ArtSlant - Current exhibits en-us 40 Pedro Barbeito - 101/EXHIBIT - December 14th, 2013 - February 8th, 2014 <p style="text-align: justify;"><span style="font-size: small;">101/exhibit proudly presents<em> The God Particle</em>, a solo exhibition from Spanish-American artist Pedro Barbeito. This is the artist&rsquo;s first solo showing with the gallery and will include new paintings, drawings, a print edition and a wall installation. The exhibition will be accompanied by a full-color thirty-two page catalogue that will feature an essay written by Richard Panek, the prize-winning author of the 4% Universe and the recipient of a Guggenheim Fellowship in Science Writing.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The opening reception with the artist will be held on Saturday, December 14, from 7 &ndash; 10pm, and is precluded by an artist talk with Barbeito at 6pm. Please RSVP at to attend this exciting discourse on his new work. The exhibition will conclude on February 8th. 101/exhibit is located in West Hollywood at 8920 Melrose Ave on the corner of North Almont Drive, one block east of Santa Monica Blvd.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;MOST PHYSICISTS LOATHE THE TERM &ldquo;THE GOD PARTICLE.&rdquo;</span><br /><span style="font-size: small;"> PETER HIGGS HIMSELF&mdash;THE NAMESAKE FOR THE HIGGS BOSON,</span><br /><span style="font-size: small;"> AKA THE GOD PARTICLE&mdash;HAS RAILED AGAINST IT. YET FOR THE</span><br /><span style="font-size: small;"> VERY REASONSTHAT MOST PHYSICISTS THINK (CORRECTLY, IN MY</span><br /><span style="font-size: small;"> OPINION) THAT THE PHRASE IS EXACTLY WRONG. PEDRO BARBEITO'S</span><br /><span style="font-size: small;"> USE OF "THE GOD PARTICLE" FOR THE TITLE OF THIS EXHIBITION</span><br /><span style="font-size: small;"> SEEMS TO ME EXACTLY RIGHT.&rdquo;</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;"><em>&ndash; RICHARD PANEK, "THE GOOD PARTICLE" CATALOGUE ESSAY. PUB 2013</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">New York-based artist Pedro Barbeito at 101/exhibit presents a new body of work that is a re-visitation of his previously explored Science and Technology series. Barbeito last focused on this series from 1996 to 2001. Just as the Millennium was inherently a contextually saturated time for the artist, this day-in-age yet again presents an irresistible opportunity to explore a scientific milestone in mankind&rsquo;s existence. This is the discovery of the Higgs boson in the collision chamber of the Large Hadron Collider (herein abbreviated as LHC) at CERN in Geneva, Switzerland.</span><br /><span style="font-size: small;"> &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">This discovery arrives as a precursory revelation, on a micro level, to the launch of the James Webb Space Telescope in 2018 that will provide further understanding from a macro perspective. This dual approach to further investigating and comprehending the universe, either at the particle level or from extreme distance (the JWSP will serve as the Hubble telescope&rsquo;s heir apparent), is the platform upon which Barbeito bases this new body of work. These polarities serve as the terminals that differentiate/unite the paintings, drawings, and prints into a cohesive artistic analysis of our most current and important developments in the fields of particle physics and cosmology.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Consider, for instance, the exhibition&rsquo;s grand installation of three of Barbeito&rsquo;s signature ovular paintings on canvas, LHC Red, LHC Yellow, and LHC Blue hung in situ within the composition of LHC Black, a 9 1&frasl;2 x 35 foot wall painting. Executed using the foremost developments in acrylic gel mediums and 3D printing &ndash; a metaphor for the synthetically dependent world in which we exist &ndash; this installation is a mimesis of being present in the chamber post-collision. The viewer can experience, through &ldquo;traditional&rdquo; painting practice, a representation of a virtually unperceivable landmark in particle physics occurring at the micro level.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp; So here we have an important question in respect to contemporary realism, are Barbeito&rsquo;s &ldquo;representations&rdquo; valid? By delving into the paradox of realism via the use of linear one-point perspective to derive micro/macro observational representations of the universe, there is the credible sense that the artist is exhibiting palpable and computational realizations of space, time, and matter. Though technology is used through out, these works remain inevitably anthropomorphous in that the causal sequences and mathematical formulas that are fundamental to our understanding of cosmology and particle physics already presumes the human touch. The works are then indeed, in a true sense, literal facsimiles &ndash; albeit abstract feeling ones upon initial inspection &ndash; of actual moments in our scientific history.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Barbeito was born in 1969 in La Coru&ntilde;a, Spain. He lives and works in Brooklyn, New York. He received his MFA from the Yale School of Painting and Sculpture in 1996. His work examines the intersection of digital imaging, science, technology and a painting history. Barbeito has exhibited his work internationally for the past 14 years. Solo exhibition venues include Aldrich Contemporary Art Museum in Connecticut, Basilico Fine Arts and Lehmann Maupin Gallery in New York, Parra- Romero Gallery in Madrid, and Galerie Richard in Paris. He has participated in museum exhibits at the Rose Art Museum in Massachusetts; the Museum of Modern Art in Arnhem, The Netherlands; The Palm Beach Institute of Contemporary Art in Florida; and the Museo Rufino Tamayo in Mexico City, among others.</span></p> Fri, 31 Jan 2014 09:26:05 +0000 Ann Veronica Janssens - 1301PE - November 23rd, 2013 - February 1st, 2014 <p><strong>ANN VERONICA JANSSENS</strong></p> <p><strong>23 November 2013 &ndash; 18 January 2014</strong></p> <p>Opening: Saturday 23 November, 6-8pm</p> <p>1301PE is pleased to announce its third solo exhibition with acclaimed Belgian artist Ann Veronica Janssens. For more than twenty years Janssens&rsquo;s work has been widely recognized for her ability to challenge and experiment with the definition of perception.</p> <p>&nbsp;In this exhibition Janssens will be exhibiting new works continuing her exploration into what she terms the &lsquo;ungraspable&rsquo;. Through her motifs of abstraction, mirroring, and light, Janssens deliberately displaces and transforms her specific materials.</p> <p>&nbsp;&ldquo;<em>It&rsquo;s a question of thresholds between two states of perception, between shadow and light, the defined and the undefined, silence and explosion; the threshold where the image reabsorbs itself.</em>&rdquo; &ndash; Ann Veronica Janssens</p> <p>&nbsp;Janssens&rsquo;s works &ndash; installations, sculptures, and modest interventions &ndash; are not monumental or permanent structures, but sensorial environments that engage the viewer in real-time lived experiences. Willing or not, the audience activates the work and vice versa allowing themselves to perceive and &ldquo;interpret the meaning of his or her personal experience&rdquo;.</p> <p>&nbsp;Born in Folkestone, England in 1956, Janssens lives and works in Brussels. In 1999 Janssens represented Belgium at the 48<sup>th</sup> Venice Biennale. A selection of solo exhibitions include: FRAC Corse, Bonifacio, France; <em>Serendipity</em>, WIELS - Contemporary Art Centre, Brussels, Belgium; <em>Are you experienced?,</em> Espai d&rsquo;art contemporani de Castell&oacute;, Castell&oacute;, Spain; ARTSPACE, Auckland, New Zealand; Neue National Galerie, Berlin, Germany; <em>In the Absence of Light it is possible&hellip;, </em>Salzburger Kunstverein, Salzburg, Austria; <em>Rouge 106, Bleu 132</em>, Mus&eacute;e d&rsquo;Orsay, Paris, France; CCA Wattis Institute for Contemporary Arts, San Francisco, CA; Ikon Gallery, Birmingham, England; Kunsthalle Bern, Switzerland; and <em>8&rsquo;26&rdquo;</em> ,Mus&eacute;e d&rsquo;Art Contemporain de Marseille, Marseille, France. Selected group exhibitions including: <em>Fruits of Passion</em>, Centre Pompidou in Paris, France; 8<sup>th</sup> Biennale of Sydney, Sydney, Australia; <em>Ecstasy</em>, Museum of Contemporary Art of Los Angeles, CA; <em>Universal Code: Art and Cosmology in the Information Age</em>, Power Plant, Toronto, Canada; Generalli Foundation, Austria; <em>Eyes, Lies &amp; Illusions</em>, Hayward Gallery, England; <em>Stimuli</em>, Witte de With, Rotterdam.</p> <p>&nbsp;This exhibition is concurrent with the release of two books focusing on Ann Veronica Janssens work: <em>Endless Andness: The Politics of Abstraction According to Ann Veronica Janssens</em> by Mieke Bal (2013) and <em>Ann Veronica Janssens: Serendipity</em> (catalogue) in conjunction with her 2012 exhibition at WIELS, Brussels.</p> <p>&nbsp;For more information please contact Carmel Ni or Brian Butler 323.938.5822.</p> <p><strong>1301PE is pleased to announce that our current exhibition&nbsp;<em>Ann Veronica Janssens</em>&nbsp;is extented through&nbsp;Saturday, February 1.</strong></p> Sat, 11 Jan 2014 17:12:40 +0000 Carolina Caycedo - 18th Street Arts Center - October 14th, 2013 - December 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Be Dammed</em></strong> is a research-based project by artist <strong>Carolina Caycedo</strong> that explores concepts of flow and containment, investigating correlations between the mechanisms of social control and the unethical aspects of public works infrastructural projects including large water dams and reservoirs. <em>Be Dammed</em> encompasses sculpture, photography, video and a performance series, and reflects the artist&rsquo;s ongoing query into the development of mega-infrastructures over natural and social landscapes. Within this body of work, Caycedo conceptually embeds an analogous, contiguous relationship of tactical constraint and crowd control, as exercised by police and military over group protests and public demonstrations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Focusing on the case study of El Quimbo, a hydroelectric dam currently under construction along the Magdalena River in Colombia, Caycedo draws attention to physical, economic and societal power structures interrupting the flow of socio-political organizing and resistance efforts through a body of interrelated artworks. El Quimbo is the first hydroelectric power project in Colombia to be constructed by a transnational, private corporation, signifying the transition of this geographically, ecologically and historically important public body of water into a privatized resource. As a principal river connecting the Caribbean coast to the interior of Colombia and Ecuador, the Magdalena River has been significant since the pre-Columbian era as a stronghold of early civilizations, later as a navigation route during the Spanish conquest of the Americas, and in contemporary times as a cultural and economic backbone of the region. Now diverted and channeled for the construction of the dam, its watershed is in the process of geographical and ecological corporatization while local, native communities are forcibly and nefariously displaced.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Artworks in <em>Be Dammed</em> examine the interconnected spheres of legal, physical, and psychological social control. As part of her research for the two channel video <em>The headlong stream is termed violent, but the river bed hemming it in is termed violent by no one</em>, for example, Caycedo conducted interviews with a range of individuals affected by and involved with the development of El Quimbo including an activist, an environmentalist, an oppositional leader, a professor, a shaman, a local fisherwoman, and the dam&rsquo;s engineer, to develop an understanding of this complex triad. Manifesting these relationships in performative-based works, Caycedo continues her collaboration with contemporary dancer Rebeca Hernandez exploring the choreography of power, as exemplified by crowd control techniques, restrictive paramilitary holds, and barrier systems designed to contain civil disobedience. On-site and off-site performances will take place throughout the project. Other discrete artworks such as the sculpture <em>Manopla Triple Arco/Three Arched Knuckle</em> draw parallels between the architecture of dams and the structural forms used for physical domination.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Within her residency and exhibition, Caycedo asks an open-ended, on-going set of questions relative to the nature of dams and power structures. &ldquo;If the social promise of economic development is a distraction technique touted by multinational corporations to develop mega-structured today, could the promise of security be a distraction technique employed by military and police to achieve a state of social repression?&rdquo; &ldquo;Is corporate construction of dams in Latin America a continuation of colonialism?&rdquo; &ldquo;Is a dam a siege of nature?&rdquo; &ldquo;Is security a siege of community?&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Carolina Caycedo&rsquo;s Artist Lab Residency at 18th Street Arts Center and all associated events have been made possible through the generous support of the <a href="" target="_blank">Santa Monica Cultural Affairs Division</a>, <a href="" target="_blank">Andy Warhol Foundation for the Visual Arts</a>, and <a href="" target="_blank">Los Angeles County Arts Commission</a>. </em><em id="__mceDel"><a href="" target="_blank"><br /> </a></em></span></p> Sun, 20 Oct 2013 16:24:49 +0000 Armin Hofmann - A + D Museum - November 14th, 2013 - January 19th, 2014 <p style="text-align: justify;"><span style="font-size: small;">For Armin Hofmann, lecturing at design schools and working as a freelance graphic artist went hand in hand: his activities as an educator invariably provided inspiration for his own work. Rather than a doctrinaire approach, Hofmann&rsquo;s teaching style centered on the students&rsquo; engagement with their own experiences and abilities, so enabling them to hone their individual perception of design issues. &nbsp;</span></p> <p class="content_left" style="text-align: justify;"><span style="font-size: small;">During his many years as a teacher at various institutions across the world, including the Basel School of Design in Switzerland and the Yale University School of Art, Hofmann accumulated a treasure-trove of experiences and findings on the subject of color. Following his retirement, he produced 20 silkscreen portfolios, each containing 12 compositions. One of these portfolios and 16 studies for the prints will constitute the major portion of Farbe / Color. Hofmann has described his silkscreens as an account of his pedagogical activities.&nbsp;</span><br /> <br /><span style="font-size: small;"> The exhibition at A+D Architecture and Design Museum will showcase one of Hofmann&rsquo;s portfolios as well as 16 studies of the prints as a part of Farbe / Color. The legendary Swiss graphic designer and educator has described his silkscreens as an account of his pedagogical activities. Farbe / Color will also display his students&rsquo; work, chosen by Hofmann, to demonstrate his teaching method, which involved mixing, observing and juxtaposing the finest nuances of color. Hardcopies and projections of these works will be shown in the &lsquo;project room.&rsquo;</span><br /> <br /><span style="font-size: small;"> Hofmann&rsquo;s work in the built environment will be represented as physical, color interventions into the museum itself.&nbsp;</span><br /> <br /><span style="font-size: small;"> As an educator for 44 years, Hofmann has had immeasurable influence on generations of designers and shaped the world&rsquo;s perception and understanding of color and design.</span></p> Sat, 23 Nov 2013 06:11:26 +0000 Bernar Venet - Ace Gallery- Beverly Hills - July 20th, 2013 - January 25th, 2014 <p style="text-align: justify;"><span style="font-size: small;">Bernar Venet&rsquo;s <em>GRIB </em>series is an extension of his wooden <em>Indeterminate Lines, </em>which he began displaying as reliefs between 1979 and 1983. The 1.5 inch steel plates used by Venet are torch-cut, a technique, which adds to the unpredictable nature of &ldquo;scribbles&rdquo; and gives these works a rougher character that is less elegant and accessible than their relief predecessors.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venet reflects, &ldquo;My work at the factory is a game of natural constraints between my intentions and the material itself. Each orients the other and is oriented in its turn. I propose directions but am at the same time directed by the steel bar that resists, and will not surrender to my will to dominate&hellip; In this game of concessions I must leave its autonomy at the helm. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">The result is a testimony to the act of forming and to the inherent possibilities of the material that I do not transform beyond its natural characteristics. By not changing its nature, I do not manipulate its appearance; that would involve creating artifices. In my sculpture, I am intent on keeping the energy of the atomic mass and its relationship to gravity, on respecting its singularity, its difference, its identity. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">The constructivist arrangement of different forms and materials, assembled so as to create &ldquo;something else&rdquo;, is an approach that I reject. I am in favor of works that are literal and explicit, devoid of artifice or ambiguity. My sculpture is the direct outcome of the manufacturing process. As I said earlier, it is the &lsquo;how&rsquo; that defines the &lsquo;what&rsquo;.</span></p> <p style="text-align: justify;"><span style="font-size: small;">My sculptures are self-referential in the sense that they tell their own story, the story of their elaboration. In this way they stand apart from the classical object that hides its sculptural identity and &lsquo;speaks of something else&rsquo;.&rdquo;1</span></p> <p style="text-align: justify;"><span style="font-size: small;">The <em>GRIBs </em>act as living drawings that become monumental through the act of physically transferring them from 2D drawings to 3D steel structures, which are then mounted on the wall. The movement of the hand in their creation is vital, as the shape is entirely dictated by the short time in which Venet randomly puts pen to paper, acknowledging the power of gesture itself as meaningful.<br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Bernar Venet was born in 1941 in Chateau-Arnoux-Saint-Auban, France. He lives and works between New York and Hungary.</span></p> <p>&nbsp;</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;">Opening Concurrently at Ace Gallery Los Angeles &amp; Beverly Hills<br /> Saturday July 20, 2013<br /> Beverly Hills 6:00 PM - 8:00 PM<br /> Los Angeles 8:00 PM- 10:00 PM</p> Mon, 16 Dec 2013 17:44:09 +0000 Bernar Venet - Ace Gallery- Los Angeles - July 20th, 2013 - September 27th, 2014 <p class="p1" style="text-align: justify;"><em>&ldquo;My works are often the result of an unexpected event. The impression of precarious equilibrium that this sculpture evokes is in fact the result of a group of arcs&rsquo; accidental slippage.&rdquo;&nbsp;</em></p> <p style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">&ndash; Bernar Venet</p> <p style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">The revelation of the processes of production in the work of art is clearly the governing principle behind the series&nbsp;&nbsp;<em>Indeterminate Lines</em>&nbsp;that made their appearance in Bernar Venet&rsquo;s work from 1979. &ldquo;Indeterminate&rdquo; because they are diametrically opposed to the mathematical determination of their predecessors.&nbsp; More vague and less tangible, they cannot be reduced to an equation: they nevertheless seek a form of physical certainty strong enough to silent the confusion of meanings and to demonstrate explicitly that their one truth and reality is that of a piece of work.&nbsp; The obvious geometrical forms of previous pieces are here replaced by the direct manipulation of a raw material.</p> <p style="text-align: justify;">&nbsp;</p> <p class="p1" style="text-align: justify;">Venet&rsquo;s daily working process is a sort of satisfying game of natural constraints between his artistic intentions and the material itself.&nbsp; Each orients the other and is oriented in its turn.&nbsp;The artist proposes directions but at the same time he&rsquo;s directed by the steel bar that resists. In this fascinating subtle game of concessions, the artist must leave its autonomy at the helm. The esthetical result is a compelling testimony to the act of forming and to the inherent possibilities of the material.&nbsp;</p> <p class="p1">&nbsp;</p> <p style="text-align: left;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: center;"><span style="font-size: small;">*Opening Concurrently at Ace Gallery Los Angeles &amp; Beverly Hills<br /> Saturday July 20, 2013<br /> Beverly Hills 6:00 Pm - 8:00 PM<br /> Los Angeles 8:00 Pm - 10:00 PM</span></p> Mon, 08 Sep 2014 08:23:30 +0000 Phil Frost - Ace Gallery- Los Angeles - July 20th, 2013 - January 25th, 2014 <p style="text-align: justify;"><span style="font-size: small;">New York based painter Phil Frost (b. 1973) has evolved a consistent, instantly recognizable aesthetic synonymous with his name, which he refers to as &ldquo;intuitive perceptive portraiture.&rdquo; This first exhibition of new work at Ace Gallery testifies to his relevance and extensive cultural reach as a leading contemporary artist who is self taught. Frost&rsquo;s title for the exhibition, with its multiple meanings, alludes to the ascetic life. Referring to the internal struggles involved in the act of painting, it is often an unnerving personal journey involving intense discipline and patience in self-imposed isolation. Encoded in the pursuit, there is no straying from a discipline in which he is immersed. As many artists and writers experience, <em>The Solace of the Sword </em>references the struggle with solitary confinement required to create. Frost&rsquo;s visual language melds layers of flat-white, culturally indeterminate mask-like forms with bold typographical and fluid, glyphic, geometric, and sinuous shapes that dance above vivid spectrums of painterly color, forming the long-necked busts and repetitions of faces that are pronounced as his intuitive portraiture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Raised in rural Western Massachusetts, from a young age he grew up searching for and sometimes finding Indian adzes and arrowheads in farm fields and forests, and he made use of a natural fountain found at the edge of the woods that spouted clay by sitting at its rim and forming shapes in his hands. Early artistic experiment found him repetitiously drawing the white streak found in the hair of comic book scientist Reed Richards of The Fantastic Four, as well as scenes of Pac-Man chasing ghosts, and the antennae found on Batman&rsquo;s mask. Just before his early teens, Frost began to enjoy spending time on summer visits with an older cousin who was an authority on antique glass bottles found in Northwestern Ohio. Together they would go on expeditions armed with maps of former times from the library and dig farm fields and abandoned rural dumps for glass vessels. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">The unearthed treasures were impressed upon his mind and this archaeological drive influenced him, and would continue to. It was later revealed when he began making work imbued with collected and found objects, as a way to present the actual passage of his life gesturally into the context of a painted visual passage&mdash;a representation to articulate how the now inflects a lineage of experience in time and space that is formed both physically and intuitively from what is around him.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In his adolescence Frost moved, along with his younger sister and mother, by whom he was solely raised, to Cooperstown, NY for just over two years. There, an early fascination with baseball and in particular the position of pitching and the arabesque-like gesture made by a swinging bat was deepened.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His teenage years were spent in Albany, NY and were consumed by skateboarding downtown in the Capital District, where various terrain included Ellsworth Kelly sculptures and the perfectly transitionally-formed marble quarter-pipes, the glass walls on the architecture of Wallace Harrison&rsquo;s Egg, and the marble playground he designed known as The Nelson A. Rockefeller Empire State Plaza. His often taking off on excursions to New York City to skateboard with friends led to an awareness and depth of interest in graffiti and anonymous mark making. Eventually cracking both of his kneecaps and repeatedly breaking both wrists, Frost was about to drop out of high school when a principal recommended an independent-study art class, to make up extra credit. With no teacher but the materials put in front of him, Frost would figure out how best to stretch a canvas, venture to find objects he could use as material in left over fire pits, and decide that he wanted to be a painter on his own terms. At a yard sale he attended with his mother he scored a 25-cent brown paper bag of oil paints along with a copy of David Sylvester&rsquo;s Interviews with Francis Bacon that led to his further conviction. Captivated, he read it intently and repeatedly. Also self taught, Bacon&rsquo;s ethos resonated deeply and triggered in Frost, at the age of eighteen, an eager thirst for art-historical precedents, including in particular, Alberto Giacometti, whose fascination with heads, busts and figures in space began the evolution and direction that has defined Frost&rsquo;s work today.</span></p> <p style="text-align: justify;"><span style="font-size: small;">At eighteen, late in the summer of 1991, Frost moved on his own to Long Island City, Queens. Here, he took union jobs, laboring in the night on the backs of trucks so that he could have his days free to persistently explore museums, scour the streets for materials, and make his work in the tiny, windowless basement studio that he inhabited. Surrounded by many different ethnicities and without speaking or understanding any language other than English, Frost found immense inspiration in closing his eyes on the subway and listening to the sound of multiple languages being spoken all at once, recording fragments of words and charting with his eyes closed a hybrid of language. Early work with typography found him knocking out the negative space created by letterforms with white, as a way to "pop," or form random patterns of shape, to react against color. These fluid and sinuous patterns of white shapes that often dominate his work of late came from a progressive evolution of the reduction of words that in the same way often form a nonsensical lingual chanting woven throughout the intricate layering in his painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Phil Frost was born in Jamestown, NY in 1973 and currently lives and works in the Upper Hudson Valley region of Upstate NY.&nbsp;</span></p> Mon, 16 Dec 2013 17:45:32 +0000 Jonathan Apgar - ACME - November 23rd, 2013 - December 21st, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>ACME.</strong> is pleased to present a solo exhibition of new large scale paintings by <strong>Jonathan Apgar</strong>. This will be the artist's first exhibition at the gallery. Apgar's canvases flicker with dry brush marks that produce patterned patches of luminous color. The thin paint application references the grain of the canvas beneath. The artist weaves together positive and negative spaces often reversing typical oil painting procedures and embracing indirect pictorial strategies. Most of the paintings stand as reverberating portals for the viewer. His paintings appear simultaneously as flat surfaces and as images of spatial depth. </span><br /> <br /><span style="font-size: small;"> Jonathan Apgar lives and works in Los Angeles. He received his M.F.A. at UCLA earlier this year and received his B.F.A. from California State University, Long Beach. Recent exhibitions include the Irvine Fine Arts Center, the California State University Long Beach, and the Torrance Art Museum, among others.</span></p> Sun, 10 Nov 2013 06:08:35 +0000 Tomory Dodge - ACME - November 23rd, 2013 - December 21st, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>ACME.</strong> is pleased to present a solo exhibition of new paintings by Los Angeles based artist <strong>Tomory Dodge</strong>. This will be the artist's sixth solo exhibition at the gallery. The show will feature a single large-scale painting and six smaller scale paintings. In this body of work, Dodge's paintings seem to have a veil of black or white paint masking the surface of the canvas then deliberate scrapes reveal vibrant strips of color beneath. The paintings possess a forceful physicality, by revealing the strategic actions of the artist &ndash; every pull and scrape adds another layer to the finished painting. </span><br /> <br /><span style="font-size: small;"> Tomory Dodge (b. 1974, Denver, CO) received his MFA from the California Institute of the Arts and his BFA at Rhode Island School of Design. Recent exhibitions include the Southeastern Center for Contemporary Art, Winston-Salem, NC, Monica De Cardenas Galleria, Zuoz, Switzerland, CRG Gallery, New York, and Alison Jacques Gallery, London. His work is included in many museum collections including the Los Angeles County Museum of Art, Orange County Museum of Art, the Smithsonian American Art Museum, and the Whitney Museum of American Art, among others.</span></p> Sun, 10 Nov 2013 06:07:08 +0000 Lynn Aldrich - Alyce de Roulet Williamson Gallery - October 11th, 2013 - January 19th, 2014 <p>Artist uses everyday materials to create&nbsp; sculptures that critique consumerism, artificiality.</p> Sun, 20 Oct 2013 16:10:56 +0000 Amie Dicke - Anat Ebgi - November 16th, 2013 - January 4th, 2014 <div style="text-align: justify;"><span style="font-size: small;"><strong>Anat Ebgi</strong> is pleased to announce <strong>Amie Dicke</strong>&rsquo;s first solo exhibition for the gallery entitled&nbsp;<strong><em>Collecting Alibis</em></strong>.&nbsp;An opening reception will be held on&nbsp;Saturday, November 16 from 6-8PM, and will be on view until&nbsp;January 4, 2014.&nbsp;For this exhibition, Dicke brings together three bodies of work representing the artist&rsquo;s ongoing critique of the subtext of images that surround and influence us.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">Born and raised in Rotterdam, Dicke&rsquo;s interest in this interaction can be traced back to her youth. As a girl she plastered her walls with images ripped from fashion magazines. Living in this space, engendered in her a desire to understand how these images could elicit an emotional response. Later in life, she would tackle this artistically by tearing through these images with an X-Acto knife and defacing them to create a void. She did this, in her words, in an attempt to &lsquo;look for less&rsquo; and to search for substance beneath these pictures.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">The exhibition includes several examples of this area of Dicke&rsquo;s practice. The images, large scale photo-portraits scratched out with sandpaper, leave small details untarnished and highlighted -- a fold in the shoulder of a shirt, or a crisp white button. Effectively, Dicke has made her subjects anonymous, but in doing so she is able to give them a new purpose. Her technique causes the viewer to investigate the absence of these visages and forces us to wonder about what Dicke&rsquo;s left behind. By removing the facial features of these photos, she has created a vacuum for us. It is one into which she wants the viewer to pour their own anxieties and questions; she has carved a space for us to fill, even complete for a moment, with personal memories and fantasies.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">This atmosphere of unease and dread is something that Dicke attributes to bombardment of visual stimulus that we experience daily. Her choice of subject matter, just like her choice to live surrounded by magazine images as a girl, derides the idea that we are not complicit in the construction of this environment. After her graduation from the Willem de Kooning Academy, the artist spent time in New York. There this feeling of &lsquo;isolation despite being surrounded&rsquo; was compounded to the extent that she felt compelled to express this in her work.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">The gallery is excited to present two major panels from this part of Dicke&rsquo;s oeuvre. The pieces, titled&nbsp;<em>II</em>and&nbsp;<em>III</em>, have recently been exhibited at the GEM Museum of Contemporary Art in The Hague. They are monolithic plexiglass plates coated in red, blue, and black Bic ink. Dicke has blown the ink thickly onto them to create an illusion similar to oil slick or thick poster paint. With these works, Dicke&rsquo;s desire to deconstruct our expectations of two-dimensional spaces explodes into the sculptural domain. The objects evoke billboards and advertising displays but their opaqueness renders the object, once again, illegible. Instead, the viewer picks out the few shades of color permeating through the dark textural panels.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">At the center of the gallery, sits a reconstruction of Dicke&rsquo;s&nbsp;<em>Battle of Magenta</em>. The piece was also first displayed in the GEM Museum and consists of a vast pool filled with floating prints and which represents an extension of the artist&rsquo;s interest in these themes. Once again, she has taken a flat still space, an undisturbed body of water, and approached it with a frenetic and almost chaotic energy. What is left is an immensely sculptural and vibrant. The ink from the prints slowly releases, blending and mixing with the water. Magenta is the first tone to be released as the images decompose in this swirling morass of color. The title harks back to a battle that was fought near the village of Magenta, Italy. There, Napoleon III fought the second Italian war of Independence and in that same year the purple dye pigment was discovered and thus named after the battle, Magenta. The sources for the images range from current magazines, newspapers from 100 years ago, National Geographic, second hand books, postcards etc. (All from Dicke&rsquo;s personal archive.) She explains how they came to be part of this work:</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">&ldquo;Some of the prints I have had for many years. They hung at my studio wall or are a part of this many big piles of images. I have them all in my mind, but also forgot about them. I find that forgetting part very important. It is about the survival of images. Once I see the image back I know I had seen it before. I am testing these images I have seen, I carry in my mind. They form my image bed.&rdquo;</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">The end result is a piece where a lifetime of half forgotten images comes together, totally divorced from their original context, to remind us of historical event and present us with an original visual landscape. This helps reaffirm the idea, broadcast throughout these three bodies of work, that the truly fascinating part of our visual culture lies below its surface.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;"><em>Collecting Alibis</em>&nbsp;is Dicke&rsquo;s third solo exhibition in Los Angeles. Previous exhibitions include,&nbsp;<em>Infinitely Suffering Thing</em>, 2008 and&nbsp;<em>Sensual Sadness</em>, 2003, both at Peres Projects.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">Amie Dicke (b. 1978, lives and works in Amsterdam). Recent solo exhibitions include: GEM Museum of Contemporary Art, The Hague, NL; Castrum Peregrini, Amsterdam, NL; and Hiromi Yoshii Gallery, Tokyo, JP. Recent group shows include;&nbsp;<em>The Tolerent Home</em>, Amsterdam,NL;&nbsp;<em>BSSM</em>, The Company, Los Angeles;&nbsp;<em>Half Sugar, Half Sand</em>, and&nbsp;<em>The Dutch Identity? The Power of Now</em>&nbsp;both at Museum de Paviljoens, Almere, NL;&nbsp;<em>Saccharine-D12</em>&nbsp;Serie, Grimmuseum, Berlin, DE;&nbsp;<em>Opening Exhibition</em>, Museum of Old and New Art, Hobart Tasmania, Australia, and Murakami Takashi Kaikai Kiki Collection -Western Europe Art Exhibition, curated by Takashi Murakami, Kaikai Kiki gallery in Taipei, Taiwan. &nbsp;Her solo show&nbsp;<em>Collecting Alibis</em>&nbsp;at Stigter Van Doesburg, Amsterdam, NL is on view untilNovember 23, 2013.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">Dicke&rsquo;s work has been exhibited internationally in venues such as Schirn Kunsthalle in Frankfurt, Germany, Tate Modern and Project Space 176 in London, FLAG Art Foundation, New York, and Art Centre Silkeborg Bad in Denmark. Her work is included in several major collections including Gemeentemuseum The Hague, Collection Rob Defares, Direct Art Collection, the Zabludowicz Collection, Collection Rik Reinking, Takashi Murakami and the City Collection of Rotterdam through the Museum Boijmans van Beuningen.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>AS OF THE 22ND of DECEMBER, THE GALLERY WILL BE OPEN BY APPOINTMENT ONLY FOR THE HOLIDAY PERIOD.</strong></span></div> Sat, 22 Feb 2014 15:32:53 +0000 - Angels Gate Cultural Center - May 12th, 2013 - June 19th, 2015 <p>The 2013 -2015 exhibition year at Angels Gate Cultural Center marks the beginning of a larger concept that explores our local community’s stories and personal narratives in the galleries. We hope to generate dialogue about how, as a community, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an experimental space where art and art-making become part of an ongoing conversation about the community. Through partnerships with local non-profits, artists, storytellers and the community at large, the galleries hope to capture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. <br /><br /><small><br /></small></p> Sat, 11 May 2013 02:32:05 +0000 Group Show - Angels Gate Cultural Center - May 12th, 2013 - January 10th, 2014 <p>In 2007, the local Audubon Society got word of an anonymous action taken by a resident of San Pedro. A nest box mysteriously appeared one day in Harbor Park along the 110 Freeway. In recent years, Southern California's western bluebird population has been on the decline. Though it's not fully understood why, it seems that urban growth and climate change may disturb the nesting process. Surprisingly, bluebirds took to the anonymously placed box, depositing gem-like blue eggs. Now the Audubon Club has adopted the park project, placing more boxes and hosting pairs of birds. <br /><br />Based on the story of the nesting box, <i>Out of the Blue</i> is a visual response by artists from San Pedro's Exceptional Children's Foundation. Nestled along Gaffey Street, the ECF studio is a professional workshop where adults with developmental disabilities come to create art. Like the migrating bluebirds, the artists have found a place where they may exist creatively, undisturbed by the outside world. Here, the act of art-making, with its intense focus on special objects, characters, and dream-inspired landscapes provides shelter for the spirit. Out of the blue, anything can happen, but the creative life is our true home. </p> <p>This project was done in partnership with the Exceptional Children's Foundation. </p> Sat, 11 May 2013 20:50:13 +0000 - Angels Gate Cultural Center - September 7th, 2013 - January 10th, 2014 <p><em>Picking up the Pieces: A Suicide Prevention Project&nbsp;</em>explores the difficult emotions and thoughts that accompany the subject of suicide and suicide prevention. The project is curated by artist, Stacey Wexler in collaboration with residents from Harbor View House in San Pedro, CA. Wexler and the participating residents transform two difficult subjects into an inspiring,powerful and cohesive dialogue&nbsp;<br /><br /><em>Picking Up the Pieces</em>&nbsp;is an ongoing community art project that utilizes the fundamental elements of a jigsaw puzzle originally consisting of twenty-seven puzzle pieces. Each piece is an individual narration of the experiences the residents of Harbor View House had with suicide and suicide prevention. As a whole, the project encompasses a range of emotions, from the hopeless to the hopeful. Throughout the project's residency at Angels Gate Cultural Center (AGCC), the community will have the opportunity to expand on the discussion that Wexler and the residents at Harbor View House started. Blank pieces of the puzzle will be made available by AGCC and Wexler so that the audience may create artistic representations of their own experiences and thoughts on suicide and show what their hopes for suicide prevention look like.&nbsp;<br /><br />BIOGRAPHY<br /><em>Stacey Wexler has been working professionally in the arts for more than 3o years. She earned her MFA from Claremont Graduate University with an emphasis in Ceramic Sculpture and her BFA from The University of the Arts in Philadelphia. Additionally, she attended Art Center College of Design with a specialization in computer graphics. She is currently an adjunct assistant professor in the Department of Art and Architecture at Los Angeles City College. Her own personal creative work has been exhibited nationally and in Germany, Italy and Hungary. She was selected as a resident artist at the Hungarian Multi-Cultural Center in Budapest in 2011. Stacey Wexler has a studio in Downtown Los Angeles.&nbsp;</em></p> Mon, 16 Sep 2013 18:27:03 +0000 Fabian Debora, Bia Gayotto, Robin Johnson, Narsiso Martinez, sandy rodriguez, John Trevino - Angels Gate Cultural Center - October 27th, 2013 - January 10th, 2014 <p align="right"><strong style="font-size: 12px; text-align: left;">Opening Reception for new show in gallery &nbsp;on October 27<sup>th</sup>, 2013 from 4:00pm-6:00pm</strong></p> <p>&nbsp;<span style="font-size: 12px;">Angels Gate Cultural Center (AGCC) is pleased to exhibit work by several Los Angeles based artists that engage in the current conversation on community.&nbsp;</span></p> <p>&nbsp;<span style="font-size: 12px;">For the next few years, AGCC&rsquo;s gallery invites the community to share their stories with us. We are interested in how these stories shape the collective consciousness in San Pedro and the South Bay area. As part of opening up the galleries to hear the voices within the community we have repositioned part of our Main Gallery to be a rotating roundtable discussion using artwork to stimulate conversations about identity, place, fellowship, and culture.&nbsp; Throughout the exhibitions visitors are asked to consider their lives, the lives of younger and older generations, and how a healthy community&rsquo;s well-being is sustained through the quality of relationships that individuals form in their community.</span></p> <p>&nbsp;<span style="font-size: 12px;">For this roundtable conversation, artwork by artsts Fabian Debora, Bia Gayotto, Robin Johnson, Narsiso Martinez, Sandy Rodriguez, and John Trevino has been selected.&nbsp;</span></p> <p>&nbsp;<span style="font-size: 12px;">The opening coincides with our Annual HOWL &amp; Scary Stories Halloween event. HOWL lasts from 4 &ndash; 6pm and Scary Stories from 6:30- 8pm. The event is open to people of all ages.</span></p> <p>&nbsp;<strong style="font-size: 12px;">Also opening:</strong></p> <p>The Family Room space will feature work by AGCC artists.</p> <p>&nbsp;<strong style="font-size: 12px;">Continuing Exhibitions:</strong></p> <p>The Community Room will feature work by AGCC studio artists: Paul Carmichael, Patrick Grugan, Dennis Keeley, Jon Nakamura and Frank Rodriguez. The show is brought together under the banner theme, <em>What We See</em>. Each piece is an exploration of what we see, what we don&rsquo;t see, and what we think we see. The exhibit was organized by Getty Multicultural Intern, Sabrina Orozco.</p> <p><span style="font-size: 12px;">The Community Gallery features </span><em style="font-size: 12px;">Picking up the Pieces: a suicide prevention project,</em><span style="font-size: 12px;"> a curated show by Stacey Wexler and </span><em style="font-size: 12px;">Out of the Blue</em><span style="font-size: 12px;"> , a collaboration between Michele Mart&iacute;nez and developmental disabled artists from the ECF Studio in San Pedro.</span><span style="font-size: 12px;">&nbsp;</span></p> Wed, 09 Oct 2013 20:53:01 +0000 Lynsey Addario, Marcus Bleasdale, David Guttenfelder, Abelardo Morell, Joel Sartore, Martin Schoeller - Annenberg Space for Photography - October 26th, 2013 - April 27th, 2014 <p style="text-align: justify;"><span style="font-size: small;">Organized in collaboration with National Geographic magazine, <em>The Power of Photography: National Geographic 125 Years</em> celebrates the iconic publication&rsquo;s 125 year anniversary. <em>National Geographic </em>magazine is the official journal of the National Geographic Society. Long renowned for its stunning images, the magazine will celebrate its 125th anniversary with a special commemorative October 2013 issue, highlighting its ongoing dedication towards using the power of photography to explore, educate, inspire, document and preserve the world around us. In conjunction with the October issue, the Annenberg Space for Photography presents <em>The Power of Photography,</em> a special print and digital exhibition, as well as two documentaries. From iconic images to portraits; landscapes to natural history, the exhibit offers a wide range of photographic genres and themes free to the public for six months, beginning <strong>October 26, 2013 through April 27, 2014</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;For 125 years now, National Geographic has been a place where art and insight and a deep cultural understanding come together &ndash; a place where we can be astonished and inspired by the world all around us. I can&rsquo;t think of a greater partner for the Annenberg Space for Photography &ndash; or a greater model of what photojournalism can achieve. Especially at a time when print journalism is under siege, I&rsquo;m thrilled that we&rsquo;ll be able to showcase so many powerful, profound images from the pages of <em>National Geographic.</em> I&rsquo;m delighted that the exhibit will be as cutting-edge and as multi-media-savvy as both of our institutions strive to be. Above all, I&rsquo;m proud to join with National Geographic in celebrating this simple principle: that we are all stewards of this remarkable planet,&rdquo; says Wallis Annenberg, Chairman of the Board, President and CEO of the Annenberg Foundation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The curation and installation of <em>The Power of Photography</em> departs from previous Photography Space exhibit designs. Mosaics of more than 400 images documenting the history of National Geographic photography from 1888 to the present time adorn the walls. In addition, an extensive digital installation showcases 500-plus images. Thirty professional-grade large format LED monitors are arranged to create video walls throughout the Photography Space galleries. These six video walls, ranging from 12 to 14 feet in width, present both individual images and photographic essays. Given the volume of photographs on the screens, and a format in which the images loop at different times throughout the galleries, the viewing experience is unique to each visitor and each visit.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;National Geographic's photographic archive spans 125 years and includes more than 11.5 million images,&rdquo; said Sarah Leen, Director of Photography for National Geographic Magazine. &ldquo;In order to truly capture the breadth and depth of the collection we decided to create a show with 501 images alternating on screens, along with a selection of prints and print mosaics. The result not only reflects the general move in photography and the magazine toward digital imagery, but allows for a dynamic, immersive and richer experience of our archive of photographs. The Annenberg Space for Photography has been a wonderfully collaborative and creative partner in breathing life into this idea, which has been a labor of love for all of us.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibit features an original documentary commissioned by the Annenberg Space for Photography and produced by Arclight Productions that profiles six renowned photographers whose work appears in the October <em>National Geographic</em> issue: Lynsey Addario, Marcus Bleasdale, David Guttenfelder, Abelardo Morell, Joel Sartore and Martin Schoeller. Through interviews, images and behind-the-scenes footage along with commentary from <em>National Geographic </em>editors, the film offers insights into the creation of inspiring images that reveal the unseen, unknown and unexpected layers of our world. In addition, the Photography Space screens a short compilation video comprised of photographers talking about the power of photography and what inspires their work. This compilation will be complemented by a series of longer video interviews with 20 photographers represented in the exhibit and a loop of milestone content videos created over the past several years for the magazine&rsquo;s digital edition.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The Power of Photography: National Geographic 125 Years </em>will run <strong>October 26, 2013 through April 27, 2014</strong>.</span></p> Tue, 27 Aug 2013 14:43:53 +0000