NOON Projects

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	<title>NOON Projects</title>
	<link>https://noon-projects.com</link>
	<description>NOON Projects</description>
	<pubDate>Fri, 28 Aug 2026 17:23:56 +0000</pubDate>
	<generator>https://noon-projects.com</generator>
	<language>en</language>
	
		
	<item>
		<title>Menu Mobile</title>
				
		<link>https://noon-projects.com/Menu-Mobile</link>

		<pubDate>Wed, 22 Dec 2021 13:55:12 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Menu-Mobile</guid>

		<description>NOON Projects
Exhibitions
Artists
ProgramsPress


About


ContactThursday to Saturday Noon – 6pm&#38;nbsp;NOON Projects951 Chung King RoadLos Angeles, CA 90012971 341 6648info@noon–projects.com
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		<title>Modern Things</title>
				
		<link>https://noon-projects.com/Modern-Things</link>

		<pubDate>Tue, 30 Apr 2024 01:21:25 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Modern-Things</guid>

		<description>
	9.18–10.24.2026
	
	Exhibition

	
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	Tanya Brodsky &#38;amp; Darren Cortez 
Modern Things NOON Projects is honored to present Under the Surface, a two-person exhibition by Tanya Brodsky and Darren Cortez. Working between material reality and inward perception, both artists attend to the quiet yet muscular power held beneath the surfaces of ordinary things.

September 18–October 24, 2026

Opening Reception:
Friday, September 18, 6–9 PMMore
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		<title>Exhibition Current</title>
				
		<link>https://noon-projects.com/Exhibition-Current</link>

		<pubDate>Tue, 10 Sep 2024 20:52:34 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Exhibition-Current</guid>

		<description>︎︎︎ Current / Past / Future / Fairs</description>
		
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	<item>
		<title>Exhibition Past</title>
				
		<link>https://noon-projects.com/Exhibition-Past-1</link>

		<pubDate>Tue, 10 Sep 2024 21:20:16 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Exhibition-Past-1</guid>

		<description>Current / ︎︎︎ Past / Future / Fairs</description>
		
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		<title>Exhibition Future</title>
				
		<link>https://noon-projects.com/Exhibition-Future</link>

		<pubDate>Wed, 11 Sep 2024 19:22:50 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Exhibition-Future</guid>

		<description>Current /&#38;nbsp;Past / ︎︎︎ Future / Fairs</description>
		
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	<item>
		<title>Exhibition Fairs</title>
				
		<link>https://noon-projects.com/Exhibition-Fairs</link>

		<pubDate>Wed, 11 Sep 2024 19:22:44 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Exhibition-Fairs</guid>

		<description>Current / Past / Future / ︎︎︎ Fairs</description>
		
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		<title>Alex Chaves – The Development Center: A Clownache Store</title>
				
		<link>https://noon-projects.com/Alex-Chaves-The-Development-Center-A-Clownache-Store</link>

		<pubDate>Fri, 28 Aug 2026 17:23:56 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Alex-Chaves-The-Development-Center-A-Clownache-Store</guid>

		<description>
	8.26–9.5.2026
	
Alex Chaves
The Development Center: 
A Clownache Store
The Development Center transforms NOON Projects into the temporary home of Clownache, Alex Chaves' direct to consumer curatorial art and fashion project. Functioning simultaneously as an exhibition, working studio, and retail space, Chaves will be in residence, painting a mural inspired by the architecture of early Modern Los Angeles while presenting a new series of watercolors alongside T-shirts and editions.

The Development Center draws upon themes central to Chaves' practice, examining the legacy of Modernism and the shifting ideas of identity, artifice, and image-making that emerged at the turn of the twentieth century. Working through a dialectic of critique and homage, Chaves frequently refigures iconic paintings by artists such as Picasso, Vuillard, and Gauguin into his own distinctive visual language. Like the painters he references, Chaves considers how moments of rapid social, technological, and cultural change shape the images we produce and consume.

The exhibition looks to the mythology of early Los Angeles—its Orange Empire and its colonial fantasy as the "Paris of the West"—as a framework for new paintings that freely collapse historical and contemporary imagery. References to Labubus and Diet Coke sit alongside portraits, flowers, imagined landscapes, and wrought-iron locks and keys from fifteenth-century Europe, creating an expansive visual vocabulary that moves between romanticism, spirituality, commodity, cultural heritage, and the fluidities of gender, sexuality, and morality.

The watercolors in The Development Center reveal a more intimate dimension of Chaves' practice. While he has long produced works on paper alongside his paintings on canvas, this marks his first exhibition devoted entirely to paintings on paper.

Clownache proposes that paintings, clothing, and editions all carry the same artistic intent, weight, and merit. The project initiates a direct relationship between artist and audience, offering works that range from unique paintings to hand made t-shirts and editions, each produced through Chaves' singular visual language.

Presented for a limited engagement at NOON in Chinatown, The Development Center offers visitors the rare opportunity to encounter Chaves' practice as it unfolds. As the mural develops throughout the exhibition, the gallery remains an active studio, inviting audiences to experience the evolving process while exploring the complete world of Clownache.

Alex Chaves (b. 1989, Summit, New Jersey) works across painting, drawing, performance, and writing. His portraits are often artistic peers depicted within domestic interiors, pairing expressive painterly surfaces with an interest in psychological intimacy, sensuality, and art history. His work contains many referential underpinnings; he often constructs a visual pun or question by performative appropriation. Across mediums, his practice considers the politics of beauty, interpersonal relation, and the ways we fetishize objects and create meaning. Chaves lives and works in Los Angeles.


	Exhibition


On View 
August 26 – September 5, 2026
Opening Reception:

August 26, 20266–9 PMFinissage:
September 5, 2026
4–7 PM

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		<title>Daniel Jack Lyons – Days Change at Night</title>
				
		<link>https://noon-projects.com/Daniel-Jack-Lyons-Days-Change-at-Night</link>

		<pubDate>Sat, 27 Jun 2026 02:06:58 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/Daniel-Jack-Lyons-Days-Change-at-Night</guid>

		<description>
	6.28–8.1.2026
	Daniel Jack Lyons&#38;nbsp;
Days Change at Night
NOON Projects is pleased to present Days Change at Night, a solo exhibition of works by Daniel Jack Lyons — his first in Los Angeles.

Lyons makes photographs the way other artists make relationships: slowly, with attention, over time. Trained as an anthropologist, he approaches the medium as a form of sustained, reciprocal engagement — returning to the same people across months and years, sharing meals and conversation, allowing trust to accumulate before the camera is ever raised. The images that result bear the mark of this process. They are not taken. They are arrived at together.

His practice sits at the intersection of documentary photography and collaborative portraiture, and engages directly with questions that have long preoccupied both fields: who holds the camera, who controls the image, and what it means to represent a community from inside rather than outside it. Lyons works against extractive modes of image-making — the ethnographic gaze, the voyeuristic lens of nightlife photography — by building structures of shared authorship into the work from the start. Those he photographs actively shape how they are seen.

The portraits in Days Change at Night grew out of relationships Lyons developed with members of sCUM, a queer club night that operated in East Los Angeles from 2016 to 2020. sCUM was, by many accounts, a genuinely generative social space — a place where a younger generation of queer Angelenos built community, tested identities, and found each other. But the photographs Lyons made are not photographs of the club. They are photographs of people, made mostly elsewhere: in bedrooms, in the quiet of domestic life, in the company of partners, friends, and chosen family. The shift in setting is also a shift in register. Removed from the charged atmosphere of the dance floor, his collaborators present themselves differently — more slowly, more privately, more fully on their own terms.

Days Change at Night takes its title from X's 1980 song "Los Angeles," and carries something of that song's atmosphere — the fluid movement between public and private worlds, between who we are at night and who we are by day, between the self we perform and the one we return to.

The resulting photographs resist easy categorization. Neither candid documents nor constructed portraits, they are the product of mutual exchange — images that bear the mark of everyone who made them. What Lyons has built, over time and across these relationships, is neither spectacle nor archive, but something closer to portraiture in its oldest sense: a record of people defining themselves, on their own terms, for their own eyes.

Daniel Jack Lyons (b. 1981) is an American artist and anthropologist whose photographic practice explores queer identity, community, and belonging. Working closely with young people whose lives often exist beyond dominant social narratives, Lyons creates portraits that foreground self-expression, intimacy, and collective resilience.

His book Like a River (Loose Joints, 2022) documents the coming-of-age stories of queer and trans youth in the Brazilian Amazon. Lyons has exhibited internationally, most recently at the Rencontres d'Arles in France and Photo Australia Festival in Melbourne, with additional exhibitions in Paris, New York, Milan, Amsterdam, Warsaw, London, and Mozambique. His work has been featured in numerous publications including The New York Times, i-D, The New Yorker, and Vogue Italia. 

Lyons’ work is held in the permanent collections of the Deutsche Börse Photography Foundation and The Marciano Art Foundation, as well as select private collections.


	Exhibition


On View 
June 28–August 30, 2026View Catalog
Opening Reception:

June 28, 2026
3–5 PMConversation with Emma Reeves, Closing Party and Performances
August 1, 2026

6:30–9 PM

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	<item>
		<title>In Sun: Kristan Kennedy and Marcus Fischer</title>
				
		<link>https://noon-projects.com/In-Sun-Kristan-Kennedy-and-Marcus-Fischer</link>

		<pubDate>Fri, 10 Apr 2026 21:28:50 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/In-Sun-Kristan-Kennedy-and-Marcus-Fischer</guid>

		<description>
	4.17–5.30.2026
	Kristan Kennedy and Marcus Fischer 
In Sun
NOON Projects is honoured to present In Sun, a two person exhibition by Kristan Kennedy and Marcus Fischer opening April 17, 2026.

In Sun pairs the work of Kristan Kennedy and Marcus Fischer, two artists whose practices rely on accumulation, erosion, and perceptual uncertainty. Playing at the edges of two very different mediums, Kennedy with painting and Fischer primarily with sound, both eschew the notion of stable composition in favor of durational unfolding, which extends beyond the time of production to moments of active beholding. &#38;nbsp; 

Kennedy’s paintings might at first seem plainly apprehensible, but they present only the end stage of a long process of making, much of which is left invisible to the eye. Each one begins with unstretched linen that the artist dyes, stains, and draws upon with a range of materials both traditional and unexpected, ranging from sumi ink and markers to bleach and butter. Once Kennedy’s initial moves have seeped into the fibers of the cloth, she goes about disrupting what she has created, layering additional marks, erasing others, and throwing the whole thing into the washing machine, where dyes will set, bleed, migrate, or diffuse altogether, leaving behind just a shadow or outline of what was once there. She repeats the process as many times as it takes to arrive at a work that is “believable” as painting, maintaining an aesthetic at once deliberate and accidental. Her naming conventions, in which each painting is titled with a cryptic acronym, further underscore the sense of mystery, opacity, and depth central to her work.

Fischer’s sound installations also concern themselves with process, temporality, and uncertainty. In Memory Gates, 2026, he uses modified reel-to-reel machines to play multiple tracks simultaneously, combining instrumental compositions with field recordings of passing cars, woodpeckers, and water from day- and nighttime walks. The tapes are strung loosely between the machines, visualizing duration and creating the conditions of flux: because the tape loops differ in length, their sounds drift from any pre-planned alignment, producing a constantly shifting sonic field shaped by repetition and chance. Material erosion risks further destabilization, as the tape slowly sheds its iron oxide over the course of the exhibition.

Though there are strong signals of embodiment in Kennedy’s hand-worked paintings and Fischer’s field recordings, which often include the sound of his own footsteps, both artists also embrace a sense of unknowability. Though Kennedy is deeply engaged with painting’s long history as a medium of image-making, her works resist concrete representation. Recurring abstract forms move through her richly layered paintings like fragments of a private language, suggesting structures that might flicker with recognition but never fully resolve. Fischer goes even further, particularly in a series of sealed boxes featuring unspooled magnetic tape. The tape in each box has been recorded with sounds described by the works’ titles—“This is the Sound of Where the River Meets the Sea,“ for one, or “This is the Sound of Night in the Foothills.” The sounds are not available, just the material fact of their containment within strips of tape; viewers are thus asked to imagine what cannot be heard. As a result, the work exists as much in the mind as it does on the wall, and no two viewers will—or could ever—have the same experience of it. 

The interplay between the two artists—who know one another but have never before exhibited their work together—heightens some of their common concerns, even across divergent mediums. Their approaches are fundamentally generous, offering just enough ground for shared knowledge and experience while preserving the irreducibly individual nature of perception. In each case, the work remains slightly out of reach, not withholding meaning so much as refusing to fix it in place. What emerges instead is a field of possibility in which image and sound are continually made and remade in the act of encounter, offering an armature for attention that asks us to sit with what cannot be fully known.

— Andrea Gyorody

	Exhibition


On View 
April 17– May 30, 2026
Opening Reception:

April 17, 2026
6–9 pm
Musical Performance:Marcus Fischer
May 16, 2026
7 pmView Catalog


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		<title>David Shull – Where there is Great Love there are Always Great Miracles</title>
				
		<link>https://noon-projects.com/David-Shull-Where-there-is-Great-Love-there-are-Always-Great-Miracles</link>

		<pubDate>Sat, 14 Feb 2026 03:21:35 +0000</pubDate>

		<dc:creator>NOON Projects</dc:creator>

		<guid isPermaLink="true">https://noon-projects.com/David-Shull-Where-there-is-Great-Love-there-are-Always-Great-Miracles</guid>

		<description>
	2.20–4.4.2026
	Where there is Great Love there are Always Great Miracles
David ShullNOON Projects is honored to present "Where there is Great Love there are Always Great Miracles" by David Shull, the artist’s third exhibition with the gallery, opening February 20, 2026.

The phrase "Where there is great love there are always great miracles" appears on a stock photograph of a rose glistening with dew set within a faux-wood frame that the artist David Shull found discarded on the street. In keeping with the hallowed Hallmark tradition this maxim extends, the words fall apart the more you try to decipher their relationship to each other and to a world of meaning more generally. This is the typical dissolving structure of sentimentality—among love’s most debased articulations. As cipher, loaded value judgement, mode of relating, and form, sentimentality is also one of the throughlines of Shull’s expansive practice. Here, it unlocks an unlikely portal back into real feeling.

The sculptures, paintings, and drawings in this presentation offer a glimpse of a larger body of work over fifteen years in the making. While the form of an exhibition demands abridgement, the full sweep of this project remains a reverberating presence. Each piece in "Where there is great love . . ." is the result of a chain of responsive interventions: Shull may extend, distill, or recontextualize an element in response to its associative potential. Extrapolating the form of a gun from a particular configuration of blocky, shaped canvases in an early iteration of "Flesh Field" (2003), the artist made this association explicit by inscribing a pistol grip directly on the wall with Sharpie. The drawing "Road Romeo" (2003) is an inventive homage to the name of a bus that Shull spotted while working on an off-off-Bollywood production in Guyana. Struck by the schmaltzy designation, the artist concocted his own vision of romance in motion: a headboard (a decor flourish rattling with naughty subtext) on wheels, their rotation and velocity conveyed by Shull through spectral doubling and brisk, dizzying motion trails. Evocations run amok: the straightforwardly titled "Inflatable Bedsheet" (2012) is at turns swollen with hot air and abjectly flaccid, like some giant wad of bubble gum engorged and then collapsed, sans the decisive, sexy snap; made of vellum, a substrate derived from animal skins, the blush-colored folds of "Paper Vaginas"(2002) have devastatingly Freudian origins (an attempted Mother’s Day card).

Together, Shull’s titles read like the table of contents from some pulpy romance, careening between campy sap and gentle perversion. A taste: "Flowers in the Wind" (2003); "Gushing Song of Love Over Watermelon" (2010); "Flesh Field"; "Dick Maze" (2003); and my personal favorite, a wink to untapped innuendos in the language of painting, "Wet on Wet"(2009). Likewise, the works are the bastard children of sincerity and cheekiness. Flowers, harvested for use as proxies for feeling, abound: printed on silky shoulder pads amputated from some since-misshappen, deflated garment; all a-bluster in swoopy, brushy acrylic strokes; flattened, de-natured, and reiterated ad nauseum on wallpaper; preserved in or maybe never-alive in a bell jar; festooning a grave in a photograph; as symbols in a rigged game of Tic-Tac-Toe. These are only a handful of the floral apparitions—their disparate forms linked by estrangement, to varying degrees, from the real, rooted thing.

Shull’s palette is shot through with what he calls “beige renditions of pinks.” In the visual language of sentiment, rosy reigns supreme. (Blush, coral, fuschia, so-called excesses of emotion—all are damned to the realm of girly shit, doomed to be trivialized ad nauseum by the terminally heartless.) A beige rendition of pink, though, tinges the hue with a dose of suburban banality; beige acting in a performance of pink, one color’s take on another. For this author at least, suburbia conjures a kind of desperate, constrictive affect, a slow-motion bludgeoning of the soul courtesy of the nuclear family. Shull’s associations are less violent. Among the threads linking his varied forms is the artist’s interest in the peculiar beauty of objects and moments so integrated into the fabric of mundane life that they rarely brush the surface of perception. So although grand themes like love and history charge each artwork, their less dramatic expressions—that is, their nuances—have a stronger hold here.

This extends to his approach to materials, which rhymes with certain aspects of the Minimalism of the 1960s and ’70s. Like artists such as Donald Judd and Dan Flavin, Shull often works with and in response to industrial matter, in many cases altering only the context in which it is presented. His are, in his words, “dumbed-down materials,” tweaked only to the extent that their construction or origins isn’t shrouded under some alienating veil of virtuosity. But he forgoes the canonical steel-plywood-lightbulbs (and self-serious fuckery) in favor of stuff from our world that skews more offbeat. A bedsheet, newsprint, bouquet wrapping paper, a pillow, wallpaper backing, Polaroid cartridges stacked in a helix and strung up like a mobile. The object from which the exhibition title is derived is embalmed in an epoxy cocktail known as “bar resin,” named for its frequent use protecting countertops from the collateral damage incurred in darkened, liquor-wet milieus. "Veteran" (2005) comprises three bolts of material linked together by carabiners, hanging like a wet towel on some bathroom hook. Called a “door skin,” this padded vinyl is another architectural swatch common to wining and dining joints, peeled from its sticky home and recast as sculpture.

As the title implies, "Where there is great love there are always great miracles." is, above all, a love story. The artist demarcates the span of time represented in this body of work in relation to falling in and out of infatuation (not necessarily in that order). Romantic love, yes, but also friendship—less glorified but equally sacred. That form mirrors Shull’s responsive approach to his work: friendship can have all the thrill of exchange without the transactional misery that comes along with the idea of possessing a person, with a sense of property. Of his friend Jack Doroshow, aka Flawless Sabrina, the patron saint of this series, Shull writes: “I think that I gave Jack as much as I received from him, but in truth, A. That would be impossible and B. I don’t think that we really wanted anything from each other.” The tale of how a legendary drag queen who came of age in 1960s New York and a much younger straight guy from California became close is beyond the scope, so to speak. Shull tells it better, anyway. The book that accompanies, distills, extends, and otherwise transforms the full scope of "Where there is great love . . ." is inscribed with Doroshow’s responses to the pages sent by the artist. Beyond synergistic electricity, Shull’s art and Doroshow’s poetic rejoinders share a rare sensibility: both possess all the wit of irony but remain utterly sincere, an unlikely affective alliance that hits like pushing on a bruise, or heartbreak.

— Sophia Larigakis

	Exhibition


On View 
February 20– April 4, 2026
View Catalog

Performance:
SUPERCORN / DEAD DIVA DISCO
Curated by Ciriaco

March 5, 2026
7 PM


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