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IPTKM #1, 2017 Gray’s work is based on a near-death experience he had while living with Jim Osterberg (aka Iggy Pop) on Wonderland Avenue in Laurel Canyon in the mid ‘70’s. The title is an abbreviation for “Iggy Pop Tried to Kill Me.” The work features two photos, both taken by Gray, one of a dog, the other of Iggy Pop when he and Gray were briefly roommates. The juxtaposition of these two images brings to mind the 1969 Iggy Pop song “I Wanna Be Your Dog.” Courtesy of the artist. — stumbled on this 2017 work on artsy site. Cant believe I survived my 20’s.
Lovely Sunday afternoon at LACMA for artist Todd Gray’s talk with @tiffanyebarber on his Octavia’s Gaze piece now in the permanent collection at the new Geffen wing of the museum AND we all got on the metro to go see his magnificent public art Installations at the Wilshire/La Cienga station. It was so interesting and engaging , the entire audience was hanging on every word and image. Really great turn out, standing room only. Very impressive congratulations @toddgrayla !🏆
LA friends definitely go check it out!💙
Lovely Sunday afternoon at LACMA for artist Todd Gray’s talk with @tiffanyebarber on his Octavia’s Gaze piece now in the permanent collection at the new Geffen wing of the museum AND we all got on the metro to go see his magnificent public art Installations at the Wilshire/La Cienga station. It was so interesting and engaging , the entire audience was hanging on every word and image. Really great turn out, standing room only. Very impressive congratulations @toddgrayla !🏆
LA friends definitely go check it out!💙
Lovely Sunday afternoon at LACMA for artist Todd Gray’s talk with @tiffanyebarber on his Octavia’s Gaze piece now in the permanent collection at the new Geffen wing of the museum AND we all got on the metro to go see his magnificent public art Installations at the Wilshire/La Cienga station. It was so interesting and engaging , the entire audience was hanging on every word and image. Really great turn out, standing room only. Very impressive congratulations @toddgrayla !🏆
LA friends definitely go check it out!💙
Lovely Sunday afternoon at LACMA for artist Todd Gray’s talk with @tiffanyebarber on his Octavia’s Gaze piece now in the permanent collection at the new Geffen wing of the museum AND we all got on the metro to go see his magnificent public art Installations at the Wilshire/La Cienga station. It was so interesting and engaging , the entire audience was hanging on every word and image. Really great turn out, standing room only. Very impressive congratulations @toddgrayla !🏆
LA friends definitely go check it out!💙
Lovely Sunday afternoon at LACMA for artist Todd Gray’s talk with @tiffanyebarber on his Octavia’s Gaze piece now in the permanent collection at the new Geffen wing of the museum AND we all got on the metro to go see his magnificent public art Installations at the Wilshire/La Cienga station. It was so interesting and engaging , the entire audience was hanging on every word and image. Really great turn out, standing room only. Very impressive congratulations @toddgrayla !🏆
LA friends definitely go check it out!💙
Lovely Sunday afternoon at LACMA for artist Todd Gray’s talk with @tiffanyebarber on his Octavia’s Gaze piece now in the permanent collection at the new Geffen wing of the museum AND we all got on the metro to go see his magnificent public art Installations at the Wilshire/La Cienga station. It was so interesting and engaging , the entire audience was hanging on every word and image. Really great turn out, standing room only. Very impressive congratulations @toddgrayla !🏆
LA friends definitely go check it out!💙
Lovely Sunday afternoon at LACMA for artist Todd Gray’s talk with @tiffanyebarber on his Octavia’s Gaze piece now in the permanent collection at the new Geffen wing of the museum AND we all got on the metro to go see his magnificent public art Installations at the Wilshire/La Cienga station. It was so interesting and engaging , the entire audience was hanging on every word and image. Really great turn out, standing room only. Very impressive congratulations @toddgrayla !🏆
LA friends definitely go check it out!💙
Lovely Sunday afternoon at LACMA for artist Todd Gray’s talk with @tiffanyebarber on his Octavia’s Gaze piece now in the permanent collection at the new Geffen wing of the museum AND we all got on the metro to go see his magnificent public art Installations at the Wilshire/La Cienga station. It was so interesting and engaging , the entire audience was hanging on every word and image. Really great turn out, standing room only. Very impressive congratulations @toddgrayla !🏆
LA friends definitely go check it out!💙
Lovely Sunday afternoon at LACMA for artist Todd Gray’s talk with @tiffanyebarber on his Octavia’s Gaze piece now in the permanent collection at the new Geffen wing of the museum AND we all got on the metro to go see his magnificent public art Installations at the Wilshire/La Cienga station. It was so interesting and engaging , the entire audience was hanging on every word and image. Really great turn out, standing room only. Very impressive congratulations @toddgrayla !🏆
LA friends definitely go check it out!💙
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
“I have been thinking lately about photography. As a relative novice in the medium, contextualizing it has often been difficult for me. This is because we tend to treat photographs as evidence, as fixed records, as something that has happened. But that framing belongs to the past—where its major use was to catalog, classify, and ultimately determine ownership. Todd Gray recognizes this better than almost anyone. He has been making photographs since he was a kid, and somewhere along the way, he stopped treating the medium as a window and started treating it as a visceral sort of wound. Something open, raw, often confronting, and ultimately personal.”
Words by @thomoosterhofprojects
Read now in CAI Magazine
Todd Gray: Portals
Perrotin, Los Angeles, US
@toddgrayla
@perrotin
#photography #contemporaryphotographer
'Mining the Archive: S. Charles Lee, Architect' by Metro Art–commissioned artist Todd Gray (@toddgrayla) layers archival drawings of the Saban Theatre (originally the Fox Wilshire Theatre, designed by renowned architect S. Charles Lee), inverted architectural blueprints, historic photographs, and drawings of the theater’s interiors.
These images are interwoven with striking textile patterns drawn from the many cultures that helped shape the surrounding neighborhoods near the new Wilshire/La Cienega Station.
Learn more at the link in bio 🔗
New D Line stations at La Brea, Fairfax, and La Cienega connect Mid-Wilshire and the Miracle Mile to Koreatown and Downtown LA— now open!
Art deco motifs, fossils and massive drawings of hands are among the installations that will greet riders passing through the three new stations on L.A. Metro’s D Line extension.
The underground subway stations, which connect downtown Los Angeles to Beverly Hills, are home to nine site-specific artworks by Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
The goal was to make the new public art a “world-class experience” for riders — one that matched the caliber of the acclaimed museums the new subway route makes accessible along Wilshire Boulevard, said Metro deputy executive officer Zipporah Yamamoto, who leads the agency’s public art program.
“When you walk through the stations, you’re basically walking through a series of immersive artworks on every single level,” Yamamoto said. “It’s not like hanging paintings above a sofa … where the art comes in at the end.”
The Times spoke with four artists whose work will be inside. Read the full story at @latimes
📷 Carlin Stiehl / For The Times
Art deco motifs, fossils and massive drawings of hands are among the installations that will greet riders passing through the three new stations on L.A. Metro’s D Line extension.
The underground subway stations, which connect downtown Los Angeles to Beverly Hills, are home to nine site-specific artworks by Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
The goal was to make the new public art a “world-class experience” for riders — one that matched the caliber of the acclaimed museums the new subway route makes accessible along Wilshire Boulevard, said Metro deputy executive officer Zipporah Yamamoto, who leads the agency’s public art program.
“When you walk through the stations, you’re basically walking through a series of immersive artworks on every single level,” Yamamoto said. “It’s not like hanging paintings above a sofa … where the art comes in at the end.”
The Times spoke with four artists whose work will be inside. Read the full story at @latimes
📷 Carlin Stiehl / For The Times
Art deco motifs, fossils and massive drawings of hands are among the installations that will greet riders passing through the three new stations on L.A. Metro’s D Line extension.
The underground subway stations, which connect downtown Los Angeles to Beverly Hills, are home to nine site-specific artworks by Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
The goal was to make the new public art a “world-class experience” for riders — one that matched the caliber of the acclaimed museums the new subway route makes accessible along Wilshire Boulevard, said Metro deputy executive officer Zipporah Yamamoto, who leads the agency’s public art program.
“When you walk through the stations, you’re basically walking through a series of immersive artworks on every single level,” Yamamoto said. “It’s not like hanging paintings above a sofa … where the art comes in at the end.”
The Times spoke with four artists whose work will be inside. Read the full story at @latimes
📷 Carlin Stiehl / For The Times
Art deco motifs, fossils and massive drawings of hands are among the installations that will greet riders passing through the three new stations on L.A. Metro’s D Line extension.
The underground subway stations, which connect downtown Los Angeles to Beverly Hills, are home to nine site-specific artworks by Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
The goal was to make the new public art a “world-class experience” for riders — one that matched the caliber of the acclaimed museums the new subway route makes accessible along Wilshire Boulevard, said Metro deputy executive officer Zipporah Yamamoto, who leads the agency’s public art program.
“When you walk through the stations, you’re basically walking through a series of immersive artworks on every single level,” Yamamoto said. “It’s not like hanging paintings above a sofa … where the art comes in at the end.”
The Times spoke with four artists whose work will be inside. Read the full story at @latimes
📷 Carlin Stiehl / For The Times
Art deco motifs, fossils and massive drawings of hands are among the installations that will greet riders passing through the three new stations on L.A. Metro’s D Line extension.
The underground subway stations, which connect downtown Los Angeles to Beverly Hills, are home to nine site-specific artworks by Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
The goal was to make the new public art a “world-class experience” for riders — one that matched the caliber of the acclaimed museums the new subway route makes accessible along Wilshire Boulevard, said Metro deputy executive officer Zipporah Yamamoto, who leads the agency’s public art program.
“When you walk through the stations, you’re basically walking through a series of immersive artworks on every single level,” Yamamoto said. “It’s not like hanging paintings above a sofa … where the art comes in at the end.”
The Times spoke with four artists whose work will be inside. Read the full story at @latimes
📷 Carlin Stiehl / For The Times
Art deco motifs, fossils and massive drawings of hands are among the installations that will greet riders passing through the three new stations on L.A. Metro’s D Line extension.
The underground subway stations, which connect downtown Los Angeles to Beverly Hills, are home to nine site-specific artworks by Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
The goal was to make the new public art a “world-class experience” for riders — one that matched the caliber of the acclaimed museums the new subway route makes accessible along Wilshire Boulevard, said Metro deputy executive officer Zipporah Yamamoto, who leads the agency’s public art program.
“When you walk through the stations, you’re basically walking through a series of immersive artworks on every single level,” Yamamoto said. “It’s not like hanging paintings above a sofa … where the art comes in at the end.”
The Times spoke with four artists whose work will be inside. Read the full story at @latimes
📷 Carlin Stiehl / For The Times
Art deco motifs, fossils and massive drawings of hands are among the installations that will greet riders passing through the three new stations on L.A. Metro’s D Line extension.
The underground subway stations, which connect downtown Los Angeles to Beverly Hills, are home to nine site-specific artworks by Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
The goal was to make the new public art a “world-class experience” for riders — one that matched the caliber of the acclaimed museums the new subway route makes accessible along Wilshire Boulevard, said Metro deputy executive officer Zipporah Yamamoto, who leads the agency’s public art program.
“When you walk through the stations, you’re basically walking through a series of immersive artworks on every single level,” Yamamoto said. “It’s not like hanging paintings above a sofa … where the art comes in at the end.”
The Times spoke with four artists whose work will be inside. Read the full story at @latimes
📷 Carlin Stiehl / For The Times
Art deco motifs, fossils and massive drawings of hands are among the installations that will greet riders passing through the three new stations on L.A. Metro’s D Line extension.
The underground subway stations, which connect downtown Los Angeles to Beverly Hills, are home to nine site-specific artworks by Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
The goal was to make the new public art a “world-class experience” for riders — one that matched the caliber of the acclaimed museums the new subway route makes accessible along Wilshire Boulevard, said Metro deputy executive officer Zipporah Yamamoto, who leads the agency’s public art program.
“When you walk through the stations, you’re basically walking through a series of immersive artworks on every single level,” Yamamoto said. “It’s not like hanging paintings above a sofa … where the art comes in at the end.”
The Times spoke with four artists whose work will be inside. Read the full story at @latimes
📷 Carlin Stiehl / For The Times
Art deco motifs, fossils and massive drawings of hands are among the installations that will greet riders passing through the three new stations on L.A. Metro’s D Line extension.
The underground subway stations, which connect downtown Los Angeles to Beverly Hills, are home to nine site-specific artworks by Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
The goal was to make the new public art a “world-class experience” for riders — one that matched the caliber of the acclaimed museums the new subway route makes accessible along Wilshire Boulevard, said Metro deputy executive officer Zipporah Yamamoto, who leads the agency’s public art program.
“When you walk through the stations, you’re basically walking through a series of immersive artworks on every single level,” Yamamoto said. “It’s not like hanging paintings above a sofa … where the art comes in at the end.”
The Times spoke with four artists whose work will be inside. Read the full story at @latimes
📷 Carlin Stiehl / For The Times
Portals features a new series of photographic collages by the LA-based artist, Todd Gray, that combine images of European gardens and Renaissance rooms with West African landscapes and traces of colonialism and slavery.
It is always a joy visiting Perrotin’s beautiful space in Los Angeles.
The exhibition will end on May 30, 2026.
Gallery: @perrotin
Artist: @toddgrayla
Todd Gray’s Diasporic Vision in Portals at @perrotin
@toddgrayla layers numerous images to create narratives that weave through places and time. On view in his exhibition Portals at Perrotin Los Angeles are both small-scale studies and large-scale finished works.
Todd Gray’s photo sculptures in Portals at Perrotin are narrated as small-scale studies and large-scale finished works. The differences are curious. The small pieces are intimate and draw viewers in as the imagery can be absorbed as a whole; the layers working together, though in separate found frames. Due to their size, the larger works appear more fragmented, while still cohering to create a narrative.
In a recent conversation with LACMA (@lacma) Director Michael Govan, Gray spoke about visual pleasure and his desire for the images to immediately captivate viewers because of their aesthetic beauty and formal inventiveness. After enticing viewers with his evocative sequences organized by shape and color relationships, he then invites them to delve further — to think about the layering within each assemblage and how the elements work together. He is interested in exploring the relationships between the places depicted (Ghana, Rome, France, as well as the United States), and their history within the Black diaspora.
📅 21 Mar 2026 – 30 May 2026
📍 Perrotin Los Angeles
🔗https://www.artrabbit.com/network/features/2026/april/todd-grays-diasporic-vision-in-portals-at-perrotin
🖼️ Todd Gray, Paradox of Liberty (Monticello, Elmina, Akwidaa), 2026, Three UV pigment prints on Dibond in artist's frames, 140 x 94.3 x 6.7 cm, Unique at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
🖼️ Installation View of Todd Gray’s Portals at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
🖼️ Todd Gray, Ghost in the Machine (fever dreaming fear), 2026, Two UV pigment prints on Dibond in artist's frames, 140 x 94.3 x 3.8 cm, Unique at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
Todd Gray’s Diasporic Vision in Portals at @perrotin
@toddgrayla layers numerous images to create narratives that weave through places and time. On view in his exhibition Portals at Perrotin Los Angeles are both small-scale studies and large-scale finished works.
Todd Gray’s photo sculptures in Portals at Perrotin are narrated as small-scale studies and large-scale finished works. The differences are curious. The small pieces are intimate and draw viewers in as the imagery can be absorbed as a whole; the layers working together, though in separate found frames. Due to their size, the larger works appear more fragmented, while still cohering to create a narrative.
In a recent conversation with LACMA (@lacma) Director Michael Govan, Gray spoke about visual pleasure and his desire for the images to immediately captivate viewers because of their aesthetic beauty and formal inventiveness. After enticing viewers with his evocative sequences organized by shape and color relationships, he then invites them to delve further — to think about the layering within each assemblage and how the elements work together. He is interested in exploring the relationships between the places depicted (Ghana, Rome, France, as well as the United States), and their history within the Black diaspora.
📅 21 Mar 2026 – 30 May 2026
📍 Perrotin Los Angeles
🔗https://www.artrabbit.com/network/features/2026/april/todd-grays-diasporic-vision-in-portals-at-perrotin
🖼️ Todd Gray, Paradox of Liberty (Monticello, Elmina, Akwidaa), 2026, Three UV pigment prints on Dibond in artist's frames, 140 x 94.3 x 6.7 cm, Unique at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
🖼️ Installation View of Todd Gray’s Portals at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
🖼️ Todd Gray, Ghost in the Machine (fever dreaming fear), 2026, Two UV pigment prints on Dibond in artist's frames, 140 x 94.3 x 3.8 cm, Unique at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
Todd Gray’s Diasporic Vision in Portals at @perrotin
@toddgrayla layers numerous images to create narratives that weave through places and time. On view in his exhibition Portals at Perrotin Los Angeles are both small-scale studies and large-scale finished works.
Todd Gray’s photo sculptures in Portals at Perrotin are narrated as small-scale studies and large-scale finished works. The differences are curious. The small pieces are intimate and draw viewers in as the imagery can be absorbed as a whole; the layers working together, though in separate found frames. Due to their size, the larger works appear more fragmented, while still cohering to create a narrative.
In a recent conversation with LACMA (@lacma) Director Michael Govan, Gray spoke about visual pleasure and his desire for the images to immediately captivate viewers because of their aesthetic beauty and formal inventiveness. After enticing viewers with his evocative sequences organized by shape and color relationships, he then invites them to delve further — to think about the layering within each assemblage and how the elements work together. He is interested in exploring the relationships between the places depicted (Ghana, Rome, France, as well as the United States), and their history within the Black diaspora.
📅 21 Mar 2026 – 30 May 2026
📍 Perrotin Los Angeles
🔗https://www.artrabbit.com/network/features/2026/april/todd-grays-diasporic-vision-in-portals-at-perrotin
🖼️ Todd Gray, Paradox of Liberty (Monticello, Elmina, Akwidaa), 2026, Three UV pigment prints on Dibond in artist's frames, 140 x 94.3 x 6.7 cm, Unique at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
🖼️ Installation View of Todd Gray’s Portals at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
🖼️ Todd Gray, Ghost in the Machine (fever dreaming fear), 2026, Two UV pigment prints on Dibond in artist's frames, 140 x 94.3 x 3.8 cm, Unique at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
Todd Gray’s Diasporic Vision in Portals at @perrotin
@toddgrayla layers numerous images to create narratives that weave through places and time. On view in his exhibition Portals at Perrotin Los Angeles are both small-scale studies and large-scale finished works.
Todd Gray’s photo sculptures in Portals at Perrotin are narrated as small-scale studies and large-scale finished works. The differences are curious. The small pieces are intimate and draw viewers in as the imagery can be absorbed as a whole; the layers working together, though in separate found frames. Due to their size, the larger works appear more fragmented, while still cohering to create a narrative.
In a recent conversation with LACMA (@lacma) Director Michael Govan, Gray spoke about visual pleasure and his desire for the images to immediately captivate viewers because of their aesthetic beauty and formal inventiveness. After enticing viewers with his evocative sequences organized by shape and color relationships, he then invites them to delve further — to think about the layering within each assemblage and how the elements work together. He is interested in exploring the relationships between the places depicted (Ghana, Rome, France, as well as the United States), and their history within the Black diaspora.
📅 21 Mar 2026 – 30 May 2026
📍 Perrotin Los Angeles
🔗https://www.artrabbit.com/network/features/2026/april/todd-grays-diasporic-vision-in-portals-at-perrotin
🖼️ Todd Gray, Paradox of Liberty (Monticello, Elmina, Akwidaa), 2026, Three UV pigment prints on Dibond in artist's frames, 140 x 94.3 x 6.7 cm, Unique at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
🖼️ Installation View of Todd Gray’s Portals at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
🖼️ Todd Gray, Ghost in the Machine (fever dreaming fear), 2026, Two UV pigment prints on Dibond in artist's frames, 140 x 94.3 x 3.8 cm, Unique at Perrotin Los Angeles. Courtesy to the artist and Perrotin Los Angeles
Get a rare inside look at the vision of artist Todd Gray ↑
Join us May 17 for a conversation between @toddgrayla and curator @tiffanyebarber about his newly commissioned work for LACMA, Octavia’s Gaze, and a new @metro.art.la commission for Wilshire/La Cienega station
Following the talk, attendees can view Octavia’s Gaze and other artworks in the David Geffen Galleries. At 4 pm, Gray will lead a @metro.art.la tour at Metro’s Wilshire/La Cienega station, sharing his new public artwork Mining the Archive: S. Charles Lee, Architect
RSVP at the 🔗 in bio
20 years in the making
The David Geffen Galleries opens at @lacma LACMA
On May 4th
Designed by renowned architect Peter Zumthor, the oblong glass building unfolds as a continuous, elevated space. The visitor experiences the galleries as a series of interconnected geographical spaces. Hierarchies are eliminated from the display; favoring shifting relationships of light, space, and time.
Swipe through some highlights
Slides 1-2 recent acquisition: Scherezade Garcia’s evocative Baroque painting, Harvest of the Sea.
Slide 3 Todd Gray’s brilliant commissioned piece, Octovia’s Gaze, features monumental three-dimensional assemblages of framed images—combining his photographs of landscapes, people, architectural details, and museum interiors. @toddgrayla
Slide 4 Do Ho Suh’s (@dohosuhstudio) translucent, embroidered reconstruction of a Seoul palace, seamlessly woven into the gallery
Slide 5-6 Rafa Esparza’s We are the mountain, 2019
Slide 7 the Feathered Serpent Frottage 1 by Mexican artist Mariana Castillo Deball takes us on a voyage through historical narratives of the past reactivated through materials and stories.
Slides 8-9
Photography from the collection.
#LACMA #DavidGeffenGalleries #ArtExhibition #Architecture #peterzumthor
20 years in the making
The David Geffen Galleries opens at @lacma LACMA
On May 4th
Designed by renowned architect Peter Zumthor, the oblong glass building unfolds as a continuous, elevated space. The visitor experiences the galleries as a series of interconnected geographical spaces. Hierarchies are eliminated from the display; favoring shifting relationships of light, space, and time.
Swipe through some highlights
Slides 1-2 recent acquisition: Scherezade Garcia’s evocative Baroque painting, Harvest of the Sea.
Slide 3 Todd Gray’s brilliant commissioned piece, Octovia’s Gaze, features monumental three-dimensional assemblages of framed images—combining his photographs of landscapes, people, architectural details, and museum interiors. @toddgrayla
Slide 4 Do Ho Suh’s (@dohosuhstudio) translucent, embroidered reconstruction of a Seoul palace, seamlessly woven into the gallery
Slide 5-6 Rafa Esparza’s We are the mountain, 2019
Slide 7 the Feathered Serpent Frottage 1 by Mexican artist Mariana Castillo Deball takes us on a voyage through historical narratives of the past reactivated through materials and stories.
Slides 8-9
Photography from the collection.
#LACMA #DavidGeffenGalleries #ArtExhibition #Architecture #peterzumthor
20 years in the making
The David Geffen Galleries opens at @lacma LACMA
On May 4th
Designed by renowned architect Peter Zumthor, the oblong glass building unfolds as a continuous, elevated space. The visitor experiences the galleries as a series of interconnected geographical spaces. Hierarchies are eliminated from the display; favoring shifting relationships of light, space, and time.
Swipe through some highlights
Slides 1-2 recent acquisition: Scherezade Garcia’s evocative Baroque painting, Harvest of the Sea.
Slide 3 Todd Gray’s brilliant commissioned piece, Octovia’s Gaze, features monumental three-dimensional assemblages of framed images—combining his photographs of landscapes, people, architectural details, and museum interiors. @toddgrayla
Slide 4 Do Ho Suh’s (@dohosuhstudio) translucent, embroidered reconstruction of a Seoul palace, seamlessly woven into the gallery
Slide 5-6 Rafa Esparza’s We are the mountain, 2019
Slide 7 the Feathered Serpent Frottage 1 by Mexican artist Mariana Castillo Deball takes us on a voyage through historical narratives of the past reactivated through materials and stories.
Slides 8-9
Photography from the collection.
#LACMA #DavidGeffenGalleries #ArtExhibition #Architecture #peterzumthor
20 years in the making
The David Geffen Galleries opens at @lacma LACMA
On May 4th
Designed by renowned architect Peter Zumthor, the oblong glass building unfolds as a continuous, elevated space. The visitor experiences the galleries as a series of interconnected geographical spaces. Hierarchies are eliminated from the display; favoring shifting relationships of light, space, and time.
Swipe through some highlights
Slides 1-2 recent acquisition: Scherezade Garcia’s evocative Baroque painting, Harvest of the Sea.
Slide 3 Todd Gray’s brilliant commissioned piece, Octovia’s Gaze, features monumental three-dimensional assemblages of framed images—combining his photographs of landscapes, people, architectural details, and museum interiors. @toddgrayla
Slide 4 Do Ho Suh’s (@dohosuhstudio) translucent, embroidered reconstruction of a Seoul palace, seamlessly woven into the gallery
Slide 5-6 Rafa Esparza’s We are the mountain, 2019
Slide 7 the Feathered Serpent Frottage 1 by Mexican artist Mariana Castillo Deball takes us on a voyage through historical narratives of the past reactivated through materials and stories.
Slides 8-9
Photography from the collection.
#LACMA #DavidGeffenGalleries #ArtExhibition #Architecture #peterzumthor
20 years in the making
The David Geffen Galleries opens at @lacma LACMA
On May 4th
Designed by renowned architect Peter Zumthor, the oblong glass building unfolds as a continuous, elevated space. The visitor experiences the galleries as a series of interconnected geographical spaces. Hierarchies are eliminated from the display; favoring shifting relationships of light, space, and time.
Swipe through some highlights
Slides 1-2 recent acquisition: Scherezade Garcia’s evocative Baroque painting, Harvest of the Sea.
Slide 3 Todd Gray’s brilliant commissioned piece, Octovia’s Gaze, features monumental three-dimensional assemblages of framed images—combining his photographs of landscapes, people, architectural details, and museum interiors. @toddgrayla
Slide 4 Do Ho Suh’s (@dohosuhstudio) translucent, embroidered reconstruction of a Seoul palace, seamlessly woven into the gallery
Slide 5-6 Rafa Esparza’s We are the mountain, 2019
Slide 7 the Feathered Serpent Frottage 1 by Mexican artist Mariana Castillo Deball takes us on a voyage through historical narratives of the past reactivated through materials and stories.
Slides 8-9
Photography from the collection.
#LACMA #DavidGeffenGalleries #ArtExhibition #Architecture #peterzumthor
20 years in the making
The David Geffen Galleries opens at @lacma LACMA
On May 4th
Designed by renowned architect Peter Zumthor, the oblong glass building unfolds as a continuous, elevated space. The visitor experiences the galleries as a series of interconnected geographical spaces. Hierarchies are eliminated from the display; favoring shifting relationships of light, space, and time.
Swipe through some highlights
Slides 1-2 recent acquisition: Scherezade Garcia’s evocative Baroque painting, Harvest of the Sea.
Slide 3 Todd Gray’s brilliant commissioned piece, Octovia’s Gaze, features monumental three-dimensional assemblages of framed images—combining his photographs of landscapes, people, architectural details, and museum interiors. @toddgrayla
Slide 4 Do Ho Suh’s (@dohosuhstudio) translucent, embroidered reconstruction of a Seoul palace, seamlessly woven into the gallery
Slide 5-6 Rafa Esparza’s We are the mountain, 2019
Slide 7 the Feathered Serpent Frottage 1 by Mexican artist Mariana Castillo Deball takes us on a voyage through historical narratives of the past reactivated through materials and stories.
Slides 8-9
Photography from the collection.
#LACMA #DavidGeffenGalleries #ArtExhibition #Architecture #peterzumthor
20 years in the making
The David Geffen Galleries opens at @lacma LACMA
On May 4th
Designed by renowned architect Peter Zumthor, the oblong glass building unfolds as a continuous, elevated space. The visitor experiences the galleries as a series of interconnected geographical spaces. Hierarchies are eliminated from the display; favoring shifting relationships of light, space, and time.
Swipe through some highlights
Slides 1-2 recent acquisition: Scherezade Garcia’s evocative Baroque painting, Harvest of the Sea.
Slide 3 Todd Gray’s brilliant commissioned piece, Octovia’s Gaze, features monumental three-dimensional assemblages of framed images—combining his photographs of landscapes, people, architectural details, and museum interiors. @toddgrayla
Slide 4 Do Ho Suh’s (@dohosuhstudio) translucent, embroidered reconstruction of a Seoul palace, seamlessly woven into the gallery
Slide 5-6 Rafa Esparza’s We are the mountain, 2019
Slide 7 the Feathered Serpent Frottage 1 by Mexican artist Mariana Castillo Deball takes us on a voyage through historical narratives of the past reactivated through materials and stories.
Slides 8-9
Photography from the collection.
#LACMA #DavidGeffenGalleries #ArtExhibition #Architecture #peterzumthor
20 years in the making
The David Geffen Galleries opens at @lacma LACMA
On May 4th
Designed by renowned architect Peter Zumthor, the oblong glass building unfolds as a continuous, elevated space. The visitor experiences the galleries as a series of interconnected geographical spaces. Hierarchies are eliminated from the display; favoring shifting relationships of light, space, and time.
Swipe through some highlights
Slides 1-2 recent acquisition: Scherezade Garcia’s evocative Baroque painting, Harvest of the Sea.
Slide 3 Todd Gray’s brilliant commissioned piece, Octovia’s Gaze, features monumental three-dimensional assemblages of framed images—combining his photographs of landscapes, people, architectural details, and museum interiors. @toddgrayla
Slide 4 Do Ho Suh’s (@dohosuhstudio) translucent, embroidered reconstruction of a Seoul palace, seamlessly woven into the gallery
Slide 5-6 Rafa Esparza’s We are the mountain, 2019
Slide 7 the Feathered Serpent Frottage 1 by Mexican artist Mariana Castillo Deball takes us on a voyage through historical narratives of the past reactivated through materials and stories.
Slides 8-9
Photography from the collection.
#LACMA #DavidGeffenGalleries #ArtExhibition #Architecture #peterzumthor
20 years in the making
The David Geffen Galleries opens at @lacma LACMA
On May 4th
Designed by renowned architect Peter Zumthor, the oblong glass building unfolds as a continuous, elevated space. The visitor experiences the galleries as a series of interconnected geographical spaces. Hierarchies are eliminated from the display; favoring shifting relationships of light, space, and time.
Swipe through some highlights
Slides 1-2 recent acquisition: Scherezade Garcia’s evocative Baroque painting, Harvest of the Sea.
Slide 3 Todd Gray’s brilliant commissioned piece, Octovia’s Gaze, features monumental three-dimensional assemblages of framed images—combining his photographs of landscapes, people, architectural details, and museum interiors. @toddgrayla
Slide 4 Do Ho Suh’s (@dohosuhstudio) translucent, embroidered reconstruction of a Seoul palace, seamlessly woven into the gallery
Slide 5-6 Rafa Esparza’s We are the mountain, 2019
Slide 7 the Feathered Serpent Frottage 1 by Mexican artist Mariana Castillo Deball takes us on a voyage through historical narratives of the past reactivated through materials and stories.
Slides 8-9
Photography from the collection.
#LACMA #DavidGeffenGalleries #ArtExhibition #Architecture #peterzumthor
@theartnewspaper.official @lacma I still cherish the memory of meeting with 20+ curators last year, listening to the conceptual foundations for organizing the collection in the new David Geffen Galleries and reassuring them that my new commission will have the critique without sacrificing beauty. Throughout my decades long practice I’ve used aesthetics/beauty as the first visual utterance of a work, welcoming viewers into the first level of dialogue. Just underneath that pictorial representation a complex narrative of relations between histories, places and time begins unfolding. @perrotin @lehmannmaupin
@theartnewspaper.official @lacma I still cherish the memory of meeting with 20+ curators last year, listening to the conceptual foundations for organizing the collection in the new David Geffen Galleries and reassuring them that my new commission will have the critique without sacrificing beauty. Throughout my decades long practice I’ve used aesthetics/beauty as the first visual utterance of a work, welcoming viewers into the first level of dialogue. Just underneath that pictorial representation a complex narrative of relations between histories, places and time begins unfolding. @perrotin @lehmannmaupin
@theartnewspaper.official @lacma I still cherish the memory of meeting with 20+ curators last year, listening to the conceptual foundations for organizing the collection in the new David Geffen Galleries and reassuring them that my new commission will have the critique without sacrificing beauty. Throughout my decades long practice I’ve used aesthetics/beauty as the first visual utterance of a work, welcoming viewers into the first level of dialogue. Just underneath that pictorial representation a complex narrative of relations between histories, places and time begins unfolding. @perrotin @lehmannmaupin
Todd Gray’s “Portals” deepens his engagement with both colonialism and Afrofuturism. Rooted in his experiences while living abroad in Rome, "Portals" is an exploration of the echoes of colonial legacies.
Right on its heels is the opening of the new David Geffen Galleries, where his 27-foot-long sculpture "Octavia's Gaze" is a part of the permanent collection. Drawing on his personal archive and unique artistic repertoire, he visualizes Black speculative thought and invites the audience to go somewhere new.
You can visit “Portals” until May 30 every Tuesday to Saturday, 10 a.m. to 6 p.m.
Read more at the link in bio.
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