Kour Pour’s geometric genealogies, Isabel Yellin’s sculptures of grief, Bruce Nauman’s LA years, Gustave Caillebotte’s figuration, and more.
After the recent frenzy of Art Week here in Los Angeles, this month’s selections focus on community and collaboration, tracing historical and personal networks of connection. Wael Shawky’s film Drama 1882 is a stylized opera based on an anti-colonial uprising in Egypt, a fanciful mix of fact and fiction. Kour Pour’s first LA show in over a decade fuses geometric modernism with Islamic design, reflecting his diasporic identity. An exhibition and performance program at REDCAT looks at the creative synergy between experimental musicians Julius Eastman and Arthur Russell, while solo shows from Kim Ye and Isabel Yellin draw on their autobiographical experiences as women and artists, albeit in distinct ways. Simón Silva’s bold canvases honor the farmworkers, housekeepers, and landscapers whose essential labor often goes unacknowledged.
Kour Pour: Finding My Way Home
Nazarian / Curcio, 616 North La Brea Avenue, Fairfax, Los Angeles
Through March 22
Kour Pour, “Birth Chart (Finding My Way Home)” (2024), acrylic and block ink on shaped canvases (image courtesy the artist and Nazarian / Curcio)Finding My Way Home, Kour Pour’s first solo show in the city in over 10 years, features stacked and layered paintings that reflect his diasporic identity as an artist of Iranian and British descent living in LA. Fusing geometric abstraction with elements from Persian miniature painting and Islamic design, Pour’s constructed paintings weave together threads of autobiography and global history, of his family’s travels and geopolitical or art historical events, such as Frank Stella’s 1963 trip to Iran. In conjunction with the show, Pour has curated a concurrent group exhibition, Mehmooni, with work by LA-based Iranian artists Shagha Ariannia, Amir H. Fallah, Nasim Hantehzadeh, Aryana Minai, and others.
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