{"id":2060,"date":"2024-02-26T14:38:14","date_gmt":"2024-02-26T06:38:14","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=2060"},"modified":"2024-02-26T14:38:14","modified_gmt":"2024-02-26T06:38:14","slug":"how-the-pit-became-the-off-the-beaten-path-la-gallery-everyone-wont-stop-talking-about","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/how-the-pit-became-the-off-the-beaten-path-la-gallery-everyone-wont-stop-talking-about\/","title":{"rendered":"How The Pit Became the Off-the-Beaten-Path LA Gallery Everyone Won\u2019t Stop Talking About"},"content":{"rendered":"

This weekend, ahead of the opening of Frieze Los Angeles on February 29, many of the city\u2019s galleries will be opening new exhibitions, showing off the best work they have to offer. One of those galleries is\u00a0The Pit<\/a>, the artist-run space founded by Adam D. Miller and Devon Oder in Glendale that has, over the past decade, established itself as a dependable purveyor of off-kilter exhibitions.<\/p>\n

But this Frieze week marks a special kind of opening for The Pit, since the gallery is now preparing to relocate to a 13,000-square-foot industrial building in LA\u2019s Atwater Village neighborhood. Sited at 3015 Dolores Street, a short drive from the original location, the new space will include 8,000 square feet of exhibition space across three galleries, offices, on-site storage, a private viewing room, a ceramics studio for Miller, and, very important, a parking lot.<\/p>\n

\u201cWhen we walked in, both of us were like, this has so much potential,\u201d Oder told\u00a0ARTnews<\/em>. \u201cIt was perfect for the growth that we want to make.\u201d<\/p>\n

Miller added, \u201cit echoes a lot of the original sort of sentiments of the original space.\u201d<\/p>\n

Since its founding in 2014, The Pit has always been something of an island unto itself. Glendale is a neighborhood where many artists have their studios, but it\u2019s not exactly a destination for viewing art, since few other galleries are there. Generally, most dealers have opted to instead open up shop in the Downtown Arts District<\/a> or Hollywood.<\/p>\n

But Oder and Miller said they wanted to stay in Northeast Los Angeles, specifically because of their proximity to other artists, which Miller said could be \u201cof more importance or greater value than collectors and people than it might be on the West Side. We started in Glendale; we are exhibiting artists. It would seem odd for us to just pop up on Santa Monica Boulevard on the West Side.\u201d<\/p>\n

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\"Exterior<\/div>\n<\/div>
The Pit\u2019s new location in Atwater Village.<\/span>PHOTO LANCE GERBER\/COURTESY THE PIT<\/cite><\/figcaption><\/figure>\n<\/div>\n

After getting their MFAs<\/strong>\u00a0in 2008 from ArtCenter College of Design in Pasadena, Miller and Oder worked as studio assistants for artist Sterling Ruby and, in their spare time, began organizing group shows (accompanied by zines) at various venues across the city. They did that for about five years before they considered opening their own space. \u201cWe literally ran out of spaces,\u201d Oder said.<\/p>\n

They were also inspired by artist Laura Owens, who opened 356 Mission, an artist-run space in Boyle Heights, in 2013; it closed in 2018 after members of the community protested, claiming that the space had played a significant role in gentrifying a historically Latinx neighborhood. (The Pit itself faced similar\u00a0protests<\/a>\u00a0in 2018 from community members who accused it of doing the same in Glendale. Miller and Oder apologized and vowed to \u201cdo better\u201d after the outcry.)<\/p>\n

\u201cBack then, there were so many preconceived notions of what artists could and couldn\u2019t do,\u201d Miller said. \u201cWe had gallerists tell us, \u2018No one\u2019s ever going to take you seriously if you curate and you\u2019re an artist.\u2019 I felt like we were going against that by organizing these alternative shows.\u201d<\/p>\n

Despite this pushback, Miller and Oder launched The Pit in July 2014 with a group show of eight LA-based artists with studios near the gallery, including Mary Weatherford, Shana Lutker, Mungo Thomson, and Jon Pestoni. Initially, the gallery\u2019s space was a converted garage located in an alley. \u201cWe really ended up there by happenstance,\u201d Miller said. \u201cThe original space felt like it had this magical presence. It was just very unassuming.\u201d<\/p>\n

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\"Three<\/div>\n<\/div>
Installation view of The Pit\u2019s inaugural exhibition, \u201cThe Outlanders,\u201d showing work by Florian Morlat, Jon Pestoni, Kim Fisher, and Shana Lutker.<\/span>COURTESY THE PIT<\/cite><\/figcaption><\/figure>\n<\/div>\n

Curators from across the country soon came to closely watch the gallery\u2019s programming. The Pit\u2019s third show, for example, looked at H.C. Westermann\u2019s influence on contemporary artists, bringing together pieces by established LA-based artists like Billy Al Bengston, Laura Owens, and Meg Cranston and emerging artists such as Miller, Andrew Sexton, and Matt Paweski.<\/p>\n

The Pit\u2019s specificity to Los Angeles was also key to its early success. Oder said, \u201cHands down, we never would have been able to do what we have done in New York. We were able to organically grow.\u201d<\/p>\n

Miller added, \u201cSo much of our careers developing is because of access to space. We didn\u2019t set out to be commercial gallerists. We set out to throw cool parties and organize interesting shows.\u201d<\/p>\n

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\"Three<\/div>\n<\/div>
Installation view of \u201cAn Erik Frydenborg Omnibus,\u201d 2015, at The Pit II.<\/span>PHOTO JEFF MCLANE<\/cite><\/figcaption><\/figure>\n<\/div>\n

But soon, the gallery became<\/strong>\u00a0a more formalized venture, mounting exhibitions on a regular schedule, representing artists, participating in art fairs, and ultimately taking over several other spaces in that Glendale building, including The Pit II, a 100-square-foot micro-gallery meant for solo shows that opened in 2015 with an Erik Frydenborg outing.<\/em><\/p>\n

\u201cSince the first show, it\u2019s been a running joke that we have made use of every inch of that space,\u201d Oder said. \u201cIn the last couple of years, we felt that we\u2019ve done the most we possibly could do with this building. It was time.\u201d<\/p>\n

Around the five-year mark, Miller and Oder decided that they would eventually move the gallery to an expanded space, but they were always waiting for the right location, one that would maintain the \u201cDIY-like vibe\u201d on which they had long prided themselves, Miller said. And they didn\u2019t want to follow the trends initiated by other galleries, and end up in Downtown Los Angeles or Hollywood or in some new construction.<\/p>\n

\u201cPretty early on, we started talking about leaving and expanding to a different area,\u201d Miller said. \u201cThat charm of being off the beaten path didn\u2019t feel like it was providing as much for those artists and for their careers in the long term as it was doing for the reputation of the gallery when we first started.\u201d<\/p>\n

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\"Three<\/div>\n<\/div>
Installation view of a 2023\u201324 solo exhibition for Viola Frey, at The Pit\u2019s Palm Springs location.<\/span>PHOTO AARON FARLEY\/COURTESY THE PIT<\/cite><\/figcaption><\/figure>\n<\/div>\n

Ahead of their eventual move to a larger gallery in LA, Miller and Oder decided to open a satellite space in Palm Springs, near where they spent much of the pandemic lockdown. Miller noticed that the city\u2019s main downtown strips had empty storefronts from businesses that had shuttered because of Covid. He started scanning listings for a potential new gallery outpost.<\/p>\n

\u201cI\u2019m always like, OK, I\u2019ll entertain this, but it\u2019s not going to happen,\u201d Oder said, as they both began to laugh. \u201cBut with this space, I was like, Oh, this is a great space\u2014this makes sense. New York has the Hamptons\u201d\u2014where many blue-chip dealers operated temporary spaces in 2020\u2014\u201cand Palm Springs is like LA\u2019s little spot.\u201d<\/p>\n

Miller said that the Palm Springs space is more intimate, and that it allows the gallery to mount different kinds of shows than in their new LA digs while also attracting a different audience. \u201cEven though we get big crowds to come to our shows in LA, sometimes it feels insular,\u201d he said. \u201cYou have to be aware of the art world to know about The Pit, but in Palm Springs, we\u2019re right on the strip, next to a public parking lot. I love that in theory, someone could park in the parking lot, and they could walk by with a little kid, who could look in the windows and see the art and have a powerful experience with it.\u201d<\/p>\n

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\"A<\/div>\n<\/div>
Benjamin Weissman\u2019s\u00a0Vertical Men<\/em>\u00a0(2023) will feature in one of The Pit\u2019s two inaugural shows at its new space in Atwater Village.<\/span>PHOTO JEFF MCLANE\/COURTESY THE ARTIST AND THE PIT<\/cite><\/figcaption><\/figure>\n<\/div>\n

Miller and Oder said that by moving the LA flagship, they hope it will signal a maturation of the gallery, potentially allowing them to start adding more artists\u2019 estates and more established artists to its roster. Last December, for example, the gallery mounted an exhibition for the late ceramicist Viola Frey, whose estate the Pit now represents.<\/p>\n

The gallery\u2019s two opening group shows are indicative of that as well. \u201cCognitive Surge: Coach Stage\u201d will pair the work of iconic LA artist Paul McCarthy<\/a> and Benjamin Weissman, who was Miller and Oder\u2019s art professor at ArtCenter. Meanwhile the larger group show, \u201cHalfway to Sanity,\u201d will feature new and recent work by some 50 artists from the gallery\u2019s \u201cpast, present, and future,\u201d including Sterling Ruby, Laura Owens, Erik Frydenborg, Amanda Ross-Ho, Shana Lutker, Mindy Shapero, Aaron Curry, Umar Rashid, Amir H. Fallah, Joel Gaitan, Blair Saxon-Hill, and Tamara Gonzales.<\/p>\n

\u201cWe find such value in providing a context where emerging artists can show work alongside someone who has been a profound influence to them,\u201d Miller said. \u201cWe want the program itself to be more indicative of that as a whole, rather than project to project.\u201d<\/p>\n

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Sounce\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

This weekend, ahead of the opening of Frieze Los Angeles on February 29, many of the city\u2019s galleries will be opening new exhibitions, showing off the best work they have to offer. One of those galleries is\u00a0The Pit, the artist-run space founded by Adam D. Miller and Devon Oder in Glendale that has, over the […]<\/p>\n","protected":false},"author":2,"featured_media":2061,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-2060","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nHow The Pit Became the Off-the-Beaten-Path LA Gallery Everyone Won\u2019t Stop Talking About - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"This weekend, ahead of the opening of Frieze Los Angeles on February 29, many of the city\u2019s galleries will be opening new exhibitions, showing off the best work they have to offer.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/how-the-pit-became-the-off-the-beaten-path-la-gallery-everyone-wont-stop-talking-about\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How The Pit Became the Off-the-Beaten-Path LA Gallery Everyone Won\u2019t Stop Talking About - 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