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Jennifer Guidi

Jennifer Guidi, The Priestess (Green and Light Green MT, Green Sand SF #1T, Green Ground), 2018 Sand, acrylic, and oil on linen, 66 × 76 inches (167.6 × 193 cm)© Jennifer Guidi

Jennifer Guidi, The Priestess (Green and Light Green MT, Green Sand SF #1T, Green Ground), 2018

Sand, acrylic, and oil on linen, 66 × 76 inches (167.6 × 193 cm)
© Jennifer Guidi

About

Colors charge us externally and internally. I translate these colors into works every day. On an intuitive level, I am guided by the colors in nature.
—Jennifer Guidi

Light and color pervade every aspect of Jennifer Guidi’s work. The Los Angeles artist’s radiant, mandala-like paintings are marked by tonal and chromatic shifts that operate in concert with richly textured surfaces. The effect echoes natural phenomena and undergirds a powerful archetypal symbolism. Guidi mixes sand into her paints—she uses both oils and acrylics—to produce immersive abstract compositions that borrow from the pared-down structures of Minimalism while evoking ancient theories of energy and perception.

Born in Redondo Beach, California, Guidi received a BFA from Boston University and an MFA from the School of the Art Institute of Chicago. On moving to Los Angeles, she was immediately struck by the city’s distinctive hazy light and blocky 1950s architecture. Basing her early paintings on her own photographs of local domestic interiors, she became increasingly interested in the colors and textures of her subjects’ walls. Following a 2012 visit to Morocco, she began to pursue a more abstract approach, drawing inspiration from the heavy stitching and irregular undersides of the country’s handmade rugs. She made her first abstract “dot paintings” that year, applying small dabs of white paint to black grounds.

Guidi began incorporating sand into her panels in 2013, using sticks found on the beach in Hawaii as simple mark-making tools. She then developed a system of underpainting in which she first applies a thick layer of sand to the surface of the canvas; while this is still wet, she makes marks with a dowel in controlled and repetitive movements, often adding sand and paint along the edges of the divots. The result of this intensely physical process is a hypnotic swirl of saturated color that is at once contemporary and timeless, prompting consideration of the diversity of cultural and corporeal meanings that have been assigned to shape and pattern.

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Fairs, Events & Announcements

John Currin, Pistachio, 2016 © John Currin

Art Fair

West Bund Art & Design 2020

November 12–15, 2020, booth A102
West Bund Art Center, Shanghai
westbundshanghai.com

Gagosian is pleased to participate in West Bund Art & Design 2020 with an extensive group presentation. Along with the gallery’s booth at ART021 Shanghai, on view between November 14 and 15, this will be Gagosian’s first in-person art fair since the covid-19 lockdown in March. The gallery’s participation was made possible by extraordinary support from the artists involved.

John Currin, Pistachio, 2016 © John Currin

Ed Ruscha, Street Cred, 2019 © Ed Ruscha

Auction

LAXART
2020 Benefit Auction

September 15–29, 2020

The nonprofit visual art space LAXART is hosting a benefit auction, featuring works by Katharina Grosse, Jennifer Guidi, and Ed Ruscha. Proceeds will help the organization continue its mission to promote emerging and under-recognized talent and engage with key issues of our time through exhibitions, publications, and public programs. The live auction begins at 5pm edt on September 15 on Artsy. The works will also be available for viewing at LAXART by appointment beginning September 15. To register to bid, visit artsy.net.

Ed Ruscha, Street Cred, 2019 © Ed Ruscha

Jennifer Guidi: Heliocentric (Hong Kong: Gagosian, 2018)

Online Reading

Jennifer Guidi
Heliocentric

Jennifer Guidi: Heliocentric is available for online reading from April 22 through May 21 as part of Artist Spotlight: Jennifer Guidi. Her first exhibition with Gagosian, Heliocentric featured fourteen luminous paintings with surfaces that oscillate between color and texture. Images of these works, as well as installation views of the exhibition, are accompanied by an essay by Stuart Krimko in this accompanying publication.

Jennifer Guidi: Heliocentric (Hong Kong: Gagosian, 2018)

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Museum Exhibitions

Jennifer Guidi, Eclipse (Painted Mandala Mountain SF #1A, Black Sand, Blue, Yellow, Purple, Red), 2017 © Jennifer Guidi

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One Day at a Time
Manny Farber and Termite Art

October 14, 2018–March 11, 2019
Museum of Contemporary Art, Los Angeles
www.moca.org

Inspired by American painter and film critic Manny Farber and his legendary underground essay “White Elephant Art vs. Termite Art” (1962), One Day at a Time: Manny Farber and Termite Art featured approximately thirty artists and more than one hundred works of painting, sculpture, photography, film, video, and sound dating from the 1950s to the present. Work by Jennifer Guidi and Jonas Wood was included.

Jennifer Guidi, Eclipse (Painted Mandala Mountain SF #1A, Black Sand, Blue, Yellow, Purple, Red), 2017 © Jennifer Guidi

Jennifer Guidi, Becoming the Mountain (Painted White Sand SF #1F, White and Yellow), 2016 © Jennifer Guidi

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Generations Part 1
Female Artists in Dialogue

February 22–June 30, 2018
Sammlung Goetz, Munich
www.sammlung-goetz.de

Sammlung Goetz celebrated its twenty-fifth anniversary in 2018 with a three-part exhibition dedicated to artistic creations by women. On display were nearly two hundred works by more than forty artists in an intergenerational dialogue. Generations Part 1 focused on the appropriation of ordinary materials and practices rooted in advertising and design. Work by Ellen GallagherKatharina Grosse, and Jennifer Guidi was included.

Jennifer Guidi, Becoming the Mountain (Painted White Sand SF #1F, White and Yellow), 2016 © Jennifer Guidi

Installation view, Jennifer Guidi: Visible Light/Luce Visibile, Museo d’Arte Contemporanea di Villa Croce, Genoa, Italy, July 1–September 24, 2017. Artwork © Jennifer Guidi

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Jennifer Guidi
Visible Light/Luce Visibile

July 1–September 24, 2017
Museo d’Arte Contemporanea di Villa Croce, Genoa, Italy
www.museidigenova.it

Visible Light/Luce Visibile, at Villa Croce, was the first solo museum exhibition by Jennifer Guidi. Painted in spectral tones evoking the colors of the rainbow, the new body of work on view continued the artist’s investigation of light, color, and energy. To create these paintings, Guidi used a system of underpainting in which she first applied a thick layer of sand to the surface of the canvas; while this was still wet, she made marks with a dowel in controlled and repetitive movements, often adding sand and paint along the edges of the divots.

Installation view, Jennifer Guidi: Visible Light/Luce Visibile, Museo d’Arte Contemporanea di Villa Croce, Genoa, Italy, July 1–September 24, 2017. Artwork © Jennifer Guidi

Installation view, Unpacking: The Marciano Collection, Marciano Art Foundation, Los Angeles, May 25–September 16, 2017. Artwork, left to right: © Albert Oehlen, © Christopher Wool

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Unpacking
The Marciano Collection

May 25–September 16, 2017
Marciano Art Foundation, Los Angeles
marcianoartfoundation.org

Unpacking: The Marciano Collection was the debut presentation of the collection’s holdings organized by Philipp Kaiser. The title and theme of the show were derived from Walter Benjamin’s essay “Unpacking My Library,” in which he discusses the chaotic potentiality inherent in unpacking and recontextualizing one’s collection. Work by Mark Grotjahn, Jennifer Guidi, Thomas Houseago, Alex Israel, Takashi Murakami, Albert Oehlen, Sterling Ruby, Cindy Sherman, Franz West, Jonas Wood, and Christopher Wool was included.

Installation view, Unpacking: The Marciano Collection, Marciano Art Foundation, Los Angeles, May 25–September 16, 2017. Artwork, left to right: © Albert Oehlen, © Christopher Wool

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