ArtSlant - Current exhibits en-us 40 Chase Westfall - 101/EXHIBIT - October 24th - December 19th <p>&nbsp;For his debut Los Angeles exhibition, Westfall presents a new body of work consisting of installation, sculpture, and painting that collectively operate as a set of proposals on the cultural and societal function of violence.</p> <p>The exhibition brings together a diverse set of philosophical, anthropological, and literary perspectives in an effort to assemble a composite structure capable of accounting for violence as a kind of cultural imperative, and through which current and historical events ( most significantly the ongoing civil war in Syria) can be addressed. At the same time, Westfall explores practical mechanisms for mitigating and/or offsetting that imperative or, as an alternative, for maximizing the cultural and sociological utility of violent acts once they have occurred.&nbsp;</p> <p><a title="Chase Westfall - Terror Function" href="" rel="nofollow" target="_blank">More Detail</a></p> Sat, 10 Oct 2015 20:39:48 +0000 Kirsten Everberg - 1301PE - November 14th - January 9th, 2016 Thu, 12 Nov 2015 14:47:56 +0000 - 18th Street Arts Center - November 9th - December 11th <p style="text-align: justify;"><em>Xtreme Archive: Project X 1992-1999</em>&nbsp;Concluding their curatorial residency at 18th Street Arts Center, Project X presents Xtreme Archive: Project X 1992-1999, an exhibition of ephemera, images, and audio recordings about the exhibitions of Project X in the nineties.</p> <p style="text-align: justify;">Known as the publishers of the art journal&nbsp;<a href="" target="_blank">X-TRA</a>, Project X originated as a roving organization of artists curating exhibitions in the wake of the art market boom of the 1990s. They strove to fill the absence of conceptual art exhibitions and criticism in Los Angeles. Independently producing ten exhibitions across Los Angeles and Orange County during the nineties, the group&rsquo;s curatorial projects illustrate the crucial role of the artist&rsquo;s voice in shaping and sustaining contemporary art culture in Southern California.</p> <p style="text-align: justify;">This exhibition showcases personal accounts, exhibition ephemera, exhibition documentation and original print materials gathered over the course of Project X&rsquo;s 2015 residency at 18th Street. Spearheaded by Shana Lutker and Kellie Lanham, this exhibition of the archive features the network of artists and artworks spanning the organization&rsquo;s history gathered thus far. It&rsquo;s a work in progress that begs the question: How does the history and community of Los Angeles in the nineties influence us today?</p> <p style="text-align: justify;">More about&nbsp;<a href="" target="_blank">X-TRA Editors:&nbsp;</a></p> <p style="text-align: justify;"><em>The Curator in Residence program at 18th Street Arts Center is generously supported by the the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.</em></p> <p style="text-align: justify;"><strong>Reception: November 21, 6-8PM</strong><br />Free and open to the public. Kindle RSVP using the widget found <a href=";utm_campaign=2015+November+Upcoming&amp;utm_medium=email" target="_blank">here</a>.</p> Thu, 12 Nov 2015 15:04:36 +0000 Gary Indiana - 356 Mission - October 8th - December 24th <p style="text-align: center;">An exhibition of photographs and videos at 356 S. Mission Road</p> <p style="text-align: center;"><strong>Opening reception + performance</strong>&nbsp;<br />Thursday, October 8,&nbsp;7 - 9 PM&nbsp;<br />8 PM: Performance by Gary Indiana and Walter Steding&nbsp;</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;">"I think that you can probably read this show as a travelogue of a kind, but it&rsquo;s not really about physical travel, but more mental travel. A lot of the video stuff is about statelessness &ndash; a kind of homeless consciousness or placeless consciousness."&nbsp;</p> <div align="right">- Gary Indiana, September 2015</div> Sun, 01 Nov 2015 17:50:54 +0000 Alexander Yulish - Ace Gallery- Beverly Hills - October 8th - November 29th <p style="text-align: justify;"><strong>Ace Gallery</strong>, in conjunction with&nbsp;<strong>Interview Magazine</strong>, presents a major solo exhibition by&nbsp;<strong>Alexander Yulish</strong>. &nbsp;The&nbsp;exhibition, entitled&nbsp;<em>Immovable Thoughts</em>,&nbsp;is Yulish&rsquo;s first at Ace Gallery and is comprised of a series of expressive paintings. &nbsp;Alexander Yulish works in a state of play, investigating humanity&rsquo;s shared unconsciousness through charcoal, ink and paint. Possessing a raw energy, Yulish&rsquo;s paintings are intensely expressive, emphasizing emotional impact and the artist&rsquo;s own interior landscape.&nbsp;</p> Tue, 22 Sep 2015 06:29:55 +0000 Jen DeNike - Anat Ebgi - November 14th - December 19th <p style="text-align: justify;">Anat Ebgi Gallery is pleased to present <em>If She Hollers</em>, a solo show of new video, photography and installation works by Jen DeNike.&nbsp;</p> <p style="text-align: justify;">Mining Hollywood filmic archetypes and the cult of masculinity, Jen DeNike presents a series of three vignettes that challenge static notions of gender, race and sexuality. Taking the exhibition name from Chester Himes&rsquo; 1945 novel <em>If He Hollers, Let Him Go</em>, DeNike traces the motivations of Himes&rsquo; protagonist who fails to find a more tolerant and accepting society in the Californian idyll. DeNike expands on this sense of lost paradise in her new body of work, with characters confronting the limits of gendered roles and struggling to transform themselves in settings laden with thematic significance.&nbsp;</p> <p style="text-align: justify;">Navigated through her distinct cinematic gesture, DeNike&rsquo;s character motifs allude to fixed notions of gender-racial narratives: the spectacle of male physical power, the ambiguity of gender and the thresholds of self-transformation. The unfolding narratives occur within the coordinates of a boxing ring shot in black-and-white, a pimped out garage turned reality TV catwalk and poolside vistas; settings of physical altercation, warrantless interloping and musing self-expression. Yet while DeNike&rsquo;s settings are extracted from familiar cultural references, her characters are shown in forms of confrontation against the backdrop, seeking to transform themselves outside their immediate physical presence.&nbsp;</p> <p style="text-align: justify;">The show&rsquo;s three protagonists &ldquo;The Boxer&rdquo;, &ldquo;The Cat&rdquo; and &ldquo;The Pimp&rdquo; interweave elements adapted from references ranging from Joe Lewis to <em>Alice in Wonderland </em>and <em>RuPaul&rsquo;s Drag Race</em>. While these references merge elements of race, gender and mass media, DeNike seeks to question these images and the inherent complexities of their portrayal. In &ldquo;The Boxer&rdquo;, the camera&rsquo;s fixation on his sinewy, exhausted physique exposes the fantasy of an invincible masculinity through the body undergoing transition from the combat of the boxing ring to the idleness of a resting pose. While the boxer functions as a spectacle of masculine power, &ldquo;The Pimp&rdquo; displays the performative nature of gender expression as he takes on the role of the drag queen Jori &lt;3. Her self-transformation becomes expressed through ever-greater displays of her own whimsy until she defiles her den by spray painting it with black hearts. This act of self-effacement acknowledges that she may only become herself once she seeks to transcend beyond her projected reality of moving images. This tension between the projected self and theotheris further explored in &ldquo;The Cat&rdquo;, as it follows an ambiguous character dressed as the Cheshire Cat meandering through nine backyard pools in Los Angeles, eventually confronting his doppleg&auml;nger. The &ldquo;Cat&rdquo;, both as actor and performer, is a poolside symbol of ceaseless deviation, a foil of both leisure and desire in a Los Angeles of vacillating aspiration increasingly untethered from reality.&nbsp;</p> <p style="text-align: justify;">Caught within the double-bind of situational context and dissonance, DeNike&rsquo;s protagonists depict subjects in transition, set adrift in the psychogeography of Hollywood projection. Only with the embrace of the mysterious logic of the <em>transition </em>can the figures become themselves, transcending beyond merely moving images.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Jen DeNike lives and works in Los Angeles and New York. She received her MFA at Bard College and also completed a Master Class with Stephen Shore. Her work has been exhibited internationally in galleries and institutions including MOMA, Eastman House, &nbsp;54th Venice Biennale, Garage Projects Moscow, Palais de Tokoyo, MOMA PS1, KW Berlin, Faena Art Center in Buenos Aires, the Julia Stoschek Collection, Kunstlerhaus Stuttgart, &nbsp;Zendai Museum of Modern Art, Shanghai, Cobra, Netherlands, MOCA Toronto, MACRO ROMA, Madre Museum, Palace for the Arts, Naples, Tensta Konsthall in Sweden, Site Gallery in England, Hessel Museum of Art and the Long Beach University Gallery. Commissioned projects and performances have included Creative Time, LAND Los Angeles Nomadic Division, Miami Art Basel Art Public, Grey Area, Performa Biennial, Chris Bicalho Collection performance sponsored by Brazilian Vogue &amp; Christies for the Sao Paulo Biennial and PopRally MOMA. Her work is in the permanent collection of Julia Stoschek Collection, Il Giardino dei Lauri Collection and The Museum of Modern Art.&nbsp;</p> Fri, 13 Nov 2015 19:34:34 +0000 Faith Wilding - Armory Center for the Arts - September 26th - January 3rd, 2016 <p style="text-align: center;"><strong>Armory presents</strong></p> <p style="text-align: center;"><strong><em>Faith Wilding: Fearful Symmetries</em></strong><strong>,</strong></p> <p style="text-align: center;"><strong>the first retrospective exhibition</strong></p> <p style="text-align: center;"><strong>of the influential feminist artist.</strong></p> <p style="text-align: center;"><strong>&nbsp;</strong></p> <p style="text-align: justify;"><em>Pasadena, CA </em>&ndash; The Armory Center for the Arts is proud to present <em>Faith Wilding: Fearful Symmetries</em>, the first retrospective exhibition of the influential feminist artist who played a key role in the formation of the Feminist Art Program at California State University in Fresno in 1970 and at California Institute of the Arts in Valencia in 1971. Wilding was a major contributor to the historically significant month-long collaborative installation <em>Womanhouse</em>, sited in an abandoned mansion in Los Angeles in 1972, where she performed her highly celebrated work <em>Waiting. Faith Wilding: Fearful Symmetries </em>is a traveling exhibition organized by Threewalls, Chicago. Initiating curators for the exhibition are Shannon Stratton and Abigail Satinsky. A reception, free and open to the public, will take place on Saturday, September 26, from 6-8pm.</p> <p style="text-align: justify;"><em>Faith Wilding: Fearful Symmetries </em>includes a selection of works from Wilding&rsquo;s studio practice spanning the past forty years, highlighting a range of works on paper &ndash; drawings, watercolors, collage and paintings &ndash; exhibited together here for the first time. Taking up key, allegorical imagery in Wilding&rsquo;s work, the exhibition focuses on themes of &ldquo;becoming,&rdquo; both the transformative event itself, and the threshold to transfiguration. This state of in-betweenness is articulated through imagery of leaves, the chrysalis, hybrid beings, and liminal circumstances themselves, such as &ldquo;waiting,&rdquo; the subject of Wilding&rsquo;s two prominent performances <em>Waiting </em>and <em>WaitWith.</em></p> <p style="text-align: justify;">Wilding&rsquo;s work manages to be both delicate and harsh in its exploration of the pivotal moment between private revelation and public manifestation. Viewed together in this exhibition, her work makes a powerful impression about psychological and physical transition and transformation. In the depiction of the chrysalis and the embryo, for example, gestation is suggested, while in imagery of tears, wounds, and &ldquo;recombinant&rdquo; bodies, emergence and materialization are pronounced. The sum of these parts provides a unique account of how themes of emergence were central to Wilding&rsquo;s articulation of feminism, and her own reflections on a childhood growing up in an intentional Christian commune.</p> <p style="text-align: justify;">In conjunction with the exhibition at Armory, OxyArts Gallery at Occidental College will present selections from Wilding&rsquo;s archive that documents her work with the collaborative research and performance group subRosa, rare videos of performances made throughout her career, and papers and publications dating from her participation in the feminist art movement in the 1970s.</p> <p style="text-align: justify;">The exhibition and tour are made possible in part by: The Irving Harris Foundation, The Foundation for Contemporary Arts, The Andy Warhol Foundation for the Visual Arts, Other People&rsquo;s Pixels, and Threewalls&rsquo; benefactors, Lisa Key and Kevin Lint. Support for the presentation at Armory Center for the Arts comes from the Pasadena Art Alliance and Loudhailer Gallery, Los Angeles. The exhibition will be accompanied by a publication featuring original writings by Irina Aristarkhova, Mario Ontiveros, and Faith Wilding.</p> <p style="text-align: justify;"><strong>Faith Wilding </strong>is Professor Emerita of performance art at the School of the Art Institute of Chicago, a graduate faculty member at Vermont College of Fine Arts, and a visiting scholar at the Pembroke Center, Brown University. Born in Paraguay, Wilding received her BA from the University of Iowa and her MFA from the California Institute of the Arts. Wilding was a coinitiator of the Feminist Art Programs in Fresno and at CalArts, and she contributed <em>Crocheted Environment </em>and her <em>Waiting </em>performance piece to the historic <em>Womanhouse </em>exhibition. Her artwork have been featured in major feminist exhibitions including <em>WACK! Art and the Feminist Revolution</em><em>;</em><em> Sexual Politics</em><em>;</em><em> Division of Labor: Women</em><em>&rsquo;</em><em>s Work in Contemporary Art</em><em>;</em>and <em>re.act Feminism. </em>Her writing has been featured in such books as <em>The Power of Feminist Art, By Our Own Hands, The Feminism and Visual Culture Reader, MEANING, </em>and many more.</p> <p style="text-align: justify;">Wilding has exhibited nationally and internationally, including at the Reina Sofia Museum in Madrid; Centre for Contemporary Art in Glasgow; MoMA PS1 and the Bronx Museum of Art in New York; Museum of Contemporary Art and Hammer Museum in Los Angeles; University of California Riverside Museum of Art; the Singapore Art Museum; and many others. Wilding cofounded and collaborates with subRosa, a cyberfeminist cell of cultural producers using bioart and tactical performance in the public sphere to explore and critique the intersections of information and biotechnologies in women&rsquo;s bodies, lives, and work, and she is the co-editor of <em>Domain Errors! Cyberfeminist Practices! </em>She is the recipient of a Guggenheim Fellowship, Creative Capital grant, and artist grants from National Endowment for the Arts. </p> Thu, 15 Oct 2015 18:41:23 +0000 - Armory Center for the Arts - September 26th - January 3rd, 2016 <p style="text-align: center;" dir="ltr">Parlor at the Armory: The World That Begins Where Our Skin Ends</p> <p style="text-align: center;" dir="ltr">A multi-artist residency</p> <p style="text-align: center;" dir="ltr">organized by the Women&rsquo;s Center for Creative Work</p> <p style="text-align: center;" dir="ltr">at the Armory Center for the Arts.</p> <p>&nbsp;</p> <p style="text-align: justify;" dir="ltr">Pasadena, CA &ndash; The Women&rsquo;s Center for Creative Work (WCCW) will be in residence in the Armory&rsquo;s Mezzanine Galleries from September 27, 2015 through January 3, 2016 with the multi-artist residency, <em>Parlor at the Armory: The World That Begins Where Our Skin Ends</em>, which will investigate the space between the personal and the public. The residency will run concurrently with the <em>Fearful Symmetries</em>, the first retrospective of the influential feminist artist Faith Wilding. An opening reception, free and open to the public, will take place on Saturday, September 26, from 6-&shy;8pm.</p> <p style="text-align: justify;">The parlor traditionally exists as a liminal boundary between the private rooms in the home and the public space of the street. This is the very inception of the world that begins where our skin ends&thinsp;&mdash;&thinsp;the place for formulating exchanges between our public and private selves. Here we create a space to recognize the variety in ourselves. We reclaim the values of the private sphere, allowing intimate works to be comfortably recast before they are released into the wider world. Here we bring the sometimes disorganized table of personal production into the intermediary space of the galleries &mdash;&thinsp;blurring the boundaries of personal and public, process and display, the labors that are completed for wages and those for other, more intimate exchanges.</p> <p style="text-align: justify;">This process-based residency will take the form of a parlor work-center, occupied by ten WCCW residents over the course of the program. WCCW Creative Director Kate Johnston and Managing Director Sarah Williams will start the residency the first week by installing a worktable, calendar, and some simple shelves for materials, which will serve as sites for the production of a daily practice. A riso-printed broadsheet publication delineating the residency participants and projects will be created, distributed in the area, and also made available online.</p> <p style="text-align: justify;" dir="ltr">Nine additional residents will then enter the space for a week at a time, layering the space with their own materials and work. Each resident will spend the week there working in public space. The process materials from each residency will not be removed upon completion, but will accumulate on the walls and in the space as a collaged archive, the remnants of each residency building on the last, to fill the parlor with the reminders of production and the individuals who came before. Each week-long residency will culminate in a workshop, lecture, performance, screening or other public program led by the resident. WCCW residents include: Soyoung Shin; Lux Los Angeles (Stephanie Newcomb, Katherine Kokoska, Feyza Koksal); Melanie Griffin; Johanna Breiding; Kate Figgins; Arden Surdam and Meghan Gordon; Maryam Hosseinzadeh; Lake Sharp; and One Axe Plays. A full list of residents and more information about their projects is available on the Armory&rsquo;s website.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;" dir="ltr">This project is funded as a part of the National Endowment for the Arts&rsquo;s Our Town Public Art Project &ldquo;My Pasadena,&rdquo; a City of Pasadena public art project with Side Street Projects as a partner.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;" dir="ltr">About the Women's Center for Creative Work</p> <p style="text-align: justify;" dir="ltr">The Women&rsquo;s Center for Creative Work (WCCW) cultivates Los Angeles&rsquo; creative feminist communities. We are a network of rad women engaged in conversations about contemporary feminisms and creative practices. In our most tangible incarnation we are a women-lead creative coworkspace in Frogtown. On a broader level, we are an enabling architecture providing professional, emotional and artistic nourishment for female driven creative projects.</p> <p>&nbsp;</p> Sat, 07 Nov 2015 16:50:50 +0000 Atticus Adams, Ekaterina Ermilkina, Mark Acetelli, Paul Kirley, Heny Steinberg - Artspace Warehouse - October 17th - November 26th <p>Abstract Enlightenment explores artworks in a synthesis of tradition and modernity with underlying connections between representational landscapes and ephemeral dreamscapes. The featured artists keep examining the impact of each finished painting on the wider art movement. They put society and social relations under intense scrutiny. They increase the collective impressions of art on society, adding further experiences, while the individual minds collectively gather these impressions and tranlsate them into visual equality.</p> <p>Using oil paints and found objects that he builds up and scrapes away to create layered, textured compositions,&nbsp;<a class="pink" href="" rel="nofollow">Mark Acetelli</a>depicts figures that verge on abstraction. He has explored wide-ranging, universal themes including love, loss, and notions of absence and presence. Acetelli works in a palette dominated by earth tones, which he punctuates with colorful accents. His artworks are a product of continuously building up and tearing down, layer upon layer, adding and subtracting. A visceral dance between the conscious and the unconscious until the emotion is expressed.</p> <p><a class="pink" href="" rel="nofollow">Atticus Adams</a>&nbsp;is a sculptor whose work embodies the transformative power of art to create beauty, meaning, and emotional impact from industrial materials. Using mostly aluminum mesh&mdash;generally found in screen doors/windows and filters&mdash;he creates abstract pieces and installations, which sometimes resemble flowers, clouds, and other natural phenomena. His intricate wall sculptures explore shadow and transparency in endless ways.</p> <p><a class="pink" href="" rel="nofollow">Ekaterina Ermilkina's</a>&nbsp;highly textural oil on canvas artworks pop with color and motion, casting a candied haze across the cityscape. &ldquo;I am focused on art all my life. It makes me optimistic, full of energy and happy. The vivid colors of Crimea where I grew up, the beautiful marine of the Black Sea, inspired me to paint for the rest of my life. I believe that paintings can reflect our desires for beauty, poetics and perfection.&rdquo;</p> <p>In his large abstract canvas paintings&nbsp;<a class="pink" href="" rel="nofollow">Paul Kirley</a>&nbsp;expresses connections between representational landscapes and ephemeral dreamscape experiences. Links between the two worlds are created as a series of painted layers and gestures. The creative process of each piece presents opportunities to live fully immersed in the stories and places of our dreams.</p> <p><a class="pink" href="" rel="nofollow">Heny Steinberg</a>&nbsp;is a Mexican artist whose work invites us to travel from the map to the localized event. She is suggesting that the spatial memory guidelines residing in the relationship between a two-dimensional space existing in a vacuum and the human territories we inhabit. Her artworks are constructed by displacement over a lattice or a diagram by way of fragmentation, union and re-fragmentation. The shapes that inhabit this multi-dimensional space possess visual values that transcend their actual representation.</p> Mon, 23 Nov 2015 01:42:24 +0000 Tony Hope - ASHES/ASHES - November 14th - December 30th <p>ASHES/ASHES is pleased to announce <em>TH+</em>, the Los Angeles debut solo exhibition by Detroit-based artist Tony Hope. The exhibition will be on view November 14 &mdash; December 30, 2015 with a press preview on Saturday, November 14, from 5&mdash;6pm and an opening reception on Saturday, November 19, from 6&mdash;8pm.&nbsp;</p> <p>A series of interrelated, environmental gestures harmonize to condition the gallery with the texture of a body violated. Organized by an intimate relation with the formation of an identity, they speak of a loyalty to family and homeland, measured by that which is not. Therein one may find the contents listed below:&nbsp;</p> <p><em>Untitled (Living Room)</em>&nbsp;</p> <p>Alien-green, ambient light from outside the darkened gallery seeps through the thin cracks of vertical blinds to provide just enough illumination to make out what appears to be a space shut down, abandoned and stripped. Electrical outlets have been removed along with the face plates for the central air duct &mdash; dark mouths left exposed in a frozen gape.&nbsp;</p> <p><em>Untitled (Patriots)</em>&nbsp;</p> <p>Two red and blue bands delineate the white walls of the gallery&rsquo;s container in homage to the artist&rsquo;s high school&rsquo;s hallways.&nbsp;</p> <p><em>Untitled (T-shirts)</em>&nbsp;</p> <p>A collection of black t-shirts belonging to the artist, banners announcing his cultural allegiances, are now flayed and displayed, evidence to the many nights of sweat produced by a body amongst bodies. Relics here, they hang unnatural and stiff, impregnated with polyurethane and sealed in Mod Podge.&nbsp;</p> <p><em>Untitled (Journeys)</em>&nbsp;</p> <p>Towards the back and off to the side of the gallery&rsquo;s central chamber a monitor hangs from the ceiling, its face to the wall. A video compilation plays a loop of marketing department selected music videos, promos, and commercials, sourced from his time at suburban mall alt-culture emporium Journeys. &nbsp;</p> <p><em>Untitled (Hugh)</em>&nbsp;</p> <p>Impaled on a metal stake, a severed head (the only figurative object in the installation) recreates the character Hugh from the series <em>Star Trek: The Next Generation</em> cast in the artist&rsquo;s likeness. In the episode &lsquo;I, Borg,&rsquo; Hugh is detached from the group consciousness of the Borg hive mind and faced with the challenge to develop an identity apart from the Collective. Watching him struggle to interact with the ship&rsquo;s crew members, the Enterprise-D&rsquo;s Chief Medical Officer, Beverly Crusher, remarks: &ldquo;If I didn&rsquo;t know better, I&rsquo;d think he was scared.&rdquo;&nbsp;</p> <p><em>Untitled (Dawn)</em>&nbsp;</p> <p>The gallery&rsquo;s bathroom has undergone an extreme makeover by the artist, mimicking the style and taste of a Midwestern mother&rsquo;s dream bathroom; the rustic shelves display items inspired by the artist&rsquo;s family, simulating the comforts of home.&nbsp;</p> <p>&ldquo;Every history is a history of the present. We are an audience, watching ourselves act in a play that is always&mdash;already happened; in this condition, one cannot be an author to the events as they occur, but only within it as a witness to a fictional framework for the fatal moment (the event) as it occurs. There is a great desire within fiction to harness the power to speak the truth &mdash; enacted by the gaze of the audience made up by the individuals who populate the moment. As strangers pulled together for a brief moment, one can be free to act from the truth of that which is experienced.&rdquo; &mdash; Erin Henry, Brooklyn, NY, 2015&nbsp;</p> <p>Tony Hope was born 1989 in Redford, MI. He received his BFA in Fine Arts at Center for Creative Studies, Detroit, MI, and his MFA in Sculpture from Yale School of Art, New Haven, CT. Recent exhibitions include: <em>ICP Retrospective</em> at Sam&rsquo;s Space in New Haven, CT (2015); <em>PEARLITE</em> at WAKE, New Haven, CT (2014); <em>salt &amp; vinegar</em> at Queer Thoughts, Chicago, IL (2013); and <em>HEADCHEESE</em> at Tubman Center, Detroit, MI (2012). He currently lives and works in Livonia, MI.</p> Wed, 11 Nov 2015 21:53:06 +0000 Allois - bG BLEICHER/GORMAN - November 14th - December 5th <p>bG Gallery presents Allois&rsquo; No Particular Night or Morning.</p> <p>Allois&rsquo; new body of work is an exciting new direction blending Romantic period techniques with her contemporary themes. Subjects range from shadowy animoids with bright piercing eyes to Turner-esque dark seascapes with ships bending to the will of the sea.</p> <p>The figures bleed and eventually blend into the background as Allois transports the viewer to a place outside of physical reality feelings of and estrangement are harnessed with a brushstroke. &nbsp;Allois&rsquo; work is not tethered to reality, yet there is certainly a recognizable emotional element within it. &nbsp;Her paintings portray characters that visually embody states of mind, from the mischievous to the manic.</p> <p>The mythical and metaphysical themes recurring in the work call to mind the universally recognizable, the figures seem alien or fantastical, but at the same time they are highly relate-able. &nbsp;The figures evoke raw emotions in the audience by being vague to the visual senses but obvious to the spirit.</p> Tue, 10 Nov 2015 04:53:10 +0000 Group Show - Blum & Poe - November 5th - December 23rd <p style="text-align: justify;">Blum &amp; Poe is pleased to present&nbsp;<em>The Avant-Garde Won&rsquo;t Give Up: Cobra and Its Legacy</em>, a two-part exhibition taking place in New York and Los Angeles which will offer a broad and critical reassessment of Cobra&mdash;an essential postwar European movement named for the home cities Copenhagen, Brussels, and Amsterdam. The exhibition will follow the solo exhibition of Karel Appel, one of the movement&rsquo;s key protagonists, presented at Blum &amp; Poe, New York in September 2014. Named after a seminal work by Cobra founder Asger Jorn (Danish, 1914-73),&nbsp;<em>The Avant-Garde Won&rsquo;t Give Up</em>&nbsp;pays tribute to Jorn&rsquo;s catalyzing role and to the movement&rsquo;s enduring aesthetic and conceptual influence on artists working today.</p> <p style="text-align: justify;">The exhibition&rsquo;s first part at Blum &amp; Poe, New York will begin with the nexus of experimental practices and political activities of a group of Danish modernist artists during the Nazi occupation and will continue with the emergence of Cobra in the late 1940s. The second half of the exhibition at Blum &amp; Poe, Los Angeles will trace the impact and legacy of Cobra in the art of the 1950s and 60s through the present day by juxtaposing historical work with a selection of contemporary practices. Independent curator and art historian Alison M. Gingeras has organized both exhibitions.&nbsp;</p> <p style="text-align: justify;">Cobra is frequently remembered as a style of Northern European painting&mdash;merging figuration and abstraction&mdash;that emerged in the traumatic wake of World War II. In an American academic context, Cobra&rsquo;s importance is often measured through the narrow filter of their eponymous journal, which featured the writings of Constant, Asger Jorn, Christian Dotremont, and other members. The exhibition seeks to rectify these reductive understandings of the movement in the United States by exposing a layered and multi-tentacled avant-garde movement, spanning three decades and many more countries than just Denmark, Belgium, and the Netherlands.&nbsp;</p> <p style="text-align: justify;">The exhibition will begin in New York with a re-examination of the artist collective Helhesten (The Hell Horse), the precursor to Cobra, which Jorn founded in 1941 in the midst of Nazi-occupied Denmark. This group of politically committed, progressive artists seized the Nordic mythical figure of the &ldquo;hell horse&rdquo; as their emblem. Jorn, along with artists such as Sonja Ferlov Mancoba, Henry Heerup, Egill Jacobsen, and Carl-Henning Pedersen among others,<strong>&nbsp;</strong>shared an interest in an exploration of ancient folk art, populist art forms, and the legacy of Surrealism in defiance of their anti-Modernist German occupiers. With Jorn&rsquo;s federating charisma, the Helhesten group spawned the formal seeds that would later animate Cobra. Art historian Kerry Greaves has recently written of Helhesten, &ldquo;they provide a crucial link between the historical and post-war avant-garde, and without [Helhesten] there would have been no Cobra.&rdquo; The selection of Helhesten paintings, sculptures, drawings, and other ephemera will be one of the few occasions that these Danish artists have been recognized in an American exhibition context.&nbsp;</p> <p style="text-align: justify;">Moving beyond the formative years of Helhesten, the exhibition will trace the confluence of Jorn&rsquo;s collective with other groups, such as the Dutch Experimental Group and the Belgian Revolutionary Surrealists, to eventually form Cobra from 1948 to 1951. Unified by a keen interest in Marxism, Cobra saw itself as a &ldquo;red international&rdquo; that rejected Western aesthetics, embraced spontaneity, collaborative work methods, and drew inspiration from children&rsquo;s drawings, the art of the insane, and primitivism. The exhibition will feature a re-reading of the key protagonists of Cobra&mdash;Pierre Alechinsky, Karel Appel, Constant, Christian Dotremont, and Jorn&mdash;as well as foreground lesser-known figures beyond the home countries for which the movement is named. In particular, artists such as Ernest Mancoba (a South African artist who had settled in Denmark and later Paris and was married to Sonja Ferlov Mancoba, a sculptor and key figure in the Helhesten group), and Shinkichi Tajiri (a Japanese-American sculptor and painter who eventually settled in the Netherlands after serving in WWII).</p> <p style="text-align: justify;">The latter half of the exhibition, taking place in Los Angeles, will cast its view beyond the formal ending of Cobra in 1951 by following the political activities and aesthetic experiments of Asger Jorn through the 1950s to his death in 1973. Including later &ldquo;modification paintings&rdquo; (interventions or&nbsp;<em>d&eacute;tournements</em>&nbsp;on anonymous paintings bought in flea markets), abstract paintings utilizing unconventional materials, and experimentations with ceramics and textiles, Jorn&rsquo;s later output shows the fruition of many of the ideas that first germinated in the Cobra period. While maintaining his exchange with Cobra artists, Jorn also widened his circle of collaboration and exchange with members of the Italian neo-avant-garde, such as Enrico Baj and Lucio Fontana, as well as artists such as Jean Dubuffet.</p> <p style="text-align: justify;"><em>The Avant-Garde Won&rsquo;t Give Up</em>&nbsp;will argue that Cobra did not end with the formal disbanding of the group in 1951. In fact, Cobra&rsquo;s ideas and aesthetics were only realized in the two decades that followed&mdash;blossoming into a&nbsp;relentless multinational, literary, political, and radically polymath exploration of numerous artistic media. In tracing this complex web of artists and ideas, the history that unfolds insists upon a more complex genealogy of one of the least understood, yet important movements of the last sixty years. This broad understanding of Cobra artists&rsquo; artistic and discursive output reveals them to be dynamic figures, whose legacy continues to impact the art of today. To this end, the exhibition in Los Angeles will propose a series of historical and contemporary juxtapositions by a range of living artists. This transgenerational presentation will underscore the urgency of this reexamination of Cobra&mdash;by viewing the movement&rsquo;s groundbreaking experiments and ideas through the lens of the present day.&nbsp;</p> <p style="text-align: justify;">Among artists in the New York exhibition are Pierre Alechinsky, Else Alfelt, Karel Appel, Eug&egrave;ne Brands, Constant, Corneille, Christian Dotremont, Sonja Ferlov Mancoba, Henry Heerup, Egill Jacobsen, Asger Jorn, Ernest Mancoba, Carl-Henning Pedersen, Shinkichi Tajiri, and Raoul Ubac. The Los Angeles exhibition will present work by the core Cobra group from the New York exhibition as well as works by Enrico Baj, Corneille, Mark Flood, Magdalena Suarez Frimkess, Gelatin, Mark Grotjahn, Jacqueline de Jong, Friedrich Kunath, Eddie Martinez, Bjarne Melgaard, Jon Pylypchuk, Reinhoud, Julian Schnabel, Walasse Ting, and more (list of participating artists in formation).</p> <p style="text-align: justify;">Bringing together rarely exhibited works by several artists who have not been seen in the US for decades, the realization of this exhibition has drawn upon the close, generous collaboration of numerous Cobra artists, estates, families, and private collections.&nbsp;<em>The Avant-Garde Won&rsquo;t Give Up</em>&nbsp;also pays homage to the visionary work of the Lefebre Gallery. Established in New York in 1960 by John Lefebre and closed in 1986, this trailblazing gallery was one of the few to support and promote the Cobra movement in America.&nbsp;</p> <p style="text-align: justify;">In keeping with the exhibition&rsquo;s assertion that Cobra has particular resonance with contemporary art practice, artist Julian Hoeber has collaborated with the curator&nbsp;Alison M. Gingeras on an exhibition design that reflects the innovative installations of the first Cobra exhibitions at the Stedelijk Museum Amsterdam in 1949 and at the Palais des Beaux-Arts Li&egrave;ge&nbsp;in 1951&mdash;both of these exhibitions were designed in collaboration with avant-garde architect Aldo van Eyck. &nbsp;Hoeber&rsquo;s own research-based practice investigates the intersection of architectural history, narrative and aesthetics&mdash;bringing an additional layer of transhistorical dialogue to this project.&nbsp;</p> <p style="text-align: justify;">As part of the run of the New York exhibition, there will be several events, including a book launch for the new monograph&nbsp;<em>Shinkichi Tajiri: Universal Paradoxes</em>&nbsp;(University of Chicago Press, 2015), as well as a book launch and discussion with Jacqueline de Jong, an artist, publisher, and founding member of the Situationist International. Her forthcoming artist book&nbsp;<em>The Aesthetic Satyr&nbsp;</em>was a collaboration with her romantic partner Asger Jorn. Event details are forthcoming.&nbsp;</p> <p style="text-align: justify;">In conjunction with the exhibition, Blum &amp; Poe will publish a catalog that will include new essays by the exhibition&rsquo;s curator Alison M. Gingeras and three leading scholars who represent a new generation of art historians specialized in Asger Jorn, Helhesten, Belgian Revolutionary Surrealism, and Cobra&mdash;Marie Godet, Kerry Greaves, and Karen Kurczynski. The book will be co-published by DelMonico Books &bull; Prestel and will be available in Spring 2016.</p> Sat, 24 Oct 2015 15:50:33 +0000 Ansel Adams, Edward S. Curtis, Edward Weston - Bowers Museum - May 16th - November 29th <p style="text-align: justify;">The lure of the American West has entranced many throughout the course of history. Ansel Adams, Edward S. Curtis and Edward Weston were held captive by its promise, beauty and peril.</p> <p style="text-align: justify;"><em>Adams, Curtis and Weston: Photographers of the American West</em> documents the changing landscape of the west and the art of photography through time as well as through the lenses of three of the most celebrated 20th century American photographers.</p> Sat, 31 Jan 2015 07:05:30 +0000 - Bowers Museum - September 19th - January 3rd, 2016 <p style="text-align: justify;">Bamboo is a quintessential part of Japanese culture, shaping the country's social, artistic, and spiritual landscape. Although bamboo is an abundant natural resource, it is a challenging artistic medium with less than 100 professional bamboo artists in Japan today.</p> <p style="text-align: justify;">Mastering the art form requires decades of meticulous practice learning how to harvest, split, and plait the bamboo. <em>Modern Twist: Contemporary Japanese Bamboo Art</em> brings 17 of these artists to North American audiences. <em>Modern Twist</em> is an exhibition exploring the innovative shape bamboo art has taken since the mid-twentieth century. Curated by Dr. Andreas Marks, Minneapolis Institute of Arts and organized by International Arts and Artists, <em>Modern Twist</em> features a stunning selection of works from the Clark Center for Japanese Art and Culture. With rare wall-hung installations and pieces never before seen in the United States, this exhibition both engages and educates audiences about a vibrant cultural art form.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Modern Twist</em> was curated by Dr. Andreas Marks, Minneapolis Institute of Arts, Collection of the Clark Center, and tour organized by International Arts &amp; Artists, Washington, DC. The exhibition was generously supported by the E. Rhodes &amp; Leona B. Carpenter Foundation. The catalogue was supported by the Nomura Foundation, Japan Foundation, Los Angeles, Eric and Karen Ende, Alexandra and Dennis Lenehan, Gilda and Henry Buchbinder, and the Snider Family Fund.</p> Sun, 21 Jun 2015 14:22:19 +0000 - Bowers Museum - October 31st - February 21st, 2016 <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 Gustavo Rimada - C.A.V.E. Gallery - November 14th - December 6th <div style="text-align: justify;">C.A.V.E. Gallery is pleased to present "Dark Paradise" - the much anticipated solo exhibition by Gustavo Rimada. &nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">"Dark Paradise" is the gallery's fourth exhibition with Rimada - whose captivating work, an explosion of rich color and symbolism, has attracted the attention of thousands of worldwide fans.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Rimada's art is influenced by his Mexican heritage, pin-up artists such as Gil Elvgren, Olivia and Alberto Vargas, and tattoo art.&nbsp;Rimada was born in Torreon, Mexico in 1981, and at the age of 7 moved to&nbsp; Indio, California with his family. His creative skills were recognized early on, and in 2001, he attended the Art Institute of LA in Santa Monica, pursuing a BA in computer animation. While in school, 9/11 occurred and his heart was no longer in animation or school. In 2002, Gustavo joined the US Army, which led him to Alaska. After three years in the service, Gustavo began working in a tattoo shop. Through tattooing, he found his passion for art again. His commitment towards working as a fine artist led him back to the exploding art scene in Southern California, where he has become one of the more talented and promising emerging artists.</div> Fri, 13 Nov 2015 19:20:23 +0000