ArtSlant - Current exhibits en-us 40 Candice Lin - 18th Street Arts Center - July 13th - September 18th <p style="text-align: justify;">Los-Angeles based artist Candice Lin continues her research into the historical and contemporary use of plants in medicine, cultural objects, food, consciousness-research, and foraging practices in the Artist Lab. This exploration, ongoing from her past work, questions how socio-political interests engage with power, circulating within language and form in the specific contexts of gendered relationships to technology, nature, food, and domesticity. Lin explores the gendered and racialized figure of the healer, herb-woman, or witch, and the role of botany in relationship to empire and colonialism. She considers historical figures, such as the eighteenth-century explorer Jeanne Baret, as well as narrative characters, like Sycorax, the mother Caliban in Shakespeare&rsquo;s&nbsp;<em>The Tempest</em>. All are connected to legacies of imperialism and revolution. She traces the inheritances of these systems in botanical nomenclature and in scientific taxonomies to look at how contemporary hierarchies define and order gender, animacy, and different types of life forms.</p> <p style="text-align: justify;">In the second half of her residency, Lin will collaborate with artist Patrick Staff. Together, they will be investigating the hormonal properties of plants and their synthesis within the human body. Their research will concern phyto-hormones with which they will make a variety of substances including a natural testosterone salve harvested from local pine pollen and sculptural works that will form the basis for a film set, within which the artists will document performative actions regarding the ingestion and constitution of such substances. Lin&rsquo;s and Staff&rsquo;s collaboration will incorporate foraging and herbal medicine to examine the intersections of technologies of the body, bio-political subjectivity, and contemporary formulations of gender and sexuality, which also form the basis of Lin&rsquo;s other plant-based research project in the Artist Lab.</p> <p style="text-align: justify;"><em>Candice Lin&rsquo;s Artist Lab Residency at 18th Street Arts Center is generously supported by the California Community Foundation and the National Endowment for the Arts.</em></p> Sat, 04 Jul 2015 15:55:30 +0000 - 356 Mission - July 19th - September 13th <p style="text-align: justify;">Did you ever feel like your magazine should be looser? Masculini is a magazine so loose, it&rsquo;s barely contained by the giant cannelloni noodle poking through its center (Pasta Pin&trade;). The looseness of Masculini is evident in many senses: visually, thematically, chronologically and spiritually. Initiated in early 2013 by Nancy Lupo and Molly McFadden, Masculini Issue 0 is a set of content and random imagery collaged into the pages of twelve half-Vogue magazines from 1999. The logo, typesetting and covers are by Cassandra Cisneros. While leafing through Masculini, you may recognize such familiar faces as Stella Tennant, a young fresh Gisele B&uuml;ndchen, those great girls from the late-90&rsquo;s Prada ads, one of whom I&rsquo;m pretty sure sat in the row behind me on a plane once (in coach!). She looked great.<br /><br />Masculini offers something special for nearly every reader, from an interview with Memphis designer Natalie du Pasquier to a provocative script by Nik Gelormino, a silver gelatin print by Em Rooney, as well as nearly invisible images from Christopher Page. There&rsquo;s a plaid poster print by Cheryl Donegan, three tissue collages from Christian Holstad and two takes on defining Art&rsquo;s Minimum/The Minimum Degree by Stacie Vos and Jeffrey Stuker. You&rsquo;ll learn about the latest in office trends and how many circles there are in LA. If you hunt them all down, you could win a Masculini T-shirt! Leila Hekmat reports on the romantic chasm dividing New York and Berlin and Phyllis La Farge talks turkey about beauty. Some things that got cut out were a quiz (!) and a column called &ldquo;Untenable.&rdquo; Also, we forgot to ask Tony Conrad to write something, which was a mistake.<br /><br />Over the course of a month, one issue of Masculini will be viewable under a vitrine designed and built by Nik Gelormino. The magazine will be moved through slowly, at the rate of about 10 pages per day. For more rapid viewing, Masculini can also be found at or by appointment in the collections of the Whitney Museum of Art and The Museum of Modern Art in New York.<br /><br /><a href=";h=CAQFnxNPR&amp;enc=AZMSep3ypwzwbKZOle6yWbhBWTjY6-CQCLWRopY6pN0WKPCNmo5QnowEyAJLRr2E4o8&amp;s=1" target="_blank"></a><br /><a href="" target="_blank"></a></p> Sat, 18 Jul 2015 16:51:46 +0000 - A + D Museum - August 20th - November 6th <p style="text-align: justify;">On August 20, A+D Architecture and Design Museum&gt;Los Angeles will present <em>Shelter: Rethinking how we live in Los Angeles</em>, featuring the imaginative work of Los Angeles-based architecture and design practices Bureau Spectacular, LA Mas, Lorcan O'Herlihy Architects, MAD Architects, PAR, and wHY.<br /><br />The inaugural exhibition at A+D's new home in the Los Angeles Arts District, Shelter challenges these architects and designers to create new residential solutions responding to the city's increasing density, decreasing buildable land, new transit offerings, growing diversity, ballooning costs, and intense environmental challenges. To engage these conditions, Shelter participants will create single or multi-family plans for a stretch of the Wilshire Corridor along Metro's Purple Line extension, and along the Los Angeles River, between Downtown Los Angeles and Griffith Park; exploring fresh new inspirations for LA's diverse housing typologies.<br /><br />Shelter seeks to change our expectations for living in Los Angeles within the contemporary context of the expanding metropolis. Proposals - including large-scale models, drawings, images, and video - will demonstrate how new forms of shelter can respond to changes in both the cultural fabric and physical landscape of the city, better addressing its pressing issues.</p> <p style="text-align: justify;">Shelter: Rethinking how we live in Los Angeles<em> is organized by A+D Architecture and Design</em> Museum&gt;Los Angeles and co-curated by Sam Lubell and Danielle Rago. Exhibition design by the AECOM Los Angeles Design Studio.</p> Mon, 31 Aug 2015 09:26:13 +0000 - Annenberg Space for Photography - June 6th - September 20th <div class="readmore_first"> <p style="text-align: justify;"><em>Emerging</em> presents images by more than 90 emerging photographers from around the world who bring a fresh perspective and creative techniques to professional photography. The exhibit explores how a new generation of photographers examines a variety of topics, from the personal to the global: youth culture, family, the environment, economic uncertainty, conflict and civil unrest, and the nature of the photographic image.</p> </div> <div class="readmore_rest" style="display: block; text-align: justify;"> <p><em>Emerging</em> was organized in partnership with <a style="line-height: 1.6;" href="" target="_blank"><em>Photo District News</em> (<em>PDN</em>)</a>, the award-winning publication for professional photographers. The exhibit is comprised of works from photographers who have been featured in &ldquo;<em>PDN&rsquo;</em>s 30,&rdquo; <em>Photo District News&rsquo;</em> annual selection of 30 emerging photographers who represent a range of styles and genres and have demonstrated a distinctive vision, creativity, and versatility. The photographers in <em>Emerging</em> come from 30 countries and while all are still relatively new to professional photography, many have already earned prestigious accolades.</p> </div> <div class="readmore_rest" style="display: block; text-align: justify;"> <p>In addition to nearly 100 prints, the exhibition will include videos, multimedia pieces, self-published books, zines and a changing slideshow of images posted on social media illustrating the many ways emerging photographers have shown and shared their work.</p> </div> <div class="readmore_rest" style="display: block;"> <p style="text-align: justify;"><em>The exhibition is guest curated by PDN leadership: Editor in Chief, Holly Stuart Hughes; Senior Editor, Conor Risch; Photo Editor, Amy Wolff; Executive Editor, David Walker and Creative Director, Darren Ching.</em></p> </div> Mon, 31 Aug 2015 09:29:13 +0000 Mónica Mayer, Victor Lerma - Armory Center for the Arts - May 9th - September 6th <p style="text-align: justify;"><em>Pinto mi Raya</em>&nbsp;(&ldquo;to draw the line&rdquo;) is an art/archive project founded by Mexico City-based artists M&oacute;nica Mayer and Victor Lerma to &ldquo;lubricate the Mexican Art System.&rdquo; It began as an artist-run gallery in 1989, at a time when both galleries and museums were particularly closed to non-traditional forms of art. It became a successful digital art editorial project in the early 1990s, producing portfolios like<em>Mimesis, Aquerotipo</em>, and&nbsp;<em>EMPA</em>. From its inception,&nbsp;<em>Pinto mi Raya</em>has also served as a platform from which Mayer and Lerma produce performances that deal with different aspects of the art system, such as the relationship between curators and critics with artists, or the need to document and archive ephemeral contemporary art. At points in its life&nbsp;<em>Pinto mi Raya</em>&nbsp;has also transformed into radio and television programs, and now serves as a home for an array of workshops and educational projects on performance art, feminist art, and activism.<br /><br />The&nbsp;<em>Pinto mi Raya</em>&nbsp;archive has been a central aspect of the project. In addition to their own documents and collection of catalogues about and invitations to exhibitions of Mexican art, Mayer and Lerma have, since 1991, collected the art criticism, reviews, and news published in major local newspapers. The archive now totals approximately 300,000 documents. In 2011, to celebrate their 20th anniversary, Mayer and Lerma put together&nbsp;<em>Archivo Activo</em>, a compilation of nearly 11,000 articles divided into themes such as women artists, performance art, political art, architecture, installation, artist-run spaces, art and education, and digital art. This comprehensive project was donated to several Mexican universities and museums; along with the donation Mayer and Lerma have been giving workshops and lectures on art and archive, and archive and gender.<br /><br />While at the Armory, Mayer and Lerma will host a series of conversations and workshops with Los Angeles-based artists, sharing their experiences over the past 25 years with the&nbsp;<em>Pinto mi Raya</em>project and focusing on artist-run spaces and the artists&rsquo; work in the archive.<br /><br />A related exhibition in the Armory&rsquo;s Mezzanine Galleries will feature a selection of the archives&rsquo; documents that focuses on a series of very personal performances Mayer and Lerma have presented since 1980, on their wedding day, and are based on their personal and art-making relationship. This section of the archive was selected for the exhibition because their wedding invitation was printed on the same letterpress equipment that is now housed and used daily at the Armory, which was previously used at the Woman&rsquo;s Building where Mayer studied at the Feminist Studio Workshop in the late 1970s.<br /><br />Drawing from their earlier life experiences in Los Angeles, another component of this residency will consist of work to extend the material in the&nbsp;<em>Pinto mi Raya</em>&nbsp;archive. While in residence, the artists will explore materials at Roosevelt High in Los Angeles, which Lerma attended, and at Otis College of Art and Design, which houses the slide and ephemera archive of The Woman&rsquo;s Building, with which Mayer was very active.<br /><br />This residency and exhibition dovetails with the Armory&rsquo;s&nbsp;<em>Aesthetic Experiments and Social Agents: Renegade Art and Action in Mexico in the 1990s</em>, part of the Getty&rsquo;s&nbsp;<em>Pacific Standard Time: LA/LA initiative</em>, which will result in a series of exhibitions in the Southern California region in 2017.&nbsp;<em>Aesthetic Experiments and Social Agents</em>&nbsp;focuses on the engaged social spaces created by alternative art practices in Mexico in the 1990s, highlighting the emerging and overlapping relationships and outcomes between artistic and activist practices at that time.<br /><br />This exhibition is supported by the City of Los Angeles, Department of Cultural Affairs and is part of the Getty&rsquo;s&nbsp;<em>Pacific Standard Time: LA/LA</em>initiative.</p> Thu, 02 Apr 2015 16:46:47 +0000 Dave Hullfish Bailey, CamLab, Ken Ehrlich & Mathias Heyden, Rafa Esparza, Robby Herbst, Olga Koumoundouros, Liz Nurenberg, Michael Parker - Armory Center for the Arts - May 9th - September 6th <p>This group exhibition focuses on Victor Papanek&rsquo;s pioneering influence on sustainable, socially responsible, human-centered design and the relevance of his oeuvre to current discourses in contemporary art, particularly in providing a critical framework for an object-oriented social practice. The project asserts Papanek&rsquo;s legacy as a galvanizing force in contemporary visual art and social practice.</p> <p>Victor Papanek (1923, Vienna - 1998, Lawrence, KS) was an American designer, critic, and educator. He studied design at Cooper Union and Massachusetts Institute of Technology, was briefly a student of Frank Lloyd Wright, taught and lectured widely around the country and in Europe, and had a deep impact here in Southern California, where he was a founding dean at California Institute of the Arts. He found a strong ally in Buckminster Fuller, who wrote the introduction to his book&nbsp;<em>Design for the Real World</em>, which remains one of the most widely read books in the field of design, particularly in universities.</p> <p>Papanek did not believe in patents, feeling they stymied innovation and prevented urgent design solutions from reaching their audiences.&nbsp;<em>After Victor Papanek: The Future Is Not What It Used To Be</em>&nbsp;pairs reproductions of Papanek&rsquo;s original unpatented plans and drawings with realized projects by artists and art teams that offer interpretations of those original plans, using Papanek&rsquo;s works as &ldquo;prompts&rdquo; or &ldquo;scores&rdquo; for the creation of new work by contemporary artists.</p> Wed, 22 Apr 2015 20:00:41 +0000 Victor Papanek - Armory Center for the Arts - May 10th - September 6th <p style="text-align: justify;">This group exhibition will focus on Victor Papanek&rsquo;s pioneering influence on sustainable, socially responsible, human-centered design and the relevance of his oeuvre to current discourses in contemporary art, particularly in providing a critical framework for an object-oriented social practice. The project asserts Papanek&rsquo;s legacy as a galvanizing force in contemporary visual art and social practice.</p> <p style="text-align: justify;">Victor Papanek (1923, Vienna - 1998, Lawrence, KS) was an American designer, critic, and educator. He studied design at Cooper Union and Massachusetts Institute of Technology, was briefly a student of Frank Lloyd Wright, taught and lectured widely around the country and in Europe, and had a deep impact here in Southern California, where he was a founding dean at California Institute of the Arts. He found a strong ally in Buckminster Fuller, who wrote the introduction to his book&nbsp;<em>Design for the Real World</em>, which remains one of the most widely read books in the field of design, particularly in universities.</p> <p style="text-align: justify;">Papanek did not believe in patents, feeling they stymied innovation and prevented urgent design solutions from reaching their audiences.<em>After Victor Papanek: The Future Is Not What It Used To Be</em>&nbsp;pairs reproductions of Papanek&rsquo;s original unpatented plans and drawings with realized projects by artists and art teams that offer interpretations of those original plans, using Papanek&rsquo;s works as &ldquo;prompts&rdquo; or &ldquo;scores&rdquo; for the creation of new work by contemporary artists.</p> <p style="text-align: justify;">This exhibition is supported by The National Endowment for the Arts</p> Thu, 02 Apr 2015 16:48:34 +0000 Nancy Ravenhall Johnson - Bowers Museum - March 13th - September 27th <p style="text-align: justify;">Have you ever wondered who was behind all of the timelines and creative graphics that make an exhibition come to life? This exhibition gives you the unique chance to learn about the creative process of the Bowers Museum&rsquo;s former Director of Creative Design, Nancy Ravenhall Johnson.</p> <p class="Default" style="text-align: justify;"><em>Where Ends Meet </em>is about ingenuity and artistic inspiration; it reveals a journey that thread through a graphic designer's career and will be on display at the Bowers Museum from March 13 until August 16, 2015. From 1987 to 2012, Nancy Ravenhall Johnson grew and mastered a variety of positions at the Bowers Museum. She started as Gallery Store Manager, then Graphic Designer, VP of Public Relations and Director of Creative Design.</p> <p class="Default" style="text-align: justify;">Nancy&rsquo;s works represent many hours of research vested in technical learning, developing graphics and timelines and overseeing their production. Examples of these will be used as backdrops to the exhibition. In the foreground will be her artistic compositions. The end result is a whimsical, joyful view through a kaleidoscope of digital arts, graphic design, and fibers.</p> <p class="Default" style="text-align: justify;">As an artist, Nancy commented, &ldquo;I have the opportunity to work with amazing artifacts and see how other cultures transformed craft into an individual art form.&rdquo; It was an experience that influenced the way she looked at the world. The objects of her creation and soulful thoughts were left as a resounding message of love for people, their culture, and folklore, whispered from her spirit.</p> <p class="Default" style="text-align: justify;">Nancy eloquently explained her creative process through basketry, which reveals her genuine nature found in both her professional and creative careers. &ldquo;My baskets are a reflection of other activities or projects in my life. I often sketch as a means to figure out how to utilize a scrap of raw material that catches my eye. Then I attempt to surrender to the process. Like walking a labyrinth, weaving is an activity that has become a metaphor for my journey in life, choosing what path to take, learning lessons along the way; it can be a time for sharing within a group or inner reflection. The results are always unexpected. It is that element of surprise in how the finished piece will turn out that keeps the process exciting.&rdquo;</p> <p style="text-align: justify;">Paul Johnson, Vice President of Exhibit Design and loving spouse to Nancy shared, &ldquo;Little did she know that she was the treasure in my life. Little did I know that I would be presenting her gifted life for the public to view and falling in love with her all over again.&rdquo; All of her experiences and vision find a way for all ends to meet.</p> Sun, 21 Jun 2015 14:18:28 +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 - June 13th - September 13th <p style="text-align: justify;">The Minnesota Historical Society, in partnership with the Atlanta History Center, the Chicago History Museum and the Oakland Museum of California, brings you a major exhibit documenting this pivotal year. The 1968 Exhibit is an ambitious, state-of-the-art , multimedia exhibit that looks at how the experiences of the year fueled a persistent, if often contradictory, sense of identity for the people who were there. It is the unsettled nature of the debate about damage done or victories won that makes an exhibit on this subject so compelling and urgent.</p> <p style="text-align: justify;">The social forces that swirled through the turbulent 1960s crested in 1968. It was a turning point for a generation coming of age and a nation at war. The year saw the peak of the Vietnam War, the assassinations of Dr. Martin Luther King Jr. and Robert Kennedy, riots at the Democratic National Convention, assertions of Black Power at the Olympic Games and feminist demonstrations at the Miss America pageant. Hair opened on Broadway, Laugh-In debuted and became the number-one show on TV, Bonnie and Clyde and The Graduate picked up Oscars and Johnny Cash gave a legendary performance at Folsom Prison. President Lyndon Johnson spoke of a country "challenged, at home and abroad" in his State of the Union address; his successor, Richard Nixon, promised in his nomination acceptance speech that "the long, dark night for America is about to end." In the closing days of the year, we saw Earth in its entirety for the first time from the window of the Apollo 8 space capsule.</p> <p style="text-align: justify;">The 1968 Exhibit is a traveling exhibit organized by the Minnesota History Center in partnership with the Atlanta History Center, the Chicago History Museum and the Oakland Museum of California. The exhibit is supported by major grants from the National Endowment for the Humanities and the Institute of Museum and Library Services.</p> Sun, 21 Jun 2015 14:20:09 +0000 USC Roski - California African American Museum - May 28th - September 6th <p>&nbsp;</p> <p>The California African American Museum (CAAM), in collaboration with the USC Roski School of Art and Design, presents &ldquo;Shared Otherness,&rdquo; an exhibition of work by USC Roski students.&nbsp;&nbsp;This is the second&nbsp;such collaboration between USC Roski and CAAM&nbsp;as part of the CAAM Courtyard Series. &ldquo;Shared Otherness&rdquo; is a mixed-media exhibit referencing the communities to which USC and CAAM belong. USC artists and designers mix conceptual and concrete ideas, addressing their immediate geographical context while also contributing their voices to larger, national and international dialogues.&nbsp; Through &ldquo;Shared Otherness,&rdquo; the students hope to meet the diversity and change ever present around them with an exhibition equally as dynamic and multi-faceted.&nbsp;The students are guided by the collaborative professional team of Sherin Guirguis, Assistant Professor of Art at the USC Roski School of Art and Design, Vida L. Brown, Visual Arts Curator, CAAM and Ed Garcia, Exhibition Supervisor, CAAM. &nbsp;</p> <div class="yj6qo ajU"> <div class="ajR" data-tooltip="Show trimmed content">&nbsp;</div> </div> Thu, 21 May 2015 00:03:11 +0000 Group Show - California African American Museum - August 13th - April 24th, 2016 <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 - California African American Museum - August 27th - February 28th, 2016 <p style="text-align: justify;">CAAM celebrates African American cinematic moments from the 1940&rsquo;s through an independent lens.</p> <p style="text-align: justify;">This exhibition features over 80 film stills and related photographs from the museum&rsquo;s unique collection of African American films from the 1940&rsquo;s, a time of limited character roles and access to the mainstream movie industry. Typically referred to as &ldquo;Race Films,&rdquo; these independent productions were created with a black cast and for an African American audience. Come explore the distinct images and stories told more than 65 years ago as part of the broader African American filmmaking tradition. Among the films selected are <em><strong>Beware</strong></em> (1946), showcasing musical pioneer Louis Jordan, <em><strong>The Betrayal</strong></em> (1948), directed and written by Oscar Micheaux, and <em><strong>I Ain&rsquo;t Gonna Open That Door</strong></em> (1949), starring Stepin Fetchit.</p> Mon, 31 Aug 2015 09:37:25 +0000 Jeffrey Vallance - CB1 Gallery - July 25th - September 5th <p>For his exhibition in the main gallery at CB1 Gallery, Jeffrey Vallance will exhibit a series of &ldquo;Spirit Photos&rdquo; relating to each dead artist channeled during a series of s&eacute;ances. Historically spirit photography came in vogue around the end of the 19th century when photography was in its infancy. The early photographers use of double exposure and trick photography now looks quaint to 21st century eyes. In this new series, Vallance has endeavored to capture the essence of the of the spirit artists he encountered using digital technology. Each &ldquo;Spirit Photo&rdquo; represents what Vallance saw in his mind&rsquo;s eye during the s&eacute;ances, including specific imagery and details described by the spirits.</p> <p>In gallery 2 Vallance presents his series of &ldquo;Spirit Objects&rdquo; or relics that Vallance felt he was directed to make by the spirits. For example, one relic relates to the Spirit of Marcel Duchamp&rsquo;s concern for his lost cuff links. For another relic, Vallance follows the Spirit of Jackson Pollock&rsquo;s advice to &ldquo;draw sea creatures.&rdquo; Also shown in gallery 2 is the feature length video of the London s&eacute;ance.</p> <p>Since the late 1970s, Jeffrey Vallance has been interested in paranormal phenomenon. When Jeffrey was growing up, tales of his two family members that were professional psychics surrounded him. In 1994 after the death of President Nixon, Vallance became interested in the story of the haunting of the Richard Nixon Presidential Library in Yorba Linda, California. For his first s&eacute;ance, Vallance worked with a psychic to channel the ghost of Nixon. At a more recent s&eacute;ance performance in London, Vallance had five psychic mediums channel five famous dead artists including Leonardo da Vinci, Marcel Duchamp, Frida Kahlo, Vincent van Gogh and Jackson Pollock. The spirit artists were asked a series of questions concerning art in the afterlife and the current art market. By the end of the performance, the spirit artists were arguing and nearly brawling with each other.</p> <p>Although Jeffrey Vallance has been on the forefront of paranormal art for over three decades, he is Fortean who neither believes nor disbelieves, but like an anthropologist he reports on numerous phenomenon.<br />In conjunction with the exhibition, Jeffrey Vallance will do a new performance with legendary psychic Joseph Ross who will channel dead art critics to hopefully review the show. The performance will be at the gallery on August 8 at 8 p.m.</p> <p>Jeffrey Vallance&rsquo;s work blurs the lines between object making, installation, performance, painting, writing and curating. Critics have described his work as an indefinable cross-pollination of many disciplines. Often his intervention/infiltration projects are site-specific including burying a frozen chicken at a pet cemetery; traveling to Polynesia to research the myth of Tiki; having audiences with the king of Tonga, the queen and president of Palau and the presidents of Iceland; creating a Richard Nixon Museum; traveling to the Vatican to study Christian relics; installing an exhibit aboard a tugboat and at a Christian Dinosaur museum in Sweden. In Las Vegas Vallance curated shows in the fabulous Vegas Strip museums, such as the Liberace, Cranberry, Magic and Clown Museum. In Lapland Vallance constructed a shamanic &ldquo;magic drum,&rdquo; In Orange County, Mr. Vallance curated the only art-world exhibition of the Painter of Light&trade; entitled &ldquo;Thomas Kinkade: Heaven on Earth.&rdquo; In 1983, he was host of MTV&rsquo;s The Cutting Edge and appeared on NBC&rsquo;s Late Night with David Letterman. In 2004, Vallance received the prestigious John Simon Guggenheim Memorial Foundation award.</p> <p>In addition to exhibiting his artwork, Mr. Vallance has written for such publications and journals as Art issues, Artforum, L.A. Weekly, Juxtapoz, Frieze and Fortean Times. He has published over 10 books including: Blinky the Friendly Hen, The World of Jeffrey Vallance: Collected Writings 1978-1994, Christian Dinosaur, Art on the Rocks, Preserving America&rsquo;s Cultural Heritage, Thomas Kinkade: Heaven on Earth, My Life with Dick, Relics and Reliquaries, and The Vallance Bible.</p> <p><a href="" rel="nofollow">Exhibition Page</a></p> Mon, 20 Jul 2015 20:07:36 +0000 Emily Davis Adams - CB1 Gallery - July 25th - September 5th <p>On view in CB1 Gallery&rsquo;s Project Room is <em>Painting of Levitated Mass</em>, Emily Davis Adams&rsquo; second one-person show with CB1. The exhibition consists of a single work that directly references Michael Heizer&rsquo;s installation at the Los Angeles County Museum of Art.</p> <p>In <em>Painting of Levitated Mass</em>, Adams presents the viewer with an oil painting of the boulder from the famous sculptural work, offering a challenge to Heizer&rsquo;s assertion that &ldquo;size is real, scale is imagined&rdquo; and intentionally raising questions about realism, representation, and artistic media in the context of contemporary art making.</p> <p>&ldquo;I&rsquo;m attracted to the paradox of the painting as both a representation of an earthwork and as an earthwork itself,&rdquo; says Ms Adams. &ldquo;Ultimately, my work and Heizer&rsquo;s &lsquo;Levitated Mass&rsquo; are both essentially of the same materials&mdash;earth &ndash; and the experience of viewing each piece has everything to do with context.&rdquo;</p> <p>Emily Davis Adams&rsquo; most recent paintings of earthen forms and surfaces&ndash; rocks, minerals and composites (granite, concrete, marble, etc)&ndash; bear the marks of human presence and the passage of time. The paintings serve as records while also exploring each subject&rsquo;s relationship to the languages of visual art. Her subjects also include Robert Irwin&rsquo;s landing stones for his garden at the Getty Museum, the fa&ccedil;ade of Plymouth Rock, the sidewalk around her studio in Brooklyn, as well as a piece of Trinitite from the test site in New Mexico. The paintings range in format from large-scale canvases to scrolls to miniature watercolors, and all share a high degree of observed detail from direct observation.</p> <p>Emily Davis Adams was born in San Francisco, California. She studied art at the University of California, Los Angeles, UC Berkeley, and the New York Academy of Art. Her paintings draw on personal history, art history and environmental history, and investigate aspects of contemporary American landscape and their relationship to the languages of visual art. She holds a BS in environmental science and policy and an MFA in visual art. She currently lives and works in Brooklyn, New York, and is an adjunct assistant professor in the art department at Queens College.</p> <p><a href="" rel="nofollow">Exhibition Page</a></p> Mon, 20 Jul 2015 20:13:12 +0000 Robert Overby - Cherry and Martin - August 8th - September 19th <p style="text-align: justify;"><strong>Cherry and Martin is pleased to present Robert Overby (1935-1993):<em> See Robert</em>, a solo exhibition spanning three decades of the formidable artist's career including sculptures, works on paper, neon and paintings.</strong><br /> <br /> Like many earlier artists, Robert Overby has spent years trying to emulate old master techniques of surface and paint handling. While a student at the Chicago Art Institute in the 50&rsquo;s he roamed the painting galleries. "Although I&rsquo;ve been doing fine art only for a few years (1969)," he says, "I can still remember liking what I still like today. Even as advertising students, the Museum galleries always seemed to be part of our assignments.&rdquo; In fact, the frustration of his inability in his attempts to blend oil painting and achieve the &lsquo;look&rsquo; sent him on some interesting tangents for the first few years of his fine artists career. Then a friend of a friend gave him some home-brew painting medium formulas and voila!, old master technique. He still makes medium and paint. "It&rsquo;s cheaper,&rdquo; he says.<br /> <br /> Overby&rsquo;s interest in Baroque era paintings doesn&rsquo;t, however, extend to their narrative content, "I have to reconstruct the painting in my mind to see whether there are putti or not, but the form and feeling are very strong,&rdquo; he remarks, "and the drawing," he adds. Since ancient art concerns seems so far removed from today&rsquo;s Overby feels that the precedent for realistic art is primarily the mass media, "Photography in particular was important to me as a designer - shapes I didn&rsquo;t draw myself I had photographed - and as a way of seeing it still fascinates me.&rdquo; Another source is commercial illustration, pocket book covers in particular, "The 40&rsquo;s and 50&rsquo;s had some marvelous illustrators," and although their style of painting had died out for years, "it&rsquo;s come booming back on the cover of romance novels,&rdquo; he says happily. "When I was going to school here in Los Angeles, there were also great handpainted billboards around, like the Gas Company boards, for instance. There&rsquo;s a (billboard painting of the) head of &lsquo;David&rsquo; at Forest Lawn in Glendale now that&rsquo;s a knockout, a real good painter." Overby continues, "Most representational artists shy away from the commercial stuff&hellip;I like it!&rdquo; So much for precedent.<br /> <br /> It all has to do with the accessibility of image, Overby says, and he sees nothing wrong with the old saws, it&rsquo;s what you do with them that counts, he claims. Overby&rsquo;s painted collage images belie their source and original intent, like as not forming a kind of grim sociological footnote. His art in the 70&rsquo;s had something to do with the burgeoning of pornography then and still extant. Plus it turned up at his fingertips, "My Hollywood Boulevard studio - at the crotch of Hollywood and Sunset - had a sometime porn printer nearby. I used to raid his dumpster,&rdquo; he says, "The press sheets I&rsquo;d find were all the things that could go wrong with a printing press; smears caused by dryers and water balance problems, muscular and registry, images that looked like what some N.Y. painters are doing today,&rdquo; he laughs.<br /> <br />One direction Overby&rsquo;s art is taking at present time is in what he calls his &lsquo;Disparate Women&rsquo; series painted from paperbacks,"Late 50s paperback covers are something else,&rdquo; he comments, "sexy woman victims, and we wonder at our present reality." Overby tends to be an observer, even a voyeur, rather than a moralizer, which puts him at odds with some. He seldom glosses his content, bringing up serious questions of responsibility. On this he takes the First Amendment.*</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">*All of the above text was written by Robert Overby at some point in the 1980&rsquo;s and released by him as an informal, quasi-promotional pamphlet (one of a set of six pamphlets published by the artist). At the time he wrote these words, Overby had chosen to operate largely outside the art world. He was judge and jury for himself and his artistic output, much as he had been since the publication of his &lsquo;red book,&rsquo; <span style="text-decoration: underline;">336 to 1: August 1973-July 1969</span> in 1974. Robert Overby passed away in 1993.<br /> <br /> Overby&rsquo;s work was recently the subject of a major solo museum survey, <em>Robert Overby: Works 1969 &ndash; 1987</em>, curated by Alessandro Rabottini [Centre d&rsquo;Art Contemporain (Geneva, Switzerland); travelled to Galleria d'Arte Moderna e Contemporanea di Bergamo (Bergamo, Italy), Bergen Kunsthall (Bergen, Norway) and Le Consortium (Dijon, France)]. Robert Overby: Works 1969 &ndash; 1987 was accompanied by a major publication of the same title. Robert Overby&rsquo;s work is in such collections as Metropolitan Museum of Art (New York); Museum of Modern Art (New York); Whitney Museum of American Art (New York), Weatherspoon Art Museum (Greensboro); Art Institute of Chicago (Chicago); San Francisco Museum of Modern Art (San Francisco); Museum of Contemporary Art (Los Angeles); Los Angeles County Museum of Art (Los Angeles); Hammer Museum (Los Angeles); and Museum of Contemporary Art (San Diego).</p> Sat, 25 Jul 2015 17:20:11 +0000