1911 Sunset Boulevard
August 8 – September 12
Gallery Luisotti is pleased to present 1911 Sunset Boulevard, an exhibition of works by six contemporary artists made in response to the former Taix French Restaurant in Echo Park. Comprising photographs, altered photographic works, and a single painting, the exhibition follows Taix through its final months, its closing night, and the landscape left by its demolition. The exhibition takes its title from the restaurant’s address.
For more than sixty years, Taix occupied a singular place on Sunset Boulevard. Its dining rooms, banquet halls, lounges, murals, and upholstered booths formed an interior world at once theatrical and familiar, too large and layered to take in whole. Private dinners gave way to performances, parties, meetings, and nights that continued long after anyone had stopped ordering.
The building and its social life cannot be considered apart. The scale and strangeness of the architecture allowed different publics to coexist. The restaurant’s informality let those publics alter the meaning of the rooms from one evening to the next, becoming a nightclub, a salon, a memorial hall, or a temporary refuge from the city outside.
The works in 1911 Sunset Boulevard approach the restaurant through distinct forms of attention. They do not assemble a unified portrait or treat documentation as a means of restoring Taix intact. Instead, the restaurant appears by turns as an arrangement of rooms, a crowded social world, a half-visible atmosphere, a damaged record, a worked surface, and finally a vacancy whose effects extend beyond the building’s footprint.
Maxfield Hegedus (b. 1986, Santa Monica, CA) is a multidisciplinary artist raised in the San Fernando Valley of Los Angeles County. A graduate of the Los Angeles Unified School District, Hegedus earned a Bachelor of Fine Arts degree from SAIC. His additional studies include programs at NYU ITP, UCLA, and MSA. Hegedus currently lives and works in Los Angeles, California. Recent projects include collaborating with writer Gracie Hadland and editor Luis Ortega Govela on an article about Taix for publication in Flash Art Volumes 003. The volume titled “Opacity” examines the cultural, architectural, and political meanings of transparency and concealment, exploring how built environments and materials shape ideas of visibility, privacy, control, and complexity.
Maxfield Hegedus photographs the restaurant with sustained descriptive attention, moving beyond its most recognizable dining rooms into bathrooms, banquet halls, dressing areas, corridors, and other less ceremonial spaces. Tables remain set, chairs hold their positions, and lamps continue to cast their light, but the rooms are empty. His images preserve Taix’s improbable accumulation of materials, colors, and decorative periods while allowing the absence of its occupants to become newly visible. What had once served as a backdrop to social life emerges as a subject in its own right.
Maxfield Hegedus
Fujicolor Crystal Archive Super Type C Glossy print
20 x 24 inches
Edition of 1 + 1 AP
From an article with Gourmet Magazine:
Maxfield Hegedus and Andrew J. Greene are both artists. Hegedus has been coming to Taix for nearly twenty years, Greene ever since he moved to L.A. nine years ago. For Hegedus, Taix was the place where many art circles would congregate. But what made him keep coming back was the fact that, “in L.A., everything changes, and everything is trend-based. So the fact that you could go somewhere and have the same… It was like going to your parents’ house,” Hegedus says.
“Maybe there were some weirdos, maybe there were some freaks,” Greene chimes in, “but you’d get a stiff drink, a predictable mediocre cheeseburger, and at a reasonable price.” The weirdos were often part and parcel with the vibe. At a place like Taix, Greene says, you’d go with your friends but inevitably strike up some strange conversation. “There are some real fucking reptiles at the bar who are paying in, like, quarters and they live down the street and they are telling you their life story and you can’t help but listen and maybe you will buy them a drink because they’ll guilt trip you into it.”
Maxfield Hegedus and Andrew J. Greene at Taix
Marcel Alcalá (b. 1990, Santa Ana, CA) has had solo exhibitions at Marlborough, New York, NY; Deli Gallery, Brooklyn, NY; Mickey Gallery, Chicago, IL; and Night Gallery, Los Angeles, CA. They participated in Made in L.A. 2023: Acts of Living, Hammer Museum, Los Angeles, CA. Their work has been featured in group shows at Anat Ebgi, Los Angeles, CA; Ballroom Marfa, Marfa, TX; Blum & Poe, Los Angeles, CA; Lyles & King, New York, NY; and Simon Lee Gallery, New York, NY, among others. Alcalá has exhibited in numerous museums and institutions including The Cheech, Riverside, CA; Hammer Museum, Los Angeles, CA; Museum of Contemporary Art Chicago, Chicago, IL; and Tom of Finland Foundation, Los Angeles, CA. They will perform in The Art Parade, presented by LACMA and Jeffrey Deitch, in Los Angeles, June 2026. Their work has been written about in Flaunt, Hyperallergic, LA Times, LA Weekly, and PAPER, among others. They have been an artist-in-residence at Fire Island Art Residency (2023), Skowhegan (2022) and Tom of Finland Foundation, Los Angeles (2020). Alcalá lives and works in Los Angeles, CA.
Marcel Alcalá’s painting GGNAT presents the restaurant under opposite conditions. Made in response to Gay Guy Night, it shows two figures behind DJ equipment against Taix’s brick interior. Alcalá’s charged handling of paint binds bodies, furniture, sound, and architecture into a single restless surface. The room does not serve merely as a backdrop. It has been activated and temporarily remade by the event taking place within it.
Marcel Alcalá
GGNAT (Gay Guy Night at Taix), 2026
Oil on canvas
16 x 20 inches
Photos by Marcel Alaclá, New Years Eve at Taix
Abdi Taslimi (b. 1982, Santa Monica, CA) is one of three founders of Gay Guy Night at Taix (GGNAT), a creator and host of the seminal Perfume Exchange event series, and the inventor of a novel erotic body odorant (forthcoming). Abdi’s practice includes video, photography, poetry, and experimental perfumery. As a longtime resident of Echo Park, Abdi’s devotion to Taix spanned multiple decades.
“We remember Taix as a gathering place of unparalleled generosity. We grieve the sweet comfort of its walls, warmed by vibrant staff, electrified by years upon years of intimate communion, steadfast, evergreen, overflowing with character and with spirit, blemished, majestic, and so very alive.” –Abdi Taslimi
A related sense of occupation runs through Abdi Taslimi’s photographs, although they resist the clarity of an architectural record. Figures, balloons, flowers, booths, and painted landscapes surface unevenly through darkness and grain. Crowded rooms and solitary diners remain only partly legible, as though the images were still adjusting to the light. Taslimi photographs Taix from within its social and perceptual conditions, through interrupted sightlines and the uncertain recognition of people and objects across a dim room. The restaurant becomes inseparable from the difficulty of seeing it whole.
Abdi Taslimi
Rhône Room, 2026
Acrylic-laminated color photograph, mounted to aluminum
16 x 20 inches
Edition of 1 + 1 AP
Abdi Taslimi
Dining Room 1, 2026
Acrylic-laminated color photograph, mounted to aluminum
16 x 20 inches
Edition of 1 + 1 AP
Abdi Taslimi
Dining Room 2, 2026
Acrylic-laminated color photograph, mounted to aluminum
12 x 16 inches
Edition of 1 + 1 AP
Evan Whale (b. 1987, Washington, DC) is an artist whose experimental photographic practice treats the print as both image and material — a surface to be carved, chemically altered, painted, and re-energized — in order to construct an expanded biographical view of the Southern Californian landscape. His work moves fluidly between photography and painting, drawing on California’s seismic faults, domestic interiors, desert ecologies, and the changing nature of the Los Angeles cityscape. Whale holds a BA from Bard College and an MFA from the Yale School of Art, and has exhibited at Regen Projects (Los Angeles), the FLAG Art Foundation (New York), Galerie Thaddaeus Ropac (Paris & Salzburg), 321 Gallery (Brooklyn), and the Denver Art Museum, among others. Whale is represented by Tyler Park Presents in Los Angeles, with an upcoming solo presentation at the gallery in 2027 focusing on the recent erasure of Taix French Restaurant.
In Evan Whale’s works, that instability enters the photographic surface itself. Whale scratches into his photographs of Taix and covers portions of them with oil pastel, submerging booths, chandeliers, patterned upholstery, and other recognizable details beneath dense accumulations of mark and color. The restaurant remains present, but it can no longer be apprehended intact. Photography becomes a material object subject to handling, interference, concealment, and revision. The image does not simply preserve memory. It behaves like memory, retaining certain details while deforming or obscuring others.
Evan Whale
Old Haunts (Through the Smoke), 2026
Oil pastel, carving and chemigram on c-print, artist’s frame with Optium UV Museum acrylic
26 x 36 inches
Unique
Arturo Soto (b. 1981, Ciudad Juárez, MX) is a Mexican photographer and writer living in Los Angeles. He has published the photobooks In the Heat (2018), A Certain Logic of Expectations (2021), and Border Documents (2025). Soto holds a PhD in Fine Art from the University of Oxford, as well as postgraduate degrees in Photography from the School of Visual Arts in New York and in Art History from University College London. He curated the exhibition Foreign Correspondence (2014) at the Architectural Association in London and participated in the first edition of Forecast Platform at the Haus der Kulturen der Welt in Berlin. His work has been exhibited internationally and is included in the anthologies Decolonization and Diversity in Contemporary Photography, Imaginaria, and the Subjective Atlas of Mexico. Soto’s critical writing has been published in VII Insider, C4 Journal, The Brooklyn Rail, and ASX, among other places.
Arturo Soto’s five black-and-white photographs move beyond closure to the conditions demolition leaves behind. A fenced property, exposed ground, scattered debris, a damaged newspaper box, and the surrounding intersection become evidence of a structure no longer visible. Soto locates Taix through what persists at its edges. The restaurant’s former presence is registered indirectly, in barriers, altered pathways, and the provisional surfaces through which redevelopment announces itself before anything new has fully taken shape.
Arturo Soto
View of Site from Sunset Blvd, 2026
Gelatin silver print with an 8-ply overmat
11 x 14 inches (print); 16 x 20 inches (mat)
Edition of 5 + 2 AP
Arturo Soto
View of Site from Reservoir St, 2026
Gelatin silver print with an 8-ply overmat
11 x 14 inches (print); 16 x 20 inches (mat)
Edition of 5 + 2 AP
Kittipong (b. 1993, Guadalajara, MX) is a notary public, ribbon maker and midnight artist her practice consists of mistakes, accidents and following the light
Kitti Pong’s photograph carries an interruption of another kind. Made from multiple exposures on a single negative during Taix’s closing night, the image was intended to gather several moments of the evening into one frame. Before the film could be developed, it was fogged by an unwanted X-ray during a visit to the Mexican consulate. What survives is a nearly unreadable field of color crossed by faint traces of light. An attempt to condense the restaurant’s final night into a single image became, by accident, an image of disappearance. Its damage does not merely prevent access to the event. It gives visual form to the difficulty of retaining it.
Kittipong
…. / a portrait of every person that ever attended taix restaurant
Fuji Crystal Archive print with custom overmat with paper and mother of pearl veneer details
12½ x 16 inches
Unique
Lewis Baltz
Continuous Fire, Polar Circle, 1985
Portfolio of 7 vintage gelatin silver prints in a black cloth clamshell box
7 – 8 x 10 inches
Edition 2 of 12
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Lewis Baltz
Laguna Beach A, 1969
Vintage gelatin silver print, dry mounted to photo paper with corners clipped and lined with India ink, mounted on rag board
5 x 7 inches
Uneditioned, vintage
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Lewis Baltz
Laguna Beach B, 1969
Vintage gelatin silver print, dry mounted to photo paper with corners clipped and lined with India ink, mounted on rag board
5 x 7 inches
Uneditioned, vintage
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Lewis Baltz
The New Industrial Parks Near Irvine, California, Element #2, 1974
Gelatin Silver Print
8 x 10 in
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Lewis Baltz
The New Industrial Parks Near Irvine, California, Element #3, 1974
Gelatin Silver Print
8 x 10 in
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Lewis Baltz
There is no life outside these Verona Walls…, 1988
Cibachrome diptych
2 – 50 x 75 inches (100 x 75 inches overall)
Edition 3 of 5
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CJ Heyliger
VVVVVVV, 2020
Carbon Pigment Print
30 x 24 inches, Edition of 7
[07100O1F2]
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CJ Heyliger
VVVVVVVV, 2020
Carbon Pigment Print
25.25 x 20 inches, Edition of 7
[0908R2F3]
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CJ Heyliger
VVVVVVVVV, 2020
Carbon Pigment Print
25.25 x 20 inches, Edition of 7
[0619O1F8]
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CJ Heyliger
VVVVVVVVVV, 2021
Carbon Pigment Print
40 x 50.25 inches, Edition of 5
[0619R5F6]
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CJ Heyliger
VVVVVVVVVVV, 2021
Carbon Pigment Print
40.5 x 32 inches, Edition of 5
[0425R4F3]
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CJ Heyliger
VVVVVVVVVVVV, 2021
Carbon Pigment Print
32 x 40.5 inches, Edition of 5
[0619R5F6]
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CJ Heyliger
VVVVVVVVVVVVV, 2019
Carbon Pigment Print
32 x 40.5 inches, Edition of 5
[0929R2F6]
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CJ Heyliger
VVVVVVVVVVVVVV, 2018
Carbon Pigment Print
25.25 x 20 inches, Edition of 7
[1110R1F6]
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