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Meliksetian Briggs

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Meliksetian Briggs

Gallery exhibiting international contemporary art since 2012. The Estate of Bas Jan Ader.

Meliksetian | Briggs was founded in 2012 by Anna Meliksetian and Michael Briggs and is located in the Fairfax district of Los Angeles, a historical area of the city and a hub of cultural activity near the Los Angeles County Museum of Art. The programme to date has featured international artists, both emerging and mid career, who are invited to make tightly focused solo exhibitions of new or unseen

bodies of work in the intimate shop-front space. Exhibitions have varied in media, including installation, film, figurative and abstract painting, and although disparate in media, there is a lineage or history that ties the artists together through their influences, sensibilities and their practice. As the programme expands the exhibitions will reflect a dialogue between Los Angeles artists and their counterparts in Berlin, Vienna, London, New York and more. Artists exhibited include Meg Cranston, Todd Gray, Steven Hull, Christiane Lyons, Richard Hoeck and John Miller, John Miller, Aura Rosenberg, The Estate of Angus Fairhurst, Richard Hoeck and Heimo Zobernig, Cody Trepte and Johannes Wohnseifer. Meliksetian | Briggs is the exclusive worldwide representative of the Estate of Bas Jan Ader.

08/27/2026

Excited to announce our participation in Untitled Art Houston 2026 with Record Pavilion 2.0, an installation by Los Angeles-based Dave Muller, in conjunction with the Landing.

“Dave Muller’s Record Pavilion 2.0: A diary that traces a life lived in music. A self-portrait. An invitation to peruse.

First showcased in Los Angeles in 2022, this stage-set/record store/sculpture is stocked with records culled from Muller’s vast personal collection. A sound system, counter, lighting, and paintings of ephemera -posters, promo materials, zines - complete the record store vibe. Record Pavilion 2.0 fosters discovery, collective memory, and the exchange that’s emblematic of music itself. Reflecting Muller’s interest in the boundaries between performance, exhibition and life, the structure’s open design channels the collective energy of the countless record stores and music venues where Dave has browsed and listened. And it’s fully functional. The records, CDs, cassettes and other media inside are for sale through the run of the exhibition. You might ask, “Dave why sell your records?” Of the records that Muller is willing to part with he says, “They already had their journey with me. Time for someone else to take a listen.” Here’s your chance.”

-Dave Muller, 2026

With the Pavilion as its centerpiece, the maximalist installation will feature Top Ten works, Disco Balls, Record Paintings, and a large-scale painting shown for the first time outside a museum context.

Opens Thursday October 1st and runs through Sunday October 4th - contact us for more details and hope to see you there!

Photo: Evan Bedford

08/26/2026

Aura Rosenberg works in Regift: Swiss Institute New York at 40 at Luma Westbau, Zurich curated by John Miller, Alison Coplan and Stefanie Hessler.

Originally presented in New York in 2009 and co-curated by Piper Marshall, the anniversary edition broadens this inquiry to include rituals surrounding gift-giving, communal and spiritual observances, and global practices of exchange across generations and cultures.

From John's essay on the exhibition Regift: Circulation and Value: “Regift began, funny enough, from a petty irritation. Sometimes these are the best sources of inspiration—not grand themes, but small,persistent annoyances. An acquaintance kept giving me blatantly obvious regifts for Christmas. What bothered me wasn’t so much her supposed gifts as the feeling that these were worse than getting nothing at all. Nothing would have been fine. Her chain of regifts felt like something dumped on me: obligation disguised as generosity.

This left me with two options: either to confront the regifter or to feign gratitude. Our relationship devolved into a perverse pantomime. This frustration sparked my inquiry: regifting is about more than objects; it also entails the psychological economies and social hierarchies embedded in the act of giving and receiving.

This also got me thinking not just about gifts, but also about the language around them. I bridle at the term gifted, as in, “this was gifted to me.” Why not just say given? Giving is active; a gift is an object. Once something is given, it becomes a gift, although it might be given again. But you can’t really say regave. These shades of meaning say something about objectification and the nature of exchange.

Because Regift opened shortly after the 2009 stock market crash, people tended to see the show through that lens. But Piper Marshall and I had been working on the exhibition well before the crash, and we were more concerned with artists whose works interrupted the normative sequence of production, exhibition, and sales, artists who somehow short-circuited this sequence through gift logic…”

Photo: Nelly Rodriguez.

08/14/2026

Works by Aura Rosenberg from her Golden Age series in the recent group exhibition Blind Spot at Wentrup Gallery, Berlin. Works look great in the space - show just ended, sadly...

photos: © Matthias Kolb

06/16/2026

John Miller's collaboration with Nina Beier The Populace, curated by Signe Melgaard Mark now open at Denmark's ARoS Museum through March 29, 2027.

Danish Nina Beier and American John Miller have created a new work that transforms the underground Salling Gallery into a complex universe where the boundaries between human and object, portrait and person, original and reproduction shift. Their thought-provoking total installation revolves around identity, authenticity and representation.

As you enter the exhibition, you are greeted by a large number of staged mannequins standing face to face with photographs of portrait paintings unearthed from forgotten archives. A strange space emerges - both familiar and strange. The figures appear neither quite as people nor as objects, and there is a jumble of mutual glances between the mannequins, the portraits and the audience.

The exhibition explores the cultural codes and structures that shape our contemporary world, moving between portraiture tradition, consumer culture and the hierarchies embedded in the gaze. The Populace is at once intimate and alienating, personal and generic. The work leaves a space where originality and copy are displaced, and where seeing and being seen are negotiated. Don't miss it if you are in Denmark!

Photos: ©️David Stjernholm

06/13/2026

If you are in Dallas for the World Cup, don't miss Dave Muller's Solar Arrangement at AT&T Stadium (temporarily known as Dallas Stadium).

It is part of a very impressive public collection that includes work by Jenny Holzer, Doug Aitken, Olafur Elliason, Julie Mehretu and many more. The hand drawn hand painted mural measures 21 by 131 feet.

Solar Arrangement (2009) plays off of Muller’s memory of that experience. In his expansive mural, the sun is represented by a gorgeous yellow rose. The first three planets, Mercury, Venus, and Earth are represented by a ball of dry leaves, a ball of crunchy popcorn, and a ball of lush clover. Dashed lines trace small sections of their orbits. Several stars, which resemble snowflakes, twinkle in the background. Muller invites us to ponder our place in the cosmos—to picture the huge crowd gathered here as a tiny speck beneath the heavens. The experience is humbling and eye-opening, both personal and universal. His sun evokes “The Yellow Rose of Texas,” a legendary song that has been covered again and again and never the same way twice.

It is located on the Main Concourse, NW Concession Area.

06/01/2026

Aura Rosenberg’s Who Am I? What Am I? Where Am I? on now Innsbruck - don’t miss it if you are in Austria this summer… 🇦🇹

05/26/2026

Richard Hoeck and John Miller’s Mannequin Death, 2016 beautifully installed in The Happiness Project: Episode 3 Hearth and Home curated by José Freire at Galleria Zero, Milan.

“Hearth and Home is an installation that attempts to replicate, in skeletal form, a domestic setting — the gallery acting as a minimalist stage set for a piece of Brechtian theater. There are chairs, lighting fixtures, vases, vanity mirrors, and other objects of interior design. The works on view, however, are hardly props. Although they sometimes echo the real in their form, or physically incorporate functional items, they remain fictive. The placement of the works — which include sculpture, painting, photography, and video — across the two floors of Zero... generates a jagged, paratactic meaning, leaving viewers to connect these points of signification to each other and to the exhibition’s motif: to follow its hermeneutic line. An unimpeded passage through the space, permitting us to read its works in whatever order suits, allows for the unraveling of its weave of concerns.”

One of the edition of 7 of the Hoeck / Miller installation is in the collection of the Metropolitan Museum of Art, New York. This work was shown in the gallery in 2016 along with a series of accompanying photo works.

Also featuring work by Lizzi Bougatsos, Sylvie Fleury, Christian Holstad, Elisabeth Kley, Liam Neﬀ, Kayode Ojo, Patrick Sarmiento, Dash Snow and Nicole Wermers through July 24th.

Don’t miss this show if you are in Milan this spring….

Photos: © Roberto Marossi. Courtesy of Galleria Zero, Milan.

04/13/2026

Featured at the Dallas Art Fair opening Thursday April 16: LA-based Dave Muller has built a distinctive practice around the cultural artifacts of music, particularly vinyl records and their ephemera.

Among his most compelling bodies of work are the price tag paintings, large-scale compositions that transform discarded commercial detritus into vibrant, kaleidoscopic abstractions. These works feature dense accumulations of hand painted, meticulously rendered price stickers, labels, and record shop tags, from albums in Muller’s own vast collection and painted in acrylic on gessoed plywood. Each tiny sticker is resized and recreated with obsessive fidelity including faded ink, creases, currency symbols, and the patina of time and individually applied to the panel collaged into dynamic, overlapping fields of color and shape.

Come and see a selection of Muller's classic works at the fair - and currently, Muller’s work is the subject of a major solo exhibition, Dave Muller: Proto Typical, on view at the Alyce de Roulet Williamson Gallery at ArtCenter College of Design in Pasadena through August 8, 2026 - a must see if you are in LA!

Dave Muller
Youth Misspent (in Record Stores):
$157.96 + 41.49 € + 1,365 * + Bs.S40 + R4.99, 2022
Acrylic on gessoed plywood panel
60 x 48 x 1 5/8 in / 152.4 x 121.9 x 4.1 cm
DM011/ DM1381

Address

150 Manufacturing Street, #214
Dallas, TX
75207

Opening Hours

Tuesday	12pm - 5pm
Wednesday	12pm - 5pm
Thursday	12pm - 5pm
Friday	12pm - 5pm
Saturday	12pm - 5pm

Telephone

+13106257049

Website

http://www.meliksetianbriggs.com/contact

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