ArtSlant - Current exhibits en-us 40 Fiona Connor - 1301PE - January 24th - March 7th Sat, 24 Jan 2015 08:19:55 +0000 Matthew Clifford Green - 2nd Cannons - January 17th - March 7th Fri, 16 Jan 2015 16:35:54 +0000 Becca Albee - 356 Mission - January 24th - March 1st Fri, 09 Jan 2015 15:27:05 +0000 Eric Wesley - 356 Mission - January 28th - March 15th Fri, 09 Jan 2015 15:26:14 +0000 Peter Shire - A + D Museum - November 8th, 2014 - February 8th <p style="text-align: justify;">PUBLIC WORK is the first exhibition to focus exclusively on L.A. based artist Peter Shire&rsquo;s public and private architectural commissions. Executed over the course of three decades, the architectural works demonstrate Shire&rsquo;s understanding of the formal principles of twentieth century art and architecture collided with his interrogations of popular culture and the vocabulary of visual design. Plying graphic forms and structural geometry with radically saturated colors, Shire&rsquo;s architectural constructions are high-voltage improvisations of artistic legacy and traditional architectural platforms. The resulting works exuberantly transform space and environment.&nbsp;</p> <p style="text-align: justify;">The exhibition charts Shire&rsquo;s commissions from his first public entry in the 1984 Olympics (Los Angeles), to a 1990 sculptural installation commissioned by Sapporo Corporation, Hokkaido, Japan, to the most recent 2012 River Park, Ventura County public art installation. This creative journey will highlight architectural models and sculptural elements, ideation sketches, finished drawings and paintings, and varied objects of inspiration that have functioned as source material and propelled Shire&rsquo;s imagistic installations. &nbsp;</p> <p style="text-align: justify;">Spanning a career of path-breaking interventions and showcasing Shire&rsquo;s cross-disciplinary approach to materials and art categories, the architectural commissions exalt the blending of &ldquo;fine&rdquo; and &ldquo;applied&rdquo; art. They celebrate Shire&rsquo;s knowledge and production of ceramics, furniture, sculpture, drawing and painting, as all are essential attributes that potently inform Shire&rsquo;s architectural work and artistic vision.</p> Sat, 31 Jan 2015 06:59:44 +0000 Amir Zaki - ACME - January 10th - February 7th <p style="text-align: justify;">ACME. is pleased to present a solo exhibition of new photographs by Amir Zaki. In this body of work, the artist returns his focus to the ocean and trees &ndash; this time with a more zoomed-in viewpoint. By capturing the ever-changing ocean waves in up-close "slivers" that are abstracted from the surrounding seascape, Zaki creates a very mysterious, disorienting image of a subject that is seemingly obscure and infinite. Zaki quotes Edmund Burke's classic treatise, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful: <br /> <br /> "A level plain of a vast extent on land, is certainly no mean idea; the prospect of such a plain may be as extensive as a prospect of the ocean; but can it ever fill the mind with any thing so great as the ocean itself? This is owing to several causes, but it is owing to none more than this, that the ocean is an object of no small terror."<br /> <br /> Zaki has a long held interest in the ocean: its depth, obscurity, vastness, uncontrollability, and its apparent infinite extension. <br /> <br /> In a second series of photographs, the artist also turns his hyper focus to palm tree seed pods. By focusing on the palm tree seed pods alone and isolating the pods from the palm tree itself, the images transform familiar, botanical matter into something strange and foreign. The palm seed pods are also represented in different stages of 'death' in the separate images. As time passes after it is cut off from the palm tree, it actually expands, instead of withering. By delving ever deeper into familiar subject matter like the ocean and trees, Zaki keeps exposing more mysteries in the everyday.<br /> <br /> Amir Zaki lives and works in Southern California. He received his MFA from UCLA in 1999 and has been exhibiting nationally and internationally since graduating. He is an associate professor at University of California at Riverside. His work is included in many museum collections including the Hammer Museum of Art, Los Angeles County Museum of Art, New Museum of Contemporary Art, Orange County Museum of Art, Santa Barbara Museum of Art, and the Whitney Museum of American Art, among others.</p> Mon, 05 Jan 2015 09:42:20 +0000 Bill Jensen - ACME - January 10th - February 7th Thu, 25 Dec 2014 17:31:53 +0000 Nicholas Pilato - Anat Ebgi - January 10th - February 21st <p style="text-align: justify;">&nbsp;</p> <div>A painting is like a wall with cracks</div> <div> <div dir="ltr">passion is accumulation</div> <div dir="ltr">so not until the wall settles</div> <div dir="ltr">do the materials reveal themselves</div> <div dir="ltr">in the ruinous tectonics of the cracks</div> <div dir="ltr">the blinding veil of limewash is drawn aside</div> </div> <p style="text-align: justify;">&nbsp;</p> <div>&nbsp; &nbsp; &nbsp; &mdash; Per Kirkeby</div> <div>&nbsp;</div> <div> <div style="text-align: justify;">Anat Ebgi is pleased to present the first solo exhibition of New York based artist Nicholas Pilato, opening on January 10 and on view through February 21, 2015.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">For his solo exhibition, Pilato debuts a series of paintings consisting of concrete and oil paint on canvas. Each work combines gritty textures and a rich color palette evoking nature and organic substances. The paintings are material compositions, disrupted through varying phases of deterioration, abrasion, and formal displacement. The canvases are scraped and broken down into abstract gestures and diffuse patterning. This excavation creates surfaces of raw texture and color, invoking aspects of sedimentation, erosion and industrial decay.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Alongside the concrete and oil paintings, Pilato introduces compositions of hand-glazed commercial tiles. Undermining the minimalist relationship to the grid, the glossy surface of the ceramic paintings are more reminiscent of Roman glass vessels which reveal their luminosity through centuries of decomposition. In a further exploration of abstraction, these sensuous surfaces contrast the pitted matte painting on canvas.</div> <div style="text-align: justify;">&nbsp;</div> <div align="center"> <div style="text-align: justify;" dir="ltr"> <div dir="ltr">Pilato&rsquo;s work blurs the distinction between material incident and artist intervention. In the vein of Pierre Bonnard&rsquo;s relationships between color and memory, the lyrical abstraction refrains from any direct representation&mdash;seeking to engage the viewer&rsquo;s perception through displacement and familiarity. The idiosyncrasy of the work suspends any immediate tangibility, and instead invites multiple meanings to be drawn upon the textures, color, light, and materials that are pushed together with the artist&rsquo;s distinct tempo and vitality.</div> <div dir="ltr">&nbsp;</div> </div> <div style="text-align: justify;" dir="ltr">Nicholas Pilato (b. 1986) lives and works in New York and received his MFA from Rutgers University, New Jersey in 2013. Recent exhibitions include group shows at IDEA Miami, Annarumma Gallery, Naples, Michael Jon Gallery, Detroit and Museo Britanico Americano in Mexico City. Upcoming exhibition include a group show with Bryce Wolkowitz, New York and a solo presentation with Anat Ebgi at Miart, Milan in April.</div> </div> </div> Thu, 08 Jan 2015 15:37:22 +0000 - Angels Gate Cultural Center - May 12th, 2013 - June 19th <p>The 2013 -2015 exhibition year at Angels Gate Cultural Center marks the beginning of a larger concept that explores our local community’s stories and personal narratives in the galleries. We hope to generate dialogue about how, as a community, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an experimental space where art and art-making become part of an ongoing conversation about the community. Through partnerships with local non-profits, artists, storytellers and the community at large, the galleries hope to capture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. <br /><br /><small><br /></small></p> Sat, 11 May 2013 02:32:05 +0000 Iwan Baan, Stephen Wilkes, Paula Bronstein, Jonas Bendiksen, Monica Nouwens - Annenberg Space for Photography - December 13th, 2014 - May 3rd <p style="text-align: justify;"><span style="font-size: small;"><em>Sink or Swim: Designing for a Sea Change</em> explores the human story of resilience, from adaptation for survival to ambitious infrastructure planning, in some of the richest and poorest of the world&rsquo;s coastal communities. Rather than showing pristine architectural photography, the photographs present viewers with various human responses to changes in their landscapes due to sea level rise. &nbsp;<em>Sink or Swim </em>aims to foster critical dialogue through the provocative juxtaposition of diverse responses to a challenge shared by millions worldwide.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Curated by architecture writer and radio host <strong>Frances Anderton</strong> with the Annenberg Space for Photography, <em>Sink or Swim</em> features newly commissioned and archival works by photographers<strong> Iwan Baan, Stephen Wilkes, Paula Bronstein, Jonas Bendiksen </strong>and <strong>Monica Nouwens</strong>. This is the first exhibition for Annenberg Space for Photography to feature commissioned works.&nbsp; Through the work of this select group of architectural, fine art and news photographers, the exhibition casts an eye on both the problem of climate change in densely populated coastal regions and contemporary design as a means to navigate the changing landscapes. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;We were eager to organize an exhibition focusing on architecture but adamant that we wanted it to tell the story from a human perspective,&rdquo; says Wallis Annenberg, Chairman of the Board, President and CEO of the Annenberg Foundation.&nbsp; &ldquo;We are delighted that these new works tell such powerful stories about resiliency, climate change and architecture as well as engage with viewers on a humanistic level. &nbsp;The exhibit&rsquo;s capacity to foster dialogue that offers fresh perspectives on the environmental issues of our day -- and how communities are rising up to meet the challenges -- is very much keeping with the mission of the Photography Space and the Annenberg Foundation.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the face of increasing global attention on climate change and rebuilding in the wake of Hurricane Katrina, the Indian Ocean tsunami, Superstorm Sandy, and the&nbsp;Tōhoku&nbsp;tsunami, <em>Sink or Swim</em> is a timely examination of resiliency strategies in architecture and design. &nbsp;Images range from highly complex coastal flood-mitigation in the Netherlands, controversial sea walls in Japan, to innovative homes and community buildings by leading architects including Pritzker prize-winners <strong>Thom Mayne, Toyo Ito</strong> and <strong>Shigeru Ban</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Anderton collaborated with photographers experienced in capturing fragile built environments to determine the locations, design projects and communities across the world that served as subjects for the commissioned works in the exhibition. &nbsp;Sea walls, floating schools and temporary disaster relief housing in disparate ecological and social contexts provide concrete starting points for considering questions about nature, culture and design at the heart of <em>Sink or Swim</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;It has been a privilege to dig into these extraordinary photographers&rsquo; rich archives and also send them back out on assignment to create compelling new work that we look forward to sharing with the public through the exhibition,&rdquo; says Anderton.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;Photography is an ideal medium through which to explore climate change and the built environment because ultimately this is a human story and the photographs get to the emotional heart of that story. Through images of coastal communities&mdash;the devastating impact of climate change, including super-storms and rising sea levels, and also the varied and innovated design solutions&mdash;<em>Sink or Swim</em> offers visitors the opportunity to engage with and enrich dialogue about all aspects of this predicament.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">An original documentary film commissioned by the Annenberg Space for Photography and produced by award-winning director Steven Kochones and Arclight Productions will include interviews with the artists, architects, historians and scientists engaged with climate resilient strategies for waterfront communities.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">A collaboration between the Annenberg Space for Photography and the Annenberg Retreat at Sunnylands will offer visitors to Sunnylands a preview of&nbsp;select prints from the <em>Sink or Swim</em> exhibition.&nbsp; The images will be on display beginning in October 2014 to coincide with a retreat at Sunnylands on the topic of rising sea levels and ocean acidification.&nbsp; An exhibition catalogue will be published by Sunnylands Press for release in December 2014.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>The Photographers</strong></span><br /><span style="font-size: small;"> Following his experience photographing the celebrated Makoko Floating School (designed by Kunl&eacute; Adeyemi for the Makoko community on the water near Lagos, Nigeria,) Dutch photographer <strong>Iwan Baan</strong> was drawn to the lake village of Ganvie in Benin, where residents have lived on the water for centuries. New work by Baan in the exhibition also includes photographs of the massive Deltaworks sea defenses; the promenade at Scheveningen near The Hague in the Netherlands, a flood-protection system interwoven with a tourist destination designed by Spanish firm De Sol&agrave;-Morales; and the post-tsunami Home-For-All community buildings by Toyo Ito and other leading architects in Japan.</span></p> <p style="text-align: justify;"><span style="font-size: small;">U.S.-based fine art photographer <strong>Stephen Wilkes</strong> revisited communities he first encountered in the wake of Hurricane Katrina and Superstorm Sandy. &nbsp;His images include striking aerial photographs that present a unique perspective on infrastructure improvements within the context of natural landscapes that remain susceptible to flooding. Wilkes also created portraits of New Orleans area residents in the newly built homes, intended to be models for resilience, by the Make It Right Foundation and Global Green in the Lower 9<sup>th</sup> Ward and Holy Cross neighborhoods of New Orleans. One of the first photographers to capture aerial images of the coastline damage following Hurricane Sandy, Wilkes documented Staten Island&rsquo;s Oakwood Beach where homeowners have elected to sell their property to the state, which plans to return the area to wetlands rather than rebuild.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Veteran photojournalist <strong>Paula Bronstein</strong> traveled to Japan for <em>Sink or Swim</em> and captured the immense sea walls now being built off the tsunami-hit coast of Japan. She also captured daily life in the storage container structures designed by 2014 Pritzker Prize winner Shigeru Ban to house refugees following the Tohuko earthquake and Tsunami.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Dutch-born, Los Angeles-based, photographer <strong>Monica Nouwens</strong> turned her lens on California, finding in the restored Malibu Lagoon a local example of wetlands restoration. She also captures a very human story of denial, exemplified in a photograph of a California woman walking her dogs, oblivious to a tsunami sign above her head.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Sink or Swim</em> also features Norwegian Magnum Photos photographer <strong>Jonas Bendiksen&rsquo;s</strong> documentation of Bangladesh coastal and delta communities, where increasingly unpredictable and intense flooding has prompted innovative adaptations in a culture that has dealt with seasonal flooding for centuries. Bendiksen spent two years capturing the low-tech structural and farming innovations in the challenging landscape, as well as the floating schools project designed by Mohammed Rezwan for his nonprofit Shidulai Swanirvar Sangstha.</span></p> Tue, 16 Sep 2014 03:21:58 +0000 Zio Ziegler - AR4T Gallery - January 24th - March 1st <p>Zio Ziegler is an American artist, most notably know for his paintings and large scale outdoor<br />murals. His early work was inspired by the 1990 graffiti movement in the bay area and Europe as<br />well as skateboard graphics and naive art. He is known be an artist who bridges the accessibility<br />of public art with a serious in studio practice. Thrown out of his high school art class, and not well<br />received in his painting classes at RISD, Ziegler has claimed "that his outsider nature to the<br />preexisting art world, much like 'David Copperfield' has influenced him to keep his weaknesses as<br />his advantages, allowing him to turn his differences and conventional mistakes into opportunities<br />that allow him to more clearly expose his take on the human condition."</p> Mon, 19 Jan 2015 01:01:35 +0000 Sara Kathryn Arledge, Charles Irvin, Jim Shaw - Armory Center for the Arts - January 17th - March 22nd <p><em>The Making of Personal Theory: Mysticism and Metaphysics in the Work of Sara Kathryn Arledge, Charles Irvin, and Jim Shaw</em>&nbsp;is a three-person exhibition that takes notions of &ldquo;the mystical&rdquo; as an entry point to consider daily encounters that are marked with eccentricity, the surreal, and a dream-like passage of time. Representations of mystical or spiritual alternatives to normative culture suggest that the common is oftentimes complex and culture oftentimes askew, and that subjective, &ldquo;alternative&rdquo; normals are equally legitimate.<br /><br />&nbsp; &nbsp;<a title="Press Release" href=";usp=sharing" target="_blank" rel="nofollow"><strong>&bull;&nbsp;View Press Kit</strong></a></p> <p>Image: Sara Kathryn Arledge,&nbsp;<em>Untitled (abstract woman, baby inside)</em>, 1969. Watercolor on paper, 22.25 x 31 inches. Courtesy Armory Center for the Arts &amp; the Sara Kathryn Arledge Memorial Trust.</p> Fri, 19 Dec 2014 21:35:22 +0000 Joel Glassman - Armory Center for the Arts - January 17th - March 22nd <div class="float-left"> <p>The Armory presents a series of unrealized, never-before shown, and groundbreaking early works (produced from 1971 through 1989) examining Glassman&rsquo;s musings with the mundane. Through repetition and simple gestures, he reveals and isolates moments in time that often go unnoticed, and creates visual poetry with his chosen materials.<br /><br /><a title="Press Release" href=";usp=sharing" target="_blank" rel="nofollow"><strong>&bull;&nbsp;View Press Kit</strong></a></p> <p>Image: Joel Glassman,&nbsp;<em>Uneasy Attitudes</em>&nbsp;(detail), c. 1989, Ink and watercolor on paper, 15 x 22 inches, Courtesy of the artist</p> </div> Fri, 19 Dec 2014 21:39:50 +0000 Liat Yossifor - Armory Center for the Arts - January 17th - March 22nd <p>In this exhibition, Yossifor&rsquo;s time-based painting process converges with the quintessential time-based medium, wet cement. The more the material moves, the faster it dries; each subsequent motion a consequence of the gesture that came before.<br /><br />&nbsp;<a title="Press Release" href=";usp=sharing" target="_blank" rel="nofollow"><strong>&bull;&nbsp;View Press Kit</strong></a></p> <p>Image: Liat Yossifor, Detail 4 from&nbsp;<em>Gesture (as) Consequence</em>, Cement on Concrete Canvas, Courtesy of the artist</p> Fri, 19 Dec 2014 22:24:42 +0000 Pirmin Breu, Colleen Sandland, Jonas Fisch, Robert Lebsack, Sheinina Raj - Artspace Warehouse - January 29th - March 3rd <p>New art exhibition EVOLVING IDENTITIES January 29 - March 3, 2015 at Artspace Warehouse.&nbsp;Featured artists include&nbsp;<a class="pink" href="" rel="nofollow">Pirmin Breu</a>,<a class="pink" href="" rel="nofollow">Colleen Sandland</a>,&nbsp;<a class="pink" href="" rel="nofollow">Robert Lebsack</a>,&nbsp;<a class="pink" href="" rel="nofollow">Jonas Fisch</a>, and&nbsp;<a class="pink" href="" rel="nofollow">Sheinina Raj</a>.</p> <p>This exhibition explores how identity and art intersect in people's surroundings and their lives. Art reveals and enhance the underlying identity &mdash; the unique meaning, value, and character &mdash; of the physical and social form of an artist as well as people's surroundings. This identity is reflected in the artwork's character or sense of belonging, formed by the omnipresent forces of culture, identity, and place. It is not a static concept; rather, it evolves and develops over time, reflecting the spectrum of social values within and around the artist's work. The artworks can be seen as a story or narrative of a place and time, revealing a cultural context of the artist's community, while balancing of the inherent conflicting nature of past, present, and future social values.</p> <p><a class="pink" href="" rel="nofollow">Pirmin Breu</a>&nbsp;is a Swiss painter who uses aerosol, airbrush, or paintbrush to create artworks reflecting "his people" in their unique identities. When they jump, dance, and skip they are bursting with the joys of life and have their own originality which makes them so likeable. Pirmin Breu's people are happy souls - lively, inquisitive, and genuine.</p> <p><a class="pink" href="" rel="nofollow">Colleen Sandland</a>&nbsp;categorizes her work as &ldquo;Neo Impressionistic Florals.&rdquo; Colleen highlights the things we might not notice every day, such as a delicate flower, as an indication of the vastness of our existence. A flower has vitality, but when the petals drop we get reminded that time surpasses us. Flowers express life in a different perspective. They are not just flowers, but a shift of reality.</p> <p>Born in a small fisherman's village in southern Sweden, contemporary artist&nbsp;<a class="pink" href="" rel="nofollow">Jonas Fisch</a>&nbsp;discovered his love for painting at a young age and was inspired to pursue his passion by renowned artist and grandmother Ann-Marie Sjogren. His imagery is vibrantly buzzing with colorful commentary on society morphed into figures, words and shapes.</p> <p><a class="pink" href="" rel="nofollow">Robert Lebsack's</a>&nbsp;work tends to focus on social and cultural issues using torn newspapers as context. By utilizing bits and pieces of headlines, articles and ads as the background the viewer can use their own interpretation and random image word association to bring meaning to each individual piece.</p> <p>Los Angeles artist&nbsp;<a class="pink" href="" rel="nofollow">Sheinina Raj</a>&nbsp;whose work &ldquo;gives a physical form to a very real energy,&rdquo; layers up to one hundred layers of clear acrylic medium mixed with select pigments on each canvas. Sheinina is able to draw ones imagination into the depth of color. The flat glossy surfaces of her artworks are accentuated by rugged edges found at the perimeter of the two dimensional pieces giving them a three dimensional quality.</p> Sat, 31 Jan 2015 05:13:08 +0000 Alma Allen - Blum & Poe - January 10th - February 28th <p style="text-align: justify;">Blum &amp; Poe is pleased to present an exhibition of new sculpture by Alma Allen. This is Allen's first exhibition with Blum &amp; Poe and his first solo gallery presentation in Los Angeles.&nbsp; &nbsp;&nbsp;<br /><br />Working primarily in stone, wood, and bronze, Allen's mid- and large-scale sculptures had never been publicly shown before their inclusion and wider discovery in the 2014 Whitney Biennial. A teenage runaway without a high school degree, the self-taught artist began an initial period of intense hand carving using salvaged materials while often homeless. Demonstrating an attunement with imbalance and precariousness, Allen's sculptural forms are a marked departure from iconic stone carvers Constantin Brancusi and Isamu Noguchi, to whom his untrained sensitivity for shape and material have been compared. Recurring forms in Allen's work take a cue from quantum particles and body organs and make indirect associations to psychological pain and wonder. &nbsp;&nbsp;<br /><br />Many of Allen's new sculptures, made of marble, travertine, and Claro walnut, weigh several tons. Despite their solidity, the works appear to undulate and vibrate, as if they are about to be sucked in or pushed out by some external force to the point of dissipation. In a series of bronze sculptures, the edges of an unknown trajectory are revealed, as tensive and fluid as the expanding universe. Presented in groupings and as individual forms, Allen's sculptures arrive out of inherent chaos and chance provided by nature, as well as the precision of technological operation and mastery, all the while suggesting a range of anthropomorphic and visceral associations. &nbsp;&nbsp;<br /><br />The obstinate sincerity of Allen's work belies a process as anti-scriptural as the work itself. After repeated injury from obsessive over-carving left Allen unable to use his hands for extended periods, the artist built a large-scale robotic system out of spare assembly-line parts and developed its proprietary software as a mechanized extension of hand carving. The feat of engineering with emerging technology, rather than relying on third-party fabricators, allows Allen to continue his devotion to immediacy and reckless intuition in the creation of labor-intensive sculptures. Instead of being&nbsp;<em>Untitled</em>, all works in the exhibition are referred to as&nbsp;<em>Not Yet Titled</em>. In the smallest curve in Allen's works, and in their weighted sensuality and bare longing, is an ongoing consideration of the moment before loss and/or becoming. &nbsp;</p> Mon, 05 Jan 2015 09:42:23 +0000