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REGEN PROJECTS presents Glenn Ligon - Live | Matthew Barney - WATER CASTINGS: Fourteen Pieces

Archive | Information & News

10 Sept 2015 to 10 Oct 2015
Tuesday-Saturday, 10 am - 6 pm
6750 Santa Monica Boulevard
CA 90038
Los Angeles, CA
North America
T: (310) 276-5424
F: (310) 276-7430

Glenn Ligon
September 10 – October 10, 2015

Artists in this exhibition: Glenn Ligon, Matthew Barney

Glenn Ligon

September 10 – October 10, 2015
Gallery hours: Tuesday – Saturday, 10:00 am – 6:00 pm
Regen Projects (West Hollywood)

633 North Almont Drive
Los Angeles, CA 90069
+ 1 310 276 5424

Regen Projects is pleased to announce Live (2014), a seven screen, silent video-installation by New York based artist Glenn Ligon. Taking its title and material from the renowned performance “Richard Pryor: Live on the Sunset Strip (1982),” Ligon continues a dialogue with the comedian’s work, one that began with a painting series using stenciled Pryor jokes (1994 – 2007). This exhibition marks the artist’s fifth solo exhibition at the gallery.

“I’ve removed the sound from the concert so really you just have the body performing, and Pryor was a very physical comedian. A lot of his comedy involved the body and I was interested in how the body can communicate without sound. How a meaning is conveyed, even though you don’t hear words.” Glenn Ligon, Camden Arts Centre, 2014.

The material in Pryor’s 1982 concert included a frank discussion of his freebasing accident and recovery.  It captured a sober and reflective Pryor, at the height of his creative powers and in full mastery of his audience. In this seven channel reworking of the film only a single screen offers a 1:1 scale of Pryor’s full body. The other six screens center on a particular feature of Pryor’s anatomy: his left hand, his right hand, his head, his mouth, his groin, and his shadow. The particular subject on each screen has been cropped and continually occupies the center of its frame but only appears on each screen when that part of the body is visible in the original film, requiring the viewer to constantly move around the installation as the screens flicker off and on.

Live’s focus on the body has affinities with Notes on the Margin of the Black Book (1991-1993) but also with the Runaway series (1993). Like those pieces, Live poses questions about how training your gaze on one aspect to the exclusion of others leads to an overall construct of masculinity, race, sexuality—by the gazer, not the subject of the gaze.” Megan Ratner, Glenn Ligon, Camden Arts Centre, 2014.

Glenn Ligon (b. 1960) lives and works in New York. His solo exhibitions include Camden Arts Centre, London (2014-15); Whitney Museum of American Art, New York (2011); The Power Plant, Toronto (2005); The Studio Museum in Harlem, New York (2001); Kunstverein, Munich (2001); Walker Art Center, Minneapolis (2000); and the Institute of Contemporary Art, Philadelphia (1998). His work was included in Documenta XI (2002); in two Whitney Biennials (1991, 1993); and currently All the World’s Futures at the 56th International Art Exhibition La Biennale di Venezia (May 9 – November 22, 2015). Encounters and Collisions, a curatorial project done in collaboration with Nottingham Contemporary and Tate Liverpool is currently on view until October 18, 2015.

He is a board member of the Foundation for Contemporary Art and has received numerous awards and recognitions for his work, including the Studio Museum’s Joyce Alexander Wein Artist Prize (2009); the Skowhegan Medal for Painting (2006); a John Simon Guggenheim Memorial Foundation Fellowship (2003); and a Joan Mitchell Foundation Grant (1997).

Recent monographs and publications on his work include A People on the Cover (Ridinghouse Press, 2015); Encounters and Collisions (Nottingham Contemporary and Tate, 2015); Come Out (Ridinghouse Press, 2014); Glenn Ligon: AMERICA (Whitney Museum of American Art, 2011); Yourself in the World: Selected Writings and Interviews (Yale University Press, 2011).

Ligon’s work is held in the permanent collections of museums worldwide including Tate Modern, London; Centre Pompidou, Paris; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Guggenheim Museum, New York; Philadelphia Museum of Art, Philadelphia; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; National Gallery of Art, Washington D.C.; Detroit Institute of Art, Detroit; Walker Art Center, Minneapolis; Art Institute of Chicago, Chicago; Museum of Contemporary Art, Chicago; Dallas Museum of Art, Dallas; San Francisco Museum of Modern Art, San Francisco; and the Los Angeles County Museum of Art, Los Angeles; among others.


Matthew Barney
WATER CASTINGS: Fourteen Pieces

September 11 – October 24, 2015
Opening reception: Friday, September 11, 6:00 – 8:00 pm
Gallery hours: Tuesday – Saturday, 10:00 am – 6:00 pm

Regen Projects (Hollywood)
6750 Santa Monica Boulevard
Los Angeles, CA 90038 + 1 310 276 5424

Regen Projects is pleased to present WATER CASTINGS: Fourteen Pieces, an exhibition of new work by New York-based artist Matthew Barney. Barney had his first solo gallery show at Regen Projects in 1991 and this marks the artist’s fifth one-person exhibition at the gallery.

The WATER CASTINGS are a group of cast bronze sculptures that evoke the mythological and material narratives of River of Fundament (2014), Barney’s six hour operatic film. They continue Barney's recent shift away from his signature materials of thermal plastic and petroleum toward metals used both in early forms of sculpture-making and in automobile manufacture. This fourteen-part series draws on a narrative central to River of Fundament: the Egyptian myth of Osiris, whose body was cut into fourteen pieces.

Barney made the WATER CASTINGS using a unique process he developed over the past year, in which molten bronze is poured into a pit of bentonite clay silt. As the bronze comes into contact with moisture, the metal violently displaces the water and finds its way into the crevices between the pieces of clay, eventually hardening and resulting in unpredictable and abstract forms.

Six of the water casting sculptures will be on view at Regen Projects, while the remaining eight will be on view in “Matthew Barney: RIVER OF FUNDAMENT” at the Museum of Contemporary Art, the artist’s first solo museum presentation in Los Angeles (September 13, 2015 – January 18, 2016).  Regen Projects will also exhibit a suite of engravings on bronze with gold plating. These drawings explore the sites and themes of River of Fundament, linking them to the narratives that arise from the casting process. 

Recent and pertinent publications include River of Fundament, featuring texts by Hilton Als, Homi K. Bhabha, Diedrich Diedrichsen, Okwui Enwezor, and David Walsh (Rizzoli/New York, 2014) and Ari Marcopoulos and Matthew Barney Studio: Fumes, an in-depth look at Barney’s studio process captured through photographs shot over the course of four years (Karma/New York, 2015).

Matthew Barney (b. 1967 in San Francisco) lives and works in New York. He has been included in numerous group exhibitions such as Documenta IX, Kassel, Germany; the 1993 and 1995 Whitney Biennials; and the 1993 and 2004 Venice Biennales. Solo exhibitions include The CREMASTER Cycle (2002-03), Guggenheim Museum, New York [traveled to the Museum Ludwig, Cologne and the Musée d’Art Moderne de la Ville de Paris]; DRAWING RESTRAINT, SFMOMA; Prayer Sheet with the Wound and the Nail, Schaulager/Laurenz Foundation, Basel (2010); and Subliming Vessel: The Drawings of Matthew Barney, Morgan Library, New York and the Bibliothèque nationale de France, Paris (2013). Barney has received numerous awards, including the Aperto prize at the 1993 Venice Biennale; the Hugo Boss Award (1996); the Kaiser Ring Award (1997); and the San Francisco International Film Festival’s Persistence of Vision Award (2011).

An opening reception for the artist will be held on held on Friday, September 11, from 6:00 – 8:00 pm.

For all press inquiries, please contact Ben Thornborough at +1 310 276 5424 or
For all other inquiries, please contact Jennifer Loh, Lindsay Charlwood, or Isha Welsh at Regen Projects.

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