ArtSlant - Closing soon en-us 40 Nate Page - Armory Center for the Arts - July 8th, 2012 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Armory Center for the Arts</strong> presents a temporary, site-specific installation by Los Angeles-based artist<strong> Nate Page</strong> in its central stairwell through June 2013. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Page’s newest work, entitled <em>Instituted Angles of Path and Display</em>, challenges the ultra-functional design of the Armory’s main stairwell. Page has removed one of the stairwell’s two large metal handrails, turned it 90 degrees, and mounted it in the middle of the space on a pedestal-like structure that follows the crooked trajectory of the stairs and the landing. This simple gesture both highlights and alters the existing framework and prescriptive design of the space, which remains fully functional although visually distorted. Central to Page’s practice is an interest in engaging elements of perceived and given space in built environments, often through objects dismissed as peripheral or incidental.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Page acknowledges that railings generally can serve two functions: one for handrail support, and the other as a boundary. By turning a railing on its side and using it to bisect the Armory stairwell, Page shifts our point of view what a handrail is for. Page has created a topography of the climber's passage and an opportunity for visitors to become aware of their physical and psychological relationships to the architecture by negotiating passage (stair) vs. path (boundary railing). Familiar visual and spatial rhythms are interrupted, inviting the viewer to reconsider the function of the space – and possibly, the artist hopes, to find more potential than what it is programmed for.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Nate Page</strong> lives in Los Angeles.  His work has been seen at Lothringer Dreizehn Space for Contemporary Art in Munich, Hotel Pupik in Schrattenberg Austria, Warsaw Academy of the Arts, Warsaw, John Michael Kohler Center for the Arts in Sheboygan, WI, No Name Exhibitions @ The Soap Factory, Minneapolis, and at Cooper Union and Jen Bekman Gallery, both in New York. Page has produced many environments with Machine Project in Los Angeles including A Field Guide to LACMA at Los Angeles County Museum of Art and has shown nationally including Woodbury University Hollywood Gallery, Institute of Visual Arts at University of Wisconsin-Milwaukee, and Otis College of Art and Design in Los Angeles. From 2001-2004, Page co-directed an experimental artist collaborative and exhibition space in Milwaukee called the Rust Spot. He received a MFA from the California Institute of the Arts and a BFA from Milwaukee Institute of Art and Design and attended the Warsaw Academy of Art in Warsaw, Hotel Pupik in Schrattenberg Austria, and the New York Studio Program and the Summer Residency at The Cooper Union, both in New York City.</span></p> Mon, 03 Sep 2012 09:00:44 +0000 Group Show - California African American Museum - October 4th, 2012 - June 30th, 2013 <p style="text-align: justify;">Curators Nery Gabriel Lemus and Mar Hollingsworth have taken James Baldwin’s 1953 novel of the same title, “Go Tell It on the Mountain,” as a point of departure to select a variety of pieces that explore oppositional forces within <st1:personname w:st="on">Chris</st1:personname>tianity, and exposing underlying tensions of religious control and human hypocrisy. Often, the works also examine <st1:personname w:st="on">Chris</st1:personname>tianity's role in fostering political action and social engagement.<o:p></o:p></p> <p style="text-align: justify;"><b><i>Go Tell It on the Mountain</i></b> presents the work of a multicultural group of creators of diverse backgrounds and styles, ranging from internationally known artists to recent graduates of prominent <st1:city w:st="on"><st1:place w:st="on">Los  Angeles</st1:place></st1:city> colleges, in addition to self-taught artists from the American South. Pieces included are installation and conceptual work, wood carvings, assemblage, paintings, drawings, sculpture, collage and photography. <o:p></o:p></p> <p style="text-align: justify;"></p> Sat, 29 Jun 2013 16:57:44 +0000 Math Bass, Leidy Churchman - Human Resources - May 30th, 2013 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Life, death, and leisure.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Monte Cristo is a sandwich, an adventure novel and most evidently a small island off the coast of Tuscany.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As an island, Monte Cristo has a particularly disastrous history: ancient home to hermits and monks later enslaved by pirates, overrun by black rats, bombed with poison pellets and now only a spare population of two inhabit this desolate rock. Attempted colonizers desperately imposed blind optimism upon this steep and slippery rock, their mistakes had nowhere to go but into the sea. Artists <strong>Math Bass</strong> and <strong>Leidy Churchman</strong> have used Monte Cristo as a kind of mantra, an unattainable island populated by only two souls, here working together.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>Monte Cristo</strong></em> is also most simply a frame… the way an island is a frame.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Both working with the mediums of painting and video, Bass and Churchman’s practices uses the compositional space of the frame to abstract reality; reducing content like a plinth, a human limb, a mound of pubic hair or dirty sock to pure shape and color. By employing the ever-effective cinematic move of reveal, <strong><em>Monte Cristo</em></strong> pushes past the edges of one frame into the next—the exhibition itself—to re-forge coherent symbols.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bass’ new sculptures are concerned with formlessness, activating found objects and constructed materials in a series of works that play with ideas of set and scene. Connected to her performance practice and recent work <em>Brutal Set</em> (2012), She approaches sculpture as a site of potential action.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Churchman’s recent video work and painting revel in the slow reveal. Steadily shifting landscapes, both actual and constructed are inter-cut to produce video that points to his painting practice.  For Churchman, recognizable symbols rendered with brush in hand can transcend a flattened sign, the slow reveal of meaning as emotion leaks off canvas over prolonged observation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Brought together for the month of May by Human Resources L.A., Bass (Los Angeles) and Churchman (New York City) have been commissioned to produce new works in tandem, this confluence a celebration of their long friendship.</span></p> Sat, 25 May 2013 16:36:03 +0000 46 Artist - Joshua Tree Highlands Artist Residency - June 8th, 2013 - June 30th, 2013 <p>Joshua Tree Art Gallery present a Themed show  AIR, artist interruption of the concept of air.</p> <p>Showcasing over 46 new works of artists creative concepts based on the idea of air.  Find some unusual works of art at this exhibition, from Ann Magnuson's found object to Snake Jagger's metal construction of air.</p> <p>Reception June 8th 6-8PM ,show runs until June 30th , 2013</p> <p></p> <p>760 366 3636</p> Wed, 05 Jun 2013 21:28:18 +0000 Sukran Han Chung, Nicholas Coroneos, Otto Youngers - LA Artcore Brewery Annex - June 1st, 2013 - June 30th, 2013 <p><b>FOR IMMEDIATE RELEASE</b></p> <p><b> </b></p> <p><b> </b></p> <p></p> <p><b> </b></p> <p>                                                           </p> <p><b> </b></p> <p><b> </b></p> <p align="center"><b>LA ARTCORE PRESENTS </b></p> <p align="center"><b>A THREE-PERSON EXHIBIT: </b></p> <p align="center"><b>SUKRAN HAN, NICHOLAS CORONEOS &amp; OTTO YOUNGERS</b></p> <p align="center"><b> </b></p> <p align="center"><b> </b></p> <p align="center"><b>June 1 – 30<sup>TH</sup>, 2013</b></p> <p align="center"><i>Reception – Sunday June 2<sup>nd</sup>, </i></p> <p align="center"><i>1pm – 3pm – Union Center</i></p> <p align="center"><i>LA Artcore Brewery Annex </i></p> <p align="center"><i> </i></p> <p><i>                                                                  </i></p> <p><b>LOS ANGELES, CA (March 15th, 2013)</b> LA Artcore presents a three-artist exhibit featuring work in a variety of mediums.  The choices in texture, material and working method will stimulate a feeling of excitement over the different avenues of creativity, and the many options at our disposal, from everyday materials to more technical process-oriented work.</p> <p> </p> <p>Sukran Han is a painter who set out from the beginning to visually describe the relationship between human beings and passing time.  From the start, she had a clear idea of what she hoped to understand better with her creative pursuit, and the first symbols that came to mind were trees, images of the various generations of family, and the sun passing overhead.  While observing trees for this purpose, her attention began to be drawn to the play of light among the canopy of leaves. There was a shifting, shimmering quality to time that her static family images couldn’t quite relate. Gradually, her paintings shifted to totally abstract compositions of translucent shadows, with rays, spots and streaks of light. She regards this transformation as a way in which nature taught her how to better understand a difficult subject, while also fulfilling the goal of achieving an expression of beauty and connectedness to the world. </p> <p> </p> <p>Nicholas Coroneos works in a variety of mediums, including tongue-in-cheek bronze sculptures using a mixture of techniques, from assemblage to casting bronze through waxwork and other raw materials, and different metal texturing techniques.  Working in a bronze foundry near Santa Barbara, his pieces were created alongside work for a variety of artists, and represent a certain spontaneous use of his immediate environment to express his ideas.  Inspired by the Neo-Dada movement, the central theme in his work involves being a provocateur.  He has a very specific objective of creating, in each piece, a platform for challenging ideas and pre-conceptions that impact modern life.  These often socially or politically charged images are not without humor, and he has built a body of formally elegant and plain commentaries on religion, consumption, and war.</p> <p> </p> <p>Otto Youngers has a recognizable, almost gestural approach to sculpting in wood, creating work that is playful exaggeration and sharp social critique all at once.  Inspired while working in a warehouse setting by the ample supply of palette and shipping crate woods, he developed a vocabulary of components made with loose, iconic lines.  An installation made of strung up oversized bones, guns, skulls and animal parts which might otherwise be gruesome, have been softened by sandpaper and rasp into a playful, toy-like array.  It is a fitting way to face the darker aspects of human behavior, offering bright, spontaneous shapes that recall the games of children.  It is a well documented aspect of much contemporary art, this finding of a way to approach all the most difficult elements of society. Otto delivers hard news with levity, sharp symbols softened around the edges by the homey feeling of a garage woodshop.</p> <p> </p> <p><b>Artist Reception:</b></p> <p>Sunday, June 2nd, 2013</p> <p>1pm – 3pm</p> <p><i>Conversation with the artist:</i> 4pm</p> <p> </p> <p><b>LA Artcore Brewery Annex</b></p> <p>650A S. Ave. 21 / Los Angeles, CA 90031</p> <p>Gallery hours: 12-4pm, Thu-Sun.</p> <p> </p> <p> </p> <p align="center">#              #              #</p> <p><b>ABOUT LA ARTCORE:</b></p> <p>LA Artcore helps develop the careers of visual artists of diverse cultural backgrounds, bringing innovative contemporary art to the public, and provides educational programs by professional artists for people of all ages. For more information visit <a href="" rel="nofollow"></a>.</p> <p><b> </b></p> Sun, 12 May 2013 22:20:10 +0000 Shizuko Greenblatt, Kathie Foley-Meyer - LA Artcore Union Center for the Arts - June 1st, 2013 - June 30th, 2013 <p align="center"><b>LA ARTCORE PRESENTS </b></p> <p align="center"><b>A TANDEM-SOLO EXHIBIT: </b></p> <p align="center"><b><i>BRONZEVILLE</i></b><b> BY KATHIE FOLEY-MEYER</b></p> <p align="center"><b><i>MIXED-MEDIA WORKS BY SHIZUKO GREENBLATT</i></b><b></b></p> <p align="center"><b> </b></p> <p align="center"><b> </b></p> <p align="center"><b>June 1 – 30<sup>TH</sup>, 2013</b></p> <p align="center"><i>Reception – Sunday June 2<sup>nd</sup>, </i></p> <p align="center"><i>3pm – 5pm – Union Center</i></p> <p align="center"><i>LA Artcore at Union Center for the Arts </i></p> <p align="center"><i> </i></p> <p><i> </i></p> <p><b>LOS ANGELES, CA (March 15th, 2013)</b> - LA Artcore is pleased to present a tandem-solo show with two artists whose contrasting cultural perspectives enliven reflection upon our cultural histories as they transform the contemporary moment.  </p> <p>As one-half of this exhibition, multimedia artist <b>Kathie Foley-Meyer</b> will present "<i>When Little Tokyo Went Bronze</i>, "  and will exhibit a series of sculptures combining various media. The central work in the exhibition is both informational and abstract evoking both the connection between history and memory as well as visuality itself. Using elements of glass, cast resin hands in various sign-language gesture (consequently spelling out "Bronzeville"), neon lighting and text, Foley-Meyer pieces together these different modes of communication suggesting a language we may not speak or a history we do not recognize or remember. Etched into the frosted glass coverings are inscriptions of businesses and community members that provide moments of transparency into the worlds circulating around Bronzeville.  In doing so, Foley-Meyer explores gaps between the present and the past, history and memory, lived experience and personal mythology. The following is an excerpt from Foley-Meyer:</p> <p>In February of 1942 Franklin D Roosevelt signed Executive Order 9066, which led to the internment of over 120,000 Japanese Americans for the duration of World War II.  For the section of Los Angeles known as Little Tokyo, the removal of its Japanese American residents created a ghost town of empty houses and businesses. The abandoned neighborhood soon became a source of opportunity for the influx of southern African American citizens that were migrating to LA, who, like the Japanese, were barred from living anywhere west of Central Avenue by the city’s racially restrictive housing covenants. As thousands of African American families moved into homes and retail spaces vacated by Japanese Americans, the Little Tokyo neighborhood became known as “Bronzeville”.</p> <p>Few remnants remain of the time when the streets of Little Tokyo became Bronzeville and were known for the jazz and “breakfast clubs” that operated until the wee hours, and leading citizens such as Leonard Christmas who organized the Bronzeville Chamber of Commerce.  A long-time fascination with the period led artist Kathie Foley-Meyer to create <b><i>Project Bronzeville, </i></b>a<b><i> </i></b>combination of fine art, theater, a panel discussion and music coming together to commemorate this brief but vibrant part of LA history</p> <p>*The art exhibition and symposium are both free events.  For information regarding tickets to the play, please visit <span style="text-decoration: underline;"></span>.  For information regarding the jazz concert, please visit <span style="text-decoration: underline;"></span>.</p> <p>For the most up-to-date information about dates, locations, and tickets, visit <a href="" rel="nofollow"></a>.<b></b></p> <p> </p> <p>Los Angeles artist and curator <b>Shizuko Greenblatt</b> combines Japanese characters and fusion ikebana with Western expressionistic sensibilities in her mixed-media sculptures and paintings.  The artist's joining of elements of Eastern and Western cultures, revels here, in the aesthetic  possibilities of the shared moment between cultural perspectives as it produces something new, propelled by vibrantly-orchestrated  compositions and arrangements.</p> <p>An uncanny sense of design and vision pervades all of Greenblatt's works: Controlled elements of gradated color or a Japanese character give way to the natural flow of an ascending tree branch or gestural brushwork. Indeed, balance is a fundamental quest in Greenblatt's approach. Her desire is to communicate a positive and inspiring message through not only through the use of balanced elements — the weight of a line, the thickness of paint or the proportions between natural and plastic elements— but of the characters themselves which carry such associations as "Passion for Life", "Go Forward" and "Infinite Growth". Greenblatt comments that these messages underlie all of her works if not explicitly, then implicitly. But after all, Greenblatt's objective is to create: Whatever character or material she uses is only a beginning point to modification or alteration in order to take it somewhere unexplored.</p> <p><b> </b></p> <p><b>Artist Reception:</b></p> <p>Sunday, June 2nd, 2013</p> <p>3pm – 5pm</p> <p><i>Conversation with the artist:</i> 4pm</p> <p> </p> <p><b>LA Artcore at Union Center for the Arts</b></p> <p>120 Judge John Aiso St., Los Angeles, CA 90012</p> <p>Gallery hours: 12-5pm, Wed-Sun.</p> <p> </p> <p> </p> <p align="center">#                 #                 #</p> <p><b>ABOUT LA ARTCORE:</b></p> <p>LA Artcore helps develop the careers of visual artists of diverse cultural backgrounds, bringing innovative contemporary art to the public, and provides educational programs by professional artists for people of all ages. For more information visit <a href="" rel="nofollow"></a>.</p> <p><b> </b></p> <p></p> <p> </p> Fri, 10 May 2013 18:53:39 +0000 Kathie Foley-Meyer - LA Artcore Union Center for the Arts - June 1st, 2013 - June 30th, 2013 <p>Project Bronzeville is a combination of fine art, theater, a panel discussion and music coming together to commemorate the brief but vibrant part of LA history when Japanese Americans were forced out of their homes and businesses in Little Tokyo during WWII and African American families from the south moved into these vacant spaces and renamed the neighborhood "Bronzeville." </p> <p>Join artist and Project Bronzeville creator Kathie Foley-Meyer in this special exhibition of art inspired by the Bronzeville period.</p> <p>For more information about the Project Bronzeville program, visit <a href=" " rel="nofollow"></a></p> Mon, 13 May 2013 19:51:21 +0000 Bobby Furst - La Luz de Jesus Gallery - June 7th, 2013 - June 30th, 2013 <p align="center" style="text-align: justify;"><span face="Verdana, Arial, Helvetica, sans-serif" style="font-family: arial, helvetica, sans-serif;"><span size="2" style="font-size: small;">Assemblage artist <strong>Bobby Furst</strong>'s studio / compound sits on the edge of the <em>Joshua Tree National Monument</em>. It is an artistic wonderland, filled with his creative works made from old industrial and household items, block lettering, musical instruments, weapons, helmets, signs, even a motorcycle, many of which express commentary on the tragedy of war and the state of the environment. Bobby turns objects upside down and inside out using color, form, texture, shape and words, inviting viewers to see familiar objects anew, thereby creating new worlds and new landscapes of language and image, to stimulate conversation about the social, political and environmental realities in our world today. <br /><br />As a child, Bobby would roam the trails of his neighborhood, Laurel Canyon, collecting sticks, stones, bones, etc. Walking to school on Thursday mornings he would raid the local trashcans and stow his finds in bushes to be taken home later that day. Making order out of the chaos of these castoffs was the beginning of a life-long pursuit of collecting stuff and assembling art. <br /><br />As a teenager in the late sixties he wanted to become a photojournalist after accompanying his father, <strong>Peter Furst</strong>, now an anthropologist and art collector, to Tepic, Mexico where the senior Furst documented the life and visionary art of the Huichol Indians. In the 1970's Bobby spent time photographing musicians and concerts, street people in Hollywood and Venice Beach, and went on location to Mata Ortiz, Mexico for a month to document the now famous potter Juan Quesada (in the late nineties those photographs accompanied a retrospective of <strong>Juan Quasada</strong>'s work at the <em>Museum of Man</em> in San Diego, California.)<br /><br />In 1998 he went with a friend to the studio of assemblage artist <strong>George Herms</strong>. Soon after, at a garage sale, he met a painter attending the Santa Monica College of Design Art and Architecture who mentioned that George Herms taught there and that classes began the next day. Since admission to the school was by the administration's' approval of an artist's portfolio, Bobby arrived the next day with art work in hand hoping to get into Georges' class. Bobby spent the next year and a half, ten hours a day, seven days a week creating art at his studio space at the school.</span></span></p> <center><center> <p style="text-align: justify;"><span face="Verdana, Arial, Helvetica, sans-serif" style="font-family: arial, helvetica, sans-serif;"><span size="2" style="font-size: small;"><strong><em>Don't Push Me</em></strong> is a collection of Bobby's works, hand-picked and curated by <strong>Billy Shire</strong>.</span></span></p> </center></center> Wed, 29 May 2013 08:55:45 +0000 Ed "Big Daddy" Roth - La Luz de Jesus Gallery - June 7th, 2013 - June 30th, 2013 <p style="text-align: justify;"><em><span style="font-family: Verdana,Arial,Helvetica,sans-serif;" face="Verdana, Arial, Helvetica, sans-serif"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><strong>A Tribute to Ed "Big Daddy" Roth</strong></span></span></em></p> <p style="text-align: justify;"><span style="font-family: Verdana,Arial,Helvetica,sans-serif;" face="Verdana, Arial, Helvetica, sans-serif"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><strong>Big Daddy</strong> has left something that will live on forever. After forty years, <em><strong>Rat Fink</strong></em> fever has gotten in our heads, on our speedways, in our skateparks–there is no cure. We've gone on to become artists, filmmakers, mechanics, executives. He's become an action figure, a bobble head, a race car, a doll, and has achieved timeless cult status along the way. At first it may have seemed that Rat Fink was originally drawn for us to laugh at, as a throw away cartoon. Now <em>he's</em> the one laughing–<em><strong>Rat Fink's Revenge</strong></em> indeed.<br /> <br /> This collection of Rat Fink statues is taken from the book <em><strong>Rat Fink's Revenge</strong></em><strong></strong>. The project originated as a way for the author and four score contemporary artists to exorcize their inner Fink–the sick monster inside who needs to come out and show itself to the world. All the contributors, for whom Rat Fink is part of their soul, were given the same 12" resin model kit to customize. <br /> <br /> <em><strong>La Luz de Jesus</strong></em> <em><strong>Gallery</strong></em><strong></strong> is proud and honored to present this collection based on <strong>Ed Roth</strong>'s most notorious Custom Monster. </span></span></p> <p style="text-align: justify;"><span style="font-family: Verdana,Arial,Helvetica,sans-serif;" face="Verdana, Arial, Helvetica, sans-serif"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2">The exhibition will also include collectible and vintage toys, archival illustrations and pieces of Rat Fink history.</span></span></p> Mon, 20 May 2013 15:45:06 +0000 Ruby Ray - La Luz de Jesus Gallery - June 28th, 2013 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Born in New York, <strong>Ruby Ray</strong> migrated to San Francisco in the mid-'70s. She entered the underground scene while working at Tower Records in North Beach. When she acquired her first camera, she quickly turned it into a weapon. Ray shot using a Nikon FM and Tri-X 400 film, the fastest film of its time. While documenting new bands and people for<em>Search &amp; Destroy</em> magazine, she wielded her lens like many young DIY artists were brandishing guitars – bold, carefree and absolutely necessary.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As a fixture on the first wave punk scene, Ray photographed with a stark intimacy. There are candid shots of <strong>The Sex Pistols</strong>' fateful trip to San Francisco, <strong>Darby Crash</strong> slashed and bloodied, <strong>Exene Cervenka</strong> sitting amongst discarded tires like tombstones, and <strong>The Avengers' Penelope Houston</strong> writhing on stage.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From the introduction by <strong>Jon Savage</strong>: "<em>For a brief period, Los Angeles and San Francisco hosted vibrant subcultures that threw up sounds, noises, ideas and images that remain some of the 20th century's most vivid youth statements. You can hear how in the few records that were made at the time… These pictures are a record of a lost moment that is finally receiving the attention that it was always due.</em>"</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>From the Edge of the World</strong></em> comes with a 16-song bonus CD that compiles some of bands photographed in the book: GERMS, THE ZEROS, THE DILS, THE AVENGERS, CRIME, THE SCREAMERS, CHROME, THE BAGS, MUTANTS, FACTRIX, THE SLEEPERS, NEGATIVE TREND, NOH MERCY, PINK SECTION, THE OFFS, and Z'EV. Ray accurately prophesied that her scene's art would endure and strove to depict it precisely as it was – breathtaking.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In addition to hosting the official Los Angeles release party, La Luz de Jesus Gallery will host a pop-up exhibiton of Ruby's iconic photographs. Signed and limited prints will be for sale while editions are available.</span></p> Fri, 28 Jun 2013 10:50:13 +0000 Stanley Kubrick - LACMA - Los Angeles County Museum of Art - November 1st, 2012 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Stanley Kubrick was known for exerting complete artistic control over his projects; in doing so, he reconceived the genres in which he worked. The exhibition covers the breadth of Kubrick’s practice, beginning with his early photographs for <em>Look</em> magazine, taken in the 1940s, and continuing with his groundbreaking directorial achievements of the 1950s through the 1990s. His films are represented through a selection of annotated scripts, production photography, lenses and cameras, set models, costumes, and props. In addition, the exhibition explores <em>Napoleon</em> and <em>The Aryan Papers</em>, two projects that Kubrick never completed, as well as the technological advances developed and utilized by Kubrick and his team. By featuring this legendary film auteur and his oeuvre as the focus of his first retrospective in the context of an art museum, the exhibition reevaluates how we define the artist in the 21st century, and simultaneously expands upon LACMA’s commitment to exploring the intersection of art and film. </span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is organized by the Deutsches Filmmuseum, Frankfurt am Main, Christiane Kubrick and The Stanley Kubrick Archive at University of the Arts London, with the support of Warner Bros. Entertainment Inc., Sony-Columbia Pictures Industries Inc., Metro Goldwyn Mayer Studios Inc., Universal Studios Inc., and SK Film Archives LLC.</span></p> <p style="text-align: justify;"><span style="font-size: small;">   </span><br /><span style="font-size: small;"> In Los Angeles, <em>Stanley Kubrick</em> is co-presented by the Los Angeles County Museum of Art and the Academy of Motion Picture Arts and Sciences, and has been generously supported by Steve Tisch. Additional funding has been provided by Warner Bros. Entertainment, Violet Spitzer-Lucas and the Spitzer Family Foundation.</span></p> Fri, 30 Nov 2012 18:42:11 +0000 Jane Wilson, Louise Wilson - LACMA - Los Angeles County Museum of Art - November 1st, 2012 - June 30th, 2013 <div class="views-field-title"> <div class="field field-name-field-description field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Jane and Louise Wilson's video installations often inhabit the decaying sites of twentieth century institutions. <em>Unfolding the Aryan Papers</em> (2009) is a special project commissioned by Animate Projects and the British Film Institute (BFI), presented within the exhibition <em>Stanley Kubrick</em>.</p> <p style="text-align: justify;"><em>Unfolding the Aryan Papers</em>  is an artistic consideration of Kubrick’s process and, in particular, Kubrick’s unfinished project, <em>The Aryan Papers. </em>On site at the Kubrick archive the Wilson sisters gravitated to the history of Kubrick's film, which was to be based on a World War II novel <em>Wartime Lies,</em> by Louis Begley, set in the Warsaw ghetto. <em>Unfolding the Aryan Papers</em> reveals a connection between the Wilson sisters observational practice and that of Stanley Kubrick, and reflects the legendary filmmaker's longstanding influence on contemporary art.</p> </div> </div> </div> </div> <p style="text-align: justify;"> </p> Fri, 16 Nov 2012 12:49:01 +0000 Nancy Popp - Monte Vista - June 8th, 2013 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;">In 2010, Eli and Edythe Broad announced plans to open The Broad, a new public museum of contemporary art on Grand Avenue in downtown Los Angeles (anticipated opening: 2014). Dubbed "the veil and the vault", the museum's design merges the two key components of the building; public exhibition space and archive/storage. The museum's exhibition programming will focus on the contents of the renowned contemporary art collections of Eli and Edythe Broad, which feature in total 2000 artworks by more than 200 artists. The Broad Art Foundation and The Elia and Edythe Broad Foundation together comprise The Broad Foundations, which have assets of $2.4 billion.</span><br /><br /><span style="font-size: small;">Meanwhile, across the street at Grand Avuenue, MOCA was melting down. In December 2008, the press reported that the museum's endowment had dwindled in nine years from $40 million to $6 milliion, and that California's attorney general was investigating its finances. A Letter of Agreement between MOCA and the Eli and Edythe Broad foundation was signed on December 23, 2008. Two notable clauses require the museum "to strengthen its Board of Trustees to include a substantial number of individuals who share MOCA's vision of downtown Los Angeles and art" and "to acknowledge Eli Broad as the founding chairman of the Board of MOCA".</span><br /><br /><span style="font-size: small;">On February 10, 2013 Nancy Popp performed on the Broad Museum construction site as an interventionist political action to protest and call attention to the machinations of money and redevelopment that lie behind the establishment of The Broad, including the history of KB Homes (Eli Broad's real estate development corporation) and its role in destroying the urban cores of cities such as Detroit while attempting to 'enliven' downtown Los Angeles.</span><br /><br /><span style="font-size: small;">Sources: <a href="" target="_blank"><wbr>thebroadmuseum.html</wbr></a>    <a href="" target="_blank"><wbr>culture/2013/03/problem-moca-<wbr>la-jeffrey-deitch</wbr></wbr></a></span><br /><br /><br /><span style="font-size: small;">Artist Bio:</span><br /><span style="font-size: small;"><em>Nancy Popp is a Los Angeles-based artist and educator. Her performances, videos, drawings, and photographs draw upon the rich traditions of durational, corporeal performance and political intervention to explore relations between body and site, and often incorporate public and architectural spaces. Collaboration is a long-term strategy she employs in her practice. She exhibits frequently at such venues as the 2011 Istanbul Biennial, Turkey; the Manifesta 9 Biennial, Belgium; the Getty Center, Los Angeles; Atlanta Contemporary Arts Center; Rowan University, New Jersey; SUNY University, New York, numerous galleries in Los Angeles, Düsseldorf, Belgrade, and Tijuana, and many other public sites and institutions. She holds degrees from Art Center College of Design, Pasadena and the San Francisco Art Institute, and is a recipient of the California Community Foundation's Visual Arts Fellowship and a Lucas Artist Fellowship from the Montalvo Arts Center. Upcoming exhibitions include solo shows at Monte Vista Projects and Gallery KM in Los Angeles as well as a group exhibition at the Luckman Gallery at Cal State LA.</em></span></p> Wed, 29 May 2013 09:02:49 +0000 Dario Escobar, Enrique Castrejon, Ricardo Rodriguez - The Collaborative - April 6th, 2013 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The exhibition proposes a study on the line in space in the work of three artists: Dario Escobar (Guatemala, b. 1971), Ricardo Rodríguez (Puerto Rico, b. 1983) and Enrique Castrejón (Mexico, b. 1972). The line is not only the foundation of drawing but of other art disciplines, as the representation of a line in space marks delimitations as well as movement. The two works in MOLAA’s collection, <i>Kukulkán,</i> 2009, by Darío Escobar and <i>Attempt to Construct,</i> 2010, by Ricardo Rodríguez, use the line in a poetic way to address the nature of sculpture. In the case of Escobar, his work consists of baroque lines of rubber snakes which struggle to return to their natural curved state. Rodríguez’s work is a continuous line that breaks the barrier of bi-dimensionality of a photograph as the line “comes out” form the plane as a rope, a tridimensional object, which has no beginning and no end as an <i>ouroboros.</i> The curators have invited artist Enrique Castrejón to create an installation which will respond to the two works and will serve as a conceptual bridge using measurement and line to bring together time and space as intricate parts in the process of drawing.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The Collaborative: A Project of the Arts Council for Long Beach and the Museum of Latin American Art</em></span></p> Fri, 12 Apr 2013 17:23:51 +0000 Florian Morlat - Cherry and Martin - June 6th, 2013 - July 3rd, 2013 <div class="ap-whitebox-body description"> <p style="text-align: justify;"><span style="font-size: small;"><b>Cherry and Martin is pleased to present Florian Morlat's first solo exhibition at the gallery. Morlat's show will take place in two parts: Part 1 opens May 4th, 2013; Part 2 opens June 6, 2013.</b><b><br /></b></span></p> <p style="text-align: justify;"><span style="font-size: small;">Florian Morlat's first solo exhibition at Cherry and Martin includes works made from materials like cardboard, paint, plaster and wood. It also features a selection of new cast and painted aluminum pieces. This is a new direction for the artist. Morlat has long incorporated everyday materials into his sculptures and wall works. In his first exhibition at Cherry and Martin, he goes even further, adding organic materials like straw, French bread, and bananas.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Morlat was born in Munich. The physical components of his work recall his roots in a German-language post-war artistic tradition. At the same time, Morlat's visual pursuits, particularly with regard to shape, suggest an aesthetic born of 1960s California pop culture—he's lived in the state almost 20 years—and a familiarity with American modernist icons. In Morlat's work we sense the rawness of Franz West, the freedom of Alexander Calder, the poetry of David Smith. Morlat's pieces are subjective, stylized representations of people and things; at the same time, they are objective investigations into form and mass, color and, especially, shape. The tension of an encounter with the 'one-sideness' of Morlat's pieces is only resolved through circumnavigating them and getting a sense of their totality from all sides.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Cherry and Martin has previously presented Florian Morlat's work at Art Brussels as well as the three-person exhibition, "Matt Connors, Robert Cumming, Florian Morlat” (2011). He has been the subject of solo exhibitions at Galerie Ben Kaufmann (Berlin, 2009, 2005); Rowley Kennerk Gallery (Chicago, 2007); and Daniel Hug Gallery (Los Angeles, 2007, 2004). Group exhibitions include "Home Show, Revisited," Santa Barbara Contemporary Arts Forum (Santa Barbara, 2011); "YBA," curated by Ali Subotnick, Mauritzio Cattelan and Olaf Metzel (2006); Berlin Biennale (Berlin, 2006); "Abstract Art Now—Strictly Geometrical?," Wilhelm-Hack Museum, (Ludwigshafen, Germany, 2006); and "Florian Morlat and Thaddeus Strode," Michael Hall Gallery (Vienna, 2003). Morlat studied at the Akademie der bildenden Künste, Munich, received his diploma from the Kunstakademie Düsseldorf in 1996 and his MFA at University of California, Los Angeles in 1999. He lives and works in Los Angeles.</span></p> </div> Tue, 25 Jun 2013 10:31:40 +0000 Julia Scher, Frances Scholz, Mark von Schlegell - ltd los angeles - May 17th, 2013 - July 3rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Clench your fists into the smoggy air of L.A. no more! Documentary </span><span style="font-size: small;">material and new works from three artists (one is a writer) working </span><span style="font-size: small;">in Germany! A trio from Köln offers a brief lung transplant into </span><span style="font-size: small;">alternate history factoids! Long lost nights of cruising on the </span><span style="font-size: small;">Sunset Strip are only a click away from these three, at the same </span><span style="font-size: small;">time as their strange adjacency in Germany, on the west coast of the </span><span style="font-size: small;">River Rhine.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">No taboo lays uncovered between them! Mother loads of indignities </span><span style="font-size: small;">are faced! All three fill and empty the cipher like a threaded </span><span style="font-size: small;">needle thru the skin of time into the Rhineland, not now passed over </span><span style="font-size: small;">for other digs.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Frances Scholz's films and paintings easily survive the demise of </span><span style="font-size: small;">90s Cologne to anti-dazzle with a new kind of plastic infinity! </span><span style="font-size: small;">Between silted rows of color on white, pressed values of spacetime </span><span style="font-size: small;">marble like meat onto crispiest surface. Gushes of LSD, wisps of </span><span style="font-size: small;">sound stop and carry the bus away. Suddenly a hugging machine </span><span style="font-size: small;">appears, laying waste to hackneyed ideas of light painting, </span><span style="font-size: small;">furniture, lovers, consolation prizes, animal husbandry and bondage, </span><span style="font-size: small;">etc. in the process.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">In the gaps the visual can't cover Dr. von Schlegell's Neo Fictocriticism debunks previous time forms with old intelligence and a </span><span style="font-size: small;">keen eye for the forgery of illusions pressed on by contemporary </span><span style="font-size: small;">cultural demanders/those in control of distribution -- including </span><span style="font-size: small;">Rheinland museum directors and Berlin printmeisters! Science fiction </span><span style="font-size: small;">on view here.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Julia Scher! Alien commix, landing pad, historical document and </span><span style="font-size: small;">welcome sign. Self instructor whose faux machismo mixed for Cologne </span><span style="font-size: small;">the historical parables of Scher, Schindler and Schlemiel from the </span><span style="font-size: small;">80s and beyond, is brought to the table. It was deep into Bush the </span><span style="font-size: small;">Second when she wound up moving for good to Cologne, taking a </span><span style="font-size: small;">Professorship at the KHM. Scher hardly recognized what she saw upon </span><span style="font-size: small;">her arrival. The 80s were gone, but now even the 90s too! Nothing </span><span style="font-size: small;">stood between herself and that castle high in the mountains with </span><span style="font-size: small;">runic symbols carved in its floor. Two friends appeared. Small </span><span style="font-size: small;">models of alien landing pads began popping into the digital horizon. </span><span style="font-size: small;">Might they serve as open hole way-outs? The art space, she realized, </span><span style="font-size: small;">the l-void, can be the welcoming place, the feeding area for the </span><span style="font-size: small;">newest visitors. Not just meet and greet -- entire museums might now </span><span style="font-size: small;"><em>hotel</em> aliens…</span></p> <p style="text-align: justify;"><span style="font-size: small;">Exhibition includes:</span><br /><span style="font-size: small;">Paintings, sculptures, publications, video, surveillance, </span><span style="font-size: small;">literature, zines, Scrapbooks, etc. by all the artists, 198?-2013.</span></p> Tue, 25 Jun 2013 11:00:48 +0000