Shulamit Nazarian presented to us an overabundance of fine artistry to commemorate their 10 years of being a gallery in Los Angeles. The summation of their artists’ efforts at immortal works was copiously demonstrative with the collections presented.

Reuven Israel. Half Truths, 2020.
MDF, industrial paint and lacquer
90.5 x 9 x 9 inches
Courtesy of the artist and Shulamit Nazarian, Los Angeles.
Photo: Ed Mumford

Reuven Israel provided for us an idea of perfection with his Half Truths and More Half Truths. In his fastidiousness, Mr. Israel informs our senses with such manicured woodcarving and industrial paint, we are permitted to be in awe of the sense of completion to the elements in the sculpture. There is nary an imbalance in the attentiveness towards securing a correct and proper sense of progression in promoting the beautiful. Perhaps the titles signify something about the truth and our endless attempts to grasp its nature? How then does his perfectionism help elucidate the concept of this pride in knowing with the reality of our permanent ignorance at complete knowledge?

Michael Stamm
Strongman, 2022
oil, acrylic, laser cut cardboard on canvas wrapped panel
48 x 28 in
121.9 x 71.1 cm
Courtesy of the artist and Shulamit Nazarian, Los Angeles.
Photo:
Ed Mumford

Speaking to the attempts of an artist to endure the discipline of refinement, as opposed to the liberty to explore compositions with more rugged forms, Michael Stamm’s Strongman takes this note and creates a gloriously high-pitch. The sense of exertion in the conscientious self-reflectance in attempts at perfecting the pleasure to the senses is resoundingly present with a successful, almost obsessive, fulfillment of such exacting minutiae of forms which burgeon on the canvas. It is specifically in the consideration of raising certain elements of the artwork, creating the appearance of an etching at times; yet it is done with so much discretion, pictures cannot do it justice to the cloaked efforts at awe. We have an idea of might, one that moves beyond the natural form of man and his confidence in civilizing himself; one that moves us to relate his efforts at refining his base instincts to be something cosmic in extension. The muted colors on the canvas help illuminate the sheer iridescence of the prismatic orbs that echo out of the work here and there. To indeed recognize all the world as light, to be refined into the formation of civilized pillars, is a grand achievement and worthy of display for those who affirm that attention to detail reveals exacting goodness.

Summer Wheat. Thank You Notes, 2021
Fiberglass, stone, grout
16 x 41 x 31 inches
Courtesy of the artist and Shulamit Nazarian, Los Angeles.
Photo:
Ed Mumford

Summer Wheat
Thank You Notes, 2021.
Fiberglass, stone, grout
16 x 41 x 31 inches
Courtesy of the artist and Shulamit Nazarian, Los Angeles.
Photo:
Ed Mumford

In a cheeky revelation, Ms. Summer Wheat gives us stupendous sculptures which take the form of furniture pieces. The compact stone objects of her Thank You Notes series breathes that perfect measure of reprieve; both as a form of visual pleasure, and one where rest can be had in a heavenly secret garden. At 16”x41”x31”, the ability to add to a space without the umbrage of a cramped environment gives us a new idea of play that is a worthy accoutrement.

Summer Wheat
Mustard and Ketchup, 2022
acrylic on aluminum mesh.
68 x 47 in
172.7 x 119.4 cm
Courtesy of the artist and Shulamit Nazarian, Los Angeles.

Ms. Wheat gives us further experiences of fun with her Mustard and Ketchup, beautifully tactile without a blemish of effort. The delicateness in her working of acrylic is sensational to appreciate with a physically intimate relation to the canvas.  Like Mr. Stamm, the danger in being so exacting is how little the margin of error is in imperfection. It therefore requires an artist with confidence, nay, mastery, in fulfilling such a composed appearance at 68”x47” inches. But let us remark on the subject matter itself, and that quintessence of play. This is a brute force delight, one which encapsulates the idea of a fun memory. The dancing lines on the canvas provide an animation to the artwork, with is simply the fulfillment of a beautiful goal for being human, and that is to have fun. That is to enjoy our place and time in the existing moment. This is a mustard and ketchup resonance to that immortal aim, so mundane yet so scarce to inhabit continuously. What else is heaven but such an innocence of beautiful memories created by a continuum of beautiful moments such as these?