A refusal to stick to distinct classes, a breakdown of hierarchies, and an embrace of hybridity are a couple of widespread threads amongst this month’s exhibitions. At Karma, Mungo Thomson plumbs the depths of mundane visible tradition to create entrancing stop-motion movies. A Llyn Foulkes survey at The Pit celebrates this LA legend, a grasp of shaping the saccharine symbols of Americana into advanced, razor-sharp satire. And Sarah Rosalena’s solo present at Blum fuses conventional Indigenous methods with high-tech fabrication, dissolving the substitute barrier between craft and superb artwork.
Mungo Thomson: Time Life
Karma, 7351 Santa Monica Boulevard, West Hollywood, CaliforniaThrough July 18
Mungo Thomson, “Volume 10. A Field Guide to Hummingbirds” (2024), 4K video with sound, 3:13 minutes, Soundtrack: Foley by Paradise Sound Group, Hollywood (courtesy the artist and Karma)
In his ongoing Time Life video collection, Mungo Thomson confronts up to date data overload, reworking mundane analog media into entrancing stop-motion compositions. On view at Karma are 9 new movies that draw on wide-ranging sources together with a seashell assortment, the artwork of mime, a hummingbird in flight, a burning candle, and a guitar guide. Thomson pairs these with soundtracks by John McEntire, Eiko Ishibashi, Lee Ranaldo, and others, creating resonant cinematic experiences that heighten, fairly than overload, our consideration.
Waning Crescent: a meztli tasks group present
Oxy Arts, 4757 York Boulevard, Highland Park, Los AngelesThrough July 19
Set up view of Waning Crescent: a meztli tasks group present (courtesy Oxy Arts)
Waning Crescent showcases the work of Meztli Initiatives, an Indigenous arts and tradition collaborative based mostly in Apachianga (East Los Angeles) in Tovaangar (Los Angeles County). The exhibition options current work by artists linked to the collective, highlighting their particular person inventive journeys in addition to Meztli Initiatives’s broader mission of advocating for Native and Indigenous artists and youth impacted by felony justice methods. Standouts embrace River Garza’s sculptures that examine the co-optation of Indigenous identification; Kimberly Robertson’s beaded wall works that memorialize journalists and assist staff killed in Gaza; and Kenneth Lopez’s woven pictures that recall conventional craft methods.
Francisco Masó: Documentary Abstraction
Luis de Jesus Los Angeles, 1110 Mateo Road, Downtown, Los AngelesThrough July 19
Francisco Masó, “IMG_5374” (2025), Acrylic on canvas, 25 x 21 inches (63.5 x 53.3 cm) (Courtesy the artist and Luis De Jesus Los Angeles)
On the floor, Francisco Masó’s painted bands of shade share a kinship with works by Josef Albers, Agnes Martin, and different practitioners of geometric abstraction; nonetheless, Masó’s compositions are rooted in methods of political surveillance and repression. A part of his Aesthetic Register of Covert Forces collection, these work reproduce the striped patterns of polo shirts worn by the Cuban secret police. In doing so, the Cuban-born, Miami-based artist turns these prosaic designs into symbols of state authority and domination. Masó pairs a few of these works with pictures of polo-clad authorities brokers taken by protestors, making clear the hyperlink between the political and the aesthetic.
Made to Final: Sachi Moskowitz and Louie Moskowitz
Arcane Area, 324 Sundown Avenue, Unit G, Venice, CaliforniaThrough July 29
Sachi Moskowitz, “Happy Birthday” (2025), stain and glaze on stoneware; Louie Moskowitz, “Dogs in Park” (2017), silver gelatin print (courtesy the artists and Arcane Area)
Made to Final pairs the work of siblings Sachi and Louie Moskowitz, complimentary choices from the most recent era on this storied inventive household, which additionally consists of their late father, the airbrush painter Stewart Moskowitz, and their grandfather, ceramicist Michael Frimkess, who handed away earlier this 12 months. Sachi paints evocative scenes on her handmade stoneware vessels based mostly on her upbringing in Topanga and life in LA, rendered in classical blue glaze on white background. Louie’s black-and-white pictures equally draw on autobiography, portraying the foggy solitude of Humboldt County in Northern California, the place he lives and works, with intimate candor.
Alan Lynch: Infinitely on the surfaces of this teardrop world
Château Shatto, 540 Western Avenue, East Hollywood, Los AngelesThrough August 2
Alan Lynch, “Rajput” (1964–65), oil on canvas (picture by Ed Mumford, courtesy the artist and Châeau Shatto, Los Angeles)
Alan Lynch was a significant participant in California’s postwar artwork scene when, in 1969, he largely stopped exhibiting his work, a withdrawal that may final till his dying in 1994. This exhibition brings collectively two our bodies of labor: oil work from 1963 to 1965 and watercolors from 1975 to 1977. Within the earlier works, Lynch fused a hard-edged vocabulary with natural types present in nature, whereas the intimate works on paper from a decade later replicate his dedication to the apply of meditation. Taken collectively, they provide not often seen views on this enigmatic artist.
Llyn Foulkes: Time’s Witness
The Pit, 3015 Dolores Road, Glassell Park, Los AngelesThrough August 9
Llyn Foulkes, “Family Portrait” (2022), giclee, acrylic and chalk on panel (picture by Chris Hanke, courtesy the artist and the Pit)
Llyn Foulkes is certainly one among LA’s most influential, confounding, and mercurial residing artists. Time’s Witness is a career-spanning survey, assembling greater than 75 years of labor, spanning 1949 to 2025. The exhibition consists of sculpture, portray, collage, and extra, from his early ink drawings to his iconic Bloody Head work and mixed-media assemblages of the twenty first century. It highlights the artist’s capability to drag from the iconography of American tradition to create work suffused with pressure, emotion, and humor.
Sarah Rosalena: Never-ending Spiral
Blum, 2727 South La Cienega Boulevard, Culver Metropolis, CaliforniaThrough August 16
Sarah Rosalena, “Upward Spiral” (2025), dyed pine needles, waxed thread, reed, stoneware (picture by Evan Walsh © Sarah Rosalena, courtesy the artist and BLUM Los Angeles, Tokyo, New York)
Sarah Rosalena mixes conventional Wixárika weaving practices with 3D printing and digital fabrication, creating hybrid types that mix Indigenous information with computer-aided design. For the works in Never-ending Spiral, she appears to be like to the spiral each formally and conceptually, drawing hyperlinks between types in nature, reminiscent of celestial galaxies, and handmade building processes. The present consists of woven textiles, 3D-printed ceramic vessels, and handwoven pine needle basketry, which Rosalena typically combines in the identical artworks, difficult outdated notions that isolate craft, superb artwork, and know-how.
Li Ran: The Indicators Are Current
Lisson Gallery, 1037 North Sycamore Avenue, Hollywood, Los AngelesThrough August 23
Li Ran, “They Wash Feet But They Don’t Bond, They Are Fellows But They Don’t Trust” (2024), oil on canvas (© Li Ran, courtesy Lisson Gallery)
Li Ran’s multifaceted apply encompasses efficiency, video, set up, and writing. Nevertheless, his present exhibition at Lisson showcases his work, that includes 9 new, large-scale canvases. Straddling illustration and abstraction, and filled with cryptic signifiers, these works depict varied characters embedded in ambiguous narratives, rife with angst, malaise, and theatrical drama. Accompanied by a poetic textual content and knowledgeable by his analysis into cultural histories, Li’s work supply a private, contemplative strategy to his cross-disciplinary conceptual inquiries.
Esiri Erheriene-Essi: Reflections
Night time Gallery, 2276 East sixteenth Road, Downtown, Los AngelesThrough August 23
Esiri Erheriene-Essi, “Same Town, New Story (Nigeria Airways)” (2023), oil, ink and xerox switch on linen (picture by Nik Massey, courtesy the artist and Night time Gallery, Los Angeles)
Esiri Erheriene-Essi’s vibrant work depict extraordinary moments of Black life, imbuing them with a way of timeless grandeur. She begins with pictures from her archive of snapshots present in North America, Europe, and Africa, after which interprets these pictures onto linen, enhancing the colours and patterns, and including references from totally different eras, reminiscent of pictures of Beyoncé and Angela Davis, or an anti-Apartheid pin. The completed work painting occasions reminiscent of household reunions, pals taking part in playing cards, a toddler’s party, and a bunch of ladies gathered in an airport — particular, if prosaic, scenes that tackle a wider significance as various representations of diasporic Black identities.
Studying Room
MAK Middle for Artwork and Structure on the Schindler Home, 835 North Kings Street, West Hollywood, CaliforniaThrough September 14
Set up view of Studying Room, MAK Middle for Artwork and Structure on the Schindler Home (picture by Joshua Schaedel, courtesy MAK Middle for Artwork and Structure). Furnishings for Studying by Ryan Preciado: “Library Lounge Chair” (2025), plywood, beech veneer, and fabric; “110 Shelf” (2025), plywood and paint (© Ryan Preciado, courtesy the artist and Karma)
Studying Room transforms the historic modernist residence the Schindler Home right into a welcoming salon celebrating publications and printed matter on structure, design, and artwork. LA-based artist and designer Ryan Preciado has created a number of items of furnishings in dialogue with Schindler’s work, together with a studying desk that may function the location of residencies with Stock Press; critic, editor, and curator Mimi Zeiger; and Deem Journal. The area may even showcase books from LA-based artwork and design publishers, in addition to a number of artists’ books from the gathering of Johanna Drucker and Brad Freeman.
