ArtSlant - Recently added http://www.artslant.com/la/Events/show en-us 40 Peter Shire - A + D Museum - November 8th - January 31st, 2015 <p style="text-align: justify;">PUBLIC WORK is the first exhibition to focus exclusively on L.A. based artist Peter Shire&rsquo;s public and private architectural commissions. Executed over the course of three decades, the architectural works demonstrate Shire&rsquo;s understanding of the formal principles of twentieth century art and architecture collided with his interrogations of popular culture and the vocabulary of visual design. Plying graphic forms and structural geometry with radically saturated colors, Shire&rsquo;s architectural constructions are high-voltage improvisations of artistic legacy and traditional architectural platforms. The resulting works exuberantly transform space and environment.&nbsp;</p> <p style="text-align: justify;">The exhibition charts Shire&rsquo;s commissions from his first public entry in the 1984 Olympics (Los Angeles), to a 1990 sculptural installation commissioned by Sapporo Corporation, Hokkaido, Japan, to the most recent 2012 River Park, Ventura County public art installation. This creative journey will highlight architectural models and sculptural elements, ideation sketches, finished drawings and paintings, and varied objects of inspiration that have functioned as source material and propelled Shire&rsquo;s imagistic installations. &nbsp;</p> <p style="text-align: justify;">Spanning a career of path-breaking interventions and showcasing Shire&rsquo;s cross-disciplinary approach to materials and art categories, the architectural commissions exalt the blending of &ldquo;fine&rdquo; and &ldquo;applied&rdquo; art. They celebrate Shire&rsquo;s knowledge and production of ceramics, furniture, sculpture, drawing and painting, as all are essential attributes that potently inform Shire&rsquo;s architectural work and artistic vision.</p> Tue, 16 Sep 2014 03:36:05 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list JPW3 - Night Gallery - October 10th - November 8th Tue, 16 Sep 2014 03:23:55 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Iwan Baan, Stephen Wilkes, Paula Bronstein, Jonas Bendiksen, Monica Nouwens - Annenberg Space for Photography - December 13th - May 3rd, 2015 <p style="text-align: justify;"><span style="font-size: small;"><em>Sink or Swim: Designing for a Sea Change</em> explores the human story of resilience, from adaptation for survival to ambitious infrastructure planning, in some of the richest and poorest of the world&rsquo;s coastal communities. Rather than showing pristine architectural photography, the photographs present viewers with various human responses to changes in their landscapes due to sea level rise. &nbsp;<em>Sink or Swim </em>aims to foster critical dialogue through the provocative juxtaposition of diverse responses to a challenge shared by millions worldwide.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Curated by architecture writer and radio host <strong>Frances Anderton</strong> with the Annenberg Space for Photography, <em>Sink or Swim</em> features newly commissioned and archival works by photographers<strong> Iwan Baan, Stephen Wilkes, Paula Bronstein, Jonas Bendiksen </strong>and <strong>Monica Nouwens</strong>. This is the first exhibition for Annenberg Space for Photography to feature commissioned works.&nbsp; Through the work of this select group of architectural, fine art and news photographers, the exhibition casts an eye on both the problem of climate change in densely populated coastal regions and contemporary design as a means to navigate the changing landscapes. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;We were eager to organize an exhibition focusing on architecture but adamant that we wanted it to tell the story from a human perspective,&rdquo; says Wallis Annenberg, Chairman of the Board, President and CEO of the Annenberg Foundation.&nbsp; &ldquo;We are delighted that these new works tell such powerful stories about resiliency, climate change and architecture as well as engage with viewers on a humanistic level. &nbsp;The exhibit&rsquo;s capacity to foster dialogue that offers fresh perspectives on the environmental issues of our day -- and how communities are rising up to meet the challenges -- is very much keeping with the mission of the Photography Space and the Annenberg Foundation.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the face of increasing global attention on climate change and rebuilding in the wake of Hurricane Katrina, the Indian Ocean tsunami, Superstorm Sandy, and the&nbsp;Tōhoku&nbsp;tsunami, <em>Sink or Swim</em> is a timely examination of resiliency strategies in architecture and design. &nbsp;Images range from highly complex coastal flood-mitigation in the Netherlands, controversial sea walls in Japan, to innovative homes and community buildings by leading architects including Pritzker prize-winners <strong>Thom Mayne, Toyo Ito</strong> and <strong>Shigeru Ban</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Anderton collaborated with photographers experienced in capturing fragile built environments to determine the locations, design projects and communities across the world that served as subjects for the commissioned works in the exhibition. &nbsp;Sea walls, floating schools and temporary disaster relief housing in disparate ecological and social contexts provide concrete starting points for considering questions about nature, culture and design at the heart of <em>Sink or Swim</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;It has been a privilege to dig into these extraordinary photographers&rsquo; rich archives and also send them back out on assignment to create compelling new work that we look forward to sharing with the public through the exhibition,&rdquo; says Anderton.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;Photography is an ideal medium through which to explore climate change and the built environment because ultimately this is a human story and the photographs get to the emotional heart of that story. Through images of coastal communities&mdash;the devastating impact of climate change, including super-storms and rising sea levels, and also the varied and innovated design solutions&mdash;<em>Sink or Swim</em> offers visitors the opportunity to engage with and enrich dialogue about all aspects of this predicament.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">An original documentary film commissioned by the Annenberg Space for Photography and produced by award-winning director Steven Kochones and Arclight Productions will include interviews with the artists, architects, historians and scientists engaged with climate resilient strategies for waterfront communities.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">A collaboration between the Annenberg Space for Photography and the Annenberg Retreat at Sunnylands will offer visitors to Sunnylands a preview of&nbsp;select prints from the <em>Sink or Swim</em> exhibition.&nbsp; The images will be on display beginning in October 2014 to coincide with a retreat at Sunnylands on the topic of rising sea levels and ocean acidification.&nbsp; An exhibition catalogue will be published by Sunnylands Press for release in December 2014.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>The Photographers</strong></span><br /><span style="font-size: small;"> Following his experience photographing the celebrated Makoko Floating School (designed by Kunl&eacute; Adeyemi for the Makoko community on the water near Lagos, Nigeria,) Dutch photographer <strong>Iwan Baan</strong> was drawn to the lake village of Ganvie in Benin, where residents have lived on the water for centuries. New work by Baan in the exhibition also includes photographs of the massive Deltaworks sea defenses; the promenade at Scheveningen near The Hague in the Netherlands, a flood-protection system interwoven with a tourist destination designed by Spanish firm De Sol&agrave;-Morales; and the post-tsunami Home-For-All community buildings by Toyo Ito and other leading architects in Japan.</span></p> <p style="text-align: justify;"><span style="font-size: small;">U.S.-based fine art photographer <strong>Stephen Wilkes</strong> revisited communities he first encountered in the wake of Hurricane Katrina and Superstorm Sandy. &nbsp;His images include striking aerial photographs that present a unique perspective on infrastructure improvements within the context of natural landscapes that remain susceptible to flooding. Wilkes also created portraits of New Orleans area residents in the newly built homes, intended to be models for resilience, by the Make It Right Foundation and Global Green in the Lower 9<sup>th</sup> Ward and Holy Cross neighborhoods of New Orleans. One of the first photographers to capture aerial images of the coastline damage following Hurricane Sandy, Wilkes documented Staten Island&rsquo;s Oakwood Beach where homeowners have elected to sell their property to the state, which plans to return the area to wetlands rather than rebuild.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Veteran photojournalist <strong>Paula Bronstein</strong> traveled to Japan for <em>Sink or Swim</em> and captured the immense sea walls now being built off the tsunami-hit coast of Japan. She also captured daily life in the storage container structures designed by 2014 Pritzker Prize winner Shigeru Ban to house refugees following the Tohuko earthquake and Tsunami.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Dutch-born, Los Angeles-based, photographer <strong>Monica Nouwens</strong> turned her lens on California, finding in the restored Malibu Lagoon a local example of wetlands restoration. She also captures a very human story of denial, exemplified in a photograph of a California woman walking her dogs, oblivious to a tsunami sign above her head.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Sink or Swim</em> also features Norwegian Magnum Photos photographer <strong>Jonas Bendiksen&rsquo;s</strong> documentation of Bangladesh coastal and delta communities, where increasingly unpredictable and intense flooding has prompted innovative adaptations in a culture that has dealt with seasonal flooding for centuries. Bendiksen spent two years capturing the low-tech structural and farming innovations in the challenging landscape, as well as the floating schools project designed by Mohammed Rezwan for his nonprofit Shidulai Swanirvar Sangstha.</span></p> Tue, 16 Sep 2014 03:21:58 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Gay Summer Rick, Suzanne Unrein - bG BLEICHER/GORMAN - September 28th - October 21st <p dir="ltr">Beasts and Trees, Cities and Seas</p> <p dir="ltr">Bodies of work by Suzanne Unrein and Gay Summer Rick</p> <p>&nbsp;</p> <p dir="ltr">Opening Reception: Saturday, October 4th, 6-10pm</p> <p dir="ltr">Show Duration: September 28th through October 21st</p> <p dir="ltr">Second Event: Saturday October 18, 5-7pm &nbsp;</p> <p dir="ltr">Location: bG Gallery (Bleicher/Gorman), 2525 Michigan Ave #G8A, Santa Monica Ca 90404</p> <p dir="ltr">T+1 310 906 4211</p> <p dir="ltr">Hours: Tuesday-Saturday 11:30-6pm</p> <p dir="ltr"><a href="http://bgartdealings.com" rel="nofollow">bgartdealings.com</a></p> <p>&nbsp;</p> <p dir="ltr">Press Contact: Shaye Nelson shaye<a href="mailto:om@bgartdealings.com" rel="nofollow">@bgartdealings.com</a>, 323 7881339</p> <p dir="ltr">bG Gallery Bergamot Station presents Beasts and Trees, Cities and Seas, a two person exhibition featuring bodies of work from artists Suzanne Unrein and Gay Summer Rick. Both artists juxtapose the natural world against human existence, reminding the viewer that they, too, are a volatile organic entity.</p> <p dir="ltr">Gay Summer Rick&rsquo;s new series City and Coast, depicts urban habitats vibrating alongside Southern California&rsquo;s ephemeral coastline. The dynamic relationship between the two environments is heightened by the artist&rsquo;s choice of palette knife instead of brush. Her distinctive painting style creates an arresting color field in which the city&rsquo;s sharp edges dissolve into the impressionistic embrace of sand, sea and sky. Rick&rsquo;s ultimate intention: to transcend the visual by evoking the emotional experience of a place.</p> <p dir="ltr">Suzanne Unrein stages glorious confrontations: man and beast, beast and beast, the dual nature of man and the beast within - even the artist&rsquo;s floral still-life paintings hint at the battle between life and decay. Confident, expressive brushstrokes and a rich color palette follow line and composition in a loose interplay of the abstract and the representational. Underlying the tense beauty of Unrein&rsquo;s work is a common theme: &nbsp;creation and destruction are the consequence of being alive.</p> Mon, 15 Sep 2014 21:59:59 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Laura Plageman - De Soto Gallery - September 20th - November 9th <p>In the second installment of her Response series, Laura Plageman shifts her gaze from land to sea. With continued focus on the materiality of the photographic print, her new works oscillate between image and object, photography and sculpture, landscape and still life. Each piece is a &ldquo;response&rdquo; to an original image that is sculpted and collaged into a tabletop assemblage and then re-photographed. The final prints hover between being illusory and tangible, seemingly impossible but showing evidence of their actual construction.</p> <p>To create the first generation images, Plageman visited popular stops along the California coast, scenic destinations that draw countless visitors all with camera in hand. She regards these places as almost object-like themselves in how they are experienced and collected. Plageman reflects on how the landscape can be mutable psychically and physically, less real through aesthetic distance and literally changing shape through forces of nature and human impact. With every new rendition, the land acquires layers of meaning and opens up an array of interpretations and possibilities.</p> <p>In the end, Plageman&rsquo;s works are a cumulative record of her observations and experimentation over time and space. Each account has a bit of truth and fiction. Heeding Susan Sontag who said, &ldquo;all photographs are momento mori,&rdquo; Plageman reminds us that things change and boundaries shift, encapsulating the transience and dynamism of our world.&nbsp;</p> <p><strong>Laura Plageman</strong> (b. 1976, Berkeley, CA) received her BA from Wesleyan University and MFA from California College of the Arts where she has held various academic appointments. Her work has been in exhibited in galleries and institutions across the US, including recent exhibitions at Photo Center Northwest in Seattle and Catherine Edelman Gallery in Chicago. She lives and works in Oakland, California.</p> Sun, 14 Sep 2014 00:31:27 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Stephen Robert Johns - LA Artcore Brewery Annex - October 1st - October 30th <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>L.A. ARTCORE PRESENTS</strong></p> <p align="center"><strong>A GALLERY RETROSPECTIVE BY STEPHEN ROBERT JOHNS </strong></p> <p align="center"><strong>OCT. 1- 30<sup>TH</sup>, 2014</strong></p> <p align="center"><em>Reception &ndash; Sunday Oct 5<sup>th</sup></em></p> <p align="center"><em>1 p.m. &ndash; 3 p.m. &ndash; Artcore Brewery Annex</em></p> <p align="center"><em>Conversation With The Artist Series: 2 p.m. </em></p> <p align="center"><em>L.A. Artcore Brewery Annex</em></p> <p><em>&nbsp;</em></p> <p><strong>LOS ANGELES, CA (Sept ., 2014)</strong> L.A. Artcore has the privilege of presenting a solo exhibit reviewing the career of artist Stephen Robert Johns. <em>Retrospective &ndash; A Painting Survey 1972-2014</em>, contains the evolution of an artist dedicated to the realms of shape and silhouette, edge and pattern.&nbsp; <br /> <br /> His career opens with completing his degree during the changeover between Chouinard and Cal Arts, where the influence of Watson Cross, Hal Jepsen and Matsumi Kanemitsu influenced his trajectory.&nbsp; The young artist found himself filling large orders for his minimalist geometric paintings to satisfy a number of architects, which led to a period of being burned out on artmaking, and a new passion for serious, artistic landscape architecture.&nbsp; The fluidity and negotiable nature of working the land with living materials provided him with a creative outlet where he could avoid thinking of styles and what sells.&nbsp; <br /> <br /> It was not long before the artist found himself refreshed by a new view of art.&nbsp; After learning David Hockney and Frank Gehry were teaching classes to youth at Barnsdall Park, he obtained a position teaching disabled youth.&nbsp; Together with experiences traveling across the states, to Japan and Costa Rica, provided the artist with a way to work in terms of what interests him in the now.&nbsp; Once he felt he had more to offer, his work moved into a range of paintings that deal both with stark contrasts and edges, fields of abstract pattern inspired by Bauhaus or 20<sup>th</sup> century modernists, and a range drawn directly from observation, many of them looking down from a great height. These merged with his work with plants and a love for Zen gardens to produce interlocked</p> <p>&nbsp;</p> <p align="center">(more)</p> <p>&nbsp;</p> <p>(Johns, Pg. 2)</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>landscapes and river tributaries as abstract plays of sedate colors, like the verdant heat of yellow against green.&nbsp; Hundreds of preliminary sketches from airplane window seats, using the airsick bags in front of him, formed the underlayer of this approach to merging geometry, color and nature.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong>&nbsp;</strong></p> <p><strong>Artist Reception:</strong></p> <p>Sunday Oct. 5<sup>th</sup>, 2014, 1 p.m. &ndash; 3 p.m.</p> <p><em>Conversation With the Artist Series </em>at 2 p.m.</p> <p>&nbsp;</p> <p><strong>L.A. Artcore Brewery Annex</strong></p> <p>650A S. Ave. 21., Los Angeles, CA 90031</p> <p>Gallery hours: 12-5 p.m., Thu-Sun.</p> <p>&nbsp;</p> <p><strong>ABOUT L.A. ARTCORE </strong></p> <p>L.A. Artcore helps develop the careers of visual artists of diverse cultural backgrounds, bringing innovative contemporary art to the public, and provides educational programs by professional artists for people of all ages. For more information visit <a href="http://www.laartcore.org" rel="nofollow">www.laartcore.org</a></p> <p align="center">&nbsp;</p> <p align="center">&nbsp;</p> Sat, 13 Sep 2014 23:22:25 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Edem Elesh - LA Artcore Union Center for the Arts - October 1st - October 30th <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p><strong>&nbsp;</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>L.A. ARTCORE PRESENTS</strong></p> <p align="center"><strong>A SOLO-EXHIBIT WITH EDEM ELESH</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>OCTOBER 1-30<sup>TH</sup>, 2014</strong></p> <p align="center"><em>Reception &ndash; Sunday Oct. 5<sup>TH</sup></em></p> <p align="center"><em>3 p.m. &ndash; 5 p.m. &ndash; Union Center</em></p> <p align="center"><em>Conversation With The Artist Series: 4 p.m. </em></p> <p align="center"><em>L.A. Artcore at Union Center for the Arts </em></p> <p><em>&nbsp;</em></p> <p><strong>LOS ANGELES, CA (Sept., 2014) </strong>L.A. Artcore is pleased to presenta solo exhibit comprised of paintings, sculptural installation and performance by Los Angeles artist Edem Elesh.</p> <p>Elesh's paintings move quickly between color and form, memory and sensation, using his physical experiences to create snapshots of his state of being. ;lThey are like exhalations after taking in the air of an experience.&nbsp; The mystery of the breath is easily as old as art &ndash; the words spirit, inspiration, aspire and expire all relate to the Latin word for breath.&nbsp; His work dwells on the various aspects of the breath, in the sense of a boundary where the person living within their subjective reality sends their wind and moisture to greet the outer physical reality with every movement.</p> <p>In this solo show, the artist moves on from geometric structures and shapes resembling mystical diagrams in illuminated manuscripts, chthonic images of structure seeking to illustrate a fundamental reality, and now digs into the earth of his experiences traveling, following his passions, celebrating sexuality, and preserving a sense of luck in life.&nbsp; One can see glimpses of Wayne Thiebaud&rsquo;s color and Francis Bacon&rsquo;s riding the waves of accidents.&nbsp; There is also a vanitas sentiment behind all his work, memories of joy presented together with reminders of the fleeting moments of life.&nbsp; The artist is interested in getting a reaction from the viewer, seeking a moment of discovery, where all the riches of his life can appear together with a shifting sense time, passion, and an encouraging indication of mortality.</p> <p>&nbsp;</p> <p align="center">(more)</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>(Elesh, Pg. 2)</p> <p><br /> This exhibit will be an opportunity to see several sides of an actively creative life, ranging from sharp drawings executed with speed and a photographic eye, to sparse, allegorical landscapes, paintings on framed aluminum, sculptural pieces and a performance on guitar.&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong>&nbsp;</strong></p> <p><strong>Artist Reception:</strong></p> <p>Sunday Oct. 5<sup>th</sup>, 2014, 3 p.m. &ndash; 5 p.m.</p> <p><em>Conversation With the Artist Series </em>at 4 p.m.</p> <p><strong>&nbsp;</strong></p> <p><strong>L.A. Artcore at Union Center for the Arts</strong></p> <p>120 Judge John Aiso St., Los Angeles, CA 90012</p> <p>Gallery hours: 12-5 p.m., Wed-Sun.</p> <p>&nbsp;</p> <p><strong>ABOUT L.A. ARTCORE </strong></p> <p>L.A. Artcore helps develop the careers of visual artists of diverse cultural backgrounds, bringing innovative contemporary art to the public, and provides educational programs by professional artists for people of all ages. For more information visit <a href="http://www.laartcore.org" rel="nofollow">www.laartcore.org</a></p> <p>&nbsp;</p> <p>&nbsp;</p> Sat, 13 Sep 2014 23:18:03 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Bryan Cantley - SCI-Arc Exhibitions - October 10th - November 30th <p style="text-align: justify;"><span style="font-size: small;">Bryan Cantley and Form:uLA&rsquo;s exhibition is an opus in three distinct parts&mdash;the articulation of fallacy and artificial chronology of the architectural drawing; the suggested operational misalignments of his visionary projects; and the symbolic deconstruction of the gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Form:uLA has always defied established contexts and criteria. The SCI-Arc installation is no exception. Challenging the normative &lsquo;current building practices&rsquo; that substantiates the gallery&rsquo;s lexicon, Cantley displays a more &lsquo;conventional&rsquo; oeuvre of drawings, models, and images. Not a singular materialization, he presents a body of [predominantly] new work that suggests alternative spatial discourse. The space itself is conceptually dissected into a series of graphical surfaces, with the manifestation of the &lsquo;antiobject&rsquo; serving as both display [backdrop, organizational maneuver] and spatial delineator [object, anchor].</span></p> <p style="text-align: justify;"><span style="font-size: small;">Cantley&rsquo;s work is regularly divided into two distinct, yet transecting conditions&mdash;the <em>experimental architectural drawing [<strong>image</strong>]</em>, and the <em>&lsquo;mechanical architecture&rsquo; paradigm [<strong>building-object</strong>]</em>. The exhibition presents both of these archetypes as conjunctive informants. His drawings challenge the architectural descriptive posture of singularity, while his building indicators suggest a world of implied functionality and machinic soul. And while the drawings and projects somewhat overlap, each artifact is its own threshold to a vision of architectural potential. The gallery is conceptually divided to document two radically different, yet unmistakably connected tissues of a conceptual chirality.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The <em>Dirty Geometries</em> portion houses a series of over 30 hand and hybrid drawings that attempt to enhance the audience as both voyeur and inhabitant, while simultaneously removing the framework of &lsquo;the recognizable&rsquo; as a tool of navigation. The dirtiness of the geometries refer both to the unresolved nature of the content, as well as a condition of physical residue left over from an imperfect and [sometimes] organic digitally-infused process of drawing. These graphic experimentations serve as a proactive mode of research, becoming not so much drawings of objects, as much as they predict drawings of drawings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The <em>Mechanical Imperfections</em> section presents 10 conceptual projects that engage a dialogue of imperfect machines struggling to construct perfect moments of architecture. These visionary projects abandon perceived mechanical precision in lieu of spatial poetics, political overlay and architectural inquiry.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Both of these categories of work speak of the degree of flaw that is derived from the human condition of the analog, though they do so under a disguised veil of ostensible accuracy. The exhibition is not as much about the strictness of the execution, as it suggests the fallibility of [all] technology. <em>Wabi-sabi</em> insinuates the condition of transience of not only an architectural solution, but of the vehicles through which such undertakings are discussed. These visionary projects attempt to establish a dialogue that broadens the interpretation of the underbelly of architecture as an explorative discipline. Cantley&rsquo;s work is that of questions, not answers. This exhibition questions the role of representation in architecture, the potential of the non-building as critical dialogue, and the vehicles through which architectural discourse are delivered. It also questions the nature of the imperfect analog within this digital guild.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About Bryan Cantley / [Form:uLA Dimension Laboratory]</strong></span><br /><span style="font-size: small;"> <small>&ldquo;Racing toward the future implied by the post-urban concatenation of human dwellings that is Southern California, Form:uLA envisions a world where the mechanical certainty with which we have shaped our physical environment dissolves into the endlessly hovering limbo of the freeway, the collage of the televised world view, and the directional certainty of diagrams that tell us where we are in nowhere. Bryan Cantley, the brain behind the post-architecture firm Form:uLA, gives us a chart to what he sees as our world. He thus is one of the last (though one hopes not the last) architecture visionaries looking beyond the needs of form and function to formulas for future orders&hellip;&rdquo; &mdash; <strong>Aaron Betsky, <em>In a Galaxy Closer Than We Think</em> (2006)</strong></small></span></p> <p style="text-align: justify;"><span style="font-size: small;">In 1992, Bryan Cantley established Form:uLA, a practice that explores the boundaries of architecture, representation and the role of drawing, within the discourse of visionary space. He filters this research through his conceptual framework of &lsquo;Mechudzu,&rsquo; a system that incorporates biomorphic behavior of mechanistic entities. Drawing from architecture, graphic and industrial design, music theory/notation and applications of kinesiology, Cantley merges these into a voice of undefined chronologies and place, asking the viewer + occupant to question not only where they are, but when&hellip;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Form:uLA&rsquo;s work is in the permanent collection of the San Francisco Museum of Modern Art, and has been exhibited internationally, including a solo exhibition at The Bartlett in 2008. Cantley has lectured internationally, and is the recipient of a prestigious Graham Foundation grant.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A more intimate selection of Canley&rsquo;s work will be exhibited in November 2014 at the Christopher Mount Gallery in Los Angeles, and his work will be the subject of a solo retrospective exhibition at the University of North Carolina Charlotte&rsquo;s College of Architecture in 2015. Cantley holds a Master of Architecture from UCLA, and a Bachelor of Arts in Architecture from UNCC.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Exhibition Discussion &amp; Opening Reception: <strong>Friday, October 10, 7pm</strong><br /> <em>Bryan Cantley and SCI-Arc Director Eric Owen Moss discuss the exhibition</em></span></p> Sat, 13 Sep 2014 07:23:44 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Group Show - The G2 Gallery - September 16th - November 2nd <p>Co-curated by <em>Ranger Rick</em> photo editor Susan McElhinney and G2 Director and Curator Jolene Hanson, <em>Ricked From the Headlines</em> will feature photo stories from several of the magazine&rsquo;s most recent issues. Stories about mountain lions, alien-esque insects and birds of paradise from the pages of the 47-year old, kid-friendly publication will accompany the images.</p> <p>McElhinney has been <em>Ranger Rick&rsquo;s</em> photo editor for 20 years, and her eye for choosing the right images for the right stories has led to award-winning photographs gracing the magazine&rsquo;s pages. She and Hanson curated the most compelling visual stories from <em>Ranger Rick&rsquo;s</em> past issues, working with more than a dozen world-renowned photographers, including Pete Oxford, Igor Siwanowicz, Jeff Yonover and many more.</p> Sat, 13 Sep 2014 00:08:18 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list David Karagianis - Laband Art Gallery - October 23rd 7:00 PM - 8:00 PM <p style="text-align: justify;">LMU sound artist David Karagianis, and LMU faculty choreographers Rosalynde Loo and Damon Rago, along with LMU students, will lead us in unique journeys through the exhibition and beyond. Each performance will be a new experience.</p> Fri, 12 Sep 2014 16:05:46 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list David Karagianis - Laband Art Gallery - October 7th 12:15 PM - 1:00 PM <p style="text-align: justify;">LMU sound artist David Karagianis, and LMU faculty choreographers Rosalynde Loo and Damon Rago, along with LMU students, will lead us in unique journeys through the exhibition and beyond. Each performance will be a new experience.</p> Fri, 12 Sep 2014 16:05:37 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Mark Ruwedel - Laband Art Gallery - October 5th 2:00 PM - 3:00 PM <p style="text-align: justify;">Artist Mark Ruwedel and urban hiker (and LMU associate professor of history) Nigel Raab will tell stories about the seventy-two-and a half mile adventures they took across Los Angeles and discuss their parallel, but unique, projects about the megalopolis.</p> Fri, 12 Sep 2014 15:55:54 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Kim Abeles, Gabrielle Ferrer, Erin Mallea, Diane Meyer - Laband Art Gallery - September 13th 2:30 PM - 4:00 PM <p style="text-align: justify;">Join us for a conversation with artists Kim Abeles, Gabrielle Ferrer, Erin Mallea, and Diane Meyer at 2:30pm and then come celebrate with the artists at an opening reception from 4&ndash;6pm.</p> Fri, 12 Sep 2014 15:53:56 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Kim Abeles, Vito Acconci, Bas Jan Ader, Gabrielle Ferrer, Erin Mallea, Diane Meyer, Mark Ruwedel - Laband Art Gallery - September 13th - November 23rd <p style="text-align: justify;">The seven artists in&nbsp;<em>Following the Prescribed Path</em>&nbsp;took diverse journeys into both urban and natural landscapes over the course of six decades, and ultimately transformed their experiences into a range of media. The artists&rsquo; projects suggest diverse reasons for stepping out our doors&mdash;to follow in someone else&rsquo;s footsteps (whether they are just in front of you or whether they have long since passed), to trace historical wounds, to make a pilgrimage, or to pursue a hero&rsquo;s journey in search of a transcendent experience. While it might be counterintuitive to think that following a predetermined route is creatively stimulating, the artists in this exhibition suggest otherwise.</p> <p style="text-align: justify;">The artists in&nbsp;<em>Following the Prescribed Path</em>&nbsp;took diverse journeys into both urban and natural landscapes over the course of six decades, and ultimately transformed their experiences into a range of media. While it might be counterintuitive to think that following a predetermined route is creatively stimulating, the artists in this exhibition suggest otherwise.</p> <p style="text-align: justify;">Standing upright and walking on two legs distinguishes humans from most other animals. As long as we have been ambulatory, the urge to walk out the front door and just explore one&rsquo;s environment has been part of the human psyche. Motivated by this basic desire, each of the exhibition&rsquo;s seven artists embarked on such a journey, but with a twist. The artists&rsquo; routes followed a &ldquo;prescribed path,&rdquo; one in which the parameters were established before they ever ventured out. Mark Ruwedel followed the seventy-two-and-a-half-mile route through Los Angeles previously taken by an urban hiker. Vito Acconci decided to let strangers on the streets of New York lead him. Kim Abeles allowed a mountain, smoggy conditions, and &ldquo;the way the crow flies&rdquo; to determine her walk. Diane Meyer traced the ghostly existence of the Berlin Wall. The urban grid and the romantic pull of the ocean directed Bas Jan Ader. Gabrielle Ferrer developed schemes for herself inspired by earlier wanderers and thinkers. Erin Mallea set out on the well-mapped Appalachian Trail.</p> <p style="text-align: justify;">Their projects suggest diverse reasons for stepping out our doors&mdash;to follow in someone else&rsquo;s footsteps (whether they are just in front of you or whether they have long since passed), to trace historical wounds, to make a pilgrimage, or to pursue a hero&rsquo;s journey in search of a transcendent experience. In the process, they articulate dreams and fears that we all share, and maybe they will inspire us to step out of our daily routines to follow our own prescribed paths. &nbsp;</p> <p><strong>Artists&rsquo; Talk and Opening Reception<br /></strong>Saturday, September 13<br />Artists&rsquo; Talk (2:30&ndash;4pm), Reception (4&ndash;6pm)<br />Murphy Recital Hall and Laband Art Gallery</p> <p>Join us for a conversation with artists Kim Abeles, Gabrielle Ferrer, Erin Mallea, and Diane Meyer at 2:30pm and then come celebrate with the artists at an opening reception from 4&ndash;6pm.</p> Fri, 12 Sep 2014 15:49:00 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Eddie Martinez - Kohn Gallery - September 13th 2:00 PM - 4:00 PM <p style="text-align: justify;">Kohn Gallery is pleased to present &ldquo;Nomader&rdquo;, an exhibition of new paintings, sculpture, and works on paper by New York-based artist Eddie Martinez, on view September 12 through October 25, 2014. This will be the artist&rsquo;s first solo show in Los Angeles and at the Kohn&nbsp;Gallery. His work was most recently seen in London at the Saatchi Gallery&rsquo;s exhibition, &ldquo;Body Language&rdquo; (November 2013 &ndash; March 2014).<br /><br />Martinez draws his inspiration from a wide-range of sources, spanning from the ever-evolving landscape of the city to major art historical movements of the 20th century such as Abstract Expressionism, CoBrA, Neo-Expressionism, and Surrealism. An immediacy and physicality inhabit this work thanks to Martinez&rsquo;s simultaneously gritty and graceful visual language. It&rsquo;s a remarkably strong, muscular type of painting resulting from the influences of urban culture and the unrestrained emotionality of the modern masters.<br /><br />Martinez&rsquo;s work pushes the boundaries of what constitutes painting and, specifically, what comprises art. Traditional oil paint mixes with spray paint and the detritus of the studio: baby wipes, paper towels and gum wrappers are conspicuous in the textured landscape of these paintings. Vibrant color and expressive lines join together and dance around the composition, emitting a confident and powerful energy. Like the work of Philip Guston, Willem de Kooning, and Asger Jorn, pure abstraction and representation coexist on the canvas, continuously giving way to each other and contributing to the overall power that is inherent in these paintings. This deft balance looks even further into art history as it recalls the carnal primitivism of the turn of the century&rsquo;s avant-garde, and the graceful lyricism of the Abstract<br />Expressionists.<br /><br />Recent investigations have led Martinez to both small and large-scale abstract sculpture, made mostly from found materials including rubber hoses, Styrofoam, cardboard, and metal scraps sourced from wherever the artist is working at the time: Greenpoint and Bedford Stuyvesant in Brooklyn, or East Hampton and the North Fork in Long Island. In fact, all the work for this exhibition, Nomader, was made across these four different studios. The exhibition title is not only referential to his current art practice, but also autobiographical. Growing up, Martinez moved quite frequently and even lost his belongings on multiple occasions. Nomadism worked its way into the artist&rsquo;s practice, informing the rich materiality and musculature of his work. This influence fueled an indefatigable evolution in the artist&rsquo;s practice&mdash;a perpetual striving and searching that pushes the work against boundaries and convention.<br /><br />About Eddie Martinez<br />Eddie Martinez (b. 1977, Groton, Connecticut) lives and works in Brooklyn, New York. He has been a resident at Bauernmarkt, Lenikus Collection, Vienna (2008) and was awarded First Place, Best Group Show in a Commercial Gallery for the Boston-area, by the International Association of Art Critics (AICA) Awards (2007). His work has been included in the following exhibitions: Body Language, The Saatchi Gallery, London (2012); Eddie Martinez, Peres Projects, Berlin (2011); New York Electric, Patricia Low Contemporary, Geneva (2011); New York Minute, Garage Center For Contemporary Culture, Moscow (2011); Eddie Martinez: Selected Drawings 2005-2011, Schwarz Contemporary, Berlin (2011); I Am Who I Am: The Portrait Reconsidered, Steven Zevitas Gallery, Boston (2011); Buffet State Of Mind, Sorry We&rsquo;re&nbsp;Closed, Brussels (2010); Eddie Martinez, ZieherSmith, New York (2010); Not Quite Open for Business, The Hole, New York (2010); Draw, Museo de la Cuidad de Mexico, Mexico City (2010); Wall to Wall, Daniel Weinberg Gallery, Los Angeles (2010); New York Minute, MACRO FUTURE, Museum of Contemporary Art, Rome (2009); News and Updates, Galerie Mikael Andersen, Copenhagen (2009); Eddie Martinez, Seomi &amp; Tuus, Seoul, Korea (2009); New Paintings, Galleri Loyal, Stockholm (2008); Hooters, Galeria Comercial, San Juan, Puerto Rico (2007); So Wrong, I&rsquo;m Right, Blum &amp; Poe, Los Angeles (2007); and Panic Room: Works from the Dakis Joannou Collection, Deste Foundation Centre for Contemporary Art, Athens (2006).</p> Thu, 11 Sep 2014 09:13:05 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Edgar Arceneaux - SUSANNE VIELMETTER LOS ANGELES PROJECTS - September 13th 4:00 PM - 6:00 PM <p style="text-align: justify;">Susanne Vielmetter Los Angeles Projects is pleased to present a solo exhibition of new work by Edgar Arceneaux. The future-focused humanitarianism of Civil Rights leader Dr. Martin Luther King Jr. is the central leitmotif in &ldquo;A Book and a Medal: Disentanglement Equals Homogenous Abstractions,&rdquo; the newest body of work by Edgar Arceneaux.<br /><br />In the feature-length film &ldquo;A Time To Break Silence,&rdquo; presented as an installation, Arceneaux specifically links two events from the 1960s as a means to ruminate on their legacies and implications for the future of American cities. The work is titled after Dr. King&rsquo;s last major speech, &ldquo;Beyond Vietnam,&rdquo; in which he decries U.S. involvement in the war as an &ldquo;enemy of the poor.&rdquo; King was killed exactly one year later, in 1968, two days before Stanley Kubrick&rsquo;s &ldquo;2001: A Space Odyssey&rdquo; premiered in Washington, D.C. In Arceneaux&rsquo;s film, Dr. King reprises his speech in Detroit&rsquo;s Saint Anne's church, which figures as a timeless ruin, while a prehistoric man named Stargazer aimlessly explores his alien environment. Both &ldquo;2001&rdquo; and Dr. King&rsquo;s speech address technology in dual terms, as both tool and weapon, a link amplified by Arceneaux&rsquo;s collaboration with Underground Resistance, Detroit techno music innovators, who produced the musical elements for the film. With these two intertextual references, Arceneaux's film stages how the technologies we use are produced by the same evolutionary forces that produced us.<br /><br />The sculpture &ldquo;A Book and a Medal&rdquo;&nbsp;(after which the exhibition is named) is comprised of a partially redacted anonymous letter sent to Dr. King in 1964, calling for him to commit suicide or face severe consequences. Later revealed to be what&nbsp;its creators J. Edgar Hoover and the FBI&nbsp;called the Suicide Package, the letter was accompanied by tapes of FBI wiretaps outlining King&rsquo;s extramarital liaisons. The letter itself contains redacted sections that are believed to refer to the content of the tapes.&nbsp;<br /><br />Next, three reflective panels pivot at ninety degrees to the gallery wall, repeating the letter's redactions as mirrored forms that transpose their environment &ndash; the room and viewer. Arceneaux refers to them as a four-dimensional shadow that traverses fifty years of time, a double metaphor alluding to the vulnerabilities of a man and his family as well as the invisible economic and ideological forces that were radically reshaping the U.S.&nbsp;In the fifth panel of new paintings, referencing a statement from Dr. King&rsquo;s daughter, Dr. Bernice A. King, King&rsquo;s Nobel Peace Prize and Bible have transitioned from symbols of a quest for social betterment to high-priced, rarified relics pitting social and symbolic exchange values in conflict with each other, tearing&nbsp;apart&nbsp;a family and a legacy in the process.<br /><br />&ldquo;A Time To Break Silence&rdquo; and the sculpture &ldquo;A Book and Medal&rdquo; frame the exhibition's central narratives while shadows, redactions, reflections, and fragments are the archetypal elements further explored in Arceneaux&rsquo;s new drawings, paintings, and sculptures made for the show.&nbsp;The series&nbsp;&ldquo;King Vanitas&rdquo;&nbsp;are paintings on mirror that play on the dual meanings of vanity&mdash;the 14th-century notion of &ldquo;vanitas&rdquo; that refers to the futility of life and the fruitlessness of human effort and vanity as pride or hubris.&nbsp;Created with a complex range of materials from mirror, paper, cloth, and steel, the new works complete the exhibition's grand arc, the political history of the Civil Rights Movement, economic value, surveillance and the nature of sin.<br /><br /><strong>Underground Resistance&nbsp;</strong><strong>techno musician and composer&nbsp;</strong><strong>Ray 7 will perform a live musical accompaniment to &ldquo;A Time to Break Silence&rdquo; at a special screening of the film at the Underground Museum directly following the reception at the gallery.&nbsp;</strong><br /><br />Los Angeles-based artist Edgar Arceneaux received a BFA from the Art Center College of Design and an MFA from the California Institute of the Arts. Arceneaux has committed his professional life to the exploration of the relationship between art and social space. He constructs drawings, installations, video, and film works as complex arrangements of association that examine adjacencies and points of contact between implausible relations.&nbsp; Arceneaux has participated in artist residencies at the Robert Rauschenberg Residency on Captive Island, Florida; Art Pace in San Antonio; Skowhegan School of Painting and Sculpture in Maine; Banff Center for the Arts in Alberta, Canada; and at the Fachhochschule Aachen, in Aachen, Germany. Solo exhibitions of his work have been presented at the Hammer Museum, Los Angeles; the Kitchen, New York;&nbsp;the San Francisco Museum of Modern Art; The Studio Museum in Harlem; and the Museum f&uuml;r Gegenwartskunst in Basel, Switzerland. Recent group exhibitions include &ldquo;The Shadows Took Shape&rdquo; at the Studio Museum and the Montreal Biennale opening October 2014. In 2015 Arceneaux will present a new work commissioned for Performa in New York and a new collaborative installation with Wangechi Mutu for SITE Sante Fe in New Mexico.</p> Thu, 11 Sep 2014 08:53:25 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list