Mayer’s work spans an array of media exploring themes of historical past, temporality, and biography, paired with a proper fixation on difficult the assumed properties of fragility. This exhibition, spanning two gallery places and together with site-specific work, offers a novel perception into Mayer’s course of by introducing works not exhibited for the reason that time during which they had been made and exploring the interaction of documentation, drawing, and sculpture.

This multi-site exhibition permits the dazzling scope and richness of her follow to be digested via two completely different approaches: a centered presentation at Marc Selwyn High-quality Artwork, the place two associated our bodies of Mayer’s work from the late Nineteen Seventies and early Eighties will likely be displayed aspect by aspect, and a non-linear presentation at Hannah Hoffman of labor crafted between 1971 via 1993, and together with a piece re-created by the Property of Rosemary Mayer.

Each exhibitions spotlight Mayer’s omnivorous exploration of supplies. Rabbit-skin glue, fiberglass, material, wooden, cheesecloth, paper, and balloons are employed to type sculptures whose delicate look typically belies a stunning sturdiness. Mayer pushes the bodily limits of every aspect to disclose philosophical considerations about vulnerability, indeterminacy, and blurring the road between self-making and art-making.

The presentation at Marc Selwyn High-quality Artwork highlights a collection of drawings of unrealized proposals for elaborate tents on the roofs of metropolis buildings and sculptures based mostly on classical Greek vessels. The mixture suggests concepts of containment and security alongside a craving for celebration. Portae, from 1974, an instance of Mayer’s most iconic sculptural types, will likely be on view at Hannah Hoffman. Consisting of an inner construction made from wooden via which fiberglass and material are interwoven, it comprises references to the artwork and artists of the Mannerist interval, a recurring curiosity of Mayer’s. Flotsam, a collection of wall sculptures dated 1993, made from rabbit pores and skin glue and cheesecloth, and a piece from Mayer’s dynamic collection of ephemeral sculptures titled Ghosts will even be on show.

Mayer’s drawings and watercolors at each websites are in dialogue together with her three-dimensional configurations however exist as compelling works in their very own proper. A set of drawings from 1971 depict “not possible” material constructions, fantasies of sculpture unfettered by house, dimension, materials, or cash. Most of the works on paper additionally make use of textual content, which pervades a lot of her work. The title of the present, “Midday Has No Shadows,” comes from a collection that pairs evocative phrases with photographs of lovely flowers.

These two shows will coincide with an evanescent sculpture constructed by the Property of Rosemary Mayer based mostly on Mayer’s works with balloons, from 1977–79, half of a bigger collection that she known as Non permanent Monuments. 5 artists have been invited to dedicate a climate balloon in tribute to a person of their selecting. This out of doors occasion honors Mayer’s longing to create commemorative sculptures out of transitory supplies and celebrates her life-long consideration to the passing of time and connecting folks, time, place, and nature.

This occasion came about on the Wallis Annenberg Heart for the Performing Arts in Beverly Hills on November eleventh, 2023.

at Hannah Hoffman Gallery and Marc Selwyn High-quality Artwork, Los Angeles
till December 23, 2023