Featured Artists
Uta Barth (b. 1958, Berlin, Germany) is an artist based in Los Angeles. Throughout her career, she has made visual perception the primary subject of her photographic work. Emptying her pictures of what would traditionally be considered subject matter or narrative, Barth raises the viewer’s awareness of the phenomenological experience of perceiving. The question of how we perceive—versus what we see—differentiates her practice from the dominant trajectory of photography, which is tied up with pointing at things in the world and deriving pictorial interest straight from the object of reference. Barth, instead, tends to point away, thus confining her photographs to the ambient, incidental, and ephemeral aspects of vision, while at the same time exposing some part of the ground of the medium.
A 2012 MacArthur Fellow, Barth has exhibited her work extensively. Notable solo shows have been presented at the Art Institute of Chicago; Henry Art Gallery, University of Washington, Seattle; the SCAD Museum of Art, Savannah; SITE, Santa Fe; Contemporary Arts Museum, Houston; Lannan Foundation, Santa Fe; Museum of Contemporary Art, Chicago; and Museum of Contemporary Art, Los Angeles. In 2022, Barth mounted her retrospective, titled “Peripheral Vision” The Getty Museum, Los Angeles. Her work is well represented in both private and public collections worldwide, including the Whitney Museum of American Art, New York; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York and Bilbao; the National Gallery of Art, Washington, D. C., Tate Modern, London; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art, Texas; UCLA Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Los Angeles County Museum of Art, Los Angeles; The Getty Museum, Los Angeles; and The Walker Art Center, Minneapolis.
Uta Barth is represented by 1301 PE in Los Angeles, Tanya Bonakdar Gallery in New York, and Andréhn-Schiptjenko in Stockholm and Paris.
Matthew Brannon (b. 1971, Anchorage, Alaska) is an artist who lives and works in New York City. He has long been recognized not only for his wit and literary sensibility, but also for the precision with which he approaches his chosen mediums. He is best known for his radical approach to printmaking, which, contrary to traditional usage, frequently involves the elaborate production of unique artworks. The scope and ambition of these works has increased exponentially over the past twenty or so years, beginning with a series of large-scale unique prints borne of exhaustive research into the political and cultural ramifications of the Vietnam War. Since that time, Brannon has addressed an ever-widening circle of generational patterns as they appear in music, movies, product design, and typography, as well as in harder-to-define phenomena like collective states of mind. Brannon confronts the messy business of narrating history, creating his own versions of “primal scenes” in the American psyche. The vocabulary and voice developed in the prints has provided the center for an expanding world of objects and narratives that also includes painting, sculpture, video, and installation.
Brannon has been the subject of solo exhibitions at Museo Marino Marini, Florence, Italy (2013); Portikus, Frankfurt, Germany (2012); Museum M, Leuven, Belgium (2010); Whitney Museum of American Art at Altria, New York (2007); and Art Gallery of York University, Toronto, Canada (2007). His work is in the permanent collections of institutions including the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Los Angeles County Museum of Art, CA; Hammer Museum, Los Angeles, CA; Albright-Knox Art Gallery, Buffalo, NY; Denver Art Museum, CO; DESTE Foundation for Contemporary Art, Athens, Greece; and Museo MADRE, Naples, Italy.
Matthew Brannon is represented by David Kordansky Gallery in Los Angeles and Casey Kaplan Gallery in New York.
John Divola (b. 1949, Los Angeles, California) is an American contemporary visual artist and educator, living in Riverside, California. He works primarily in photography and digital imaging, describing his practice as exploring the landscape by looking for the edge between the abstract and the specific. He has served as a professor in the art department at the University of California, Riverside, from 1988 until his retirement last year.
As part of the first PST initiative in 2013, a comprehensive survey of Divola's work, titled “As Far As I Could Get,” was mounted across three local institutions: the Santa Barbara Museum of Art, the Los Angeles County Museum of Art, and the Pomona College Museum of art. Since 1975, Divola been featured in more than seventy solo exhibitions in the United States, Japan, Europe, Mexico, and Australia, notably at Chateau Shatto, Los Angeles, 2025; Laura Bartlett Gallery, London, 2013; Janet Borden Gallery, New York, 2001; Galerie Marquardt, Paris, 1990; Seibu Gallery, Tokyo, 1987; and the University of New Mexico Art Museum, 1982. His work has been featured in over two hundred group exhibitions worldwide, including: "The Whitney Biennial 2017," Whitney Museum of American Art, NY, NY 2017; "Surface Conditions: The Photographs of John Divola," Kunstverein Freiburg, Germany, 2012; “The Conspiracy,” Kunsthalle Bern, Switzerland, 2009; "Los Angeles 1955-85," Centre Pompidou, Paris, 2006; "Architecture Hot and Cold," The Museum of Modern Art, New York, 2000; "Made in California: Art, Image, and Identity 1900-2000, Los Angeles County Museum of Art, 2000; "The Photographic Condition," The San Francisco Museum of Modern Art, San Francisco, California. 1995; "The Whitney Biennial 1981," Whitney Museum of American Art, New York, 1981; "Mirrors and Windows," The Museum of Modern Art, New York, New York, 1978. Among Divola's Awards are Individual Artist Fellowships from the National Endowment for the Arts (1973, 1976, 1979, 1990), a City of Los Angeles Artist Grant (1999), a California Arts Council Individual Artist Fellowship (1998), and a John Simon Guggenheim Memorial Fellowship (1986).
John Divola is represented by Yancey Richardson in New York, Super Dakota in Brussels, Belgium, Gallery Luisotti in Los Angeles, and Chateau Shatto in Los Angeles.
Alex Israel (b. 1982, Los Angeles) is a multi-media artist who explores and embraces pop culture as a global visual language. Deeply entwined with his hometown of Los Angeles, he traffics in the detritus of Hollywood film production—backdrops, sets, and props—while also assuming the roles of filmmaker, talk-show host, and designer. In addition to his gallery and museum productions, Israel founded the sunglasses and apparel product lines Freeway Eyewear and Infrathin. In 2017, he released a full-length feature film titled SPF-18, which was premiered on a tour through high schools across the US. Israel’s art practice doubles as a brand, centered around a Southern Californian millennial lifestyle for which his iconic profile-in-shades Self-Portrait functions as a logo, mobilized across high-visibility platforms in the worlds of art, entertainment, fashion, and tech. Embedded within each of Israel’s endeavors are not only a landscape (of LA) and a portrait (of himself), but a savvy meditation on a world fueled by celebrity, product placement, and online influence.
Since graduating from the USC Roski program in 2010, Israel quickly established an international reputation. Solo exhibitions include: “Alex Israel: Heaven,” Aspen Art Museum, Colorado, 2025; “Freeway,” Fosun Foundation, Shanghai, China, 2021; "Alex Israel x Snapchat," Bass Museum of Art, Miami, 2021; “Alex Israel,” MAMO, Centre d’Art de la Cité Radieuse, Marseille, France, 2019; “#Alex Israel,” Astrup Fearnley Museet, Oslo, Norway, 2016; “Sightings: Alex Israel,” Nasher Sculpture Center, Dallas, Texas, 2015; “Alex Israel at the Huntington,” The Huntington Library, Art Museum and Botanical Gardens, San Marino, California, 2015; “Alex Israel,” Le Consortium, Dijon, France, 2013; “Lens,” LAXART, Los Angeles, 2013; and “As It Lays,” Museum of Contemporary Art, Los Angeles, Henson Soundstage, 2012. Work by Israel is held in numerous prestigious museum collections, such as: Moderna Museet, Stockholm, Sweden; Museum Boijmans Van Beuningen, Rotterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Jumex, Mexico City; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum; The Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; and Hirschhorn Museum, Washington, DC.
Alex Israel is represented by Gagosian Gallery, Almine Rech in Paris, and Greene Naftali in New York.
William E. Jones (b. 1962, Canton, Ohio) is an artist, filmmaker, and writer. He has made the experimental films Massillon (1991) and Finished (1997); videos including The Fall of Communism as Seen in Gay Pornography (1998), Shoot Don't Shoot (2012) and Psychic Driving (2014); the documentary Is It Really So Strange? (2004); and the essay film Fall into Ruin (2017). Jones’s moving image works have been the subject of retrospectives at Tate Modern, London (2005); Anthology Film Archives, New York (2010); Austrian Film Museum, Vienna (2011); Oberhausen Short Film Festival (2011); and Queer Lisboa at the Cinemateca Portuguesa (2024). He participated in the 1993 and 2008 Whitney Biennials, the 2009 Venice Biennale, and the 2011 Istanbul Biennial. He has been exhibited at Musée du Louvre, Palais de Tokyo, and Cinémathèque française, Paris; Museum für Moderne Kunst, Frankfurt; Museum of Modern Art, New York; Walker Art Center, Minneapolis; Carnegie Museum, Pittsburgh; St. Louis Art Museum; San Francisco Museum of Modern Art; and Museum of Contemporary Art, Los Angeles. Jones has published the following non-fiction books: Is It Really So Strange? (2006); Tearoom (2008); Killed: Rejected Images of the Farm Security Administration (2010); Halsted Plays Himself (2011); Between Artists: Thom Andersen and William E. Jones (2013); Imitation of Christ, a catalogue for the exhibition he curated at UCLA Hammer Museum in 2013; Flesh and the Cosmos (2014); and True Homosexual Experiences: Boyd McDonald and Straight to Hell (2016). He has also published the novels I'm Open to Anything (2019), I Should Have Known Better (2021) and I Didn't See It Coming (2023). In addition, his critical writings have appeared in Sneaks, Artforum, Bidoun, Butt, Frieze, Little Joe, Mousse, Osmos, and The White Review. In recent years, he has taken up painting.
Jones has received a John Simon Guggenheim Memorial Fellowship, an Andy Warhol Foundation Arts Writer’s Grant, a Foundation for Contemporary Art Grant, a City of Los Angeles (COLA) Grant, and two California Community Foundation Fellowships.
William E. Jones is represented by David Kordansky Gallery in Los Angeles, The Modern Institute in Glasgow, and Galleria Raffaella Cortese in Milan.
Hedi El Kholti (b. 1967, Rabat, Morocco) is a writer, translator, editor, and artist based in Los Angeles. He moved to this city from his native Morocco in 1992, finding work in the film industry before enrolling in Art Center College, where he earned a BA in 2000. Since 2004, he has served as the managing editor of Semiotext(e), working alongside the publishing house’s founders, the late Sylvère Lotringer and Chris Kraus. El Kholti has played an integral role in carrying Semiotext(e)’s presence into the twenty-first century, by republishing and updating many of the press’s famed “little black book” titles from the ’80s and ’90s, while also expanding its archival and editorial endeavors via such imprints as the Interventions series. In addition, he authors Animal Shelter, an “occasional journal” of art, sex, and literature.
From an early age, El Kholti has been an ardent collagist, recomposing extant imagery torn straight from books and magazines—a highly miscellaneous selection devoted to cinema, art, cooking, gay culture, etc.—into startling configurations. Over the years, these have been circulated in a series of books and fanzines. Part pop culture time-capsule, part unfettered stream-of-consciousness, El Kholti’s collages are deeply personal, reflecting insecurities regarding queerness, fear of illness and virality, a simultaneous struggle with and embrace of alienation from the social mainstream.
Whether presented as is, in small framed pieces, or reproduced as a stack of modest takeaway posters, or else enlarged to wall or billboard scale, El Kholti’s collage work has found its way into numerous notable exhibitions. Among them: “Maskulinitäten,” Kölnischer Kunstverein, Cologne (2019); the “Made in L.A.” biennial, Hammer Museum (2020); “Mimicries,” Ben Hunter Gallery, London (2022); and most recently, “Larry Johnson & Hedi El Kholti,” Gaga L.A. (2024). A collection of the artist’s collages and writings titled “A Place in the Sun” was published by Hesse Press in 2017.
Soundtrack
Eyvind Kang (b. 1971, Corvallis) is a composer and violist whose recent albums include Riparian (2025) SonicGnostic (2021), Ajaeng Ajaeng (2020), and Plainlight (2018). He has played with musicians including Jessika Kenney, Bennie Maupin, Bill Frisell, Skúli Sverrisson, Hildur Guðnadóttir, John Zorn, Laurie Anderson, and bands like Blonde Redhead, Animal Collective, and Secret Chiefs. His film soundtrack credits include Living Infrastructure: The New Los Angeles Sixth Street Viaduct (2023, dir. Reza Monahan), Map of the Bomb(2022, dir. Amanda Beech) and The Cypress Dance (2020, dir. Mariana Calo and Francisco Queimadela). As an arranger and performer, he has worked on soundtracks by Hildur Guðnadóttir including Joker and Joker: Folie a Deux (2019 and 2024, dir. Todd Phillips) and Women Talking (2022, dir. Sarah Polley). Kang currently teaches at CalArts.
Choreography
Brian Golden (b. 1998, Newport Beach, California) is a neurodivergent choreographer and movement director based between Los Angeles and New York. He is pursuing a Master of Fine Arts in Choreography at the California Institute of the Arts, with minors in Pedagogy and Integrated Media. A 2024 MAP Fund recipient, Brian will premiere a new immersive work in the fall of 2026.
Brian’s choreographic voice is rooted in lived experience, exploring themes of conflict, sensation, and identity through movement. Under the mentorship of Spenser Theberge, he premiered Two Months Too Early, a full-length sensory performance examining dyspraxia and auditory processing disorder through the conceptual language of the Pop Art movement. Recent highlights include a choreographic residency at Jacob’s Pillow, mentorship with Doug Varone on choreographic devices, and being named the 2024 Choreography Fellow of Axis Dance Company. Through professional development stipends awarded by Jacob’s Pillow and Axis, Brian engaged in mentorships with Nina McNeely and Jillian Meyers, deepening his exploration of musicality, filmmaking, and creative process.
Brian holds a BFA in Dance and Film Production from Chapman University where he studied abroad in Israel. His work has been presented at notable venues and festivals including The Joyce Theater (as part of the Martha Graham Dance Company’s fall season), Battery Dance Festival, Southern California Institute of Architecture, New Century Dance Project, and the McCallum Choreography Festival. He has also choreographed commercially for artists such as Yung Gravy, Daddy Yankee, and Two Friends.