ArtSlant - Openings & events en-us 40 Margo Wolowiec - Anat Ebgi - April 19th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Anat Ebgi</strong> is please to announce <strong><em>Margo Wolowiec</em></strong>, a solo exhibition of new works by Margo Wolowiec opening April 19 and on view until May 31, 2014.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Wolowiec&rsquo;s woven pieces are complex canvases comprised of digital images that the artist has culled from social media sites. Each selected image is printed onto strands of thread pixel by pixel through a dye-sublimation ink process and hand woven to create a solid textile. Wolowiec creates the intricate compositions through rigorous formal concerns pulling each image from her digitally-sourced archive. Her earlier work features images in gridded compositions that reference the lattice-like process of weaving.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition marks an evolution in Wolowiec&rsquo;s practice. Referencing patterns of traditional Navajo rugs and Bauhaus weavers, the large-scale works in this exhibition move fluidly in and out of various geometric structures, breaking a strictly gridded logic and allowing for a more painterly approach. Wolowiec freely inserted her own hand in the appropriated images, heavily manipulating them throughout her process. In this new body of work, the source images are re-scaled, re-colored and subjected to the artist&rsquo;s formal decisions. Along with digital manipulation of the images, Wolowiec paints directly onto the interlocking threads of the weavings. The interventions Wolowiec has taken with these images provides another layer of abstraction and distance from their original sources.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Traditional Navajo woven rugs are known for their direct relationship between the weaver and their culture. In the same way, Wolowiec&rsquo;s weavings are a tangible manifestation of the image-saturated digital culture of social media outlets that dominate today&rsquo;s society. The material translations and anxiety-ridden abstractions of these ephemeral images literally ties them to physical reality like the bonds between the threads themselves.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Margo Wolowiec</strong> lives and works in San Francisco, CA where she earned her MFA from California College of the Arts in 2013. Recent exhibitions include a solo presentations at Johansson Projects in Oakland, CA. Wolowiec has lectured at Maryland Institute College of the Arts, Baltimore, MD, San Francisco State University, San Francisco, CA, and was a visiting critic at the Textile Arts Center, Brooklyn, NY.</span></p> Thu, 10 Apr 2014 08:00:19 +0000 Augusta Wood - Angles Gallery - April 19th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Angles Gallery</strong> is pleased to present&nbsp;</span><strong><em style="font-size: small;">Whether it happened or not</em></strong><span style="font-size: small;">&nbsp;</span><span style="font-size: small;">a new series of photographs&nbsp;</span><em style="font-size: small;">&nbsp;</em><span style="font-size: small;">by&nbsp;</span><span style="font-size: small;">Los Angeles artist<strong> Augusta Wood</strong>.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">This is the artist's second solo&nbsp;</span><span style="font-size: small;">exhibition at Angles Gallery.</span></p> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;"> <blockquote> <p><em><span style="font-size: small;">"When I was younger, I could remember anything, whether it had happened or not."</span></em></p> <p style="text-align: right;"><em><span style="font-size: small;">-Mark Twain</span></em></p> <p><em><span style="font-size: small;">&nbsp;</span></em></p> </blockquote> <p><em style="font-size: small;">Whether it happened or not</em><span style="font-size: small;">&nbsp;is a series of compositions made entirely of projected slides. The works draw from a second pass through the artist's enormous archive of family photographs, and incorporate pictures she continues to make in the New England school-house-turned-home where she spent the first 17 years of her life. Wood's interest lies in photographing the present, using the past to describe a cumulative history that is the present. She arranges photographic space from both old photographs and newly authored images to understand a visual and personal history as it influences her perception today.&nbsp;</span><em style="font-size: small;">Whether it happened or not</em><span style="font-size: small;">&nbsp;is an act of organizing chaos and composing a view that asserts the way things exist in the artist's mind. These are works that reflect what she remembers and wants to stabilize, complete, and believes should not be forgotten. Wood is resisting loss. This happened, this is real, and these images exist now, whether it happened or not.</span><span style="font-size: small;">&nbsp;</span></p> <p><span style="font-size: small;">The range of her archive contains an overwhelming amount of information in the form of small transparent rectangles of life: parties, portraits, pets, artworks, piles of books, birthdays, holidays, furniture, renovations, storage, boxes, windows, landscapes, and empty rooms. The artist's father and mother made most of the oldest photographs, along with some made by visitors and other unknown authors. Wood has also discovered her own images in the family archive, made in the house as a child with her first film cameras. Over the past ten years Wood has revisited the house to photograph both what persists of the past and what has changed. The archive continues to grow - but more slowly now. This work is in a sense collaborative, an accumulation and an expression of a subjective construction. Wood stakes a claim in her choice of which images to put together, defining her own memory and the potency of it.</span><span style="font-size: small;">&nbsp;</span></p> <p><span style="font-size: small;"><em>Whether it happened or not</em>&nbsp;evolved out of her previous body of work,&nbsp;<em>I have only what I remember</em>. The use of slide projection continues in the current body of work, though the intentions and process are independent.&nbsp;<em>Whether it happened or not</em>&nbsp;is made exclusively in the studio using the traces of a history marked out through lived spaces. It relies on images from film projected to reconstitute what otherwise could not be seen and articulated. New images coalesce with old to examine the idiosyncrasies and slippage of memory that define experience. The present contains the past and the future wouldn't exist without either - building artwork that lives in the present and not allowing some ideas to slip into the dark.</span><span style="font-size: small;">&nbsp;</span></p> </div> <p style="text-align: justify;"><span style="font-size: small;">In addition to the new work, Augusta Wood has published a book of her previous body of work,&nbsp;<em>I have only what I remember,&nbsp;</em>which will launch simultaneously with the new exhibition&nbsp;<em>Whether it happened or not.</em>&nbsp;The book carefully sequences the influence of architectural space and photographic images. The publication is an 80-page hardcover book in an edition of 500, designed with renowned Los Angeles-based graphic designer Gail Swanlund. It includes an essay by Rebecca Morse, Associate Curator in the Wallis Annenberg Photography Department at the Los Angeles County Museum of Art, an interview with Augusta's father, architect Jeremy Scott Wood, and a poem by the award-winning writer W. S. Merwin.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Augusta Wood's work has been the subject of solo exhibitions at Angles Gallery (Los Angeles) and Cherry and Martin (Los Angeles), and has been featured in exhibitions at Zach Feuer Gallery (New York), Anton Kern Gallery (New York), Torrance Art Museum (Torrance, CA), and the Fotofest 2010 Biennial (Houston, TX), among others. Wood's work has been written about in the&nbsp;<em>Los Angeles Times</em>,&nbsp;<em>Modern Painters</em>,&nbsp;<em>Art Lies Contemporary Art Quarterly</em>,&nbsp;<em>The Huffington Post</em>, and has appeared in&nbsp;<em>Water~Stone Review</em>&nbsp;and on the cover of&nbsp;<em>Black Clock</em>. Her photographs are included in the permanent collections of the Museum of Contemporary Art, Los Angeles, and the Los Angeles County Museum of Art. She earned her BFA from The Cooper Union and her MFA from California Institute of the Arts. She lives and works in Los Angeles.</span></p> Wed, 09 Apr 2014 20:09:41 +0000 Christiane Lyons - Anna Meliksetian | MJBriggs - April 19th 6:00 PM - 8:00 PM <p><span style="font-family: helvetica; font-size: x-small;"><strong>Christiane Lyons</strong></span></p> <p><span style="font-family: helvetica; font-size: x-small;"><strong>A Good Line: Can&rsquo;t Live Without You</strong></span></p> <p><span style="font-family: helvetica;"><strong>April 19th&nbsp; to May 30th&nbsp; 2014</strong></span></p> <p><span style="font-family: helvetica;"><strong>Opening reception: Saturday April 19th&nbsp; 6-8pm</strong></span></p> <p><span style="font-family: helvetica;">Anna Meliksetian and Michael Briggs are pleased to present <em>A Good Line: Can&rsquo;t Live Without You</em>,&nbsp;Christiane Lyons&rsquo; second solo show at the gallery.</span></p> <p><span style="font-family: helvetica;">Lyons&rsquo; practice is driven by an ongoing investigation into the process of painting and the use of&nbsp;appropriated material to recontexualize images and provoke new meanings and visual intepretations.</span></p> <p><span style="font-family: helvetica;">The works in <em>A Good Line: Can&rsquo;t Live Without You</em> are the result of manipulating found imagery by&nbsp;drawing upon the foundational, primary elements of painting.&nbsp;The paintings in Lyons&rsquo; last exhibition, <em>What Goes Around Comes Around</em>, drew upon the notion of the&nbsp;Rorschach inkblot as their primary compositional device, an image of bilateral symmetry, and its use&nbsp;continues in the current exhibition. This bilateral split offers an opportunity to combine normally&nbsp;unrelated source imagery by means of common colors and shapes, as well as less obvious&nbsp;commonalities, such as abstract notions of symmetry especially in relation to time and historical context.&nbsp;</span><span style="font-family: helvetica;">Often Lyons&rsquo; sources are taken from the art historical canon, reflecting her interest the production of art&nbsp;and the historical and social context in which art works were produced, along with their resonance in the&nbsp;contemporary world.</span></p> <p><span style="font-family: helvetica;"><em>A Good Line: Can&rsquo;t Live Without You</em> is comprised of nine works, three different paintings followed by&nbsp;the repetition of each painting three times; one is the original, one is its inverse, or difference, and one is&nbsp;primary-color or black-and-white based. Lyons uses repetition as a tool to further abstract qualities&nbsp;when the paintings are viewed as a group, in addition to the abstract qualities created by the use of&nbsp;Rorschach&rsquo;s bilateral symmetry. Lyons confidently breaks down and reassembles colors and forms,&nbsp;patterns and structures and blurs the lines between abstraction and representation. Not only is Lyons&nbsp;concerned with paintings theoretical history, but also its technical history as well, posing questions&nbsp;about current image making and representation in general.</span></p> <p><span style="font-family: helvetica;"><em>Christiane Lyons received her MFA in Painting/Drawing in 2004 from the University of California LosAngeles (UCLA) and her BA from the University of California, Berkeley. She lives and works in Los&nbsp;Angeles and San Francisco</em>.</span></p> Thu, 17 Apr 2014 20:41:09 +0000 - Cardwell Jimmerson Contemporary Art - April 19th 6:00 PM - 8:00 PM <p>Cardwell Jimmerson Contemporary Art is pleased to announce its final exhibition,&nbsp;<br />"BM: Retrospective-I."</p> Wed, 16 Apr 2014 08:49:34 +0000 Ericka Beckman - Cherry and Martin - 2732 - April 19th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Cherry and Martin is pleased to present Ericka Beckman's installation with three photographs and synchronized lighting and audio, "Boundary Figures" (1989).&nbsp;</strong></span><br /><br /><span style="font-size: small;">Ericka Beckman's work has been shown in museums, galleries and festivals around the world for the past three decades. Solo exhibitions include Kunsthalle Bern, Switzerland; Magasin Centre National d'Art Contemporain de Grenoble, France; Museum of Modern Art, New York, NY; Hirshhorn Museum, Washington, DC; and the Walker Art Center, Minneapolis, MN. She has been included in three Whitney Biennials and the Metropolitan Museum of Art's "The Pictures Generation 1974-1984." Her first monograph is coming out in the Fall of 2014.</span></p> Sat, 19 Apr 2014 07:20:23 +0000 Julia Dault - China Art Objects Galleries - April 19th 6:00 PM - 8:00 PM <div align="justify"> <div style="text-align: justify;" align="left"><span style="font-size: small;"><strong>China Art Objects Galleries</strong> is proud to present<em>&nbsp;<strong>Rhythm Nation 2014</strong>,</em>&nbsp;the gallery's first solo exhibition by New York-based artist<strong> Julia Dault</strong>. The show includes recent paintings and a new sculpture made on site, and will be on view from&nbsp;April 19 to June 7, 2014. Please join us for the opening reception Saturday, April 19, from&nbsp;6:00 to 8:00pm.&nbsp;</span><span style="font-size: small;">&nbsp;</span></div> </div> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Dault's visually seductive art balances spontaneous gesture with rules, logic, and the constraints of unorthodox materials. Her paintings often incorporate mass-produced elements--whether unusual surfaces or unmixed paint straight from the tube--that she manipulates with unconventional tools, such as squeegees and rubber combs. The colors and textures of these "found" materials, and the constraints of her non-brush implements, allow Dault to balance expressive abstraction with systematic mark-making. This balance is borne out within the compositions themselves. Repeating patterns occasionally break down or slide out of alignment, evidence of their handmade nature. Revealing her labor is important to the artist; removing still-wet paint, which allows viewers to see through layers and "into" the painting process, is as important as its application.&nbsp;</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">The emphasis on process and physicality recurs in Dault's sculptures. Always improvising on site and working alone, she coerces Plexiglas, Formica, and other industrially produced materials into imposing curved forms, and then affixes them to the gallery wall using store-bought straps and cords. These private performances push her physical capabilities against the properties of the materials she employs. Each sculpture is titled with a time stamp that reflects the duration of this process.</span><span style="font-size: small;">&nbsp;</span></p> <div style="text-align: justify;" align="justify"><span style="font-size: small;">Julia Dault lives and works in Brooklyn. Dault's work is included in the permanent collections of the Solomon R. Guggenheim Museum, New York; the Art Gallery of Ontario, Toronto; the Museum of Modern Art Warsaw; and the P&eacute;rez Art Museum Miami. This year she will present a solo exhibition at The Power Plant Contemporary Art Center in Toronto (September), which will travel and will be accompanied by a catalogue. She has also been included in the recent group exhibitions<em>&nbsp;Outside the Lines</em>&nbsp;at the Contemporary Arts Museum Houston and<em>&nbsp;Americana: Selections from the Collection</em>&nbsp;at the P&eacute;rez Art Museum Miami, among others. In June she will be artist-in-residence at Dundee Contemporary Arts in Scotland.&nbsp;</span></div> Sat, 12 Apr 2014 16:58:06 +0000 David Molesky - CoproGallery - April 19th 8:00 PM - 11:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong><strong>Copro Gallery&nbsp;</strong></strong>presents 3 separate solo exhibitions by 3 different artists<strong><strong>.&nbsp;</strong></strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>David Molesky was born in</strong>&nbsp;Washington D.C. He moved to the west coast in 1995 to study fine art and molecular biology at UC Berkeley.The science/art relationship combined leads to very interesting subject matter in his paintings. Mythological symbolism, animals, the sea, and ancient cultures pervade his work and are reflective of his travels to exotic places.Traces of Rembrandt, as well as the Venetian Renaissance style can be seen in his classical approach to a canvas with the use of light and brushwork. Living in Norway for several years as an apprentice to Odd Nerdrum, Molesky has managed to absorb his encounter with the Norwegian modern master and generate an artistic style that is quintessentially his own, This exhibition includes a continuation of a series of figures finding tranquility in nature juxtaposed with new paintings of political upheaval. In recent months media coverage of the Kiev protests inspired David to combine his interests in painting figures and fire.&nbsp;</span></p> Sat, 19 Apr 2014 07:49:00 +0000 Timothy Robert Smith - CoproGallery - April 19th 8:00 PM - 11:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong><strong>Copro Gallery&nbsp;</strong></strong>presents 3 separate solo exhibitions by 3 different artists<strong><strong>.&nbsp;</strong></strong></span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;"><strong>Timothy Robert Smith</strong>&nbsp;is a Los Angeles painter whose "Kaleidoscopic Realism" jumbles and disorients. His works have an air of visionary fiction that offers a dazzing antidote to what Smith calls the "tunnel vision" of civilization's dominant linearity. (<a href="" target="_blank">excerpt from Huffington Post article</a>)</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Some of the themes of Timothy Robert Smith's paintings include:</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Modern physics and the nature of reality: this includes time and space, hidden/alternate dimensions, and probable selves. Showing a cinematic picture of the universe based on these ideas.</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Art as Science: &agrave; la Leonardo Da Vinci</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Radical/intuitive/mystical/primitive science and the fine line that exists between what is/isn't considered "scientific": for example Nikola Tesla and his "psychic powers." Also, how our accepted ideas of physical reality are always in flux (see Steven Hawking's The Grand Design).</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Consciousness: belief systems and how they alter the nature of reality, The role of "the self" in our technological-based consumer society ("Technocracy"). The struggle to survive, the fine line between sanity and insanity... Who are we really?</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">The theory that everyone is really their own opposite: we are beautiful Contradictions, acting out roles in a theatre of the absurd.</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Finding peace within a civilization: empowerment through enlightenment.</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Enlightenment: that undefinable sense of knowing. Operating like a Zen koan, throwing around paradoxical visual ideas designed to force a temporary glitch in our auto-pilot systems of consciousness.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><strong>&nbsp;</strong></strong></span></p> Sat, 19 Apr 2014 07:52:12 +0000 Vincent Cacciotti - CoproGallery - April 19th 8:00 PM - 11:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong><strong>Copro Gallery&nbsp;</strong></strong>presents 3 separate solo exhibitions by 3 different artists<strong><strong>.&nbsp;</strong></strong></span></p> <p class="style11" style="text-align: justify;"><strong><em>Vincent Cacciotti's</em></strong>&nbsp;work blends surrealism and fantasy depicting the travels of the human mind, body and soul. Vincent began painting as a child. He studied at The Art Students League in New York City and The California Art Institute in Westlake, CA. 'however is mostly self taught. His latest work for this show deals with girls behind masks and shows his talent for painting figurative realism/surrealism.</p> <p style="text-align: justify;"><span style="font-size: small;"><strong><strong>&nbsp;</strong></strong></span></p> Sat, 19 Apr 2014 07:51:59 +0000 Mary Weatherford - David Kordansky Gallery - April 19th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>David Kordansky Gallery</strong> is very pleased to announce <strong><em>Los Angeles</em></strong>, its first exhibition of work by <strong>Mary Weatherford</strong>. The show will open on April 19 and run through May 31, 2014. An opening reception will be held on Saturday, April 19 from 6:00pm until 8:00pm. <em> Los Angeles</em> is the latest of the artist's exhibitions to address notions of place through painting, as well as the use of sculptural elements&ndash;&ndash;in this case neon lighting&ndash;&ndash;to expand painting's formal reach. It also finds Weatherford experimenting with new scale and formats, and a broader, more intense range of color relationships.</span><br /> <br /><span style="font-size: small;"> Mary Weatherford is one of the most influential Los Angeles-based painters of her generation. Born in Ojai, California, the trajectory of her project encompasses a uniquely West Coast vision, one in which the language of abstract painting is used to chart the physical and metaphysical features of landscape. Her work can also be read as a form of critique that grapples with canonical gestures in modern abstraction, but it is never solely limited to an art historical frame of reference. Rather, it operates as a mode of inquiry, an engine for research, and a way of responding to natural and social contexts of all kinds. </span><br /> <br /><span style="font-size: small;"> Each painting in <em>Los Angeles</em> begins with a gestural abstraction made in thin layers of Flashe paint. The fields of overlapping color that result are at once atmospheric and rooted in the physicality of their application. They are juxtaposed with one or more neon tubes arranged according to preliminary sketches that take wiring and power source into account. As Weatherford has refined this process, the forms described by the lighting and wiring have taken on increased prominence as a kind of line-based drawing. In turn, their material presence emphasizes the physical qualities of the paint and support, so that the tooth of the linen, for example, becomes an integral feature of the work. </span><br /> <br /><span style="font-size: small;"> In conceptual terms, the paintings in the show are meditations on zones at the perceptual edges of Los Angeles, away from the landmarks traditionally associated with the city. However, they are not intended to function as literal counterparts to specific locations, but as embodied channels through which places&ndash;&ndash;and the impressions and associations they engender&ndash;&ndash;suggest new forms. Painting therefore functions as a way of recreating and filtering experience, and of charting the ambient qualities of a metropolis as they intersect with the internal life of the artist who perceives them. </span><br /> <br /><span style="font-size: small;"> As she turns her attention to the place she has called home for much of her life, Weatherford engages autobiography at the most embodied level. She also provides viewers with the opportunity to consider the full scope of her development as an artist. The scale and ambition of a number of the paintings in <em>Los Angeles</em>, for instance, harken back to some of her earliest work, particularly those paintings from the 1990s in which she took on legacies of monumental abstraction from a critically feminist viewpoint. Through each phase of Weatherford's evolution, painting has provided a lens through which the world, the self, and the ever-shifting dialogue between them come into radical focus. </span><br /> <br /><span style="font-size: small;"><strong> Mary Weatherford</strong> (b. 1963) has been the subject of solo exhibitions at LAXART, Los Angeles; Todd Madigan Gallery, California State University, Bakersfield, CA; Orange County Museum of Art, Newport Beach, CA; and P.S. 1 Institute of Contemporary Art, New York. Group exhibitions include <em>Landscape into Abstraction</em>, Orange County Museum of Art, Newport Beach, CA; <em>Sharing Sunsets</em>, Museum of Contemporary Art, Tucson, AZ; <em>Primarily Paint</em>, Museum of Contemporary Art, San Diego; <em>Cadavre Exquis</em>, The Drawing Center, New York; <em>Postcards from Alphaville: Jean Luc Godard in Contemporary Art</em>, 1963 - 1992, P.S. 1 Institute of Contemporary Art, New York; <em>Painting Culture</em>, fiction/nonfiction, New York and Fine Arts Gallery, University of California at Irvine; and<em> Plastic Fantastic Lover (object a)</em>, BlumHelman Warehouse, New York. As a Gould Center/Podlich Distinguished Fellow at Claremont McKenna College, Mary Weatherford will install a site-specific work with neon in the Marian Miner Cook Athenaeum this summer. In conjunction with the project, the first major book about her work will be published by the Gould Center for Humanistic Studies.</span></p> Wed, 09 Apr 2014 20:09:46 +0000 Thomas Ruff - Gagosian Gallery - Beverly Hills - April 19th 6:00 PM - 8:00 PM <blockquote> <p style="text-align: justify;"><span style="font-size: small;"><em>When you make photograms, without the use of a camera, you can indeed call that abstract photography, as the lens and the corresponding registration medium are lacking. No longer do you have pictures of reality or objects; you only have their shadows. It is a bit like Plato&rsquo;s cave, where one could only imagine reality; the objects themselves were not visible.</em></span><br /><span style="font-size: small;">&mdash;Thomas Ruff</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"><strong>Gagosian Beverly Hills</strong> is pleased to present an exhibition of recent work by <strong>Thomas Ruff</strong>.</span><br /> <br /><span style="font-size: small;"> Thomas Ruff is acknowledged as a leading innovator in the generation of German artists that propelled photography into mainstream art. For more than two decades, he has pushed the limits of the photographic medium, harnessing technologies both old and new&mdash;including night vision, hand-tinting, and stereoscopy. Open and explorative, he has produced new takes on conventions in architectural, astrological, pornographic, and portrait photography. In his new work, he engages with the photogram, the cameraless technique advanced by Man Ray, L&aacute;szl&oacute; Moholy-Nagy, and others in the early twentieth century.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Traditionally, photograms are made by placing objects onto photosensitive paper and exposing the paper to light, thereby recording the silhouettes of the objects. Captivated by this method but seeking to work beyond its limitations, Ruff collaborated with a 3-D imaging expert to design a virtual darkroom that would enable him to experiment with an infinite range of forms. Unbeholden to objects present, like the scissors, ribbons, and paperclips of Moholy-Nagy&rsquo;s photograms, he is able to specify the size, material, color, and transparency of new digital matter. This collection of invented forms, together with simulated paper surface and fully adjustable light conditions, comprises a digital darkroom environment in which Ruff can access boundless possibilities and ultimate control. The final chromogenic prints describe an enigmatic photographic world of nebulous shadows, spheres, zigzags, and hard edges against richly colored backgrounds, a mesmerizing visual frontier of his own making.</span><br /> <br /><span style="font-size: small;"> <em>Negatives</em> are a direct result of Ruff&rsquo;s photogram process, during which he has constantly explored the dynamics of positive and negative imagery. The white and slate-blue images are inverted versions of early-twentieth-century nude studies. Reversing the negative&rsquo;s role as a means to an end&mdash;the master image from which the print is created&mdash;Ruff digitally transforms sepia-toned albumen prints into dramatically contrasting negative portraits, imbuing the posing nude subjects with sculptural dimensionality and white marble skin tones. Exploring historic techniques with a consistently inventive approach, Ruff continues to expand the subjects, possibilities, and appearance of photographs.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will be accompanied by a fully illustrated catalogue including a conversation between Thomas Ruff, Wenzel S. Spingler, and Valeria Liebermann.</span><br /> <br /><span style="font-size: small;"> <strong>Thomas Ruff</strong> was born in 1958 in Zell am Harmersbach, Germany. He studied at the Staatlichen Kunstakademie D&uuml;sseldorf beginning in 1977, and was a professor there from 2000 to 2006. Public collections include Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Contemporary Art, Chicago; San Francisco Museum of Modern Art; Tate Gallery, London; Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid; and Hamburger Bahnhof, Berlin. Recent solo exhibitions include Moderna Museet, Stockholm (2007); Kunsthalle Wien, Vienna (2009); Museum f&uuml;r Neue Kunst, Freiburg, Germany (2009); Castello di Rivoli, Turin (2009); &ldquo;MCA DNA: Thomas Ruff,&rdquo; Museum of Contemporary Art, Chicago (2011); Centro de Arte Contempor&aacute;neo de M&aacute;laga, Spain (2011); &ldquo;Thomas Ruff: Works 1979&ndash;2011,&rdquo; Haus der Kunst, Munich (2012); and Sala Alcal&aacute; 31, Madrid (2013).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ruff lives and works in D&uuml;sseldorf, Germany.</span></p> Tue, 01 Apr 2014 04:48:58 +0000 Meleko Mokgosi - Honor Fraser - April 19th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">For his debut solo exhibition at Honor Fraser Gallery, Meleko Mokgosi will present the final chapters of his three-year long history painting project <em>Pax Kaffaria</em>. The exhibition will also include a series of charcoal drawings of iconic breeds of southern African dogs and text-based paintings interrogating recent exhibitions of African Art and imagery of Africa.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This culminating exhibition of Mokgosi&rsquo;s <em>Pax Kaffraria</em> follows exhibitions of the earlier chapters of his project at the Studio Museum in Harlem, NY, the Hammer Museum for <em>Made in L.A. 2012</em>, and most recently <em>Pax Kaffraria: Terra Pericolosa</em> at the Yerba Buena Center for the Arts, San Francisco, and <em>Pax Kaffraria: The Ruse of Disavowal</em> at the 2013 Biennale de Lyon. <em>The Ruse of Disavowal</em> and new chapters <em>Graase-Mans</em>, <em>Fully Belly</em>, and <em>Lekgowa</em> will be included in the exhibition here.</span><br /> <br /><span style="font-size: small;"> <em>Pax Kaffraria</em> as a whole articulates the incommensurable aspects of the post-colonial condition through strategic structuring of moments and fragments that exceed traditional structures of authority and representation. These unmoored narrative pulses are local and particular, a counterpoint to the metanarratives of nationalism. <em>Pax Kaffraria: Graase-Mans</em> parses the legacy of the Western European frontiersmen who established new colonial states across southern Africa in the 1830s. Domestic scenes reveal colonial dynamics at their core. In <em>Pax Kaffraria: Fully Belly</em>, we see the coronation of a chief with contemporary and &ldquo;traditional&rdquo; elements diachronically combined in the anointment of authority. This work, which explores the economic and political legacies of neopatrimonialism across Africa, touches upon the connections between governmental authority, customary law, localized politics, and the military, and the effects of privatization on all of these institutions.</span><br /> <br /><span style="font-size: small;"> Mokgosi&rsquo;s charcoal renderings of distinctly southern African breeds of dogs tease out the political, emotional, and economic aspects of the legacies of colonialism. Appearing throughout the <em>Pax Kaffraria</em>project, these dogs show how domesticated animals occupy an important role within the purview of human history and the struggle of southern African nationalisms in particular. With his text-based paintings, Mokgosi addresses the problematic re-inscription of colonial discourses by using museum labels as source material. He makes critical interventions in the didactics that structure the way the public understands works of art, systematically deconstructing the power dynamics and cultural biases that underpin these presumably neutral, educational texts. Mokgosi&rsquo;s commentary on these labels is at times personal, emotional, analytical and poetic and inserts an individual voice to counter these institutional constructions of history. Mokgosi interrogates the implications of established histories and the narrative as a concept, playing with notions of time and normative models for the inscription and transmission of history, ultimately disrupting traditional Euroethnic notions of representation. Mokgosi offers different ways of understanding representation&mdash;</span></p> <p style="text-align: justify;"><span style="font-size: small;">epistemological, ideological, symbolic&mdash;undercutting traditional structures to posit alternate modes for the creation of knowledge through language.</span><br /> <br /><span style="font-size: small;"> Meleko Mokgosi (b.1981, Botswana) earned a BA from Williams College (2004), completed the Independent Study Programs at Slade School of Fine Art, London (2006) and the Whitney Museum of American Art, New York (2008), and received his MFA from the University of California, Los Angeles (2011). Mokgosi has been an artist in residence at The Studio Museum in Harlem (2012) and is the inaugural recipient of the Mohn Award presented in conjunction with the Hammer Museum&rsquo;s biennial, <em>Made in L.A. 2012</em>. His work has been featured in exhibitions such as the Biennale de Lyon (2013); <em>Migrating Identities</em>, Yerba Buena Center for the Arts, San Francisco (2013); <em>Primary Sources</em> and <em>The Bearden Project</em>, The Studio Museum in Harlem (2011, 2012); <em>Four Continents</em>, Botswana National Museum, Gaborone, Botswana (2008); and <em>Pool of Possibilities: Mapping Currents</em> for the 3rd Guangzhou Triennial, Guangzhou, China (2008).</span></p> Tue, 01 Apr 2014 09:17:47 +0000 Brian Adams - LA Artcore Union Center for the Arts - April 19th 3:00 PM - 5:00 PM <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>L.A. ARTCORE PRESENTS</strong></p> <p align="center"><strong>A SOLO EXHIBIT WITH BRIAN ADAMS</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>April 18-30<sup>TH</sup>, 2014</strong></p> <p align="center"><em>Reception &ndash; Sunday Apr. 19<sup>th</sup></em></p> <p align="center"><em>3 p.m. &ndash; 5 p.m. &ndash; Union Center</em></p> <p align="center"><em>Conversation With The Artist Series: 4 p.m. </em></p> <p align="center"><em>L.A. Artcore at Union Center for the Arts </em></p> <p><em>&nbsp;</em></p> <p><strong>LOS ANGELES, CA (February 13<sup>th</sup>, 2014)</strong>On the occasion of the publication of Brian Adams' book project entitled <em>I AM ALASKAN</em>, L.A. Artcore is pleased to present this special, two-week exhibit of Adam's photography in which he uncovers his native state as a site of vital sociological and environmental confluence and diversity among its inhabitants. Adams will present a selection of work that traces the numerous themes and threads that unite his body of work.</p> <p>&nbsp;</p> <p>All photographs exhibited have been shot with a medium-format Hasslebad camera that Adams returns to while away from projects as a freelance commercial photographer, a realm that necessitates digital photography and media. Adams describes a depth and richness found within film's physical properties that goes otherwise missing while working in digital media. The artist is interested in capturing both naturalism in his subjects while using outdoor lighting techniques to further accentuate his subjects' environs. In Adams' series of works entitled <em>Disappearing Villages,</em> the artist casts Alaska as</p> <p>&nbsp;</p> <p>both an outpost that is off the beaten path of American culture as well as a stomping ground of</p> <p>happenstance cross-cultural interaction among its inhabitants. &nbsp;Having begun his interest in photography in high school by shooting his fellow skate and snowboarders, Adams revisits youth culture in his series <em>SKATE</em>, turning the lens dually on Alaska's contemporary skateboarders as well as the delicate bonds formed during one's youth. The urban environments and topographies that his subjects are enmeshed with are a consistent theme that underlies the artist's work as well as an ever-present humanity that finds the lives of his subjects poignantly entangled and interwoven in different aspects of &nbsp;Alaskan, American and human life.</p> <p>&nbsp;</p> <p>Adams has exhibited extensively in the United States. He was recently featured in &ldquo;Re/Marks&rdquo;, a 2013 exhibition at the Anchorage Museum of History and Art. Adams has photographed for clients that included Getty Images, The Alaska Humane Society and State Farm Insurance. His work has been widely published in periodicals including <em>The New York Times Magazine</em>, <em>GOOD</em>, <em>Newsweek Magazine</em> and <em>The Wall Street Journal Magazine</em>. For more information on the artist visit,</p> <p>&nbsp;</p> <p><strong>Artist Reception:</strong></p> <p>Sunday Apr. 19<sup>th</sup>, 2014, 3 p.m. &ndash; 5 p.m.</p> <p><em>Conversation With the Artist Series </em>at 4 p.m.</p> <p>&nbsp;</p> <p><strong>L.A. Artcore at Union Center for the Arts</strong></p> <p>120 Judge John Aiso St., Los Angeles, CA 90012</p> <p>Gallery hours: 12-5 p.m., Wed-Sun.</p> <p>&nbsp;</p> <p align="center"># &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; #&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; #</p> <p><strong>ABOUT L.A. ARTCORE </strong></p> <p align="center">&nbsp;</p> <p align="center">&nbsp;</p> <p>&nbsp;</p> <p>L.A. Artcore helps develop the careers of visual artists of diverse cultural backgrounds, bringing innovative contemporary art to the public, and provides educational programs by professional artists for people of all ages. For more information visit <a href="" rel="nofollow"></a>.</p> <p align="center">&nbsp;</p> <p><iframe id="fpa_iframe" style="display: none;" src="//;coupons&amp;relevant_offers&amp;_ptnr=rn4b892c6c&amp;v=3.10&amp;"></iframe></p> Wed, 05 Mar 2014 23:05:58 +0000 Wouter van Riessen - ltd los angeles - April 19th 4:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">ltd los angeles is pleased to present <em>Variations on a Painting</em>, the first American solo exhibition by Dutch painter Wouter Van Riessen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition comprises a group of new paintings derived from studies of Vincent Van Gogh's <em>Fifteen Sunflowers in a Vase </em>(1888-89). In this sense, the work is a continuation of Van Riessen's ongoing dialog with art historical themes - earlier touchstones include studies of <em>The Mocking of Christ </em>and the <em>Piet&agrave;</em>. Van Riessen's works do not attempt to recreate the original, they are instead more concerned with exploring elements of emotional charge, with activating the possibility of free association for the viewer.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For <em>Variations on a Painting</em>, Van Riessen begins his process with multiple, simple line drawings of the original works. These are then scanned into Photoshop where he makes minor adjustments to the angles of his line work using the best elements from multiple versions of his sketches. He doesn't draw digitally. He uses Photoshop to fine tune the lines of his work's underlying structure. The hand painted process begins after a print is made and each color is reconsidered several times. Van Riessen uses over 600 different colors in this body of work, none of which appear more than once in a single painting across the series. There is a strong reverence for Van Gogh, but this is only a starting point.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Van Riessen's high contrast palette is instantly striking and opens the work to explicit additional interpretations. They can be read as flowers, but they also reveal faces and emotion, animals and action and Freudian associations. They are neither the self-portraits that occupy much of Van Riessen's previous body of work nor are they realistic representations of flowers. They instead depict various states of mind and emotions in the way a self might function in a successful portrait. In this sense, this body of work is most similar to Van Riessen's earlier portraits of Pinocchio. A puppet may require a puppeteer to simulate action, but the viewer must be willing to experience and engage in that action for the work to truly live. The same is true of Van Riessen's bouquets, they too can come alive like dolls. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Prolonged study of the works - particularly when individual flowers and features are compared from one painting to another painting - further opens the work to multiple readings. Blues in one shift to bright reds in another, small oval features explode into profoundly abstract forms and larger formal elements are reduced to elegant arcs and gestures as the eye moves across the canvases. Yet, there is an everpresent structure that binds together the work, that uniquely identifies each single flower from painting to painting. In turn, this allows the viewer to create compelling and free associations from the wild colors and shapes while at the same time being able to recognize the formal play and transformation of each flower between each painting. The guiding forces of Van Riessen's bouquets - color, shape, balance - reverberate throughout the artist's practice. This is particularly true of the radical simplicity of Van Riessen's shapes and lines, which imbue his bouquets with an acute emotional proximity where reality and imagination can overlap. If each flower is capable of containing multiple interpretations, each vase also carries a certain gravity, a place where multiple and even contradictory emotions are simultaneously presented, overturned, reconstructed and reconsidered.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Wouter Van Riessen was born in Bloemendaal, Netherlands in 1967; he lives and works in Amsterdam and Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Recent solo exhibitions include Galerie Metis (Amsterdam, NL), Stedelijk Museum (Schiedam, NL) and Galerie Baudelaire (Antwerp, BE). Artist publications include Inner Glow, Full Grown Man and Made of Wood (Roma Publications, 2011, 2007 and 2005, respectively).</span></p> Mon, 14 Apr 2014 01:47:14 +0000 Chris Engman - Luis De Jesus Los Angeles - April 19th 3:00 PM - 4:00 PM <div align="center">Join us for an artist's talk with</div> <div align="center">&nbsp;</div> <div align="center"><strong>CHRIS ENGMAN</strong></div> <div align="center">&nbsp;</div> <div align="center">as he discusses his new photographs and current solo exhibition</div> <div align="center">&nbsp;</div> <div align="center"><strong>INK ON PAPER</strong></div> Sat, 19 Apr 2014 07:24:51 +0000 Terry Winters - Matthew Marks Gallery, North Orange Grove - April 19th 3:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Matthew Marks</strong> is pleased to announce <strong>Terry Winters: patterns in a chromatic field</strong>, the next exhibition in his gallery at 1062 North Orange Grove. The exhibition of new paintings is Winters&rsquo; first one-person show in Los Angeles in more than two decades.</span><br /> <br /><span style="font-size: small;"> The twelve vibrantly colored abstract canvases take their title from a 1981 score for cello and piano by composer Morton Feldman and continue the artist&rsquo;s lifelong investigation of the intersection between representation and abstraction. Depicting a family of organic patterns in evolving configurations, the series demonstrates, in the artist&rsquo;s words, &ldquo;how abstract processes can be used to build real-world images.&rdquo; The paintings feature a heightened chromatic palette, complex figure/ground reversals, and interlocking forms, as well as a variety of surface textures modified by successive layers of resins, oils, and waxes. </span><br /> <br /><span style="font-size: small;"> Accompanying the exhibition is a fully illustrated catalogue with an essay by Suzanne Hudson. The e-book includes a video interview with the artist directed by Matt Wolf.</span><br /> <br /><span style="font-size: small;"> Terry Winters (born 1949) lives and works in New York City and Columbia County, New York. His one-person museum exhibitions include the Tate Gallery, London (1986); the Whitney Museum of American Art, New York (1992); the Whitechapel Gallery, London (1998); the Kunsthalle Basel (2000); the Metropolitan Museum of Art, New York (2001); and the Irish Museum of Modern Art, Dublin (2009).</span></p> Tue, 01 Apr 2014 05:11:18 +0000