ArtSlant - Recently added http://www.artslant.com/la/Events/show en-us 40 Christiane Lyons - Anna Meliksetian | MJBriggs - April 19th - May 30th <p><span style="font-family: helvetica; font-size: x-small;"><strong>Christiane Lyons</strong></span></p> <p><span style="font-family: helvetica; font-size: x-small;"><strong>A Good Line: Can&rsquo;t Live Without You</strong></span></p> <p><span style="font-family: helvetica;"><strong>April 19th&nbsp; to May 30th&nbsp; 2014</strong></span></p> <p><span style="font-family: helvetica;"><strong>Opening reception: Saturday April 19th&nbsp; 6-8pm</strong></span></p> <p><span style="font-family: helvetica;">Anna Meliksetian and Michael Briggs are pleased to present <em>A Good Line: Can&rsquo;t Live Without You</em>,&nbsp;Christiane Lyons&rsquo; second solo show at the gallery.</span></p> <p><span style="font-family: helvetica;">Lyons&rsquo; practice is driven by an ongoing investigation into the process of painting and the use of&nbsp;appropriated material to recontexualize images and provoke new meanings and visual intepretations.</span></p> <p><span style="font-family: helvetica;">The works in <em>A Good Line: Can&rsquo;t Live Without You</em> are the result of manipulating found imagery by&nbsp;drawing upon the foundational, primary elements of painting.&nbsp;The paintings in Lyons&rsquo; last exhibition, <em>What Goes Around Comes Around</em>, drew upon the notion of the&nbsp;Rorschach inkblot as their primary compositional device, an image of bilateral symmetry, and its use&nbsp;continues in the current exhibition. This bilateral split offers an opportunity to combine normally&nbsp;unrelated source imagery by means of common colors and shapes, as well as less obvious&nbsp;commonalities, such as abstract notions of symmetry especially in relation to time and historical context.&nbsp;</span><span style="font-family: helvetica;">Often Lyons&rsquo; sources are taken from the art historical canon, reflecting her interest the production of art&nbsp;and the historical and social context in which art works were produced, along with their resonance in the&nbsp;contemporary world.</span></p> <p><span style="font-family: helvetica;"><em>A Good Line: Can&rsquo;t Live Without You</em> is comprised of nine works, three different paintings followed by&nbsp;the repetition of each painting three times; one is the original, one is its inverse, or difference, and one is&nbsp;primary-color or black-and-white based. Lyons uses repetition as a tool to further abstract qualities&nbsp;when the paintings are viewed as a group, in addition to the abstract qualities created by the use of&nbsp;Rorschach&rsquo;s bilateral symmetry. Lyons confidently breaks down and reassembles colors and forms,&nbsp;patterns and structures and blurs the lines between abstraction and representation. Not only is Lyons&nbsp;concerned with paintings theoretical history, but also its technical history as well, posing questions&nbsp;about current image making and representation in general.</span></p> <p><span style="font-family: helvetica;"><em>Christiane Lyons received her MFA in Painting/Drawing in 2004 from the University of California LosAngeles (UCLA) and her BA from the University of California, Berkeley. She lives and works in Los&nbsp;Angeles and San Francisco</em>.</span></p> Thu, 17 Apr 2014 20:49:36 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Group Show - De Re Gallery - May 16th 10:00 AM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>De Re Gallery</strong> will open to the public on Friday, May 16.&nbsp; The gallery offers a vibrant new exhibit space where contemporary art from Europe, New York and Los Angeles intertwine, and modern prodigies mingle with established masters.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Initial painting, photographic and sculptural artists to be exhibited include Gretchen Andrew, Alison Bignon, Sophie Dickens, Victor Gingembre, Stephanie Hirsch, Caroline d&rsquo;Andlau Hombourg, Cyrus Mahboubian, Margherita Marzotto, Florence de Ponthaud, Mike Sagato and Stefanie Schneider, whose works will be displayed alongside those by Salvador Dali, Andy Warhol, Tom Wesselmann, Fernando Botero, Banksy and others. &nbsp;</span></p> Thu, 17 Apr 2014 05:49:41 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Group Show - Kayne Griffin Corcoran - May 17th - July 5th Thu, 17 Apr 2014 00:56:47 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - Cardwell Jimmerson Contemporary Art - April 19th - April 19th <p>Cardwell Jimmerson Contemporary Art is pleased to announce its final exhibition,&nbsp;<br />"BM: Retrospective-I."</p> Wed, 16 Apr 2014 08:49:34 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list ROSE CABAT - Couturier Gallery - May 17th - July 5th <div class="Section1"> <p><strong>Rose Cabat</strong> (b. 1914), one of the United States&rsquo; most reclusive ceramists, and certainly one of the oldest of the few well-known mid-20th century ceramists still alive and producing today.&nbsp; Couturier Gallery is honored to present <strong><em>Rose Cabat &ndash; 100 Years</em></strong>, a solo show for the distinguished ceramist celebrating her 100<sup>th</sup> birthday.&nbsp; The show will include her famous &ldquo;feelies&rdquo; &ndash; seductive, wheel-thrown porcelain closed-forms with her satin matte jewel-colored glazes dating from the 1960s to the present.&nbsp; <strong>The opening reception is Saturday, May 17 from 6-8pm.</strong></p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;The list of renowned 20<sup>th</sup> century American ceramists is long and impressive, with the likes of Gertrud and Otto Natzler, Peter Voulkos, Vivika &amp; Otto Heino and Paul Soldner to name but a few.&nbsp; All have in common a link with schools and art centers where they either taught, studied or did both.&nbsp; Rose Cabat, a New York City native, did neither. &nbsp;Her husband, Erni Cabat, an aspiring artist, in the 1930s brought home a lump of clay which Rose promptly began to play with resulting in work that encouraged Erni to enroll her at the Greenwich Settlement House in the Village in New York City where Rose threw simple utilitarian forms.&nbsp; It wasn&rsquo;t until the late 1950s, with the help of Erni, that she developed a glaze they called the &ldquo;feelie glaze&rdquo; which would become part of her signature work.&nbsp; The glaze, a variety of jewel-colored greens, turquoises, cobalt blues, onion-skin browns, whites, lavenders has a satin matte sheen that texturally feels like silk, and applied to the closed-forms ranging from chicken egg size to larger spherical and ovoid porcelain forms called &ldquo;feelies.&rdquo;</p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Rose Cabat has spent the better part of the past fifty-four years &nbsp;perfecting the forms of the &rdquo;feelies&rdquo; imbuing them with a Zen perfection.&nbsp; Like Gertrud Natzler, who when asked why she continued throwing bowls replied she was after perfection, Rose Cabat set her sights on the same ideal.&nbsp; &nbsp;It is one reason why Rose has always preferred to work alone, even today while confined to a wheel chair limiting her mobility and ability to raise herself up to make the larger works she was able to throw when she had use of her legs.&nbsp; She prefers the solitude allowing her precise focus eschewing the slightest interference of another&rsquo;s presence.&nbsp;&nbsp; It is this consistency in her work that has generated a burgeoning interest on the part of curators and collectors alike.</p> </div> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Rose Cabat has taken part in group exhibitions in California (at Los Angeles County Museum of Art (<em>Craftsmen U.S.A.</em>, 1966);&nbsp; ArtGallery, ScrippsCollege, Claremont (1965);&nbsp; Museum West, San Francisco (1966);&nbsp; The Egg and the Eye Gallery, Los Angeles (1967);&nbsp; California State College, Long Beach (1972);&nbsp; and Bannatyne Gallery, Santa Monica (1989). &nbsp;&ldquo;Rose Cabat &ndash; 100 Years&rdquo; pays homage to the work of&nbsp; this exceptional centenarian and will include work illustrating her wide vocabulary of forms and colors produced from the early 1960s through this year.&nbsp;</p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;In March of 2014 The Tuscon Museum of Art launched an extensive retrospective exhibition entitled, Rose Cabat at 100.&nbsp; The work of Rose Cabat has been exhibited throughout the United States, Canada, Iran, Australia, France, Germany, Switzerland and Belgium.&nbsp; Her work can be found in the museum collections of the Everson Museum of Art, Syracuse, NY.&nbsp; Metropolitan Museum of Art, New York, NY; &nbsp;Museum of Arts &amp; Design, New York, NY; &nbsp;Philadelphia Museum of Art, Philadelphia, PA; &nbsp;PhoenixArt Museum, Phoenix, AZ; &nbsp;Renwick Gallery of the Smithsonian Institution, WashingtonDC; &nbsp;TucsonMuseum of Art, Tucson, AZ.</p> Tue, 15 Apr 2014 20:10:44 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Manfred Müller - ROSEGALLERY - April 19th - May 31st <div class="WordSection1"> <p><strong>&nbsp;</strong></p> <div class="WordSection1"> <p><strong>Manfred &nbsp;M&uuml;ller</strong></p> <p><strong><em>Federal Avenue</em></strong></p> <p>April 19 through May 31, 2014</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>ROSEGALLERY is pleased to announce <em>Federal Avenue</em>, an exhibition of new drawings and works on paper by Manfred M&uuml;ller, A reception for the artist and book signing will be held Saturday, April 19, 2014 from six to eight pm.</p> <p>&nbsp;</p> <p>&ldquo;Y<em>ou have to reflect because it balances you... You need to exercise your fingers, to refine the technique&rdquo;.</em></p> <p>&nbsp;</p> <p>Throughout his career in Germany and Los Angeles, M&uuml;ller has made large-scale site specific, sculptures and installations. Utilizing diverse materials such as steel, wood, paper, natural and man-made elements or recycled industrial machine parts. Using architectural space, the industrial landscape and simple geometric form to explore the relationship between form, color, raw material, and the viewer&rsquo;s relationship to object, space and meaning, these works bring together disparate elements uniting in eloquent combinations.</p> <p>Working in a variety of techniques and employing an equally wide range of materials, the drawings, collages and works on paper that M&uuml;ller creates, explore continually evolving approaches to making art. These paper pieces are occasionally studies towards larger projects, but more often serve as a response to what is happening in the studio and are conceived and executed as independent works in their own right. Primarily flat but bearing incised lines or raised edges, so common in his work, the drawings are almost three dimensional, allowing light to play on the surface. M&uuml;ller incorporates subtly nuanced changes in surface, texture, focusing attention on surface detail and the point of contact between, drawn line, fields of color and surface, where edge tension plays a crucial part. M&uuml;ller transforms the humblest of materials into objects of profound poetic beauty. The works on paper continue to serve M&uuml;ller as a rich depository of ideas and ongoing visual diary.</p> <p>&nbsp;</p> <p>Manfred M&uuml;ller was born 1950 in D&uuml;sseldorf, Germany. From 1967 to 1970 he apprenticed as a technical draftsman, receiving his state license as an engineering draftsman. From 1971 to 1975 he studied visual communication at the Fachlochschule D&uuml;sseldorf and from 1976 to 1981 he attended the Kunstakademie in D&uuml;sseldorf, Germany &ndash; studying under Erwin Heerich (1922-2004). After leaving the Kunstakademia in 1981 he was awarded a Cit&eacute; des Artes Scholarship, Paris, France and received important grants from the city of D&uuml;sseldorf in 1983, and the German Industry Endowment of the Arts in 1985.&nbsp;</p> <p>In 1989 M&uuml;ller relocated to Los Angeles and continues to maintain studios in California and Germany.</p> <p>Recent selected solo and group exhibitions include: 2014, <em>Objects are Closer Than They Appear</em>, Los Angeles Municipal Art Gallery, Barnsdall Art Park, Los Angeles, CA; 2011, <em>Framing Abstraction: Mark, Symbol, Signifier</em>, Los Angeles Municipal Art Gallery, Barnsdall Art Park, Los Angeles, CA; 2010,Heidi Cho Gallery, New York, NY; <em>Heliotropo,</em> Galerie Lopez Quiroga, Mexico</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>City, Mexico; 2008, <em>Hidden Cache No. 1</em>, ROSEGALLERY, Santa Monica, CA; 2007, Made in California: Contemporary California Art from the Frederick R. Weisman Art Foundation, Frederick R, Weisman Museum of Art, Pepperdine University, Malibu, CA; 2006, <em>CONTRATO: New Work by Manfred M&uuml;ller</em>, Mike Karstens Galerie, Munster, Germany; 2003, <em>Human Conditions: Demo: The Body Shop</em>, USC Fisher Museum of Art, Los Angeles, CA. 1999, <em>Palacio de Memoria</em>, Museo Universitario del Chopo, Mexico City, Mexico.</p> <p>Public Artworks include: 2002, <em>When a Person Plants a Tree</em>&hellip;, public installation, Civic Center</p> </div> <p><strong>&nbsp;</strong></p> <div class="WordSection2"> <p>and Library, Agora Hills, CA; 2000<em>, Ringrotsiebzehngrad</em> (ringredsevendegrees), Universt&auml;t</p> </div> <p><strong>&nbsp;</strong></p> <p>M&uuml;nster, commissioned by the city of M&uuml;nster, Germany; 1998, <em>Twilight and Yearning</em>, installation beneath the Santa Monica Pier, Santa Monica, CA</p> <p>&nbsp;</p> <p>The exhibition will be accompanied by the recent 2014 publication: <em>Objects are Closer Than They Appear</em>, with essays by Claudia Bohn-Spector and Howard Fox, published by Marquand Books, Seattle.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Quote from in <em>Manfred M&uuml;ller: Things to Remember</em>, Claudia Bohn-Spector, published in <em>Objects are Closer Than They Appear</em>, (Marquand Books, Seattle, p.42)</p> <p>&nbsp;</p> <p>Image: Manfred M&uuml;ller, Untitled, 2009 courtesy of the artist and ROSEGALLERY, Santa Monica.</p> <p>&nbsp;</p> <p><strong>l</strong></p> </div> Tue, 15 Apr 2014 19:54:18 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Dan Burkhart, E’wao Kagoshima, Jakub Julian Ziolkowski, Juanita McNeely - The Box - April 17th - May 24th <p style="text-align: justify;"><span style="font-size: small;"><em><span style="font-family: Arial;">"Modernity" signifies the transitory, the fugitive, the contingent, the half of art of which the other half is the eternal and the immutable.</span></em></span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">Charles Baudelaire,&nbsp;<em>The Painter of Modern Life,</em>&nbsp;1859</span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">When Charles Baudelaire finally published&nbsp;<em>The Painter of Modern Life</em>&nbsp;in 1863 modernity was still an idea in formation. Arising from the hotbed of Romanticism, modernity, Baudelaire posited, put the imagination at the service of synchronous observation and social critique. With this insight&nbsp;<em>The Painter of Modern Life</em>&nbsp;became the seminal document of modern aesthetic criticism.</span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">The artist Baudelaire anointed as the painter of modern life was Constantin Guys. From a contemporary perspective, Guys is an unexpected choice. Baudelaire saw this artist as a&nbsp;<em>fl&acirc;neur</em>, a stroller walking the streets of Paris, taking the fashionable women and prostitutes of the day as the subject of his illustrational watercolors. Today, it is solely in terms of its subject matter rather than its style that Guys&rsquo; art appears modern.</span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">Likewise, Dan Burkhart, E&rsquo;wao Kagoshima, Juanita McNeely and Jakub Julian Ziolkowsky may not look like modern painters, but they are painters of modern life.&nbsp;<em>Fl&acirc;neur</em>s of their imagination, depicting in Baudelaire&rsquo;s terms, the transitory, the fugitive, the contingent; these artists conjure modernity by reverie not style, and are modern not by design but by default.</span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">Dan Burkhart&rsquo;s visionary painting is a major body of contemporary work that is little known. Although he showed with Rosamund Felsen in Los Angeles in the early 1980s and received significant press and collector interest, after moving to New York Burkhart&rsquo;s independence and rigor confounded art world context. Yet his painting resides within the literary anti-transcendentalist context of American romantic and symbolist art that arose from Edgar Allen Poe and received illumination by painters as diverse as Washington Allston, John Quidor and Albert Pinkham Ryder. Poe&rsquo;s sensibility proved instrumental to Baudelaire and his contemporaries and Dan Burkhart gives this radical tradition an ecstatic and original modern presence.</span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">Dan Burkhart was born in Fargo, North Dakota (1952) and lives and works in Moravia, New York.</span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">Born in 1945 in Niigata, Japan where his parents had moved to escape American bombing, E&rsquo;wao Kagoshima is one of a lost generation of Japanese artists, younger than those of the Gutai, but significantly older than the generation represented by Takashi Murakami.&nbsp;&nbsp;Kagoshima&rsquo;s art takes a unique position in the post-War arc of Japanese culture in assimilating Western influences, responding to the sociopolitical fallout from the Second World War and fabricating an exotic and ritualized visual culture drawing upon Oriental tradition and d&eacute;cor, pop culture, violence, eroticism and kitsch.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Arial;">After moving to New York in 1976 Kagoshima&rsquo;s art quickly gained attention, becoming a touchstone in a widely read series of Arts Magazine articles by Nicholas Moufarrege documenting the burgeoning East Village scene. In 1983 Kagoshima had a solo exhibition at The New Museum, where he transformed the museum&rsquo;s space into his studio, working there throughout the course of his show. E&rsquo;wao Kagoshima lives and works in Brooklyn, New York.</span>&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">Juanita McNeely&rsquo;s hauntingly savage figurative painting is central to the first generation of feminist art. Her work is also almost entirely unknown outside a small circle of contemporaries (including Judith Bernstein, Joan Semmel, and Anita Steckel who were, in the early 1970s, the collective subject of a New York Magazine feature on wayward feminists). When the Mitchell Algus Gallery did an exhibition of her work 2006, it was the first time McNeely&rsquo;s paintings had been seen in New York in twenty-six years. Unfortunately, for a woman of her generation this cryptic exile makes sense.&nbsp;&nbsp;&nbsp;Her paintings are passionate, strange, and beautiful. McNeely recognizes that her work is &ldquo;difficult to look at, much less deal with. These subjects continue to be the focus of my &lsquo;still lives&rsquo;&ndash;life, death, birth, pain and women&rsquo;s struggles&hellip;my experiences.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Arial;">Juanita McNeely was born in St. Louis, Missouri in 1936. In college she studied with Allen Kaprow, who became a significant advocate of her independent voice.&nbsp;</span>In the 1970s McNeely showed with several of SoHo&rsquo;s early cooperative galleries. Juanita McNeely continues to live and work in New York.</span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">Jakub Julian Ziolkowski creates hallucinatory worlds that are inhabited by strange and dynamic forms that recall the language of the outsider surrealists such as Henri Rousseau. Vibrant and perverse, anthropomorphic and surreal, Ziolkowski&rsquo;s private language is the symbolic expression of a highly concerted imagination that also was shaped by life in a very small town: Zamosc, where the artist was born in 1980.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Arial;">Ziolkowski trained at the Jan Matejko Academy of Fine Arts, Faculty for Painting and Drawing, Krakow. The Hauser and Wirth Gallery, with whom he has had five exhibitions since 2006, represent the artist. He was recently included in the Venice Biennale 55<sup>th</sup>&nbsp;International Art Exhibition at the as part of&nbsp;<em>The Encyclopedic Palace</em>, curated by Massimiliano Gioni. Jakub Julian Ziolkowski lives and works in Krakow.</span>&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: Arial; font-size: small;">Mitchell Algus opened his gallery in New York in 1992. He gained recognition for exhibiting little-known historical work aimed at a contemporary audience of artists and writers. The gallery opened with an exhibition of Harold Stevenson&rsquo;s New Adam, a forty-foot long reclining portrait of Sal Mineo made in 1962 for &ldquo;Six Painters and the Object&rdquo;, Lawrence Alloway&rsquo;s pioneering Pop Art exhibition at the Guggenheim Museum. Yet upon seeing the completed painting Alloway demurred, saying that its inclusion would distract viewers from the other artists in the show.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since opening, the gallery has reintroduced work by Robert Mallary, Lee Lozano, Judith Bernstein, Boyd Rice, Matha Wilson, Jack Smith and Bill Bollinger, among many others. Mitchell Algus in association with Algus Greenspon, has continued to include emerging work, often in the context of group exhibitions, in an active exhibition schedule.</span></p> Wed, 16 Apr 2014 08:56:06 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list La Porscha Wynne - Human Resources - April 14th - April 16th <p style="text-align: justify;"><span style="font-size: small;">When the Ancients observed certain objects in the heavens which did not hold fixed positions like the stars around them, but rather moved along mysterious orbits of their own, they gave them the name of 'planetoi' or wanderers. Unlike our current conception of nine planets, seven planets were known at this time. As it was understood that all actions of the heavens were mirrored by occurences here on Earth, all knowledge at the time was organized in accordance with these 'wanderers' The humours, or fluids, which controlled human health and temperament; the properties of all known metals; the modes or scales which were used in the creation of music; and the division of time into weeks of seven days.</span></p> <p style="text-align: justify;"><span style="font-size: small;">LaPorscha Wynne and Ossian Winningham are pleased to pay tribute to these seven Planets with the presentation of seven performances, each held on the sacred day of the Planet for which it was named. Our Series begins with three performances:</span><br /> <br /><span style="font-size: small;"> Monday, April 14th : The Moon</span><br /><span style="font-size: small;"> Tuesday, April 15th : Mars</span><br /><span style="font-size: small;"> Wednesday, April 16th : Mercury</span><br /> <br /><span style="font-size: small;"> The Series will be presented at Human Resources Gallery in Chinatown, Los Angeles with Performances beginning at 10 PM nightly.</span><br /> <br /><span style="font-size: small;"> Artist Bio: La Porscha Wynne</span><br /> <br /><span style="font-size: small;"> La Porscha is not an artist.</span><br /><span style="font-size: small;"> As a model or muse she transcends the visions with which she is provided and the desires of her employers to create a persoanl work of truth and beauty in an act of creative alchemy. Working from the disadvantaged position of an African American woman, viewed as a tool by those who would prefer to create mere commercial images in alliance with prevailing trends, she manages to express her essence against all odds to elevate the mundane to the sublime.</span><br /><span style="font-size: small;"> La Porscha sees everything as a base or a shell to reveal or extract a new entity from. Every object that was once readymade or "pret a porter' with a learned conceptual boundary is stripped to its bare element of utilitarian function. Like a prop of minimalist proportions it manifests into a sculptural creation where we see it for its singularity set also in its new identity as a part of a whole of an outfitted work of art. Utilizing the tradition of collage in a three dimensional context, La Porscha transforms herself and her tools into a work of living, dynamic sculpture.</span><br /><span style="font-size: small;"> Faced with a world which would distill her blackness, her sense of style, and the ineffable aspects of her sense of self; her every creative act must utilize an element of destruction in order that she may assert true self expression upon the ashes the ashes of that expression which is relentlessy both taken from and aggressively forced onto her. </span><br /><span style="font-size: small;"> She hopes that this show will inspire you to never accept the confines into which the so-called "art world" would force us, the true creative youth.</span><br /> <br /><span style="font-size: small;"> Artist Bio: Ossian Winningham</span><br /> <br /><span style="font-size: small;"> I began my main musical project, "Bleak End at Bernie's", in an environment resembling the artists salons of the aerly 20th century, where the presentation of concepts and performative trappings held equal if not greater footing than the music itself. An interest in the occult and the ritual context of Renaissance Magic began to inform these performances, until the point the point that I was presenting miniature works of musical theatre under the names "Castle Freak" and "Diving God", creating the music with a revolving cast of musical collaborators and transforming myself into symbolic characters on stage.</span><br /><span style="font-size: small;"> After studying "The Key of Solomon" I began to create invocations to Planetary Daemons on stage with the project " <a href="https://www.facebook.com/pages/Voiheuristick-Necromorph/178037248873478">Voiheuristick Necromorph</a>" in collaboration with the artist Lux Ananda. As these shows became more elaborate I began to feel a mounting frustration with the ephemeral nature of presenting work of this calibre within the context of a DIY Music Show.</span><br /><span style="font-size: small;"> "Seven Planets Seven Days" marks the first time that such work will be presented as performance art in the context of a gallery as opposed to a "music show"</span><br /> <br /><span style="font-size: small;"> With Artistic Collaboration from Michael Shawn and Three Moons</span></p> Tue, 15 Apr 2014 03:21:35 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - La Luz de Jesus Gallery - May 3rd 12:00 PM - 3:00 PM <p style="text-align: justify;"><span style="font-size: small;">La Luz De Jesus Gallery proudly presents our 3rd Biennial Taxidermy show.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This is not your granddady&rsquo;s taxidermy: road kill is a central part of the &ldquo;recycled&rdquo; philosophy of this unusual and enlightening exhibition, as are discarded livestock, destroyed nuisance animals, casualties of the pet trade and animals that have expired from natural causes. Other sculptures utilize taxidermy techniques in an unorthodox way to fashion fantastic beasts from everyday materials&ndash;even the recycled pelts of toy stuffed animals. Elements of technology and decoration combine to create ornaments that approach high art, not only in craft, but in concept.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Materials and even species are mixed, helping to broaden presumptive definitions.</span><br /><span style="font-size: small;"> Pieces in this exhibition span Steam Punk to Rococo -from playful to elegant.</span></p> <p style="text-align: justify;"><span style="font-size: small;">ANIMALS ARE NOT KILLED IN THE WORK, but rather are used to create a conversation about death and taxidermy. Here&rsquo;s a link to pics from the last <a href="https://www.flickr.com/photos/lajoseph/sets/72157629661561118/" target="_blank">Rogue Taxidermy Show in 2012</a>.</span></p> Tue, 15 Apr 2014 03:12:39 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - Steve Turner Contemporary - May 17th 8:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Steve Turner Contemporary</strong> is pleased to present&nbsp;<strong><em>Drawings</em></strong>, a solo exhibition by Los Angeles-based artist <strong>Yung Jake</strong>, featuring&nbsp;a new series of computer-generated drawings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Yung Jake was born on the Internet in 2011. He is best known for his rap videos that integrate the worlds of hip-hop, technology, social media and contemporary art. <em><a class="fancybox-youtube" href="https://www.youtube.com/watch?v=nS7QvOX8LVk" target="_blank">Datamosh</a></em> (2011) parodied the trend in music video of datamoshing (a digital technique that distorts images) while playing to a contemporary digital art audience. In <em><a class="fancybox-youtube" href="https://www.youtube.com/watch?v=pK5WcDTxQ4E" target="_blank">E.m-bed.de/d</a></em> (2012), he commented on the pursuit of Internet fame. His work has been screened at Sundance (2013) and he has performed in Los Angeles at the Hammer Museum and&nbsp;Redcat (2013) and at MOCA (2014). He earned a BFA at CalArts in 2012</span>.</p> Tue, 15 Apr 2014 11:32:22 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Yung Jake - Steve Turner Contemporary - May 3rd - May 31st <p style="text-align: justify;"><span style="font-size: small;"><strong>Steve Turner Contemporary</strong> is pleased to present&nbsp;<strong><em>Drawings</em></strong>, a solo exhibition by Los Angeles-based artist <strong>Yung Jake</strong>, featuring&nbsp;a new series of computer-generated drawings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Yung Jake was born on the Internet in 2011. He is best known for his rap videos that integrate the worlds of hip-hop, technology, social media and contemporary art. <em><a class="fancybox-youtube" href="https://www.youtube.com/watch?v=nS7QvOX8LVk" target="_blank">Datamosh</a></em> (2011) parodied the trend in music video of datamoshing (a digital technique that distorts images) while playing to a contemporary digital art audience. In <em><a class="fancybox-youtube" href="https://www.youtube.com/watch?v=pK5WcDTxQ4E" target="_blank">E.m-bed.de/d</a></em> (2012), he commented on the pursuit of Internet fame. His work has been screened at Sundance (2013) and he has performed in Los Angeles at the Hammer Museum and&nbsp;Redcat (2013) and at MOCA (2014). He earned a BFA at CalArts in 2012</span>.</p> Tue, 15 Apr 2014 03:09:23 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Camilo Restrepo - Steve Turner Contemporary - May 3rd - May 31st <p style="text-align: justify;"><span style="font-size: small;"><strong>Steve Turner Contemporary</strong> is pleased to present <strong><em>El Sue&ntilde;o De La Raz&oacute;n Produce Monstruos </em>(The Sleep of Reason Produces Monsters)</strong>, a solo exhibition by Medell&iacute;n-based artist <strong>Camilo Restrepo</strong>, who creates drawings based on his proximity to the epicenter of drug-related violence in Colombia.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In this, Restrepo&rsquo;s second solo exhibition at Steve Turner, the artist will present works from two series:&nbsp; three large-scale drawings from <em>A Land Reform</em> as well as a group of portraits from a new series, <em>Los Caprichos</em>. In both bodies of work, Restrepo creates images that are based on narco traffickers and the aliases they assume as reported daily in Colombian newspapers. The aliases are often based on television and comic book characters; celebrities; animals; and commercial brands. The childish nature of these assumed identities contrasts starkly to the traffickers&rsquo; vicious, violent behavior.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>A Land Reform</em> consists of seventy individual sheets of paper that are torn from the artist&rsquo;s drawing book and then crudely taped together. Filled with collaged newspaper clippings and Restrepo&rsquo;s cartoon-like characters, the various scenarios are connected by a series of what appear to be red hoses&mdash;or are they veins of blood? The hoses pass through the sheet onto the reverse side where there is another complicated system of hoses, both sides alluding to the interconnected intricacy of the armed conflict in Colombia.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Taking his title from Goya&rsquo;s monumental series of etchings filled with images of human folly, vice and absurdity, Restrepo&rsquo;s <em>Los Caprichos</em> cover much the same territory in contemporary terms. &ldquo;Salvador,&rdquo; a Dali-like character, rides a horse whose head has been cut off while balancing an espresso cup in one hand&mdash;is it filled with coffee, or blood? &ldquo;Cristobal,&rdquo; a cartoon Columbus on bended knee, holds his sword wrapped in a vein of blood in one hand while taking a cell phone selfie with his other hand. The tattered, emblematic sail of the Santa Maria, entwined with an arterial-like ribbon, is beside him.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Each of the portraits in <em>Los Caprichos</em> is surrounded by a distressed white background, one that Restrepo created by removing the top skin of paper, first by weakening it with his saliva, and then, by scraping it away. He then applied tape to heal the wounded paper&mdash;but the scars remain visible, yielding a devastated surface consisting of twelve sheets of paper barely held together, much like Colombian society. But Restrepo&rsquo;s images, like Goya&rsquo;s are not limited to the national environment that inspired them, they carry the weight of universal human madness.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Camilo Restrepo</strong> (born 1973, Medell&iacute;n, Colombia), earned an MFA from CalArts (2013) and a masters degree in aesthetics from the National University of Colombia (2008). He has had solo exhibitions at Steve Turner (2013); Untitled, Miami Beach (2013); Galer&iacute;a Santa Fe, Bogot&aacute; (2011); Casa Tres Patios, Medell&iacute;n (2010); Galer&iacute;a de la Oficina, Medell&iacute;n (2010) and LA Galer&iacute;a, Bogot&aacute; (2009). In 2010, Restrepo was nominated for the Premio Luis Caballero, the most important prize in Colombia for artists over 35.</span></p> Tue, 15 Apr 2014 03:06:54 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Group Show - La Luz de Jesus Gallery - May 2nd - June 1st <p style="text-align: justify;"><span style="font-size: small;">La Luz De Jesus Gallery proudly presents our 3rd Biennial Taxidermy show.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This is not your granddady&rsquo;s taxidermy: road kill is a central part of the &ldquo;recycled&rdquo; philosophy of this unusual and enlightening exhibition, as are discarded livestock, destroyed nuisance animals, casualties of the pet trade and animals that have expired from natural causes. Other sculptures utilize taxidermy techniques in an unorthodox way to fashion fantastic beasts from everyday materials&ndash;even the recycled pelts of toy stuffed animals. Elements of technology and decoration combine to create ornaments that approach high art, not only in craft, but in concept.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Materials and even species are mixed, helping to broaden presumptive definitions.</span><br /><span style="font-size: small;"> Pieces in this exhibition span Steam Punk to Rococo -from playful to elegant.</span></p> <p style="text-align: justify;"><span style="font-size: small;">ANIMALS ARE NOT KILLED IN THE WORK, but rather are used to create a conversation about death and taxidermy. Here&rsquo;s a link to pics from the last <a href="https://www.flickr.com/photos/lajoseph/sets/72157629661561118/" target="_blank">Rogue Taxidermy Show in 2012</a>.</span></p> Tue, 15 Apr 2014 03:10:56 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Aurel Schmidt, Pierre Molinier - M+B - May 3rd - June 21st Tue, 15 Apr 2014 02:48:19 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Rina Banerjee - L.A. Louver - May 8th - June 28th <p style="text-align: justify;"><span style="font-size: small;"><strong>L.A. Louver</strong> is pleased to announce our first&nbsp;solo exhibition for New York-based artist, <strong>Rina Banerjee</strong>. Born in Calcutta, India, Banerjee borrows from her South Asian heritage&nbsp;to create fantastical works that evoke themes of gender, migration and cultural identity. For her West Coast gallery debut, Banerjee will present a new body of work, including drawings on paper, paintings on wood panel, and a selection of assemblage sculptures.&nbsp;</span></p> Wed, 16 Apr 2014 09:11:19 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Nathan Mabry - Cherry and Martin - May 3rd - June 28th <p style="text-align: justify;"><span style="font-size: small;"><strong>Cherry and Martin presents <em>GOODGOD</em>, Nathan Mabry&rsquo;s fourth solo exhibition with the gallery. The exhibition will contain large-scale sculptures and wall-bound intimate sculptures offering further insight into his diverse practice.</strong></span><br /> <br /><span style="font-size: small;"> <em>GOODGOD</em> is a formal exploration of ancient signs and symbols combined with references to current universal gestures, elements of popular culture, spiritual and mythological belief systems and art historical innuendo. Mabry&rsquo;s long term interest in creation myths comes to the fore in this exhibition as one moves from the double-handed gesture of two tectonic minimalist Cor-ten steel hands that are locked in an unending embrace, to the ritualistically weeping fecund figurative fountain to polished bronze dinosaur skulls installed as silent mnemonic instruments. </span><br /> <br /><span style="font-size: small;"> In 2013, the Nasher Sculpture Center presented a solo exhibition, <em>Sightings: Nathan Mabry</em> and his work was selected for the Phoenix Museum of Art Artpick acquisition award. Mabry currently has the six-part sculpture <em>Process Art (B-E-A-G-G-R-E-S-S-I-V-E) </em>on view at the SCAD Museum of Art in Savannah, GA. His work is in such collections as the Dallas Museum of Art (Dallas, TX); Vanhaerents Art Museum (Brussels, Belgium); Hammer Museum (Los Angeles, CA); Museum of Contemporary Art, San Diego; Los Angeles County Museum of Art (Los Angeles, CA); 176 / Zabludowicz Collection (London, UK); The Rubell Family Collection, (Miami, FL) and Whitney Museum of American Art (New York, NY). Nathan Mabry received his BFA from the Kansas City Art Institute and his MFA from the University of California, Los Angeles.</span></p> Tue, 15 Apr 2014 02:42:13 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list