AES+F, Alex Anderson, Emily Furr, Yaron Michael Hakim, Wendy Red Star

Tower Suite 1110

Hollywood Roosevelt Hotel, Los Angeles, CA

February 28 – March 3, 2024

Sargent’s Daughters is delighted to participate in the 2024 edition of Felix Art Fair, our inaugural West Coast fair.  In Room 1110 of the Hollywood Roosevelt Hotel, we are presenting new works by AES+F, Alex Anderson, Emily Furr, Yaron Michael Hakim, and Wendy Red Star.  Featuring drawing, painting, sculpture, and video, this diverse and vibrant selection of works presents a snapshot of the gallery’s ethos. Celebrating innovative voices and technical mastery, the works on view each engage with discourses surrounding contemporary society, identity structures, and historical critique.

AES+F (formed 1995) work at the intersection of traditional media, photography, video and digital technologies. They define their practice as a kind of "social psychoanalysis"through which they reveal and explore the values, vices, and conflicts of contemporary global culture. First formed as AES Group in 1987 by Tatiana Arzamasova, Lev Evzovich, and Evgeny Svyatsky, the collective became AES+F when Vlaldimir Fridkes joined in 1995. AES+F achieved worldwide recognition and acclaim in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with their provocative, other-worldly Last Riot (2007), the first in a trio of large-scale, multichannel video installations of striking originality that have come to define both the AES+F aesthetic and the cutting edge of the medium’s capacities. The second of the series, The Feast of Trimalchio (2009), appeared in Venice in 2009, and the third, Allegoria Sacra (2011), debuted at the 4th Moscow Biennale in 2011. United as The Liminal Space Trilogy, this tour-de-force series was premiered in September 2012 at the Martin-Gropius-Bau, Berlin, and the Moscow Manege, the central exhibition hall of the artists’ home city, and has since been shown on many occasions at various museums and festivals. In 2015, AES+F premiered Inverso Mundus at the 56th Biennale di Venezia. Inverso Mundus was later shown at the Kochi-Muziris Biennial and a number of other museums and festivals all over the world.

Between 2016 and 2019, AES+F worked in set design for theater and opera, creating scenic designs and original productions in collaboration with theaters in Russia and Italy. Artworks by AES+F have been showcased in signature festivals and biennial exhibitions of contemporary art around the world, including — in addition to Moscow and Venice – those of Adelaide, Gwangju, Havana, Helsinki, Istanbul, Kiev, Kochi-Muziris, Lille, Lyon, Melbourne, St. Moritz, Sydney, Taipei, Vancouver, and many others. Their work has also been featured in influential events devoted to new media — such as ARS Electronica (Linz), Mediacity Seoul and Video Zone (Tel Aviv) — and photography — such as FotoFest (Houston), Les Rencontres d’Arles and Moscow’s Photo Biennial.

AES+F has had more than 100 solo exhibitions at museums, exhibition spaces, and commercial galleries worldwide. AES+F works have been shown in such prestigious venues as the ZKM (Karlsruhe), HAM (Helsinki), Moderna Museet (Stockholm), Tate Britain (London), MAXXI and MACRO Future (Rome), Centre Pompidou (Paris), Museo Thyssen-Bornemisza (Madrid), Today Art Museum (Beijing), Mori Art Museum (Tokyo), Leeum Samsung Museum of Art (Seoul), The State Russian Museum (St. Petersburg), Garage Museum of Contemporary Art (Moscow), National Gallery of Australia (Canberra), Faena Art Center (Buenos Aires), and many others. Their works appear in some of the world's principal collections of contemporary art, such as Moderna Museet (Stockholm), MOCAK (Kraków), Sammlung Goetz (Munich), ZKM (Karlsruhe), Art Gallery of South Australia (Adelaide), the Museum of Old and New Art (Tasmania), Centre de Arte dos de Mayo (Madrid), Centre Pompidou (Paris), the Louis Vuitton Foundation (Paris), the Vanhaerents Art Collection (Brussels), Taguchi Art Collection (Tokyo), and many others. Their work is also well represented in some of Russia's principal national museums, such as The State Tretyakov Gallery (Moscow), The State Russian Museum (St. Petersburg), the National Center for Contemporary Art, and the Multimedia Art Museum (Moscow).

Alex Anderson (b. 1990, Seattle, WA)  lives and works in Los Angeles, CA. Anderson uses the delicate medium of ceramics as his main vehicle to explore the sublime experiences that make up both the man-made and natural worlds, as well as deeper, more complicated issues of race and cultural representation. His artworks combine a novel dexterity in his medium with histories of art and design from around the globe, including the Baroque, Surrealism, Pattern and Decoration, and Japanese pop art.  Always irreverent, Anderson combines these references with idioms from African American vernacular and pop culture in order to probe the depths of reality, illusion and identity.

Anderson received his Bachelor of Arts in Studio Art and Chinese from Swarthmore College and his Master of Fine Arts in Ceramics from the University of California, Los Angeles. Anderson previously studied at the Jingdezhen Ceramic Institute in Jingdezhen, China and was awarded a Fulbright Grant in affiliation with the China Academy of Art in Hangzhou, where he continued his studies in ceramic art. His work has been exhibited across the United States, including at the Orange County Museum of Art (Costa Mesa, CA), Museum of Arts and Design (New York, NY), The Long Beach Museum of Art (Long Beach, CA), the American Museum of Ceramic Art (Pomona, CA), Human Resources (Los Angeles, CA), The Hole (Los Angeles, CA), Venus Over Manhattan (New York, NY), Deli Gallery (New York, NY), Gavlak Gallery (Los Angeles, CA; Palm Beach, FL), and Jeffrey Deitch Gallery (Los Angeles, CA and New York, NY), as well as internationally, including at the Public Gallery (London, UK), Gallery COMMON (Tokyo, Japan), and Baik Art (Seoul, South Korea). 

Anderson’s  work has been reviewed by Artsy, Artforum, Contemporary Art Review Los Angeles, Cultured, The Los Angeles Times, amongst others. He is represented by Sargent’s Daughters. His solo exhibition, “Everything is made of light,” will be on view at Sargent’s Daughters Los Angeles from February 24 through April 6, 2024.

Emily Furr (b. 1978, St. Louis, MO)  is a New York based visual artist. Furr draws upon Precisionism, Surrealism, and Pop Art to make work that feels both timeless and profoundly timely. Her work examines human attempts to control the uncontrollable, producing disorienting images which insert intimately terrestrial objects into galactic star-scapes. Engaging themes of industrialism, transformation, and the cosmic void, Furr’s work speaks to the fragility of human exploits in comparison with the vastness of the universe.

Furr received her MFA from Hunter College, NY in 2018. Her work is in the permanent collection of the Orange County Museum of Art (Costa Mesa, CA) and the Denver Art Museum (Denver, CO). She has recently exhibited at 12.26 Gallery (Dallas, TX and Los Angeles, CA), Sargent’s Daughters (New York, NY and Los Angeles, CA), Rebecca Camacho (San Francisco, CA), Office Baroque (Antwerp, Belgium), O’Flaherty’s (New York, NY), Galerie Hussenot (New York, NY), amongst others; as well as being featured on the cover of New American Paintings’ 25th Anniversary Edition.  She was an artist in residence at the Watermill Center (Watermill, NY) in 2019.  In 2021, a solo exhibition of Furr’s work was presented at the SCAD Museum, Savannah, GA, curated by Ariella Wolens, assistant curator of SCAD exhibitions. Furr presented a solo booth of new works with Sargent’s Daughters at the Armory Show in 2022.

Her work has been reviewed in Artnet, Artforum, Hyperallergic, Burnaway, The New York Times, Time Out New York, amongst others. Furr is represented by Sargent’s Daughters. Her recent solo exhibition at Sargent’s Daughters Los Angeles, “Bombshell,” marked her debut Los Angeles presentation and  her fourth solo exhibition with the gallery.

Yaron Michael Hakim (b. 1980 Bogotá, Colombia)  lives and works in Los Angeles.  Working across media, Hakim’s practice reflects upon assimilation, living between cultures, and exoticization.  Through detailed, surrealistic depictions of flora and fauna, his paintings on recycled sailcloth investigate translation and migrancy, offering new insights and approaches to understanding hybrid identities, in which the exotic is rendered personal and familiar. In these paintings, as well as in small sculptural works, Hakim reconsiders identity through the lens of speciation, disrupting the established boundaries of self and other, human and animal.

Hakim’s artist book, Yaron Michael Hakim: Psittaciformes was published with Grand Central Art Center and X Artists’ Books in September 2023. The book features a foreword by John D. Spiak, GCAC Director/Chief Curator, a text by poet Amy Gerstler, and a conversation between Hakim and MoCA Senior Curator José Luis Blondet. It received the Bronze award from the Publisher’s Association of the West’s 2023 Book Design Awards  in the Photography/Art/Design Category. 

Hakim received an MFA from the University of California (Irvine, CA) in 2013 and a BFA in Painting from the Maryland Institute College of Art in 2002. He has had recent solo exhibitions at Sargent’s Daughters (Los Angeles, CA), California State University (Sacramento, CA), Grand Central Art Center (Santa Ana, CA), Herrnando’s Hideaway (Miami, FL), and LAXART (Los Angeles, CA). His work has been included in group exhibitions at The Floating Gallery (Los Angeles, CA), California State University (San Francisco, CA), Praz-Delavallade (Los Angeles, CA), Art+Chateau (Ladoix-Serrigny, France), The Pit (Los Angeles, CA), BBQLA (Los Angeles, CA); and  The Box (Los Angeles, CA), among others. Hakim’s work has been featured in Los Angeles Magazine, Hyperallergic, Georgia Review, and the Miami New Times, among other publications. He is represented by Sargent’s Daughters.

Wendy Red Star (b.1981, Billings, MT) lives and works in Portland, OR. An enrolled member of the Apsáalooke (Crow) Tribe, Red Star works across disciplines to explore the intersections of Native American ideologies and colonialist structures, both historically and in contemporary society. Drawing on pop culture, conceptual art strategies, and the Crow traditions within which she was raised, Red Star pushes the conversation surrounding Native American perspectives  in new directions.

Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art (New York, NY); Brooklyn Museum (Brooklyn, NY), The Broad (Los Angeles, CA); the Getty Museum (Los Angeles, CA); Fondation Cartier pour l’Art Contemporain (Paris, France); Seattle Art Museum (Seattle, WA);  Portland Art Museum (Portland, OR); the Museum of Contemporary Art Chicago (Chicago, IL) ; St. Louis Art Museum (St. Louis, MO); the Contemporary Austin (Austin, TX);  Minneapolis Institute of Art (Minneapolis, MN);  Massachusetts Museum of Contemporary Art (MassMoCA) (North Adams, MA); the Drawing Center (New York, NY); and the Cleveland Museum of Art (Cleveland, OH), among others. Her monumental sculpture, The Soil You See…, was included in Beyond Granite: Pulling Together, the first curated outdoor exhibition in the history of the National Mall (Washington, D.C), organized by Monument Lab in 2023. The work was then acquired by Tippet Rise Art Center (Fishtail, MT). Red Star’s work will be included in a Spring 2024  exhibition at South London Gallery, in partnership with the Victoria and Albert Museum (London, UK).

Her work is in over 60 public collections, including be the Museum of Modern Art (New York, NY); the Whitney Museum of American Art (New York, NY); the Guggenheim Museum (New York, NY); the Lucas Museum of Narrative Art (Los Angeles, CA); the Amon Carter Museum of American Art (Fort Worth, TX); the Denver Art Museum (Denver, CO); Crystal Bridges Museum of American Art (Bentonville, AK); the Baltimore Museum of Art (Baltimore, MD); the Fralin Museum of Art at the University of Virginia (Charlottesville, VA); the Nasher Museum of Art at Duke University (Durham, NC); the Birmingham Museum of Art (Birmingham, AL); the Williams College Museum of Art (Williamstown, MA); San Antonio Museum of Art (San Antonio, TX); and the British Museum (London, UK), among others. 

Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She served as visiting lecturer at institutions including Yale University (New Haven, CT), the Banff Centre (Banff, Canada), National Gallery of Victoria in Melbourne (Melbourne, Australia), Dartmouth College (Hanover, NH), and CalArts (Valencia, CA). In 2017, Red Star was awarded the Louis Comfort Tiffany Award, and in 2018 she received a Smithsonian Artist Research Fellowship. Her first career survey exhibition, Wendy Red Star: A Scratch on the Earth,was on view at the Newark Museum (Newark, NJ) through May 2019, and traveled to the San Antonio Museum of Art (San Antonio, TX) in 2022 and the Columbus Museum of Art (Columbus, OH) in 2023. Red Star’s monograph Delegation was co-published by the Aperture Foundation and Documentary Arts in May 2022 and was named one of Vanity Fair’s best art books of 2022. Red Star’s artist book Wendy Red Star: Bíilukaa, which documents the symbolism and material culture of the Biílukaa (Apsáalooke), was published by Radius Books in April 2023. She is represented by Sargent's Daughters.