ArtSlant - Openings & events en-us 40 Christian Marclay - LACMA - Los Angeles County Museum of Art - July 5th 11:00 AM - 8:00 PM <div class="field field-name-field-description field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <div class="field field-name-field-description field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Christian Marclay:&nbsp;<em>The Clock</em>&nbsp;is a 24-hour single-channel montage constructed from thousands of moments of cinema and television history depicting the passage of time, excerpted and edited together to create a functioning timepiece synchronized to local time wherever it is shown. The result marks the exact time in real time for the viewer for 24 consecutive hours.&nbsp;</p> <p style="text-align: justify;">Note:<em> The Clock</em>&nbsp;will be screening in the Art of the Americas Building during regular museum hours only, except for two full 24-hour screenings held on <a href="" target="_blank">Saturday, July 25th</a>, and Saturday, August 8th. Space is limited, and there may be extensive waiting times.&nbsp;First come first served, no reservations.&nbsp;Please note that this work contains brief nudity and strong language.</p> </div> </div> </div> </div> </div> </div> Mon, 13 Apr 2015 17:57:44 +0000 - LACMA - Los Angeles County Museum of Art - July 5th 11:00 AM - 8:00 PM <div style="text-align: justify;">The first works of Japanese art to enter the collection of the Los Angeles Museum of History, Science, and Art&mdash;which eventually became LACMA in April 1965&mdash;were a large group of woodblock prints acquired in 1916, three years after the museum opened. Today, the museum&rsquo;s permanent collection of Japanese art reflects the interests of a group of individuals in Southern California who came to appreciate Japanese art and culture over the course of the 20th century, particularly in the post-WWII decades.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">As part of LACMA&rsquo;s commitment to Japanese art, the museum made significant artwork purchases in addition to acquiring large gifts of&nbsp;<em>inrō</em>, traditional and contemporary prints, ceramics, and netsuke. Moreover, in the 1980s the museum constructed a building exclusively for the display of Japanese art, and in the early 90s a separate department for Japanese art was established.</div> <div style="text-align: justify;"> <div>&nbsp;</div> </div> <div style="text-align: justify;"><em>Japanese Paintings and Prints: Celebrating LACMA&rsquo;s 50th Anniversary</em>&nbsp;commemorates the museum&rsquo;s 50th year as well as the individuals and groups who have shaped the museum&rsquo;s collections of Japanese paintings and prints. Included are gifts from private collectors, works purchased through the generosity of individual donors, and objects acquired through the support of various museum groups.</div> Sun, 21 Jun 2015 15:45:02 +0000 - Getty Center Los Angeles - July 7th 10:00 AM - 5:30 PM <p style="text-align: justify;">Precious historical artifacts, manuscripts preserve some of the finest examples of medieval art. Seen in libraries and museums behind glass, these books have been largely removed from the realm of touch, making it easy to forget that their lavishly illuminated pages were once turned, stroked, stitched, and sometimes even sliced by generations before us. Drawn primarily from the permanent collection, <em>Touching the Past: The Hand and the Medieval Book</em> explores manuscripts as tangible, tactile objects that invited touch and were handled&mdash;reverently, carelessly, obsessively, and critically&mdash;by medieval audiences.</p> Mon, 13 Apr 2015 17:10:16 +0000 Mark Bradford - Hammer Museum - July 8th 7:30 PM - 8:30 PM <p style="text-align: justify;">In 1964, an Urban League survey ranked Los Angeles as the most desirable city for African Americans to live in. In 1965, the city burst into flames during one of the worst race riots in the nation's history. How the city came to such a pass &mdash; embodying both the best and worst of what urban America offered black migrants from the South &mdash; is the story told by <strong>Dr. Josh Sides</strong>, the Whitsett Professor of California History at California State University, Northridge. Sides offers a clear-eyed and compelling look at black struggles for equality in L.A.'s neighborhoods, schools, and workplaces from the Great Depression to the present.</p> Wed, 01 Jul 2015 12:02:08 +0000 Rafa Esparza - Los Angeles Contemporary Exhibitions (LACE) - July 8th 7:00 PM - 10:00 PM <p style="text-align: justify;">For his summer residency at LACE, Los Angeles based artist&nbsp;<strong><a href=";id=e434612cb3&amp;e=55639b7d50" target="_blank">Rafa Esparza</a></strong>&nbsp;transforms the architecture of the gallery into a space absent of corners, unified by curve, and made out of brown matter in which an idea, a movement, a conversation can take form.&nbsp;<br />&nbsp;<br />With the help of his father and extended family members, Esparza will produce 5,000 adobe bricks that will be transported to LACE and used to build an elliptical adobe structure over several weeks. Adobe brick building has both a personal and a cultural significance to Esparza. In addition to serving as a symbol for the Esparza family work, adobe highlights a history of labor, land, and poverty.<br />&nbsp;<br />The vernacular design and available resources for adobe building evoke owner- and community-built architectural practices that use inherited knowledge and customary technologies. Prioritizing utility over aesthetics, adobe construction often reflects local environmental and cultural needs. Within the project&mdash;and entering the gallery&mdash;adobe serves to question the established value systems of the exhibition space.<br />&nbsp;<br />Entitled<strong>&nbsp;<em>i have never been here before</em></strong>, Esparza&rsquo;s summer residency looks to the imagined space and renders the building process visible to the public. Adobe construction, and the communal effort that is inherent in the practice, intersects various histories and economies within the gallery. Through this meeting, the project questions the shape of power, the material and methods of representation, and the accessibility of place for certain bodies over others.&nbsp;<br />&nbsp;<br />After its completion, the adobe structure will serve as a platform for performance works by Rafa Esparza and invited artists. Full schedule of events will be posted on&nbsp;<strong><a href=";id=f2cc9f9374&amp;e=55639b7d50" target="_blank"></a></strong>.&nbsp;<br />&nbsp;<br />Esparza and his family will begin construction after the&nbsp;July 8&nbsp;opening reception and will work during LACE gallery hours, Wed-Sun&nbsp;noon-6PM. Due to the flexible nature of the residency, the artist&rsquo;s presence cannot be guaranteed during all gallery hours.&nbsp;<br />&nbsp;<br />Curated by LACE Assistant Director Shoghig Halajian.&nbsp;<br /><br /><strong>ABOUT THE ARTIST</strong><br /><strong>Rafa Esparza&nbsp;</strong>is a multidisciplinary artist who was born, raised, and is currently living in Los Angeles. Woven into Esparza&rsquo;s bodies of work are his interests in history, personal narratives, and kinship. He is inspired by his own relationship to colonization and the disrupted genealogies that come forth as a result. Using live performance as his main form of inquiry, Esparza employs site-specificity, materiality, memory and (non)documentation as primary tools to interrogate and critique ideologies, power structures and binaries that problematize the &ldquo;survival&rdquo; process of historicized narratives and the environments wherein people are left to navigate and socialize.&nbsp;Esparza has performed in a variety of spaces including AIDS Project Los Angeles, Highways Performance Space, REDCAT, Human Resources, SOMArts, Vincent Price Museum, LACE and various public sites throughout Los Angeles. He is a recipient of an<em>&nbsp;Emerging Artist 2014 California Community Foundation Fellowship for Visual Artists</em>, a&nbsp;<em>2014 Art Matters</em>grantee, and a 2015 recipient of a&nbsp;<em>Rema Hort Mann Foundation Emerging Artist Grant</em>.<br />&nbsp;<br /><strong>SUPPORT</strong><br />This project is made possible by a grant from the City of Los Angeles, Department of Cultural Affairs.&nbsp;<br />&nbsp;<br />The adobe bricks that Esparza produced for this piece were made at the Bowtie Project, a collaboration between Clockshop and California State Parks. For more information about the Bowtie Project, please visit<strong><a href=";id=8a2382b1be&amp;e=55639b7d50" target="_blank"></a></strong>.</p> Sat, 13 Jun 2015 11:05:45 +0000 Petra Cortright - Depart Foundation - July 9th 6:00 PM - 9:00 PM <div title="Page 1"> <p style="text-align: justify;">Depart Foundation is pleased to present its&nbsp;first solo exhibition of works by Los Angeles based artist Petra Cortright. Curated by Paul Young,&nbsp;<em>NIKI, LUCY, LOLA, VIOLA</em><em>,</em>&nbsp;on view July 9 &ndash; September 19, 2015,&nbsp;will be an immersive viewing experience that features large-scale Flash animations, new video works and animated digital paintings. Cortright&rsquo;s internet-inspired artworks play with the vernacular of viral internet culture by appropriating some of its most common forms and transforming them into singular, carefully orchestrated, hybrid works that fall somewhere between ironic distantiation and the sincere&mdash;its generic forms and content from online.</p> <p style="text-align: justify;"><em>NIKI, LUCY, LOLA, VIOLA&nbsp;</em>will feature a series of new video works and animations by Cortright, compiled from open-source, screensaver software, and purchased virtual strippers. &ldquo;Niki&rdquo;, &ldquo;Lucy,&rdquo;&nbsp;&ldquo;Lola,&rdquo; and &ldquo;Viola,&rdquo;&nbsp;are the virtual erotic dancers purchased by Cortright, from readily available online software, to populate her own synthetic and painterly landscapes and green screen voids. Presented within an&nbsp;immersive installation environment, which will include atmospheric audio components, these works self- consciously offer an infinite virtual redundancy in their repetition and absence of real-time.</p> </div> <div title="Page 2"> <p style="text-align: justify;">Alongside these works, Cortright will also be presenting a series of animated digital paintings complied from hundreds of digital layers. These paintings are a combination of abstract gestures, made with customized&nbsp;paintbrush software, and representational fragments, consisting of sampled clip art and imagery found online. The mesmerizing animation of these dense layers will subtly convey the artist&rsquo;s meditative process of &ldquo;painting,&rdquo; revealing the slow accretion of the work&rsquo;s ambient surfaces.</p> <p style="text-align: justify;">Cortright is most well known for her webcam videos; &ldquo;selfie&rdquo; inspired digital portraits that are equal parts performance and documentary. No longer than two-minutes each, in keeping with the cultural attention deficit its context suggests, these videos tend to be diaristic in tone, beautifully irreverent and intimately poignant in their intentional fallibility. These, and her current works, embody the peripatetic anxiety of a culture raised with virtual modalities of self-expression, while also humanizing the impoverishment of these digital ruins with intelligence and play. Cortright straddles an ambivalent position as both an avid participant in the banality of this culture, born and raised in the age of technocracy, and as a vehicle for its dismantling and critical fracture.</p> <p style="text-align: justify;">A catalog entitled&nbsp;<em>CHARLI, DAISY, BLANCA, BIANCA&nbsp;</em>will be released in conjunction with the exhibition, published by NERO. An additional experimental book project,&nbsp;<em>NIKI, LUCY, LOLA, VIOLA</em>, created with designer Mathew Timmons, will also accompany the exhibition.</p> <p style="text-align: justify;"><strong>Petra Cortright</strong></p> <p style="text-align: justify;">Petra Cortright has exhibited extensively internationally. Her recent exhibitions include:&nbsp;<em>Petra Cortright</em>,&nbsp;Foxy Production, New York, NY (2015),&nbsp;<em>Petra Cortright</em>,&nbsp;Société, Berlin, Germany (2014),&nbsp;<em>Fútbol: The Beautiful Game</em>,&nbsp;Los Angeles County Museum of Art, Los Angeles, CA (2014),&nbsp;<em>Petra Cortright,&nbsp;</em>Carl Kostyal, Stockholm, Sweden (2014),&nbsp;<em>ASMR,&nbsp;</em>MAMA, Rotterdam, The Netherlands (2014),&nbsp;<em>✖✗✘&nbsp;BLank BLANk bLANk</em>, Steve Turner Contemporary, Los Angeles, CA (2013),&nbsp;<em>VICKY DEEP IN SPRING VALLEY</em>,&nbsp;Club&nbsp;Midnight, Berlin, Germany (2012) and&nbsp;<em>SO WET,&nbsp;</em>Preteen Gallery, Mexico City, Mexico (2011). Cortright was featured in the Biennale de Lyon, in 2013, and in the Venice Biennale, in 2009. Notable commissions include,&nbsp;<em>Tags for Likes</em>,&nbsp;Commissioned by MOCAtv, MOCA, Los Angeles, CA (2014),&nbsp;<em>Bridal Shower,</em>Commissioned by Frieze Film 2013 and EMPAC, London, UK (2013). Cortright was an honoree at this year&rsquo;s Rhizome&nbsp;<em>Future-Proof&nbsp;</em>benefit, and is currently collaborating with British fashion designer Stella McCartney, creating video works for the designer&rsquo;s eponymous clothing line.</p> <p style="text-align: justify;"><strong>Paul Young</strong></p> <p style="text-align: justify;">Paul Young is a curator and writer based in Los Angeles. Specialized in curating exhibitions dealing with moving image art forms, he has organized video programs and new media exhibitions worldwide. Recent curatorial projects include:&nbsp;<em>Silicon Valley Contemporary&nbsp;</em>(2013);<em>Supertemporal&nbsp;</em>at the Kulturhuset Museum in Stockholm (2012);&nbsp;<em>Portugal Arte</em>,&nbsp;Lisbon's fist biennial;&nbsp;<em>CinemaLoop&nbsp;</em>at the 2010 edition of Arco in Madrid, and&nbsp;<em>Remote Viewing</em>, a large scale exhibition of international video art at the ASM in Barcelona (2010). Young has lectured widely on the subject of video art at such venues as the CCCB in Barcelona, the LOOP fair in Barcelona, the Fresh Paint Fair in Tel Aviv, Art Forum Berlin. His writing has been published widely, with articles appearing in&nbsp;<em>The New York Times,</em>&nbsp;<em>The Los Angeles Times</em>,&nbsp;<em>Rolling Stone</em>,&nbsp;<em>Variety</em>,<em>Artnews,</em>&nbsp;<em>Art LTD</em>, and&nbsp;<em>Art &amp; Auction&nbsp;</em>and he was formerly an art columnist for the&nbsp;Los Angeles Times&nbsp;for three years and&nbsp;Angeleno&nbsp;magazine for five years. Young is also the author of&nbsp;<em>Art Cinema&nbsp;</em>(Taschen), a comprehensive overview of how art practices have converged with the cinematic practices. Previous to that he worked as a filmmaker and won numerous awards for his short films and documentaries, and later became an editor at&nbsp;<em>Daily Variety.</em>&nbsp;Young is also the founder and director of Young Projects Gallery in Los Angeles, which is a contemporary art space devoted to moving image art&nbsp;forms. There he has presented the work of Roman Signer, Wood &amp; Harrison, Gary Hill, Michael Snow, Christoph Draeger and many more.</p> </div> Fri, 19 Jun 2015 17:41:49 +0000 Group Show - Gagosian Gallery - Beverly Hills - July 9th 6:00 PM - 9:00 PM <p style="text-align: justify;">&ldquo;Theories on Forgetting&rdquo; maps evolutions of cultural symbolism through the work of 18 contemporary artists. Questioning how popular images originate, gain importance, obsolesce, and renew, the exhibition surveys a broad range of artworks with source amnesia: strange relics and personal figments reveal the emergence of new languages fertilized by previous ones. These diverse cultural apparitions engage individual and collective memory as subject, action, and material.<br /> <br /> The rise and fall of icons occurs cyclically, and sometimes recursively. In Christian Jankowski's film installation <em>Casting Jesus</em> (2011), the Vatican plays host to a reality show in search of a church-ordained face of Christ, paneled by experts in divinity. In the series <em>Self-Portrait of You + Me, after the Factory</em> (2007), Douglas Gordon appropriates Warhol's images of &ldquo;superstars&rdquo; and burns them away to reveal polished mirrors that reflect the viewer's consumptive stare.<br /> <br /> Recalling life before the advent of the internet's vast image bank, Taryn Simon has photographed groups of related postcards, magazine clippings, and other printed images from the famous Picture Collection of the New York Public Library. Each of Simon's photographs contains overlapping printed matter that she has selected from archival categories such as <em>Mirrors</em>, <em>Abandoned Buildings and Towns</em>, <em>Express Highways</em>, and <em>Waiting</em>, like Borges's Chinese encyclopedia. Oliver Laric uses 3D technology to analyze museum artifacts and map trajectories of style, from Greek to Roman to everyday knock-offs. Sourcing objects from the Metropolitan Museum of Art, Jonas Wood invents his own archive of antiquity.<br /> <br /> With the proliferation of instant news sources, history has given way to a multiverse of potential truths; while new forms of shorthand and social media communications constantly force adaptation to diachronic shifts in language. Mungo Thomson's appropriation of the format and legacy of <em>Time </em>alludes to the magazine's intended function as a populist social mirror.&nbsp; In recent prints, Ed Ruscha depicts typical metal road signage, patinated and punctured by corrosion and bullets; while in large-scale paintings, Mark Flood invokes &ldquo;bit rot,&rdquo; the blight of digital archives, as it overtakes diametrically opposed voices in television.<br /> <br /> Other works catalogue the nuances of performance, or assemble natural and man-made fragments into visions of an uncertain future. Throughout the Los Angeles Art Book Fair in 2014, Piero Golia engaged in a 16-hour conversation, recorded by a stenographer. The transcripts are collected in the unique artist book <em>On Record (Three days conversation on general matters)</em>, which will be shown for the first time and read aloud in conjunction with the exhibition. The late Ana Mendieta's photographs of the residues of her body performances in nature have come to symbolize both her tragic death and her memory. Using the past as a raw and unsentimental material for production, Max Hooper Schneider creates artificial biomes that are vitrines of cultural rubble. These alien taxonomies and incongruous artifacts provide a tropically lush yet futuristic take on modernity.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Piero Golia's <em>On Record (Three days conversation on general matters)</em> will be read at the opening reception, and on August 21 from 12&ndash;6pm.</p> Fri, 03 Jul 2015 19:06:19 +0000 Robert Stivers, ERNST WILLE - OMC Gallery for Contemporary Art - July 10th 6:00 PM - 9:00 PM <p><strong>Abstract Photography and Painting by ROBERT STIVERS</strong> (USA)<strong> and ERNST WILLE </strong>(GER)<br /><br />Robert Stivers (1952) studied at the University of California, Irvine (1975), earned his MA at New York University (1980), and has exhibited internationally since the early 1990s. His work is in the collections of the Biblioth&egrave;que Nationale (Paris, France), The Getty Museum (Los Angeles, CA), The Los Angeles County Museum of Art (CA), Center for Creative Photography (Tucson, AZ) George Eastman House (Rochester, NY), The Metropolitan Museum of Art (New York, NY), and the Victoria &amp; Albert Museum (London). He currently lives and works in Santa Fe, New Mexico.<br /><br />In his series presented at The OMC Gallery, he demonstrates options and possibilities of the Dark Room, while creating abstract works with an ethereal and painterly quality. Each a unique piece of mystical beauty.<br /><br /><br />Ernst Wille (1916-2005) was a painter, designer, teacher and professor, whose approach to and work with color has been very fundamental and was documented in the 2 Volume Publication &ldquo;Farben-Ph&auml;nomene&rdquo; (Color - Phenomena) in 1994. One of the major challenges for an artist he defined as:&hellip;to use colors in a way to create light, without painting light&hellip; <br /><br />About the work process of creation Wille said: <br /><br />&lsquo;The process of visualization is very exciting and reflects an argument between the ego (intellect), the theme and the spirit. It can happen within minutes, but also may take years as dates on some of my work show. The artistic train of thought can be compared to a congruent triangle, which angles represent the ego, the theme and the material, to be used. <br /><br />Ernst Wille&rsquo;s work can be found in European and American private and public collections. His work has been shown in numerous exhibitions, mainly in Central Europe, but also the United States.<br /><br /></p> Wed, 01 Jul 2015 23:27:41 +0000 Shana Lutker - Susanne Vielmetter Los Angeles Projects - July 10th 6:00 PM - 8:00 PM <div style="text-align: justify;">Susanne Vielmetter Los Angeles Projects is pleased to present &ldquo;Paul, Paul, Paul, and Paul,&rdquo; the fourth chapter in Shana Lutker&rsquo;s body of work entitled&nbsp;<em>Le &ldquo;NEW&rdquo; Monocle: The History of the Fistfights of the Surrealists</em>. Each chapter focuses on a particular altercation and takes shape through the artist&rsquo;s research and experience as sculpture, writing, and performance.<br />&nbsp;<br />The Surrealist fistfight at the heart of this exhibition transpired ninety-years ago on July 2, 1925 at a banquet in celebration of the Symbolist poet, Saint-Pol-Roux, at the Closerie des Lilas, located at 171 Boulevard du Montparnasse, Paris. Of the fight, Lutker writes:<br />&nbsp;</div> <blockquote> <div style="text-align: justify;">On the evening of July 2, the Surrealists arrived early to the dinner and distributed copies of an &ldquo;Open Letter to Mr. Paul Claudel, French Ambassador to Japan&rdquo;&nbsp;under each place setting before the other guests arrived.&nbsp;Printed on what was described as a garish purple-red paper, the letter was a response to Claudel, the conservative poet-turned diplomat, who had recently stated: &ldquo;Not one of the present art movements can lead to any genuine renewal or creation. Neither Dadaism nor Surrealism which have only one meaning: pederasty.&rdquo;<br />&nbsp;<br />The banquet guests arrived. Many were conservative and elderly patrons who did not hold the Surrealists in high regard&mdash;of particular note was the presence of Surrealist-adversary Madame Rachilde. She was seated at the same table as Andr&eacute; Breton and Florent Fels, who began batting insults in her direction. When they were reprimanded by the guest of honor, the Surrealists yelled, &ldquo;Down with France!&rdquo; The atmosphere became heated. What followed was a blur: &ldquo;There are as many versions of this banquet as there were witnesses,&rdquo; said Philippe Soupault. Rachilde dared to repeat a recently published remark that a Frenchwoman should never marry a German. Breton then accused her of insulting Max Ernst, a German married to a French woman (who happened to be in the room). Breton threw his napkin in her face and called her a&nbsp;<em>fille a soldats</em>. Breton was almost pushed out the open window. The police were summoned. Soupault swung from a chandelier. Plates were thrown, glasses shattered, hair was pulled. Surrealists cried out, &ldquo;Long live Germany!&rdquo; &ldquo;Long live the Riffs!&rdquo; Food flew, mirrors shattered. Surrealist Michel Leiris screamed &ldquo;Down with France!&rdquo; to the 500 people who had gathered on the street below They challenged him to come down to the street. He did, and was severely beaten. The police beat him up again, after his arrest. Madame Rachilde was also arrested, in hysterics.</div> </blockquote> <div style="text-align: justify;">&nbsp;<br />Lutker&rsquo;s installation in Gallery 1 makes reference to the banquet context of this fracas with a series of strange tables, platters, and dyed purplish paper works. In Gallery 2 a stage-like staircase, series of graphite &ldquo;boots,&rdquo; and mirrored sculptures connect this presentation with her exhibition of Chapter 3 at the P&eacute;rez Art Museum Miami.<br />&nbsp;<br />&ldquo;Paul, Paul, Paul, and Paul,&rdquo; is Shana Lutker's fourth solo exhibition at the gallery. An expanded essay-version of the text above will be published as Chapter 4 of&nbsp;<em>Le &ldquo;NEW&rdquo; Monocle</em>&nbsp;and other works from this chapter are concurrently on view at Barbara Seiler Galerie in Zurich, Switzerland. The third chapter, titled&nbsp;&ldquo;Again Against, A Back, A Foot, A Wall,&rdquo;&nbsp;is on view at the P&eacute;rez Art Museum Miami through&nbsp;September 15, 2015. The installations from the first three chapters will be presented this fall in the artist&rsquo;s solo exhibition at the Hirshhorn Sculpture Garden and Museum in Washington DC, opening&nbsp;October 29, 2015. Work related to this series is included in a group show at Hauser &amp; Wirth, New York opening June 25, 2015.<br />&nbsp;<br />Shana Lutker received an MFA from the UCLA School of Art in 2005. Chapter 2 of&nbsp;<em>Le &ldquo;NEW&rdquo; Monocle</em>&nbsp;was featured in the 2014 Whitney Biennial. The performance component of Chapter 1 was presented at Performa 2013. In addition to the exhibitions listed above, Lutker's work has been featured in solo and group exhibitions, including Cleveland Museum of Art, OH; the Moscow Museum of Modern Art, Russia;&nbsp;The Center For Ongoing Research &amp; Projects, Columbus, OH; The Suburban, Oak Park, IL; Gallery 400, Chicago, IL; Mass MOCA, North Adams, MA; CCA Wattis Institute, San Francisco, CA; Artists&rsquo; Space, New York, NY;&nbsp;SALTS, Basel Switzerland; Public Fiction, Los Angeles, CA; and Sculpture Center, Long Island City, NY.&nbsp;</div> Fri, 03 Jul 2015 19:11:12 +0000 Bart Exposito - Susanne Vielmetter Los Angeles Projects - July 10th 6:00 PM - 8:00 PM <p style="text-align: justify;">Susanne Vielmetter Los Angeles Projects is pleased to announce &ldquo;Strange Alphabet,&rdquo; our first exhibition with Bart Exposito. <br /> <br /> Exposito, who lived extensively in Los Angeles and currently resides in New Mexico, is a desert native and the beautiful subtleties of this landscape affect the palette and spaciousness of paintings. In his new works for the exhibition, forms suggestive of typographic characters are rendered with sensitive lines over opaque and ambient planes of dusty color. The result is a duality, or contradiction, in the appearance of the paintings: flatness can be experienced as both dense and atmospheric, as foreground and as background, and often these states are indeterminate. Dense, flat panes of paint refer to the land. Atmospheric washes suggest the sky, or something more ambient. These contradictions inform the development of a sophisticated graphic sensibility, a &ldquo;Strange Alphabet&rdquo;, as a means to understand how painting exists as it&rsquo;s own language. <br /> <br /> Bart Exposito received an MFA from the California Institute of the Arts in 2000. He has had solo exhibitions at the Nerman Museum of Contemporary Art, Overland Park, KS; Thomas Solomon Gallery, Los Angeles, CA; and the Black Dragon Society, Los Angeles, CA. His work was featured in the 2011 &ldquo;Greater LA&rdquo; exhibition curated by Eleanor Cayre, Benjamin Godsill, and Joel Mesler in New York, NY; &ldquo;Goldmine: Contemporary Works from the Collection of Sirje and Michael Gold,&rdquo; University Art Museum, California State University, Long Beach, CA; and &ldquo;Keeping it Straight&rdquo; at the Riverside Art Museum, Riverside, CA.</p> Fri, 03 Jul 2015 19:11:27 +0000 Kate Johnson - 18th Street Arts Center - July 11th 8:00 PM - 10:30 PM <p style="text-align: justify;">18th Street Arts Center proudly presents award-winning filmmaker and video artist Kate Johnson&rsquo;s latest work&nbsp;<em>EVERYWHERE in BETWEEN</em>&nbsp;at Bergamot Station on Saturday, July 11, 2015 from 8:00pm to 10:30pm. Enveloping the buildings of historic Bergamot Station Art Center in light, shadows, and video projections, Johnson transforms the art campus into a single art installation in collaboration with site-specific contemporary dance by Pennington Dance Group and light installation art by Greg Christy. Through projections and light on a main wall and throughout the campus, the work aims to explore connections between the individual identities of the galleries and artists at Bergamot Art Center as a unified space.</p> <p style="text-align: justify;">Kate Johnson&rsquo;s&nbsp;<em>EVERYWHERE in BETWEEN</em>&nbsp;is the third in a series of artist interventions aimed at calling attention to the community of cultural organizations and commercial galleries at Bergamot Station. With the impending arrival of the EXPO light rail in Santa Monica and the construction of the Bergamot Station train platform, the City of Santa Monica and Bergamot Station Gallery &amp; Cultural Association (BSGCA) find creative ways to make the public aware that the Arts Center is still open for business and as vibrant as ever.<em>EVERYWHERE in BETWEEN&nbsp;</em>and other forthcoming projects are made possible by an&nbsp;<em>Our Town&nbsp;</em>grant from the National Endowment for the Arts awarded to City of Santa Monica. To implement the grant, the City works in partnership with Bergamot Ltd., 18th Street Arts Center, the Santa Monica Museum of Art, and BSGCA.</p> <p style="text-align: justify;"><strong>Kate Johnson</strong>&nbsp;is an award-winning filmmaker, video artist, and Assistant Professor at Otis College of Art &amp; Design. Her collaborative works have been shown at the Cannes and LA Film Festivals, and MoMA NY, among others. She has collaborated throughout her career with dance companies, creating video art for live performances. Her current, Emmy-nominated film,&nbsp;<em>Mia, A Dancer&rsquo;s Journey</em>, is a feature-length documentary she co-directed and co-produced about the life of celebrated ballerina, Mia Slavenska. It premiered at Lincoln Center and was broadcast over 200 PBS stations throughout the US.</p> <p style="text-align: justify;"><strong>John Pennington</strong>, the&nbsp;Artistic Director&nbsp;of the&nbsp;Pennington Dance Group, enjoyed a 14-year career with the Bella Lewitzky Dance Company as a performer and master teacher.&nbsp;He then went on to be an independent choreographer and educator before establishing his own award-winning dance group in 2000.&nbsp;Most recently, his oral history essay was featured in&nbsp;<em>When Men Dance: Choreographing Dance Across Borders</em>, published by Oxford University Press.</p> <p style="text-align: justify;"><strong>Greg Christy</strong>&nbsp;is a multiple award-winning lighting designer and technical director who has created singular designs and lighting installations for events throughout the US and internationally.&nbsp;&nbsp;His work has painted light onto many surfaces from theaters to buildings to entire city blocks.&nbsp;His work has been seen on live television broadcasts and at venues including The Getty, LACMA, and MOCA, as well as with musical artists including Sir Elton John, Santana, and The Black Eyed Peas.</p> <div style="text-align: justify;"><strong>Lili Haydn</strong>&nbsp;Rolling Stone called her music &ldquo;fiery and virtuosic&hellip;&rdquo; &nbsp;&nbsp;George Clinton called her &ldquo;the Jimi Hendrix of the violin.&rdquo;&nbsp;Lili Haydn has released four critically acclaimed recordings as a solo artist.&nbsp; Lili (Atlantic Records), Light Blue Sun (BMG Music), Place Between Places (Nettwerk Music Group), which was a favorite on NPR, praising it as &ldquo;A mix of neo-psychedelic flower child and rock star virtuoso&hellip;Heifetz meet Hendrix,&rdquo; &nbsp;and&nbsp;<em>LiliLand</em>, released in late 2014, with its single, Sea of Gold reaching commercial radio success.&nbsp;Lili is also known for her legendary collaborations; she has played with, sung with, and opened for everyone from Roger Waters, Herbie Hancock, Sting, Jimmy Page and Robert Plant, the Los Angeles Philharmonic, Josh Groban, Seal, Cyndi Lauper, Nusrat Fateh Ali Khan, and George Clinton&rsquo;s &nbsp;P-Funk All Stars to name a few.</div> <p style="text-align: justify;"><strong><br />Kate Crash and Michael Maio</strong>&nbsp;(Soundscape DJ &amp; Music) are composers, producers, and songwriters.&nbsp; They are most known for their band&nbsp;KateCrash&nbsp;&amp; the UFO Club.&nbsp; Their current projects include: directing and composing score for the films &ldquo;Messiah of Dogs&rdquo; and &ldquo;The Lost Suicide Ballads of Honey and Thunder&rdquo;; co-songwriting and producing an EP for Malik the Freq Moore; &nbsp;songwriting and co-producing an album with Nick Launay (Yeah Yeah Yeahs, Nick Cave, PIL) for George Martins label Grand Master. Crash&rsquo;s first novel, &ldquo;Plush&rdquo; was published in 2013.</p> <p style="text-align: justify;"><strong>Victoria Looseleaf&nbsp;</strong>(spoken word)&nbsp;Victoria Looseleaf is an award-winning international arts journalist who covers the visual and performing arts around the world.&nbsp;&nbsp;A freelancer for the L.A. Times since 1996, Looseleaf also writes for Performances Magazine, KCET Artbound, Artillery magazine and Fjord Review, among other outlets.&nbsp;&nbsp;In addition, Looseleaf has written for the New York Times and has had her poetry and short fiction published in books including the anthology, &ldquo;Gen F&rdquo; and &ldquo;A Looseleaf Notebook, Vol. 1&rdquo; (Bombshelter Press). After creating/producing/hosting the cable access television show, &ldquo;The Looseleaf Report,&rdquo; which aired in L.A. and New York for 22 years, she currently maintains a blog of the same name.&nbsp;&nbsp;Looseleaf&rsquo;s motto is: &lsquo;Have Pen Will Travel.&rsquo;</p> <p style="text-align: justify;">Kate Johnson | Concept and Video Art</p> <p style="text-align: justify;"><em>In association with 18th Street Arts Center, Bergamot Station, and the City of Santa Monica, this project was made possible by a grant from the National Endowment for the Arts.</em></p> <p style="text-align: justify;">Collaborating Artists:<br />Greg Christy<br />Pennington Dance Group</p> <p style="text-align: justify;">Guest Artists:<br />Lili Haydn and her band:<br />Itai Disraeli<br />Trevor Steer<br />Steve Postel<br />Gabriel Rowland<br />with guest Norton Wisdom (live painter)</p> <p style="text-align: justify;">Kate Crash &amp; the UFO Club<br />with Michael Maio and Nikolitsa Boutieros</p> <p style="text-align: justify;">Michael Intriere (solo cellist)</p> <p style="text-align: justify;">Victoria Looseleaf (spoken word)</p> <p style="text-align: justify;">Improvisational Dancers:<br />Ariana Gallestegui<br />Robert Whidbee &amp; Roberta Wolin-Tupas (R Dance Company)<br />Jessica Pusateri<br />Jennifer Bulger<br />Joshua Bergeron<br />Diane Takemine-Shigekawa</p> <p style="text-align: justify;">Pennington Dance Group:<br />John Pennington, choreographer</p> <p style="text-align: justify;">Dancers:<br />Danae McWatt<br />Li Rothermich<br />Annalee Traylor<br />Edwin Siguenza<br />Tom Tsai<br />Michael Szanyi<br />Francesca Jandasek</p> <p style="text-align: justify;"><em>This piece is further supported by Brite Ideas, Inc., who is generously providing equipment and technical direction.</em></p> Sat, 04 Jul 2015 15:51:37 +0000 Kimber Berry, Douglas Alvarez - bG BLEICHER/GORMAN - July 11th 6:00 PM - 9:00 PM <p style="text-align: justify;">bG Gallery presents &ldquo;Pretty Pollution,&rdquo; an exhibit featuring new bodies of work by Douglas Alvarez and Kimber Berry, as well as a group exhibit of artists who capture beauty in unexpected places.</p> <p style="text-align: justify;">Alvarez explores his experiences within the city of Los Angeles and its decay using humor and popular iconography. He observes that, &ldquo;Collectively, LA is changing and what I can do is visually document this evolution and endeavor to find beauty in unlikely places.&rdquo; &nbsp;Alvarez draws his inspiration for his artwork from subjects others would easily overlook; from a crack in the sidewalk to a foreclosed home. Alvarez is allured to the deterioration of Los Angeles and when he ventures out in exploration he describes himself as a tourist in his own city.</p> <p style="text-align: justify;">Through her series of paintings, Plastic Gardens, Berry raises important social questions as to how we live and interact with nature. As we encroach further into natural environments that were once untouched and eliminate them, will we be able to restore balance and harmony with Mother Earth, or have we already caused irreparable damages? Being surrounded by steel, we feel a disconnect from nature and are compelled to create green spaces, oases, parks, constructed waterfalls, highly designed flower beds; essentially formatting nature based on our own terms. Plastic refers to the materials the artist uses, as well as the flexibility of these in-organic environments to exist and to take any form the gardener wishes.</p> <p>&nbsp;</p> Fri, 19 Jun 2015 17:47:23 +0000 Jeff Ho - C.A.V.E. Gallery - July 11th 6:30 PM - 9:30 PM <div style="text-align: justify;">C.A.V.E. Gallery is pleased to present "No Pozer" - a solo show by Venice artist and legendary surfboard shaper&nbsp;<strong>Jeff Ho</strong>.&nbsp;<br /><br /></div> <div style="text-align: justify;">This special exhibition will feature - for the first time -<em>a series of original paintings on canvas,&nbsp;</em>created with the iconic style that Ho embellishes his surfboards and skate-decks with. Each unique piece is stylized with vibrant gradients of color and Ho's graphic lettering and symbols.<br /><br /></div> <p style="text-align: justify;">Jeff Ho is an icon of the surf and skate community.</p> <p style="text-align: justify;">He was not only a pioneer in the way he designed surfboards shorter and lighter - his boards also became known for the unique paint style and graphics Ho applied to each board.</p> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Ho started building performance long-boards in the early 60's. With his first company, Jeff Ho Surfboards, he sponsored a team of surfers - and then started<strong>&nbsp;Zephyr Productions</strong>&nbsp;in the 70's - a retail and manufacturing shop in what became known as<strong>"Dogtown"</strong>&nbsp;(the neighborhood encompassing the south side of Santa Monica, Ocean Park and Venice). Since then Ho has created thousands of high performance, highly sought after surfboards.</div> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Ho also created the famous Zephyr Competition Team that included skate legends such as Jay Adams, Stacy Peralta &amp; Tony Alva - who became widely known as the&nbsp;<strong>Z-Boys</strong>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Jeff Ho has always been a pioneer and a creative visionary. He sees the art of surfing and the art of skating as something everyone can do in their own way - there are no rules. This philosophy has transcended into the way he also expresses himself as a visual artist.</p> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;"><em>Please join us for the opening reception&nbsp;<strong>Saturday July 11</strong>&nbsp;to celebrate the debut of this special new series of work by Jeff Ho!&nbsp;<em>Jeff Ho will be in attendance!</em></em></div> Sat, 04 Jul 2015 15:45:14 +0000 Doug Ischar - Commonwealth and Council - July 11th 7:00 PM - 10:00 PM Wed, 17 Jun 2015 06:48:14 +0000 Laub - Commonwealth and Council - July 11th 7:00 PM - 10:00 PM Wed, 17 Jun 2015 06:48:21 +0000 Lucas Michael - Commonwealth and Council - July 11th 7:00 PM - 10:00 PM Wed, 17 Jun 2015 06:48:28 +0000