ArtSlant - Current exhibits en-us 40 Blake Rayne - 1301PE - September 28th, 2013 - November 16th, 2013 <p style="text-align: justify;">1301PE is pleased to announce its first solo exhibition with New York-based artist Blake Rayne.</p> <p style="text-align: justify;"><em>The painting doesn&rsquo;t exist solely as a material object but as a vehicle with which to articulate a conceptual idea&mdash;a practice continually being shaped by linguistic, institutional and physical relations and not defined by any static or ahistorical definition that might characterize painting as purely visual.</em> &mdash; Marina Cashdan</p> <p style="text-align: justify;">Blake Rayne&rsquo;s work has been&nbsp;pivotal in the resurgence of conceptual painting over the last twenty years. Rayne has used compositional systems as an&nbsp;organizing principle along with an inherent semantic play&nbsp;to create paintings.&nbsp;Employing diverse techniques, Rayne weaves personal, art historical, and formal narratives to explore the many contexts in which painting can be seen and understood. The goal is to simultaneously establish a pictorial order and to destroy it.&nbsp;</p> <p style="text-align: justify;">&nbsp;Blake Rayne was born in Lewes, Delaware. He has had recent solo exhibitions at Campoli Presti, London; Sutton Lane, Paris and Miguel Abreu Gallery, New York. His work is represented in the permanent collections of the Museum of Modern Art, New York and Fonds Regional d&rsquo;Art Contemporain, France. Selected group exhibitions include Langen Foundation, Thomas Dane Gallery, Kunsthalle Bergen, Metro Pictures, Artists Space and Le Confort Moderne. Rayne holds a B.F.A from California Institute of the Arts (1992) and currently lives and works in New York.</p> <p style="text-align: justify;">For more information please contact Carmel Ni or Brian Butler 323.938.5822.</p> Sat, 02 Nov 2013 08:11:56 +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 Iva Gueorguieva - ACME - September 6th, 2013 - October 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>ACME</strong>. is pleased to present "<em><strong>Spill / Frame</strong></em>," a solo exhibition of new paintings, drawings, and sculptures by Los Angeles based artist, Iva Gueorguieva. The exhibition will feature a new large-scale triptych painting titled "Man Hunt," as well as three additional paintings, three sculptural wall reliefs, and several works on paper. Whether working with painting, drawing or sculpture, Gueorguieva creates complex, frenetic environments by interweaving precise line drawings with strips of collage, textured rubbings of pigment, and large washes of color.</span><br /><br /><span style="font-size: small;">By physically and metaphorically cutting and bringing together disparate items and ideas in her paintings, drawings, and sculptures, Gueorguieva's works can be seen as assemblages of chaos and order, personal concerns and global issues. As the artist states, "to some extent we all do it, trying to make all this scattered matter fit."&nbsp;</span><br /><br /><span style="font-size: small;"><strong>Iva Gueorguieva</strong> (b. 1974, Bulgaria) received an MFA from the Tyler School of Art in Philadelphia. Recent solo shows include Susanne Vielmetter Los Angeles Projects, LA, CA; Ameringer/ McEnery/ Yohe, New York, NY; Stefan Roepke Gallery, Cologne, Germany; Bravin Lee Programs, New York, NY; LUX Art Institute, Encinitas, CA; Angles Gallery, Los Angeles, CA; Stichting Outline, Amsterdam, Netherlands; Pomona Museum of Art, Claremont, CA. Notable group shows among others include Galerie Lelong, New York, NY; the Contemporary Art Museum at USF, Tampa, FL; Pasadena Museum of Art, Pasadena, CA; Dunn and Brown Contemporary, Dallas, TX. Her work is included in many public and private collections including the Los Angeles County Museum of Art, the Minneapolis Institute of Art, and The Museum of Contemporary Art, Los Angeles. She is the recipient of the California Community Foundation mid-career fellowship for 2010 and the Pollock-Krasner Grant for 2006. Her work is represented by ACME. in Los Angeles and Ameringer| McEnery | Yohe in New York.</span><br /><br /><span style="font-size: small;">The large metal sculptures were produced at Graphicstudio in Tampa, FL. Gueorguieva would also like to thank Emette Rivera at Remadestudios for producing the wood and metal structure for "Head".</span></p> Tue, 24 Sep 2013 00:40:31 +0000 Jay Stuckey - Anat Ebgi - September 28th, 2013 - November 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Anat Ebgi</strong> is pleased to announce&nbsp;<strong><em>PRIMA MATERIA</em></strong>, an exhibition of new paintings by <strong>Jay Stuckey</strong>.&nbsp; The show will open&nbsp;Saturday September 28&nbsp;and run through November 9<sup>th</sup>. The opening reception will be held on&nbsp;Saturday September 28 from 5-7pm. This exhibition will inaugurate the newly expanded gallery space located at 2660 S La Cienega Blvd in Culver City.</span></p> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">For Jay Stuckey&rsquo;s second exhibition, the artist delves deeper into dreams and archetypical imagery. The paintings utilize an aoristic approach -- an action without denoting whether completed, begun, or repeated -- composing a perpetual grand narrative harkening back to allegorical and historical 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;">Launching from Stuckey&rsquo;s previous works, the imagery in these new paintings gets pushed back, capturing the outlines and textures of faded fragments of memory, akin to the quality of dreams. &nbsp;They also ask more from the viewer, the images slowly boil up to the surface over a course of time, rather than immediately. Layers of oil paint, oil stick, crayon, and torn paper create a wall-like surface with scrawling figures of various sizes, veering away from the traditional pictorial plane.&nbsp;</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;">By using dreams as subject matter, Stuckey consequently taps into the collective unconscious where the union of opposites manifest &ndash; male and female, love and war, darkness and light. In the large scale painting&nbsp;<em>Guardians of the Secret</em>, a smiling couple nestled inside a bus unaware, or hiding from, the dangerous and violent world outside the vehicle. These polarities are a reflection of our collective psychological condition &ndash; layered with complexities, sometimes perverted, vulnerable, and humorous.</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;">Along with the union of opposites is a conflation of time and space. In the painting&nbsp;<em>Pallas Athena II</em>, the mythological goddess Athena shares the same canvas as a contemporary blonde female figure smoking a cigarette.&nbsp; As in dreams, the constructs of time and space are irrelevant, and the rules of logic are suspended.&nbsp;Stuckey&rsquo;s process of synthesizing seemingly random symbols from the conscious and unconscious, from the historical and present, reality and fiction, strikes a familiar chord with the viewer.&nbsp;&nbsp;&nbsp;</span></div> <div style="text-align: justify;"><br /><span style="font-size: small;">Jay Stuckey, b. 1968, Washington D.C. He received his BFA from Brown University and an MFA from the School of the Art Institute of Chicago. His work is included in the MoCA permanent collection and various private collections.&nbsp; Solo and group exhibitions include The Company, Post, ACME and FoCA, Los Angeles. The limited edition artist&rsquo;s book,&nbsp;<em>Glad Day</em>, was published in 2011 and included texts by Linda Norden, John Souza, Rosanna Albertini, and Judith Vida-Spence. Stuckey lives and works in Los Angeles.&nbsp;</span></div> Sat, 22 Feb 2014 15:32:53 +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 - Angels Gate Cultural Center - September 7th, 2013 - January 10th, 2014 <p><em>Picking up the Pieces: A Suicide Prevention Project&nbsp;</em>explores the difficult emotions and thoughts that accompany the subject of suicide and suicide prevention. The project is curated by artist, Stacey Wexler in collaboration with residents from Harbor View House in San Pedro, CA. Wexler and the participating residents transform two difficult subjects into an inspiring,powerful and cohesive dialogue&nbsp;<br /><br /><em>Picking Up the Pieces</em>&nbsp;is an ongoing community art project that utilizes the fundamental elements of a jigsaw puzzle originally consisting of twenty-seven puzzle pieces. Each piece is an individual narration of the experiences the residents of Harbor View House had with suicide and suicide prevention. As a whole, the project encompasses a range of emotions, from the hopeless to the hopeful. Throughout the project's residency at Angels Gate Cultural Center (AGCC), the community will have the opportunity to expand on the discussion that Wexler and the residents at Harbor View House started. Blank pieces of the puzzle will be made available by AGCC and Wexler so that the audience may create artistic representations of their own experiences and thoughts on suicide and show what their hopes for suicide prevention look like.&nbsp;<br /><br />BIOGRAPHY<br /><em>Stacey Wexler has been working professionally in the arts for more than 3o years. She earned her MFA from Claremont Graduate University with an emphasis in Ceramic Sculpture and her BFA from The University of the Arts in Philadelphia. Additionally, she attended Art Center College of Design with a specialization in computer graphics. She is currently an adjunct assistant professor in the Department of Art and Architecture at Los Angeles City College. Her own personal creative work has been exhibited nationally and in Germany, Italy and Hungary. She was selected as a resident artist at the Hungarian Multi-Cultural Center in Budapest in 2011. Stacey Wexler has a studio in Downtown Los Angeles.&nbsp;</em></p> Mon, 16 Sep 2013 18:27:03 +0000 Osman Khan - Another Year in LA - September 18th, 2013 - November 1st, 2013 <p>IT&rsquo;S ALL THE RAGE is the title of our first solo exhibition with artist, Osman Khan opens along with the other 14 galleries at the Pacific Design Center next week, Wednesday, September 18 from 5pm &ndash; 8pm.</p> <p>This exhibition deals with issues that center around Pakistani/Muslim identity... and the 'aesthetics' surrounding it.&nbsp; Khan was born in Pakistan, raised in NYC and teaches at the School of Art &amp; Design at the University of Michigan, where his teaching focuses on computational and kinetic mediums.&nbsp;</p> <p>Khan describes the exhibition as &ldquo;Between East and West seemingly lies&hellip; conflict or maybe more accurately the conflicted. &nbsp;The exhibition IT'S ALL THE RAGE sits between reflection and action to address the concerns of newly emerging Muslim (and more specifically hyphenated Pakistani) identity and the political, cultural and aesthetic repercussions of this experience. &nbsp;</p> <p>The title of the exhibition alludes to the overwrought and hostile sensationalism of the September 2012 Newsweek Muslim Rage cover story and rebrands its confrontational stance into the nuanced reality of the exhibition's double entendre pun; 200 plus years of colonialism, cold war manipulations, political double standards, IMF strong-arming, drone strikes, media misrepresentations on the one hand have led to systemic suspicion and anger at western interference, fermenting internalized desires for the Muslim world to enter the modern world in its own terms, it's our party and you are not invited!</p> <p>The works presented reflect on the afflictions, ambiguity and aspirations currently at play, embracing uncertainty and providing no resolution. It is the current condition. It's what is going on. It's all the rage&hellip;&rdquo;</p> <p>For more info:</p> <p><a href="" rel="nofollow"></a></p> <p><a href="" rel="nofollow"></a></p> Tue, 10 Sep 2013 23:18:41 +0000 Karen Lofgren - Armory Center for the Arts - July 10th, 2013 - July 31st, 2014 <p style="text-align: justify;" dir="ltr"><span style="font-size: small;">Karen Lofgren’s site-responsive installation in the Armory’s stairwell gallery invokes ideas about stability, chance, faith, ritual, risk, and choice. Her minimal, fetish-finished forms create an illusion of support within an existing architectural framework.</span></p> <div class="float-left"> <p style="text-align: justify;"><span style="font-size: small;"><strong>Artist Karen Lofgren Launches Architectural and Metaphysical Inquiry in a Staircase at Armory Center for the Arts</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Armory Center for the Arts is pleased to present Karen Lofgren: <em>Stabilizers</em>, a temporary, site-responsive installation by Los Angeles-based artist Karen Lofgren. The installation, cited in the Armory’s central stairway, opens on Wednesday, July 10, 2013. A reception, free and open to the public, will take place on Saturday, July 13, from 7-9pm. Karen Lofgren: Stabilizers has been organized for the Armory by Sinéad Finnerty-Pyne, Gallery Manager / Assistant Curator.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Karen Lofgren’s sculptural work, <em>Stabilizers</em>, calls attention to an unspoken sensation of uncertainty that resides within, and uses our vulnerability in architecture as a metaphor to address larger, existential uncertainties. Entering the Armory’s stairway, the viewer is met by subtle, ambiguous, exquisitely finished shapes that resemble freshly poured liquid metal. Bracket-like in their reference and sensuous and minimal in their appearance, the objects nestle into the corners and edges of the walls, guiding our attention to spaces that are rarely regarded and generally overlooked. They awaken our spatial awareness and invite our consideration of architectural infrastructure, what we presume is there to protect us.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In Lofgren’s playful yet cerebral approach to artmaking, she uses soft organic forms as stand-ins for stalwart angularity, serving up a quiet yet pointed criticism of the authority of architectural infrastructure. The purposeful ambiguity that exists within Lofgren’s work allows the viewer to call into question the difference between belief and illusion, and expose what we presume is fixed. Her work references recent ideological points of view including feminism and self-actualization, as well as early traditions such as medieval alchemy and ancient mythology. In Lofgren’s work, historical and philosophical content is transformed to create objects and environments that reflect and then dissolve the familiar.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About the Artist<br /></strong>Karen Lofgren is a Toronto-born and LA-based artist who completed her MFA at California Institute of the Arts in Valencia. Recent solo projects in California include Believer at Machine Projects and Signs Point to Yes at Los Angeles Contemporary Exhibitions, both in Los Angeles; Gold Flood at Pitzer Art Galleries in Claremont; and Blood Sister at Royale Projects in Palm Springs. Lofgren’s work has been featured in Critic’s Picks of, LA Weekly, and Los Angeles Times, as well as books, catalogues, and album covers, and she has received awards from Canada Council and Durfee Foundation.</span></p> </div> Tue, 24 Sep 2013 00:40:54 +0000 Amber Goldhammer, Bernhard Zimmer, krista marlene, Marisa Howenstine - Artspace Warehouse - August 23rd, 2013 - October 24th, 2013 <p>August 23 through October 24 at Artspace Warehouse:&nbsp;<br />Suspended Moments</p> <p>New conceptual and narrative photographic artworks by Los Angeles artist&nbsp;<a class="pink" href="" rel="nofollow">Marisa Howenstine</a>&nbsp;and vibrant photographs by Los Angeles artist&nbsp;<a class="pink" href="" rel="nofollow">Krista Marlene</a>. New oil and mixed media artworks by German artist&nbsp;<a class="pink" href="" rel="nofollow">Bernhard Zimmer</a>&nbsp;and abstract works by Los Angeles artist&nbsp;<a class="pink" href="" rel="nofollow">Amber Goldhammer</a>&nbsp;will also be featured, among many others.</p> <p><a class="pink" href="" rel="nofollow">Marisa Howenstine</a>&nbsp;is a Los Angeles-based conceptual photographer who specializes in psychological narrative. Her style is edgy, provocative, and often with a twist of humor. Her influences range from illustrators, painters, photographers, film makers, authors, and life itself.</p> <p><a class="pink" href="" rel="nofollow">Krista Marlene</a>&nbsp;is a multi-faceted artist who among other things has a gift for photography that delivers powerful emotional connections. She has a modern romantic style that is conveyed through her great attention to detail. With her use of layers, texture and vibrant settings she sets out to capture the essences of the theme and delivers those messages on an emotionally engaging level.</p> <p>German artist&nbsp;<a class="pink" href="" rel="nofollow">Bernhard Zimmer's</a>&nbsp;powerfully colored images are relief-like structures that he built from many layers of paint. His focus is the visualization and reflection of the tension between order and chaos. In some artworks groups of letters and fragments of words are found. This interaction brings balance to the juxtaposing elements in his paintings.</p> <p>Los Angeles artist&nbsp;<a class="pink" href="" rel="nofollow">Amber Goldhammer</a>&nbsp;paints with joyful vision, transferring her innermost feelings onto the canvas. Amber's modern abstract art takes a spiritual path free from inhibition and filled with love. with a focus of acrylic on canvas, Amber's artwork begins in a place of total surrender and pure freedom. When the brush hits the canvas there is no thought, no photo to look at, no figure to draw. Pure bliss ensues as what has been created is truly unknown. The vision and emotion is left to the eyes of the beholder.</p> Wed, 04 Sep 2013 22:24:44 +0000 Vern Blosum - Assembly - September 7th, 2013 - October 26th, 2013 <p style="text-align: justify;"><span style="font-size: small;">"You should always have a product that is not you." Andy Warhol</span></p> <p style="text-align: justify;"><span style="font-size: small;">"Every refutation is a mirror of the thing it refutes--ad infinitum." Robert Smithson</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Assembly </strong>and<strong> Tomwork (</strong>Tom Jimmerson, formerly of Cardwell Jimmerson Contemporary Art) present "<em><strong>Vern Blosum: Out of Order</strong></em>," an exhibition of Blosum's paintings from the early and mid nineteen sixties. The show is on view from September 7 to October 26. Artist's reception is Saturday, September 7, 6-9 pm. Exhibition hours are Wednesday through Sunday, noon to 6:00 pm. Assembly is located at 2045 S. La Cienega Blvd. Ample parking is available in the lot adjacent to WSS Shoe Warehouse at the same address. &nbsp;</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">When Pop Art emerged and flourished in the years between 1961 and 1965, Vern Blosum was an active participant in the New York art scene. He moved in social circles that included artists such as Adolf Gottlieb and Tony Smith, Roy Lichtenstein and Andy Warhol. It was however the art dealer Ivan Karp, then working for the Leo Castelli Gallery, who managed to insinuate Blosum's hauntingly enigmatic and anodyne paintings into the rapidly developing critical and commercial network that came to be known as Pop. Examples of Blosum's work appeared in early and important exhibitions including "Pop Art USA," (1963, San Francisco and Oakland) and "The Popular Image," (1963, Washington D.C.) and were documented as well in Lucy Lippard's book on Pop Art published in 1965. Blosum was thus part-and-parcel of Pop Art, or at least its first iteration. Prescient collectors such as Robert Scull, Larry Aldrich, Burton Tremaine and Betty Asher agreed. As did the Museum of Modern Art which acquired an artwork for its permanent collection. Realized at more or less actual size in a palette of mostly black, white and gray, MoMA's "Time Expired"(1962) was simply the painted image of an expired parking meter sitting above two painted words spelling out "Time Expired."</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">This is where the now familiar rediscovery narrative--"another deserving if little remembered sixties-era artist attracts fresh attention"--takes a peculiar turn. For soon after its acquisition Alfred Barr, then MoMA's director, chose to have "Time Expired" removed from public exhibition and put into storage. He did so because the museum was unable to verify any of Blosum's biographical data, according to documents passed back and forth between MoMA and the Castelli gallery. By Barr's exacting journalistic standards, Blosum was judged a "fraud." Good instincts. For a fact not known then was that the name Vern Blosum, derived from the botanical term "vernal blossom," was the pseudonym adopted by a young and committed abstract painter who, by his own modernist high-culture standards, considered Pop Art itself to be fraudulent. But for Blosum, Pop Art was not just simply a fraud but also a complex social system which he sought to understand and reproduce; this both despite and because of his antipathy to it. The resulting "product that is not you" (Warhol) and "mirror of the thing it refutes" (Smithson) was then recirculated--via the good offices of Karp and Castelli--back into the Pop Art system to be consumed in turn.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Like MoMA's "Time Expired," the artworks presented by Tomwork at Assembly are depictions of the routine instruments of urban administration, each consisting of a painted image sitting above a simple descriptive text. Together, they are as unsettlingly ordinary as the following checklist suggests: "Zero Minutes," 1962 (parking meter), "Out of Order," 1962 (parking meter), "Fifteen Minutes," 1962 (parking meter), "Giant Expiration," 1963 (parking meter), "Abgelaufen," 1963 (German parking meter), "No Pressure," 1963 (fire hydrant), "Mueller," 1963 (fire hydrant), "Homage to Ivan K.," 1963 (fire hydrant), "Alarm," 1964 (alarm box), "Telephone," 1964 (pay phone), "Not for Deposit," 1964 (postal box), "Zip Code," 1964 (postal box), "Stop," 1964 (stop sign). Appropriately, "Stop" was Blosum's final painting. &nbsp; &nbsp;</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">It didn't, however, fully stop there. Rather, Blosum's work from the nineteen sixties was even then oriented "toward an imagined future" (TJ Clark's words from another context); pointing in the direction of Conceptual Art and with it an emerging critique of advanced capitalism associated with some of the conceptualists. Indeed, while Blosum focused his ire on Pop, his project was equally directed&nbsp;against an art market dependent on the presumptively inseparable connection between (a real) artwork and (a real) artist that Blosum so willfully sundered. To be sure, others have similarly challenged received notions of authorship and authenticity. But coming as it did after R. Mutt and Rrose Selevy and yet before Sturtevant, Sherrie Levine, John Dogg and the Bernadette Corporation, the full meaning of the Blosum story may be available to us only now. How will we know? Warhol insisted that even in art, the economic marketplace provides the sole measure of value, a sentiment Blosum deplored but observed to be coming true before his eyes. The exhibition "Vern Blosum: Out of Order" is thus respectfully resubmitted to that marketplace for its judgement. &nbsp;</span><span style="font-size: 12px; text-align: left;">&nbsp;</span></p> Wed, 21 Aug 2013 15:42:58 +0000 Gay Summer Rick - bG Gallery - October 5th, 2013 - November 3rd, 2013 <p>bG Gallery presents its third solo exhibit by Malibu painter Gay Summer Rick. For her new &lsquo;Series in Night and Day&rsquo;, &nbsp;Gay has painted prominent local coastal scenes in day view and then revisited the scene to paint it from a night perspective. Painting with only a palette knife, Gay illustrates the contrast in atmosphere between daylife and nightlife.</p> <p style="line-height: 1.125; margin-top: 0pt; margin-bottom: 0pt; text-align: justify;" dir="ltr">Gay&rsquo;s signature overlay of colors, which meld impressionism and abstract color-field painting, speak as much about the emotion evoked by a place as they do about the place itself. Two different cities are evoked through paint: one bathed in color and sunlight between veils of fog, and one where the color seeps in behind the darkness of night.</p> <p><br /><br /></p> Sat, 22 Feb 2014 15:45:13 +0000