ArtSlant - Current exhibits en-us 40 Wayne Koestenbaum - 356 Mission - March 19th - May 8th Mon, 14 Mar 2016 10:14:33 +0000 Natalie Frank - ACME - April 30th - June 4th <p style="text-align: justify;">ACME. is pleased to present Intermission., a solo exhibition of new work by New York based artist Natalie Frank. Cut wooden paintings and paper pulp paintings show glimpses of perverse private dramas and the theatrical spaces in which they are performed. In one painting, two women interact over a vase that is cut away from the painting. The woman who is most fleshed out extrudes two fingers in instruction, a beckoning invitation. The second woman, more abstracted and sewn up the side, hovers. In the other paintings, women perform: dancing on stage and dancing in front of a fractured sky. In another painting, a woman's face peers into an intimate space of men at a bathhouse, where a scale discrepancy leads the viewer to question who is on the outside and who is on the inside.<br /><br />Also included in the show are paper pulp paintings that punctuate the space, populating the walls with portraits of women who howl, wear disguises and play with dogs. These paintings, made at Dieu Donn&eacute;, a New York paper-making atelier, use pulp to simulate paint in some areas, while using the materiality of the paper to evoke areas of decorative, gestural abstraction. All were made by dripping, spooning and brushing pulp paint, which is made up of tiny particles of paper suspended in water, and placed onto a cotton or linen, wet, paper base.&nbsp;<br /><br />Presented on yellow walls, Frank's new paintings in paper and on wood portray women who have created worlds of their own liking--full of voyeurism, performance, pets and the hot colors and exuberance of horror films.</p> <div>Exhibition walk-through with the artist:<br />Saturday, April 30, 5 - 6 PM<br /><br />Opening reception:</div> <div>Saturday, April 30, 6 - 8 PM</div> Thu, 28 Apr 2016 09:14:56 +0000 Matt Lifson - ACME - April 30th - June 4th Thu, 28 Apr 2016 09:15:00 +0000 Amie Dicke - Anat Ebgi - April 30th - June 4th <div style="text-align: justify;">In order to read what has never been written, look deeply onto a blank wall, an obscured face or a glimpse of human form. Every perception is fertile with meaning&ndash;even a perceived absence provokes a search for a hidden piece or illusory presence. Images of two hands, hung closely apart, will guide the eyes towards the unseen arms of the body that binds them together. While a keyboard spacebar inputs distances between characters, this spacing also unifies words in the structure of a sentence. Legibility is found in the perception of what is real, what is present and what is possible.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Anat Ebgi is pleased to present&nbsp;<em>Quote Unquote</em>, Amie Dicke&rsquo;s second solo show at the gallery, composed of photographic prints, mixed media assemblages and raw color ink plates. In this new series of work, Dicke interrogates the language of visual culture through breaks, spaces and intervals of absence. Each item used by the artist is a quotation of an existing structure, an artifact of a previous visual or material identity culled from print media, archived photography or found studio materials. Dicke&rsquo;s work interrogates these existing visual mediums through sandpaper abrasions, selective framing, cropping and other deviations.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Expanding on her &ldquo;corrected artwork&rdquo; series, Dicke&rsquo;s new body of work introduces pairings between similar formal elements taken from varying sources and materials. A pair of crossed women&rsquo;s legs and a boy's folded arms echo one another in two photographs, yet are differentiated by each figure&rsquo;s skin tone and background color&mdash;black and white become inverted notions. Another pairing shows two sets of hands gesturing at a quotation mark, but are subtracted from the male figure lurking invisibly between the frames. Dicke&rsquo;s&nbsp;<em>Split Self</em>&nbsp;is composed of two images that remove the center of a female face, yet, through this removal, open up her identity to an infinite number of possibilities. A further elaboration of the unwritten is explored in two mosaics of meticulously arranged crayons.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In rooting her work between the threshold of presence and possibility, Amie Dicke actively engages in the sequences and contingencies that structure visual language and human perception.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Amie Dicke (b. 1978) lives and works in Amsterdam, Netherlands. She received her masters at the Willem de Kooning Academy of Fine Arts in Rotterdam. Dicke has shown internationally at galleries and institutions including the Gemeente Museum, The Hague, Stigter van Doesburg and Castrum Peregrini, Amsterdam, Peres Projects, Berlin and Hiromi Yoshii Gallery, Tokyo. Her work is included in collections including Gemeentemuseum The Hague, Collection Rob Defares, Direct Art Collection, the Zabludowicz Collection, Collection Rik Reinking, Takashi Murakami and the City Collection of Rotterdam through the Museum Boijmans van Beuningen. Upcoming exhibitions include her solo show&nbsp;<em>Important Souvnirs</em>&nbsp;at Looiersgracht 60, Amsterdam.</div> Thu, 28 Apr 2016 10:15:34 +0000 Jessie Homer French - Armory Center for the Arts - January 24th - May 15th <p style="text-align: justify;">An exhibition of tapestries made of fabric, thread, paint, and ink, which depict the rich landscape of the West while mapping the fault lines throughout the region with vivid red lines. The artist, who calls these works "<a href="" target="_blank">mapestries</a>," describes them as "safe art for above one's bed in case of temblors."</p> <p style="text-align: justify;"><strong><a href="" target="_blank">Learn More About the Artist</a></strong></p> Thu, 07 Jan 2016 15:56:44 +0000 - Armory Center for the Arts - January 24th - May 15th <p style="text-align: justify;"><em>What Fuels Development?</em> is an installation that serves as a set for a devised theater piece that explores the mechanics of displacement in an age of immense income inequality as well as the <a href=",_Los_Angeles" target="_blank">Los Angeles Skid Row</a> community's fight to not be overwhelmed by a rapidly expanding, alcohol-fueled entertainment district. <br /><br />Developed by <a href="" target="_blank">John Malpede</a> of the <a href="" target="_blank">Los Angeles Poverty Department</a> (LAPD), the project builds upon the shared interests of the Armory and LAPD in connecting the experiences of people to the social, economic, and political forces that shape their lives. The exhibition will include the LAPD archive, which documents 30 years of LAPD&rsquo;s work and originated in an exhibition at the <a href="" target="_blank">Queens Museum</a>, New York, in 2014. Performances will take place on March 25, 26, 27 and April 1, 2, and 3.</p> Thu, 07 Jan 2016 15:57:45 +0000 Ratur - C.A.V.E. Gallery - April 9th - May 8th <div> <div style="font-family: Cambria; color: black; font-style: normal; font-weight: normal; margin: 0in 0in 0.0001pt; font-size: 12pt; text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">Passionate about skateboarding since a child, French artist Ratur was inspired to make a tribute to this freestyle art in his amazing new series "Breaking Dimensions".</span></div> <div style="font-family: Cambria; color: black; font-style: normal; font-weight: normal; margin: 0in 0in 0.0001pt; font-size: 12pt; text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">&nbsp;</span></div> <div style="font-family: Cambria; color: black; font-style: normal; font-weight: normal; margin: 0in 0in 0.0001pt; font-size: 12pt; text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">Influenced by the classic techniques of oil painting from the European masters, and inspired by the fresh energy of graffiti - Ratur has developed a distinct dynamic style that is executed with the most skillful detail.&nbsp;Allying digital work and technical virtuosity, Ratur explores the painter's place in our overwhelmingly digital society as well as the relationship between street art and classical art.&nbsp; </span><br /><br /></div> <div style="font-family: Cambria; color: black; font-style: normal; font-weight: normal; margin: 0in 0in 0.0001pt; font-size: 12pt; text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">In Ratur's paintings, the subjects faces are never in view - so that the character remains anonymous and rather the focus is towards the animated dynamic movement of the figures - which appear exploding, fractured, or depicted in layered sequential planes of motion.</span></div> <div style="font-family: Cambria; color: black; font-style: normal; font-weight: normal; margin: 0in 0in 0.0001pt; font-size: 12pt; text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">&nbsp;</span></div> <div style="font-family: Cambria; color: black; font-style: normal; font-weight: normal; margin: 0in 0in 0.0001pt; font-size: 12pt; text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">This unique new series includes 6 incredible oil paintings of skateboarding figures levitating through the air in action. The skateboard is depicted as an extension of the body and becomes an appendage that propels the soul forward. A signature element of Ratur's work is also a focus on the hands of each figure, which are skillfully rendered to express the figures intention and appear as if they are pushing out from the canvas as the figure glides in motion.</span></div> <div style="font-family: Cambria; color: black; font-style: normal; font-weight: normal; margin: 0in 0in 0.0001pt; font-size: 12pt; text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">&nbsp;</span></div> <div style="font-family: Cambria; color: black; text-align: left; font-style: normal; font-weight: normal; margin-top: 0in; font-size: 12.0pt; margin-right: 0in; margin-bottom: .0001pt; margin-left: 0in;"><span style="font-family: arial,helvetica,sans-serif;">Each piece in this special collection is intended to inspire the message: "better to stumble and bounce back even stronger, than fall down and stay down feeling sorry for yourself."</span><br /><span style="font-family: arial,helvetica,sans-serif;">_________</span><br /><br /> <div style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">Ratur was born in Le Havre, France in 1983. He received a Bachelor's degree in 2004 from St Vincent de Paul College in Le Havre, and has exhibited his artwork and participated in various street art festivals in France and the US since 2010.&nbsp;</span></div> </div> </div> Mon, 11 Apr 2016 18:28:20 +0000 Nawer - C.A.V.E. Gallery - April 9th - May 8th <div> <div style="font-size: 10pt; text-align: justify;">C.A.V.E. Gallery is pleased to present "Unfinished Thoughts" - the solo exhibition by Polish artist Nawer.</div> <div style="font-size: 10pt; text-align: justify;"><br />Nawer has developed a fresh, distinct creative style inspired by the quest to express the rigor of industrial architecture and the evocative power of music through painting. <br /><br />His work has quickly gained international attention and was featured in 2016 at the Yokohama Museum of Art, in the the first large-scale public showing of the renowned contemporary Japanese artist Takashi Murakami's private contemporary art collection.<br /><br /></div> <div style="font-size: 10pt; text-align: justify;">Nawer is one of the most representative members of the "Graffuturism" movement. Working with aerosol on the urban streets since the 90's and a graduate of the Architecture and Urbanism program in Krakow, Nawer incorporates the basic elements of architecture - volume, mass, color, space, and rhythm - and then stylistically composes them onto canvas using aerosol, masking tape, X-ACTO blades, stencils, and precision - into intersecting geometric planes and shifting axes that have a dynamic energy.<br /><br /></div> <div style="font-size: 10pt; text-align: justify;">This much anticipated solo exhibition by Nawer includes 13 impressive new paintings. In each canvas there is an alluring dissonance between the geometric rigor of intersecting lines and the omnipresence of fluid paint trickles that give the futuristic paintings an organic element and evoke the incoercible carefreeness of graffiti.<br /><br /></div> <div style="font-size: 10pt; text-align: justify;">Nawer's style is also very much influenced by the rhythm of music and is an expression of sound triggering emotion. Nawer's carefully selected color palettes and skillful technique of creating evanescent layers reinforce the perception of dynamic movement. Black, white and neutrals are activated with intense or fluorescent colors that pulse back and forth like intersecting beams of light - inviting the viewer to continuously feel or see something new in the work.</div> <div style="text-align: justify;"><br />Nawer's work has been exhibited across Europe, the U.S., Japan and Brazil since 2005, was recently profiled in current issue of Graffiti Art Magazine.</div> </div> Mon, 11 Apr 2016 18:28:59 +0000 - California African American Museum - January 18th - June 26th <p>The exhibition is an immersive, multi-media installation created by Surreal Box Cinema, an artistic duo formed by Lynn Rossi (photographer/set designer) and Nichelle Evans (set designer/conceptual artists), which explores the African American revolutionary path from the Trans Atlantic Middle Passage to the present day political Arena. The multi-media installations includes bright, large-scale photographs as well as live models posing with props to provide a sharp and historical insight featuring pivotal moments such as the Underground Railroad and Civil Rights Movement. This exhibition is free and open to the public.&nbsp; CAAM is located at 600 State Drive, Exposition Park, Los Angeles, 90017. For more information visit <a href="" rel="nofollow"></a> or call (213) 744-7432</p> Wed, 13 Jan 2016 23:41:18 +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 Lily Simonson - CB1 Gallery - April 16th - May 29th <p>CB1 Gallery is pleased to present&nbsp;<a href="" target="_blank" rel="nofollow"><strong><em>Midnight Sun</em></strong></a>,&nbsp;<a href="" rel="nofollow"><strong>Lily Simonson&rsquo;s</strong></a>&nbsp;third exhibition with the gallery. Simonson&rsquo;s new work stems from her second expedition to Antarctica as the Awardee for the National Science Foundation Antarctic Artists and Writers Program. The exhibition will be on view from Saturday, April 16 through Sunday, May 29. An opening reception for the artist will take place on Saturday, April 16, from 3 to 6 pm.</p> <p>CB1 Gallery will host a panel discussion,&nbsp;<em>Beneath the Midnight Sun: Art and Science in Antarctica</em>, on Saturday, May 21, in which biologist Gretchen Hofmann of UC Santa Barbara and planetary geologist Joe Levy of University of Texas Institute for Geophysics will speak about collaborating with Simonson during her three- month residency on the ice.</p> <p>Lily Simonson&rsquo;s paintings and accompanying video installation immerse viewers in an uncanny world that is at once naturalistic and psychedelic. Through hyper-saturated canvases, Simonson magnifies the vibrantly colored crystalline ice formations, dizzying vistas, and unexpected creatures that she encountered while scuba diving daily beneath the world&rsquo;s largest expanse of sea ice off the Antarctic coast. She also delves into Antarctica&rsquo;s terrestrial landscape, honing in on the movement of liquid water through permafrost. Simonson worked alongside researchers who study this phenomenon to understand how water might behave on the similarly extreme cold dry surface of Mars. Invoking the language of abstract expressionism, Simonson&rsquo;s works trace these water track patterns through rich swaths of fluorescent paint.</p> <p>Ethereal winged mollusks, submerged glaciers, and gestural expanses of color appear and dissolve through lush, translucent glazes. Both the paintings and the subjects themselves hover between the familiar and the unknown; depth and flatness; clarity and disorientation. In this way, Simonson&rsquo;s work tugs at the tension between figuration and abstraction that drives so many issues in contemporary painting. Antarctica emerges not only as a site for expanding scientific knowledge, but also for pushing the boundaries of painting itself.</p> <p>Camping in sub-freezing temperatures and working alongside researchers at remote field sites, from the crater of Antarctica&rsquo;s most active volcano to the glacial-carved McMurdo Dry Valleys, Simonson reframes the role of the expedition artist in contemporary culture. Combining traditions of natural illustration with figuration, psychedelia, and abstraction, she entices viewers to contemplate both the thrill of exploration and the limits of existence.</p> <p>Once characterized by isolation, these unique ecosystems face increased connectivity as a result of human activities and natural geological shifts. Though such extreme worlds have never supported a native human population, they are paradoxically vulnerable to Anthropocene-induced collapse. Simonson&rsquo;s work investigates these otherworldly landscapes and life forms as harbingers of dramatic global change.</p> <p>In addition to her Antarctic expeditions, Simonson has also served as the Artist in Residence aboard the Exploration Vessel Nautilus and the Research Vessel Melville. Her work has been exhibited across the US and Europe, and has appeared in a range of media outlets, including the LA Times, LA Weekly, MTV, the Huffington Post, CBS News, and MSNBC. Simonson holds an MFA from UCLA and a BA from UC Berkeley. She has taught painting and drawing at UC Berkeley, the Norton Simon Museum of Art, and CSU Pomona.</p> Sat, 09 Apr 2016 23:21:43 +0000 TOM BETTHAUSER, Ain Cocke, Alexander Kroll, Michael Mancari, Craig Taylor - CB1 Gallery - April 16th - May 29th <p>CB1 Gallery is pleased to present new haven, a group exhibition featuring five painters who all attended Yale University in New Haven, CT. The exhibition opens on April 16 and continues through May 29.</p> <p>For certain artists, all roads, and certain train tracks, lead to New Haven, and Yale University. Such is the case with the five painters featured in this exhibition.</p> <p>TOM BETTHAUSER (MFA 2012) arrived from the San Francisco Art Institute (BFA 2010);&nbsp;<a href="" rel="nofollow">AIN COCKE</a>&nbsp;(MFA 2004) from California State University, Long Beach (BFA 2002).&nbsp;<a href="" rel="nofollow">CRAIG TAYLOR</a>&nbsp;and MICHAEL MANCARI were classmates (MFA 1998), after receiving BFAs from the Maine College of Art (Taylor) and the Maryland Institute College of Art (Mancari). ALEXANDER KROLL did his undergraduate work in New Haven (BA, 2004), receiving his MFA from the Otis Art Institute in Los Angeles in 2008.</p> <p>These five artists also speak to Los Angeles, and CB1 Gallery, in particular. CB1 Gallery was the first commercial gallery in Los Angeles to show Alexander Kroll starting in 2010, with solo exhibitions in 2011 and 2012. Craig Taylor has shown with CB1 Gallery in 2013 and 2015 and Ain Cocke is scheduled for his first CB1 Gallery solo exhibition in 2017. Plus, we have recently become interested in the work of Tom&nbsp;Betthauser and Michael Mancari, both are recent new residents to Los Angeles.</p> Sat, 09 Apr 2016 23:25:35 +0000 Ramiro Gomez - Charlie James Gallery - April 16th - May 28th <p><strong>Charlie James Gallery</strong>&nbsp;is delighted to present LA-based artist<strong>Ramiro Gomez</strong>&nbsp;in his third solo show with the gallery titled&nbsp;<em>On Melrose</em>&nbsp;opening Saturday, April 16th from 6-9pm. This show will feature Gomez&rsquo;s largest show of painting and installation to date. Drawn from everyday scenes in Los Angeles, Gomez&rsquo;s large-scale acrylic on canvas paintings will feature uniquely recognizable Melrose Avenue locations and their inhabitants. The Paul Smith Store, Paramount Studios, and Fred Segal are among the landmark locations to make appearances in the paintings. In the lead-up to the show, Gomez will be creating cardboard cutout pieces and placing them around some of these iconic Melrose Avenue locations. He will also present an ambitious painting installation in our basement project space titled &ldquo;Melrose Avenue &ndash; Eastbound&rdquo; &ndash; a series of paintings tracking the journey eastbound on Melrose Ave from West Hollywood to Hoover Street in Los Angeles proper.</p> <p><strong>Book Release &ndash; Signing</strong>: Lawrence Weschler&rsquo;s new book on Ramiro Gomez titled&nbsp;<em>Domestic Scenes: The Art of Ramiro Gomez</em>&nbsp;(Abrams) will be celebrated during the reception as well. Copies of the book will be available and Gomez will be signing.</p> <p><strong>Ramiro Gomez</strong>, born in 1986 in San Bernardino, California to undocumented Mexican immigrant parents, briefly attended the California Institute for the Arts before leaving to take work as a live-in nanny with a West Hollywood family, an experience that did much to inform his artistic practice. In 2013 Gomez had his first solo exhibition at the UCLA Chicano Studies Research Center, and was also awarded with a residency to install a mural in West Hollywood Park, a project titled The Caretakers, which remains on view. In 2014 Gomez had his solo gallery debut at Charlie James Gallery in Los Angeles, and went on to show widely across North America. In 2015 Gomez exhibited at the University of Michigan Institute for the Humanities, the Chicago Humanities Festival, and again at Charlie James Gallery. Gomez&rsquo;s work has been covered in the New York Times Magazine, the Washington Post, NPR, the Los Angeles Times, Hyperallergic, Huffington Post, and CNN. This spring Gomez will be having a third show at the Charlie James Gallery in conjunction with the publication of a monograph on his work by Lawrence Weschler (Abrams). Gomez lives and works in West Hollywood, California. He is represented by Charlie James Gallery in Los Angeles.</p> Tue, 05 Apr 2016 22:11:10 +0000 Nathan Mabry - Cherry and Martin - April 2nd - May 14th <p style="text-align: justify;"><strong>Cherry and Martin is proud to present Nathan Mabry&rsquo;s fifth solo exhibition at the gallery. The exhibition will include new drawings and two new bodies of sculptural work:&nbsp;<em>Late One Night</em>&nbsp;and&nbsp;<em>Low Hanging Fruit</em>.</strong><br /><br />For over a decade, Nathan Mabry has explored the power of transformation. His sculptures and drawings are sites for energetic formal and intellectual reinvention. Mabry writes, &ldquo;I've always been fascinated by the power of the object, and how it relates to personal and collective experiences.&rdquo; In Mabry&rsquo;s work, objects&mdash;be they art historical or pop cultural&mdash;are transformed. In playing with the look and feel of these objects, how we relate to them and how they relate to each other, Mabry reinvents their meaning&mdash;and thus their power.<br /><br />The works in the exhibition draw from pop cultural history, American and European Modernism, and global ceramic traditions. In these works, Mabry investigates the relation between high-art and low-art; between western art and so-called &lsquo;ethnographic&rsquo; art; and the various complications inherent in the handmade, the remade, the found and the fabricated. Nathan Mabry&rsquo;s new works allow for a shifting space between individualism and pre-determination that is perhaps the truest expression of the modern American condition. Mabry has long been interested in individual artistic agency, but for Mabry, exploring the relationship between the artist, the work, the viewer and art historical precedents is a deliberate approach that provides an interplay of iconic association and idiosyncratic vision.<br /><br />The works in Mabry&rsquo;s new&nbsp;<em>Late One Night</em>&nbsp;series draw from the ideals of mid-century abstract steel sculpture. In the<em>Late One Night</em>&nbsp;works, Mabry explores the aesthetic tropes of a certain conformist vision that occurs in American and European sculpture in the early 60s. Stainless steel cast gloves, cans and a shop bucket are placed in dialog with sheets of &ldquo;junkyard&rdquo; metal. A ruin-like landscape presents an amalgamation of ritualistic performance&mdash;are we seeing studio process?&mdash;that is at the same time an investigation of historical stylized uses of found material. Mabry&rsquo;s works have the mystical presence of shadows&mdash;or works made in the shadows&mdash;offering cryptic forms that reveal themselves through prolonged looking. They are at once fragile and impermanent, but made with an authority and skill that defies gravity. Totemic and familiarly monumental, Mabry&rsquo;s&nbsp;<em>Late One Night</em>&nbsp;objects work in a referential network of association where the authoritarian rule collapses. Mabry writes, &ldquo;Things are just things&hellip;or are they?&rdquo;<br /><em><br />Low Hanging Fruit</em>&nbsp;is the second body of sculptural work included in Mabry&rsquo;s show. These works are incorporated into a kind of quasi-landscape or in-flux temple. Made from casts of various animals, fruit, plants and detritus, and painted in tones of red, the pieces in the&nbsp;<em>Low Hanging Fruit&nbsp;</em>group are mysterious and mystical signifiers. These obscure &ldquo;collages&rdquo; or trans-historical exchanges are a nod to the grand moments and movements within art objects&mdash;a meta-reference to metaphors about culture that are undefinable, reference the historical, and synthesize an emotional, organic sense of humanity.</p> <p style="text-align: justify;">Nathan Mabry received his BFA from the Kansas City Art Institute and his MFA from the University of California, Los Angeles. Mabry&rsquo;s work has been the focus of important exhibitions, including his solo exhibition at the Nasher Sculpture Center (Dallas, TX);&nbsp;<em>Thing: New Sculpture from Los Angeles</em>&nbsp;(Hammer Museum, Los Angeles, CA);&nbsp;<em>Red Eye: Los Angeles Artists from the Rubell Family Collection</em>&nbsp;(Rubell Family Collection, Miami, FL); and&nbsp;<em>Thief Among Thieves</em>(Museum of Contemporary Art, Denver, CO). Mabry&rsquo;s work is included in the collections of the Hammer Museum (Los Angeles, CA); Los Angeles County Museum of Art (Los Angeles, CA); Orange County Museum of Art (Newport Beach, CA); Museum of Contemporary Art (San Diego, CA); Phoenix Museum of Art (Phoenix; AZ); Dallas Museum of Art (Dallas, TX); Nasher Sculpture Center (Dallas, TX); Nelson-Atkins Museum of Art (Kansas City, MO); Whitney Museum of American Art (New York, NY). Private collections include 176 / Zabludowicz Collection (London, UK); The Rubell Family Collection, (Miami, FL); and Vanhaerents Art Museum (Brussels, Belgium). Mabry&rsquo;s work has been the subject of reviews and articles in such domestic and international publications as Art in America, Art Forum, Art + Auction, Frieze, Modern Painters, The Art Newspaper, Los Angeles Times, and The New York Times. Mabry lives and works in Los Angeles.</p> Wed, 30 Mar 2016 17:05:43 +0000 Adam Silverman - Cherry and Martin - 2732 - March 19th - May 14th <p style="text-align: justify;"><strong>Cherry and Martin is pleased to present,&nbsp;<em>Body Language</em>, Adam Silverman&rsquo;s first solo project at the gallery. The Los Angeles based Silverman&rsquo;s ceramic works recently appeared in the group exhibition,&nbsp;<em>Try again. Fail again. Fail Better</em>, at Cherry and Martin. His work has been the subject of recent solo exhibitions at the Nasher Sculpture Center (Dallas, TX); Kimbell Art Museum (Ft. Worth, TX); Laguna Art Museum (Laguna Beach, CA); and Tomio Koyama Gallery (Tokyo, Japan).</strong></p> <p style="text-align: justify;">Adam Silverman is an artist with a long-standing interest in architecture and dance. His work begins on the potter&rsquo;s wheel, in an age-old process of speed, pressure and gravity - a kind of math in motion. The result is elemental geometric forms that combine technical and formal precision with chance. Silverman fires and re-fires his work many times, building up their beautiful and richly tactile glazed surfaces. His resulting works - organized singly or in groups - reflect Silverman&rsquo;s commitment to the complexities of sculpture, and place his work firmly in both the present and in the 10,000 year old history of people making art out of clay.</p> <p style="text-align: justify;">Adam Silverman received his BFA and B.Arch from the Rhode Island School of Design. Silverman&rsquo;s work has been the subject of recent solo and group exhibitions at such museums and galleries as Cherry and Martin (Los Angeles, CA); Salon 94 (New York, NY); Kimbell Art Museum (Fort Worth, TX); Laguna Art Museum (Laguna Beach, CA); Tomio Koyama Gallery (Tokyo, Japan). Silverman&rsquo;s two-person installation,&nbsp;<em>Boolean Valley</em>, a collaboration with Nader Tehrani, travelled from San Jose Museum of Art (San Jose, CA) to MOCA (Los Angeles, CA) to the Nasher Sculpture Center (Dallas, TX). Silverman's work is in the collection of such museums as the Los Angeles County Museum of Art (Los Angeles, CA); Nasher Sculpture Center (Dallas, TX); and Rhode Island School of Design Museum (Providence, RI). A major monograph on Silverman&rsquo;s work,&nbsp;<span style="text-decoration: underline;">Adam Silverman Ceramics</span>&nbsp;(2013) was publish by Rizzoli. His work has been the subject of articles and reviews in&nbsp;<em>Artforum</em>,&nbsp;<em>Wallpaper</em>,&nbsp;<em>Architectural Digest</em>,&nbsp;<em>New York Times</em>&nbsp;and&nbsp;<em>Los Angeles Time</em><em>s</em>.&nbsp;</p> Wed, 30 Mar 2016 17:06:39 +0000 Brice Bischoff - Cirrus Gallery - March 19th - May 14th <div align="justify">Cirrus is pleased to present <em>Liar Channel</em>, Brice Bischoff's second solo exhibition at the gallery. In drawing from the urban storefront and its familiar yet overlooked signage, the installation of photographic and architectural structures, videos and fiberglass sculptures considers how the experience of place is shaped by way of light, reflection and architecture.</div> <div align="center">&nbsp;</div> <div align="justify">The exhibition takes as its starting point a discovery Bischoff made while on a routine walk. Coming across a window that was empty except for a plastic ribbon, with white and red stripes, he noticed the ribbon formed a '/' roughly from the top right corner to the bottom left corner. The glass of the window reflected architecture from across the street, and below, Clear Channel's logo had been vandalized.&nbsp; The 'C' had been blacked out and erased and the three horizontal lines of the 'E' in 'CLEAR' had also been blacked out to create an 'I'. The logo had been transformed from 'CLEAR Channel' into 'LIAR Channel'. This trajectory of visual codes sparked an inquiry into our perception of "real space" and the resonant qualities of the familiar.</div> <div align="center">&nbsp;</div> <div align="justify">In the installation, we see structural elements taken from the common window storefront, such as the aluminum frame or the stucco base, to guide us through a visceral experience of the city. But where a glass window should be, there is a photogram and photograph. While the photographs are of various storefronts found by the artist while navigating Los Angeles, the photograms are created by exposing dismantled neon signs onto light sensitive paper. The information in these works has been digitized into pixels and burned onto film, manipulated and hacked with software and electricity, mapped and traced, and printed with ink and chemicals. Like Man Ray's&nbsp;rayographs, Bischoff uses the process of making a photogram to create an abstract work. While Man Ray's photograms employed the object itself, the gestural blues in Bischoff's photograms are created by the light from the disused neon sign.</div> <div align="center">&nbsp;</div> <div align="justify">While the photogram brings to mind Man Ray, the use of the storefront is reminiscent of Christo's 1960s "Storefront" series. While Christo's concealed storefronts denied access to content, Bischoff's Liar Channel&nbsp;reveals numerous layers.&nbsp;In&nbsp;Computer Repair, we believe we are seeing the reflection of our background in what would appear to be a photograph behind glass. It isn't until further investigation that we realize the photograph is not behind glass, and the landscape actually exists within the image. This subtle scene-within-a-scene situates the viewer within the frame of the photograph, while physically wedging them between the information in the window and their own background.</div> <div align="center">&nbsp;</div> <div align="justify">This inquiry into the depths of an image can be seen as a parallel to how we engage with social media in our everyday. Accompanying Bischoff's storefronts, are resin sculptures whose reflective surface is translated as luminous when flash photographed by the viewer. This type of interaction negates the&nbsp;objectness&nbsp;of the sculpture, as its image is co-opted and negotiated on the web. As the work is taken out of the non-virtual environment, similar to the experience of passing a window storefront, its presence becomes a ghostly afterimage of the viewer's experience.</div> <div>&nbsp;</div> <div align="justify">Brice Bischoff is a Los Angeles based artist born in New Orleans, LA. He received his MFA from the San Francisco Art Institute in 2007. His work has appeared in exhibitions at Regina Rex in New York and the U.S. Embassy in Berlin. In 2010, he was a participating artist in New Orleans' Prospect 1.5 Biennial and in 2013 in the California-Pacific Triennial at the Orange County Museum of Art. His work is in the collections of the Los Angeles County Museum of Art and the Orange County Museum of Art among others. This will be Bischoff's second solo show at Cirrus Gallery.</div> Thu, 18 Feb 2016 17:28:36 +0000