ArtSlant - Openings & events http://www.artslant.com/la/Events/show en-us 40 Tiziano Vecellio, Giorgione da Castelfranco, Rocco Marconi, Giovanni Cariani, Bonifazio Veronese - Norton Simon Museum - October 24th 11:00 AM - 8:00 PM <p style="text-align: justify;">Behind the beguiling <em>Portrait of a Courtesan</em> lies one of the many fascinating tales of Norton Simon&rsquo;s determination to assemble a remarkable collection of art. The esteemed Duveen Brothers Gallery, once one of the largest and most successful dealerships of the international art market, had acquired this painting in the mid-1930s as a work by Titian (Tiziano Vecellio). Then as now, scholars reveled in discussing and disputing its authorship &ndash; whether by Titian, Giorgione da Castelfranco, Rocco Marconi, Giovanni Cariani, Bonifazio Veronese, or an imitator of any of the above. And many have wavered in their steadfast attribution, as did the famed art historian Bernard Berenson, who published it in 1932 as a Titian, and then again in 1957 as a Giorgione (long after he had left the employ of the Duveen firm). Mr. Simon had first expressed an interest in the painting in the late 1950s, but by 1963, despite still some hesitation due to the question of attribution, he agreed with the then-owner of the firm, Edward Fowles, to purchase the painting over a two year period of time. And in the course of those two years, he eventually expressed interest in first an additional seven, and then another five objects in Duveen&rsquo;s stock, until eventually he decided to purchase the whole of the inventory of slightly less than 800 objects, along with the Duveen gallery building itself at 18 East 79<sup>th</sup> Street, and its entire library and archive.</p> <p style="display: block; text-align: justify;">After a series of decorative arts and furniture auctions in the 1970s to recoup a good portion of his $4,000,000 outlay for the company, what Duveen pieces remain today in the Norton Simon collections number around 130 objects, primarily paintings, a handful of sculpture, a few porcelains, and a cape purportedly worn by Charles IV of Spain. Of this assemblage, only about two dozen pieces are regularly on permanent display, owing to their condition, the type of restoration that the paintings underwent under the Duveen conservators&rsquo; hands, or their dubious attributions. But as a whole, they offer an intriguing historical look at the infamous figure of Joseph Duveen and his eponymous firm that lived on 25 years after his death, as well as the state of the art market and art restoration in America at mid-twentieth century. And it also resonates with Mr. Simon&rsquo;s shrewd style of acquiring entire floundering-but-viable businesses, and building them into thriving enterprises such as Hunts Foods, McCalls Publishing, and Canada Dry. In a step that he would repeat more than once while assembling his outstanding art collection, with his purchase of Duveen lock, stock and barrel, Norton Simon planted his foot squarely in the market for old masters and began seriously his quest to build a collection that included earlier European art, especially early Italian art. This exhibition examines his remarkable and stunning maneuver 50 years in hindsight, and reveals his uncanny strategy that ultimately brought to Pasadena important Italian works by Luini, Francia, Vincenzo Catena, Antoniazzo Romano, as well as other French, Spanish and northern works by Gerard David, Ribera, Rubens Fragonard, and Rigaud.</p> Sat, 04 Oct 2014 06:27:48 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - 18th Street Arts Center - October 25th 6:00 PM - 10:00 PM <p style="text-align: center;">Join us for 18th Street Arts Center&rsquo;s 25th Anniversary Weekend Celebration.<br /><em>A Milestone so big we need two days to celebrate!</em><br /><a href="http://18is25.eventbrite.com/"><img class="alignnone size-full wp-image-107031" style="display: block; margin-left: auto; margin-right: auto;" src="http://18thstreet.org/wp-content/uploads/2014/08/buyTixBtn011.png" alt="buyTixBtn01" width="250" height="43" /></a></p> <p style="text-align: center;"><a class="pink" href="http://18thstreet.org/vip" target="_self">More about our Saturday activities&raquo;</a></p> Wed, 15 Oct 2014 15:04:40 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Jonathan Horowitz - 356 Mission - October 25th 8:00 PM - 10:00 PM <p style="text-align: justify;">356 Mission, Ooga Booga, and Jonathan Horowitz are happy to announce the completion of all 590 Dots for&nbsp;<strong><a href="http://gavinbrown.bmetrack.com/c/l?u=467F7E9&amp;e=576D7E&amp;c=13EE5&amp;t=0&amp;l=7D677A1&amp;email=znl59I4xZBQwTLE%2FBaxf%2BXnlkRjLUbPe" target="_blank">Jonathan Horowitz's "590 Dots!"</a></strong>&nbsp;<br /><br />Special thanks to all 590 participants!&nbsp;<br /><br />Everyone is invited to join us in celebrating this project on&nbsp;Saturday, October 25 at 8 PM&nbsp;<br /><br />With a performance by&nbsp;<strong>Black Dice&nbsp;</strong>and&nbsp;DJ set by<strong>&nbsp;Avey Tare</strong>&nbsp;</p> Wed, 22 Oct 2014 16:11:04 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Group Show - bG BLEICHER/GORMAN - October 25th 6:00 PM - 8:00 PM <p>bG Gallery is pleased to present Reconstructions, a show featuring artists reforming items and concepts in ways that differ from their original intentions. This group exhibit features artists who break down conventional subjects and techniques to rebuild a new structure.<br /> <br /> Artists include Brian Cooper, Gus Harper, Thomas Whittaker Kidd, Barbara Kolo, Ralph Allen Massey, Organa Meets, Susan Moss, Christopher Mudgett, Gay Summer Rick, and Suzanne Unrein.<br /> <br /> <br /> Location: bG Gallery, Bergamot Station, space G8A, 2525 Michigan Avenue Santa Monica, CA 90404<br /> Opening Hours: Tuesday-Saturday, 11:30-6:00 pm<br /> Gallery Press Contact: Om Bleicher, om@bgartdealings.com</p> Thu, 23 Oct 2014 08:24:10 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Carmen Argote - Commonwealth and Council - October 25th 8:00 PM - 11:00 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 10:29:20 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list EJ Hill - Commonwealth and Council - October 25th 8:00 PM - 11:00 PM <p style="text-align: justify;">The Fence Mechanisms, a new performance installation by EJ Hill, is the first part of a larger body of work that sources early childhood triumphs and traumas (and adult loves and losses) in an attempt to better understand the difference between self-care and self-defense. This is Hill&rsquo;s second exhibition with the space.</p> <p style="text-align: justify;">EJ Hill is an artist living and working in Los Angeles. Recent exhibitions and performances include: Racial Imaginary, Nichols Gallery at&nbsp;Pitzer College, Claremont; David Bell and EJ Hill:&nbsp;O Captor, My Captor!, Grace Exhibition Space, Brooklyn; Have At It, Honor Fraser Gallery, Los Angeles; and Signaling Through the Flames, LA&gt;&lt;ART/Art Los Angeles Contemporary, Los Angeles. Hill received his MFA from University of California, Los Angeles and BFA from Columbia College Chicago.</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 10:30:42 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - Commonwealth and Council - October 25th 3:00 PM - 6:00 PM <p style="text-align: justify;">The Fence Mechanisms, a new performance installation by EJ Hill, is the first part of a larger body of work that sources early childhood triumphs and traumas (and adult loves and losses) in an attempt to better understand the difference between self-care and self-defense. This is Hill&rsquo;s second exhibition with the space.</p> <p style="text-align: justify;">EJ Hill is an artist living and working in Los Angeles. Recent exhibitions and performances include: Racial Imaginary, Nichols Gallery at&nbsp;Pitzer College, Claremont; David Bell and EJ Hill:&nbsp;O Captor, My Captor!, Grace Exhibition Space, Brooklyn; Have At It, Honor Fraser Gallery, Los Angeles; and Signaling Through the Flames, LA&gt;&lt;ART/Art Los Angeles Contemporary, Los Angeles. Hill received his MFA from University of California, Los Angeles and BFA from Columbia College Chicago.</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 10:32:29 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list DELOSS MCGRAW - Couturier Gallery - October 25th 6:00 PM - 8:00 PM <p>Painter and illustrator DeLoss McGraw (b. 1945) returns to Couturier Gallery with <strong><em>I&rsquo;ve Run Away From The Circus</em></strong>, a show of 60 gouache paintings including many double-sided works, as well as four bronze and painted wood sculptures celebrating the circus of life inspired by the writing of Bertolt Brecht, Robert Creeley, William Faulkner, Christopher Isherwood among others.&nbsp; <strong><em>Deloss McGraw -&nbsp; I&rsquo;ve Run Away From The Circus</em> </strong>is on viewOctober 25 &ndash; November, 29, with an Artist&rsquo;s Opening Reception, Saturday, October 25, 6-8pm.</p> <p>&nbsp;The core of McGraw&rsquo;s work is rooted in literature, but inspiration come from other sources as well.&nbsp; Many of the works in this show were derived from the silent films genre, such as Charlie Chaplin&rsquo;s &ldquo;The Circus&rdquo; from which the show&rsquo;s title originates.&nbsp; Inspiration also came from the CoBrA art school, a 20<sup>th</sup>-Century European avant-garde movement celebrating the complete freedom of form and color.&nbsp; McGraw exercises that freedom in verve and verse by combining his love of literary text and distinctive color palette with expressive figures.&nbsp;</p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;McGraw himself operates like a vagabond in a traveling circus, often setting up his&nbsp; studio as he moves from town to town.&nbsp; <strong>&ldquo;</strong>I&rsquo;ve Run Away From the Circus<strong>&rdquo;</strong> includes works created in Germany, Oklahoma and California.&nbsp; In discussing how he arrived at the theme of the show, DeLoss explains:</p> <p>&nbsp;<em>&ldquo;I pushed circus everywhere and found it on my front porch.&nbsp; Isn&rsquo;t that where the circus of life always is, all three rings are right in front of us?&rdquo;</em></p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;McGraw&rsquo;s early career took shape when he combined his illustrative skills with the poetry of Pulitzer Prize-winning writer W.D. Snodgrass. McGraw sent Snodgrass a series of paintings that paid tribute to his work, and he in turn wrote several poems inspired by these pieces.&nbsp; The literary and collaborative aspect to McGraw&rsquo;s work was set, and over his nearly forty year career he has worked with many writers including Poet Laureate Robert Pinsky and author Gabriel Garcia M&aacute;rquez.&nbsp; His work has taken inspiration from literature as diverse as G&uuml;nter Grass&rsquo;, <em>The Tin Drum</em>, to Lewis Carroll&rsquo;s, <em>Alice In Wonderland</em>.&nbsp; The latter for which he won the Illustrator&rsquo;s Society Book of the Year Award in 2002.</p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;DeLoss McGraw&rsquo;s distinctive work has been shown in many solo and group shows as well as in book illustration, catalogue publications and theatre set designs throughout the United States and Europe. His work may be found in the permanent collections of theAchenbach Foundation for the Graphic Arts, San Francisco, CA; Cincinnati Symphony Collection, Cincinnati, OH; Copley Library, La Jolla, CA; Cornell University, Special Collection Library, Ithaca, NY; Cranbrook Museum of Art, Michigan; Columbia University, Special Collection Library, NY, NY; East Central University, OK; Getty Center for the History of Art and the Humanities, Santa Monica, CA; Harvard University, Houghton Collection Cambridge, MA; Honolulu Academy of Art, Honolulu, HI; J. Paul Getty Museum, Brentwood, CA; Library of Congress, Washington, DC; New York Public Library, NY, NY; Metropolitan Museum of Art, New York, NY; Oxford University, Bodleian Collection, Oxford, England; Rochester Museum of Art, Rochester, NY, NY; Stanford University, Special Collection Library, Stanford, CA; University Art Museum, Long Beach State University, Long Beach, CA; University of CA, Special Collection Library, Berkeley, CA; University of Houston, Special Collection Library, Houston, TX; University of New Mexico, Tamarind Collection, Albuquerque, NM; Whitney Museum of Art, Library Collection, NY, NY</p> Tue, 07 Oct 2014 21:24:36 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - Fowler Museum at UCLA - October 25th 2:00 PM - 3:00 PM <p style="text-align: justify;">The island of Timor is divided into an independent sovereign state of Timor-Leste and West Timor, which is part of Indonesia. Timor-Leste&rsquo;s complex history includes a period of Indonesian occupation from 1975 to 1999. In this two part program, UCLA professor of history Geoffrey Robinson discusses the recent political history of Timor-Leste and its efforts to achieve justice and reconciliation since independence. Following Robinson&rsquo;s talk, independent scholar and contributor to the&nbsp;<em>Textiles of Timor</em>&nbsp;exhibition catalogue Jill Forshee delves into the political stories of the Timorese weavers&rsquo; experiences during the occupation and into current times&mdash;highlighting their textiles as personal registers of life histories. The program is introduced by the Fowler&rsquo;s&nbsp;senior curator of Asian and Pacific collections and&nbsp;<em>Textiles of Timor</em>&nbsp;exhibition co-curator Roy Hamilton.</p> Tue, 07 Oct 2014 16:38:46 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Francis Upritchard - Hammer Museum - October 25th 11:00 AM - 5:00 PM <div id="c3941" class="csc-default csc-typography"> <p class="p1" style="text-align: justify;">Born in New Plymouth, New Zealand and based in London, <strong>Francis Upritchard</strong> creates sculptural installations featuring archetypal figures&mdash;the psychic, the African, the nincompoop&mdash;hovering in a state of uncertainty. Modeled in polymer clay, the curious figures are rendered in a slightly unnerving scale, not quite human but large enough to look you in the eye with their only partially opened eyes and blank stares. The skin is painted monochromatically or with distinct gridded patterns, the tones ranging from sickly yellow to mossy green to calming blue, as if from an otherworldly tribe. Yet their handmade and hand-dyed garb suggest they might be characters from a range of past eras, from medieval knights and jesters to meditating hippies in the 1960s. For a recent exhibition at Whitechapel Gallery in London, Upritchard experimented with both form and material, creating a group of dinosaurs out of papier-m&acirc;ch&eacute; or an earthy matter drawn from rubber trees in Brazil called balata and displaying them on simple yet elegant fold-out tables produced by the Italian company Olivetti on customized steel bases. For her Hammer Project, Upritchard will bring together the figures and the dinosaurs for the first time. Inhabiting the space like strange bedfellows from different times and places, the characters are not so much actors in a legible narrative or drama as they are complexly enigmatic, strangely absorbed in their own thoughts. Equally drawn to the history of figurative sculpture as to a wide range of craft and artisan traditions around the world&mdash;from ceramic techniques to glass blowing, enameling to welding&mdash;Upritchard pushes these practices in new directions, bringing them together to create a striking and original visual language of her own. This will be Upritchard&rsquo;s first solo exhibition on the west coast.&nbsp;</p> <p style="text-align: justify;">The exhibition is organized by Hammer senior curator&nbsp;Anne Ellegood.</p> <p style="text-align: justify;">Born in 1976 in New Plymouth, New Zealand, Francis Upritchard graduated from Canterbury University of Fine Arts in New Zealand in 1998. She has recently had solo exhibitions at The Whitechapel and Kate McGarry, London (2014), The Douglas Hyde Gallery in Dublin (2013), Anton Kern Gallery in New York (2013), Nottingham Contemporary (2012), and MIMOCA in Kagawa, Japan (2013) and Secession, Vienna (2011). Her only other solo museum exhibition in the United States, <em>A Long Wait</em>, took place in 2012 at the Contemporary Arts Center in Cincinnati. In 2009, she represented New Zealand at the 53rd Venice Bienniale with her exhibition <em>Save Yourself. </em>Her work has been included in numerous group exhibitions, including <em>Freedom Farmers</em> at the Auckland City Gallery in New Zealand (2013), <em>Lilliput</em> at the New York High Line (2012), <em>Contact</em> at Frankfurter Kunstverein, Germany (2012) <em>Bush of Ghosts: Nathan Mabry, Djordie Ozbolt and Francis Upritchard</em> at Cherry and Martin in Los Angeles (2012), and many others. Upritchard currently lives and works in London.</p> <div id="c3942" class="csc-default csc-typography"> <p class="p1 small" style="text-align: justify;">Hammer Projects is a series of exhibitions focusing primarily on the work of emerging artists.</p> <p class="p1 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.</p> <p class="p1 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.</p> </div> </div> Tue, 07 Oct 2014 16:59:45 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Cameron Crone - Jancar Jones Gallery - October 25th 7:00 PM - 10:00 PM <p style="text-align: justify;">Jancar Jones is excited to announce&nbsp;<em>Reflow the Logic Board</em>, an exhibit of new photographs and terrazzo sculptures by Cameron Crone.<br /><br />In both of these bodies of work, Crone plays with the role that surface exerts on the surrounding space. By exchanging the usual flat, two-dimensional plane that a floor or countertop material such as terrazzo might occupy, for a three-dimensional one, his&nbsp;<em>Inverters</em>&nbsp;heighten the sensory experience of the material &ndash; a polished molded concrete embedded with marble chips. Similarly, in his<em>Overlays</em>, which are studio-constructed photographs of domestic objects, spaces are again inverted. The results are optically and texturally complex yet illusive and contextually dislocated.<br /><br />Crone&rsquo;s observational treatment of the banal and utilitarian brings the respective functions of the objects with which he works into question. His ability to transform the mundane into optically challenging visual and textural experiences yield heavily grounded yet alien tableaux. His choice of &ldquo;dirty&rdquo; materials, used to clean up or accept messes, or a document of decay, are associatively disgusting, yet are made beautiful through the use of light. He transforms the materials into something luscious and engaging yet puzzling.<br /><br />As is his approach to picture making, his sculptural works are also formally rigorous. The geometric forms with which he works defy their natural gravity as he converts surface into mass. Although these forms exert strong outward gestures they maintain a simplicity comprised of pure material without ornament.<br /><br />Cameron Crone lives and works in Los Angeles. This will be his first solo show with the gallery.</p> Wed, 22 Oct 2014 16:30:00 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Alejandro Cartagena - Kopeikin Gallery - October 25th 6:00 PM - 8:00 PM <p style="text-align: justify;">"The past few years have found me obsessed with the idea of youth; fixating my attention to the different ways cultures construct the social meaning of this life period and how we are to act upon such settings. With these pictures I am looking to portray a moment of bliss in young adults who are shifting into a state of desired adult liberty and somewhat out of the construct they&acute;ve been born into. The images represent an instant of total disregard that offered them a flash of delight." - Alejandro Cartagena</p> <div style="text-align: justify;">RECEPTION &amp; BOOK-SIGNING*</div> <div style="text-align: justify;">SATURDAY, OCTOBER 25, 6:00 - 8:00 PM</div> <div style="text-align: justify;">*The artist will be signing copies of his recently published Monograph "Carpoolers" which received International acclaim</div> Sat, 18 Oct 2014 15:11:41 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Ira Korman - Koplin Del Rio Gallery - October 25th 5:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;">Koplin Del Rio is pleased to present an exhibition of new drawings by Los Angeles artist Ira Korman.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Korman is known for his exquisite charcoal on paper portraits that push the age-old medium to new boundaries of subtly and mastery. In this latest series, the artist continues his portraiture theme. but with a new vantage point. In preparation for the exhibition, the artist scoured flea markets. thrift stores, and the internet to find discarded and often damaged photo-booth portraits, dating from the early to mid 20th Century. The artist created drawings in an intimate scale based on the found photos, rendering every crease. tear and faded memory. The resulting grouping is a powerful collection of open-ended narratives and an extraordinary documentation of the physical passage of time.&nbsp;</span></p> <blockquote> <p style="text-align: justify;"><em><span style="font-size: small;">My new series of drawings, renderings of found photo-booth portraits, is a continuation of themes I've explored in previous work: the unrelenting passage of time and fleeting nature of life. They are &ldquo;Memento Mari", visual reminders of our mortality.&nbsp;</span></em></p> <p style="text-align: justify;"><em><span style="font-size: small;">In these ephemeral objects, I can't avoid seeing the varying degrees of damage and deterioration as metaphors for what surely was the uneven dispensation of blessings and adversity among the individuals memorialized in them. indiscriminate damage fuses with unique individuals to suggest compelling and poignant narratives. </span></em></p> <p style="text-align: justify;"><em><span style="font-size: small;">Technically, with charcoal and carbon on paper, my aim is to record the physical character of each object through careful observation and accurate depiction of light and form. But most important is to arouse within the viewer a sense of our most profound commonalities: The mutability of life and the constancy of change. </span></em></p> <p style="text-align: justify;"><em><span style="font-size: small;">&nbsp;-Ira Korman</span></em></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;Born in New York City, lra Korman now lives and works in Los Angeles. His formal training includes a B.F.A. from the Fihode Island School of Design. Korman's work has been shown nationally and internationally in solo and group exhibitions in New York, Los Angeles, &nbsp;Las Vegas, Providence, Munich and Innsbruck at venues including; the de Young Museum in San Francisco, CA, The Arnot Art Museum in Elmira, NY, The Long Beach Museum in Long Beach, CA, the Frye Art Museum in Seattle WA, and the Arkansas Art Center in &nbsp;Little Flock, AR.&nbsp;</span></p> Fri, 26 Sep 2014 08:03:00 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Mark Licari - Koplin Del Rio Gallery - October 25th 5:00 PM - 7:00 PM <p style="text-align: justify;">Koplin Del Rio is pleased to present a debut exhibition of new works on paper by Los Angeles&nbsp;artist Mark Licari.</p> <p style="text-align: justify;">Licari first exhibited at Koplin Del Rio as part of the "Fever Dreams" group show curated by&nbsp;Robbie Conal in 2013. Since then, the artist has been actively working in the studio towards&nbsp;his first solo exhibition at the gallery. Licari also took time to participate in two collaborative&nbsp;mural projects with Italian artist Andrea Bianconi and Uruguayan artist Ricardo Lanzarini,&nbsp;Dialogo Illuminato at the Moscow Bienale, and Dialogic Drawing Experiment at the Museum&nbsp;of Fine Arts. in Ghent, Belgium.&nbsp;Licari&rsquo;s latest work consists of two different series, "Vector" is a take on a deck of ordinary&nbsp;playing cards re-imagined. Each oversize card (7" x 5") is hand drawn and painted, all 104&nbsp;pieces, (plus 3 Joker sets) quiver with the energy of the artist&lsquo;s kinetic line work.</p> <blockquote> <p style="text-align: justify;"><strong>Mark Licari on<em> Vector</em>:</strong><br /><em>Vector" is a series of drawings inspired by the spin of standard playing cards when&nbsp;they are thrown through the air. The kinetic energy of this thrown card is what&nbsp;transforms standard suits of clubs, diamonds, hearts and spades into the unusual&nbsp;suits of eyes, flies, leaves and bolts. Similarly the face cards change from jacks,&nbsp;queens and kings, into jobs, questions and keys. The aces transform into angels,&nbsp;and the jokers are still at large.</em></p> <p style="text-align: justify;"><em>Woven throughout the drawings are numerous symbols and stories that guide the&nbsp;viewer through the intricacies of an exploding ecological universe. The drawings&nbsp;depict subjects such as ancient trees, insect politics, foresight, bra very, impermanence,&nbsp;failing space-ships and lost keys. The various themes and ideas coursing throughout&nbsp;the series explore questions such as &ldquo;is the mass of a hopping mad flea equal to the&nbsp;magnitude of my great grandmother's cure for headaches?" Or, &ldquo;are salty sea bubbles&nbsp;really part of the physics of falling asleep?" This new form of vector analysis&nbsp;proliferates questions while maintaining a constant rate of answer reduction.</em></p> <p style="text-align: justify;"><br /><em>Prompting us to ask &ldquo;what is our vector?</em></p> </blockquote> <p style="text-align: justify;"><br />Accelerate to Zilch is in kind, a visual set of the English alphabet. Each of the 26 letters&nbsp;inspire an image and a narrative, "Accelerate" depicts a WWl style biplane crumbling&nbsp;apart at breakneck speed, "Bottomless Pit" is a swirling sinkhole, a cutaway drawing&nbsp;of the relics of civilizations from 80's stereo systems to dinosaur bones.</p> <blockquote> <p style="text-align: justify;"><br /><strong>Mark Licari on <em>Accelerate to Zilch</em>:</strong><br /><em>My favorite sound is the subtle crunching of words forming and breaking apart. if is&nbsp;very difficult to hear and often gets lost because it lies beneath the technological&nbsp;buzzing of refrigerators, air conditioners, iTables, green-tooth devices, webs, nets&nbsp;and clouds. This layer of everyday sound radiation has to be striped away in order to&nbsp;hear the crunch of letters colliding and linking together to form words and sentences.&nbsp;Sometimes letters will even link together to form nonsense and gibberish. Rarely does&nbsp;a complete alphabet of letters string together and hold its formation. More often they&nbsp;crumble apart with age and disuse.</em></p> <p style="text-align: justify;"><em>&ldquo;Accelerate to Zilch&rdquo; is a series of twenty-six drawings inspired by visual&nbsp;encyclopedias, forces of nature, things that are old and forgotten, depths unknown,&nbsp;and the crunching sound that letters make when they form words. Each drawing&nbsp;represents a letter of the alphabet with a corresponding descriptive word. These&nbsp;words tell a story of growth, impermanence, resilience and decay. Which is as varying&nbsp;and unstable as our ability to communicate with one another.</em></p> </blockquote> <p style="text-align: justify;"><br />Born in Atlanta, Mark Licari now lives and works in Los Angeles. His formal training includes&nbsp;a B.F.A. from the University oi Colorado at Boulder, CO and an MFA from the University of&nbsp;Southern California, Los Angeles. CA. Licari&lsquo;s work has been shown in sclo and group&nbsp;exhibitions in, Los Angeles. Aspen, CO, Portland OR, Jacksonville FI and internationally in&nbsp;Paris, Moscow, Ghent and Sydney. Mark Licari's work can be found in several public&nbsp;collections including the Athenaeum Music and Arts Library, The Metropolitan Museum of Art,&nbsp;New York, the Gemeente Museum, The Hague. Netherlands, and the Museum of Fine Arts in&nbsp;Ghent Belgium.</p> Fri, 17 Oct 2014 07:13:21 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Kirk Pedersen - Launch LA - La Brea - October 25th 3:00 PM - 4:00 PM <p style="text-align: justify;">LAUNCH LA is proud to present&nbsp;<em><strong>Ambiguity</strong></em>, an exhibition of new works by Kirk Pedersen. Graphically bold and possessed of confounding depth, this series combines Asian influences with a thoroughly American style of abstract expressionism, creating an engrossing and unique hybrid aesthetic.&nbsp;<br /><br />Ambiguity primarily features thickly-layered collage pieces of acrylic paint, canvas, wood, advertisements and notices gathered on Pedersen's sojourn through the urban biomes of Asia. These paintings bear the names of the locales which inspired them or from which the detritus of ad-copy, ticket stubs and mysterious digits were gathered: 'Bangkok' and 'Hong Kong' - names that in the popular imagination are imbued with a sense of exotic vibrancy. Some pieces display overt visual cues to their origins, most often Chinese hanzi characters or segments of Thai script. Other pieces rely on a subtle harmony between their palette of bright reds, yellows and blues and peeling pastels to conjure spirit of the cities that inspired them.&nbsp;<br /><br />For avid travellers, or wishful romantics, paintings like 'Hong Kong 4040' or 'Hong Kong 49' may raise the image of bustling street markets: hawkers and stalls clamouring for attention to tottering towers of musty books, kitschy Hong Kong movie memorabilia or the delicacies of Kowloon's wet markets. The distressed surfaces, heaped layers of paint and saturated posters also hint at a more sombre truth however: cities in flux, caught up in the unparalleled growth of both their populations and wealth.&nbsp;<br /><br />Pedersen's visual style is strongly reminiscent of China's traditional hutong neighbourhoods, rich in signs of continued use and habitation, as well as the quieter, more forlorn back alleys of Bangkok. The works with a Chinese context document the accidental aesthetic of streets deemed too old fashioned or run-down to have a place in China's future. As Pedersen himself witnessed over his visits to China, such neighbourhoods often disappear in the space of months, razed to make way for ambitious new projects. Pedersen's work however is not inherently political: it seems driven by an outsider's fascination with the ephemeral beauty inherent in superficially mundane environments. Paintings like 'Bangkok Chinatown' feature elements of American branding, such as the ubiquitous Coca-Cola logo chopped and spliced into native textures. Such instances present an ambiguity of place and form a gateway to comparisons with American cities, such ethnic enclaves like San Francisco's Chinatown or the decaying grandeur of Detroit's inner city - or indeed Broadway in Downtown Los Angeles, with its shuttered Movie Palaces.&nbsp;<br /><br />Ambiguity has clear parallels with Pedersen's previous endeavour, Urban Asia, a collection of photographs gathered on his travels around China, Japan, Taiwan, Vietnam, Cambodia and Thailand. This series included almost claustrophobic close-ups of crumbling plaster, suffocated by countless layers of peeling yellow posters and leaflets which seem to have marked the beginnings of Ambiguity's distinct aesthetic. Pedersen's latest works however also have a broader artistic context, reminiscent of Jane Frank's wood collages and even the work the German collagist Kurt Schwitters.&nbsp;<br /><br />The image of Pedersen as an enthralled foreign observer of Asia's by-gone splendours and its journey into an ambiguous future, echoes Lafcadio Hearn and other 19th century artists who derived inspiration from an Asia caught in the transition between eras.</p> <p style="text-align: justify;">Kirk Pedersen is a Los Angeles based multidisciplinary artist. Traveling to Hong Kong, Bangkok, Tokyo, Taipei, Kuala Lumpur, and many other cities in Asia to capture what he calls Urban Asia, Pedersen examines the seemingly ordinary stuff of life-sidewalks, curbs, markets, alleys-and, through his eye for synchronicity, reveals new truths about the world around us.&nbsp;<br /><br />Kirk Pedersen received his M.A. from San Francisco State University and his M.F.A. in painting from Claremont Graduate University. He has exhibited extensively at major galleries, art fairs and museums throughout the United States. Internationally, Pedersen's works have been featured in Germany, Switzerland, and China, including the Today Art Museum (Beijing) and the Duolun Museum of Modern Art (Shanghai). Since 1997, he has served as professor of painting and drawing at the Mt. San Antonio College in Walnut, CA.&nbsp;<br /><br />Pedersen launched ZERO+ Publishing in January 2009 and the imprint focuses on street and Pop Surrealist artists from Los Angeles. By the end of 2014, they will have published 24 unique titles and many of the books include deluxe artist editions.&nbsp;</p> Thu, 23 Oct 2014 07:06:48 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Richard Sedivy - Lora Schlesinger Gallery - October 25th 5:00 PM - 8:00 PM <p>Lora Schlesinger Gallery is pleased to announce Good News Road, a new series of work by Richard Sedivy. Sedivy&rsquo;s current body of work is a finely crafted combination of paint, construction and assemblage on wood panels. The imagery depicts architectural structures that investigate our relationship to &ldquo;home&rdquo; and the values and beliefs that are materialized through them.&nbsp; The exhibition opens Saturday October 25, 2014 and runs through November 29, 2014.<br /><br />&nbsp;<br /><br />Richard Sedivy was born and raised in Chicago, a city with a distinctive architectural style. His experience travelling from Chicago, to Tennesse and California exposed him to the myriad of rural buildings and dwellings along the way. He developed a connection to houses, shacks, work sheds and simple dwellings. Each structure represented work ethic, and the remains of a heartland of work. Sedivy&rsquo;s homes, are containers of human history. They become metaphors for lives lived, work, hope, dreams dreamt and hardships endured. The carefully crafted structures are constructed with fragments of wood laboriously painted to have character, a sense of history, solidity, permanence and impermanence. The paintings are an homage to monuments of modest intention built to last, but the monuments inevitably fade and change with time. Sedivy&rsquo;s paintings capture and immortalize these structures in an ever changing world.<br /><br />&nbsp;<br /><br />Richard Sedivy resides in Southern California.&nbsp; He received his M.F.A. from Bradley University, Illinois.&nbsp; Sedivy credits his real education in traditional painting to working as a scenic painter for CBS.&nbsp; His visual influences range from 17th -Century Flemish art to 20th&ndash;Century Bauhaus formalism. This is his sixth solo exhibition with the gallery.<br /><br /></p> Thu, 09 Oct 2014 21:53:20 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list