Booth A16
September 18-21, 2025

SHOW CATALOG (PDF)

Charlie James Gallery is excited to present a presentation of works by Danie Cansino, Narsiso Martinez and Patrick Martinez for Untitled Art Houston. The gallery will be located at Booth A16.

VENUE

George R. Brown Convention Center
Hall A3
1001 Avenida De Las Americas
Houston, TX

THE FAIR

VIP and Press Preview: Thursday, 18 Sept, 1-9pm

Opening Hours:
Fri, 19 Sept, 12-8pm
Sat, 20 Sept, 12-6pm
Sun, 21 Sept, 12-6pm

Fair Information Available Here

Selected Works

installation

Press & News

Room 132
july 29 - August 2, 2025

SHOW CATALOG (PDF)

Charlie James Gallery is excited to present a presentation of works by Luke Butler, Danie Cansino, Avis Charley, Danielle De Jesus, Maya Fuji, Jay Lynn Gomez, Elmer Guevara, Glenn Hardy Jr., Ozzie Juarez, Narsiso Martinez, Patrick Martinez, The Perez Bros, Kristopher Raos, Shizu Saldamando and Jim Thompson for Aspen Art Fair in Room 132.

VENUE

Hotel Jerome
Auberge Resorts Collection
330 E Main St, Aspen, CO 81611

THE FAIR

Collectors' Preview: Tuesday, July 29 - 11 am–3 pm
Opening Reception: Tuesday, July 29 - 3 pm–5 pm

Wednesday, July 30 - 12 pm–6 pm
Thursday, July 31 - 12 pm–6 pm
Friday, August 1 - 12 pm–6 pm
Saturday, August 2 - 11 am–4 pm

Fair Information Available Here

Selected Works

installation

Press & News

Room 14
June 12-15, 2025

SHOW CATALOG (PDF)

Charlie James Gallery is excited to present a presentation of works by Luke Butler, Danie Cansino, Danielle De Jesus, Lisa Edelstein, Jay Lynn Gomez, Ozzie Juarez, Narsiso Martinez, Patrick Martinez, Kayla Mattes, Erick Medel, The Perez Bros, Kristopher Raos, Duke Riley, Jeffrey Sincich, and Jim Thompson for Arrival Art Fair 2025 in Room 14.

VENUE

tourists
915 State Rd

North Adams
MA 01247

THE FAIR

THUR 06.12.25 - VIP Preview (invitation only)
FRI 06.13.25 - 10AM TO 05PM
SAT 06.14.25 - 10AM TO 05PM
SUN 06.15.25 - 10AM TO 04PM

Fair Information Available Here

Selected Works

installation

Press & News

april 24 - 27, 2025

MANUEL LOPEZ SHOW CATALOG (PDF)
JOHN AHEARN AND RIGOBERTO TORRES CATALOG (PDF)

Charlie James Gallery is excited to present new works by Los Angeles-based painter Manuel López at the 2025 edition of EXPO CHICAGO. López continues working in landscape and still life for this presentation in Chicago, tapping into this grand and romantic tradition to capture the quiet moments and forgotten corners of his native Los Angeles. Precise detail, an idiosyncratic hand, and a vibrant sense of play brings each composition to life. In these works, López also taps into various art historical touchpoints including romantic landscape painting and 20th century icons such as Edward Hopper and David Hockney.

CJG will also be exhibiting works by John Ahearn and Rigoberto Torres for IN/SITU.

EXPO CHICAGO

Venue
Navy Pier Festival Hall
600 E Grand Ave
Chicago IL 60611.

Fair Dates
April 24 – 27, 2025

Hours

VIP Preview
Thursday, April 24, 2025
By Invitation Only. Check your VIP pass for entry time. Fair closes at 8:00pm

General Admission
Thursday, April 24, 2025 | 5:00–8:00pm* Opening Night Ticket holders only
Friday, April 25, 2025 | 11:00am – 7:00pm
Saturday, April 26, 2025 | 11:00am – 7:00pm
Sunday, April 27, 2025 | 11:00am – 6:00pm

Fair Information Available Here

Selected Works

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installation

Press & News

ROOM 1105
february 19-23, 2025

SHOW CATALOG (PDF)

Charlie James Gallery is excited to present a presentation of works by Nancy Buchanan, Luke Butler, Maya Fuji, Elmer Guevara, Ozzie Juarez, Narsiso Martinez, Patrick Martinez, Kayla Mattes, Erick Medel, noé olivas, The Perez Bros, Kristopher Raos, Duke Riley, Jeffrey Sincich and Jim Thompson for Felix Art Fair 2025. The gallery will be located in Room 1105.

VENUE

Hollywood Roosevelt Hotel
7000 Hollywood Blvd
Los Angeles, CA 90028

THE FAIR

VIP Preview: Wednesday, February 19: 11:00am – 8:00pm
Public: Thursday, February 20: 11:00am – 7:00pm
Public: Friday, February 21: 11:00am – 7:00pm
Public: Saturday, February 22: 11:00am – 7:00pm
Public: Sunday, February 23: 11:00am – 5:00pm

Fair Information Available Here

Selected Works

installation

Press & News

booth E17
february 20-23, 2025

PRESS RELEASE (PDF)
OZZIE JUAREZ - CATALOG (PDF)
JACKIE AMÉZQUITA - CATALOG (PDF)

Charlie James Gallery is pleased to present a presentation of works by Ozzie Juarez and Jackie Amézquita at Frieze Los Angeles 2025 in Booth E17.

 The booth will feature a suite of paintings on fabricated metal gates by Ozzie Juarez in a continuation of the series first presented in the artist’s 2024 solo exhibition at the gallery. These works bring together elements of history and fantasy with signifiers of Los Angeles’ contemporary landscape, blending the visual languages of urban sprawl, history painting, animation, and kitsch in ways that speak to the artist’s deep roots in the city and many of its less celebrated corners and cultures.  

Several of the works incorporate fantastical imagined landscapes, their soft focus reminiscent of dreams or vintage cartoons. Juarez’s titles convey a sense of contemplative quiet that seems at odds with the flashy sonidero text style that bears them. Many include images of Mesoamerican step pyramids, and two smaller works directly juxtapose the pyramid with a turreted, European-style castle, each bearing a single towering structure at the end of a wandering path. Elsewhere, a sleek, ropily muscled Xoloitzcuintli sits at alert in three-quarter view amidst a serene landscape. Dating back to a thriving pre-Columbian past, both the pyramid and the Xolo serve as symbols of Mexican heritage and pride.

The gates supporting these paintings are of the sort that might span the entrance to a scrap yard or auto-body shop: rusted surfaces with spiked tops. The prevalence of this kind of barrier in the Los Angeles landscape counteracts any feeling of menace in the hulking forms, yet even on a gallery wall they retain a sense of guardianship, of protection; a barring of entry both visual and physical. The observer can’t help but wonder what these rusted gates might be shielding from view. Three small paintings play with the idea of the guard dog that often sits behind gates such as these, but Juarez depicts them in the extra-cute style of cartoons and figurines, subverting expectations around the kinds of things one might find.

 Rust often carries a connotation of urban blight – it spreads on untended surfaces and becomes a desirable playground for graffiti writers and metal scrappers. Juarez plays with ideas of beauty and ugliness, softness and severity as he juxtaposes hard metal with dreamy fantasy worlds.

This rust is the product of a chemical process the artist developed a talent for when finishing sets for Disney, which often included artificially aging surfaces. Rust has a mind of its own, however, and the results are often surprising. Its texture is similar to that of a rough paper and its stippled finish shows through areas of the painted surface. The works are inherently sculptural, with their hinges and clasps and barbed finish.  A small, unique lock adorns each gate in a nod to the culture of swap meets, in which Juarez grew up working with his family and where every tiny object carries a precious and valuable story.

For Frieze Los Angeles 2025, Jackie Amézquita's latest body of work materializes five stages of regeneration, offering a profound meditation on community, ancestral memory, and the ability to shape unseen futures. Each of the five vessels, standing on cinder blocks made from bio-char (ash), symbolize the five stages of regeneration: nightfall, first-light, passage, community, and dreams. Echoing forms of Mesoamerican vessel ceramics for cacao ceremonies, they evoke both fragility and endurance, translating Indigenous knowledge onto chemically bound materials through processes of firing and drying. These vessels are living entities, bearing the weight of interwoven histories and the potential for renewal– composing the very fabric of the cosmos.

Iconographically, the work references a divine woman giving birth as a deity signifying creation and renewal. Materials such as cochineal, copper, and banana liquid patina mark the passage of time, while the vessels stand as reconfigured homes, reflecting the precarious conditions of displacement on the body. Amezquita’s act of making is deeply intuitive, attuned to the temporality of charcoal bound into cinder blocks, and maize and soil shaped by traditional pinch pot and coil methods embodying transformation and intergenerational memory.

Through this work, Amézquita engages in a dialogue between grief and hope, urging us to hold space for both. These vessels, rooted in collective memory, channel the past while envisioning a future where community and solidarity offer foundations for renewal. By conjuring a quiet energy of remembrance and rebirth, she affirms a Mesoamerican cosmovisions that relies on acts of seeing as an embodiment of continual cycles of becoming and creation.

FRIEZE PROJECTS

Amézquita is contributing an ambitious new work created for Frieze Los Angeles 2025, presented in partnership with Maestro Dobel Tequila and Art Production Fund. The piece is part of Frieze Projects, curated by Art Production Fund under the title ‘Inside Out’, which sees various artists riff on the intersection between personal histories and Los Angeles’s environs.

Situated on three outdoor soccer fields, Amézquita’s installation ruminates on her origins as a Guatemalan immigrant to Southern California, as well as the ways in which humans migrate to new landscapes, in turn adding new layers of meaning to environments already replete with stories. The new work is rooted in her fascination with data patterns, specifically those tracing global human migration throughout history. Through these studies, she learned that migration from Asia to the Americas in centuries past was not linear but rather followed a curve. Stretching 190 by 80 feet, Amézquita’s immersive installation is designed so that audiences mirror this pattern. By entering at the eastern side of the soccer fields, then wending their way on a curved trajectory, participants activate the space in an act that the artist describes as forming ‘invisible lines of connections’.

The materials Amézquita utilizes in the piece – including many pounds of lava rock sourced from Mammoth Lakes near Yosemite National Park, Mexican corn, Indonesian blue pea flower, and soil and ocean water from Los Angeles – also nod to past lineages. Ancient civilizations including the Maya – an important source of inspiration for Amézquita – incorporated lava rock matter into their grand central plazas, which served as focal gathering places for their communities.

Juarez will also have a site-specific performance and installation work included in the Frieze Projects exhibition Inside Out, curated by Art Production Fund. This work highlights the unique material and visual culture of LA’s swap meets, which thrive on the hustle and creativity of largely immigrant and marginalized communities. Juarez grew up fully immersed in this culture while working with his family at swap meets and continues to visit markets throughout the city. He will recreate a swap meet stall at Frieze Projects and fill the space with found and created objects, while himself acting as market vendor. This work “brings a little bit of South Central to Santa Monica,” temporarily collapsing the distinction between art selling practices at two very different ends of the spectrum.

VENUE

Santa Monica Airport
3027 Airport Avenue, Santa Monica, 90405

THE FAIR

Thursday, February 20: 10am – 7pm (invitation only) 
Friday, February 21: 11am – 7pm (invitation only 11am – 1pm, preview ticket holders only from 1pm 
Saturday, February 22: 11am – 7pm 
Sunday, February 23: 11am – 6pm 

Fair Information Available Here

Selected Works

installation

Press & News

booth b24
february 6 - 9, 2025

PRESS RELEASE (PDF)
SHOW CATALOG (PDF)

For Material Art Fair 2025, Charlie James Gallery is proud to present Punto de Vista, a solo exhibition of works by Los Angeles artist Danie Cansino that invites the viewer to inhabit the artist’s unique perspective. Brightly-lit scenes emerge from shadowed frames like first-person memories, tangling the viewer into the artist’s own gaze. The Material presentation will include a group of paintings on non-traditional supports, including Mexican serape and leather, as well as compositions on paper, panel, and mirror. Cansino’s paintings are populated by women at work and at leisure, and often focus on hands – instruments of labor but also of beauty, Cansino’s painted hands get things done while sporting long, elegant nails. The works celebrate the pride and independence of women who have bucked convention by finding success in male-dominated fields, beginning with the artist’s own grandmother, as well as their perseverance in the face of a declining political climate.

Alchemy features two tattooed, long-nailed hands pulling a pint. This painting pays homage to the artist’s cousin who works as a brewmaster, a position occupied by very few women. Cansino captures the elegance and precision of the pour, imbuing the act with a feminine strength. A fierce self-possession also appears in Bella Doña, whose amber-lit figure boldly takes up space in a world that is not always welcoming to powerful Chicanas. Throughout, Cansino reiterates the idea of Puedo Hacerlo – a can-do attitude that encompasses everything from putting on your own jewelry to sharking at the pool tables – with characteristic Baroque drama and detail.

Cansino’s paintings on serape and leather are a unique innovation in the medium. Traditional painting supports consist of textile – usually canvas or linen – stretched to a frame and trimmed. Cansino complicates this history by opting for serape in place of canvas, stretching the traditional Mexican textile and leaving the excess fabric to hang off the frame. Similarly, the leather alludes to a history of Mexican craft that stretches back for hundreds of years. In this way, the blankets and leather serve as support for the picture plane while maintaining their status as objects in the world, a non-neutral ground for the paintings to occupy.

Another signature medium for Cansino brings her tattooing practice directly into the work by using ballpoint ink and a tattoo gun to create deftly shaded pointillist drawings on paper. Work Boots pays homage to her grandmother, a factory worker at a time when few women were. In this self-portrait, the artist laces her own work boots, protection against a world increasingly hostile to women and communities of color. The masterful realism that Cansino is able to achieve with the ballpoint works has its roots in classic West Coast Chicano tattoo styles, a mode she expands into personal stories and landscapes.

Two etched mirror works round out the presentation. Cansino created these by “drawing” on mirror with a dremel, a process reminiscent of the labor of tattooing. The technique shows up in the elaborately etched windows of lowrider culture, but also in kitsch trinkets common in Mexican-American households, The image of the Virgin Mary evokes a kind of “abuelita” aesthetic that calls to mind the homes of loved ones, here transposed onto a rounded hanging mirror that reflects the viewer alongside the visage of the saint. As with the ink on paper drawings, Cansino achieves an incredible realism via subtle shading and slight gradations in etched tone.

VENUE

Expo Reforma (MAP)
Av. Morelos 67
Col. Juárez, Del. Cuauhtémoc
CDMX 06600
Mexico

THE FAIR

February 6th – 9th, 2025

• Thursday, February 6th

  • Invited: First Look, 12 – 2PM (VIP)

  • Invited: Private View, 2 – 5PM (VIP)

  • Grand Opening, 5 – 8PM (Open to the public)

• Friday, February 7th, 12 – 8PM

• Saturday, February 8th, 12 – 8PM

• Sunday, February 9th, 12 – 7PM

Fair Information Available Here

Selected Works

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installation

Press & News

booth s10 | Survey
december 4 - 8, 2024

PRESS RELEASE (PDF)
SHOW CATALOG (PDF)

Charlie James Gallery is pleased to present a compelling exhibition showcasing two decades of portraiture by New York artists John Ahearn and Rigoberto Torres at Art Basel Miami Beach 2024. The gallery will be located in the Survey Section, Booth S10, dedicated to twentieth-century art.

Ahearn and Torres are currently enjoying a well-deserved wave of institutional recognition. In 2023, the Bronx Museum hosted a major survey exhibition, Swagger and Tenderness: The South Bronx Portraits, which garnered rave reviews from Hilton Als in The New Yorker and Travis Diehl in The New York Times. The duo’s ongoing prominence continues with their inclusion in American Vignettes: Symbols, Society, and Satire at the Rubell Museum in Washington, D.C., Shifting Landscapes at the Whitney Museum of American Art, The Shape of Power: Stories of Race and American Sculpture at the Smithsonian American Art Museum, and Ordinary People: Photorealism and the Work of Art Since 1968 at the Museum of Contemporary Art Los Angeles, all opening the Fall of 2024.

While Ahearn and Torres are widely known for their collaborative work, they have each sustained distinct artistic practices throughout their careers. At Art Basel, our presentation will feature a dynamic selection of co-authored works alongside individual pieces by each artist. Central to the presentation is the co-authored masterpiece Samson (1990), a poignant portrait of Kenyatta Caldwell, a young Rastafarian who frequented Ahearn and Torres's Walton Avenue studio in the Bronx. Another significant co-authored work is the rare diptych The Graduates: Princess and Bashira (1989), which captures two children in yellow graduation attire. This diptych was first installed on the exterior walls of Ahearn and Torres’s apartment building on Walton Avenue in the Bronx in 1990, where it was captured in now iconic photographs by Martha Cooper.

The exhibition will also present five works by John Ahearn from the 1980s and 1990s, including two pieces featured in the 2023 Bronx Museum survey, Cynthia from 1981 and Willy from 1985. Additionally, five works by Rigoberto Torres from the same period will be shown, including two masterpieces from the early 1980s: Magic Kids and Uncle Tito at His Liquor Store.

This exhibition offers a unique opportunity to explore the rich, collaborative history of Ahearn and Torres while celebrating their individual contributions to contemporary portraiture. We look forward to welcoming visitors to Booth S10 at Art Basel Miami Beach 2024.

John Ahearn (b. 1951, Binghamton, NY; lives and works in Bronx, New York) and Rigoberto Torres (b. 1960, Aquadilla, Puerto Rico; lives and works in Orlando, Florida) have produced life-cast sculpted portraits and scenes of the South Bronx community for nearly four decades. 

Ahearn and Torres’ collaborative work has been the subject of numerous two-person exhibitions, including Swagger & Tenderness: The South Bronx Portraits of John Ahearn and Rigoberto Torres, The Bronx Museum of the Arts, New York, in 2022; and Automatic for the People: John Ahearn and Rigoberto Torres, Aljira Center for Contemporary Art, Newark, New Jersey, in 2010. Their South Bronx Hall of Fame works were the subject of a special presentation at Frieze Projects, New York, curated by Cecilia Alemani, in 2012. From 1991-1992, their work was the subject of a major traveling exhibition, The South Bronx Hall of Fame: Sculpture by John Ahearn and Rigoberto Torres, which travelled from the Contemporary Arts Museum, Houston, Texas, to Witte de With, Rotterdam, Netherlands, to the Contemporary Arts Center, Cincinnati, Ohio, and the Contemporary Museum, Honolulu, Hawaii.

In 2024, the artists are included in several significant exhibitions, including Shifting Landscapes, The Whitney Museum of American Art, New York; The Shape of Power: Stories of Race and American Sculpture, Smithsonian American Art Museum, Washington, D.C.; American Vignettes: Symbols, Society, and Satire, The Rubell Museum, Washington D.C.; and Ordinary People: Photorealism and the Work of Art since 1968 at The Museum of Contemporary Art, Los Angeles (CA). Recent group exhibitions include City as Studio, K11 Art Foundation, Hong Kong, in 2022; East Village, New York City, Seoul Museum of Art, South Korea, in 2018; Club 57: Film, Performance, and Art in the East Village, 1978–1983, The Museum of Modern Art, New York, in 2017; Like Life: Sculpture, Color, and The Body, The Met Breuer, New York, in 2018; and Greater New York, MoMA PS1, New York, in 2016.

Their collaborative and individual work has been collected by numerous public museums, including The Art Institute of Chicago; The Broad, Los Angeles; The Carnegie Museum of Art, Pittsburgh; The Metropolitan Museum of Art, New York; The Museum of Contemporary Art, Chicago; The Museum of Contemporary Art, Los Angeles; The Museum of Fine Arts, Boston; The Museum of Modern Art, New York; The National Gallery of Australia, Canberra; The Studio Museum in Harlem, New York; and The Whitney Museum of American Art, New York, among many others.

ART BASEL MIAMI BEACH 2024

Venue
Miami Beach Convention Center
1901 Convention Center Drive
Miami Beach, FL 33139

Opening Hours

Private Days (by invitation only)
Wednesday, December 4, 2024, 11am to 7pm, First Choice VIP guests
Wednesday, December 4, 2024, 4pm to 7pm, Preview VIP guests
Thursday, December 5, 2024, 11am to 7pm, First Choice and Preview VIP guests
Thursday, December 5, 2024, 4pm to 7pm, Vernissage VIP guests

Public Days
Friday, December 6, 2024, 11am to 6pm
Saturday, December 7, 2024, 11am to 6pm
Sunday, December 8, 2024, 11am to 6pm

Fair Information Available Here

Selected Works

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installation

Press & News

SEPTEMBER 5 - 8, 2024

SHOW CATALOG (PDF)

Charlie James Gallery is excited to present new works by Los Angeles-based painter Manuel López at the 2024 edition of The Armory Show. López turns to landscape for this first presentation on the East Coast, tapping into this grand and romantic tradition to capture the quiet moments and forgotten corners of his native Los Angeles. These are the artist’s largest paintings to date, yet they maintain a sense of immediacy that is honed over a series of preparatory drawings. Precise detail, an idiosyncratic hand, and a vibrant sense of play brings each composition to life. In these works, López also taps into various art historical touchpoints including romantic landscape painting and 20th century icons such as Edward Hopper and David Hockney.

The centerpiece of this presentation is the large, bustling painting El Sereno Landscape (The Place of the Flowers). The viewer is led into the composition by two towering, beautifully rendered cypress trees. These frame a vibrant working-class neighborhood, with the ever-present Los Angeles tire shop nestled beside colorful homes and apartments. Peering over the landscape is a small ranch house in the distant hills – a nod to the city’s more agricultural past, but also to its ever-changing future: a U-Haul truck ferries in the city’s newest resident, perhaps. Amid this cycle of constant renewal and displacement, López pays homage to the working class community – those who fix up old cars, care for old houses, and remember the old days. Yet the composition contains no figures, as in early photographs of bustling street scenes whose figures moved too fast for the technology to capture – the image of the figure is lost, but their energy remains. 

The bristling energy of El Sereno Landscape carries over into the smaller painting Terreno con Nopales. The makeshift fencing in the foreground of the composition provides ample opportunities for López’s signature shifting perspective: in his works, a crossed fencepost, sagging telephone wire, or lanky palm trunk often occasions a spatial hiccup, bending reality to its own internal logic, or perhaps to the eternal illogic of Los Angeles’s sprawling expanse. López approaches these nopales as a connection to the culture of his ancestors, whose influence lives on through a combination of careful cultivation and stubborn resiliency, much like the cacti and dandelions that dot the landscape. 

Terreno con Nopales takes its palette from David Hockney’s famous Los Angeles composition American Collectors (Fred and Marcia Weisman) (1968), in the collection of the Art Institute of Chicago. Hockney and López capture two faces of Los Angeles, mapping the distance between the glitz of Hollywood and the humble routines of the city’s more far-flung neighborhoods. López draws from art history in other works as well, evoking the eerie dusk glow and suggestively lit windows of Edward Hopper in Moonrise Over South Central. The dusty pink gloaming here comes from the polluted air left in the wake of low-flying planes, which here mingle with the LAPD helicopters that hover over these over-surveilled communities. Each of these urban landscapes captures stillness and beauty in forgotten places, finding value and resiliency in the overlooked corners of the city.

As in Terreno con Nopales, the pink-skied Nopales, Fig Tree, and Cypress takes as its subject the contained landscape of a Los Angeles empty lot. Within the grand urban landscape, these small spaces burst with mystery and possibility, amplified here by the flushed twilight sky. López toggles between bright, flat color that verges on abstraction and a more detailed hand, giving the scene an almost storybook feel. Two potted plants in the lower left serve as a kind of signature, hearkening back to the artist’s early drawings and still lifes. In focusing on landscape, López joins a robust history of artists finding magic and inspiration in the city of angels, turning a gimlet eye on its idiosyncrasies, inequalities, and endless potential.

Southwest Road Tripping breaks this pattern, taking as its subject the vast expanse of the Mojave desert landscape as seen from the highway. The painting is a story told in four registers, each moving at a different speed: the road flies by at the front, while the nearby fence breaks up the fast-moving scrub. A second, slower register of desert landscape holds telephone poles and a small structure, and finally the far mountain landscape sedately traverses the view. The subtle surreality of the scene recalls the cartoon backdrop to the antics of Wile E. Coyote and his elusive roadrunner, the artist’s first exposure to the desert. Much like that one, this landscape holds more than first meets the eye: López also breaks up the landscape vertically, offering a slightly different snapshot between each telephone pole. In this way he captures both movement in both space and time under a veneer of serenity. 

THE ARMORY SHOW 2024

Venue
Javits Center
Crystal Palace Entrance
429 11th Avenue
New York, NY 10001

Fair Dates
September 5 – 8, 2024

Thursday, September 5 - VIP Preview 
Friday, September 6 | 11am–7pm
Saturday, September 7 | 11am–7pm
Sunday, September 8 | 11am–6pm

Fair Information Available Here

Selected Works

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Press & News

May 9 -12 2024

SHOW CATALOG (PDF)

Charlie James Gallery is proud to present new works by Danie Cansino at the 2024 Independent Art Fair, the artist’s first solo presentation in New York. A Los Angeles-based artist and educator with roots in tattooing, Cansino employs Baroque grisaille techniques in paintings that cast BIPOC and especially Chicano bodies in large, allegorical compositions that propose new subjects for the art historical canon. Drawing inspiration from Old Master paintings in both subject and execution, Cansino emphatically centers Brown, tattooed bodies in grand compositions that elevate her own Los Angeles community. In addition to these large paintings, the Independent presentation will include landscapes, paintings on Mexican serapes, and a tattoo-inflected drawing in ballpoint pen.

Two of the large paintings recast classical demons as Mexican alebrijes, ancestral spirit guides in the form of brightly-colored creatures. Sueños takes as its inspiration Francisco Goya’s The Sleep of Reason Produces Monsters, substituting Goya’s benighted European gentleman for a tattooed Chicana nude, while Pesadillas Con Gatijos reimagines Henry Fuseli’s The Nightmare, replacing two menacing monsters with magical renditions of artist’s two beloved cats. Cansino’s paintings look to the 18th century not just in subject, but also in execution. Using a traditional grisaille technique, she completes the detailed linework in underpainting before adding color and shading in built up layers of glaze. This results in richly toned, deeply saturated color that also seems to catch and refract light.

This luminous transparency lends itself beautifully to Cansino’s treatment of flesh. A careful attention to skin and the contour of bodies is inherent to tattooing, a medium in which she has extensive experience. A large painting after Caravaggio’s Narcissus features a young man peering into his own reflection, allowing the viewer to see the fully-rendered tattoos that cover the back of his bald head, curve around his throat, and blanket his exposed arms. Cansino highlights a very particular style of Chicano tattooing that has roots in prison culture and the political movements of the latter 20th century, whose symbolism and popularity reflects deeply held cultural pride. 

The Independent presentation will also include two serape paintings, in which Cansino works directly on traditional Mexican textiles. These works tightly focus on Chicana hands in familiar daily settings that suggest an intimacy borne of shared experience: drinking coffee, smoking, playing pool. They are individuated by their elaborate rings, tattoos, and long painted nails. These works continue Cansino’s project of centering Chicano bodies within her work, and especially those of her own community. The serapes are stretched on frames with the excess fabric left to hang from all sides, emphatically asserting their own objecthood.

Cansino archives the tattooed line in Reinas, a drawing in ballpoint pen on lined paper executed using a tattoo machine. The paper will weather much like skin, creating a parallel timeline that speaks to the essential ephemerality of the medium. Elsewhere, radiant painted landscapes depict the vast Los Angeles skies criss-crossed with the power lines and barbed wire that are ubiquitous in the neighborhoods south and east of downtown Los Angeles. Throughout the works on view, Cansino continually draws the viewer’s attention to her own history and community, anchoring the work in the Chicano experience and centering stories and bodies overlooked in the art historical canon.

Danie Cansino (b. 1986) is an artist and educator living and working in Los Angeles. Danie Cansino’s work manifests in bold chiaroscuro oil paintings and vividly rendered ballpoint drawings on loose-leaf paper, mounted to panel. The subject territory of her drawings and paintings originates from herself, her family members and close friends, and the geography of their shared surroundings - their homes, their neighborhoods, their city. The geographies of the work all stand in evidence of long-standing inhabitation by generations of Cansino’s people as they grow up, move forward, and pass on. Cansino describes her work as a love letter to her family, city, and culture, and a remembrance of the suffrage of the Chicanx and Latinx people of Los Angeles.

Cansino completed her Master of Fine Arts degree at the University of Southern California, and is an Adjunct Professor of USC Roski School of Art and Design. Cansino's work has been featured in ArtForum, Artillery, and ArtNews magazine. Her work resides in the collections of the Rubell Museum, Los Angeles County Museum of Art, the Xiao Museum of Contemporary Art, AltaMed, in addition to numerous private collections. She has exhibited in the Rubell museum, Long Beach Museum of Art, Muzeo museum, Vincent Price museum, UCLA, AMOCA, UTA Artists Space, Felix Art Fair, Human Resources Gallery, The Mistake Room, USC Roski, Thinkspace, Tlaloc studios and Charlie James Gallery. Danie Cansino is represented by Charlie James Gallery, Los Angeles.

INDEPENDENT ART FAIR 2024

Venue
Spring Studios
50 Varick St.
New York, NY 10013

Fair Dates
May 9 – 12, 2024

Thursday, May 9 - Preview Day: Invitation Only

Public Hours:
Friday, May 10: 11AM – 7PM
Saturday, May 11: 11AM – 7PM
Sunday, May 12: 11AM – 6PM

Fair Information Available Here

Selected Works

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Press & News

APRIL 4 - 7, 2024

SHOW CATALOG (PDF)

Charlie James Gallery is excited to present a presentation of works by Elmer Guevara, Ozzie Juarez, Nery Gabriel Lemus, Manuel López, Patrick Martinez, Narsiso Martinez, Kayla Mattes, Erick Medel, Kristopher Raos, Duke Riley, and Jeffrey Sincich for Dallas Art Fair 2024. The gallery will be located in Booth F18.

In the heart of the downtown arts district, the Dallas Art Fair offers collectors, arts professionals, and the public the opportunity to engage with a rich selection of modern and contemporary artworks presented by leading national and international galleries. Thoughtfully curated exhibitions and innovative programming encourage lively conversations and close looking in a robust and rapidly growing arts community.

2024 FAIR DATES
Thursday, April 4, VIP First Look + Foundation Preview Benefit
Friday, April 5, 11:00 AM - 7:00 PM
Saturday, April 6, 11:00 AM - 7:00 PM
Sunday, April 7, 11:00 AM - 5:00 PM

LOCATION
Fashion Industry Gallery
1807 Ross Avenue,
Dallas, Texas 75201

Tickets Available Here

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FEBRUARY 28 - MARCH 3, 2024

SHOW CATALOG (PDF)

Charlie James Gallery is excited to present a presentation of works by Nancy Buchanan, Danie Cansino, Lauren D’Amato, Elmer Guevara, Jay Lynn Gomez, Ozzie Juarez, Manuel López, Patrick Martinez, Narsiso Martinez, Kayla Mattes, Erick Medel, Jerry Peña, Kristopher Raos, Duke Riley, Shizu Saldamando, Jeffrey Sincich and Joaquín Stacey-Calle for Felix Art Fair 2024. The gallery will be located in Room 1128.

Established in 2018, Felix is an art fair created with the intention to foster intimate experiences that prioritize conversation, collaboration, and community. The 2024 edition takes place February 28–March 3, 2024 at the Hollywood Roosevelt Hotel in Los Angeles. Public hours are Thursday through Saturday, from 11am - 7pm, and Sunday, 11am - 5pm.

Venue
Hollywood Roosevelt Hotel
7000 Hollywood Blvd
Los Angeles, CA 90028

Tickets Available Here

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February 8-11 2024
Booth b10

SHOW CATALOG (PDF)

Charlie James Gallery is delighted to present a solo exhibition of new works by gallery artist Narsiso Martinez for the 2024 edition of Material Art Fair.

Narsiso Martinez (b. 1977, Oaxaca, Mexico) came to the United States when he was 20 years old. He attended Evans Community Adult School and completed high school in 2006 at the age of 29. He earned an Associate of Arts degree in 2009 from Los Angeles City College. In the fall of 2012 Narsiso earned his Bachelor of Fine Arts from California State University Long Beach. In the spring of 2018 he received a Master of Fine Arts degree in drawing and painting from California State University Long Beach, and was awarded the prestigious Dedalus Foundation MFA Fellowship in Painting and Sculpture. His work has been exhibited both locally and internationally. His work is in the collections of the Museum of Fine Arts Houston, Orange County Museum of Art, Phoenix Art Museum, Hammer Museum, Amon Carter Museum of American Art, MOLAA, University of Arizona Museum of Art, Long Beach Museum of Art, Crocker Art Museum, Jordan Schnitzer Museum of Art at the University of Oregon, and the Santa Barbara Museum of Art. Martinez was awarded the Frieze Impact Award in 2023. Martinez lives and works in Long Beach, CA.

MATERIAL ART FAIR 2024

Venue
Expo Reforma
Morelos 67
Col. Juárez, Del. Cuauhtémoc
Mexico City, 06600

Opening Hours

Thursday, February 8th

• Invited: First Look, 12 – 2pm (by invitation only)

  • Invited: Private View, 2 – 5pm (by invitation only)

  • Opening Night, 5 – 8pm

• Friday, February 9th, 12 – 8pm

• Saturday, February 10th, 12 – 8pm

• Sunday, February 11th, 12 – 7pm
  

Fair Information Available Here

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december 6 - 10, 2023

SHOW CATALOG (PDF)

Charlie James Gallery is delighted to present Existir, a solo exhibition of new works by gallery artist Shizu Saldamando for the 2023 edition of Art Basel Miami Beach from December 6-10, 2023. The gallery will be exhibiting in the NOVA section, Booth N21.

Artist Statement on Existir:
“I do portraits celebrating people, friends and peers, many of whom are activists, brown, queer, trans, Indigenous, immigrants, femme and the like, who exist regardless of legislation and historical erasure.  The detailed, yet minimal portraits are homage to people in my circles who I’ve come to admire for varying reasons. I use bare wood panels as a ready-made backdrop while also referencing the scrap wood sculptures my grandfather would make when he was incarcerated in the Japanese American prison camps during WWII. The wood panels allow the portraits to become sculptural and the transparency of the oil paint allows the wood grain to show through in order to acknowledge a more ephemeral, and fluid subject-hood. The floral works are born out of communal crafting done in the Japanese American Incarceration camps during WWII and are based off of paper rose patterns found in the archives of the Manzanar prison camp. To acknowledge and pay respects to those who have endured through incarceration, colonization, pandemics, genocides, I offer the floral works as a pause for reflection and space for communal mourning. The historical roots of which were inspired out of communal crafting that families would make while imprisoned. They are made from traditional Japanese washi papers, floral ribbon, found chain-link fence parts, and gardening trellises.”

Shizu Saldamando’s work depicts American social spaces through portraiture. Her work celebrates peers, friends, and loved ones through paintings and drawings that honor the brief moments of connection that occur throughout daily life. Shizu was born and raised in San Francisco’s Mission District and currently lives and works in Los Angeles. She received her B.A. from UCLA School of Arts and Architecture and her M.F.A. from California Institute of the Arts. 

Solo exhibitions include LA Intersections, Occidental College, Los Angeles, CA; Shizu Saldamando, Scottsdale Museum of Contemporary Art, Scottsdale, AZ; To Return, Charlie James Gallery, Los Angeles, CA; When You Sleep: A Survey of Shizu Saldamando, Vincent Price Art Museum, Monterey Park, CA; All Tomorrow’s Parties, Moore College of Art and Design, Philadelphia, PA. Selected group exhibitions include: Phantom Sightings at Los Angeles County Museum of Art; Trans-Pacific Borderlands, part of the Getty Pacific Standard Time initiative at the Japanese American National Museum, Los Angeles, CA; We Must Risk Delight: Twenty Artists from Los Angeles, an official collateral exhibition of the Venice Biennale; Drawing the Line at Museum of Contemporary Art, San Diego, CA and The High Art of Riding Low at the Petersen Automotive Museum, Los Angeles, CA. 

Saldamando’s work resides in the permanent collections of the Los Angeles County Museum of Art (LACMA), the Crystal Bridges Museum of American Art, the Santa Barbara Museum of Art, the Crocker Art Museum, Princeton University Museum of Art, Oakland Museum of California, the Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum Scottsdale Museum of Contemporary Art, National Museum of Mexican Art, Fidelity Collection, Cleveland Clinic Collection, Smithsonian American Art Museum and numerous other public and private collections. Saldamando lives and works in Los Angeles and is represented by Charlie James Gallery.

Artist Instagram: @shizutattoo

ART BASEL MIAMI BEACH 2023

Venue
Miami Beach Convention Center
1901 Convention Center Drive
Miami Beach, FL 33139

Opening Hours

Private Days (by invitation only)
Wednesday, December 6, 2023, 11am to 7pm, First Choice VIP guests
Wednesday, December 6, 2023, 4pm to 7pm, Preview VIP guests
Thursday, December 7, 2023, 11am to 7pm, First Choice and Preview VIP guests
Thursday, December 7, 2023, 4pm to 7pm, Vernissage VIP guests

Public Days
Friday, December 8, 2023, 11am to 6pm
Saturday, December 9, 2023, 11am to 6pm
Sunday, December 10, 2023, 11am to 6pm

Fair Information Available Here

Selected Works

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Press & News

September 8 - 10, 2023

SHOW CATALOG (PDF)

Charlie James Gallery is delighted to present a solo exhibition of new works by gallery artist Narsiso Martinez for the 2023 edition of The Armory Show from September 8-10, 2023. This is the first solo presentation of works by Narsiso in New York City. Narsiso Martinez’s drawings and mixed media installations include multi-figure compositions set amidst agricultural landscapes. Drawn from his own experience as a farmworker, Martinez’s work focuses on the people performing the labors necessary to fill produce sections and restaurant kitchens around the country. Martinez’s portraits of farmworkers are painted, drawn, and expressed in sculpture on discarded produce boxes collected from grocery stores. In a style informed by 1930s-era Social Realism and heightened through use of found materials, Martinez makes visible the difficult labor and onerous conditions of the “American farmworker,” itself a compromised piece of language owing to the industry’s conspicuous use of undocumented workers.

The gallery’s booth will be anchored by a pair of large scale pieces - Essential Since 2013 and Essential Since 2004 - two large scale portraits of farmworkers executed on a series of found produce boxes. Each piece presents a portrait of an individual farmworker, one female and one male, each in poses suggestive of a cross. Each piece measures approximately 8 x 6 ft in dimension. In gold leaf at the top of each portrait are fragments of QR codes taken from the subjects' ID cards, used in the fields by “checkers” who measure and track the harvests for each worker. Flanking these works are several portraits of farmworkers at work and at rest on found produce boxes. Narsiso is currently exhibiting at the CONVERGE Biennial in Portland, Oregon. In December of 2023, Narsiso will be the subject of a solo exhibition at the Buffalo AKG Museum (formerly the Albright-Knox) which will run until April of 2024.

Narsiso Martinez (b. 1977, Oaxaca, Mexico) came to the United States when he was 20 years old. He attended Evans Community Adult School and completed high school in 2006 at the age of 29. He earned an Associate of Arts degree in 2009 from Los Angeles City College. In the fall of 2012 Narsiso earned his Bachelor of Fine Arts from California State University Long Beach. In the spring of 2018 he received a Master of Fine Arts degree in drawing and painting from California State University Long Beach, and was awarded the prestigious Dedalus Foundation MFA Fellowship in Painting and Sculpture. His work has been exhibited both locally and internationally. His work is in the collections of the Hammer Museum, Amon Carter Museum of American Art, MOLAA, University of Arizona Museum of Art, Long Beach Museum of Art, Crocker Art Museum, Jordan Schnitzer Museum of Art at the University of Oregon, and the Santa Barbara Museum of Art. Martinez was awarded the Frieze Impact Award in 2023. Martinez lives and works in Long Beach, CA.

THE ARMORY SHOW 2023

Venue
Javits Center
Crystal Palace Entrance
429 11th Avenue
New York, NY 10001

Opening Hours

VIP Private (Invited Guests only)
Thursday, September 7

Public days
Friday, September 8 | 11am–7pm
Saturday, September 9 | 11am–7pm
Sunday, September 10 | 11am–6pm

Fair Information Available Here

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APRIL 13 - 16, 2023

SHOW CATALOG (PDF)

Charlie James Gallery is excited to present a presentation of works by Los Angeles-based artist Kristopher Raos for EXPO Chicago 2023.

Kristopher Raos adopts the aesthetics of advertising, exploiting the bold color and pop fonts of packaging for their formal possibilities and real-world associations, abstracting via adept cropping and clever manipulations. Executed in deft, precision brushwork at a scale that mirrors that of old- fashioned detergent boxes, the works exist in the sweet spot between surface and object. The labor of painting and the labor of daily life are here intricately connected. Raos recaptures time spent performing household tasks as a kind of aesthetic research, transforming the stuff of the world into fodder for the studio. It is an act of both recognition and elevation: a recognition of the abstract potential of midcentury commercial art, and an elevation of that material into something more. The results are a kind of Pop-inflected minimalism – hard edge by way of the corner drugstore. - Ashley Park

Venue
Navy Pier
Festival Hall | 600 E Grand Ave
Chicago IL 60611

Opening Hours

Private View (Invited Guests only)
Thursday, April 13, 12:00 – 9:00pm

Public days
Friday, April 14, 11:00am – 7:00pm
Saturday, April 15, 11:00am – 7:00pm
Sunday, April 16, 11:00am – 6:00pm

Information Available Here

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FEBRUARY 15 - 19, 2023

SHOW CATALOG (PDF)

Charlie James Gallery is excited to present a presentation of works by John Ahearn, Luke Butler, Karla Ekatherine Canseco, Danie Cansino, Jay Lynn Gomez, Manuel López, Patrick Martinez, Narsiso Martinez, Viktor Rosas, Luis Sahagun, Shizu Saldamando, Jeffrey Sincich, and Jim Thompson for Felix Art Fair 2023. The gallery will be located in Room 1126.

Felix, co-founded in 2018 by Dean Valentine, Al Morán, and Mills Morán, is an art fair created with the intention to foster intimate experiences that prioritize conversation, collaboration, and community. The 2023 edition takes place February 15-19 at the Hollywood Roosevelt Hotel in Los Angeles. Public hours are Thursday through Saturday, from 11am - 7pm, and Sunday, 11am - 5pm.

Venue
Hollywood Roosevelt Hotel
7000 Hollywood Blvd
Los Angeles, CA 90028

Tickets Available Here

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FEBRUARY 9 - 12, 2023

SHOW CATALOG (PDF)

Charlie James Gallery is excited to present a presentation of works by Los Angeles-based artists Manuel López and Kristopher Raos for Material 2023.

Manuel López’s drawings and paintings are informed by his immediate surroundings. Each piece is a careful examination of elements found around his environment: books, records, boxes, houseplants, various elements from his home, his neighborhood, and studio. López relies on observation, memories, materiality, touch, and presence to evoke a feeling of familiarity in the compositions. The content of the drawings and paintings build a portrait of the artist - his memories and affections, his culture and personal history, expressed through carefully composed depictions of arranged objects.

Kristopher Raos adopts the aesthetics of advertising, exploiting the bold color and pop fonts of packaging for their formal possibilities and real-world associations, abstracting via adept cropping and clever manipulations. Executed in deft, precision brushwork at a scale that mirrors that of old- fashioned detergent boxes, the works exist in the sweet spot between surface and object. The labor of painting and the labor of daily life are here intricately connected. Raos recaptures time spent performing household tasks as a kind of aesthetic research, transforming the stuff of the world into fodder for the studio. It is an act of both recognition and elevation: a recognition of the abstract potential of midcentury commercial art, and an elevation of that material into something more. The results are a kind of Pop-inflected minimalism – hard edge by way of the corner drugstore.

Venue
Expo Reforma
Morelos 67
Col. Juárez, Del. Cuauhtémoc
Mexico City, 06600

Opening Hours

Private View (Invited Guests only)
Thursday, February 9th, 12 – 8pm

Public days
Friday, February 10th, 12 – 8pm
Saturday, February 11th, 12 – 8pm
Sunday, February 12th, 12 – 7pm

Tickets Available Here

Selected Works

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DECEMBER 1 - 3, 2022

SHOW CATALOG (PDF)

Charlie James Gallery is delighted to present a solo presentation of new work by Los Angeles-based artist Patrick Martinez in the Nova section of Art Basel Miami Beach 2022.

For our ABMB presentation, Patrick Martinez has created a new installation of neon works on the main wall of the booth, addressing recent sociopolitical developments here in the US including the Supreme Court ruling on Roe vs. Wade. Patrick’s neon on Plexiglas pieces are fabricated in exactly the same manner as typical street level neon signage. Patrick’s neon forms are mounted to sheets of Plexiglas with transformers installed on a curved lip of Plexiglas at the top. Patrick uses words from oratorical sources, song lyrics, or of his own invention to respond to contemporary cultural and political conditions. The formal unity of the booth, though composed of discrete paintings and neon elements, will impart the immersive experience of an installation, and will locate viewers powerfully in abstracted places from Patrick’s Los Angeles – places decades old, some lost to gentrification, sites of long-standing inhabitation fading from view.

Patrick Martinez is at the vanguard of a movement of BIPOC artists making mixed media paintings in response to their lived environment(s) around East and South Central Los Angeles and San Gabriel Valley. Typical in Patrick’s neighborhood are corner stores adorned with murals of various kinds, many containing references to Nahua or Maya mythological forms. Also common are security bars and home-based businesses featuring neon signage addressing motorists and passerby from available windows. Operating in a manner similar to collage, Patrick’s landscape works locate viewers in a particular geographic place with a demonstrable ethnic identity and socio-economic position. These paintings are executed on wood panel and are painted and assembled in layers. There are several layers of clear figuration, each of which is painted over with house paint once complete. Patrick then uses a pressure washer to blast away the house paint, exposing the under-layers of figuration, resulting in the visual suggestion of aging, erosion, and the passage of time. The foundational layers of figuration will frequently display evidence of aerosol paint tags, with subsequent buffs of those tags which are later tagged again, imparting a sense of narrative to the places evoked in the paintings. Atop these multi-layered surfaces Patrick adds neon forms, signature ceramic elements, and found materials such as security bars and tarp signage to complete the compositions. The results are abstracted landscapes that evoke sites in Patrick’s community and their respective timelines - the viewer sees the decades of wear in each surface and feels the vulnerability of each place to change and possible displacement.

 Patrick Martinez (b. 1980, Pasadena, CA) earned his BFA with honors from Art Center College of Design in 2005. His work has been exhibited domestically and internationally in Los Angeles, Mexico City, San Francisco, Minneapolis, Miami, New York, Seoul, and the Netherlands, at venues including the Studio Museum in Harlem, the Smithsonian National Portrait Gallery, the Smithsonian NMAAHC, the Tucson Museum of Art, the Albright-Knox Art Gallery, the Columbus Museum of Art, the Vincent Price Art Museum, the Museum of Latin American Art, the Crocker Art Museum, the Rollins Art Museum, the California African American Museum, the Nerman Museum of Contemporary Art, and El Museo del Barrio, among others.

 Patrick’s work resides in the permanent collections the Whitney Museum of American Art, the Crystal Bridges Musuem of American Art, the Museum of Contemporary Art Los Angeles (MOCA), the Rubell Museum, the Smithsonian National Museum of American History, the California African American Museum, the Autry Museum of the American West, the Benton Museum of Art at Pomona College, the Nerman Museum of Contemporary Art, the Smithsonian National Museum of African American History and Culture, the Los Angeles County Museum of Art (LACMA), the Tucson Museum of Art, the Pizzuti Collection of the Columbus Museum of Art, the University of North Dakota Permanent Collection, the JPMorgan Chase Art Collection, the Crocker Art Museum, the Escalette Permanent Collection of Art at Chapman University, the Manetti-Shrem Museum of Art at UC Davis, the Rollins Museum of Art, and the Museum of Latin American Art, among others.

Patrick was awarded a 2020 Rauschenberg Residency on Captiva Island, FL. In the fall of 2021 Patrick was the subject of a solo museum exhibition at the Tucson Museum of Art titled Look What You Created. In 2022 Patrick was awarded a residency at the Atlantic Center for the Arts. Patrick is currently exhibiting in We The People: The Radical Notion of Democracy at the Crystal Bridges Museum of American Art thru January of 2023. In the spring of 2023 Patrick will have a solo exhibition at the Institute of Contemporary Art San Francisco. Patrick lives and works in Los Angeles, CA and is represented by Charlie James Gallery, Los Angeles.

Venue
Miami Beach Convention Center
1901 Convention Center Drive
Miami Beach, FL 33139

Opening Hours

Private Days (by invitation only)
Tuesday, November 29, 2022, 11am to 7pm, First Choice VIP cardholders
Tuesday, November 29, 2022, 4pm to 7pm, Preview VIP cardholders
Wednesday, November 30, 2022, 11am to 7pm, First Choice and Preview VIP cardholders

Vernissage (by invitation only)
Wednesday, November 30, 2022, 4pm to 7pm

Public Days
Thursday, December 1, 2022, 11am to 7pm
Friday, December 2, 2022, 11am to 7pm
Saturday, December 3, 2022, 11am to 6pm

Tickets Available Here

Selected Works

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