ArtSlant - Openings & events en-us 40 Bruno Federico, Andrea Ciacci, Consuelo Navarro, Carolina Caycedo - 18th Street Arts Center - October 19th, 2013 3:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>EL GIGANTE&nbsp;a documentary by Bruno Federico, Andrea Ciacci, Consuelo Navarro</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">To be followed by a Q&amp;A with Carolina Caycedo and Paul Werthmeier a Crowd Managment expert with whom Caycedo has been collaborating for this body of work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">What would you do if some day someone came to your home and told you it would be flooded?</span></p> <p style="text-align: justify;"><span style="font-size: small;">The construction of a hydroelectric power plant threatens the valley of the Magdalena River, its flora, fauna, people and their way of living. A group of peasants and fishermen, who have grown up under the shadow of &ldquo;El Gigante&rdquo; (the giant), struggles against the multinational companies Enel, Endesa and Impregilo. These companies are constructing the power plant despite the voices of disagreement but with the blatant complicity of the State institutions and the protection of the Army. Through the voices of the protagonists and the actions undertaken to protest, the documentary shows a year of a struggle that has not yet finished.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The conflicts for territorial control spread throughout the world, and each time they become more violent, while they confront local communities with financial giants and transnational industries searching the planet for new sources of profit. &ldquo;El Gigante&rdquo; relates the clash between two opposed visions of life: one that pursues unlimited economic growth and uses human beings and nature for a system that has already entered crisis; and one that tries to make rational and balanced use of resources and to live in harmony with a given territory. The conflict of El Quimbo, however, is not only this; it is also a metaphor of the conflict that has been staining Colombia with blood for half a century: flexibility in favour of the powerful, inutility of legal and peaceful forms of opposition, a democracy deaf to the voices of its citizens, the necessity to protect one&rsquo;s own life project. All this leads the victims of the hydroelectric project to actions of civil disobedience and resistance, which make the confrontation more serious and produce a violent reaction on part of the State. This situation generates a spiral of which nobody knows where it will end.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For this reason, we decided to participate one year in the life, the protests and the organizational process of the communities that are opposed to the hydroelectric project &ldquo;El Quimbo&rdquo;. Thus, the documentary is the result of the interaction between the makers and the people who struggle.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Colombia/Italy 2012/62 minutes</span></p> Thu, 03 Oct 2013 18:20:58 +0000 Natalie Frank - ACME - October 19th, 2013 6:00 PM - 8:00 PM <p>ACME. is pleased to present The Scene of a Disappearance, a solo exhibition of recent paintings and drawings by New York based artist Natalie Frank.</p> <p>In her first solo exhibition on the West Coast, Frank pictures people in various states of disintegration. Intimate portraits, surreal scenes, and large-scale constructed narratives poke at what it means to be human: the absurdity, desire, violence, and loss or claim of self. The artist turns to collage for the first time in both the drawings and paintings; using scraps of canvas or paper to disrupt the surface of the image. By juxtaposing bits of figuration into surreal settings, with abstract swaths of paint, and constructed three-dimensional elements, Natalie Frank slyly teases the viewer with the body's presence as it flickers in and out of view.</p> <p>Natalie Frank received her M.F.A. at Columbia University's School of the Arts in 2006 and received her B.A. from Yale University. In 2003-2004, she was awarded a Fulbright Scholarship for study at the National Academy of Fine Art in Oslo, Norway. In 1997 and 1999, Frank attended the Slade School in London, and in 2001 the Ecole des Beaux Arts in Paris.</p> <p>Previous and upcoming exhibitions include: The Drawing Center, New York: Rhona Hoffman, Chicago; Fredericks &amp; Freiser, New York; Arndt and Partner, Zurich; Mitchell-Innes and Nash, New York; Briggs Robinson Gallery, New York, Space SBH, St. Barth's. Other recent projects include group exhibitions at Istabul74, Istanbul, Turkey; The London Museum of Design; Lu Magnus, New York (co-curator); The Rose Art Museum, Watham, MA; Hezi Cohen Gallery, Tel Aviv, Israel; The National Academy Museum, New York; The Slought Foundation, Philadelphia, PA; the Brattleboro Museum, Brattleboro, VT; Arndt and Partner, Berlin, Germany; and Jack Tilton Gallery, New York.&nbsp;</p> <p>Frank's work is included in numerous collections, including The Whitney Museum of American Art, New York; The Brooklyn Museum, New York; The Rose Art Museum, Watham, Massachusettes; and the Ackland Art Museum, The University of North Carolina at Chapel Hill, amongst others.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Thu, 26 Sep 2013 22:04:27 +0000 Gay Summer Rick - bG Gallery - October 19th, 2013 8:00 PM - 10:00 PM <p dir="ltr">&nbsp;bG Gallery presents a special night of live music and art to celebrate 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 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 NATHAN CARTWRIGHT - C.A.V.E. Gallery - October 19th, 2013 6:00 PM - 9:30 PM <p style="text-align: justify;">Gallery I</p> <p style="text-align: justify;">Nathan Cartwright is a Los Angeles based, mixed media artist whose impressive sculptural paintings have received international attention in recent years. He is also the acclaimed founder/curator for The Hive Gallery and Studios, in downtown Los Angeles (founded in 2005), and is known for curating large festival style shows around the country.</p> <p style="text-align: justify;">What drives Cartwright&rsquo;s work is his belief that there is no more important odyssey in life than that of self-discovery. The viewer&rsquo;s process of discovery is a metaphor for this artist-shaman&rsquo;s long practiced journey into the dark depths of the &ldquo;self&rdquo;. The artist believes that hunting, taming and cultivating a personal mythology is one of the most important aspects of a healthy, creative and full life.</p> <p style="text-align: justify;">Artist Statement:</p> <p style="text-align: justify;">&ldquo;My work is a personal mythology about the importance of living an authentic life, keeping an open mind and having fun as a creator. I often incorporate &ldquo;happy face&rdquo; characters into my mythology. These characters I call &ldquo;The Man&rdquo;, and are symbolic of humans residing in a sleep-like state. The simple happy faced humanoid characters are emoticons. Devoid of core truth, they represent mankind existing in an unawakened, inauthentic state. My sculptural paintings map the process of &ldquo;The Man&rdquo; evolving from sleep to an awakened state through stories of adventure, success, failure, death and rebirth. To express the temporary state of all things, I depict eastern and western deities destroying &ldquo;The Man&rdquo; whose sole purpose is to gain money, power and then die.</p> <p style="text-align: justify;">In other scenarios, my characters experience an &ldquo;awakening&rdquo; to their true selves: taking off their masks, or their preconceived and media-created ideas of themselves. Different levels of &ldquo;The Man&rdquo; are symbolized by various states of awareness: A &ldquo;happy face&rdquo; character with a business outfit symbolizes sleep; a farmer&rsquo;s outfit symbolizes slowly waking up; walking into the dark forest represents waking up and becoming a hero; and a maskless character equals being awakened and engaged in the creative life.</p> <p style="text-align: justify;">This new series, &lsquo;Excursions Beyond the Cosmic Veil&rsquo; is about transformation and growth. Alongside the transmuted sculptural reliefs, I have included the sketchbook drawings that reflect my process. Saturated in alchemical symbolism and personal mythology, I challenge my viewers to take a plunge into the darkness, to fight mythic titans, and to emerge victorious with a treasure chest filled with gold.&rdquo;</p> Sat, 22 Feb 2014 15:39:12 +0000 Grady Gordon - C.A.V.E. Gallery - October 19th, 2013 6:00 PM - 9:30 PM <p style="text-align: justify;"><span style="font-size: small;">Gallery I</span></p> <p style="text-align: justify;"><span style="font-size: small;">Grady Gordon (b.1979) is originally from Santa Fe, NM. In the high-desert, he grew up alongside various art forms, most notably the Native American &ldquo;Kachina&rdquo; wood carvings of numerous spirits. Another inspiration to his work are the Japanese &ldquo;yokai&rdquo;. These spirits allow him to investigate the world beyond our visible limit.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the years, Grady has been diligently exploring the unique process of monotype printmaking. The monotype print is a study of impermanence. Unlike other forms of printmaking the monotype offers only one copy. The original image on the plate is then given back to the ether, back into the fabric.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In each one of his series, Grady examines a different cultural mythology and recreates it through imagined narrative. The new work for the &lsquo;The Wild Hunt&rsquo; exhibition is inspired by the &lsquo;sluagh&rsquo; mythos &ndash; based on an old gaelic word that in some instances refers to the &ldquo;unrested dead&rdquo; and can also mean the &ldquo;working man&rdquo;. For &lsquo;The Wild Hunt&rsquo; series, Grady creates an amalgamation of spiritual beings caught rampaging through mystical environs. The stark contrast and permanence of the black ink on the white paper is juxtaposed by the beautiful, ethereal quality of the forms. In his prints, Grady searches for xrays of mortality, the face behind the veil, and aims to illuminate what is staring back at us.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Grady has a BFA in illustration from California College of the Arts. He teaches art at San Francisco day school and lives in Oakland California.</span></p> <p style="text-align: justify;">&nbsp;</p> Sat, 22 Feb 2014 15:39:12 +0000 Megz Majewski - C.A.V.E. Gallery - October 19th, 2013 6:00 PM - 9:30 PM <p style="text-align: justify;"><span style="font-size: small;">Gallery II</span></p> <p style="text-align: justify;"><span style="font-size: small;">Megan Majewski returns to C.A.V.E. Gallery with new tales from her curiously bizarre underworld of the dead. For this exhibition, Majewski&rsquo;s zombiesqe girls have morphed into peculiar human &ndash; animal hybrids as a result of centuries of exposure to a poisonous environment. With subjects that can be placed in the realm of Victor Van Dort and Beatleguese, Majewski has a clever &ndash; and often comical &ndash; talent of creating oddball creatures in which one can relate to their spidery souls and their trials and tribulations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Megz got her start painting murals in her home-town of Cranbrook and soon after moved to Vancouver to attend Vancouver Film School to start a successful career as a Computer Graphics Animator. &nbsp;&rdquo;Spook&rdquo; Majewski&rsquo;s student film has gone to many festivals including Annecy and was even used as the music video for Tunng&rsquo;s song &lsquo;Fair Doreen&rsquo;. &nbsp;She has worked in all areas of CG including films such as IRobot, television series such as Battlestar Galactica, and cartoons including Viva Pinata.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As much as she enjoys bringing life to characters on screen her true passion is painting those that inhabit a fantastical underworld. &nbsp;Her first solo art show was an incredible accomplishment in which she successfully created 100 paintings in 100 days. &nbsp;The positive response to her art, and selling 82 of the 100 paintings on opening night has inspired her to keep painting more ghoulish vixens and zombie-eyed sweethearts. &ldquo;Apocalypse Forest&rdquo; is Majewski&rsquo;s third feature show with C.A.V.E. Gallery.</span></p> Sat, 22 Feb 2014 15:39:12 +0000 Eatcho - C.A.V.E. Gallery - October 19th, 2013 6:00 PM - 9:30 PM <p style="text-align: justify;"><span style="font-size: small;">Gallery II</span></p> <p style="text-align: justify;"><span style="font-size: small;">Naturally oscillating between various mediums, Eatcho continues to develop his signature style of tightly knit, surreal swirls of real and imagined creatures &ndash; intertwined in a symbiotic, dynamic, yet balanced tension. Each piece is a complex, visceral symphony created by an honest and alert perception of the world. Peering faces show an awkward, touching vulnerability, while his familiar creatures express a playful, dry humor.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>&ldquo;Through the chaos, there&rsquo;s a thread&rdquo; &ndash;&nbsp;</em>and it is by exploring this thread that the artist finds comfort and is able to reflect upon fundamental questions about life and his or her place in the world. Eatcho articulates and develops this reflection through the totemic structure of his work. The viewer is lured deeper and deeper into each piece, to find a chaotic yet captivating energy radiating from the work &ndash; which always results in Eatcho&rsquo;s fans hungry for more.</span></p> Sat, 22 Feb 2014 15:39:12 +0000 Group Show - Carter & Citizen - October 19th, 2013 6:00 PM - 9:00 PM <p>In Lawrence Weschlerʼs book chronicling artist Robert Irwinʼs life, <em>Seeing is Forgetting the Name of the Thing One Sees</em>, Irwin recounts a time when he saw a huge James Brooks painting &ldquo;blown off the wall&rdquo; by a small Phillip Guston. He goes on to talk about how he realized that it was scale and the inter-relationships of the parts that conveyed power and not sheer size. Richard Tuttle has spoken about how he came to his small- scale works while working at Betty Parsons Gallery, a gallery famed for showing the large-scale works of the abstract expressionists. Parsons told him that they painted large because they were painting the expanding universe. Tuttle figured that there must be an equal and opposite force and moved off into a career of mostly diminutive and fragile sculpture.</p> <p>The works in the exhibition <em>heroes </em>share an interest in conveying great power and great subtlety with diminutive and scrappy means. Often in sculpture small works are meant as either maquettes or models for larger works or are miniature versions of larger sculptures. None of the work in this show functions in this way; their size is necessary, whether it come from material based, process based, or a conceptually based necessity. They strive for profundity and meaning in a world that places great value on volume and size, yet as Tuttle notes, it is often the small lifeboat that survives while the larger ships sink.</p> Sat, 12 Oct 2013 23:01:13 +0000 Mira Schor - CB1 Gallery - October 19th, 2013 4:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;">CB1 Gallery is pleased to present our second solo exhibition of work by <strong>Mira Schor</strong>, <em><strong>Chthonic Garden</strong></em>. In her newest work Schor continues to explore her unique combination of visual pleasure and painterly craft with philosophical, existential, and political concerns. The exhibition will be on view from October 19 &ndash; December 8, 2013. An artist talk will be held on Saturday October 19 at 4 p.m. followed by a reception for the artist from, 5 &ndash; 7 p.m.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In a series of new paintings and drawings <strong>Mira Schor</strong> addresses the terms of contemporary psychic, theoretical, and economic spaces as they affect creativity. The central theme in these paintings is the experience of living in a moment of radical inequality, austerity, and accelerated time, set against the powerful pull of older notions of time, craft, and visual pleasure.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Schor places her characteristic avatar of self on the line of the earth as a demarcation line between sky and earth, austerity and fertility, public and private. The paintings express what it is like to be engaged in the world &ldquo;right this minute.&rdquo; They focus on reversals and reversibility, where underground, the matter of earth itself, the <em>Chthonic</em>, can also become the sky and the sky above can become the ground below.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In some works Schor&rsquo;s figure reads under a tree, where nature is a situation, a shallow proscenium in which to diagram thought. In paintings exploring the regenerative powers of the earth, her figure sleeps in the ground, while in others the figure is not resting in the earth of her own volition, she&rsquo;s been thrown there head first, whether by corporate downsizing, unemployment, climate-caused displacement, or expropriation of bodies of knowledge that are deemed obsolete. Yet in these paintings Schor explores a radiant engagement with nature and looks to a reversal between the dream and the real.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the <em>New York Times</em>, Roberta Smith has described Mira Schor&rsquo;s &ldquo;small, sharp, quirky paintings&rdquo; as &ldquo;thorns in the side of the medium,&rdquo; while artist Robert Berlind, writing in Art in America, described Schor as &ldquo;An intimist whose candor is akin to Emily Dickinson&rsquo;s, Schor uses the sparest of means to signal, as the poet put it, &ldquo;The loneliness / One dare not sound.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Mira Schor</strong> is a New York-based artist and writer noted for her advocacy of painting in a post- medium visual culture and for her contributions to feminist art history. Her work has been included in exhibitions at the Jewish Museum in New York City, The Hammer Museum, P.S.1, the Neuberger Museum, and the Aldrich Museum. Her 2012 one-person exhibition at Marvelli Gallery was highly praised in <em>The New York Times</em> and it was a critic&rsquo;s pick on Recent interviews have appeared on Art21Blog, Bomblog, Hyperallergic, artinfo and Culture Catch. She participated in ARTspace&rsquo;s Annual Distinguished Artists&rsquo; Interviews at the 2013 Annual College Art Association Conference in New York. She is the author of <em>A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life</em> (2009), <em>Wet: On Painting, Feminism, and Art</em> (1997; both Duke University Press), and of the blog A Year of Positive Thinking. She is the co-editor of <em>M/E/A/N/I/N/G Online</em> and recent writings have appeared in <em>Artforum</em> and <em>The Brooklyn Rail</em>. She recently curated the exhibition <em>Abstract Marriage: Sculpture by Ilya Schor and Resia Schor</em> at the Provincetown Art Association and Museum. She exhibits her work at artSTRAND in Provincetown. Schor is the recipient of many prestigious awards including a Guggenheim Fellowship in Painting, the College Art Association Frank Jewett Mather Award in Art Criticism, and the Creative Capital / Warhol Foundation Arts Writers Grant. She is an Associate Teaching Professor in Fine Arts at New York&rsquo;s Parsons The New School for Design.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Artist Talk: <strong class="highlightWord">Saturday</strong>, October 19, 4 p.m. <br /> Artist Reception: <strong class="highlightWord">Saturday</strong>, October 19, 5 &ndash; 7 p.m.</span></p> Fri, 27 Sep 2013 14:00:10 +0000 Paul Donald - CB1 Gallery - October 19th, 2013 4:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;">CB1 Gallery is pleased to present <strong>Paul Donald</strong>, <em><strong>Blind</strong></em>, our second solo show of the artist&rsquo;s work. <em><strong>Blind</strong></em> proposes a variety of readings in the face of the objects in the exhibition. Mimicking bird decoys, the objects are effectively blind, both in the sense that they know not what they are but also that they are without eyes. Also, a blind is used by hunters to hide from their intended prey, often when used in conjunction with decoys.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Utility and connoisseurship are evoked in the world of bird decoys. A bird decoy, a thing initially created to impart a false sense of comfort, safety, and plenty (collective safety) in game birds, is also a thing aimed at providing plenty (nourishment) for those hunters hidden in their blinds. In turn, the decoy has become a highly valued collectible. By investing time, effort, skill, and resources into the researching of what makes a good decoy and how best to use them hunters take a risk in order to provide a means for survival. Eventually that skill, in the face of comforting payoffs provided by successful decoying, allowed for the fetishizing of the objects themselves. First the effectiveness of the decoy was lauded, then its aesthetics, and eventually, the rarity. All tied to the "maker,&rdquo; whether known or not.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Are decoys art? As with the artist&rsquo;s other projects Donald laboriously crafts objects or build environments in order to work between the hand made and the aesthetically valued, the aesthetic and the usable&mdash;every project is underlaid by a conceptual interest in the limits (or not) between craft and art, art and architecture, as well as begging questions about particular content and rendering innocent forms (like the decoys) in provocatively corporeal ways. As Jonathan Katz has stated of an earlier project (<em>Certainties</em>, 2008), his work consistently explores &ldquo;the hand&rsquo;s ability to hold chaos at bay, to defeat the forces of disorder, to hold the word at hand, in hand.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Donald is fascinated by the way in which this system of values in the world of decoy making and collecting (still vital today, in spite of the anachronism of duck hunting) echoes so directly that of the art world&mdash;while the art world (in spite of claims that we are beyond modernism with its distinctions between high and low culture) would have nothing of such objects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Couldn&rsquo;t we say, in fact, that the art world is itself a kind of &ldquo;blind&rdquo;? And perhaps &ldquo;artists&rdquo; and &ldquo;audience&rdquo; members are like hunters and their prey, molded by the circumstances of their staged activity in the gallery.... Then the question remains who is the hunter, and who the prey (and where the art work resides in that formulation). Either way, the artwork is a kind of decoy or lure, and we are compelled by the circuits of attraction among artist, artwork (decoy), and audience. Maybe, then, the artist and audience members are also lures. Which of these is the <em>ultimate</em> lure, then, remains open to question.</span></p> <p style="text-align: justify;"><span style="font-size: small;">New-Zealand born artist Paul Donald obtained a BFA and MFA studying in Auckland and Sydney, Australia. He has exhibited throughout Australia, North America, and the UK. Recent solo exhibitions include: <em>Woulden</em>, CB1 Gallery, Los Angeles, 2011; <em>Spill</em>, James Dorahy Project Space, Sydney, 2010; <em>Untendable</em>, Untitled Gallery, Manchester, UK, 2010; <em>Certainties</em>, Akau Inc, Toronto, Canada, 2009; <em>Drift</em>, 20 + 3, Manchester, UK, 2010; <em>Companion</em>, James Dorahy Projects, 2007.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Artist Talk: <strong class="highlightWord">Saturday</strong>, October 19, 4 p.m. </span><br /><span style="font-size: small;"> Artist Reception: <strong class="highlightWord">Saturday</strong>, October 19, 5 &ndash; 7 p.m.</span></p> Fri, 27 Sep 2013 13:59:45 +0000 Thea Saks, Daniel Saks - Cella Gallery - October 19th, 2013 7:00 PM - 11:00 PM <p class="p1">Join The Mighty Squirm and Cella Gallery in a slightly creepy historical tour of the Age of Enlightenment. &nbsp;Just in time for Halloween!</p> <p class="p1"><strong>The Mighty Squirm </strong>purveyors of<em> illustrated apparel and art with romance and a slight chill</em>, are pleased to present a truly unique collection of two and three dimensional original works from artists and owners Thea and Daniel Saks inspired by the times and peoples of the Age of Enlightenment.&nbsp; You'll see powdered wigs, invention, and revolution, depicted in drawings, paintings, sculptures and 3-dimensional structures that light up with electricity.</p> <p class="p1">The Age of Enlightenment (from about 1650 to about 1790) saw the birth of the industrial revolution and greater public accessibility of knowledge with the opening of new libraries and academies and the publishing of encyclopedias. The era also had its share of violence and other drama: rebellion against oppressive governments (such as the American and French Revolutions), dangerous scientific experiments that led to some deaths, and the formation of social groups like the Hellfire Clubs in England, where members of high society could hold mock religious ceremonies and enjoy a little licentiousness behind closed doors.</p> <p class="p1">The intent of this exhibit is not to try to cover everything from the Age of Enlightenment (that would be impossible!), but rather to have great fun illustrating the &ldquo;eureka&rdquo; moments of some of the fascinating people from that era. A slightly creepy, historical accurate and often humorous tour and tribute to the fathers of intellectual and scientific progress.&nbsp;</p> <p class="p1">The opening reception is Saturday, October 19th, 7-11pm, just in time for Halloween and it is open to the public.&nbsp; The exhibit will be on view until November 9th, 2013.&nbsp; Regular gallery hours are Monday - Friday, 11am - 5pm, or by appointment.&nbsp;</p> <p class="p1"><strong>About The Mighty Squirm:</strong></p> <p class="p1">The Mighty Squirm specialize in archival art prints and high-end illustrated apparel for men and women.&nbsp; All of the artwork is by owner and founder Thea Saks and is completely original.&nbsp; Thea&rsquo;s passion for dark gothic tales, medieval art, Victorian times and vintage illustration drives the work.&nbsp; Now she move&rsquo;s into the age of Enlightenment with her business partner and husband three dimensional artist Daniel Saks.</p> <p class="p1"><strong>About the Gallery:&nbsp;</strong></p> <p class="p1">Cella Gallery is a contemporary fine arts gallery located in the heart of the NoHo Arts District in Los Angeles, CA. Cella has been &nbsp;on the forefront of emerging art in LA since 2008 and continues to champion and support &nbsp;new and emerging artists through creative programming and events. For more information about the gallery, visit: <a href="" rel="nofollow"></a></p> Tue, 15 Oct 2013 20:00:57 +0000 Ned Evans - Craig Krull Gallery - October 19th, 2013 4:00 PM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">An exhibition of new geometric abstract paintings by Ned Evans.&nbsp; More reductive than the work of his last exhibition, these paintings incorporate fabrics inspired by Gee's Bend Quilts. &nbsp;</span><br /><br /><span style="font-size: small;">This exhibition will also introduce Evans' recent resin wall reliefs.&nbsp; Poured into surfboard foam, these brightly colored droplet-shaped reliefs subtly gradate in tone from the shallow edges to the deep center, like a swimming pool.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The multi-layered compositions of tilted bars and stripes in colorfully orchestrated cubistic spaces that have characterized Ned Evans' recent paintings have been distilled in his latest work into more minimal equations.&nbsp; As a result of this reductive approach, many of the new paintings at Craig Krull Gallery dissect the playing field into opposing areas of pattern and vacant space.&nbsp; Other times, it appears as if two, three or four paintings were tightly abutted into harmonious geometric collages.&nbsp; This compartmentalization demonstrates the power of dichotomy, whereby sensations are intensified if juxtaposed with their opposites or complements.&nbsp; As Evans suggests, the new work is also influenced by the Gee's Bend quilt-makers, whose irregular and improvisational quilts have been compared to Modernist Abstraction.&nbsp; In fact, Evans often begins his compositions with large geometric swaths of cotton ticking, whose muted blue or gray stripes serve as a foundation from which to build upon.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In an adjoining space, Evans will debut his brilliantly colored resin wall reliefs.&nbsp; A native of Southern California, Evans is a life-long surfer and, like fellow artist Peter Alexander, he associates time spent in the water with his interest in the fluid and translucent properties of poured resin sculpture.&nbsp; In this new resin work, Evans seeks an even more animated quality, forming these 3-inch deep reliefs into the shapes of tear-drops, pools and puddles that seem to ooze and drip.&nbsp; Poured into the bright white polyurethane foam that forms the core of surfboards, these aqua, mango and raspberry colored resins subtly gradate from lighter tones at the shallow edges to darker tones at the deep center in much the same way as a swimming pool.&nbsp; Over the years, Evans has always been interested in shaped canvases and other shaped painting surfaces.&nbsp; These resin works, along with his new paintings, demonstrate his continued desire to delineate edges and play with the relationship of form to negative space.</span></p> Thu, 03 Oct 2013 19:20:00 +0000 Danny Heller - George Billis Gallery- LA - October 19th, 2013 5:00 PM - 8:00 PM <p>George Billis Gallery is pleased to present the gallery&rsquo;s third solo show of Danny Heller&rsquo;s realist paintings.&nbsp; The exhibition features Danny Heller&rsquo;s paintings of Los Angeles architecture and continues through November 16th.<br /><br />"In my latest exhibit, <em>City Modernism</em> at the George Billis Gallery, I center my new body of paintings on mid-century architecture and design work found throughout the big city.&nbsp; Having focused for a while on the suburban and residential locales of mid-century California, characterized by light and airy dwellings of post-and-beam construction, my interest in Modernism has now led me to its impact on the metropolitan environment.&nbsp; Going from quirky (and sometimes kitschy) aesthetics of colorful tract housing to the more stark concrete of sophisticated commercial buildings, I&rsquo;ve tried to connect common threads that actually tie these two disparate environments together:&nbsp; sleek interiors, Modernist furniture, classic cars.&nbsp; From business offices and lobbies to municipal buildings, my new paintings center on some prominent examples of mid-century design still found in the big city, specifically in downtown Los Angeles, but whose style could very well be found in any major American city.&nbsp; Part Julius Shulman and part Mad Men, this series hopes to transport viewers to the skyscrapers, offices, and hustle-and-bustle of downtown, but with a Modern twist."</p> <p class="FreeForm">Danny Heller received his BA in paintings from UC Santa Barbara in 2004 and has exhibited extensively throughout Southern California as well as in Denver, Chicago, Washington DC, and Boulonge-Billancourt, France.&nbsp; His work has been published in Southwest Art, CA Modern Magazine, Atomic Ranch Magazine, North Valley Community News, New American Paintings #73, and most recently was profiled on KCET and will be the subject of a documentary in late 2012.&nbsp; He currently lives and works in Los Angeles.</p> Thu, 03 Oct 2013 19:26:23 +0000 Nina Tichava - George Billis Gallery- LA - October 19th, 2013 5:00 PM - 8:00 PM <p>George Billis Gallery is pleased to present the gallery&rsquo;s third solo exhibition of work by Nina Tichava. The exhibition features the artist&rsquo;s newest body of abstract works and continues through November 16<sup>th</sup>.<br /><br />The artist writes of her work: &ldquo;Pulling imagery and motif from organic form, architecture, media and design I create densely layered, mixed-media paintings that are invested in process and grounded in traditional craft. I&rsquo;m interested in the overlap of nature and culture and the patterns present in both; the tension between them drives my exploration of color, surface and materiality.</p> <p>Employing labor-intensive technique, I blend painting, printmaking and craft processes. I primarily work on wood and paper in multiple panels, incorporating paint, charcoal, ink, tape, ballpoint pen, canvas and metal. Simultaneously free and constrained, my paintings are composed of numerous overlapping layers, many of which are obscured in the cumulative evolution of a finished piece. A prominent element of my work is the application of thousands of beads of paint, painstakingly and individually applied with a brush and used to create screens, patterns and color gradations.</p> <p>Reproduction and repetition being central themes, my paintings are responses to things mass-produced and processed to an ideal. My paintings are, by nature, imprecise and hand-made objects. Perfection is unattainable therefore each piece is unique&mdash;it is this inherent quality that continues to engage me in painting.&rdquo;</p> <p>Nina Tichava was raised in both rural northern New Mexico and the Bay Area in California. She was influenced by her father, a construction worker and mathematician &mdash;and by her mother, who is an artist and designer. The reflections of these dualities&mdash;country to city, pragmatist to artist, nature to technology&mdash;are essential to and evident in her paintings. Nina received her BFA from California College of the Arts [+ Crafts]. She lives and works in Seattle, WA.</p> Tue, 08 Oct 2013 20:09:13 +0000 Zoe Crosher - Hammer Museum - October 19th, 2013 2:30 PM - 3:30 PM <p style="text-align: justify;"><span style="font-size: small;">Artist <strong>James Welling</strong> has created beautiful and challenging photographs for over thirty-five years. Operating in the hybrid ground between painting and sculpture and traditional photography, he is a foremost photographic practitioner enthralled with the possibilities of the medium. Since the mid-1970s, Welling&rsquo;s practice has unflaggingly shifted to address an impressive array of issues and ideas: personal and cultural memory, the tenets of realism and transparency, abstraction and representation, optics and description, and the material and chemical nature of photography. His program, in particular, helps refine our definition of a photograph while offering a meaningful new paradigm for contemporary art. <em>Monograph</em> is the first comprehensive exhibition of this singular artist. It witnesses Welling&rsquo;s sustained relevance and enviable staying power in this field while simultaneously explicating the primary strands that permeate this artist&rsquo;s seemingly disparate oeuvre over three decades. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>James Welling: Monograph</em> was organized by the Cincinnati Art Museum and curated by James Crump, former chief curator and curator of photography. The Hammer&rsquo;s presentation was organized by Cynthia Burlingham, deputy director, curatorial affairs. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition received generous support from The Robert Mapplethorpe Foundation.</span></p> Thu, 19 Sep 2013 09:26:55 +0000 Joe Biel, Rebecca Campbell, Tom Knechtel, Tom Wudl - L.A. Louver - October 19th, 2013 11:00 AM - 1:00 PM <p>An artists' conversation between Joe Biel, Rebecca Campbell, Tom Knechtel and Tom Wudl.</p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="" alt="" /></p> <p>&nbsp;</p> <p>&nbsp;</p> Tue, 22 Oct 2013 16:50:49 +0000