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Roberts Projects

Name: Roberts Projects
Address: 442 South La Brea Avenue, West Hollywood, CA, 90036, US
Telephone: +13235490223
Price range: $$

Contact information, map and directions, contact form, opening hours, services, ratings, photos, videos and announcements from Roberts Projects, 442 South La Brea Avenue, West Hollywood, CA.

05/26/2026

Let’s Get It On: The Wearable Art of Betye Saar
May 30 – August 22, 2026
Opening Reception, Friday, May 29, 5–7pm

Roberts Projects is delighted to present Let’s Get It On: The Wearable Art of Betye Saar, an exhibition exploring the central role of costume design in Saar’s early career and throughout her life as a mother and artist. The archivally-driven exhibition features over 200 objects, including costume designs, photographs, drawings, garments, jewelry, artworks and historic materials from the 1950s–1970s.

Anchored by Saar’s costume designs, Let’s Get It On brings together for the first time a collection of newly-discovered photographs documenting early productions at the Inner City Cultural Center (ICCC)—a multicultural performing arts institution founded in the wake of the 1965 Watts Rebellion—presented alongside the original sketches she created for those very performances.

While working for the theater, Saar also regularly made clothes, jewelry and costumes for her daughters and others, many of them for the Renaissance Pleasure Faire, held at Paramount Ranch in Southern California from 1964–1973.

Images: Betye Saar, Antigone (Red Dress), 1970. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Paul Salveson. Betye Saar, Cocaloony costume design for The Gnadiges Fraulein, 1970. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Paul Salveson. Lee Clark Champion, Ruth Warshawsky and Isabel Sanford in Betye Saar-designed costumes for The Gnadiges Fraulein, Inner City Cultural Center, Los Angeles, January 1970. Courtesy of the artist, Roberts Projects, Los Angeles, California, and Los Angeles Inner City Cultural Center, Los Angeles, California. Photo: Irvin Paik. Leather vest designed by Betye Saar for folk singer-songwriter and civil rights activist Len Chandler, c. 1972. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Paul Salveson. Betye Saar, Mojo necklace, 1974. Courtesy of the artist and Roberts Projects, Los Angeles, California. Photo: Paul Salveson.

05/08/2026

Now on view at , “Betye Saar’s Black Dolls” honors the renowned artist’s 100th birthday and celebrates a landmark promised gift to The New York Historical of her collection of more than 100 Black dolls.

began collecting Black dolls during the late 1960s in Los Angeles, a pursuit shaped in part by absence, having grown up in the 1920s and 1930s without owning a Black doll.

Curated in close collaboration with the artist and her studio, Betye Saar’s Black Dolls, a selection of 27 dolls from the promised gift alongside 15 watercolors and examples of her signature assemblages underscore the imaginative possibilities of play, as Saar reanimates historical objects to endow them with agency, personality, and story.

On view through October 4, 2026.

Images: Betye Saar, Hoo Doo Woman, 1974, mixed fabrics, metal jewelry, leather and beads, 14.5 x 10 x 2 in. Photo: Robert Wedemeyer. Betye Saar with Black doll collection, 1976. Photo: Lezley Saar. Betye Saar, Black Floating Doll in Mystic Sky, 2022, watercolor on paper, 24 x 18 in. Photo: Paul Salveson. Unknown artist, Female Doll in Red Dress, ca. 1880-1890, mixed fabrics, 21.25 x 19 x 2.25 in. Photo: Robert Wedemeyer. All images courtesy of the artist and Roberts Projects, Los Angeles, California.

04/21/2026

It is with deep sadness that we acknowledge the passing of James Hayward, an artist whose dedication to his craft spanned over five decades. We were grateful to work with James for over a decade and were even more privileged to call him a dear friend—a man of immense intellect, sharp wit, and profound generosity.

James was a pillar of the Los Angeles art community and a foundational figure in the evolution of California abstraction. Moving beyond the clinical minimalism of his predecessors, he developed a language of “material uncertainties” that prioritized the physical act of marking as a record of time and existence. His work bridged the gap between the historical monochrome and a contemporary, tactile sensibility, earning him a permanent place in the lineage of American masters.

His legacy endures through his works in the permanent collections of MOCA, LACMA, SFMOMA, and the Cleveland Museum of Art among others and through the countless artists he influenced throughout his storied career.
To honor his voice, we share a reflection James wrote in 2016 regarding his life’s work:

“I am a monochrome abstract painter, emphasizing and acknowledging ‘marking’ as the heart and soul of painting. This is my practice. So much blank canvas; so little time.”

Our thoughts are with his family and the global artistic community he so deeply impacted.

Images: Red/Yellow/Blue Ratio Triptych #4, 2010, oil on canvas on board, triptych: 14 x 10.5 in (35.56 x 26.67 cm) each, Abstract #224, 2015, Oil on canvas over panel, 17 x 15 in (43.2 x 38.1 cm), Abstract #224, 2015, oil on canvas over panel, 17 x 15 in (43.2 x 38.1 cm)

04/02/2026

Instant Theatre | Rachel Rosenthal and King Moody
April 4 – May 23, 2026
Opening Reception Saturday, April 4, 4-6pm

Roberts Projects is pleased to present Instant Theatre: Rachel Rosenthal and King Moody, an exhibition exploring the experimental theatre movement founded by Rachel Rosenthal in 1955 and continued with her husband, King Moody, from 1956–1966. Featuring archival material and design elements that invoke the setting and atmosphere of these ephemeral events, the exhibition reconstitutes Instant Theatre for the present while situating it historically as a precursor to the performance art of the 1960s and 1970s.

Image: Instant Theatre postcard, 1963. Designed by Rachel Rosenthal. Courtesy of the artist and Roberts Projects, Los Angeles. Rachel Rosenthal and King Moody, 1960. Photo by Charles Britten. Courtesy of the artist and Roberts Projects, Los Angeles.

03/18/2026

This is the final week to view Amoako Boafo | I Bring Home with Me at Roberts Projects.

Expanding on Amoako Boafo’s exploration and celebration of Blackness and its diverse subjectivities I Bring Home with Me, features a group of new paintings that are integrated within an architectural re-creation of the artist’s studio in Accra, Ghana, built to scale inside the gallery.

Also available are the playing cards featured in the installation. The two-deck box set available in three unique designs includes rules for “Conkin”–the studio’s favorite card game–introduced to the artist by Nour Shantout. Designed by Naïla Opiangah for Amoako Boafo Studio, proceeds will benefit dot.ateliers, the artist residency founded by Amoako Boafo in 2022.

Amoako Boafo, I Bring Home with Me is on view through Saturday, March 21st.

Images: Installation Views, Amoako Boafo. I Bring Home with Me, January 17–March 21, 2026, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Paul Salveson. Amoako Boafo Studio playing cards, courtesy of the artist and Roberts Projects, Los Angeles. Photo: Philippe Baron.

03/03/2026

Roberts Projects is pleased to announce its representation of Esmaa Mohamoud.

This announcement follows the gallery’s first solo exhibition with the artist in 2025, What Does Webster’s Say About Soul?

Known for her conceptual practice that incorporates familiar objects and symbols from Black visual culture—including football equipment, peacock chairs, lowriders, butterflies and shea butter—Mohamoud reimagines her source materials by transforming their scale and layering cultural references to recontextualize their conventional meaning. Grounded in extensive research and painstaking production, her work displays not only a mastery of a given material, but also a nuanced understanding of its symbolic power. By investigating Black history through its material culture, Mohamoud bypasses monolithic racial stereotypes to envision a world rich with complexity and diverse experiences.

Through her critique of Black body politics, Mohamoud considers how subjects are made to navigate spaces where they have already been objectified and racialized. In creating work that demystifies these unspoken social codes, Mohamoud simultaneously celebrates and reconfigures a visual language rooted in time-honored traditions of resistance and resilience.

Images: Portrait of Esmaa Mohamoud 2025, photo: Jeremy Clemente. Installation view, Esmaa Mohamoud, What Does Webster’s Say About Soul?, September 27 – November 15, 2025, Roberts Projects, Los Angeles, CA, photos: Esmaa Mohamoud and Paul Salveson

02/28/2026

Betye Saar
Altered Polaroids and sketchbooks, 1994-1997

In 1994, while in residence at The Rockefeller Foundation Bellagio Center in northern Italy, Betye Saar began a series that incorporated her experiments with “altered Polaroids.” Using a Polaroid camera alongside her skills in printmaking, collage, assemblage and design, Saar drew, scratched, and pressed into the surfaces of the images as they developed to create layered photographic compositions.

These works are on view as part of our Frieze Los Angeles presentation, Visit us at Booth A2 through Sunday.

Images:
Leo Lady, 1999, mixed media assemblage, 10.88 x 8.88 x 1.5 in (27.6 x 27.6 x 3.8 cm). Photo: Paul Salveson. Blue Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1.5 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Green Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in. (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson . Red Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Visionary, 1994, mixed media assemblage, 15.25 x 12.75 x 2.38 in (38.7 x 32.4 x 6.0 cm). Photo: Paul Salveson. Time and Terrain, 1995, mixed media assemblage, 10.75 x 13.75 x 2 in (27.3 x 34.9 x 5.1 cm). Photo: Paul Salveson. 4 Doors in a Window (Bellagio, Italy - 1994), 2004, mixed media assemblage, 25.5 x 25.5 x 1.75 in (64.8 x 64.8 x 4.4 cm). Photo: Robert Wedemeyer.

Saar

02/26/2026

Opening Today - Frieze Los Angeles 2026!
Please join us at Booth A2

WITH WORKS BY ~
Luke Agada -
Amoako Boafo -
Daniel Crews-Chubb -
Aaron Glasson -
Suchitra Mattai -
Mia Middleton -
Collins Obijiaku -
Wendy Red Star -
Betye Saar -
Kehinde Wiley -

Frieze Los Angeles
Roberts Projects | Booth A2
February 26 – March 1, 2026

Photo: Paul Salveson

02/25/2026

Frieze Los Angeles
Booth A2
February 26 – March 1, 2026

Roberts Projects is pleased to return to Frieze Los Angeles with a curated selection of new, recent and historical works by Luke Agada, Amoako Boafo, Daniel Crews-Chubb, Aaron Glasson, Suchitra Mattai, Mia Middleton, Collins Obijiaku, Wendy Red Star, Betye Saar and Kehinde Wiley that consider the slippages between perception and representation while embodying a visionary aesthetic.

suchitramattai
miamiddleton collinsobijiaku wendyredstar betyesaar kehindewiley FriezeLosAngeles

Images:
Aaron Glasson, First Light, 2026, Oil, sand and beeswax on canvas, 24 x 18 in (61 x 45.7 cm). Amoako Boafo, Clasped Hands, 2026, oil on canvas, 72.125 x 60 in (183.2 x 152.4 cm) canvas, 73.5 x 61.5 x 2.25 in (186.7 x 156.2 x 5.7 cm) framed. Photo: Paul Salveson. Wendy Red Star, The Dawn Chorus, 2026, Acrylic, balsa wood, sandpaper and audio components, Houses: 5.75 x 12.75 x 6 in (14.6 x 32.4 x 15.2 cm) each Total Configuration of 8: Approx. 45 x 31 in (114.3 x 78.7 cm). Photo: Philippe Baron. Betye Saar, Red Vision at the Villa, 1994, mixed media assemblage, 14 x 11 x 1 1/2 in (35.6 x 27.9 x 3.8 cm). Photo: Paul Salveson. Suchitra Mattai, between dew and dawn, 2026, Worn saris, fabric and beaded trim, 50 x 55 in (127 x 139.7 cm). Photo Paul Salveson

01/29/2026

Roberts Projects will be closed tomorrow, Friday, January 30, 2026, in observance of the national shutdown and general strike.

We will resume our regular hours on Saturday, January 31, 2026, from 11am - 6pm.

01/17/2026

Join us tonight from 6–8pm for the opening of Amoako Boafo | I Bring Home with Me, on view January 17 – March 21, 2026.

Roberts Projects is pleased to present I Bring Home with Me, an exhibition of new work by Amoako Boafo and the artist’s third solo show with the gallery. Expanding on Boafo’s exploration and celebration of Blackness and its diverse subjectivities, the exhibition features a group of new paintings that are integrated within an architectural re-creation of the artist’s studio in Accra, Ghana, built to scale inside the gallery. Conceived by Boafo in collaboration with architect and designer Glenn DeRoche of DeRoche Projects, the installation reflects the creative energy of his cultural background, highlighting how his community personally influences his practice and holds formative emotional significance for the artist.

Address

442 South La Brea Avenue
West Hollywood, CA
90036

Opening Hours

Tuesday	11am - 6pm
Wednesday	11am - 6pm
Thursday	11am - 6pm
Friday	11am - 6pm
Saturday	11am - 6pm

Telephone

+13235490223

Website

http://www.robertsprojectsla.com/

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