ArtSlant - Current exhibits en-us 40 Colin Chillag - 101/exhibit - February 28th - April 18th <div class="container padding-bottom-80"> <div class="press-release header-bold"> <div class="text left"> <p style="text-align: justify;">101/EXHIBIT is proud to present <em>Anti-Realism</em> by Phoenix-based artist Colin Chillag. The opening reception with the artist will be held from 7 &ndash; 10pm on Saturday, February 28th. This is Chillag&rsquo;s second solo showing with the gallery. <em>Anti-Realism</em> will run through April 18th at the 101/EXHIBIT West Hollywood space, located at 8920 Melrose Ave on the corner of North Almont Drive, one block south of Santa Monica Blvd. The exhibition will be accompanied by a 300 count limited edition show poster replicating a work from the show. </p> <p style="text-align: justify;">What we see in Chillag&rsquo;s work is a hyperrealist painter&rsquo;s process of thinking and looking, over several months time, unfolded onto a single canvas. Passages of intensely detailed realism appear alongside hastily sketched areas. Often he includes notes and to-do lists, color mixing tests, blobs of thick oils, and laconic spray-painted lines. Varied mark-making techniques, from painting to sketching to writing, coalesce in Chillag&rsquo;s work. </p> <p style="text-align: justify;">When he decided several years ago to work within a hyperrealist context, Chillag&rsquo;s choice arose from a sincere admiration for the complexity of the visible world&mdash;no matter how quotidian the subject matter&mdash;and his desire to study that world as objectively, as &ldquo;truthfully,&rdquo; as possible. Working from photographs of Arizonan gas stations and tourist destinations, crowded city streets, and family members, Chillag spends months translating images of frozen half-seconds in time (that is, photographs) with as much fidelity to his subject&rsquo;s appearance as possible. In <em>Portrait of Jenna Taking A Self Portrait</em>, for example, Chillag renders precisely even the too-bright highlight from the sun&rsquo;s light in his wife&rsquo;s hair. </p> <p style="text-align: justify;">Yet this is no real truth, as Chillag reveals when his hyperrealism&rsquo;s intense finish dissolves into sketches, under-paintings and notes-to-self. Meditative in effect, these passages show the tracks left by Chillag&rsquo;s brain, drawing connections between things and things-to-do, wandering through varied creative spaces. Chillag refuses to adhere to any pretense of painting as a window onto another scene or a fixed moment in time. Instead he allows viewers a glimpse of his consciousness; that is, his experience of both the world and his process of depicting it. In Chillag&rsquo;s work, the desire for objective truth battles with the impossibility of realizing that truth in pictorial representation. </p> <p style="text-align: justify;">Thus Chillag only half-follows in the footsteps of older greats working in the hyperrealist genre (such as Chuck Close, Richard Estes, Robert Bechtle), who rendered the visible world in acute detail and monumental scale; their realism becoming more real than the real. Instead Chillag embraces failure. Given the pointlessness of fully finishing something already photographed&mdash;and therefore already represented with more detail than possible by the human hand&mdash;Chillag never fully &ldquo;finishes&rdquo; a painting and instead leaves his daily thinking apparent to his viewers. When looking at his work, we look with him. </p> <p style="text-align: justify;">Born in 1971, Colin Chillag lives and works in Phoenix, Arizona. Chillag&rsquo;s work has been featured in solo exhibitions across the United States as well as numerous group shows. His most recent solo show occurred at the Phoenix Art Museum, in tandem with the Mid-Career Artist Award he received from the PAM. Other venues include the Crystal Bridges Museum of American Art, Angstrom Gallery in Los Angeles, and Pravus Gallery in Phoenix, Arizona. Chillag&rsquo;s works are in the permanent collections of Scottsdale Museum of Contemporary Art and Arizona State University Art Museum. He received his BFA from the San Francisco Art Institute in 1993.</p> </div> </div> </div> Thu, 12 Feb 2015 15:51:15 +0000 Fiona Connor - 1301PE - January 24th - March 14th Wed, 18 Feb 2015 17:53:46 +0000 Matthew Clifford Green - 2nd Cannons - January 17th - March 7th Fri, 16 Jan 2015 16:35:54 +0000 Becca Albee - 356 Mission - January 24th - March 8th Wed, 04 Mar 2015 16:31:53 +0000 Eric Wesley - 356 Mission - January 28th - March 15th Fri, 09 Jan 2015 15:26:14 +0000 Lynda Benglis, Hilary Harnischfeger, Rebecca Manson, Arlene Shechet - ACME - February 14th - March 14th <p style="text-align: justify;">"When I do ceramics I feel a need to kind of wrestle with the material and be integrated with the form and the surface. I can only tell you that the thinking in it is so fast. It's a dance. I feel the clay; I am the clay, so to speak. I feel this in all my work, that I am the material and what I am doing is embracing it and allowing it to take form." - Lynda Benglis<br /><br /><br />ACME. is pleased to present an exhibition of selected ceramic sculpture by four women artists Lynda Benglis, Hilary Harnischfeger, Rebecca Manson, and Arlene Shechet. All four artists use ceramics in their work to explore and blur the distinctions between pliable and rigid, accidental and intentional, seductive and grotesque.<br /><br />Lynda Benglis's work has always been the result of a fluid and organic working process, in which difficult-to-control materials help determine the final outcome. Benglis first started making ceramic works in the 1990s, continuing the physical gestures that she has addressed throughout her career but in a more condensed form. Lynda Benglis was born in Lake Charles, Louisiana in 1941 and currently resides in New York, Santa Fe, and Ahmedabad, India.<br /><br />Hilary Harnischfeger's ceramic sculptures are heavily influenced by the landscape, appearing at times elemental and primitive as if they were mined or excavated from the earth itself. Harnischfeger combines clay with plaster, paper and minerals to create sculptural work that is abstract in its materiality. Hilary Harnischfeger was born in 1972 in Melbourne, Australia and currently resides in Granville, Ohio and Brooklyn, New York.<br /><br />Rebecca Manson makes a series of marks and strokes with small bits of clay, in varying shades of off-white with hints of color. These small gestural marks Manson then combines into her large-scale sculptures and wall reliefs. Sometimes resembling an archaeological excavation, the resulting sculptures are simultaneously haunting and elegant. Rebecca Manson was born in New York in 1989, and currently resides in Bedford Hills, New York.<br /><br />Combining bulbous shapes, drippy vibrant colors, and woozy geometry, Arlene Shechet's sculptures are at once corporeal and architectonic, humorous and sensual, beautiful and ugly. Reflecting on early traditions of decorative arts and functional ceramics, Shechet's complex ceramic creations are often fused with varying plinths of firebricks, wood, steel, or concrete; making them purely sculptural. Arlene Shechet was born in 1951 in New York and currently resides in New York.</p> Thu, 12 Feb 2015 07:09:34 +0000 Jason Bailer Losh - Anat Ebgi - February 27th - April 4th <div style="text-align: justify;">Upon the pedestals rest pot metal, a croquet ball, a bowl, copper tubing, a gourd and some shrink-wrap. The wall works are made of Ultracal and ringed with rubber hose, a jump rope and plastic. The pedestals are built of pine, birch, maple; some finished with altered wallpaper patterns, shellac and acrylic paint.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;Jason, you might consider combining the sections of the thin floor lamps to make one of two endless columns.&rdquo;</em><em>&nbsp;</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The objects upon each pedestal are found in thrift and second-hand stores. The motley collection is bought by the artist&rsquo;s father-in-law and boxed and sent to Losh. He uses these items and constructs them into particular compositions, sequences and arrangements.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;</em><em>You should consider that sculpture is elusive. It presents too many faces at once.&rdquo;</em><em>&nbsp;</em></div> <div><em><br /></em> <div style="text-align: justify;">The surface of each component is carved with a distinct history. Cracks, dents and paint abrasions that have accrued over decades distinguish their weathered surfaces. The wall sculptures are laced with ropes and etched with lines that record the artist&rsquo;s hand.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;Consider that presentness is grace.&rdquo;</em><em>&nbsp;</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The pedestals are either laid bare or laid with William Morris wallpaper patterns. They are essential objects that contain the elegant, gestural movement of each piece through consummating their raw presence.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;Jason, simplicity is complexity resolved.&rdquo;</em><em>&nbsp;</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Jason Bailer Losh&rsquo;s works are composed of everyday materials repurposed into wholly new objects. They feel visible and familiar, yet relate outside of their tactility and functionality. Through the artist&rsquo;s hand, common, commercial and domestic objects are exposed of their sculptural, formal and physical dimensions.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&ldquo;<em>Well, good for p</em><em>low Louise.&rdquo;</em></div> <div style="text-align: justify;"><em>&nbsp;</em></div> <div> <div style="text-align: justify;">Anat Ebgi is pleased to announce&nbsp;<em>Plow Louise,&nbsp;</em>the gallery&rsquo;s first solo exhibition with Los Angeles based sculptor Jason Bailer Losh. The exhibition opens&nbsp;February 27th&nbsp;and is on view until&nbsp;April 4th. An opening reception will be held&nbsp;Friday, February 27th from 7-9PM.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><strong>Jason Bailer Losh</strong>&nbsp;(b. 1977, Iowa) received his MFA from School of Visual Arts, New York. Losh&rsquo;s work has been recently exhibited at several public and private institutions including&nbsp;<em>The Museum of Love and Devotion,</em>&nbsp;at Fairview Museum of Art and History in Fairview, Utah; the&nbsp;<em>Gala at Greystone</em>for LAXART, Los Angeles; and&nbsp;<em>Rockaway!,&nbsp;</em>an exhibition organized by Klaus Biesenbach at PS1/Rockaway Surf Club, NY. Losh has also participated in&nbsp;<em>Soft Target</em>, a group exhibition curated by Phil Chang and Matthew Porter at M+B Gallery, Los Angeles; and&nbsp;<em>Building Materials,&nbsp;</em>a group show curated by Lucas Blalock at Control Room, Los Angeles; and a group exhibition at CANADA, NY. He lives and works in Los Angeles.</div> </div> </div> Sat, 21 Feb 2015 06:53:45 +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 Jerrin Wagstaff - Another Year in LA - February 1st - March 29th <p><span style="font-family: Arial;">A</span><span style="font-family: Arial;">nother Year in LA has become an online gallery and will still periodically hold exhibitions in a&nbsp;physical space.&nbsp; &ldquo;Conglomerate Landscapes&nbsp;&ndash; Paintings by Jerrin Wagstaff&rdquo;&nbsp;will be his first solo exhibition at Another Year in LA and the first show at 4695 Marwood Drive, LA, 90065 (Sundays, 12pm &ndash; 4pm).</span></p> <p><span style="font-family: Arial;"><br />A transplant to Southern California, Salt Lake City native, Jerrin Wagstaff creates paintings that reflect his keen observations of the vast sprawl inherent in living and driving in Los Angeles.&nbsp; About his experience in LA, Wagstaff says, &ldquo;Like most residents, I spend an unhealthy amount of time commuting.&nbsp;&nbsp;One of the few&nbsp;benefits of&nbsp;commuting is that&nbsp;it gives me an opportunity to explore the&nbsp;landscape.&nbsp; I find Southern California incredibly engaging with it's beauty, scale, space, light, and contradictions.&nbsp; The vast sprawl and patchwork of cities and neighborhoods is unique and impossibly complex.&nbsp; As I navigate the landscape on a daily basis, I make drawings and take photographs that record my visual interaction with the region.&rdquo;&nbsp;</span></p> <p><span style="font-family: Arial;">&nbsp;</span></p> <p><span style="font-family: Arial;">Although abstract in nature, Wagstaff&rsquo;s complex oil paintings on canvas on panel evoke both exterior landscape and interior space while generating calm and frenetic energy simultaneously.</span></p> <p><span style="font-family: Arial;">&nbsp;</span></p> <p><span style="font-family: Arial;">About his practice, Wagstaff writes: &ldquo;I use painting as a vehicle&nbsp;to create conglomerate structures and alternate worlds where organic and man-made objects collide.&nbsp; These worlds are an interpretation of the increasingly complicated interaction between man and nature.&nbsp; They are also my attempt to&nbsp;communicate the frustration, amazement, and beauty of trying to take it all in.&rdquo;&nbsp;</span></p> <p><span style="font-family: Arial;">&nbsp;</span></p> Tue, 17 Feb 2015 16:27:13 +0000 Richard Haley - Another Year in LA - March 1st - March 31st <p style="text-align: justify;"><span style="font-family: Arial;">Another Year in LA is pleased to present MORE WORKS ABOUT DUST, LIGHT, AND BREATH, new work by Richard Haley, his fourth solo exhibition (the only artist to have had solo exhibitions at every Another Year in LA venue and first artist to be showing work both at the new gallery space (4695 Marwood Drive, LA, 90065) and different work made specifically for the online gallery).</span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> In describing these new works, Richard Haley wrote, &ldquo;My recent work investigates the use of surrogates in performance.&nbsp; Through video, photographs, animations and drawings, I have recorded inanimate proxies for myself (performing the actions).&nbsp; The work takes the literal representation of the body out of the picture and is replaced by fragments and traces. These works are documents of staged events performed by inert stand-ins tackling themes of corporeal reach and duration.&rdquo; </span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> &ldquo;The surrogates are literal casts of my body; my hand, finger, head, and abdomen. Others are traces of the body, such as the impression one would leave behind if lying down in the grass or residue left behind from the ashes of my cremated body. Similarly, other works employ hand crafted miniature sculptures of everyday objects to be used as stand-ins for the original.</span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> In creating these works I was concerned with material, namely treating the body as raw material. I considered it as an apparatus composed of animate matter that decisively uses its weight and mass as needed to implement tasks at hand.&nbsp; Moreover, I considered its trajectory as material in death, such as employing it for tasks where a lifeless weight is needed.&rdquo; </span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> &ldquo;These stand-ins for myself create an attentiveness to the materials they are made from. In doing so, they also point to the actual that they reference, framing it in terms of materiality. My goal is to shift the work outside the vernacular of performance and documentation and steer it towards the presence and present-ness of sculpture.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-family: Arial;"> &ldquo;My training as an artist began with an interest in the bay area figurative tradition of the 50/60&rsquo;s. I was drawn to the gestural mark. It led a dual life- it was a record of the maker being there to create it and the same time it had another temporality, it was not just a record but a perpetually present mark as well; severing its tie from its making.&rdquo; </span></p> <p>&nbsp; <span style="font-family: Arial;"><br /></span></p> Thu, 26 Feb 2015 17:55:20 +0000 Devin Kenny - Aran Cravey - February 13th - April 4th <p>She made my favorite works with words, and I had never heard of him at all, except for a quote in this one paperback. At this stage, I even feel strange putting them both in the same sentence, even though they shared a canvas and it was massive. It wasn't like boxers or wrestlers share a canvas. He disappeared and she's still a favorite. I was still a teenager-- and in a new city.</p> <p>"Protect me from what I want."</p> <p>"An artist paints a picture. A vandal breaks a window. A graffiti artist paints a picture on a window and breaks it."</p> <p>"Abuse of power comes as no surprise."</p> <p>A few gaming consoles down and those flashing lights and business marquees have been spurned for millions of small glowing panels, held bedside, above thigh highs, eye-height with pursed lips, near breast, cupped in hands that could be useful for breeding mosquitos, just as well as absorbing waves, just as well as affecting tissues in unknown ways. Where's Andy Dick's Tumor Toppers on ____? Am I gonna have to make the gif myself?</p> <p><span style="color: #ff0000;">the new stuff is awesomeeee. when is it all finished? any more sneak peeks? &gt;:3</span></p> <p><span style="color: #0000ff;">Yeah idunno I'm just not feeling it right now. it was a great day but I feel like I did this before and I feel like I don't want to make the same mistakes</span></p> <p><span style="color: #ff0000;">???</span></p> <p><span style="color: #0000ff;">oops wrong window.</span></p> <p>'Don&rsquo;t write on houses of worship, people's houses in general, other writers&rsquo; names, and tombstones. Writing on memorial walls and cars is beef beyond belief. Furthermore, involving civilians in your beef is grounds for dismissal. These are the five fingers of your right hand. Get to know them well. Give soul claps, firm handshakes, and throw smooth bolo punches. Although being a toy seems undesirable, you should enjoy it while you can. At this stage you can bite all you want with no remorse. All your elders will say is, "Awww isn't that cute&hellip;&rdquo; So steal that dope connection, rob that color scheme&hellip; Don&rsquo;t worry about giving any credit, we'll pat ourselves on the back and brag how we're influencing the next generation.'&nbsp;</p> <p>This Zimbardo guy looks like a magician right?</p> <p>&nbsp;Wrong Window is the first solo exhibition of art by Devin Kenny.</p> Wed, 11 Feb 2015 00:56:18 +0000 Sara Kathryn Arledge, Charles Irvin, Jim Shaw - Armory Center for the Arts - January 17th - March 22nd <p><em>The Making of Personal Theory: Mysticism and Metaphysics in the Work of Sara Kathryn Arledge, Charles Irvin, and Jim Shaw</em>&nbsp;is a three-person exhibition that takes notions of &ldquo;the mystical&rdquo; as an entry point to consider daily encounters that are marked with eccentricity, the surreal, and a dream-like passage of time. Representations of mystical or spiritual alternatives to normative culture suggest that the common is oftentimes complex and culture oftentimes askew, and that subjective, &ldquo;alternative&rdquo; normals are equally legitimate.<br /><br />&nbsp; &nbsp;<a title="Press Release" href=";usp=sharing" target="_blank" rel="nofollow"><strong>&bull;&nbsp;View Press Kit</strong></a></p> <p>Image: Sara Kathryn Arledge,&nbsp;<em>Untitled (abstract woman, baby inside)</em>, 1969. Watercolor on paper, 22.25 x 31 inches. Courtesy Armory Center for the Arts &amp; the Sara Kathryn Arledge Memorial Trust.</p> Fri, 19 Dec 2014 21:35:22 +0000 Joel Glassman - Armory Center for the Arts - January 17th - March 22nd <div class="float-left"> <p>The Armory presents a series of unrealized, never-before shown, and groundbreaking early works (produced from 1971 through 1989) examining Glassman&rsquo;s musings with the mundane. Through repetition and simple gestures, he reveals and isolates moments in time that often go unnoticed, and creates visual poetry with his chosen materials.<br /><br /><a title="Press Release" href=";usp=sharing" target="_blank" rel="nofollow"><strong>&bull;&nbsp;View Press Kit</strong></a></p> <p>Image: Joel Glassman,&nbsp;<em>Uneasy Attitudes</em>&nbsp;(detail), c. 1989, Ink and watercolor on paper, 15 x 22 inches, Courtesy of the artist</p> </div> Fri, 19 Dec 2014 21:39:50 +0000 Liat Yossifor - Armory Center for the Arts - January 17th - March 22nd <p>In this exhibition, Yossifor&rsquo;s time-based painting process converges with the quintessential time-based medium, wet cement. The more the material moves, the faster it dries; each subsequent motion a consequence of the gesture that came before.<br /><br />&nbsp;<a title="Press Release" href=";usp=sharing" target="_blank" rel="nofollow"><strong>&bull;&nbsp;View Press Kit</strong></a></p> <p>Image: Liat Yossifor, Detail 4 from&nbsp;<em>Gesture (as) Consequence</em>, Cement on Concrete Canvas, Courtesy of the artist</p> Fri, 19 Dec 2014 22:24:42 +0000 Lamp Community's Arts Program members - Armory Center for the Arts - February 14th - April 12th <p>Join us for an exhibition of work by Skid Row artists from the&nbsp;<a href="" target="_blank" rel="nofollow">Lamp Arts Program</a>&nbsp;&mdash; an arts and cultural center in the heart of Downtown Los Angeles made possible by&nbsp;<a href="" target="_blank" rel="nofollow">Lamp Community</a>. The center is a creative safe place for community residents to come together, reclaim confidence in telling their own stories, and break through existing stereotypes by starting alternative, unexpected, and deliberate dialogues across geographic and social boundaries.</p> <p>Lamp Community ends homelessness of Los Angeles' most vulnerable individuals, primarily adults with mental illness, through a continuum of services and housing, enabling them to reach their highest level of self-sufficiency and community integration. Interested in learning more about the Arts Program? Send an email to:<a href="" rel="nofollow"></a></p> <p>The exhibition opens in the Armory's Community Room on February 14, and is followed by a public reception for the artists the following Saturday, February 21, from 5 &ndash; 7pm.<br />The Armory's Community Room is open Tuesday through Sundays, Noon to 5pm.</p> Thu, 12 Feb 2015 21:48:46 +0000