ArtSlant - Current exhibits http://www.artslant.com/la/Events/show en-us 40 Ian Ingram - 101/EXHIBIT - January 16th - February 27th <p>101/EXHIBIT proudly presents&nbsp;<em>Ash and Oil</em>, a comprehensive solo show by gallery artist Ian Ingram. This exhibition marks the inaugural launch of the gallery&rsquo;s new West Hollywood space. The opening will be held from 7-9pm on Saturday, January 16th at 668 N La Peer Drive, located on the southeast corner of the Santa Monica Blvd and N La Peer Drive intersection. A full color 42-page catalog with essay by A. Moret and process notes by the artist will accompany the exhibition.</p> <p>&nbsp;</p> <p>Featuring 12 works across three distinct series ranging from 2012-16, this is the most comprehensive exhibition of the artist&rsquo;s work to date. Bodies of work included are:</p> <p>&nbsp;</p> <p>-&nbsp;<em>Evidence</em>, new oil on panel works, 2014 &ndash; 2016<br />-&nbsp;<em>Lost on the Pulpit</em>, charcoal on paper works, 2013<br />-&nbsp;<em>Ignoring</em>, charcoal on paper works, 2012</p> <p>&nbsp;</p> <p>Since 2009, the parameter of Ian Ingram&rsquo;s artistic practice has been large-scale self-portraits. As a nod to the classical systems of art making, the self-portrait has provided the foundation for a focus that has lasted nearly seven years. Up until 2014, Ingram worked exclusively in charcoal and graphite on paper, hence the show title&rsquo;s reference to 'ash'. This era of production was synonymous with the artist&rsquo;s previous representation by Barry Friedman, Ltd. of New York City. In 2014, Mr. Friedman retired and closed his eponymous gallery.</p> <p>&nbsp;</p> <p>To honor the tides of change and his newly formed relationship with 101/EXHIBIT, Ingram turned exclusively to painting for the first time since his collegiate years, hence the title&rsquo;s 'oil'. With this update in his process, he also embraced an unprecedented level of experimentation. We now see not only oil on board, but surface treatments including pokerwork, wire lacing, wood carving, gold leaf, traditional Huichol beadwork, unconventional pigment techniques, and torching, all seamlessly incorporated into the surfaces.</p> <p>&nbsp;</p> <p>Ingram&rsquo;s works are particularly insightful when considering his phenomenologically informed theories of self-observation. Via the direct experience of approaching his likeness as an object of deep study, there is an inherently confrontational nature to his pieces. Through magnified observation, Ingram is uncovering evidence of origin. Having spent some 20,000 plus hours in front of curved mirrors, the viewer must concede an authority of expertise to the artist for being able to recognize the recurring patterns found within our skin. These patterns in turn echo the architecture of our existence, from the Fibonacci Sequence to the DNA spiral, thus becoming the formidable root of content and composition for a highly accomplished draftsman and painter.</p> <p>&nbsp;</p> <p>To put it in another way, Ian Ingram makes large-scale self-portraits that are honest and beautiful, and if you sit in front of them for a moment, you will be given the evidence that humans are all connected - that it is beauty, rhythm, and love that binds us - and that good art is a human birthright. Or, as Wayne Allen Brenner of the Austin Chronicle has said, "...for all the worthwhile and varied creations, we are struggling. We are doing our best right now to resist grabbing you by your jacket's lapels (or T-shirt's collar) and shouting: 'Nevermind any of that! Ian Ingram, dude. Ian fucking Ingram!' "</p> Wed, 06 Jan 2016 20:12:54 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Elham Rokni - 18th Street Arts Center - January 19th - March 12th <p style="text-align: justify;">Tel Aviv-based&nbsp;<a href="http://18thstreet.org/residents/elham-rokni" target="_blank">Elham Rokni</a>&nbsp;debuts a solo exhibition of new works centered around&nbsp;<em>The Wedding</em>,&nbsp;a video of her parents&rsquo; wedding which took place during the halcyon days before Iran&rsquo;s popular revolution gave way to a religious fundamentalist regime. Struggling to remember the exact date of the event, Rokni&rsquo;s relatives inadvertently draw a picture of the excitement, confusion, and eventual disappointment of those historic months. Rokni&rsquo;s works in video installation and drawing use her personal history, as a refugee from Iran who settled in Israel, to explore collective experiences of loss and displacement. Alternating between dreamscape and documentary, Rokni&rsquo;s works investigate the disconnection between people&rsquo;s hopes and expectations and their often tragic realities, using art to describe the imaginative, unconscious dimensions of experience.</p> <p style="text-align: justify;">Elham Rokni received her BFA and MFA from Bezalel Academy in Israel. She has participated in international film festivals and has received grants from the Israeli Ministry of Culture and Sport, the Yehushua Rabinovich Tel Aviv Foundation for the Arts, and the Fund for Video Art and Experimental Cinema in Israel. Her works can be found in various private collections. Rokni&rsquo;s work will be presented in two simultaneous solo exhibitions at 18th Street Arts Center and Shulamit Nazarian Gallery in winter 2016, and her work Crossing the Dune will be included in the exhibition Islamic Art Now, Part 2 and in the permanent collection at LACMA in 2016.</p> <p style="text-align: justify;"><em>Elham Rokni is the 2016 Soraya Sarah Nazarian Middle Eastern Artist in Residence, made possible by a grant from the&nbsp;<a href="http://yandsnazarianfamilyfoundation.com/" target="_blank">Y &amp; S Nazarian Foundation</a>&nbsp;and</em><em>&nbsp;produced with support from Asylum Arts.</em></p> <p style="text-align: justify;"><em><strong>Reception: February 20, 6-8PM</strong><br />Free and open to the public. Kindly RSVP</em></p> Thu, 04 Feb 2016 16:11:52 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Søren Hüttel - 18th Street Arts Center - January 19th - March 4th <p style="text-align: justify;">For his debut solo exhibition in Los Angeles, Copenhagen-based artist&nbsp;<a href="http://18thstreet.org/residents/soren-hu%cc%88ttel" target="_blank">S&oslash;ren H&uuml;ttel</a>&nbsp;looks at how modern and contemporary art appears in popular visions of the future from television of the 1980s and 1990s, the artist&rsquo;s formative years. H&uuml;ttel mines images of paintings and sculptures that appeared in the sets of Star Trek: The Next Generation. These artworks reflect aesthetics that were already out of date within contemporary art by the time the episodes originally aired, but while &nbsp;they all relate to mid 20th century modernism, they are presented here as &ldquo;futuristic&rdquo; 24th century contemporary art. Actual historical artists and artworks also appear in Star Trek: TNG, including references to Salvador Dali and Piet Mondrian. Through painting, and installation, H&uuml;ttel creates &ldquo;a cross-section of obscure bad art and pop culture&rdquo; that combines his characteristic humor with a sharp critical edge. &nbsp;The work is structured within a mock-academic context that reflects the television program&rsquo;s attempt to envision a fictional construction of the art history of the future.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">This exhibition funded by:</p> <p><a href="http://www.kunst.dk/"><img class="alignnone size-full wp-image-106651" src="http://18thstreet.org/wp-content/uploads/2014/08/Statens_Kunstraad_LOGO.jpg" alt="Danish Arts Council" width="140" height="41" /></a></p> <p><strong>Reception: February 20, 6-8PM</strong><br />Free and open to the public. Kindle RSVP&nbsp;</p> Thu, 04 Feb 2016 16:13:05 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Vishal Jugdeo - 18th Street Arts Center - January 19th - April 1st <p style="margin: 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; font-family: Arial, Helvetica, sans-serif; line-height: 20px; text-align: justify; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" dir="ltr"><span style="font-size: small;"><a style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; color: #000000; text-decoration: underline; background: transparent;" href="http://18thstreet.org/residents/vishal-jugdeo">Vishal Jugdeo</a>&nbsp;brings his signature experimental approach to video to the Artist Lab at 18th Street Arts Center. Drawing upon his recent explorations in narrative structure which combine documentary footage, personal account and fictional story construction, Jugdeo will use the Artist Lab Residency as a starting point towards the development of a scripted web series, made in collaboration with local performers. This project builds on previous videos and installations that have taken television formats such as a talk show or a family drama in unexpected directions, as well as a recent body of work considering the artist&rsquo;s research into his family&rsquo;s migration from India to Guyana and later Canada.</span></p> <p style="margin: 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; font-family: Arial, Helvetica, sans-serif; line-height: 20px; text-align: justify; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" dir="ltr"><span style="font-size: small;">Recently Jugdeo has been looking more directly at scripted television as a format with radical potential for the expression of complex subjective experience. Where as &lsquo;the televisual&rsquo; has always informed his work, its apparatuses typically been explored with quotation marks; as a set of conventions from which he has abstracted. For his current project, he is interested in exploring the the democratizing space of the internet as a way of moving outside of the rarified world of the exhibition space. To that end, over the course of three months, the Artist Lab will be used as a writer&rsquo;s room, a pre-production studio, and a set, while the artist develops a series of vignettes that will act as anchors for the larger project. Jugdeo&rsquo;s ongoing investigation of migration and assimilation informed by queer and transnational perspectives, aided by an eye for the absurdity of human relationships, will be translated into a more conventionally structured web series.</span></p> <p style="margin: 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; font-family: Arial, Helvetica, sans-serif; line-height: 20px; text-align: justify; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" dir="ltr"><span style="font-size: small;">Canadian-born, Los Angeles-based Vishal Jugdeo is the recipient of a 2015 Guggenheim Fellowship in support of his new body of work, which develops from 2012&rsquo;s Goods Carrier, filmed in the artist&rsquo;s ancestral land of origin, India, and debuted at the Hammer Museum&rsquo;s Made in L.A. 2012; as well as A Shaky Picture Has No Weight (2013), filmed in Jugdeo&rsquo;s parents&rsquo; homeland of Guyana, and debuted at Performa13. Tracing the movement of Indians under British rule from the subcontinent to the Caribbean and South America during the nineteenth century, Jugdeo&rsquo;s work is a meditation on contrasts between exotic and familiar, near and far, intimate and estranged.</span></p> <p style="margin: 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; font-family: Arial, Helvetica, sans-serif; line-height: 20px; text-align: justify; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" dir="ltr"><span style="font-size: small;">Born in 1979 in Regina, Saskatchewan, Canada, Vishal Jugdeo graduated from Simon Fraser University, Vancouver (BFA, 2003) and the University of Los Angeles (MFA, 2007). He attended the Skowhegan School of Painting and Sculpture in 2005. Jugdeo has exhibited at the Hammer Museum (Los Angeles), LAXART (Los Angeles), the Orange County Museum of Art, and the Witte de With Center for Contemporary Art (Netherlands). He has received grants from Art Matters, Artadia, the California Community Foundation, and the Canada Council for the Arts. Jugdeo teaches in the Intermedia Department at the University of Southern California Roski School of Art and Design and is based in Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Reception: February 20, 6-8PM</strong></span><br /><span style="font-size: small;">Free and open to the public. Kindle RSVP</span></p> <p style="margin: 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; font-family: Arial, Helvetica, sans-serif; line-height: 20px; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" dir="ltr"><a style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; color: #000000; text-decoration: underline; background: transparent;" href="http://18thstreet.org/residents/vishal-jugdeo">Vishal Jugdeo</a>&nbsp;brings his signature experimental approach to video to the Artist Lab at 18th Street Arts Center. Drawing upon his recent explorations in narrative structure which combine documentary footage, personal account and fictional story construction, Jugdeo will use the Artist Lab Residency as a starting point towards the development of a scripted web series, made in collaboration with local performers. This project builds on previous videos and installations that have taken television formats such as a talk show or a family drama in unexpected directions, as well as a recent body of work considering the artist&rsquo;s research into his family&rsquo;s migration from India to Guyana and later Canada.</p> <p style="margin: 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; font-family: Arial, Helvetica, sans-serif; line-height: 20px; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" dir="ltr">Recently Jugdeo has been looking more directly at scripted television as a format with radical potential for the expression of complex subjective experience. Where as &lsquo;the televisual&rsquo; has always informed his work, its apparatuses typically been explored with quotation marks; as a set of conventions from which he has abstracted. For his current project, he is interested in exploring the the democratizing space of the internet as a way of moving outside of the rarified world of the exhibition space. To that end, over the course of three months, the Artist Lab will be used as a writer&rsquo;s room, a pre-production studio, and a set, while the artist develops a series of vignettes that will act as anchors for the larger project. Jugdeo&rsquo;s ongoing investigation of migration and assimilation informed by queer and transnational perspectives, aided by an eye for the absurdity of human relationships, will be translated into a more conventionally structured web series.</p> <p style="margin: 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; font-family: Arial, Helvetica, sans-serif; line-height: 20px; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" dir="ltr">Canadian-born, Los Angeles-based Vishal Jugdeo is the recipient of a 2015 Guggenheim Fellowship in support of his new body of work, which develops from 2012&rsquo;s Goods Carrier, filmed in the artist&rsquo;s ancestral land of origin, India, and debuted at the Hammer Museum&rsquo;s Made in L.A. 2012; as well as A Shaky Picture Has No Weight (2013), filmed in Jugdeo&rsquo;s parents&rsquo; homeland of Guyana, and debuted at Performa13. Tracing the movement of Indians under British rule from the subcontinent to the Caribbean and South America during the nineteenth century, Jugdeo&rsquo;s work is a meditation on contrasts between exotic and familiar, near and far, intimate and estranged.</p> <p style="margin: 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; font-family: Arial, Helvetica, sans-serif; line-height: 20px; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" dir="ltr">Born in 1979 in Regina, Saskatchewan, Canada, Vishal Jugdeo graduated from Simon Fraser University, Vancouver (BFA, 2003) and the University of Los Angeles (MFA, 2007). He attended the Skowhegan School of Painting and Sculpture in 2005. Jugdeo has exhibited at the Hammer Museum (Los Angeles), LAXART (Los Angeles), the Orange County Museum of Art, and the Witte de With Center for Contemporary Art (Netherlands). He has received grants from Art Matters, Artadia, the California Community Foundation, and the Canada Council for the Arts. Jugdeo teaches in the Intermedia Department at the University of Southern California Roski School of Art and Design and is based in Los Angeles.</p> Thu, 04 Feb 2016 16:14:57 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Susan Cianciolo - 356 Mission - January 8th - March 13th Fri, 18 Dec 2015 19:04:13 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Seth Price - 356 Mission - January 30th - April 3rd Mon, 18 Jan 2016 10:50:39 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Margo Wolowiec - Anat Ebgi - January 30th - March 12th <div style="text-align: justify;">Anat Ebgi is pleased to present&nbsp;<em>Double Blind</em>, the gallery&rsquo;s second solo exhibition with Margo Wolowiec, on view January 30 through&nbsp;March 12, 2016. Wolowiec&rsquo;s newest series of work expands upon her distinct woven practice with three new freestanding sculptures grounded by a large double-paneled wall work.</div> <div style="text-align: justify;"><br />In this body of work, Wolowiec continues her examination of digitally sourced images while presenting the viewer with a conflicted field of doubles. An automated algorithm triggered by various 'trending' hashtags yield colorful, suggestive imagery. The images are abstracted through the artist&rsquo;s process of dye sublimation transfer onto polymer threads and weaving them together on a handloom. Like a double blind procedure in which neither the subjects nor those administering the experiment know what is at stake, Wolowiec&rsquo;s practice mixes chance and intention. The exhibition&rsquo;s title also references the way visual stimuli are translated into meaningful information, distorted, or forgotten. The proliferation of images and visual trends in social media and net culture serve as a point of contestation for Wolowiec, who sees social media platforms as conflicted systems that entangle the personal and private with the corporate. Wolowiec manipulates the sourced representations of femininity culled from individual profiles as well as from advertisements and magazines, creating a strained duality between the two.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Wolowiec&rsquo;s gridded compositions make use of the internet&rsquo;s predominantly rectangular image format as well as weaving&rsquo;s inherent checkered logic. The role of the artist&rsquo;s hand in abstracting this grid, while borrowing techniques from painting and photography, represents a challenge to both. In both her wall works and her freestanding woven pieces, distinct lines are blurred and images misaligned. Woven fabric can be viewed from the front and the back, while transparency in the weave allows both sides to merge into a whole. Images repeat from one work to the next in varying degrees of legibility, akin to repetitive advertisements that have been absorbed into the subconscious realm. Subtle, surprise elements woven into the fabric further contribute to the sculptural dimension of the freestanding works.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The freestanding pieces in this exhibition mark a continued foray into the territory of sculpture, pairing architectural steel with woven panels. Referencing the dimensions of a doorframe, these new works signify transition and multiple dualities&mdash;in/out, seen/unseen&mdash;indicating an exploration of the threshold as a space for transformation.</div> <div style="text-align: justify;"><br /><strong>Margo Wolowiec</strong>&nbsp;(b.1985) received her BFA from The School of the Art Institute of Chicago and MFA from California College of the Arts, San Francisco. Her work has been exhibited internationally in galleries and institutions including Lisa Cooley, New York, Jessica Silverman Gallery, San Francisco, Laura Bartlett Gallery, London, and the Di Rosa Foundation, Napa, CA, among others. Her work is in the collections of the Kadist Art Foundation, San Francisco, CA, and the Detroit Center for Photography, Frame/s, Digital Gallery of Lens Based Media. She has lectured at Maryland Institute College of the Arts, Baltimore, and San Francisco State University, San Francisco. Her work has been reviewed in&nbsp;<em>Artforum</em>,&nbsp;<em>the&nbsp;L.A. Times, SFAQ&nbsp;</em>and&nbsp;<em>Frieze</em>, amongst others.&nbsp;Wolowiec lives and works in New York.&nbsp;</div> <div dir="ltr">&nbsp;</div> <div>&nbsp;</div> Thu, 04 Feb 2016 10:28:01 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Ken Ehrlich, Daniel Joseph Martinez, Johanna Breiding, Cat Chui Phillip - Angels Gate Cultural Center - January 23rd - April 7th Thu, 04 Feb 2016 15:50:58 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Jessie Homer French - Armory Center for the Arts - January 24th - May 15th <p style="text-align: justify;">An exhibition of tapestries made of fabric, thread, paint, and ink, which depict the rich landscape of the West while mapping the fault lines throughout the region with vivid red lines. The artist, who calls these works "<a href="http://jhomerfrench.com/section/295872-Mapestries.html" target="_blank">mapestries</a>," describes them as "safe art for above one's bed in case of temblors."</p> <p style="text-align: justify;"><strong><a href="http://jhomerfrench.com/home.html" target="_blank">Learn More About the Artist</a></strong></p> Thu, 07 Jan 2016 15:56:44 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - Armory Center for the Arts - January 24th - May 15th <p style="text-align: justify;"><em>What Fuels Development?</em> is an installation that serves as a set for a devised theater piece that explores the mechanics of displacement in an age of immense income inequality as well as the <a href="https://en.wikipedia.org/wiki/Skid_Row,_Los_Angeles" target="_blank">Los Angeles Skid Row</a> community's fight to not be overwhelmed by a rapidly expanding, alcohol-fueled entertainment district. <br /><br />Developed by <a href="http://www.johnmalpede.info/biography" target="_blank">John Malpede</a> of the <a href="http://lapovertydept.org/wordpress/" target="_blank">Los Angeles Poverty Department</a> (LAPD), the project builds upon the shared interests of the Armory and LAPD in connecting the experiences of people to the social, economic, and political forces that shape their lives. The exhibition will include the LAPD archive, which documents 30 years of LAPD&rsquo;s work and originated in an exhibition at the <a href="http://lapovertydept.org/wordpress/projects/queens-museum-retrospective/" target="_blank">Queens Museum</a>, New York, in 2014. Performances will take place on March 25, 26, 27 and April 1, 2, and 3.</p> Thu, 07 Jan 2016 15:57:45 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Ian Swanson - ASHES/ASHES - January 23rd - March 5th <p>ASHES/ASHES is pleased to present feels like feels, the first Los Angeles solo exhibition by New York&ndash;based artist Ian Swanson. The exhibition will be on view January 23&ndash;March 5, 2016, with an opening reception on Saturday, January 23, from 6&ndash;9pm.</p> <p>Swanson&rsquo;s recent paintings approach portraiture by way of abstraction. Rather than coaxing the abstract out of figuration, a tendency in recent bodily abstraction, these take a murkier tack. In his ongoing series <em>Aging</em> (2014&ndash;2016), there is no discrete composition, no mark-making as brushed, drawn, or scratched. The lack of bristle or prod suggests an aerosol or stylus, a bypassing of the brush as an extension of the hand, directing us towards the ethereal. An uncertainty sets in as to how the paintings&rsquo; surface scars of crusted graphite, mica, and pumice were formed&mdash;their place in geologic time also indeterminable. A suite of portraits on black felt also alludes to the passage of time, the cycle between sunset and sunrise, again reaffirming our place in corporeal reality &mdash; from a single night to an &aelig;on.&nbsp;</p> <p>Upon entering the gallery, the viewer is confronted with <em>Online Taxes, Inc.</em> (2014), a heavy steel adjustable door-jammer emblazoned with the titular corporation&rsquo;s name, implying a possible prize giveaway from a bottom-rate internet company. Nearby, the ambiguity as to whether the figure in <em>An Approach</em> (2015) haunts or consoles the foreground figure is echoed by nearby sculptures, each of which relies on a similar rebranding, and the questionable generosity they bring to mind.&nbsp;</p> <p>Swanson&rsquo;s paintings are staunchly monochromatic: black, grey, and white. Primary color accents &mdash; red, blue, yellow &mdash; and the corresponding negative of the image float to the surface and recede below the skin of the painting&rsquo;s image. This lack of subjective decision-making establishes a narrow scope of control: Here is the hue, here is the accent, here is the feel. Summoning proto-Expressionists and contemporary artists alike, they provide a nuanced chain of continuity between current and past inflections of the human condition as expressed through painting.&nbsp;</p> <p>Ian Swanson was born in Detroit, MI. He received his BFA from Wayne State University in Detroit and his MFA from the Pratt Institute in Brooklyn, NY. Recent solo and collaborative exhibitions include <em>/recent works</em> at Simone DeSousa, Detroit (2012); <em>studios pretty much an office rn</em> at Welcome Screen, London (2013); <em>ego drift</em> at WAKE, Detroit (2014); <em>or or and</em> at Free Paarking, St. Louis (2014); <em>Vital Shift in Central Observer</em> at Bosi, New York (2015); and <em>a native fear&hellip;a featureless protagonist</em> at D&rsquo;Agostino &amp; Fiore, New York (2015). He lives and works in Brooklyn, NY.&nbsp;</p> <p>feels like feels also marks the inauguration of the ASHES/ASHES outdoor project space LA/DW~PS. The running theme across artists&rsquo; projects will be that of xerophobia. Ian Swanson and Wendy Ross initiate the program with <em>Raft</em> (2016), a collaborative work comprised of two identical pairs of rebranded, DIY rain barrels.</p> <p>Tony Hope&rsquo;s permanent installation <em>Untitled (Dawn)</em> (2015) remains on view in the gallery&rsquo;s bathroom.</p> Mon, 08 Feb 2016 17:46:48 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Group Show - bG BLEICHER/GORMAN - February 6th - February 21st <p dir="ltr">bG Gallery presents its second annual group exhibit of artists that have the ability to spark our imagination and create spectacular worlds without the use of overt color. The limitless possibilities of myriad shades of gray, and their particular application in ranges of contrast are the focus of this year's installment as well as a cast new artists not previously exhibited at the gallery.</p> <p>&nbsp;</p> Fri, 05 Feb 2016 01:08:43 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Group Show - Blum & Poe - January 16th - March 12th <div style="text-align: justify;">Blum &amp; Poe is pleased to present&nbsp;<em>Dansaekhwa and Minimalism</em>, the first survey of Korean monochromatic painting with American Minimalism.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Consisting of more than twenty-five paintings and sculptures dating from the 1960s to the present, this two-part exhibition focuses on the most representative artists of each movement: Carl Andre, Chung Sang-hwa, Ha Chonghyun, Robert Irwin, Donald Judd, Kwon Young-woo, Lee Ufan, Sol LeWitt, Robert Mangold, Agnes Martin, Park Seobo, Robert Ryman, Richard Serra, and Yun Hyong-keun.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Emerging in the 1960s and transforming Korean art through the 1980s, Dansaekhwa literally means "monochrome painting," but it is defined by the diverse array of methods employed as much as its minimal aesthetics. While Chung Sang-hwa created layered grids of cracked and chipped paint, Ha Chonghyun pushed viscous paint through the back of hemp, smearing and scraping the residue across the surface. Kwon Young-woo scratched, tore, punctured and sliced&nbsp;<em>hanji</em>&nbsp;paper, whereas Lee Ufan steadily and repeatedly pulled his brush down the canvas until the paint faded to nothing. Park Seobo dragged pencils through wet oil paint in rhythmic waves, while Yun Hyong-keun&nbsp;diluted paint with turpentine, allowing it to wash over and bleed into the canvas.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Like the Minimalists, the Dansaekhwa artists shared a desire to explore the object through its most basic material properties. However, they made their work amid starkly different conditions --- enduring the material deprivations experienced in the decades after the Korean War and an oppressive political climate in which civil liberties were suspended in the name of national security. Nonetheless, they succeeded in overcoming these difficulties and by the early 1980s Dansaekhwa had become the first Korean artistic movement to be recognized internationally. Still, although the artists achieved renown in Seoul, Tokyo, and Paris, it was not until recently that they gained exposure in the United States, and thus the aesthetic and contextual similarities and differences with American Minimalism have yet to be examined.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">This exhibition aims to highlight the subtle diversity of aesthetics and ideas explored in these two movements. Neither Dansaekhwa nor Minimalism was defined by a manifesto or a unified conceptual approach. Artists from both movements have expressed differing perspectives on the links between their practices and those of their immediate peers. In turn, the Korean artists variously acknowledge or disavow a relationship between Dansaekhwa and Minimalism. As the first major exhibition to bring these works together, this survey is intended as a non-didactic starting point for broader critical discussion.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Following the initial large-scale presentation in Los Angeles, the second installment of this exhibition, in New York, will present a more intimate focus on smaller-scale works. The two-part exhibition will be accompanied by a fully illustrated catalogue featuring original scholarship by leading authorities in the fields of Dansaekhwa and American Minimalism.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In September 2014, Blum &amp; Poe presented&nbsp;<em>From All Sides: Tansaekhwa on Abstraction</em>, the first major overview of Korean monochromatic painting in North America. Curated by Joan Kee, Associate Professor of History of Art at the University of Michigan, and held at Blum &amp; Poe in Los Angeles, the exhibition laid the groundwork for further in-depth presentations of the featured artists. Subsequently, in New York, Blum &amp; Poe presented the first US solo exhibition of Ha Chonghyun in November 2014, followed by the first posthumous US solo exhibition of Yun Hyong-keun in November 2015. The first North American solo exhibition of the late Kwon Young-woo will be held at Blum &amp; Poe, New York, in May 2016.</div> Mon, 08 Feb 2016 17:47:07 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - Bowers Museum - October 31st, 2015 - February 21st <p style="text-align: justify;">Red, with its brilliant hue and broad cultural history, has inspired artists' imaginations and seduced viewers for millennia. Artists and dyers for centuries strived to find the color source to rival the best reds of nature, and to express the spirit, symbolism and sustenance of life.</p> <p style="text-align: justify;">Their quest ended in the Aztec marketplace of 16th-century Mexico, where Spanish explorers encountered the American cochineal bug. <em>The Red that Colored the World</em> translates the cochineal story into three dimensions, following the precious bug juice and its use in art from Mexico to Europe to the U.S. and beyond. Highlighting 100 objects-textiles, sculpture, paintings, manuscripts, decorative arts, clothing and more- the exhibition explores the history of cochineal and the seductive visual nature of red. The objects reflect the unique international uses of color, revealing its role in the creative process and the motivations of artists in their choice of materials.</p> <p style="text-align: justify;">This exhibition was organized by the Museum of International Folk Art, Santa Fe, New Mexico, USA, and made possible by the generous support of the National Endowment for the Humanities and circulating through GuestCurator Traveling Exhibitions.</p> Mon, 31 Aug 2015 09:33:51 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Ralph Ziman - C.A.V.E. Gallery - February 6th - March 5th <div align="left"> <div align="justify">C.A.V.E. Gallery is pleased to present&nbsp;<em>Bones</em>, a new solo exhibition by South African artist, photographer and filmmaker, Ralph Ziman. In Ziman's second solo exhibition with the gallery,<em>&nbsp;Bones&nbsp;</em>will feature a series of photographs and sculptures that directly respond to the current state of trophy hunting in South Africa and the resultant commercial exchange that occurs between South Africa and America.&nbsp;<br /><br /></div> <div align="justify">C.A.V.E. Gallery will host a reception at 1108 Abbot Kinney Boulevard on&nbsp;Saturday, February 6th at 6:30 p.m.<br /><br /></div> </div> <div align="justify">In this latest body of work, Ziman seeks to confront the egregious killing of endangered animals for trophy and sport in South Africa. 'Canned hunts' - often hosted on South African reserves - involve visitors paying large sums of money to kill some of the world's most rare and precious animals. A culture of killing exists amongst the locals as well, with numerous species being used for medicine, which is bought and sold at South African Voodoo marketplaces. Having witnessed many of these practices, Ziman's work actively speaks out against the global value of profit over protection of endangered animals.&nbsp;<br /><br /></div> <div align="justify">While certain cases of Americans flaunting the killing of lions, rhinos and giraffes have outraged social media communities and churned out news stories, the message is short-lived. In an effort to further the awareness of the plight of these animals, Ziman has created a haunting series of photographs depicting the skeletons of South African animals set against darkened skies and stark landscapes. The skeletons-resin casts of eland, wildebeest, chimpanzee -are placed by Ziman in what would be their native South African habitat, mere remnants of living beings, their bones ceremoniously adorned in a death mask made of colorful beads. The artist's labor intensive process required the help of five men and over 80 pounds of beads to complete.<br /><br /></div> <div align="justify">These cinematic photographs and sculptures, are at once a haunting and beautiful juxtaposition of bones and beadwork. Ziman's bold and powerful imagery for<em>&nbsp; Bones</em>aims to challenge the status of trophy hunting in South Africa and bring awareness to a trade that profits from the unabashed killing of endangered animals.</div> <div align="justify">&nbsp;</div> <div align="left"><strong>About the Artist</strong></div> <div align="left"> <div align="justify"><strong>Ralph Ziman</strong>&nbsp;was born in Johannesburg, South Africa in 1963. Ralph has directed over 400 videos for artists as diverse as Ozzy Osbourne, Toni Braxton, Rod Stewart, Michael Jackson, Shania Twain and Rick James. His work in film includes five features as a writer/director/producer including<em>&nbsp;Hearts and Minds</em>, the first independent South African feature film to be completed after apartheid, which premiered at the Berlin and Montreal International Film Festivals, and<em>&nbsp;Jerusalem</em>&nbsp;(<em>Gangster's Paradise</em>&nbsp;in the US &amp; UK), released to critical and box office acclaim and South Africa's official entry to the 2008 Academy Awards Foreign Language section.&nbsp;<br /><br /></div> <div align="justify">Ziman's first solo show,<em>&nbsp;Ghosts</em>, was hosted by C.A.V.E. Gallery in Venice, California in 2014. It was followed by solo shows in Cape Town, London and Tucson, Arizona. Ziman's work has also shown in numerous group shows and museums and featured by CNN, The BBC, Huffington Post, The Guardian and Juxtapoz. His public art includes several murals in Venice, Cape Town, Johannesburg, London and Los Angeles. Ziman lives and works in Venice, California.</div> </div> Thu, 04 Feb 2016 10:00:42 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Group Show - California African American Museum - August 13th, 2015 - April 24th <p class="p1" style="text-align: justify;">This exhibition explores &ldquo;hard-edgedness&rdquo; within a group of Los Angeles artists who have used, and continue to use, geometry and different levels of abstraction in a variety of media. </p> <p class="p1" style="text-align: justify;">Hard Edged presents over thirty visual artists of African descent who create paintings, sculptures, collages, photographs, videos, and installations. These artists have ventured into the realm of abstraction with very different approaches, from perceptual to conceptual, from formal to boundary-crossing, yet all of them share a clear sense of composition, unity of form, bold shapes and, often, intense or solid color choices.&nbsp; </p> <p class="p1" style="text-align: justify;">The exhibition draws widely from local sources, including CAAM&rsquo;s permanent collection, private collectors, galleries, and the artists themselves. From CAAM&rsquo;s permanent collection we present assemblages by masters David Hammons, Noah Purifoy, and John T. Riddle, as well as paintings by Doyle Lane and Mathew Thomas. From private collectors we have borrowed sculptures by Melvin Edwards and Senga Nengudi.&nbsp; Additional renowned artists in this group are Greg Pitts with his conceptual assemblages; Enoch Mack, with his shaped canvases; Charles Dickson, with his repurposed metal sculptures; and Timothy Washington, with his colorful collages made with magazine cut-outs.</p> <p class="p1" style="text-align: justify;">Mid-career and emerging artists in the exhibition include April Bey, Lavialle Campbell, June Edmonds, Kathy Foley-Meyer, Kori Newkirk, Duane Paul, Karl Peyton, Charla Puryear, Lisa Soto, Holly Tempo, Devin Troy Strother and Lisa Diane Wedgeworth.&nbsp;</p> <p class="p1" style="text-align: justify;">Hard Edged illustrates the rich interplay of tradition, innovation, and individual talent among a group of Los Angeles artists for whom geometric abstraction is their choice of expression when addressing such relevant issues as feminism, identity, colonialism, stereotypes, family relations, and social justice.</p> <p class="p1" style="text-align: justify;">Saturday, August 15, 2015&nbsp;&nbsp;&nbsp; 1:00 &ndash; 2:00 pm Exhibition Walk-through</p> <p class="p1" style="text-align: justify;">Saturday, September 26, 2015&nbsp; 1:00 &ndash; 3:30 pm Art Workshop with Charla Puryear</p> <p class="p1" style="text-align: justify;">Saturday, October 17,&nbsp; 1:00 &ndash; 3:30 pm&nbsp; Art Workshop with April Bey</p> <p class="p1" style="text-align: justify;">&nbsp;</p> Sun, 19 Jul 2015 16:40:31 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list