Good Company: Pt. 1

Jen DeNike, Alec Egan, Tina Girouard, Elias Hansen,
Jibade-Khalil Huffman, Greg Ito, Neil Raitt, Robert Russell,
Sigrid Sandström, Jay Stuckey, Samantha Thomas,
Sarah Ann Weber, Janet Werner, Faith Wilding, Cosmo Whyte

December 5, 2020 - March 6, 2021

6150 Wilshire Blvd

Anat Ebgi is pleased to announce the opening of our new exhibition space at 6150 Wilshire Blvd. The new gallery will more than triple our exhibition footprint and will allow us to mount our most ambitious shows yet. It will be used as a second exhibition space in addition to the Culver City gallery.

The inaugural show Good Company: Pt. 1, is a two-part group exhibition co-organized by Anat Ebgi and Paul Schimmel and will be on view from December 5, 2020 through January 23, 2021.

The first part will feature works from 15 gallery artists, anchored by important historic pieces: Euronyme & Ophion (1977-78) a painting diptych by Faith Wilding potent with ideas of genesis, transformation, life cycles and personal mythologies, as well as two installation works by Tina Girouard Air Space Stage (1972) a vibrant canopy of silk fabrics suspended over Blue Hole (1971), four cuts of patterned linoleum arranged in a square, countering austere minimalist art with exuberant color and unorthodox new materials. 

Jen DeNike will present Another Circle, a single channel video production depicting a ballerina rotating in toe shoes in what appears to be an infinite pirouette, which debuted in 2010 at The Company gallery in Chinatown. New paintings from veterans of the gallery roster—elusive abstract depictions of non-inhabited places by Sigrid Sandström and Jay Stuckey’s intricate humorous compositions of everyday people in everyday action. And Elias Hansen will present Until I held it in my hands (2012), a sculpture that is part-chemist lab, part-druggie’s coffee table, and part-DJ booth.

Good Company also includes work from recent additions to the roster. Cosmo Whyte will show a sculpture of mussel-covered life vests that continues the artist’s reimagining of tumultuous passages of displaced and migrant people. Sarah Ann Weber will show a suite of four aqueous paintings—one for each season—teeming with Weber’s signature abstract flora and fauna. Greg Ito’s panoramic window painting As The Curtains Close (2020) reveals the artist’s narrative style with each window depicting the same landscape at different times of day.

Landscape painting continues in the watercolors of Neil Raitt, who will have a solo exhibition in this new gallery April 2021. The exhibition features a wide range of painting styles and conceptual conversations from the emotional and psychological figures in Janet Werner’s portraits, to the luminous and soft gradients of Alec Egan’s southern California skies, to the abstract experimentation of Samantha Thomas dissecting the canvas.

The installation is rounded out with a video and vinyl text poem by Jibade-Khalil Huffman, who uses visual language of exhibition didactic material to play with ideas about information and authority; and a teacup oil painting by Robert Russell who will open a solo exhibition of this new series at our La Cienega space in January 2021.

Paul Schimmel is an independent curator and art historian of contemporary art, formerly the Chief Curator for nine years at the Newport Harbor Art Museum (now the Orange County Museum of Art), Chief Curator for 22 years at the Museum of Contemporary Art (MOCA), Los Angeles, and Founding Partner of Hauser Wirth & Schimmel. Paul has organized and written the catalogue for the exhibition, Sigmar Polke Photoworks: When Pictures Vanish, and contributed to the catalogue of Bruce Nauman’s comprehensive MoMA retrospective in 1995. Most recently, he wrote for the Jean-Michel Basquiat exhibition at Fondation Louis Vuitton as well as Kazuo Shiraga exhibition at the Amagasaki City Culture Promotion Foundation.

 

Good Company: Pt. 1

Jen DeNike, Alec Egan, Tina Girouard, Elias Hansen,
Jibade-Khalil Huffman, Greg Ito, Neil Raitt, Robert Russell,
Sigrid Sandström, Jay Stuckey, Samantha Thomas,
Sarah Ann Weber, Janet Werner, Faith Wilding, Cosmo Whyte

December 5, 2020 - March 6, 2021

EXHIBITION TEXT

Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Alec Egan Palms and Building, 2020
Oil and flashe paint on canvas 60 x 48 inches / 152.4 x 121.9 cm
Alec Egan Palms and Building, 2020
Detail
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Alec Egan Palms and parking garage, 2020
Oil and flashe paint on canvas 60 x 48 inches / 152.4 x 121.9 cm
Alec Egan Palms and parking garage, 2020
Detail
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Faith Wilding Euronyme & Ophion, 1977-78
Prisma color, graphite, and gold leaf 85 x 100 inches / 215.9 x 254 cm
Faith Wilding Euronyme & Ophion, 1977-78
(Left panel)
Faith Wilding Euronyme & Ophion, 1977-78
(Left detail)
Faith Wilding Euronyme & Ophion, 1977-78
(Left detail)
Faith Wilding Euronyme & Ophion, 1977-78
(Right panel)
Faith Wilding Euronyme & Ophion, 1977-78
(Right detail)
Faith Wilding Euronyme & Ophion, 1977-78
(Right detail)
Tina Girouard Sky Above, Earth Below, 1974
Solomon's Lot fabrics, Linoleum 144 x 144 inches / 365.7 x 365.7 cm
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Tina Girouard Sky Above, Earth Below, 1974
Detail
Jen DeNike Another Circle, 2010
Video (color, sound) Duration 3:14 minutes, continuous loop
(Still)
Jen DeNike Another Circle, 2010
Video (color, sound) Duration 3:14 minutes, continuous loop
(Still)
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Janet Werner Winona, 2020
Oil on canvas 84 x 67 inches / 213.4 x 170.2 cm
Janet Werner Winona, 2020
Detail
Janet Werner Winona, 2020
Detail
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Neil Raitt Wolf Cave, 2020 Watercolor on paper 42 x 29 cm [HxW] (16.54 x 11.42") Inventory #NR1250
Neil Raitt Golden Moon, 2020
Watercolor on paper 42 x 29 cm / 16.5 x 11.4 inches
Neil Raitt Moonlight Cabin, 2020
Acrylic, gouache, and watercolor on paper 42 x 29 cm / 16.5 x 11.4 inches
Neil Raitt Winter Sun, 2020
Acrylic, gouache, and watercolor on paper 42 x 29 cm / 16.5 x 11.4 inches
Neil Raitt Palm Valley (Day Moon), 2020
Acrylic, gouache, and watercolor on paper 42 x 29 cm / 16.5 x 11.4
Neil Raitt Cherry Falls, 2020
Acrylic, gouache, and watercolor on paper 42 x 29 cm / 16.5 x 11.4
Neil Raitt Balmy Beach (Huevos Rancheros), 2020
Acrylic, gouache, and watercolor on paper 42 x 29 cm / 16.5 x 11.4
Neil Raitt Black River Mountain, 2020
Acrylic, gouache, and watercolor on paper 42 x 29 cm / 16.5 x 11.4
Neil Raitt Winter Sunset, 2020
Acrylic, gouache, and watercolor on paper 42 x 29 cm / 16.5 x 11.4
Neil Raitt Desert Moon, 2020
Watercolor on paper 42 x 29 cm / 16.5 x 11.4
Neil Raitt Palm Valley (Lime green Sunrise), 2020
Acrylic, gouache, and watercolor on paper 42 x 29 cm / 16.5 x 11.4
Neil Raitt Hey Moon, 2020
Watercolor on paper 42 x 29 cm / 16.5 x 11.4
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Elias Hansen Until I held it in my hands, 2012
Found objects, glass, LED turntable, Party Bulb, pump, silicon, steel, wire 32 x 46 x 16.5 inches / 81.3 x 116.8 x 41.9 cm
Elias Hansen Until I held it in my hands, 2012
Detail
Elias Hansen Until I held it in my hands, 2012
Found objects, glass, LED turntable, Party Bulb, pump, silicon, steel, wire 32 x 46 x 16.5 inches / 81.3 x 116.8 x 41.9 cm
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Jay Stuckey The Complex, 2020
Oil, graphite and crayon on canvas 78 x 96 inches / 198.1 x 243.8 cm
Jay Stuckey The Complex, 2020
Detail
Jay Stuckey The Complex, 2020
Detail
Jay Stuckey The Complex, 2020
Detail
Sarah Ann Weber Spring, 2020
Oil, watercolor and colored pencil on panel 60 x 48 inches / 152.4 x 121.9 cm
Sarah Ann Weber Spring, 2020
Detail
Sarah Ann Weber Summer, 2020
Oil, watercolor and colored pencil on panel 60 x 48 inches / 152.4 x 121.9 cm
Sarah Ann Weber Summer, 2020
Detail
Sarah Ann Weber Fall, 2020
Oil, watercolor and colored pencil on panel 60 x 48 inches / 152.4 x 121.9 cm
Sarah Ann Weber Fall, 2020
Detail
Sarah Ann Weber Winter, 2020
Oil, watercolor and colored pencil on panel 60 x 48 inches / 152.4 x 121.9 cm
Sarah Ann Weber Winter, 2020
Detail
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Janet Werner The Splits, 2018
Oil and acrylic on canvas 84 x 67 inches / 213.4 x 170.2 cm
Janet Werner The Splits, 2018
Detail
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Greg Ito Fire Sky, 2019
Enamel on steel, flicker lightbulbs 64 x 54 x 54 inches / 162.6 x 137.2 x 137.2 cm
Greg Ito Fire Sky, 2019
Detail
Sigrid Sandström History Now, 2020
Oil and acrylic on canvas, framed 60 x 60 inches / 152.4 x 152.4 cm
Sigrid Sandström History Now, 2020
Detail
Sigrid Sandström History Now, 2020
Detail
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Greg Ito As The Curtains Close, 2020
Acrylic on canvas over panel 48 x 84 inches / 121.9 x 213.4 cm
Greg Ito As The Curtains Close, 2020
Detail
Greg Ito As The Curtains Close, 2020
Detail
Cosmo Whyte The Enigma of Arrival in 4 parts. Part 1: “Guess Who Is Coming to Dinner”, 2017
Mussel shells, life vest, shipping pallet 90 x 62 x 26 inches / 228.6 x 157.5 x 66 cm
Cosmo Whyte The Enigma of Arrival in 4 parts. Part 1: “Guess Who Is Coming to Dinner”, 2017
Mussel shells, life vest, shipping pallet 90 x 62 x 26 inches / 228.6 x 157.5 x 66 cm
Cosmo Whyte The Enigma of Arrival in 4 parts. Part 1: “Guess Who Is Coming to Dinner”, 2017
Detail
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Samantha Thomas Continental Drift, 2017
Linen, thread, and acrylic on canvas 60 x 84 inches / 152.4 x 213.4 cm
Samantha Thomas Continental Drift, 2017
Detail
Samantha Thomas Continental Drift, 2017
Detail
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Robert Russell Teacup #5, 2020
Oil on canvas 48 x 48 inches / 121.9 x 121.9 cm
Robert Russell Teacup #5, 2020
Detail
Robert Russell Teacup #11, 2020
Oil on canvas 18 x 18 inches / 45.7 x 45.7 cm
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Good Company: Pt. 1, 2020
Anat Ebgi, Installation view
Jibade-Khalil Huffman Black Twitter in the Hour of Chaos, 2018 (still)
Single channel video, color, sound 45 Minutes
Edition of 3
Jibade-Khalil Huffman Black Twitter in the Hour of Chaos, 2018 (still)
Single channel video, color, sound 45 Minutes
Edition of 3

EXHIBITION TEXT

Anat Ebgi is pleased to announce the opening of our new exhibition space at 6150 Wilshire Blvd. The new gallery will more than triple our exhibition footprint and will allow us to mount our most ambitious shows yet. It will be used as a second exhibition space in addition to the Culver City gallery.

The inaugural show Good Company: Pt. 1, is a two-part group exhibition co-organized by Anat Ebgi and Paul Schimmel and will be on view from December 5, 2020 through January 23, 2021.

The first part will feature works from 15 gallery artists, anchored by important historic pieces: Euronyme & Ophion (1977-78) a painting diptych by Faith Wilding potent with ideas of genesis, transformation, life cycles and personal mythologies, as well as two installation works by Tina Girouard Air Space Stage (1972) a vibrant canopy of silk fabrics suspended over Blue Hole (1971), four cuts of patterned linoleum arranged in a square, countering austere minimalist art with exuberant color and unorthodox new materials. 

Jen DeNike will present Another Circle, a single channel video production depicting a ballerina rotating in toe shoes in what appears to be an infinite pirouette, which debuted in 2010 at The Company gallery in Chinatown. New paintings from veterans of the gallery roster—elusive abstract depictions of non-inhabited places by Sigrid Sandström and Jay Stuckey’s intricate humorous compositions of everyday people in everyday action. And Elias Hansen will present Until I held it in my hands (2012), a sculpture that is part-chemist lab, part-druggie’s coffee table, and part-DJ booth.

Good Company also includes work from recent additions to the roster. Cosmo Whyte will show a sculpture of mussel-covered life vests that continues the artist’s reimagining of tumultuous passages of displaced and migrant people. Sarah Ann Weber will show a suite of four aqueous paintings—one for each season—teeming with Weber’s signature abstract flora and fauna. Greg Ito’s panoramic window painting As The Curtains Close (2020) reveals the artist’s narrative style with each window depicting the same landscape at different times of day.

Landscape painting continues in the watercolors of Neil Raitt, who will have a solo exhibition in this new gallery April 2021. The exhibition features a wide range of painting styles and conceptual conversations from the emotional and psychological figures in Janet Werner’s portraits, to the luminous and soft gradients of Alec Egan’s southern California skies, to the abstract experimentation of Samantha Thomas dissecting the canvas.

The installation is rounded out with a video and vinyl text poem by Jibade-Khalil Huffman, who uses visual language of exhibition didactic material to play with ideas about information and authority; and a teacup oil painting by Robert Russell who will open a solo exhibition of this new series at our La Cienega space in January 2021.

Paul Schimmel is an independent curator and art historian of contemporary art, formerly the Chief Curator for nine years at the Newport Harbor Art Museum (now the Orange County Museum of Art), Chief Curator for 22 years at the Museum of Contemporary Art (MOCA), Los Angeles, and Founding Partner of Hauser Wirth & Schimmel. Paul has organized and written the catalogue for the exhibition, Sigmar Polke Photoworks: When Pictures Vanish, and contributed to the catalogue of Bruce Nauman’s comprehensive MoMA retrospective in 1995. Most recently, he wrote for the Jean-Michel Basquiat exhibition at Fondation Louis Vuitton as well as Kazuo Shiraga exhibition at the Amagasaki City Culture Promotion Foundation.

 

PRESS