ArtSlant - Current exhibits en-us 40 Rirkrit Tiravanija, Superflex - 1301PE - September 6th - November 1st <p style="text-align: justify;">1301PE is pleased to announce its second collaborative exhibition with Rirkrit Tiravanija and SUPERFLEX.<br /> <br /> I believe in censorship, I made a fortune out of it. <br /> &ndash; Mae West<br /> <br /> Censorship is never over for those who have experienced it. It is a brand on the imagination that affects the individual who has suffered it, forever. <br /> &ndash; Noam Chomsky<br /> <br /> In retrospect one needs to re-examine the reception and perception of the work done in the past 20 years by the collective SUPERFLEX. In their questioning of identity, authenticity and originality, the modes of production and circulation, commodification and distribution of knowledge and disparity of economies, SUPERFLEX have made a life&rsquo;s work of problematising cultural and social, personal and public issues the core of their artistic practice.</p> <p style="text-align: justify;">In their work, the ideas of ownership of both material and immaterialare put into question, are played out through collaborative and collective initiatives. The works of SUPERFLEX require that there be interaction, both individually and collectively, exchange and change occurs, dictated by the will (through the interaction) of the collaboration. Because of the open-ended condition that SUPERFLEX has put forth in their methodology of working, there are exchanges which are by nature volatile in their conception and reception.</p> <p style="text-align: justify;">Volatility of course can be read as both positive and negative energy in the open pasture of exchange and interaction, the understandingand reading of the works can be excavated through many layers of experience, and meanings are formed through the passage of interaction and exchange. But the line along which this volatility is accepted, or rejected, is a narrow thread, and an understanding of the importance of the collective practices of SUPERFLEX demands that the viewer/reader/participant is alert and paying attention. This line of volatility which we as active and/or passive participants are confronted by in the work of SUPERFLEX has brought on with great and interesting results, misunderstandings and/or refusals in dialogues with the institutions which the work itself is reflecting upon.</p> <p style="text-align: justify;">The idea of censorship, and the process of litigation in some cases against the work of SUPERFLEX, is a reflection of the volatility which their works tend to thread within, and the line it carries is the necessary path by which the work or the conception of the work attempts to challenge, first within the cultural sphere and secondly in the greater social, political sphere of our daily existence.</p> <p style="text-align: justify;">In that I am interested to make a format of presentation which will bring to light the mechanics of the process, &ldquo;how things go&rdquo;, when the group SUPERFLEX begins to conceptualise a work of art, a project, a production, and how within that process a narrative of events leads to the realisation and/or the diversion by which SUPERFLEX has to manoeuvre their way through the bogs of bureaucratic institutionalised corporate mindsets, which use their authoritative position against the idea of difference, of diversity, and of poetry.</p> <p style="text-align: justify;">― Rirkrit Tiravanija, Catalogue, SUPERFLEX An artist with six legs, Kunsthal Charlottenborg 2014.<br /> For more information please contact Isha Welsh or Brian Butler 323.938.5822.</p> Fri, 26 Sep 2014 11:22:01 +0000 Katie Aliprando - 2nd Cannons - October 10th - December 6th Tue, 21 Oct 2014 04:51:15 +0000 Jesse Fleming - 356 Mission - September 28th - November 2nd Tue, 21 Oct 2014 04:51:18 +0000 Aaron Morse - ACME - October 11th - November 8th <p style="text-align: justify;">ACME. is pleased to present "Cloud World," a solo exhibition of new work by Los Angeles based artist Aaron Morse. The show features new paintings ranging from small to large scale. These new canvases explore three different scenes: luminous cloudscapes, turbulent seascapes, and illustrations of various, exotic animals from the land, sky, and sea. Morse presents these three different worlds in colorful and surreal depictions where space manages to seem disorienting and infinite. <br /> <br /> Aaron Morse (b. 1974, Tucson, Arizona) received his MFA from the University of Cincinnati and his BFA at the University of Arizona. Recent exhibitions include I-20 Gallery, New York; Andrew Rafacz/Country Club, Chicago; Weatherspoon Art Museum, Greensboro; ACME., Los Angeles; the Nora Eccles Harrison Museum of Art, Logan; and the Hammer Museum of Art, Los Angeles. Morse's work is included in the permanent collections of the Albright-Knox Art Gallery, Buffalo; the Hammer Museum of Art, UCLA; the Los Angeles County Museum of Art, Los Angeles; the Museum of Modern Art, New York; the Nerman Museum of Contemporary Art, Overland Park; and the Whitney Museum of American Art, New York, among others.</p> Fri, 03 Oct 2014 01:53:25 +0000 Adam W. Brown, Robert Root-Bernstein, James Griffith, Dan Goods, David Delgado, Santiago Lombeyda, Rebeca Mendez, Jennifer Steinkamp - Alyce de Roulet Williamson Gallery - October 4th - January 18th, 2015 <p style="text-align: justify;">*Also includes artifacts and writings by James Ferguson (1710-1776), William Herschel (1738-1822), and Isaac Newton (1642-1727).</p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="" alt="" /></p> <p style="text-align: justify;">&nbsp;</p> Mon, 01 Sep 2014 09:52:25 +0000 Group Show - AMBACH & RICE - October 11th - November 22nd <p style="text-align: justify;"><em>Sincerely,&nbsp;</em>marks the 47<sup>th</sup>&nbsp;and final exhibition at A&amp;R.<br />&nbsp;<br />My wife Amanda and I founded AMBACH &amp; RICE in 2009. We opened in a former garage space in Ballard, what was then a blue-collar maritime community on the northern edge of Seattle. It was not uncommon to have days when inebriated fishermen outnumbered actual&nbsp;<em>art viewers</em>. With other galleries miles across town we were the embodiment of a&nbsp;<em>destination&nbsp;</em>gallery. Eventually a sports bar replaced the metal shop next door. Our new neighbors ensured that we often began the day by cleaning up puke in our alcove, an apt metaphor for opening and owning a gallery, a carousel of highs and hangovers, work and play.&nbsp;<br />&nbsp;<br />My friend owns a winery and once remarked that being a vintner is ultimately a glorified janitorial position, more time spent scrubbing vats than contemplating the complex notes of a Pinot Gris.&nbsp; Similarly, beneath the perceived glamour of the art world is a well of blood, sweat and tears, labor and toil rendered invisible within the immaculate confines of gallery walls. The art world is sustained by the uncompromising efforts of intrepid artists, dealers, collectors, critics, and curators. It has been an honor to get my hands dirty with all of you; the rewards have been immeasurable. Thank you. Our shared passions and pursuits ensure that this important work will continue.<br />&nbsp;<br />When the gallery opened we chose to put our mothers&rsquo; maiden names on the door instead of our own.&nbsp; This decision was a subtle homage to&nbsp;<em>Mom</em>, but perhaps more importantly, an extension of our conviction that artists define a gallery&rsquo;s legacy, rather than its proprietors. Our artists will continue to push boundaries in the studio, to defy the status quo. To become a footnote in what will undoubtedly be long and meaningful careers is a serious honor.<br />&nbsp;<br />Three years ago the gallery re-located to Los Angeles; the move was both unexpected and spontaneous. While in town for a satellite exhibit in Chinatown I received a phone call from Marc Foxx. Marc encouraged me to visit a space for lease next door to his gallery. Five months later we were living in California, gallery keys in hand.&nbsp; A fulfillment of Frank Lloyd Wright&rsquo;s wry observation &ldquo;Tip the world over on its side and everything loose will land in Los Angeles.&rdquo; Things fell into place so to speak. L.A. is home, and will continue to be for our family.<br />&nbsp;<br />Legendary curator Harald Szeeman once remarked that &ldquo;in order to entertain certain ideas we may be obliged to abandon others upon which we have come to depend.&rdquo; Currently there are realities within the art world that I cannot transcend within the existing gallery model. The evolution of art will be reliant upon a combination of existing strategies and new models. I&rsquo;m committed to exploring new approaches with the same curiosity and enthusiasm that attracted me to the art in the first place. The future is unknown but my intentions are true. See you on the other side.<br />&nbsp;<br />Sincerely,<br />Charlie Kitchings</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Artists Exhibited<br /><strong>*Artists Represented</strong><br />&nbsp;<br />Carl Andre, Richard Artschwager, Alvin Baltrop, Thomas Barrow,&nbsp;<strong>Grant Barnhart</strong>, Erica Baum, Bernd &amp; Hilla Becher, Walead Beshty, Doug Biggert, James Bishop, Gil Blank, Mel Bochner, Jennifer Bolande, Lee Bontecou, Tim Braden, Bj&ouml;rn Braun, Anders Brinch, Scott Burton, Peter Cain, Martha Colburn,&nbsp;Anne Collier, Peter Cordova, Mary Corse, R. Crumb, Michael Decker, Steve DiBenedetto, Philip-Lorca diCorcia, John Divola, Trisha Donnelly, Stan Douglas, John Duff, Carroll Dunham, Shannon Ebner, Ricardo Estella, Walker Evans,&nbsp;Bart Exposito, Paul Feeley, Tony Feher, Dan Flavin, Ryan Foerster, Jason Fulford, Noriko Furunishi, Cameron Gainer, Victoria Gitman, Robert Gober, Tomoo Gokita, Alexander Gorlizki, Sara Greenberger Rafferty, Mark Hagen, Emilie Halpern Teenie Harris, Deborah Hede, Mary Heilmann, Robert Heinecken, Sean Higgins, Ariel Herwitz, Camille Holvoet, Sofia Hult&eacute;n, Ralph Humphrey, Bryan Hunt, Alfred Jensen, Robert Kinmont, Jeff Koons, Harriet Korman, James Krone, Isaac Layman, Barry Le Va, Bas Louter,&nbsp;<strong>Ellen Lesperance</strong>,&nbsp;<strong>Alon Levin,</strong>&nbsp;Sherrie Levine, Sol LeWitt, Andrew Li, Judy Linn, Vivian Maier,&nbsp; Florian Maier Aichen, Robert Mangold, Brice Marden, Chris Martin, Andrew Masullo, Aspen Mays, John McLaughlin, Roy McMakin, Joseph Mills, John Miller,&nbsp;<strong>Jeffry Mitchell</strong>, Paul Mogensen, Robert Moskowitz, Loren Munk, Catherine Murphy, Bruce Nauman, John Neff, Thomas Nozkowski, Jos&eacute; Nunez, Robyn O&rsquo;Neil, Catherine Opie, Joe Park, Adrian Paules, Raymond Pettibon&nbsp;<strong>Pablo Pijnappel</strong>, Thomas Pringle, David Rabinowitch, Evelyn Reyes,<strong>&nbsp;Abigail Reynolds</strong>, Dorothea Rockburne, Torbj&oslash;rn R&oslash;dland, Will Rogan, Ethan Rose, Alexander Ross, Dieter Roth, Robert Ryman, Sam Samore,&nbsp;<strong>Karen Sargsyan</strong>, Alan Saret,&nbsp;<strong>Martina Sauter</strong>, Michelle Serge, Joel Shapiro, Stephen Shore, James Siena, Sturtevant, Alison Elizabeth Taylor, Whiting Tennis, Edmund Teske, Michael Tetherow, Mungo Thomson, Wolfgang Tillmans, Josh Tonsfeldt, Richard Tuttle,&nbsp;<strong>Ron van der Ende</strong>, Markus Vater, Dan Webb, Christian Weihrauch, James Welling, John Wesley, Gerald Wiggins, Steve Wolfe, Christopher Wool Erwin Wurm,<strong>Eric Yahnker</strong>, Peter Young, Dan Zeller, Claude Zervas, Joe Zucker</p> Sat, 11 Oct 2014 16:10:07 +0000 Joe Reihsen - Anat Ebgi - September 13th - October 25th <p style="text-align: justify;">Anat Ebgi is pleased to announce&nbsp;<em>Aftermarket Interior, Factory Paint,</em>&nbsp;a solo exhibition of new works by Joe Reihsen opening September 13 and on view until October 25, 2014.</p> <p style="text-align: justify;"><em>Aftermarket Interior, Factory Paint</em>&nbsp;is Joe Reihsen&rsquo;s third solo exhibition with Anat Ebgi, and his first show in the newly expanded gallery space. In his previous show,&nbsp;<em>Clean Title, No Accidents</em>, Reihsen focused on an intimate scale of works, akin to the size of a computer screen or sheet of paper. For this exhibition, Reihsen continues his exploration of the medium of paint, but on large-scale surfaces. Each panel deftly synthesizes three particular methods that Reihsen utilizes&mdash; the background stripes, gestural swathes of gesso emphasized with pneumatic painting devices, and the newest addition of paint &ldquo;skins&rdquo; applied to the top most layer of the abstraction.</p> <p style="text-align: justify;">The amalgamation of Reihsen&rsquo;s techniques creates panels that are entrenched in the language of abstract painting, while still exerting their relationship to contemporary digital culture. Like the ubiquitous digital screen, each of Reihsen&rsquo;s panels contains a profound sense of physical depth while remaining almost entirely flat.&nbsp;<em>Aftermarket Interior, Factory Paint</em>&nbsp;is a collection of Joe Reihsen&rsquo;s most sophisticated works in which the tensions between abstraction, digital technology and industrial materials are collapsed into monumental paintings.</p> <p style="text-align: justify;">Joe Reihsen (b. 1979. Blaine, Minnesota) lives and works in Los Angeles. Joe received his BFA in painting and New Genres at the San Francisco Art Institute. In 2008, Joe received an MFA from the University of California, Santa Barbara where he was awarded the UC Regents Fellowship. Recent exhibitions include a solo presentation at Miart Milan. Upcoming exhibitions include a solo shows at Brand New Gallery, Milan, and Praz-Delavallade, Paris.</p> Fri, 29 Aug 2014 14:39:17 +0000 - Angels Gate Cultural Center - May 12th, 2013 - June 19th, 2015 <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 Fausto Fernandez - Angels Gate Cultural Center - February 9th - January 9th, 2015 <p>Angels Gate Cultural Center (AGCC) exhibition cycle 2013-2015 explores how stories within the community shape the collective&nbsp;consciousness&nbsp;in San Pedro and South Bay area. For 2014, Los Angeles based artist Fausto Fernandez was selected to work on the next iteration of the exhibition cycle. The collaboration marks&nbsp;the beginning of a year-long partnership with the&nbsp;Southwest Regional Council of&nbsp;Carpenters,&nbsp;the Pile Drivers, Bridge, Dock and Wharf Builders Local Union 2375 whereby&nbsp;AGCC will explore the stories of members and their families, the history of the labor movement in San Pedro and how this impacts the community at large.&nbsp;</p> Fri, 31 Jan 2014 00:11:23 +0000 Group Show - Angles Gallery - September 13th - November 1st <p style="text-align: justify;">Angles Gallery is very pleased to present&nbsp;<em>Transmogrification of the Ordinary.</em>&nbsp;This group exhibition will address representations of the domestic object in fine art, including issues of still life, consumerism, gender, and identity. &nbsp;Exploring destabilization and the transformative shifts in cultural and aesthetic value that elevate the ordinary to art, the exhibition examines how everyday objects can be lifted from the mundane.</p> <p style="text-align: justify;">&nbsp;</p> Fri, 12 Sep 2014 15:36:08 +0000 Vlatka Horvat, Ulla von Brandenburg, Karl Haendel, Nahum Tevet, Jan Tichy, Shahar Yahalom, Guy Yanai - Aran Cravey - September 13th - November 1st <p><em>&ldquo;In the beginning, pure colour, the universal soul in which the human soul was bathing in a state of earthly paradise, was mastered by the invasion of the line, imprisoned, compartmentalized, cut apart, returned to slavery. &nbsp;In the joy and delirium of its guileful victory, line subjugated man and imprinted upon him its abstract rhythm.&rdquo;</em><br /><em>&nbsp;&nbsp;</em><em>&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; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</em>- Yves Klein</p> <p><br />&nbsp; &nbsp; For his proposed film&nbsp;<em>La</em>&nbsp;<em>guerre</em>, Yves Klein declares color the victor in the historically entrenched debate over the supremacy of line vs.&nbsp;color. Playing the role of the villain, line is the oppressive force that imprisons color&rsquo;s vitality. Elusive and unfettered, color not only trumps line in its purity, but embodies the true nature of the human soul. In&nbsp;<em>Informal Forms</em>, curator Noam Segal draws a parallel between Klein&rsquo;s vision of color as the mercurial maverick and the boundary-breaking vigor of the abstract form. In the face of confinement, abstraction defies its borders, and in its transgression, defines its own. Segal writes,&nbsp;&ldquo;The works shown in this exhibition challenge language and disrupt coherent categorical conception. They&nbsp;strive towards singularity, towards an inconstant&nbsp;gaze that presents each phenomenon in its own right.&rdquo;</p> Wed, 03 Sep 2014 19:32:19 +0000 Tom Friedman, Evan Holloway, Farrah Karapetian, Alice Könitz, Marco Rios, Corinna Schnitt, Artur Zmijewski - Armory Center for the Arts - July 13th - December 14th <p style="text-align: justify;"><em>The Fifth Wall</em>&nbsp;is inspired by multiple sources: the unique architecture of the Armory&rsquo;s Raymond Avenue building; German modernist theater practitioner Bertolt Brecht&rsquo;s notion of dialectical theater, including the breakdown of the &ldquo;fourth wall&rdquo; and the emphasis of function over the binary considerations of form and content; and artwork that challenges the authority of a fixed point of view and suggests a deeper form of reciprocal engagement; and the Armory&rsquo;s 25<sup>th</sup>&nbsp;year of programming.</p> <p style="text-align: justify;"><em>The Fifth Wall</em>&nbsp;consists of works on paper, sculpture, painting, video, and photography by seven artists from Los Angeles, rural Connecticut, Warsaw, and Berlin. Each has created works that take into consideration alternate, or &ldquo;wrong&rdquo; points of view or perspectives. Alice K&ouml;nitz&rsquo;s&nbsp;<em>Los Angeles Museum of Art,</em>&nbsp;a c. 13&rsquo; x 10&rsquo; x 10&rsquo; outdoor sculpture that also functions as a museum, will be moved from the driveway of her Eagle Rock studio and re-installed in the Armory&rsquo;s Caldwell Gallery, where it will provide a literal and metaphorical platform for performances to be staged during the run of the exhibition. Evan Holloway&rsquo;s delicate line drawings of the sides of epic steel sculptures by David Smith, and Marco Rios&rsquo;s &lsquo;repaintings&rsquo; in oil on canvas of his childhood abstractions, consider artworks from unexpected spatial or temporal disruptions. Interior spaces are reconsidered by Corrina Schnitt, who has created a video that shows household and domestic farm animals slowly being introduced into a living room and the mayhem that ensues, and Farrah Karapetian, who uses photograms to render images of architectural interiors in three dimensions. Our physical senses of sight and sound are challenged by Tom Friedman, who confronts basic assumptions about daily life through unexpected use of familiar materials, and Artur Zmijewski, a visual artist and filmmaker who has created lyrical audio/visual works with deaf/mute children.</p> <p style="text-align: justify;">Drawing from Brecht&rsquo;s theatrical practice, the show invites critical self-reflectivity in the viewer. The works in this exhibition &ldquo;show what is shown in the showing,&rdquo; to borrow Brecht&rsquo;s phrasing. The viewer is made aware of ideas of labor, point of view, and architectural and social constructs that affect their perception of a piece of work. This show seeks to de-familiarize viewers with their own experience of art, and to produce a feeling of strangeness toward what would otherwise have been considered only in a canonical context. Brecht&rsquo;s word for this was the&nbsp;<em>Verfremdungseffekt</em>, or &ldquo;alienation effect&rdquo; which, when applied to art, can offer new content in even the most familiar contexts. Just as Brecht wanted his audience to remain aware of the falsity of the spectacle,&nbsp;<em>The Fifth Wall</em>&nbsp;seeks to remind the viewer of the fallacy of point of view. It provides familiarity of subject matter with an estrangement to the object&rsquo;s original context.</p> Sun, 18 May 2014 09:48:00 +0000 Martine Syms with photographer Cat Roif - Armory Center for the Arts - July 13th - January 30th, 2015 <p>Big City Forum (BCF) will occupy the second-floor Mezzanine Galleries at Armory Center for the Arts from Sunday, July 13 through Sunday, December 14, 2014, during Phase II of its 15-month residency entitled&nbsp;<em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em>. With the Armory as a host venue, BCF, a project founded by Leonardo Bravo, will design and build a dynamic reading room/library as a site from which to present three exhibitions, conduct film screenings, and hold a series of conversations, workshops, and other discursive events. The first exhibition, from Sunday, July 13 through Sunday, August 31, will feature&nbsp;<em>The Queen&rsquo;s English</em>, work by Martine Syms with photographer Cat Roif. A reception, free and open to the public, will take place on Saturday, July 12, from 7-9pm. Big City Forum&rsquo;s residency&nbsp;<em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em>&nbsp;is being facilitated by Armory&rsquo;s Gallery Director / Chief Curator Irene Tsatsos.</p> <p><em>The City of Hope/City of Resistance</em>&nbsp;reading room/library, a central element of BCF&rsquo;s residency at the Armory, is designed by Los Angeles-based artist Jeff Cain of Shed Research Institute to frame and facilitate conversations and engagement around the key questions raised during the residency and meant to serve as a dynamic, interactive platform for diverse, shared creativity. A dynamic, evolving set of programs within this context, with special guest contributors, will be featured in an exhibition format every two months. Programmatic continuity throughout BCF&rsquo;s occupancy of the Armory will be in the recommended reading shelf, comprised of books contributed by past BCF participants, with each book to include a small biography and statement from each contributor.</p> <p><strong>About Guest Contributors Martine Syms and Cat Roif<br /></strong>Featured guest contributors will be introduced throughout BCF&rsquo;s occupancy of the Armory. The first of three sets of guest contributors are Martine Syms with Cat Roif, whose work will be displayed from July 12-August 31, 2014.&nbsp;<em>The Queen&rsquo;s English</em>, a project by Syms, takes inspiration from librarian JR Roberts&rsquo;s 1981 annotated bibliography&nbsp;<em>Black Lesbians</em>, a book whose cover she was drawn to when browsing at a used bookstore with a specific intention not to purchase anything.</p> <p><em>The Queen&rsquo;s English</em>&nbsp;gathers books from the chapter of&nbsp;<em>Black Lesbians</em>&nbsp;entitled &ldquo;Literature &amp; Criticism.&rdquo; It also features a series of photographic diptychs in collaboration with Roif, along with other source materials, to consider the role of &ldquo;the reader&rdquo; as a position of power. About this notion, and in response to her project entitled<em>Reading Trayvon Martin</em>, Syms notes, &ldquo;Here, reading, once considered a solitary endeavor, is re-examined as an active stance through the added dimensions of posting, sharing, reframing, and thus contributing to a broader conversation across social media. The act of bookmarking becomes synonymous with the process of staking out a position, publicly declaring a side or a perspective.&rdquo;</p> <p>About&nbsp;<em>The Queen&rsquo;s English</em>, and her work in general, Syms says, &ldquo;I consider much of my work an excursus from a primary text. I&rsquo;m engaged in trying to read what&rsquo;s not there.&rdquo; The introduction of&nbsp;<em>Black Lesbians</em>&nbsp;states: &ldquo;As this bibliography undoubtedly proves, a body of [Black lesbian] literature exists, although it is often hidden or unidentified for reasons directly related to the social, political, and economic realities of being Black, female, and lesbian.&rdquo;</p> <p>Martine Syms is an artist and &ldquo;conceptual entrepreneur&rdquo; based in Los Angeles. Her work explores themes as varied as Afrofuturism, queer theory, the power of language, and the spiritual nature of the color purple. From 2007-2011, she directed Golden Age, a project space she founded in Chicago that focused on exhibitions, performances, and printed matter, and where she organized over fifty innovative cultural projects ranging from film screenings to interactive online exhibitions. She also initiated Dominica Publishing, which includes a catalogue of ten titles by international, emerging artists. Syms has lectured at Light Industry in Brooklyn; Project Row Houses and the Houston Museum of African American Art, both in Houston; South by Southwest in Austin; California Institute of the Arts, Valencia; University of Chicago and the Museum of Contemporary Art in Chicago; Johns Hopkins University and Maryland Institute College of Art, both in Baltimore; and MoMA P.S.1 in Queens, among other venues. Her artwork has been exhibited and screened at the New Museum in New York; Museum of Contemporary Art and School of the Art Institute of Chicago; Capricious Space in Brooklyn; The Wassaic Project in upstate New York; and at White Flag Projects in St. Louis. Syms is a graduate of the School of the Art Institute of Chicago with a degree in Film, Video, and New Media.</p> <p>Cat Roif is a Los Angeles-based photographer, photo stylist, and editor who experiments with the relationships between color and light; figure and landscape; and sex, maximalism, and opulence. Her work has appeared in&nbsp;<em>Spin</em>,&nbsp;<em>Rolling Stone</em>,&nbsp;<em>Nasty Gal</em>, and more. Roif was raised in &ldquo;late Post-modern Miami,&rdquo; attended Savannah College of Art and Design in Georgia, and earned her BFA in Photography in 2010 from the School of Visual Arts in New York.</p> <p><strong>About&nbsp;<em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em><br /></strong>Los Angeles is at a pivotal moment of transition and transformation. Social fragmentation and isolation is giving way to a celebration of plurality and difference; identities and communities are coalescing around collective, design-based solutions.</p> <p><em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em>&nbsp;is Big City Forum&rsquo;s 15-month, three-part residency at Armory Center for the Arts; it brings together the creative forces of numerous participants across the fields of architecture, urban design, contemporary art, new media, and social and community activism. The residency explores, discusses, and produces various forms of social space from community-based initiatives; new physical and social architectures; individual and collective actions that have affected public civic engagement; and ideas and actions that will influence life in the region in constructive, positive ways.</p> <p>The project is organized in three separate phases. Phase I, from January through June 2014, has focused on research; Phase II, from July through December 2014, is the occupation of the Armory Center for the Arts; Phase II, from January through March 2015, will consolidate the ideas generated throughout 2014 into a publication, to be released in spring 2015.</p> <p><strong>About Big City Forum<br /></strong>Big City Forum (BCF), founded in 2008 by Los Angeles-based artist, educator, and activist Leonardo Bravo and co-directed with artist/graphic designer River Jukes-Hudson since 2013, is an independent, interdisciplinary project that explores the intersection between design-based creative disciplines within the context of public space, the built environment, and social change.</p> <p><strong>About Big City Forum in Residence at the Armory<br /></strong>The residency&nbsp;<em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em>&nbsp;builds upon an existing collaboration between the Exhibitions Department at the Armory and BCF, which has been crucial in advancing public discourse on the notion of social and civic engagement within the built environment. Since spring 2012 BCF has been in residence at the Armory, upon the invitation of Armory&rsquo;s Gallery Director/Chief Curator Irene Tsatsos, during which time it has programmed two seasons of lively, discursive events (<em>Mapping LA</em>&nbsp;in 2012 and&nbsp;<em>Transforming the Social</em>&nbsp;in 2013) comprised of a series panels of leading architects, theorists, and planners who, along with a room of engaged participants, have explored current creative practices that inform the landscape, culture, and geography of Los Angeles. Along with the programmatic ambitions and theoretical investigations described above,&nbsp;<em>City of Hope, City of Resistance: Research and Actions at the Urban Level</em>&nbsp;serves as an incubation period for Big City Forum as it develops plans to launch future programmatic platforms. Big City Forum&rsquo;s residency at Armory Center for the Arts is being supported with funding from the National Endowment for the Arts.&nbsp;</p> <p>&nbsp;</p> Fri, 20 Jun 2014 22:25:59 +0000 Paul Kirley, Mark Acetelli, Bettina Mauel, Atticus Adams - Artspace Warehouse - October 18th - November 21st <p>New art exhibition COSMIC SCATTERINGS OF ABSTRACTION opens October 18, 2014 at Artspace Warehouse. Featured artists include&nbsp;<a class="pink" href="" rel="nofollow">Paul Kirley</a>,&nbsp;<a class="pink" href="" rel="nofollow">Mark Acetelli</a>,&nbsp;<a class="pink" href="" rel="nofollow">Atticus Adams</a>,&nbsp;<a class="pink" href="" rel="nofollow">Bettina Mauel</a>.</p> <p>Opening Reception Sat, October 18, 6 - 8 pm.</p> <p>&nbsp;</p> <p>California artist&nbsp;<a class="pink" href="" rel="nofollow">Paul Kirley</a>&nbsp;creates visual experiences that connect people to place as though they were dreaming. His process begins as a series of digital photographic events. Iconic images and stories are identified and catalogued. Selections are then composed and combined with found objects yielding a narrative assemblage. The final step in the process includes expressing connections between the representational landscapes and ephemeral dreamscape experiences. Links between the two worlds are created as a series of traditionally painted layers and gestures. The creative process of each piece presents opportunities to live fully immersed in the stories and places of our dreams.</p> <p><a class="pink" href="" rel="nofollow">Mark Acetelli's</a>&nbsp;artworks are inspired by the intensely personal introspective journey of life, from the ever changing complexities of love, loss, birth and death. His latest series is entitled &ldquo;Absence and Presence&rdquo;, pertaining to how someone or something can be physically gone, but the essence still remains. Capturing the physical mixed with spirituality on canvas. His application of paint is an extension of that thought process. His artworks are a product of continuously building up and tearing down, layer upon layer, adding and subtracting. A visceral dance between the conscious and the unconscious until the emotion is expressed.</p> <p><a class="pink" href="" rel="nofollow">Atticus Adams</a>&nbsp;is a sculptor whose work embodies the transformative power of art to create beauty, meaning, and emotional impact from industrial materials. Using mostly aluminum mesh&mdash;generally found in screen doors/windows and filters&mdash;he creates abstract pieces and installations, which sometimes resemble flowers, clouds, and other natural phenomena.</p> <p>German artist&nbsp;<a class="pink" href="" rel="nofollow">Bettina Mauel</a>&nbsp;studied at the D&uuml;sseldorf Art Academy with Professor Gerhard Richter. Mauel expresses vitality and sensuality in her paintings. In 1984 she was asked by the city of Wuppertal, Germany to paint scenes of the dance theater of Pina Bausch. This had a major influence on the selection of themes in her imagery. Instead of focusing on spectacular poses, she homed in on the in-between: feelings, thoughts and fears.</p> Fri, 17 Oct 2014 21:24:18 +0000 Gay Summer Rick, Suzanne Unrein - bG BLEICHER/GORMAN - September 28th - October 21st <p dir="ltr">bG Gallery Bergamot Station presents Beasts and Trees, Cities and Seas, a two person exhibition featuring bodies of work from artists Gay Summer Rick and Suzanne Unrein. Both artists juxtapose the natural world against human existence, reminding the viewer that they, too, are a volatile organic entity.</p> <p dir="ltr">Suzanne Unrein stages glorious confrontations: man and beast, beast and beast, the dual nature of man and the beast within - even the artist&rsquo;s floral still-life paintings hint at the battle between life and decay. Confident, expressive brushstrokes and a rich color palette follow line and composition in a loose interplay of the abstract and the representational. Underlying the tense beauty of Unrein&rsquo;s work is a common theme: &nbsp;creation and destruction are the consequence of being alive.</p> <p dir="ltr">Gay Summer Rick&rsquo;s new series City and Coast, depicts urban habitats vibrating alongside Southern California&rsquo;s ephemeral coastline. The dynamic relationship between the two environments is heightened by the artist&rsquo;s choice of palette knife instead of brush. Her distinctive painting style creates an arresting color field in which the city&rsquo;s sharp edges dissolve into the impressionistic embrace of sand, sea and sky. Rick&rsquo;s ultimate intention: to transcend the visual by evoking the emotional experience of a place.</p> Sat, 20 Sep 2014 18:27:37 +0000 Ha Chonghyun, Kwon Young-woo, Lee Ufan, Park Seobo, Yun Hyongkeun - Blum & Poe - September 13th - November 8th <p style="text-align: justify;">Blum &amp; Poe announces<em>&nbsp;From All Sides: Tansaekhwa on Abstraction</em>,&nbsp;a large-scale survey of Korean monochromatic painting from the 1960s to the 1980s. Consisting of more than thirty-five seminal paintings, the show is the first major overview of Tansaekhwa in North America, focusing on six of its most representative artists: Chung Sang-hwa, Ha Chonghyun, Kwon Young-woo, Lee Ufan, Park Seobo, and Yun Hyongkeun. &nbsp;&nbsp;<br /><br />From the mid-1960s and especially during the 1970s, Tansaekhwa artists variously pushed paint, soaked canvas, dragged pencils, ripped paper, and otherwise manipulated materials in ways that productively troubled the distinctions separating ink painting from oil, painting from sculpture, and object from viewer. Mostly rendered in white, cream, black, brown, and other neutral hues, Tansaekhwa works invited and deflected the gaze of the viewer in ways that enabled audiences to affirm their own sense of presence, an effect with significant implications against the backdrop of authoritarian South Korea. By the early 1980s, Tansaekhwa was the first Korean artistic movement to be successfully promoted internationally. Viewers in Seoul, Tokyo, Taipei, and Paris saw in its most representative examples the possibility of imagining what a distinct contemporary Asian art might look like, thus setting off a pattern of recognition that anticipated what is described as contemporary art's "global turn." &nbsp;&nbsp;<br /><br />The show is curated by Joan Kee, Associate Professor of History of Art at the University of Michigan and a leading authority on contemporary Asian art. Her book,&nbsp;<em>Contemporary Korean Art: Tansaekhwa and the Urgency of Method</em>&nbsp;(University of Minnesota Press, 2013), was one of four finalists for the Charles Rufus Morey Award, which honors an especially distinguished book in art history by the College Art Association. The exhibition will be accompanied by a substantial catalogue with over one hundred images, narrative artist biographies, twelve newly translated artist texts, and a scholarly essay by the curator featuring previously unpublished archival sources.</p> Fri, 19 Sep 2014 18:57:03 +0000