ArtSlant - Openings & events en-us 40 - David Kordansky Gallery - March 5th 7:00 PM - 9:00 PM <p style="text-align: justify;">David Kordansky Gallery is pleased to announce a behind-the-scenes look at "Eva Hesse", the first feature documentary about this groundbreaking 1960's artist, at 5130 Edgewood Place onThursday, March 5 at 7:00pm. Directed by Marcie Begleiter and produced by Karen Shapiro, "Eva Hesse" is currently in post-production in Los Angeles.</p> <p style="text-align: justify;">For this unique program Hammer Museum Chief Curator Connie Butler will join the filmmakers for a conversation and multimedia presentation about Hesse and the film's production. Begleiter and Shapiro will screen a 16-minute film on Hesse that was commissioned for "Eva Hesse - One More than One", a retrospective at the Hamburger Kunsthalle last year. They will also show slides that provide an insider's perspective on the feature documentary as well as the filmmakers' far-ranging research, which has uncovered a trove of never-before published images of the artist, her work, and her cohort including Sol LeWitt, Bob and Sylvia Mangold, Dan Graham, and Richard Serra. A Q&amp;A will follow.</p> <p style="text-align: justify;">For more information:&nbsp;<a title="Eva Hesse Documentary" href="" target="_blank">Eva Hesse Documentary</a>.</p> Fri, 27 Feb 2015 17:38:23 +0000 - Riverside Art Museum - March 5th 6:00 PM - 8:00 PM <p style="text-align: justify;">In many people's experience, California consists of Los Angeles, San Francisco, Sacramento, and the highways that connect them. In reality these urban centers make up only a fraction of the whole; according to the 2010 Census, geographically the state of California is more than 94 percent rural. Surprise Valley, Lost Hills, Raisin City, Mecca&mdash;these are the communities that make up "the rest" of California.</p> <p style="text-align: justify;">Writer and photographer Lisa M. Hamilton has been telling the stories of these rural communities in her multimedia work&nbsp;<em>Real Rural</em>. For this exhibition, she has delved into the collections of the <a href="" target="_blank">California Historical Society</a> to connect these present-day stories with the past. Featuring roughly 75 photographs,&nbsp;<em>I See Beauty in This Life</em>&nbsp;is a combination of large-scale color prints by Hamilton and her selections from the California Historical Society's vast photography collections&mdash;material dating from the 1880s through the mid-twentieth century, much of which has never been exhibited before. Led through CHS's vast collection of historic photographs by the Director of Library &amp; Archives Mary Morganti, Hamilton has selected images that are not predictable views of pastoral windmills or heroic mule teams, but rather images that reflect her own keen interest in revealing the unexpected. Her approach to the Historical Society's collections is different from that of a historian in that her first priority was to choose images that are outstanding for aesthetic reasons. Taken by amateur and mostly unknown photographers, the photographs are remarkable for their beauty and unusual perspective. These press prints, snapshots, and publicity stills are also intimate records of struggle, celebration, community, and the endless work required to wrest a livelihood from the land. Together, they tell a complex&mdash;and sometimes humorous&mdash;story of the many different individual lives and landscapes comprising the vast mosaic that is the Golden State.</p> <p style="text-align: justify;">The title of the exhibition is taken from an interview that Hamilton did with Modoc County rancher and poet Linda Hussa:</p> <p style="padding-left: 30px; text-align: justify;">If your poetry isn't based on something that's important to you&mdash;family, place, the purpose of your life&mdash;well then it's kind of empty isn't it? Because it has to have that passion to affect other people, to make other people care about what you are saying. They have to hear that there is something there.... I always wanted people to understand what was going on in the rural routes. And that there certainly should be some regard for the people there. Because I see beauty in this life, I don't think it is lonesome. And I don't think it is dumb.</p> <p style="text-align: justify;">There are many ways to define what is "rural." For the purpose of her work and this exhibition, Hamilton has used the term to describe, "places where the culture and the economy are defined by the direct use of natural resources." This manifests in myriad ways, something reflected by the works in&nbsp;<em>I See Beauty in This Life</em>. We see gushing oil spouts and the faces of the men who work them, as well as graffiti left by trapped miners who were not rescued in time. A 4-H girl guards her prize sheep under the scrutiny of a Los Angeles television camera and a rodeo queen applies lipstick from the make-up kit in the horn of her saddle. Given the great range of experience presented by these photographs, even those familiar with rural California are likely to be surprised.</p> <p style="text-align: justify;">Hamilton, who focuses on agriculture and rural communities, is the first scholar in a new program of the California Historical Society called&nbsp;<strong><em>Curating California</em></strong>&nbsp;through which artists, writers, historians, poets, activists, and other remarkable Californians are invited to explore the rich collections of the Historical Society with the goal of inspiring a project or exhibition. She is the author of&nbsp;<em>Deeply Rooted: Unconventional Farmers in the Age of Agribusiness</em>. Her work has also been published in&nbsp;<em>The Nation</em>,&nbsp;<em>The Atlantic</em>,&nbsp;<em>McSweeney's</em>, and&nbsp;<em>Orion</em>. In 2011, she turned her focus to California, traveling over 10,000 miles around the state, exploring its rural communities and landscapes in the multimedia work <em>Real Rural</em>. The work has many forms, including an ad-art campaign on BART and a storytelling website (<a href="" target="_blank"></a>) that weaves portraits from photographs, audio, and text. As with all of her work, Hamilton considers questions of identity and community in&nbsp;<em>I See Beauty in This Life</em>, this time using photographs from throughout rural California's rich history.</p> <p style="text-align: justify;"><a href="" target="_blank">Click here to read the gallery e-booklet.</a></p> <p style="text-align: justify;">This exhibition is on loan from:</p> <p style="text-align: center;"><img src="" alt="Ca Historical Society.jpg" width="320" height="320" /></p> <p>&nbsp;</p> Sun, 01 Mar 2015 16:41:09 +0000 - Riverside Art Museum - March 5th 6:00 PM - 8:00 PM <p style="text-align: justify;">The Riverside Art Museum (RAM) is pleased to present <em>Spotlight: Visual Arts Across the Generations in the Riverside Unified School District.</em></p> <p style="text-align: justify;">E.W. Eisner wrote in <em>Ten Lessons the Arts Teach</em> (1998) that, &ldquo;a &lsquo;work of art&rsquo; is both an activity and a result; it is a noun and a verb&hellip;. One of the great aims of education is to make it possible for people to be engaged in the process of creating themselves. Artists and scientists are alike in this respect.&rdquo; The impact that arts education has on academic performance, social development, and community engagement is often underestimated and undervalued just because it is difficult to measure. Americans for the Arts, the nation&rsquo;s leading nonprofit for advancing the arts and arts education, has stated time and again that, &ldquo;arts education should not be considered a frill, but a necessity.&rdquo;</p> <p style="text-align: justify;">&ldquo;We appreciate the on-going collaboration with the Riverside Art Museum and this special opportunity to showcase our students&rsquo; and faculty&rsquo;s artwork,&rdquo; says Antonio Garcia, Riverside Unified School District&rsquo;s Assistant Superintendent of Curriculum and Instruction. &ldquo;This exhibit reflects the value we place on arts education, both as a school district and as the larger Riverside community.&rdquo;</p> <p style="text-align: justify;">&ldquo;Many RUSD graduates have gone on to exhibit, teach, and work at RAM,&rdquo; says Drew Oberjuerge, Executive Director. &ldquo;This exhibition presents exceptional student, teacher, and faculty artwork. As creativity and analytical thinking - things that are developed through arts education - become important facets of the 21st century work force, the RUSD and RAM are working together to encourage artist development.&rdquo;</p> <p style="text-align: justify;">The Riverside Unified School District (RUSD), founded in 1871, provides pre-Kindergarten to adult education to students within the City of Riverside and some surrounding unincorporated communities. Art education has been an important priority for the RUSD for many years. Children as young as pre-Kindergarten students are exposed to a wide range of arts programs: instrumental and vocal music; dance; theater; the visual arts of painting, drawing, and sculpture; and more. Students with an interest in the arts are encouraged to enhance their skills with a variety of advanced coursework.</p> <p style="text-align: justify;"><strong>DATES TO REMEMBER:</strong></p> <ul style="text-align: justify;"> <li><strong>Drop-off: </strong>Artwork must be hand-delivered to RAM, 3425 Mission Inn Avenue, Riverside, CA 92501, on either <strong>Wednesday, February 25, or Thursday, February 26, 2015, 10:00 a.m. &ndash; 8:00 p.m.</strong> <strong>NO EXCEPTIONS</strong>.</li> <li><strong>Exhibition Dates:</strong> March 1 &ndash; April 11,2015.</li> <li><strong>Opening Reception (during Riverside Artswalk): </strong>Thursday,March 5, 2015, 6:00 p.m. - 8:00 p.m.</li> <li><strong>Pick-up:</strong> Artwork must be picked up at RAM on <strong>Sunday, April 12, 10:00 a.m. &ndash; 4:00 p.m., or you must make a special appointment with RAM staff by Wednesday, April 1, 2015, for a pick-up date and time between April 12 &ndash; 19, 2015</strong>. Your claim card must be presented. <strong>NO EXCEPTIONS.</strong></li> </ul> <p style="text-align: justify;">For more information, email RAM Exhibitions and Collections Coordinator Allen Morton at <a href=""></a>.</p> Sun, 01 Mar 2015 16:42:09 +0000 Dan “El Daino” Torres - UCR Barbara and Art Culver Center of the Arts - March 5th 6:00 PM - 9:00 PM <p style="text-align: justify;">Free Hugs chronicles artist Dan &ldquo;Daino&rdquo; Torres&rsquo;s encounter with a colony of ants living in the dirt outside of his studio in Riverside. Rather than displacing them from his space, the artist joins their network producing an ongoing performative project. Torres&rsquo; collaborative effort by inserting small replicas of protests signs into the colony&rsquo;s repetitive motions, result in abstracting the human gaze, as well as disrupting the ants&rsquo; daily routine. The video is a chapter of a larger body of work by Torres entitled, We Come In Peace.</p> <p style="text-align: justify;"><br />Dan &ldquo;Daino&rdquo; Torres received a BFA at Cal Arts in Valencia, California. He has been featured in selected exhibitions at the Whittier Cultural Art Foundation (Whittier, CA), SomArts Bay Gallery (San Francisco, CA), Spaces Gallery (Cleveland, OH), Sweeney Art Gallery (Riverside, CA) and Cerritos College Art Gallery (Cerritos, CA). He works and lives in Riverside, CA.</p> <p style="text-align: justify;"><br />The Culver Center Digital Mural Project Series is curated by Jennifer Frias, Associate Curator, Sweeney Art Gallery at UCR ARTSblock.<br /><br />The Culver Digital Mural Project at UCR ARTSblock's Culver Center of the Arts presents a series of changing projects on the two screens inside the fa&ccedil;ade's glass kiosks that face the pedestrian mall. These projects are an opportunity to extend ARTSblock programming into the public space.<br /><br />UCR's College of Humanities, Arts and Social Sciences (CHASS) and the City of Riverside have provided support.</p> Sun, 01 Mar 2015 16:02:37 +0000 - La Luz de Jesus Gallery - March 6th 8:00 PM - 11:00 PM <h3><strong>Our 29th Annual Group Show</strong> </h3> <p style="text-align: justify;">La Luz De Jesus Gallery proudly presents our annual juried group exhibition, LALUZAPALOOZA. This gigantic, no-theme show features works from some of the freshest and most relevant artists working today. Last year we sorted through 16,000 submissions from commercial illustrators, graphic designers, tattooists, scenics, students, street taggers, animators and working gallery artists. &nbsp;How many will we see this year? Past shows have featured as many as 330 pieces and as few as 100, making this the most exclusive selection of tastefully, jam-packed, salon-style exhibited works in Post-Pop. There will be some familiar names from our ever-growing roster of feature artists, but an overwhelming percentage of the work this year will come from a brand new batch of previously undiscovered, emerging talent. Will you be a patron of the next great generation?</p> Tue, 17 Feb 2015 15:24:07 +0000 El Anatsui - Museum of Contemporary Art San Diego-Downtown - March 6th 11:00 AM - 5:00 PM <p style="text-align: justify;"><em>Gravity and Grace: Monumental works by El Anatsui</em> highlights the artist&rsquo;s most recent work and features 11 monumental metal wall and floor sculptures widely considered to represent the apex of El Anatsui&rsquo;s career. In addition, a series of drawings illuminates the artist&rsquo;s process, while wooden wall reliefs reference his extensive work in wood and display fascinating compositional relationships to the large metal pieces.<br /> <br /> El Anatsui&rsquo;s work has won worldwide acclaim for its power and splendor. He is widely celebrated for transforming discarded objects into shimmering, pliable artworks of monumental beauty. Drawing on artistic and aesthetic traditions from his birth country of Ghana, his home in Nigeria, and various Western art forms including modernist and post-modern modes of expression, Anatsui culls from his environment, both natural and manmade, as a source of material and motivation.</p> <p style="text-align: justify;">Merging personal, local, and global concerns into his work, Anatsui has said he is inspired by the &ldquo;huge piles of detritus from consumption&rdquo; due to West Africa&rsquo;s limited recycling technology. Cultural, economic, and social issues of colonialism, globalism, waste, and consumerism are explored under the cloak of beauty.</p> <p style="text-align: justify;">In Nigeria, local distilleries produce dozens of different brands of spirits in bottles of various sizes that are recycled after use. The discarded aluminum tops, seals, and labels, however, are gathered by the artist. After being bent, twisted, and pieced together, they are transformed into massive, richly colored, and luxuriously textured tapestries. Given liquor&rsquo;s key history in the slave trade, these works reference earlier relationships between Europe, Africa, and the United States.</p> <p style="text-align: justify;"><em>Gravity and Grace: Monumental Works by El Anatsui</em> invites visitors to question where art comes from, as well as explore the development of works by this internationally celebrated artist. In his work, Anatsui strikes a rare combination of stunning beauty, fascinating communal process, and deep metaphorical and poetic meaning. Just as the work is greater than the sum of its thousands of parts, its meaning transcends the particular cultural influences that contribute to the artist&rsquo;s psyche and embody something universal that strikes a chord in every one of us.</p> <p style="text-align: justify;"><em>Gravity and Grace: Monumental Works by El Anatsui is organized by the Akron Art Museum and made possible by a major grant from the John S. and James L. Knight Foundation. The San Diego presentation is made possible by generous lead underwriting gifts from Dr. Paul Jacobs and Sheryl and Harvey White. Additional funding has been provided with proceeds from the 2014 Art Auction. Institutional support of MCASD is provided by the City of San Diego Commission for Arts and Culture and the County of San Diego Community Enhancement Fund.</em></p> Sun, 01 Mar 2015 16:18:29 +0000 Darryl Curran, Robert Fichter, Kenneth Josephson, Jane O’Neal, Lewis Baltz, Victor Landweber, Robert Von Sternberg - Norton Simon Museum - March 6th 11:00 AM - 8:00 PM <p style="text-align: justify;">Long-revered conventions have held that landscape and nature photography should minimize evidence of human presence. In this framework, the best images offer up the pristine vistas that photographer Lewis Baltz has wryly characterized as &ldquo;the privileged world of pure nature.&rdquo; The ten artists in <em>Human/Nature: Photographers Constructing the Natural World</em> play with and against this tradition. In the work on display, these artists treat signs of humanity, and our activities, as essential, constitutive elements of their image-making practice rather than as undesirable or unfortunate inclusions. Drawing upon American photography from the 1960s to the present in the Norton Simon&rsquo;s permanent collections, this exhibition sees &ldquo;nature&rdquo; and &ldquo;culture&rdquo; not in opposition, but in dialogue.</p> <p style="display: block; text-align: justify;">Against the modernist&mdash;some would say, romantic&mdash;tradition of canonical figures like Edward Weston and Ansel Adams, photographers in the 1970s began to focus on landscapes beyond &ldquo;pure nature.&rdquo; During this decade, photography that included and even emphasized human alterations to the landscape was established as a legitimate avenue for artistic consideration. Accordingly, Lewis Baltz, Victor Landweber, Robert von Sternberg and other artists in <em>Human/Nature </em>pictured landscapes marked by suburbanism, tourism and industry. While such transformed landscapes are distinguished by their innovative subjects and their formal beauty, they also invite critical conversations about the impact of our interactions with the non-human world. Along these lines, the bright orange traffic cone that punctuates von Sternberg&rsquo;s <em>Columbia Ice Field, Canada</em>, 2009, is at once a playful, unexpected splash of color in an otherwise stark landscape and a reminder of the &ldquo;snow coaches&rdquo; that carry tourists as far as the remote Canadian Rockies.</p> <p style="display: block; text-align: justify;">A number of artists in <em>Human/Nature</em> explore a particular paradox: photographers must use uniquely human technologies in their representations of the non-human world. These artists revel in scenarios where the natural and the constructed meet and blend. Darryl Curran, Robert Fichter, Kenneth Josephson and others place trees, plants and vegetables in communication with innovative processes, from the Polaroid to the smartphone. Two artists in the exhibition, Curran and Jane O&rsquo;Neal, use the technology of the flatbed scanner to create their images, called &ldquo;scanograms.&rdquo; Curran&rsquo;s flattened arrangement of colorful cabbage leaves, delicate baby&rsquo;s breath, thorny rose stems and a serrated knife on the surface of the scanner links <em>Savoy Cabbage, Baby&rsquo;s Breath, Blade</em>, 1995, to the photograms and cyanotypes of early photography, in which objects were arranged on photo-sensitive paper, and which likewise often featured a blend of man-made and natural artifacts. The inclusion of a knife among the cut leaves and stems, moreover, signals human presence&mdash;and, perhaps, humanity&rsquo;s power to destroy as well as to construct.</p> <p style="display: block; text-align: justify;">From subtle to arresting, lyrical to critical, the photographs in <em>Human/Nature </em>present a world mediated by human activity. This exhibition will be on view in the Museum&rsquo;s small rotating exhibitions gallery on the main level from March 6 through August 31.</p> Thu, 18 Dec 2014 16:55:18 +0000 Richard Haley - Another Year in LA - March 7th 1:00 PM - 4:00 PM <p style="text-align: justify;"><span style="font-family: Arial;">Another Year in LA is pleased to present MORE WORKS ABOUT DUST, LIGHT, AND BREATH, new work by Richard Haley, his fourth solo exhibition (the only artist to have had solo exhibitions at every Another Year in LA venue and first artist to be showing work both at the new gallery space (4695 Marwood Drive, LA, 90065) and different work made specifically for the online gallery).</span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> In describing these new works, Richard Haley wrote, &ldquo;My recent work investigates the use of surrogates in performance.&nbsp; Through video, photographs, animations and drawings, I have recorded inanimate proxies for myself (performing the actions).&nbsp; The work takes the literal representation of the body out of the picture and is replaced by fragments and traces. These works are documents of staged events performed by inert stand-ins tackling themes of corporeal reach and duration.&rdquo; </span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> &ldquo;The surrogates are literal casts of my body; my hand, finger, head, and abdomen. Others are traces of the body, such as the impression one would leave behind if lying down in the grass or residue left behind from the ashes of my cremated body. Similarly, other works employ hand crafted miniature sculptures of everyday objects to be used as stand-ins for the original.</span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> In creating these works I was concerned with material, namely treating the body as raw material. I considered it as an apparatus composed of animate matter that decisively uses its weight and mass as needed to implement tasks at hand.&nbsp; Moreover, I considered its trajectory as material in death, such as employing it for tasks where a lifeless weight is needed.&rdquo; </span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> &ldquo;These stand-ins for myself create an attentiveness to the materials they are made from. In doing so, they also point to the actual that they reference, framing it in terms of materiality. My goal is to shift the work outside the vernacular of performance and documentation and steer it towards the presence and present-ness of sculpture.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> &ldquo;My training as an artist began with an interest in the bay area figurative tradition of the 50/60&rsquo;s. I was drawn to the gestural mark. It led a dual life- it was a record of the maker being there to create it and the same time it had another temporality, it was not just a record but a perpetually present mark as well; severing its tie from its making.&rdquo; </span></p> <p>&nbsp; <span style="font-family: Arial;"><br /></span></p> Thu, 26 Feb 2015 17:55:21 +0000 Daniel Lefcourt - Blum & Poe - March 7th 6:00 PM - 8:00 PM <p class="Default" style="text-align: justify;"><em>At a data visualization conference a few years ago, a colleague passed me a piece of paper with an Internet address written in nearly illegible handwriting. The address didn</em><em>&rsquo;</em><em>t start with </em><em>&ldquo;</em><em><a href="http://www">http://www</a></em><em>&rdquo;</em><em>; instead it was a protocol I had never used. I showed it to a tech savvy friend, who suggested I only visit the link anonymously. Curious, but not knowing what I would find, I decided I better not use my home network. I went to one of the remaining public libraries in the city and opened the TOR network on my tablet.</em></p> <p class="Default" style="text-align: justify;"><em>What I found was a database of JPEG, AVI, PDF, DXF and GIS files, along with an antique Google maps-like application that allowed one to zoom in and out of high-resolution satellite images of various locations using pinching gestures. I ran my fingers over the terrain, which was labeled in a code unknown to me. A quick search revealed there were hundreds of thousands of items in the database.</em></p> <p class="Default" style="text-align: justify;"><em>The first file I opened was a PDF document on the history of photogrammetry </em><em>&ndash;</em><em>a technique in which photographs are used to measure scale and distance. Another query brought up a PowerPoint presentation on model making and subtractive manufacturing. There were documents and examples of the relationship between pantographs and </em><em>&ldquo;</em><em>point clouds.</em><em>&rdquo;</em><em> There were also thousands of files that contained soil sample data and information from a materials library.</em></p> <p class="Default" style="text-align: justify;"><em>The most memorable files were video stills that appeared to have been captured directly from satellites or unmanned aircraft. They were what filmmaker Harun Farocki has called </em>Operative Images <em>&ndash;</em><em>images that exist merely to gather data</em>. <em>Some of the content was deeply upsetting, though it was unclear to me at the time if the stills were simulations or not. These files were the exception though </em><em>&ndash;</em><em>the majority of the content had to do with techniques for input, processing, and output.</em></p> <p class="Default" style="text-align: justify;"><em>On my next visit to the library, the database was empty. The interface was there, but the content failed to load. The screen stopped responding to my touch. As I closed the browser, and wandered through the library stacks, I realized that I had stumbled upon something significant </em><em>&ndash;</em><em>perhaps, this could be a useful methodology</em><em>&hellip;</em><em>. </em><em>The database was an allegory</em><em>&hellip;</em><em>. </em><em>Maybe I have to enact a similar set of operations</em><em>&hellip;</em><em>.</em></p> <p class="Default" style="text-align: justify;">-- Daniel Lefcourt</p> <p class="Default" style="text-align: justify;">&nbsp;</p> <p class="Default" style="text-align: justify;">Blum &amp; Poe is pleased to present Daniel Lefcourt&rsquo;s first solo exhibition at the gallery, which includes new large-scale paintings, relief panels, and a selection of works on paper. All of the works in the show are derived from small cultivated accidents created in the studio &ndash; a puddle of water and glue spilled on a debris-covered tarp or a spot of paint dropped arbitrarily on a board. Measuring no more than a few inches, the scenes are digitally photographed dozens of times from a number of angles to generate a 3-dimensional computer model, from which a low-relief foam carving is manufactured. Paint is poured into the low-relief mold, allowed to dry, peeled off, and adhered to a large canvas. The final result of Lefcourt&rsquo;s technique is a set of spectral images with an intense physical presence.</p> <p class="Default" style="text-align: justify;">Daniel Lefcourt was born in New York, where he currently lives and works. He received his MFA from Columbia University and is a member of the faculty at the Rhode Island School of Design. His work has been included in numerous group exhibitions, including <em>First Among Equals</em>, Institute of Contemporary Art, Philadelphia, PA; <em>Reel to Real: Photographs from the Traina Collection</em>, de Young Museum, San Francisco, CA; <em>Knight's Move</em>, Sculpture Center, Long Island City, NY; <em>Subject Index</em>, Malm&ouml; Konsthall, Malm&ouml;, Sweden; and <em>The Gold Standard</em>, MoMA P.S.1, Long Island City, NY. A recent web project, <em>Modeler</em>, was commissioned and presented by Dia Art Foundation.</p> Tue, 17 Feb 2015 15:20:05 +0000 Theodora Allen - Blum & Poe - March 7th 6:00 PM - 8:00 PM <div align="justify">Blum&nbsp;&amp; Poe is pleased to present the first solo exhibition of Los Angeles-based&nbsp;artist Theodora Allen. Through a range of symbolic imagery, Allen's paintings explore tropes of the natural world and the rudimentary tools we use to navigate it -- both emotionally and physically. The paintings resonate with the spiritual-leaning aesthetics of such fringe countercultural movements and figures as the visionary poet William Blake, designer William Morris, the Pre-Raphaelite Brotherhood, early abstractionist and mystic Hilma af Klint, and the zeitgeist of 1960's California hippie idealism. However, allusions to past ideologies are more despondent than optimistic -- fluttering moths, wild flames,&nbsp;guitars without strings, an occasional counting hourglass, and the common weed or&nbsp;dandelion. The emblems stand in as markers of time, symbols of persistence and blindsided foolishness, the uncontrollable, and the inward looking. &nbsp;&nbsp;<br /><br /></div> <div align="justify">Allen's new paintings feature a range of enigmatic still lifes, in which space is demarcated through interlocking planes of symmetry and framed within a stylized architectural niche. Her works achieve a balance of graphic flatness and illusionistic form, evocative of sun prints. The surfaces are slowly built up with thin washes of oil paint, which are partially&nbsp;removed before they can dry. The effect simultaneously&nbsp;defines and dissolves the picture plane, producing a subtly&nbsp;polluted spectrum of colors and ghostly distressed surfaces. &nbsp;&nbsp;<br /><br /></div> <div align="justify">Theodora Allen (b. 1985, Los Angeles, CA) holds&nbsp;an MFA in painting from the University of California, Los Angeles, a BFA in&nbsp;painting&nbsp;from Art Center College of Design, Pasadena, CA, and has completed a residency at&nbsp;Skowhegan School of Painting and&nbsp;Sculpture, Skowhegan, ME.&nbsp;Her work has&nbsp;recently been exhibited at the Museum of&nbsp;Contemporary Art, Tucson, AZ. &nbsp; &nbsp;&nbsp;</div> Wed, 18 Feb 2015 17:09:16 +0000 Astrid Preston - Craig Krull Gallery - March 7th 4:00 PM - 6:00 PM <p style="text-align: justify;">Astrid Preston's work is a testament to the fact that landscapes do not exist in Nature but rather, only in the mind's eye. While her images employ elements of place, they are also reconstructions that manifest personal perspectives or conceptual themes. In this way, she is a kindred spirit to Edward Hicks and his&nbsp;<em>Peaceable Kingdoms</em>, Giorgio de Chirico and his vacant metaphysical piazzas, and Ren&eacute; Magritte and his surreal scenarios.&nbsp;<em>On Reflections</em>, the title of Preston's new group of paintings, refers to her subject matter, but it also suggests her cerebral processing and interpretation of nature. The ponds at Descanso Gardens in Southern California and Monet's garden at Giverny, France serve as inspiration to her meditations. In fact, these gardens and the idea of gardens in general, are aesthetic re-creations, idyllic ideals, the Plato's Cave of Nature. Our expulsion from the Garden of Eden is symbolic of our disconnect with a Nature that we are perpetually attempting to re-establish. Within the artifice of a garden, Preston has chosen to focus on&nbsp;<em>reflections</em>, not the trees and plants themselves, but shimmering mirror images of them. As in Lewis Carroll's&nbsp;<em>Through the Looking Glass, and What Alice Found There,</em>Astrid Preston's paintings explore the other side of the mirror, the reality that we construct in our minds. In this body of work, her handling of paint continues to evolve, absorbing elements of Milton Avery's washy daubs and Charles Burchfield's wiggly wormy lines. She has also introduced seemingly anomalous molecular-web balls that drift throughout her landscapes, suggesting the eye floaters in one's field of vision, or even our scientific attempts to understand the basic structure of all things.</p> <p style="text-align: justify;">&nbsp;</p> Sat, 21 Feb 2015 07:25:33 +0000 Astrid Preston - Craig Krull Gallery - March 7th 4:00 AM - 6:00 AM <p>Astrid Preston&rsquo;s work is testament to the fact that landscapes do not exist in Nature but rather, only in the mind&rsquo;s eye. While her images employ elements of place, they are also reconstructions that manifest personal perspectives or conceptual themes. In this way, she is a kindred spirit to Edward Hicks and his <em>Peaceable Kingdoms</em>, Giorgio de Chirico and his vacant metaphysical piazzas, and Ren&eacute; Magritte and his surreal scenarios. <em>On Reflections</em>, the title of Preston&rsquo;s new group of paintings, refers to her subject matter, but it also suggests her cerebral processing and interpretation of nature. The ponds at Descanso Gardens in Southern California and Monet&rsquo;s garden at Giverny, France serve as inspiration to her meditations. In fact, these gardens and the idea of gardens in general, are aesthetic re-creations, idyllic ideals, the Plato&rsquo;s Cave of Nature. Our expulsion from the Garden of Eden is symbolic of our disconnect with a Nature that we are perpetually attempting to re-establish. Within the artifice of a garden, Preston has chosen to focus on reflections, not the trees and plants themselves, but shimmering mirror images of them. As in Lewis Carroll&rsquo;s <em>Through the Looking Glass, and What Alice Found There</em>, Astrid Preston&rsquo;s paintings explore the other side of the mirror, the reality that we construct in our minds. In this body of work, her handling of paint continues to evolve, absorbing elements of Milton Avery&rsquo;s washy daubs and Charles Burchfield&rsquo;s wiggly wormy lines. She has also introduced seemingly anomalous molecular-web balls that drift throughout her landscapes, suggesting the eye floaters in one&rsquo;s field of vision, or even our scientific attempts to understand the basic structure of all things.<br /> <br /> A reception for the artist will be held at Craig Krull Gallery on Saturday, March 7, from 4-6pm. A gallery talk with Astrid Preston will take place on Saturday, March 28th, at 10am (rsvp required).</p> Thu, 05 Mar 2015 00:38:26 +0000 Lauren Bon and the Metabolic Studio - Hammer Museum - March 7th 11:00 AM - 5:00 PM <div id="c9927" class="csc-default csc-typography"> <p style="text-align: justify;"><em>Hammer Projects: Lauren Bon and Metabolic Studio</em> will feature an immersive sonic work, <em>The Catch</em>, 2015. For this project, Bon and the Metabolic Studio&rsquo;s Sonics and Optics Divisions will imbue the gallery with deep aural impressions, triggering both a physical sensation in viewers and a visual response as shadow waves sweep across the gallery floor, a cascading reflection of the water lens suspended above visitors&rsquo; heads. This exhibition uses sound imprints based on Bon&rsquo;s water wheel, <em>LA Noria</em>, part of a massive project called <em>Bending the River Back Into the City</em>, 2012-present, that is expected to break ground in 2015 adjacent to the LA river, Downtown, and coincides with the Hammer&rsquo;s year of water programming.&nbsp;</p> <p style="text-align: justify;"><em>Hammer Projects: Lauren Bon and the Metabolic Studio</em> is organized by Allison Agsten, curator, Public Engagement with January Parkos Arnall, curatorial assistant, Public Engagement.</p> <div id="c9928" class="csc-default csc-typography" style="text-align: justify;"> <h1 class="tx-t3site-header-style-default">Biographies</h1> <p>Lauren Bon and the Metabolic Studio take art practice outside of the boundaries of the (art) system and to open it up to multiple possibilities bringing creativity into all areas of life.&nbsp;<strong>&ldquo;Artists Need To Create On The Same Scale That Society Has The Capacity To Destroy.&rdquo;</strong></p> <p>The Metabolic Studio practices on physical and social brownfields&mdash;places that are incapable of supporting life. Since 2005, the Metabolic Studio has focused on land and water use in the city of Los Angeles and by extension in the Intermountain West. Through working with local, state and federal agencies we often encounter systemic aversion to innovation.</p> <p>At the heart of the Metabolic Studio&rsquo;s practice are &ldquo;devices of wonder.&rdquo; These devices have the capacity to shift stagnation inherent in any given system and thereby have a transformative effect by creating momentum. All the actions happened in the public realm and were not supported by outside agencies. They were constructed as ephemeral interventions in social space. The exception to that is&nbsp;<em>Bending the River Back into the City,</em>&nbsp;which will be the only permanent work in the "Metabolic Cycle."</p> </div> <div id="c9929" class="csc-default csc-typography"> <p class="small" style="text-align: justify;">Hammer Projects is made possible thanks to the generous support of the Horace W. Goldsmith Foundation, Susan Bay Nimoy and Leonard Nimoy, Hope Warschaw and John Law, and Maurice Marciano.&nbsp;</p> <p class="small" style="text-align: justify;">Additional support is provided by Good Works Foundation and Laura Donnelley, the Decade Fund, and the David Teiger Curatorial Travel Fund.&nbsp;</p> <p class="small" style="text-align: justify;">The Hammer Museum's Public Engagement program is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission.</p> </div> </div> Mon, 02 Mar 2015 15:44:12 +0000 Blake Little - Kopeikin Gallery - March 7th 6:00 PM - 8:00 PM <p style="text-align: justify;">*"The images recall the plaster casts of the victims of Vesuvius whose bodies disappeared, but whose evocative forms remained and have become something of a byword for the fleetingness and unpredictability of human life." -&nbsp;Kenneth Lapatin, Getty Curator of Antiquities</p> Sat, 21 Feb 2015 07:04:40 +0000 matthew swarts - Kopeikin Gallery - March 7th 6:00 PM - 8:00 PM <p style="text-align: justify;">"The fun part is getting lost along the way, abandoning whatever strategy I thought was going to work, and just allowing some mistake and randomness to generate new ideas."&nbsp;</p> <p style="text-align: justify;">- Matthew Swarts</p> <p style="text-align: justify;">The clich&eacute; that time heals all wounds might be true, but, for Matthew Swarts, after a painful end to a long-term relationship, the passing of time only created a sense of confused detachment, especially when looking at his old photographs.</p> <p style="text-align: justify;">So Swarts decided to use those images to process the end of the relationship, creating his series "<a shape="rect">Beth</a>."&nbsp;In Beth, slowly erasing his ex-girlfriend is a metaphor for loss, but it's also about ownership. The original portraits were a collaborative process. Now that she's gone, he doesn't feel the same ownership and is remaking the photographs.&nbsp;</p> <p style="text-align: justify;">While working on "Beth," Swarts started a new relationship and so began a second series, "<a shape="rect">The Alternatives</a>."&nbsp;In The Alternatives, the blurred, obscured images are a metaphor for the uncertainty and complexity of forging a new relationship. Although emotions are strong at the dawn of a new romance, there are nagging questions about whether things will work out.&nbsp;</p> <p style="text-align: justify;">Both use images he has collected online for more than a decade-including optical illusions, children's illustrations, maps, and even school papers. Swarts mixed them up to create unique patterns and then layeres those patterns over the collection of images from his present and everyday life.</p> <p style="text-align: justify;">&nbsp;</p> Thu, 05 Mar 2015 16:59:31 +0000 Tyler Calkin - Monte Vista - March 7th 6:00 PM - 9:00 PM <h3 style="text-align: justify;">Monte Vista Projects is pleased to present&nbsp;<strong><a href="" target="_blank">Key-Swipe Finger-Calligraphy</a> and&nbsp;Gesture Analog Mapping Experiment Night by Tyler Calkin</strong><br />&nbsp;</h3> <p style="text-align: justify;">&nbsp;<strong>Gesture Analog Mapping Experiment Night</strong><br /><em>G.A.M.E. Night</em>&nbsp;is the inauguration of an effort to collectively develop new gestures for use in social communication.<br />&nbsp;<br />Gesture maps tie different hand motions to various functions for touchscreen devices. In the last several years, hundreds of these maps have been patented by corporations like Apple. As smartphones, tablets, and multi-touch trackpads have become ubiquitous, so have gesture map interfaces. After repeated performance of these gestures, our bodies start to remember them. In this way companies colonize our bodies and we no longer perform ourselves; we perform patents.<br />&nbsp;<br /><em>G.A.M.E. Night</em>&nbsp;is a space to improvise new body language by recombining the gestures and functions of Apple&rsquo;s patents. Three card games let players take screen-based movements beyond the screen into social and spatial communication. Successful players can record their new gesture-function pairs onto an analog surface - paper - to include it in a growing Library of Alternative Gestures.<br /><br /><strong>This event is on&nbsp;Sat 3/7 from 6-9&nbsp;pm</strong><br /><br />Tyler Calkin is an interdisciplinary artist living and working in Los Angeles. He received his MFA in Art and Integrated Media from California Institute of the Arts and has since shown his work across the US and internationally. He has also led gameplay-based artist workshops in Nepal and Mexico.<br /><br />His participatory projects examine social constructions, habits, and anxieties through play and improvisation. Drawing particularly from safety and hygiene products and developing digital interfaces, Tyler rearranges material culture into social catalysts. The resulting situations propose new models for interpersonal and inter-object relations.</p> Thu, 05 Mar 2015 17:15:02 +0000