Exciting opening of a gallery in Los Angeles for a visit this month

Kara Benedetto’s exhibition at the Nigh Gallery uses popular TV characters to break up the fan-celebrity relationship. (Alex Polmer | Daily Trojan)

Spring has popped up and so has a whole new crop of art openings across Los Angeles. From the city center to the arts district, these openings offer new works in all types of media, from painting to screen printing to stained glass sculpture.

A gallery can be a perfect excuse to go out or even can be a quick addition to seasoning an evening out. Here are some of the most exciting moments from the Los Angeles art scene to see this coming April.

“Love You” – Kara Benedetto at Night Gallery

(April 2 – May 7)

Anyone familiar with Stan’s culture will recognize the horrors of online virality explored in Kara Benedetto’s “Love You.” The culture of social media fans is at the forefront of the program, a series of mixed media works that illustrate, respect and dismantle the pre-social relationship between celebrities and their loving masses of fans. Benedetto’s favorite celebrities, including Mariah Carey, Angelina Jolie and Zendaya and Hunter Sheffer of “Euphoria,” are portrayed as fuzzy and stunning versions of themselves in her work.

These strange distorted figures, created using canvas prints copied several times and depicted in oil paint, are reminiscent of the flawed version of celebrities built by their fans only to be usefully destroyed with the earliest sign of human defect. Combining an image and text to evoke Instagram captions or a promotional copy, Benedetto’s work plays like a hilarious horror comedy the dystopian nature of the public’s relationship with our symbols. This is a relationship that has been poisoned by the toxic and deafening echo cell of the internet.

“The Students” – Am Katner in François Gabali

(April 2 – May 7)

In her second-cycle exhibition at François Gabali, If Katner finds inspiration in the most unlikely topics: snails. At first glance, the undeniable strangeness of Katner’s “The Understudies” may lead a person to delete the works as trivial, or even worse, “cute.” Yet beneath the strange veneer of any work lurks an absurd comedy that contemplates the violence of observation.

Katner directs images featuring enthusiastic doctors who give snails surgery in front of an audience of spectators on the surface of tiny 2 by 2-inch ceramic tiles. As with most works of art, these works are best experienced in person. Pictures hardly do justice to the tiny sketches, as the tiny size of each tile forces the viewer to lean inward and create intimacy with the vignettes they are watching.

Within each scene, the theatrical performances that take place cast doubt on the roles that society forces the viewer to portray in everyday life as a performer and as an audience member. Especially on social media, everyone becomes a snail melting under stinging spotlights, a doctor exposing him to such invasive attention or the audience just sitting back and enjoying the fight.

“Magic, Mystery and Gardemain” – Derek Fordior in David Kurdansky

(March 26 – May 7)

To get into Derek Forjour’s brilliant “Magic, Mystery and Gardemain” is to get under the hallucinatory influence of a magic show. Magic announces Fordjor’s work as a prism through which one can look at the Black Diaspora’s relationship with the past.

The Magic Trick routine echoes the repetition of black cultural traditions throughout history, depicted in an installation and sculptural collage clips using images of jazz performances, cotillion and carnival parades. The paper appears as a motif in the program, both materially and as a metaphor for history itself. It is connected, painted and redefined to the figures of the paintings that indicate that the identity is constructed from our ancestors and from the cultural history before us.

Do not forget to catch the live magic performance of Kenrick “ICE” McDonald which returns daily at 14:00, Tuesdays to Saturdays, in the gallery space until the climax of the show on May 7th.

“Last Sculpture” – Group Exhibition at Matthew Brown in Los Angeles (April 2 – May 7)

Matthew Brown LA’s ‘The Last Sculpture’ presents 12 provocative works representing exciting developments in the world of contemporary sculpture. Canadian artist Fin Simonetti is contributing to the show’s highlight with “Gusset 5”, a menacing yet delicate stained glass bear trap cast in baby blues and dark amber colors. One of the most enjoyable aspects of the show stems from its variety of materials and expressions. In stark contrast to the gloomy glitter of “Ghost 5” are the sculptures of Patricia Ayers, two towering pillars of stained tights, reminiscent of the disembodied parts of the human form attached to the shrinking strips of elastic. The works of “Last Sculpture” range from humorous to haunting, everything you need to see to be truly understood.

“West Coast Paintings” – Melissa Brown at Anat Avgi Gallery (April 2 – May 7)

At her first solo show in Los Angeles, Melissa Brown presents the current situation in the world as a bad acid trip, a perspective with which many agree. Fields of thorns, wind turbines and iPhones are painted with psychedelic slopes of millennium pink and acidic green. However, beneath the surface of the vibrant colors of the works howls a pain that is only seen in the more abstract moments of the show.

In “Huntington Portal”, a unique coral-like skeleton stands in a surrealistic garden, Tiffany Blue. However, on closer inspection, a confused and miserable face appears in the negative space of this statue, the mouth raging almost in the midst of a shout. Brown combines screen printing, airbrushing and oil paints to present this vision of the West Coast, which through its disturbed detachment from reality, hits a little too close to home.

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