ArtSlant - Recommended http://www.artslant.com/la/Events/show en-us 40 Fritz Faiss, George Luks, Arnold Mesches, Howard Warshaw - Vincent Price Art Museum - May 20th, 2011 - May 20th, 2013 <p style="text-align: justify;"><span style="color: #944a18; font-family: arial, helvetica, sans-serif; font-size: small;"><em>PLEASE NOTE: VPAM will be closed to the public from June 19 to July 4 2012.</em></span></p> <p style="text-align: justify;"><span style="color: #944a18; font-family: arial, helvetica, sans-serif; font-size: small;"><em>Modern Expressions of Figure and Form</em> showcases modern art works in a range of media, techniques, and styles, highlighting representations of the human form among the holdings of our permanent collection. This exhibition presents works that take the figure as its focal point, from portraits and studies of the human form to images of devotion, recreation and abstraction. We can learn a great deal about the history, customs, values, and beliefs of any given culture by considering the ways in which its artists characterize the human form. Indeed, the art of the human figure is instructive in revealing the myriad ways we see ourselves.</span></p> <p style="text-align: justify;"><span style="color: #944a18; font-family: arial, helvetica, sans-serif; font-size: small;">This exhibition was co-organized by Surana Singh-Bischofberger, Assistant Professor of Art History at East Los Angeles College, and the Vincent Price Art Museum.</span></p> Fri, 01 Jun 2012 10:46:54 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - Vincent Price Art Museum - June 21st, 2011 - June 21st, 2013 <p style="padding-left: 30px; text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;"><span style="color: #0081b5;">PLEASE NOTE: VPAM will be closed to the public from June 19 to July 4 2012.</span></span></p> <p style="padding-left: 30px; text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;"><span style="color: #0081b5;">VPAM’s permanent collection includes artworks from ancient civilizations in Central and South America, with a concentration of art from West Mexico and Peru. This show highlights a wide range of cultures from the </span><span class="Apple-style-span" style="color: #0081b5;">Pre-Columbian period, from the Nayarit-Colima-Jalisco region of West Mexico (2000-1000 BCE) to the Chimú of Peru (900-1500 CE), among others.</span></span></p> <p style="text-align: center;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/6357/9t7/20110705091737-7.jpg" /></p> Fri, 01 Jun 2012 10:46:30 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Group Show - Palm Springs Art Museum - January 21st, 2012 - May 27th, 2012 <p style="text-align: justify;"><span style="font-size: small;">ANNENBERG WING</span></p> <p style="text-align: justify;"><span style="font-size: small;">As part of the Getty Foundation’s <em>Pacific Standard Time: Art in L.A., 1945-1980</em> regional initiative, <em>Backyard Oasis</em> examines swimming pools in photographs from 1945 to 1982 as visual analogs of the ideals and expectations associated with Southern California. These images of individual water-based environs in the arid landscape are an integral part of the region’s identity, a microcosm of the hopes and disillusionments of the country’s post-World War II ethos. As a private setting, the backyard pool became a stage for sub-culture rituals and clandestine desires. As a medium, photography became the primary vehicle for embodying the polar emotions of consumer optimism and Cold War fears. Crossing the boundaries of popular and high culture, commercial merchandising, journalistic reporting, and vernacular memorabilia, photography conveyed the developing ideologies of the period. As such, its visual language forms a network of discursive topics that open onto each other, offering a rich study of physical and cultural geography. For the first time, this exhibition, its catalogue, and attendant programs trace the integrated histories of photography and the iconography of the swimming pool, bringing new light to aspects of this complex interaction. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Backyard Oasis</em> will contain approximately 135 framed works of archival photography and significant exhibition prints along with selected ephemera and film clips presented through DVDs on flat-screen monitors. The exhibition, organized by Senior Curator Daniell Cornell, will trace the development of art and cultural history within the following thematic groups: California Architecture and Design, Hollywood and Celebrity Culture, The Shape of Desire and Dreams, The Utopian-Dystopian Topos of Suburbia, and The Pacific Ocean as Context.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Symposium</span></h2> <p style="text-align: justify;"><span style="font-size: small;">A two-day symposium was held Saturday and Sunday, November 20-21, 2010, in Palm Springs to present the mid-point research findings of the five-member research team. Panel sessions offered a forum to expand their findings through discussions with seven to ten additional experts in the related fields of modernist design, media, popular culture, and the visual and photographic arts. The symposium included an introductory address and keynote speech.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Catalogue</span></h2> <p style="text-align: justify;"><span style="font-size: small;">The exhibition’s accompanying publication will contain an introductory essay providing an overview of the development of the swimming pool and its attendant aesthetic and social culture. Authored by the exhibition’s organizing curator and its contributing research team members, the catalogue’s five chapters are: <em>Exposed Desires: Poolside Reflections on Celebrity</em>, Daniell Cornell, Senior Curator and Deputy Director for Art, Palm Springs Art Museum; <em>Dystopia and the Swimming Pool</em>, Dick Hebdige, Professor of Art, University of California, Santa Barbara;<em> From Beefcake to Skatecake: Subcultures and Masculinity</em>, Tyler Stallings, Director, Sweeny Art Gallery, University of California, Riverside;<em> Designing Nature: The Pool in the Garden</em>, Robert Stearns, Independent Curator and Project Coordinator, Palm Springs;<em> Swimming Alone: The Backyard Pool in Cold War California</em>, Jennifer Watts, Curator of Photographs, Huntington Library, San Marino.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The catalogue provides an opportunity to extend the exhibition’s content with additional images drawn from print and other media. It will contain approximately 250 pages and include 150-200 images in color and black and white.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Additional Programs</span></h2> <p style="text-align: justify;"><span style="font-size: small;">During the exhibition in 2012, additional lectures will be presented along with educational programs designed for K-12 and college and university audiences including a panel discussion January 21st. A film program will survey the wealth of popular and vanguard cinematic creativity engendered during the period.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Pacific Standard Time: Art in L.A. 1945 - 1980</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Pacific Standard Time is a collaboration of more than sixty cultural institutions across Southern California, coming together for six months beginning in October 2011 to tell the story of the birth of the Los Angeles art scene and how it became a major new force in the art world. Each institution will make its own contribution to this grand-scale story of artistic innovation and social change, told through a multitude of simultaneous exhibitions and programs. Exploring and celebrating the significance of the crucial post-World War II years through the tumultuous period of the 1960s and 70s, Pacific Standard Time encompasses developments from modernist architecture and design to multi-media installations; from L.A. Pop to post-minimalist; from the films of the African American L.A. Rebellion to the feminist happenings of the Woman’s Building; from ceramics to Chicano performance art; and from Japanese American design to the pioneering works of artists’ collectives.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Initiated through $10 million in grants from the Getty Foundation, Pacific Standard Time involves cultural institutions of every size and character across Southern California, from Greater Los Angeles to San Diego and Santa Barbara to Palm Springs.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Backyard Oasis is just one of the many exhibitions and events organized by Pacific Standard Time. To view the Pacific Standard Time web site, go to <a href="http://www.pacificstandardtime.org/" target="_blank">www.pacificstandardtime.org</a></span></p> <p style="text-align: justify;"><span style="font-size: small;"><img src="http://www.psmuseum.org/content_files/exhibitions/backyard-oasis/pacific-standard-time.jpg" alt="" width="624" height="89" /></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Backyard Oasis: The Swimming Pool in Southern California Photography, 1945-1982</em> is organized by the Palm Springs Art Museum. The exhibition and catalogue are funded through a lead grant from The Getty Foundation, with additional support provided by David Knaus, the James Irvine Foundation, the Architecture and Design Council, the Photography Collection Council, and Yvonne and Steve Maloney. The Ace Hotel and Swim Club is the official hotel sponsor of the exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><img src="http://www.psmuseum.org/content_files/exhibitions/backyard-oasis/james-irvine-foundation.jpg" alt="" width="250" height="22" /></span></p> <p style="text-align: justify;"><span style="font-size: small;">To read the press release on this exhibition, click <a href="http://www.psmuseum.org/content_files/press_releases/11-30-2011-Backyard-Oasis.pdf" target="_blank">here</a>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For a list of media-approved images, click <a href="http://library.constantcontact.com/download/get/file/1011350077016-2630/Backyard+Oasis+Images+for+Media+Reproduction.pdf" target="_blank">here</a>.</span></p> Fri, 17 Feb 2012 15:29:40 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Ethan Turpin - UCR/California Museum of Photography - January 14th, 2012 - June 30th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><b><i>Ethan Turpin: Stereocollision </i></b>is a series of digitally-recomposed historical images drawn from the California Museum of Photography’s Keystone-Mast Collection, world’s largest stereoscopic photography archive. In his first solo museum exhibition, Ethan Turpin creates new narratives from the historic photographs steeped in twenty-first century meaning. Collecting elements from historic photographs which were originally intended as documentary and educational, he digitally recomposes them to create fantastical images with a sly sense of humor and a strong sense of the cause-and-effect relationships between nineteenth and twentieth century practices and contemporary social, cultural, spiritual, and ecological issues.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Stereoscopic photographs, which allowed viewers to see the world three-dimensionally by looking at images through a special viewer, were at their peak of popularity during the Second Industrial Revolution in the late nineteenth and early twentieth centuries. The Keystone View Company, the largest of the stereoscopic photography companies, dispatched door-to-door salesmen throughout the United States to sell stereo photographs mounted on thick cardstock, espousing their significance as an educational tool and a way to see the world from one's own living room. Millions of stereo cards were sold.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In re-appropriating imagery and combining scenes, Turpin creates new narratives from the historic photographs steeped in twenty-first century meaning. In his original <i>Stereocollision </i>series, "Global Curiosity," Turpin unflinchingly combines images and text from disparate stereo cards in the Keystone View Company's "Tour of the World" set. In "The Gilded Garden," Turpin considers the twenty-first century consequences of the industrial growth from the Second Industrial Revolution in images that address changing civilization and ecological instability. Where Keystone's world tour was attempting to educate and entertain (within rather imperialistic parameters), Turpin's contemporary stereo cards draw attention to cultural haves and have-nots, making biting social and political commentary while creating surrealistically believable imagery. Special for this exhibition, Turpin installed a series of new stereoscopic images in the museum's 1905 Cail-o-Scope nickel-operated viewer, allowing his work to mix the old and the new seamlessly.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Complementing Turpin's work are images selected from the Keystone- Mast Collection. These photographs range from straightforward historical documents to the images of foreign cultures Keystone promoted as educational (but to the modern viewer may sometimes seem discomfiting). These photographs illustrate some of the material that influences Turpin's work and help to further demonstrate the ways in which his work transcends linear time to compress history and culture in new ways. Although seemingly direct and unambiguous, some of the Keystone images are as surreal and strange as they newly created ones created by Turpin.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>Ethan Turpin: Stereocollision</strong></em> has been organized by UCR California Museum of Photography, and curated by Leigh Gleason, Curator of Collections, UCR California Museum of Photography.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br /></span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><strong><span style="font-size: small;">About the Artist</span></strong></p> <p style="text-align: justify;"><span style="font-size: small;">Ethan Turpin uses cameras to challenge and inform our view of the world. His creative practice spans across old and new media to experiment with visual and societal perception, most recently examining human relationships with nature. In the year 2000 he founded Bright Eye Cinema to create documentaries, promotional content, and video environments. Ethan Turpin’s mixed media, photography, video, print, and site-specific installation works have shown at Edward Cella Art and Architecture, Kala Art Institute, The Elverhoj Museum, Santa Barbara Contemporary Arts Forum, Perch Art Studio/Gallery, Robert Tat Gallery, Atkinson Gallery, and Krowswork Gallery. The 2010 Visions From The New California Award was granted to Turpin for his work with historical stereo photography. He received a BFA in 1997 from the Kansas City Art Institute. For more information on Turpin’s process for a creating “Stereocollision” see the video section of the artist’s website: http://ethanturpin.com.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br /></span></p> Thu, 31 May 2012 17:31:35 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Gerit Grimm - Long Beach Museum of Art - March 15th, 2012 - July 8th, 2012 Thu, 02 Feb 2012 21:01:53 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list KJ SCHUMACHER - Aran Cravey - April 28th, 2012 - June 3rd, 2012 <p>Opening Reception: Saturday, April 28, 2012, 7pm-9pm</p> <p>Aran Cravey Gallery is pleased to present the debut exhibition of artist KJ Schumacher’s new series of paintings, Cherokee Park.</p> <p>Steeped with a profound sense of tradition, Schumacher’s recent works draw inspiration from Richard Diebenkorn’s iconic Ocean Park Series. Though, as the artist points out, the influence derives less from a stylistic relation, than it does from an admiration for Diebenkorn’s bold artistic transitions.</p> <p>Schumacher, like Diebenkorn earned a formal education in both the history and classical training of fine arts. In the studied discipline of the studio practice, Schumacher formed an earnest respect for the preliminary preparation and fundamental elements of the painting process. In his new series of work, he builds upon his strong formal foundation, using the structured matrix of the composition as a point of departure. These works signal a stylistic leap for the artist as the objective constructs of representationalism become the very objects of presentation.“This work is about mark making and the studio process. Moreover, it is about the marks left over as a result of the studio process, the remnants,” states Schumacher.</p> <p>After moving his studio to Cherokee Park, a historic residential section of Nashville, Schumacher found a new perspective on painting’s fundamental elements. Ground, Line and Mark became the focus of an entirely new series to which he gave the name Cherokee Park, numbering them chronologically as Diebenkorn had done with his new series of works inspired by a studio move to the Ocean Park area of Santa Monica, California.</p> <p> The intentionality with which Schumacher recognizes and then exploits the studio process sets up a duality between accident and intention that allows for new elemental arrangements. The hierarchal order of gesture is flattened and the drip, scrape and smudge become level with the brush stroke. From the early works on paper (CP 20-28), the chalk line and ruled matrix emerge as central motifs and evolve throughout the series, creating a metaphor for structure both in and out of the studio.</p> <p> What develops from contingent marks left after pulling linoleum print blocks becomes a catalyst for the intersection of order and incident. The layering of the chalk-lined paper over the ink washed remnant in CP-20 introduces not only the ruled structure of the palimpsest as a series inciting element, but establishes the imposed juxtaposition of construct and contingency, which Schumacher uses as a foundation for process improvisation. Within the confines of the classical line matrix, the artist explores the boundaries between repetition and variation, finding a visual tension that stretches compositional limitations, creating a dynamic equilibrium that teases the viewer with its insinuating potential for aesthetic anarchy.</p> <p> In the large, black and white acrylic on canvas, CP-85, Schumacher teeters closest to the edge of his own compositional paradigm with the introduction of text. Three columns of black, stenciled letters vertically line the left side of the canvas, spelling out the words “Gentleman, Scholar, Athlete,” a reference to Montgomery Bell Academy, the boys prep school where Schumacher is a professor, as well as an alumnus. These three words form the pillars of the academy’s ideal standard to which students aspire. In CP-85, the textual triad is disjointed, its lettering sectioned into three stacks causing the viewer to question its content, and the surface appears partially erased, further undermining the maxim’s authority. With its displaced, stenciled lettering, stark palette, and process-as-product aesthetic, CP-85 pays homage to another of Schumacher’s artistic influences, the painter Christopher Wool. Similarly incorporating printmaking techniques into his painting process, Schumacher achieves the textual, dead-pan delivery and structural subversion for which Wool has become known through his socially biting, text-based paintings.</p> <p> Structural implementation plays the worthy adversary in Schumacher’s new body of work. Whether, it is “Ground, Line, Mark” or “Gentleman, Scholar, Athlete,” Schumacher manipulates the confines of the construct, disrupting its authoritative hierarchy, while still maintaining the formal appeal, thus, producing a visual dynamic, which is as menacing as it is meticulous.</p> <p></p> <p>KJ Schumacher (b.1978) was born in Nashville, where he now lives and works. He studied Art History, Fine Arts and Painting at Parsons School of Design in Paris and was awarded the Presidential Arts Scholarship from George Washington University in Washington D.C., where he graduated in 2001 with a Bachelor of Arts. Schumacher’s work is included in prominent collections throughout the southeast and has been exhibited in solo and groups shows in Nashville, Atlanta, London and New York. He is a professor of Fine Art at the prestigious Montgomery Bell Academy in Nashville. He is married to Erin Schumacher and is the father of their new baby girl, Amelia.</p> <p> </p> <p class="Body">                    </p> Fri, 20 Apr 2012 22:03:19 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list