ArtSlant - Recently added http://www.artslant.com/la/Events/show en-us 40 Group Show - L.A. Louver - November 16th - January 14th, 2017 Sun, 25 Sep 2016 11:22:45 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Matt Wedel - L.A. Louver - July 13th - October 1st Sun, 25 Sep 2016 11:15:39 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Jim Blanchard - La Luz de Jesus Gallery - October 7th - October 30th <p style="text-align: justify;"><strong>Jim Blanchard</strong>&lsquo;s work from 1982&ndash;2002 intersected with punk rock, grunge, psychedelia, alternative comics, &ldquo;zine&rdquo; culture, portraiture, and &ldquo;girlie&rdquo; art. The newly released <em><strong>Visual Abuse</strong></em> gathers Blanchard&rsquo;s art into a cohesive whole; one section assembles the best of Blanchard&rsquo;s LP covers, posters and flyers from the hardcore punk era through grunge, including iconic Black Flag, Nirvana, and Soundgarden posters.</p> <p style="text-align: justify;">This exhibition is a survey of the many aspects of Jim&rsquo;s work that prove his place among the poster art greats. Augmenting the posters are the original drawings and paintings that became his most iconic images.</p> Sun, 25 Sep 2016 11:02:27 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Sonny King - La Luz de Jesus Gallery - October 7th - October 30th <p style="text-align: justify;">Inspired by a childhood that was split between a strict Australian boarding school and the colorful environment of the circus where his father worked, <strong>Sonny King</strong> creates vibrant renditions of big-top life that take viewers back in time. His work captures beautifully the bustling activity and energy of the circus, offering perspectives from both inside and outside the tent in scenes that are dramatic, dynamic, and carefully arranged. Delightfully animated figures&ndash;aerialists, clowns, and enthusiastic show-goers&ndash;inhabit his three-dimensional creations and paintings. Each scene reflects King&rsquo;s eye for specifics, as he lavishly embellishes every section of a work. A love of bold colors and experimental lighting are distinctive of his style.</p> <p style="text-align: justify;">Other subjects, including small-town life, have inspired Sonny to create lively, folksy dioramas. On his thoughtfully rendered presentations, telling moments come together in ways that are touching yet never overly sweet. His work pays tribute to the past without hovering in sentimentality. Several of the pieces in this exhibition were part of a mini-retrospective at the California Folk Art Museum, and&nbsp;his animatronic <em>Ferris Wheel</em> is sure to satisfy <em>Carny</em>&nbsp;fans of all ages.</p> Sun, 25 Sep 2016 11:02:10 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Tamara Henderson - REDCAT - October 15th - December 16th <p class="p1" style="text-align: justify;">Tamara&nbsp;Henderson&rsquo;s writings, sculptures, 16mm films and paintings often refer to dreamscapes that the artist reconstructs in the exhibition space. She creates sculptures inspired by a process of notating ideas while under hypnosis, and her films are surrealist tales of passage, transformation and decay, in which objects and images are personified and imbued with the artist&rsquo;s personal history and memories. Henderson collects objects from various sources, including found and recycled items and gifts gathered throughout her travels, and assembled into large-scale installations.</p> <p class="p1" style="text-align: justify;">Henderson&rsquo;s first solo exhibition on the West Coast includes an expanded version of <em>Seasons End</em>, the ambitious installation she premiered at the 2016 Glasgow International, as well as a selection of the artist&rsquo;s films and other works. Henderson&rsquo;s recent research focuses on past and present totems, seasonal change, pagan gods and goddesses, fairies and scarecrows.&nbsp;&nbsp;She has been working with the figure of the garden photographer, as well as a lofty body of plants, wood and fabric, captured as memories using a pinhole camera apparatus. &ldquo;While she stands she remembers; while she remembers she photographs; her nervous system is a system of flash-bulbs.&rdquo;&nbsp;</p> <p class="p1" style="text-align: justify;"><em>About the artist:</em></p> <p class="p1" style="text-align: justify;"><em>Tamara Henderson is an artist from Sackville, Canada who lives and works in an itinerant fashion. Her work has been seen in group exhibitions at Glasgow International (2016), Rodeo, Istanbul (2013), dOCUMENTA (13), Kassel (2012); On the Tip of My Tongue, Magasin 3 (2013), Western Front, Vancouver (2013). Recent Solo Exhibitions include: Evergreen Minutes of the Phantom Figure at Nuremberg Kunstverein (2013); Bottle Under the Influence (with Julia Feyrer), Walther Philips Gallery. Henderson was also a short-list finalist for the Sobey Award (2013). Upcoming exhibitions include Galerie Nordenhake in Stockholm, Apartment, Vancouver, and Graz Kunstverein, Austria.&nbsp;</em></p> <div class="field field-name-field-content-copres-credit field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Produced in part with Glasgow International.</p> </div> </div> </div> Sun, 25 Sep 2016 11:00:50 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - REDCAT - October 2nd 1:00 PM - 5:00 PM <p style="text-align: justify;">Two days of workshops and events featuring Julieta Aranda, Benjamin Bratton, Ricardo Dominguez, Ruth Est&eacute;vez, Sohrab Mohebbi, Stephen Squibb, Andrew Norman Wilson, and Dena Yago.</p> <p style="text-align: justify;">For almost a century, art has been positioning itself vis-&agrave;-vis the cultural industry. But today, with the mass availability of user-friendly media technology at the tip of our fingers, that industry is undergoing a mass transformation. How will art respond to the reconfiguration, and possible collapse of its preferred opponent?</p> <p style="text-align: justify;">Will it dismount and take a knee before the evacuated sound stage, overcome with emotion at the fate of its old counterpart? Will the museum&rsquo;s staff drive in triumphant circles at the center of Paramount's lawn? It's not like us to celebrate. How will we greet our dawn?</p> <p style="text-align: justify;">e-flux is pleased to announce the beginning of an open-ended collaboration with REDCAT, beginning the weekend of October 1-2, 2016, in pursuit of these and other questions.</p> <p style="text-align: justify;"><strong>Sunday, October 2&nbsp; &ndash; Theory/fiction</strong></p> <p style="text-align: justify;">Workshop with Julieta Aranda, Benjamin Bratton, and Ricardo Dominguez</p> <p style="text-align: justify;">1:00&ndash;3:00 pm | Free event. Space is limited, please <strong>RSVP:</strong> <a href="mailto:redcatrsvp@calarts.edu">redcatrsvp@calarts.edu</a></p> <p style="text-align: justify;">Julieta Aranda, Benjamin Bratton, and Ricardo Dominguez will hold a workshop considering the contemporary work of theory/fiction.&nbsp;</p> <p style="text-align: justify;">Conversation with Julieta Aranda, Benjamin Bratton, and Ricardo Dom&iacute;nguez</p> <p style="text-align: justify;">4:00 pm |&nbsp;Admission is free and open to the public;</p> <p style="text-align: justify;">It has been said that science and philosophy are linked because they are both theoretical disciplines. By that same logic they are also immigration officials, patrolling the border with fiction. Theory/fiction is the insurgent practice of smuggling ideas across the border.</p> <p style="text-align: justify;">Julieta Aranda, Benjamin Bratton, and Ricardo Dominguez will hold a workshop considering the contemporary work of theory/fiction.&nbsp;</p> <p style="text-align: justify;">Then at 4pm, Aranda, Bratton, and Dominguez will have a public conversation on the topic.</p> Sun, 25 Sep 2016 11:00:16 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - REDCAT - October 1st 1:30 PM - 6:00 PM <p style="text-align: justify;">Two days of workshops and events featuring Julieta Aranda, Benjamin Bratton, Ricardo Dominguez, Ruth Est&eacute;vez, Sohrab Mohebbi, Stephen Squibb, Andrew Norman Wilson, and Dena Yago.</p> <p style="text-align: justify;">For almost a century, art has been positioning itself vis-&agrave;-vis the cultural industry. But today, with the mass availability of user-friendly media technology at the tip of our fingers, that industry is undergoing a mass transformation. How will art respond to the reconfiguration, and possible collapse of its preferred opponent?</p> <p style="text-align: justify;">Will it dismount and take a knee before the evacuated sound stage, overcome with emotion at the fate of its old counterpart? Will the museum&rsquo;s staff drive in triumphant circles at the center of Paramount's lawn? It's not like us to celebrate. How will we greet our dawn?</p> <p style="text-align: justify;">e-flux is pleased to announce the beginning of an open-ended collaboration with REDCAT, beginning the weekend of October 1-2, 2016, in pursuit of these and other questions.</p> <p style="text-align: justify;"><strong>Saturday, October 1 &ndash; The Artist in Crisis</strong></p> <p style="text-align: justify;">Workshop with Stephen Squibb and Dena Yago.</p> <p style="text-align: justify;">1:30 &ndash; 3:30 pm | Free event. Space is limited, please <strong>RSVP:</strong>&nbsp;<a href="mailto:rsvpredcat@calarts.edu">redcatrsvp@calarts.edu</a></p> <p style="text-align: justify;">Conversation with Julieta Aranda, Ruth Est&eacute;vez, Sohrab Mohebbi, and Stephen Squibb. Screening of <em>Ode to Seekers</em>, <em>2012</em> by Andrew Norman Wilson.</p> <p style="text-align: justify;">5:00 pm | Public and free event.</p> <p style="text-align: justify;">Recent trends have urgently raised the question of whether the artist is an artist anymore, or rather something else. A revolutionary in disguise, or some kind of organizer? Do we need the artist to be something distinct with regards to art? Or is it rather to their social milieu that the identity of the artist should refer?</p> <p style="text-align: justify;">Stephen Squibb and Dena Yago will hold a workshop considering the fate of the artist-figure in recent constellations. [info TBA]</p> <p style="text-align: justify;">At 5:00 pm, Julieta Aranda, Ruth Est&eacute;vez, Sohrab Mohebbi, and Stephen Squibb will have a public conversation introducing the new e-flux journal series at REDCAT. Following this, Andrew Norman Wilson will screen and discuss his new work <em>Ode to Seekers 2012</em> (HD video, color, sound, 8 minutes 30 seconds, 2016)<strong> <br /></strong></p> Sun, 25 Sep 2016 09:15:13 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list R.H. Quaytman - MOCA (Museum of Contemporary Art) at Grand Ave. - October 16th - February 6th, 2017 <p style="text-align: justify;">MOCA presents <em>R. H. Quaytman, Morning: Chapter 30</em>, the first major museum survey of work by New York&ndash;based artist R. H. Quaytman, organized by MOCA Senior Curator Bennett Simpson. Consisting primarily of oil painting and silkscreen on precisely constructed wood panels, Quaytman&rsquo;s expansive and ongoing project is organized into site-specific exhibitions that she calls &ldquo;chapters.&rdquo; Since 2001, Quaytman has produced 29 of these bodies of work, each drawing on narratives that reference the exhibition location, and all sharing the artist&rsquo;s now-signature attention to the intersection of craft, life, and a vast network of intellectual and artistic interests. Featuring approximately 65 paintings selected from the past 10 years, including one complete &ldquo;chapter&rdquo; from 2011 and a significant cycle of new work made in response to MOCA and its collection, this exhibition is both an in-depth assessment and, as its title suggests, a kind of new beginning.</p> <p class="hidden-content" style="text-align: justify;" data-read-more="0">A point of departure for Quaytman&rsquo;s newest paintings is Michael Heizer&rsquo;s seminal earthwork <em>Double Negative</em> (1969&ndash;70), a 240,000-ton excavation and displacement of rhyolite and sandstone that takes the form of two trenches cut into the eastern edge of Nevada&rsquo;s Mormon Mesa. At the outset of researching her exhibition for Los Angeles, Quaytman was drawn in by the mythology surrounding the North American desert and <em>Double Negative</em>&rsquo;s particularly complicated relationship to MOCA, as an artwork held in the museum&rsquo;s collection but one that will always and forever be outside the museum&rsquo;s walls. In late 2015, Quaytman traveled to southern Nevada to view Heizer&rsquo;s work, capturing the austere landscape of rock, sand, and light with her Fuji FP-1 instant camera. The resulting photographs serve as a leaping-off point for a group of 22 silkscreen-and-gesso paintings being produced for <em>R. H. Quaytman, Morning: Chapter 30</em>. As a painter whose works are exclusively site-specific&mdash;all produced in response to institutional, geographic, or discursive sites and their related subjects&mdash;Quaytman is also rigorously engaged in a process of excavation as she digs out histories that are often underrepresented or marginal and, through the sheer beauty of her paintings, compels us to look.</p> <p style="text-align: justify;"><em>R. H. Quaytman, Morning: Chapter 30</em> will be accompanied by a fully illustrated catalogue, copublished by MOCA and DelMonico Books ∙ Prestel, which will constitute the most comprehensive and scholarly examination of the artist&rsquo;s work to date. This book features selections from Quaytman&rsquo;s extensive photographic archive, published here for the first time, alongside new essays by Simpson, art historian Yve-Alain Bois, and philosopher Juliane Rebentisch.</p> <p style="text-align: justify;"><em>R.H. Quaytman, Morning: Chapter 30</em> is organized by MOCA Senior Curator Bennett Simpson, with Curatorial Assistant Rebecca Matalon.</p> <p style="text-align: justify;">Lead support is provided by The Andy Warhol Foundation for the Visual Arts.</p> <p style="text-align: justify;">Major support is provided by Miguel Abreu Gallery, Gladstone Gallery, Karyn Kohl, and the MOCA Projects Council.</p> <p style="text-align: justify;">Generous support is provided by Lonti Ebers, and Agnes and Edward Lee.</p> <p style="text-align: justify;">Additional support is provided by Galerie Buchholz, and Roland Augustine and Lawrence Luhring.</p> <p style="text-align: justify;">Exhibitions at MOCA are supported by the MOCA Fund for Exhibitions with lead annual support provided by Delta Air Lines, Shari Glazer, H&auml;stens, and Sydney Holland, founder of the Sydney D. Holland Foundation. Generous funding is also provided by Jerri and Dr. Steven Nagelberg, and Thao Nguyen and Andreas Krainer.</p> <p style="text-align: justify;">In-kind media support is provided by KCETLink and <em>Los Angeles</em> magazine.</p> Sun, 25 Sep 2016 09:09:31 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - MOCA (Museum of Contemporary Art) at Grand Ave. - July 11th - December 18th <p style="text-align: justify;"><em data-verified="redactor">storefront:</em> is a project initiated by MOCA Chief Curator Helen Molesworth that invites artists and artist collectives to inhabit the anteroom space of The Marcia Simon Weisman Works on Paper Study Center on the plaza level of MOCA Grand Avenue. It is an opportunity for MOCA to reimagine what it means to be &ldquo;the artist&rsquo;s museum&rdquo; in a city filled with artist-run spaces and initiatives. Following <em data-verified="redactor">Imitation of Wealth </em>by Noah Davis and Public Fiction&rsquo;s <em data-verified="redactor">The Poet and The Critic, and the missing</em>, <em data-verified="redactor">storefront: Paradise Garage </em>presents a collaborative project by Swiss artist Anina Troesch and Berlin-based artist Renaud Jerez.</p> <p style="text-align: justify;">Paradise Garage was a gallery founded by artists Liz Craft and Pentti Monkkonen in the garage of their home in Venice, California. During the gallery&rsquo;s short run between 2012 and 2015, its easygoing ambience was manifest in a free-form program that embraced standard solo and group exhibitions, as well a artist-run textile workshops and the presentation of a faux bodega full of artist-made goods. The gallery was also known for its active exchange with young European artists. While other local exhibition spaces focused on talent drawn from Los Angeles&rsquo;s many art schools, Paradise Garage took an international approach that synched perfectly with the rise of the city as a global art destination.</p> <p style="text-align: justify;">In keeping with this emphasis on the international, <em data-verified="redactor">storefront: Paradise Garage</em> presents the work <em data-verified="redactor">Stinky. The water is rotten.</em> (2016), by Troesch and Jerez. They transform the window of the <em data-verified="redactor">storefront:</em> space into an illuminated portal seen in the bulbous eyes of a museum-sized creature. The work plays on the fantastical landscape of downtown LA and captures a fractal-like world of domestic interiors and city streets.</p> <p style="text-align: justify;"><em data-verified="redactor">storefront: Paradise Garage</em> is organized by MOCA Senior Curator Bennett Simpson, with Executive Assistant to the Chief Curator Hana Cohn.</p> Sun, 25 Sep 2016 09:06:33 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Mickalene Thomas - MOCA (Museum of Contemporary Art) at Grand Ave. - October 16th - February 6th, 2017 <p style="text-align: justify;">MOCA presents <em>Mickalene Thomas: Do I Look Like a Lady?</em>, an exhibition of new and recent work by New York&ndash;based artist Mickalene Thomas. For this exhibition, Thomas has created a group of silkscreened portraits to be featured alongside an installation inspired by 1970s domestic interiors, and a two-channel video that weaves together a chorus of black female performers, past and present, including standup comedians Jackie &ldquo;Moms&rdquo; Mabley and Wanda Sykes, and pop-culture icons Eartha Kitt and Whitney Houston. An incisive, moving, and at times riotous portrait of the multiplicities of womanhood, <em>Do I Look Like a Lady?</em> builds upon Thomas&rsquo;s ongoing reconsideration of black female identity, presentation, and representation through a queer lens. This exhibition is organized by MOCA Curatorial Assistant Rebecca Matalon, with Executive Assistant to the Chief Curator Hana Cohn.</p> <p style="text-align: justify;">Over the last decade, Thomas has produced sumptuous, ecstatic, and excessively tactile paintings, photographs, collages, films, and installations. The surfaces of her unabashedly decorative and vibrantly colored paintings of interiors and landscapes are often overlaid with rhinestones, applied as contour or in lavish, all-over fields. Thomas plays with perspective, layering fractured geometric shapes that reference the early cubist compositions of Romare Bearden. In her signature painted and photographic portraits of family, friends, lovers, and pop-culture icons, Thomas draws on and deconstructs 19th- and 20th-century traditions of portraiture, replacing the ubiquitous white female nude with voluptuous African American women. Rather than being objects of a spectator&rsquo;s gaze, Thomas&rsquo;s women look back. They are self-possessed, socially and sexually empowered. Often draped in richly hued swaths of fabric, they pose with arms and legs extended atop sofas embellished with layers of animal prints, oversized flowers, and checkerboard patterns. Thomas&rsquo;s eroticism emerges via the d&eacute;cor of these lush scenes, set in densely furnished living rooms accented with patchwork fabrics, wood paneling, kitsch wallpaper, and animal skin rugs to recall 1970s domestic interiors. More recently, she has begun transforming these backdrops into immersive installations, creating three-dimensional tableaux that humorously riff on the museological tradition of the period room. Rich with allusion, Thomas&rsquo;s environments also build upon and expand her interest in how private domestic spaces function as sites of self-fashioning and display, and how class and taste are embedded in the objects we choose to surround ourselves with.</p> <p style="text-align: justify;"><em>Mickalene Thomas: Do I Look Like a Lady?</em> is organized by MOCA Curatorial Assistant Rebecca Matalon, with Executive Assistant to the Chief Curator Hana Cohn.</p> <p style="text-align: justify;">The project is made possible by The Director's Commissioning Fund.</p> <p style="text-align: justify;">Lead support is provided by The Sydney Irmas Exhibition Endowment.</p> <p style="text-align: justify;">Generous support is provided by Rachel and Jean-Pierre Lehmann Collection, and Lehmann Maupin, New York and Hong Kong.</p> <p style="text-align: justify;">Exhibitions at MOCA are supported by the MOCA Fund for Exhibitions with lead annual support provided by Delta Air Lines, Shari Glazer, H&auml;stens, and Sydney Holland, founder of the Sydney D. Holland Foundation. Generous funding is also provided by Jerri and Dr. Steven Nagelberg, and Thao Nguyen and Andreas Krainer.</p> <p style="text-align: justify;">In-kind media support is provided by KCETLink and <em>Los Angeles</em> magazine.</p> Sun, 25 Sep 2016 09:06:04 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Erika Vogt - Overduin & Co. - September 10th - October 22nd <p style="text-align: justify;">Overduin &amp; Co. is pleased to present a solo exhibition by Erika Vogt. The exhibition features a new group of sculptural works which were initially conceived as props for a performance commissioned by Performa at the Roulette Theater in New York last year. The performance was the third iteration of Vogt&rsquo;s ongoing project, Artist Theater Program, a series of live collaborative performances featuring fellow artists and their work.</p> <p style="text-align: justify;">For this exhibition, Vogt has produced a group of large-scale leaning, hanging and freestanding sculptures based on a collection of knife iconography culled from a range of sources and historical periods &ndash; Paleolithic, Han Dynasty, Incan, Egyptian Middle Kingdom, Peruvian, 19th century surgical tools, as well as contemporary weaponry. Vogt&rsquo;s sculptural vocabulary for these works is informed by the material and structural language of theatrical props. The sculptures have served as both rigid costumes shielding the body of the performers, and tools for directing choreography or the flow of sightlines on stage. A tabletop relief based on the knife-like floor plan of the gallery has replaced the gallery&rsquo;s office table representing the exhibition space itself as a theatrical prop.</p> <p style="text-align: justify;">The collection of knife sculptures in this exhibition are each given the name of a friend or fellow artist, some of whom have participated in the theater works. This allusion to the performances encourages an idea that the sculptures act as performers within the exhibition space. Vogt engages with a model of idiorrhythmy as described by Barthes for the collaborative performances she has organized as part of the Artist Theater Program. Preserving the autonomy of the individual&rsquo;s practice within the group, the performances bring a diverse array of artists together and allow for a shift in the experience of the artworks as objects to be worn or carried by the artists on stage.</p> <p style="text-align: justify;">Vogt&rsquo;s focus moves back and forth from an emphasis on form to surface. The logistics of the stage-to-audience relationship encourages the use of exaggerated color and sign-like forms that read from a distance, but the layered and quickly applied materials of prop fabrication result in a rich painterly tactility. The bright colors overlaid onto these forms are taken from a collection of images of political protests organized by groups such as Code Pink, or a New Yorker cartoon of a Trump rally appropriated for the show&rsquo;s announcement card. The knife imagery references populist symbols of revolution and engages the graphic sensibility of agitprop. One set of black strapped panels recall police riot gear, "body-blockers&rdquo;, and another set of shield-like forms with honeycomb perforations reference ceramic tile armor and &ldquo;net guns&rdquo; used as crowd control devices.</p> <p style="text-align: justify;">To accompany the exhibition, Vogt has produced an artist&rsquo;s book which takes the form of a script. The document details Vogt&rsquo;s taxonomy of source imagery for each sculpture and includes a section titled &ldquo;Set Theory&rdquo; outlining Vogt&rsquo;s choreographic principles for the performers on stage. An actual script is also included describing dialogue and scene direction for a performance which shares the exhibition&rsquo;s title. </p> <p style="text-align: justify;">Erika Vogt (b. 1973) lives and works in Los Angeles. She received her MFA from California Institute of the Arts, and a BFA from New York University. Vogt&rsquo;s background in both feminist and queer video and her involvement in experimental film in Los Angeles continue to inform her work. Recent solo exhibitions have been organized by the New Museum in New York, Triangle France in Marseilles, and the Hepworth Wakefield in Yorkshire. Vogt's work has been included in exhibitions at the Metropolitan Museum of Art in New York, the Whitney Museum of American Art in New York, Anthology Film Archives in New York, the Centre Pompidou in Paris, the Hammer Museum in Los Angeles, and the San Francisco Museum of Modern Art. Vogt&rsquo;s work is included in the public collections of the Metropolitan Museum of Art in New York, the Los Angeles County Museum of Art, Fondation Galeries Lafayette in Paris, and the Hammer Museum in Los Angeles.</p> Sun, 25 Sep 2016 08:24:24 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Paul Sietsema - Matthew Marks Gallery, North Orange Grove - September 24th - December 23rd <p style="text-align: justify;">Matthew Marks is pleased to announce an exhibition by Paul Sietsema in his galleries at 1062 North Orange Grove and 7818 Santa Monica Boulevard. The artist&rsquo;s first one-person exhibition in Los Angeles since 2002, it includes two recent films and a group of new paintings and drawings. Sietsema conceived the exhibition around the color green as an aesthetic and speculative framework.<br /> <br /> The paintings and drawings are executed in ink and enamel on linen or paper. With one painting, a green abstraction, the artist links color and material to invoke abstraction&rsquo;s gradual evolution from the spiritual and the political to the economic. Two large paintings indicate years from the recent past, depicting them carved into stone slabs covered in green moss as a way of addressing patina&rsquo;s relationship to historical value. In another painting, torn fragments of a green hundred-euro banknote are rendered in enamel over a found still-life painting. All of these works reflect aspects of how a painting can function &mdash; as an object of contemplation, for example, or an object of commerce.<br /> <br /> In three ink drawings, Sietsema has manually duplicated the process of mechanical reproduction, copying pages of <em>The New York Times</em> by hand-rendering each typographic mark. Another drawing portrays an artist&rsquo;s palette smeared with oil paint. Its unintentional paintbrush dabs have been replaced by expressionistic ink marks &mdash; a substitution of one medium and its inherent mark-making sensibility with another. <br /> <br /> The two films in the exhibition explore the mechanisms of circulation and the experience of apprehending an image through text &mdash; both examples of a medium distancing an object from the viewer. For <em>Abstract composition</em>, a black and white film projected here in 35mm, Sietsema has taken phrases from online auction sites (&ldquo;English hunting scene,&rdquo; &ldquo;painted waterfall,&rdquo; &ldquo;carved marble urn&rdquo;) and, using digital animation, punched the words into a cardboard sign that appears to rotate slowly, like a coin flipping between heads and tails.<br /> <br /> The 16mm color film <em>At the hour of tea</em>, which presents five sequences structured around found objects &mdash;silver coins, Roman glassware, a green leatherette box, an envelope, and a typewriter &mdash; gradually reveals a text describing a historical painting in modernist terms. The sequences of these objects arranged in tableaus, together with the text, offer historical analogues for modern processes of consumption, production, and communication: collecting, arranging, and recording. <br /> <br /> Paul Sietsema (born 1968) lives and works in Los Angeles. His work has been the subject of one-person exhibitions at the Kunsthalle Basel, the Museo Nacional Centro de Arte Reina Sof&iacute;a in Madrid, the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art in New York. In the past two years he has had one-person exhibitions at the Wexner Center for the Arts in Columbus, the Museum of Contemporary Art in Chicago, the Denver Museum of Contemporary Art, and the Nouveau Mus&eacute;e National de Monaco. <em>Fifty-Three Works by Paul Sietsema</em>, the first monograph focused solely on his paintings and drawings, will be published by Mousse in the fall and will include essays by Tim Griffin, Emiliano Battista, and Eva Fabbris.<br /> <br /> <em>Paul Sietsema</em> is on view at 1062 North Orange Grove and 7818 Santa Monica Boulevard from September 24 to December 23, 2016, Tuesday through Saturday, from 10:00 AM to 6:00 PM.</p> Sun, 25 Sep 2016 07:38:06 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Paul Sietsema - Matthew Marks Gallery, Santa Monica - September 24th - December 23rd <p style="text-align: justify;">Matthew Marks is pleased to announce an exhibition by Paul Sietsema in his galleries at 1062 North Orange Grove and 7818 Santa Monica Boulevard. The artist&rsquo;s first one-person exhibition in Los Angeles since 2002, it includes two recent films and a group of new paintings and drawings. Sietsema conceived the exhibition around the color green as an aesthetic and speculative framework.<br /> <br /> The paintings and drawings are executed in ink and enamel on linen or paper. With one painting, a green abstraction, the artist links color and material to invoke abstraction&rsquo;s gradual evolution from the spiritual and the political to the economic. Two large paintings indicate years from the recent past, depicting them carved into stone slabs covered in green moss as a way of addressing patina&rsquo;s relationship to historical value. In another painting, torn fragments of a green hundred-euro banknote are rendered in enamel over a found still-life painting. All of these works reflect aspects of how a painting can function &mdash; as an object of contemplation, for example, or an object of commerce.<br /> <br /> In three ink drawings, Sietsema has manually duplicated the process of mechanical reproduction, copying pages of <em>The New York Times</em> by hand-rendering each typographic mark. Another drawing portrays an artist&rsquo;s palette smeared with oil paint. Its unintentional paintbrush dabs have been replaced by expressionistic ink marks &mdash; a substitution of one medium and its inherent mark-making sensibility with another. <br /> <br /> The two films in the exhibition explore the mechanisms of circulation and the experience of apprehending an image through text &mdash; both examples of a medium distancing an object from the viewer. For <em>Abstract composition</em>, a black and white film projected here in 35mm, Sietsema has taken phrases from online auction sites (&ldquo;English hunting scene,&rdquo; &ldquo;painted waterfall,&rdquo; &ldquo;carved marble urn&rdquo;) and, using digital animation, punched the words into a cardboard sign that appears to rotate slowly, like a coin flipping between heads and tails.<br /> <br /> The 16mm color film <em>At the hour of tea</em>, which presents five sequences structured around found objects &mdash;silver coins, Roman glassware, a green leatherette box, an envelope, and a typewriter &mdash; gradually reveals a text describing a historical painting in modernist terms. The sequences of these objects arranged in tableaus, together with the text, offer historical analogues for modern processes of consumption, production, and communication: collecting, arranging, and recording. <br /> <br /> Paul Sietsema (born 1968) lives and works in Los Angeles. His work has been the subject of one-person exhibitions at the Kunsthalle Basel, the Museo Nacional Centro de Arte Reina Sof&iacute;a in Madrid, the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art in New York. In the past two years he has had one-person exhibitions at the Wexner Center for the Arts in Columbus, the Museum of Contemporary Art in Chicago, the Denver Museum of Contemporary Art, and the Nouveau Mus&eacute;e National de Monaco. <em>Fifty-Three Works by Paul Sietsema</em>, the first monograph focused solely on his paintings and drawings, will be published by Mousse in the fall and will include essays by Tim Griffin, Emiliano Battista, and Eva Fabbris.<br /> <br /> <em>Paul Sietsema</em> is on view at 1062 North Orange Grove and 7818 Santa Monica Boulevard from September 24 to December 23, 2016, Tuesday through Saturday, from 10:00 AM to 6:00 PM.</p> Sun, 25 Sep 2016 07:38:03 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Ann Hirsch - Machine Project - October 19th 8:00 PM - 8:30 PM <div class="row"> <div class=" col-12 px1 px2-sm pt3-5 pb4 col-md-8 col-md-offset-2 col-lg-6 col-lg-offset-3 "> <h3 style="text-align: justify;"><span style="font-size: small;">Machine Project Mystery Theater Productions presents! <em>The Rest of My Life (my fantasies, my choice)</em> &ndash; a new performance by Ann Hirsch.</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Coming to the Mystery Theater <strong>Wednesday, October 19th and Thursday, October 20th at 8pm</strong>. Ann will be presenting a new, in progress performance piece that will delve into the predicament of her recent marriage, a growing addiction to pornography, and an endearing bitterness for sex positive feminism. Runtime approximately 30 minutes. Show is 18+ only.</span></p> <p style="text-align: justify;"><em><span style="font-size: small;">Content Warning: Show will contain videos of sexual violence.</span> </em></p> </div> </div> Sun, 25 Sep 2016 07:36:53 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Ann Hirsch - Machine Project - October 20th 8:00 PM - 8:30 PM <div class="row"> <div class=" col-12 px1 px2-sm pt3-5 pb4 col-md-8 col-md-offset-2 col-lg-6 col-lg-offset-3 "> <h3 style="text-align: justify;"><span style="font-size: small;">Machine Project Mystery Theater Productions presents! <em>The Rest of My Life (my fantasies, my choice)</em> &ndash; a new performance by Ann Hirsch.</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Coming to the Mystery Theater <strong>Wednesday, October 19th and Thursday, October 20th at 8pm</strong>. Ann will be presenting a new, in progress performance piece that will delve into the predicament of her recent marriage, a growing addiction to pornography, and an endearing bitterness for sex positive feminism. Runtime approximately 30 minutes. Show is 18+ only.</span></p> <p style="text-align: justify;"><em><span style="font-size: small;">Content Warning: Show will contain videos of sexual violence.</span> </em></p> </div> </div> Sun, 25 Sep 2016 07:36:46 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Helen Frankenthaler - Gagosian Gallery Beverly Hills - September 16th - October 29th <p style="text-align: justify;"><em>...A line, color, shapes, spaces, all do one thing for and within themselves, and yet do something else, in relation to everything that is going on within the four sides [of the canvas]. A line is a line, but it is a color...</em><br /> &mdash;Helen Frankenthaler</p> <p style="text-align: justify;">Gagosian Gallery is pleased to announce an exhibition of paintings by Helen Frankenthaler.</p> <p style="text-align: justify;">The exhibition comprises eighteen canvases by Frankenthaler from a twenty-five year time span, selected to reveal how the renowned abstract painter articulated the relationship between drawing and color during this period. In her pioneering work of the 1950s, inspired by Jackson Pollock, Frankenthaler had poured both linear tracks and spreading areas of thinned paint onto unprimed canvas. She continued with this approach in the early 1960s, but with a difference: in paintings like Pink Field (1962), broad areas of color combine with linear elements so narrow as to seem drawn, resulting in canvases with no sense of division between the drawn and the painted. In such works as <em>Parade </em>(1965), she set aside the landscape association that had aided the cohesion of the earlier work for an abstract parade of colored lines and areas. The contours of these areas, vividly contrasted against white canvas, look as much drawn as do the narrow, cursively shaped lines of paint.</p> <p style="text-align: justify;">In 1970, Frankenthaler reintroduced individual elements of drawing into her work. In paintings such as <em>Mornings </em>and <em>Barbizon</em>, she began by setting down large areas with drawn contours, before running slender graphic filaments across them. In later works of that decade such as <em>Rapunzel </em>(1974), she carried this further by pre-painting the entire canvas with one color before setting down the drawing, together with color patches, on top. Then, in a group of paintings from 1976, which includes <em>Blue Bellows</em> and <em>Sentry</em>, she created the drawn elements by masking out strips of bare canvas close to the vertical edges of the works before applying a single color over them in a looser, more painterly fashion. Later that decade, in works like <em>Mineral Kingdom </em>(1976), she gave prominence to richly varied applications of paint, drawn over the surface with a variety of spreading tools. By the early 1980s, this led to the extraordinarily complex, visually stunning surfaces of <em>Grey Fireworks</em> (1982) and <em>Brother Angel</em> (1983), composed of swathes, areas, and clumps of paint, with drawn elements snaking among them.</p> <p style="text-align: justify;">The final section of the exhibition presents work from the mid-1980s in which Frankenthaler brought together several of the themes that she had been exploring over the preceding two decades: pre-painted, single-colored grounds, sometimes flatly painted, sometimes varied in application; filaments and broader tracks of drawing juxtaposed with discrete areas, some with cursively drawn contours; clumps of heavier and sometimes very heavy paint; and vertical formats with drawing that echoed the framing edges of the paintings. The exhibition concludes with five paintings from 1985&ndash;1987 that reflect these themes, conveying the sense of an artist at the height of her powers, consolidating her resources to create extremely original canvases that are both rigorous and sensuous.</p> <p style="text-align: justify;">The exhibition is accompanied by a fully illustrated catalogue, with a preface by John Elderfield and new essays by Yale University art historian Carol Armstrong and novelist Francine Prose.</p> <p style="text-align: justify;">This is the third exhibition of Helen Frankenthaler's art to be presented by Gagosian Gallery, following &ldquo;Painted on 21st Street: Helen Frankenthaler from 1950 to 1959&rdquo; (2013) at Gagosian West 21st Street, and &ldquo;Helen Frankenthaler: Composing with Color: Paintings 1962-1963&rdquo; at Gagosian Madison Avenue (2014).</p> <p style="text-align: justify;"><strong>Helen Frankenthaler</strong> (1928&ndash;2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. Heir to first-generation Abstract Expressionism, she brought together in her work a conception of the canvas as both a formalized field and an arena for gestural drawing. She was eminent among second-generation postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Her works are included in major museums and collections worldwide, and her career has been the subject of three major monographs and numerous monographic museum exhibitions, including &ldquo;Helen Frankenthaler: Paintings,&rdquo; The Jewish Museum, New York (1960); &ldquo;Helen Frankenthaler,&rdquo; Whitney Museum of American Art, New York (1969, traveled to Whitechapel Gallery, London; Orangerie Herrenhausen, Hanover; and Kongresshalle, Berlin); and &ldquo;Helen Frankenthaler: A Paintings Retrospective,&rdquo; Modern Art Museum of Fort Worth (1989&ndash;90, traveled to Museum of Modern Art, New York; Los Angeles County Museum of Art; and Detroit Institute of Arts).</p> Sun, 25 Sep 2016 07:36:38 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list