ArtSlant - Current exhibits en-us 40 Colin Chillag - 101/exhibit - February 28th - April 18th <div class="container padding-bottom-80"> <div class="press-release header-bold"> <div class="text left"> <p style="text-align: justify;">101/EXHIBIT is proud to present <em>Anti-Realism</em> by Phoenix-based artist Colin Chillag. The opening reception with the artist will be held from 7 &ndash; 10pm on Saturday, February 28th. This is Chillag&rsquo;s second solo showing with the gallery. <em>Anti-Realism</em> will run through April 18th at the 101/EXHIBIT West Hollywood space, located at 8920 Melrose Ave on the corner of North Almont Drive, one block south of Santa Monica Blvd. The exhibition will be accompanied by a 300 count limited edition show poster replicating a work from the show. </p> <p style="text-align: justify;">What we see in Chillag&rsquo;s work is a hyperrealist painter&rsquo;s process of thinking and looking, over several months time, unfolded onto a single canvas. Passages of intensely detailed realism appear alongside hastily sketched areas. Often he includes notes and to-do lists, color mixing tests, blobs of thick oils, and laconic spray-painted lines. Varied mark-making techniques, from painting to sketching to writing, coalesce in Chillag&rsquo;s work. </p> <p style="text-align: justify;">When he decided several years ago to work within a hyperrealist context, Chillag&rsquo;s choice arose from a sincere admiration for the complexity of the visible world&mdash;no matter how quotidian the subject matter&mdash;and his desire to study that world as objectively, as &ldquo;truthfully,&rdquo; as possible. Working from photographs of Arizonan gas stations and tourist destinations, crowded city streets, and family members, Chillag spends months translating images of frozen half-seconds in time (that is, photographs) with as much fidelity to his subject&rsquo;s appearance as possible. In <em>Portrait of Jenna Taking A Self Portrait</em>, for example, Chillag renders precisely even the too-bright highlight from the sun&rsquo;s light in his wife&rsquo;s hair. </p> <p style="text-align: justify;">Yet this is no real truth, as Chillag reveals when his hyperrealism&rsquo;s intense finish dissolves into sketches, under-paintings and notes-to-self. Meditative in effect, these passages show the tracks left by Chillag&rsquo;s brain, drawing connections between things and things-to-do, wandering through varied creative spaces. Chillag refuses to adhere to any pretense of painting as a window onto another scene or a fixed moment in time. Instead he allows viewers a glimpse of his consciousness; that is, his experience of both the world and his process of depicting it. In Chillag&rsquo;s work, the desire for objective truth battles with the impossibility of realizing that truth in pictorial representation. </p> <p style="text-align: justify;">Thus Chillag only half-follows in the footsteps of older greats working in the hyperrealist genre (such as Chuck Close, Richard Estes, Robert Bechtle), who rendered the visible world in acute detail and monumental scale; their realism becoming more real than the real. Instead Chillag embraces failure. Given the pointlessness of fully finishing something already photographed&mdash;and therefore already represented with more detail than possible by the human hand&mdash;Chillag never fully &ldquo;finishes&rdquo; a painting and instead leaves his daily thinking apparent to his viewers. When looking at his work, we look with him. </p> <p style="text-align: justify;">Born in 1971, Colin Chillag lives and works in Phoenix, Arizona. Chillag&rsquo;s work has been featured in solo exhibitions across the United States as well as numerous group shows. His most recent solo show occurred at the Phoenix Art Museum, in tandem with the Mid-Career Artist Award he received from the PAM. Other venues include the Crystal Bridges Museum of American Art, Angstrom Gallery in Los Angeles, and Pravus Gallery in Phoenix, Arizona. Chillag&rsquo;s works are in the permanent collections of Scottsdale Museum of Contemporary Art and Arizona State University Art Museum. He received his BFA from the San Francisco Art Institute in 1993.</p> </div> </div> </div> Thu, 12 Feb 2015 15:51:15 +0000 Jorge Méndez Blake - 1301PE - March 21st - April 25th Wed, 18 Feb 2015 17:55:08 +0000 Katy Fischer - 356 Mission - March 18th - April 25th Sun, 22 Mar 2015 18:23:01 +0000 Ben Vida - 356 Mission - March 18th - April 25th Thu, 12 Mar 2015 15:52:00 +0000 Group Show - ACME - March 21st - April 18th Sat, 21 Mar 2015 06:01:12 +0000 Jason Bailer Losh - Anat Ebgi - February 27th - April 4th <div style="text-align: justify;">Upon the pedestals rest pot metal, a croquet ball, a bowl, copper tubing, a gourd and some shrink-wrap. The wall works are made of Ultracal and ringed with rubber hose, a jump rope and plastic. The pedestals are built of pine, birch, maple; some finished with altered wallpaper patterns, shellac and acrylic paint.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;Jason, you might consider combining the sections of the thin floor lamps to make one of two endless columns.&rdquo;</em><em>&nbsp;</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The objects upon each pedestal are found in thrift and second-hand stores. The motley collection is bought by the artist&rsquo;s father-in-law and boxed and sent to Losh. He uses these items and constructs them into particular compositions, sequences and arrangements.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;</em><em>You should consider that sculpture is elusive. It presents too many faces at once.&rdquo;</em><em>&nbsp;</em></div> <div><em><br /></em> <div style="text-align: justify;">The surface of each component is carved with a distinct history. Cracks, dents and paint abrasions that have accrued over decades distinguish their weathered surfaces. The wall sculptures are laced with ropes and etched with lines that record the artist&rsquo;s hand.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;Consider that presentness is grace.&rdquo;</em><em>&nbsp;</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The pedestals are either laid bare or laid with William Morris wallpaper patterns. They are essential objects that contain the elegant, gestural movement of each piece through consummating their raw presence.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;Jason, simplicity is complexity resolved.&rdquo;</em><em>&nbsp;</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Jason Bailer Losh&rsquo;s works are composed of everyday materials repurposed into wholly new objects. They feel visible and familiar, yet relate outside of their tactility and functionality. Through the artist&rsquo;s hand, common, commercial and domestic objects are exposed of their sculptural, formal and physical dimensions.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&ldquo;<em>Well, good for p</em><em>low Louise.&rdquo;</em></div> <div style="text-align: justify;"><em>&nbsp;</em></div> <div> <div style="text-align: justify;">Anat Ebgi is pleased to announce&nbsp;<em>Plow Louise,&nbsp;</em>the gallery&rsquo;s first solo exhibition with Los Angeles based sculptor Jason Bailer Losh. The exhibition opens&nbsp;February 27th&nbsp;and is on view until&nbsp;April 4th. An opening reception will be held&nbsp;Friday, February 27th from 7-9PM.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><strong>Jason Bailer Losh</strong>&nbsp;(b. 1977, Iowa) received his MFA from School of Visual Arts, New York. Losh&rsquo;s work has been recently exhibited at several public and private institutions including&nbsp;<em>The Museum of Love and Devotion,</em>&nbsp;at Fairview Museum of Art and History in Fairview, Utah; the&nbsp;<em>Gala at Greystone</em>for LAXART, Los Angeles; and&nbsp;<em>Rockaway!,&nbsp;</em>an exhibition organized by Klaus Biesenbach at PS1/Rockaway Surf Club, NY. Losh has also participated in&nbsp;<em>Soft Target</em>, a group exhibition curated by Phil Chang and Matthew Porter at M+B Gallery, Los Angeles; and&nbsp;<em>Building Materials,&nbsp;</em>a group show curated by Lucas Blalock at Control Room, Los Angeles; and a group exhibition at CANADA, NY. He lives and works in Los Angeles.</div> </div> </div> Sat, 21 Feb 2015 06:53:45 +0000 - Angels Gate Cultural Center - May 12th, 2013 - June 19th <p>The 2013 -2015 exhibition year at Angels Gate Cultural Center marks the beginning of a larger concept that explores our local community’s stories and personal narratives in the galleries. We hope to generate dialogue about how, as a community, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an experimental space where art and art-making become part of an ongoing conversation about the community. Through partnerships with local non-profits, artists, storytellers and the community at large, the galleries hope to capture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. <br /><br /><small><br /></small></p> Sat, 11 May 2013 02:32:05 +0000 Iwan Baan, Stephen Wilkes, Paula Bronstein, Jonas Bendiksen, Monica Nouwens - Annenberg Space for Photography - December 13th, 2014 - May 3rd <p style="text-align: justify;"><span style="font-size: small;"><em>Sink or Swim: Designing for a Sea Change</em> explores the human story of resilience, from adaptation for survival to ambitious infrastructure planning, in some of the richest and poorest of the world&rsquo;s coastal communities. Rather than showing pristine architectural photography, the photographs present viewers with various human responses to changes in their landscapes due to sea level rise. &nbsp;<em>Sink or Swim </em>aims to foster critical dialogue through the provocative juxtaposition of diverse responses to a challenge shared by millions worldwide.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Curated by architecture writer and radio host <strong>Frances Anderton</strong> with the Annenberg Space for Photography, <em>Sink or Swim</em> features newly commissioned and archival works by photographers<strong> Iwan Baan, Stephen Wilkes, Paula Bronstein, Jonas Bendiksen </strong>and <strong>Monica Nouwens</strong>. This is the first exhibition for Annenberg Space for Photography to feature commissioned works.&nbsp; Through the work of this select group of architectural, fine art and news photographers, the exhibition casts an eye on both the problem of climate change in densely populated coastal regions and contemporary design as a means to navigate the changing landscapes. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;We were eager to organize an exhibition focusing on architecture but adamant that we wanted it to tell the story from a human perspective,&rdquo; says Wallis Annenberg, Chairman of the Board, President and CEO of the Annenberg Foundation.&nbsp; &ldquo;We are delighted that these new works tell such powerful stories about resiliency, climate change and architecture as well as engage with viewers on a humanistic level. &nbsp;The exhibit&rsquo;s capacity to foster dialogue that offers fresh perspectives on the environmental issues of our day -- and how communities are rising up to meet the challenges -- is very much keeping with the mission of the Photography Space and the Annenberg Foundation.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the face of increasing global attention on climate change and rebuilding in the wake of Hurricane Katrina, the Indian Ocean tsunami, Superstorm Sandy, and the&nbsp;Tōhoku&nbsp;tsunami, <em>Sink or Swim</em> is a timely examination of resiliency strategies in architecture and design. &nbsp;Images range from highly complex coastal flood-mitigation in the Netherlands, controversial sea walls in Japan, to innovative homes and community buildings by leading architects including Pritzker prize-winners <strong>Thom Mayne, Toyo Ito</strong> and <strong>Shigeru Ban</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Anderton collaborated with photographers experienced in capturing fragile built environments to determine the locations, design projects and communities across the world that served as subjects for the commissioned works in the exhibition. &nbsp;Sea walls, floating schools and temporary disaster relief housing in disparate ecological and social contexts provide concrete starting points for considering questions about nature, culture and design at the heart of <em>Sink or Swim</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;It has been a privilege to dig into these extraordinary photographers&rsquo; rich archives and also send them back out on assignment to create compelling new work that we look forward to sharing with the public through the exhibition,&rdquo; says Anderton.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;Photography is an ideal medium through which to explore climate change and the built environment because ultimately this is a human story and the photographs get to the emotional heart of that story. Through images of coastal communities&mdash;the devastating impact of climate change, including super-storms and rising sea levels, and also the varied and innovated design solutions&mdash;<em>Sink or Swim</em> offers visitors the opportunity to engage with and enrich dialogue about all aspects of this predicament.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">An original documentary film commissioned by the Annenberg Space for Photography and produced by award-winning director Steven Kochones and Arclight Productions will include interviews with the artists, architects, historians and scientists engaged with climate resilient strategies for waterfront communities.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">A collaboration between the Annenberg Space for Photography and the Annenberg Retreat at Sunnylands will offer visitors to Sunnylands a preview of&nbsp;select prints from the <em>Sink or Swim</em> exhibition.&nbsp; The images will be on display beginning in October 2014 to coincide with a retreat at Sunnylands on the topic of rising sea levels and ocean acidification.&nbsp; An exhibition catalogue will be published by Sunnylands Press for release in December 2014.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>The Photographers</strong></span><br /><span style="font-size: small;"> Following his experience photographing the celebrated Makoko Floating School (designed by Kunl&eacute; Adeyemi for the Makoko community on the water near Lagos, Nigeria,) Dutch photographer <strong>Iwan Baan</strong> was drawn to the lake village of Ganvie in Benin, where residents have lived on the water for centuries. New work by Baan in the exhibition also includes photographs of the massive Deltaworks sea defenses; the promenade at Scheveningen near The Hague in the Netherlands, a flood-protection system interwoven with a tourist destination designed by Spanish firm De Sol&agrave;-Morales; and the post-tsunami Home-For-All community buildings by Toyo Ito and other leading architects in Japan.</span></p> <p style="text-align: justify;"><span style="font-size: small;">U.S.-based fine art photographer <strong>Stephen Wilkes</strong> revisited communities he first encountered in the wake of Hurricane Katrina and Superstorm Sandy. &nbsp;His images include striking aerial photographs that present a unique perspective on infrastructure improvements within the context of natural landscapes that remain susceptible to flooding. Wilkes also created portraits of New Orleans area residents in the newly built homes, intended to be models for resilience, by the Make It Right Foundation and Global Green in the Lower 9<sup>th</sup> Ward and Holy Cross neighborhoods of New Orleans. One of the first photographers to capture aerial images of the coastline damage following Hurricane Sandy, Wilkes documented Staten Island&rsquo;s Oakwood Beach where homeowners have elected to sell their property to the state, which plans to return the area to wetlands rather than rebuild.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Veteran photojournalist <strong>Paula Bronstein</strong> traveled to Japan for <em>Sink or Swim</em> and captured the immense sea walls now being built off the tsunami-hit coast of Japan. She also captured daily life in the storage container structures designed by 2014 Pritzker Prize winner Shigeru Ban to house refugees following the Tohuko earthquake and Tsunami.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Dutch-born, Los Angeles-based, photographer <strong>Monica Nouwens</strong> turned her lens on California, finding in the restored Malibu Lagoon a local example of wetlands restoration. She also captures a very human story of denial, exemplified in a photograph of a California woman walking her dogs, oblivious to a tsunami sign above her head.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Sink or Swim</em> also features Norwegian Magnum Photos photographer <strong>Jonas Bendiksen&rsquo;s</strong> documentation of Bangladesh coastal and delta communities, where increasingly unpredictable and intense flooding has prompted innovative adaptations in a culture that has dealt with seasonal flooding for centuries. Bendiksen spent two years capturing the low-tech structural and farming innovations in the challenging landscape, as well as the floating schools project designed by Mohammed Rezwan for his nonprofit Shidulai Swanirvar Sangstha.</span></p> Tue, 16 Sep 2014 03:21:58 +0000 Richard Haley - Another Year in LA - March 1st - March 31st <p style="text-align: justify;"><span style="font-family: Arial;">Another Year in LA is pleased to present MORE WORKS ABOUT DUST, LIGHT, AND BREATH, new work by Richard Haley, his fourth solo exhibition (the only artist to have had solo exhibitions at every Another Year in LA venue and first artist to be showing work both at the new gallery space (4695 Marwood Drive, LA, 90065) and different work made specifically for the online gallery).</span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> In describing these new works, Richard Haley wrote, &ldquo;My recent work investigates the use of surrogates in performance.&nbsp; Through video, photographs, animations and drawings, I have recorded inanimate proxies for myself (performing the actions).&nbsp; The work takes the literal representation of the body out of the picture and is replaced by fragments and traces. These works are documents of staged events performed by inert stand-ins tackling themes of corporeal reach and duration.&rdquo; </span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> &ldquo;The surrogates are literal casts of my body; my hand, finger, head, and abdomen. Others are traces of the body, such as the impression one would leave behind if lying down in the grass or residue left behind from the ashes of my cremated body. Similarly, other works employ hand crafted miniature sculptures of everyday objects to be used as stand-ins for the original.</span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> In creating these works I was concerned with material, namely treating the body as raw material. I considered it as an apparatus composed of animate matter that decisively uses its weight and mass as needed to implement tasks at hand.&nbsp; Moreover, I considered its trajectory as material in death, such as employing it for tasks where a lifeless weight is needed.&rdquo; </span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> &ldquo;These stand-ins for myself create an attentiveness to the materials they are made from. In doing so, they also point to the actual that they reference, framing it in terms of materiality. My goal is to shift the work outside the vernacular of performance and documentation and steer it towards the presence and present-ness of sculpture.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> &ldquo;My training as an artist began with an interest in the bay area figurative tradition of the 50/60&rsquo;s. I was drawn to the gestural mark. It led a dual life- it was a record of the maker being there to create it and the same time it had another temporality, it was not just a record but a perpetually present mark as well; severing its tie from its making.&rdquo; </span></p> <p>&nbsp; <span style="font-family: Arial;"><br /></span></p> Thu, 26 Feb 2015 17:55:20 +0000 Devin Kenny - Aran Cravey - February 13th - April 4th <p>She made my favorite works with words, and I had never heard of him at all, except for a quote in this one paperback. At this stage, I even feel strange putting them both in the same sentence, even though they shared a canvas and it was massive. It wasn't like boxers or wrestlers share a canvas. He disappeared and she's still a favorite. I was still a teenager-- and in a new city.</p> <p>"Protect me from what I want."</p> <p>"An artist paints a picture. A vandal breaks a window. A graffiti artist paints a picture on a window and breaks it."</p> <p>"Abuse of power comes as no surprise."</p> <p>A few gaming consoles down and those flashing lights and business marquees have been spurned for millions of small glowing panels, held bedside, above thigh highs, eye-height with pursed lips, near breast, cupped in hands that could be useful for breeding mosquitos, just as well as absorbing waves, just as well as affecting tissues in unknown ways. Where's Andy Dick's Tumor Toppers on ____? Am I gonna have to make the gif myself?</p> <p><span style="color: #ff0000;">the new stuff is awesomeeee. when is it all finished? any more sneak peeks? &gt;:3</span></p> <p><span style="color: #0000ff;">Yeah idunno I'm just not feeling it right now. it was a great day but I feel like I did this before and I feel like I don't want to make the same mistakes</span></p> <p><span style="color: #ff0000;">???</span></p> <p><span style="color: #0000ff;">oops wrong window.</span></p> <p>'Don&rsquo;t write on houses of worship, people's houses in general, other writers&rsquo; names, and tombstones. Writing on memorial walls and cars is beef beyond belief. Furthermore, involving civilians in your beef is grounds for dismissal. These are the five fingers of your right hand. Get to know them well. Give soul claps, firm handshakes, and throw smooth bolo punches. Although being a toy seems undesirable, you should enjoy it while you can. At this stage you can bite all you want with no remorse. All your elders will say is, "Awww isn't that cute&hellip;&rdquo; So steal that dope connection, rob that color scheme&hellip; Don&rsquo;t worry about giving any credit, we'll pat ourselves on the back and brag how we're influencing the next generation.'&nbsp;</p> <p>This Zimbardo guy looks like a magician right?</p> <p>&nbsp;Wrong Window is the first solo exhibition of art by Devin Kenny.</p> Wed, 11 Feb 2015 00:56:18 +0000 Lamp Community's Arts Program members - Armory Center for the Arts - February 14th - April 12th <p>Join us for an exhibition of work by Skid Row artists from the&nbsp;<a href="" target="_blank" rel="nofollow">Lamp Arts Program</a>&nbsp;&mdash; an arts and cultural center in the heart of Downtown Los Angeles made possible by&nbsp;<a href="" target="_blank" rel="nofollow">Lamp Community</a>. The center is a creative safe place for community residents to come together, reclaim confidence in telling their own stories, and break through existing stereotypes by starting alternative, unexpected, and deliberate dialogues across geographic and social boundaries.</p> <p>Lamp Community ends homelessness of Los Angeles' most vulnerable individuals, primarily adults with mental illness, through a continuum of services and housing, enabling them to reach their highest level of self-sufficiency and community integration. Interested in learning more about the Arts Program? Send an email to:<a href="" rel="nofollow"></a></p> <p>The exhibition opens in the Armory's Community Room on February 14, and is followed by a public reception for the artists the following Saturday, February 21, from 5 &ndash; 7pm.<br />The Armory's Community Room is open Tuesday through Sundays, Noon to 5pm.</p> Thu, 12 Feb 2015 21:48:46 +0000 John Knuth - Armory Center for the Arts - February 28th - April 10th <p>Part five of the nine part painting series&nbsp;<em>Expanding on an expansive subject</em>&nbsp;continues with an exhibition by John Knuth entitled&nbsp;<em>Desert Dispersion</em>. In this exhibition, Knuth creates a new series of performative paintings using emergency smoke flares amid a stark desert landscape. The exhibition of paintings and accompanying video runs from Saturday, February 28 through Friday, April 10, 2015. A reception, free and open to the public, will take place on Saturday, February 28, from 6 - 8pm. The series&nbsp;<em>Expanding on an expansive subject</em>&nbsp;has been organized by the Armory&rsquo;s Gallery Manager/Assistant Curator Sin&eacute;ad Finnerty-Pyne.</p> Mon, 09 Feb 2015 20:38:07 +0000 Shauna La, Ron Piller, Ross Tamlin, Brenda Holzke, Kate deLigne - Artspace Warehouse - March 4th - April 17th <p>New art exhibition Abstract - Stylized - Naturalistic opens March 4, 2015 at Artspace Warehouse. Featured artists include&nbsp;<a class="pink" href="" rel="nofollow">Kate deLigne</a>,&nbsp;<a class="pink" href="" rel="nofollow">Brenda Holzke</a>,&nbsp;<a class="pink" href="" rel="nofollow">Shauna La</a>,&nbsp;<a class="pink" href="" rel="nofollow">Ron Piller</a>, and&nbsp;<a class="pink" href="" rel="nofollow">Ross Tamlin</a>.</p> <p>The exhibition examines the processes in which artists simplify real objects in varying degrees until the representation moves away from looking naturalistic. Stylization results from the materials used in the artwork as well as the artist&rsquo;s conscious decision to emphasize one feature of an object more than another. Working from a realistic image toward an abstraction expresses the visual world in a simplified, reduced and fragmented direction. The degree of abstraction serves as a clue to the artist's individual style. Recognizing the degree of abstraction and the reasons for abstraction is the key to understanding the artist's goals and meaning. Many of these artworks include naturalistic as well as idealized concepts while there often is an abstract quality to the execution of the artist&rsquo;s ideas.</p> <p><a class="pink" href="" rel="nofollow">Kate deLigne's</a>&nbsp;use of malleable reflective materials in her photographs portrays the melding of technology and nature. She examines the power of nature in contrast with the distorted reflections derived from the man-made materials is the heart of the artwork.</p> <p><a class="pink" href="" rel="nofollow">Brenda Holzke</a>&nbsp;reflects the struggle between creative expression and conformity though her art. Creative expression allows her the freedom to not fit in. Her materials dictate the direction and energy expressed. A continuous thread throughout her work is the marriage between color, pattern and texture</p> <p><a class="pink" href="" rel="nofollow">Shauna La's</a>&nbsp;artworks express exploration and movement. Dreams, colors, tactile sensation, taste, and smells all blend together into a fantastic maelstrom that inspires her to create multi-layered paintings. She utilize paint, pastels, and charcoal to explore the hidden realms of thought and emotion, expressing herself without any inhibitions.</p> <p>Los Angeles artist&nbsp;<a class="pink" href="" rel="nofollow">Ron Piller</a>&nbsp;takes his inspirations from travelling extensively all his life. He has been fortunate to visit many beautiful and fascinating countries including India, Vietnam and most recently Cuba. Ron notes &ldquo;every dilapidated building and car is an inspiration and feast for the eye.&rdquo; His series of geometric abstractions consist of conversations between colors in a defined space yet at the same time the infinite. The geometric shape tries to contain the colors, but the colors demand, emerge, transform and dazzle.</p> <p><a class="pink" href="" rel="nofollow">Ross Tamlin's</a>&nbsp;signature corrugated iron paintings combine traditional art genres including still-life and landscape along with graphic art, representing a synthesis of art and function. Incorporating the aesthetics of modern industrial technique, his photorealistic compositions are created by layers of paint and varnish.</p> Sat, 14 Mar 2015 18:29:12 +0000 Daniel Lefcourt - Blum & Poe - March 7th - April 18th <p class="Default" style="text-align: justify;"><em>At a data visualization conference a few years ago, a colleague passed me a piece of paper with an Internet address written in nearly illegible handwriting. The address didn</em><em>&rsquo;</em><em>t start with </em><em>&ldquo;</em><em><a href="http://www">http://www</a></em><em>&rdquo;</em><em>; instead it was a protocol I had never used. I showed it to a tech savvy friend, who suggested I only visit the link anonymously. Curious, but not knowing what I would find, I decided I better not use my home network. I went to one of the remaining public libraries in the city and opened the TOR network on my tablet.</em></p> <p class="Default" style="text-align: justify;"><em>What I found was a database of JPEG, AVI, PDF, DXF and GIS files, along with an antique Google maps-like application that allowed one to zoom in and out of high-resolution satellite images of various locations using pinching gestures. I ran my fingers over the terrain, which was labeled in a code unknown to me. A quick search revealed there were hundreds of thousands of items in the database.</em></p> <p class="Default" style="text-align: justify;"><em>The first file I opened was a PDF document on the history of photogrammetry </em><em>&ndash;</em><em>a technique in which photographs are used to measure scale and distance. Another query brought up a PowerPoint presentation on model making and subtractive manufacturing. There were documents and examples of the relationship between pantographs and </em><em>&ldquo;</em><em>point clouds.</em><em>&rdquo;</em><em> There were also thousands of files that contained soil sample data and information from a materials library.</em></p> <p class="Default" style="text-align: justify;"><em>The most memorable files were video stills that appeared to have been captured directly from satellites or unmanned aircraft. They were what filmmaker Harun Farocki has called </em>Operative Images <em>&ndash;</em><em>images that exist merely to gather data</em>. <em>Some of the content was deeply upsetting, though it was unclear to me at the time if the stills were simulations or not. These files were the exception though </em><em>&ndash;</em><em>the majority of the content had to do with techniques for input, processing, and output.</em></p> <p class="Default" style="text-align: justify;"><em>On my next visit to the library, the database was empty. The interface was there, but the content failed to load. The screen stopped responding to my touch. As I closed the browser, and wandered through the library stacks, I realized that I had stumbled upon something significant </em><em>&ndash;</em><em>perhaps, this could be a useful methodology</em><em>&hellip;</em><em>. </em><em>The database was an allegory</em><em>&hellip;</em><em>. </em><em>Maybe I have to enact a similar set of operations</em><em>&hellip;</em><em>.</em></p> <p class="Default" style="text-align: justify;">-- Daniel Lefcourt</p> <p class="Default" style="text-align: justify;">&nbsp;</p> <p class="Default" style="text-align: justify;">Blum &amp; Poe is pleased to present Daniel Lefcourt&rsquo;s first solo exhibition at the gallery, which includes new large-scale paintings, relief panels, and a selection of works on paper. All of the works in the show are derived from small cultivated accidents created in the studio &ndash; a puddle of water and glue spilled on a debris-covered tarp or a spot of paint dropped arbitrarily on a board. Measuring no more than a few inches, the scenes are digitally photographed dozens of times from a number of angles to generate a 3-dimensional computer model, from which a low-relief foam carving is manufactured. Paint is poured into the low-relief mold, allowed to dry, peeled off, and adhered to a large canvas. The final result of Lefcourt&rsquo;s technique is a set of spectral images with an intense physical presence.</p> <p class="Default" style="text-align: justify;">Daniel Lefcourt was born in New York, where he currently lives and works. He received his MFA from Columbia University and is a member of the faculty at the Rhode Island School of Design. His work has been included in numerous group exhibitions, including <em>First Among Equals</em>, Institute of Contemporary Art, Philadelphia, PA; <em>Reel to Real: Photographs from the Traina Collection</em>, de Young Museum, San Francisco, CA; <em>Knight's Move</em>, Sculpture Center, Long Island City, NY; <em>Subject Index</em>, Malm&ouml; Konsthall, Malm&ouml;, Sweden; and <em>The Gold Standard</em>, MoMA P.S.1, Long Island City, NY. A recent web project, <em>Modeler</em>, was commissioned and presented by Dia Art Foundation.</p> Sun, 22 Mar 2015 18:23:15 +0000 Theodora Allen - Blum & Poe - March 7th - April 18th <div align="justify">Blum&nbsp;&amp; Poe is pleased to present the first solo exhibition of Los Angeles-based&nbsp;artist Theodora Allen. Through a range of symbolic imagery, Allen's paintings explore tropes of the natural world and the rudimentary tools we use to navigate it -- both emotionally and physically. The paintings resonate with the spiritual-leaning aesthetics of such fringe countercultural movements and figures as the visionary poet William Blake, designer William Morris, the Pre-Raphaelite Brotherhood, early abstractionist and mystic Hilma af Klint, and the zeitgeist of 1960's California hippie idealism. However, allusions to past ideologies are more despondent than optimistic -- fluttering moths, wild flames,&nbsp;guitars without strings, an occasional counting hourglass, and the common weed or&nbsp;dandelion. The emblems stand in as markers of time, symbols of persistence and blindsided foolishness, the uncontrollable, and the inward looking. &nbsp;&nbsp;<br /><br /></div> <div align="justify">Allen's new paintings feature a range of enigmatic still lifes, in which space is demarcated through interlocking planes of symmetry and framed within a stylized architectural niche. Her works achieve a balance of graphic flatness and illusionistic form, evocative of sun prints. The surfaces are slowly built up with thin washes of oil paint, which are partially&nbsp;removed before they can dry. The effect simultaneously&nbsp;defines and dissolves the picture plane, producing a subtly&nbsp;polluted spectrum of colors and ghostly distressed surfaces. &nbsp;&nbsp;<br /><br /></div> <div align="justify">Theodora Allen (b. 1985, Los Angeles, CA) holds&nbsp;an MFA in painting from the University of California, Los Angeles, a BFA in&nbsp;painting&nbsp;from Art Center College of Design, Pasadena, CA, and has completed a residency at&nbsp;Skowhegan School of Painting and&nbsp;Sculpture, Skowhegan, ME.&nbsp;Her work has&nbsp;recently been exhibited at the Museum of&nbsp;Contemporary Art, Tucson, AZ. &nbsp; &nbsp;&nbsp;</div> Wed, 18 Feb 2015 17:09:15 +0000 Nancy Ravenhall Johnson - Bowers Museum - March 13th - August 16th <p style="text-align: justify;">Have you ever wondered who was behind all of the timelines and creative graphics that make an exhibition come to life? This exhibition gives you the unique chance to learn about the creative process of the Bowers Museum&rsquo;s former Director of Creative Design, Nancy Ravenhall Johnson.</p> <p class="Default" style="text-align: justify;"><em>Where Ends Meet </em>is about ingenuity and artistic inspiration; it reveals a journey that thread through a graphic designer's career and will be on display at the Bowers Museum from March 13 until August 16, 2015. From 1987 to 2012, Nancy Ravenhall Johnson grew and mastered a variety of positions at the Bowers Museum. She started as Gallery Store Manager, then Graphic Designer, VP of Public Relations and Director of Creative Design.</p> <p class="Default" style="text-align: justify;">Nancy&rsquo;s works represent many hours of research vested in technical learning, developing graphics and timelines and overseeing their production. Examples of these will be used as backdrops to the exhibition. In the foreground will be her artistic compositions. The end result is a whimsical, joyful view through a kaleidoscope of digital arts, graphic design, and fibers.</p> <p class="Default" style="text-align: justify;">As an artist, Nancy commented, &ldquo;I have the opportunity to work with amazing artifacts and see how other cultures transformed craft into an individual art form.&rdquo; It was an experience that influenced the way she looked at the world. The objects of her creation and soulful thoughts were left as a resounding message of love for people, their culture, and folklore, whispered from her spirit.</p> <p class="Default" style="text-align: justify;">Nancy eloquently explained her creative process through basketry, which reveals her genuine nature found in both her professional and creative careers. &ldquo;My baskets are a reflection of other activities or projects in my life. I often sketch as a means to figure out how to utilize a scrap of raw material that catches my eye. Then I attempt to surrender to the process. Like walking a labyrinth, weaving is an activity that has become a metaphor for my journey in life, choosing what path to take, learning lessons along the way; it can be a time for sharing within a group or inner reflection. The results are always unexpected. It is that element of surprise in how the finished piece will turn out that keeps the process exciting.&rdquo;</p> <p style="text-align: justify;">Paul Johnson, Vice President of Exhibit Design and loving spouse to Nancy shared, &ldquo;Little did she know that she was the treasure in my life. Little did I know that I would be presenting her gifted life for the public to view and falling in love with her all over again.&rdquo; All of her experiences and vision find a way for all ends to meet.</p> Mon, 02 Mar 2015 15:26:44 +0000