ArtSlant - Recently added en-us 40 Mark Tomilin, Chelsea Ramirez, Leocadio Martinez, Zinnia Moreno - The G2 Gallery - January 13th, 2015 - March 1st, 2015 <p>The G2 Gallery will hold an opening reception for 224 Miles in conjunction with Venice Arts. The exhibit will showcase art from four Venice Arts students who took an educational trip to the Grand Canyon in 2014. Wine, hors d'oeuvres and live music are included in the $10 admission. All proceeds from the admission and art sales will go to funding the 2015 Grand Canyon trip.</p> Sun, 28 Dec 2014 23:48:26 +0000 Cheryl Medow - The G2 Gallery - January 13th, 2015 - March 1st, 2015 <p>The G2 Gallery will premiere another show in its ongoing <em>Nature LA </em>series with award-winning photographer Cheryl Medow in <em>Nature LA: Cheryl Medow.&nbsp;</em>Medow has exhibited her photographic collages before at G2 in 2012, which garnered attention for their unique style inspired by dioramas from the Natural History Museum. This <em>Nature LA</em> show will feature new collages from her <em>Envisioning Habitat</em> series, which portrays various birds surreally set against paradisiacal habitats.</p> <p>All proceeds from opening reception admissions will be donated to Venice Arts.</p> Sun, 28 Dec 2014 23:39:43 +0000 Bill Jensen - ACME - January 10th, 2015 - February 7th, 2015 Thu, 25 Dec 2014 17:31:53 +0000 Dan Finsel - Richard Telles Fine Art - January 10th, 2015 - February 14th, 2015 <p style="text-align: center;"><strong>&ldquo;INTRODUCTION TO</strong><strong><em>&nbsp;&lsquo;</em></strong><strong>AFFECTIVE MEMORY WORK: THE CAGE; CLASSICAL CONDITIONING, THE ANIMAL EXERCISE (CAT IN HEAT), THE &ldquo;MAN-MAKER&rdquo;, SENSE MEMORY, AND REPRESENTING THE REPRESENTATION OF REPRESENTING THE REPRESENTATION OF REPRESENTING THE REPRESENTATION OF&hellip;OF PRODUCTION (PART 1)&rsquo;.&rdquo;</strong><br />&nbsp;</p> <p style="text-align: justify;">Richard Telles presents a new exhibition by Dan Finsel, an immersive installation featuring a single-channel video, a sound-emitting sculpture, and a series of color photographs. Being Finsel&rsquo;s second installment at the gallery, many formal echoes can be found from his first, most immediately in the treatment of the closet doors and skylights. In a move of redaction, black T.V. paint replaces the patterned colors, while black plexiglass encloses the formerly painted skylights. One also finds formal echoes going further back: the space is covered in a Rosco brand black &ldquo;show&rdquo; floor, referencing Finsel&rsquo;s first solo exhibition at Parker Jones Gallery, Los Angeles in 2010, which featured the same &ldquo;show&rdquo; floor, but in white. Such formal and conceptual allusions only multiply over time through each exhibition to the next. Yet, this installation most pointedly serves as an introduction to a planned series, wholly entitled &ldquo;Affective Memory Work&rdquo;&sup1;, a continued exploration of the eponymous Stanislavskian and Strasbergian method acting techniques&mdash;not only as they relate to the psychological and cultural conditions of production in performance, film/video and art objects, but through the subjective lens of representing production itself.&nbsp; As such, this exhibition should be seen as part of an imagined, but yet to be fully conceived project, that toys with the convention of a &lsquo;finished&rsquo; presentation, thus functioning as an introduction.<br />&nbsp;<br />The conceptual centerpiece of the exhibition and the starting point for Finsel&rsquo;s project is a video entitled Affective Memory: (A / The Cage)&sup2;. It is the first of a series in which each video focuses on a different &ldquo;personal&rdquo; object, thus regarded an &ldquo;Affective Memory Object&rdquo;&sup3;, before depicting an ostensibly choreographed performance by the artist; in this iteration, the object in question is a small cage. Using method-acting techniques in concert with the &ldquo;Affective Memory Object&rdquo;, Finsel depicts a durational and rigorous study of the self: on one hand, its physically conditioned associations to emotional display as it relates to &ldquo;Affective Memory Recall&rdquo;<sup>4</sup>&nbsp;and classical conditioning&mdash;which entails him (the actor) recalling a personal event from his experience, encoding a conceivably related emotional gesture to that experience&mdash;and on the other, drawing from that &lsquo;role&rsquo; and codified gesture within the performance to depict a conglomerated &ldquo;dance&rdquo; between agency and automatism. He calls into question our choices of movement in general, suggesting that we are simply following a scripted depiction and reaction of and to emotion. Each performance begins with a very codified representation of a particular emotion, and from this Finsel engages with what he assumes is a natural series of physical reflexes, thus hinting to our nature as emotionally conditioned vehicles. Put in other terms, his recollection is trained through a sensorial memory (real or imagined) of the &ldquo;Affective Memory Object&rdquo;; or in this case, the cage, thereby producing a mimetic &ldquo;representation&rdquo; of his emotions as they were in the &ldquo;original experience&rdquo;.<br />&nbsp;<br />The conceptual underpinnings to the video continue outward and throughout the exhibition, by use of the endless black backdrop, a reactive, and recurring material theme in the physical and temporal space of the viewer. This supplants the green screens in some video works of Finsel&rsquo;s past, bringing about an almost completely different space for mental projection. His use of the &ldquo;un-activated&rdquo; green screen had allowed for the metaphoric representation of an insinuated space that the viewer could &ldquo;hypothetically&rdquo; project upon the video with a scene, setting, or context in mind. The inherent quality of the black backdrop, typically used in theater, film and television production, however, is inactivation, appearance through disappearance, serving as anonymity, as a literal highlight to the acting or emotional display. Both the green screen and the black backdrop, through different superficial neutralities, tightened the viewer&rsquo;s focus on the performer. Yet, the black backdrop is inherently a space for mental projection by the viewer, whereas the green screen is there to be &ldquo;keyed&rdquo; out in order for a scene to be inserted behind the performer by the artist or filmmaker.&nbsp; Without any image being &ldquo;keyed&rdquo; in though, it still remains a potential space for a viewer&rsquo;s mental projection, except this time, with its technical illusion machine made overt. Finsel also modeled his performances for each of these two backgrounds. In front of the green screen, he performed an exaggeration, a version of himself with a fictional biography, while in the current video series he is performing &ldquo;authenticity&rdquo;. He is not performing a &ldquo;character&rdquo; or caricature, but rather an attempt to perform the &ldquo;self&rdquo;: an obviously futile notion here, due to the blurred lines of identity in the performance of any &ldquo;self&rdquo;.<br />&nbsp;<br />The black background impinges into physical space as well, and into film production itself: the black flooring and paint that partially comprise this exhibition are products of Rosco, still best known for the products it originally manufactured: filters for entertainment lighting. Finsel began using Rosco Green Screen paint in his first series of videos starting in 2008, and again, used this flooring for his installation:&nbsp; &ldquo;I could be anybody, I could be somebody&rdquo;, 2010.&nbsp;<br />&nbsp;<br />The objects that populate the exhibition&mdash;the photographs depicting digitally manipulated c-stands, as well as clashes between Rosco black paint and Finsel&rsquo;s feet&mdash;extend the conversation to the generalized notion of what is seen and unseen in production, however alongside individualized concepts of the self and how Finsel (the artist) must disillusion himself from the roles he performs. The sculpture on view, based on a Wenger Corporation portable stage setup, comically literalizes the psychic density that underlies &ldquo;Affective Memory Recall&rdquo;, by emitting audio from Finsel&rsquo;s performance &ldquo;Animal Exercise (Cat in Heat)&rdquo;. The &ldquo;Animal Exercise&rdquo;, another famed exercise of Strasberg, asks the actor to pick an animal that might relate to the character they are to play. By starting as this animal she is supposed to metamorphosize her performance of that animal into the assigned character, thus providing yet another system of associative mimicry.<br />&nbsp;<br />The photographs of C-stands, digitally manipulated into different formations, bearing the appearance not unlike those from high-budget television commercials of silvery industrialized products, as well as the fetishistic, reflective sheen of of various cinematic cyber-oriented tropes, also recall the mandala paintings from Finsel&rsquo;s last show here at the gallery. This time, such filmic production elements that create and undergird the production of the video, are contorted through Finsel&rsquo;s subjective matrix. Anachronistically placing what starts as a &ldquo;document of a tool or product of production&rdquo;&nbsp; (akin to Christopher Williams) into a surrealistic trope filtration process, Finsel assumes that the genre of art making that centers on the &ldquo;revealing of the hidden elements of production&rdquo; is thus then objectified as a process in and of itself.&nbsp; Removing himself from the conversation in some regards, we then begin to locate Finsel&rsquo;s tendency for Role Play in the creation of the objects themselves. Note the subtitle to this particular series:&nbsp; &ldquo;Representing the representations of representing the representations of representing the representations of &hellip;of production&rdquo;.<br />&nbsp;<br />The images of the Rosco brand black TV paint, aforementioned that it has been used to paint the large closet doors, the frames for the photographs, and sculpture, which splashes upon the performers&rsquo; feet, brings the nexus of the production elements and the body to the fore, creating a physical reaction, in tandem to the mental one&mdash;between the Affective Memory Object and personal memory&mdash;which can only be made manifest through the artist&rsquo;s performance.&nbsp; Thus, again in slight reference to his painted photographs of his last exhibition, though literally in this case, Finsel spills the branding color upon himself in a reflexive gesture, noting metaphorically the inescapable contusive qualities, (that if we reach far enough metaphorically) and the black screen representing &ldquo;conditioning&rdquo; itself&hellip; shit.&nbsp; This situation, the situation is, it&rsquo;s really a situation where I can talk about what happened but it ultimately doesn&rsquo;t matter because it happened<sup>5</sup>.<br />&nbsp;<br />My general interest in Method Acting is because if I had the chance, I would sleep sleep sleep with Daniel Day Lewis<sup>6</sup>, I would become his life partner, and spend the rest of my days making shoes and drinking tea on the Irish Countryside, both in and of itself as a cultural phenomenon but also as a metaphor for the visual and emotional production of self and our individual notions of subjectivity on a everyday level, on an everyday level.&nbsp; The processes and exercises of method acting clearly serve to highlight and exaggerate the normative psychic motions, structurings and unconscious procedures of psychic life in general and automatic motion, but are a child of a scrutinization and delineation process wheeling a commercialized mythologization medium.<br />&nbsp;<br />Dan Finsel recently held a solo exhibition at CAPC Mus&eacute;e d&rsquo;art Contemporain, Bordeaux, France in 2014; the same year, he was included in group exhibitions at Kent Fine Art, New York and Francois Ghebaly, Los Angeles; and in 2013 he was included in a group exhibition at Institut d&rsquo;Art Contemporain, Villeurbanne, France. Finsel also held a solo exhibition at Ballroom Marfa, Marfa, Texas, and was included in &ldquo;Made in L.A.&rdquo; at the Hammer Museum, Los Angeles in 2012. Finsel lives and works in Los Angeles.</p> <div> <p style="text-align: justify;">&nbsp;</p> <hr size="1" /> <p style="text-align: justify;">&sup1;A project reflective of his ongoing research/investigation into the social phenomenon of method acting, and the underlying social, psychological and cultural sciences surrounding and relative to, in whatever degree, this theatrical practice/self investigative medium/pseudo psychotherapeutic &ldquo;science&rdquo;.<br /><br />&sup2;The sculpture: &ldquo;Affective Memory: Cage&rdquo; (2014), first shown at Francois Ghebaly Gallery in 2014 within the context of Ramiken Crucible gallery was&nbsp; created as a preamble to what was this upcoming work, exhibition and project.&nbsp; In the case of that object, the idea is that it is a frozen representation of a cinematic trope, surrealistically visualizing the psychological relationship within the &ldquo;performer&rdquo;, about the &ldquo;Cage&rdquo;.&nbsp; You are looking through the eyes of the &ldquo;performer&rdquo; looking at their &ldquo;Affective Memory Object&rdquo;, in a movie where an artist playing a &ldquo;performer&rdquo; is looking at a hypothetical &ldquo;Affective Memory Object&rdquo; overtaken briefly by the associative affects of her personal object.&nbsp; &ldquo;Affective Memory: Cage" 2014, is an illustration of how I would see the cage object in the video &ldquo;Affective Memory: (A/The Cage)", 2015.<br /><br />&sup3;Affective memory objects are non-physical objects held within the intuition or imagination of the actor for help in the retrieval of their associative memory and/or emotion.&nbsp; Starting typically as a physical, personal object chosen by the actor for personal content and associative quantity, these objects are then tasted, touched, smelled, heard, and looked upon.&nbsp; This sensorial process is an exercise of creating physical associations which then in memory allow for more entrances to that desired place, in a sense. That single place is/can be a very dirty place, though.&nbsp; Capital &ldquo;D&rdquo; dirty, depending upon the individual.&nbsp; This dirtiness is something that itself can direct one to multiple other places in memory, leading ultimately to a process similar to that of shifting through a hoarder&rsquo;s storage unit.<br /><br /><sup>4</sup>Affective Memory or Emotional Recall are procedural practices within the Stanislavskian and Strasbergian forms of Method acting.&nbsp;Mostly similar, these notions are used more as a psychological &ldquo;tool&rdquo; to unearth memory and enhance the verisimilitude within a performance to that of a lived event.&nbsp; The actress or actor thus is asked to select a particular personal event from their lived experience, as to draw from and connect to the concurrent role and/or scene within a performance.&nbsp; Using a procedure of recollection both through their trained sensorial memory of that event and/or a constructed or authentic associative connection to a personal object, they essentially produce a mimetic representation from their memory of their original emotions to that &ldquo;original&rdquo; lived experience.&nbsp; Ending with the presentation of &ldquo;self&rdquo; through character or pretense.<br /><br /><sup>5</sup>What I think ultimately happens, and what I actually do in my mind, is just count down from 100, and let shit just take over.&nbsp; Its really amazing what happens&hellip;things do happen, things actually happen, things, things inexplicable but clearly planned, things, thingy things, a thing, thing. I coordinate all of it, intuition aside, I don&rsquo;t believe in intuition. It&rsquo;s basic. Strategy and manipulation, April Fools and Whoopie cushions.<br /><br /><sup>6</sup>Rebecca Miller is also extremely intriguing and only furthers this life goal, as we would/could share in the quiet and subtle love tokens of our shared partner.</p> </div> Thu, 25 Dec 2014 15:21:37 +0000 - Los Angeles Contemporary Exhibitions (LACE) - January 17th, 2015 10:00 AM - 6:30 PM <p><a href=";id=9e614280c2&amp;e=55639b7d50" target="_blank"><strong>Chats About Change: Critical Conversations on Art and Politics</strong></a>&nbsp;is five conversations addressing contemporary themes that artists and activists are developing in Los Angeles today. The dialogues will critically engage the topics of participatory structures in culture, confrontational art practice, the dialectic of the spiritual and the political, interdisciplinary collaboration, and the politics of land use.<br /><br />Organized by artists&nbsp;<strong>Elana Mann</strong>&nbsp;and&nbsp;<strong>Robby Herbst,</strong>&nbsp;<strong>Chats About Change&nbsp;</strong>represents a grassroots response to the national phenomena of the institutionalization of&nbsp;<em>social practice art</em>&nbsp;within hegemonic institutions.&nbsp;<strong>Chats About Change</strong>&nbsp;aims to strengthen local networks of politically oriented artists through a self-organized forum fostering analytical reflection and response.<br /><br /><strong>The events will take place on&nbsp;Thursday January 15, 2015&nbsp;at&nbsp;California State University Los Angeles andSaturday January 17, 2015&nbsp;at&nbsp;LACE.&nbsp;</strong><br /><br /><strong>Chats About Change</strong>&nbsp;asks questions, wages debates, and supports the community of people seeking experimental ways to affect Southern California and beyond. Participants include&nbsp;<strong>Lauren Bon, Dorit Cypis, Camilo Cruz, Sandra de la Loza, Micol Hebron, Amitis Motevalli, Daniel Joseph Martinez, Jennifer Moon, Jane Tsong, Ultra-red,</strong>&nbsp;and others.<br /><br /><strong>For a schedule and list of participants, visit&nbsp;<a href=";id=e660433d1a&amp;e=55639b7d50" target="_blank"></a></strong>.</p> Thu, 25 Dec 2014 15:16:42 +0000 Devin Kenny - Aran Cravey - February 13th, 2015 - April 4th, 2015 Thu, 25 Dec 2014 15:07:31 +0000 Gerard Brane, Charles Christopher Hill, Jane Hugentober, Ted Kerzie, Gloria Kisch, Jay McCafferty, Ed Moses - Cirrus Gallery - January 6th, 2015 - February 14th, 2015 Thu, 25 Dec 2014 15:00:55 +0000 Kristin Morgin, Carly Steward, Deanna Erdman - UCI Art Gallery - January 10th, 2015 - February 7th, 2015 <p style="text-align: justify;">As part of The University Art Gallery&rsquo;s (UAG) winter programming, the gallery is pleased to announce a group exhibition featuring clay sculptural works by Kristin Morgin, photographic works by Carly Steward, and transparency and lightbox constructions by Deanna Erdman. Form refers to the outline and structure of a thing. The artists in this exhibition represent a diversity of approaches to working with everyday imagery, print media and objects. In viewing these three bodies of work, we wonder about ocular disruption, which is to say, how form in these works opens the optical to the tactile and makes other striking conceptual moves. Kristen Morgan&rsquo;s sculptures mimetically re-fashion found relics. Carly Steward&rsquo;s photo collages re-examine photography and sculpture in reproductions, creating new image-forms from illusion and absence. Deanna Erdman&rsquo;s works bring flattened images culled from news sources into the third dimension, distilling and magnifying individual layers of information. In each instance, the foci and subjects of perception shift through observations registered by the works as compared to their sources.</p> Thu, 25 Dec 2014 14:56:54 +0000 Charles Gaines, Benjamin Verhoeven, Erika Vogt - UCI Art Gallery - January 10th, 2015 - February 7th, 2015 <p style="text-align: justify;">The University Art Gallery is pleased to present<strong><em>&nbsp;Paradox in Language: What I look at is never what I wish to see</em></strong>, a group exhibition featuring the work of&nbsp;<strong>Charles Gaines, Benjamin Verhoeven and Erika Vogt</strong>. This exhibition investigates the influences of various strains of conceptual thought that began to take form in 1966 when the writings of Jacques Lacan and Roland Barthes became increasingly important to the study of linguistic systems. It was also the year Michelangelo Antononio&rsquo;s film<em>&nbsp;Blow-Up</em>&nbsp;was released, which actively displayed the semiotic interpretation of an image. The three artists form a constellation of varying practices that consider the aesthetic strategies of both Conceptualism and Structuralism. In viewing these works together, representation and non-representation are held in tension. Through these practices we witness the challenges that lie in bringing this paradox into visual form.<br /><br />In Charles Gaines' (b.1944, United States)&nbsp;<em>String Theory and Randomized Text</em>&nbsp;series, he invents a set of rules for randomizing appropriated texts which he then draws out onto paper. The text retains grammatical integrity, but as a result of the randomizing process, it becomes incoherent. Through this undoing of language, the meaning of the original text is reconstructed allowing a space for the viewer&rsquo;s interpretation to enter. This relationship between the text as image and image as text poses the question: When language is present, what is absent? Benjamin Verhoeven (b.1990, Belgium) appropriates scenes from films such as Antonioni&rsquo;s<em>&nbsp;Blow-Up</em>&nbsp;in his series&nbsp;<em>Scanning Cinema</em>. These films are re-interpreted by scanning them in real time, creating a distorted echo of the original. Using these films as a material, Verhoeven considers the digital image, the filmic process, time and space. Influenced by early experimental and Structuralist films, Erika Vogt (b. 1973, United States) creates installations that include video, drawings, and sculptures. The video<em>&nbsp;Geometric Persecution</em>&nbsp;follows the wanderings of a traveler seemingly unbound by the constraints of time and space. Nonlinear logic and abstract concepts are characteristic of Vogt&rsquo;s practice which is grounded in both experience and process. The objects she creates are treated equal to words, forming a visual conversation.</p> <p style="text-align: justify;">In conjunction with&nbsp;<em>Paradox in Language: What I look at is never what I wish to see</em>, the graduate Visiting Artist Lecture Series presents a lecture with artist Erika Vogt.&nbsp;Monday, January 26th at 12:00 pm&nbsp;</p> Thu, 25 Dec 2014 14:53:07 +0000 Tom of Finland - David Kordansky Gallery - January 17th, 2015 - March 7th, 2015 <p style="text-align: justify;">David Kordansky Gallery is pleased to announce <em>Early Work 1944 - 1972</em>, its first exhibition of work by Tom of Finland. The exhibition will open on Saturday, January 17, 2015 at 5130 W. Edgewood Place and will continue on view through March 7, 2015. An opening reception will be held on January 17 from 6:00pm until 8:00pm. &nbsp;</p> <p style="text-align: justify;">Touko Laaksonen a.k.a. Tom of Finland (1920 - 1991) is widely regarded as one of the 20th century's most influential artists for his revolutionary representation of the male figure. His drawings of fantastically muscled men engrossed in acts of homoerotic desire comprise one of the most inventive portrayals of the human body in modern times. These pictures of gay men as virile, confident, and unashamed--equally radical for their near-illicit, underground distribution--originated an empowering queer iconography and liberating spirit that increasingly inspires popular culture. &nbsp;</p> <p style="text-align: justify;">This exhibition surveys the artist's formative years across fifteen works, each selected in close collaboration with the Los Angeles-based Tom of Finland Foundation. These graphite drawings, gouaches, and inked storyboards--the majority of which have never been shown before--broadly trace the evolution of Tom's exquisite draftsmanship and compositions from his earliest extant erotic works, executed just after serving in the Finnish Army during WWII, through to a complete comic produced in 1972, the year before Tom both earned his first solo exhibition, and retired from his advertising career to devote himself fulltime to his art. &nbsp;</p> <p style="text-align: justify;">Among the earliest works featured is a group of rare sketches from 1944 depicting clothed couples enjoying sensual trysts. The delicate fashion-illustrational style and the coifed hairstyles reflect the era, but the exposed and exaggerated genitalia, a burgeoning pre-steroid musculature, and most significantly, expressions of pride and playfulness signal Tom's pioneering approach to sexuality. At the time, homosexuality was unequivocally taboo, if not illegal, and the dominant image of gay men was that of weakness, sickness, and effeteness. In a masterful 1947 gouache on view, Tom both flouts and acknowledges these prejudices with the depiction of a commanding, strong-jawed figure discreetly pleasuring his companion. The picture also displays an early fetish for leather and military garb, trappings Tom would adopt throughout his world as symbols of power and masculinity. &nbsp;</p> <p style="text-align: justify;">A selection of finished drawings from 1957 to 1970 further redefines archetypes. Beginning with Bob Mizer's LA-based beefcake magazine Physique Pictorial, Tom began publishing his pictures as multi-image stories in proto-zine periodicals. To populate this expanding universe, he (predating the appropriations of punk) radically coopted working class, macho, and heterosexual identities, in particular the bikers, sailors, cowboys, and circus performers on view. Seen here idyllically cavorting, these Adonises emulate the aspiring freedoms of the decade. Each composition is charged as much with moments of looking as touching, mirroring the gaze of the viewer, and suggesting a heightened openness to the dynamics of visibility. &nbsp;</p> <p style="text-align: justify;">The exhibition's chronology culminates in a 1972 multi-panel comic featuring Kake (pronounced KAH-keh), Tom's recurring alter ego superhero and the original gay leatherman clone, seducing a "Tom's TV" repairman during a house call. Originally published as "Kake Vol. 11 TV Repair", one of 26 stories the artist released from 1968 to 1986, this sequence of 20 images (plus cover) comprise the final photo-ready artwork for press production. Accordingly, Tom supplants his graphite tonal gradients with the graphic, commercial art punch of pen and gouache, and the character of Kake, an easy-going if horny everyman, takes on a Sunday morning regularity. Similarly, the ecstasy of "TV Repair" is set within a very conventional house with framed artwork. The artworks are photo-collaged reproductions of Tom's own "dirty drawings", and what is suggestively invoked is a world in which the permissiveness of Tom of Finland is a part of every living room. &nbsp;</p> <p style="text-align: justify;">An accompanying, fully illustrated catalogue, designed by Brian Roettinger and featuring an essay by Kevin McGarry, will be published in spring 2015. &nbsp;</p> <p style="text-align: justify;">Recent solo and two-person exhibitions devoted to the life and work of Tom of Finland include Sealed with a Secret: Correspondence of Tom of Finland, Postimuseu, Tampere, Finland (2014); Bob Mizer &amp; Tom of Finland, MOCA, Los Angeles (2013); and Kulturhuset, Stockholm (2012). His work has also recently been featured in group exhibitions including Abandon the Parents, Statens Museum for Kunst, Copenhagen (2014); Keep Your Timber Limber (Works on Paper), Institute of Contemporary Art, London (2013); and We the People, Robert Rauschenberg Foundation, New York (2012). Tom of Finland's artworks are in the public collections of The Museum of Modern Art, New York; the Los Angeles County Museum of Art; the Art Institute of Chicago; and the San Francisco Museum of Modern Art, among others.</p> <p style="text-align: justify;">In September 2014, Itella Posti published a set of three first class stamps in Finland featuring the artwork of Tom of Finland. From June 13 - August 23, 2015, Artists Space, New York, will mount The Pleasure of Play, the most comprehensive survey exhibition of Tom of Finland's work in the U.S. The Tom of Finland Foundation, dedicated to preserving Tom's legacy and supporting erotic art generally since 1984, operates out of the artist's former shared residence in the Echo Park neighborhood of Los Angeles.</p> Thu, 25 Dec 2014 14:49:56 +0000 Beth Parker - Lora Schlesinger Gallery - January 17th - February 21st <p>The East Gallery features<em> Picturing When, </em>Beth Parker&rsquo;s first solo exhibition with the gallery. Beth&rsquo;s paintings analyze the presence that television and film have in Los Angeles and in her life. In her small devotional paintings, references to television and film reflect the intimacy and the emotional connections we share as a collective audience when watching these fictional narratives. Beth carefully selects stills, and renders them meticulously with oil paint, a medium that has been used to immortalize icons and narratives for centuries. Though the light of a flickering screen transmits the majority of information today, narratives were once conveyed through painting and stained glass windows, preserving and elevating their subjects. Beth&rsquo;s paintings combine billboards, stills and Los Angeles street scenes portrayed in a stained glass style. Exploring the physicality of oil paint, she methodically applies transparent layers of pigment, creating intimate paintings that examine the roles that television and film play in our lives.</p> <p>&nbsp;</p> <p>Beth Parker received her MFA at Henry Radford Hope School of Fine Art, Indiana University and her BFA at Maryland Institute College of Art. She was the recipient of Indiana University&rsquo;s College of Arts and Sciences Fellowship, Mary Jane McIntire Fellowship and Friends of Art Fellowship in 2011. She lives and works in Los Angeles.</p> <p>&nbsp;</p> <p>CONTACT: Lora Schlesinger or Stephanie Mercado</p> <p>OPENING RECEPTION: Saturday, January 17, 5 &ndash; 7pm</p> <p>ARTIST TALK: Saturday, January 17: Beth Parker - 4pm, Kimberly Merrill - 4:30 pm</p> <p>GALLERY HOURS: Tuesday &ndash; Friday 10:00 &ndash; 5:30 p.m., Saturdays 11:00 &ndash; 5:30</p> Tue, 23 Dec 2014 22:56:23 +0000 Kimberly Merrill - Lora Schlesinger Gallery - January 17th - February 21st <p align="center">&nbsp;</p> <p align="center">&ldquo;If all of the steps of surrender are present, then a great Rembrandt or Monet will evoke love because the artist is simply there in all his naked humanity&rdquo;</p> <p align="center">&nbsp;</p> <p align="center">&ndash; Deepak Chopra, The Book of Secrets</p> <p>&nbsp;</p> <p>Lora Schlesinger Gallery is pleased to announce <em>Divine Journey,</em> new paintings by Kimberly Merrill. This will be the artist&rsquo;s second solo-exhibition with the gallery. &nbsp;The exhibition opens Saturday January 17, 2015 and is on view through February 21, 2015.</p> <p>&nbsp;</p> <p>Kimberly Merrill&rsquo;s new paintings are a reflection of a spiritual journey that she has travelled as a painter. As an artist, she began to realize the profundity in Deepak&rsquo;s statement. In life and in creating art, her goal is to surrender ego, intellect and control to make the experience deeper and more satisfying. Allowing her heart, intuition and emotions to take the lead, she has created a body of work that mirrors her insight, revealing her &lsquo;naked humanity&rsquo;.&nbsp; In her attempt to embrace the concept of surrender, she catches glimpses of the divinity of the human experience, and how we each struggle to find a balance between our soul&rsquo;s identity and our human existence. Within the work the leading character Pierrot, in his shimmering white robe personifies saintliness, or the soul identity of every human being.</p> <p>&nbsp;</p> <p>Kimberly Merrill received her BFA and MFA at Laguna College of Art and Design, Laguna Beach, CA. Kimberly lives and works in Santa Monica, CA.&nbsp;</p> Tue, 23 Dec 2014 22:46:35 +0000 Carlo Marcucci - Lora Schlesinger Gallery - December 6th - December 6th <p>&nbsp;</p> <p>Lora Schlesinger&rsquo;s East Gallery presents<em> Staples</em>, a new body of work by <strong>Carlo Marcucci.</strong> <em>Staples </em>is a series of wall-mounted sculptures assembled with staples, rope, paper clips, erasers and a variety of commonplace materials.&nbsp; This body of work presents a minimalist aesthetic and formal design elements that reevaluate our relationship to industry and culture, in the vein of <em>Arte Povera </em>and the <em>Assemblage Art</em> movement<em>. </em>The two movements saw a return to simple objects and messages, appropriating conventional materials to create meaningful works of art. Invested in materiality and physicality, these man-made products were used in reaction to the modernist abstract painting that dominated the art world in that period.</p> <p>&nbsp;</p> <p>Marcucci&rsquo;s choice of materials are not found objects, they are man-made items purchased at office supply and hardware stores. He combines these elements harmoniously, producing elegant works of art greater than the simple summation of the individual components. For all intended purposes, the items chosen lose their recognizable original identity and are transformed into graceful geometric compositions reminiscent of office buildings, cubicles, architectural details and of industry. The sensual aspects of the materials are accentuated and allowed to be discovered anew.</p> <p>&nbsp;</p> <p>CONTACT: Lora Schlesinger or Stephanie Mercado</p> <p>OPENING RECEPTION: Saturday, December 6, 2014 5:00 &ndash; 7:00 PM&nbsp;&nbsp;</p> <p>GALLERY HOURS: Tuesday &ndash; Friday 10:00 &ndash; 5:30 p.m., Saturdays 11:00 &ndash; 5:30</p> Tue, 23 Dec 2014 22:05:09 +0000 Kon Trubkovich - OHWOW Los Angeles - January 17th, 2015 - February 14th, 2015 Tue, 23 Dec 2014 15:51:46 +0000 Carlos Bunga, Olivier Mosset - Christopher Grimes Gallery - January 17th, 2015 - March 14th, 2015 <div style="text-align: justify;"><strong>Join us Saturday, January 17, from 5:00 p.m. &ndash; 6:00 p.m. for a conversation between Carlos Bunga and Olivier Mosset, moderated by Mark Lee, a</strong><strong>rchitect and co-founder of one of California&rsquo;s most internationally regarded architectural offices, JohnstonMarklee.</strong></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><strong>Christopher Grimes Gallery is very pleased announce an exhibition of new work by Carlos Bunga and Olivier Mosset.</strong> This exhibition highlights the juxtaposition of two divergent artistic approaches to painting and challenges the viewer to examine their understanding of the medium: from Mosset&rsquo;s two dimensional wall murals to Bunga&rsquo;s three dimensional cardboard constructions; from Mosset&rsquo;s seeming self-sufficiency and &ldquo;authorlessness&rdquo; to Bunga&rsquo;s tactile originality and authenticity; to the monumentality of Mosset&rsquo;s installation and the intimacy of Bunga&rsquo;s paintings.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Olivier Mosset emerged in the 1960s and has since been associated with a multitude of art historical movements, involving himself in both the European and American artistic and critical contexts. In anticipation of many artists, who in the 1980s would use appropriation to critique Modernist authority, Mosset called into question the painter&rsquo;s gesture and signature by sharing styles and dissolving authorship to reach a &ldquo;degree zero&rdquo; of painting. This line of questioning continues in this exhibition where he will present a wall painting composed of four yellow and blue triangles in the form of a motif found from a mural discovered in Cuernavaca in Mexico. In addition, a horizontal grey and white wall painting will extend the length of the nearly 45-foot wall spanning the Main and South galleries. Mosset&rsquo;s paintings possess a strong materialist sense that recalls Malevich, Reinhardt or Stella while simultaneously maintaining a subtle relationship to the readymade and appropriation.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Carlos Bunga&rsquo;s work can be described as painting that exists at the intersection of architecture and sculpture. Bunga is well known known for his large-scale installations made of common, unassuming materials. These installations call to mind Kurt Schwitters&rsquo; Merzbau project for their built quality and the creation of architecture in already existing spaces. Like Schwitters, Bugna&rsquo;s installations respond to existing architecture, yet Bunga&rsquo;s installations are painted in monochromatic planes of color and are built with the intention of ultimately being destroyed. In the South gallery, Bunga will present one such intervention in cardboard, tape and paint in response to the architecture of the space. In the Main gallery he will show a series of new &ldquo;construction&rdquo; paintings that are much more intimate in nature, made from the same materials used for his installations. Although smaller in scale, they nonetheless stem from his interest in the process of painting and spatial issues as well as the presence of the body.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Carlos Bunga (b. 1976 in Porto, Portugal) lives and works in Barcelona. Bunga first attracted international attention with his work at <em>Manifesta 5</em> in San Sebastian, Spain (2004). Since then, he has been shortlisted for the Artes Mundi 6 prize (2014), and he was awarded both the ArtPrize 2013 Grand Rapids, MI and a visual arts grant by the Fundaci&oacute;n Marcelino Bot&iacute;n, Spain (2006). He has had solo exhibitions at Museo Universitario Arte Contempor&aacute;neo (MUAC), Mexico City, Mexico (2013); Museu Serralves, Porto, Portugal (2012); Hammer Museum, Los Angeles, CA (2011); Miami Art Museum, Miami, FL (2009); and Museo de Arte Contemporan&eacute;a de Vigo, Spain (2009). Group exhibitions include <em>Artes Mundi 6</em>, Cardiff, UK (2014); <em>Ruins in Contemporary Art</em> at University Art Museum, University of California, Santa Barbara, CA (2012); Museu d&rsquo;Arte Contemporani de Barcelona (MACBA), Barcelona, Spain (2009); <em>Unmontumental</em> at New Museum, New York, NY (2007); and inSite_05 at San Diego Museum of Art, San Diego, CA (2005). His work is in the collections of such institutions as Museum of Modern Art, New York, NY; Hammer Museum, Los Angeles, CA; Serralves Foundation, Porto, Portugal; and Museo d'art Contemporani de Barcelona (MACBA), Barcelona, Spain.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Olivier Mosset (b. 1944 in Bern, Switzerland) lives and works in Tucson, AZ. Mosset first became known in France for having been part of the famous BMPT group alongside Daniel Buren, Niele Toroni and Michel Parmentier. Since then he has exhibited extensively in galleries and museums worldwide. In 2012 he was the subject of a solo exhibition at Kunsthalle Zurich, and a retrospective of his work, <em>Olivier Mosset: Travaux/Works</em> <em>1966-2003</em>, was presented at Mus&eacute;e Cantonal des Beaux-Arts, Lausanne, Switzerland and Kunstverein St. Gallen Kunstmuseum, Switzerland (2003). His work has been included in several group exhibitions including <em>Manifesta 10</em>, Hermitage Museum, St. Petersburg, Russia (2014); <em>Whitney Biennial</em>, Whitney Museum of American Art, NY (2008); and he represented Switzerland in the <em>44th Venice Biennale</em> (1990). His work is in the collections of such institutions as Museum of Modern Art, New York; Centre Pompidou, Paris, France; National Gallery of Canada, Ontario; and Mus&eacute;e Cantonal des Beaux-Arts, Lusanne, Switzerland among others.</div> Tue, 23 Dec 2014 15:47:54 +0000 Sanya Kantarovsky - Marc Foxx - January 9th, 2015 - February 7th, 2015 Tue, 23 Dec 2014 15:38:08 +0000