Susan Vielmetter Los Angeles has a flurry of proud physical demonstrations as part of its Ongoingness exhibition this summer. There is a boldness in the danger of the artist’s beginning to agree to the completed end of true beauty in his or her judgment with that affirmation of material construction witnessed at the exhibition. That healthy experience of corporeal reality, to be present within the body, experiencing de novo the rational coordination of physical power – onto the delight upon the eyes, yet further upon the intellect; there is this welcome entrance to Los Angeles.

Wisely curated not to hide but to celebrate Nicole Eisenman‘s Flag Poke + Eagle in a Box (2018) – why evade the basking of playful light? – in that confident, is it healthy swipe left of Americana?

Meh.

Unabashed the eagle sits wasted.

‘Flag Pole + Eagle in a Box,’ (2018). Nicole Eisenman.
Fiberglass, plaster, epoxy putty, urethane foam, paint, cotton rope, chain, Nylon 12 plastic, cardboard, graphite, charcoal, polystyrene foam, gold leaf, nautical cleat, and pulley
Overall: 41″ x 331″ x 32″ [HxWxD] (104.14 x 840.74 x 81.28 cm)
Baby eagle: 13″ x 21″ x 8″ [HxWxD] (33.02 x 53.34 x 20.32 cm) in dimension.
Inventory #EIS554
Courtesy of the artist and Vielmetter Los Angeles.
Photo credit: Robert Wedemeyer
All Rights Reserved.

Beer me.

No – there is no American Flag present. Yet that rightward affirmation by a public institution, upon the separation of the dutiful conduct of justice on earth, from the infatuating ideal which is not grounded; with media I experience that patently light; a knowing absence of venom. This coyfulness; this cheekiness; can commemorate the vigilance that is a spiritual calling among many proud of their political rights on Earth.

“They would not know the name of Justice if injustice did not exist.”-Fragment 23 Heraclites

‘Piggy Bank,’ (2026). Rodney McMillian.
Piggy bank, chicken wire, fabric, and acrylic
15 ¹⁄₂” x 10″ x 10″ [HxWxD] (39.37 x 25.4 x 25.4 cm) in dimension.
Inventory #MCR506.
Courtesy of the artist and Vielmetter Los Angeles.
Photo credit: Brica Wilcox
All Rights Reserved.

‘Untitled’ (2024). Hugo McCloud. Stamped aluminum coating, aluminum foil and oil paint on tar paper mounted on wood.
72″ x 108″ [HxW] (182.88 x 274.32 cm) in dimension.
Inventory #MCC230.
Courtesy of the artist and Vielmetter Los Angeles
Photo credit: Brica Wilcox
All Rights Reserved.

Piggy Bank by Rodney McMillian presents the carcinomic towards this consistent view of discontent; though, with that healthy grossness in the actual and theoretical symbolism.

‘Heaven (Vielmetter Version),’ 2013- 2015. Pope.L.
28 stacks of plastic cups, wooden shelves
36 ¹⁄₂” x 3″ x 3 ³⁄₄” [HxWxD] (92.71 x 7.62 x 9.52 cm) each row
36 ¹⁄₂” x 276″ x 3 ³⁄₄” [HxWxD] (92.71 x 701.04 x 9.52 cm) overall installation.
Inventory #POP102.
Courtesy of the Artist and Vielmetter Los Angeles. © Pope.L
Photo credit: Jeff McLane
All Rights Reserved.

While…what’s this? A family’s ancestry separate from a striding contempt with America? Who perceives the plethora, the copious, the fecund, of mass industrial coordination to dixie cups at such affordable prices? Is it Pope.L. with Heaven? To be relieved constantly upon the enjoyment of the future world to come. This grant, afforded by the vigilance against corruption; of the robbery of the people’s welfare; cannot be taken for granted.

‘Blind Pig #8’ (2011). Edgar Arceneaux.
Acrylic, charcoal, graphite on paper
90″ x 156″ [HxW] (228.6 x 396.24 cm) in dimension.
Inventory #ARC293.
Courtesy of the artist and Vielmetter Los Angeles.
Photo credit: Jeff McLane
All Rights Reserved.

Moving away from the political, unto the purely technical…Blind Pig #8 by Edgar Arceneaux
adds healthy imagination with the additional perspective of depth. Delightfully inclusive of charcoal – at 90” x 156” (!) – while not for vanity’s sake; and this is the point. The arrival at the judgment of the scale of the artwork is required from vision – in apprehending, I believe, that flying roof shelter thing. Continuing with this hypothesis, from the first principled order of the space involved between extension, we are given that tornado-esque movement from the constructed material; with that large paper (and with it technical risk galore).

Last but not least; an Unittled is necessary for the constant exposure to the absorption of new light upon the optics, towards that autonomic relaxation of the upper granular cells of the brain, Mr. Hugh McCloud experiences for us beforehand his working of metal, aluminum to be exact. The mixture of his impositions gather to us that work of material with the illusion of painting. And this is the crucial point from a collector’s perspective: the novelty of this craftsmanship and its daring adventure into working a common, abundant, metal; yet with that firm metallic polish so consummately knowable given Untitled’s phenomenal representation. A decisive elemental completeness with a wood canvas informs of an earthing, which stands out.

For more information, please contact the gallery:

VIELMETTER LOS ANGELES

1700 S Santa Fe Ave #101
Los Angeles, CA 90021