Zachary Leener


APRIL 12 - MAY 24

Who the f 

knows. I obscure myself as I wake into the world, because once my eyes are open they wash light into the darkness where so much was wired. Something that is seen is like washed out by light, shorted. The world is overexposed. Like those Chinese food pictures. The image is fading fast, and there is nothing to do about it. My eyes are open, but the light just crashed like a powerful breaker. I can’t ever get out there, nor would I want to. To swim with the salamanders in a soft sea. The light is like sterile, it sterilizes the germ-infested mind, the yogurt of my thinking. Light is lush to a sober dream. Dreams don’t drink, I think. Dreams don’t drug. They just fish, sadly, with Chinese men off the peer. Chinese poets are John Yau’s. My John Yau, your John Yau. Quiz. Does Peter Falk know how to fish? Car sounds blend with birds, sun in the gutter like clear-minded bowlers. Birds make a fucking racket. Why are they so excited? The spring is a joke. Eggy got punched. They should cry. All the birds laugh. My new puppy Ponyo is happy to live now with a human, not a dog. I pretend to be a dog. A dog catcher retired to just jones out the day. Today is important. It’s the birthday of Cole, who is now nine. Birch emailed to say I should meet a poet named Harry. I know no Harrys and never intend to. If Jen is eager to introduce me to something, she should introduce me to her, I don't know… private self. Internal martial arts is her new goal. Mine too. Horrific images today. My mind is only water-to-piss filter. A bladder. Nothing is worth saying. Saying is worth nothing. Does : ) mean the person is smiling, or happy? Should one say I or K to quickly reply yes. Ight. I guess that’s short for right. Ok, here’s a good thing: I convinced Cole that the acoustic guitar in the box under my bed is a boogie board. I keep saying think summer. Also Justin has agreed to build us a crate for the Halley, so we can finally get it out of view. Can I crate the world? Can I delete my portrait on the internet? I told them I am in business now as a “ERASER.” For a fee I erase all traces of you from the internet. It is sort of like reverse publicist. I also do it for dead ones. We have no gender. How can I kill this appetite? What am I hungry for? If I kill something in me will I get skinny? What part of me needs to digest so much? I saw those old pictures and loved how stained my teeth looked. Was it cigarettes or red wine or coffee? I looked, I don’t know, Chinese maybe, French. Root canal everyday gives me the attention I need—some kind of procedure. But I’m too poor for company. I would buy a friend before art. My photographs might be good. They might be bad. I really don’t know. Now I know how these art students felt in the crits. Load of shit. But I don’t want to say who. Ok I will. Donelle. Um… I’m searching my sun gusher for something upbeat: :.( Is this a crying man? Or woman? Genderless tears turned upside down. Crying man on back in bed. No that would be this .:( seriously this is not a joke poem. It is Craps-like. Sorry I made the mistake of googling Samuel. I say this because one loses originality so fast. Impressions are so quick and so indelible. Light is a tattoo on the naked skin of the brain. My Dallas dinner. I cooked fried chicken, ribs, brisket, and kielbasa—all for myself. And my company. Upbeat. Still nothing. new computer. They wouldn’t just sell me a new “Y” key so instead I have like six zillion x’s and o’s in a paper thin lap dance. Um, I mean lap top. Maybe I’ll go get a beer. 10:10 am. I prefer 11:11. 11:11 rules. Yuck “rules” is not a good word. Who cares. Ok I figured it out, Lorde says “rules.” And she says it well. L-O-R-D-E. Dr. Jackson, Cole’s dentist, said that if Cole did a better job brushing her teeth, she’d get her and “her daddy” tickets to the Lorde concert. So we went a few nights ago to Rose Land Theater, and I have to say, it just about made me happy. Being a fan reminds me of being fantastic. Okay, now I’m on a roll, I decided to take the little rectangular bamboo sushi rolling matt (I don’t know what to call it) and hang it up on the wall over the daybed. To me it looked like an Agnes Martin drawing. To Elisa, it looked like I had cut an eight-inch square out of a much larger window shade, which somehow peaked her curiosity. I said, why would I do that? My reason is not to readymake or transform, but just to give something the stage, a rest. Let an object sing for a few days. Art sabbath.

-Jeremy Sigler



Michaela Eichwald, Barry Johnston, Mathias Kryger, Frances Scholz, Jill Spector

March 15 - April 5


The group is alive with influences
renewing itself again and again with necklaces
of disease and inscription
       auras inside of auras
       of flies leave neon sheets
       of xeroxed information on the skin
       new edits unlocking
       precious fever
       the sleepless texts bending
       bodies to the alphabet
       as they strut
       and slap hands together
              In the marketplace of white chalk
              everything talks
              there is flooding
              and reeds are growing
              hollowed out books float on the water
              carrying drugs
              candles and blades
              across the border
                    handfuls of punctuation in our hair


-Barry Johnston


January 18 - March 1

Albert Mertz: Watch Red-Blue T.V.

     TIF SIGFRIDS is very happy to be presenting the first exhibition of Albert Mertz’s work in Los Angeles, “Albert Mertz: Watch Red-Blue T.V.”  Albert was a Danish artist who lived from 1920 until 1990 and spent the last twenty-two years of his life working with what he called The Red-Blue Proposition.  Every day he painted things red and blue.  Paper, cardboard, canvases, and the chair he sat on, the wrapping of cigarette packages he smoked, the envelopes of letters he received.  Half red.  Half blue.  Once you know Albert, you’ll begin to notice what a popular color combination this is. For several years now, we’ve been thinking of Albert Mertz and nearly everywhere we go, something reminds us of him. 

     You might ask yourself, why red, why blue?  To this we say, why not?  Contrary to much speculation (and affirmed through insider sources) we’ve discovered that the red had nothing to do with the Danish flag and the blue bore no relationship to water, sky, man, or woman.  It certainly wasn’t a question of beauty.  Albert, in fact, once claimed that the combination excelled because of its obvious ugliness.

     The title of this exhibition is taken from a note we discovered in a journal dated March 10, 1987.   When taking stock of the myriad of notebooks he kept throughout his life, we noticed that Albert gave a lot of thought to television as an object, but also as an omniscient presence in the world.  Similar to his thinking about art, he observed that television isn’t interesting because it describes the world, but because it is a product of the world functioning within it. The object was important to Mertz, but not only as a container of ideas or concepts. For him, the meaning was in the use.  As he also once said, "The artist does not work for eternity (which the atomic bomb has put an end to), but for the here and now, for this day, today."

     Also, we are told, Albert just liked T.V.  Prior to his death, he was chosen to represent Denmark in the Sao Paolo Biennale.  In a sketch for this exhibition, Albert proposed including 24 red/blue T.V. paintings, but due to his untimely passing these works were never realized.  With much excitement, we welcome Albert to Hollywood with this exhibition dedicated to a theme that seems fitting for the neighborhood. 

     We’d like to acknowledge Lone Mertz’s (a.k.a. Mertz Mertz) insurmountable contribution to it’s organization.



Ulrich Wulff: Wulff's Artistic Training Facility Chambless, CA
November 16 - December 22



TIF SIGFRIDS is pleased to present an exhibition of new works by Ulrich Wulff.  Wulff's Artistic Training Facility, Chambless, CA- the artist's first solo exhibition in the United States- will be on view from November 16 to December 22.

In the summer of 2013, WUlff arrived in America from his native Germany intent on realizing a series of large-format oil paintings at a remote desert studio in Chambless, California- a ghost town of less then 10 residents along a strip of the well known, but seldom traveled Route 66 highway.  Working in an abandoned gas station, Wulff completed a number of watercolor studies in Chambless before retreating to a more conventional painter's studio in Los Angeles after encountering numerous conflicts with his materials due to arid, high desert winds.  Although finally completed off-site from the artist's rural training facility, the oil-based works that eventuated in LA were nonetheless informed by Wulff's hermetic sojourn to Chambless, where he cultivated an interest in exploring the quintessence of desert qualities like passivity, silence, recalcitrance, egolessness, vacuity, tranquility and even boredom.

Wulff's Artistic Training Facility, Chambless, CA comprises work of this recent Chambless/LA residency, and features Wulff's grandest painting to date in terms of scale.  Executed in what Wulff calls a "poetic" mode, the images display an uncomplicated concentration on line, color, clinamen, and contrast, and stand as evocative paeans to a deserted or reduced mental scape; what might be called the special Chambless state of mind.  Viewers are invited to dwell in and draw their own conclusions about this lyrical series that sings to simplicity, expanse, and the romantic indeterminacy of the empty American West.

An opening reception will be held on November 16, from 4-6 PM.


Joe Sola
Portraits: An Exhibition in Tif Sigfrids' Ear

Interview with Joe Sola in Art in America 
Interview with Joe Sola in Huffington Post
Preview of the exhibition in LA Weekly
eview in the Los Angeles Times
ocalo Public Square

TIF SIGFRIDS is happy to announce the opening of her new gallery on October 12th with an exhibition by Joe Sola entitled Portraits: An Exhibition in Tif Sigfrids' Ear. For this inaugural show, Joe Sola has created a series of six portraits ranging from 4/64 x 5/64 inches to 11/128 x 5/64 inches in size. The paintings, all oil on styrene, are hung in an exhibition space that will be situated in the gallerist's ear during gallery hours for the length of the exhibition. Sola's diverse practice includes video work, painting, and performance.

In his video work Sola has jumped out of windows (Studio Visit, 2005), been run over by a team of high school football players from Ohio (Saint Henry Composition, 2001), and rode roller coasters with male porn stars (Riding with adult video performers, 2002). In performances he has had male fashion models make art (Male Fashion Models Make Conceptual Art, 2005-9) and talked about his drawings with female escorts, (Talking About My Drawings with Female Escorts, 2010) This will be his first exhibition comprised entirely of oil paintings.

Joe Sola was born in Chicago in 1966 and received his MFA from Otis College of Art and Design in Los Angeles, California. His work will be included in the upcoming exhibition: Damage Control: Art and Destruction since 1950 at the Hirshhorn Museum and Sculpture Garden in Washington D.C. The exhibition is curated by Russell Ferguson and will travel to the Musee'd'Art Modern Grand-Duc Jean Luxembourg and Kunsthaus Graz, Austria in 2014. His work has been included in public exhibitions at the San Francisco Museum of Modern Art, Los Angeles County Museum of Art, The Wexner Center for the Arts, The Orange County Museum of Art, the Andy Warhol Museum, and most recently at 365 S. Mission Rd. He is represented by Blackston in New York.

The Press Release written by Leland de la Durantaye.
Gallery Hours: Wednesday - Saturday, 10-5


  • Untitled, 2013
    Oil on styrene, 4/64 x 11/128 inches
  • Untitled (Russell), 2013
    Oil on styrene, 5/64 x 6/64 inches

  • Untitled, 2013
    Oil on styrene 11/128 x 6/64 inches
  • Untitled, 2013
    Oil on sytrene, 4/64 x 5/64 inches

  • Young man crying, 2013
    Mixed media on styrene, 5/64 x 15/128 inches

  • Untitled, 2013
    Mixed media on styrene, 5/64 inches x 15/128 inches