Berlin 00:00:00 London 00:00:00 New York 00:00:00 Chicago 00:00:00 Los Angeles 00:00:00 Shanghai 00:00:00
members login here
Country / State

Blum & Poe : JULIAN HOEBER | SAM DURANT - 5 Feb 2011 to 12 Mar 2011

Current Exhibition

5 Feb 2011 to 12 Mar 2011
Hours -Tuesday - Saturday from 10:30 am to 6 pm
Blum & Poe
2727 S. La Cienega Blvd
CA 90034
Los Angeles, CA
North America
p: +1 (310) 836-2062
f: +1 (310) 836-2104

The Execution Changes #4 (VS Q1 URJ DC Q2 URJ DC), 2010
Web Links

Blum & Poe

Artist Links

Artists in this exhibition: JULIAN HOEBER, SAM DURANT


February 5 - March 12, 2011
Opening reception: Saturday February 5th, 6 - 8 pm

Blum & Poe is very pleased to announce an exhibition of new work by Los Angeles-based artist Julian Hoeber. This is Hoeber's third solo-presentation with Blum & Poe.

Hoeber will be debuting The Execution Changes, a suite of new abstract paintings, alongside Endless Chair, a modular and infinitely expandable seating unit, and, His and Hers, a pair of adult sized cradles inspired by traditional Shaker furniture design.

The Execution Changes and Endless Chair represent initial iterations of painting and furniture design within a larger open-ended project, whereby Hoeber endeavors to generate in excess of one thousand unique objects across a wide-range of media. The paintings, which are titled in alphanumeric code, are constructed with specific guidelines, adhering to an even 2 x 3 scale ratio and delineated on a horizontal, vertical or quartered axis. This stringent compositional strategy finds its roots in much conceptual art of the 1960s and 70s, most notably Sol Lewitt's wall drawings. Like Lewitt, Hoeber uses a fixed set of operations, which determine the initial compositional structure; however, in a pointedly oppositional fashion, Hoeber allows himself the freedom to work intuitively with nearly every other formal decision (i.e. color, texture, etc.), deliberately searching for irrationality within a rational system.

"Since my system hasn't developed a rule for limiting method of execution, it is my responsibility to behave as if I have no rules in this regard. Call it conceptual art made like a craft project, because craft is what conceptual art repressed. And also because it is just plain beautiful."

As evidenced in The Execution Changes, Endless Chair, and His and Hers, Hoeber sets aside distinctions between high and low, conceptual and formal, and art and craft by placing emphasis on the tactile and psychological implication of the object. Hoeber's quest to combine conceptualist strategies (mind) with the physical desire to create that which is experiential (body) points to his larger desire to "have it both ways," or as essayist Luc Sante noted recently about Hoeber's work, to have "both the rabbit and the duck."

Julian Hoeber (b. 1974) holds a degree in Art History from Tufts University, MA, a B.F.A from the School of Museum of Fine Arts, Boston and an M.F.A. from the Art Center College of Design, Pasadena. His work has been included in exhibitions at The Santa Monica Museum of Art and the Deste Foundation Centre for Contemporary Art, Athens. His work is in the permanent collections of such public institutions as the Museum of Modern Art, NY and the Hammer Museum, Los Angeles where his large-scale outdoor installation Demon Hill, 2010, is currently on view.

For further information and press materials, please contact the gallery at 310-836-2062 or



February 19 - March 26, 2011
Opening reception: Saturday February 19, 6 - 8 pm

Blum & Poe is pleased to present an exhibition of new works by Los Angeles based artist Sam Durant titled "Laissez faire et laissez passer, le monde va de lui mÍme." Durant borrows this quotation, which translates to "Let do and let pass, the world goes on by itself," from Vincent de Gourney, a French commerce secretary who popularized the slogan in the mid-eighteenth century. The shortened version, "laissez faire," has since become widely used to signify free market or neoliberal economic policy.

Durant offers the viewer an opportunity to reflect on the larger meaning and implications of "mapping" (who makes the map and who gets mapped) and the presentation of information through cartography, which, when in the hands of Durant, provide information on the various effects of neoliberalism.

The exhibition is divided into three related groups of works; a series of globes, a series of altered maps and a large aluminum floor map through which the viewer is invited to walk. In the first and largest gallery, Durant has worked with the Illinois-based globe-making firm, Replogle, to produce six unique large-scale globes, which have been suspended from the ceiling and floor, allowing them to hover freely in space. The globes depict a range of unusual data either directly or obliquely referring to economic issues such as states or nations with the highest rate of money laundering or top gold mining and pork producing nations.

Repurposing commercially produced wall and travel maps Durant has also produced a series of altered and collaged pieces, layered with cut and stenciled political texts and quotations, that explore historical issues of imperialism and the ways in which they connect to present day geo-political conditions. Like in previous bodies of work, Durant employs the aesthetic of protest signage and political subcultures to reference to voices less often heard.

The exhibition concludes with and a twenty-four foot long sheet metal floor map, which is cut into the shape of a Goode homolosine projection (colloquially referred to as the "orange-peel" map) with the continents and countries colorfully stenciled on. Although familiar, the map is a mirror image, creating the effect of standing inside the world and looking out towards the earth's surface.

Durant's work points out that the art of cartography is a political art. Maps act as tools to portray the world as the maker would like it to be viewed. We are taught that maps are scientific truth, but Durant utilizes the medium to visually convey the falseness of this belief.

Sam Durant has had recent solo exhibitions at Sadie Coles, London; Paula Cooper Gallery, New York, the Massachusetts College of Art, Boston; Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; and the Wadsworth Atheneum Museum of Art, Hartford, Connecticut. His work has been included in numerous group exhibition such as the 2006 Busan Biennial, Korea; the 2004 Whitney Museum of American Art Biennal, New York; the 2003 Venice Biennale, Italy; and Out of Place: Contemporary Art and the Architectural Uncanny at the Museum of Contemporary Art, Chicago.

For further information and press materials, please contact the gallery at 310-836-2062 or

Follow on Twitter

Click on the map to search the directory

USA and Canada Central America South America Western Europe Eastern Europe Asia Australasia Middle East Africa