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99¢, February 2026.
Charles Ray “Family Romance”, 1993, and Ashley Bickerton “F.O.B.:Tied (White)”, 1993/2018
Charles Ray “Family Romance”, 1993
Maurizio Cattelan “WE”, 2010
Tishan Hsu, “mammal-screen-green-2”, 2024
Work by Josh Kline
“Untitled”, 2008-9, and “Two Breasts”, 1990, by Robert Gober
Mike Kelley, “Brown Star”, 1991 (left) and “The Judge”, 2018, by Jana Euler (painting on right)
Wanghechi Mutu, “One Cut”, 2018, (center sculpture); photographs by Cindy Sherman, 2010/2023
“Pep Talk”, 2024, by Cajsa von Zeipel and Jamian Juliano-Villani, “Women”, 2024, (painting on right)
Post Human, the current group exhibition at Jeffrey Deitch’s Los Angeles location, continues an artistic investigation of humanity that began with the 1992 exhibition of the same name. Some of the over forty artists (and even some of the works) were in the previous iteration, but now their work is placed alongside others made more recently. Seeing them together offers viewers a chance to contemplate the shifts and continuations in culture, technology, and what it means to be human.
From the gallery-
“Post Human was virtually a manifesto trumpeting a new art for a new breed of human,” wrote the art historian and curator Robert Rosenblum discussing the impact of the exhibition in the October 2004 issue of Artforum.
In 1992, Post Human, curated by Jeffrey Deitch, brought together the work of thirty-six young artists interested in technological advancement, social and aesthetic pluralism, and new frontiers of body and identity transformation. Through their art, these artists were exploring the same questioning of traditional notions of gender, sexuality and self-identity that was—and still is—taking place in the world at large. Capturing a developing social and scientific phenomenon, Post Human theorized a new approach to the construction of the self and interpretation of what defines being human. The exhibition set the agenda for the 1990s, and its influence on artists and philosophers led to a new field of academic study.
In her book Posthuman Feminism (2022), the philosopher and feminist theoretician Rosi Braidotti credits Deitch for capturing “the avant-garde spirit of the age by foregrounding the role of technology in blurring binary boundaries between subjects and objects, humans and non-humans.” She adds, “Post Human showed also that art assumed a much more central role as it merged with science, computerization and biotechnology in further re-shaping the human form and perfecting a flair for the artificial.”
The catalogue of the 1992 exhibition, with its visual essay and innovative design by the late Dan Friedman, also proved lasting relevance. Deitch’s influential essay predicted many of the scientific and sociological shifts that have since shaped our cultural and social environment, even the pandemic.
More than thirty years later, Post Human at Jeffrey Deitch, Los Angeles, revisits the theme of the exhibition, bringing the discourse into the present. The show includes several of the key figures who participated in the 1992 exhibition in dialogue with some of the most interesting artists continuing the exploration of these themes today. In keeping with the social and technological trends that inspired it, the interest in figuration of the original artists and the younger generations presented in the show is conceptual rather than formal.
Much of the then-new figurative work was descriptive of the “real” world but cannot, in fact, be called “realistic” in the conventional sense. That is because so much of the “real” world the artists were reacting to had become artificial. With the concept of the real disintegrating through an acceptance of the multiplicity of reality models and the embrace of artificiality, Realism as it was once known was no longer possible. This new figurative art may have actually marked the end of Realism rather than its revival.
Fully integrated into our pop psychology, the term “posthuman” is now used in everyday conversations and has come to primarily identify with the trope of the cyborg. This exhibition, like the 1992 show, however, examines multiple declinations and aspects of the postmodern construction of personality and the engineering and transcendence of the human body. The artists in the exhibition embrace notions of plurality, metamorphosis and multi-beingness. Cyber-futuristic, surgically improved, commodified, stereotyped, and politicized, the “cultured body” lends itself to reflect on a variety of concerns that define our age.
Several works in the exhibition will embrace the biometrical aestheticization of the human body to address the decay paranoia, the social conflict over genetic engineering and the use of biotechnologies, and the conversation around the limits of “natural” life.” Artists have long engaged with the threats of biometric surveillance, the possibility of virtual reality overtaking our physical one, the accelerating real-time consumption of experience, and the automation of the workforce. As AI’s ability to fulfill our creative and specialized needs has reached mass fruition, artists are confronting the impact of what was once considered speculative science fiction, an everyday reality.
Post Human was first presented at FAE, Musée D’art Contemporain, Pully/Lausanne (June 14–September 13, 1992) and traveled to Castello di Rivoli—Museo d’Arte Contemporanea, Rivoli/Turin (October 1–November 22, 1992), Deste Foundation, House of Cyprus, Athens (December 3, 1992–February 14, 1993), Deichtorhallen Hamburg (March 12–May 9, 1993), Israel Museum, Jerusalem (June 23–October 10, 1993). A number of the works shown in 1992-1993 are now in international museum collections. Matthew Barney’s REPRESSIA (decline) (1991) is now in the collection of LACMA, where it was on view in 2023. Posthumanism has since been the subject of countless books, movies and high-profile exhibitions.
Artists in the exhibition: Isabelle Albuquerque, Matthew Barney, Ivana Bašić, Frank Benson, Ashley Bickerton, Maurizio Cattelan, Chris Cunningham, John Currin, Alex Da Corte, Olivia Erlanger, Jana Euler, Rachel Feinstein, Urs Fischer, Pippa Garner, Robert Gober, Hugh Hayden, Damien Hirst, Tishan Hsu, Pierre Huyghe, Anne Imhof, Alex Israel, Arthur Jafa, Jamian Juliano-Villani, Mike Kelley, Josh Kline, Jeff Koons, Paul McCarthy, Sam McKinniss, Mariko Mori, Takashi Murakami, Wangechi Mutu, Cady Noland, Charles Ray, Cindy Sherman, Kiki Smith, Hajime Sorayama, Anna Uddenberg, Cajsa von Zeipel, Jeff Wall, Jordan Wolfson, and Anicka Yi
This show closes Saturday, 1/18/25.
Jeffrey Deitch
Rafa Esparza, Trucha, 2024, Acrylic on adobe and steel,123 x 145 x 156 inches (overall), 60 x 48 x 3 inches (each). Courtesy of the artist.
The artists participating in the exhibition are:
Diana Yesenia Alvarado Michael Alvarez Mario Ayala Karla Ekaterine Canseco rafa esparza Alfonso Gonzalez Jr. Ozzie Juarez Maria Maea Jaime Muñoz Guadalupe Rosales Gabriela Ruiz Shizu Saldamando
At the Edge of the Sun is organized by an intimate constellation of twelve artists who have connected over the past decade through artistic
'At the Edge of the Sun' at Jeffrey Deitch, Los Angeles has won ARTnews Awards 2024 Best Gallery Group Show.
For the last decade, a community of artists have been in an evolving dialogue about what it means to make work in L.A. right now.
Jeffrey Deitch's "Wonder Women"
Wonder Women, Jeffrey Deitch’s trailblazing show, is now on display at their Los Angeles gallery on 925 N. Orange Drive till October 22, 2022. Kathy Huang, the curator of the show, also serves as Managing Director, Art Advisory and Special Projects at Jeffrey Deitch. The exhibition was first presented in New York in May 2022 and featured thirty Asian American, diasporic, and non-binary artists displaying themes of wonder, self, and identity through figuration. The expanded version of the show features forty artists.
Excerpt from Mash.
Text by Shreya Ajmani
Work by Sahana Ramakrishnan. Photo by Joshua White (@joshuawhitephotography)
"City as Studio" at K11 Musea will be one of the biggest-ever exhibitions of graffiti and street art.
When “City as Studio” opens today in Hong Kong, it will mark the arrival of the biggest exhibition of graffiti art the city has ever seen. Arrayed across the shopping complex of K11 Musea are more than 100 works that track graffiti’s stunning trajectory, springing off the subways cars of New York and highways of Los Angeles to emerge as a global art and market force.
The show has as its curator Jeffrey Deitch, the artist, writer, and gallerist who isn’t just the latest guy to bring graffiti art to Hong Kong, but is quite likely the first.
Deitch, who grew tight with the genre’s leading artists in the mid 1970s when he moved to New York, had accompanied Dondi, Futura, and Zephyr to Hong Kong in 1982. The artists painted a parking garage, which eventually became the I Club, marking the Wild Style pioneers’s first-ever visit to Asia.
