ArtSlant - Current exhibits en-us 40 Jorge Méndez Blake - 1301PE - March 21st - May 9th <p style="text-align: justify;">1301PE is pleased to announce our current exhibition of Jorge M&eacute;ndez Blake is extended through May 9.</p> Sat, 25 Apr 2015 06:56:43 +0000 Kerry Tribe - 356 Mission - April 10th - May 31st Sat, 21 Mar 2015 06:48:52 +0000 Natalie Arnoldi - Ace Gallery- Los Angeles - May 1st - July 1st <p>Ace Gallery presents a solo exhibition by Natalie Arnoldi on Friday, May 1st, 2015 from 7:00 &ndash; 9:00 PM at Ace Gallery Los Angeles located at 5514 Wilshire Boulevard, Los Angeles, CA 90036.</p> <p>These opaque works necessitate a deeper comprehension of her subjects beyond what they explicitly represent. Roads emerge from a thick blanket of fog; airplane lights dazzle in an early morning haze; fireworks ignite an onyx-vblack night sky; her paintings separate the viewer from the world of harsh lines, distinct form, and certainty; transporting them into the calm and sometimes unsettling world of ambiguity and solace.</p> <p>The harmonious balance that arises from a lack of extraneous detail and the attention to vaporous texture creates layers of profound and psychological nuances that the viewer is encouraged to explore. It is this masterful appreciation for the sublime that allows the viewer to become immersed into the dense, nebulous and seemingly endless atmosphere of her paintings.</p> <p>&ldquo;I am very interested in exploring the line between abstract and figurative work &ndash; trying to combine the ambiguous evocativeness of abstract painting with enough figurative representation to place the viewer in a specific time and space.&rdquo; Her minimal works employ universally understood subject matter to facilitate entry into the unique world she has created. This world is both familiar and mysterious, as it emcompasses both an understanding of modern amenities (roads, planes and fuel stations), and a sense of nostalgia, as if these modern conveniences were abandoned in decades prior.</p> <p>Arnoldi&rsquo;s fascination with the ocean and modern science emerges in her art with an unlikely marriage between romantic art and logic-driven science. These atmospheric works embody an ethereal layer of haze that swallows even the subtlest drops of light, transforming them into beacons that signal human presence in even the most desolate of places.</p> <p>&ldquo;I choose the imagery for several reasons, the first of which being, of course, that they appeal to me. Airplanes, transportation, fossil fuels, dying technologies and environments; all are very important to me in both my academic and artistic life.&rdquo;</p> <p>&ldquo;Both processes, science and art, are a form of exploration, at once (both) highly emotional and analytical, but always inquisitive.&rdquo;</p> <p>Natalie Arnoldi was born in 1990 and lives and works southern California. Recently graduating from Stanford University with a Masters degree in Earth Systems specializing in ocean science and policy along with her Bachelors in Marine Biology, Arnoldi has seamlessly coalesced her academic pursuits with her artistic expression. Since Arnoldi&rsquo;s first exhibition at the age of 19, her precocious beginnings have expanded to include over 25 exhibitions.</p> Mon, 27 Apr 2015 21:17:01 +0000 Matt Merkel Hess - ACME - April 25th - May 30th Mon, 20 Apr 2015 16:18:35 +0000 Iva Gueorguieva - ACME - April 25th - May 30th <p style="text-align: justify;">ACME. is pleased to present a solo exhibition of four new sculptures by Los Angeles based artist Iva Gueorguieva. Composed of found metal, epoxy clay and various printmaking techniques, each sculpture traverses a terrain that is both physically present and illusionistic; a dichotomy which Gueorguieva has explored extensively in her collaged paintings and works on paper. The sculptural works are a natural step in the artist's investigation of the tension between the materiality of paint and support, and the possibility of illusory space.&nbsp;<br /><br />Gueorguieva's complex sculptures suggest hybrid forms constructed from fragments of figures, landscapes and machines. The sculpture, "Vessel and Horse" resembles a model for a not-yet-built monument or building, while "Old Knight" and "Undone Man," appear more intimate with their human-scale. Gueorguieva's inspiration for these two sculptures is the last drawing in Shel Silverstein's "The Giving Tree," of the old man sitting on the stump. Lastly, the large-scale wall sculpture "Switching House" addresses the subject of the landscape. Its bulging, sweeping forms evoke the land as it is shaped by human activity: highways, railroad tracks, oil rigs, and industry.&nbsp;<br /><br />Gueorguieva first started experimenting with cutting and collaging the surfaces of her paintings in order to explore the shallow yet real space produced by the cut and the glued edge. Subsequently, the two-dimensional space transitioned into the three-dimensional space, and the artist proceeded to create armatures that could support the fragments of painted and printed images. The "bodies" for the sculptures are made of found metal scraps, each suggesting a very specific mood and space, and therefore calling for a specific color and image. Gueorguieva then created etching and litho plates for each structure, generating appropriate collage materials that were then draped over the metal and the thin layers of epoxy clay. The surfaces were further complicated by meticulous painting on top of the collage material, blurring the line between the real, sculptural space and the perceived spaces produced by the painted mark.<br /><br />Iva Gueorguieva (b. 1974, Bulgaria) received an MFA from the Tyler School of Art in Philadelphia. Recent solo shows include Sams&oslash;n, Boston, MA; Ameringer | McEnery | Yohe, New York, NY; Stefan Roepke Gallery, Cologne, Germany; Susanne Vielmetter Los Angeles Projects, LA, CA; Bravin Lee Programs, New York, NY; LUX Art Institute, Encinitas, CA; Angles Gallery, Los Angeles, CA; Stichting Outline, Amsterdam, Netherlands; Pomona Museum of Art, Claremont, CA. Notable group shows among others include the Contemporary Art Museum at USF, Tampa, FL; Galerie Lelong, New York, NY; Pasadena Museum of Art, Pasadena, CA; Dunn and Brown Contemporary, Dallas, TX. Her work is included in many public and private collections including the Los Angeles County Museum of Art, the Minneapolis Institute of Art, and The Museum of Contemporary Art, Los Angeles. She is the recipient of the California Community Foundation mid-career fellowship for 2010 and the Pollock-Krasner Grant for 2006. Her work is represented by ACME. in Los Angeles and Ameringer| McEnery | Yohe in New York.<br /><br />Iva Gueorguieva's sculptures were produced through a series of residencies at Graphicstudio in Tampa, FL.</p> Mon, 20 Apr 2015 16:20:03 +0000 Neil Raitt - Anat Ebgi - April 18th - May 30th <p style="text-align: justify;">The painter observes the landscape, takes a palette knife and graces the canvas. It creates a geometric smudge of paint. Two more palette knife strokes and a mountain begins to form. It looks coarse, but with a background brush and some applied magic white, the slopes begin to distinguish themselves covered in heavy snowfall. Another mountain begins to form, just to the top right, and then another on the bottom left. The bottom of each mountain denotes a new mountain, just as each peak dissolves into a new one. One mountain, ten mountains, a canvas of mountains.</p> <p style="text-align: justify;">Whether you&rsquo;re climbing mountains or relaxing in your estate housing, your Kappa tracksuit is affixed with the logo of two figures sitting back-to-back. Kappa&rsquo;s range of football jerseys display the wearer&rsquo;s affinity for clubs like West Ham, Tottenham and Leicester City. The sleeves carry the Kappa logo repeated down the sides of the tracksuits. Two figures on top, twenty down the sleeve, a line of figures down the leg. You never forget the hook ups, breakups and fuck ups you&rsquo;ve experienced while wearing your Kappa tracksuit.</p> <p style="text-align: justify;">&ldquo;I hope you are plagued with dissatisfaction your entire life,&rdquo; said Bob Ross. Because that&rsquo;s what makes you want to paint another forest, a hundred forests, a whole career of forests&mdash;the Sunday painter understands the rigors of landscape painting as a leisurely pursuit. The pigments may be oil or watercolor, and are applied in gestures that create an illusion of depth, perspective and reflect the unfolding delicacy of natural light. Every landscape is different with varied nuances, yet the process remains similar. In one painting, Alizarin Crimson, Indian Yellow and Sap Green are brought onto the palette board and mixed together to create a mountain cabin within a placid, densely forested valley.</p> <p style="text-align: justify;">Each painting ceaselessly samples these idyllic images on repeat. One loop, ten loops, a whole tape of mixed signals. The languages are chopped and screwed, each ripple giving way to the next in an arc of color. Tie-dyed in the age of photoshopped flawlessness. The sojourn continues from each point in continued cyclical motion. The tape player&rsquo;s heads are worn, the sound crackles with fuzz and it skips from overuse. The song has changed, but it is still the same rhythm.</p> <p style="text-align: justify;">Well, the little clock on the wall says we&rsquo;re just about out of time. Happy painting and God bless.</p> <p style="text-align: justify;">Neil Raitt (b. 1986) recently graduated from the Royal College of Art. Raitt&rsquo;s work has been exhibited at public and private institutions including the Goss-Michael Foundation, Dallas and is the recipient of the Catlin Art Prize 2014. Recent exhibitions include group shows at Untitled NYC and Choi and Lager, Cologne. Upcoming exhibitions include group shows at The Hole and Super Dakota. He lives and works in London.</p> Thu, 09 Apr 2015 17:50:58 +0000 - Angels Gate Cultural Center - May 12th, 2013 - June 19th <p>The 2013 -2015 exhibition year at Angels Gate Cultural Center marks the beginning of a larger concept that explores our local community’s stories and personal narratives in the galleries. We hope to generate dialogue about how, as a community, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an experimental space where art and art-making become part of an ongoing conversation about the community. Through partnerships with local non-profits, artists, storytellers and the community at large, the galleries hope to capture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. <br /><br /><small><br /></small></p> Sat, 11 May 2013 02:32:05 +0000 Iwan Baan, Stephen Wilkes, Paula Bronstein, Jonas Bendiksen, Monica Nouwens - Annenberg Space for Photography - December 13th, 2014 - May 3rd <p style="text-align: justify;"><span style="font-size: small;"><em>Sink or Swim: Designing for a Sea Change</em> explores the human story of resilience, from adaptation for survival to ambitious infrastructure planning, in some of the richest and poorest of the world&rsquo;s coastal communities. Rather than showing pristine architectural photography, the photographs present viewers with various human responses to changes in their landscapes due to sea level rise. &nbsp;<em>Sink or Swim </em>aims to foster critical dialogue through the provocative juxtaposition of diverse responses to a challenge shared by millions worldwide.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Curated by architecture writer and radio host <strong>Frances Anderton</strong> with the Annenberg Space for Photography, <em>Sink or Swim</em> features newly commissioned and archival works by photographers<strong> Iwan Baan, Stephen Wilkes, Paula Bronstein, Jonas Bendiksen </strong>and <strong>Monica Nouwens</strong>. This is the first exhibition for Annenberg Space for Photography to feature commissioned works.&nbsp; Through the work of this select group of architectural, fine art and news photographers, the exhibition casts an eye on both the problem of climate change in densely populated coastal regions and contemporary design as a means to navigate the changing landscapes. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;We were eager to organize an exhibition focusing on architecture but adamant that we wanted it to tell the story from a human perspective,&rdquo; says Wallis Annenberg, Chairman of the Board, President and CEO of the Annenberg Foundation.&nbsp; &ldquo;We are delighted that these new works tell such powerful stories about resiliency, climate change and architecture as well as engage with viewers on a humanistic level. &nbsp;The exhibit&rsquo;s capacity to foster dialogue that offers fresh perspectives on the environmental issues of our day -- and how communities are rising up to meet the challenges -- is very much keeping with the mission of the Photography Space and the Annenberg Foundation.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the face of increasing global attention on climate change and rebuilding in the wake of Hurricane Katrina, the Indian Ocean tsunami, Superstorm Sandy, and the&nbsp;Tōhoku&nbsp;tsunami, <em>Sink or Swim</em> is a timely examination of resiliency strategies in architecture and design. &nbsp;Images range from highly complex coastal flood-mitigation in the Netherlands, controversial sea walls in Japan, to innovative homes and community buildings by leading architects including Pritzker prize-winners <strong>Thom Mayne, Toyo Ito</strong> and <strong>Shigeru Ban</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Anderton collaborated with photographers experienced in capturing fragile built environments to determine the locations, design projects and communities across the world that served as subjects for the commissioned works in the exhibition. &nbsp;Sea walls, floating schools and temporary disaster relief housing in disparate ecological and social contexts provide concrete starting points for considering questions about nature, culture and design at the heart of <em>Sink or Swim</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;It has been a privilege to dig into these extraordinary photographers&rsquo; rich archives and also send them back out on assignment to create compelling new work that we look forward to sharing with the public through the exhibition,&rdquo; says Anderton.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;Photography is an ideal medium through which to explore climate change and the built environment because ultimately this is a human story and the photographs get to the emotional heart of that story. Through images of coastal communities&mdash;the devastating impact of climate change, including super-storms and rising sea levels, and also the varied and innovated design solutions&mdash;<em>Sink or Swim</em> offers visitors the opportunity to engage with and enrich dialogue about all aspects of this predicament.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">An original documentary film commissioned by the Annenberg Space for Photography and produced by award-winning director Steven Kochones and Arclight Productions will include interviews with the artists, architects, historians and scientists engaged with climate resilient strategies for waterfront communities.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">A collaboration between the Annenberg Space for Photography and the Annenberg Retreat at Sunnylands will offer visitors to Sunnylands a preview of&nbsp;select prints from the <em>Sink or Swim</em> exhibition.&nbsp; The images will be on display beginning in October 2014 to coincide with a retreat at Sunnylands on the topic of rising sea levels and ocean acidification.&nbsp; An exhibition catalogue will be published by Sunnylands Press for release in December 2014.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>The Photographers</strong></span><br /><span style="font-size: small;"> Following his experience photographing the celebrated Makoko Floating School (designed by Kunl&eacute; Adeyemi for the Makoko community on the water near Lagos, Nigeria,) Dutch photographer <strong>Iwan Baan</strong> was drawn to the lake village of Ganvie in Benin, where residents have lived on the water for centuries. New work by Baan in the exhibition also includes photographs of the massive Deltaworks sea defenses; the promenade at Scheveningen near The Hague in the Netherlands, a flood-protection system interwoven with a tourist destination designed by Spanish firm De Sol&agrave;-Morales; and the post-tsunami Home-For-All community buildings by Toyo Ito and other leading architects in Japan.</span></p> <p style="text-align: justify;"><span style="font-size: small;">U.S.-based fine art photographer <strong>Stephen Wilkes</strong> revisited communities he first encountered in the wake of Hurricane Katrina and Superstorm Sandy. &nbsp;His images include striking aerial photographs that present a unique perspective on infrastructure improvements within the context of natural landscapes that remain susceptible to flooding. Wilkes also created portraits of New Orleans area residents in the newly built homes, intended to be models for resilience, by the Make It Right Foundation and Global Green in the Lower 9<sup>th</sup> Ward and Holy Cross neighborhoods of New Orleans. One of the first photographers to capture aerial images of the coastline damage following Hurricane Sandy, Wilkes documented Staten Island&rsquo;s Oakwood Beach where homeowners have elected to sell their property to the state, which plans to return the area to wetlands rather than rebuild.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Veteran photojournalist <strong>Paula Bronstein</strong> traveled to Japan for <em>Sink or Swim</em> and captured the immense sea walls now being built off the tsunami-hit coast of Japan. She also captured daily life in the storage container structures designed by 2014 Pritzker Prize winner Shigeru Ban to house refugees following the Tohuko earthquake and Tsunami.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Dutch-born, Los Angeles-based, photographer <strong>Monica Nouwens</strong> turned her lens on California, finding in the restored Malibu Lagoon a local example of wetlands restoration. She also captures a very human story of denial, exemplified in a photograph of a California woman walking her dogs, oblivious to a tsunami sign above her head.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Sink or Swim</em> also features Norwegian Magnum Photos photographer <strong>Jonas Bendiksen&rsquo;s</strong> documentation of Bangladesh coastal and delta communities, where increasingly unpredictable and intense flooding has prompted innovative adaptations in a culture that has dealt with seasonal flooding for centuries. Bendiksen spent two years capturing the low-tech structural and farming innovations in the challenging landscape, as well as the floating schools project designed by Mohammed Rezwan for his nonprofit Shidulai Swanirvar Sangstha.</span></p> Tue, 16 Sep 2014 03:21:58 +0000 Bea Fremderman - Aran Cravey - April 23rd - June 13th <p style="text-align: justify;">&ldquo;There must be another way to go through life besides being pulled through it kicking and screaming,&rdquo; thought Grisha, as he walked out the front door heading to work early one&nbsp;Tuesday&nbsp;morning. The sun was shining so brightly it was painful to look up; he squinted and schlepped to his bus stop, heat radiating on his stooped shoulders. Grisha pictured his bus getting into an accident just cataclysmic enough where he wouldn&rsquo;t have to go to work: twisted metal without any life threatening injuries, he quickly told himself, uncomfortable with the feeling that his imagination imperiled other people. He wondered if another downtown building would explode&nbsp;a little closer to his office, smoke coming in the cracked windows. He imagined deftly gathering up in his arms his computer, keyboard, and spiral-corded phone, walking past his boss, and dropping it all on the curb. He mashed the side of his hair with one hand and checked his watch;&nbsp;7:45.<br /><br />A bird came down off a wire to look at him, and Grisha squinted back. The bird didn&rsquo;t seem afraid of Grisha; in fact, it was the friendliest bird he had ever interacted with. Grisha kicked his foot to scare off the tiny creature, but the bird did not react. Grisha glanced toward his approaching bus, but his ambivalence was assuaged when he realized the bird had addressed him by name.&nbsp;&ldquo;Hello Grisha,&rdquo; said the bird. Hesitant to respond, Grisha tugged his collared shirt. At almost the same time the bus arrived to the stop and opened its large metal doors for Grisha to step in. The bird looked up one last time and said &ldquo;Well? What are you going to do Grisha?&rdquo; The bird began hopping down a side street and impulsively, Grisha decided to follow the bird as the doors of the bus closed shut.<br /><br />&ldquo;Wait, wait,&rdquo; cried Grisha as he struggled to keep up with the bird. The bird halted in front of a cafe and stared pointedly at people streaming out into the morning with cups of coffee. &ldquo;Tell me bird, how did you know my name?&rdquo; asked Grisha, but the bird said nothing. A woman with a drawn expression tore sections of a warm rosewater almond croissant out of a brown paper bag. She chewed while shouldering her tote, stepping off a curb, pausing before finding her moment to walk between cars. Her pleasure in the pastry was gone as she arrived on the other side of the street; her face twisted as she chided herself, she shoved the remaining croissant, wax paper, and receipt back into the brown bag and deposited in a trash can without breaking her stride.&nbsp;<br /><br />&ldquo;What a waste,&rdquo; Grisha said, &ldquo;I don&rsquo;t throw away food. Actually, I don&rsquo;t eat sugar, really.&rdquo; Grisha wondered what he was trying to prove to the bird.&nbsp;<br /><br />The bird flew to the edge of the city&rsquo;s center, Grisha at his heels. At the entrance to the tunnel that connected the city&rsquo;s employees to their outlying homes, a municipal worker sprayed a concrete wall with a power washer. The water ricocheted off the wall and filled the air with mist that made little rainbows in the headlights of cars that crawled into the tunnel, and the bird beckoned Grisha onto the narrow pedestrian path. Grisha hesitated to enter;&nbsp;the tunnel was noisy and noxious with no perceivable end. Car after car contained a man or woman lip syncing to the radio or making phone calls. A diesel engine stalled; emissions commingled with cigarette smoke from some languid arms in the cars&rsquo; windows. At intervals, drivers would start up a din of horn honking even though no one had a move to make. Emerging finally from the echo chamber, the bird led Grisha to a footpath,&nbsp;and they watched traffic fan out and accelerate across the eight lane highway.&nbsp;<br /><br />&ldquo;The city is ugly,&rdquo; Grisha said, tired&nbsp;and unsure of what else could even be said. An expression of mirth flashed in the bird&rsquo;s eyes; the bird made a caustic dip in the air and blinked at Grisha. &ldquo;Bird, I don&rsquo;t love being the object of your ire. What do you want from me? Where could I even start?&rdquo; A weird thought occurred to Grisha, but he couldn&rsquo;t shake it, so he asked, &ldquo;Did God send you?&rdquo; Met with silence from the bird, a few steps later: &ldquo;God?&rdquo;&nbsp;<br /><br />&ldquo;Easy now. We have some ground to cover Grisha. I&rsquo;ll try to tell you when we get there.&rdquo;<br /><br />The bird set into a pace befitting a long trudge, flying level with Grisha&rsquo;s hand, as they crossed two cemeteries in grim companionable silence. Streets widened,&nbsp;soot and soil blew and adhered to Grisha&rsquo;s moistened face. &ldquo;There is an increasing recognition among people everywhere that we are destroying ourselves and the world in which we live,&rdquo; said the bird. &ldquo;We do not seem to be able to change the world, to change other people, or to change ourselves. Many of us, myself included, have felt the futility of trying to rid ourselves of frustration, conflict, pain, and illness, while still holding on to our old belief systems.&rdquo; Relenting, the bird was lifted into a gale and rose several stories higher than any of the disused buildings on the street. Grisha squinted in the ambient filth, running, rounded a curve, and broke upon a wooden boardwalk just in time to see the bird land on the prow of a boat as it left the port. The boat towed an enormous barge of refuse. The barge embraced heaps of wet cloth, aluminum, and paper exhumed from snow piles, containers for liquids, drywall, polyester, water-spotted metal, magnets, and mud.&nbsp;<br /><br />Grisha called the bird back, but the wind took the sound. He was too far from home to be so alone. Grisha slumped on a high&nbsp;barbed fence and toed a bifurcated circuit board. He watched as barge after barge made its drifting progress across the horizon.</p> Mon, 20 Apr 2015 16:15:56 +0000 Mark Grotjahn - Blum & Poe - May 1st - June 20th <div align="justify">Blum &amp; Poe announces an exhibition of new<em>&nbsp;Face</em>&nbsp;paintings by Mark Grotjahn.&nbsp;<em>Fifteen Paintings</em>&nbsp;marks the artist's sixth solo presentation at Blum &amp; Poe and follows recent exhibitions of Grotjahn's<em>&nbsp;Circus</em>&nbsp;paintings at Kunstverein Freiburg, Germany and his<em>&nbsp;Turkish Forest&nbsp;</em>series at Palazzo Grassi, Venice, Italy.<br /><br /></div> <div align="justify">Furthering his exploration into the possibilities of non-representational painting, Grotjahn digs deeper into motifs developed nearly a decade ago in his earliest&nbsp;<em>Face</em>paintings. During the last two years, Grotjahn has made a suite of fifteen oil paintings on cardboard mounted on canvas, each scaled at approximately 50 x 40 inches and informally referred to as "Indians" and "Non-Indians," distinguishable by their respective color palettes and unique compositions. Each painting is grounded by a central white vertical axis from which the composition sharply radiates outward. Much like his celebrated&nbsp;<em>Butterfly</em>&nbsp;paintings, the prevailing central line (resembling a tulip in early bloom) becomes the backbone from which the rest of the painting emerges. Other recognizable focal points, such as elongated Picasso-esque eyes, flared nostrils, and Cheshire Cat-like grins, can be deciphered upon further reflection.<br /><br />Grotjahn employs a palette knife to drag, scrape, and feather densely woven layers of oil paint. Aggressively worked from the center of the painting, the impasto offers a glimpse into the many layers of color comprising the composition. Reds, yellows, blues, purples, and greens explode forward from darkened backgrounds. In some areas, the texture of raw cardboard is still visible. Extending beyond the vertical edges, thick accumulations have been left exposed. As one carefully observes and appreciates the complexity of the process, the generosities of the works as a whole are revealed.<br /><br />Mark Grotjahn lives and works in Los Angeles. He has had recent solo exhibitions at Kunstverein Freiburg, Germany (2014); Nasher Sculpture Center, Dallas (2014); and the Aspen Art Museum (2012). He also has been included in group exhibitions at the Los Angeles County Museum of Art (2014) and Museum of Modern Art, New York (2014), as well as in the Whitney Biennial (2006) and 54th Carnegie International (2004). His work is represented in numerous public collections, including the Carnegie Museum of Art, Pittsburgh; Hammer Museum, Los Angeles; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; San Francisco Museum of Modern Art, San Francisco; Tate Modern, London; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York.</div> Mon, 20 Apr 2015 15:55:05 +0000 Nancy Ravenhall Johnson - Bowers Museum - March 13th - August 16th <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> Mon, 02 Mar 2015 15:26:44 +0000 Qi Baishi - Bowers Museum - April 11th - July 11th <p style="text-align: justify;">A Master. China's Picasso. The People's Artist. All of these prestigious titles belong to one man, Qi Baishi. Regardless of which title precedes him, Qi Baishi is widely regarded as the most well-known and influential Chinese modern artist.</p> <p style="text-align: justify;"><em style="font-family: Calibri, sans-serif; font-size: 15px; line-height: normal;">Qi Baishi: China&rsquo;s Modern Master</em> features over 40 of the artist's paintings, seal carvings and woodworks, all of which have never before been seen outside of China. These works exemplify the celebrated way in which Qi Baishi employed traditional Chinese style and technique in tandem with modern individualism and expression. This exhibition is on loan from the Hunan Provincial Museum in Changsha, China.</p> Sat, 31 Jan 2015 07:03:14 +0000 Chad Hasegawa - C.A.V.E. Gallery - April 11th - May 3rd <p style="text-align: justify;" align="justify">Chad Hasegawa was born and raised in Honolulu. Enthralled with graffiti and the art of the Mission School, Hasegawa moved to San Francisco in 2000. He received a BFA in advertising from the Academy of Art University and worked for top agencies, including Venables Bell &amp; Partners and Goodby Silverstein &amp; Partners. He decided to leave advertising to concentrate on creating murals on the streets, and painting canvases for both commercial and non-profit gallery exhibitions.&nbsp;</p> <p style="text-align: justify;" align="justify">Hasegawa quickly gained recognition for his bold and colorful latex paint brush strokes that pushed the boundaries of public art. His self-taught painting technique and use of color boldly shapes an object so that it is clearly visible when seen from a far. Up close, the work can be viewed as an elaborate color design-an almost mosaic pointillism of brick-like shapes.&nbsp;</p> <p style="text-align: justify;" align="justify">Hasegawa is influenced by Vincent Van Gogh and Keith Haring, as well as Franz Kline and the New York School. These artists' work inspired him to discover seek out a subject matter that fits with his unique style: the impressively large, beautiful brown bear. In addition to their reputation of being fiercely protective of their young, bears are highly respected in many cultures and are considered to be ancestral spirits. Each of Hasegawa's bear paintings is created with the intent of being a protector - personally for himself and for everyone that comes across his work.&nbsp;</p> <p style="text-align: justify;" align="justify">"I call my most recent works of art painter mache. This is because of the many random layers of paper and paint that are built up to create an abstract image, such as the image of a bear. Grizzly bears have an amazingly odd jointed body and their fur has many colors that create what we see as brown. I enjoy painting grizzlies and I really enjoy painting them big. Through my painting style, the spirit of the grizzly allows me to drip, spray and apply the paint heavily to the surface. The image almost becomes sculptural because the mediums are so built up. Amongst the chaos of the painted body of the grizzly, I also capture their spirit by painting their eyes, snout, and mouth in a refined and realistic manner. With this type of modeling, the bears seem to take on a life of its own."</p> Sun, 12 Apr 2015 17:12:26 +0000 Restitution Press - C.A.V.E. Gallery - April 11th - May 3rd <div style="text-align: justify;">C.A.V.E. Gallery is pleased to present<em>&nbsp;"Restitution River"</em>, a solo exhibition showcasing new works by&nbsp;<strong>Restitution Press</strong>&nbsp;, AKA Ryan Graeff. &nbsp;</div> <p style="text-align: justify;" align="justify">Restitution Press returns to the gallery with another ambitious body of work - this time, celebrating the historic bridges and river of Los Angeles. &nbsp;</p> <p style="text-align: justify;" align="justify">Having recently completed a large mural for the LAPD 77th Street Division, Restitution Press continues to be non-stop, pushing the boundaries of his trademark screen-print and paint process. Each unique work is immediately engaging - created with multi-layered abstraction juxtaposed with crisp, hand painted detail. Many of the pieces incorporate photographs by Rebel Vandal and are full of iconic images filtered through the lens of Restitution Press.&nbsp;</p> <p style="text-align: justify;" align="justify">The work depicts a world inspired by a brilliantly chromatic urban landscape that reflects freedom and the quest for adventure and new opportunity.</p> Sun, 12 Apr 2015 17:12:46 +0000 Mark Steven Greenfield - California African American Museum - September 25th, 2014 - July 5th <p style="text-align: justify;">Widely known in the California art community for his tenures as Director of the Watts Towers Arts Center and of the Los Angeles Municipal Art Gallery, Mark Steven Greenfield has tirelessly supported the work of local visual artists for several decades. Over the same period he also established a reputation for his own artistic practice, both as a graphic designer and a fine artist.</p> <p style="text-align: justify;"><em>Lookin&rsquo; Back in Front of Me</em> displays a body of work that Greenfield himself has described as unapologetically didactic as it is based on his research on literature, cinema, history, and the visual arts. The artist&rsquo;s interests range from early investigations of the Science of Creative Intelligence (his <em>Cosmos</em> series)--a meditative practice that stirred large abstract interpretations of the astrophysical--to figurative work inspired by Sun Ra and Parliament Funkadelic (his Afrofuturistic works). Greenfield has also delved into the artistic renaissance of LA&rsquo;s Crenshaw community (his <em>Crenshaw&rsquo;s Consciousness</em> series), gang culture, genealogy (his <em>Iconography and Sunday&rsquo;s Best</em> pieces), and more recently, African American stereotypes (his <em>Blackatcha, Doo Dahz</em>, and <em>Animalicious</em>) and the re-contextualization of American appropriations of African spiritual practices (<em>Egunguns</em>).</p> <h4 class="exhprog" style="text-align: justify;">Sunday, September 28, 2014, 2pm</h4> <p class="exhprog" style="text-align: justify;"><strong>WALK-THROUGH AND RECEPTION with artist Mark Steven Greenfield <br />and curator Mar Hollingsworth</strong><br /> Light refreshments to follow.&nbsp;RSVP preferred 213.744.2024.</p> Sun, 09 Nov 2014 09:14:42 +0000 Castillo, Kristine Mays, Michelle Robinson, Bre Gipson, Raksha Parekh - California African American Museum - November 7th, 2014 - May 3rd <p style="text-align: justify;"><em>CAAM Courtyard Series: From Women&rsquo;s Hands</em> features the art of five women of color who address female presence and agency. These artists have filled our Courtyard with large installations that, though widely varying in materials and style, have in common metaphorical references to the female body and experience. Castillo and Kristine Mays focus on traditional sources of female power: hair and clothing, respectively. Castillo incorporates actual human hair into imposing wall-hung mounds as a tribute to her ancestors, while Mays creates airy, metal-knitted garments that express female strength despite their apparent fragility. Other works subtly convey womanhood: Michelle Robinson paints geometrical figures and feathery lines on the wall and on a large wooden structure that evokes the female body, and Bre Gipson&rsquo;s mantra-like, gestural paintings incorporate undulating organic shapes reminiscent of natural forms. Raksha Parekh&rsquo;s stitched canvases encode symbols of slavery and forced labor into deceivingly appealing fields of warm colors and delicate tone gradations. These works are crafted from sugar, a sweet substance associated with domesticity that Parekh turns bitter through a burning process.</p> Sat, 20 Dec 2014 16:36:12 +0000