Los Angeles


Brendan LynchAutumn Fantasy, 2014. Oil on canvas, 66 x 84 inches, 168 x 213 cm


September 17th – October 29th, 2022 at 844 N La Brea Ave, Los Angeles, CA

Adam de Boer, Amelia Briggs, Amy Lincoln, Ant Hamlyn, Anthony Miler, Audrey Large, Botond Keresztesi, Brandon Lipchik, Brendan Lynch, Brittney Leeanne Williams, Bryant Girsch, Cara Nahaul, Caroline Larsen, Cecila Fiona, Chelsea Seltzer, Dan Attoe, Daniel Andres Alcazar, Darryl Westly, Ed Ruscha, Ena Swansea, Eric Yahnker, Gabrielle Garland, Gao Hang, Grant Stoops, Henry Hudson, Hiroya Kurata, Ivan Seal, James Ulmer, Jean Nagai, Jeremy Shockley, J.J. Manford, Jochen Mühlenbrink, Jon Young, Karl Maughan, Kate Klingbeil, Kim Dorland, Krzysztof Grzybacz, Leo Park, Leslie Weissman, Lisa Vlaemminck, Magda Kirk, Martina Grlic, Mathew Tom, Mathew Zefeldt, Matt Belk, Matt Murphy, Matthew F. Fisher, Matthew Hansel, Micah Ofstedahl, Natalie Birinyi, Natalie Westbrook, Nevena Prijic, Paul Corio, Philip Hinge, Rick Leong, Rosson Crow, Shara Hughes, Sholto Blissett, Taylor McKimens, Theo A. Rosenblum, Tim Gardner, Tim Irani

Los Angeles, CA- The Hole is proud to present Manscaping, our yearly thematic group extravaganza now across two galleries, Bowery and Los Angeles. With over sixty artists on both coasts and a forthcoming catalogue, Manscaping looks at depictions of landscape today with a whiff of gender nonsense.

As a genre, landscape has been central to art since pre-history as humankind intrinsically seeks to record the world around it. Whether accurate or idealized, landscape reveals as much about the recorder as the recorded; just as in past centuries cartography showed how past peoples viewed the world as they tried to make sense of it, today the new frontiers to chart are intangible: video mapping instead of cartography, deep space instead of deep oceans, but the drive to give image to the world around us persists.

Landscape today may not be the most snazzy genre; right now all the fireworks are still in figuration—and, as with our thematic group exhibition last year, Nature Morte, even still life is popping off. Landscape is the slow burn, where our contemporary world is reflected but with less flash. I have to be in the right headspace myself, and it is nice that these two exhibitions provide a figuration-free environment in which we can adjust our eyes to the solitude.

Manscaping we interpret as nature impacted by mankind, not male grooming habits of course; how the idea of raw and rugged untouched nature is an anachronism. Instead of nature “red in tooth and claw” we have symmetrical and still nature, smoothed out and shaved; fantastical or virtual, but not the sloppy Romantic style traced from Turner though Plein Air.

What I have been seeing in emerging landscape is a magical realism, a topiary-like control, and a digital framework. Magical realism has landscapes coming alive with activity and spirit, as in the detailed swirling works of Cecilia Fiona or Kate Klingbeil. The tight control of the natural world comes across in the discrete and symmetrical shapings of Matthew Fisher or Tim Irani. And the digital tools impacting our way of giving image to nature range from literal with Mathew Zefeldt and Gao Hang to more subtle with Lisa Vlaemminck and Ena Swansea.

Manscaping I liked because when studying landscape, gender trouble always made me wanna barf; anything earth mother, any rolling boob and butt hills, any enviro-gendering of our “assaulted” female earth. In this show we include female body as landscape but also male body as landscape and also no-body as landscape, as well as some humorous gender chiché-upending and some actual hairy man-scapes from Magda Kirk or Bryant Girsch. It’s like figuration can’t quite be kept at bay; even the landscape has to be somebody!

I thought the plastic “live walls” were very poignant as I picture the consumers of these products to be well-intentioned interior designers of sad offices with no natural light. And seeing some green on your retina is undeniably uplifting—in fact scientifically! Having a profound transcendental experience with the natural world may not be as much of a thing today as it was in the Romantic era. Instead of “Monk By the Sea” we have Zefeldt’s character in Grand Theft Auto looking out onto the beautiful programmed hills of the video game. As the wild, natural world is destroyed perhaps the future of landscape as a genre is the digital sublime.

Our entire staff here contributed to the curation of this project, which makes it extra gratifying: Julien Pomerleau, Elena Platonova, May Andersen, Jessica Gallucci and Raymond Bulman.





Ant Hamlyn, Sunflower Chandelier, 2022. Custom PVC and nylon suspended kinetic inflatable, internally embedded LED lighting system, steel cables, d shackles, smart timer, ducting, blower, 59 x 118 x 118 inches, 150 x 300 x 300 cm

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Dan Attoe, Night Boat, 2022. Oil on canvas on panel, 12 x 12 inches, 31 x 31 cm

MH 64

Matthew Hansel, A Kingdom Built On Love, Need Not Stack A Single Stone, 2022. Oil on canvas, 60 x 48 inches, 152 x 122 cm

KM 1

Karl Maughan, Kimbolton, 2022. Oil on linen, 47 x 79 inches, 120 x 200 cm

IS 7

Ivan Seal, Pandindulge Knobstrald, 2021. Oil on canvas, 71 x 67 inches, 180 x 160 cm

IS 5

Ivan Seal, Hawzesnishtahiem, 2021. Oil on canvas, 75 x 67 inches, 190 x 170 cm


Natalie Westbrook, Manhole, 2022. Oil and acrylic on canvas, 110 x 96 inches, 279 x 244 cm


Mathew Tom, Best Friend Forever, 2020. Oil on linen, 48 x 60 inches, 122 x 152 cm

LV 1

Lisa Vlaemminck0-gravity, 2021. Oil on canvas, 53 x 62 inches, 135 x 158 cm


Tim Irani, Dawn, 2022. Acrylic on panel, 36 x 36 inches, 91 x 91 cm

MZ 15

Mathew Zefeldt, Re_Spawn 11 (Rollover), 2021. Acrylic on panel, 24 x 42 inches, 61 x 107 cm

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Bryant Girsch, In The Garden, 2022. Oil on canvas, 18 x 24 inches, 46 x 61 cm

GH 36

Gao Hang, A Global Warming Denying Tree, 2022. Acrylic on canvas, 48 x 60 inches, 122 x 152 cm

MM 1

Matt Murphy, Deep In Thought, 2021. Gouache on panel, 60 x 40 inches, 152 x 102 cm

JS 1

Jeremy Shockley, Prometheus Falls, 2022. Oil on linen, 36 x 48 inches, 91 x 122 cm

CN 2

Cara NahaulLead Me To The Frozen Sand, 2022. Oil on linen, 39 x 45 inches, 100 x 115 cm


Brittney Leeanne Williams, Arch in an Arch, 2022. Acrylic and gouache on canvas, 20 x 16 inches, 51 x 41 c


Brittney Leeanne Williams, Back Imitating an Isolated Mountain, 2022. Acrylic and gouache on canvas, 20 x 16 inches, 51 x 41 cm


Krzysztof Grzybacz, Cable Car, 2022. Oil on canvas, 63 x 51 inches, 160 x 130 cm

TR 17

Theo A. Rosenblum, Crossroads, 2020. Wood, metal, resin, acrylic, 86.5 x 34 x 32 inches, 220 x 86 x 81 cm

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Matt Belk, One Eyed Willie, 2022. Airbrush and pencil on wood panel, 28 x 24 inches, 71 x 61 cm

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Micah Ofstedahl, Finding a Center in the Clouds, 2022. Acrylic on canvas, 24 x 48 inches, 61 x 122 cmEY-165

Eric Yahnker, Fraptism #3, 2022. Oil on canvas, 40 x 30 inches, 102 x 76 cm


Edward Ruscha, Sponge Puddle, 2015. Lithograph in colors on woven paper, 28 x 28 inches, 71 x 71 cm

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Tim Gardner, Lakeshore, Lake Louise, 2021. Watercolor on paper, 15 x 20 inches, 38 x 51 cm

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Daniel Andres Alcazar, From The United States No. 3, 2019. Inkjet print from negative film, 9 x 13.5 inches, 23 x 34 cm

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Daniel Andres Alcazar, From The United States No. 43, 2019. Inkjet print from negative film, 9 x 13.5 inches, 23 x 34 cm

 CS 8

Chelsea Seltzer, Dreamscape 1, 2022. Acrylic on canvas, 71 x 87 inches, 180 x 221 cm


Paul Corio, Devil On The Double, 2022. Acrylic on canvas, 60 x 48 inches, 152 x 122 cm


Jon YoungBent on a Line, 2022. Iridescent fabric, wood, and batting. 68 x 68 x 7 inches, 173 x 173 x 18 cm.


Natalie Birinyi, 40°44’12”N 73°58’21”W 301 ft, 2022. Oil, acrylic, and flashe on canvas, 60 x 36 inches, 152 x 91 cm

DW 3

Darryl Westly, Tyler, 2022. 72 x 60 inches, 183 x 152 cm

RC 72

Rosson CrowMANSCAPING!, 2022. Acrylic, spray paint, photo transfer, oil on canvas, 69 x 69 inches, 175 x 175 cm

MK 1

Magda KirkStone, 2022, acrylic on canvas, 67 x 47 inches, 170 x 120 cm.


Taylor McKimens, Vagabond, 2022. Acrylic on canvas, 72 x 62 inches, 183 x 183 cm


Caroline Larsen, Palm Springs Landscape, 2022. Oil on canvas over panel, 40 x 40 inches, 102 x 102 cm


JJ Manford, Moonlight Interior with Manford Landscape Painting, 2022. Oil stick, oil pastel, Flashe on burlap over canvas, 60 x 72 inches, 152 x 183 cm


Adam de Boer, Rosemead Reflection, 2022. Batik, crayon, oil paint on linen, 46 x 72 inches, 117 x 183 cm


Henry HudsonSomewhere Over Nova Scotia, 2022, pigment, petroleum jelly, calcium salts, chalk with dry pigment in polyvinyl acetate on aluminum board, 83 x 59 inches, 210 x 150 cm.

JN 3

Jean Nagai, Teru Teru, 2022. Acrylic, pumice on canvas, 72 x 60 inches, 183 x 152 cm


Audrey Large, To See The Light We Crawl, 2022. 3D printing, PLA in two colors, 37 x 33 x 32 inches, 94 x 84 x 81 cm


Audrey Large, A Bit of Fairy Dust, 2022. 3D printing, PLA in two colors, 27 x 25 x 18 inches, 67 x 64 x 46 cm


Jochen Mühlenbrink, WP Diptych, 2022. Oil on canvas, 55 x 79 inches, 140 x 200 cm


Grant Stoops, Winslow Fryboat, 2022. Acrylic on panel, 36 x 48 inches, 91 x 122 cm

MG 1

Martina Grlic, Transcience, 2022. Oil on canvas, 47 x 39 inches, 119 x 99 cm


Cecilia FionaLooking For Your Face Between Flowers, 2022, Watercolour on handmade, acid-free cotton paper. Framed. 16 x 11 inches, 39 x 28 cm.


Cecilia FionaBreathing Together2022, Watercolour on handmade, acid-free cotton paper. Framed. 16 x 11 inches, 39 x 28 cm.


Nevena Prijic, The Heat Energy, 2022. Acrylic and flashe on canvas, 41 x 36 inches, 104 x 91 cm


Botond Keresztesi, Royal Oaks, 2022. Acrylic on canvas, 55 x 47 inches, 140 x 120 cm

RL 1

Rick LeongThe Pleasure Seekers, 2022. Oil on canvas, 48 x 24 inches, 122 x 62 cm.


Anthony Miler, Not Titled, 2022. Acrylic on raw canvas a maple strip frame, 22 x 30 inches, 56 x 76 cm


Amy Lincoln, Big Moon Study with Plants, 2022. Acrylic on paper, 8 x 10 inches, 20 x 25 cm


Amy Lincoln, Big Moon Study (Lime & Violet), 2022. Acrylic on paper, 8 x 10 inches, 20 x 25 cm


Amelia Briggs, Oven, 2022. Reclaimed materials, latex, oil, 25 x 16 x 2 inches, 64 x 41 x 5 cm


Amelia Briggs, Ghost, 2022. Reclaimed materials, latex, oil, 36 x 27 x 4 inches, 91 x 69 x 10 cm


Leo Park, Landscape With Figures 2, 2022. Pencil on paper, 20 x 26 inches, 65 x 50 cm