parrasch heijnen

Parrasch Heijnen is pleased to present the gallery’s first solo exhibition with artist and seminal gallerist Alonzo Davis (b. 1942, Tuskegee, AL). Davis’ six-decade-long career has explored a wide range of media and methods, from mural to print, painting, sculpture, performance, and installation. As co-founder of the Brockman Gallery, the first major Black-owned contemporary art gallery in Los Angeles (1967 - 1990), Alonzo Davis sought to champion Black artists including David Hammons, Suzanne Jackson, Betye Saar, Senga Nengudi, Noah Purifoy, and John Outterbridge, among many others, in a time when white, male art was prevalent. Davis’ appreciation and promotion of Black artists and cultural references collected on trips all over the world are often referenced in his own work. The Blanket Series (c. 1970s - 1990s) follows Davis’ evolving process of weaving painted strips of paper and canvas. The expressive hanging forms represent shrouds of protection, spirit catchers and artifacts of communal belonging. Every piece is composed of exposed layers, allowing the work’s own history to appear in its final form.

I’m telling you: we’re carried by tornadoes we barely notice, whirlwinds we barely feel, aggressions we barely acknowledge, because we’re half awake. Things are translated into something alien. -Etel Adnan, “Shifting the Silence” Parrasch Heijnen is pleased to present the gallery’s second solo exhibition with New York-based artist Emma Soucek (b. 1996, Long Beach, CA). Through tactically manipulating paper pulp, Soucek constructs rhythmic paintings where fragmented patterns fluidly merge. These movements, though rigid in anatomy, shift and alter as gestural waves of pixelation. The artist revisualizes the grain of her medium in expanding forms, recycling from a larger narrative.

Parrasch Heijnen is pleased to present the gallery’s first exhibition with New Mexico-based artist Susan York (b. Newport, RI, 1951) featuring a selection of the artist’s sculptures and works on paper dating from 2007 – 2022. Through subtly askew geometric shapes, York explores the visceral aspect of intrinsically felt anomalies as she combines precise elements of geometry with unexpected asymmetry and tension. Her graphite sculptures and works on paper reveal complexities of form in relation to the architecture they inhabit. There are no illusions or tricks in York’s sculptures; the medium is exactly as it appears to be–solid throughout. Each graphite block structure requires an intense physical process, through focused labor and repetition. York developed the reductive technique utilizing chisels, saws and Computer Numerical Control (CNC) machines with programmed motions to cut away compressed carbon, followed by concentrated hand sanding and polishing. The delicate nature of the graphite blocks has a beguiling effect; a medium with such a powdery and weak structure is transformed into one of density and strength. Though seemingly matte, the suspended sculptures and heavily layered drawings begin to reflect and absorb the light and surrounding space. York carefully considers objects placed within given space musing with the instinctually perceived irregularities in our environment. Column, no. 5 a rectangular form, levitates above the ground, creating a tension through gravitational pull. This subtle detail gives pause to the column; it appears at once weightless and substantial. Similarly with Double Column no. 1, the two forms appear to be floating side by side. The pressure and pull of their existence challenge preconceptions. York’s works on paper have a similar dimensionality, some formed with as many as 50 layers. The density has a simultaneous depth and flatness. Each drawing exists as a pseudo impression of the artist’s sculptures. The materiality of graphite is expanded, as well the relationship between two and three dimensions, as she engages the perceptual aspects of form and space. York’s persistence in attempting to understand emptiness and absence creates an overwhelming quiet in her oeuvre. These underlying ideas bring raw material to the forefront as perfection is rejected and the beauty of anomaly is celebrated.

Parrasch Heijnen is pleased to present the gallery’s first exhibition with Vancouver-based Christine Howard Sandoval (b. Anaheim, CA, 1975) featuring the artist’s architectural drawings, sculptures and experimental film. Howard Sandoval’s embodied work confronts the complex history and innate interconnection of land and body. As she traces a path to her ancestral home, the artist scrutinizes the narrative of erasure in early North American settler’s records and reassigns power through documentation of embedded Indigenous cultural practices. Her poetic oeuvre seeks to weave a collective awareness back to nature by means of a more cyclical and deepened relationship with land and place. The land, as an ever-evolving being, plays a central role in Howard Sandoval’s visual language. Taking adobe as her main medium, the artist explores its inherent properties of historical, familial and ecological histories. Adobe mud requires a bodily process to mix soil (sand, silt and clay), water and often straw to form a workable, malleable and ultimately structural material. In this ongoing investigation, she emphasizes the intentionally omitted history of forced labor, land theft, and the violent genocidal actions Indigenous people experienced. For more information, please contact the gallery at +1 (323) 943-9373 or info@parraschheijnen.com.

“Tony DeLap is one of the most original figures to emerge in the sixties and he continues to push the tradition of geometric abstraction into the future.” Barbara Rose, Now You See It, Now You Don’t, 2014 Parrasch Heijnen is pleased to present "Tony DeLap and his Circle," a scholarly view of DeLap's six-decade long career marked by the sustained and wide-ranging impact he and his oeuvre have had on generations of artists. This exhibition includes works by: Peter Alexander, Bas Jan Ader, Vija Celmins, Roy De Forest, Tony DeLap, Marcia Hafif, Donald Judd, Craig Kauffman, Agnes Martin, John McCracken, John McLaughlin, Bruce Nauman, Deborah Remington, Alexis Smith, and Frank Stella. For more information please visit www.parraschheijnen.com

Parrasch Heijnen is pleased to present A Hymn for the Mother, the gallery’s first exhibition with Jefferson City, Montana-based artist Anne Appleby (b. 1954, Harrisburg, PA). The work in this show travels to Los Angeles from the artist’s recent solo exhibition at the Missoula Art Museum, and incorporates all facets of Appleby’s oeuvre including: painting, video, sculpture, and photography. The essential becomes visible in Anne Appleby’s paintings through their ethereal aura. The artist feels the changes in her environment—the subtle shifts in minutes, hours, weather, atmospheric conditions, and seasons. These activating moments prompt conversations regarding our complex relationship with nature.

Parrasch Heijnen is pleased to present the gallery’s second solo exhibition with Tokyo-based artist Yui Yaegashi (b. 1985, Chiba, Japan). In an ongoing investigation of interwoven layers and chromatic nuance, Yui Yaegashi’s small-scale work exudes a substantial presence. Her oeuvre builds on the extensive history of nonobjective art. Each of Yaegashi’s intentional actions visibly transfers an essence of energy onto the canvas. The artist constructs a novel world through her exploration and experimentation relating to motion, the brushstroke, and time.

“The first painting I ever did was a social statement.” - Sylvia Snowden Parrasch Heijnen is pleased to present the gallery’s first exhibition with Washington, D.C.-based artist Sylvia Snowden (b. 1942 Raleigh, NC). This solo exhibition features work from throughout Snowden’s expansive career, including examples from eight separate series of work ranging from 1966-2020, touching upon the complexity of the human condition across class, race, and gender. Sylvia Snowden: Select Works, 1966 - 2020 is concurrently on view with Sylvia Snowden: The M Street Series, 1982 - 1988 at Franklin Parrasch Gallery (New York, NY). Known for her use of abundantly thick, layered paint, Snowden has developed a visual language in which gems of color and texture emerge from densely-worked underlayers. From dark and earthy tones to the vibrant and artificial, Snowden’s command of chromatic range is the fuel of her expressionistic style. Over the course of her more than five-decade-long career, in which she has always painted in series, Snowden developed an adroitness with her medium. She initially employed oil paint and pastels then moved toward acrylic–a less toxic and faster-drying alternative–after having children. Snowden paints sculpturally, her compositions range from larger-than-life to portrait-sized. Her process allows visible evidence of constructed layers and employs impasto that interacts with her bold figures caught in motion with physical weight.

Parrasch Heijnen is pleased to present the gallery’s first exhibition with conceptual artist Maya Stovall (b. 1982, Detroit, MI). A something = x showcases sixteen neon works depicting dates ranging from 3998 BCE to 1996 CE along with three, colored neon forms representing abstracted space. Following the first series, 1526, 3998 is the second series of the overarching project the artist has termed Neon Theatre (2019-ongoing). Neon Theatre functions as a possibility of experiencing the world as it is through understanding of structures and systems across time. Stovall, who has a Ph.D. in anthropology, intentionally chooses moments, represented within a singular year, after researching hundreds of scholarly archives. She acknowledges and dismantles the romanticized and often nationalistic narrative of our collective past. For more information please visit our website www.parraschheijnen.com

Parrasch Heijnen is pleased to present ARP 273, the gallery’s first exhibition of new work by New York-based artist Rosy Keyser (b. 1974, Baltimore, MD). In Keyser’s most recent body of work, the interaction of disparate parts colliding, generates deliberate beauty and symbiotic flow. Relationships between the artist’s surfaces are that of both friction and integration. Keyser’s emerging constructions come from using her anatomy as a multitool for physical change. She paints, bends, casts, and conducts all in an effort to describe aspects of nature.

Parrasch Heijnen is pleased to present Sacred Witness Sacred Menace, the gallery’s first exhibition of new work by Los Angeles-based artist Maysha Mohamedi. Maysha Mohamedi’s large-scale abstract paintings energetically fill the gallery with chromatic boldness. Each piece operates using a record of precious symbols and lyrical markings. The discovery of moments imparted by the artist’s personal language presents time and place intertwined with identity. In this new body of work, Mohamedi gestures color in a nuanced way, using paint as a trail that tumbles down the canvas.

Parrasch Heijnen is pleased to present Edge Events, the gallery’s first exhibition with New York-based artist Emma Soucek (b. 1996, Long Beach, CA). The textural interplay of Emma Soucek’s painting comes in the form of pinched, spread, and pleated pigmented paper pulp. Soucek’s process involves taking something which is fully formed - in this case, construction paper and other commercial stationery - and deconstructing it to a raw matter before re-visualizing it in revived manifestations that adhere to the canvas as they cure. In each painting the artist engages chance, combining remnants of personal moments and memories to create a world of her own where positive chromatic energy and expression is circumambient. The malleable nature of Soucek’s medium allows for intuition and improvisation to take hold.

Parrasch Heijnen is pleased to present Back Rub / Foot Rub, an exhibition of new works by American artist Xylor Jane (b.1963, Long Beach, CA). This is the gallery’s second solo exhibition with the artist. Jane’s exploration of unique phenomena found in numbers and patterns produces delicately layered tessellations that achieve mesmerizingly intricate precision. The artist’s paintings on panel reflect a controlled form of chaos utilizing ideas similar to that of pointillism—weight is added in the density of marks, culminating in a complexly resolved image. The labyrinthine forms are highly evolved constructions utilizing numerical systems sectioned within each panel. Jane either methodically plans out each panel beforehand or begins with problematic compositions that resolve through her experimental process.

Parrasch Heijnen is pleased to present Ricci Albenda: Where the Twain Shall Meet, the gallery’s first solo exhibition featuring recent work by Brooklyn, NY-based artist Ricci Albenda (b.1966, Brooklyn, NY). Throughout the past three decades, Ricci Albenda has actively investigated the cognitive mechanisms of language. Toying with emotion, perception, and memory, he transforms the scale, perspective, color, and context of the printed word to produce spatial apprehension. This newest body of work crosses an imagined boundary between divergent utopic and dystopic realms, continuing the artist’s exploration of the written word. The array of paintings in this show intentionally shifts reality and submerges the viewer into an unbalanced sphere.

Parrasch Heijnen is pleased to announce Marcia Hafif: Paintings, 2000 - 2014, the gallery’s first exhibition with the late artist. This exhibition comprises eleven works depicting the breadth of Hafif’s later painting styles including diptych Fresco: Pale Paintings, TGGT (Tomatoes, Grapes and Green Tea), Shade Paintings, and the Pacific Ocean near monochromes. Hafif’s temporal bodily process is in opposition to formal abstraction. Throughout her oeuvre, Hafif’s small, tempera-like vertical strokes and energized reductive forms are a focused meditation on color. Her process marks the duration of time through the amassing of lines that ultimately emerge into forms of continuity.

Parrasch Heijnen Gallery is pleased to present Alteronce Gumby: My Favorite Color is a Rainbow, the gallery’s second solo exhibition featuring new work by Bronx, NY-based artist Alteronce Gumby (b. 1985, Harrisburg, PA). This new body of work, the majority of which was created this past summer in Los Angeles, is a distillation of Gumby’s awareness of and fascination with the manifestation of energies throughout the universe. Working with thousands of fractured glass shards, gemstones, pigments, and acrylic medium, these meticulously composed images radiate a proliferation of hyper chromatic activity. Chatoyant reflections and refractions of glass shards and gemstones, upon surfaces spanning up to six feet, are activated upon interaction with light and motion, immersing the viewer in an interactive experience.

Parrasch Heijnen is pleased to present the gallery’s first solo exhibition of new work by Ojai-based artist Christofer Churchill. Through underlying chromatic tension, Churchill depicts an amalgamation of emotions by fusing intense layers with vivid energy and a highly saturated palette. Throughout his career, Churchill has used found material as a substructure, creating palimpsests, assigning new meaning to once utilitarian objects. Each work begins with the material’s emotional resonance as a well-worn object informed by long-held associations and personal reminiscence.

Parrasch Heijnen is pleased to present the gallery’s first exhibition with Oakland, CA-based artist Mildred Howard. Howard’s expansive oeuvre addresses the universal themes of racism and injustice directly and without hesitation; her work considers these themes through the lens of language, objects, and imagery that unfolds and reveals itself upon closer inspection. The works in this exhibition exemplify the range of materials Howard has used throughout her career, including fiber, blown glass, printmaking, found objects, photo collage, painting, and installation. Howard’s early works, which often include objectified depictions of her own body, explore the African diaspora, focusing on identity and relationships to nature. Some of these pieces trace the histories of migrant families like her own, and feature personal memorabilia and found objects stitched together. In the late 1970s, Howard began experimenting with colored Xerox machines–then an exciting, new technology–creating collages and self-portraits by positioning images and real objects together on the scanner bed to form high-contrast and saturation impressions.

Parrasch Heijnen Gallery is pleased to present Forrest Kirk: 9 Fists, the gallery’s first solo exhibition with Los Angeles-based artist Forrest Kirk. In October of 1968, amidst the smoggy, thin air of a Mexico City Olympics medal ceremony, Tommie Smith and John Carlos, two courageous and determined American gold and bronze medal winning athletes, decided to turn the attention away from their own athletic achievements and toward the outrage they had experienced as Black Americans entrenched in the systems and organizations that thrived on the institutionalization of racial injustice. Their embrace of the raised fist as a symbol, which at that moment referenced a call for revolt expressed in the credo of the Black Panthers, universalized its sense of empowerment, searing it into the consciousness of a worldwide audience.

Parrasch Heijnen Gallery is pleased to present Edith Baumann: New Painting, the gallery’s second exhibition with the Santa Monica-based artist. Edith Baumann’s new works are characteristic of her more than four-decade practice, concisely balancing precision with vulnerability, motion, and natural imperfection. Baumann’s latest series of paintings demonstrates her confidence in pattern and mark making, generating smooth, uninflected surfaces that challenge the viewer’s reliance upon fixed-point perspective. These six new paintings contrast the pristine with the imperfect through the artist’s composition of strokes and forms as she paints multiple parallel planes juxtaposed in a manner intended to alter the viewer’s sense of spatial perception. The rich opaque tones of translucent static planes starkly ignite floating, geometrically based forms that seemingly vibrate.

Parrasch Heijnen Gallery is pleased to present Dennis Hopper: Morocco Paintings, a selection of works from the eponymous series and the gallery's first solo exhibition by the legendary Los Angeles artist, photographer, film director, and actor. Dennis Hopper (b. 1936 Dodge City, KS, d. 2010 Venice, CA) began his painting practice in earnest during the mid-1950s. Encouraged by friend and fellow actor James Dean, Hopper created multi-layered paintings in an abstract expressionist language. In the late 1950s, actor and art collector Vincent Price focused Hopper’s attention on works by artists in his personal collection including Willem de Kooning, Jackson Pollock, and Richard Diebenkorn, whom Hopper considered “the most important American painter.” Hopper’s own paintings at this time were characterized by thick application of oil paint, gritty, almost sand-like in texture and density. Only two pieces from this period remain after a fire at Hopper’s Bel Air studio in 1961 destroyed close to 300 works; despite this setback, Hopper continued seeking new modes of artistic expression. The ideas he gleaned from friendships with Marcel Duchamp and Andy Warhol, as well as Los Angeles-based artists such as Wallace Berman, George Herms, and Ed Kienholz contributed to the development of his core visual perspective. Hopper’s work in the early 1960s was characterized by assemblage and included readymade objects in a Dada-esque expression.

Parrasch Heijnen is pleased to present Peter Alexander, a correlative selection of the artist’s recent sculpture and wall relief work in conversation with his sea and landscape paintings dating from 1990 - 2019. Alexander’s attention to the energies and forces of light and color discerned through observations of atmosphere and water are defining concentrations of this artist’s six-decade practice. The core of Alexander’s work has consistently remained focused upon a devoted engagement with light in structural space, evoking the emotive sublime in an opulent exploration of color. Whether looking through paint or resin, depth emerges from thin layers and suspended pigments. The artist’s textural play loosely defines focus and horizon lines, often confusing the viewer’s physical orientation. This brilliance permeates through the work’s precise turns bending light by way of tinted gradations. Alexander’s forms transmit luminous energy in relation to their adjacent negative space, with illusionistic light bursting forth from beneath.

Parrasch Heijnen is pleased to announce the gallery’s first exhibition of work by Los Angeles artist Alexis Smith. With a long history of mixed media assemblage, public art and performance pieces, this survey features artwork from throughout Smith's expansive career, encapsulating themes of gender, politics, wordplay, and popular culture. Smith combines and carefully juxtaposes media with an intuitive understanding of words and images by recontextualizing objects. Merging the every day with the fabricated fantasy of advertising, the artist crafts stories of reality through the lens of fiction. In manipulating the viewer’s visual literacy, she communicates her sensibility in a language entirely of her own. The earliest piece on display, The Einstein Piece, 1973, spans 25 sheets of paper, and was originally shown that same year at Riko Mizuno Gallery for Smith's first solo exhibition. The sheets alternate from yellow to white, from script to collage, loosely leafing together Einstein's theory of relativity in a visual play that reexamines accepted truths.

Parrasch Heijnen Gallery is pleased to participate in the multi-venue Dilexi Gallery retrospective with a historic presentation of works by Arlo Acton, Tony DeLap, Deborah Remington, Charles Ross, and Richard Van Buren. The Dilexi gallery began out of necessity--a deep-seated need to have a serious space for counterculture artists in the heart of vibrantly active beatnik San Francisco. In 1958, Jim Newman and Bob Alexander filled this void championing free-spirited and nonconformist artists. Dilexi, which derives from Latin “to select, to value highly, to love,” was the conduit necessary for these disparate artists to experiment with new materials and non-traditional techniques that eventually became their individual styles outside any singular art movement. Pivotal museum exhibitions such as Primary Structures (1966: Jewish Museum, New York, NY) as well as the locally founded ArtForum brought Dilexi artists international recognition.

Parrasch Heijnen Gallery is pleased to present Suzan Frecon / Julia Haft-Candell an exhibition of new sculpture by the Los Angeles-based artist in direct historic conversation with works on paper by New York-based abstract artist Suzan Frecon. Julia Haft-Candell’s ceramic sculptures re-imagine essentialist forms building upon the artist’s previous vocabulary involving rhythm, repetition, and ritual. This latest body of work presents the familiar in a highly focused context through ambiguous shapes and fluid moments. Haft-Candell’s hand-molded gestures capture the immediate responsiveness of her primary material, as she experiments with subject and scale in relation to the body.

Parrasch Heijnen Gallery is pleased to present Alteronce Gumby / Al Loving: Catching the Holy Ghost, an exhibition of new works by New York-based artist Alteronce Gumby (b.1985, Harrisburg, PA) in direct conversation with historic paper collage material from 1976 to 1993 by the late Abstract Expressionist painter Al Loving (b. 1935, Detroit, MI, d. 2005, New York, NY). Alteronce Gumby paints dynamic works subverting traditional understanding of light and color through nuanced application of pigment applied to his surfaces directly with his palms and fingers. The artist’s intensely textured works balance shadow with light and form with material. Using non-objective expression, Gumby’s ethereal objects are abstractions of emotions given tangible form where colors vanish and reappear.

Parrasch Heijnen Gallery is pleased to present Sara Gernsbacher: Threefold Body, an exhibition of new works by the Los Angeles based artist. Sara Gernsbacher creates fixed, yet tangibly malleable silicone images activated by the space they inhabit. Gernsbacher’s wall works exude sensuality not only in tactility but also in contours and roughness of shape. The artist’s free-flowing and organic forms develop from a controlled pour technique that are often then spray-painted, trimmed and over-layed, resulting in a physical experience that arouses a multidimensional presence.

Parrasch Heijnen Gallery is pleased to announce Edith Baumann: Early Works, the gallery’s first exhibition of the Santa Monica-based abstract artist. The paintings in this show, from among Baumann’s earliest bodies of work, date from 1977 and 1979. Through quivering painterly strokes, Edith Baumann’s images provide a space for viewers to reflect on the self. Each wash of the brush creates a soft texture, an imprint of the light hand that shapes the surfaces through subtle vibration and intimation. Akin to John McLaughlin, who pursued the poetic space of the void in his work, Baumann develops her surfaces with a multitude of delicately veiled layers that complement the negative white space.

Parrasch Heijnen Gallery is pleased to announce Petri Dishes, the gallery’s first solo exhibition of new paintings by artist Sophie von Hellermann. Inquisitive microscopes peer over Petri dishes, scrutinizing imaginary microcosms of cultural growths and various characters in action. Depicting moments from a wide range of source material that includes modern American culture, Christianity, Greek mythology, and German folklore, von Hellermann examines the basis of our cultural understanding.

Parrasch Heijnen Gallery is pleased to present Anne Truitt / Daniel Turner. Psychology and material transformation continually inform Daniel Turner’s work. His sculptures are often characterized by a specific response to a site under a controlled set of processes. These elements are present in the artist’s previous works, for example an entire waiting room cast into a series of solid bars, a healthcare facility reduced to a darkened stain against an exhibition wall, and a cafeteria dissolved across the expanse of a floor.

Parrasch Heijnen Gallery is pleased to announce Ghosts and UFOs: Projections for Well-Lit Spaces, an exhibition by American artist Tom Friedman. This exhibition presents a selection of video projections, a recent body of work by the artist developed from a conscious effort to avoid materiality. Friedman's tactful use of light, both as a rendering tool as well as an ambient backdrop, introduces a spectral element that defies constraints of form, color, and scale reminiscent of tangible objects. In this new genre, the artist explores his continued interests in phenomenology and the paranormal, revisiting familiar motifs with the aim of questioning aspects of objecthood.

Parrasch Heijnen Gallery is pleased to present Magic Square for Earthlings, the gallery’s first solo exhibition of new work by American artist Xylor Jane. Xylor Jane paints systems-based constellations. Applying thousands of tiny dots articulated by pointed peaks, Jane explores vast textural and chromatic ranges orchestrating intensely intricate paintings referencing numerical, time-based, and other patterned systems. The artist’s images, painted on wood board, typically within the scale of a human torso, are pre-meditatively organized prior to her first application of paint.

Parrasch Heijnen Gallery, Los Angeles, and Franklin Parrasch Gallery, New York, are pleased to present Tony DeLap: A Career Survey, 1963—2017. Each gallery will present iconic examples of sculpture, drawing, and painting from various periods throughout Tony DeLap’s six-decade practice. In its New York space, Franklin Parrasch Gallery will include early mixed media sculpture and related drawings from the 1960s, formed paintings from the 1970s and 1980s, and shaped paintings from the 1990s to the present. Parrasch Heijnen will present a similar range of works in Los Angeles, as well as an architectural intervention not exhibited since DeLap’s 1972 solo exhibition at Nicholas Wilder Gallery. DeLap’s oeuvre defies fixed categorization. Initially brought to the attention of New York gallerist Robert Elkon by Agnes Martin in the early 1960s, DeLap’s earliest exhibited works were precisely constructed painted aluminum sculptures that challenged viewers’ perceptions of positive and negative space. Having originally worked extensively with collage, DeLap’s sculptures of this time presented an idiosyncratic articulation of a layered space in a decisively Minimalist mode. By the mid-1970s, as his approach to object and architecture continued to evolve, DeLap was creating monochromatic shaped canvas paintings; soon thereafter he incorporated interventions of hard-edged, painted color in his canvases, effectively bending light by way of application of color.

Parrasch Heijnen Gallery is pleased to present Billy Al Bengston: Dentos, 1965 - 1970, the gallery's first solo exhibition of this legendary Los Angeles artist. Billy Al Bengston (b. 1934, Dodge City, KS) first began using automobile lacquers on dented and/or punctured aluminum in 1965 to challenge the limitations of painting. He initially called these works "Canto Indentos", which he later shortened to "Dentos". Channeling the "no rules, no rules" mantra of Bengston’s friend and mentor Peter Voulkos, the “Dentos” expanded the potential of the picture plane. It was in the late 1950s that Bengston originated his trademark inclusion of single, centralized icons in his work, primarily referencing three appropriated images: “Chevrons” (sergeant stripes haloed within an orb within a rectangle), “Draculas” (flowers illustrated on Iris brand sugar packets), and hearts (of the Valentine’s Day variety). In the early 1960s, working with high gloss oil on Masonite, Bengston combined these emblems with color field abstractions, first showing his bold “Chevron” paintings at the Martha Jackson Gallery in New York in 1962.

Parrasch Heijnen Gallery is pleased to announce the infinite, its first solo exhibition of Los Angeles based artist Julia Haft-Candell (b.1982), an in-depth exploration into the artist’s recent wall reliefs and ceramic sculpture. Focusing on a litany of historically resonant lines and patterns, Haft-Candell’s myriad of scale and material considerations both introduce themselves as an affable guided tour as well as a final destination, bringing both an immediacy and an elasticity that echoes the resonant nature of the material and Haft-Candell’s physical engagement with her medium. Translating, simplifying, and reinventing the casual or insignificant, Haft-Candell offers us a different way to view accepted structures and icons. Chain Infinity, 2017 is one of the many forms Haft-Candell has brought to life that appears as one thing but connotes a broad range of other possibilities. The sculpture itself is solid: grounded, and plastered with chain imagery on its surface, but the play on its form leads the viewer into the artist’s fascination with the realm of infinity: “The infinite exists because the linear dimension does not offer enough. I want to provide the infinite as a refuge for myself and anyone else that feels alienated.” (Julia Haft-Candell, 2017)

Parrasch Heijnen Gallery is pleased to announce Forrest Bess | Joan Snyder, an exhibition of paintings and works on paper dating from 1946-1968 that reconsiders the immense visions of these two artists. While much critical analysis of Forrest Bess has concentrated on the unique narrative of the artist’s hermetic life, the focus of this exhibition is to explore the correlations in style and intent of Bess’ and Snyder’s work, ultimately enriching the conversation surrounding each. Although they have both been the subject of attention from several of the same critics, curators, and galleries who have examined their work in similar ways, Bess and Snyder have never before been exhibited in this context. Separated by a generation and geography (Bess from Bay City, TX and Snyder from Highland Park, NJ), there is nevertheless a mutual sense of urgency and immediacy in the gestures and palettes of each of these artists that persistently responds to a Jungian understanding of the natural, the carnal, and the mythical. Though Forrest Bess (1911-1977) and Joan Snyder (b.1940) both maintain a primary foundation in abstraction and other elements of modernism, each moved toward a new understanding of inventive systems of communication. Bess’ and Snyder’s largely non-figurative approaches utilize systems of private symbolism that, while autobiographical and subjective, maintain the capacity to encourage viewers to reflect upon their own experiences.

Parrasch Heijnen Gallery is pleased to announce Charles Ross: Solar Burns, Prisms, and Explosion Drawings, the renowned land artist’s first solo gallery exhibition in Los Angeles. This show is scheduled to coincide with the exhibition Los Angeles to New York: Dwan Gallery, 1959 - 1971 at the Los Angeles County Museum of Art, in which a number of Ross’ iconic early works are included. In the late 1960s, Sol LeWitt encouraged Charles Ross to approach Virginia Dwan, the vanguard dealer of minimal art and earthworks. After engaging her in a conversation about prisms and crystals, Dwan was eager to visit Ross’ studio. The following year he had his first of three shows in Dwan’s eponymous New York gallery, joining the ranks of the artists Dwan championed and exhibited in New York and Los Angeles until the closure of the gallery in 1971. Charles Ross: Solar Burns, Prisms, and Explosion Drawings focuses on works from three distinct series spanning a select overview of the artist’s fifty-five year career. Ross’ “Prism Series,” which he began in the mid-1960s and first showed at Virginia Dwan Gallery in New York in 1969, is represented by two works in this show. These breakthrough prism structures were a foray into Ross’ investigations of light as a medium. The “Prism” sculptures require an interaction with light, functioning to alter their immediate surroundings. Central to the show, Tapered Column 2004, an iconic eight-foot freestanding prism sculpture filled with optically formulated liquid, presides in the main space over a range of works from the artist’s “Solar Burn” series dating from 2005-2016.

Parrasch Heijnen Gallery is pleased to announce Love Is a Many Splendored Thing, a two-artist, cross-generational exhibition of new sculpture by British artist Jesse Wine (b.1983) and historic works by the late California ceramist Peter Voulkos (1924 - 2002). This collaboration engages ten new ceramic sculptures by Wine in conversation with five important works by Voulkos dating from 1956 - 1980. Together these sculptures reveal a modernist sense of lyricism that runs throughout the oeuvre of both artists. Voulkos’ work in this show comprises three iconic “Stack” pieces, an early “cut out” vessel, and a groundbreaking deconstructed vessel from 1956. Working in a variety of tropes and idioms, Wine engages in a range of imagery using his medium of choice -- clay -- as an homage to the poetics of Voulkos' ceramic forms. A conduit for shared ideals and pursuits, the work transcends generational separations and embraces the core sentiments found within the two artists' varied visions.

Parrasch Heijnen is pleased to present an exhibition of new paintings by Tokyo-based artist Yui Yaegashi (b. 1985), the artist's first solo exhibition in Los Angeles. These paintings interweave artistic influences culminating in a visibly palpable global contemporary form. The works inherently recall Southern California artists working in the 1950s and 1960s who championed a Zen mentality by looking across the Pacific to the East. Yaegashi's process – which includes overpainting and "canceling" of ground -- infuses her palette with the subtlety built of a monochrome field structured by grid lines and juxtaposing planes. The resulting compositions recall not only tropes of West Coast American abstractionists, such as John McLaughlin and Frederick Hammersley, but also connect to the practicality and chromatic intensity of twentieth-century Japanese textiles. Chocked into an economy of scale is the richness of Yaegashi’s delicately built structure. Elements distinct to the artist herself meld with the visual language of her predecessors; each painting’s presence far overshadows its size.

Parrasch Heijnen Gallery is pleased to announce Deborah Remington: A Life in Drawing, 1950 – 2006, the first ever career survey of the late artist’s works on paper. This exhibition comprises over thirty works from fifty-six years of Remington’s practice in drawing, encompassing the artist’s diverse styles: from the more traditional abstract works of the late fifties, to her closely rendered signature shield forms of the sixties and seventies, to a synthesis of six decades in the later works. A renegade in every sense of the word, Remington (1930-2010), a relative of American painter Frederic Remington (1861-1909), earned her B.F.A. in 1955 from the California School of Fine Arts (later renamed the San Francisco Art Institute), where she studied with Clyfford Still, David Park and Elmer Bischoff, among others. While still in school, she became immersed in the Beat scene and was one of the six artists and poets – and only woman – who founded the Six Gallery in 1954, where Allen Ginsberg first recited “Howl” in public on October 7, 1955. Remington spent two years in Japan after graduating, where traditional eastern elements such as calligraphy and sumi-e painting inspired the rigid yet mystical imagery that remained present in her work until her death.

Parrasch Heijnen Gallery is pleased to present the first solo exhibition in Los Angeles of work by James Case-Leal. The paintings in this show reflect the artist’s on-going investigation into light, growth, and shadows and how these elements transform the social and emotional effects of a picture. In the minimalist tradition, the work is grounded in reduction. Focused solely on the phenomena of the shared emotional stimuli created by the energy of light and the complexity of shadows, Case-Leal removes elements that are not essential to his direct observations. The de-emphasis on signifiers and narrative calls attention to the physical experience of these images and the sensory body thinking they incite. Most people are reported to share similar perceptual experiences of colored halos and color casts within a shadow. These subtleties are the product of a neurological processes in the brain and are not captured by photography. Case-Leal recreates these perceptual elements, generating meaning that resides outside of language; pointing to shared universal experience. Here he offers us a vision of natural light and plant life as essential elements of a more habitable emotional environment.

Parrasch Heijnen Gallery is pleased to announce Peter Alexander – Sculpture: 1966 – 2016, a select survey exhibition of resin works by Los Angeles artist Peter Alexander. This show includes both the artist’s early and recent forays into his pioneering use of industrial resin as a sculptural medium, providing an unprecedented opportunity to chart the development of the most celebrated genre of Alexander’s five-decade practice. In the late 1950s and early 1960s Alexander studied architecture at the University of Pennsylvania, the Architectural Association London, and the University of California, Berkeley before switching to studio art at the University of California, Los Angeles where he received his BA in 1965 and his MFA in 1968. He happened upon the sculptural potential of polyester resin while repairing his surfboard, immediately responding to the liquid material’s transparency and water-like quality.

Parrasch Heijnen is pleased to present Womansong, an exhibition of new work by acclaimed New York artist Joan Snyder. Additionally, the gallery will have on view for the first time publicly Spring (1971), one of the largest examples from the artist’s breakthrough “Stroke Paintings” series. Recognized for her uniquely physical and provocative works on canvas, Joan Snyder is acknowledged as one of the most consequential painters of her generation. Her paintings are often characterized by a visceral confluence of subtly arranged ground and abundantly physical overlay, inclusive of collage and assemblage elements immersed in their surfaces. While Snyder’s work is widely known for its responsive incorporation of political and feminist discourse as it intertwines with personal autobiographical experience, it defies art world jargon or movement categorization. Snyder consistently paints in an expressive style that is sensual, uninhibited, unabashedly honest, and fully engaged.

Parrasch Heijnen is pleased to present a solo exhibition of recent work by New York based artist Daniel Turner. For his first solo exhibition in Los Angeles, the artist has developed two architectural scaled works in tempered glass. Consisting of several sheets of leaning glass stacked in two sections along the gallery wall, each sculpture forms a transparent achromatic scale. Though independently each sheet of glass may appear nearly translucent, when layered upon one another the slight pigmentation inherent to the panes becomes more concentrated, settling into a pronounced yet atmospheric grey.

The inaugural exhibition at Parrasch Heijnen Gallery was clearly the result of a herculean effort. Not for nothing was the show titled “Ken Price: A Career Survey, 1961–2008”; its ambition and temporal spread rivaled the artist’s 2012–13 touring show, which originated at the Los Angeles County Museum of Art. While the latter assembled considerably more objects than were on view here, this retrospective, economic in its selections, nevertheless demonstrated the fecundity of Price’s continual sculptural redefinitions, while hewing to the media in which his material and procedural experimentation took such exemplary form. (Franklin Parrasch, who curated the show, cherry-picked twenty-four works running the gamut from those exhibited in Price’s first outings at the Ferus Gallery in LA in the early 1960s to late pieces from the past decade, pointedly refraining from including a single work from the previous survey.) And while LACMA presented its show in chronological order, Parrasch eschewed a linear installation, instead outfitting the new space’s main room with four wide table-like plinths, each of which supported a set of small-scale ceramic sculptures that cut across the artist’s career in a lateral democracy. The groups included a mix of decades, and an emphasis on the range of Price’s oeuvre seemed very much the curatorial intention.