ArtSlant - Openings & events en-us 40 - Blum & Poe - May 5th 7:00 PM - 9:00 PM <p>&nbsp;</p> <div align="center"><a href=";c=Vxi159AD7NCSp8onZfeQPdnFlvqISdM_V6eHEAh-P5MhwQm85zCzVA==&amp;ch=NDRjy4EggR6rO112fLSVnaOIraP7_9qfE2FqM4Z9OCv9soD92rmllg==" shape="rect" target="_blank"><img class="CToWUd" src="" alt="" name="m_1031738591560238989_ACCOUNT.IMAGE.960" width="369" height="116" border="0" hspace="5" vspace="5" /></a></div> <div> <div align="center">&nbsp;</div> <div align="center">&nbsp;</div> </div> <div align="center"><em>Two Pianos</em></div> <div align="center">&nbsp;</div> <div align="center">&nbsp;</div> <div align="center"><em>Piano Destruction Concert</em>,&nbsp;performed by Jim Brown</div> <div align="center"><em>Drishti Point</em>,&nbsp;performed by Tom Recchion</div> <div align="center">&nbsp;</div> <div align="center">&nbsp;</div> <div align="center">Blum &amp; Poe, Los Angeles</div> <div align="center">Thursday, May 5, 2016</div> <div align="center">&nbsp;</div> <div align="center">Doors open:&nbsp;6:30pm</div> <div align="center">Performances begin:&nbsp;7pm</div> <div style="text-align: justify;" align="center">&nbsp;</div> <div align="center"> <div style="text-align: justify;">Blum and Poe and Three Day Weekend are pleased to present&nbsp;<em>Two Pianos</em>, an evening of piano-based compositions.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">On&nbsp;Thursday,&nbsp;May 5th, 2016&nbsp;at Blum &amp; Poe Los Angeles, Jim Brown will perform Raphael Monta&ntilde;ez Ortiz'&nbsp;<em>Piano Destruction Concert</em>,&nbsp;followed by Tom Recchion performing his own&nbsp;<em>Drishti Point</em>.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Originally presented in 1966 at the&nbsp;Destruction in Art Symposium in London,&nbsp;<em>Piano Destruction Concert</em>&nbsp;is a musical piece in which the artist dismantles a piano using an axe. This is the first time that Ortiz has permitted another artist to perform the piece.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In&nbsp;<em>Drishti Point</em>&nbsp;Tom Recchion manipulates the strings of a concert grand piano from inside the instrument, creating a sound without using the keys. A rich drone results, seemingly altering time and space for the audience.</div> <div>&nbsp;</div> <div align="center">+++&nbsp;</div> <div>&nbsp;</div> <div style="text-align: justify;">Jim Brown is a Los Angeles based artist/musician who performs and records music internationally.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Raphael Monta&ntilde;ez Ortiz is an American artist, educator, and founder of El Museo del Barrio in Brooklyn, NY.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Tom Recchion has been an artist/composer/art director in Southern California since the 1970s. He is the co-creator of the legendary Los Angeles Free Music Society (LAFMS). His early practice in low-tech sonic exploration presaged many of the genre's exciting developments of the last quarter-century: record manipulation, live tape loops, found and invented instruments, installation and free improvisation.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Three Day Weekend is a roving project space operated by Dave Muller.</div> <div style="text-align: justify;"> <div align="center">+++</div> <div align="center">&nbsp;</div> <div align="center">Seating is limited,&nbsp;RSVP is essential</div> <div align="center">&nbsp;</div> <div align="center">Email:&nbsp;<a href="" shape="rect" target="_blank"></a>&nbsp;before&nbsp;Tuesday, May 3</div> <div align="center">&nbsp;</div> <div align="center">Parking and entrance at the rear of the building via Alvira Street</div> </div> </div> Sat, 30 Apr 2016 16:26:35 +0000 Kaari Upson - Hauser Wirth & Schimmel - May 5th 7:00 PM - 8:00 PM <p style="text-align: justify;">Kaari Upson (born in San Bernardino CA, 1972) is a multimedia artist best known for &lsquo;The Larry Project,&rsquo; (2005 &ndash; ongoing). Sifting through the abandoned belongings she found in a foreclosed home, Upson has created an extensive body of work that grapples with identity and the way in which meaning is bestowed upon objects. Her recent sculptural work continues to engage with the domestic realm, in deformed casts of household items, and deflated latex forms redolent with sexual imagery. Upson earned a&nbsp;BFA&nbsp;(2004) and&nbsp;MFA&nbsp;(2007) from the California Institute of the Arts, Valencia CA. In 2007, Upson had her first solo museum exhibition in the Hammer Projects series at the Hammer Museum in Los Angeles CA. Most recently, in 2015, Massimo De Carlo in London hosted a solo exhibition of the artist&rsquo;s work. Upson lives and works in Los Angeles CA.</p> Tue, 26 Apr 2016 08:11:53 +0000 Isaac Julien, Alfred Leslie, Frank O’Hara, Maha Maamoun - MOCA (Museum of Contemporary Art) at Grand Ave. - May 5th 6:00 PM - 9:00 PM <p style="text-align: justify;"><em data-verified="redactor">the missing</em>&nbsp;will present four film and video works, beginning with&nbsp;<em data-verified="redactor">The Attendant</em>&nbsp;(1993) by Isaac Julien and&nbsp;<em data-verified="redactor">The Last Clean Shirt</em>&nbsp;(1964) by Alfred Leslie and Frank O&rsquo;Hara, and ending with&nbsp;<em data-verified="redactor">Domestic Tourism II</em>&nbsp;(2009) by Maha Maamoun. A temporary installation of Mungo Thompson&rsquo;s 2002 video<em data-verified="redactor">The American Desert (for Chuck Jones)</em>, from MOCA&rsquo;s permanent collection, will be presented during the 30-minute intermission.&nbsp;<em data-verified="redactor">the missing</em>&nbsp;is part of a series of programs presented in conjunction with&nbsp;<em data-verified="redactor">storefront: Public Fiction: The Poet and The Critic, and the missing</em>.</p> <p style="text-align: justify;">Priority tickets are available to MOCA members one hour before the program at the MOCA Box Office. Fifteen minutes before the program begins tickets will be released to non-members. One ticket per person on a first come, first served basis. Early arrival is recommended.</p> <p style="text-align: justify;">To become a MOCA member, please contact the membership department at 213/621-1794 or&nbsp;<a href=""></a>.&nbsp;</p> <p style="text-align: justify;">Total screening time: 2 hours and 20 minutes, with a 30-minute intermission</p> <p style="text-align: justify;">&nbsp;</p> Mon, 14 Mar 2016 15:26:02 +0000 Wallace Berman - Kohn Gallery - May 6th 6:00 PM - 8:00 PM <p style="text-align: justify;">Kohn Gallery is pleased to present <em>Wallace Berman&mdash;American Aleph</em>, the artist&rsquo;s first comprehensive Los Angeles retrospective in almost four decades.</p> <p style="text-align: justify;">Commemorating the 40th anniversary of Berman&rsquo;s accidental death at age 50, the exhibition surveys the entire <em>oeuvre </em>of this seminal American artist from the late 1940s until 1976. Berman has been long heralded as one of the most significant and influential artists to emerge in Southern California. Spiritually inclined, yet steeped in popular culture and the political events of the day, he conducted reconnaissance far beyond the borders of Southern California, mining the American psyche and broadcasting his ideas through mysterious letters, publications, and multi- layered art works. Curated by Claudia Bohn-Spector and Sam Mellon, the exhibition seeks to recast Berman as an American rather than a strictly Californian artist, whose importance far transcends the regional context in which he is traditionally seen.</p> <p style="text-align: justify;">Wallace Berman is part of an intriguing and famous background starting with his first Los Angeles solo show in 1957 at the Ferus Gallery owned by Ed Kienholz and Walter Hopps. Many famous Pop artists made their West Coast debuts there as well, such as Andy Warhol and Roy Lichtenstein. Expanding his appeal abroad, he was part of a group exhibition in London at the Robert Fraser Gallery in 1966, where other artists in the gallery&rsquo;s roster included Richard Hamilton, Bruce Conner and Peter Blake. Famously, Blake put Berman&rsquo;s face among the notable crowd in his Beatles&rsquo; <em>Sgt. Pepper&rsquo;s Lonely Hearts Club Band </em>album cover, attesting to his creative influence far beyond the borders of the United States. Berman&rsquo;s works are included in the most prestigious art museums world wide including, Centre Pompidou, Paris; The Metropolitan Museum of Art, New York; Tate Gallery, London; Whitney Museum of American Art; MOCA, Los Angeles; LACMA, SFMOMA, and the Corcoran Gallery of Art, Washington DC to name a few.</p> <p style="text-align: justify;">&ldquo;We are very excited by the rare opportunity to show Berman&rsquo;s work, and to reevaluate it in the context of American art and culture during the 1950s, 60s and early 70s,&rdquo; says curator Sam Mellon. Through an interdisciplinary display of original art works, ephemera and videos the exhibition captures the spirit of irreverence and innovation that permeated this important era in modern art. Notes curator Claudia Bohn-Spector: &ldquo;Our exhibitions hopes to show that Berman was a transitional figure, who deftly blended the art of the European avant-garde with native vernacular traditions, like jazz and folklore, and his own hybrid version of American and Jewish mysticism.&rdquo; As interest in West Coast art increased over the past 40 years, scholars have consistently viewed Berman as a quintessentially Californian artist, whose entourage of likeminded friends was essential to the formation his creative vision. At once the prophetic and charismatic progenitor of &ldquo;Semina Culture&rdquo; and &ldquo;one of the best-kept secrets of the postwar era,&rdquo; Berman has long been considered a mostly regional player, due in part to his own disinterest in critical fortunes and his secluded, decidedly underground position in Los Angeles. &ldquo;Wallace never physically traveled the world,&rdquo; says the artist&rsquo;s son, Tosh Berman. &ldquo;Yet his ears and eyes always looked outside his workspace and he appeared to pick up vibrations from the other corners of the world.&rdquo; More recently in 2009 Richard Prince helped organize and exhibition of his paintings and sculpture along with works by Wallace Berman, whose work Prince collects for his personal collection. This exhibition shows that today Berman&rsquo;s art deserves a bigger stage, proposing that his <em>oeuvre </em>is best appreciated not only in the context of his immediate circle, but in direct comparison to some of the leading American and European artists of his day.</p> <p style="text-align: justify;">Accompanying the exhibition will be an illustrated catalogue, designed by Lorraine Wild of Green Dragon Studio and featuring essays by Bohn-Spector, Mellon, Kenneth Allan (Seattle University, WA), and an introduction by Tosh Berman, reassesses Berman&rsquo;s significant contributions to the history of 20th century American art. </p> <p style="text-align: justify;"><strong>About Wallace Berman</strong></p> <p style="text-align: justify;">Wallace Berman (1926-1976) was born in Staten Island, NY and came to Los Angeles when he was four years old. Essentially self-taught, he briefly attended Jepson Art Institute and Chouinard Art Institute, leaving both without a degree. In 1955, after immersing himself the L.A. jazz and Beat scenes, he founded the small but influential mail art publication <em>Semina </em>&ndash; a brilliant, loose-leaf compilation of the most advanced artists and poets of his time, including William Burroughs, Allen Ginsberg, and Jess (Collins). During the 1960s and early 1970s his home and studio in Topanga, CA, were a meeting place for musicians, artists and actors, from Brian Jones of the Rolling Stones to Dennis Hopper. Today, Berman is best known for his Verifax collages, sepia-colored photo-based works created with a forerunner of the photocopy machine. Influenced by Dada, surrealism, and assemblage, while keenly aware of contemporary artists like Robert Rauschenberg, John Cage, and Andy Warhol, Berman produced multilayered works that combined the picture of a hand-held transistor radio with images culled from newspapers and popular magazines.</p> Mon, 11 Apr 2016 18:39:12 +0000 John Kilduff - Daniel Rolnik Gallery - May 7th 6:00 PM - 11:00 PM <div>Hi,</div> <div>&nbsp;</div> <div>I'm Daniel and I own a little gallery in the Culver City Arts District right next to Blum &amp; Poe. On May 7th we are having an epic art show by John Kilduff as well as a live concert by The Radioactive Chicken Heads - my favorite band! It's going to be sweet! You and all your friends are invited!</div> <div><strong>&nbsp;</strong></div> <div><strong>&nbsp;</strong></div> <div><strong>INFO</strong></div> <div>Show Name: Kilduff's Cavern</div> <div>Opening Date: May 7th</div> <div>Opening Time: 6pm - 11pm</div> <div>Band Performance: 7:30pm</div> <div>Gallery:&nbsp;<a href="" target="_blank">Daniel Rolnik Gallery</a></div> <div>Address: 2675 S La Cienega Blvd, Los Angeles, CA 90034</div> <div>Artist:&nbsp;<a href="" target="_blank">John Kilduff (aka Mr. Let's Paint)</a></div> <div>Band:&nbsp;<a href="" target="_blank">The Radioactive Chicken Heads</a></div> <div>FB Event:&nbsp;<a href="" target="_blank"></a></div> <div>Short-Doc:&nbsp;<a href="" target="_blank"></a></div> Tue, 03 May 2016 18:16:22 +0000 - Los Angeles Contemporary Exhibitions (LACE) - May 7th 4:00 PM - 7:00 PM <p style="text-align: justify;">Join LACE in Hollywood for a panel discussion + launch celebrating Artillery Magazine&rsquo;s May/June photography issue.<br /><br /><strong>Moderator: Emily Wells<br />Panelists: Audrey Wollen, Amalia Ulman, Lili Bernard, Siobhan Hebron</strong><br /><br />Artillery&rsquo;s May/June issue focuses on photography today and features artist Audrey Wollen, interviewed by writer Emily Wells. Wollen confronts notions of female objectivity via Instagram. Feminism continually takes on new roles and voices in contemporary art, but the approaches that some artists take have been met with controversy. The artists in this panel each work in different media; their perspectives, too, are nuanced and distinct. Our panel discussion will address questions such as: What does &ldquo;feminist&rdquo; art look like, and how does it function within the larger contexts of feminism and art? Panelists will each describe their own approach to feminist concerns, and in dialogue with one another.</p> Thu, 28 Apr 2016 09:08:03 +0000 Greg Curtis - Monte Vista - May 7th 6:00 PM - 10:00 PM <p style="text-align: justify;" dir="ltr">&nbsp;&ldquo;Lens flare&rdquo; is a phenomena in photography and cinema that occurs when non-image forming light enters and refracts within the glass components of a camera lens before reaching the camera&rsquo;s film or digital sensor. The visible artifacts typically manifest themselves as&nbsp;starbursts, rings, or geometric shapes in a row across the image.&nbsp;These artifacts are a common obstacle in photography, usually suppressed through the use of coated lenses, hoods, and lighting technologies.&nbsp;However, the use of lens flare as a signifier of the presence of a documenting camera is suffuse within filmic culture today as a tool for lending reality to an otherwise fabricated digital world; in CGI sequences lens flare gives the illusion of a camera filming a scene that was digitally fabricated inside a computer.</p> <p style="text-align: justify;"><br />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Monte Vista Projects is proud to present&nbsp;<em>Event October Horizon</em>. Greg Curtis' exhibition is an installation of framed chromogenic prints wherein the mechanics of the camera lens itself are the sole object. With a camera pointed at a black backdrop in the artist&rsquo;s studio, a light was pointed into various lenses to produce and record isolated lens flares. The resulting images are at once diminutive and expansive: portraits of the camera&rsquo;s own machinations presented as vast extraterrestrial events. The images are paired with identically sized black monochromatic chromogenic prints that contain no information from the camera, pointing to the spaces between still images that construct cinematic sequences. The installed panorama consists of self-reflexive operations made with the fundamental apparatus of the entertainment industry, isolating and foregrounding what is usually considered at best an aesthetic flourish, and at worst an error on the part of the photographer.&nbsp;<br />&nbsp;</p> <p style="text-align: justify;" dir="ltr">Greg Curtis&rsquo; works in photography, video, and animation have recently been exhibited at the Conley Gallery at CSU Fresno; The Institute of Jamais Vu, London UK; Elephant, Los Angeles CA; Hedreen Gallery at Seattle University; Concord, Los Angeles CA; Weekend, Los Angeles CA; Cirrus Gallery, Los Angeles CA; Land of&nbsp;Tomorrow, Lexington KY; and Dan Graham, Los Angeles CA, among others. He received an MFA from California Institute of the Arts and is based in Los Angeles.</p> Thu, 28 Apr 2016 11:04:36 +0000 Group Show - Orange County Center for Contemporary Art - May 7th 6:00 PM - 10:00 PM Wed, 27 Apr 2016 19:28:35 +0000 Elaine Reichek - Shoshana Wayne Gallery - May 7th 5:00 PM - 7:00 PM <p style="text-align: justify;">All research begins with an anxiety and finishes with an imbalance.<br /> &mdash; Leon Chestov, 1938<br /> &nbsp;<br /> Shoshana Wayne Gallery is pleased to present <em>Minoan Girls</em> by Elaine Reichek featuring sixteen new works, including three large-scale tapestries.&nbsp; This is the artist&rsquo;s fourth solo exhibition with the gallery. The &ldquo;Minoan Girls&rdquo; series (2011&ndash;16) continues the exploration of Greek myth that Reichek began in her previous body of work, &ldquo;Ariadne&rsquo;s Thread.&rdquo; It centers on the narratives of lust, seduction, betrayal, bestiality, and abandonment that determined the fates of four mythic women of Minos: Europa, Pasiphae, Phaedra, and of course Ariadne. Thread is once again the foundational conceptual link running through the series, echoing Ariadne&rsquo;s gift to Theseus of the ball of thread that enabled him to navigate the Cretan labyrinth. In &ldquo;Minoan Girls&rdquo; Reichek focuses on the ways in which the Greek myths are continually retold and reenacted over the centuries, in the same way that sewing doubles a thread back upon itself repeatedly.<br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br /> Reichek employs a wide range of mediums, including both hand and digital embroidery, silkscreen, beading, digital photography, and tapestry. She uses these methods to re-create works by artists ranging from Titian, Rubens, and Rembrandt to Gustav Klimt, Eug&egrave;ne Atget, Andr&eacute; Masson, and Anni Albers, and pairs these images with quotations sampling a wide variety of literature, from Ovid, Plutarch, and Nonnus to Giorgio de Chirico, Stevie Smith, and Erika Mumford. The tones of these texts are by turns speculative, propositional, anticipatory, and ruminative. Each Minoan Girl is conscious of the part she plays and of the trajectory of her story. &ldquo;<em>You were the heroine</em>,&rdquo; says one narrator to Ariadne, who replies, &ldquo;Yes, so I was and am.&rdquo; This Ariadne is a diarist, shaping her own version of the narrative. Even the male protagonists&mdash;Zeus (taking the appearance of a bull), King Minos, the Minotaur, Theseus, Hippolytus&mdash;try on a succession of changing and often contradictory roles: father, son, sailor, rapist, seducer, bedfellow, husband.<br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br /> Reichek helpfully supplies a Minoan Family Tree, decked out as Klimt&rsquo;s &ldquo;Tree of Life.&rdquo; One of the best-known mythic scenarios, the Rape of Europa, is subjected to an almost diagrammatic exploration of the possibilities of narrative meaning and poetic appropriation. One pair of embroideries humorously translates the temporal layering of the &ldquo;back story&rdquo; into transparent needlepoint canvas. In another embroidery, the four women of the Minoan family are imagined walking hand-in-hand against a blood-red garland. This chain represents their connected fates and links their archetypal stories to countless possible future reinterpretations. Various formal and visual devices parallel the ways in which the ancient myths have been reinterpreted across centuries. For Reichek, the reiterative processes inherent in translation and interpretation are creative acts, and the movements they initiate among languages, disciplines, and materials open possibilities for new readings and meanings.<br /> &nbsp;<br /> Elaine Reichek has exhibited extensively at institutions in the United States and abroad, including the Museum der Moderne, Salzburg; The Museum of Modern Art, New York; the Wexner Center for the Visual Arts, Columbus, Ohio; the Palais des Beaux-Arts, Brussels; the Irish Museum of Modern Art; Dublin; and the Tel Aviv Art Museum.&nbsp; She has participated in biennials worldwide including, the Whitney Biennial, New York (2012); the 30<sup>th</sup> S&atilde;o Paulo Biennial, S&atilde;o Paulo, Brazil (2012); and the Cheongju International Craft Biennial, Cheongju, Korea (2011).&nbsp; Reichek has been the recipient of prestigious grants and awards such as the Francis J. Greenburger Award (2013); the Smithsonian Artist Research Fellowship (2011-12); the John Simon Guggenheim Memorial Foundation Fellowship (2005); and The Louis Comfort Tiffany Foundation Award (1993).&nbsp; The artist lives and works in New York.</p> Mon, 11 Apr 2016 17:25:03 +0000 Mark Sheinkman - Von Lintel Gallery - May 7th 6:00 PM - 8:00 PM <p style="text-align: justify;">Von Lintel Gallery is pleased to announce a solo exhibition of new paintings by New York artist&nbsp;<a href="" target="_blank">Mark Sheinkman</a>. The exhibition marks the artist&rsquo;s tenth with the gallery.</p> <p style="text-align: justify;">The compositions in this show are among the artist&rsquo;s most diverse. Frenetic, crisscrossing lines and spirographic roulettes cop the language of mechanical drawings and plunge into perpetual depths of field. While elsewhere serpentine scribbles and waving verticals vibrate into optical illusions focused more immediately on the surface.</p> <p style="text-align: justify;">The paintings follow a subtractive and additive process. Crushed graphite covers linen coated with white oil and alkyd. Then Sheinkman&mdash;wielding an eraser, brushes and various tools&mdash;carves into and wipes away the dark gray to expose the layers underneath. More graphite is applied and the method repeats; creating endless monochromatic variations of line and space.</p> <p style="text-align: justify;"><em>"The method yields inverted values: the drawings vaguely resemble photographic negatives, luminous tracery floating within dark fields. Sheinkman's all-over lines are kin to Jackson Pollock's skeins of paint and Brice Marden's calligraphic lyricism, but they have a distinctive ephemeral quality, somewhere between wisps of smoke and the ghost-like traces on X-rays.&ldquo;</em></p> <p style="text-align: justify;">&mdash;Leah Ollman, Los Angeles Times</p> <p style="text-align: justify;">Sheinkman was born in New York in 1963 and received a B.A. from Princeton University. His work is included in the permanent collections of the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; the National Gallery of Art, Washington, D.C.; and the Museum of Fine Arts, Houston, among others. He has exhibited regularly in the United States and abroad, including solo exhibitions at the Kemper Museum of Contemporary Art, Kansas City, MO; the Grand Rapids Art Museum, Grand Rapids, Michigan; and the Museum Gegenstandsfreier Kunst, Otterndorf, Germany.</p> Thu, 28 Apr 2016 11:20:55 +0000 Chuck Kelton - Von Lintel Gallery - May 7th 6:00 PM - 8:00 PM <p style="text-align: justify;">Von Lintel Gallery is pleased to an announce an exhibition of experimental photography by New York artist&nbsp;<a href="" target="_blank">Chuck Kelton</a>. The exhibition is the artist&rsquo;s first solo show with the gallery.</p> <p style="text-align: justify;">Kelton works inside the darkroom transforming light, paper and chemistry into rich, abstract landscapes that express the beauty and function of silver photographic materials. Because his practice foregoes cameras and negatives, each work is rendered entirely unique.</p> <p style="text-align: justify;">Gold chloride and selenium toned chemograms coax a surprising palette of fiery oranges and lush violets from gelatin silver paper. In a smaller suite of work, Kelton combines chemogram and photogram techniques; the shift marked with a cracked, folded horizon line separating swirling tones from values that transition into a subtle, velvety black.</p> <p style="text-align: justify;">The image in a photogram is the result of exposing photographic paper to light&mdash;<em>writing with light</em>. Whereas the image in a chemogram is the outcome of exposing photographic paper to developer and fixer&mdash;<em>writing with chemistry</em>.</p> <p style="text-align: justify;">After decades of working with negative based imagery, Kelton turned his eye towards a reduced pictorial space. He stripped photographic materials down to the studs; building essential, minimalist compositions of black and white lines. In subsequent series, he pushed color back into the structure by exploring early processes like gold and iron toning using new and expired chemicals.</p> <p style="text-align: justify;"><em>&ldquo;The darkroom experience has always had a magical place in my life. Though the materials change, the thrill of the darkroom drama remains the same. The process has been going on for more than 150 years and every time you make a print, you are tied into that history.&rdquo;</em></p> <p style="text-align: justify;">&mdash;Chuck Kelton interview with Onward Photo</p> <p style="text-align: justify;">Kelton's work has been featured in numerous exhibitions and publications and is in the collections of the Museum of Fine Arts Boston; Biblioth&eacute;que nationale de France; Norton Museum of Art, West Palm Beach, Florida; International Center of Photography, New York; and New York Public Library. The artist lives and works in Jersey City, NJ.</p> Thu, 28 Apr 2016 15:51:10 +0000 Felix Bernstein, Gabe Rubin - MOCA Geffen Contemporary - May 8th 3:00 PM - 5:00 PM <p>MOCA welcomes New York-based poets and performers Felix Bernstein and Gabe Rubin for a special Los Angeles reading. Bernstein and Rubin are an ambiguous twosome. Their projects have included&nbsp;<em data-verified="redactor">Tender Cousins</em>,&nbsp;<em data-verified="redactor">Boyland</em>, and&nbsp;<em data-verified="redactor">Bieber Bathos Elegy</em>&nbsp;at the Whitney Museum. Bernstein is the author of<em data-verified="redactor">Burn Book</em>&nbsp;and&nbsp;<em data-verified="redactor">Notes on Post-Contemptual Poetry</em>. Rubin&rsquo;s album&nbsp;<em data-verified="redactor">Wendy and Casper Hauser</em>&nbsp;is forthcoming.<br />Priority tickets are available to MOCA members one hour before the program at the MOCA Box Office. Fifteen minutes before the program begins tickets will be released to non-members. One ticket per person on a first come, first served basis. Early arrival is recommended.</p> Tue, 05 Apr 2016 19:19:56 +0000 - California African American Museum - May 11th 10:00 AM - 5:00 PM <p><em>Oh Snap! West Coast Hip Hop Photography</em>&nbsp;presents a focused selection of photographs that explore one of the most influential musical genres and cultural movements of the last quarter century: Hip Hop. Centering on the unique style developed on the West Coast of the United States, and particularly in California, this exhibition highlights the dynamic array of Hip Hop artists that gained national prominence in the 1990s, including Ice Cube, YoYo, Tupac, and E-40.&nbsp;<em>Oh Snap!</em>&nbsp;features more than forty works by an array of renowned photographers: Michael Miller, author of&nbsp;<em>West Coast Hip Hop: A History in Pictures</em>(2011); creative industry professional Carl Posey; Ernie Paniccioli, member of the Hip Hop Hall of Fame and considered Hip Hop royalty; Estevan Oriol, the internationally celebrated photographer and director; and Paul Chan, former photographer for Kronick Magazine. The first of its kind to be organized at CAAM, this exhibition pays homage to the distinct flavor, evolution, and influence of West Coast Hip Hop music.</p> Fri, 22 Apr 2016 23:58:24 +0000 Julian Hoeber - Blum & Poe - May 13th 6:00 PM - 8:00 PM <p style="text-align: justify;">Blum&nbsp;&amp; Poe is pleased to present an exhibition of new work by Los Angeles-based artist Julian Hoeber. The exhibition marks Hoeber&rsquo;s&nbsp;sixth solo exhibition with the gallery, and the second chapter of an expansive ongoing project titled&nbsp;<em>Going&nbsp;Nowhere</em>.&nbsp;</p> <p style="text-align: justify;">The work of the project centers around designing and imagining an airport terminal &ndash; one from which there are no flights, but rather&nbsp;circuitous journeys through the structure itself. This imaginary terminal functions as a machine for rumination and imagination &ndash; an experience intended for the viewer, but also directly mimicking the artist&rsquo;s process and practice, in and out of the studio.</p> <p style="text-align: justify;">The title&nbsp;<em>Going Nowhere</em>&nbsp;carries the double meaning of both the failure to make progress, as well as the insistence on permanence. It also plays on the etymology of the word &lsquo;utopia,&rsquo; which literally&nbsp;translates as &lsquo;nowhere.&rsquo; The project is in&nbsp;part a rewriting of various bits and pieces of Modernist utopian endeavors, some versions more sympathetic than others. With&nbsp;<em>Going Nowhere</em>&nbsp;the artist envisions what it would be like to make a space that produces&nbsp;contemplation and even laziness, while simultaneously acting as an architectural metaphor for the radical potential of introspection.</p> <p style="text-align: justify;">The exhibition includes new sculptures comprised of fiberglass-reinforced gypsum-cement; molds used for producing objects that are repurposed as sculptures in and of themselves; structural wall reliefs of curious, meticulous forms; as well as&nbsp;works on paper. Many of the artworks in the exhibition are part idea-development, part model, and part self-contained, informing in greater detail what the form of the airport may be &mdash; and solidifying the artist&rsquo;s desire to imagine the building as generative of more than just a product of its inhabitants.</p> <p style="text-align: justify;">Developing a formal vocabulary which fuels Hoeber to produce an ever-evolving environment that allows for this sort of return to the center of a structure (or to the center of the self), this newest body of work&nbsp;cribs from the ideas and forms of Gin Wong, Janet Bennett, and Charles D. Kratka who worked for William Pereira on the design of the Los Angeles International Airport. As well, the work explores and riffs off of the mathematical architecture of Anne Tyng, who worked closely with Louis I. Kahn and is seen as a precursor to contemporary computational architecture. Through poetics and metaphor, Hoeber&rsquo;s ongoing collaborative processes utilize the forms and materials to continuously sculpt negative space.</p> <p style="text-align: justify;">Julian Hoeber&nbsp;(b. 1974, Philadelphia, PA) has a BA in Art History from Tufts University, a BFA from the School of the Museum of Fine Arts, Boston, and an MFA from Art Center College of Design, Pasadena. His work is featured in public and private collections internationally including Dallas Museum of Art; Deste Foundation Centre for Contemporary Art, Athens; Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Nasher Sculpture Center, Dallas; Rosenblum Collection, Paris; Rubell Family Collection, Miami; Francis Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY; and the Western Bridge Museum, Seattle.</p> Sat, 30 Apr 2016 07:44:06 +0000 Zhu Jinshi, Quentin Morris, Kōji Enokura - Blum & Poe - May 13th 6:00 PM - 8:00 PM <p style="text-align: justify;">lum &amp; Poe is pleased to present&nbsp;<em>Black.</em>, an exhibition investigating the notion and function of monochromatic black painting by way of the work of three artists: Zhu Jinshi, Quentin Morris, and Kōji Enokura. Via three distinct impulses, the artists convey identity, practice, and methodology from the fringe &ndash; be it sociopolitical, geographical, or spiritual &ndash; manifested through a spectrum of scale, timbre, and texture, as a platform for the black pigment palette.&nbsp;<em>Black</em>. is comprised of three rooms respectively presenting the work of three artists.</p> <p style="text-align: justify;">In the first gallery, the viewer is confronted with Zhu Jinshi&rsquo;s staggering work titled&nbsp;<em>Wall of Air</em>; ten canvases adjoined to metal frames, spanning over 65 feet in length. These paintings are created through a highly physical process, oil paint applied to canvas in a manner akin to pouring asphalt pavement for roadwork. The reference to labor is never distant from the artist&rsquo;s practice &ndash; coming of age during the onset of the Cultural Revolution of China, Zhu was assigned factory work as a youth and thereafter developed his painterly skills by apprenticeship and without formal academic training. Zhu has consistently experienced the position of the outsider &ndash; operating on the sociopolitical fringe of oppressive Cultural Revolution era China by virtue of being an experimental artist; and in self-exile, relocating from Beijing to Berlin in 1986, remaining in the West for the following twenty years. The color black of this sprawling piece channels Eastern lexicons: Heaven&rsquo;s Color (I-Ching), Daoist color symbology, and the artist describes the color as one comprised of five others &ndash; the antithesis of void and deprivation, but rather a dynamic amalgam. &nbsp;</p> <p style="text-align: justify;">In a second room, Philadelphia artist Quentin Morris&rsquo; black monochrome circle paintings float on charcoal walls &ndash; unframed, unstretched, and affixed by only the crest of the canvas. Morris has been almost exclusively employing black paint and the form of the circle in his art practice for fifty years, beginning as a student at the Pennsylvania Academy of the Fine Arts. These narrow aesthetic parameters serve the artist as tools for prodding and navigating identity politics and spirituality; they function in the critical analysis and subversion of laden Western connotations surrounding the color, and engage signifiers central to Buddhist concepts of enlightenment, transcendence, and the void. Morris explains, &ldquo;I began exploring monochromatic painting ... exclusively black using a myriad of tonalities and textures to present black's intrinsically enigmatic beauty and infinite depth, to refute all negative cultural mythologies about the color, and ultimately, to create work that innately expresses the all encompassing spirituality of life." Morris&rsquo; process consists of the application of graphite, powdered pigment, crayon, spray-paint, ink, and acrylic to surfaces of canvas, linen, mylar, or found paper as they lay flat on the studio floor. What results is a body of work with a plethora of subtle variations, yielded from a half-century meditation on the color black.</p> <p style="text-align: justify;">The work of Kōji Enokura is rooted in the existential anxiety that permeated Japan in the late 1960s and early 1970s. Amid a politically tense climate of antiwar protest and concerns about the environmental cost of Japan&rsquo;s rapid postwar modernization, artists focused on the elemental questions of material and space. At this time, Enokura was associated with Mono-ha, a group of artists who explored the qualities of natural and industrial materials, and the interdependent relationships among them and their surrounding space. Discoloring the floors and walls of galleries and outdoor sites with oil, grease, soil and mortar, Enokura&rsquo;s interventions were some of the most enigmatic examples of the Mono-ha practice. From the end of the 1970s, he shifted these acts of staining onto cotton cloth, which are displayed in the third gallery. The artist built up dense fields of smooth black paint, allowing it to bleed into unmarked sections of the canvas. The phenomenological relationship between the wall, floor, and everyday objects remains crucial to many of these works. In the&nbsp;<em>Intervention</em>&nbsp;series, the artist variously leaned wooden beams against the canvas or affixed bottles, houseplants, and electrical sockets to the surface; drenching each of them in paint. In the&nbsp;<em>Figure A</em>&nbsp;series, he pinned all-black cloths to the wall and let them fold out onto the floor.</p> <p style="text-align: justify;">Zhu Jinshi has been the subject of numerous solo exhibitions, including at Blum &amp; Poe, New York (2016) and Blum &amp; Poe, Los Angeles (2012).&nbsp;A retrospective of the artist&rsquo;s work&nbsp;<em>Performance in Paint</em>&nbsp;curated by Melissa Chiu, director of the Hirshhorn Museum and Sculpture Garden in Washington DC, recently closed at the Inside-Out Museum, Beijing. Other important solo shows include&nbsp;<em>On the Road</em>, City of Prague Museum, Czech Republic (2002);&nbsp;<em>Tao of Rice Paper</em>, Museum of Vancouver, Canada (1997); and&nbsp;<em>Fangzhen</em>, DAAD Galerie, Berlin (1990).&nbsp;Recent group exhibitions include&nbsp;<em>Alone Together</em>, Rubell Family Collection, Miami (2012);&nbsp;<em>Mind Space: Maximalism in Contrasts</em>, University of Pittsburgh, Pennsylvania (2011); and&nbsp;<em>China Now &ndash; Art in Times of Change</em>, ESSL Museum, Vienna, Austria (2006).</p> <p style="text-align: justify;">Quentin Morris has exhibited at numerous museums across the country and internationally, including a retrospective of the artist&rsquo;s work at the Pennsylvania Academy of the Fine Arts, Philadelphia in 2004. His work has been featured in group exhibitions at such institutions as the African American Museum in Philadelphia (2006, 2000); Arcadia University Art Gallery, Glenside, PA (2001); The Drawing Center, New York, NY (2002, 1993); Emory Museum of Art and Archeology, Atlanta, GA (1990); Moore College of Art and Design, Philadelphia, PA (1991, 1990, 1988); Museu de Arte Contempor&acirc;nea, Recife, Brazil (1993); Pennsylvania Academy of the Fine Arts (2010, 2004, 1975); Philadelphia Museum of Art (1999); and The Studio Museum in Harlem, New York, NY (2009, 2006, 2004). &nbsp;</p> <p style="text-align: justify;">This will be the third exhibition at Blum &amp; Poe to feature the work of Kōji Enokura, including a solo exhibition in 2013, and his inclusion in the monumental, historical presentation of Mono-ha curated by Mika Yoshitake in 2012,&nbsp;<em>Requiem for the Sun: The Art of Mono-ha.</em><em>&nbsp;</em>The artist has had numerous solo exhibitions at Japanese galleries and museums, including the National Museum of Art, Osaka (1994), and the Museum of Contemporary Art, Tokyo (2005). Enokura&rsquo;s work has also been included in landmark surveys, such as<em>&nbsp;</em><em>Prima Materia</em>, at the Punta della Dogana, Venice, Italy (2013);&nbsp;<em>Reconsidering Mono-ha</em>, National Museum of Art, Osaka (2005);&nbsp;<em>Avanguardie Giapponese degli Anni 70,&nbsp;</em>Galleria Comunale d&rsquo;Arte Moderna di Bologna (1992), and Setagaya Art Museum, Tokyo (1993); Venice Biennale (1978); Biennale of Sydney (1976); Paris Biennale (1971); and&nbsp;<em>Tokyo Biennale &rsquo;70: Between Man and Matter</em>, Tokyo Metropolitan Art Museum (1970).</p> Sat, 30 Apr 2016 07:45:55 +0000 Elliott Hundley - Regen Projects (Hollywood) - May 13th 6:00 PM - 8:00 PM <p style="text-align: justify;">Regen Projects is pleased to present an exhibition of new work by Los Angeles-based artist&nbsp;<strong>Elliott Hundley</strong>. On view will be a series of billboard collages and a sculpture that form an ongoing visual narrative. This will be the artist&rsquo;s fourth solo presentation at the gallery.</p> <p style="text-align: justify;">Known for his dense multimedia compositions that reference both art history and mythology, Hundley&rsquo;s work weaves together scenes from the past with familiar imagery taken from the contemporary world. Whereas previous bodies of work have focused on classical Greek tales such as Euripides&rsquo;s tragedy<em>The Bacchae</em>, this exhibition presents a shift in subject matter, moving from antiquity to the modern, and is loosely based on Antonin Artaud&rsquo;s play&nbsp;<em>There Is No More Firmament</em>. Devoid of a traditional narrative structure and identifiable protagonists, the play utilizes visuals, sound, gesture, and language to confront the viewer and create an impactful, visceral state of chaos.&nbsp;</p> <p style="text-align: justify;">Referencing similar mechanisms employed in Artaud&rsquo;s theory of the Theatre of Cruelty, Hundley intricately crafts his tableaux from a wide-ranging selection of materials and sources. Each billboard collage represents a different state of anxiety &ndash; of surroundings, society, the body, and of being and mortality &ndash; and features a synthesis of painting, drawing, sculpture, collage, photography and performance. Beginning with an elaborate photo shoot in which his friends and family are cast to embody characters or ideas expressed in the narrative, the resulting photographs are blown up, cut up, and affixed onto the surface of the works. Through a process ranging from gradual accumulation to spontaneous mark making, Hundley builds up the surface of his works using paint, magazine cutouts, fabric, straight pins, found objects, and other materials sourced from his extensive archive. These formally elaborate constructions play with abstraction and representation, inviting the viewer to create narrative and meaning.&nbsp;</p> <p style="text-align: justify;">&ldquo;This constantly mirrored interplay, passing from a colour to gesture, from cries to movements, endlessly leads us along rough paths that are difficult for the mind, pitching us into that uncertainty, that indescribably anxious state most suited to poetry.&rdquo; Antonin Artaud,&nbsp;<em>On The Balinese Theatre</em>,&nbsp;<span style="text-decoration: underline;">The Theatre and its Double</span>, 1938&nbsp;</p> <p style="text-align: justify;"><strong>Elliott Hundley</strong>&nbsp;(b. 1975) received his BFA from the Rhode Island School of Design (1997) and his MFA from the University of California, Los Angeles (2005). The artist lives and works in Los Angeles.&nbsp;</p> <p style="text-align: justify;">In 2011, Hundley&rsquo;s major solo exhibition&nbsp;<em>The Bacchae</em>&nbsp;opened at the Wexner Center for the Arts in Columbus, OH and traveled to the Nasher Sculpture Center, Dallas, the following year. His work has been featured in numerous group shows, including the Museum of Contemporary Art, Los Angeles (2015, 2013 and 2009); International Center for Photography, New York (2013); Louisiana Museum of Modern Art, Humleb&aelig;k, Denmark (2012); New Museum, New York (2010); and Guggenheim Museum, New York (2007).&nbsp;</p> <p style="text-align: justify;">Hundley&rsquo;s work is held in prominent museum collections, including the Museum of Modern Art, New York; Guggenheim Museum, New York; Walker Art Center, Minneapolis; San Francisco Museum of Modern Art; Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; and Louisiana Museum of Modern Art, Humleb&aelig;k, Denmark.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">An opening reception for the artist will be held on Friday, May 13, from 6:00 &ndash; 8:00 pm.</p> Thu, 28 Apr 2016 09:40:47 +0000