ArtSlant - Openings & events en-us 40 Ara Oshagan - Annenberg Space for Photography - October 30th 6:00 PM - 8:00 PM <div class="views-field views-field-nothing"> <p style="text-align: justify;">Ara Oshagan is a photographer and installation artist whose work revolves around the intersecting themes of identity, community and history. His first book, <em>Father Land</em>, was published in 2010. Two other books, <em>Mirror</em> and <em>iwitness</em>, will be published this year and next.</p> <p style="text-align: justify;">Oshagan&rsquo;s work has been reviewed and featured in <em>Mother Jones</em>, the <em>Los Angeles Times</em>, <em>LA Weekly</em> and NPR, and can be found in the permanent collections of several museums.&nbsp;In October 2012, Oshagan spoke at TEDx in Yerevan, Armenia.</p> <p style="text-align: justify;">Oshagan will show three interconnected bodies of work spanning over fifteen years: portraits of survivors of the Armenian Genocide of nearly 100 years ago, images from a mountainous and war-torn region of Armenia and the experience of a multicultural and hybrid community of Armenians in Los Angeles.</p> <div class="views-field views-field-field-event-reg-period" style="text-align: justify;"> <div class="field-content">Online registration opens Wed, October 22 at 12pm PDT and Thurs, October 23 at 9:30am PDT.</div> </div> <div class="views-field views-field-field-lecture-event-url" style="text-align: justify;"> <div class="field-content"><a href="" target="_blank"><img src="" alt="" /></a></div> </div> </div> <p style="text-align: justify;">The Iris Nights lecture series, is a public program offered free of charge, by online reservation on a first-come, first-served basis. The series brings to life the most current exhibit with presentations by exhibit featured photographers and other notable experts and guest artists, and takes place from 6:30-8pm Thursday evenings at the Annenberg Space for Photography Skylight Studios, located directly across the park from the Photography Space.</p> Tue, 07 Oct 2014 15:54:52 +0000 - Hammer Museum - October 30th 7:30 PM - 8:30 PM <div id="c7085" class="csc-default csc-typography"> <p class="p1" style="text-align: justify;">In the past 25 years, the acclaimed experimental filmmaker <strong style="font-size: 1em; line-height: 1.555;">James Benning </strong>has completed 14 feature-length films, including <em style="font-size: 1em; line-height: 1.555;">13 Lakes </em>(2004), <em style="font-size: 1em; line-height: 1.555;">RR </em>(2007), and <em style="font-size: 1em; line-height: 1.555;">Casting a Glance </em>(2007), which have been shown in venues around the world. He has received grants from the Rockefeller Foundation, National Endowment for the Arts, and the John Simon Guggenheim Memorial Foundation. The Austrian Film Museum presented a retrospective of Benning&rsquo;s films in 2007, and his installations have been staged at the Walker Art Center, Whitney Museum of American Art, and Argos Centre for Art and Media in Brussels.</p> </div> Wed, 29 Oct 2014 09:51:22 +0000 Tony Berlant - L.A. Louver - October 30th 6:00 PM - 8:00 PM <p class="Default" style="text-align: justify;">L.A. Louver is pleased to present an exhibition of new work by Los Angeles-based artist Tony Berlant. In these new collages, Berlant continues his exploration of tin and photographic materials, and pays homage to his longtime Santa Monica neighborhood with some of his most personal and intimate works to date. (To view a short film on Berlant discussing this body of work, visit</p> <p class="Pa0" style="text-align: justify;">The foundation of these collages is photographs Berlant has shot in the vicinity of his home, and from outside his living room window. Berlant prints the photographs on sheets of tin, which he attaches to wood panels with steel brads. The printed sheets cover both the front and sides of the panels. Photography has always played a key role in the artist&rsquo;s work. In this new series, Berlant gives his photography center stage. In concert with, or in counterpoint to, the foundational photographic image, Berlant collages a combination of found and arist-fabricated colored tin onto the surface. In some instances he follows contours and shapes inherent in the underlying image, such as the tree branches of <em>One Way or Another</em>. In other compositions, Berlant juxtaposes or &ldquo;transplants&rdquo; visual elements, such as the swirling form mimicking a datura blossom in <em>Visitation </em>or the brightly colored tree in <em>Intersection</em>. In other works Berlant takes an even more free form approach, such as <em>The Good Shepherd</em>, where exploding bursts of color cascade from the top of an inverted street scene, clamoring with police activity. &ldquo;The whole street is like a stage set&hellip; there are literal things and things in my mind that I project into that space,&rdquo; says Berlant. &ldquo;It&rsquo;s this combination of very literal depiction and highly subjective images all mixed-up together.&rdquo;</p> <p class="Pa0" style="text-align: justify;">In one work, titled <em>Alone With Myself</em>, Berlant does not add any collage materials, allowing the printed photograph to absorb the visual field. This results in a haunting portrayal of the subject, which Berlant describes as &ldquo;the fascinating and richly evocative banality of the west side of Los Angeles.&rdquo;</p> <p style="text-align: justify;">One of the most revealing works in the exhibition is seemingly unrelated to Berlant&rsquo;s home. Rather, the artist puts himself on display in <em>Past and Present</em>, one of the largest works in the exhibition. Measuring 130 x 99 in. (330.2 x 251.5 cm), images of Berlant&rsquo;s skin, rendered pallid and almost unrecognizable, are interlaced with vividly exuberant collaged forms. &ldquo;Age is a factor now,&rdquo; says Berlant, &ldquo;celebrating life, but being aware of mortality, your own body, and hidden images that are there, and the things that are in your head that come out in the process of making art. It&rsquo;s like discovering something very close to home.&rdquo;</p> <p class="Pa0" style="text-align: justify;">In 1959, Tony Berlant attended the University of Southern California, but after a year transferred to UCLA, earning a B.A. in 1961, M.A. in 1962, and M.F.A. in 1963. In 1960, he was recognized by Clement Greenberg, who selected one of his paintings for inclusion in a regional exhibition of artists at the Los Angeles County Museum of Art. In 1964, the same museum awarded Berlant the New Talent Purchase Grant. Since this time, his work has been exhibited throughout the United States, including solo shows at Whitney Museum of American Art, New York; and Henry Art Gallery, Seattle, Washington (1973/74); Contemporary Art Museum, Houston, Texas, and Los Angeles County Museum of Art (1982); Centro Cultural del Arte Contemporaneo, Mexico City, Mexico (1988); and The Contemporary Museum, Honolulu, Hawaii (2003). In summer 1997, Berlant&rsquo;s work was included in the Louisiana Museum&rsquo;s presentation of <em>Sunshine Noir: Art in LA 1960-1997</em>, and in 2006, he participated in the landmark exhibition, Los Angeles 1955-1985 at the Centre Pompidou, Paris, France. In 2011-2012, the Getty initiative <em>Pacific Standard Time </em>featured Berlant in two pivotal exhibitions: <em>Artistic Evolution &ndash; Southern California Artists at the Natural History Museum of Los Angeles County: 1945-1963</em>, Natural History Museum, Los Angeles, CA and <em>Under the Big Black Sun: California Art, 1974-1981</em>, Museum of Contemporary Art, Los Angeles, CA.</p> <p style="text-align: justify;">Currently, three large-scale architectural sculptures that Berlant created in the mid-1960s (previously exhibited in <em>The Marriage of New York and Athens </em>at the Whitney Museum of American Art in 1973) are being permanently installed on the grounds of the Ch&acirc;teau La Coste in Aix-en-Provance, and will be presented in individual glass and steel structures designed by Frank Gehry.</p> <p style="text-align: justify;">&nbsp;</p> Thu, 23 Oct 2014 07:19:03 +0000 Heather Gwen Martin - L.A. Louver - October 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">L.A. Louver is pleased to announce an exhibition of new paintings by Heather Gwen Martin. This marks Martin&rsquo;s first solo show with L.A. Louver, and is presented as part of the gallery&rsquo;s ongoing&nbsp;<em>Rogue Wave Projects&nbsp;</em>series that celebrates emerging artists.</p> <p class="Default" style="text-align: justify;">L.A. Louver is pleased to announce an exhibition of new paintings by Heather Gwen Martin. This marks Martin&rsquo;s first solo show with L.A. Louver, and is presented as part of the gallery&rsquo;s ongoing&nbsp;<em>Rogue Wave Projects&nbsp;</em>series that celebrates emerging artists.</p> <p class="Pa0" style="text-align: justify;">Heather Gwen Martin employs an intuitive approach to painting, allowing compositional elements to develop and evolve from the transference of energy directly onto the canvas. Through this visceral exploration, the artist creates a sense of dimensionality, where biomorphic forms and sinuous lines appear suspended in time and space. Loose yet highly controlled, her paintings convey a sense of movement that reverberates from varied shapes, and is intensified by a refined use of bold, undulating colors.</p> <p class="Pa0" style="text-align: justify;">The interplay between shape and color veers between the obvious (brilliant contrasting tones and resolute forms) and the attenuated (subtle shifts in hues and ephemeral calligraphic lines). However disparate, these contrasting approaches serve to inform one another. Prominent colors bring to focus subtle undertones that are almost imperceptible upon first glance, while supple traversing lines move the eye in and around suspended shapes. In&nbsp;<em>Diving Bells</em>, a black organic form and soft frenetic lines in white and yellow contrast with deep red markings that emanate from a luminous red background. A series of pale paintings composed of subdued white tones represent a departure from Martin&rsquo;s vividly colored compositions. These paintings include&nbsp;<em>Snowshoes</em>, in which vibrant red lines activate warm and neutral white shapes that emerge from a cool white background.</p> <p style="text-align: justify;">Titles arise from a combination of Martin&rsquo;s thoughts, impulses and formal elements that come to light during the painting process. Although not meant to strictly define, the titles speak to the tone or nature of the paintings, and communicate a human connectedness to the work. &ldquo;The paintings are quite reduced, but I wouldn&rsquo;t call them minimal,&rdquo; states Martin, &ldquo;because they come from a feeling, a scenario, an event, where there is an energy very much related to the idea of being human.&rdquo;</p> <p class="Default" style="text-align: justify;">&nbsp;</p> <p class="Pa0" style="text-align: justify;">&nbsp;Born in 1977 in Saskatchewan, Canada, Heather Gwen Martin studied at the University of California, San Diego and The School of the Art Institute of Chicago. Recent select group exhibitions include&nbsp;<em>NOW-ISM: Abstraction Today</em>, Pizzuti Collection, Columbus, OH;&nbsp;<em>MAS Attack 6</em>, Torrance Art Museum, Torrance, CA;&nbsp;<em>Rogue Wave 2013</em>, L.A. Louver, Venice, CA; and&nbsp;<em>The Very Large Array</em>, Museum of Contemporary Art San Diego, CA. She currently lives and works in Los Angeles.</p> <p class="Pa0" style="text-align: justify;"><strong>About Rogue Wave Projects</strong></p> <p style="text-align: justify;">L.A. Louver initiated its&nbsp;<em>Rogue Wave&nbsp;</em>program to present emerging talent in Los Angeles, mounting group exhibitions in 2001, 2005, 2007, 2009 and 2013. Since that time, the gallery has organized solo&nbsp;<em>Rogue Wave Projects&nbsp;</em>with Eduardo Sarabia (2009), Olga Koumoundoros (2010), and Matt Wedel (2010). In 2013, the gallery launched its first international project with Australian media artist Grant Stevens; in December 2014, L.A. Louver will present a forthcoming show of photography and traditional painting and calligraphy by Chinese artist Chen Man.&nbsp;<em>Rogue Wave&nbsp;</em>will continue to provide a project- and exhibition-based platform of engagement with local and international contemporary artists.</p> Thu, 23 Oct 2014 07:15:14 +0000 - Robert and Frances Fullerton Museum of Art - October 30th 4:00 PM - 7:00 PM <p style="margin-top: 0px; margin-bottom: 0px; text-align: justify;"><span style="text-decoration: underline;">Reception</span> for Father Gregory Boyle and the ongoing Public Practice Print Installation, with Profits to Support Homeboy Industries: 4-6 p.m. at RAFFMA</p> <p style="margin-top: 0px; text-align: justify;"><span style="text-decoration: underline;">Guest Talk by Father Gregory Boyle:</span> 6-7 p.m. (VA-101)<br /> Father Gregory Boyle, Founder and Executive Director of Homeboy Industries</p> Sat, 06 Sep 2014 10:58:16 +0000 Luke Diiorio - Anat Ebgi - November 1st 6:00 PM - 8:00 PM <div style="text-align: justify;">Anat Ebgi is pleased to announce the first Los Angeles exhibition of New York based artist Luke Diiorio, opening&nbsp;November 1&nbsp;and on view through&nbsp;December 20, 2014.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Luke Diiorio&rsquo;s paintings are minimal compositions made of canvas and linen, methodically and repeatedly folded in a linear pattern. The folds of the works conceal much of the fabric&mdash; the physical process of folding leaves only one-third of the material visible. Through this process, Diiorio exposes the potential of repetition within material. Almost completely neutral in color, the works are either bleached white with faint blotches of pigment or left in their original raw state. The presentation of the raw material is simultaneously the structure, surface and composition of the work.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Alongside these paintings is an installation of site-specific sculptures of rough interior walls that have been sliced and collapsed upon themselves. These &ldquo;folded&rdquo; walls contain all the necessary materials of a functional studded drywall, but the structures cease to operate as the objects they resemble. Both the canvas and walls are dissolved of their functional flatness&mdash; they can never go back to being a flat surface for other content. Like the canvas and linen of the paintings, most of the physical material is hidden beneath the surface and becomes an assumed presence; the invisible as important as the visible.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In an attempt to eradicate all narrative content from his work, Diiorio&rsquo;s folded compositions exist as an artifact of pure gesture and material. Regardless of the works&rsquo; dependence on materiality and process, the sculptural works are indebted to an unmistakable presence of the artist&rsquo;s hand. Drawing from sources like Agnes Martin whose hand-drawn gridded pieces appear minimal but are deeply imbued with indexical traces, each fold differs slightly from the next. The imperfect handmade quality of the works is something intrinsic, but faint and barely perceptible. It is through tempo and repetition that the works can oscillate between opposites. By balancing the utilitarian and handcrafted; the visible and the concealed, Diiorio&rsquo;s works become at once a dialectic and a tautology&mdash; each fold a meditative experience.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Luke Diiorio (b.1983) lives and works in New York and received his MA from the Royal College of Art, London in 2013. Recent exhibitions include a solo presentation at Robert Blumenthal Gallery in New York. Forthcoming exhibitions include group shows at Brand New Gallery, Milan and Kinman Gallery, London.</div> Mon, 13 Oct 2014 15:41:39 +0000 - Cal State Fullerton Grand Central Art Center - November 1st 7:00 PM - 10:00 PM <p style="text-align: justify;">Experience local and student artist's hand-crafted ceramic and glass works during the much&nbsp;anticipated&nbsp;Glass &amp; Ceramics Show + Sale at&nbsp;<a href=";c=29wWnid00-OM55XihfDZQ5WaxNdwyzGCZ_K9uQkaOhiQDDFosihs8A==&amp;ch=kXY5hjCtTgSVrTWMnHuHjKwGMuSRsnBSxuVMXoIABZPOtZxx7MXmow==" shape="rect" target="_blank">Grand Central Art Center</a>. Present this coupon at time of purchase to receive 10% off your in-store purchase.*</p> <p style="text-align: justify;">*Cannot be combined with any other discount. Valid from&nbsp;November 1, 2014 - January 11, 2015.&nbsp;Must be presented at time of purchase to receive discount.&nbsp;No cash value.</p> Thu, 23 Oct 2014 07:30:25 +0000 Michelle Andrade - Charlie James Gallery - November 1st 7:00 PM - 10:00 PM <p style="text-align: justify;">Charlie James Gallery is pleased to present the second gallery solo exhibition of LA-based artist Michelle Andrade titled Kind of Blue. In conjunction with the gallery exhibition, the gallery will be celebrating the launch of The Michelle Andrade Story, the artist&rsquo;s first full catalog release, featuring an essay by LA-based artist and professor Annetta Kapon.</p> <p style="text-align: justify;">In her second gallery solo exhibition, Michelle will debut a series of seven acrylic-on- linen paintings that extend her text-based drawings into new figural ground. The work retains the poetic and diaristic qualities of Andrade&rsquo;s earlier Notebook drawing series, commingling the mundane, the poetic, and the confessional amidst a swirl of brightly colored, nostalgic graphic forms. In addition to the paintings, Andrade will debut two new screenprint editions developed with LA-based Gray Area Print, and two ink on paper drawings.</p> <p style="text-align: justify;">Michelle Andrade (b 1972, Los Angeles) earned her BFA at the School of the Art Institute of Chicago and her MFA at the Otis Institute in Los Angeles. Andrade has exhibited in LA, Miami, Toronto, Houston, Dallas, Aspen, and Chicago. Her work has been covered in the Los Angeles Times, Art in America, Wallpaper Magazine and the Huffington Post. She is represented by Charlie James Gallery and lives and works in Los Angeles.</p> Wed, 22 Oct 2014 16:36:53 +0000 Josh Callaghan, Roger Dickes, Amy Green, Kristi Lippire, Christopher Michlig, Stephanie Taylor, Matt Wardell - Charlie James Gallery - November 1st 7:00 PM - 10:00 PM <p style="text-align: justify;"><strong>Charlie James Gallery</strong>&nbsp;is pleased to present&nbsp;<em>Push Me Pull You; The Horse with No Ass</em>, a group show curated by Los Angeles-based artist<strong>Alice Clements</strong>. The comedy of the Pushmi-pullyu in the children&rsquo;s story of Dr. Doolittle is built in &ndash; the animal has two front ends and no back end. This is a show that explores physical comedy&ndash;comedy that is of and about the body, extending to the &ldquo;body&rdquo; of materials and the physical context of the art world &ndash; its white cubes and formal conventions. The show features work by&nbsp;<strong>Josh Callaghan, Roger Dickes, Amy Green, Kristi Lippire, Christopher Michlig, Stephanie Taylor</strong>&nbsp;and&nbsp;<strong>Matt Wardell</strong>.</p> <p style="text-align: justify;">Approaches to physical comedy in the show include jokes or games that use scale or the medium of the proposal, elaborate systems with humorous elements and outcomes, and working with materials in a way that produces humor in subtle ways. This comedy is simultaneously literal and nuanced and is based on a careful observation of the physical world.</p> <p style="text-align: justify;"><strong>Joshua Callaghan</strong>&nbsp;(Doylestown, PA, 1969) holds an MFA from UCLA (2005), BA in Cultural Anthropology from UNC at Asheville, and is the recipient of Fulbright Fellowship to Nepal (1995). Solo exhibitions include Royale Projects, Palm Desert, CA (2014), Steve Turner Contemporary, Los Angeles (2010, 2011), Haas &amp; Fischer Gallery, Zurich (2008), and Bank Gallery, Los Angeles (2008). Group shows include Made in Space at Gavin Brown&rsquo;s Enterprise, New York; Neo Povera at L&amp;M Arts, Los Angeles; and Frieze New York 2012 Sculpture Park.</p> <p style="text-align: justify;"><strong>Roger Dickes</strong>&nbsp;has been a professor of computer animation at Glendale College, where he ran the Glendale College Art Gallery from 2005-2012. As gallery director, he was involved in the presentation of around 30 exhibitions at the space. Also an artist, he has exhibited his work at numerous project spaces in Los Angeles, most notably in a solo show, entitled &ldquo;Firmament Av.&rdquo;, at Sea and Space Explorations in 2007. The debut of his new project, Projects/Projects, marks a departure from a labored, self-referential, concrete-object-making practice toward a more conceptual, outsourced approach that engages broad cultural themes.</p> <p style="text-align: justify;"><strong>Amy Green</strong>&nbsp;received her BFA in painting at the University of Tennessee in 1995 and her MFA from the California Institute of the Arts (CalArts) in 1997. Her paintings and installations have been shown nationally and internationally. Exhibitions include; Rolf Ricke Galerie in Cologne and the Neues Museum in Nurnberg, Galerie Karin Friebe, Mannheim, Germany, Galerie Monika Reitz, Frankfurt and Kunstverein St. Gallen Art Museum in Switzerland, Evelyne Canus Gallery, Paris, Cirrus and Susanne Vielmetter in Los Angeles and Cohan Leslie and Browne in New York, Monte Vista Projects in Highland Park, among other venues. Reviews include; The Los Angeles Times, New York Arts Magazine, Art Issues, the Basel Art Fair Catalogue and artnet. Recent shows include, &ldquo;Grids, Stains, Stacks&rdquo; a solo show of Green&rsquo;s paintings at Monte Vista Projects in Highland park, CA and &ldquo;Garden Party&rdquo; a group exhibition scheduled in Fall 2013 at FOCA in LA&rsquo;s Chinatown. Forthcoming in Fall 2014, Green will exhibit &ldquo; In the Company of Myrtle&rdquo;, recent paintings and collaborative work with Curt Lemieux at McNish Gallery at Oxnard College and &ldquo; Jammed and Packed&rdquo;, a group exhibition at Glendale College Gallery, curators; Jay Erker and Michele Carla Handel. Amy Green is represented by Galerie Schmidt Maczollek in Cologne, Germany.</p> <p style="text-align: justify;"><strong>Kristi Lippire</strong>&nbsp;makes large scale objects that reference the visual culture that surrounds her every day. The sculptures are explorations in scale and material, isolating moments in everyday life that are found to be interesting in a manner that emphasizes the humor of a complex social culture. Kristi Lippire received her MFA from Claremont Graduate University and her BFA from California State University, Long Beach. Lippire is currently working on two books of her work to accompany a forthcoming solo exhibition at Commonwealth &amp; Council in Los Angeles next year. Lippire was part of the traveling exhibition Alexander Calder and Contemporary Art: Form, Balance, Joy that opened at the Museum of Contemporary Art in Chicago and traveled to Nasher Sculpture Center in Dallas, Orange County Museum of Art and Nasher Museum at Duke University. Lippire also curates independent projects for different spaces and has also participated and organized multiple guerilla art projects in Los Angeles and Mexico. She has exhibited with d.e.n. contemporary art and Ace Gallery, with recent group exhibitions at the Torrance Art Museum, Glendale Community College and The Riverside Art Museum. She has a forthcoming solo exhibition at Commonwealth &amp; Council in Spring 2015 and a F.O.C.A. project in late Spring 2015. Kristi Lippire lives and works in Los Angeles.</p> <p style="text-align: justify;"><strong>Christopher Michlig</strong>&nbsp;works in a wide range of media, primarily focusing on the manipulation of public formats of communication. His work has been exhibited internationally; Recent one-person exhibitions include Processed World at Giuseppe Pero, Milan. His work has been published and reviewed in a number of publications, and he is the co-author of the recently released book, In the Good Name of the Company: Artworks and ephemera produced by or in tandem with the Colby Poster Printing Company, published by ForYourArt/Picture Box and distributed by D.A.P. Michlig received an MFA in Sculpture from Art Center College of Design, Pasadena, California in 2007. He is currently an Assistant Professor and Director of Graduate Studies at the University of Oregon School of Architecture and Allied Arts, Department of Art.</p> <p style="text-align: justify;"><strong>Stephanie Taylor</strong>&nbsp;is a sound and visual artist based in Los Angeles. She has exhibited and performed her work at Los Angeles County Museum of Art at Charles White Elementary (2011); Contemporary Arts Foundation, Santa Barbara (2011); the MAK Center for Art and Architecture, West Hollywood (2011); and the Generali Foundation, Vienna (2007). Her books include The Stephanie Taylor Songbook, (Ood Press, 2010) and Chop Shop (Les Figues Press, 2007). Her work is represented by Galerie Christian Nagel, Germany and Marc Jancou Contemporary, New York, and is included in the permanent collections of MOCA, Los Angeles and the Hammer Museum, Los Angeles (as part of LAMOA).</p> <p style="text-align: justify;"><strong>Matt Wardell</strong>&nbsp;seeks to prolong a sense of wonder and place the viewer in a lingering position of active assessment. He is interested in how we choose to live and introducing work that facilitates these investigations. Wardell enjoys walking on fences, answering wrong numbers, and giving directions to places he does not know. Uncomfortable laughter, confusion, and irritation tend to be by-products of Wardell&rsquo;s works. He has exhibited at venues throughout the US and Mexico, including the Museum of Modern Art in San Francisco (SFMOMA), Claremont Museum of Art in Claremont, and at Los Angeles Contemporary Exhibitions (LACE), REDCAT, P&Oslash;ST, Human Resources, Black Dragon Society, Mark Moore Gallery, and Commonwealth and Council, all in Los Angeles. Wardell is a founding member of the artist collective 10lb Ape.</p> <p style="text-align: justify;"><strong>Alice Clements</strong>&nbsp;is an artist and curator who employs materials outside their intended use, finding humor in unlikely places as she engages in an ongoing process of experimentation. She works in sculpture and collage. Recent shows include Elephant, Los Angeles, University Art Museum at California State University, Long Beach, Jancar Gallery, Los Angeles, and Glendale College Art Gallery. Recent curatorial projects include &ldquo;Mostly Sculpture Show&rdquo; at Sea and Space Explorations in Los Angeles and &ldquo;Side Project&rdquo; at P&Oslash;ST in Los Angeles. She earned a BA from Wesleyan University in Middletown, CT an MFA from Art Center College of Design, Pasadena.</p> Wed, 22 Oct 2014 16:38:22 +0000 - Commonwealth and Council - November 1st 3:00 PM - 6:00 PM <p style="text-align: justify;">Carmen Argote&rsquo;s work and process reveal a duality at play between sites, or between histories, often having to do with movement between places, transplantation, and adaptation. Painting for an exterior wall (2014) is a 6 by 7 feet of stretched canvas that mirrors the same color and painted lines of the handball courts in LAUSD elementary schools. Made mobile, this court can freely move between districts and neighborhoods, becoming a site of transference and muscle memory. Repeat actions mark the surface of the painting like bruises from dirt on a rosy pink handball that resembles an old eraser.<br /> <br /> Carmen Argote (b. 1981 in Guadalajara, Mexico) is a Los Angeles-based artist who has lived in and around the downtown area most of her life.&nbsp;She received her MFA from University of California, Los Angeles in 2007 and was an artist-in-residence at the Skowhegan School of Painting and Sculpture in 2009. In 2010, she created a dual-site-specific exhibition that took place at her childhood home in Pico Union and Gallery G727. Upcoming exhibitions include: a solo exhibition at Human Resources, Los Angeles in November 2014; a dual-site-project at MAK Center for Art and Architecture and High Desert Test Sites in April 2015; and an MTA commission for the future Metro Expo Line station at 17th and Colorado in Santa Monica in early 2016.&nbsp;</p> <p style="text-align: justify;">_______________________</p> <p style="text-align: justify;">The playground lacks hiding places; we are dropped off and expected to figure it out. For many of us, it is the place where we first realize we are completely on our own; both predator (bullies) and prey (anyone showing any fear) must occupy and identify this space together, forming both physical and psychological relationships amongst each other and with the grounds itself. Some will feel comfort in this environment and thrive; others will suffer and find contemplative spaces to go, or inanimate friends&mdash;a ball, a rope, a wall&mdash;a simple motion that can be repeated for the duration of the stay.</p> <p style="text-align: justify;">You&rsquo;ll learn the way your body moves. You&rsquo;ll learn people are faster than you, whether you can throw or not; you may never want to throw anything ever again. You&rsquo;ll learn that people are terrible to one another, and some may want to fight you for reasons you won&rsquo;t understand. We all walk off with different ideas of what it means to play.</p> <p style="text-align: justify;">We return to the playground as adults and see the hiding spaces that were not supposed to exist and have since lost access too. We return to the place that left us in an endless pursuit of places to hide.</p> <p style="text-align: justify;">&mdash;David Bell, 2014</p> Fri, 24 Oct 2014 10:31:34 +0000 Pascale Marthine Tayou - Fowler Museum at UCLA - November 1st 7:00 PM - 9:00 PM <p style="text-align: justify;">In the hands of artist Pascale Marthine Tayou, two &ldquo;bend skins&rdquo;&mdash;the moped-taxis ubiquitous in African cities&mdash;are transformed into zoomorphic &ldquo;power figures&rdquo; laden with goods and amulets and will appear to glide through the Fowler&rsquo;s Getty gallery. A profusion of pale blue bird houses will cling to the walls around the corner, while a totem-like stack of Chinese-made enameled pots will tower towards the gallery ceiling. And that&rsquo;s just the start.</p> <p style="text-align: justify;">Cameroon-born, Belgium-based Tayou is creating a series of compelling new commissions and reprised installations for the Fowler that explore pressing global concerns, including consumption, racism, power asymmetries among nations, shelter, and the rewards and challenges of the transnational migration of people, objects, and ideas. His stunning works of art&mdash;often incorporating scores of everyday materials like razor blades, push pins, nails, and flags&mdash;offer complex, multi-layered commentaries on contemporary life.</p> <p style="text-align: justify;"><em>World Share</em> will be the artist&rsquo;s first solo museum exhibition in the U.S.</p> <p style="text-align: justify;"><em>World Share: Installations by Pascale Marthine Tayou i</em>s organized by the Fowler Museum at UCLA and curated by Gemma Rodrigues, Curator of African Arts, Fowler Museum. Major funding is provided by the National Endowment for the Arts, Brenda R. Potter, and the Fay Bettye Green Fund to Commission New Work. Generous support is provided by the Jay T. Last and Deborah R. Last Endowment, the Philip L. Ravenhill Fund, the Pasadena Art Alliance, and Manus, the support group of the Fowler Museum. (as of September 4, 2014).</p> <p style="text-align: center;">***</p> <p style="text-align: justify;">Join us for a preview and celebration! Come early for <a href="" target="_blank">a talk</a> with the artist at 6 pm. Members, be sure to visit the Members Lounge for special refreshments from 7&ndash;8 pm. RSVP by October 24: <a class="mailto" href=""></a> or 310 206-7001.</p> <p style="text-align: justify;">Opening Party for <em>World Share: Installations by Pascale Marthine Tayou</em><br /> Saturday, November 1<br /> 7&ndash;9 pm</p> Sat, 06 Sep 2014 14:18:07 +0000 Pascale Marthine Tayou - Fowler Museum at UCLA - November 1st 6:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;">In conjunction with the opening of <a href="" target="_blank"><em>World Share: Installations by Pascale Marthine Tayou</em></a>, curator of African arts and exhibition curator Gemma Rodrigues provides an introduction to the work of the Cameroon-born, Belgium-based artist. Following the overview, Tayou joins Rodrigues for an informal conversation about the artist&rsquo;s career and the conceptual underpinnings of his work. Priority seating for Fowler members at 5:45 pm. The opening party follows.</span></p> Tue, 07 Oct 2014 16:40:51 +0000 Robert Rauschenberg - Gagosian Gallery - Beverly Hills - November 1st 2:00 PM - 5:00 PM <p style="text-align: justify;"><em>I like seeing people using materials that one&rsquo;s not accustomed to seeing in art. That has a particular value. New materials have fresh associations, physical properties and qualities that have built into them the possibility of forcing you or helping you do something else.</em><br /> &mdash;Robert Rauschenberg<br /> <br /> In collaboration with the Robert Rauschenberg Foundation, Gagosian Beverly Hills is pleased to announce an exhibition of Robert Rauschenberg&rsquo;s works on metal of the 1980s and 1990s. This will be the first major presentation of his work on the West Coast since MOCA&rsquo;s acclaimed traveling exhibition of the <em>Combines</em> in 2006.<br /> <br /> Rauschenberg&rsquo;s protean outlook ushered in a new era of postwar American art in the wake of Abstract Expressionism with a free and experimental approach that drew inspiration from conceptual, materialist, and gestural precedents. His inventive use of discarded materials and appropriated images eviscerated distinctions between medium and genre, abstraction and representation, while his &ldquo;flatbed picture plane,&rdquo; which absorbed found objects into the realm of paintings, forever changed the relationship between artwork and viewer.<br /> <br /> &ldquo;Works on Metal&rdquo; traces Rauschenberg&rsquo;s obsession, beginning in the mid-1980s, with the potential of metal. Exchanging canvas for flat sheets of metal mounted directly to the wall, he worked in consequent series using aluminum, brass, copper, and bronze, harnessing the natural hues and reflections of each. He then juxtaposed their intrinsic qualities with secondary processes, from the application of acrylic and enamel paints and silkscreened photographic images to his fine-tuning of chemical reactions and manipulation of industrial scrap and refuse.<br /> <br /> For his prescient project of global diplomacy known as ROCI (Rauschenberg Overseas Culture Interchange, 1984&ndash;91), Rauschenberg worked and exhibited in eleven countries including Chile and Cuba, silkscreening photographic images taken during his extensive travels onto huge sheets of copper and stainless steel. Drawing upon this bountiful image bank, his ongoing investigation of painting on metal would prove to be one of the most inventive periods of his career, taking on ever new inflections as he traveled to Mexico, Germany, Tibet, the former U.S.S.R., Venezuela, and other locations. In the <em>Urban Bourbon</em> series (1988&ndash;95), reflective depths overlap with fragmented photography and gestural brushwork; in the <em>Borealis</em> paintings (1989&ndash;92), chemicals and ammonium salts were applied to brass, copper, and bronze sheets to achieve corrosive effects; in the steely <em>Night Shades</em> (1991), acids were used to rapidly tarnish the mirrored and brushed aluminum surfaces.<br /> <br /> Parallel to his works on flat metal surfaces, Rauschenberg collected discarded automotive parts, gas station signs, and other scrap materials, which he manipulated into both freestanding and wall-mounted sculptures; the so-called <em>Gluts</em> echoed the <em>Combines</em> in their reconfiguration of found objects. Rauschenberg referred to the <em>Gluts</em>, which he continued to produce after the seven-year ROCI. tour, as &ldquo;souvenirs without nostalgia;&rdquo; he aimed to create art that was &ldquo;as fresh, strange and unpredictable as what&rsquo;s going on around you.&rdquo; In the conceptual and material breadth of the metal works, Rauschenberg fulfilled the partial relinquishing of authorship, allowing art to integrate with the mess of life.<br /> <br /> The exhibition is accompanied by a fully illustrated catalogue with an essay by Joachim Pissarro.<br /> <br /> <strong>Robert Rauschenberg</strong> was born in 1925 in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had countless exhibitions worldwide, including &ldquo;Robert Rauschenberg: A Retrospective,&rdquo; Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston; Museum Ludwig, Cologne; and Guggenheim Museum, Bilbao, through 1999); &ldquo;Combines,&rdquo; Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles; Centre Georges Pompidou, Paris; and Moderna Museet, Stockholm, through 2007); &ldquo;Cardboards and Related Pieces,&rdquo; Menil Collection, Houston (2007); &ldquo;Travelling &lsquo;70&ndash;&rsquo;76,&rdquo; Museu de Arte Contempor&acirc;nea de Serralves, Porto (2007, traveled to Haus der Kunst, Munich; and Madre, Naples, through 2009); &ldquo;Gluts,&rdquo; Peggy Guggenheim Collection, Venice (2009, traveled to Museum Tinguely, Basel; Guggenheim Museum, Bilbao; and Villa e Collezione Panza, Varese, through 2011); and &ldquo;Botanical Vaudeville,&rdquo; Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Rauschenberg&rsquo;s work in 1986.</p> Thu, 09 Oct 2014 07:36:46 +0000 Shirley Irons - Gallery Luisotti - November 1st 6:00 PM - 8:00 PM <p style="text-align: justify;">Gallery Luisotti is pleased to announce&nbsp;<em>galleries, etc.</em>, an exhibition of paintings by Shirley Irons.<em>Galleries, etc.</em>&nbsp;continues Irons&rsquo; long interest in capturing partial and provocative views of quotidian spaces of a certain category. The series views galleries in such a way to suggest that at times, and perhaps increasingly, context and the identity of the particular space overbears not only the work on display but potentially the visitors to that space as well. These paintings, varied in their color schema and scale, act as a counterbalance and suggest ways to work through the anxieties provoked by ostensibly neutral environments.&nbsp;<br /><br />Started about five years ago in the midst of a global financial crisis and continued through the lethargic rebuilding of capitalist markets, this series depicts stereotypically inert gallery spaces at once removed from the world at large and sharing in the desolation of spirit that filters in through an occasional window. Galleries have always been austere places of contemplation, but at the time this series was produced, another form of austerity took hold. Austerity as a coherent and seamless system is short-circuited by the way Irons handles paint; she chooses to accentuate and not conceal her facture. Hard surfaces and edges across the series are softened to a comical degree. Where one expects to find a pristine wall, Irons substitutes in a paint finish that expresses no qualms about being the work of human hands. On the contrary, the play of light and shadow that is an increasing rarity in uniformly lighted gallery spaces is emphasized as a way of expressing the contingency of viewing conditions&mdash;over the course of a day or several years. Black Gallery and Greene Naftali reveal a range of atmospheric conditions; the former is totally subdued save for sporadic glare on the wall from the spotlights overhead, and the latter is bathed in the late afternoon glow that gives the room a coppery tinge and turns the floor a murky teal shade.&nbsp;<br /><br />Although it is tempting to subscribe to the notion that all galleries are formulaic and homogenous in appearance, Irons proves that through sustained and deliberate looking, a startling heterogeneity lies in wait. In 976 Madison Avenue, cool, earthy tones sketch out an anonymous corner of the Gagosian&rsquo;s Upper East Side outpost while in John McCracken at Zwirner, a muted champagne room is nearly completely bisected by a pillar of black, white and gray. In two still lifes, Irons produces a sampling of the innumerable things that fall under the umbrella of et cetera in the show&rsquo;s title. For a brief moment they reintroduce aspects of life outside the gallery.&nbsp;<em>Galleries, etc.</em>&nbsp;playfully deprecates the insider shorthand and shortspeak that is rife within the spaces on view, but in the formal care Irons takes with her subject, a serious consternation and contemplation, suggestively hopeful, is also on view.&nbsp;<br /><br />_____<br /><br />Shirley Irons, born Pittsburgh, PA, lives and works in New York and is a Professor of Fine Art at the School for Visual Arts. Irons' work has been shown internationally and has been part of group shows at Pera Museum, Istanbul; McDonough Museum, Youngstown, Ohio, Islip Museum, Long Island; Rosamund Felson Gallery, Santa Monica; and in New York City at Murray Guy, Postmasters, Caren Golden Gallery, Patrick Callery, Alexander Bonin, Emily Harvey Gallery, Leubsdorf Gallery at Hunter College, the Clocktower, P. S. 1 and Threadwaxing Space. NYC. She has had solo exhibitions at White Columns, The Queens Museum, Tyler Gallery at Temple University, Staniar Gallery at Washington and Lee University, and Luisotti Gallery, Santa Monica, where she is represented. Her work has been written about in the LA Times, New York Times, Art Papers, Art Monthly, Time Out, Flash Art, Bomb, Acme, among others, and she was profiled in The New Yorker Talk of the Town.</p> Fri, 31 Oct 2014 07:32:18 +0000 - Human Resources - November 1st 8:00 PM - 10:00 PM <p style="text-align: justify;">Join us for a live taping of experimental music and video curated by Obfuscated Records in collaboration with Experimental Half-Hour. This event is curated by Adrian from Obfuscated Records; it is more Romeroesque than the traditional Day of the Dead celebration.&nbsp;<a href="" target="_blank">FB event page</a>.&nbsp;8PM</p> Wed, 29 Oct 2014 09:25:47 +0000 Knopp Ferro - Louis Stern Fine Arts - November 1st 5:00 PM - 8:00 PM Fri, 24 Oct 2014 09:23:35 +0000