ArtSlant - Current exhibits en-us 40 Fiona Connor, Fiona Banner, Superflex, Pae White - 1301PE - July 12th - August 2nd Fri, 18 Jul 2014 18:13:40 +0000 Miljohn Ruperto - 18th Street Arts Center - July 14th - October 3rd <p style="text-align: justify;"><span style="font-size: small;">For the latest iteration of 18th Street Arts Center&rsquo;s Artist Lab series, artist&nbsp;<a href="" target="_blank">Miljohn Ruperto</a>&nbsp;brings the Lab framework into dialogue with science and philosophy. In collaboration with animator Aim&eacute;e de Jongh and neuroscientist Rajan Bhattacharyya, he will investigate the speculative possibilities of mineral &ldquo;deformities&rdquo; inspired by Georges Canguilhem&rsquo;s text,&nbsp;<em>Knowledge of Life</em>. The three come together to grapple with a particular assertion by Canguilhem, a philosopher of science, that &ldquo;there are no mineral monsters,&rdquo; or rather that the scientific category of mineral is incompatible with human notions of deformity. Ruperto&rsquo;s exhibition&nbsp;<em>Mineral Monsters&nbsp;</em>delves into a space wherein humans are irrelevant, unable to project their own attributes onto or against the material world. His work then troubles that space by introducing visual aspects that trigger our implicit, negative responses, such that the neutral tenor of Canghuilhem&rsquo;s position shifts to a more troubling, oppositional one. Ruperto will use the Artist Lab as a working studio to untangle the relationship between science and philosophy and contemplate the ways in which our categorization of natural phenomena both shapes and hinders our broader conceptualization of life. Working together with animator de Jongh, Ruperto will create computer-generated visuals. These visual forms will be derived from conversations with Bhattacharyya and from his research based in concrete scientific principles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Canguilhem, a French philosopher and physician, served as a mentor to many scholars and philosophers, notably Foucault and Derrida.&nbsp; His work often questions accepted science, arguing that it serves to reduce organisms to neatly functioning and predictable machines when in fact biology is complex and subject to wide variation. According to Canguilhem, all minerals exist in nature, whether they contain mutations or not, and thus the idea that there exists typical and atypical varieties of minerals is simply a human construction. Ruperto and his collaborators use Canguilhem&rsquo;s negation of human potential for influence over nature as the starting point for a meditation on the basic nature of humans to be governed by attraction and repulsion.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ruperto&rsquo;s interest in scientific philosophy and history is ongoing, represented by his earlier collaboration with artist Ulrik Heltoft,&nbsp;<em>Voynich Botanical Studies</em>, exhibited at the Thomas Solomon Gallery in New York in 2013 and in the 2014 Whitney Biennial.&nbsp;<em>Voynich Botanical Studies&nbsp;</em>was inspired by a 16th&nbsp;century manuscript containing drawings of various species of plants whose historical existence cannot be corroborated scientifically. Also displayed at the Whitney was an earlier collaborative animation created by Ruperto with de Jongh.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Miljohn Ruperto&rsquo;s Artist Lab Residency at 18th Street Arts Center and all associated events have been made possible through the generous support of the&nbsp;<a href="" target="_blank">Los Angeles County Arts Commission</a>&nbsp;and&nbsp;<a href="" target="_blank">The Andy Warhol Foundation for the Visual Arts</a>.</em></span></p> Fri, 18 Jul 2014 18:13:32 +0000 Yukako Ando - 18th Street Arts Center - July 14th - September 30th <p style="text-align: justify;"><span style="font-size: small;">18th Street Arts Center&rsquo;s visiting artist&nbsp;<a href="" target="_blank">Yukako Ando</a>&nbsp;presents several site-specific installations in the Atrium Gallery that engage with themes of urban daily life in Los Angeles. This exhibition documents Ando&rsquo;s questions and impressions informed by the humor of American &ldquo;pop consumption culture&rdquo; and by her interior responses. Ando&rsquo;s approach to her work is diaristic, instinctive, and personal. Ando uses daily necessities to create the important elements of her work and explore ideas of time and space, drawing additional inspiration from the city&rsquo;s climate, buildings, and freeway connections. The works on exhibit reflect her experiences of Los Angeles collected from past visits and during her residency.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Yukako Ando is a visual artist who focuses on the everyday phenomena from which the fundamental questions of life are configured. Ando, born in 1972 in Osaka, Japan, currently lives and works in D&uuml;sseldorf, Germany. She graduated from the Department of Sculpture of Kyoto Seika University in 1994 and earned her MA degree from Kunstakademie D&uuml;sseldorf in 2001. She has won numerous international scholarships and prizes. Most notably she is a recent recipient of the Program for Arts Fellowship by the Japanese Department of Cultural Affairs who is the funder for her current residency at 18th Street Arts Center. Additionally, she is currently a 2014 Japan-United States Exchange Friendship Program in the Art Fellow, which is sponsored by the Art of Japan-United States Friendship Commission.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;Atrium Gallery programming is underwritten by the&nbsp;<a href="" target="_blank">Andy Warhol Foundation for the Visual Arts</a></em></span></p> Fri, 04 Jul 2014 15:19:21 +0000 - A + D Museum - June 9th - August 31st <p style="text-align: justify;"><span style="font-size: small;">An exhibition of spatial interventions reflecting on the inquiry of scale.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Historically, Los Angeles as a city has been a site of inspiration and exploration for architects and designers alike. The city has been developed around and defined by a variety of large-scale urban planning projects as well as medium and smaller sized residential and public work Including housing, product design and technological Innovations, through these various architecture and design projects, the city has nurtured experimental pursuits and critical inquiry and today it continues to expand in the contemporaneous city.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Projects are currently being developed at various scales All over L.A. from miniscule to monumental and everything In-between. Small, medium, large, extra-large Los Angeles takes Rem Koolhaas and Bruce Maus seminal text as a departure point and more importantly as an organizing principle to examine the production and discourse of Architecture and design within today&rsquo;s city of L.A. bringing coherence to the body of work of an emergent group of Los Angeles-based designers that span across disciplines from architecture and graphics to digital media and sound art, to jewelry, landscape, lighting, product, and textile design; the show highlights the ways in which young Practitioners are currently thinking and making in los Angeles in addition to their impact on the present-day city and its future.</span></p> Sat, 31 May 2014 08:42:14 +0000 Helen Pashgian - Ace Gallery- Beverly Hills - July 14th - August 16th Tue, 15 Jul 2014 12:10:24 +0000 Michael Henry Hayden, Julian Rogers, Ross Sawyers - ACME - July 19th - August 23rd <p style="text-align: justify;"><span style="font-size: small;">ACME. is pleased to present an exhibition of recent works by Michael Henry Hayden, Julian Rogers, and Ross Sawyers. All three artists employ a strong sense of light and shadow to subtly reveal and define the ambiguous spaces within their works. Familiar objects are removed from their usual context making them unrecognizable until closer inspection. </span><br /> <br /><span style="font-size: small;"> Michael Henry Hayden combines realistic painted illusions of light and shadow with real-life constructed relief surfaces to create trompe l'oeil facades of architectural and organic imagery. The imagery never comes fully into view, but is revealed through familiar, yet ambiguous patterns and textures. Hayden shows another clue to the viewer by constructing these illusions at real-life scale.</span><br /> <br /><span style="font-size: small;"> Julian Rogers' paintings depict still life arrangements of fruit on rocky outcroppings in diffused monochromatic fields of color. Although the paintings are rendered meticulously, Rogers' subtle palette and unusual light sources creates a phenomenal, optical effect where the still life scenes shimmer in and out of focus. Like Hayden, Rogers paints his still life scenes at real-life scale.</span><br /> <br /><span style="font-size: small;"> Ross Sawyers' photographs deeply hued, mysterious spaces that are seductive and disorienting. Light seems to pierce, slice, and cut through Sawyers' architectural spaces and surfaces. Sawyers achieves this effect by photographing small-scale models that he has manipulated and altered, giving the viewer an ambiguous sense of scale.</span></p> Sun, 06 Jul 2014 09:25:11 +0000 Robert J. Lang - Alyce de Roulet Williamson Gallery - June 17th - August 20th <p>**</p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="" alt="" /></p> <p>&nbsp;</p> Tue, 24 Jun 2014 15:39:10 +0000 - Angels Gate Cultural Center - May 12th, 2013 - June 19th, 2015 <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 Fausto Fernandez - Angels Gate Cultural Center - February 9th - January 9th, 2015 <p>Angels Gate Cultural Center (AGCC) exhibition cycle 2013-2015 explores how stories within the community shape the collective&nbsp;consciousness&nbsp;in San Pedro and South Bay area. For 2014, Los Angeles based artist Fausto Fernandez was selected to work on the next iteration of the exhibition cycle. The collaboration marks&nbsp;the beginning of a year-long partnership with the&nbsp;Southwest Regional Council of&nbsp;Carpenters,&nbsp;the Pile Drivers, Bridge, Dock and Wharf Builders Local Union 2375 whereby&nbsp;AGCC will explore the stories of members and their families, the history of the labor movement in San Pedro and how this impacts the community at large.&nbsp;</p> Fri, 31 Jan 2014 00:11:23 +0000 Judy Fiskin, Soo Kim, Ori Gersht, Matt Lifson - Angles Gallery - July 12th - August 30th <p style="text-align: justify;"><span style="font-size: small;">Judy Fiskin, prominently featured in the 2014 Hammer Biennial exhibition, "Made in L.A.," will be represented by her exquisite photographs. Diminutive, graphic and pure, her serialized works ("Desert," "Dingbat," "Portraits of Furniture," "Military Architecture" among them) are the essence of a long-lost art. Simmering under the radar for many years, Fiskin's profound influence on the medium has been acknowledged by museums around the world. Her photographs and films are held in the collections of the National Gallery of Art, Washington; Stedelijk Museum; LACMA; MoCA Los Angeles; SF MoMA; J Paul Getty Museum; and Biblioth&eacute;que Nationale, Paris, among others. A catalogue raisonn&eacute; was produced by Getty Publications in 2011.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ori Gersht will be represented by a single image from his 2005 series&nbsp;<em>Liquidation</em>. Although geometrically larger in scale than works by Judy Fiskin, Gersht's&nbsp;<em>Liquidation</em>series illuminates his ability to draw ethereal images from seemingly benign landscapes without using digital technology. His most potent tool is the power of observation, letting the camera capture what the eye might not see in a casual glance. The depth of time and space presented in this work take the viewer into a deep well of history. Gersht has captured the beauty of the landscape while drawing out the brutality of historical events long since past and now invisible to the naked eye.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Soo Kim continues her interest in the materiality of photography with her new series<em>Backlight</em>, which evolved out of her previous body of work,&nbsp;<em>Invisible Cities</em>. Each print starts with a crease made by folding a straight line informed by a line found in the photograph: the side of a building, a power line, a lamp post. The print is flattened, and additional folds are made in this fashion until the entire print is marked with creased fold lines throughout. The geometric spaces made by the fold lines are then cut out of the print, alternating cut spaces and spaces left intact. The neon colored back of the photograph bounces back into the empty spaces cut in the photograph. Though the back of the photograph is unseen as a surface, it can be seen through the reverberation of the color reflecting off the wall, and filling in the voids of the negative spaces in the composition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matt Lifson's new work aims to harness the suggestiveness of painting. A representational painting on canvas is veiled with a field of gestural marks and color on transparent synthetic silk fabric. Each painting is essentially two paintings in one: the silk painting provides limited access to the photo-based painting beneath. The effect is a disjointed harmony that breaks up the image into multiple pictorial fragments, suggesting apparitions and reflections of unknown origins, placing the "real" into an ethereal pictorial plane while complicating storytelling through the production of alternate narratives of a single image.&nbsp;<strong>&nbsp;</strong></span></p> Fri, 18 Jul 2014 18:14:21 +0000 David Hendren - Anna Meliksetian | MJBriggs - June 7th - August 2nd <div style="text-align: -webkit-auto;"> <p><strong>David Hendren</strong></p> <p><strong><em>Echo's Drift</em></strong></p> <p><strong>&nbsp;</strong><strong>June 7th to July 19th, 2014</strong></p> <strong>Opening reception: Saturday June 7th 6-8pm, 313 N. Fairfax Ave. West Hollywood. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</strong></div> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Anna Meliksetian and Michael Briggs in conjunction with Emma Gray's 5 Car Garage are pleased to present &ldquo;Echo&rsquo;s Drift&rdquo;, a two-space show of new works by Los Angeles artist <strong>David Hendren</strong>.</p> <p style="text-align: justify;">David Hendren&rsquo;s work embodies a process of hybrid forms in paintings, sculptures and site-specific architectural-scale installations. Disparate subjects such as portraiture, architectural language and geometric abstraction, are layered using a variety of mediums and materials. For the concurrent shows at Five Car Garage and Anna Meliksetian | MJBriggs, Hendren focuses on how reflection and repetition inform our sensory experience of built environments. The artist compares his abstract language to sound composition and acoustic phenomena. &ldquo;Echo&rsquo;s Drift&rdquo; uses repetition and reflection to manifest the structure of an echo in physical space, and does so in two radically distinct exhibitions.</p> <p style="text-align: justify;">The exhibition at 5 Car Garage embodies the concept of repetition through an expansive architectural installation and series of paintings. The installation is comprised of sculptural objects that, through their composition and arrangement, express an exploded machine. The composition of the paintings suggests a mechanical process of repeated gestures &ndash; an exaggerated distortion &ndash; as if the works were audio feedback made manifest.</p> <p style="text-align: justify;">In concert with 5 Car Garage, the works at Anna Meliksetian | MJBriggs focus primarily on the idea of reflection. Here, Hendren uses it to convey the contemplative nature of self-reflection, and to magnify the relationship between the built environment and the fluid movements of the body in reflective space. From the intricate mirroring sculptures to the burned wood panel paintings, the simultaneous experience of outer and inner space underpins all the works in the show.</p> <p style="text-align: justify;"><strong>David Hendren</strong> received his Masters of Fine Art from Cranbrook Academy of Art in 2008 and his Bachelor of Fine Art from the School of the Art Institute of Chicago in 2001. He is the receipient of &nbsp;the Toby Devan Lewis Fellowship, the Cranbrook Art Museum Purchase Award, a Pollock-Krasner Grant, and a Ruth and Harold Chenven Fellowship. Hendren&rsquo;s work ranges from expansive architectural installations to sculpture, painting and sound compositions, and has been shown in Los Angeles, New York, Chicago, Detroit, Lisbon and Berlin. In addition to his art practice, he served as Exhibition Designer at the Field Museum in Chicago and collaborates with architects, musicians, and other artists on a variety of projects.</p> <p><strong>The exhibition is presented in two spaces, Anna Meliksetian | MJBriggs opening June 7<sup>th</sup> and&nbsp;</strong><strong>5 Car Garage opening May 31<sup>st</sup>&nbsp; (info:&nbsp;<strong></strong></strong></p> Fri, 18 Jul 2014 22:16:59 +0000 Group Show - Annenberg Space for Photography - May 31st - September 28th <p style="text-align: justify;">The Annenberg Space for Photography today announced its next exhibition, <em>Country: Portraits of an American Sound</em>.&nbsp; This exhibit presents images of the pioneers, poets and icons of country music, and will be offered free to the public May 31 through September 28, 2014.<strong>&nbsp; </strong>Guest curators for this exhibit are Shannon Perich of the Smithsonian&rsquo;s National Museum of American History, and Tim Davis and Michael McCall of the Country Music Hall of Fame&reg; and Museum.</p> <p style="text-align: justify;"><em>Country: Portraits of an American Sound </em>uses historical and contemporary photographs to explore how images shape the public identity of country music performers and of the genre itself. &nbsp;Celebrated performers such as Johnny Cash, Dolly Parton, Keith Urban and Hank Williams&mdash;as well as deejays, fans, executives and musicians&mdash;are seen in the works of photographers who documented multiple generations of this popular history.</p> <p style="text-align: justify;">The work of the featured photographers spans from post-World War II America into the new century.&nbsp; The photographers include the late amateur photographer <strong>Elmer Williams</strong>; the late studio photographer <strong>Walden S. Fabry</strong>; veteran Grand Ole Opry staff photographer <strong>Les Leverett</strong>; the late Los Angeles-based photographer <strong>Leigh Wiener</strong>; Boston-based documentary photographer <strong>Henry Horenstein</strong>; iconic entertainment photographers <strong>Henry Diltz</strong>, <strong>Raeanne Rubenstein</strong> and <strong>Ethan Russell</strong>; and contemporary photographers <strong>David McClister</strong> and <strong>Michael Wilson</strong>. Through their work&mdash;a variety of documentary, studio, promotional and fine art images&mdash; guests visiting the Annenberg Space for Photography can see and experience the power of photography to portray American ideals that country music embodies.</p> <p style="text-align: justify;">In addition to over 110 prints, the exhibit will feature an original half-hour documentary commissioned by the Annenberg Space for Photography and produced by Arclight Productions.&nbsp; The film explores the image of country music and its 80 year evolution and highlights the role of photography in documenting its history, capturing its culture and portraying its uniquely American sound.&nbsp; The film features photographers Henry Diltz, Henry Horenstein, Les Leverett, David McClister, Raeanne Rubenstein, Leigh Wiener and Michael Wilson. &nbsp;Over a dozen country music artists also appear, including Roy Clark, Merle Haggard, Lyle Lovett, LeAnn Rimes, Marty Stuart and Lee Ann Womack.</p> <p style="text-align: justify;">Also on display will be country albums and film posters, a slideshow of digital images, archival artifacts from musical instruments to stage costumes and a jukebox containing rare audio files.</p> <p style="text-align: justify;">Woven throughout the Photography Space will be screens presenting short videos including one by Shannon Perich and The <em>Biscuit Factory </em>that gives an overview of the origin of country music; a short film by Henry Horenstein about the legendary Texas music hall the Broken Spoke and additional archival videos.</p> Sun, 06 Apr 2014 09:47:29 +0000 Mungo Thomas, D'Ette Nogle, Hailey Loman, PATRICIA FERNANDEZ, Scott Benzel - Aran Cravey - July 18th - August 30th <p>Opening Reception: Friday, July 18, 6pm - 8pm</p> <p>Scott Benzel, Patricia Fern&aacute;ndez, Hailey Loman, D'Ette Nogle, Mungo Thomson</p> <p>Curated by Eric Kim</p> <p><em>&ldquo;&hellip; [I]ndividual experience is clearly inseparable from the culture in which it is constituted. This truth is in fact at the root of the most beautiful mysteries of life. Thus, in our intermediations, we can share with one another an immensely rich history of experience and reflection. Yet as individuals, at the same time, we may run the risk of losing a sense of personal identity, and growing blank in the process&mdash;like the postcard photographer's gaze as he captures his empty images.&rdquo; &nbsp;</em></p> <p style="text-align: right;">-Allan McCollum</p> <p>History is frequently a commodity for consumption with which contemporary mythologies are created.&nbsp; Collections and their subsequent modes of presentation indicate the interrelatedness of makers and consumers of culture.&nbsp; Memories of events and systems of cataloging collide with economic and political forces, generating a common narrative that replaces truth with mythology.&nbsp;</p> <p>In the group exhibition&nbsp;<em>And yes, I even remember you.,</em>&nbsp;artists employ various strategies to discern the innumerable narratives intersecting at the point where cultural history is created.&nbsp; Each acts as an interlocutor intervening in the exchange of ideas and memories, within respective contexts of shared culture.&nbsp;</p> Thu, 10 Jul 2014 22:21:19 +0000 Karen Lofgren - Armory Center for the Arts - July 10th, 2013 - July 31st <p style="text-align: justify;" dir="ltr"><span style="font-size: small;">Karen Lofgren’s site-responsive installation in the Armory’s stairwell gallery invokes ideas about stability, chance, faith, ritual, risk, and choice. Her minimal, fetish-finished forms create an illusion of support within an existing architectural framework.</span></p> <div class="float-left"> <p style="text-align: justify;"><span style="font-size: small;"><strong>Artist Karen Lofgren Launches Architectural and Metaphysical Inquiry in a Staircase at Armory Center for the Arts</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Armory Center for the Arts is pleased to present Karen Lofgren: <em>Stabilizers</em>, a temporary, site-responsive installation by Los Angeles-based artist Karen Lofgren. The installation, cited in the Armory’s central stairway, opens on Wednesday, July 10, 2013. A reception, free and open to the public, will take place on Saturday, July 13, from 7-9pm. Karen Lofgren: Stabilizers has been organized for the Armory by Sinéad Finnerty-Pyne, Gallery Manager / Assistant Curator.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Karen Lofgren’s sculptural work, <em>Stabilizers</em>, calls attention to an unspoken sensation of uncertainty that resides within, and uses our vulnerability in architecture as a metaphor to address larger, existential uncertainties. Entering the Armory’s stairway, the viewer is met by subtle, ambiguous, exquisitely finished shapes that resemble freshly poured liquid metal. Bracket-like in their reference and sensuous and minimal in their appearance, the objects nestle into the corners and edges of the walls, guiding our attention to spaces that are rarely regarded and generally overlooked. They awaken our spatial awareness and invite our consideration of architectural infrastructure, what we presume is there to protect us.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In Lofgren’s playful yet cerebral approach to artmaking, she uses soft organic forms as stand-ins for stalwart angularity, serving up a quiet yet pointed criticism of the authority of architectural infrastructure. The purposeful ambiguity that exists within Lofgren’s work allows the viewer to call into question the difference between belief and illusion, and expose what we presume is fixed. Her work references recent ideological points of view including feminism and self-actualization, as well as early traditions such as medieval alchemy and ancient mythology. In Lofgren’s work, historical and philosophical content is transformed to create objects and environments that reflect and then dissolve the familiar.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About the Artist<br /></strong>Karen Lofgren is a Toronto-born and LA-based artist who completed her MFA at California Institute of the Arts in Valencia. Recent solo projects in California include Believer at Machine Projects and Signs Point to Yes at Los Angeles Contemporary Exhibitions, both in Los Angeles; Gold Flood at Pitzer Art Galleries in Claremont; and Blood Sister at Royale Projects in Palm Springs. Lofgren’s work has been featured in Critic’s Picks of, LA Weekly, and Los Angeles Times, as well as books, catalogues, and album covers, and she has received awards from Canada Council and Durfee Foundation.</span></p> </div> Tue, 24 Sep 2013 00:40:54 +0000 Tom Friedman, Evan Holloway, Farrah Karapetian, Alice Könitz, Marco Rios, Corinna Schnitt, Artur Zmijewski - Armory Center for the Arts - July 13th - December 14th <p style="text-align: justify;"><em>The Fifth Wall</em>&nbsp;is inspired by multiple sources: the unique architecture of the Armory&rsquo;s Raymond Avenue building; German modernist theater practitioner Bertolt Brecht&rsquo;s notion of dialectical theater, including the breakdown of the &ldquo;fourth wall&rdquo; and the emphasis of function over the binary considerations of form and content; and artwork that challenges the authority of a fixed point of view and suggests a deeper form of reciprocal engagement; and the Armory&rsquo;s 25<sup>th</sup>&nbsp;year of programming.</p> <p style="text-align: justify;"><em>The Fifth Wall</em>&nbsp;consists of works on paper, sculpture, painting, video, and photography by seven artists from Los Angeles, rural Connecticut, Warsaw, and Berlin. Each has created works that take into consideration alternate, or &ldquo;wrong&rdquo; points of view or perspectives. Alice K&ouml;nitz&rsquo;s&nbsp;<em>Los Angeles Museum of Art,</em>&nbsp;a c. 13&rsquo; x 10&rsquo; x 10&rsquo; outdoor sculpture that also functions as a museum, will be moved from the driveway of her Eagle Rock studio and re-installed in the Armory&rsquo;s Caldwell Gallery, where it will provide a literal and metaphorical platform for performances to be staged during the run of the exhibition. Evan Holloway&rsquo;s delicate line drawings of the sides of epic steel sculptures by David Smith, and Marco Rios&rsquo;s &lsquo;repaintings&rsquo; in oil on canvas of his childhood abstractions, consider artworks from unexpected spatial or temporal disruptions. Interior spaces are reconsidered by Corrina Schnitt, who has created a video that shows household and domestic farm animals slowly being introduced into a living room and the mayhem that ensues, and Farrah Karapetian, who uses photograms to render images of architectural interiors in three dimensions. Our physical senses of sight and sound are challenged by Tom Friedman, who confronts basic assumptions about daily life through unexpected use of familiar materials, and Artur Zmijewski, a visual artist and filmmaker who has created lyrical audio/visual works with deaf/mute children.</p> <p style="text-align: justify;">Drawing from Brecht&rsquo;s theatrical practice, the show invites critical self-reflectivity in the viewer. The works in this exhibition &ldquo;show what is shown in the showing,&rdquo; to borrow Brecht&rsquo;s phrasing. The viewer is made aware of ideas of labor, point of view, and architectural and social constructs that affect their perception of a piece of work. This show seeks to de-familiarize viewers with their own experience of art, and to produce a feeling of strangeness toward what would otherwise have been considered only in a canonical context. Brecht&rsquo;s word for this was the&nbsp;<em>Verfremdungseffekt</em>, or &ldquo;alienation effect&rdquo; which, when applied to art, can offer new content in even the most familiar contexts. Just as Brecht wanted his audience to remain aware of the falsity of the spectacle,&nbsp;<em>The Fifth Wall</em>&nbsp;seeks to remind the viewer of the fallacy of point of view. It provides familiarity of subject matter with an estrangement to the object&rsquo;s original context.</p> Sun, 18 May 2014 09:48:00 +0000 Margie Livingston - Armory Center for the Arts - July 13th - August 31st <p>Armory Center for the Arts presents Expanding on an expansive subject, an exhibition about contemporary painting that unfolds in nine parts over the course of a year. Expanding on an expansive subject launches with an exhibition by Margie Livingston, entitled Paint as canvas, in the Armory&rsquo;s Pasadena Art Alliance Gallery. A reception, free and open to the public, will take place on Saturday, June 12 from 7-9pm. The show runs from Sunday, July 13 through Sunday, August 31, 2014. Expanding on an expansive subject has been organized by the Armory&rsquo;s Gallery Manager / Assistant Curator Sin&eacute;ad Finnerty-Pyne.</p> <p>In order to explore new meaning in a centuries-old artistic pursuit, Expanding on an expansive subject features nine artists&rsquo; investigations of painting&rsquo;s range and potential as a cross-disciplinary medium and its relationships to the disciplines of sculpture and performance. The show asserts a unique model as a group exhibition displayed as individual solo projects in the Armory&rsquo;s intimate Pasadena Art Alliance Gallery, located on the building&rsquo;s second floor. Expanding on an expansive subject will open with work by Margie Livingston, followed by Analia Saban, John Burtle, and others to be announced. Each of the nine parts of Expanding on an expansive subject will run for approximately six weeks.</p> <p>After a series of deaths and rebirths, painting has emerged in recent decades in an expanded form: as a medium, material, process, object, concept, and discourse. This exhibition examines nine artists&rsquo; responses to the materiality and fluidity of the ever-evolving practice of painting through an engagement with multiple disciplines. The artists in Expanding on an expansive subject embrace contemporary painting&rsquo;s lenient disciplinary boundaries as they embrace a newfound freedom with the medium.</p> <p>Margie Livingston, the first in the series of artists, is a painter that engages in a conversation with painting and sculpture. In 2009, she abandoned the canvas to create self-contained objects with pure paint. Her process involves the use of large quantities of acrylic paint poured onto her studio floor; the paint eventually becomes building blocks to construct layered abstract sculptures called paint-objects. Through a gesture of expression and spontaneity in the spirit of action-painting and the poured paintings of Lynda Benglis, Livingston drizzles paints to create lines and patterns that are then cut, folded, smeared, and assembled into multiple two and three-dimensional forms.</p> <p>In her forthcoming project in Expanding on an expansive subject, Livingston will exhibit an intimate selection of recent paint-objects, which both isolate and combine various elements of her laborious process. Her draped paintings, for instance, are created from a single layer of poured paint, which is swathed like a coat over a hook. These sculptures suggest various ideas, from the corporal semblance of paint as skin that sags with the force of gravity over time, to the drapery that has covered flesh throughout the history of art. The fabric-like appearance also brings the conversation back to the canvas on which paintings are traditionally made. Livingston asserts that by abandoning the canvas she is able to push the idea of painting as a &ldquo;flexible&rdquo; medium that can be expanded upon while still engaging with the traditions that have come before.</p> <p>Margie Livingston is a Seattle-based artist who earned her MFA in Painting from the University of Washington, Seattle (1999). Recent exhibitions include Twenty Gallons, Los Angeles Contemporary Exhibitions; Fresh Impressionism, Seattle Art Museum; Chamber Music, Frye Art Museum, Seattle; and Splash! Liquid Energy Spattered, at Carnegie Art Museum, Oxnard, CA. Her artwork is in the collections of 4Culture, Henry Art Gallery, and Seattle Art Museum, all in Seattle; Tacoma Art Museum and the Whatcom Museum in Bellingham, WA; and the Shenzhen Fine Art Institute in China. Livingston is represented in Los Angeles by Luis De Jesus Gallery and Greg Kucera Gallery in Seattle.</p> Fri, 20 Jun 2014 22:34:56 +0000