Palos Verdes Art Center / Beverly G. Alpay Center for Arts Education is pleased to announce Ann Weber: Let the Sunshine In, a solo exhibition of monumental, sensuous, and anthropomorphic sculpture – made from discarded cardboard boxes. On view will be works from the last 15 years, including new standing and wall sculptures making enthusiastic color choices.

Patricia Sweetow Gallery is thrilled to present Sharon Barnes: Improvisations of a Polyrhythmic Being.

With roots in the music industry as a songwriter, Sharon Barnes lyrical, non-objective paintings hold in their making and materials social and political stories of ancestral remembrance and fierce self-determination.

Patricia Sweetow Gallery is thrilled to present Demetri Broxton: Ancestral Echoes.
“My new body of work centers upon ancestors whose names and stories I don’t fully know. Most of them are soldiers who served in WWI. They fought to support a country that would continue to deny them full citizenship and equal rights.” -– Demetri Broxton

Highway Hypnosis, at Craft Contemporary, presents the work of Adrian Alfaro, Aaron Douglas Estrada, Alfredo D. Diaz, Alexa Ramírez Posada, Oscar Magallanes, and Rubén Ortiz-Torres– all members of the Los Angeles-based 3B Collective. This exhibition will feature a vast range of multi-media works including murals, assemblages, textiles, ceramics, printmaking, mask installations, and more.

UTA Artist Space is pleased to announce The Invisible Third from artist Erin M. Riley, which delves into the concealed aspects of self, examining what individuals present to the world, what they see in themselves, and what they hide from and fear confronting. The artist’s meticulously hand-dyed and handloomed large-scale tapestries, depict intimate, erotic, and psychologically raw imagery that reflects upon relationships, memories, fantasies, sexual violence, and trauma. Collaging personal photographs, images sourced from the internet, newspaper clippings, and other ephemera to create her compositions, the Brooklyn-based weaver exposes the range of women’s lived experiences and how trauma weighs on the search for self-identity.

Chromoception is Samantha Thomas’s first solo exhibition since her home and studio burned in the Woolsey Fire in 2018.
As an artist, Thomas’s work begins with color, shape, texture, line, space, and light, the primary building blocks of painting. Using common studio materials such as raw canvas, thread, and acrylic paint, she embraces their fundamental and distinct qualities to expose their limits and possibilities for expression.

Casa Pitzer presents Brittany Kiertzner in her solo exhibition “Summon / Iekhenonks”. Kiertzner explores critical materials that reframe her personal history into a contemporary context. Through a dynamic interplay of woven and stitched threads, her work is influenced by traditional Mohawk Iroquois splint basket making, embroidery and bead work. She investigates themes of regeneration, authenticity and subversion of materials through synthesizing the past.

Continuty presents a selection of Cahuilla baskets housed at the Benton along with their histories and long standing relationships with their relatives. This exhibition tells a story of the importance of reunifying Native collection items with living descendants, while also acknowledging the institutional histories that have impacted local Native American communities.

Craig Krull presents Diane Silver, Taylor Kibby, and Dominic Terlizzi. There is an Artists Talk on January 20th.

Wönzimer Gallery is pleased to announce its first solo exhibition with Ann Weber.
Step into a world of monumental, sensuous, and anthropomorphic sculpture, made from discarded cardboard boxes. Most of Weber’s pieces reference her personal life and the current state of the world.

Phranc: The Butch Closet is a multi-disciplinary installation that spans over 40 years of Phranc’s life as a queer artist, Jewish Lesbian Folksinger and Cardboard Cobbler. This exhibition contextualizes the artist’s experience as a trailblazing performer and maker, constructing and reconstructing her image against a larger historical context of second wave feminism and queer activism.

Darlyn Susan Yee is a Los Angeles-based artist whose practice weaves together traditional and unexpected materials into complex designs that engage a dialogue between art, design and craft. Her meticulous, labor-intensive processes result in fiber-based sculptures and site-specific installations. She engages a dialogue that crosses cultural understandings of identity, gender and place. Complex but with a sense of whimsy, Darlyn's explorations of presence and containment encompass largeinstallations to small handheld vessels.

Join Darlyn as she unveils the newest fiber-based artwork in her series “Wearing It On Our Sleeves”. She’ll discuss her motivations and techniques used to create the outsized sweaters currently on display in the Social Justice Center at El Camino College.

Studio 203 presents Ben Cuevas’s solo exhibition, Non-Binary Code, featuring a new series exploring identity, gender, textile-based media, and coded meaning.

LA Textile Artist and TextileArts | LA member Cidne Hart presents a solo exhibition of large-scale pieces at MorYork Gallery, September 1 to 3. Fibrous Routes illustrates the paths through her life–maps through a fiber forest with palettes of natural dyes, cyanotypes, eco printing, rust, shibori and indigo. She fine-tunes the routes with hand and machine stitching, joining fragments of all the processes into new large pieces.

Cindy Rinne and Marthe Aponte are featured in “Journey Inside an Empty Circle” at Roswell Space.

The concepts of fullness/emptiness and void/form are explored through textural wall-works. According to the Zen Buddhist concept of Enso or empty circle, you cannot have form without formlessness and vice versa. Aponte and Rinne layer and combine materials using picote and fiber art.

PATRICIA SWEETOW GALLERY is pleased to announce its upcoming exhibition, featuring Cuban American artist Amalia Galdona Broche and Oakland artist Demetri Broxton. The exhibition highlights African retentions and transculturation at play in the artists’ novel, sculptural approaches to contemporary art, and culture. Both artists are immersed in conceptual material practices, using textile, beads, paint, and sculpted form to interrogate ongoing legacies of conquest, slavery, immigration, and erasure.