ArtSlant - Current exhibits en-us 40 William F. Cody - A + D Museum - July 10th - September 25th <div class="vc_row wpb_row vc_row-fluid oi_inner_without_paddings"> <div class="wpb_column vc_column_container vc_col-sm-12"> <div class="wpb_wrapper"> <div class="wpb_text_column wpb_content_element "> <div class="wpb_wrapper"> <p style="text-align: justify;"><em>Fast Forward: The Architecture of William F. Cody</em> (1916 &ndash; 1978) marks the architect&rsquo;s 100th birthday and celebrates his seminal contribution to modern architecture. Before graduating from USC in 1942, Cody had already distinguished himself as an expert draftsman and designer while working for Cliff May on housing developments in Los Angeles. An invitation to design a hotel in Palm Springs brought Cody to the desert in 1946 where he remained active until his death in 1978. From breakout jobs like the Del Marcos Hotel (1946), to inventive country club concepts like the Eldorado (1957), to houses for celebrities, Cody&rsquo;s designs defined cutting edge, midcentury living. His work is inextricable from Palm Springs, the Bay Area, and the American Southwest, and although his aesthetic is often referred to as &ldquo;Desert Modernism&rdquo; his architectural range was broader and more diversified. Cody&rsquo;s international imprint can be seen in important commissions in Mexico, Cuba, and smaller projects in London. This exhibition honors the full scope of this work through rare examples of his masterful color renderings of personal sketches and architectural commissions, photographs of now-lost structures, and examples of vanguard building systems that included beams and roof slabs so thin that his buildings seemed to defy gravity. While his architecture was disciplined and technically innovative, Cody was no rationalist. His love for entertaining was mirrored in his love for social spaces rich with patterns, texture, color, and art.</p> <p style="text-align: justify;">In this exhibition, we honor Cody&rsquo;s lifelong support of education by working collaboratively with Professor Don Choi&rsquo;s architecture students at Cal Poly San Luis Obispo. Based on their archival research of the William F. Cody Papers housed at the Kennedy Library, the students are creating contemporary interpretations of Cody&rsquo;s innovations in environmental systems, typography, and furniture and lighting design. Through their experiments with new digital technologies students will be able to realize Cody&rsquo;s expressionistic designs in ways nearly impossible 50 years ago.</p> <p style="text-align: justify;"><em>Fast Forward: The Architecture of William F. Cody</em> is organized for the A+D Museum by curatorial team of Jo Lauria, Catherine Cody, Dr. Emily Bills, and Dr. Don Choi.</p> <p style="text-align: justify;"><a href="" target="_blank">READ MORE</a></p> </div> </div> </div> </div> </div> Sun, 31 Jul 2016 14:51:13 +0000 Group Show - ACME - August 6th - September 17th Sun, 07 Aug 2016 17:15:10 +0000 Ellen Lesperance, Helen Mirra - Armory Center for the Arts - June 5th - September 11th <p align="center"><strong>Craft and action resonate in <br /> <em>Ellen Lesperance, Helen Mirra, Traversing</em></strong></p> <p style="text-align: justify;"><em>Pasadena, CA</em> &ndash; The Armory Center for the Arts is proud to present <em>Ellen Lesperance, Helen Mirra, Traversing</em>, an exhibition that features new paintings and a recent interactive project by Lesperance, and an international, intergenerational weaving project organized by Mirra. The exhibition has been organized for the Armory by guest curator Cassandra Coblentz, with generous support from The Andy Warhol Foundation for the Visual Arts and the Pasadena Art Alliance. The exhibition is on view in the Armory&rsquo;s Caldwell Gallery from June 5 through September 11, 2016. A reception, free and open to the public, will take place on Saturday, June 4, 2016 from 6-8pm. </p> <p style="text-align: justify;">Through their works, Ellen Lesperance and Helen Mirra both consider the complex relationships we as individuals have to the physical and political landscapes we navigate. Each approaches her practice with a similarly poetic tone and critical consciousness. They share an interest in the material of textiles and the structural grid as well as a tendency to create work within carefully derived conceptual systems and parameters. Furthermore, for both artists, walking plays a central role in their art.&nbsp; </p> <p style="text-align: justify;">Despite their affinities, however, Mirra and Lesperance approach these concepts and activities in strikingly different ways. In this exhibition, the metaphor of traversing also refers to the idea of moving across the space between ideas and perspectives. The presentation of their projects together generates a dialogue between their ideologically distinct positions and subjectivities. Seen together, the projects offer an opportunity to compare and contrast approaches to singular, specific, and intimate physical experience versus public, shared experience.</p> <p style="text-align: justify;"><em>Ellen Lesperance, Helen Mirra, Traversing </em>highlights another conceptual underpinning of the overall project: the notions of dialogue and exchange as they relate to artistic production and exhibition curating. An accompanying publication documents these dynamics and poses questions about how we can move beyond binary models of conversation, collaboration and the nature of making and experiencing art.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About the Artists</strong></p> <p style="text-align: justify;"><strong>Ellen Lesperance</strong> (b. 1971, Minneapolis MN) lives and works in Portland, Oregon. Her work has been exhibited widely, most recently at the Drawing Center, New York, the Seattle Art Museum, the Portland Art Museum, and in the People&rsquo;s Biennial (traveling). Lesperance&rsquo;s work is represented in the following public collections: the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum; the Museum of Art and Design; the Portland Art Museum; the Bill and Melinda Gates Foundation; and at the Kadist Art Foundation. Lesperance has been honored with the Northwest regional Betty Bowen Award, a Robert Rauschenberg &ldquo;Artist-as-Activist&rdquo; Grant, a Ford Family Fellowship in the Arts, and a Pollock-Krasner Foundation Grant. She received her MFA from Rutgers University in 1999 and has received residencies at the Skowhegan School; the MacDowell Colony; the Djerassi Foundation; and the Atlantic Center.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Helen Mirra</strong> (b. 1970, Rochester NY) presently maintains a rhythm of working in a sustained relation to walking, and her loyalty is to both the metrical and the ecological. Solo exhibitions include the Renaissance Society at the University of Chicago, the Berkeley Art Museum, Kunst-Werke Berlin, Haus Konstruktiv Zurich. She has also participated in the 50th Venice Biennial, the 30th Sao Paulo Bienal, and the 12th Havana Bienal. Public projects include <em>Farbenweg, indirekter</em>, architecturally embedded among the houses of the Universalmuseum Joanneum in Graz, Austria, and <em>Instance the Determination</em> at the University of Chicago, and a GSA Art-in-Architecture project at the Minnesota-Canada border. A fifteen-year survey (1996-2010) of her work was presented at Culturgest in Lisbon Portugal in 2014. Mirra has received awards from the Louis Comfort Tiffany Foundation, the Driehaus Foundation, and Artadia, and has been a guest of the DAAD Kunstlerprogramm in Berlin, the Laurenz Haus in Basel, IASPIS in Stockholm, and OCA in Oslo, a fellow at the MacDowell Colony and Civitella Ranieri, and artist-in-residence with the Consortium of the Arts at the University of California at Berkeley, the Center for Book Arts at Mills College, and the Isabella Stewart Gardner Museum.</p> <p style="text-align: justify;"><strong>About the Curator</strong></p> <p style="text-align: justify;"><strong>Cassandra Coblentz </strong>is Senior Curator and Director of Public Engagement at Orange County Museum of Art. She has a diverse curatorial practice that champions the artistic process. Taking innovative approaches to collaborating with artists and architects, she initiated the Scottsdale Museum of Contemporary Art&rsquo;s Architecture + Art program that explores the boundaries between these creative practices, producing large-scale site-specific commissions with Hector Zamora, Annie Han, and Daniel Mihalyo of Lead Pencil Studio, as well as Jay Atherton and Cy Keener. Most recently she curated the exhibition <em>We Tell Ourselves Stories in Order to Live</em> for The Ford Family Foundation and Museum of Contemporary Craft in Portland, Oregon. She has authored and managed the production of several exhibition catalogues and publications including <em>How Deep Is Your</em>, a mid-career survey of the work of Julianne Swartz, published in 2012, and <em>Lyle Ashton Harris: Blow Up</em>,published by D.A.P. Her professional experience includes appointments at Hammer Museum, DIA Center for the Arts, Fabric Workshop and Museum, and The J. Paul Getty Museum. She received her BA in Art History and English from Cornell University and her MA from the Center for Curatorial Studies at Bard College. </p> Fri, 27 May 2016 16:30:08 +0000 Nick Herman, Christopher James - Armory Center for the Arts - June 5th - September 11th <p align="center"><strong>Knowledge production </strong></p> <p align="center"><strong>in art and science </strong></p> <p align="center"><strong>explored by THEMODELINGAGENCY</strong></p> <p>&nbsp;</p> <p style="text-align: justify;"><em>Pasadena, CA</em> &ndash; The Armory Center for the Arts is proud to present <strong>THEMODELINGAGENCY: TEKTITE &nbsp;</strong><strong>&ndash;</strong><strong><em>reflux</em></strong><em>, </em>an exhibition of new works by THEMODELINGAGENCY, a collaboration between artists Nick Herman and Christopher James. Conflating experimental art with scientific method, the drawings, paintings, sculptures, and video displayed here utilize the environment of the lab and strategies familiar to field work to produce alternative results to an existing body of scientific research. In doing so, these objects and images (re)frame the oppositional relationship between utility and art, the objective and subjective, and aesthetics and knowledge. The exhibition is on view in the Armory&rsquo;s Mezzanine Galleries from June 5 through September 11, 2016. A reception, free and open to the public, will take place on Saturday, June 4, 2016 from 6-8pm. The exhibition has been organized by Irene Tsatsos, the Armory&rsquo;s Gallery Director/Chief Curator, with generous support from The Andy Warhol Foundation for the Visual Arts. </p> <p style="text-align: justify;">During the Spring of 2013, THEMODELINGAGENCY took up residence at the Virgin Islands Ecological Research Station (VIERS), located on the remote south side of the island of St. John in the U.S. Virgin Islands. The facilities there had been built to support the 1969 project Tektite, a NASA experiment in undersea living and working envisioned as a model for the feasibility of con&shy;ducting research in space. While at VIERS, THEMODELINGAGENCY investigated both the research undertaken by the marine scientists occupying the undersea habitat as well as the concurrent NASA-funded behavioral study conducted on the submariner scientists from above. Enacting a kind of aesthetic reproduction of these tiered projects and utilizing methodologies and materials employed in conducting the original research, THEMODELINGAGENCY offers a consideration of the context and contingencies of how knowledge is produced.</p> <p style="text-align: justify;">According to the artists, the strategy of modeling is fundamental to scientific inquiry, but it is also familiar to artistic practices that employ process-based experimentation. Herman and James emphasize that while scientists use models to describe and account for phenomena, artists use modeling to <em>embody</em> phenomena and so accordingly, the <em>kind</em> of knowledge produces differs. In scientific modeling, data is gathered through controlled observation and the knowledge that is produced is considered objective. In contrast, the subjective, experimental strategies of artists create the conditions for unpredictable outcomes for reasons that may have more to do with achieving a sense of emancipation from those uncertainties than an understanding of them.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About the Artists</strong></p> <p style="text-align: justify;"><strong>Nick Herman</strong> is an artist and writer and publisher of the imprint anteprojects. He has an MFA in sculpture from Yale University and a BA in religious studies from Macalester College. He has exhibited his work nationally and internationally at The Museum of Modern Art, Antwerp, The Sculpture Center, Peter Blum Gallery, LA&gt;&lt;ART, 356 Mission, Artist Curated Projects (ACP), and Public Fiction, among others. He was an artist-in-residence at The Chinati Foundation in Marfa, Texas in 2011. &nbsp;</p> <p style="text-align: justify;"><strong>Christopher James</strong> is an artist, writer, and curator. He has been published in <em>The Believer</em>, <em>Cabinet</em>, <em>artUS</em>, and <em>X-TRA Journal of Contemporary Art</em>, where he has written about the unique conditions of art production in Southern California. &nbsp;His artwork has been exhibited in New York at The Kitchen, Brooklyn Museum, Whitney at Altria, SAUCE; Internationally at the Museo San Telmo, San Sebastian; Magasin 3, Stockholm; and Gasworks, London as well as numerous sites and galleries in Los Angeles. He was educated at Colgate University, Hamilton, New York, and the San Francisco Art Institute and was awarded a Joan Mitchell grant to attend the residency program at the Atlantic Center for the Arts. In 2010 he produced artwork as a guest of the Hotchalpine Forschungsstation Jungfraujoch, a high altitude research station located at 11,400 feet in the Swiss Alps. </p> Fri, 27 May 2016 16:35:28 +0000 - Bowers Museum - March 19th - September 5th <p style="text-align: justify;"><strong>Inside every mummy is a story waiting to be told.</strong></p> <p style="text-align: justify;">Mummies of the World portrays a once-in-a-lifetime collection of real mummies and artifacts from across the globe. This compelling collection, presented with reverence and dignity, includes ancient mummies dating back as far as 4,500 years.</p> <p style="text-align: justify;">A fascinating mix of old and new, this captivating collection bridges the gap between past and present with contributions from 10 world-renowned Institutions and two private collectors.</p> <p style="text-align: justify;">Embark on a journey into the extraordinary world of mummies and mummification. Through modern science, engaging interactive and multi-media exhibits featuring 3-D animation, explore how mummies are created, where they come from and who they were. Using state-of-the-art scientific methodology, discover how modern science enables researchers to study mummies through innovative and non-invasive ways, offering unprecedented insights into past cultures and civilizations.</p> <p style="text-align: justify;">What secrets do mummies hold about the past? What clues do they bring us for the future? A journey awaits as we unravel their mysteries.</p> Tue, 31 May 2016 16:33:34 +0000 SIT - C.A.V.E. Gallery - July 30th - August 29th <div style="text-align: justify;">In this captivating new series of work - titled VOUZ DOUZ II - Dutch artist SIT processes through painting his observations on modern society. He examines the idea of personal identity, and how focus on materialism, ego and success can make us drift away from our true intentions and unique self.<br /><br /></div> <div style="text-align: justify;">To explore these ideas, SIT creates tension between abstract and realistic figures by juxtaposing both techniques to the point where the true identity of the animals and characters in his work becomes blurred, fragmented and undefinable. This talented artist challenges us to question a world in which people and nature are in a confused state, in search of a healthier way to relate to each other.<br /><br /></div> <div style="text-align: justify;">VOUZ DOUZ is the artist's fourth solo show with C.A.V.E. Gallery.</div> <div style="text-align: justify;">------</div> <div style="text-align: justify;">The work of Dutch artist SIT is inevitably characterized by a feeling of discomfort: his paintings and sculptures show the moment when beauty loses its raison d'&ecirc;tre, and presents its darkest side. Behind his figurative images lies a disturbing analysis of our times.&nbsp;SIT portrays imaginary characters, human beings and animals that reflect our obsession with appearance, look and materialism - as well as the banality of everyday life. These characters are the victims of our visual and fast society, the technology of the visible - where human vanity stands in the way of a truly ethical life.&nbsp;<br /><br /></div> <div style="text-align: justify;">By using black and white, SIT creates sober and melancholic images, as if man - while endlessly believing in progress - has lost something on the way. At the same time, his paintings display richness: the fabrics, textures and costumes look sensual and seductive, the settings are theatrical and surreal. This ambiguity - between the temptation of beauty and our constant urge to abuse her - is the driving force behind his work.</div> Tue, 02 Aug 2016 15:08:19 +0000 Bisco Smith - C.A.V.E. Gallery - July 30th - August 29th <div style="text-align: justify;">PROCESS -&nbsp;<em>"the unplanned, unexpected, the collected in a corner, saved in a stack,</em></div> <div style="text-align: justify;"><em>the leftovers, the beauty, the magic in the scraps. Process is motion. It's the forever in</em></div> <div style="text-align: justify;"><em>the moment, until it isn't. It's the notes, the plans, the dates, maps, and scribbles. It's</em></div> <div style="text-align: justify;"><em>the paint that missed the canvas, the test before the print. It's the ghost for the catching,</em></div> <div style="text-align: justify;"><em>the zone for the coasting. Process is forever unfolding."</em>&nbsp;Bisco Smith 2016</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">BIO</div> <div style="text-align: justify;">Bisco Smith (b.1980) is an American contemporary urban artist whose work is characterized as a blend of graffiti deconstruction, abstract gesturalism, graphic design, and "visual freestyle." Using household tools learned from painting on street walls and influenced by the process of freestyle rapping and song writing, Bisco fuses the spontaneous art forms into style-writing and action painting. His technique involves energetic, expressive brushstrokes that reflect the flow of music and translates the consciousness of the moment into painted lyrics and abstract black and white works of art.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Bisco believes that art is energy transmitted through various mediums, and as such, the artist becomes the conduit. His art captures the unseen rhythms of music, the untamed energy of a moment, duality, and good intentions. He aims to bring a good intention to all his paintings in hopes that the energy will continue to resonate wherever the art lives.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Bisco has exhibited art, performed music, painted murals, and partnered with creative</div> <div style="text-align: justify;">brands and live events worldwide. Bisco's work is regularly exhibited in national galleries and has established a national and international collector base.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Bisco Smith currently lives and works in Venice, CA.</div> Tue, 02 Aug 2016 15:09:03 +0000 Danielle Abrams - Cal State Fullerton Grand Central Art Center - July 2nd - September 11th <div style="text-align: justify;">Danielle Abrams is a performance and video-based artist who grew up in Queens, New York, with her Jewish mother and African-American father. Abrams' parents raised her with their "double vision" belief, one that allowed her to view the world through the lenses of her two cultural backgrounds. Abrams'&nbsp;<em>Quadroon</em>&nbsp;derives from blind spots she discovered in her parents' "double vision" notion. This work deals with her consciousness of the disparities between the black community and the "white world."</div> <div style="text-align: justify;"><em>&nbsp;</em></div> <div style="text-align: justify;"><em>Quadroon</em>, a Louisiana Creole term for a person who is one-quarter black, is a performance/video work based on Abrams' four female voices.&nbsp;&nbsp; These voices explore the shadowy areas that lie among labeled identities. One of her personae is Dee, a precocious 15-year-old "hair girl" from Queens who, because of her skin tone, can "pass" for Greek, but can never achieve true acceptance in the Greek community. Another voice is Dew Drop Lady, a New York Jewish grandmother eager to share advice and faith in the belief that one can achieve anything, despite stereotypes that may exist. Janie Bell, Abrams' black grandmother from Ashland, Virginia, is a third character, which keeps the connection between family and heritage alive. Last, Abrams dons the guise of Butch in the Kitchen, a 30-year-old San Francisco butch dyke who, through her own special version of "Meals on Wheels," addresses issues of nurturance. Together the four voices provide the viewer an insider's portrait of the artist.</div> <div style="text-align: justify;"><strong>&nbsp;</strong></div> <div style="text-align: justify;"><strong>ABOUT THE ARTIST</strong></div> <div style="text-align: justify;"><strong>Danielle Abrams</strong>&nbsp;work has exhibited extensively throughout New York, Los Angeles, San Francisco, and for international audiences.&nbsp;&nbsp;She has performed at prestigious institutions including: Detroit Institute of the Arts, Jewish Museum, Bronx Museum of the Arts, University of Michigan Museum of Art, Queens Museum, The Kitchen, ABC No Rio, 848 Community Space, and WOW Caf&eacute; Theater.&nbsp;&nbsp;Abrams work has been supported by: New York Foundation of the Arts, Franklin Furnace, Urban Artist Initiative, Brooklyn Arts Exchange, and College Art Association.</div> <p>&nbsp;</p> Tue, 02 Aug 2016 14:54:02 +0000 Kenyatta A.C. Hinkle, Tyler Matthew Oyer - Cal State Fullerton Grand Central Art Center - August 6th - October 16th <p style="text-align: justify;"><em>Navigating the Historical Present</em>&nbsp;is a mantra for Kenyatta A.C. Hinkle&rsquo;s practice in which she creates performative situations to illustrate how she grapples with the residue of history related to the context of exploring the exotification and exploitation of the Black female body. Within her&nbsp;<em>Kentifrica Project</em>, Hinkle conducted extensive research and recreated an artifact called the Nowannago to be used as a symbol of navigating the historical present. The Nowannago is akin to the Oroborus, the serpent that eats its tale within ancient Egyptian mythology. The fight with time, spatiality and social dynamics creates a never-ending cycle in which oppositional parties have to grapple with their issues.</p> <p style="text-align: justify;">The exhibition&nbsp;<strong>Exploring The Nowannago: Kentifrican Modes of Resistance</strong><em>&nbsp;will serve as an ongoing stage and installation for video and performance featuring Kenyatta A.C. Hinkle and Tyler Matthew Oyer. This body of work involves a Kentifrican narrative that provides a social critique of how we are chained to the residue of the past and how bodies that are deemed the &ldquo;other&rdquo; through labels of queerness, racial constructions and gender constructions are treated.</em></p> <p style="text-align: justify;">A tug of war will ensue during the performance in which the Nowannago will be used to illustrate the complex push and pull of realities within historical and contemporary hegemonic impulses that seek to condemn bodies that are misunderstood. The Nowannago, the double noose, is an instrument integral to Kentifrican presence in relationship to encounters with cultures that were intrusive and different from their own. The double noose was used as a forced mating ritual between a British or Portuguese trader and a Kentifrican woman. Kentifrica, as geography, has never been formally colonized. Due to a deadly poisonous plant called the Yahwaseen located on the coast of West Kentifrica, discovery was limited to a few small nearly visible ports along the northern and eastern coasts. It was near these ports that Kentifrican individuals found themselves abducted to be a part of the slave trade and brought to North and South America. The noose became known as a Nowannago from few witnesses who managed to escape the deadly game.</p> <p style="text-align: justify;">The ritual&rsquo;s rules of engagement were carried out in the following manner:</p> <p style="text-align: justify;">&bull; A European man and a Kentifrican woman were tied together with a double noose.<br />&bull; If the Kentifrican woman succeeded in killing her captor she won her freedom.<br />&bull; If she did not succeed she became the man&rsquo;s concubine throughout the voyage and upon arrival.</p> <p style="text-align: justify;">This contemporary performance and exhibition with the Nowannago at Grand Central Art Center will transcend the boundaries of Kentifrica as a geography to serve as an abstract confrontation with the following issues and movements plaguing our local and global societies: The Black Lives Matters Movement, the current human trafficking trade, LGBTQ awareness, immigration reform, prison reform, white supremacy, genocide, xenophobia, etc.</p> <p style="text-align: justify;">As we are now witnesses to this exhibition and/or the performance, and its evolving space of participatory action, the artists invite you to respectfully add names, with the chalk provided, of those who have died at the hands of hate crimes, police brutality, human trafficking, and other unjustified actions that have taken place in our society.</p> <p style="text-align: justify;">ABOUT THE ARTISTS</p> <p style="text-align: justify;"><strong>Kenyatta A.C. Hinkle</strong>&nbsp;is an interdisciplinary visual artist, writer and performer. Her practice fluctuates between collaborations and participatory projects with alternative gallery spaces within various communities to projects that are intimate and based upon her private experiences in relationship to historical events and contexts. A term that has become a mantra for her practice is the &ldquo;Historical Present,&rdquo; as she examines the residue of history and how it affects our contemporary world perspective. Her artwork and experimental writing has been exhibited and performed at: The Studio Museum in Harlem, NY; Project Row Houses in Houston, TX; The Hammer Museum in Los Angeles, CA; The Museum of Art at The University of New Hampshire; and The Museum of the African Diaspora (MoAD) in San Francisco. Hinkle was the youngest artist to participate in the multi-generational biennial&nbsp;<em>Made in LA 2012</em>. The artists work have been reviewed by the Los Angeles Times, LA Weekly, Artforum, The Huffington Post, The Washington Post and The New York Times. Hinkle was listed on The Huffington Post&rsquo;s Black Artists: 30 Contemporary Art Makers Under 40 You Should Know. She is also the recipient of several fellowships and grants including: The Cultural Center for Innovation&rsquo;s Investing in Artists Grant, Social Practice in Art (SPart-LA), Jacob K Javits Fellowship for Graduate Study, The Fulbright Student Fellowship, and The Rema Hort Mann Foundation&rsquo;s Emerging Artists Award. Kenyatta A.C. Hinkle is represented by Jenkins Johnson Gallery in San Francisco, CA and New York City.</p> <p style="text-align: justify;">Called an &ldquo;interdisciplinary gospel immortalist&rdquo; by Kembra Pfahler of the Voluptuous Horror of Karen Black,&nbsp;<strong>Tyler Matthew Oyer</strong>&nbsp;is an artist, writer, and organizer based in Los Angeles. He has presented work at: MoMA PS1 in New York; REDCAT in Los Angeles; dOCUMENTA (13) in Kassel, Germany; Hammer Museum in Los Angeles; Kunstnernes Hus Oslo in Oslo, Norway; Art Basel Miami Beach in Florida; Bergen Kunstall in Bergen, Norway; Rogaland Kunstsenter in Stavanger, Norway; The Royal Vauxhall Tavern in London, UK; High Desert Test Sites in Yucca Valley, CA; Highways Performance Space in Santa Monica; Human Resources in Los Angeles; and the Orange County Museum of Art. He has written works of performance including&nbsp;<em>GONE FOR GOLD</em>,&nbsp;<em>Shimmy Shake Earthquake</em>, and&nbsp;<em>100 Years of Noise: Beyonc&eacute; is ready to receive you now</em>. Oyer is represented by Cirrus Gallery and his work is in the permanent collection of the Museum of Modern Art (NY). Oyer is the founder of tir journal, an online platform for queer, feminist, and underrepresented voices. He received an MFA from the California Institute of the Arts in 2012. He is currently working on his first movie,&nbsp;<em>Conquest of the Universe or When Queens Collide</em>.</p> Tue, 02 Aug 2016 14:49:50 +0000 Jesse Kees - Cal State Fullerton Grand Central Art Center - August 6th - October 16th <p style="text-align: justify;">Created during his time as an artist-in-residence at Grand Central Art Center, Jesse Kees new body of work&nbsp;<em>Days</em>&nbsp;involves field and studio recordings, processed and edited into a series of sound pieces that can be observed as a loose narrative about his experience in the Santa Ana area.&nbsp; The works draw upon Kees emotions felt during the time period of July 5-14, 2016.</p> <p style="text-align: justify;">Related drawings were made to accompany the sound pieces as objects of meditation.</p> <p style="text-align: justify;"><strong>ABOUT THE ARTIST</strong><br /><strong>Jesse Kees</strong>&nbsp;is a Baton Rouge, Louisiana born artist working in both aural and visual art.</p> Tue, 02 Aug 2016 14:51:31 +0000 Overton Loyd - California African American Museum - March 17th - September 18th <p style="text-align: justify;"><span style="font-size: small;">Overton Loyd is an artist and illustrator widely known for designing a variety of caricatures and album covers, most notably for George Clinton and the Parliament-Funkadelic collective. Rhythm of Vision: The Artistry of Overton Loyd is the first exhibition to reveal the full trajectory of Loyd&rsquo;s complex and varied practice in painting, drawing, illustration and album cover design. The exhibition features more than fifty works and celebrates a career that now spans four decades.</span></p> <h6 style="text-align: justify;"><span style="font-size: small;">Exhibition Programs</span></h6> <p class="panel-p" style="text-align: justify;"><span style="font-size: small;"><strong>Saturday, March 19, 2016, 1 PM &ndash; 4:30 PM</strong></span><br /><span style="font-size: small;">&ldquo;<em>Beyond the Nose: A Look Into My Creative Eccentric Life</em>&rdquo; One-on-One with Overton Loyd &amp; Reception</span><br /><span style="font-size: small;">An interview with Overton Loyd, as he shares his creative journey from drawing caricatures at the Michigan State Fair to becoming a visual and multimedia artist, designer and creative director for George Clinton and Parliament-Funkadelic. (Artist talk: 1 - 2:30PM) (Reception: 3 - 4:30PM)</span></p> <p class="panel-p" style="text-align: justify;"><span style="font-size: small;"><strong>Sunday, March 20, 2016, 3 PM &ndash; 4:30 PM</strong></span><br /><span style="font-size: small;"><em>Exhibition Walk-through with Overton Loyd</em></span><br /><span style="font-size: small;">Loyd will walk visitors through the exhibition and share insight of the history behind several of his artworks. Visitors can also download an app and listen to Loyd&rsquo;s short narratives about a few of his artworks.</span></p> <p class="panel-p" style="text-align: justify;"><span style="font-size: small;"><strong>Saturday, April 2, 2016, 2 PM &ndash; 4 PM</strong></span><br /><span style="font-size: small;"><em>Character Design Art Workshop</em></span><br /><span style="font-size: small;">Inspired by Overton Loyd&rsquo;s character design techniques, this workshop will guide participants in creating their own music-inspired characters. The workshop is led by graffiti artists MAN ONE and writer/artist Gustavo Garcia Vaca. They collaborated with Overton Loyd on their art group Unification Theory. Ages 10 yrs &amp; up.</span></p> <p class="panel-p" style="text-align: justify;"><span style="font-size: small;"><strong>Saturday, April 16, 2016, 2 PM &ndash; 4 PM</strong></span><br /><span style="font-size: small;"><em>&ldquo;The History of Funk&rdquo; Lecture &amp; Talk Presented by Dr. Rickey Vincent</em></span><br /><span style="font-size: small;">Author, scholar, educator and radio host Dr. Rickey Vincent will provide attendees with insight into the history, culture and politics of funk music. He holds a Ph.D. in Ethnic Studies from UC Berkeley and is the author of&nbsp;<em>Funk: The Music, the People and the Rhythm of The One</em>.</span></p> <p class="panel-p" style="text-align: justify;"><span style="font-size: small;"><strong>Saturday, May 28, 2016, 1 PM &ndash; 4 PM</strong></span><br /><span style="font-size: small;"><em>&ldquo;A Day of Funk&rdquo;</em></span><br /><span style="font-size: small;">Kick back and enjoy the sounds of Funk being spun by a live DJ while experiencing the creative process as graffiti artists transform canvas into a street art masterpiece. The finished artwork will be raffled off to a lucky audience member. Nosh on fare from trendy food trucks or nearby restaurants and take a moment to visit the current exhibitions on view at CAAM.</span></p> <p class="panel-p" style="text-align: justify;"><span style="font-size: small;"><strong>Please RSVP @ 213.744.2024 to attend one or more of the events, lectures or workshops.</strong></span></p> Sat, 12 Mar 2016 10:06:43 +0000 - California African American Museum - May 11th - September 18th <p><em>Oh Snap! West Coast Hip Hop Photography</em>&nbsp;presents a focused selection of photographs that explore one of the most influential musical genres and cultural movements of the last quarter century: Hip Hop. Centering on the unique style developed on the West Coast of the United States, and particularly in California, this exhibition highlights the dynamic array of Hip Hop artists that gained national prominence in the 1990s, including Ice Cube, YoYo, Tupac, and E-40.&nbsp;<em>Oh Snap!</em>&nbsp;features more than forty works by an array of renowned photographers: Michael Miller, author of&nbsp;<em>West Coast Hip Hop: A History in Pictures</em>(2011); creative industry professional Carl Posey; Ernie Paniccioli, member of the Hip Hop Hall of Fame and considered Hip Hop royalty; Estevan Oriol, the internationally celebrated photographer and director; and Paul Chan, former photographer for Kronick Magazine. The first of its kind to be organized at CAAM, this exhibition pays homage to the distinct flavor, evolution, and influence of West Coast Hip Hop music.</p> Fri, 22 Apr 2016 23:58:23 +0000 Group Show - California African American Museum - May 11th - September 18th <div class="large-9 columns topspace"> <p style="text-align: justify;"><em>Reflections on the Self</em> illustrates the breadth of mediums and approaches that artists have used to depict the human form. From lifelike resemblance to more abstract gestures, the complexities of the human face and body have engaged generations of visual artists working in painting, printmaking, sculpture, and assemblage alike. The objects on display in this exhibition are drawn from the Museum&rsquo;s permanent collection, including generous gifts from private collectors and the artists themselves.</p> <p style="text-align: justify;">The exhibition begins with portraits of powerful historical figures such as Malcolm X, Angela Davis, and Mary McLeod Bethune. It continues with celebratory images of cultural icons&mdash;including Thelonious Monk and a New Orleans Grand Marshal&mdash;as well as references to black pride, past and present. In other works that explore spirituality and the metaphysical world, bodily forms appear idealized or fantastical. These scenes are laden with symbols that evoke Biblical stories, personal narratives, and tales of diaspora. The exhibition concludes with objects that reflect upon human relationships in both public and private contexts: a neighborhood stroll, a dance in a nightclub, piano and quilting lessons, an image of rebellion. In <em>A Family Treasure Found</em>, an installation by Dominique Moody, the artist delves into questions of familial bonds, presence, and absence through her multilayered depictions of her parents, her siblings, and herself.</p> <p style="text-align: justify;"><em>Reflections on the Self</em> provides an opportunity to reflect on the art for which the Museum proudly cares, and it prompts discussions about the relationships between past and present ideas. The collection contains nearly 4,000 works of art and history, including painting, drawing, sculpture, photography, video, installation, ephemera, and historical documents. They trace the evolution of the Museum from its inception in 1977 through the growth of its collection and the expansion of its exhibition programs, from which many works in the collection originate. Today, the California African American Museum continues to make acquisitions through gifts and the stewardship of its Collections Committee.</p> <p style="text-align: justify;">Featured artists include Daphne Arthur, Richmond Barth&eacute;, Romare Bearden, Phoebe Beasley, April Bey, John Biggers, Milton Bowens, Elizabeth Catlett, Robert Colescott, Jacques-Enguerrand Gourgue, Lyle Ashton Harris, Zeal Harris, Clementine Hunter, Suzanne Jackson, Artis Lane, Jacob Lawrence, Manuel Mendive, Dominique Moody, William Pajaud, Faith Ringgold, Alison Saar, Betye Saar, Lezley Saar, Raymond Saunders, John T. Scott, Carroll Harris Simms, Joseph Sims, Lyle S. Suter, Bob Thompson, Timothy Washington, Charles White, and Richard Wyatt.</p> </div> Sun, 31 Jul 2016 15:08:30 +0000 Group Show - CB1 Gallery - July 23rd - August 28th <p><span style="font-family: 'times new roman', times;">SUMMER REVERIE</span></p> <p><span style="font-family: 'times new roman', times;">The sun&rsquo;s sultry glow</span><br /><span style="font-family: 'times new roman', times;">make me swift footed</span><br /><span style="font-family: 'times new roman', times;">to explore the sea;</span><br /><span style="font-family: 'times new roman', times;">let me weave my dreams</span><br /><span style="font-family: 'times new roman', times;">in fair days of</span><br /><span style="font-family: 'times new roman', times;">summer.</span><br /><span style="font-family: 'times new roman', times;">&mdash;Tara Estacaan</span></p> <p>CB1 Gallery is pleased to present&nbsp;<a href="" rel="nofollow"><strong><em>Summer Reverie</em></strong></a>, a group exhibition featuring twenty-one contemporary artists, many represented by CB1 Gallery but also a few surprises&mdash;younger artists as well as several whose work has not been seen in LA in recent years. The paintings many of modest size vary in medium from traditional oil and acrylic to gold leaf and other non-traditional materials; the drawings include graphite, ink and natural pigment drawings and range from post-it note size to much larger scale drawings. The exhibition opens on July 23 and continues through August 26, 2016; an opening reception will be held on Saturday, July 23, from 3:00 until 6:00 p.m.</p> <p><a href="" rel="nofollow"><strong><em>Summer Reverie</em></strong></a>&nbsp;features work by:<br />Emily Davis Adams, Lisa Adams, Tom Betthauser,&nbsp;Ain Cocke, Jack Davidson, Georganne Deen, Merion Estes, Elliott Green,&nbsp;Nathan Hayden, Lorenzo Hurtado Segovia, Phung Huynh,&nbsp;Kevin Larmon, Michael Mancari, Annelie McKenzie, Timothy Nolan, Dane Patterson, Brett Reichman, Daniel Samaniego, Matthew Scarlett,&nbsp;Lily Simonson and Craig Taylor</p> <p>Imagine a lazy summer day with time to spare. You stroll in the park. No particular goal. Not a super orchestrated event. Just taking in the scenery, maybe the flora, maybe people watching. Maybe something or someone catches your fancy and you linger a bit longer. Maybe just lying down looking at the sky with summer clouds, letting your imagination soar. Like that lazy summer stroll you&rsquo;ve imagined, Summer Reverie allows the viewer to take in various works of art by numerous artists, linger longer in front of something that catches your eye and imagination and spend time enjoying the visual pleasure of the artists&rsquo; work.</p> <p>Paintings and drawings abound in this summer exhibition, some abstract, some tightly representational, others narrative or surreal. All intriguing and draw your eye to look closer to explore the present or imagine another world altogether&mdash;things that compose your summer daydream when you visit for our&nbsp;<a href="" rel="nofollow"><strong><em>Summer Reverie</em></strong></a>.</p> Fri, 15 Jul 2016 22:58:27 +0000 Lew Thomas, Donna Lee Phillips, Peter D’agostino, Hal Fischer - Cherry and Martin - August 6th - October 29th <p style="text-align: justify;"><strong>Cherry and Martin is proud to present &ldquo;Photography and Language,&rdquo; an exhibition featuring Lew THOMAS, Donna Lee PHILLIPS, Peter D&rsquo;AGOSTINO and Hal FISCHER. These four artists are each associated with the Photography and Language scene of 1970s San Francisco. All four artists published their work in titles produced by NFS Press, the publishing house established by Thomas and Phillips in 1976.<br />&nbsp;<br /><br /></strong>The Photography and Language scene<br /><br />While it cannot be considered a movement, Photography and Language certainly can be described as representing one of the most fascinating, yet overlooked, critical moments in West Coast conceptual art history. Vital and startling works produced by Thomas, Phillips, d&rsquo;Agostino and Fischer are as fresh today as they were when they were made almost 40 years ago. Works by these four artists ask questions about individual subjectivity and its relation to the workings of mass media; at the same time, they interrogate the definition of the art object itself, how these objects work, and how they are constructed. To our contemporary eyes, Thomas, Phillips, d&rsquo;Agostino and Fischer present intriguing complications to the accepted timeline of conceptual art as we know it, and at the same time complement our understanding of the evolution of trends later mainstreamed in 1980s art-making across the US and Europe.<br /><br />&ldquo;Photography and Language&rdquo; can also be used to describe the activities of a number of other artists working in the Bay Area at this time. These artists were brought together as a group when San Francisco Museum of Modern Art curator Van Deren Coke invited Lew Thomas to curate a show about &ldquo;Photography and Language&rdquo; and the activities of NFS Press. In addition to NFS publications and artworks by Phillips, d&rsquo;Agostino and Fischer, the &ldquo;Photographs and Words&rdquo; exhibition at SFMOMA included installations by Lutz Bacher, Meyer Hirsch, Al Nodal and Sam Samore (who wrote part of the text printed on the face of Lew Thomas&rsquo;s piece in the Cherry and Martin show). The SFMOMA exhibition catalog for &ldquo;Photographs and Words&rdquo; consisted of 7-pages camouflaged in the advertising pages of Artforum&rsquo;s 1981 summer issue; this act reiterated, in a sense, the unfixed, ephemeral, dispersal-oriented attitude of the individuals associated with the &ldquo;Photography and Language&rdquo; scene.<br /><br /><br />The Role of Lew Thomas<br /><br />Born in 1932, polymath artist, critic, curator and bookstore manager Lew Thomas is probably the most well known American &ldquo;conceptual photographer&rdquo; of the 1970s and 1980s. Despite its wide-spread application to his work, Thomas himself actually rejected the phrase &ldquo;conceptual photographer.&rdquo; He did so probably at least in part because the very phrase &ldquo;conceptual photographer&rdquo; in a sense symbolizes the struggles of artists like Thomas who &mdash; despite his traditional training in photography &mdash; was actually working conceptually.&nbsp;<br /><br />The difference of course was that Thomas, who self-identified as a photographer, had a solid working knowledge of art theory and philosophy. &nbsp;This placed Thomas in a unique and frustrating position as there was not a broad understanding or even acceptance of photographers who were working conceptually within the photo community. Furthermore, because photography was still seen as separate from &lsquo;fine art,&rsquo; the art world was not rushing forward to embrace photographers grounded in conceptual practice.<br /><br />Lew Thomas can also be credited for introducing French structuralism to the scene, which played a major role in helping to identify the theme of Photography and Language with the 1976 exhibition and book. In fact, the constructed nature of images is vitally important to understanding word and image in the works by the artists involved with Photography and Language. It should be pointed out that their position is of even more interest to us today: in our post-Internet age, image-consumers are empowered and freewheeling image-producers. But what is missing perhaps is a sense of criticality with regard to how word, image and media shape us individually as both masters and servants of the 21st-century mediated world.<br /><br />NFS Press books were national and international in scope and audience. They provided opportunities and points of connection for artists who considered their work to be at intersections of photography and language, engaged in a dialogue of word and image. The NFS titles &ldquo;Photography and Language&rdquo; (1976), &ldquo;Eros and Photography&rdquo; (1977), co-edited by Thomas and Phillips, and &ldquo;Still Photography: The Problematic Model&rdquo; (1981), co-edited by Thomas and d&rsquo;Agostino, sought to promote an open platform to the diverse vantage points of conceptual artists and conceptual photographers alike, each of whom worked with photographs for their own reasons: Dennis Adams, John Baldessari, Ellen Brooks, Jack Butler, JoAnn Callis, Robert Cumming, Jan Dibbets, John Gutmann, Robert Heinecken, Douglas Huebler, Steve Kahn, Barbara Kruger, Fred Lonidier, Mike Mandel and Larry Sultan, Muntadas, Bart Parker, Joyce Neimanas, Allan Sekula, Cindy Sherman and many others.</p> <p style="text-align: justify;"><br />Works in the exhibition (a selection)<br /><br />Lew THOMAS&rsquo;s major installation, &ldquo;Deposition&rdquo; (1974-76), consists of 6 17 x 22 inch wall panels comprised of typed text and photographs accompanied by an audio soundtrack. The panels are presented on a field of contemporary newspapers that cover the wall and are chosen anew for each new installation. &ldquo;Deposition&rdquo; depicts an aging man at the height of the media frenzy surrounding San Francisco&rsquo;s mid-70s Zebra killings. Barricaded in his apartment, fearful to leave, Lew Thomas&rsquo;s protagonist is the subject of a social pathology. He claims that &ldquo;his life and property [are] in constant jeopardy.&rdquo; Thomas comments that this protagonist&rsquo;s landscape &ldquo;abounds with intuitions of disaster from evidence that is spoken, written, and/or pictorialized.&rdquo; In describing this work, Thomas writes, &ldquo;the term, deposition (written testimony used in the place of the witness), is perfectly suited to the method and construction of the work.&rdquo; &ldquo;Written material now became a means to parallel the visual tracks in a kind of confusion of texts.&rdquo; The elongated sentences that make up the artwork - more than 100 inches long each - force the viewer to act as a kind of &ldquo;human movie camera if they wish to follow a pattern of linear communication.&rdquo; (Deposition text, 1976).<br /><br />Produced during a residency at Los Angeles&rsquo;s LAICA in 1980, Peter D&rsquo;AGOSTINO&rsquo;s &ldquo;Suburban Strategies: LA (Century City) &rdquo; consists of his staged video movie and still photographs that portray &ldquo;two characters, a man and a woman, depicted in tableau settings on the freeway, at the beach and through TV surveillance monitors at the ABC Entertainment Center. Functioning like a continually changing TV dial, with interruptions and fragments of information, &ldquo;LA (Century City)&rdquo; reflects aspects of television as a form of social surveillance, where the act of watching and being watched is a common experience of everyday life.&rdquo; (LAICA Newsletter, December 1980). Appropriating B movie tropes employed by Godard, others in the New Wave and a host of Indie directors that followed, d&rsquo;Agostino&rsquo;s &ldquo;LA (Century City)&rdquo; and his earlier photo-text-video projects address some primary concerns of 1970s and 80s art theory and practice, notably semiotics and deconstruction.<br /><br />Donna Lee PHILLIPS 13-part &ldquo;Anatomical Insights: The Abdomen&rdquo; (1978), a selection of which will appear in the Cherry and Martin exhibition, superimposes the illustration and text of a medical (text) book over images of Phillips&rsquo;s own nude body. These illustrations and texts become parallel narratives to that of the photographs themselves, with each narrative providing its own vantage point for interpretation. The straightforward presentation of these three narratives, combined with organized set of combinations allows the reading of the work to move forward with a machine-like continuity. Phillips&rsquo;s &ldquo;What Do I Mean When I Say Red? What do You Mean?&rdquo; (1980) presents two images of the artist&rsquo;s lips and shoes - interrogating both viewer and maker in a give-and-take of intentions.<br /><br />Hal FISCHER&rsquo;s &ldquo;Boy-Friends&rdquo; (1979) describes ten carnal encounters through the pairing of a 'censored' (imprinted black band over the eyes) snapshot-like photograph and parallel text, the latter printed as a separate photo. The text leads the viewer to assume that the unnamed party to these couplings is the artist himself, and that these encounters occurred in the recent past. There is a feeling of profound personal connection and humor in these works. Lew Thomas writes that it is Fischer&rsquo;s intention to reaffirm the presence of people and the issues of content as central to the practice of photography; however, at the same time, Thomas comments that the structure of works like &ldquo;Boy-Friends&rdquo; adhere to a methodical process &ldquo;where the structure of &lsquo;making equal,&rsquo; subject and object, dissolves the distinction between language and photography.&rdquo; Thomas goes on to write that, &ldquo;The strategy of plural voices allows Fischer to break out of the enclosure of interpretation that dissimulates form, format, classification in an exchange of views where the photographer is no longer problematic to the appropriating power of photography&rdquo; [&ldquo;The New Commercialist (A Review)],&rdquo; (1978)</p> <p style="text-align: justify;">Biographies of the Artists<br /><br />Lew THOMAS&rsquo;s work is included in the current exhibtions &ldquo;California and the West&rdquo; and &ldquo;About Time: Photography in a Moment of Change&rdquo; at the San Francisco Museum of Modern Art. Thomas&rsquo;s work also appears in &ldquo;Photography at MoMA: 1960 to Now,&rdquo; the Museum of Modern Art&rsquo;s overview of its photography collection. Works by Lew Thomas are featured in the collections of the Center for Creative Photography, University of Arizona (Tucson, AZ); Henry Art Gallery (Seattle, WA); High Museum (Atlanta, GA); Menil Collection (Houston, TX); Museum of Fine Arts (Houston, TX); Museum of Modern Art (New York, NY); New Orleans Museum of Art (New Orleans, LA); Princeton University Art Museum (Princeton, NJ); Santa Barbara Museum of Art (Santa Barbara, CA); Berkeley Art Museum and Pacific Film Archive, University of California (Berkeley, CA); and San Francisco Museum of Modern Art (San Francisco, CA).&nbsp;<br /><br />Donna Lee PHILLIPS&rsquo;s 13-part &ldquo;Anatomical Insights: The Abdomen&rdquo; (1978) currently appears in &ldquo;Collected,&rdquo; an exhibition at San Francisco&rsquo;s Pier 24 that brings together photographs from the Pilara Foundation and other San Francisco Bay Area collections. Phillips has had solo exhibitions at the Fine Arts Museums of San Francisco and Santa Barbara Museum of Art. Important group exhibitions that featured her work include &ldquo;Attitudes: Photography in the 70s,&rdquo; (Santa Barbara, CA, 1979), and the international traveling exhibition &ldquo;Photography in California: 1945-80,&rdquo; organized by the San Francisco Museum of Modern Art. Phillips&rsquo; work is featured in &ldquo;Photography and the American Imagination (Harry N. Abrams, 1983) and has been reviewed in numerous publications, including Artweek and Artforum.&nbsp;<br /><br />Peter D&rsquo;AGOSTINO&rsquo;s work has appeared in solo and group exhibitions at such institutions as San Francisco Museum of Modern Art (San Francisco, CA); Los Angeles County Institute of Art (LAICA) (Los Angeles, CA); Contemporary Art Center (Cincinnati, OH); Weatherspoon Art Gallery (Greensboro, NC); Philadelphia Museum of Art (Philadelphia, PA); Franklin Furnace (New York, NY); The Kitchen (New York, NY); PS1 (New York, NY); Museum of Modern Art (New York, NY); Institute of Contemporary Art (Boston, MA): Galerie de Arte, University of Brasilia (Brasilia, Brazil); Image Forum (Tokyo, Japan); ArtSpace (Auckland, New Zealand). Recent group exhibitions include "State of Mind: New California Art Circa 1970&rdquo; (Berkeley Art Museum/Pacific Film Archive, Berkeley, CA, travelled to multiple venues); "Under the Big Black Sun: California Art 1974-81" (Museum of Contemporary Art, Los Angeles); "TeleTapes, Remote Control&rdquo; (Institute of Contemporary Art, London UK); and "California Video&rdquo; (J.Paul Getty Museum / Getty Research Institute, Los Angeles, CA). Peter d&rsquo;Agostino&rsquo;s work has appeared in the Whitney Biennial, the Sao Paulo Bienal, and is featured in the permanent collections of major museums worldwide.&nbsp;<br /><br />Hal FISCHER&rsquo;s work is currently included in &ldquo;California and the West&rdquo; at the San Francisco Museum of Modern Art. Recent solo and group museum exhibitions include &ldquo;Hal Fischer: Gay Semiotics 1977/2014,&rdquo; Fotomuseum Winterthur (Winterthur, Switzerland); and &ldquo;Under the Big Black Sun, California Art 1974-1981&rdquo; Museum of Contemporary Art, Los Angeles (Los Angeles, CA). In 2015, Cherry and Martin reprinted Fischer&rsquo;s landmark, &ldquo;Gay Semiotics: a photographic study of visual coding among homosexual men (NFS Press, 1977).&rdquo; Fischer&rsquo;s work is included in the collections of Los Angeles County Museum of Art (Los Angeles, CA); Museum of Contemporary Art (Chicago, IL); and Fotomuseum Winterthur (Winterthur, Switzerland). Fischer&rsquo;s work has been reviewed in such publications as Aperature, Artforum, Artnews and Artweek.</p> Sun, 14 Aug 2016 17:52:53 +0000 Veronika Kellndorfer - Christopher Grimes Gallery - July 8th - September 2nd <div class="text"> <p style="text-align: justify;"><strong>Architecture is &ldquo;an adventure in which people are called to intimately participate as actors.&rdquo;</strong><br /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;-Lina Bo Bardi (1914&ndash;1992)</p> <p style="text-align: justify;"><strong>Santa Monica, April, 2016 &ndash; Christopher Grimes Gallery is pleased to announce a solo exhibition of new works by Veronika Kellndorfer.</strong> This body of work stems from her 2015 solo exhibition at the Casa de Vidro in S&atilde;o Paulo, home of celebrated Italian-born Brazilian architect Lina Bo Bardi. During this time Kellndorfer also engaged with the architecture of Oscar Niemeyer and gardens of Roberto Burle Marx, finding their approach to Brazilian Modernism nascent to a new scope of reference.</p> <p style="text-align: justify;">For <em>Tropical Modernism</em>: <em>Lina Bo Bardi</em>, Kellndorfer continues working in the process she developed in the early 1990s of silk-screening photographic images to highly reflective glass panels, fusing image to form. In the main gallery, Kellndorfer will show works pairing details of Bo Bardi&rsquo;s iconic SESC Pomp&eacute;ia in S&atilde;o Paulo with an individual plant species found in the Royal Botanic Garden in Rio de Janeiro, Brazil. Like Bo Bardi, whose architecture explored reciprocity between the human and the built, Kellndorfer examines the dialog between the playfully Brutalist and culturally dynamic SESC Pomp&eacute;ia and the global selection of various plant species flourishing in Brazil.&nbsp; The South gallery will feature works referencing Bo Bardi&rsquo;s architectural treasure: <em>Tree House (Casa de Vidro)</em> as well as two sculptures <em>Casa de Vidro, Quadrado</em> and <em>Casa de Vidro, Tri&acirc;ngulo</em>.</p> <p style="text-align: justify;">Kellndorfer has had exhibitions in museums and institutions around the world, including the Casa de Vidro, Instituto Lina Bo Bardi, S&atilde;o Paulo, Brazil (2015); Architekturmuseum of the Museum Pinakothek der Moderne, Munich, Germany (2014);&nbsp;Pier 24 Photography, San Francisco, CA (2013),&nbsp;Orange County Museum of Art, Newport Beach, CA (2012);&nbsp;and she completed a residency at Villa Aurora, Pacific Palisades, CA (2003). Kellndorfer's&nbsp;work is included in the permanent collections of the Hammer Museum, Los Angeles, CA; Pier 24 Photography, San Francisco, CA; National Gallery, Berlin; and Museum of Contemporary Art San Diego, CA,&nbsp;among others. Works by Kellndorfer were recently published in&nbsp;<em>Both Sides of Sunset: Photographing Los Angeles&nbsp;</em>by Metropolis books (2015).</p> </div> Sun, 10 Jul 2016 17:05:28 +0000