ArtSlant - Recently added http://www.artslant.com/la/Events/show en-us 40 Wendell Dayton - LA Artcore Brewery Annex - May 31st 12:00 PM - 5:00 PM <p>Artist Reception for Closing - Please join us...</p> <p>The artist will be in attendance on Sunday and refreshments will be served.</p> <p><img style="float: left; margin: 10px;" src="http://dbprng00ikc2j.cloudfront.net/userimages/840035/100cn/20150528213937-portrait.jpg" alt="" /></p> Fri, 29 May 2015 01:17:15 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Henry Vincent - Patrick Painter Inc. - June 13th - July 3rd Thu, 28 May 2015 18:43:33 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Nancy Monk - Craig Krull Gallery - May 30th - July 11th <p><strong>Nancy Monk</strong><br /><br /> BRASS (or the order in which they present themselves)<br /><br /> While on a road trip in Minnesota, I found a brass elephant in a second-hand store. It spoke to me like objects tend to do on occasion. The elephant traveled with me back to California and years later initiated the Brass series of 18 X 24" paintings. The brass objects appear to be on a horizon line or a tight-rope. One view is grounded where the other view is precarious. Initially I did not see the elephant painting as part of a series, but new brass objects keep appearing, like the brass Magi. He is part of my nativity scene that friends bought in a hardware store in Mexico. I unpack the scene every Christmas. After Christmas, I repack the decorations for storage. Somehow, the wise-man fell on the floor and didn&rsquo;t get re-packed with the group. I imagined that he is the one carrying the gift of gold. After I painted the Magi, a brass pig appeared. While visiting my brother and his wife in Sun City, Arizona, I found it on their bookshelf. Their granddaughter had wanted a real pig as a pet. As an alternative, they had bought her the brass pig.</p> Wed, 27 May 2015 00:37:49 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Michael Deyermond - Craig Krull Gallery - May 30th - July 11th <p><strong>Michael Deyermond</strong><br /><br /> thoughts on my life and art<br /><br /> i dont know why people think being an artist is so much fun<br /> does trying to save your life everyday sound like fun<br /> <br /> not being understood and feeling out of place in the world makes me sad and lonely.<br /> the words i employ and images i conjure in my work are my only chance for salvation.<br /> <br /> because i am unhireable my commitment to art is unwavering<br /> <br /> while the whole world is trying to think outside the box, live off the grid, do something spontaneous and live a life of adventure i would give anything to be safe inside that box with a little bit of heat, something to eat and a smidgen of routine security. <br /> <br /> <br /> xo md</p> Wed, 27 May 2015 00:32:48 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - Couturier Gallery - June 6th - July 18th <p>Murals are a familiar part of the Los Angeles landscape, however, the public may be less familiar with the more intimate studio work of these highly visible artists.&nbsp; Such pieces, although prized by institutions and private collectors, often go unseen by the general public.&nbsp; In 1990, Couturier Gallery examined the studio work of five pioneering mural artists. Now, 25 years later, the gallery revisits those artists alongside a new generation of painters with <strong><em>L.A. Muralist: In Their Studios II</em></strong>.&nbsp; They include: <strong>Christina Angelina, David Botello, Pablo Cristi, Wayne Healy, Judithe Hern</strong><strong>&aacute;</strong><strong>ndez, Alex &ldquo;Defer&rdquo; Kizu, Augustine Kofie, Lydiaemily, Kent Twitchell, John Valadez </strong>and<strong> Richard Wyatt</strong>.&nbsp; <strong><em>L.A. Muralists: In Their Studios II</em></strong> will run from June 6 &ndash; July 18, 2015.&nbsp; The artists&rsquo; opening reception will be held, Saturday, June 6, 6-8pm.<strong>&nbsp; Note that 10% of all proceeds will go to benefit the Mural Conservancy of Los Angeles (MCLA).</strong></p> <p>&nbsp;</p> <p>The importance of murals in society is not only for their artistic beauty, but also the sociopolitical commentary they provide.&nbsp; DiegoRivera and others spearheaded the Mexican mural movement of the 1930s, the political and aesthetic impact of which can still be appreciated today.&nbsp; In the latter part of the 20<sup>th</sup> century, Los Angeles saw a renaissance in mural projects with commissions along roadways, in public lobbies and large-scale brand advertising on the exterior of commercial and residential spaces.&nbsp; Such public murals, both old and new, act as a visual marker for neighborhoods by reflecting its inhabitants and providing a sense of community and identity through the shared ownership of these iconic works.&nbsp;&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>The difference between these public works for which these artists are known, and the work done in their studios, is the more personal viewpoint in the latter.&nbsp; By their very nature public murals, more often than not, include a consensus of thought beyond the control of the artist.&nbsp; By venturing into their studios we get a private glimpse behind the facade of these public artists and see the personal imagery and subject matter that resonates within and helps define them as the fine artists they are.</p> Tue, 26 May 2015 20:51:43 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Jaime Scholnick Gaza - CB1 Gallery - June 6th - July 18th <p style="text-align: justify;">For her upcoming exhibition, <a href="http://cb1gallery.com/project/jaime-scholnick/" target="_blank">Jaime Scholnick</a> takes on the serious and disturbing issue of the Israeli &ndash; Palestinian conflict. During the months of July and August, 2014, the Israeli army launched a systematic bombardment of the people of Palestine. The term is known as &ldquo;Mowing the Lawn&rdquo; and is a periodic &ldquo;cleansing&rdquo; of the Palestinian Territories (every 2-3 years). There are many rationalizations for these acts, which summarily kills innocent victims, mainly women and children. <em>Gaza; Mowing the Lawn</em>, takes a cue from Picasso&rsquo;s Guernica or Goya&rsquo;s moving paintings of the Spanish Civil War.</p> <p style="text-align: justify;">&ldquo;Over the 50 days these latest &ldquo;mowing the lawn&rdquo; attacks occurred, I was getting dozens of horrific pictures sent to me over the internet. They were graphic, tragic and so incredibly sad. It was hard to look at them. I started drawing over them, in part, as a way to make myself look at the carnage and realize that this was happening to babies, children, women, families. I felt that doing these paintings, lovingly, was my attempt at honoring these victims,&rdquo; says Scholnick.</p> <p style="text-align: justify;">Scholnick&rsquo;s paintings/collages became individual prayers allowing her to work through this incomprehensible period of violence she was being shown. The result is a series of 50 scenes captured during 50 days in the summer of 2014 in Gaza. As one is drawn into these individual pieces you are seduced by the overall line work. Because it is now art, it becomes easier to gaze upon the subject. One can uncover layers of reality, wrapped in line.</p> <p style="text-align: justify;">Scholnick adds, &ldquo;Someone asked me lately, after looking at this series, &ldquo;whose side am I on?&rdquo; My answer was simply, &ldquo;I am against ALL of it! There is absolutely no justification for this type of inhumanity towards any human!&rdquo;</p> <p style="text-align: justify;">Jaime Scholnick received her MFA from the Claremont Graduate University in 1991. From 1994 &ndash; 1999 she resided in Japan, studying paper making and immersing herself in Japanese society. Awarded a paper making residency from The Museum of Art, Tokyo (1997), Ms Scholnick&rsquo;s work has been included in exhibitions in Japan as well as Amsterdam and Berlin. Scholnick&rsquo;s work has been shown throughout the US and locally including CB1 Gallery, Angles Gallery, P&Oslash;ST, The Torrance Art Museum, Defamation of Character at PS1, Cross-Cuts at Otis College of Art &amp; Design, Big Plastic at The Armory Center for the Arts, and Guns and Knives, Fahrenheit Gallery, Kansas City, MO. Her video short Hello Kitty Gets A Mouth has been included in various film festivals such as The Santa Fe Film Festival, Women In The Directors Chair Film Festival, Chicago, Kansas City Filmmakers Jubilee, Kansas City, MO and The Silverlake Film Festival.</p> Mon, 25 May 2015 18:00:04 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Jennifer Wynne Reeves - CB1 Gallery - June 6th - July 18th <p style="text-align: justify;">CB1 Gallery&nbsp;is honored to present the first Los Angeles/California/West Coast solo exhibition of&nbsp;<strong><a href="http://cb1gallery.com/project/jennifer-wynne-reeves/" target="_blank">Jennifer Wynne Reeves</a></strong>&nbsp;works,&nbsp;<em><strong>A Bolt of Soul: Grooved Foreheads and Dog Teeth</strong></em>,&nbsp;from June 6 &ndash; July 18, 2015, at 1923 South Santa Fe Avenue, Los Angeles, CA 90021. This exhibition will coincide with the one-year anniversary of her passing on June 22, 2014.</p> <p style="text-align: justify;">The following text is from the BravinLee Programs press release for their Fall 2014 exhibition of works by Jennifer Wynne Reeves, who had passed after a battle with brain cancer at the age of 51. It is reprinted with permission:</p> <p style="padding-left: 30px; text-align: justify;">Jennifer Reeves&rsquo; life was cut too short when she succumbed to brain cancer on June 22nd at the age of 51. Reeves is known for creating a body of paintings, drawings and photographs that speak to and confront formalist and humanist dilemmas. But beyond her reputation and achievements in the art world, Reeves enjoyed a considerable fan-base as a result of her astonishing Facebook presence where she chronicled and interwove her art and diaristic prose, living her life out loud, inviting her followers to take pieces of her and receive inspiration.</p> <p style="padding-left: 30px; text-align: justify;">For better or worse Reeves was a painter&rsquo;s painter. While she achieved a great measure of commercial success in her too abbreviated life, Reeves was best known and respected by artists who recognized her powerful skills of blending painterly style and manipulating materials in an alarmingly appealing way, avoiding the pitfalls that push abstraction against representation. Reeves was able to mine life&rsquo;s deeper underlying enigmatic and elusive narratives and emotions by the taming of opposites. Combining color-field, minimalism, narrative painting, process art and expressionism, Reeves rejected low thread count, muted, mock solemnity.</p> <p style="padding-left: 30px; text-align: justify;">Reeves enjoyed solo exhibitions at Art &amp; Public in Geneva, Gian Enzo Sperone in Rome, The Worcester Art Museum in Massachusetts, and Max Protetch and Ramis Barquet in NYC. Her most recent solo show was at BravinLee programs in 2013. Reeves was also celebrated for her writing. She produced a graphic novel, The Anyway Ember in 2008 and Soul Bolt a book of her set-up photography and prose in 2012. In 2012 she was selected as a John Simon Guggenheim Fellow.</p> <p style="text-align: justify;">The CB1 Gallery exhibition will be comprised of a selection of works from 2010-2014 in one large gallery &ndash; in addition, a selection of works from Jennifer&rsquo;s 1997 <em>Place</em> series (shown at the time of their creation at Lemberg Gallery, Birmingham, Michigan, and the title of her memorial exhibition at BravinLee Projects New York in September/October 2014) will be shown in our project gallery.</p> Mon, 25 May 2015 17:58:32 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Kurt Kauper - ACME - June 6th - July 11th <p>*ACME. is pleased to present a solo exhibition of new paintings by New York based artist Kurt Kauper.</p> Mon, 25 May 2015 17:48:54 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Michaela Eichwald - Overduin & Co. - June 28th - August 1st Mon, 25 May 2015 16:39:00 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - Santa Monica Museum of Art - May 26th - May 28th <p style="text-align: justify;"><em><strong>We&rsquo;re moving &ndash; Take home a piece of the Museum<br /></strong></em>Don&rsquo;t miss this rare opportunity to sift through 17 years worth of culture-making and creativity. The Santa Monica Museum of Art is preparing for a move with an estate sale of epic proportions. Everything must go, and the vast offerings include Stephen Keene-painted furniture, artist-designed plates, a plethora of art books and catalogues, bookshelves, vintage steelcase desks, tanker chairs, TVs, cameras, speakers, microphones, projectors and other tech equipment, gallery vitrines and pedestals, high-quality art supplies, and even some pink bean bag chairs.</p> <p style="text-align: justify;"><strong>Sale Schedule:</strong> <br /><strong>Tuesday, May 26 | 9am to 2pm </strong><br /><strong>Wednesday, May 27 | 8am to 2pm </strong><br /><strong>Thursday, May 28 | 9am to 12pm </strong></p> <p style="text-align: justify;"><strong><br /></strong></p> <p style="text-align: justify;">For the last 17 years, SMMoA has called the Bergamot Station Arts Center its home. At the end of May, the Museum will enter a phase called SMMoA Unbound, a planned gestation period to refine its vision and broaden its reach. As part of SMMoA Unbound, SMMoA will leave its current location and organize its next exciting roster of exhibitions, education, and outreach initiatives from interim office space in Century City.</p> <p style="text-align: justify;"><em>A portion of sale proceeds will support the Santa Monica Museum of Art. The sale is being organized by Estate Sales Los Angeles, and the sale website can be accessed at <a title="estatesales.org" href="http://estatesales.org/santa-monica-ca-estate-sales/santa-monica-museum-of-547511/gallery?p=3" target="_blank">http://estatesales.org/santa-monica-ca-estate-sales/santa-monica-museum-of-547511/gallery?p=3</a>.</em></p> Mon, 25 May 2015 16:32:30 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Richard Rezac - Marc Foxx - May 23rd - June 20th <p style="text-align: justify;">Recent new wall mounted sculptures by the highly regarded Chicago-based artist employing wood, metals and paint.<br /><br />Recent exhibitions include Signal, Rhona Hoffman Gallery, Chicago IL 2014 (solo); Carved, Cast, Crumpled: Sculpture, Smart Museum of Art, University of Chicago, Chicago IL 2014; Lets Go Let Go: In Memoriam Hudson, 33 Orchard, New York NY 2014; Chicago Conceptual Abstraction, 1986 &ndash; 1995, MCA DNA, Chicago IL 2013; James Harris Gallery, Seattle WA 2013 (solo); Richard Rezac: Sculpture 2003-2012, Laura Mesaros Gallery, West Virginia University, WV 2012 (solo); and TWIG Gallery, Brussels, Belgium 2011 (solo).</p> Sun, 24 May 2015 10:47:29 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Sam Windett - Marc Foxx - May 23rd - June 20th <p style="text-align: justify;"><strong>MARC FOXX&nbsp;</strong>is pleased to present new paintings by London-based artist&nbsp;<strong>Sam Windett&nbsp;</strong>in his third solo exhibition with the gallery.<br /><br />Abstracted, ghosted back or buried, dates and months and years are embedded in Windett&rsquo;s paintings as compositional elements. Locating the paintings in a particular place, dates and information from newspapers are used as starting points for the paintings and collaged into the works. The newspaper and news print stock elements are laid down in rough, irregular patterns over already painted surfaces on to which Windett again builds with active brushwork resulting in a unique physical presence.<br /><br /><span style="text-decoration: underline;">Mount Analogue,</span>&nbsp;Ren&eacute; Daumal&rsquo;s novel about the search for an unknown mountain, which can only be viewed from a particular point when the Sun&rsquo;s rays hit the Earth, was an influence on how Windett built the complex surfaces of the works that employ raking light as a significant element. Childhood memories of dirt biking culture informed the palette and the expressionistic brushwork of the white&nbsp;<span style="text-decoration: underline;">Biker 1 (14 January 2015)</span>and black and cobalt&nbsp;<span style="text-decoration: underline;">Biker 2 (3 January 2015)</span>, which are arresting examples, as is the variegated dark&nbsp;<span style="text-decoration: underline;">Black Valley (6 February 2015)</span>.<br />&nbsp;<br />Recent exhibitions include The Grantchester Pottery paints the stage, Jerwood Space, London, UK 2015; This Panel is That Painting, The Approach, London, UK 2014 (solo); Inside Arrangement, Mary Mary, Glasgow, UK 2014; Intersection- Contemporary Abstraction And Figuration, Online Exhibition curated by Steve Gibson, The Torrance Art Museum, Torrance, CA, USA 2013; Pale Ontology, MARC FOXX, Los Angeles 2012; and The Approach, London UK 2011 (solo).</p> Wed, 27 May 2015 12:18:41 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Andrew Dadson - David Kordansky Gallery - May 29th - July 11th <p style="text-align: justify;">David Kordansky Gallery is pleased to announce&nbsp;<span style="text-decoration: underline;">Painting (Organic)</span>, an exhibition of new work by Andrew Dadson. The exhibition will open on&nbsp;Friday, May 29, 2015&nbsp;at 5130 W. Edgewood Place and will continue on view through&nbsp;July 11. An opening reception will be held on&nbsp;May 29from&nbsp;6:00pm until 8:00pm.</p> <p style="text-align: justify;">Andrew Dadson heightens the relationship between painting and the surrounding physical world by experimenting with painting's foundational components (color, texture, medium, and support) and by bringing awareness to the body and its modes of perception. Displaying the breadth of his inquiries, the exhibition&nbsp;<span style="text-decoration: underline;">Painting (Organic)</span>&nbsp;features three interrelated bodies of work: paintings that share concerns with sculpture; a major display of photographs that document abstraction in the built environment; and an installation of colored lights and painted live plants, the latest in a series of plant-related works that he has made over the last decade. Each work addresses how marks, painted or otherwise, affect and are informed by the contexts in which they are made.</p> <p style="text-align: justify;">The paintings in this exhibition are amongst Dadson's largest to date, and their making involves techniques new to his process. These include, for instance, the temporary application of pieces of foam to the canvas. Before the foam is eventually removed, paint is sculpted around it so that accumulations of paint medium approaching an inch or more in thickness are left behind. Working within these built-up areas using hand tools, as well as his own hands and fingers, Dadson allows his repertoire of marks to evolve organically (to allude to the exhibition's title) from actions that were already elements of his practice.</p> <p style="text-align: justify;">If earlier paintings highlighted the scraping that unified their many layers of medium and pigment, and that created the characteristic masses that hang off their top or bottom edges, then the paintings in this exhibition place such processes within a broader vocabulary of moves. The hanging masses are no longer simply the secondary results of a primary physical action, but also parts of an overall field where paint is manipulated as a physical thing in its own right rather than as a material designed to depict something else. Dadson now treats these masses as another kind of surface to be manipulated, sculpted, or marked, i.e., mark and surface have become one. He then raises the sculptural stakes even further by spraying these highly textural compositions with differently colored paints from each side, creating a lenticular effect that is put in motion when a viewer walks past the painting.</p> <p style="text-align: justify;">Part sculpture, drawing, and performance, the active, cross-disciplinary nature of Dadson's paintings finds a corollary in their titles, which he often borrows from canonical examples of conceptual and performance art. New paintings, for example, make reference to Bas Jan Ader, Jay DeFeo, Wally Hedrick, and Robert Smithson. But perhaps the clearest indication that Dadson is interested in loosening painting's attachment to its history comes in the form of the installations and photographs that he has produced since the beginning of his career, and which play a key role in this exhibition.</p> <p style="text-align: justify;">Displayed as a grid of 160 framed inkjet prints,&nbsp;<span style="text-decoration: underline;">Cuneiform</span>, 2015, is a series of photographs that documents the abstract marks revealed when signs are removed from exterior walls. Taken in Vancouver and Los Angeles, the images focus on the gestures made by sign-posters as they apply their glue. Dadson organizes these photographs into an alphabet-like system, raising questions about the degree to which the marks, ordinarily hidden from view, are thoughtfully made. The anthropological flavor imparted by the presentation suggests that such distinctions might not matter, and that the marks, for all that they reveal about the anonymous people who made them, are part of a formal ecosystem that also includes the colors and textures of the walls on which they are drawn.</p> <p style="text-align: justify;">By excavating visual histories like these, Dadson makes clear that viewing the world demands the same level of activity and commitment as painting, sculpting, or other mark-making. The installation&nbsp;<span style="text-decoration: underline;">Black Painted Plants</span>, 2015, calls attention to several different kinds of looking, including those that can only happen over long periods of time. Inspired by an archival photograph of Matisse's studio in which plants cast an abstract pattern of shadows on a wall, Dadson has placed a series of filtered lights before a group of house plants; as the work's title suggests, these plants have been painted black with a non-toxic paint, bringing uncanny sharpness and contrast to their forms. The subtle hues created by the lights, meanwhile, change gradually with the time of day, infusing the plants' silhouettes with a complex range of impressionistic moods. As the plants grow over the course of the exhibition, green emerges from beneath the black paint, a reminder that natural forces beyond our control are ultimately responsible for what we see and how we see it.</p> <p style="text-align: justify;">The work of Andrew Dadson (b. 1980) has been the subject of the solo exhibitions&nbsp;<span style="text-decoration: underline;">Over the Sun</span>, Vancouver Art Gallery, British Columbia (2015) and&nbsp;<span style="text-decoration: underline;">The Brink</span>, Henry Art Gallery, Seattle (2012). Recent group exhibitions include&nbsp;<span style="text-decoration: underline;">Material Traces: Time and the Gesture in Contemporary Art</span>, Galerie Leonard &amp; Bina Ellen, Universit&eacute; Concordia, Montreal;&nbsp;<span style="text-decoration: underline;">Again and Again and Again</span>, Vancouver Art Gallery, British Columbia;&nbsp;<span style="text-decoration: underline;">Phantasmagoria</span>, Presentation House Gallery, Vancouver, British Columbia;&nbsp;<span style="text-decoration: underline;">WYSIWYG: What You(ngs) See Is What You Get</span>, Rosenblum &amp; Friends Collection, Paris;&nbsp;<span style="text-decoration: underline;">Without You I'm Nothing</span>, Museum of Contemporary Art, Chicago;&nbsp;<span style="text-decoration: underline;">Che cosa sono le nuvole? Works from Enea Righi Collection</span>, Museion, Bolzano, Italy;&nbsp;<span style="text-decoration: underline;">Summer Projects</span>, Olympic Sculpture Park, Seattle Art Museum; and&nbsp;<span style="text-decoration: underline;">Nothing to say and I am saying it</span>, Kunstverein Freiburg, Germany. He lives and works in Vancouver, British Columbia.</p> Wed, 27 May 2015 12:12:50 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list - Monte Vista - May 23rd - June 14th <p style="text-align: justify;">Beginning with the American Nomads Project, the Bunny Sandwich Collective has responded to the likelihood of climate change with a series of proposals which enable a more migratory lifestyle. They craft the tools and narrative imagery to allow us to comfortably imagine life in new circumstances.<br /><br />In FLOATING EDGE the two deviate from their typically collaborative practice and individually explore the literal and metaphoric meanings of &lsquo;border crossings&rsquo; as a route towards change of identity and purpose. Their research reveals a complex relationship towards travel and cultural transmission; the need for shelter housed in worn clothing and for history held not in libraries but instead contained within the body.<br /><br />Cori&rsquo;s work for FLOATING EDGE approaches the external necessities for crossing borders. Using a variety of camouflage for different geographic entryways, she creates ensembles that address the importance of rapid movement and basic shelter. Her clothing considers the competing need to be seen as Belonging, or as Other, and offers real questions about history&rsquo;s mercurial relationship with migration. Sandra&rsquo;s paintings and wool constructions for FLOATING EDGE take on abstract and symbolic form while they imagine multiple centers populated with geometric shapes &ndash; crisp borders merge with atmospheric skies, archetypal characters and radial symmetry to create a fantastical landscape suggestive of imminent change.</p> <p style="text-align: justify;">Individually, the projects differently point towards forging new lives on the move. Together, the parts align and a larger whole emerges &ndash; a whole committed to unencumbered movement within a deeply rooted vision for the future.<br /><br /><span style="font-size: small;"><strong>East Coast contact</strong>:&nbsp;<a href="mailto:corichampagne@gmail.com?subject=Bunny%20Sandwich%20at%20Monte%20Vista" target="_blank">Cori Champagne</a><a href="mailto:corichampagne@gmail.com?subject=Bunny%20Sandwich%20at%20Monte%20Vista" target="_blank">&nbsp;</a></span><br /><span style="font-size: small;"><strong>West Coast contact:&nbsp;</strong><a href="mailto:sandramoberdorfer@gmail.com" target="_blank">Sandra Oberdorfer</a></span></p> Sat, 23 May 2015 18:02:13 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Nancy Monk - Craig Krull Gallery - May 30th - July 11th <p style="text-align: justify;">BRASS (or the order in which they present themselves)<br /><br />While on a road trip in Minnesota, I found a brass elephant in a second-hand store. It spoke to me like objects tend to do on occasion. The elephant traveled with me back to California and years later initiated the Brass series of 18 X 24" paintings. The brass objects appear to be on a horizon line or a tight-rope. One view is grounded where the other view is precarious. Initially I did not see the elephant painting as part of a series, but new brass objects keep appearing, like the brass Magi. He is part of my nativity scene that friends bought in a hardware store in Mexico. I unpack the scene every Christmas. After Christmas, I repack the decorations for storage. Somehow, the wise-man fell on the floor and didn&rsquo;t get re-packed with the group. I imagined that he is the one carrying the gift of gold. After I painted the Magi, a brass pig appeared. While visiting my brother and his wife in Sun City, Arizona, I found it on their bookshelf. Their granddaughter had wanted a real pig as a pet. As an alternative, they had bought her the brass pig.<br /><br /><br />NINE BY TWELVE<br /><br />For me, the ink has an expression of exploration and mystery when there are chemical reactions that can surprise. This moment can then serve as a background or an incentive for a narrative or subject&mdash;the subject being a vessel for a particular moment. It was my intention to commit to the 9 X 12 format so as not to be distracted by choices of scale. The seasons in which the ink paintings were made are reflected in the colors. Copper in fall, blue or grey in winter, pink in spring, gold in summer. Gold always.&nbsp;</p> Sat, 23 May 2015 17:52:21 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list Michael Deyermond - Craig Krull Gallery - May 30th - July 11th <div style="text-align: justify;">thoughts on my life and art<br /><br /><br /></div> <div style="text-align: justify;">i dont know why people think being an artist is so much fun does trying to save your life everyday sound like fun<br /><br /></div> <div style="text-align: justify;">not being understood and feeling out of place in the world makes me sad and lonely.</div> <div style="text-align: justify;">the words i employ and images i conjure in my work are my only chance for salvation.<br /><br /></div> <div style="text-align: justify;">because i am unhireable my comittment to art is unwavering<br /><br /></div> <div style="text-align: justify;">while the whole world is trying to think outside the box, live off the grid, do something spontaneous and live a life of adventure i would give anything to be safe inside that box with a little bit of heat, something to eat and a smidgen of routine security.&nbsp;<br /><br /><br /></div> <div>xo md&nbsp;</div> Sat, 23 May 2015 17:51:03 +0000 http://www.artslant.com/la/Events/list http://www.artslant.com/la/Events/list