ArtSlant - Current exhibits en-us 40 Group Show - 1301PE - August 9th - August 29th Thu, 28 Aug 2014 09:31:12 +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> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;</em></span></p> <p style="text-align: justify;">&nbsp;</p> <p><em><strong>Saturday, September 6, from 6 - 9pm</strong>.</em></p> <p style="text-align: justify;">&nbsp;</p> <p><em>To RSVP, please visit:&nbsp;<a href=";c=xgUbt_dLs2HNzdBrn9WUP-HrdwEZI7TZV2b54YemVqCEE26BFG6Ptw==&amp;ch=4dnU_UHb9iFDJqGSFsRN7IIhUf5i57AwwfAXd7DDDHHuZkrlU4Gq-w==" shape="rect" target="_blank"></a>.</em></p> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;</em></span></p> Thu, 28 Aug 2014 09:19:36 +0000 Yukako Ando - 18th Street Arts Center - July 14th - October 3rd <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> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>Saturday, September 6, from 6 - 9pm</strong>. </em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>To RSVP, please visit:&nbsp;<a href=";c=xgUbt_dLs2HNzdBrn9WUP-HrdwEZI7TZV2b54YemVqCEE26BFG6Ptw==&amp;ch=4dnU_UHb9iFDJqGSFsRN7IIhUf5i57AwwfAXd7DDDHHuZkrlU4Gq-w==" shape="rect" target="_blank"></a>.</em></span></p> Thu, 28 Aug 2014 09:19:29 +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 31st <p style="text-align: justify;">Helen Pashgian&rsquo;s ethereal art objects present tension between visual and cognitive perception. Identified by her enigmatic refractory light sources, which appear to transform when the viewer moves around them, Pashgian&rsquo;s imprint on the historical merit of the Light and Space movement is significant. Along with other artists working in Los Angeles in the late sixties such as James Turrell, Robert Irwin, Mary Corse, DeWain Valentine, Larry Bell, and Peter Alexander, Pashgian has investigated the transformative properties of light for close to fifty years. This exhibition encompasses a choice collection of Pashgian&rsquo;s exploratory works from 1966 to the present.</p> <p style="text-align: justify;">Helen Pashgian began working with industrial materials in the 1960s, using cast resin to examine light in solid form. During a residency at Caltech in 1970 &ndash; 1971, she began experimenting with larger forms including a 60&rdquo; diameter disc, which mysteriously vanished during her resident exhibition. With her subsequent mastery of other experimental, industrial media, Pashgian&rsquo;s oeuvre expanded to include wall-mounted sculptures and free-standing columns.</p> <p style="text-align: justify;">While meticulously constructed, Pashgian&rsquo;s artwork shows no trace of the artist&rsquo;s hand at work; instead, it concentrates on the final impression creating a tension between visual and cognitive perception. With the understanding of the catalytic reactions performed by her materials and via painstaking sanding and polishing, Pashgian achieves surfaces that are immaculate enough to draw focus beyond physical material toward the visual effects of light and color. In her own words: &ldquo;I&rsquo;m hoping that the presence of these pieces will slow the viewer down, and by moving around them, will observe how they change. That&rsquo;s the beauty of light.&rdquo;1</p> <p style="text-align: justify;">Pashgian&rsquo;s recent series of eight-foot tall freestanding columns take the form of vertical doubleellipses. Every column acts as conjoined twins, which elliptically fall in and out of each other. By making these sculptures large-scale, Pashgian has created a multitude of angles with which to play with light. At times, the columns are pure, self-supporting, luminescent color; in others there are varying elements that she has placed into the columns that change as viewers engage them from different approaches. Mysterious as the construction is, Pashgian has created tactile color with inner light sources emanating from the sculptures.</p> <p style="text-align: justify;">Similar to her columns, some of the wall pieces have varying elements contained within; however, unlike her columns, Pashgian&rsquo;s wall works appear to float. It isn&rsquo;t immediately apparent how they are affixed to the wall. The enclosed elements not only appear to be shadows, but also cast shadows from within the pieces. As Kathleen Stuart Howe put it, &ldquo;These interior elements at one moment capture a burst of light, then, as one moves around the sculptures, become solid forms that seem to push against the diaphanous surface&hellip; only to subside and dissolve into a ghostly presence.&rdquo;2</p> <p style="text-align: justify;">In contrast to her larger works, Pashgian&rsquo;s small, twelve-inch squares are filled with intriguing contradictions: each conveys a sense of movement despite being fixed, each is small in size yet implies scale, each is predominately black yet colors come forth, and each is flat yet sculptural in nature. There is a strong sense of movement within these smaller works &ndash; a blurring effect, trails of light following larger sources &ndash; but at the same time there is an uncanny stillness, as if she has trapped light in a frame. In slight relief, she has layered her boxes, condensing luminance and giving the impression of three- dimensions.</p> <p style="text-align: justify;">Most recently, Pashgian has created a large 5&rsquo; resin disc. Identical in size to the disc that she created at Caltech in 1971, the sculpture took three years to perfect. As a stunning example of her obsession with meticulous surface and light, it is apparent that the artist has planned every vantage point for the minimal, ethereal sculpture.</p> <p style="text-align: justify;">Her recent solo exhibition at LACMA was recently acquired for the museum&rsquo;s permanent collection. Of the installation, director Michael Govan noted: &ldquo;The extraordinary quality of light in Southern California has often been cited as an inspiration for many of these artists ... <em>Helen Pashgian: Light Invisible </em>affords LACMA&rsquo;s public the opportunity to enter a light-based environment created by an artist whose intelligence, refined aesthetic, and fastidiousness in making objects result in a remarkable immersive experience, both physically and psychologically.&rdquo;3</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Fellow Light and Space artist James Turrell added, &ldquo;Helen was the one who as a sculptor spiritualized the material world. You can sort of materialize the spiritual, but she was coming from the other direction, and I thought that was really interesting and beautiful in her work.&rdquo;1</p> <p style="text-align: justify;">A pioneer and pre-eminent member of the Light and Space movement, Helen Pashgian &nbsp;lives and works in Pasadena, California. She was recently included in <em>Pacific Standard Time: Cross Currents in L.A. Painting and Sculpture, 1950-1970 </em>at The Getty Center, the related Pacific Standard Time exhibition <em>Phenomenal: California Light, Space, Surface </em>at The Museum of Contemporary Art, San Diego, and was the subject of a major solo exhibition, <em>Helen Pashgian: Light Invisible</em>, at the Los Angeles County Museum of Art during the spring of 2014. In 2013, she was a recipient of the MOCA Award to Distinguished Women in the Arts.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">1. Eliel, Carol S. <em>Helen Pashgian</em>. Prestel Munich, London, New York: DelMonico Books, 2014. Print.</p> <p style="text-align: justify;">2. 2 Howe, Kathleen Stewart. <em>Helen Pashgian: Working in Light. </em>Claremont, CA: Pomona College Museum of Art, 2010. Print.</p> <p style="text-align: justify;">3. Vankin, Deborah. &ldquo;Artist Helen Pashgian Brings Her Love of Light to LACMA&rsquo;s Space&rdquo;. Los Angeles Times, 29 March 2014. Print.</p> Tue, 05 Aug 2014 06:15:38 +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 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 Carlos Donjuan - AR4T Gallery - August 7th - August 31st <p>LAGUNA BEACH, CA (July 14, 2014) &ndash; Artists Republic 4 Tomorrow is proud to be the first art gallery to showcase the works of Carlos Donjuan in a solo exhibition in California. A broad selection of Donjuan&rsquo;s watercolor and acrylic paintings and drawings will be on view August 7-31, 2014, with a reception on Aug. 7, Laguna Beach First Thursday Art Walk, from 6 to 9pm.&nbsp;</p> <p>&nbsp;</p> <p>The works, in watercolor and acrylic on Arches paper and Birch wood, aim to define Donjuan&rsquo;s perception of illegal aliens, a concept that has been with him since his childhood move from San Luis, Mexico to Dallas, Texas -- where he lives and works today, now raising a son of his own. Donjuan states that attempting to grasp the term &ldquo;illegal alien&rdquo; as a child was one of his first creative realizations: &ldquo;I always wondered what everyone was talking about, imaging weird creatures in my head&hellip;I wanted to meet one and to know what they looked like.&rdquo; Revisiting his childhood curiosity, he asks: what do illegal aliens look like? He paints masked figures, hybrid animal people, pyramids and blob creatures that together create a dialogue of about the journey they have embarked on in search of a better life.&nbsp; His choice of medium also comes from his early days as a painter: &ldquo;I am big fan of watercolor and the layering process that it involves. It&rsquo;s a medium that was introduced to me as a kid in high school and it just always stuck with me, even after college.&rdquo; &nbsp;</p> <p>&nbsp;</p> <p>Donjuan&rsquo;s first California solo show comes at an exciting time when the artist is the midst of back-to-back banner years, personally and professionally. In 2013, he was featured in a 6-page article in the April issue of Juxtapoz Magazine, and his work appeared on the cover of New American Paintings as a featured artist and Artist of the Year. &ldquo;Carlos Daniel Donjuan&rsquo;s paintings evince both the raw energy of his street art beginnings and the refinement of his academic training. The combination is potent,&rdquo; wrote the magazine, noting Donjuan&rsquo;s notable reach as an active graffiti artist and art professor. His first public art project came to fruition last year, a large mural on Dallas&rsquo; Jefferson Viaduct, made possible due to a large grant awarded from the city. This year, his work has really begun to travel the globe: first in February as a solo exhibition with Antonio Colombo Arte Contemporanea in Milan, Italy, and recently as part of the Cheech Marin Collection, the largest private collection of Chicano Art in the world, which last month exhibited in Bordeaux, France. Donjuan&rsquo;s rise and success in art hardly compares to his favorite personal achievement: &ldquo;The birth of my son has been the biggest change in my life and career. I have never been so focused and&nbsp;driven as I have been since he became a part of my life. I have stayed busy in hopes that I can build something for him.&rdquo;</p> <p>&nbsp;</p> <p>Carlos Donjuan is among a curated platform of ascending artists that Artists Republic 4 Tomorrow and Vans have committed in collaboration to bring to southern California in 2014.&nbsp;</p> Sun, 27 Jul 2014 01:55:40 +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 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 Martine Syms with photographer Cat Roif - Armory Center for the Arts - July 13th - January 30th, 2015 <p>Big City Forum (BCF) will occupy the second-floor Mezzanine Galleries at Armory Center for the Arts from Sunday, July 13 through Sunday, December 14, 2014, during Phase II of its 15-month residency entitled&nbsp;<em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em>. With the Armory as a host venue, BCF, a project founded by Leonardo Bravo, will design and build a dynamic reading room/library as a site from which to present three exhibitions, conduct film screenings, and hold a series of conversations, workshops, and other discursive events. The first exhibition, from Sunday, July 13 through Sunday, August 31, will feature&nbsp;<em>The Queen&rsquo;s English</em>, work by Martine Syms with photographer Cat Roif. A reception, free and open to the public, will take place on Saturday, July 12, from 7-9pm. Big City Forum&rsquo;s residency&nbsp;<em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em>&nbsp;is being facilitated by Armory&rsquo;s Gallery Director / Chief Curator Irene Tsatsos.</p> <p><em>The City of Hope/City of Resistance</em>&nbsp;reading room/library, a central element of BCF&rsquo;s residency at the Armory, is designed by Los Angeles-based artist Jeff Cain of Shed Research Institute to frame and facilitate conversations and engagement around the key questions raised during the residency and meant to serve as a dynamic, interactive platform for diverse, shared creativity. A dynamic, evolving set of programs within this context, with special guest contributors, will be featured in an exhibition format every two months. Programmatic continuity throughout BCF&rsquo;s occupancy of the Armory will be in the recommended reading shelf, comprised of books contributed by past BCF participants, with each book to include a small biography and statement from each contributor.</p> <p><strong>About Guest Contributors Martine Syms and Cat Roif<br /></strong>Featured guest contributors will be introduced throughout BCF&rsquo;s occupancy of the Armory. The first of three sets of guest contributors are Martine Syms with Cat Roif, whose work will be displayed from July 12-August 31, 2014.&nbsp;<em>The Queen&rsquo;s English</em>, a project by Syms, takes inspiration from librarian JR Roberts&rsquo;s 1981 annotated bibliography&nbsp;<em>Black Lesbians</em>, a book whose cover she was drawn to when browsing at a used bookstore with a specific intention not to purchase anything.</p> <p><em>The Queen&rsquo;s English</em>&nbsp;gathers books from the chapter of&nbsp;<em>Black Lesbians</em>&nbsp;entitled &ldquo;Literature &amp; Criticism.&rdquo; It also features a series of photographic diptychs in collaboration with Roif, along with other source materials, to consider the role of &ldquo;the reader&rdquo; as a position of power. About this notion, and in response to her project entitled<em>Reading Trayvon Martin</em>, Syms notes, &ldquo;Here, reading, once considered a solitary endeavor, is re-examined as an active stance through the added dimensions of posting, sharing, reframing, and thus contributing to a broader conversation across social media. The act of bookmarking becomes synonymous with the process of staking out a position, publicly declaring a side or a perspective.&rdquo;</p> <p>About&nbsp;<em>The Queen&rsquo;s English</em>, and her work in general, Syms says, &ldquo;I consider much of my work an excursus from a primary text. I&rsquo;m engaged in trying to read what&rsquo;s not there.&rdquo; The introduction of&nbsp;<em>Black Lesbians</em>&nbsp;states: &ldquo;As this bibliography undoubtedly proves, a body of [Black lesbian] literature exists, although it is often hidden or unidentified for reasons directly related to the social, political, and economic realities of being Black, female, and lesbian.&rdquo;</p> <p>Martine Syms is an artist and &ldquo;conceptual entrepreneur&rdquo; based in Los Angeles. Her work explores themes as varied as Afrofuturism, queer theory, the power of language, and the spiritual nature of the color purple. From 2007-2011, she directed Golden Age, a project space she founded in Chicago that focused on exhibitions, performances, and printed matter, and where she organized over fifty innovative cultural projects ranging from film screenings to interactive online exhibitions. She also initiated Dominica Publishing, which includes a catalogue of ten titles by international, emerging artists. Syms has lectured at Light Industry in Brooklyn; Project Row Houses and the Houston Museum of African American Art, both in Houston; South by Southwest in Austin; California Institute of the Arts, Valencia; University of Chicago and the Museum of Contemporary Art in Chicago; Johns Hopkins University and Maryland Institute College of Art, both in Baltimore; and MoMA P.S.1 in Queens, among other venues. Her artwork has been exhibited and screened at the New Museum in New York; Museum of Contemporary Art and School of the Art Institute of Chicago; Capricious Space in Brooklyn; The Wassaic Project in upstate New York; and at White Flag Projects in St. Louis. Syms is a graduate of the School of the Art Institute of Chicago with a degree in Film, Video, and New Media.</p> <p>Cat Roif is a Los Angeles-based photographer, photo stylist, and editor who experiments with the relationships between color and light; figure and landscape; and sex, maximalism, and opulence. Her work has appeared in&nbsp;<em>Spin</em>,&nbsp;<em>Rolling Stone</em>,&nbsp;<em>Nasty Gal</em>, and more. Roif was raised in &ldquo;late Post-modern Miami,&rdquo; attended Savannah College of Art and Design in Georgia, and earned her BFA in Photography in 2010 from the School of Visual Arts in New York.</p> <p><strong>About&nbsp;<em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em><br /></strong>Los Angeles is at a pivotal moment of transition and transformation. Social fragmentation and isolation is giving way to a celebration of plurality and difference; identities and communities are coalescing around collective, design-based solutions.</p> <p><em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em>&nbsp;is Big City Forum&rsquo;s 15-month, three-part residency at Armory Center for the Arts; it brings together the creative forces of numerous participants across the fields of architecture, urban design, contemporary art, new media, and social and community activism. The residency explores, discusses, and produces various forms of social space from community-based initiatives; new physical and social architectures; individual and collective actions that have affected public civic engagement; and ideas and actions that will influence life in the region in constructive, positive ways.</p> <p>The project is organized in three separate phases. Phase I, from January through June 2014, has focused on research; Phase II, from July through December 2014, is the occupation of the Armory Center for the Arts; Phase II, from January through March 2015, will consolidate the ideas generated throughout 2014 into a publication, to be released in spring 2015.</p> <p><strong>About Big City Forum<br /></strong>Big City Forum (BCF), founded in 2008 by Los Angeles-based artist, educator, and activist Leonardo Bravo and co-directed with artist/graphic designer River Jukes-Hudson since 2013, is an independent, interdisciplinary project that explores the intersection between design-based creative disciplines within the context of public space, the built environment, and social change.</p> <p><strong>About Big City Forum in Residence at the Armory<br /></strong>The residency&nbsp;<em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em>&nbsp;builds upon an existing collaboration between the Exhibitions Department at the Armory and BCF, which has been crucial in advancing public discourse on the notion of social and civic engagement within the built environment. Since spring 2012 BCF has been in residence at the Armory, upon the invitation of Armory&rsquo;s Gallery Director/Chief Curator Irene Tsatsos, during which time it has programmed two seasons of lively, discursive events (<em>Mapping LA</em>&nbsp;in 2012 and&nbsp;<em>Transforming the Social</em>&nbsp;in 2013) comprised of a series panels of leading architects, theorists, and planners who, along with a room of engaged participants, have explored current creative practices that inform the landscape, culture, and geography of Los Angeles. Along with the programmatic ambitions and theoretical investigations described above,&nbsp;<em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em>&nbsp;serves as an incubation period for Big City Forum as it develops plans to launch future programmatic platforms. Big City Forum&rsquo;s residency at Armory Center for the Arts is being supported with funding from the National Endowment for the Arts.&nbsp;</p> <p>&nbsp;</p> Fri, 20 Jun 2014 22:25:59 +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 Gerhard Voelkle, Johnny Taylor, Frankie Alfonso, Gerdine Duijens, ASHLEIGH SUMNER - Artspace Warehouse - July 19th - September 5th <p>July 19 - September 5 at Artspace Warehouse:&nbsp;<br />Pop Momentum</p> <p>New art exhibition POP MOMENTUM opens July 19, 2014 at Artspace Warehouse. Featured artists include&nbsp;<a class="pink" href="" rel="nofollow">Johnny Taylor</a>,<a class="pink" href="" rel="nofollow">Gerdine Duijsens</a>,&nbsp;<a class="pink" href="" rel="nofollow">Gerhard Voelkle</a>,&nbsp;<a class="pink" href="" rel="nofollow">Frankie Alfonso</a>, and&nbsp;<a class="pink" href="" rel="nofollow">Ashleigh Sumner</a>.</p> <p>Opening Reception Sat, July 19, 6:30 - 8:30pm.</p> <p>This exhibition showcases artists working with found images and the variety of constructs they are able to employ to create a new visual framework. In some cases the usage is direct--the artist captures and manipulates an existing image to create it anew through their own interpretation and expression. In others, the image serves more as inspiration, a path to visual representation. In all cases, the final product relies on the idea of the image and the way we observe the everyday, as much as the image itself.</p> <p>LA based art&nbsp;<a class="pink" href="" rel="nofollow">Johnny Taylor</a>&nbsp;explores the visual miscellany we encounter each day without taking the time to really observe. Working in acrylic, marker, screen print, and spray paint on canvas or wood, Taylor finds inspiration in the imagery detritus of the urban landscape: graffiti, murals, hand-painted signs, graphic design, vintage advertising, store displays and package design. &ldquo;I paint what I see. My practice of building up the artwork in layers and then subsequently masking and tearing them away is informed by peeling abandoned billboards which reveal parts of images that came before. I am intrigued by the scraps of their history visible all at once.&rdquo;</p> <p><a class="pink" href="" rel="nofollow">Gerdine Duijsens</a>&nbsp;was born in Utrecht, Netherlands, where she studied at the Art Academy and the Academy of Fine Arts in Belgium. Her artwork is a synthesis between figurative and abstract art. Mostly it is abstract with figurative elements. It fits perfectly in the spirit of modern times where people are focused on the exterior of something or someone. As a result, the creative and imaginative power unfolds, which is the most important consideration for artist and viewer. Her enormous drive and energy is apparent in all her paintings. &ldquo;There are many opportunities in your life, so you must have the courage to be open. You might not grab everything, but if you do, make it into something.&rdquo;</p> <p><a class="pink" href="" rel="nofollow">Gerhard V&ouml;lkle&rsquo;s&nbsp;</a>works are visual experiments based on images he has collected over the years. Inspired by the volcanic rocks he found of the Spanish island of Lanzarote, V&ouml;lkle has created a unique technique of painting with rust. In works made with this process, his deliberate marks mix with the uncontrollable natural oxidation, which transforms the surface into an organic, evolving entity. He often creates silhouettes of figures in dynamic poses, wearing a mix of modern and traditional clothing. V&ouml;lkle also makes metalworks of cutout figures and minimalist cubes&mdash;their rusting surfaces symbolizing nature, decay, and the passing of time.</p> <p><a class="pink" href="" rel="nofollow">Frankie Alfonso</a>&nbsp;has a distinct and fresh voice in the art world. He creates his work using lively colors and spontaneous, well-balanced composition. His work is best described as a style of automatic creation where he uses simple lines to make complicated arrangements of balance and harmony. His style is a mix of cubism, cartoon art, graffiti and abstract expressionism.</p> <p>Through bold, abstract expression,&nbsp;<a class="pink" href="" rel="nofollow">Ashleigh Sumner</a>&nbsp;attempts to incorporate the implied visual of the densely populated, urban landscape with the raw, gritty texture of industrial areas. The combination of these elements is intended to evoke a powerful sense of unrestrained vitality. She often creates her artworks with her own versions of found images she photographs on her trips to Europe. She also applies acrylic paint in many layers and sometimes employs spray paint and resin to give her artworks a unique finish.</p> Thu, 17 Jul 2014 05:51:55 +0000 Group Show - bG BLEICHER/GORMAN - August 23rd - September 1st <p style="line-height: 1.15; margin-top: 0pt; margin-bottom: 0pt; text-align: justify;" dir="ltr">&nbsp;</p> <p style="line-height: 1.15; margin-top: 0pt; margin-bottom: 0pt; text-align: justify;" dir="ltr">&nbsp;</p> <p style="line-height: 1.15; margin-top: 0pt; margin-bottom: 0pt; text-align: justify;" dir="ltr">&nbsp;</p> <p id="docs-internal-guid-572848a7-bc96-9895-b435-b0e312e59582" style="line-height: 1.15; margin-top: 0pt; margin-bottom: 0pt; text-align: justify;" dir="ltr">&nbsp;bG Gallery is pleased to present &ldquo;Baby Animals&rdquo;. With depictions of baby animals by a wide variety of artists and mediums, this exhibit promises to be the cutest exhibit of the Summer!</p> Sat, 09 Aug 2014 21:11:39 +0000