Specialist Selects: Hamilton Press

June 10, 2020

Born from the partnership of Ed Ruscha and master printer Ed Hamilton, Hamilton Press has been printing artist editions from Venice, CA, since 1990, emerging as an influential conduit of printmaking in Los Angeles and contemporary art at large. “Ed Hamilton had a hand in printing with almost all of the big artists coming out of L.A. from the ‘60s onwards,” explains LAMA Specialist Clo Pazera…

Read more.

Getting Ready for the February 25, 2018 Auction!

February 24, 2018

Get ready to bid!!! Here are some helpful tips to prepare you for the February 25, 2018 auction.

Just In: ‘Made in California’ by Ed Ruscha

June 19, 2017

Los Angeles Modern Auctions (LAMA)

LAMA is delighted to present an iconic print by Ed Ruscha, which will be available in our Fall 2017 Modern Art & Design Auction, which is LAMA’s 25th Anniversary Auction. Among Ruscha’s most iconic, and recognizable, bodies of work are his word prints and paintings. ‘Made in California’ (1971) is a particularly exceptional example, epitomizing the artist’s role as a chronicler of West Coast culture.

Paul Kasper Sculptures: Planes in Space

June 27, 2016

Paul Kasper Sculptures

Paul Kasper Sculptures: Planes in Space is the first-ever exhibition of a nearly half century of work by Paul C. Kasper, prolific sculptor, landscape architect, photographer, art collector, and patron of the arts. The exhibit includes over 20 sculptures from Kasper’s estate and sheds light on the whimsical artistic sensibility by which he crafted a multiplicity of dynamic forms from a variety of metals and utilitarian parts.

California Craft: The Work of Arthur Espenet Carpenter

May 10, 2016

Lot 138, Arthur Espenet Carpenter, Dining Suite

The Bay Area craftsman Arthur Espenet Carpenter was one of the most celebrated figures in the post-war American Studio Furniture movement. A self-taught woodworker, Carpenter almost singlehandedly defined a new design aesthetic known as the “California roundover”—a style characterized by pleasingly flowing lines and gently-contoured edges that feel almost supple to the touch. LAMA’s May 22, 2016 Modern Art & Design Auction includes the graceful, comfortable Wishbone chair–Carpenter’s signature design–as well as a drop-leaf table with organically curving struts. Rendered with skill and affection, such offerings exude the gentle warmth of the hand-made object.

The Haunting Realism of John Register

May 5, 2016

Lot 241, John Register, Motel: Route 66 (1991)

John Register created a stark and haunting body of work that depicts places without people. In their tension between light and shadow and their embrace of vivid color, his scenes evoke an existential bleakness which has prompted comparisons to the work of Edward Hopper. To this Register responded: “With Hopper you witness someone else’s isolation; in my pictures, I think you, the viewer, become the isolated one.”

Ronald Davis: Paramount Opticality

May 4, 2016

Lot 59, Ronald Davis, Panel-Clamp (PTG 0312) (1971)

Ronald Davis’s geometric abstractions were regarded as revolutionary when first exhibited in the mid-1960s. Employing polyester resin paint and fiberglass to produce impressive spatial illusions, Davis’s work has drawn comparisons to the perspective studies of the artists of the Renaissance. But Davis’s eager embrace of new materials and technologies is characteristic of his own period and context. “Illusion is my vehicle,” Davis once wrote. “Opticality is paramount.”

Jun Kaneko: Dualities in Clay

May 2, 2016

Lot 99, Jun Kaneko, Untitled (Dango) (1999)

The work of ceramic artist Jun Kaneko embodies two distinct sensibilities: there is the spirituality inherent in the ancient pottery traditions of his native Japan, and there are the modernist impulses born of his studies under the masters of the California Clay Movement. Kaneko has preferred oversized formats, which he believes foster a deeper engagement with the viewer. His signature form, a series he calls Dango—Japanese for “dumpling”—can be as large as ten feet tall. Their making requires both patience and virtuosic technical prowess. Kaneko has estimated that only two in ten works survive the laborious building, drying, and firing process without cracking or exploding. Yet when successful, Kaneko realizes some of the most profound work in contemporary art.