David Alekhuogie
highlifetime
September 2 – October 25, 2025
Female figure "A Reprise", 2020. Archival pigment print, 47 3/4 x 38 1/2 inches.
WE 271/2 "A Reprise", 2019. Archival pigment print, 45 1/4 x 36 1/8 inches.
Ancestral Figures "A Reprise", 2020. Archival pigment print, 40 1/8 x 32 1/8 inches.
Mask 99/2, 2021. Archival pigment print, 47 1/4 x 36 inches.
WE 431/2 "A Reprise", 2021. Archival pigment print, 50 x 40 1/4 inches.
WE 410/2 "A Reprise", 2020. Archival pigment print, 45 1/4 x 36 1/8.
post colonial bush breakfast "no wahala", 2021. Archival pigment print on canvas, artist's frame. 48 1/2 x 36 inches.
Seamstress, 2021. Archival pigment prints, 39 1/2 x 29 1/2 inches each.
Pure Life, 2021. Archival pigment prints, 32 x 24 inches each.
Portrait for George 1, 2, and 3, 2020. Archival inkjet prints on cotton jersey fabric, artist frames. 40 x 32 inches each.
washington and oak 48.2883° N, 122.6484° W, 2018. Archival pigment print on canvas, artist's frame. 21 1/4 x 17 1/4 x 1 3/4 inches.
LA convention center 34.0403° N, 118.2696° W, 2018. Archival pigment print on canvas, artist's frame. 21 1/2 x 17 3/4 x 1 3/4 inches.
rampart police station 34.0567° N, 118.2670° W, 2018. Archival pigment print on canvas, artist's frame. 21 1/2 x 17 3/4 x 1 3/4 inches.
jefferson and normandie 34.0252° N, 118.3004° W, 2018. Archival pigment print on canvas, artist's frame. 23 1/4 x 18 1/8 inches.
inglewood, CA 33.7701° N, 118.1937° W, 2018. Archival pigment print on canvas, artist's fram. 21 3/4 x 17 3/4 x 1 3/4 inches.
florence and normandie chevron 33.9745° N, 118. 3006° W, 2018. Archival pigment print on canvas, artist's frame. 21 1/2 x 17 3/4 x 1 3/4 inches.
compton cvs 33.8958° N, 118.2201° W, 2018. Archival inkjet print on canvas, artist's frame. 21 1/2 x 17 3/4 x 2 inches.
echo park 34.0782° N, 118.2606° W, 2018. Archival inkjet print on canvas, artist's frame. 21 3/4 x 17 3/4 x 2 inches.
rancho cucamonga 34.1064° N, 117.5931° W, 2018. Archival pigment print on canvas, artist's frame. 21 1/2 x 17 3/4 x 1 3/4 inches.
Born in 1986, David Alekhuogie received his MFA from Yale University and post-bac BFA from the School of the Art Institute of Chicago. His work was included in Companion Pieces, the 2020 iteration of MoMA’s biannual New Photography exhibition, and is currently on view in Men of Change: Power. Triumph. Truth. at the California African American Art Museum in Los Angeles. In 2019, he was the recipient of the Rema Hort Mann Foundation Emerging Artist Grant.
Alekhuogie has had solo exhibitions at Los Angeles Municipal Art Gallery, CA (2019); Commonwealth and Council, Los Angeles, CA (2019); Skibum MacArthur, Los Angeles, CA (2017); and at the Chicago Artist Coalition (2016). Alekhuogie has participated in group shows at Museum of Modern Art, New York (2020); The High Museum of Art, Atlanta, GA (2017); Fraenkel Gallery, curated by Katy Grannan, San Francisco, CA (2015); and Regen Projects, Los Angeles, CA (2015). His work has been published in The New Yorker, The New York Times, Time Magazine, Timeout, Chicago, Vice, and The Los Angeles Times.
October 5, 2025 – March 1, 2026
Made in L.A. 2025 is the seventh iteration of the Hammer’s signature biennial exhibition that showcases artists practicing throughout the greater Los Angeles area. The 28 participants in the exhibition present work not only made in the city but also grounded in its complex and unfolding terrain. Neither myth nor monolith, Los Angeles is many things to many people, and its dissonance is perhaps its most distinguishing feature. The works presented in this year’s biennial include film, painting, theater, choreography, photography, sculpture, sound, and video. Attitude draws them together: Each engages with this city in ways alternately literal, formal, material, and metaphoric. Conceived or made in Los Angeles, they are of this city and nowhere else.
A Reprise, David Alekhuogie’s first monograph, confronts the intriguing legacy of narrative and authorship behind Western presentations of African art, and poses timely questions about how Black aesthetics are circulated, accessed, valued, and interpreted today. In 1935, Walker Evans was commissioned by the Museum of Modern Art, New York, to photograph hundreds of African sculptures for the exhibition African Negro Art. Nearly ninety years later, Alekhuogie began investigating Evans’s images, provocatively remixing them into his own vibrant and multilayered photographic collages. Alekhuogie’s images draw upon the musical idiom of the reprise—a performance of repetition—and stake a claim to crucial, restorative ideas around Black antiquity by questioning our relationship to what we consider fake or original, art or archive.
