ArtSlant - Closing soon en-us 40 - Armory Center for the Arts - May 24th, 2012 - June 12th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Come experience curious, collaborative, inventive, and inspiring artwork created by local teens who've thrived in the Armory's ArtHigh programs throughout the region. Get a glimpse of the next generation of LA art stars.</span><br /><br /><span style="font-size: small;"></span><br /><span style="font-size: small;">The Armory's ArtHigh Program is made possible by California Arts Council, City of Pasadena Cultural Affairs Division, City of Pasadena Human Services Endowment Fund, Institute of Museum and Library Services, The Rose Hills Foundation, The Rowe and Gayle Giesen Trust, Sony Pictures Entertainment, Surdna Foundation, The Z. Clark Branson Foundation, Los Angles County Arts Commission, National Endowment for the Arts, and The James Irvine Foundation.</span></p> Mon, 04 Jun 2012 16:21:56 +0000 Ed Moses - Ace Gallery- Los Angeles - February 25th, 2012 - June 15th, 2012 <p class="p1" style="text-align: center;"><b>ED MOSES</b></p> <p class="p1" style="text-align: center;">PHASE I<br /> <i>GARDEN OF FORKING TONGUES <br /> (BIFURCATED)</i></p> <p class="p2" style="text-align: center;"></p> <p class="p3" style="text-align: center;">OPENING RECEPTION FOR THE ARTIST</p> <p class="p4" style="text-align: center;">SATURDAY, FEBRUARY 25, 2012 </p> <p class="p4" style="text-align: center;">6:00 - 8:00 PM</p> <p class="p3" style="text-align: center;">ON VIEW THROUGH JUNE 15, 2012</p> <p class="p2" style="text-align: center;">ACE GALLERY LOS ANGELES SECOND FLOOR</p> <p class="p3" style="text-align: center;"></p> <p class="p1" style="text-align: center;"><b>ED MOSES</b> <br /> PHASE II<br /> <br /> <i>GARDEN OF FORKING TONGUES</i><br /> <i>(BIFURCATED)</i></p> <p class="p2" style="text-align: center;">TBA</p> <p class="p2" style="text-align: center;">THIS EXHIBITION INAUGURATES THE OPENING OF <br /> THE NEW FIRST FLOOR GALLERIES <br /> AT ACE GALLERY LOS ANGELES</p> <p class="p1" style="text-align: center;"><b><br /></b></p> Tue, 12 Jun 2012 06:43:04 +0000 Susan Lizotte, Barbara Kolo, Joyce Lieberman - bG BLEICHER/GORMAN - May 26th, 2012 - June 15th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Group Show of artists working is a different way than they usually might. Testing the waters.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bleicher/Golightly announces "Test Pilots II" a short group exhibit of Los Angeles-based artists who are crossing into new territory. Artists were encouraged to exhibit work with different approaches and techniques than they have explored in the past.</span></p> Sat, 22 Feb 2014 15:45:41 +0000 Ehren Tool - Craft and Folk Art Museum - June 1st, 2012 - June 15th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Tool will be on-site at CAFAM for an artist residency between June 1 and June 15, where he will set up a ceramic studio in the courtyard to encourage public conversations and share his work in progress. He will be giving away all the cups he makes at CAFAM.</span></p> Sat, 12 May 2012 18:34:25 +0000 Veronika Kellndorfer - Christopher Grimes Gallery - May 5th, 2012 - June 16th, 2012 Mon, 16 Apr 2012 17:21:56 +0000 Michael Boyd - Edward Cella Art+Architecture - April 28th, 2012 - June 16th, 2012 <p><b>(Los Angeles) Edward Cella Art + Architecture </b>presents its first exhibition of contemporary furniture that advances the gallery’s unique focus on 20th and 21st century architects and designers. The exhibition also represents the debut of <b>PLANEfurniture, </b>an innovative suite of modern furniture created by noted designer and collector Michael Boyd. Inspired by the pioneers of modern design, from Gerrit Rietveld and Rudolph Schindler to Jean Prouvé and Donald Judd, the PLANEfurniture collection attains perfect proportions and a simple, functional beauty.<br /> <br /> The distinctive character of PLANEfurniture is founded in the modernist principles of function and form reinterpreted for today with a simple elegance and economy. Grounded by an extensive and intimate knowledge of the history of modern furniture, Boyd adapts and refines the chair, table and desk, creating altogether new forms that are as rational as they are timeless; livable as they are aesthetically pleasing; and comfortable as they are adaptable.<br /> <br /> Designed and built by hand in Los Angeles, PLANEfurniture is sustainable and affordable. Constructed of harvested, salvaged, or recycled woods by local craftsman, each piece is composed of a few elements, assembled to achieve an interplay of shapes and angles. Ensuring a universality of use, PLANEfurniture is comprised of four systems: PLANKseries, WEDGEseries, BLOCKseries, and RODseries, each logically adapting its central tenet to functional solutions for indoor or outdoor use. Each piece in the collection may be customized by wood, color and size, and will furnish a room, a patio, or an entire house.<br /> <br /> In explaining his inspiration Boyd states, “PLANEfurniture is intended to appeal to all who seek universal solutions to age-old design problems. It is ultimately about trying to reconcile style with logic, passion with discipline.”<br /> <br /> Architect Mark Lee notes, “After decades of collecting, studying and being immersed in the scholarship of modern furniture; Michael Boyd is creating furniture of his own. When looking at the piece made of rudimentary planes, one can sense and deduce their historical lineage while remaining wholly original, and originality that evolved though erudition. PLANEfurniture is of our time and of all time.”<br /> <br /> The exhibition will be accompanied by an illustrated catalogue documenting the collection with essay by noted design critic Michael Webb and designed by Ph.D, A Design Office, <span style="text-decoration: underline;"></span><span style="text-decoration: underline;">.</span><b><br /> <br /> </b></p> Wed, 04 Apr 2012 22:19:48 +0000 Lana Shuttleworth - George Billis Gallery- LA - May 12th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>George Billis Gallery</strong> is pleased to present <strong><i>Ethnomorphic Landscapes</i></strong>, an exhibition of <strong>Lana Shuttleworth</strong>'s recent painting panel works. The exhibition features the artist's recent mixed media landscape works with use of traffic cones and other found materials. The show will be on view through June 16th.</span><br /><br /><span style="font-size: small;">Shuttleworth writes of her work, "Ethnomorphic Landscapes is a series that mirrors the common ground of aspiration for diverse societies by depicting idealized landscapes transforming cross-cultural bi-products into works of art.</span><br /><br /><span style="font-size: small;">As cultures advance in common, humanity still hungers to return to nature where they once harmonized in flowered appreciation of life. The annual cherry blossom fleeting fancy for modern kind was once a vision of femininity to the Chinese, while the Japanese traditionally made it an observation of the similitude between the nature of the blossoming tree and human life. They symbolize a promise of a rebirth or the grace of a gathering beneath the bows for the various peoples that beheld the beauty embodied within the cherry blossom tree. In Sakura, a large-scale 14' X 4' cherry blossom landscape, I invite the viewer into the picture plane to make their own interpretation of these ephemeral flowers.</span><br /><br /><span style="font-size: small;">As groves give way to gravel, the hand of the artist is depended on to bring forth the feast for the eye. "The Park in blue, for Klimt", I modeled after Gustav Klimt's "The Park", created as an image of a shared space preserved in the visual arts and recreated to be revisited. Rare blue and chartreuse safety cones, from my plastic material arsenal, enhance the whimsy and rich hues of this manicured natural scene.</span><br /><br /><span style="font-size: small;">Across the global commons, once diverse landscapes and the societies they support are synchronizing with the ideology of progress in plastic consumption. Plastics are nature-transformed from ancient life remains buried deep beneath the foot of our cultural landscape. Born into service to progress, recovered water bottles, x-ray film and safety cones bear the evidence of life from existing in the world today. Cut, carved and nailed, the surface of these landscapes are assembled with thousands of slivers of plastic and nailed with thousands of brad nails constructing a series of impressionistic mosaics of color intricately laid to create imagery conducive to a return to nature."</span><br /><br /><span style="font-size: small;">Raised in the southeast, Shuttleworth received her BFA from Florida State University and has exhibited throughout southern California including at the Hammer, Barndall, Gallery 825/LAAA, and the Barrett Gallery at Santa Monica College. Her work has been reviewed in the LA Times, Coagula, and ArtScene among others. Her studio is in Downtown Los Angeles.</span></p> Thu, 03 May 2012 07:23:19 +0000 Charlotte Smith - George Billis Gallery- LA - May 12th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>George Billis Gallery</strong> is pleased to present <i>Luscious</i>, and exhibition of <strong>Charlotte Smith</strong>'s new paintings. The exhibition features the artist's recent abstract paintings and continues through June 16th.</span><br /><br /><span style="font-size: small;">Catherine Anspon, author of "Texas Artists Today," writes of Smith's work: "With these new paintings, Charlotte Smith has gone from workmanlike, whimisical, crafty surfaces with encrustation of pleasing piles of paint and pigment to something enticingly lusty - wet and wild, even - and in the process is defining a new way of painting.</span><br /><br /><span style="font-size: small;">To the viewer, we enjoin: Revel in Smith's surfaces, and take note. You are gazing upon a new, vital and optimistic way of painting. These paintings are not understated, but they are beautiful. Surrender to the emotions they invoke; open yourself up to these whorls. What are you capable of perceiving I the depths of Smith's pigment pools?"</span><br /><br /><span style="font-size: small;">Charlotte Smith lives and works in Dallas, Texas. Her paintings have been exhibited in museums and across the United States, such as the Dallas Art Museum, The MAC, the Dallas Center for Contemporary Art, and the Huntington Beach Art Center, and most recently at the Galveston Arts Center, Galveston, Texas. </span></p> Thu, 03 May 2012 07:28:54 +0000 Tim Yankosky, Matt Condron, Alex Roulette - George Billis Gallery- LA - May 12th, 2012 - June 16th, 2012 Thu, 10 May 2012 17:30:42 +0000 Doug Harvey - Jancar Gallery - May 19th, 2012 - June 16th, 2012 <p style="text-align: center;"><span style="font-size: small;">JANCAR GALLERY is pleased to announce a special exhibition of work by Doug Harvey:</span><br /><span style="font-size: small;"> "NEVER PAINT AGAIN" </span></p> <p style="text-align: justify;"><span style="font-size: small;">"The major portion of this exhibit came to me in a dream about 6 months ago – the giant sculptural/architectural painting/installation in the front, leading into the series of collages in the backroom. In the dream it was specifically installed in Jancar Gallery, and I pitched it to Tom on that basis, without expecting him to take me up. I often dream of artworks, but this one was unusual because all the elements for the main piece - some very specific - were materials that I had on hand. </span><br /> <br /><span style="font-size: small;"> Plus I had been looking for a new modular configuration for my collage works, which the dream prefigured. The resulting collages will eventually comprise an experimental non-linear novel of sixty-four 50 X 38 inch pages, entitled “The Cryogenic Angel”, the first chapter of which ("History Lessens") was recently shown at Beacon Arts Building as part of the LOOP show. "Never Paint Again" debuts the second and third chapters, "Eradication Age" and "Lorem ipsum Über Alles".</span><br /> <br /><span style="font-size: small;"> "Never Paint Again" also marks the release of a hand-crafted zine entitled “Pussy Pussy” in a limited edition of 40, edited by me and created in collaboration with other artists. Seven of the 40 are deluxe collectors editions, housed in a set of chairs – unauthorized collaborations with designers Mark Zuckerman and Monty Lawton, a stack of whose transparent plexi “pocket chairs” I found legless on the streets of Culver City, and made whole to the best of my abilities. The idea of using pocket chairs as display/distribution racks for a DIY publication I stole from Mark Dutcher."</span><br /> <br /><span style="font-size: small;"> - Doug Harvey</span></p> Sat, 12 May 2012 18:50:48 +0000 Melissa Cooke - Koplin Del Rio Gallery - May 19th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span face="Times New Roman" style="font-size: small; font-family: arial, helvetica, sans-serif;"><strong><span face="Times New Roman" style="font-family: 'Times New Roman';">Artist Remarks followed by Reception: <br />Saturday, May 19, 5:00 - 7:00 pm</span></strong></span></p> <p style="text-align: justify;"><span face="Times New Roman" style="font-size: small; font-family: arial, helvetica, sans-serif;"><strong><span face="Times New Roman" style="font-family: 'Times New Roman';"></span></strong>Koplin Del Rio is pleased to announce its second solo exhibition of work by emerging artist Melissa Cooke. Her <strong>powdered graphite on paper works</strong> explore themes of beauty, fantasy, violence, vulnerability and identity, with the artist casting herself as subject in a myriad of thematic scenarios.<br /><br /><em>"Surfaced" acknowledges the relationship between photography, painting and drawing in portraiture.  I take photographs as I paint and pour liquids onto myself, using my face as a canvas.  The photo shoots reference the practice of drawing and painting; then the final graphite drawing references photography.  The boundaries between the mediums are broken down and the processes are interwoven.</em><em><br /></em></span></p> <div style="text-align: justify;"></div> <p style="text-align: justify;"><span face="Times New Roman" style="font-size: small; font-family: arial, helvetica, sans-serif;"><em>The images depart from the framing of traditional portraiture.  The viewer is not given an entire bust of the subject; rather the frame zooms into up-close sections of the face.  The cropping pushes the face to the surface of the paper, making the figure more ambiguous.  Flesh becomes abstracted: obliterated by paint on the skin, distorted by the eye of the camera lens, or smeared by the glass of a Xerox machine.</em></span></p> <blockquote> <div style="text-align: justify;"></div> <p style="text-align: justify;"><span face="Times New Roman" style="font-size: small; font-family: arial, helvetica, sans-serif;"><em>Photographs are used as inspiration for drawing and mark making.  </em><em>The drawings are made by dusting thin layers of graphite onto paper with a dry brush.  The softness of the graphite provides a smooth surface that can be augmented by erasing in details.  </em><em>Gestural marks are apparent, while still creating dimension.  Textures are given precedence over portraying a likeness to the figure.   The act of drawing becomes the focus.                        <wbr>    -Melissa Cooke</wbr></em></span></p> </blockquote> <div style="text-align: justify;"></div> <p style="text-align: justify;"><span face="Times New Roman" style="font-size: small; font-family: arial, helvetica, sans-serif;">Melissa Cooke earned an MFA in 2008 from the University of Wisconsin. In the short time since her graduation she has participated in solo exhibitions at the Wisconsin Museum of Art, Perdue Univesity and Brenau University. Recent group exhibitions include Generation Next at the Milwaukee Institute of Art and Design and the Wisconsin Triennial at the Madison Museum of Contemporary Art. In 2011 she was awarded Artist in Residence at the Bemis Center for Contemporary Art. An ardent social activist, Cooke has received fellowships in support of raising awareness about environmental issues through her artwork, including the 2006 Paradise Lost Fellowship and the 2004 Wisconsin Idea Undergraduate Fellowship. She has been awarded numerous scholarships and grants. Her work resides in the esteemed collection of the Arkansas Arts Center. </span></p> Wed, 25 Apr 2012 17:46:48 +0000 Michelle Muldrow - Koplin Del Rio Gallery - May 19th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong><span face="Times New Roman" style="font-family: 'Times New Roman';"><span style="font-family: arial, helvetica, sans-serif;">Artist Remarks followed by Reception:</span><br /><span style="font-family: arial, helvetica, sans-serif;">Saturday, May 19, 5:00 - 7:00 pm </span></span></strong></span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif;"><span face="Times New Roman" style="font-size: small;">Koplin Del Rio is thrilled to host our second solo exhibition of new work by noted landscape painter Michelle Muldrow.  </span><span face="Times New Roman" style="font-size: small;">Having lived in and out of California throughout her life, Michelle Muldrow's visual perspectives on landscape are filtered through her experiences driving through the American west and midwest as a child.</span></span></p> <blockquote> <p style="text-align: justify;"><em style="font-size: small;"><span style="font-family: arial, helvetica, sans-serif;">My work begins as a landscape pain</span>ter and investigates the experience of the repulsion and seduction of the American environment. I am inspired by the theories of Edmund Burke’s treatise on the sublime and its relationship with terror. Exploring the idea that landscape is a critical construct, I conflate exterior and interior space. In these paintings, the big box store exists as Cathedral/landscape, historically the domain of the sublime. My paintings of big box stores are intended to elicit fear and awe. I embrace a sublime that bewilders the senses, an artificial infinite, reflective of the experience of the American landscape.                               <wbr>                              <wbr>                              <wbr>                              <wbr>                            - Michelle Muldrow</wbr></wbr></wbr></wbr></em></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">After many years spent in the Bay Area, Michelle Muldrow now resides in Cleveland Heights, Ohio. She earned a BFA from the University of Minnesota. In 2004 she completed a summer residency program at Cooper Union in New York City. Muldrow was awarded the Creative Workforce Fellowship Grant in 2009. She has shown widely in the United States with work in a number of prestigious private and public collections including the Microsoft Corporate Art Collection and the Cleveland Clinic Art Collection. </span></p> <p><strong><span face="Times New Roman" style="font-family: 'Times New Roman';"><br /></span></strong></p> Fri, 18 May 2012 19:33:58 +0000 Alexander Calder - L&M Arts, Los Angeles - April 27th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;">L&amp;M Arts, Los Angeles is pleased to present an exhibition of artworks by Alexander Calder, some never before seen by the public. The exhibition will bring together over 40 indoor and outdoor works, including mobiles, stabiles and gouaches, that span from 1938 to 1975.</span></p> Sun, 29 Apr 2012 10:48:36 +0000 STEVIE LOVE - Lancaster Museum of Art and History - May 5th, 2012 - June 16th, 2012 <p style="text-align: justify;" align="justify"><span style="font-size: small;"><em>Paint Skins</em> is the title of this body of work because the paint is physically like a skin, and because it is portraying the surface of reality. The underlying vibration of reality may be outside our normal vision, but I am using the physicality of the paint as a metaphor for the existence of the tiny photons and other subatomic particles that comprise our physical world, and even what could be perceived as the nonphysical dimensions of this world.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"><i></i></span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"><i></i></span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Sandro Botticelli painted The Birth of Venus in 15th century Italy. The Italians of his day were enamored of the ancient Roman culture and so he wanted to paint the Roman goddess, Venus, as she was portrayed in ancient Rome as a fully grown woman birthed from the sea. My painting, The Birth of Duality, is inspired by Botticelli's painting and by my studies of the even more ancient culture of India. For 5,000 years the ancient rishis studied their universe and found ways through deep meditation to transcend this apparent world and gain an intuitive understanding of reality or God-consciousness. I myself meditate and oftentimes find myself aware of the underlying vibration of surface reality. My paintings come from my fascination with the dual nature of living on this planet, what we can perceive with our five senses, and what is available to us through other means.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"><i></i></span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"><i><span style="font-size: small;">Intuition inspires my work, but the paintings do not spring up as fully formed ideas. Sometimes I start with something I have seen in nature, or I may have a certain color combination in mind, or I may want a certain paint viscosity, such as thick enough to push around or thin enough to pour. For instance, The Birth of Duality began with my wanting to pour some beautiful blue paint. It wasn't until after the paint dried and curled up at the edges that it reminded me of Botticelli's painting, and the concept developed from there. I never know how things will turn out. A painting will take on a life of it's own and I stay open to the messages it is sending about what is needed next. What is most surprising to me lately is that even the narrative takes shape without my conscious intention. When the painting is done, the story becomes clear to me. Then I give it a title which seems to most represent what the painting is saying. The process is a metaphor for how I live. I do try to be quiet and listen.</span><br /></i></span></p> Sun, 27 May 2012 15:49:23 +0000 Bruce Cohen - Louis Stern Fine Arts - April 28th, 2012 - June 16th, 2012 <div style="text-align: justify;"><span style="font-size: small;">Butter-colored tulips careen towards the open window, their faces turned outwards in hopes of locating sunlight.  But, in Bruce Cohen’s serenely unreal landscapes, gunmetal blue clouds swarm the sky.  Cool, pre-storm light falls through lavender-framed windows.  The sun has gone missing and the unnaturally elongated tulip stems curve and stretch in vain. </span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">In keeping with the Old Master tradition of still life, Cohen infuses commonplace objects with a heightened reality.  Coffee cups glow atop a pile of books.  Each canvas features a supremely refined palette and carefully crafted composition.  Yet, plums mysteriously happen to be the same rosy shade as the stripe on the tablecloth and anemones bloom from an almost unreasonably tall glass vase.  A meticulous play of light and shadow throws the objects into sharp relief and slices into the background planes as if the painter’s brush had become a surgeon’s blade.  Though the subject appears to be simply representational, the illusion created by the painting is surreal.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">Though flowers ‘bloom’ in every image, these are still life paintings with a hard edge sensibility.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">Cohen is based in Los Angeles and has been widely exhibited throughout the United States.  This exhibition marks his initial outing with Louis Stern Fine Arts. </span></div> Thu, 12 Apr 2012 18:10:18 +0000 Robert Overby - Marc Selwyn Fine Art - April 28th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Marc Selwyn Fine Art is pleased to announce an exhibition of work by Robert Overby. This exhibition brings together paintings and drawings from the 1970s that articulate Overby's interest in appropriated imagery, the figure and the underlying structure of painting. Overby constructed images by borrowing fragments of advertising, pornography, book cover illustrations and various other popular ephemera. The juxtaposition of figurative, commercial and non-objective imagery creates complex relationships that build meaning from their disparate sources. Themes of sensuality, tactile qualities and sexuality are explored through fragmented imagery. </span><br /><br /><span style="font-size: small;"> Overby's wide ranging imagery is matched by an equally broad array of painting techniques. Flat and graphic elements are presented alongside lush and painterly surfaces. An underlying grid structure often binds the work together, resulting in a constructed, architectural feel. As Overby wrote "using the grid allows complete range of content from non-objective to figurative." In addition, the composition of Overby's work in the 1970s drew upon the language of Pop painters such as Rosenquist and Wesselman yet foreshadowed the appropriationist painters of the 1980s like David Salle. </span><br /><br /><span style="font-size: small;"> Robert Overby was born in Illinois in 1935 and died in Los Angeles in 1993. Prior to his work as a fine artist, he was an accomplished graphic designer who created logos and other graphic materials for Toyota, Boeing, MGM, IBM and The Museum of Modern Art. </span><br /><br /><span style="font-size: small;"> In May of 2000 the UCLA Hammer Museum presented the first retrospective of his work; Robert Overy: Parallel, 1978-1969 curated by Terry Meyers. This exhibition sparked new interest in Robert Overby, as evidenced by numerous acquisitions of important works by the Museum of Modern Art in New York, the San Diego Museum of Contemporary Art, The San Francisco Museum of Modern Art, the Los Angeles Museum of Contemporary Art and the Los Angeles County Museum of Art, among others.</span></p> Thu, 26 Jul 2012 15:50:02 +0000