Barely Living with Art:
The Labor of Domestic
Spaces in Los AngelesEli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, CopleyCatherine Wagley
The Languages of
All-Women ExhibitionsLindsay Preston Zappas
L.A. PoveraTravis Diehl
On Eclipses:
When Language
and Photography FailJessica Simmons
Interview with
Hamza WalkerJulie Wietz
ReviewsCheyenne Julien
at Smart Objects
Paul Mpagi Sepuya
at team bungalow
Ravi Jackson
at Richard Telles
Tactility of Line
at Elevator Mondays
Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
Launch PartyNovember 18, 2017
at the Landing
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick JacksonLindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
ReviewsRegen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
Art for Art’s Sake:
L.A. in the 1990sAnthony Pearson
A Dialogue in Two
Synchronous AtmospheresErik Morse
with Alexandra Grant
SOGTFO
at François GhebalyJonathan Griffin
#studio #visit
with #devin #kenny@barnettcohen
Mateo Tannatt
Photographs
Jibade-Khalil Huffman
Launch PartyCarla Issue 1
Slow View:
Discussion on One WorkAnna Breininger
with Julian Rogers
ReviewsPierre Huyghe
at LACMA
Mernet Larsen
at Various Small Fires
John Currin
at Gagosian, Beverly Hills
Pat O'Niell
at Cherry and Martin
A New Rhythm
at Park View
Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction
Charles Gaines
at The Hammer Museum
Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
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@gasdotgallery
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Elsewhere in CA
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Curatorial Research Bureau @ the YBCA (San Fransisco)
Et al. (San Francisco)
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fused space (San Francisco)
Gym Standard (San Diego)
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Jessica Silverman (San Francisco)
Left Field (San Luis Obispo)
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Verge Center for the Arts (Sacramento)
Wattis Institute for Contemporary Art (San Francisco)
Wolfman Books (Oakland)
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Artbook @ MoMA PS1 (Long Island City, NY)
Nationale (Portland, OR)
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Small Editions (Brooklyn, NY)
Space 42 (Jacksonville, FL)
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Ulises (Philadelphia, PA)
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Bard College, Center for Curatorial Studies Library (Annandale-on-Hudson, NY)
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Cranbrook Academy of Art (Bloomfield Hills, MI)
Los Angeles County Museum of Art, Research Library (Los Angeles, CA)
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Marpha Foundation (Marpha, Nepal)
Maryland Institute College of Art, The Decker Library (Baltimore, MD)
Metropolitan Museum of Art, Thomas J. Watson Library (New York, NY)
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Museum of Contemporary Art Santa Barbara, Emerging Leaders of Arts (Santa Barbara, CA)
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Pepperdine University (Malibu, CA)
Point Loma Nazarene University (San Diego, CA)
School of the Art Institute of Chicago, John M. Flaxman Library (Chicago, IL)
Scholes Library, NYS College of Ceramics at Alfred University (Alfred, NY)
Skowhegan Archives (New York, NY)
Sotheby’s Institute of Art (New York, NY)
Telfair Museum (Savannah, GA)
USC Fisher Museum of Art (Los Angeles, CA)
Walker Art Center (Minneapolis, MN)
Whitney Museum of American Art, Frances Mulhall Achilles Library (New York, NY)
Yale University Library (New Haven, CT)
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Yui Yaegashi, exchange (2016). Oil on canvas, 9.25 x 5.5 inches. Image courtesy of the artist and Parrasch Heijnen.
Abstract paintings have the potential to be intelligently evocative, surprisingly narrative, and meditatively decorative. Sadly, these hanging fields often tend to become aimless green screens for people to project whatever they want onto them. Unlike the common static practice derived from within the isolated studio, Yui Yaegashi delivers mature pictures with humble direction and expansive tranquility. In her first solo exhibition in Los Angeles, Fixed Point Observation at Parrasch Heijnen, Yaegashi presents a dozen miniature slow-burners, fluctuating between soft and subdued planar works to fertile bursts of color and mildly neurotic brushwork. From one to the next, there is a broadly discernible reverence for an assortment of heroic minimalists without ever overstepping.
In the simple pastel charm of Ground Work No. 3, Yaegashi channels the seamless structures of Agnes Martin. In Ultramarine + Monochrome Tint Cool No. 1 and Beige, she samples Blinky Palermo’s playfully erudite New York riffs for her own ambient purposes. And in Exchange, she respectfully crops what could be a classic David Reed composition and invites all to get lost deeper in her own personal translations. The contained logic of each ample rectangle (all works 2016) is supplemental to the thematically consistent serenity.
On the whole, Yaegashi reveals a calm confidence and measured patience that together strive towards displaying a sophisticated awareness, acknowledging the fact that shortcuts cheapen the endgame. She is slowly and steadily engendering her own voice in an eternal clamor. Perhaps the most eloquent and emblematic example here is the ironically titled White Line—the most colorful piece in the show. With visceral strokes, layered at various speeds and consistencies, Yaegashi takes a welcome detour off the heavily beaten road of geometry, and somehow manages to massage a mellow intellect back into the canvas. Abstraction can be as selfish or as generous as the painter chooses it to be, and Yaegashi proves she recognizes the viewer can only receive as much as the artist is willing to offer.
Yui Yaegashi: Fixed Point Observation runs through January 21, 2017 at Parrasch Heijnen (1326 South Boyle Avenue, Los Angeles, CA 90023).
Yui Yaegashi, Ground Work No. 3 (2016). Oil on canvas, 13.5 x 7.5 inches. Image courtesy of the artist and Parrasch Heijnen Gallery.
Yui Yaegashi, White Line, (2016). Oil on canvas, 9 x 4.75 inches. Image courtesy of the artist and Parrasch Heijnen Gallery.
Yui Yaegashi, Knife + Brush x 2, (2016). Oil on canvas, 9.25 x 5.5 inches. Image courtesy of the artist and Parrasch Heijnen Gallery.
Yui Yaegashi, Untitled (2016). Oil on canvas, 11 x 9 inches. Image courtesy of the artist and Parrasch Heijnen Gallery