ArtSlant - Closing soon en-us 40 DevNGosha - C.A.V.E. Gallery - September 28th, 2013 - October 15th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>C.A.V.E. Gallery</strong> is pleased to present the much-anticipated solo exhibition by collective <strong>DevNGosha</strong>. "In memory" is a series of new works where the artists explore the life cycle of memories in peoples lives and how they change over time. Each piece is full of vibrant colors that represent the emotions that memories inspire. The work is an explosion of hues where the artists boldly challenge color theory and successfully create work where color charges the senses.</span><br /><br /><span style="font-size: small;">A striking part of the collection includes chromatically layered&nbsp;skulls,&nbsp;detailed in a graphic style juxtaposed by a compelling depth. The skulls symbolize how the meaning of memories have an evolving life until death.&nbsp;These pieces are complemented by a series of playful, amorphic&nbsp;characters that represent the memory. The memory is revealed through goggles that capture glimpses of recollections and emotions.</span></p> Sat, 22 Feb 2014 15:39:12 +0000 David “Netherland” van Alphen - C.A.V.E. Gallery - September 28th, 2013 - October 15th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Chicago based artist <strong>David "Netherland" van Alphen</strong> creates wonderfully obscure, 70's charged collage works.&nbsp;Each piece is a clever, eye-catching mash up of vintage advertising imagery and bold acrylic rainbows mounted on wood.&nbsp;Netherland does not resize, photocopy or scan any of the images he uses. All images are cut directly from their original source and collaged so that each piece is uniquepop art montage that is&nbsp;playfully nostalgic.</span></p> Sat, 22 Feb 2014 15:39:13 +0000 Maureen Gallace - Overduin & Co. - September 15th, 2013 - October 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Overduin and Kite</strong> is pleased to present the gallery&rsquo;s first exhibition with New York based artist <strong>Maureen Gallace</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Gallace&rsquo;s intimate paintings are based on photographs taken by the artist in her native New England. Gallace achieves an unsettling balance between the personal and the nondescript in her images. The settings depicted are familiar representations of tranquil New England homes and landscapes, but upon closer examination the focus shifts from subject to the physical presence of paint as a descriptive mark. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Gallace&rsquo;s materialist treatment of the medium engages painting&rsquo;s classic lexicon of color, surface, and form through the iconographies of traditional landscape painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Applied with a wet-on-wet technique, the visibility of Gallace&rsquo;s brushstrokes emphasize the medium&rsquo;s physicality. Reductive blocks of color and shadow evoke naturalism, however Gallace&rsquo;s palette is often restricted to a range of cool blues, whites, and greens. Her serial compositions employ structural components, such as the mid-horizon line, open sky, and the central subject as linguistic elements. She refines her subjects to their essential signs, addressing the relationship between observation and representation.</span></p> <blockquote> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;Part of what makes Gallace&rsquo;s work so odd and enthralling is that it comes as close as possible to being what it resolutely is not. This is a truly contemporary problem for art: the amazing, awkward potential of the vernacular in the light of the indifference and availability of the ready-made . . . another difference from the quotidian vernacular is in Gallace&rsquo;s handling of paint itself. No stroke is misplaced. The difference between the brushstroke going left to right or right to left matters, even if it is complicated to say how. Because she has stared at, observed, studied (by taking snapshots), and spent time remembering the distortion of actual fog, she is able to show the similar distortion techniques of paint and representation, which affect how nature is seen.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bruce Hainley, &ldquo;Seen and not seen,&rdquo; <em>Frieze</em></span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">Maureen Gallace was born in Stamford, CT and currently resides in New York City. Solo exhibitions have been organized by the Centro de Arte Contemporaneo in Murcia, Spain; the Art Institute of Chicago; 303 Gallery in New York; Maureen Paley in London; and the Dallas Museum of Art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Opening reception: Sunday , September 15th , 6 - 8 pm</span></p> Tue, 15 Oct 2013 13:49:09 +0000 Charles G. Miller - University Art Gallery, UCSD - October 3rd, 2013 - October 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Over the course of eight weeks, an exhibition of video installations by <strong>Charles G. Miller</strong> (10/3 &ndash; 10/17), <strong>Hong-An Truong &amp; Dwayne Dixon</strong> (10/18 &ndash; 10/31), <strong>Cauleen Smith</strong> (11/1 &ndash; 11/14), and <strong>Uriel Orlow</strong> (11/15 &ndash; 12/6) will rotate in and out of the gallery in conversation with <em>The Exhibition of a Necessary Incompleteness</em>, a constant exhibition of photos, text, and videos by <strong>Joseph Redwood-Martinez</strong> and essay contributions by Ayala Levin, Alexandru Balasescu, and Demilit.<br /></span></p> <h5 style="text-align: justify;"><span style="font-size: small;">Friday, October 4th | 10:30am</span></h5> <p style="text-align: justify;"><span style="font-size: small;">Breakfast reception and premiere of Charles G. Miller&rsquo;s&nbsp;<em>Hidden in Plain Sight: La Jolla/UTC Annex, An-Edge City</em>&nbsp;(2013)&nbsp;single-channel HD video.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Screening followed by a conversation with Joseph Redwood-Martinez, Charles G. Miller, &amp; DEMILIT (Javier Arbona &amp; Nick Sowers).</span></p> <p style="text-align: justify;"><span style="font-size: small;">A conversation around urban rumors and anthropology/archaeology of the built environment.&nbsp; Whether &ldquo;decoding,&rdquo; &ldquo;defamiliarizing,&rdquo; or &ldquo;giving attention to the overlooked,&rdquo; their spatial practices converge at the messy locus of ethics in making visible and audible what is not permitted.&nbsp; Whether in San Diego-Tijuana, Petra, Phoenix, Istanbul, Oakland or Quito, how are these questions of visibility navigated in different contexts?&nbsp; How might these obscured forms of the built environment be represented?</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Hidden in Plain Sight: La Jolla/UTC Annex, An-Edge City&nbsp;</em>will be presented in the exhibition&nbsp;<em><a href="">Timing is Everything</a>&nbsp;</em>from October 3 &ndash; 17, at the beginning of each hour.</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>Joseph Redwood-Martinez</strong> is an artist, writer, and filmmaker from the United States. His writing has appeared in <em>Frieze</em>, <em>Modern Painters</em>, and <em>The Huffington Post</em>. A first book of poetry, event statements, was published in April 2011 by Publication Studio. A forthcoming book of essays, neo-provincialism, will be released in 2014. He has shown work and curated programs in Sweden, Germany, Turkey, the UK, India, and the United States. In 2011-2012, he was a curatorial fellow at SALT in Istanbul. His first feature-length film, <em>One day, everything will be free</em>, was released in 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Charles G. Miller</strong> is a multimedia artist and educator based in San Diego. His multi-format projects, incorporating video, photography, installation, and intervention, work to develop novel frameworks and methodologies for critically exploring, representing, and understanding contemporary urban landscapes. He was a principal collaborator with The Periscope Project in San Diego (2010-13), and previously with campbaltimore in Baltimore, Maryland (2005-6). He earned an MFA from the University of California, San Diego in 2010. He has exhibited widely, and initiated site-specific projects in Baltimore, New York, San Diego, and Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bryan Finoki, Nick Sowers, and Javier Arbona founded <strong>DEMILIT</strong> in 2010 as part of a discussion on &ldquo;Decoding Military Landscapes&rdquo; at the Just Metropolis Conference (UC Berkeley). Since then, they have been searching for experimental ways of walking, exploring, listening, writing, and recording. Demilit has produced events and pieces for the Marin Headlands Center for the Arts, the Istanbul Design Biennial, The State, The San Jos&eacute; Biennial, Other Cinema, and Deutschlandradio. Participating in <em>Timing is Everything</em>: Nick Sowers is an architect interested in making space with sounds and solid matter, and Javier Arbona is a geographer.</span></p> Mon, 30 Sep 2013 08:39:44 +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 Jennifer Dalton - Charlie James Gallery - September 14th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;">&ldquo;On a Scale from Not Really OK to Really Not OK&rdquo; addresses social anxiety and the mutually uncomfortable extremes that Jennifer Dalton perceives our culture as vacillating between, such as guilt vs. resentment, fairness vs. loyalty, validation vs. iconoclasm, manic vs. depressive, loser vs. pig. Viewers are invited to engage in these dialogues by interacting with elements of the exhibition. This exhibition continues Dalton&rsquo;s explorations of social interaction and cultural values, and her ongoing accumulation of aggregate findings that she reflects back to the viewer.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In each of her works Dalton measures self-worth and cultural value in dichotomies, paradoxes, arbitrary hierarchies or sliding scales. In Dalton&rsquo;s view, opposing values, emotions and attributes exist not in balance but in constant asymmetrical flux. She has manufactured her own subjective taxonomies to make sense of herself and the outside world and invites viewers to participate and implicate themselves within the show by choosing between opposing dichotomies in a variety of ways.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jennifer Dalton is a visual artist living and working in Brooklyn, New York. In her drawings, sculptures and installations she excavates, organizes and evaluates cultural information according to her own personal criteria. Her subjects are often chosen in an attempt to test a hypothesis or to dissect a chip on her own shoulder.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jennifer earned a BA in Fine Art from UCLA and an MFA from Pratt Institute in Brooklyn. She received a Pollock/Krasner Foundation grant in 2002 and a Smack Mellon Studio Fellowship for 2005-2006. Her work has been discussed in Artforum, ArtNEWS, Art + Auction, Art in America, Flash Art, Modern Painters, New York Magazine, the New York Times, and The Washington Post, among other publications. Her work has most recently been exhibited at Ballroom Marfa, Marfa, TX; Winkleman Gallery, New York, NY; Flag Art Foundation, New York, NY; John Michael Kohler Arts Center, Sheboygan, WI; Museum Brandhorst, Munich, Germany; and The Teaching Gallery at Hudson Valley Community College, Troy, NY.</span></p> Mon, 12 Aug 2013 15:28:56 +0000 Group Show - CMay Gallery - September 14th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The <strong>Andrew Shire Gallery </strong>is pleased to present <strong><em>Paper,</em></strong> a unique exhibition exploring the work of 10 artists who use paper as the specific medium.&nbsp; The artists are Joshua Aster, Claire Baker, Barbara Berk, Mieke Gelley, Margaret Griffith, Pamela Jorden, Timothy Nolan, Gelah Penn, Milenko Prvacki and Carol Sears.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Paper is a ubiquitous material, used in the every day, books, magazines, posters, milk cartons, candy wrap, and more. The flexibility of this dynamic material is highlighted through a range of artistic techniques, drawing, painting, ink on paper, performance, collage, cutouts and mixed media assemblage.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">A highly interactive material, paper is uniquely responsive to each artist&rsquo;s treatment of it, and the exhibition is a culmination of years of rich and varied interpretation of the medium, where distinct voices find powerful, memorable expression.</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;">AndrewShire Gallery is dedicated to the development and exhibition of innovative contemporary art works by international and local artists.&nbsp; In addition to its Los Angeles location, the gallery established an alternative space in Singapore in 2006.&nbsp; AndrewShire continues to push the international envelope while remaining an integral part of the local community.&nbsp; The gallery is located at 3850 Wilshire Boulevard #107, Los Angeles, CA&nbsp; 90010.&nbsp; AndrewShire Gallery, Singapore, is located at 63 Hillview Avenue #10-13, Lamb Soon Building, Singapore, 669569.</span></p> Thu, 12 Sep 2013 06:23:29 +0000 Carlos Estévez - Couturier Gallery - September 14th, 2013 - October 19th, 2013 <p><strong>&nbsp;</strong>Couturier Gallery is pleased to announce the return of Cuban painter and sculptor<strong> Carlos Est&eacute;vez</strong> for a solo show.&nbsp; The exhibition of new works, <strong><em>Living Apart Together</em></strong>, includes large paintings and intricate sculptures exploring the human psyche vis-&agrave;-vis a complex artificial world with metaphoric imagery and thoughtful witticism.&nbsp; The exhibition runs from September 14 &ndash; October 19, 2013, with an artist&rsquo;s opening reception on Saturday, September 14th, 6-8pm.</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Carlos Est&eacute;vez is from the generation of Cuban artists and intellectuals who, emerging in the 1990s, developed a sense of connectedness to the world outside of Cuba where social, political and geographic boundaries do not exist compared to the restricted freedoms on the island.&nbsp; Free to develop a symbolic language of his own, Est&eacute;vez uses images from the physical world to convey his thoughts on isolation and solitude.&nbsp; Present are his trademark mechanical figures: hybrids of man and nature, combined with elements of music, marionettes, architecture and telephones.&nbsp; His interest in alchemy and the paradoxical nature of man are evident in this new series illustrating the divergences that derail us from our higher self.&nbsp; He writes:</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;The history of human beings is a grand paradox.&nbsp; The development of technologies, the &ldquo;progress&rdquo; and evolution is disproportionate to the development of individual thought and spirituality.&nbsp;&nbsp; He goes on to state that, &ldquo;&hellip;the magic of art is in its capacity to communicate from the most remote spaces of the interior world of the artist to the most intricate places in the soul of the spectator.&rdquo;</p> <p>&nbsp;&nbsp;</p> <p>The painting<strong> &ldquo;Living Apart Together&rdquo;</strong> speaks to the interconnectedness that we all share, in spite of the lost communication and isolation that &ldquo;progress&rdquo; has made in our lives.&nbsp; Known for his marionettes (both as motif and sculpture) Est&eacute;vez presents a symphonic orchestra of 100 musicians literally embodying their instrument with limbs and heads formally seated around the &ldquo;conductor&rdquo; (which here is a moon) and described by Est&eacute;vez as &ldquo;an allusion to consciousness and thought around which gravitate the instruments.&rdquo;&nbsp; Just as in music, such attunement with ourselves, when focused on a universal theme, has the power to convey complex thoughts that resonate with the masses in a sublime way.</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Est&eacute;vez further investigates the study of communication with a series of works featuring rotary dial phones.&nbsp; In the sculpture <strong>&ldquo;Balanced Approach&rdquo; </strong>he combines an elaborate rigging of a metal weight scale with a plated phone base suggesting the value of weighing ones words.&nbsp; <strong>&ldquo;Long Distance Relationships&rdquo;</strong> is a large painting featuring 14 telephones of different styles with human parts representing the modern phenomenon of isolation in a social media and device driven world.&nbsp; He writes of this schism, &ldquo;My paintings attempt to represent this chaos: the absurdity of life, the lack of communication, the distance between humans.&rdquo;&nbsp; It is this type of observation that motivates Est&eacute;vez to delve into his world of symbols and create a visual testimonial to the incongruities of life in a modern age.&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;Carlos Est&eacute;vez&rsquo;s work may be found in numerous museum and public collections including: Museo Nacional Palacio de Bellas Artes, La Habana, Cuba; Bronx Museum, New York, USA; Museum of Fine Art, Boston, MA, USA; Miami Art Museum, Miami, FL, USA; Arizona State University Art Museum, Arizona, USA; Lowe Art Museum, UM, Miami, FL, USA; Drammens Museum for Kunst og Kulturhistorie, Drammens, Norway; The Patricia &amp; Phillip Frost Art Museum, FIU, Miami, FL, USA; &nbsp;Museum of Latin American Art, Long Beach, CA USA; Bacardi Art Foundation, Miami, FL, USA; Fort. Lauderdale Art&nbsp; Museum, Fort. Lauderdale, USA; Association d&rsquo;Art de La Napoule, France; Acerbo Hist&oacute;rico de la Academia de San Carlos, DF. M&eacute;xico; Kunst Forum Ludwig, Aachen, Germany; Colecci&oacute;n Casa de las Am&eacute;ricas, La Habana, Cuba; Center for Cuban Studies, New York, USA; Fundaci&oacute;n Arte Viva<strong>, </strong>Rio de Janeiro, Brazil; OMI Foundation Collection, New York, USA; The Farber Collection, New York.</p> Fri, 26 Jul 2013 21:33:57 +0000 Larry Bell, Robert Irwin, Craig Kauffman, Helen Pashgian, DeWain Valentine - Frank Lloyd Gallery - September 7th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span>The <strong>Frank Lloyd Gallery</strong> is pleased to announce the opening of&nbsp;<strong><em>Translucence</em></strong>, a group exhibition featuring the work of&nbsp;<strong>Larry Bell, Robert Irwin, Craig Kauffman, Helen Pashgian</strong>&nbsp;and&nbsp;<strong>DeWain Valentine</strong>. Presenting a selection of historical pieces and recent works by these artists,&nbsp;<em>Translucence</em>&nbsp;explores their subtly atmospheric qualities and emphasis on perceptual phenomena.&nbsp;<br /><br />Much has been written about the innovative materials used by artists working in Southern California beginning in the 1960s. However, a narrow focus on the semi-industrial processes used to produce these artworks overlooks the effects they were intended to achieve. Stephanie Hanor, in her essay "The Material of Immateriality," instead argues that the so-called Light and Space artists were "using materials as a means to an end, rather than as an end in themselves."<span style="font-size: xx-small;">1</span>&nbsp;<br /><br />This exhibit focuses on transparency and translucence. The works on display may have been technically challenging to produce, but they are not merely examples of virtuoso craftsmanship in demanding mediums. To quote Philip Leider's turn on Marshall McLuhan's famous phrase, "the medium is not the message."<span style="font-size: xx-small;">3</span>&nbsp;&nbsp;Rather, the medium serves as a vehicle to develop the message &ndash; of nonphysicality, perceptual ambiguity, and the subject/object relationship.<br /><br /><strong>Larry Bell</strong>&nbsp;emerged in Los Angeles in the mid-1960s, and is often included in major exhibitions of Minimal Art. Throughout his career, his work has focused on the complexities of intangible perceptual phenomena. For the exhibition catalogue of&nbsp;<em>A New Aesthetic</em>&nbsp;at the Washington Gallery of Modern Art in 1967, Barbara Rose wrote that she didn't know of "any visual experiences that are analogous to the evanescent sensations of examining a Bell. It is perhaps like trying to describe the taste of water, which has a very real but ultimately elusive taste."<span style="font-size: xx-small;">3</span>&nbsp;&nbsp;Examples of his signature form, the glass cube, will be presented alongside work from his most recent series, the "Light Knots." Bell achieves complex visual effects through his use of thin film deposition &ndash; resulting in objects that absorb, transmit, and reflect light, thus calling into question the nature of the physical and visual spaces they inhabit.<br /><br /><strong>Robert Irwin</strong>&nbsp;is well known for his investigations into human perception and sensory experience. Those efforts were described by Lawrence Weschler in 1982 as attempts to capture "the incidental, the transitory, the peripheral &ndash; that aspect of our experience that is both there and not there, the object and not the object of our sensations, perceived but seldom attended to."<span style="font-size: xx-small;">4</span>&nbsp;&nbsp;The 9-foot acrylic column on display in this exhibition illustrates this tension, acting out a sophisticated interplay between object and environment, as it disappears into the space it inhabits. Though the column is machined to a dazzling degree of optical purity, its presence can be nearly imperceptible to the viewer. It dissolves traditional boundaries between physical objects and their environments. It is an artwork that is not intended to be looked at, but rather experienced through the indirect perception of its effects on its environment.<br /><br />In his statement for&nbsp;<em>A New Aesthetic,</em>&nbsp;<strong>Craig Kauffman</strong>&nbsp;took a firm position regarding his chosen materials, writing that: "I didn't start out with the idea of an industrial aesthetic. I believe the artist's strength lies not primarily in his intellect, but in his sensibility turned into intelligence. I began working in plastic with an idea of form it is true, but my principal impetus was a passion for a kind of color, a kind of light, a sensual response to material."<span style="font-size: xx-small;">5</span>&nbsp;&nbsp;Sensuous color characterizes Kauffman's practice, and plastic allowed him to expand on and enhance this sensibility.&nbsp;<em>Translucence</em>&nbsp;features both historical and contemporary examples of his work in acrylic plastic. Suspended from the ceiling, Kauffman's&nbsp;<em>Untitled Loop</em>&nbsp;from 1969 radiates luminous color, casting reflections on the surrounding walls. His more recent wall reliefs pulse with layers of iridescent paint, applied in thin layers to achieve a glowing, atmospheric quality.&nbsp;<br /><br /><strong>Helen Pashgian</strong>&nbsp;summed up her position on material process for the Getty's video archives, saying in 2010 that the materials associated with the 1960s "were all being used for a very simple end, which dealt with perception. Light, and space, and perception."<span style="font-size: xx-small;">6</span>&nbsp;&nbsp; Her work, like that of many of her contemporaries, used the new possibilities offered by industrial mediums to manipulate and explore visual and physical phenomena. Her practice constitutes an investigation into the interaction between light, color, and three-dimensional form. Like her historical spheres, Pashgian's recent pieces explore the perceptual relationship between color and structure, blurring the borders between these principles. As the viewer moves around her work, colors and shapes advance and recede within each piece, creating an effect of instability. Qualities that are traditionally considered to be inherent to an artwork are thus called into question.<br /><br /><strong>DeWain Valentine's</strong>&nbsp;work deals with the intersection of physical mass and color. The translucency of his materials is critical to the visual effects he realizes, allowing the color and structure of his sculptures to appear as one. His monumental sculptures, rendered in cast resin, achieve the perception of pure color, merging with its environment. Produced on a human scale, the works establish themselves as an integral element of their setting, rather than isolated objects. These sculptures reflect and distort the light and environmental conditions of their surroundings, causing them to "drift into and out of the viewer's perceptual field."<span style="font-size: xx-small;">7</span>&nbsp;</span><br /><span style="font-size: xx-small;">_____________________<br /><br />1</span>&nbsp;<span style="font-size: xx-small;">Stephanie Hanor, "The Material of Immaterialty," in&nbsp;<em>Phenomenal: California Light, Space, Surface,</em>&nbsp;ed. Robin Clark (Berkeley and Los Angeles: University of California Press, 2011), 124.</span><span style="font-size: xx-small;"><br />2</span>&nbsp;<span style="font-size: xx-small;">Philip Leider, "Robert Irwin," in&nbsp;<em>Robert Irwin, Kenneth Price,</em>&nbsp;exh. cat. (Los Angeles: Los Angeles County Museum of Art, 1966).&nbsp;</span><br /><span style="font-size: xx-small;">3</span>&nbsp;<span style="font-size: xx-small;">Barbara Rose,&nbsp;<em>A New Aesthetic,</em>&nbsp;exh. cat. (Washington D.C.: Washington Gallery of Modern Art, 1967), 13.</span><br /><span style="font-size: xx-small;">4</span>&nbsp;<span style="font-size: xx-small;">Lawrence Weschler,&nbsp;<em>Seeing is Forgetting the Name of the Thing One Sees,</em>&nbsp;(Berkeley: University of California Press, 1982), 113.</span><br /><span style="font-size: xx-small;">5</span>&nbsp;<span style="font-size: xx-small;">Craig Kauffman, artist statement in Rose,&nbsp;<em>A New Aesthetic,</em>&nbsp;51.</span><br /><span style="font-size: xx-small;">6</span>&nbsp;<span style="font-size: xx-small;">Helen Pashgian, "Helen Pashgian Speaks About Her Work,"&nbsp;<em>Getty Archives</em>&nbsp;video, 3:20, April 2010,</span><br /><span style="font-size: xx-small;">7</span>&nbsp;<span style="font-size: xx-small;">Donna Conwell and Glenn Phillips, "Duration Piece: Rethinking Sculpture in Los Angeles," in&nbsp;<em>Pacific Standard Time,</em>&nbsp;ed. by Rebecca Peabody et al. (Los Angeles: The Getty Research Institute and the J. Paul Getty Museum, 2011), 194.</span></p> Tue, 24 Sep 2013 00:42:52 +0000 Richard Newton - Jancar Gallery - September 14th, 2013 - October 19th, 2013 Mon, 19 Aug 2013 11:57:07 +0000 Joel Dean - Jancar Jones Gallery - September 14th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Jancar Jones</strong> is excited to announce an exhibit of new work by <strong>Joel Dean</strong>. <strong><em>The Mutant and the Melody</em> </strong>is a participatory exhibition that explores the parallels between different modes of cultural transmission.</span><br /><br /><span style="font-size: small;">The show takes its structure from the dichotomy of an ancient form of cultural inheritance, the fable. It includes two pieces that remain in flux for the full duration of the exhibition. Like the driving forces in the narrative of a fable, the pieces work together to perform a story from which the audience can extract a pithy maxim about shared human consciousness. Historically fables present morals.&nbsp; The wording of a moral may differ between cultures, and how a fable is recited may shift over time, but the lessons presented in fables are universal. They reflect a cross-cultural consensus of the human experience.</span><br /><br /><span style="font-size: small;">The history of the fable is, up until the industrial revolution, mostly an oral history.&nbsp; The fables we have today were arrived at over time through verbal re-duplication. They evolved in a manner analogous to the self-replication of a meme. Fables exist both as images and as stories, but they also relay behaviors. They are one of the first user-generated structures for sociocultural imitation, and can serve as a model for understanding the shifts in information hierarchies that are occurring throughout society as our globalized economy moves away from a packaged good media towards a conversational media.</span><br /><br /><span style="font-size: small;">To highlight this connection, and to emphasize dialogue over dogma, <em>The Mutant and the Melody</em> presents two maxims that have recently been transformed into mantras through their extensive use on social networking websites.&nbsp; Neither maxim is the moral of the story.&nbsp; Instead, they operate as a call and response, working together to frame a key paradox facing the content generation: it is impossible for an individual to exist in a state of pure spontaneity while also working to document that existence.</span><br /><br /><span style="font-size: small;"><strong>Joel Dean</strong> (b. Atlanta, GA 1986) received his BFA from The School of the Art Institute of Chicago in 2009. He studied at the Yale Norfolk Summer School of Music and Art in 2008, and attended the Ox-Bow School of Art as a Fellow in the summer of 2009. Recent exhibitions include Bodega in Philadelphia, Et Al in San Francisco and Alderman Exhibitions in Chicago. He currently lives in Oakland, CA where he co-directs a small artist-run project space called Important Projects. This is his first solo exhibition at the gallery.</span></p> Tue, 20 Aug 2013 09:42:51 +0000 Chris Lipomi - LAXART - September 7th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>Clothed Ascension&nbsp;</em>is focused on a clothing line designed by&nbsp;Roy Halston Frowick&nbsp;(1932&ndash;1990).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Known simply as Halston, the fashion icon helped popularize the glitz and glamour behind Studio 54 in midtown Manhattan in the 1970s. In an unexpected midcareer move in the early 1980s, Halston teamed with the department store J.C. Penney to launch a collection. Departing from his designs for some of the world&rsquo;s leading fashion houses,&nbsp;<em>Halston III</em>&nbsp;was unique for its blend of signature couture in a populist format. The collection was a visionary yet misguided business venture that ultimately flopped. With the reassuring tagline &ldquo;You&rsquo;re looking smarter than ever,&rdquo;&nbsp;<em>Halston III</em>&nbsp;made haute couture available to the masses and promised social mobility. It was a prototype for the merchandising collaborations churned out today between celebrities and designers at the apex of their careers and mega-corporations. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Chris Lipomi&rsquo;s latest exhibition focuses on the&nbsp;democratic approach to fashion developed by&nbsp;Halston. For&nbsp;LA&gt;&lt;ART&nbsp;Lipomi presents an inspired and artistically warped version of what Halston offered to the business-minded woman of the 1980s. This trip back in time recovers the polyester curtains, teardrop perfume bottles,&nbsp;advertisements made in collaboration with Andy Warhol and&nbsp;a facsimile of a&nbsp;<em>Halston III</em>&nbsp;mail catalog.&nbsp;As the star who furnished disco-age styles, the project considers how Halston unwittingly marked the limits of decadence in the mainstream later in his career.</span> </p> Tue, 10 Sep 2013 14:46:21 +0000 Jedediah Ceasar - LAXART - September 7th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;">For his exhibition at <strong>LA&gt;&lt;ART</strong>,<strong> Jedediah Caesar</strong> continues to explore the shifting significations that we apply to organic material and manmade objects. For this, Caesar&rsquo;s imprinted resin sculptures have been arrayed according to attributes and placed into taxonomic containers as though they were excavated artifacts being readied for preservation. Each combination of multiples references the found and the petrified object. Though distinct, each mirrors the other, like a fossil uncovered in a dried seabed. Individual boxes, too, function as artificial collections while they mimic geological fragments. In this sense, the particles are metaphors for California&rsquo;s variegated landscape and terrain. The group is an analog or archive of the topography that Caesar occasionally enters for inspiration, and the figments of those places that he creates as installations in galleries. Each box presents an inimitable composition. The painterly quality of each comes from uncommon sources. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">These &ldquo;non-sites&rdquo; suggesting sorted piles or bundles of cargo, do not construct so much as they accumulate objects. They investigate material qualities and privilege distance through ambiguous forms. In this new work, the artist has been experimenting with materials such as spices. Materiality and process are paramount to Caesar&rsquo;s practice. He thinks of this as a collapse or entanglement between material and object. The work masquerades as artifact, conflating notions of time and signification. On his investigation into currency around the globe, and how currency marks ideals and identities of nations, the artist remarks: &ldquo;it is the authority of their form not their sovereignty that I am interested in.&rdquo; <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Part of Caesar&rsquo;s inspiration is Insulo de la Rozoj, a micronation built in 1967 on a platform in the Adriatic Sea, which introduced the image of its planned currency on stamps without reaching implementation. Using this as a point of departure, Caesar envisions the pelagic currency lost in time and offers prototypes that could be utilized by future micronations.<br /></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;">Los Angeles based artist Jedediah Caesar received an MFA from the University of California Los Angeles in 2001 and a BFA from the School of the Museum of Fine Arts, Boston in 1998. Recent solo exhibitions include&nbsp;<em>out where the stones grow like roses</em>&nbsp;at Susanne Vielmetter Projects, Los Angeles;&nbsp;<em>Platform 9</em>&nbsp;at the DeCordova Museum and Sculpture Park in Lincoln, MA;&nbsp;<em>Soft Structures</em>&nbsp;at the Museum of Fine Arts, Boston and&nbsp;/ ALBATROSS / BADGERS/ CHIMPS / DINO / EMPIRE / EXTENSOR / FENCE / GOLDEN / GRANITE HILL / HEAVENS / INSIGNIFICANT / LARK / MR. TUX / ORANGE PEEL /PURPS / RAMPA / SWINGLES / THIN SPOT / UPSHOT / WHITE KNIGHT / YELLOW PAINT / ZIPPER / at D&rsquo;Amelio Terras, New York.&nbsp;Caesar&rsquo;s work has been included in the Whitney Biennial, Whitney Museum of American Art, New York, and in exhibitions at the Fundament Foundation, Tilburg, Netherlands; the &ldquo;California Biennial 2008&rdquo;, Orange County Museum of Art, Newport Beach, CA, the Saatchi Gallery, London, UK; Dallas Contemporary, Dallas, TX, University of California, Los Angeles&rsquo; Armand Hammer Museum, Los Angeles, New Museum of Contemporary Art, New York; and Los Angeles Contemporary Exhibitions, Los Angeles. Among others, Caesar&rsquo;s work is in the collection of the Saatchi Gallery in London; the Los Angeles County Museum of Art; and the New Museum in New York. Caesar previously produced the Gleaner Stone for LA&gt;&lt;ART&rsquo;s Public Art Initiative in 2008.</span></p> Tue, 10 Sep 2013 14:45:17 +0000 Sebastião Salgado - Peter Fetterman Gallery - June 29th, 2013 - October 19th, 2013 <div class="ap-whitebox-body description"> <p style="text-align: justify;" align="justify"><span style="font-size: small;"><strong>Peter Fetterman Gallery</strong> is pleased to present the first US exhibition of <strong><em>Genesis</em></strong>, the new series from internationally acclaimed photographer <strong>Sebastião Salgado</strong>. The exhibition features an intimate selection of large-scale black and white prints curated by Peter Fetterman, one of Salgado's main dealers and supporters for over two decades after an early introduction by Henri Cartier-Bresson.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Genesis marks Salgado's most ambitious project to-date involving years of research and eight years of travel to thirty-two of the most isolated regions of the planet. Inspired by the re-forestation of his family farm in Brazil, Salgado set out to re-discover the Earth's natural sanctuaries, untamed wildlife and traditional cultures that remain undisturbed by the influence of modern society. Salgado explains, "I had the privilege to see the most incredible things on the planet, and discover that close to half of the planet is yet pristine [...] as the day of the Genesis." The result is an epic series of photographs that celebrate the purity of un-developed nature and inspire its preservation.</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">The Genesis series has already received wide critical acclaim and is currently traveling to international museums including The Natural History Museum London, The Royal Ontario Museum Toronto, The Ara Pacis Museum in Rome, Jardim Botanico Rio de Janeiro and more. To complement the exhibited prints, the Genesis Collector's Edition book will be on view prior to its release later this summer and signed copies  of the trade edition book will be available for purchase.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Sebastião Salgado was born in Aimores, Brazil in 1944 and raised on a cattle farm before moving to Paris as an economist and beginning his career in photography. Salgado previously documented the cultural  effects of global industrialization and urbanization as published in the widely exhibited series Workers (1993) and Migrations (2000). He is a UNICEF Goodwill Ambassador and an honorary member of the Academy of Arts and Sciences (USA) as well as the recipient of many prestigious awards: The Gold Medal Award for Photography from New York's National Arts Club, the Hasselblad Award (1989), ICP Photographer of the Year (1986) and the Royal Photographic Society's Centenary Medal of Honorary Fellowship (1993). He lives with his wife Lélia Wanick Salgado in Paris.</span></p> </div> Sat, 08 Jun 2013 10:29:25 +0000 Steve Roden - Susanne Vielmetter Los Angeles Projects - September 14th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;">&ldquo;<em><strong>Rag-picker</strong></em>,&rdquo; <strong>Steve Roden</strong>&rsquo;s forthcoming solo exhibition at <strong>Susanne Vielmetter Los Angeles Projects</strong> presents new work born out of the artist&rsquo;s research in the Walter Benjamin archive at the Akademie der K&uuml;nste in Berlin during a five-week residency in 2011. The title of the exhibition is inspired by one of Benjamin&rsquo;s favorites from Baudelaire&rsquo;s urban types, the &ldquo;rag-picker,&rdquo; who scuttles through the city, searching for useful things amongst the detritus. Adopting a similar method while engaged with Benjamin&rsquo;s notebooks, Roden repurposed various notations and glyphs that are generally considered inconsequential to create scores that influence his process of making paintings, drawings, sculpture and sound works. These foraged scribbles and the scores that Roden developed were rich enough to generate multiple bodies of work.</span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;">There is a group of small paintings inspired by one of the few remaining postcards in Benjamin&rsquo;s childhood collection that depicts the Duomo, a 12<sup>th</sup>&nbsp;century cathedral in Siena famous for it&rsquo;s octagonal, black and white striped, Gothic pulpit designed by Nicola Pisano. There are large paintings whose imagery is composed through an accumulation of the marks Benjamin used to cross out his mistakes. In Roden&rsquo;s paintings these marks become gestures of obfuscation that reconfigure &lsquo;the graphic act&rsquo; of crossing out mistakes in a notebook to the language of painting. There are small sculptures composed of cardboard, plaster-wrap, and mirrors that approach questions regarding the location of Benjamin&rsquo;s memorial stone, which is sited neither on the actual location of his death nor the location of his remains. There are 70&rdquo;-tall works on paper which connect Le Corbusier&rsquo;s description of the design of Chandigarh with Benjamin&rsquo;s musings on the fl&acirc;neur, offering the artist&rsquo;s body as a site for wandering. Each drawing incorporates tracings of the artist&rsquo;s head, heart, lungs, arms, and torso.</span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;">At the heart of Roden&rsquo;s &ldquo;rag-picking&rdquo; is an attempt to repurpose, re-read (or miss-read), and reconfigure various aspects of Benjamin&rsquo;s notebooks. Roden&rsquo;s approach to research and indexing is more idiosyncratic than logical &ndash; more intuitive than academic, a quest for value in things where there appears to be none.</span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;">In September 2013, Steve Roden will also have work in &ldquo;Lines and Spaces,&rdquo; an exhibition curated by John Yau at the Joseloff Gallery at the Hartford Art School in Hartford, CT. During the summer of 2013 Roden has been creating a series of sountracks for the Richter film "Ghosts Before Breakfast" (the original soundtrack was destroyed by the Nazis). His work was also recently featured in the exhibition &ldquo;Silence&rdquo; at the Menil Collection and the Berkeley Art Museum. In 2012 Roden had a solo exhibition at Los Angeles Contemporary Exhibitions (LACE), Los Angeles, CA. A mid-career survey of Roden&rsquo;s work, curated by Howard Fox, was presented at the Armory Center for the Arts, Pasadena, CA in 2010. Other solo exhibitions include the Chinati Foundation, Marfa, TX; the Henry Art Museum, Seattle, WA; the National Museum of Contemporary Art (EMST), Athens, Greece; the Tang Museum at Skidmore College; and the Santa Barbara Contemporary Arts Forum, Santa Barbara, CA.&nbsp; Roden&rsquo;s work has been included in exhibitions at the Fellows of Contemporary Art, Los Angeles, CA; the Mercosur Biennial in Porto Allegre, Brazil; the Serpentine Gallery, London, UK; the Drawing Room, London, UK; the Museum of Contemporary Art San Diego, La Jolla, CA; the Sculpture Center, New York, NY; the Centre George Pompidou Museum, Paris; and the UCLA Hammer Museum, Los Angeles.</span></p> Sat, 24 Aug 2013 05:27:34 +0000 Dave McKenzie - Susanne Vielmetter Los Angeles Projects - September 14th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Susanne Vielmetter Los Angeles Projects</strong> is pleased to present a solo exhibition of new work by <strong>Dave McKenzie</strong> in gallery 4. In this body of work Dave McKenzie continues to explore social rules and contemporary visual culture through a poetic inquiry into the incessant flow of digital images that dominates everyday life. McKenzie amplifies the nonsensical nature of the most dominant images on the internet (cute photos of cats); queries the contemporary obsession with producing and disseminating images of anything and everything; and tries to discover how to produce or find a photographic image that can stand on its own from the crowd.&nbsp;&nbsp;</span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;">&ldquo;Where the Good Lord Split You&rdquo; is dominated by two images: &ldquo;Futuro,&rdquo; and &ldquo;Meow, Meow, Meow, Meow.&rdquo; McKenzie stumbled upon the sources for both of these pieces in his Brooklyn neighborhood. These source materials have either been adulterated or unfaithfully reproduced to produce the prints on view. The &ldquo;Futuro&rdquo; bedpan box was spied in a store window, its bright colors and the fiction it depicts of an aseptic receptacle for bodily waste were too absurd to pass by. The cat banner that is hung on a clothesline that criss-crosses the gallery and repeats ad infinitum, &ldquo;Meow, Meow, Meow, Meow,&rdquo; was inspired by a neighbor&rsquo;s printed kitty tea towels, hung out to dry in the breeze. McKenzie&rsquo;s alterations transform each image into a synecdoche for the entire apparatus of digital image production: The cell-phone camera that trains the user to produce the same pose for every &ldquo;selfie;&rdquo; the re-blogs that separate images forever from any credit to their maker; and software that allows any user anywhere to insert his own visual elements or text into an image and publish the edits immediately, on-line.</span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;">Two of McKenzie&rsquo;s videos will also be on view: &ldquo;Wilfred and Me,&rdquo; and &ldquo;Old Man/ Sarcophagus.&rdquo; The videos attempt to reproduce an image either of an experience that was related to the artist second hand, or a happening that the artist witnessed, but wasn&rsquo;t able to document. In &ldquo;Wilfred and Me,&rdquo; McKenzie is shown in profile repeating the phrase &ldquo;Magic Johnson has AIDS&rdquo; for several minutes. The piece is an attempt at post-mortem intimacy with his father. After Wilfred&rsquo;s death, McKenzie&rsquo;s mother described the day that Johnson&rsquo;s infection was announced, noting that her husband was so overwhelmed by the news that he pulled the car over and cried. Remembering his father as a self-contained man, this image is un-reconcilable for McKenzie and repeating the phrase becomes a way to explore the thoughts and emotions that could have led to this outpouring of emotion. &ldquo;Old Man/ Sarcophagus&rdquo; is McKenzie&rsquo;s attempt to recapture a scene that he witnessed at the Neue Museum in Berlin by filming a Sarcophagus in the Egyptian wing over an entire day to see if another old man might take a moment to rest against the ancient artifact. The artist ultimately failed to capture a recreation of this image and the video portrays a number of other interactions with the object, none of which live up to McKenzie&rsquo;s memory of the old man.</span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;">Dave McKenzie was born in Kingston, Jamaica, and attended the Skowhegan School of Painting and Sculpture in 2000. Recent solo exhibitions include &ldquo;Everything&rsquo;s Alright, Nothing&rsquo;s Okay!&rdquo; at the Rosenwald-Wolf Gallery at the University of the Arts, Philadelphia, PA; &ldquo;Dave McKenzie,&rdquo; Aspen Art Museum, Aspen, CO; &ldquo;Screen Doors on Submarines&rdquo;, REDCAT, Los Angeles; and &ldquo;Momentum 8: Dave McKenzie&rdquo;, The Institute of Contemporary Art Boston, Boston. McKenzie&rsquo;s work was included in &ldquo;Radical Presence: Black Performance in Contemporary Art,&rdquo; Contemporary Arts Museum Houston, TX; &ldquo;The Ungovernables,&rdquo; New Museum, New York, NY; &ldquo;Blues for Smoke,&rdquo; Museum of Contemporary Art, Los Angeles, CA; &ldquo;Prospect.1 New Orleans;&rdquo; and &ldquo;Black is, Black Ain&rsquo;t&rdquo;, The Renaissance Society at the University at the University of Chicago, IL. This is Dave McKenzie&rsquo;s third solo exhibition at the gallery.</span></p> Sat, 24 Aug 2013 05:28:37 +0000