ArtSlant - Current exhibits en-us 40 Jessica Stockholder - 1301PE - July 10th, 2013 - August 31st, 2013 <p>1301PE is pleased to announce its second solo exhibition with internationally acclaimed artist Jessica Stockholder. She will be presenting site-specific and freestanding works that engage with and activate the interior and exterior spaces of the gallery.</p> <p><i>With installations it’s the building, the architecture, or you might say it’s the place that I work on top of; with the smaller pieces I work on top of or in relation to stuff that I collect.</i>  —Jessica Stockholder</p> <p> For twenty-five years, Jessica Stockholder has challenged our relationship to the world around us through making objects. Stockholder’s work transforms materials from our daily lives into painterly sculptural objects and installations. From the large-scale installations of <i>Color Jam</i> in Chicago and <i>Peer Out to See</i> at the<i> </i>Palacio de Cristal, Madrid, to the intimate works of <i>Sex in the Office </i>and <i>LIFT</i>, Stockholder captures our eye with an array of visual moments that coalesce into a singular composition.</p> <p> Jessica Stockholder was born in Seattle, Washington. She lives and works in Chicago, IL, where she is the Chair of the Department of Visual Arts at the University of Chicago. She has had recent solo museum exhibitions at Musée d'Art Moderne de Saint-Étienne Métropole, Saint-Priest-en-Jarez, France; Frac des Pays de la Loire, Nantes, France; . Her work is represented in the permanent collections of the Whitney Museum of Art, the Art Institue of Chicago, the Los Angeles County Museum of Art, Kunstmuseum St. Gallen, and the Stedelijk Museum in Amsterdam. Solo exhibitions include Dia Center for the Arts and P.S.1, New York, NY; The Renaissance Society, Chicago, IL; Power Plant, Toronto, ON; Kunsthalle Brandts Klaedefabrik, Odense, DK. Selected group exhibitions include SITE Santa Fe and The Whitney Biennial.</p> <p>For more information please contact Isha Welsh or Brian Butler 323.938.5822.</p> Fri, 19 Jul 2013 07:24:23 +0000 Adria Julia - 18th Street Arts Center - July 15th, 2013 - September 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Furthering his interest in film and filmmaking as subject matter,&nbsp;<strong>Adri&agrave; Juli&agrave;</strong>&nbsp;initiates a new project focusing on the relationship between the camera and the body for his Artist Labs Residency and Exhibition at 18th Street Arts Center. During an initial research phase, Juli&agrave; investigates the effects and changes that cameras produce in the bodies that operate them. Moving past a consideration of the materiality and physicality of film as form, the artist addresses the somatic connection of filmmaking to the human figure. Working within layers of translation between the moving image, industrial design, and ergonomics, Juli&agrave;&rsquo;s work analogizes the structure and function of commercially produced cameras and the biomechanical systems of the body.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Adri&agrave; Juli&agrave;, born in Barcelona and based in Los Angeles, is a multidisciplinary artist whose practice encompasses film, video and photographic installations. Juli&agrave;&rsquo;s work has been presented in nearly two-dozen solo exhibitions and over forty group exhibitions worldwide. Recently projects include&nbsp;<em>Love. Destiny. Heroes.,</em>&nbsp;at Dan Gunn in Berlin,&nbsp;<em>Notes on the Missing&nbsp;</em>Oh at Project Art Centre in Dublin,&nbsp;<em>We&rsquo;re Everything to Each Other</em>&nbsp;at Lanchester Gallery Projects in Coventry, UK, and&nbsp;<em>Three Artists Walk into a Bar</em>&nbsp;at De Appel Art Center in Amsterdam. Additionally, Juli&agrave; has shown at the Museo Tamayo in Mexico City, the Orange County Museum of Art in Newport Beach, Insa Art Space in Seoul and the Museo Nacional Centro de Arte Reina Sofia in Madrid. He was included in the Lyon Bennial, the 7a bienal do Mercosul in Porto Alegre, Brazil and Art Unlimited, Basel, Switzerland.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><strong>&ldquo;Cat on the Shoulder&rdquo;</strong><br /><strong>Adri&agrave; Juli&agrave;</strong><br /><strong>opening reception: September 21, 2013</strong><br /><strong>6 &ndash; 9pm</strong></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">As part of 18th Street Arts Center&rsquo;s Artist Labs program, Los Angeles based artist, Adri&agrave; Juli&agrave; presents a group of new works focusing on the relationship between the camera and the body developed on site in the center&rsquo;s Main Gallery. The exhibition &ldquo;Cat on the Shoulder&rdquo; represents the culmination of a two-month residency at 18th Street Arts Center and marks the beginning of a new body of work the artist will continue to develop and produce. Durin&ndash;g an initial research phase, Juli&agrave; investigated the effects and changes that cameras produce in the bodies that operate them. Moving past a consideration of the materiality and physicality of film as form, he addresses the somatic connection of filmmaking to the human figure. Working within layers of translation between the moving image, industrial design, and ergonomics, Juli&agrave;&rsquo;s work analogizes the structure and function of commercially produced cameras and the biomechanical systems of the body.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">In an exhibition spanning film, photography and sculpture, Julia draws relationships between the corpus and camera, registering the transitions of process and materiality, thus linking the biological mechanisms of sight and vision to the inorganic mimicry of film and photography. Following and tracing correlations between the function of the human eye and the camera, Juli&agrave;&rsquo;s works call to mind how each records and produces an image, which our brain then responds to in order to construct meaning and indices of reality. While referencing optometry and the mechanics of vision, Juli&agrave; marks the translations of materialized photographic media, thus questioning the nature of film&rsquo;s ability to contain content and to transcend the limitations of memory.</p> Wed, 18 Sep 2013 17:16:12 +0000 - A + D Museum - July 28th, 2013 - October 13th, 2013 <p class="content_left" style="text-align: justify;"><span style="font-size: small;"><em><strong>Never Built: Los Angeles</strong> </em>will explore the &ldquo;what if&rdquo; Los Angeles. &nbsp;A thorough compendium of projects that only saw the drawing board, the exhibition asks: Why is Los Angeles a hotbed of great architects, yet so lacking in urban innovation?</span><span style="font-size: small;"> <br /></span></p> <p class="content_left" style="text-align: justify;"><span style="font-size: small;">Co-curated by Sam Lubell and Greg Goldin and designed by Clive Wilkinson Architects, the show looks at visionary works that had the greatest potential to reshape the city, from buildings to master plans, parks to follies and transportation proposals any of which could have transformed both the physical reality and the collective perception of the metropolis. The stories surrounding these projects shed light on a reluctant city whose institutions and infrastructure have often undermined inventive, challenging urban schemes.</span><span style="font-size: small;"> <br /></span></p> <p class="content_left" style="text-align: justify;"><span style="font-size: small;">Many of these schemes&mdash;promoting a denser, more vibrant city&mdash;still have relevance today, and many could inspire future projects. The projects beg the question: Why were they never built?&nbsp; </span><span style="font-size: small;"><br /></span></p> <p class="content_left" style="text-align: justify;"><span style="font-size: small;">The show will contain dozens of illustrations exploring the visceral (and sometimes misleading) power of architectural ideas conveyed through renderings, blueprints, models, and the lost art of hand drawing. Through these images, and accompanying narratives, the city is interpreted in a new light, with discarded projects understood as art. <em>Never Built</em> probes these schemes, setting the stage for a renewed interest in visionary projects in Los Angeles.</span><span style="font-size: small;">&nbsp;</span></p> Fri, 09 Aug 2013 08:40:08 +0000 Bernar Venet - Ace Gallery- Beverly Hills - July 20th, 2013 - January 25th, 2014 <p style="text-align: justify;"><span style="font-size: small;">Bernar Venet&rsquo;s <em>GRIB </em>series is an extension of his wooden <em>Indeterminate Lines, </em>which he began displaying as reliefs between 1979 and 1983. The 1.5 inch steel plates used by Venet are torch-cut, a technique, which adds to the unpredictable nature of &ldquo;scribbles&rdquo; and gives these works a rougher character that is less elegant and accessible than their relief predecessors.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venet reflects, &ldquo;My work at the factory is a game of natural constraints between my intentions and the material itself. Each orients the other and is oriented in its turn. I propose directions but am at the same time directed by the steel bar that resists, and will not surrender to my will to dominate&hellip; In this game of concessions I must leave its autonomy at the helm. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">The result is a testimony to the act of forming and to the inherent possibilities of the material that I do not transform beyond its natural characteristics. By not changing its nature, I do not manipulate its appearance; that would involve creating artifices. In my sculpture, I am intent on keeping the energy of the atomic mass and its relationship to gravity, on respecting its singularity, its difference, its identity. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">The constructivist arrangement of different forms and materials, assembled so as to create &ldquo;something else&rdquo;, is an approach that I reject. I am in favor of works that are literal and explicit, devoid of artifice or ambiguity. My sculpture is the direct outcome of the manufacturing process. As I said earlier, it is the &lsquo;how&rsquo; that defines the &lsquo;what&rsquo;.</span></p> <p style="text-align: justify;"><span style="font-size: small;">My sculptures are self-referential in the sense that they tell their own story, the story of their elaboration. In this way they stand apart from the classical object that hides its sculptural identity and &lsquo;speaks of something else&rsquo;.&rdquo;1</span></p> <p style="text-align: justify;"><span style="font-size: small;">The <em>GRIBs </em>act as living drawings that become monumental through the act of physically transferring them from 2D drawings to 3D steel structures, which are then mounted on the wall. The movement of the hand in their creation is vital, as the shape is entirely dictated by the short time in which Venet randomly puts pen to paper, acknowledging the power of gesture itself as meaningful.<br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Bernar Venet was born in 1941 in Chateau-Arnoux-Saint-Auban, France. He lives and works between New York and Hungary.</span></p> <p>&nbsp;</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;">Opening Concurrently at Ace Gallery Los Angeles &amp; Beverly Hills<br /> Saturday July 20, 2013<br /> Beverly Hills 6:00 PM - 8:00 PM<br /> Los Angeles 8:00 PM- 10:00 PM</p> Mon, 16 Dec 2013 17:44:09 +0000 Bernar Venet - Ace Gallery- Los Angeles - July 20th, 2013 - September 27th, 2014 <p class="p1" style="text-align: justify;"><em>&ldquo;My works are often the result of an unexpected event. The impression of precarious equilibrium that this sculpture evokes is in fact the result of a group of arcs&rsquo; accidental slippage.&rdquo;&nbsp;</em></p> <p style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">&ndash; Bernar Venet</p> <p style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">The revelation of the processes of production in the work of art is clearly the governing principle behind the series&nbsp;&nbsp;<em>Indeterminate Lines</em>&nbsp;that made their appearance in Bernar Venet&rsquo;s work from 1979. &ldquo;Indeterminate&rdquo; because they are diametrically opposed to the mathematical determination of their predecessors.&nbsp; More vague and less tangible, they cannot be reduced to an equation: they nevertheless seek a form of physical certainty strong enough to silent the confusion of meanings and to demonstrate explicitly that their one truth and reality is that of a piece of work.&nbsp; The obvious geometrical forms of previous pieces are here replaced by the direct manipulation of a raw material.</p> <p style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">Venet&rsquo;s daily working process is a sort of satisfying game of natural constraints between his artistic intentions and the material itself.&nbsp; Each orients the other and is oriented in its turn.&nbsp;The artist proposes directions but at the same time he&rsquo;s directed by the steel bar that resists. In this fascinating subtle game of concessions, the artist must leave its autonomy at the helm. The esthetical result is a compelling testimony to the act of forming and to the inherent possibilities of the material.&nbsp;</p> <p class="p1">&nbsp;</p> <p style="text-align: left;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: center;"><span style="font-size: small;">*Opening Concurrently at Ace Gallery Los Angeles &amp; Beverly Hills<br /> Saturday July 20, 2013<br /> Beverly Hills 6:00 Pm - 8:00 PM<br /> Los Angeles 8:00 Pm - 10:00 PM</span></p> Mon, 08 Sep 2014 08:23:30 +0000 Phil Frost - Ace Gallery- Los Angeles - July 20th, 2013 - January 25th, 2014 <p style="text-align: justify;"><span style="font-size: small;">New York based painter Phil Frost (b. 1973) has evolved a consistent, instantly recognizable aesthetic synonymous with his name, which he refers to as &ldquo;intuitive perceptive portraiture.&rdquo; This first exhibition of new work at Ace Gallery testifies to his relevance and extensive cultural reach as a leading contemporary artist who is self taught. Frost&rsquo;s title for the exhibition, with its multiple meanings, alludes to the ascetic life. Referring to the internal struggles involved in the act of painting, it is often an unnerving personal journey involving intense discipline and patience in self-imposed isolation. Encoded in the pursuit, there is no straying from a discipline in which he is immersed. As many artists and writers experience, <em>The Solace of the Sword </em>references the struggle with solitary confinement required to create. Frost&rsquo;s visual language melds layers of flat-white, culturally indeterminate mask-like forms with bold typographical and fluid, glyphic, geometric, and sinuous shapes that dance above vivid spectrums of painterly color, forming the long-necked busts and repetitions of faces that are pronounced as his intuitive portraiture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Raised in rural Western Massachusetts, from a young age he grew up searching for and sometimes finding Indian adzes and arrowheads in farm fields and forests, and he made use of a natural fountain found at the edge of the woods that spouted clay by sitting at its rim and forming shapes in his hands. Early artistic experiment found him repetitiously drawing the white streak found in the hair of comic book scientist Reed Richards of The Fantastic Four, as well as scenes of Pac-Man chasing ghosts, and the antennae found on Batman&rsquo;s mask. Just before his early teens, Frost began to enjoy spending time on summer visits with an older cousin who was an authority on antique glass bottles found in Northwestern Ohio. Together they would go on expeditions armed with maps of former times from the library and dig farm fields and abandoned rural dumps for glass vessels. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">The unearthed treasures were impressed upon his mind and this archaeological drive influenced him, and would continue to. It was later revealed when he began making work imbued with collected and found objects, as a way to present the actual passage of his life gesturally into the context of a painted visual passage&mdash;a representation to articulate how the now inflects a lineage of experience in time and space that is formed both physically and intuitively from what is around him.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In his adolescence Frost moved, along with his younger sister and mother, by whom he was solely raised, to Cooperstown, NY for just over two years. There, an early fascination with baseball and in particular the position of pitching and the arabesque-like gesture made by a swinging bat was deepened.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His teenage years were spent in Albany, NY and were consumed by skateboarding downtown in the Capital District, where various terrain included Ellsworth Kelly sculptures and the perfectly transitionally-formed marble quarter-pipes, the glass walls on the architecture of Wallace Harrison&rsquo;s Egg, and the marble playground he designed known as The Nelson A. Rockefeller Empire State Plaza. His often taking off on excursions to New York City to skateboard with friends led to an awareness and depth of interest in graffiti and anonymous mark making. Eventually cracking both of his kneecaps and repeatedly breaking both wrists, Frost was about to drop out of high school when a principal recommended an independent-study art class, to make up extra credit. With no teacher but the materials put in front of him, Frost would figure out how best to stretch a canvas, venture to find objects he could use as material in left over fire pits, and decide that he wanted to be a painter on his own terms. At a yard sale he attended with his mother he scored a 25-cent brown paper bag of oil paints along with a copy of David Sylvester&rsquo;s Interviews with Francis Bacon that led to his further conviction. Captivated, he read it intently and repeatedly. Also self taught, Bacon&rsquo;s ethos resonated deeply and triggered in Frost, at the age of eighteen, an eager thirst for art-historical precedents, including in particular, Alberto Giacometti, whose fascination with heads, busts and figures in space began the evolution and direction that has defined Frost&rsquo;s work today.</span></p> <p style="text-align: justify;"><span style="font-size: small;">At eighteen, late in the summer of 1991, Frost moved on his own to Long Island City, Queens. Here, he took union jobs, laboring in the night on the backs of trucks so that he could have his days free to persistently explore museums, scour the streets for materials, and make his work in the tiny, windowless basement studio that he inhabited. Surrounded by many different ethnicities and without speaking or understanding any language other than English, Frost found immense inspiration in closing his eyes on the subway and listening to the sound of multiple languages being spoken all at once, recording fragments of words and charting with his eyes closed a hybrid of language. Early work with typography found him knocking out the negative space created by letterforms with white, as a way to "pop," or form random patterns of shape, to react against color. These fluid and sinuous patterns of white shapes that often dominate his work of late came from a progressive evolution of the reduction of words that in the same way often form a nonsensical lingual chanting woven throughout the intricate layering in his painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Phil Frost was born in Jamestown, NY in 1973 and currently lives and works in the Upper Hudson Valley region of Upstate NY.&nbsp;</span></p> Mon, 16 Dec 2013 17:45:32 +0000 Brion Nuda Rosch - ACME - July 13th, 2013 - August 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">ACME. is pleased to present Brion Nuda Rosch's first solo exhibition in Los Angeles. The exhibition will feature Rosch's new body of work, which adeptly combines sculpture, painting and collage with a formal, yet humorous ease. As the artist states: "This is an exhibit of portraits. My head. My shoulder. My arm. My knee. My dick. Bong rips at the community ceramics center and work tables turned to paintings."</span><br /> <br /><span style="font-size: small;"> Rosch lives and works in San Francisco, and his previous solo exhibitions include DCKT Contemporary (New York), Eli Ridgway Gallery (San Francisco), and Greg Kucera Gallery (Seattle), among others.</span></p> Wed, 03 Jul 2013 15:48:12 +0000 John Carpenter - ACME - July 13th, 2013 - August 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>ACME.</strong> is pleased to present<strong> John Carpenter</strong>'s latest work, <strong><em>trailers_anemone</em></strong>, an interactive installation that explores fluid, undulating trails of light through time and space. On its own, the trails define a constantly shifting space that is both meditative and calming; however, when stimulated, the trails stir off with the viewer's movement. trailers_anemone relates to a recent project called TRAILERS_LUPO, which is a permanent interactive installation at Trattoria del Lupo in Las Vegas, Nevada.</span><br /> <br /><span style="font-size: small;"> John Carpenter is an interactive digital artist and designer whose work explores natural systems and complex data and spaces. Based in Los Angeles, he works for Oblong Industries as a g-speak engineer and is a visiting professor in the Multimedia Arts Department at Loyola Marymount University. John earned his MFA from the department of Design | Media Arts at UCLA (2009) and has recently exhibited work at the 84th Annual Academy Awards, ACME. Los Angeles and Young Projects.</span></p> Fri, 12 Jul 2013 15:09:20 +0000 Markus Kayser, Allison Kudla, Philip Ross, Machine Project, BCL - Alyce de Roulet Williamson Gallery - May 30th, 2013 - August 18th, 2013 <p style="text-align: justify;"><span style="font-size: small;">"Intimate Science features artists who are engaged in non-disciplinary inquiry; they aren’t allied to the customs of any single field, and therefore have license to reach beyond conventions. This kind of practice hinges on up-close observation, experiential learning, and inventing new ways for the public to participate in the process."</span><br /><span style="font-size: small;"> -- Andrea Grover, Curator, Intimate Science</span><br /> <br /><span style="font-size: small;"> “In an interesting new development in the art world, a generation of artists [is] now collecting data about their world using technological instruments but for cultural purposes. Shared tool-using leads to overlapping epistemologies and ontologies. These artists both make powerful art and help make science intimate, sensual, intuitive."</span><br /><span style="font-size: small;"> -- Roger Malina, physicist, astronomer and executive editor of Leonardo Journal</span><br /> <br /><span style="font-size: small;"> Artists:</span><br /><span style="font-size: small;"> BCL (Tokyo)</span><br /><span style="font-size: small;"> Center for PostNatural History (Pittsburgh)</span><br /><span style="font-size: small;"> Markus Kayser (London)</span><br /><span style="font-size: small;"> Allison Kudla (Seattle)</span><br /><span style="font-size: small;"> Machine Project (Los Angeles)</span><br /><span style="font-size: small;"> Philip Ross (San Francisco)</span><br /> <br /><span style="font-size: small;"> Intimate Science is curated by Andrea Grover and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh.</span><br /> <br /><span style="font-size: small;"> A densely illustrated publication, "New Art/Science Affinities" ( http://<wbr><wbr>nasabook ), accompanies the exhibition. Co-authored by Andrea Grover, Régine Debatty, Claire Evans and Pablo Garcia, and designed by Thumb, the book features more than 60 international artists and collaboratives.</wbr></wbr></span></p> Mon, 06 May 2013 19:00:50 +0000 the Reader - Anat Ebgi - August 3rd, 2013 - August 31st, 2013 <div style="text-align: justify;"><span style="font-size: small;"><strong>Anat Ebgi</strong> is pleased to present&nbsp;<strong><em>Mixed Dealings</em>&nbsp;</strong>by<strong> Reader</strong>.&nbsp; The exhibition will open on&nbsp;August 3, and will be on view until&nbsp;August 31. A reception for the artist will be held on&nbsp;Saturday August 3, from&nbsp;3pm, at the gallery located at 2660 S. La Cienega Blvd, in Los Angeles.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">Traveling repeatedly throughout the US, Reader has quiet literally made a name for himself that is there for all to see.&nbsp; Leaving a mass of public adornments for over a decade, Reader has maintained an illusiveness and anonymous presence in a desolate grey zone between so called &ldquo;street art&rdquo; and graffiti.&nbsp; In recent years, Reader carried his oft-cryptic messages of literacy and inquiry into the gallery space at the encouragement of his longtime friend Elias Hansen.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">A scavenger and &ldquo;relocator&rdquo; of the discarded and overlooked, Reader transforms untraceable detritus into the foundations of mixed media screen prints and sculptures.&nbsp; His workspace resembles a &ldquo;byproduct chop-shop&rdquo; more than it does a traditional artist&rsquo;s studio.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">Characteristic of his work is the striking and recurrent use of text.&nbsp; Reader revives now nearly obsolete newspaper boxes and presents them in a context suggestive of ulterior purposes. The boxes themselves, isolated from their natural environment, appear to be salvaged by any available means.&nbsp; Scorched and mutilated they are newly employed by a rival enterprise.&nbsp; Metal sheets accented with both vibrant and weathered hues are welded together in a patchwork reminiscent of color field painting.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">Both unavoidable and hidden amongst the layers, Reader&rsquo;s works are dealt through a range of materials.&nbsp; Some give clues to process and approach, others leave open a wide scope of interpretation, and all represent real work. That is the kind that is done outdoors and leaves one dirty.&nbsp; As the show title alludes to,&nbsp;<em>Mixed Dealings</em>&nbsp;is the result of a multifaceted discipline and uncertain means.&nbsp; Reader may not be hacking at establishment, as much as he is attempting to forge one anew.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;"><em>Mixed Dealings</em>&nbsp;is Reader&rsquo;s second exhibition with the gallery. In 2012, he collaborated with Elias Hansen on the two-person exhibition,&nbsp;<em>We barely made it</em>. Previous exhibitions include Lawrimore Projects, Seattle; Ditch Projects, Portland; White Box at the University of Oregon, Portland; and A Palazzo Gallery in Brescia, Italy. His work has been reviewed in Juxtapose Magazine, The Oregonian, and the Los Angeles Times.</span></div> Sat, 22 Feb 2014 15:32:53 +0000 Group Show - Angels Gate Cultural Center - May 20th, 2012 - August 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Angels Gate Cultural Center presents our exhibition year entitled&nbsp;<em>Into the Wilderness: The Journey Within</em>. Over the course of the next year, artists and curators will engage the term "wilderness" from multiple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary life and contemplate how we can find new opportunities to re/define the transition between physical and imaginary geographies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although, on first impression, "wilderness" may call to mind places of intense experience in nature far from civilization, it reveals itself to be much more than a location. Traditionally associated with a land of uncultivated, abandoned and inhospitable conditions or inhabited only by wild animals,<sup>1</sup>&nbsp;during the eighteenth and nineteenth centuries its meaning expanded subjectively to include more Romantic and transcendental notions like "the reflection of our own unexamined longings and desires" and "the best antidote to our human selves," while mysteriously remaining the site of "something profoundly Other."<sup>2</sup>&nbsp;</span><br /><br /><span style="font-size: small;">Whether places considered wilderness are ultimately to be regarded as wastelands or sacred spaces, in either case it is not the places themselves that define the nature of the wilderness experience. "Wilderness," regardless of where it is situated or whether it is described as frightening or divine, is a cultural construct that is typically placed in opposition to "civilization," located apart from the human world as something pure and essentially natural, to be preserved and protected both from the outrages of global industrial exploitation as well as the small defilements of daily life.&nbsp;</span><br /><br /><span style="font-size: small;">We disagree. We consider that creating even the most high-minded dualism between humans and nature sets up a dynamic that creates conflict and does not lead to effective stewardship of the environment, either locally or on a global scale. We also believe that rather than being defined either as a physical or an imaginary location, "wilderness" is more a state of mind that defies location, either geographical or imaginary-one in which social structure relaxes, logic slips away and time and space collapse. This open state of mind, or "wonder," can be experienced in natural environments that inspire fear, disorientation, foreboding or other qualities of "sublime" landscape appreciated by the likes of Edmund Burke<sup>3</sup>-and it can also unexpectedly arise in the midst of degraded urban grittiness or in an unexplored corner of a superficially unremarkable backyard.&nbsp;</span><br /><br /><span style="font-size: small;">Artists in our group discover natural wonder in many places-from Antarctic icebergs to carcasses of dead birds. And just as we respect "wilderness" in all of its manifestations, we believe that biodiversity and sustainability can only be maintained if we humans give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respect for the global interface of ecosystems, be they planetary or microscopic, that we unavoidably impact.&nbsp;</span><br /><br /><span style="font-size: small;">Wilderness Mind: Dissolving Duality includes the work of fourteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration; we have worked together to study and work as eco-artists since 2005. This proposed exhibition represents work that ranges from photography to non-representational painting, performance, and installation; it spans a continuum of references to water from suburban irrigation systems to the arctic ice cap; to wildlife, including Barr owls, sea otters, and golden trout from the Sierras; and to locations from San Pedro Harbor to Mozambique. Within the frame of wilderness, the group's work articulates themes of degradation and emergence, natural cycles, mystery, concern for the environment, and connected oneness. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative approach as an alternative to more traditional strategies of agency through domination, and to the possibility for everyone to experience "wilderness" in any number of settings, not just in uninhabited nature. Through the visual messages communicated in our work as well as through workshops and programs offered to the community in conjunction with the exhibition, our ultimate goal is to inspire visitors to participate in effective stewardship of the environment.&nbsp;</span><br /><br /><span style="font-size: small;"><small><sup>1</sup>&nbsp;New Oxford American Dictionary, Oxford University Press, third edition.&nbsp;<br /><sup>2</sup>&nbsp;Cronon, William, "The Trouble with Wilderness; or, Getting Back to the Wrong Nature," Uncommon Ground: Rethinking the Human Place in Nature, New York: W.W. Norton &amp; Co., 1995, 69-90.&nbsp;<br /><sup>3</sup>&nbsp;Burke, Edmund, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 1857.&nbsp;</small></span><br /><br /><em><span style="font-size: small;">Deborah Thomas is an artist, professor and independent curator who lives in Los Angeles; she has also lived and worked as an artist in Geneva, Switzerland and New York. With an undergraduate degree from the University of Michigan and an MA and ABD from the University of Pennsylvania, Thomas currently teaches art history and contemporary art and theory at Pasadena City College, Glendale College and the Los Angeles Academy of Figurative Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus; she also helped to organize "Elements," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artwork includes a series of conceptual installations and mixed media pieces using photographic images and found text; her work on environmental themes typically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet, Bringing the Past to Light: New Art from Old Images, Intimate Geography:&nbsp;</span><br /><br /><span style="font-size: small;">The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhibitions, educational programs and public actions. The group was first organized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA), a national organization dedicated to creating community through art, education and social activism. In April 2007, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San Francisco and at the Day of the Dead Planet exhibition curated by Deborah Thomas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago, Los Angeles, New York, San Francisco and throughout the rest of the United as well as Asia and Europe. The collective also engages the community through lectures, installations and events. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured at zoos and natural history museums across the country. San Pedro-based artists Annemarie Rawlinson and Hiroko Momii often intermix their meditative and activist practices.</span> <br /></em></p> Tue, 26 Nov 2013 18:04:50 +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 Group Show - Angels Gate Cultural Center - May 12th, 2013 - January 10th, 2014 <p>In 2007, the local Audubon Society got word of an anonymous action taken by a resident of San Pedro. A nest box mysteriously appeared one day in Harbor Park along the 110 Freeway. In recent years, Southern California's western bluebird population has been on the decline. Though it's not fully understood why, it seems that urban growth and climate change may disturb the nesting process. Surprisingly, bluebirds took to the anonymously placed box, depositing gem-like blue eggs. Now the Audubon Club has adopted the park project, placing more boxes and hosting pairs of birds. <br /><br />Based on the story of the nesting box, <i>Out of the Blue</i> is a visual response by artists from San Pedro's Exceptional Children's Foundation. Nestled along Gaffey Street, the ECF studio is a professional workshop where adults with developmental disabilities come to create art. Like the migrating bluebirds, the artists have found a place where they may exist creatively, undisturbed by the outside world. Here, the act of art-making, with its intense focus on special objects, characters, and dream-inspired landscapes provides shelter for the spirit. Out of the blue, anything can happen, but the creative life is our true home. </p> <p>This project was done in partnership with the Exceptional Children's Foundation. </p> Sat, 11 May 2013 20:50:13 +0000 Miyo Hernandez, Ann Le, Karena Massengill, Dusty Tailor, Xiaowen Zhu - Angels Gate Cultural Center - May 12th, 2013 - October 18th, 2013 <p>Over the next two years artwork will be selected on an ongoing basis that employ storytelling techniques to encourage dialogue on issues relevant to the South Bay/Harbor community and/or shared history. The artworks encourage us to think about our lives and how we communicate our story with each other.&nbsp;</p> <p><span style="font-size: medium;"><strong>Miyo Hernandez</strong></span></p> <p>Miyo Hernandez's narrative photography is based in and around Los Angeles. The stories are presented in the form of images and text, which offer a momentary look into events that reflect conflicts and experiences within her community.&nbsp;<br /><br />BIOGRAPHY&nbsp;<br /><br /><em>Miyo Hernandez is a Los Angeles based artist whose narrative work reflects life in the San Gabriel Valley and East Los Angeles. Other projects based in the Midwest and southern United States, trace her own family history, including her experiences as a biracial child and also the local histories of her birthplace in Indiana. Her work has been exhibited in the United States and Europe. She received her BFA from the California College of the Arts in Oakland, CA in 1996, and received her MFA in photography from the California Institute of the Arts in 2000. She currently works as an adjunct professor in photography at the College of the Canyons in Santa Clarita and Pasadena City College. In addition to photography, she also works in the medium of printmaking, producing linocut, woodcut, and limited edition prints in collaboration with Self Help Graphics.&nbsp;<a href="" rel="nofollow" target="_blank">Go to artist's website</a>&nbsp;</em></p> <p><span style="font-size: medium;"><strong>Ann Le</strong></span></p> <p>The series, Thinking of You, consists of hundreds of old family photos that the artist merged to create a visual "mash-up". The images were inspired by a recorded conversation between the artist's mother and older sister when she was a little girl; the conversation is about the family's emigration from Vietnam to Malaysia by boat. As each image is lost within the collective whole, a new image emerges that is both specific to the artist and open to our own interpretation.&nbsp;<br /><em><br />BIOGRAPHY&nbsp;<br /><br /><em>Ann Le is a Southern California native and a recent MFA graduate at California State University Long Beach with an emphasis in Photography and Mixed Media. She is interested in voyeurism and finds it pleasing to look in while others look away. Fascinated by the ever-engaging memory in the midst of the present. She correlates the artificial with her remembrances of family drama, alongside with her ethnicity and culture. Sentiment is vital in her works as she pulls from her personal experiences to construct imposing art.&nbsp;<a href="" rel="nofollow" target="_blank">Go to artist's website</a></em></em></p> <p><strong><span style="font-size: medium;">Karena Massengill</span></strong></p> <p>Karena Massengill's work begins in her heart as emotions, and as she start to build the concept becomes clearer. For many years she was involved with creating visual sounds. The idea of someone's eyes hearing, and ears seeing, fascinated her and is evidenced within her early work.&nbsp;<br /><br />More recently socio political ideas manifested within communities and families have captivated her interest. Presently she is also exploring these ideas within digital media as well as more traditional materials for sculpture, drawing, and painting.&nbsp;<br /><br />She created the installation "Looking In, Seeing Out" just after the 1992 Los Angeles riots. Within her neighborhood, she saw burning buildings and angry desperate people.&nbsp;<br /><br />The idea of the work evolved as she began casting old and young people of all sorts of backgrounds and ethnicities. It intrigued her to see how people experienced the installation, largely dependent upon their own life perspective. Some viewed them as arms that were reaching out in desperation, in need of help. Others saw them as wanting to grab and or take advantage of the viewer.&nbsp;<br /><br />She has always wanted people to think and feel something when they experience her work and she is pleased with the timelessness of this artwork, even though it was made over 20 years ago!&nbsp;<em><em><br /><br />BIOGRAPHY&nbsp;<br /><br /><em>Karena Massengill is an artist working with socio political ideas expressed through the use of multi media including traditional materials used for casting and fabrication, digital imaging, drawing, and painting. Massengill has an MFA in Sculpture from California State University at Fullerton, BFA in Jewelry and MetalSmithing from Tyler School of Fine Art, Temple University in Philadelphia, and a Bachelor of Education in Visual and Industrial Technology from the University of Toronto in Canada. She is an adjunct professor teaching Photoshop at Harbor College and is Department Head of Digital and Visual Arts at Cabrillo High School in Long Beach.&nbsp;<a href="" rel="nofollow" target="_blank">Go to artist's website</a>&nbsp;</em></em></em></p> <p><em><em><em>&nbsp;</em></em></em></p> <p><span style="font-size: medium;"><strong>Dusty Tailor</strong></span></p> <p>Dusty Tailor pulls inspiration from his surroundings and interactions with animals and nature. Being raised in a family of immigrant farmers, plants and produce goods find a place in his work as symbolic imagery of his upbringing and heritage. The work symbolizes the travels and exploration of his family's migration from central Mexico to the Central Coast of California, and personal exploration and interaction with the environment around him. In this context, the Humpback Whale, anatomical drawings of the fruit and flower from the Mission cactus are a direct representation of his migration, exploration and heritage .&nbsp;<em><em><em><br /><br />BIOGRAPHY&nbsp;<br /><br /><em>Dusty Tailor is a printmaker currently attending the School of Art-California State University, Long Beach with a specific interest in lithography, silkscreen, and relief printing. He finds a form of mysticism in printmaking, nostalgia, and a world of perfect resonance from the moment of prepping to printing.&nbsp;</em></em></em></em></p> <p><em><em><em><em>&nbsp;</em></em></em></em></p> <p><strong><span style="font-size: medium;">Xiaowen Zhu</span></strong></p> <p>Terminal Island reflects a visual and psychological journey inside a recycling company, where the world of materials ends and restarts. Through nuanced manipulation of documentary footage, the artist is interested in presenting an alternative perception of time and space in a physically specific and yet philosophically ambiguous environment.&nbsp;<em><em><em><em><br /><br />BIOGRAPHY&nbsp;<br /><br /><em>Xiaowen Zhu is a media artist, scholar and curator. Described as a visual poet, social critic, and aesthetic researcher. She uses video, performance, installation, and web as platforms to communicate the complicated experience of being an international person and to wrestle with the notion of a disembodied identity. Her questions are often raised from her observation and reflection as a critical thinker and an active communicator.&nbsp;<br /><br />Currently, Xiaowen Zhu resides in San Pedro, the port of Los Angeles, for a yearlong artist fellowship program. She received her MFA in Art Video from Syracuse University, USA and a BA in Film, TV Production &amp; Media Art from Tongji University, China. During her undergraduate study, she attended an exchange program in Academy of Art and Design Offenbach in Germany.&nbsp;<br /><br />Her work has been shown nationally and internationally at institutions such as: ZKM | Center for Art and Media (Karlsruhe, Germany), V2 Institute for the Unstable Media (Rotterdam, the Netherlands), ISEA2011 (Istanbul, Turkey), Dumbo Arts Center (New York, USA), Videonale (Berlin, Germany), Museum of Contemporary Photography (Chicago, USA), Strozzina Art Space (Florence,Italy), Sainsbury Center for Visual Arts (Norwich, UK), DOK Munich (Munich, Germany), Everson Museum of Art (Syracuse, USA), Toronto Urban Film Festival (Toronto, Canada), Shanghai eArts Festival(Shanghai, China).&nbsp;<a href="" rel="nofollow" target="_blank">Go to artist's website</a>&nbsp;</em></em></em></em></em></p> Wed, 09 Oct 2013 20:53:19 +0000 Helmut Newton - Annenberg Space for Photography - June 29th, 2013 - September 8th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The Annenberg Space for Photography today announced its next installation, <strong>Helmut Newton: White Women • Sleepless Nights • Big Nudes</strong>, featuring the work of the revolutionary fashion photographer. Opening on Saturday, June 29, 2013, this is the first exhibition of Helmut Newton's work outside of gallery shows in Los Angeles, his long-time winter residence.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Images from Newton's first three books - <em>White Women</em>, <em>Sleepless Nights</em> and <em>Big Nudes -</em> will be on view through September 8, 2013. The exhibition was originally organized by Manfred Heiting for the Museum of Fine Arts, Houston.</span></p> <p style="text-align: justify;"><span style="font-size: small;">"Helmut Newton is one of the most powerful and influential photographers of the past century - the place where art and fashion and subversion and aspiration all collide. If Newton's work was controversial, I believe it's because he expressed the contradictions within all of us, and particularly within the women he photographed so beautifully: empowerment mixed with vulnerability, sensuality tempered by depravity. Newton deepened our understanding of changing gender roles, of the ways in which beauty creates its own kind of power and corruption. On top of that, his compositions were brilliantly precise, cinematic in their scope and in their storytelling," says Wallis Annenberg, Chairman of the Board, President and CEO of the Annenberg Foundation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The photographs were made specifically for the exhibition and are large-scale - some reaching nearly 8 x 8 feet.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In addition to the more than 100 prints displayed, the exhibit will feature two films about Newton.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Helmut by June</em>, a documentary film shot and directed by June Newton, Newton's wife of 56 years, goes behind the scenes at several of his photo shoots and provides an intimate look into his private life and the couple's remarkable relationship. From a photo shoot with Cindy Crawford and Helena Christensen in Saint-Tropez to a conversation with June in the privacy of their room at the Chateau Marmont in Los Angeles, the man behind so many provocative images is revealed.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Additionally, the Annenberg Space for Photography has commissioned an original documentary film from Arclight Productions. The film will examine the legendary photographer's impact on fashion, on women and on photography - as told by men and women who knew him, worked with him and were influenced by his remarkable vision. Models, stylists, fashion editors, photographers and friends will share unique perspectives on a titan of 20th century fashion photography whose influence lives on.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Key participants in the Arclight Productions film include the "Three Boys from Pasadena" - Mark Arbeit, George Holz and Just Loomis - who were students at the Art Center College of Design in Pasadena, California, when they first met Newton in 1979. They served as Newton's assistants during one of his most prolific periods, each becoming successful photographers in their own right. In 2009, their show <em>Three Boys from Pasadena: A Tribute to Helmut Newton</em>, conceived and curated by June Newton, opened at the Helmut Newton Foundation in Berlin.</span></p> <p style="text-align: justify;"><span style="font-size: small;">David Fahey, co-owner of the Fahey/Klein Gallery, also appears and shares personal videos and photographs of Newton taken at the photographer's favorite Los Angeles haunt, the Chateau Marmont hotel. Over the course of his 36-year career, Fahey has introduced and exhibited well over 500 artists, taught the history of photography and collaborated on the production of over 45 fine art photography publications.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Please note that the photographs in this exhibition contain nudity and sexual content, and may not be suitable for all visitors.</em></strong></span></p> Sat, 18 May 2013 06:21:54 +0000 Group Show - Another Year in LA - May 16th, 2013 - August 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Group exhibition focused on artwork that utilizes BLACK and WHITE in a variety of ways.</span></p> Fri, 31 May 2013 19:23:35 +0000