ArtSlant - Recently added en-us 40 - 3 Days Awake - November 7th - November 9th Mon, 29 Sep 2014 17:07:05 +0000 - 3 Days Awake - October 3rd - October 5th Mon, 29 Sep 2014 17:07:04 +0000 Cara Benedetto and Davida Nemeroff - Young Art - November 1st - November 29th Mon, 29 Sep 2014 16:51:40 +0000 Mie Olise - Samuel Freeman - October 25th - December 13th <p style="text-align: justify;">*Solo exhibition of new painting, installation, and sculptural work by Mie Olise (Denmark) opens October 25th, 2014</p> Mon, 29 Sep 2014 16:50:25 +0000 Kathleen Henderson - Rosamund Felsen Gallery - October 18th - November 15th Mon, 29 Sep 2014 16:49:12 +0000 Hideaki Kawashima - Richard Heller Gallery - October 18th - November 15th Mon, 29 Sep 2014 16:47:05 +0000 Lizzie Fitch & Ryan Trecartin - Regen Projects - October 22nd - November 26th Mon, 29 Sep 2014 16:43:25 +0000 Jacolby Satterwhite - OHWOW Los Angeles - November 15th - January 3rd, 2015 Mon, 29 Sep 2014 16:41:25 +0000 - Marc Selwyn Fine Art - October 18th - November 15th Mon, 29 Sep 2014 16:34:00 +0000 Lee Mullican - Marc Selwyn Fine Art - October 18th - November 15th Mon, 29 Sep 2014 16:33:41 +0000 Barak Zemer - ltd los angeles - October 17th - November 15th Mon, 29 Sep 2014 16:32:08 +0000 Jed Ochmanek - ltd los angeles - October 17th - November 15th Mon, 29 Sep 2014 16:32:06 +0000 Roland Reiss - CSUF Begovich Gallery - November 8th - December 11th <p style="text-align: justify;">Roland Reiss has a long and influential history in the L.A. and Southern California art scene. This retrospective will highlight a career of continual self-reinvention that has led to a ground-breaking body of work. Reiss&rsquo; early work owed a lot to Abstract Expressionism, but he brought new plastic materials popular during the 60s in L.A. into the work featured in this exhibit. However, the Conceptualist movement of the 70s opened up a new world to Reiss where content mattered. He began to explore human drama in narrative miniature tableaus filled with clues and encased in Plexiglas. Viewers were invited to interpret the myths of modern American culture, from actual murder cases to life in the corporate world by entering a scene frozen in time.&nbsp; As he says, he sought to condense &ldquo;a complexity of ideas in a single piece.&rdquo; Reiss also continued to explore the human condition in a series of heroic scale figures, mixing stylistic properties across the histories of art, reflecting modern day stereotypes with humor. <br /> <br /> At the apex of his career, Reiss felt &ldquo;I have no more stories to tell.&rdquo; &nbsp;As critics and curators declared painting dead, he had already started investigating hundreds of studies for painting. His intent was to &ldquo;take painting beyond where it has been,&rdquo; believing it is impossible to deplete the possibilities of any medium. What seems like the product of gestural spontaneity are actually extensively rehearsed moves. He describes his work as &ldquo;energy fields and spaces in which forms are operative and you can interact with visually.&rdquo;&nbsp; Also included in the show will be his latest series of Floral Paintings which explore time of day, and realism versus flat graphic shapes. <br /> <br /> The Begovich Gallery will produce a publication to accompany this exhibition.</p> Mon, 29 Sep 2014 16:26:35 +0000 Ann Lofquist - Craig Krull Gallery - October 18th - November 22nd <p style="text-align: justify;">Concurrently, Craig Krull Gallery will present its first exhibition of paintings by Ann Lofquist. Combining the qualities of tonalism with the approach of plein-air painting, Lofquist&rsquo;s landscapes begin with what she describes as &ldquo;an intense observed experience.&rdquo; Having taught for several years at Bowdoin College in Maine, she became recognized for her New England paintings that combined a contemporary visual awareness with the evocative subtleties of George Inness. Her recent move to Southern California presented an entirely different landscape as well as new light and atmospheric conditions that she has perceived remarkably. Bowdoin art professor Mark Wethli says Lofquist is &ldquo;one of the few I would describe as having perfect pitch when it comes to color, which is unmistakable in the way she captures very fleeting qualities of light.&rdquo; On her recent subject matter, Lofquist notes, &ldquo;&hellip;new tracts abut a dry landscape still teeming with rattlesnakes, coyotes and mountain lions. The juxtaposition of the enduring and the ephemeral is everywhere in evidence in Southern California.&rdquo;</p> Mon, 29 Sep 2014 16:22:37 +0000 Hilary Brace - Craig Krull Gallery - October 18th - November 22nd <p style="text-align: justify;">In reviewing Hilary Brace's drawings, <em>The New York Times</em> said, "once in a while you come across an art of such refined technique that it seems the product of sorcery more than human craft...&rdquo; Starting with the smooth surface of polyester film darkened with charcoal, Brace works in a reductive manner by removing charcoal with erasers and other handmade tools. Despite the verisimilitude of her work, Brace composes her images without premeditation, through an explorative process that allows them to unfold in unanticipated directions. Her subjects are based on clouds, water, mist and mountains, but she takes these forms to sublime and unimaginable new heights. As Christopher Knight remarked in the <em>Los Angeles Times</em>, her work is &ldquo;like a Vija Celmins drawing made Baroque, [it] conjures ephemeral poetics of light and space.&rdquo; For all their vastness and grandeur, Brace&rsquo;s drawings are relatively small and intimate. As Leah Ollman observed in <em>Art in America</em>, the drawings &ldquo;put those two realms &ndash; the private and the cosmic &ndash; within reach of each other.&rdquo; The naturalist author Gretel Ehrlich also recognized this dichotomy of the wild and the controlled in her essay for this exhibition, &ldquo;Everything in these frames is spilling, yet it feels contained somehow, not threatening. We are only asked to move in the atmospheric flux. The perspective is from a seat high up, as if the artist was on a cloud passing over and under other clouds, yet always able to define her territory.&rdquo;</p> Mon, 29 Sep 2014 16:22:32 +0000 Javier Tapia, Camilo Ontiveros - 18th Street Arts Center - November 7th - December 7th <p style="text-align: justify;">*Traveling Dust is a project in collaboration between artists Javier Tapia (Chile/Denmark) and Camilo Ontiveros (Mexico/USA). This project, commissioned by 18th Street Arts Center, is an installation that takes on similarities and differences between the 3 lands that have attached the relationship of the artists: Los Angeles, Chile and Mexico, using art to unveil and rearticulate assumptions about the countries, cultural trade, nature and people.</p> <p style="text-align: justify;">The project is a dialogue between both artists examining several aspects of the cultural influences and traditions between Latin America and the US, paying particular attention to geographical locations, economical trades, manifestations of folkloric art and its objects.</p> <p style="text-align: justify;"><strong>&nbsp;</strong></p> <p style="text-align: justify;"><em>All 18th Street programming is free and open to the public.&nbsp;</em></p> <p style="text-align: justify;"><em>The project is funded by the Los Angeles Department of Cultural Affairs, Santa Monica Cultural Affairs Latino CAP,&nbsp;and the Danish National Arts Council.</em></p> Mon, 29 Sep 2014 16:17:07 +0000