ArtSlant - Current exhibits en-us 40 Diana Thater, Fiona Banner - 1301PE - September 17th - November 5th <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>1301PE is pleased to present an exhibition of Diana Thater&rsquo;s new work Colorvision, 2016, and Fiona Banner&rsquo;s sculpture Dummy, 2013.</p> <p>The worldwide debut of Diana Thater&rsquo;s new work at 1301PE follows the artist&rsquo;s comprehensive mid-career survey at LACMA (2015-16), which travels to the MCA Chicago in October 2016. This is Thater&rsquo;s ninth solo exhibition at the gallery. The series Colorvision consists of 8 individual monitor pieces. Each vertically-hung monitor displays the name of a color along with a bouquet of flowers in a different, complimentary, color. The colors used are those of the video spectrum: red, green, blue (primaries); cyan, magenta, yellow</p> <p>(secondaries); purple and orange (tertiary). The word &ldquo;RED&rdquo;, for examples, appears with cyan flowers, while the word &ldquo;CYAN&rdquo; appears with red flowers. The series is based on a neurological test that is given to people to decipher the relationship between sensation and language:</p> <p><em>&ldquo;It&rsquo;s especially difficult for a viewer to think about color and language simultaneously and the dichotomy, when shown one color but asked to read the name of it&rsquo;s opposite, forces a rupture between the two. The question is: Does reason or sensation dominate our experience of art?&rdquo; - Diana Thater</em></p> <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>The presentation of Fiona Banner&rsquo;s sculpture Dummy, 2013, also takes the limitations of language as a starting point. Presenting itself in the form of a re-constructed typewriter, Dummy consists of only punctuation mark keys. Writing on this typewriter results in abstract landscapes of periods, commas, parentheses and other marks. Referring to the absence of words, the typed punctuation marks express &ldquo;the sense of a need to communicate in words but the impossibility of doing that sometimes&rdquo; (Fiona Banner). A continuation of the seminal Full Stop sculptures Banner first created in the late 1990s, Dummy prompts a reconsideration of the very signs that ascribe and clarify meaning in written word.</p> </div> </div> </div> <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p><strong>Diana Thater</strong> (b. 1962, San Francisco, USA) has created pioneering film, video, and installation-based works since the early 1990s. The artist lives and works in Los Angeles. Her work has recently been the subject of solo exhibitions at prominent institutions that include the Aspen Art Museum, Colorado; San Jose Museum of Art, California (both 2015); Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria; Natural History Museum, London (both 2009). Thater&rsquo;s work is held in such public collection as the Solomon R. Guggenheim Museum, New York; Tate, London; The Whitney Museum of American Art, New York; and the Museum of Contemporary Art, Los Angeles. Thater&rsquo;s mid-career survey The Sympathetic Imagination travels from the Los Angeles County Museum of Art to the Museum of Contemporary Art Chicago this Fall (October 29, 2016 - January 8, 2017).</p> <p><strong>Fiona Banner</strong> (b. 1966, Liverpool, UK) came to prominence in the 1990s with her &lsquo;wordscapes&rsquo;, epic transcriptions of iconic films retold in the artist&rsquo;s own stream-of-consciousness writing. Banner lives and works in London, where she also runs her imprint The Vanity Press. Banner is represented in major collections including The Museum of Modern Art, New York; Philadelphia Museum; Walker Art Gallery, Minneapolis; she was short-listed for the Turner Prize at Tate Britain in 2012. Her work has been the subject of solo exhibitions and commissions at Tate Britain, London; Whitechapel Gallery, London; The Power Plant, Toronto; Yorkshire Sculpture Park, Wakefield; IKON, Birmingham; Kunsthalle Nuremberg. Upcoming solo exhibitions will take place at The De La Warr Pavilion, Bexhill on Sea, UK (September 24, 2016 - January 8, 2017) and Museum de Pont, Tilburg, Netherlands (2017).</p> </div> </div> </div> <p><em>&nbsp;</em></p> <p><em>&nbsp;</em></p> </div> </div> </div> Wed, 07 Sep 2016 17:05:49 +0000 Lucky Dragons - 18th Street Arts Center - September 24th - December 16th <p style="text-align: justify;">Los Angeles-based Lucky Dragons (a collaboration between artists Luke Fischbeck and Sarah Rara) presents&nbsp;<em>User Agreement</em>,<em>&nbsp;</em>the latest phase of an ongoing project which examines existing modalities of peace through performance. The aim of&nbsp;<em>User Agreement</em>&nbsp;is to reverse engineer the technologies of peace&mdash;treaties, protocols, symbols, and systems&mdash;in order to learn from what has already been invented, to repurpose and re-contextualize, to fix existing bugs and to create new possibilities for interaction.&nbsp;</p> Tue, 20 Sep 2016 15:33:18 +0000 Wu Tsang - 356 Mission - September 11th - November 6th Tue, 06 Sep 2016 20:13:11 +0000 Chris Domenick, Em Rooney - 356 Mission - September 17th - October 23rd Tue, 20 Sep 2016 14:05:44 +0000 Maggie Lee - 356 Mission - September 24th - November 27th Wed, 07 Sep 2016 17:20:32 +0000 Fran Siegel - ACME - September 17th - October 22nd <p style="text-align: justify;">ACME. is pleased to present "Reconstruction", a solo exhibition of new works by Los Angeles based artist Fran Siegel. The artist continues her investigations of place through the activity of drawing on a massive scale. Shifting perspectives generate a sense of motion and time, and multiple viewpoints are pieced together by combining a cyanotype photographic process with layered collage and drawing. Through these works, Siegel explores the evolution of settlement, migration, and exodus within the borders of the Los Angeles metropolis, and how this constant shuffling creates geographical space.&nbsp;<br /><br />Included in the show are monumental pieces, as well as a group of smaller drawings. Massive "Overland 18" is the last work in a series derived from aerial viewpoints of the vast Los Angeles' city sprawl, and "Bridge" is the first large drawing in a brand new body of work from a reconstruction of images over the course of the re-building of the Gerald Desmond Bridge at the Port of Los Angeles, located near the artist's studio.&nbsp;<br /><br />Fran Siegel (b. New York) received her MFA from Yale University School of Art and her BFA from Tyler School of Art, at Temple University. A forthcoming solo exhibition is scheduled in 2017 at the Fowler Museum at UCLA, Los Angeles, CA as part of the Getty's city-wide initiative "PST- LA/LA" , and recent exhibitions include Lesley Heller Workspace, NY; Art Center College of Art and Design Gallery, Pasadena, CA; ICA San Jose, CA; The Art Design and Architecture Museum UCSB, Santa Barbara, CA; among others. Recent monumental works from the Overland series have been acquired by LACMA, MOCA, Los Angeles, and the Yale Art Gallery.</p> Tue, 20 Sep 2016 17:09:22 +0000 Miles Coolidge - ACME - September 17th - October 22nd <p style="text-align: justify;">ACME. is pleased to present "Chemical Pictures", a solo exhibition of new work by Los Angeles based artist Miles Coolidge. "Chemical Pictures" is a group of images inspired by scientist F.F. Runge's mid-19th century "self-grown pictures". The series of framed 23cm x 25.75 cm paper chromatographs are planned to number 31 altogether.&nbsp;<br /><br />Friedlieb Ferdinand Runge pioneered the use of paper as a material to serve as the staging ground for investigations into the chemical components of complex substances. A close acquaintance of Goethe, and student of Hegel, Runge read a surplus of meaning into his proto-Chromatographic experiments at the same time as he used this research tool to identify and isolate for use the first artificial dye-stuffs such as analine from coal-tars. By encouraging various agents to react on porous paper surfaces he provided the space for his "self-grown pictures" to develop. On a technical level this work led to the ability to control color by way of technology, a process fundamental to the development of 4-color lithographic printing, and color photography. Runge, however, intended these "self-grown pictures" to be understood as art; the automatic and impossible-to-anticipate character of the images excited his sense of wonder, leading to increasingly non-utilitarian impulses explored and elaborated in his book, Der Bildungstrieb der Stoffe (Oranienburg, 1855).<br /><br />This project takes its cue directly from Runge's book; it consists of 31 images that follow the instructions Runge gives below each image in his book. These instructions comprise the titles of the individual chemical pictures.<br /><br />This show includes 27 of the 31 images in the "Chemical Pictures" series. The 4 not included in this exhibition are featured in a group exhibition titled "Things Themselves" at Vernon Gardens, Los Angeles, curated by Zully Adler, which runs concurrently with this exhibition.<br /><br />"Chemical Pictures" was produced with the support of a 2015 Guggenheim Fellowship.<br /><br />Miles Coolidge (b. 1963, Montreal) received his MFA from the California Institute of the Arts. This is the artist's ninth solo exhibition at ACME. His work is included in many museum collections including the Albright-Knox Gallery, Baltimore Museum of Art, Metropolitan Museum of Art, Museum of Contemporary Art, Los Angeles, Orange County Museum of Art, San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum, among others.</p> Tue, 20 Sep 2016 17:10:06 +0000 Patrick Nickell - ACME - September 17th - October 22nd <p style="text-align: justify;">ACME. is pleased to present a solo exhibition of new sculptural work by Los Angeles based artist Patrick Nickell. The show consists of five new large tabletop sculptures made of colorless glass with matte surfaces. Nickell continues his exploration of spontaneous line, captured this time in translucent light infused forms. There is a duality between the ethereal quality of the figures and the natural heft and weight of solid glass material. The sensuous surfaces, mysterious forms, and phenomenal play of light in Nickell's sculptures reference the Light and Space movement originating in Southern California in the 1960s. These sculptures, however, are more grounded in figuration.<br /><br />These forms of translucent linear mass are meant to spur the imagination of viewers with references that range from the human body, microscopic organisms and industrial machines. Abstract references display the schism between the micro and the macro of the human body and the duality between the natural and industrial world.&nbsp;<br /><br />Patrick Nickell (b. 1960, Van Nuys, CA) received his MFA from Claremont Graduate University and his BA from Linfield College. Recent exhibitions include Rosamund Felsen Gallery, Los Angeles, CA; Sturt Haaga Gallery, Descanso Gardens, La Ca&ntilde;ada Flintridge, CA; San Diego State University Downtown Art Gallery, San Diego, CA; among others.<br /><br />Patrick Nickell's sculptures were produced during a residency at the Pilchuck Glass School in Stanwood, Washington in the summer of 2016.</p> Tue, 20 Sep 2016 17:11:10 +0000 Chris Coy - Anat Ebgi - September 10th - October 22nd <div style="text-align: justify;" dir="ltr">Anat Ebgi is pleased to present Chris Coy&rsquo;s first solo show at the gallery, <em>A Little Death</em>, opening September 10th and on view until October 22, 2016. The reception will take place on Saturday, September 10th from 2-5pm.</div> <div style="text-align: justify;" dir="ltr">&nbsp;</div> <div style="text-align: justify;" dir="ltr">Late 18th century France brought us decapitation and, in equal measure, rococo, with its playful, effervescent brush strokes and soothing pastel radiance. Fragonard's grand gesture of The Swing was as much a sweeping erotic spectacle of ancien r&eacute;gime courtship as it was a prologue to the sanguine collapse of the French social order. And yet, within the jardin &agrave; la fran&ccedil;aise, all are subject to a rigid Cartesian logic, from the hare&rsquo;s warm blood still flowing over freshly-cut grass to the upskirt hijinks of a maiden and her two male admirers.</div> <div style="text-align: justify;" dir="ltr">&nbsp;</div> <div style="text-align: justify;" dir="ltr">It is from the exterior environment of the French garden to the chateau&rsquo;s interior where the rococo steps in, imagineering domestic space with a complete totality, and an overwhelming compulsion to link spatial awareness with sensual cues. Gilded leaves, floral patterns, branches, tree roots and bronze cherubs become hyperlinked invitations to touch, hear, smell or taste this simulated garden of earthly delights. Unblemished mirrors are part and parcel of the experience, bouncing midsummer sunshine throughout the room&rsquo;s arched surfaces and asymmetrical stucco trim&mdash;a tableau of bourgeois rituals regurgitated as decor.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;" dir="ltr">The primacy of the mirror in the rococo was perhaps a reflection of the frivolity of form, yet as an interface it made viewing oneself both a social and political experience. The world made flesh reworked into the picturesque, the curious and the whimsical, atop mantels, ornamented wall panels and gallery passages. Here was a codification of the glances, winks and errant looks that sustained a social order fortunate enough to occupy this private space, and whose future slaughter would thrill a jeering public. The mirror is the same imagined site of action within which we now touch, tap, swipe and pinch, all in the hope of an immediate realization of an imponderable dream.</div> <div style="text-align: justify;" dir="ltr">&nbsp;</div> <div style="text-align: justify;" dir="ltr">Comprising a new series of painting, installation and video work, Coy expands on his use of themes blending frivolity with horror, sublimated psychological desire and sanctified experience. A mural-sized oil painting of airbrushed chrome mines the surface language of rococo, linking the movement&rsquo;s attentiveness to sensuality and form with the overwhelmingly haptic characteristics of the modern interface. Elaborating upon these narratives are mirror installations placed at opposite ends of the gallery, one atop a mantle in the front room, while an opposing pair etched with Disney iconography flanks a video installation in the gallery&rsquo;s rear. In situating his work in the rituals of social identification, beauty and superfluidity, Coy addresses how the visual paints a vector towards both unknowable and transcendent potentialities.</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;" dir="ltr"><strong>Chris Coy (</strong>b. 1980) lives and works between Los Angeles, CA and Las Vegas, NV. Coy received his MFA at the Roski School of Visual Arts at USC in 2012. He has previously shown at institutions including The New Museum of Contemporary Art, New York; Utah Museum of Contemporary Art, Salt Lake City; Torrance Art Museum, Torrance; Netherlands Media Art Institute, Amsterdam. Coy has previously shown internationally at galleries including Johan Berggren, Malm&ouml;; Michael Thibault, Los Angeles; Honor Fraser, Los Angeles; and Import Projects, Berlin. Coy is also a former member of the internet art collective Nasty Nets and additionally has presented work at Sundance Film Festival&rsquo;s New Frontiers in Park City, Utah, Free Form Festival, San Francisco and the 5th Moscow International Biennale for Young Art.</div> Tue, 20 Sep 2016 16:51:51 +0000 Brian Kokoska, Chelsea Culprit, Erik Frydenborg, Ben Stone - ASHES/ASHES - September 10th - October 22nd <p>ASHES/ASHES is pleased to present <em>TRAUMA SAUNA</em>, an exhibition by Brian Kokoska featuring Chelsea Culprit, Erik Frydenborg, and Ben Stone. The exhibition will be on view September 10 &ndash; October 22, 2016, with an opening reception on Saturday, September 10 from 7&ndash;9pm.</p> <p><em>TRAUMA SAUNA</em> presents a new series of paintings by Brian Kokoska within an installation of sculptures by Chelsea Culprit, Erik Frydenborg, and Ben Stone. Kokoska&rsquo;s paintings, built from layers of drawing and color blocking, deny any illusion of depth and instead focus on an almost-flat rendering of imaginative scenes inhabited by androgynous figures, mystical creatures and frolicking devils. Crescent moons, stars, bones, genitals, flora and fauna are among the motifs that obsessively reappear, often anthropomorphized and evoking anxieties of sex, ecstasy and death. Accompanied by their morbidly playful and poetic titles, Kokoska&rsquo;s paintings are gestural interpretations toward a fleeting experience or unknown place that is intentionally left murky and resistant to any one definitive perception by viewers.</p> <p>In his installations, Kokoska frequently incorporates sculptures by other artists as a device to create dynamic, multi-authored environments, placing the characters in his paintings into a concrete &ldquo;home&rdquo; or pretend relational habitat. The somber, monochromatic sculptures in the foreground activate Kokoska&rsquo;s lively, erotic and grotesque paintings, creating a silhouette-like effect in which the relationship between figure and ground is reminiscent of a domestic interior, stage set, or mausoleum.</p> <p>Brian Kokoska (born 1988, Vancouver, BC) lives and works in New York, NY. Recent solo and group exhibitions include: <em>Hush Hook</em>, LOYAL (Stockholm), <em>I&rsquo;m a horse now</em>, East Hampton Shed (East Hampton), <em>Poison IV</em>, Valentin (Paris), <em>Rare Angel</em> (with Debo Eilers), American Medium (Brooklyn), and <em>Blood Reply</em>, Ohmydays (Singapore). His work has been featured and reviewed in Mousse, Dazed, New York Observer, Art in America, The Philadelphia Inquirer, Elle M&eacute;xico and VICE. A recent essay on his work by Alex Bacon was published in Notion Magazine. Forthcoming exhibitions will take place at Frank F. Yang Art &amp; Education Foundation (Shenzhen) and COMA (Sydney).</p> <p>Chelsea Culprit (born 1984, Paducah, KY) lives and works in Chicago, IL and Mexico City, MX. Recent exhibitions include: <em>Miss Universe</em>, Yautepec (Mexico City, MX), <em>PAGAN SLUTz</em>, SPF15 Exhibitions (San Diego, CA), and <em>Blessed with a Job</em>, Queer Thoughts (New York, NY).</p> <p>Erik Frydenborg (born 1977, Miami, FL) lives and works in Los Angeles, CA. Recent exhibitions include: <em>Roman &agrave; Clef and/or the Appetite of the Chef (Part 2)</em>, Rainbow in Spanish (Los Angeles, CA), <em>An Erik Frydenborg Omnibus</em>, The Pit II, (Glendale, CA), and <em>Nebula Winners</em>, Andrew Rafacz Gallery (Chicago, IL).</p> <p>Ben Stone (born 1968, Chicago, IL) lives in Berwyn, IL and works in Chicago, IL. Recent exhibitions include: <em>Ben Stone</em>, Western Exhibitions (Chicago, IL), <em>Chicago and Vicinity</em>, Shane Campbell Gallery (Chicago, IL), and <em>Ryan Travis Christian Presents 21st Century LOL&rsquo;s</em>, Left Field (San Luis Obispo, CA).</p> <p>On view in LA/DW~PS is Chelsea Culprit&rsquo;s&nbsp;<em>nightshift</em>&nbsp;(2016).</p> <p>Tony Hope&rsquo;s permanent installation&nbsp;<em>Untitled (Dawn)</em>&nbsp;(2015) remains on view&nbsp;in the gallery&rsquo;s bathroom.&nbsp;</p> <p>For more information, please contact the gallery at (213) 926-6348 or</p> Mon, 05 Sep 2016 16:22:45 +0000 Mark Grotjahn - Blum & Poe - September 10th - November 5th <p style="text-align: justify;">Blum &amp; Poe is pleased to present&nbsp;<em>Sign Exchange 1993-98</em>, a solo exhibition by Los Angeles-based artist Mark Grotjahn. This marks the artist's eighth solo presentation with Blum &amp; Poe.&nbsp;<em>Sign Exchange 1993-98</em>&nbsp;offers a unique and lesser-known body of Grotjahn's work from the 1990s -- a grouping that documents a young artist's developing practice as he turned away from figurative painting and the coded language of abstraction to explore the functionality and effective communication of hand-made store signs.&nbsp;</p> <p class="BasicParagraph" style="text-align: justify;"><em>Signs 1993&ndash;1998 Rough Draft and Notes January 8, 2016.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>I had a penthouse studio in San Francisco, this was 1992&ndash;93. In addition to the 2,000-square-foot studio, we had 8,000 square feet of rooftop. I paid $200 a month for that, 360-degree view of the city. Lloyds was a bar across the street or down the street. It was close by. It had handmade signs outside: HOT DOG $1.25, A SHOT &amp; GLASS OF BEER $1.50. Good deal, but I didn&rsquo;t drink during the day. The signs gave off the impression that they might have a decent hot dog, but I went in there and it was four or five nightmare dogs in a glass heat box. I never ate one. Wish I had so I could say that I did.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>When I got to grad school I decided to stop painting the figure. I was unhappy with my painting and I wanted to change. The paintings looked like Baselitz or Basquiat, plaster, chicken wire. They had some political ideas that one could just barely tap into given their titles. No way was anybody going to get to any of the specific ideas from the work unless they talked to me or the gallerist. Looking back, that actually is an acceptable way to disseminate information. It wasn&rsquo;t enough for me then. Too coded, too much talking.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>So I started to look at people who used painting and drawing to communicate effectively and I thought again about all the signs I&rsquo;d been looking at that I loved. I painted my first few from photos I had taken of the signs at Lloyds. Then I painted a few more before I put them up in my studio and I contemplated them. I kind of thought they were bitchin&rsquo;, but I knew somehow that the originals were better than mine and I figured that the reason that theirs were better was that they had the audience. They knew who their audience was and they knew what they wanted to say. Their signs were functioning. I figured in order to get my sign to be as good as their signs I needed to get my sign in their store. And that&rsquo;s what led me to the trade or exchange. So I decided to take my sign to them and see if I could get them to put it up.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>It&rsquo;s hard to know exactly how it started or with what sign but the point was, I made a copy of the sign I saw and brought it to the store owner. I told the store owner I wanted to trade my sign for their sign. I told them I was an artist and this was my art. It&rsquo;s a weird thing, the exchange, and I wanted to be open about my intention. No shenanigans. There didn&rsquo;t need to be any extra confusion. Should be simple and straightforward, garner me a little trust and increase my odds of a successful exchange. I might make the signs a little brighter and bump up the material. I also allowed myself to correct any spelling mistakes I noticed. I have my own spelling &ldquo;differences&rdquo; so not always successful. I&rsquo;d say I was at least 90% successful in terms of getting the trade done. Success being measured by me getting their sign and getting to install my sign. I brought tape, scissors, paper, pens, etc., in case I needed to make any adjustments. If my measurements were off, or if prices had changed, I was ready.&nbsp;</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>It&rsquo;s hard for me to recall how exactly the trades went down. How the people responded&hellip; people being people it was always different. Often, after presenting my proposition for the exchange, I&rsquo;d get asked, &ldquo;Why do this?&rdquo; Answer, &ldquo;I&rsquo;m an artist, this is what I do etc.&rdquo; &ldquo;You waste time and money?&rdquo; So I&rsquo;d shrug my shoulder indicating yeah, okay, that&rsquo;s a valid way of looking at it. Usually it was a yes and hurry up&mdash;I want your sign because it&rsquo;s cleaner, but lets get this over with and get out. That&rsquo;s my assessment of what was often being thought but who knows. I&rsquo;m no mind reader.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>At K&amp;H Liquor there were so many signs that I was there at least a couple of hours. They showed me the safe. Showed me the gun that they kept in the cut-off milk carton taped to the counter next to the register. Out of sight, easy access. Of course I lived for shit like that. Function. Secrets.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>I traded a butcher for huge signs drawn on white butcher paper, hung high in the store near the top windows. Maybe ten, all with different amounts of fading. When I got them back to the studio I hung them from darkest to lightest, with the darkest on top. Later, I taped them together and 3 pinned them at the top. Long, tall work, the paper folded, rolled inward toward the bottom. Nice fade, minimal, dark to light. This work survived my move to Los Angeles, but it seems to be gone now?</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>As a young artist I knew that art could be whatever you wanted it to be. That there weren&rsquo;t any rules, and I believed that. Having said this, it&rsquo;s one thing to know something intellectually, and it is something different to know it emotionally, to actually experience that idea. Perhaps heavyhanded, the exchange did that for me. That perfect space of the exchange, the time in the store, the clarity changed my life and perspective forever.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>Here are some notes I&rsquo;ve written and grabbed from a short talk I did with Brendan while looking at the show. As follows&hellip;</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>The deeper I got into the sign work, the deeper I got into the ways the specific signs, and specific kinds of signs, worked. I&rsquo;m &ldquo;naturally&rdquo; drawn to pornography, porno mags. I&rsquo;ve always been excited: since I was a kid and not allowed, still now, and of course in my twenties too. Pornography and money, pretty much the one place in the store where the owners feel comfortable using sarcasm. Porno sign says, &ldquo;This is not a library.&rdquo; or &ldquo;You look you buy!&rdquo; or &ldquo;No browsing.&rdquo; Discipline and shame. &ldquo;In God we trust. You pay cash.&rdquo; It&rsquo;s just a fuck you, don&rsquo;t even ask, you know? And so that was exciting to me. Two places, money/porno, where they will discipline you, shame you. They are selling the thing and then, at the same time, they will shame you for being interested in it. And of course, they want to protect their merchandize. Everything else is fairly direct, helpful, and maybe even friendly.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>I also got interested in signs that come from the distributors. These signs are mass-produced, hot off the press, right? The companies ship them to stores all over, but there is room to individualize them to the need of the specific store. Like the one here, the one that&rsquo;s in the show, Miller, that says 6.99, 12 PACK CANS, and then some advertising, right? Now, it is there to captivate the audience, it&rsquo;s very graphic. And the neon green paper and the black. It&rsquo;s simple. There is also an economy to that. It&rsquo;s the color of the paper and then one color print. But it comes &ldquo;Miller 88.88,&rdquo; like a digital alarm clock. Then it has 88 PACK CANS and you can see underneath it&rsquo;s got something about bottles. So you can change the sign, there&rsquo;s room for individualization, you decide how much the thing is going to cost. As the store owner, it could be up to $99.99 and this is 6.99 and it&rsquo;s a 12-pack, it&rsquo;s not an 18-pack. You fill in the parts of the eight to make the numbers you want. And you do that by coloring-in some of those segmented parts. So you were allowed, requested actually, to participate. You participate. You individualize it, but those don&rsquo;t even look individualized, because they still look standard. They still look planned, they still look printed from a distance so they have a certain kind of efficiency.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>The company more or less controls the whole image. Anyway, it&rsquo;s just exciting to me that they ask for a certain kind of participation and it allows for a certain kind of augmentation. With the smaller one like Miller High Life, the Classic American Beer, it&rsquo;s a black on orange visual with the dollar sign printed. Here, right here by the dollar sign, with the blank space they signify: this is where you can write the price and whatever it is you&rsquo;re selling. This is where you get to individualize it. This part is up to you. They are providing a service because guess what, the person does sell Miller, so they are providing the service and this is the place where you can do whatever it is that you need to do to communicate whatever it is that you&rsquo;re going to communicate within basically the parameters of, it&rsquo;s about Miller. And so here it is, it&rsquo;s $1.25 for 32 ounces or $5.99 for a 12-pack of cans and then you get a dollar sign, whatever it is, you know. And so it&rsquo;s there&hellip; that&rsquo;s nice. And here with the Magnum, you could see that the person kind of went for some design elements and got into their own&hellip; their own formal kind of, whatever.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>With the Augsburger sign you&rsquo;ve got this illustration of a woman with the 6-pack, it&rsquo;s retro. Looks like a woman drawn in the 50s. It&rsquo;s nostalgic. It&rsquo;s the real deal. It&rsquo;s from Europe, right? This is the image that they want. They&rsquo;ve got the room, they&rsquo;ve got this blank space for you to individualize it. So this is kind of everything, they understand that a drawing works different than a photograph.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>I personally prefer the signs with the real women. I would rather go for the fantasy with the specific woman, than some kind of cartoon fantasy of an illustrated woman, because I don&rsquo;t know where to take that. With the hotdog, I would prefer the illustration. But that&rsquo;s, you know, that&rsquo;s on me, that&rsquo;s on me.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>And it&rsquo;s worth talking about. How in these examples, in these situations, how do the drawings and paintings work? Why is it that an illustration of a hotdog, a hamburger, fish soup is different? When you see the illustration of it as opposed to a photo of the same. With the photo of the hotdog, the soup, one tends to imagine that specific food pictured. Perhaps not so appetizing (I think of menus with all their different dishes pictured). It&rsquo;s my feeling that with the drawing you are encouraged to use your imagination, to imagine the perfect hotdog, your ideal hotdog, the perfect soup, whatever.&nbsp;</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>Additional Notes August 1, 2016</em><br /><em>Bucket/Stands/Grocery Stores</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>I traded for a few buckets. I liked them as objects. I liked seeing bunches of flowers. White buckets on the sidewalk or on a milk carton on the sidewalk. Since I wanted the whole thing, not just the sign, I offered the shop owners a new bucket.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>The big K&amp;H piece, which I first showed as a long line, I also put a bucket of flowers with it. The bucket I had traded for but, the flowers I bought and put in.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>The bucket was the first sculpture to come out of the sign exchange project. The second sculpture was the flower stands and that lead to both the fruit stand and newspaper stand. Which in turn lead to the performative sculptural objects made in situ at grocery stores, i.e., Surf and Turf.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>When I started to make copies or fabricate the flower stand or the newspaper stand, I was interested in how they worked formally. I was interested in how they worked functionally. They are on wheels, so they can be moved easily because they weight a lot. But there are also on wheels so that they can come in at night and not get stolen.&nbsp;</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>They are built in a way so that the flowers are displayed at an angle, so when they put the flower in the holes&mdash;different sizes for different size bouquets&mdash;you can see them at an angle&hellip;I think it&rsquo;s just more appealing, right? And it is the same with the fruit stand.&nbsp;&nbsp;</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>But anyway, I painted the stands. The flower stand was originally green. It was green for a reason. It&rsquo;s green because trees are green, and green stuff is green, and that&rsquo;s why it was green. And they always are green&mdash;not always, right? But they are green in New York, and green in San Francisco, and green in Los Angeles.&nbsp; I changed the color [to pink] because I wanted to own up to the fact that there were certain decisions that were being made.&nbsp; I was redirecting some of the formal issues and I wanted to own up to that fact in the way that I hadn&rsquo;t when I originally started showing the sign work which was seemingly more straight forward, conceptual work.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>Grocery Store/</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>Going into mom and pop stores got me thinking on the unwritten rules of the grocery store.&nbsp; You get a shopping cart and you put things in your shopping cart. But that&rsquo;s not your stuff. You don&rsquo;t own the items just because you put them in there, but you declare them as yours and in a sense it is yours. You are not really allowed to go into somebody else&rsquo;s shopping cart and take it just because you want it. This is a temporary private place, a private property space. So that&rsquo;s one rule.&nbsp; But nobody states these rules.&nbsp; I started taking some of the products and making sculptures in the middle of the aisles. Just because I wanted to see what it looked like.&nbsp; And perhaps for the thrill of doing something you&rsquo;re not supposed to do. You might get told you can&rsquo;t do that. There are no rules that say no so I would go to stores and take items from the shelves and stack them. I would stack coffee cans as high as I could.&nbsp; I would contemplate them. I would look and I would watch people navigate them. I took pictures of this. Aisles are just wide enough so that you can have two carts going opposite directions without hitting each other. The stacks would often bisect that, not always.&nbsp;</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>I would go to a store and look like I knew what I was doing because there are people that build displays in the stores but they are usually from Nabisco or another company or the store itself. They make their sculptures. But I was making completely different sculptural compositions with different ideas in mind.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>I made a sculpture during a busy time and the clerks came over to me and just asked if I could come back and do it at a less busy time. &ldquo;It&rsquo;s just too busy&rdquo; they said.&nbsp; It was surprising.&nbsp; And I said, &ldquo;okay, that&rsquo;s fine. Let me take a picture and I&rsquo;m out.&rdquo; And so I did. It was as close to as busted as I ever got.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>There was the Surf and Turf piece where I took the boxes of detergent-- they&rsquo;re so beautiful with their blues and their oranges&mdash;and stack them from big to small, kinda like a pyramid right in front of all the meat, all the packaged meat.</em></p> <p class="BasicParagraph" style="text-align: justify;"><em>For me, because I saw these performances/actions as post punk, it was important that after I was done, after I had contemplated it, maybe took some pictures or not, that I put back the products that I had used. That I put them back where they were supposed to be.</em></p> <p class="BasicParagraph" style="text-align: justify;">Mark Grotjahn lives and works in Los Angeles. His work has been exhibited extensively around the world including in recent solo exhibitions at Kunstverein Freiburg, Germany (2014); the Nasher Sculpture Center, Dallas (2014); the Aspen Art Museum (2012); and in group exhibitions at the Los Angeles County Museum of Art (2014); Museum of Modern Art, New York (2014); and the Whitney Biennial (2006). His work is represented in numerous public collections, including the Carnegie Museum of Art, Pittsburgh; Hammer Museum, Los Angeles; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; San Francisco Museum of Modern Art, San Francisco; Tate Modern, London; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York</p> Tue, 23 Aug 2016 07:34:27 +0000 Henry Taylor - Blum & Poe - September 10th - November 5th <div style="text-align: justify;">Blum &amp; Poe is pleased to present an exhibition of new works by Los Angeles-based artist Henry Taylor. Including new paintings and a video installation, the works are installed in three unique environments. This is the artist's fourth solo show with the gallery.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Taylor's work continues to delve and expand upon the language of portraiture and painting, while also pointing to the social and political issues affecting African Americans today. From racial inequality, homelessness, and poverty, to the importance of family and community, Taylor says, "my paintings are what I see around me...they are my landscape paintings." His portraits reveal a fascination with the sitters, who are oftentimes portrayed against solid-colored backgrounds, as well as domestic and outdoor spaces. The psychological and physical implications of "space" -- public vs. private, interior vs. exterior -- is a theme that Taylor explores throughout this presentation.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The exhibition begins inside of an abandoned dirt lot, similar to those from Taylor's own adolescence, which became playgrounds and gathering spaces for the community. These lots also provided temporary housing, becoming tent cities for the disenfranchised. As a result, they did not go unnoticed and were always policed. Such memories continue to influence Taylor, who turns to both his personal archives as well as found imagery and objects for source material.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Taylor marks the disparity between social classes from one gallery to the next by installing in each space a distinct terrain. An empty, dirt lot beside a lush, grassy lawn inevitably points to the different groups of people who inhabit these spaces. While one space portrays a certain sense of abandon and despair, the other is more about experiencing pleasure and comfort within private property. The subjects in the paintings vary -- from scenes of Taylor's life to imagery inspired by current affairs, candidly depicting the world around him.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"> <div>On the evening of the opening, a performance collaboratively conceived by Taylor and close friend, Los Angeles-based artist and filmmaker Kahlil Joseph, will take place in the third gallery. This staging will precede the installation of a related video project created by the artists and inspired by Taylor's encounter with reggae legend Bob Marley. This multi-media and immersive presentation weaves together personal history with collective memory, contributing to our understanding of how public memory has been and might continue to be framed.&nbsp;</div> </div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Henry Taylor was born in Ventura, CA (1958) and received a BFA from the California Institute of the Arts. Recent solo exhibitions include&nbsp;<em>This Side, That Side,&nbsp;</em>The Mistake Room, Guadalajara, Mexico (2016);&nbsp;<em>They shot my dad, they shot my dad!</em>, Artpace, San Antonio, TX (2015);&nbsp;and a&nbsp;retrospective at MoMA PS1, Long Island City, NY (2012). His work has been featured in group exhibitions in museums worldwide including the Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (forthcoming, 2016);&nbsp;Astrup Fearnley Museet, Oslo, Norway<em>&nbsp;</em>(forthcoming, 2016);&nbsp;Whitney Museum of American Art, New York NY (2016);&nbsp;Hammer Museum at Art + Practice, Los Angeles, CA&nbsp;(2016); Camden Arts Centre, London, UK (2016);&nbsp;Studio Museum, Harlem, NY (2013); Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (2013);&nbsp;Museum of Contemporary Art, Los Angeles, CA (2012);&nbsp;Los Angeles County Museum of Art, Los Angeles, CA (2011); and&nbsp;the Rubell Family Collection, Miami, FL (2011).</div> Tue, 06 Sep 2016 20:11:12 +0000 Kenyatta A.C. Hinkle, Tyler Matthew Oyer - Cal State Fullerton Grand Central Art Center - August 6th - October 16th <p style="text-align: justify;"><em>Navigating the Historical Present</em>&nbsp;is a mantra for Kenyatta A.C. Hinkle&rsquo;s practice in which she creates performative situations to illustrate how she grapples with the residue of history related to the context of exploring the exotification and exploitation of the Black female body. Within her&nbsp;<em>Kentifrica Project</em>, Hinkle conducted extensive research and recreated an artifact called the Nowannago to be used as a symbol of navigating the historical present. The Nowannago is akin to the Oroborus, the serpent that eats its tale within ancient Egyptian mythology. The fight with time, spatiality and social dynamics creates a never-ending cycle in which oppositional parties have to grapple with their issues.</p> <p style="text-align: justify;">The exhibition&nbsp;<strong>Exploring The Nowannago: Kentifrican Modes of Resistance</strong><em>&nbsp;will serve as an ongoing stage and installation for video and performance featuring Kenyatta A.C. Hinkle and Tyler Matthew Oyer. This body of work involves a Kentifrican narrative that provides a social critique of how we are chained to the residue of the past and how bodies that are deemed the &ldquo;other&rdquo; through labels of queerness, racial constructions and gender constructions are treated.</em></p> <p style="text-align: justify;">A tug of war will ensue during the performance in which the Nowannago will be used to illustrate the complex push and pull of realities within historical and contemporary hegemonic impulses that seek to condemn bodies that are misunderstood. The Nowannago, the double noose, is an instrument integral to Kentifrican presence in relationship to encounters with cultures that were intrusive and different from their own. The double noose was used as a forced mating ritual between a British or Portuguese trader and a Kentifrican woman. Kentifrica, as geography, has never been formally colonized. Due to a deadly poisonous plant called the Yahwaseen located on the coast of West Kentifrica, discovery was limited to a few small nearly visible ports along the northern and eastern coasts. It was near these ports that Kentifrican individuals found themselves abducted to be a part of the slave trade and brought to North and South America. The noose became known as a Nowannago from few witnesses who managed to escape the deadly game.</p> <p style="text-align: justify;">The ritual&rsquo;s rules of engagement were carried out in the following manner:</p> <p style="text-align: justify;">&bull; A European man and a Kentifrican woman were tied together with a double noose.<br />&bull; If the Kentifrican woman succeeded in killing her captor she won her freedom.<br />&bull; If she did not succeed she became the man&rsquo;s concubine throughout the voyage and upon arrival.</p> <p style="text-align: justify;">This contemporary performance and exhibition with the Nowannago at Grand Central Art Center will transcend the boundaries of Kentifrica as a geography to serve as an abstract confrontation with the following issues and movements plaguing our local and global societies: The Black Lives Matters Movement, the current human trafficking trade, LGBTQ awareness, immigration reform, prison reform, white supremacy, genocide, xenophobia, etc.</p> <p style="text-align: justify;">As we are now witnesses to this exhibition and/or the performance, and its evolving space of participatory action, the artists invite you to respectfully add names, with the chalk provided, of those who have died at the hands of hate crimes, police brutality, human trafficking, and other unjustified actions that have taken place in our society.</p> <p style="text-align: justify;">ABOUT THE ARTISTS</p> <p style="text-align: justify;"><strong>Kenyatta A.C. Hinkle</strong>&nbsp;is an interdisciplinary visual artist, writer and performer. Her practice fluctuates between collaborations and participatory projects with alternative gallery spaces within various communities to projects that are intimate and based upon her private experiences in relationship to historical events and contexts. A term that has become a mantra for her practice is the &ldquo;Historical Present,&rdquo; as she examines the residue of history and how it affects our contemporary world perspective. Her artwork and experimental writing has been exhibited and performed at: The Studio Museum in Harlem, NY; Project Row Houses in Houston, TX; The Hammer Museum in Los Angeles, CA; The Museum of Art at The University of New Hampshire; and The Museum of the African Diaspora (MoAD) in San Francisco. Hinkle was the youngest artist to participate in the multi-generational biennial&nbsp;<em>Made in LA 2012</em>. The artists work have been reviewed by the Los Angeles Times, LA Weekly, Artforum, The Huffington Post, The Washington Post and The New York Times. Hinkle was listed on The Huffington Post&rsquo;s Black Artists: 30 Contemporary Art Makers Under 40 You Should Know. She is also the recipient of several fellowships and grants including: The Cultural Center for Innovation&rsquo;s Investing in Artists Grant, Social Practice in Art (SPart-LA), Jacob K Javits Fellowship for Graduate Study, The Fulbright Student Fellowship, and The Rema Hort Mann Foundation&rsquo;s Emerging Artists Award. Kenyatta A.C. Hinkle is represented by Jenkins Johnson Gallery in San Francisco, CA and New York City.</p> <p style="text-align: justify;">Called an &ldquo;interdisciplinary gospel immortalist&rdquo; by Kembra Pfahler of the Voluptuous Horror of Karen Black,&nbsp;<strong>Tyler Matthew Oyer</strong>&nbsp;is an artist, writer, and organizer based in Los Angeles. He has presented work at: MoMA PS1 in New York; REDCAT in Los Angeles; dOCUMENTA (13) in Kassel, Germany; Hammer Museum in Los Angeles; Kunstnernes Hus Oslo in Oslo, Norway; Art Basel Miami Beach in Florida; Bergen Kunstall in Bergen, Norway; Rogaland Kunstsenter in Stavanger, Norway; The Royal Vauxhall Tavern in London, UK; High Desert Test Sites in Yucca Valley, CA; Highways Performance Space in Santa Monica; Human Resources in Los Angeles; and the Orange County Museum of Art. He has written works of performance including&nbsp;<em>GONE FOR GOLD</em>,&nbsp;<em>Shimmy Shake Earthquake</em>, and&nbsp;<em>100 Years of Noise: Beyonc&eacute; is ready to receive you now</em>. Oyer is represented by Cirrus Gallery and his work is in the permanent collection of the Museum of Modern Art (NY). Oyer is the founder of tir journal, an online platform for queer, feminist, and underrepresented voices. He received an MFA from the California Institute of the Arts in 2012. He is currently working on his first movie,&nbsp;<em>Conquest of the Universe or When Queens Collide</em>.</p> Tue, 02 Aug 2016 14:49:50 +0000 Jesse Kees - Cal State Fullerton Grand Central Art Center - August 6th - October 16th <p style="text-align: justify;">Created during his time as an artist-in-residence at Grand Central Art Center, Jesse Kees new body of work&nbsp;<em>Days</em>&nbsp;involves field and studio recordings, processed and edited into a series of sound pieces that can be observed as a loose narrative about his experience in the Santa Ana area.&nbsp; The works draw upon Kees emotions felt during the time period of July 5-14, 2016.</p> <p style="text-align: justify;">Related drawings were made to accompany the sound pieces as objects of meditation.</p> <p style="text-align: justify;"><strong>ABOUT THE ARTIST</strong><br /><strong>Jesse Kees</strong>&nbsp;is a Baton Rouge, Louisiana born artist working in both aural and visual art.</p> Tue, 02 Aug 2016 14:51:31 +0000 Jack Reilly - California Museum of Art (CMATO) - September 16th - December 11th <blockquote> <div align="center">&nbsp;</div> <div>&ldquo;<em>My personal investigation into life deals with the human condition of trying to find a sense of balance that seems to exist between polar extremes &ndash; that the human condition is to attempt to find a sense of balance between these polarities -this balance is a metaphor of life.&rdquo;</em>&nbsp; - Jack Reilly, speaking about his art.</div> <div>&nbsp;</div> <div>Jack Reilly (b. 1950 -), widely recognized as a trailblazer in the Abstract Illusion Movement, a style where paintings &lsquo;bend the eye&rsquo; to achieve three-dimensionality on a two-dimensional surface, returns to Southern California for a concise but stirring re-evaluation of his artistic production.</div> <div>&nbsp;</div> <div>In 1980, Reilly burst into L.A. with his solo show at the indomitable Molly Barnes Gallery (a tastemaker who gave early shows to John Baldessari, Billy Al Bengston and Gronk). This formative exhibition helped to cement Reilly&rsquo;s reputation of creating visually powerful and unique works of art &ndash; works that converge abstract expressionistic boldness, minimalist restraint with trompe l&rsquo;oeil wonderment. As Suzanne Muchnic, Los Angeles Times art critic, observed, &ldquo;He does offer immediate pleasure in carefully orchestrated compositions, meticulous technique, complexity of shadows and ambiguity of light source."<br /><br /></div> <div>Impressed by Reilly&rsquo;s unique style exhibited at the Barnes Gallery, Donald Brewer (then Director of LA&rsquo;s first museum -USC&rsquo;s Fisher Gallery) quickly arranged for Reilly to be a featured artist for&nbsp;<em>The Reality of Illusion</em>, a national traveling exhibition (Denver Art Museum, Oakland Museum, Johnson Museum at Cornell, and USC Fisher Gallery). From then on, there was no looking back. Reilly&rsquo;s prolific artistic output has resulted in numerous public commissions, domestic and international exhibitions, and his works are in the permanent collection of several museums throughout the country.</div> <div>&nbsp;</div> <div><em>Balancing Act: Paintings by Jack Reilly&nbsp;</em>will highlight the spirit of freedom and experimentation found in his:</div> <div>&nbsp;</div> <div><span style="text-decoration: underline;">Basic Object Series</span>&nbsp;Two-dimensional surfaces take on ambiguous characteristics of three-dimensionality as geometric shaped canvases straddle the line between painting and sculpture;&nbsp;</div> <div>&nbsp;</div> <div><span style="text-decoration: underline;">Shaped-Canvas Abstractions</span>&nbsp; In these works, Reilly continued to challenge traditional concepts of illusionary and pictorial space, executed within an abstract painting context;</div> <div><span style="text-decoration: underline;">&nbsp;</span></div> <div><span style="text-decoration: underline;">Convergence Period</span>&nbsp;Explores an eclectic mix of abstraction, representational painting, classical, historical and popular imagery combined with richly textured surfaces, cast bas relief and mosaics, all on a singular-level shaped canvas. These pieces simultaneously comment on a variety of artistic issues ranging from postmodernism to aspects of popular culture, politics and the human condition;</div> <div><span style="text-decoration: underline;">&nbsp;</span></div> <div><span style="text-decoration: underline;">The Icon Series</span>&nbsp;Considered hybrids of painting and sculpture, are rendered in oil and crowned with elaborate, gilded framework. The format Reilly has adopted pays homage to European Gothic and Proto-Renaissance icon painting. He elevates the notion of the painted landscape to that of a sacred image, depicting nature in its pure and perfect form. Working from original sketches and photographs taken at the location, a variety of scenic elements are composited together to create the idealized depiction of the perfect time and place.</div> <div>&nbsp;</div> <div>&nbsp;</div> <div>As the CMATO exhibition will show, Reilly&rsquo;s works are bright, clean and constrained by geometry but not artistic convention. Although the Getty Museum&rsquo;s&nbsp;<strong>Pacific Standard Time</strong>&nbsp;exhibition (2012) solidified Reilly&rsquo;s place in the zeitgeist of the 80&rsquo;s &ndash; an era of extremes, political movements, the beginning of globalization- do not be mistaken in thinking his works are out of time with our age. His works are perpetual manifestations of an artist&rsquo;s investigation of the human condition &ndash; an ageless inquiry into the nature of our being.</div> <div>&nbsp;</div> <div><em>Balancing Act: Paintings by Jack Reilly&nbsp;</em>complements CMATO's permanent installation of Betty Gold's sculptures.</div> <div>&nbsp;</div> <span style="font-family: verdana, geneva;">Opening Reception: Thursday, September 15, 2016 (6PM - 8PM) @ CMATO.</span></blockquote> Wed, 24 Aug 2016 21:32:43 +0000 Mira Schor - CB1 Gallery - September 10th - October 30th <p>CB1 Gallery is proud to announce&nbsp;<a href="" rel="nofollow">Mira Schor&rsquo;s</a>&nbsp;upcoming solo exhibition&nbsp;<em>War Frieze</em>, opening September 10, 2016. This will be the most comprehensive presentation of a major multi- canvas painting installation on the theme of militarism and aggression, conceived and begun by the artist in the immediate aftermath of the First Gulf War in the winter of 1991 and completed in 1994. The total work is over 200 running feet long and has never been seen in its entirety, either publicly or by the artist. CB1 Gallery will present the second half of this major work, at once historic yet with continued resonance in the present day.</p> <p>This will be the third exhibition of Schor&rsquo;s work at CB1 Gallery since 2010. In addition to the 1991 &ndash; 1994 body of work, CB1 Gallery will also present a new series of works on paper,&nbsp;<em>&ldquo;Power&rdquo; Frieze</em>. The exhibition will be on view from September 10 &ndash; October 30, 2016. A reception for the artist will be held on Saturday, September 10, 3 &ndash; 6 p.m.</p> <p>In her work from the 1970s to the present, Schor has insisted on the joining of language&mdash;discursive, narrative, theoretical and political&mdash;with the materiality of paint, marking a unique path in a highly contested territory of visual art.&nbsp;<em>War Frieze</em>&nbsp;is exemplary of her practice. It is also a work which has only been seen in fragments and has yet to be fully understood in its role within a specific critical and historical context, a critical lacunae that we hope this exhibition will redress, expanding the dialogue around the work of an important, unique, yet under-recognized artist.</p> <p>In&nbsp;<em>War Frieze</em>, the transmission of power in society is represented by the flow of language as body fluid from sexual body part to body part&mdash;language embedded into the body of oil paint. The language is public, appropriated from the news, including such phrases as &ldquo;Area of Denial&rdquo;&ndash;a class of weapon aimed at denying the viability of territory for any living beings. Schor focused on this term because of its multiple meanings and applicability including not only its meaning in warfare, but also the body of painting as an area of denial within postmodernism, the body of woman as an area of denial within patriarchal culture: other phrases and words anchoring the work were suggested by the Clarence Thomas hearings and by the wording of still in play Supreme Court decisions on abortion, including &ldquo;pub(l)ic&rdquo; and &ldquo;Undue Burden.&rdquo;</p> <p>In an interview published in conjunction with an exhibition at Horodner Romley Gallery in NYC in 1993, Schor spoke about&nbsp;<em>War Frieze</em>,</p> <p>I started&nbsp;<em>War Frieze</em>&nbsp;right after the Gulf War. I wanted to make an endless painting, about completely circular militarism and aggressivity. It is a continuation of works in which I represented the transmission of power in society through the transmission of fluids from sexual body part to body part. In&nbsp;<em>War Frieze</em>&nbsp;the fluids became discursive script: sometimes the language, spelling out &ldquo;area of denial,&rdquo; or &ldquo;undue burden&rdquo; (from the wording of the Supreme Court&rsquo;s Webster ruling on abortion limits) is blood streaming through scrapped flesh, or milk streaking across barely stained linen. Paint is body-like anyway, it can be messy or fluid, it imparts these bodily traits to the language.&nbsp;<em>War Frieze</em>&nbsp;is a work in progress which has evolved into nearly 200&rsquo; of discrete segments of from 1&rsquo;x8&rsquo; to 1x25&rsquo;. One segment, Pub(l)ic hair, speaks to the Clarence Thomas/Anita Hill hearings and Duchamp&rsquo;s Fountain. Another spells out &ldquo;It&rsquo;s Modernism, Stupid,&rdquo; inspired by the Clinton campaign motto, &ldquo;It&rsquo;s the economy, stupid.&rdquo; My favorite panel is the red comma. It looks very graphic on a slide, but is in fact very painterly. That led to painting incarnated punctuation marks: cunts, breasts, penises framed by quote marks; red commas and semi-colons set into public hair, embedded in flesh. Markers of printed language are sexualized, and text, which had been so dominant over visuality in feminist theory and art in the 80s, is presented for its visual seductivity and bodily contingency.</p> <p>In response to her own historical work, Schor will also exhibit a new series of works on paper, collectively titled&nbsp;<em>&ldquo;Power&rdquo; Frieze</em>. These drawings feature a new articulation of Schor&rsquo;s interest in the intersection of political language and private embodiment exemplified by the imagery of&nbsp;<em>War Frieze</em>, now in the form of a phalanx of individual figures, drawn and painted in ink and oil on skin-like tracing paper, addressing the fragility and the resolution of the mortal body as the artist continues painting and writing in the face of toxic masculinity and looming fascism, a continuation of the endless militarism and aggression that was the underlying subject of&nbsp;<em>War Frieze</em>.</p> <p>Of these recent works, artist and critic Bradley Rubenstein has written, &ldquo;Schor&rsquo;s paintings, dark, compactly strong meditations on mortality, power, and language, show an artist wrestling with the big questions. Schor has always been a painter who confronted politics, art history, and painting head-on, and these new paintings don&rsquo;t veer far from that course&hellip;.Schor understands the vocabulary of the millennial generation, yet her work suggests that there are traditions in painting that are slowly being degraded or forgotten&mdash;lost knowledge coming at great expense to our shared cultural understanding. Schor&rsquo;s drawings are meditations on time and aging, and on the power of art to transform and transcend the temporal.&rdquo; Novelist and critic Will Heinrich wrote of Schor&rsquo;s&nbsp;<em>&ldquo;Power&rdquo; Figures</em>, &ldquo;By stripping the husk from self-image &hellip; what Schor reveals is its mysteriously contradictory truth: the anger, frustration, and insecurity that underlie an extravagantly self- deprecating joke like a skeleton with breasts, but also the absurdity that underlies them; the bitter pinch of decay underlying creation, and vice versa; and, especially, the unresolvable tussle between roles that are socially imposed and those that emerge from within.&rdquo;</p> <p>Mira Schor is a New York-based artist and writer. Her work has been included in exhibitions at the Jewish Museum in New York City, The Hammer Museum, P.S.1, the Neuberger Museum, and the Aldrich Museum. Interviews with Schor have appeared on Art21Blog, Bomblog, Hyperallergic, Artinfo and Culture Catch. She participated in ARTspace&rsquo;s Annual Distinguished Artists&rsquo; Interviews at the 2013 Annual College Art Association Conference in New York. She is the author of&nbsp;<em>A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life</em>&nbsp;(2009),&nbsp;<em>Wet: On Painting, Feminism, and Art Culture</em>&nbsp;(1997; both Duke University Press), and of the blog&nbsp;<em>A Year of Positive Thinking</em>. She is the co-editor of&nbsp;<em>M/E/A/N/I/N/G</em>&nbsp;Online and recent writings have appeared in Artforum and The Brooklyn Rail. Schor is the recipient of many prestigious awards including a Guggenheim Fellowship in Painting, a Pollock Krasner Grant, the College Art Association&rsquo;s Frank Jewett Mather Award in Art Criticism, and the Creative Capital / Warhol Foundation Arts Writers Grant. She is an Associate Teaching Professor in Fine Arts at Parsons The New School for Design. Schor&rsquo;s recent exhibition of paintings and works on paper at Lyles &amp; King Gallery in New York City,&nbsp;<em>Death Is A Conceptual Artist</em>, was an Artforum Critics&rsquo; Pick, and received stellar reviews on Hyperallergic and Artslant; the exhibition was featured on Contemporary Art Daily.</p> Tue, 06 Sep 2016 20:11:09 +0000