Must See Art

Dietmar Lutz, Andre (studio III), (2006)

Dietmar Lutz at Karyn Lovegrove Gallery

Karyn Lovegrove has taken over the space downstairs from the gallery to accommodate Dietmar Lutz’s new body of work, which consists of about a dozen large-scale canvases. Lutz paints portraits based on photographs taken of his friends, and his sunny hues, along with the loose impressionistic hand, create a romantic or nostalgic feel. The best part is that his subjects are doing nothing at all most of the time: One sits in his studio, an abstract canvas in the background; the painter Sophie von Hellerman and another woman sit outdoors with a bottle of water between them; Lutz and two men talk on what looks like a Manhattan corner, viewed from the shoulders up. Like Karen Kilimnik, Lutz revisits his subjects; there are two almost-identical paintings of a woman with dark sunglasses — one looks like it’s based on the photo she’d throw out, the other more flattering. The paintings act in the way photos do in the sense that they preserve moments in Lutz’s personal history, but the everyday compositions and poses are explored and immortalized through the prettiness of the paint itself.  6150 Wilshire Blvd., L.A. | (323) 525-1755 | | Through Nov. 25

Patterson Beckwith at Daniel Hug GalleryA former member of the ’90s art collaborative Art Club 2000, Patterson Beckwith shows a new body of work made in response to László Moholy-Nagy’s 1936 critical essay on photography, “A New Instrument of Vision.” A professor of the Bauhaus school, Moholy-Nagy believed that photography could open doors into a whole new way of seeing, a way the human eye alone was not capable of. This new series features about 10 photos of peeled bananas. Also on view is a diptych from Beckwith’s series of grocery-store flowers, as well as a couple of his beautiful smoke-filled bubble photographs that play with modernist composition. And they’re affordable.

510 Bernard St., L.A. | (323) 221-0016 | | Through Nov. 18 


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