This month’s exhibitions carry a transformative twist to the on a regular basis, imbuing mundane objects with psychological, political, and private depth. At Regen Initiatives, Kevin Beasley embeds clothes and different objects into luminous and vibrant resin panels, whereas at Parker Gallery, Zachary Leener’s evocative ceramic sculptures include hair, particles, and different private results. Marnie Weber’s The Dollhouse (2002) is an immersive, surreal imaginative and prescient of femininity incorporating sculpture, pictures, and collage. Fidencio Fifield-Perez creates mesmerizing geometric patterns and plush nonetheless lifes from the soulless documentation of state surveillance. And at Past the Streets, Lethal Prey Gallery has curated a present of hand-painted film posters from Ghana’s cell cinema trade, advert hoc commercials that embellish Hollywood narratives with gore, weapons, and layers of apocryphal eccentricities.
Kevin Beasley: What delineates the sting
Regen Initiatives, 6750 Santa Monica Boulevard, Hollywood, Los AngelesThrough August 16
Kevin Beasley, “Portal (I’ll go if you go)” (2025), polyurethane resin, altered t-shirts, altered housedresses, altered dye sublimation t-shirts, scarf, uncooked Virginia cotton, Sharpie switch, plywood, teak veneer, delicate metal, stainless-steel, epoxy, walnut (© Kevin Beasley; photograph by Evan Bedford, courtesy the artist and Regen Initiatives)
Kevin Beasley is understood for his distinctive use of resin that transforms commonplace objects into translucent abstractions. What delineates the sting highlights two new our bodies of labor: freestanding screens and wall-mounted panels. The screens incorporate textiles, clothes, wooden, metal, and resin, creating sculptural compositions of shade, mild, and texture imbued with human presence. The wall works, dubbed Synths, equally function objects with particular and common resonances embedded inside resin helps. Their title references the style during which synthesizers translate unintelligible digital code into accessible sonic output.
Zachary Leener: Cloud Chips
Parker Gallery, 6700 Melrose Avenue, Hollywood, Los AngelesThrough August 16
Zachary Leener, “Milk Rock” (2025), glazed terra cotta (photograph by Paul Salveson, courtesy the Artist and Parker Gallery, Los Angeles.)
Zachary Leener’s enigmatic terra cotta sculptures take precedents like Ken Value‘s organic minimalism or Robert Arneson’s outlandish Funk artwork, mashing them into novel, enigmatic types. He typically provides objects that bear private which means into his clay physique, lending the ensuing sculptures an autobiographical significance. Cloud Chips options 9 new ceramic works that spotlight his mixture of playful formalism and psychological depth.
Fidencio Fifield-Perez: not by no means over nothing
Commonwealth and Council, 3006 West seventh Avenue, Suite 220, Koreatown, Los AngelesThrough August 16
Fidencio Fifield-Perez, “Higuerillas” (2025), intaglio ink on woven paper, acrylic on canvas, walnut body (photograph by Paul Salveson, courtesy the artist and Commonwealth and Council)
Fidencio Fifield-Perez wields portray, weaving, and collage to remodel the supplies of bureaucratic management into beautiful testaments to particular person perseverance. He works with chilly, impersonal paperwork associated to the state’s immigration machine, a Kafkaesque system that the Oaxacan-born artist turned all too accustomed to throughout his expertise making use of for Deferred Motion for Childhood Arrivals (DACA). Fifield-Perez weaves this paperwork into patterns impressed by petate weaving and paints delicate photographs of crops on high, indicators of life thriving amidst the backdrop of institutional indifference.
VHS Goals: The Artwork of Ghana’s Cellular Cinema
Past the Streets, 434 North La Brea Avenue, Fairfax, Los AngelesThrough August 23
C.A. Properly, “The Godfather” (2022), oil and enamel on flour sack (picture courtesy Past the Streets and Lethal Prey)
Within the Nineteen Eighties, cell video golf equipment sprung up all through Ghana as enterprising operators traveled from village to village with turbines, TVs, and VCR tapes of Hollywood and West African motion, horror, and martial arts movies. To advertise this nascent trade, they employed native artists to color movie posters that embellished salient plot factors with exaggerated violence and fantasy. Curated by Lethal Prey Gallery, VHS Goals spans 30 years of this still-evolving artwork type, showcasing a choice of one-of-a-kind work by Mark Anthony, Vibrant Obeng, Heavy J, H.Ok. Matthias, C.A. Properly, Mr. Nana Agyq, and plenty of others.
America (Soy Yo!)
Charlie James Gallery, 969 Chung King Highway, Chinatown, Los AngelesThrough August 30
José Delgado Zúñiga, “Internalizing” (2024–25), oil on canvas (© 2025 Yubo Dong; photograph courtesy the artist and Charlie James Gallery, Los Angeles)
Curated by Ever Velasquez, America (Soy Yo!) is a well timed group present that brings collectively artists from the US, Mexico, Central and South America, and Canada, all of whom wrestle with points surrounding migration, borders, and identification. The exhibition takes its title from the 1986 track by the norteño band Los Tigres Del Norte, which celebrates the individuals and land of the Americas, and whose lyrics proclaim: “Porque América es todo el continente, y el que nace aquí, es americano (Because America is the entire continent, and he who is born here is American).” Taking part artists embody Judith F. Baca, Barbara Carrasco, Avis Charley (Spirit Lake Dakota/Diné), Nehemiah Cisneros, michon sanders, and plenty of extra.
Marnie Weber: The Dollhouse
Laguna Artwork Museum, 307 Cliff Drive, Laguna Seashore, CaliforniaThrough September 1
Marnie Weber, “Concert for Those Who Have Gone” (2002–2005), collage on {photograph} (picture courtesy Laguna Artwork Museum)
Marnie Weber’s The Dollhouse (2002) is a storybook home composed of 11 rooms, every of which reveals one other chapter on this surreal, psychological drama. The monumental mannequin measuring six by 10 toes (~1.8 by three meters) contains a snow-filled room with a frozen pond, a mud room lined in sheets, an autumn room stuffed with leaves, and a waterfall cascading down the grand staircase. Weber photographed every room, collaging ghost-like figures, fashions clipped from magazines, and animals into the c-prints, suggesting narratives which can be absent from the sculptural house. This exhibition presents a uncommon probability to see the entire work, which hasn’t been proven in Southern California since 2005.
Puppet Grasp’s Playground
Goethe Institut, 1901 West seventh Avenue, Suite AB, Westlake, Los AngelesThrough September 4
Cain Carias, “La Smiley and El Triste” (photograph by Tyrone Diaz Andrade, courtesy Cain Carias)
Cain Carias (also called PuppetMaster213) is an LA-based artist and puppeteer who blends conventional marionette craft with parts of SoCal Chicanx tradition. He studied and labored with the legendary late marionette pioneer Bob Baker for 15 years earlier than creating his personal characters, together with “La Smiley” and “El Triste,” a clown-faced couple whom he calls “the King and Queen of MacArthur Park,” a serious hub for LA’s Mexican and Central American communities. Rife with marionettes, portray, pictures, performances, and workshops, Puppet Grasp’s Playground is an interactive exhibition that enables the general public to expertise the marvel of Carias’s imaginative and prescient.
TOMATÂ
MutMuz Gallery, 971 Chung King Highway, Chinatown, Los AngelesAugust 15–September 15
Art work by Tomatâ du A lot (photograph by Siena Goldman, courtesy MutMuz Gallery)
The late Tomatâ du A lot (born David Xavier Harrigan) was a seminal determine in LA’s punk scene as lead singer for the Screamers, in addition to a founding father of Seattle efficiency artwork troupe Ze Whiz Kidz and, briefly, a member of queer psychedelic theater group the Cockettes. After his influential profession in music, he turned to visible artwork earlier than his premature demise from most cancers in 2000 on the age of 52. TOMATÂ brings collectively his hardly ever exhibited work on paper, canvas, and wooden alongside ephemera and images, capturing the breadth of his artistic life.
William S. Burroughs: Bergamot Redux 1995-2025
Robert Berman Gallery, 2525 Michigan Avenue, #A5, Santa Monica, CaliforniaThrough September 30
Allen Ginsberg, “William Burroughs Slightly Zonked” (1961), mural, RC photographic paper (picture courtesy Robert Berman Gallery)
In 1995, Robert Berman Gallery and Observe 16 Gallery mounted Concrete and Buckshot, one of many first exhibitions of William S. Burroughs’s visible artwork in Los Angeles. Thirty years later, Berman restages and expands that present with William S. Burroughs: Bergamot Redux. This enlarged iteration contains Burroughs’s summary work from the Nineteen Nineties and his woodcut and screenprint sequence The Seven Lethal Sins (1991), alongside art work by Dennis Hopper and images by Christopher Felver, John Colao, and Allen Ginsberg.
A Nice Day in East L.A.: Celebrando the Eastside Sound
LA Plaza de Cultura y Artes, 501 North Most important Avenue, Downtown, Los AngelesThrough August 23, 2026
Piero F. Giunti, “Aztlan Underground” (2014–25), archival pigment print (© Piero F. Giunti; picture courtesy the artist)
For many years, LA’s better Eastside has cultivated a multi-generational Latinx music scene spanning rock, soul, punk, hip hop, and conventional Mexican music that has expanded past its native roots to realize widespread recognition. A Nice Day in East L.A. showcases the pictures of Piero F. Giunti, who has collaborated for the previous 10 years with musician Mark Guerrero to doc the tales and pictures of this numerous group of musicians, together with ¡Aparato!, Aztlan Underground, Mezklah, Cambalache, Los Lobos, and The Brat. Alongside Giunti’s portraits, the exhibition gathers over 500 albums, devices, flyers, costumes, movies, and different ephemera, offering a complete historical past of this vibrant group.
Matt Stromberg is a freelance visible arts author primarily based in Los Angeles. He’s a frequent contributor to Hyperallergic and has additionally written for the Los Angeles Occasions, the Guardian, and Up to date…
Extra by Matt Stromberg
