, Spelman College Museum of Fine Art, Atlanta, GA (2016); A Shape That Stands Up, Art + Practice, Los Angeles, CA (2016); Wasteland, Los Angeles Nomadic Division, Paris, France (2016); Hard Edged, California African American Museum, Los Angeles (2015); Selections from the Permanent Collection, Museum of Contemporary Art, Los Angeles (2014); Rites of Spring, Contemporary Arts Museum, Houston, TX (2014); Murmurs: Recent Contemporary Acquisitions, Los Angeles County Museum of Art, Los Angeles (2013); Fore, The Studio Museum in Harlem, New York, NY (2012); Made in L.A., Hammer Museum, Los Angeles (2012); Unfinished Paintings, Los Angeles Contemporary Exhibitions, Los Angeles (2011); With You I Want to Live, Fort Lauderdale Museum of Art, Fort Lauderdale, FL (2009); California Biennial, Orange County Museum of Art, Newport Beach, CA (2008); and Blacks In and Out of the Box, California African American Museum, Los Angeles, CA (2007).

Honor Fraser Gallery is pleased to present early photographs by William Leavitt in the Spotlight section of Frieze New York.

William Leavitt has spent over five decades exploring the potential of constructed spaces and the role of science fiction in the collective imagination. The presentation at Frieze will include seven photographic works from 1969 through 1977 that demonstrate early experiments with imagery and offer insights into Leavitt’s continuing practice.

Leavitt began experiments with image pairings in 1969 with the series Random Selection. Each composition for the camera followed a shuffle of file cards on which the artist wrote the names of available objects. Through this process, Leavitt watched as the juxtapositions of arbitrary objects led to chance narratives within each photograph.

Extending beyond the single image, Leavitt continued building narratives through the side-by-side combination of three to five images. Never before exhibited, Three Scenes from Antigone (1973) points out the artist’s early interest in theater and plot development. These photographs are the only documentation of a staging of Sophocles’s Antigone in the California desert performed for the camera alone.

Sometimes including a text that read like a set description at the beginning of a script, Leavitt’s sequence of images can be read like a storyboard. The images in The consequences can be real (1975) suggest the location, character, time of day, setting, and action for a narrative. Each photograph is closely cropped and devoid of extraneous information because Leavitt aimed to make his images as generic as possible, relying on visual clichés to expediently convey information to the viewer.

These early works laid the foundation for William Leavitt’s expansive practice that now encompasses sculpture, drawing, painting, plays, and films. Drawing upon contemporary American culture, Leavitt opens a wealth of possibilities.

William Leavitt was born in Washington, D.C. in 1941 and lives in Los Angeles, CA. He received a Bachelor of Arts from the University of Colorado, Boulder, CO and a Master of Fine Arts from the Claremont Graduate School, Claremont, CA. One-person exhibitions of his work have been presented at The Musée d’art moderne et contemporain in Geneva, Switzerland (2017); the Institute of the History and Theory of Architecture, ETH, Zurich, Switzerland (2014); Museum of Contemporary Art, Los Angeles, CA (2011); and Santa Monica Museum of Art, Santa Monica, CA (1990). His work has been featured in thematic exhibitions around the world including art historical surveys such as Spaces without drama or surface is an illusion, but so is depth, Graham Foundation, Chicago, IL (2017); Los Angeles: A Fiction, Astrup Fearnley Museet, Oslo, Norway (2016); Take it or Leave It: Institution, Image, Ideology, Hammer Museum, Los Angeles, CA (2014); Under the Big Black Sun: California Art 1974-1981, Museum of Contemporary Art, Los Angeles, CA (2011); Los Angeles, 1955-1985: Birth of an Art Capital, Centre Pompidou, Paris, France (2006); Made in California: Art, Image, and Identity, 1900-2000, Los Angeles County Museum of Art, Los Angeles, CA (2000); and 1965-1975: Reconsidering the Object of Art, Museum of Contemporary Art, Los Angeles, CA (1995). Leavitt’s work is included in public collections such as Museum Boijmans van Beuningen, Rotterdam, The Netherlands; Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, Los Angeles, CA; The Musée d’art moderne et contemporain, Geneva, Switzerland; Museum of Contemporary Art, Los Angeles, CA; Museum of Modern Art, New York, NY; San Diego Museum of Contemporary Art, La Jolla, CA; and Stedelijk Museum, Amsterdam, The Netherlands.

Honor Fraser Gallery is pleased to present a selection of works by Sarah Cain at The Armory Show. Cain will also create a new site-specific painting installation as part of the Platform section, curated by Jen Mergel.

Sarah Cain creates works that are abstract, intuitive, and bold. She is unafraid to use bright colors and decorative elements such as beads and seashells in her work, arguing that that these raw elements can still create serious paintings. Inspired by arte povera, Cain’s work comes out of an economy of availability, creating early works on the walls of abandoned buildings. She now using canvases for her paintings, but Cain maintains a sense of improvisation and resourcefulness in her reuse of dollar bills, sheets of music, and book jackets, which will be on view in Honor Fraser’s booth.

For Platform, Cain will create a new site-specific work near the entrance to The Armory Show. She works on the individual canvases in her studio in Los Angeles and then builds up the area in between to create a cohesive installation. The entire wall becomes filled with color, shape, and texture.

Sarah Cain was born in Albany, New York in 1979 and lives in Los Angeles. She received a BFA from the San Francisco Art Institute in 2001 and a MFA from the University of California at Berkeley in 2006. One-person exhibitions of her work are currently on view at the Institute of Contemporary Art Los Angeles, CA and the Aspen Art Museum, CO. Her work has been included in exhibitions such as Variations in and around Abstract Painting, Los Angeles County Museum of Art, CA (2014); Now-ism: Abstraction Today, Pizzuti Collection, Columbus, OH (2014); I was a double, Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY (2014); Outside The Lines, Contemporary Arts Museum, Houston, TX (2013); Painting in Place, LAND (Los Angeles Nomadic Division), Los Angeles, CA (2013); PAINT THINGS: beyond the stretcher, deCordova Sculpture Park and Museum, Lincoln, MA (2013); Made in L.A. 2012, Hammer Museum, Los Angeles, CA (2012); Nothing Beside Remains, LAND: Marfa, TX (2011); Two Schools of Cool, Orange County Museum of Art, Newport Beach, CA (2011); 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA (2008); SECA Art Award Exhibition, San Francisco Museum of Modern Art, CA (2007); Like Color in Pictures, Aspen Art Museum, CO (2007). Cain is included in public collections such as Los Angeles County Museum of Art, CA; Museum of Contemporary Art San Diego, CA; North Carolina Museum of Art, Raleigh, NC; Pérez Art Museum Miami, FL; San Antonio Museum of Art, TX; and the San Francisco Museum of Modern Art, CA. She was recently featured in Vitamin P3: New Perspectives in Painting, published by Phaidon (2016), and is the subject of two monographs, Sarah Cain The Imaginary Architecture of Love, published by CAM Raleigh (2015), and Sarah Cain, published by LAND (2012).

Honor Fraser Gallery is pleased to present new works by Victoria Fu in booth B1 at Art Los Angeles Contemporary, January 27-29, 2017.

Victoria Fu uses film, light, photography, sculpture, and video to explore the virtual space of moving images and our haptic engagement with the digital. Often presented in multilayered installations, Fu’s artworks inform one another, calling attention to confluences of architectural spaces, human bodies, and digital images. Incorporating clips sourced from the internet and original film and video footage manipulated with visual effects in postproduction, Fu’s videos are often installed to interact with the surrounding architecture to create an immersive environment of images. Created through a layering of analog and virtual processes and referencing Man Ray’s early “rayographs,” Fu’s photographs present layers of projected light, shadow, and images while her “photo objects”—wood structures that are overlaid with photographic images and that span corners—mimic projections. Together, Fu’s moving and still images offer simultaneous “real” and “virtual” spaces, suggesting an increasingly porous boundary between these realms. Exploring the flexibility of digital image files that can be manipulated or adapted to various sites and circumstances, Fu uses representation and abstraction in her recent works to examine the semiotic function of images.

For Art Los Angeles Contemporary, Fu will present a video installation accompanied by photographs and photo objects. Additionally, ??!?! will debut in the form of a take-away poster produced by Rakish Light Press and a neon sculpture. Fu’s design was inspired by Rakish Light Press’s invitation to make a poster in response to the inauguration of the forty-fifth President of the United States.

Victoria Fu was born in Santa Monica, California and lives in Los Angeles. She received a Bachelor of Arts from Stanford University, a Master of Arts from University of Southern California, and a Master of Fine Arts from California Institute of the Arts. Her two-person exhibition with Matt Rich will open at The Suburban in Milwaukee, WI on May 21, 2017. One-person exhibitions of her work have been presented at Katonah Museum of Art, Katonah, NY (2016); Center for Ongoing Research & Projects, Columbus, OH (2015); The Contemporary, Baltimore, MD (2015); University Art Gallery, University of California, Irvine, CA (2014); Anderson Hall Gallery, University of the Arts, Philadelphia, PA (2013); and Savannah College of Art + Design, Savannah, GA (2009).

Her work has been included in thematic exhibitions and screenings such as Open Window, Museum of Contemporary Art, Los Angeles, CA (2016); Vision Quest, Museum of Contemporary Art Chicago, Chicago, IL (2015); 2014 Whitney Biennial, Whitney Museum of American Art, New York, NY (2014); IX Bienal de Nicaragua, Fundación Ortiz Gurdian, Managua, Nicaragua (2014); Approximately Infinite Universe, Museum of Contemporary Art San Diego, San Diego, CA (2013); Film Forum, Hirshhorn Museum and Sculpture Garden, Washington, DC (2011); and No Heroics Please, REDCAT, Los Angeles, CA (2005).

Art Los Angeles Contemporary
The Barker Hangar
3021 Airport Avenue
Santa Monica, CA 90405

Opening Night:
Thursday, January 26, 7–9pm

Fair hours:
Friday, January 27, 11am–7pm
Saturday, January 28, 11am–7pm
Sunday, January 29, 11am–6pm

Honor Fraser Gallery is pleased to present rare early paintings, collages, and mixed media assemblages by Kenny Scharf at the 2017 edition of Frieze NY.

Born in 1958 and raised in southern California during the 1960s, Kenny Scharf moved to New York in 1978. By the late 1970s, Scharf was a key figure in the downtown scene where hybrid forms of artistic expression sprung from a do-it-yourself approach to making and presenting art. During this period, Scharf made paintings that include familiar cartoon figures, caricatures of middle-class Americans, and an apocalyptic vision of a world in disarray; videos and performances that explored the unfulfilled promise of the space-age future he grew up with in post-World War II California; and his first COSMIC CAVERN, an immersive installation made with paintings, found objects, and black lights. At Frieze NY 2017, Honor Fraser Gallery will present rare paintings, collages, and mixed media assemblages made between 1978 and 1985, the early years following Scharf’s arrival in New York.

In 2015, Scharf was the subject of a one-person exhibition at the Hammer Museum in Los Angeles. As part of the museum’s Hammer Projects series, Scharf created a site-specific mural with brightly colored characters, spontaneous gestures, and abstract shapes that led viewers through the lobby and into the museum’s courtyard. From January 27 through May 14, 2017, When the Worlds Collide (1984) is featured in Fast Forward: Painting from the 1980s, an exhibition of selections from the permanent collection at the Whitney Museum of American Art in New York. Opening at the Museum of Modern Art in New York on October 31, 2017, Club 57: Film, Performance, and Art in the East Village, 1978–1983 is the first exhibition to document Club 57, the seminal club for performance art, music, and film in New York’s East Village. As a key figure in the Club 57 scene, Scharf presented performance pieces and paintings there and collaborated with the other co-founders and co-curators on programs and exhibitions. The exhibition and accompanying catalogue will feature extensive ephemera from Scharf’s archive, a selection of his paintings from the period, and a COSMIC CAVERN. Central to the exhibition will be a suite of twenty-three videos Scharf made during the late 1970s and early 1980s, which were recently acquired for the permanent collection at the Museum of Modern Art.

Kenny Scharf was born in 1958 in Los Angeles and lives in Los Angeles. He received a Bachelor of Fine Arts from the School of Visual Arts, New York in 1980. Honor Fraser Gallery has presented five exhibitions of Scharf’s work: BLOX and BAX (2017); Born Again (2015); Pop Renaissance (2013); Hodgepodge (2012); and Barberadise (2009). One-person exhibitions of Scharf’s work have been presented at the Nassau County Museum of Art, Roslyn, NY (2016); Hammer Museum, Los Angeles, CA (2015); Portland Art Museum, Portland, OR (2015); Pasadena Museum of California Art, Pasadena, CA (2004); Los Angeles Contemporary Exhibitions, Los Angeles (2001); Portland Institute for Contemporary Art, OR (1999); Salvador Dalí Museum, Saint Petersburg, FL (1997); University Galleries, Illinois State University, Normal, IL (1997); Museo de Arte Contemporáneo de Monterrey, Mexico (1996); and Museum of Fort Lauderdale, Fort Lauderdale, FL (1995).

Scharf’s public artworks are on view at Art Center College of Design, Pasadena, CA; Cross Bronx Expressway on Third Avenue, Bronx, NY; Houston Street and Bowery, New York, NY; Norfolk Street, New York, NY; Pasadena Museum of California Art, Pasadena, CA; West Adams Boulevard and La Brea Avenue, Los Angeles, CA; West Hollywood Public Library, West Hollywood, CA; and many other locations around the world.

Scharf is included in public collections such as the Bass Museum of Art, Miami Beach, FL; The Jewish Museum, New York, NY; Ludwig Museum, Cologne, Germany; Museo de Arte Contemporáneo, Monterrey, Mexico; Museu de Arte Moderna, Rio de Janeiro, Brazil; Museum of Contemporary Art, Los Angeles, CA; Museum of Modern Art, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA; Sogetsu Museum, Tokyo, Japan; Stedelijk Museum, Amsterdam, the Netherlands; and the Whitney Museum of American Art, New York, NY.

Honor Fraser Gallery is pleased to present rare, unique artists’ books by Alexis Smith from the 1970s for the Survey section at Art Basel Miami Beach 2017.

For over forty years, Alexis Smith has been constructing intellectually rigorous, visually engaging, and emotionally moving artists’ books, collages, and installations. Born in Los Angeles in 1949, Smith was raised on literature, pulp novels, and Hollywood cinema. Her works from the late 1960s through the 1970s distill these influences into intimate artists’ books and delicate collages with text on paper. The space of her small collages grew to architectural proportions when she brought painted backgrounds, vinyl cutouts, found objects, and framed collages together in immersive installations in the 1980s and 1990s.

After graduating from the University of California, Irvine in 1970, Smith moved to Venice, CA where she still maintains a studio. The first public exhibition of Smith’s work was Southern California: Attitudes 1972, organized by Barbara Haskell for the Pasadena Art Museum. For this exhibition, Smith created a reading room with a selection of her bound and boxed handmade books and portfolios. Thirteen of the books that Smith made during the 1970s have remained in her personal collection. Rarely exhibited and in pristine condition, five of the books will be presented by Honor Fraser Gallery at Art Basel Miami Beach 2017. The remaining eight books will be presented electronically.

In the same way that films are created through a series of images, each successive page of Smith’s books reveals a narrative of influences on the young artist. In Clues and Souvenirs (1971–72), one of the five books on display, Smith interweaves a transcribed essay on photography, photographs, a courtroom scene from a murder mystery, mementos from a trip to Europe, comic strip clippings, claim tickets, and imprints of kisses in a folio folder smeared with finger paints. The final pages feature spray painted outlines of the artist’s hands reminiscent of ancient wall paintings. Cumulatively, the book speaks to the impressions and markers of individual identity.

Smith’s books will be presented alongside a reproduced wall painting the artist used in her early installation Hello Hollywood (1980), illuminating her move from small books and collages to room-sized installations. In this way, the larger installations can be seen as architecturally scaled pages into which viewers may wander and become immersed in Smith’s narratives, both physically and psychologically.

Alexis Smith was born in 1949 in Los Angeles, where she lives today. She received a BA from University of California, Irvine in 1970. One person exhibitions of Smith’s work have been mounted at the Frederick R. Weisman Museum of Art, Malibu, CA (forthcoming 2018); Athenaeum Music & Arts Library, La Jolla, CA (2015); University of Wyoming Art Museum, Laramie, WY (2003); Museum of Contemporary Art, San Diego, CA (2000); Wexner Center for the Arts, Columbus, OH (1997); J. Paul Getty Museum, Los Angeles, CA (1997); Whitney Museum of American Art, New York, NY (1991); and Museum of Contemporary Art, Los Angeles, CA (1991). Her work has been included in nearly 200 thematic exhibitions including Los Angeles: A Fiction, Astrup Fearnley Museet, Oslo, Norway (2016); Drawing in L.A.: the 1960s and 70s, Los Angeles County Museum of Art, Los Angeles, CA (2014); Under the Big Black Sun: California Art 1974-1981, Museum of Contemporary Art, Los Angeles, CA (2011); and elles@centrepompidou, Centre Georges Pompidou, Paris, France (2009). Smith has completed several major public commissions, including a mural for the Las Vegas Central Library; terrazzo floors at the Jerome Schottenstein Center at The Ohio State University, Columbus, OH; and a site-specific installation for The Stuart Collection, University of California, San Diego in La Jolla, CA. Her work is included in public collections such as the Museum of Modern Art, New York, NY; Walker Art Center, Minneapolis, MN; Los Angeles County Museum of Art, Los Angeles, CA; High Museum of Art, Atlanta, GA; and Whitney Museum of American Art, New York, NY.

Honor Fraser Gallery is pleased to present rare mixed media collages from the 1980s and new work by Alexis Smith in booth C37 in the PRESENTS section of FIAC Officielle 2015.

Alexis Smith has been creating mixed media collages juxtaposing found images, objects, and text for nearly four decades. Known for her sardonic humor and dry wit, Smith is influenced by the Los Angeles locale, Americana, literature, and pop culture. For FIAC Officielle, Honor Fraser Gallery will present two works by Alexis Smith from the 1980s: Newsreel (1980) and Daily Planet (1986). Both composed of separate sheets arranged side by side in long panels with printed text and collaged elements, these two collages are indicative of Smith’s work from the late 1970s through the 1980s. Newsreel features four aluminum lithography plates with printed images and text as well as found objects. The texts in Newsreel are quotations of news headlines in the final book in John Dos Passos’s U.S.A. trilogy, The Big Money (1936). Newsreel was exhibited in Smith’s traveling retrospective Alexis Smith at the Whitney Museum of American Art, New York, NY (1991) and The Museum of Contemporary Art, Los Angeles, CA (1992). Daily Planet comprises a group of six mixed media collages divided into two frames with silkscreened lines of poetry by infamous Doors frontman Jim Morrison and found objects such as a snow cone cup, bow tie, rusted beer can, and curtain pull on newspaper pages. The booth at FIAC Officielle features a re-creation of a painted mural backdrop of a vintage label for “DownTown” produce to reprise the original presentation of Daily Planet in Individuals: A Selected History of Contemporary Art, 1945-1986 at the Museum of Contemporary Art, Los Angeles in 1986. As a counterpoint to these older collages, we will also include Ice (2014) and Tangle (2014), small collages that show the evolution of Smith’s work in recent years. Using a page from a fashion magazine as a backdrop, Smith constructs astute social commentary with just a few simple elements.

Alexis Smith was born in 1949 in Los Angeles and lives in Los Angeles. She received a Bachelor of Arts from University of California, Irvine in 1970. Honor Fraser Gallery presented her solo exhibition Slice of Life in 2013. Her exhibition History in the Making at Garth Greenan Gallery in New York opens in October 2015. One person exhibitions of Alexis’s work have been mounted at The Athenaeum Music and Arts Library, La Jolla, CA (2015); The University of Wyoming Art Museum, Laramie, WY (2003); Museum of Contemporary Art San Diego, San Diego, CA (2000); Wexner Center for the Arts, Columbus, OH (1997); J. Paul Getty Museum, Los Angeles, CA (1997); Whitney Museum of American Art, New York, NY (1991), and the Museum of Contemporary Art, Los Angeles, CA (1991). Her work has been included in such thematic exhibitions as Drawing in L.A.: the 1960s and 70s, Los Angeles County Museum of Art, Los Angeles, CA (2014); The Avant-Garde Collection, Orange County Museum of Art, Newport Beach, CA (2014); Under the Big Black Sun: California Art 1974-1981, Museum of Contemporary Art, Los Angeles, CA (2011); elles@centrepompidou, Centre Georges Pompidou, Paris, France (2009); WACK!, Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles, CA; PS.1 Museum of Modern Art, New York, NY; Vancouver Art Gallery, Vancouver, Canada (2007); Sunshine & Noir: Art in L.A. 1960-1997, Louisiana Museum of Modern Art, Hulebæk, Denmark (1997); and the Whitney Biennial, Whitney Museum of American Art, New York, NY (1981, 1979, 1975). Smith has completed several major public commissions, including a mural for the Las Vegas Central Library; terrazzo floors at the Jerome Schottenstien Center at The Ohio State University, Columbus, OH; a mixed media wall installation for The Restaurant at the Getty Center, Los Angeles, CA; and a site specific installation for The Stuart Collection, University of California, San Diego in La Jolla. Her work is included in the collections of public collections such as Museum of Modern Art, New York, NY; Walker Art Center, Minneapolis, MN; Los Angeles County Museum of Art, Los Angeles, CA; High Museum of Art, Atlanta, GA; and Whitney Museum of American Art, New York, NY.

Honor Fraser Gallery will present new paintings by Annie Lapin at Miart 2016 in booth D28.

Investigating the process of perception, Annie Lapin constructs paintings that flirt with representation but reject illusion. Working in an abstract mode, Lapin uses a broad repertory of gestures. Her marks allude to art historical references as diverse as Rembrandt’s crayon drawings and Matisse’s cut-outs, and her compositions recall cultural reference points as divergent as traditional Chinese painting, Surrealism and contemporary digital animation. By presenting an array of contiguous marks and references in a single picture plane, Lapin opens up space for the viewer to simultaneously apprehend the work and experience the activity and sensation of comprehension. Her goal is to heighten and prolong the moments between perception in a purely physical sense and cognition as a process leading to intellectual understanding. For Miart 2016, Lapin’s suite of six paintings differ greatly in scale. Large vertical paintings suggest an immersive space while smaller works invite an intimate look at the textures of paint and linen. Spare black and instances of raw linen give way to transparent washes of color and intense blasts of bright hues that alternately harmonize with and cause friction between Lapin’s heterogeneous gestures.

Annie Lapin was born in Washington, D.C. and lives in Los Angeles. She received a Bachelor of Arts from Yale University in 2001; a Post-Baccalaureate Certificate from the School of the Art Institute, Chicago in 2004; and a Master of Fine Arts from the University of California, Los Angeles in 2007. Honor Fraser Gallery has presented two exhibitions featuring her work to date: Various Peep Shows (2014) and The Pure Space Animate (2001). Her third exhibition with the gallery will open in November 2016.

One-person exhibitions of Lapin’s work have been presented at the Weatherspoon Art Museum, Greensboro, NC (2013); Santa Barbara Contemporary Arts Forum, Santa Barbara, CA (2012); Pasadena Museum of California Art, Pasadena, CA (2009); and Grand Arts, Kansas City, MO (2008). Her work has been included in group exhibitions such as Sincerely Yours, Torrance Art Museum, Torrance, CA (2015); The Go-Between, Museo di Capodimonte, Naples, Italy (2014); Chasm of the Supernova, Center for the Arts Eagle Rock, Los Angeles, CA (2012); La Californie, The Museum of Public Fiction, Los Angeles, CA (2011); 
Unfinished Paintings, LACE: Los Angeles Contemporary Exhibitions, Los Angeles, CA
 (2011); and NewNow, Nerman Museum of Contemporary Art, Overland Park, KS (2009).

Lapin was the recipient of the Falk Visiting Artist Award from the Weatherspoon Art Museum in Greensboro, NC in 2013.

Honor Fraser Gallery will present new paintings by Sarah Cain at the Dallas Art Fair in booth F1.

Using the conventional ideas, means, and materials of painting, Sarah Cain has spent the last decade challenging these same conventions. Cutting, collaging and expanding paintings beyond their boundaries, she pushes at what painting is and can be, opening spaces for us as viewers to follow her into new territories of abstraction. Exploring color, depth, scale and emotion, Cain makes paintings on paper, canvas and walls. Though the scale of her work is at times architectural, Cain incorporates small found objects amid drawn and painted gestures. As a result, the visual experience of her work is immersive. Cain’s new paintings for the Dallas Art Fair feature bold gestures and brilliant colors as well as collage elements like seashells, crystals and metallic thread that invite close looking. Diminutive works on book covers that have been emptied of their texts feature hypnotic gouache paintings layered with gold leaf and seashells. Emerging from her use of objects in her paintings and her inclusion of found objects in her ephemeral site-specific works, dresser pairs a painted canvas with a found chest of drawers. This painting-sculpture hybrid contrasts monochromatic black areas with brightly-hued squiggles, stripes and mazes in a continuous three-dimensional surface for painting. Part of the same body of work, loveseat is on view as part of the current permanent collection rotation at the San Antonio Museum of Art. Cain’s 2013 painting synchronized dreaming is also on view in the permanent collection galleries at the Blanton Museum of Art at the University of Texas, Austin.

Sarah Cain was born in Albany, New York in 1979 and lives in Los Angeles. She received a BFA from the San Francisco Art Institute in 2001 and a MFA from the University of California, Berkeley in 2006. Honor Fraser Gallery has presented two exhibitions featuring Cain’s work to date: freedom is a prime number (2012) and BOW DOWN (2015). One-person exhibitions of her work have been presented at the Contemporary Art Museum of Raleigh, Raleigh, NC (2015); Museum of Contemporary Art San Diego, La Jolla, CA (2015); Los Angeles Nomadic Division (LAND), Los Angeles, CA (2014); Santa Barbara Contemporary Arts Forum Bloom Projects, Santa Barbara, CA (2011); and the San Francisco Art Commission, San Francisco, CA (2004).

Cain’s work has been included in thematic exhibitions such as Variations: Conversations in and Around Abstract Painting, Los Angeles County Museum of Art, Los Angeles, CA (2014); Now-ism: Abstraction Today, Pizzuti Collection, Columbus, OH (2014); Outside The Lines, Contemporary Arts Museum, Houston, TX (2013); Painting in Place, Los Angeles Nomadic Division (LAND), Los Angeles, CA (2013); PAINT THINGS: beyond the stretcher, deCordova Sculpture Park and Museum, Lincoln, MA (2013); Made in L.A. 2012, Hammer Museum, Los Angeles, CA (2012); Nothing Beside Remains, LAND: Marfa, Los Angeles, CA (2011); Two Schools of Cool, Orange County Museum of Art, Newport Beach, CA (2011); 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA (2008); SECA Art Award Exhibition, San Francisco Museum of Modern Art, San Francisco, CA (2007); and Like Color in Pictures, Aspen Art Museum, Aspen, CO (2007).

Cain has been the recipient of various awards and grants including The Pollock-Krasner Foundation Grant (2011, 2007); Durfee Grant (2008); and the SECA Art Award, San Francisco Museum of Modern Art (2006).

Following a year that encompassed a one-person exhibition at The Studio Museum in Harlem; special commissions for ALTER/ABOLISH/ADDRESS, an exhibition in Washington, D.C. organized by Los Angeles Nomadic Division; Prospect.3: Notes for Now in New Orleans, LA; and two one-person gallery exhibitions, Honor Fraser Gallery is pleased to present works by Glenn Kaino for the 2015 edition of The Armory Show.

Central to the presentation is a site-specific iteration of Kaino’s monumental sculpture The Last Sight of Icarus. Constructed from hundreds of cinderblocks cast in paraffin wax, The Last Sight of Icarus is a wall that diagonally bisects the gallery booth. The work raises questions about the distinction between the representation of power and its actual manifestation. Also on view will be A Shout Within a Storm, a mobile composed of more than 100 copper-plated steel arrows. An evolution of Kaino’s pin drawings, each arrow is reliant upon the other to form a resolved image. The form appears to change relative to the position of the viewer, suggesting a set of contingencies that reflects our experience of the world. As Far Away as a Minute (Mirror) is a patchwork of sandpaper used by various artists and artisans. Supported on a wood frame that is cantilevered away from the wall, the patchwork follows a concave curve that recalls a kite or a sail. The shape was also inspired by acoustic mirrors; the gesture of drawing together practitioners over space and time via the evidence of their labor parallels the concept of an acoustic mirror that allows people to communicate over great distances.

Glenn Kaino was born in Los Angeles in 1972. He received a Bachelor of Arts from University of California, Irvine in 1993 and a Master of Fine Arts from University of California, San Diego in 1996. Honor Fraser Gallery presented Kaino’s exhibition Bring Me the Hands of Piri Reis in 2012 and Labyrinths in 2015. One-person exhibitions of his work have been mounted at Grand Arts, Kansas City, MO (forthcoming in 2015); The Studio Museum in Harlem, NY (2014); LAXART, Los Angeles, CA (2010); Creative Time, New York, NY (2009); The Andy Warhol Museum, Pittsburgh, PA (2008); Museum of Contemporary Art San Diego, San Diego, CA (2006); and REDCAT, Los Angeles, CA (2004). His work has been included in thematic exhibitions such as Prospect.3: Notes for Now, New Orleans, LA (2014); ALTER/ABOLISH/ADDRESS, Los Angeles Nomadic Division (LAND), Washington, DC (2014); Cage & Kaino: Pieces and Performances, World Chess Hall of Fame, St. Louis, MO (2014); Meanwhile… Suddenly, and Then, 12th Biennale de Lyon, Lyon, France (2013); Selections From the Hammer Contemporary Collection, The Hammer Museum, Los Angeles, CA (2011); The Artists’ Museum, Museum of Contemporary Art, Los Angeles, CA (2010); California Biennial, Orange County Museum of Art, Newport Beach, CA (2004); Whitney Biennial, Whitney Museum of Art, New York, NY (2004); and Blackbelt, The Studio Museum in Harlem, NY (2003). Kaino lives in Los Angeles.

Honor Fraser Gallery is pleased to present new work by Meleko Mokgosi for Positions at Art Basel Miami Beach.

Exordium is the introductory part of a new multi-chapter work by Meleko Mokgosi entitled In essence, you can only describe the democratic intuition as other people’s children, not just yours. Exordium comprises four panels and will debut at the Honor Fraser Gallery booth at Art Basel Miami Beach in December 2014 before traveling to the Institute of Contemporary Art, Boston for Mokgosi’s first one-person museum exhibition opening in April 2015. In essence, you can only describe the democratic intuition as other people’s children, not just yours. will manifest in multiple chapters: paintings that unfold over several panels and operate as independent works and in concert to convey Mokgosi’s larger conceptual framework. The title refers to a talk delivered by renowned philosopher Gayatri Chakravorty Spivak. Adapted by Mokgosi for his title, the passage alludes to the idealized possibility of previously unrecognized subjects gaining access to the mechanisms of the state and partaking in governance. Mokgosi emphasizes the idea of recognition as a practical relation to the self in a process that requires intersubjectivity.

Meleko Mokgosi’s large-scale paintings and drawings explore the political, emotional, and economic aspects of the legacies of colonialism in the region of southern Africa. Influenced by the formal aspects of film and the tradition of western history painting, Mokgosi articulates the incommensurable aspects of the post-colonial condition through an assemblage of moments and fragments that exceed traditional structures of authority, isolated from context in empty spaces that function like the cinematic pause. The particularity of Mokgosi’s narratives is a counterpoint to the metanarratives of nationalism. Mokgosi interrogates the implications of established histories and the historical narrative as concept, playing with notions of time and normative models for the inscription and transmission of history and disrupting traditional European notions of representation. Mokgosi offers different ways of understanding representation—epistemological, ideological, symbolic—undercutting traditional structures to posit alternate modes for understanding the contemporary world.

Meleko Mokgosi (b.1981, Botswana) earned a BA from Williams College (2007), completed the Independent Study Programs at Slade School of Fine Art, London (2006) and the Whitney Museum of American Art, New York (2007), and received his MFA from the University of California, Los Angeles (2011). Mokgosi was an artist in residence at The Studio Museum in Harlem (2012) and was the inaugural recipient of the Mohn Award presented in conjunction with the Hammer Museum’s biennial, Made in L.A. 2012. His first one-person museum exhibition will be presented at the Institute of Contemporary Art, Boston in 2015. Mokgosi’s work has been featured in exhibitions such as the Biennale de Lyon, Lyon, France (2013); Migrating Identities, Yerba Buena Center for the Arts, San Francisco (2013); Primary Sources and The Bearden Project, The Studio Museum in Harlem, New York (2012); Four Continents, Botswana National Museum, Gaborone, Botswana (2008); and Pool of Possibilities: Mapping Currents for the 3rd Guangzhou Triennial, Guangzhou, China (2008).