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5247 West Adams Boulevard
Los Angeles, CA 90016
323 452 9067
Shoshana and Wayne Blank opened their first gallery in 1986 in Santa Monica in a historic building that once housed the iconic Beach Boys’ Studio. From the very beginning the gallery had a mission to give women artists a platform for exhibitions in Los Angeles and to help energize and promote their careers. Gallery exhibitions often focused on discoveries of new, fresh talent. Among the artists exhibited at the gallery, in many cases early in their careers, were Nicole Eisenman, Kiki Smith, Arlene Shechet, Pae White, Yoko Ono, Dinh Q. Lê, Yuken Teruya, Mounir Fatmi, Lorna Simpson and Nan Goldin, to name a few.

Ono, for instance, was far more widely known in the 1990s as a celebrity than as an artist in her own right. When she came to Los Angeles to install her show and participated in a public program at the gallery in conjuction with LACMA, the show began to draw large crowds.

“West Coast Duchamp” in 1990 was a turning point in the gallery program, presenting a recreation of Duchamp’s first retrospective at the Pasadena Museum of Art in 1963, a show organized by the Museum’s legendary director Walter Hopps. The show included all the artist’s ready-mades, generously loaned by the Israel Museum in Jerusalem, with original artwork and photographs by Julian Wasser documenting the Pasadena show opening in 1963. The gallery sponsored an all-day symposium at the Santa Monica Library organized by Bonnie Clearwater. Participants included Walter Hopps, Beatrice Wood, Francis Naumann, Henry Hopkins, Robert Pincus, and more. The gallery together with Clearwater published a book tracing the connections between Duchamp and the West Coast.

The Duchamp show directed the focus of the gallery more toward conceptual art. Shoshana Wayne mounted important survey shows of Christian Boltansky and Bruce Nauman, as well as Viennese Actionism, to name a few. Rachel Lachowicz also staged “Red Not Blue” at the gallery, a seminal performance piece that is today widely referenced in books on contemporary art and feminism.

In 1994, the city of Santa Monica approached Wayne Blank to present ideas for developing a 6-acre lot with dilapidated industrial structures in the heart of Santa Monica. The city was interested in Wayne’s vision for the space after he developed artists’ studios at the Santa Monica airport by converting a run-down hanger.

In 1994 following the L.A riots and an earthquake that resulted in a recession and challenged the Los Angeles art scene, Wayne’s vision to build Bergamot Station as an art center was unanimously accepted by the city and six months later the center was completed with galleries open for business. Wayne’s early vision of converting industrial spaces into art galleries and museums became a model for other cities around the world. Bergamot Station (Wayne coined the name), included some of the best galleries in Los Angeles at the time – dealers like Patricia Faure, Rosamond Felsen, Burnett Miller and many more, including Shoshana Wayne which opened with a Joel Otterson exhibition in a custom built 5,000 square foot space designed by Fred Fisher & Associates. Thousands of people attended the gallery reopening at the new center.

Over the next 25 years the galley presented shows at Bergamot Station of Balthus (his first and only show in Los Angeles), Anselm Kiefer, Barbara Bloom’s “Pictures from the Floating World,” in collaboration with Leo Castelli Gallery, Michal Rovner, Mounir Fatmi, Yoko Ono, Dinh Q. Lê, Shirley Tse, Jeffrey Gibson, the YBAs (Young British Artists) presented in collaboration with Victoria Miro Gallery, Russell Crotty, and Arlene Shechet, just to name a few of the more memorable exhibitions.

Performances, lectures, curator talks, and occasional film screenings were also part of the gallery program. A Peter Hutton film series was a highlight, while Kelly Nipper staged a memorable performance that lasted for two weeks, “Norma - Practice for Sucking Face” with 5 dancers performing every day. During this time Shoshana Wayne Gallery collaborated with museums for exhibitions and placed artists in important collections worldwide, including Kiki Smith at the Israel Museum in Jerusalem, Dinh Q. Lê at MOMA and the Asia Society Museum in NY, Yoko Ono at the Israel Museum in Jerusalem, and at the Umm el-Fahem, Palestine. The gallery has also participated in major international art fairs including Art Basel, Art Brussels, Paris Photo, and the Armory Show.

Shoshana Wayne Gallery moved into a temporary exhibition space on Jefferson Blvd. in the West Adams district of Los Angeles in 2019, in anticipation of opening a new 7,000 square foot permanent home nearby.

Additional forthcoming exhibitions include; a mid-career retrospective of Rachel Lachowicz, curated by UC Santa Barbara Professor of Art & Architecture Jenni Sorkin; and solo presentations of Stephen Antonakos, Tadaaki Kuwayama, Rakuko Naito, Sabrina Gschwandtner, and Thordis Adalsteinsdottir.
Artists Represented:

Stephen Antonakos 

Philip Argent

Zadok Ben-David 

Kathy Butterly 

Russell Crotty 

Mounir Fatmi

Chie Fueki

Sabrina Gschwandtner 

Tadaaki Kuwayama 

Rachel Lachowicz

Dinh Q. Lê

Sze Tsung Nicolás Leong 

Orly Maiberg

Mariko Mori

Rakuko Naito 

Yoko Ono

Izhar Patkin 

Elaine Reichek 

Michal Rovner 

Beverly Semmes 

Brad Spence 

Yuken Teruya 

Frances Trombly 

Shirley Tse 

Yvonne Venegas 

Gil Yefman 

Jinyoung Yu 


 
Online Programming

Max Colby, Terri Friedman, Jeffrey Gibson, Sabrina Gschwandtner, Dinh Q. Lê, Anina Major, Madame Moreau, Elaine Reichek, James Richards, Frances Trombly, Yveline Tropéa, and Gil Yefman

Uncommon Ground



Shoshana Wayne Gallery is pleased to present “Uncommon Ground,” an online-exclusive exhibition of works on paper available online from September 21 to November 30, 2021. The exhibition brings together the work of 17 artists, most if not all of whom are better known for their work in other art forms, such as painting or sculpture, but also actively made or make drawings or works on paper. Each of the artists approach the medium of drawing in different ways, experimenting in media, techniques and materials to explore concerns, themes and ideas which range from identity, race and the body to social, economic, gender, and political issues. For each of these artists drawing is a language in which to speak, to speak out, speak up. The works in the exhibition are drawn mostly from gallery artists, but also several others who have made outstanding contributions to the field of drawing over the years. The artists include: Mike Kelley, Kiki Smith, Jim Shaw, Yoko Ono, Russell Crotty, linn meyers, Shiva Ahmadi, Nicole Eisenman, Joshua Marsh, Raymond Pettibon, Ed Keinholz, Tom Burckhardt, Nancy Baker Cahill, Harry Roseman, Max Colby and Sabrina Gschwandtner, and Yuken Teruya. The works on view speak for themselves, as each was made in a different time and place with different motivations in mind. Some are figurative, some partly abstract employing marks, forms, colors and patterns, or even whimsical, but all share a love of the hand-made, of visual beauty and sensuality even if each of the 17 artists conceptualize these concepts in wildly different ways. Within this group, however, there is a collective interest in the unconscious mind and inner desires, a recognition that the power of an artwork is to be felt, deep onside, as well as seen.

 
Current Exhibition

Max Colby

Revival



April 30, 2022 - June 11, 2022
Shoshana Wayne Gallery is pleased to present Revival by Max Colby. This is the artist’s first solo show with the gallery. Revival will be on view from April 30th through June 11th, 2022, with an opening reception on April 30th from 2-5pm. Revival highlights two mature bodies of work by the artist. Colby’s most ambitious and prominent work to date, They Consume Each Other - an installation comprised of 42 meticulously crafted sculptures atop custom glass plinths - sits majestically in the main gallery. In the second gallery, new work from 2022 titled Shrouds connects Colby’s interest in material relation to the body in disquieting ways. The title, Revival, references Colby’s interest in mundane objects, aesthetics, and excessive consumption in contemporary culture’s relationship to normative, violent systems. They Consume Each Other explores the body and its relation to material through references to ceremony and ritual, evoking a monumental altar. Her subversive and campy usage of mundane material seduces the viewer into complex dialogues on the role of aesthetics in binary, cultural constructions of gender, class, and taste in this playful, yet unsettling installation. With a focus on material, Colby’s approach is research-oriented, utilizing Western and American textiles, crafts, and everyday objects. The application is tender and careful, lush and highly embellished, opening a lens to reframe oppressive structures embedded in these materials from a trans and non-binary perspective. Shrouds connects primary conceptual threads in Colby’s practice to the body through familiar objects - quilts. These works begin with reclaimed ‘Crazy’ quilts from 1900- 1950. The movements style uses a hodge-podge of fabrics lacking repetition and highly embellished embroidery, leading to an aesthetic of visually and culturally conflicting fabrics spliced together piecemeal. Colby’s quilts provide a remarkable overabundance of reclaimed materials sewn and embroidered on top. From party supplies to complex hand embroidery, connections drawn in Shrouds focus on reimagining relationships to popular culture and consumption through common associations with quilts of comfort, embrace, and home. Some ominous in scale, others small, the title Shrouds reflects the works anthropomorphic and haunting presence. Colby has been exhibited internationally including at Wave Hill, the Leslie-Lohman Museum of Art, Sugar Hill Children’s Museum of Art and Storytelling and Museum Rijswijk, among others. She has completed residencies at the Museum of Arts and Design (New York), the Wassaic Project, MASS MoCA and a Leslie-Lohman Museum Fellowship. In 2022, Colby exhibited a campus-wide public commission for Art in Focus at Rockefeller Center in partnership with Art Production Fund. Colby (born 1990, USA) lives and works in New York City. She received a BFA from the School of the Museum of Fine Arts at Tufts University in 2012.

 
Past Exhibitions

Sabrina Gschwandtner

Scarce Material



March 12, 2022 - April 16, 2022
Shoshana Wayne Gallery is pleased to present Scarce Material by Sabrina Gschwandtner. This is the Los Angeles based artist’s third solo exhibition with the gallery. The exhibition will be on view from March 12 through April 16, 2022, with an opening reception on March 12 from 2-5pm. For this exhibition, the artist looks back to the earliest iterations of the cinematic form, during the Silent Film era. Using black and white 35 mm film, video, silver gelatin photography, and fabric, Gschwandtner offers an alternative to the male-dominated history of film, and a literal mending and repairing of film history. “Scarce Material” refers both to a quilting term for anything that can be stitched together into a quilt, and to the archived early cinema made by pioneering women filmmakers that is in short supply. The artist worked with local and international film archives over three years to source digital copies of some of the earliest films made by women cinema pioneers, whose work from the late 1800s - early 1900s is woefully under-recognized. She prints these movies onto black and white 35 mm film stock, and then cuts and sews the film into configurations based on quilt motifs. She intermingles footage to create a dialogue between the images inside the frames and the overall patterns of the quilt designs. The artist’s sewing of film is a three-dimensional form of cinematic editing and a reconfiguration of the notion of "filmic suture" (the use of editing to draw audiences into a story). It is also a way to center marginalized material histories of cinema, in which women with sewing skills translated their handcraft to film editing, and certain early film technology was based on the mechanical advancements of the sewing machine. Many movies made by pioneering female filmmakers were never archived, and have been lost to history. To honor these works, the artist hand-embroiders filmmaker’s names and hand-writes the titles of their films and the dates the films were made onto blank film. The time she invested in handwork gives permanence and gravity to lost narratives by directors like Fatma Begum, India’s first woman director, who pioneered the fantasy genre in 1926, and Mimí Derba, a pioneering actress, writer and director from Mexico. Gschwandtner’s silver gelatin photos and video evoke cinema’s earliest origins in stop motion photography through a translation of moving images into patterns of women’s self-portraiture. Gschwandtner has exhibited internationally at museums including the Victoria & Albert Museum; Los Angeles County Museum of Art (LACMA), Smithsonian American Art Museum, and Crystal Bridges Museum of American Art, among many others. Her 3 channel video “Screen Credit,” commissioned by LACMA, is currently on view at the museum’s Stark Bar. Her work is held in the permanent collections of LACMA, the Smithsonian American Art Museum; Museum of Fine Arts, Boston; the RISD Museum, and the Carl and Marilynn Thoma Art Foundation, among other public and private collections worldwide. Her ‘zine KnitKnit is included in the permanent collections of The Museum of Modern Art, the New York Public Library, the J. Paul Getty Museum, and the Fine Arts Library at Harvard University. She received a BA from Brown University and an MFA from Bard College. The artist wishes to thank: EYE Filmmuseum, the Netherlands; Gaumont-Pathé Archives; British Film Archives; Kino Lorber; Academy of Motion Pictures Arts and Sciences Film Archive; Women Film Pioneers Project; Gregory Yee Mark; Suzan Mischer; Aimee Mann, and Maia Julis.

Orly Maiberg

Where do we go from here



January 29, 2022 - March 5, 2022
Shoshana Wayne Gallery is pleased to announce the inaugural exhibition at our new location on West Adams, Where Do We Go From Here an exhibition of new works by Tel Aviv-based artist Orly Maiberg. The exhibition opens January 29th, 2022 and runs through March 5th, 2022. Where Do We Go From Here is the artist’s debut exhibition with the gallery and her first solo show in the United States. At first glance, Orly Maiberg’s works seem like abstract paint spaces, resembling satellite images. Raw matter touched by delicate gestures of paint. A closer look suggests a topographic map, patches that form landscapes, mountaintops, deserts and seas. Maiberg’s work begins in dipping the naked canvas in a tub of ink, allowing the appearance of initial contours of fluid, topographical marks. Then the artist collages pieces of canvas, covering parts of the painting and creating frayed geological layers of states and textures. From that point onwards, her treatment of the canvas resembles a musical arc: actions lead to actions or a pause – an empty space within the painting. Any suspension demands another action and thus, repetitively, the painting is being created, variation upon variation. The movement in the studio evolves intuitively, with moments of alertness that allow the mind to capture the story that emerges from the painting and illuminate it. Slowly, the arbitrary makes room for the rational, and the unconscious - for the conscious. Premeditation and randomness are being merged into a complex artistic progression, combining the pre-structured outline with that which appears out of the blue. This repetitive process is evident in all Maiberg’s works. Wandering among them enables the viewer to weave fragments into an incomplete body, hallmarked by tear, disruption, scars and fragmentation, implying the complexity of our life’s reality. An event, a narrative-led occurrence begins to emerge from the painted scene. The eye wanders upon the canvas and what seems to be an overview of the abstract, the elusive and infinite, focuses at once when a fragile figure appears and forces a scale, sharpens the perspective, permitting the gaze to hang on to it for a short while and linger. Emerging like that, the figures define the painted space, which is bound by somewhat vague rules. The human presence disciplines the painted reality. The works in the current exhibition were all created during the latest period of lockdowns, isolations and restrictions. As a way of challenging our restraining reality, the processes in the studio sought a release, spreading while the correlation between their fragmented forms and their inner chaos grew, gradually. In Sitting on a Branch the canvas’ boundaries are broken; the painting splits and branches out, as if it could go on growing. Maiberg draws her themes from within the world’s onwards movement and lets them mirror for us, make us confront their – our – loneliness. They require us to pour our own notions onto the canvas, in order to stitch it together, raise questions and reassess, where do we go from here? Orly Maiberg received her B.F.A. at the New York School of Visual Arts. She has exhibited her work extensively in Israel and internationally, and can be found in museum collections including the Tel Aviv Museum of Art and the Israel Museum in Jerusalem. Maiberg lives and works in Tel Aviv.

Max Colby, Terri Friedman, Jeffrey Gibson, Sabrina Gschwandtner, Dinh Q. Lê, Anina Major, Madame Moreau, Elaine Reichek, James Richards, Frances Trombly, Yveline Tropéa, and Gil Yefman

Above & Below



June 15, 2021 - August 28, 2021
Shoshana Wayne Gallery is pleased to announce “Above & Below,” an exhibition of work by 12 artists working with fabric, cloth, beads and woven materials. The exhibition opens to visitors June 15th and runs through August 28th, 2021. The exhibition title refers to the process of weaving—threading above and below lines of thread to create a fabric. Though the use of weaving and woven materials is what unites each of these artists, they employ a diverse range of artistic processes and practices from weaving, quilting, sewing, needlepoint and felting to assemblage and threading. Image: Installtion view