ArtSlant - Recently added en-us 40 Kal Mansur - George Billis Gallery- LA - May 30th - July 11th <p style="text-align: justify;">George Billis Gallery is pleased to present the gallery&rsquo;s first exhibition of Kal Mansur&rsquo;s abstract wall constructs. The exhibition features the artist&rsquo;s newest series of acrylic and plexiglass constructions.&nbsp; The exhibition continues through July 11th.<br /><br />Kal Mansur&rsquo;s work emulates geometric forms in architecture. Using a highly polished level of skill, he pursues the minimalist objective of erasing the trace of the artist&rsquo;s hand. His innovative use of materials imbues the work with a unique luminosity. In daylight, the seamless fusion of opaque and translucent elements in each work activates a vivid study of light and form. Here the way in which light reflects around buildings is materialized. With heightened light conditions, the work is transformed into a radiant object that appears to glow without a discernible power source.<br /><br />Mansur roots himself in the tradition of minimalist sculpture set by the likes of Donald Judd and Anish Kapoor. He is influenced by the sublime evocations of color exemplified by Mark Rothko. His work consists of compelling juxtapositions of blurred, lyrical color fields with aerodynamic forms and precise lines.</p> Fri, 29 May 2015 10:26:48 +0000 Terry Thompson - George Billis Gallery- LA - May 30th - July 11th <p style="text-align: justify;">George Billis Gallery is pleased to present the gallery&rsquo;s fifth solo exhibition of Terry Thompson&rsquo;s paintings. The exhibition features the artist&rsquo;s newest series of highly detailed oil paintings based on vintage signage and graphics, these paintings continue his exploration of text.&nbsp; The exhibition continues through July 11th.<br /><br />In this most recent series, realist painter Terry Thompson continues to explore his fascination with text and Americana through his highly detailed and aggressively cropped oil paintings based on vintage signage and graphics.<br /><br />Thompson finds his subjects while exploring the forgotten back streets of cities across the United States.&nbsp; This discovery process, coupled with being in the presence of these signs, is important for his method which coalesces into paintings that are geometrically, contextually, and formally interesting; paintings which reveal a hidden beauty in the mundane and banal.&nbsp;&nbsp;<br /><br />Text is prominent in most of Thompson&rsquo;s paintings and he often amplifies its ambiguity through his use of cropping.&nbsp; This results in disjointed text and words that confront the viewer, begging to be read or deciphered.<br /><br />Thompson is primarily drawn to older, unique signs that have somehow avoided the wrecking ball. Thompson says, &ldquo;I see these signs as historically and emotionally charged metaphors for beating the odds. When I render rust, faded paint or broken neon, I&rsquo;m imbuing my paintings with a sense of humanity and history.&rdquo;<br /><br />Thompson&rsquo;s work can be found in private collections throughout the world and in the permanent collections of The San Jose Museum of Art, The Nevada Museum of Art, The California Museum -Sacramento, The de Saisset Museum of Art - Santa Clara University, and The Fort Wayne Museum of Art.&nbsp; Terry Thompson lives and works in San Francisco.</p> Fri, 29 May 2015 10:25:55 +0000 Group Show - Luis De Jesus Los Angeles - June 27th - August 8th <p style="text-align: center;" align="center"><em>In jest, there is truth</em>. - William Shakespeare</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Twenty-five years ago I organized an exhibition titled&nbsp;<em>$PENT: Currency, Security, and Art on Deposit&nbsp;</em>for The New Museum in New York. I was one of a number of young applicants invited to apply for new NEA-funded curatorial internships, a nationwide initiative to bring more women and minorities into the field.&nbsp;<em>$PENT</em>&nbsp;was the culmination (or "thesis exhibition") of my yearlong internship in the museum's curatorial department and it was supported by a cast of very talented emerging artists, including Glenn Ligon, Moyra Davey, Gary Simmons, Paul Ramirez Jonas, Carrie Mae Weems, Donald Moffett, and Julia Scher, among others--for many of them, their first museum project.&nbsp;</p> <p style="text-align: justify;">My residency at The New Museum was bracketed by a series of newsworthy events, among them the continuing devastation of the AIDS pandemic and the tumultuous upending of the ecomomy wrought by the Wall Street crash (both which dealt proportionate blows to the art world), the dismantling of the Berlin Wall and the occupation of Tiananmen Square by pro-democracy demonstrators, the Iraqi invasion of Kuwait and subsequent Persian Gulf War, the election of George W. H. Bush as the 41st&nbsp;President of the US--and the first airing of The Simpsons on television.&nbsp;</p> <p style="text-align: justify;">Installed at a bank next door to The New Museum (concurrent with&nbsp;<em>The Decade Show</em>),<em>$PENT</em>&nbsp;was a&nbsp;<em>serious</em>&nbsp;exhibition designed to inject a big dose of subversive humor and provocative criticality upon a well-meaning host. It still amazes me that I managed to circumvent a cadre of, frankly, very suspicious bank officials who were left to scratch their heads and fend with the effusive congratulatory and community-building cheerleading of the museum's larger-than-life, never-say-never director, Marcia Tucker. &nbsp;</p> <p style="text-align: justify;">Fast forward: late last year, while doing research for our summer group show, I came across an image on the internet that stopped me in my tracks and caused me to break out in laughter. The HA HA! BUSINESS! meme gave me a good slap on the face and brought back great memories of&nbsp;<em>$PENT</em>. There he was again--the boogeyman with the briefcase full of cash, laughing uncontrollably while the world around him burns (my reading, anyway). The more things change... And herein may lie the biggest difference between the two shows (call it a generational/attitude shift). If&nbsp;<em>$</em><em>PENT</em>&nbsp;encapsulated the uneasiness of the time,&nbsp;<em>HA HA! BUSINESS!</em>&nbsp;relishes the discomfort with a huge grin on its face.&nbsp;</p> <p style="text-align: justify;">The art world is now a global business, of course, as is just about everything else. Facebook, Instagram, Twitter and Skype have become our new living room, our church, our megaphone--and, some would argue, our toilet, too. And, it seems&nbsp;everyone&nbsp;wants to sit on the throne and be heard. Life is now "all news, all the time" and humor is the unifying force that allows us to look in the mirror, if for no other reason than to get a quick reality check and, hopefully, a little truth.&nbsp;<em>HA HA! BUSINESS!</em>&nbsp;continues my quixotic interest in making sense of it all.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Yes, this is definitely a funny business! Ha ha.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Yours,</p> <p style="text-align: justify;">Luis De Jesus, Los Angeles</p> <p align="center"><strong>Opening Reception:</strong></p> <p align="center"><strong>Saturday, June 27, 6-8 PM,</strong></p> <p align="center"><strong>Featuring Performance by&nbsp;LEX BROWN</strong></p> Fri, 29 May 2015 10:16:14 +0000 Sergio Acevedo, Adrés Grillo, Francisco Huichaqueo, Hugo Leonello, Mria José Rojas, Angie Saiz, Mario Z - Human Resources - June 1st 7:00 PM - 8:00 PM <p>Artists and curators in a panel disccussion&nbsp;addressing the scope and limitations of neoliberalism in relation to the works on view with guest Macarena&nbsp;Gomez Barris.&nbsp;</p> Fri, 29 May 2015 10:11:50 +0000 Vernon Fisher - Mark Moore Gallery - June 18th - July 18th <p style="text-align: justify;">Mark Moore Gallery is pleased to present&nbsp;&ldquo;Vernon Fisher: A Retrospective,"&nbsp;curated by Hugh Davies &ndash; Director of the&nbsp;Museum of Contemporary Art in San Diego (CA). For nearly forty-five years, Fisher has been creating innovative mixed media works that reckon with disjointed streams of consciousness and push the boundaries of post-modernism. Having exhibited widely since the late 1970s, this retrospective presents hallmark works from various stages in Fisher&rsquo;s career, and highlights his preoccupation with archive, information transmission, memory, and taxonomy.<br /><br />Drawing upon his early interest in how people make sense of the world, Fisher weaves together literary references, pop cultural imagery, and cartography with his own symbolic lexicon. Renouncing the convention of a singular or autonomous narrative, his works imply a seemingly endless metonymic chain. Hugh Davies first saw Fisher's work in the late seventies and was immediately impressed with the combination of conceptual rigor, and consummate craftsmanship. Davies, along with co-curator Madeleine Grynsztejn, organized a mid-career retrospective of Fisher&rsquo;s work at the Museum of Contemporary Art San Diego in 1989. In the accompanying catalogue essay, critic Dave Hickey stated that Fisher works in a kind of formula of &ldquo;imperfectly analogous juxtapositions of three imperfectly distinct kinds of phenomena (the personal, the social, the natural), described by three imperfectly distinct information systems (the literary narrative, the iconographic image, and the cartographic grid).&rdquo; In viewing various works made over time, these &ldquo;imperfectly analogous juxtapositions&rdquo; begin to form their own story, revealing Fisher&rsquo;s expertise in creating a unique and elusive narrative with a comic&rsquo;s sensibility.&nbsp;<br /><br />Vernon Fisher (b. 1943, Texas) has been included in two Whitney Biennials (most recently in 2000). Museum installations include the Museum of Modern Art (NY), the Hirshhorn Museum (D.C.), and the Museum of Contemporary Art Chicago (IL). Major public collections include: Albright-Knox Museum, Buffalo, (NY), Art Institute of Chicago (IL), Baltimore Museum of Art (MD), Corcoran Gallery of Art, Washington, D.C., Dallas Museum of Art (TX), Denver Art Museum (CO), Frederick R. Weisman Art Museum, Minneapolis (MN), High Museum of Art, Atlanta (GA), Hirshhorn Museum and Sculpture Garden, Washington, D.C., Krannert Art Museum, University of Illinois at Urbana-Champaign, IL, Los Angeles County Museum of Art (CA), Modern Art Museum of Fort Worth (TX), Museum of Contemporary Art Chicago (IL), Museum of Fine Arts, Houston (TX), Museum of Modern Art (NY), Orange County Museum of Art (CA), Phoenix Art Museum (AZ), San Antonio Museum of Art (TX), Museum of Contemporary Art San Diego (CA), San Francisco Museum of Modern Art (CA), Solomon R. Guggenheim Museum (NY), Tucson Museum of Art, (AZ), Whitney Museum of American Art, and The Walker Art Center, Minneapolis (MN). The artist lives and works in Fort Worth, TX.</p> Fri, 29 May 2015 10:04:27 +0000 - 356 Mission - May 29th 7:00 PM - 9:00 PM <p style="text-align: justify;">Announcing the Los Angeles book launch for:&nbsp;<br /><em>The Experience Machine: Stan VanDerBeek&rsquo;s Movie-Drome and Expanded Cinema&nbsp;&nbsp;<br /></em>by Gloria Sutton&nbsp;<em>&nbsp;</em>(2015, MIT Press)&nbsp;&nbsp;<br /><br /></p> <p style="text-align: justify;">With&nbsp;a screening of&nbsp;&nbsp;<em>Stan VanDerBeek: The Computer Generation&nbsp;</em>(1972, dir. John&nbsp;Musilli) followed by a discussion between Gloria Sutton and Kerry Tribe.</p> Fri, 29 May 2015 09:54:38 +0000 Wendell Dayton - LA Artcore Brewery Annex - May 31st 12:00 PM - 5:00 PM <p>Artist Reception for Closing - Please join us...</p> <p>The artist will be in attendance on Sunday and refreshments will be served.</p> <p><img style="float: left; margin: 10px;" src="" alt="" /></p> Fri, 29 May 2015 01:17:15 +0000 Henry Vincent - Patrick Painter Inc. - June 13th - July 3rd Thu, 28 May 2015 18:43:33 +0000 Nancy Monk - Craig Krull Gallery - May 30th - July 11th <p><strong>Nancy Monk</strong><br /><br /> BRASS (or the order in which they present themselves)<br /><br /> While on a road trip in Minnesota, I found a brass elephant in a second-hand store. It spoke to me like objects tend to do on occasion. The elephant traveled with me back to California and years later initiated the Brass series of 18 X 24" paintings. The brass objects appear to be on a horizon line or a tight-rope. One view is grounded where the other view is precarious. Initially I did not see the elephant painting as part of a series, but new brass objects keep appearing, like the brass Magi. He is part of my nativity scene that friends bought in a hardware store in Mexico. I unpack the scene every Christmas. After Christmas, I repack the decorations for storage. Somehow, the wise-man fell on the floor and didn&rsquo;t get re-packed with the group. I imagined that he is the one carrying the gift of gold. After I painted the Magi, a brass pig appeared. While visiting my brother and his wife in Sun City, Arizona, I found it on their bookshelf. Their granddaughter had wanted a real pig as a pet. As an alternative, they had bought her the brass pig.</p> Wed, 27 May 2015 00:37:49 +0000 Michael Deyermond - Craig Krull Gallery - May 30th - July 11th <p><strong>Michael Deyermond</strong><br /><br /> thoughts on my life and art<br /><br /> i dont know why people think being an artist is so much fun<br /> does trying to save your life everyday sound like fun<br /> <br /> not being understood and feeling out of place in the world makes me sad and lonely.<br /> the words i employ and images i conjure in my work are my only chance for salvation.<br /> <br /> because i am unhireable my commitment to art is unwavering<br /> <br /> while the whole world is trying to think outside the box, live off the grid, do something spontaneous and live a life of adventure i would give anything to be safe inside that box with a little bit of heat, something to eat and a smidgen of routine security. <br /> <br /> <br /> xo md</p> Wed, 27 May 2015 00:32:48 +0000 - Couturier Gallery - June 6th - July 18th <p>Murals are a familiar part of the Los Angeles landscape, however, the public may be less familiar with the more intimate studio work of these highly visible artists.&nbsp; Such pieces, although prized by institutions and private collectors, often go unseen by the general public.&nbsp; In 1990, Couturier Gallery examined the studio work of five pioneering mural artists. Now, 25 years later, the gallery revisits those artists alongside a new generation of painters with <strong><em>L.A. Muralist: In Their Studios II</em></strong>.&nbsp; They include: <strong>Christina Angelina, David Botello, Pablo Cristi, Wayne Healy, Judithe Hern</strong><strong>&aacute;</strong><strong>ndez, Alex &ldquo;Defer&rdquo; Kizu, Augustine Kofie, Lydiaemily, Kent Twitchell, John Valadez </strong>and<strong> Richard Wyatt</strong>.&nbsp; <strong><em>L.A. Muralists: In Their Studios II</em></strong> will run from June 6 &ndash; July 18, 2015.&nbsp; The artists&rsquo; opening reception will be held, Saturday, June 6, 6-8pm.<strong>&nbsp; Note that 10% of all proceeds will go to benefit the Mural Conservancy of Los Angeles (MCLA).</strong></p> <p>&nbsp;</p> <p>The importance of murals in society is not only for their artistic beauty, but also the sociopolitical commentary they provide.&nbsp; DiegoRivera and others spearheaded the Mexican mural movement of the 1930s, the political and aesthetic impact of which can still be appreciated today.&nbsp; In the latter part of the 20<sup>th</sup> century, Los Angeles saw a renaissance in mural projects with commissions along roadways, in public lobbies and large-scale brand advertising on the exterior of commercial and residential spaces.&nbsp; Such public murals, both old and new, act as a visual marker for neighborhoods by reflecting its inhabitants and providing a sense of community and identity through the shared ownership of these iconic works.&nbsp;&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>The difference between these public works for which these artists are known, and the work done in their studios, is the more personal viewpoint in the latter.&nbsp; By their very nature public murals, more often than not, include a consensus of thought beyond the control of the artist.&nbsp; By venturing into their studios we get a private glimpse behind the facade of these public artists and see the personal imagery and subject matter that resonates within and helps define them as the fine artists they are.</p> Tue, 26 May 2015 20:51:43 +0000 Jaime Scholnick Gaza - CB1 Gallery - June 6th - July 18th <p style="text-align: justify;">For her upcoming exhibition, <a href="" target="_blank">Jaime Scholnick</a> takes on the serious and disturbing issue of the Israeli &ndash; Palestinian conflict. During the months of July and August, 2014, the Israeli army launched a systematic bombardment of the people of Palestine. The term is known as &ldquo;Mowing the Lawn&rdquo; and is a periodic &ldquo;cleansing&rdquo; of the Palestinian Territories (every 2-3 years). There are many rationalizations for these acts, which summarily kills innocent victims, mainly women and children. <em>Gaza; Mowing the Lawn</em>, takes a cue from Picasso&rsquo;s Guernica or Goya&rsquo;s moving paintings of the Spanish Civil War.</p> <p style="text-align: justify;">&ldquo;Over the 50 days these latest &ldquo;mowing the lawn&rdquo; attacks occurred, I was getting dozens of horrific pictures sent to me over the internet. They were graphic, tragic and so incredibly sad. It was hard to look at them. I started drawing over them, in part, as a way to make myself look at the carnage and realize that this was happening to babies, children, women, families. I felt that doing these paintings, lovingly, was my attempt at honoring these victims,&rdquo; says Scholnick.</p> <p style="text-align: justify;">Scholnick&rsquo;s paintings/collages became individual prayers allowing her to work through this incomprehensible period of violence she was being shown. The result is a series of 50 scenes captured during 50 days in the summer of 2014 in Gaza. As one is drawn into these individual pieces you are seduced by the overall line work. Because it is now art, it becomes easier to gaze upon the subject. One can uncover layers of reality, wrapped in line.</p> <p style="text-align: justify;">Scholnick adds, &ldquo;Someone asked me lately, after looking at this series, &ldquo;whose side am I on?&rdquo; My answer was simply, &ldquo;I am against ALL of it! There is absolutely no justification for this type of inhumanity towards any human!&rdquo;</p> <p style="text-align: justify;">Jaime Scholnick received her MFA from the Claremont Graduate University in 1991. From 1994 &ndash; 1999 she resided in Japan, studying paper making and immersing herself in Japanese society. Awarded a paper making residency from The Museum of Art, Tokyo (1997), Ms Scholnick&rsquo;s work has been included in exhibitions in Japan as well as Amsterdam and Berlin. Scholnick&rsquo;s work has been shown throughout the US and locally including CB1 Gallery, Angles Gallery, P&Oslash;ST, The Torrance Art Museum, Defamation of Character at PS1, Cross-Cuts at Otis College of Art &amp; Design, Big Plastic at The Armory Center for the Arts, and Guns and Knives, Fahrenheit Gallery, Kansas City, MO. Her video short Hello Kitty Gets A Mouth has been included in various film festivals such as The Santa Fe Film Festival, Women In The Directors Chair Film Festival, Chicago, Kansas City Filmmakers Jubilee, Kansas City, MO and The Silverlake Film Festival.</p> Mon, 25 May 2015 18:00:04 +0000 Jennifer Wynne Reeves - CB1 Gallery - June 6th - July 18th <p style="text-align: justify;">CB1 Gallery&nbsp;is honored to present the first Los Angeles/California/West Coast solo exhibition of&nbsp;<strong><a href="" target="_blank">Jennifer Wynne Reeves</a></strong>&nbsp;works,&nbsp;<em><strong>A Bolt of Soul: Grooved Foreheads and Dog Teeth</strong></em>,&nbsp;from June 6 &ndash; July 18, 2015, at 1923 South Santa Fe Avenue, Los Angeles, CA 90021. This exhibition will coincide with the one-year anniversary of her passing on June 22, 2014.</p> <p style="text-align: justify;">The following text is from the BravinLee Programs press release for their Fall 2014 exhibition of works by Jennifer Wynne Reeves, who had passed after a battle with brain cancer at the age of 51. It is reprinted with permission:</p> <p style="padding-left: 30px; text-align: justify;">Jennifer Reeves&rsquo; life was cut too short when she succumbed to brain cancer on June 22nd at the age of 51. Reeves is known for creating a body of paintings, drawings and photographs that speak to and confront formalist and humanist dilemmas. But beyond her reputation and achievements in the art world, Reeves enjoyed a considerable fan-base as a result of her astonishing Facebook presence where she chronicled and interwove her art and diaristic prose, living her life out loud, inviting her followers to take pieces of her and receive inspiration.</p> <p style="padding-left: 30px; text-align: justify;">For better or worse Reeves was a painter&rsquo;s painter. While she achieved a great measure of commercial success in her too abbreviated life, Reeves was best known and respected by artists who recognized her powerful skills of blending painterly style and manipulating materials in an alarmingly appealing way, avoiding the pitfalls that push abstraction against representation. Reeves was able to mine life&rsquo;s deeper underlying enigmatic and elusive narratives and emotions by the taming of opposites. Combining color-field, minimalism, narrative painting, process art and expressionism, Reeves rejected low thread count, muted, mock solemnity.</p> <p style="padding-left: 30px; text-align: justify;">Reeves enjoyed solo exhibitions at Art &amp; Public in Geneva, Gian Enzo Sperone in Rome, The Worcester Art Museum in Massachusetts, and Max Protetch and Ramis Barquet in NYC. Her most recent solo show was at BravinLee programs in 2013. Reeves was also celebrated for her writing. She produced a graphic novel, The Anyway Ember in 2008 and Soul Bolt a book of her set-up photography and prose in 2012. In 2012 she was selected as a John Simon Guggenheim Fellow.</p> <p style="text-align: justify;">The CB1 Gallery exhibition will be comprised of a selection of works from 2010-2014 in one large gallery &ndash; in addition, a selection of works from Jennifer&rsquo;s 1997 <em>Place</em> series (shown at the time of their creation at Lemberg Gallery, Birmingham, Michigan, and the title of her memorial exhibition at BravinLee Projects New York in September/October 2014) will be shown in our project gallery.</p> Mon, 25 May 2015 17:58:32 +0000 Kurt Kauper - ACME - June 6th - July 11th <p>*ACME. is pleased to present a solo exhibition of new paintings by New York based artist Kurt Kauper.</p> Mon, 25 May 2015 17:48:54 +0000 Michaela Eichwald - Overduin & Co. - June 28th - August 1st Mon, 25 May 2015 16:39:00 +0000 - Santa Monica Museum of Art - May 26th - May 28th <p style="text-align: justify;"><em><strong>We&rsquo;re moving &ndash; Take home a piece of the Museum<br /></strong></em>Don&rsquo;t miss this rare opportunity to sift through 17 years worth of culture-making and creativity. The Santa Monica Museum of Art is preparing for a move with an estate sale of epic proportions. Everything must go, and the vast offerings include Stephen Keene-painted furniture, artist-designed plates, a plethora of art books and catalogues, bookshelves, vintage steelcase desks, tanker chairs, TVs, cameras, speakers, microphones, projectors and other tech equipment, gallery vitrines and pedestals, high-quality art supplies, and even some pink bean bag chairs.</p> <p style="text-align: justify;"><strong>Sale Schedule:</strong> <br /><strong>Tuesday, May 26 | 9am to 2pm </strong><br /><strong>Wednesday, May 27 | 8am to 2pm </strong><br /><strong>Thursday, May 28 | 9am to 12pm </strong></p> <p style="text-align: justify;"><strong><br /></strong></p> <p style="text-align: justify;">For the last 17 years, SMMoA has called the Bergamot Station Arts Center its home. At the end of May, the Museum will enter a phase called SMMoA Unbound, a planned gestation period to refine its vision and broaden its reach. As part of SMMoA Unbound, SMMoA will leave its current location and organize its next exciting roster of exhibitions, education, and outreach initiatives from interim office space in Century City.</p> <p style="text-align: justify;"><em>A portion of sale proceeds will support the Santa Monica Museum of Art. The sale is being organized by Estate Sales Los Angeles, and the sale website can be accessed at <a title="" href="" target="_blank"></a>.</em></p> Mon, 25 May 2015 16:32:30 +0000