ArtSlant - Recently added en-us 40 Box Collective - Craft and Folk Art Museum - May 29th - September 4th <p><span style="color: #3b3838;"><span style="font-family: 'Avenir Light', sans-serif;"><em>Windfall </em></span></span><span style="color: #3b3838;"><span style="font-family: 'Avenir Light', sans-serif;">features new furniture and functional objects from members of the Los Angeles-based Box Collective, a group of designer-makers dedicated to creating innovative objects from reclaimed and sustainably sourced wood. The works in the exhibition were fabricated from trees that fell in northeastern Los Angeles during the historic windstorm of 2011. Ten members of the group will have works on display: Robert Apodaca, Casey Dzierlenga, Harold Greene, David Johnson, RH Lee, Samuel Moyer, Andrew Riiska, Stephan Roggenbuck, Cliff Spencer, and William Stranger.</span></span></p> <p><span style="color: #3b3838;"><span style="font-family: 'Avenir Light', sans-serif;">Opening Reception: Saturday, May 28 | 6:00&ndash;9:00pm | $12 entry / free for members</span></span></p> Fri, 27 May 2016 23:11:53 +0000 Gronk - Craft and Folk Art Museum - May 29th - September 4th <p><strong><span style="color: #3b3838;"><span style="font-family: 'Avenir Heavy', sans-serif;">May 29 - September 4, 2016</span></span></strong></p> <p><strong style="font-family: 'Avenir Black', sans-serif; color: #3b3838;">Gronk&rsquo;s Theater of Paint</strong></p> <p><span style="color: #3b3838;"><span style="font-family: 'Avenir Light', sans-serif;"><em>Gronk&rsquo;s Theater of Paint</em></span></span><span style="color: #3b3838;"><span style="font-family: 'Avenir Light', sans-serif;"> explores the legendary Los Angeles artist&rsquo;s extensive work in set design through an interactive, site-specific theater set and documentation from his past productions. Gronk&rsquo;s work in set design stretches over 40 years, from his time as a member of the conceptual artist collective ASCO to his recent opera productions with director Peter Sellars. Gronk&rsquo;s theater installation merges his love of the improvised and low budget aesthetic of B-movies with the operatic. Visitors are invited to be active participants in his theater, moving through the space and interacting with props. </span></span><span style="color: #3b3838;"><span style="font-family: 'Avenir Light', sans-serif;"><em>Gronk&rsquo;s Theater of Paint</em></span></span><span style="color: #3b3838;"><span style="font-family: 'Avenir Light', sans-serif;"> will also serve as a dynamic setting for performances and public programs throughout the course of the exhibition.</span></span></p> <p>Opening Reception: Saturday, May 28 | 6:00&ndash;9:00pm | $12 entry / free for members</p> Fri, 27 May 2016 22:57:05 +0000 Joshua Saunders - Steve Turner - June 3rd - July 9th <p>Rock Candy: Joshua Saunders<br />June 3 &ndash; July 9, 2016<br />Opening Reception: June 3, 7&ndash;9</p> <p>Steve Turner is pleased to present Rock Candy, a solo exhibition of new works by Joshua Saunders consisting of brightly colored enamel paintings on panel which have rock-climbing grips, chains and ropes attached to their surfaces. The artist aims to produce a tension between the elements, with the pristine, smooth and reflective candy-colored panels conveying &ldquo;do not touch&rdquo; while the attachments convey the opposite: &ldquo;climb me.&rdquo;</p> <p>Joshua Saunders (born 1981, Salina, Kansas) spent his youth in Steamboat Springs, Colorado before earning a BFA at the University of Texas, Austin (2013.) He currently is an MFA candidate at the University of California, San Diego (2017) and has had solo exhibitions at CoLab, Austin (2009 &amp; 2014). This is his first exhibition at Steve Turner.</p> Fri, 27 May 2016 22:47:56 +0000 Otto Berchem - Steve Turner - June 3rd - July 9th <p>Tropical Buren: Otto Berchem <br />June 3 &ndash; July 9, 2016 <br />Opening Reception: June 3, 7&ndash;9</p> <p>Steve Turner is pleased to present Tropical Buren, a solo exhibition by Bogot&aacute;-based Otto Berchem. The exhibition combines Berchem&rsquo;s observations of the lush tropical foliage that surrounds him in Colombia and his interest in the rigor of Daniel Buren&rsquo;s geometric paintings. Berchem's practice frequently involves the study of codes and methods of classification, and by combining Buren's orderly stripes with elements from exotic flora, Berchem creates a hybrid of his own, part conceptual, part natural.</p> <p>Otto Berchem (born 1967, Milford, Connecticut) received an MFA from Edinburgh College of Art <br />(1994), with further studies at Rijksakademie van beeldende kunsten, Amsterdam (1995/96). He has had solo exhibitions at Galeria Pilar, S&atilde;o Paulo, Hopstreet Gallery, Brussels and Bis-oficina de proyectos, Cali, Colombia. Tropical Buren was recently featured at Frieze, New York by Instituto de Visi&oacute;n, Bogot&aacute;, where it was honored with the Frieze Stand Prize. Berchem lives and works in Bogot&aacute;.</p> Fri, 27 May 2016 22:45:04 +0000 Group Show - Social and Public Art Resource Center (SPARC) - June 25th - August 20th <p>Art is a parameter and instigator of change, a cultural tool that helps us explore and unveil the processes of human thought: our desires, our fears, our struggles and our aspirations. Printmaking, in particular, has always played a radical and empowering role in disseminating political, social and aesthetic ideas and in promoting collective emancipation. Contemporary approaches to the printed image have incorporated new developments in the visual arts and digital media, giving it new resonance and scope. </p> <p>The exhibition,&nbsp;<em>Division: Reflections and Shadows</em>, that opens on June 25, from 2:00 - 5:00 PM, at the Dur&oacute;n Gallery at the Social and Public Art Resource Center (SPARC) is the result of a collaborative effort between SPARC curator Marietta Bernstorff, artists from Los de Abajo Printmaking Collective: Kay Brown, Nguyen Ly, Yvette Mangual, Poli Marichal, Don Newton and Marianne Sadowski, and invited artists Daniel Gonzalez from Los Angeles, Pavel Acevedo from Oaxaca, and Sergio S&aacute;nchez Santa Mar&iacute;a and&nbsp;Joel Rend&oacute;n, from Mexico City.&nbsp;</p> <p>Each artist in this show has created work that strives to push the boundaries of printmaking canons, as well as expose, explore and document the divisions and borders, either imaginary, political or real, that impede equality, solidarity and true freedom. To quote Iranian artist Shirin Neshat: &ldquo;<em>Art is our weapon. Culture is a form of resistance.</em>&rdquo;&nbsp;</p> Fri, 27 May 2016 20:16:35 +0000 Todd Gray - Meliksetian | Briggs - June 10th - August 13th <p class="Body">Meliksetian | Briggs is pleased to present <em>Time Machine</em>/&nbsp;<em>Hippie Dandy</em>, a solo exhibition of new work by artist <strong>Todd Gray</strong> featuring photo based work, painting and ephemera complimentinghis social sculpture / performance piece <em>Ray</em> running concurrently and for the duration of the <em>Made in LA</em> biennial at the <em>Hammer Museum</em>, Los Angeles.</p> <p class="Body">&nbsp;</p> <p class="Body">Gray&rsquo;s new body of work, <em>Time Machine</em>/<em>Hippie Dandy</em>, is the outgrowth of his&nbsp; &ldquo;quiet performance,&rdquo; <em>Ray</em>, a work for the late musician Ray Manzarek, his close friend, mentorand co-founder of the legendary band <em>The Doors</em>.&nbsp; When Manzarek died in 2013, his widow Dorothy allowed Gray to borrow the musician&rsquo;s complete wardrobe, luxurious designer clothes that are sometimes avant-garde, and sometimes flamboyant, befitting a rock star. For one complete year beginning on May 20, 2014, Gray embarked on the performance, a social sculpture as he refers to it, wearing only clothes belonging to Manzarek, a subtle shift that impacted the routines of Gray&rsquo;s daily life. Conducted outside the auspices of any institution, the gesture was not reducible to either an artistic or memorial impulse. Gray refused to formally document the performance piece photographically or by using video adhering to the tropes of conceptual art, lest the documentation became a surrogate for the physical experience of the work itself. The only way for the viewer to engage with the social sculpture was to be in Gray&rsquo;s presence during the time he wore the clothing.</p> <p class="Body">&nbsp;</p> <p class="Body">Instead, over the next year Gray used the conceptual foundation of the performance as a platform to make a new body of work. He gathered quotidian snapshots taken of him by family and friends during the course of the performance, then commissioned sign painters from Ghana to make paintings based on these snapshots. Gray photographed the painted canvases and added them to his digital archive of images.&nbsp; As in previous series&rsquo;, Gray then re-contextualized this archive via juxtaposition with images of the Ghanaian landscape, architecture, and people, along with images of the cosmos from the Hubble Telescope, using found antique frames as well as artist-made frames as a structuring device for the art works.</p> <p class="Body">&nbsp;</p> <p class="Body"><em>Time Machine</em>/<em>Hippie Dandy</em> at Meliksetian | Briggs is comprised of Gray&rsquo;s new photo-based sculptural work, an installation of the original paintings made by the Ghanaian sign painters, as well as, ephemera from the artist&rsquo;s year long performance piece, <em>Ray</em>.&nbsp; The new work remains strongly autobiographical, commenting on the relationship with his mentor and friend, Ray Manzarek.&nbsp; Like his previous exhibition at the gallery, <em>Exquisite Terribleness</em>, combining images from the Ghanaian landscape with work made in the US, problematizes Gray&rsquo;s position within the African Diaspora while referring to the celebrity and music culture of Los Angeles that Gray was a part of and participant in, and addressing notions of identity, memory, history and loss.</p> <p class="Body">&nbsp;</p> <p class="Body"><strong>Todd Gray </strong><em>(b. 1954) lives and works in Los Angeles and Ghana. He received both his BFA and MFA from the California Institute of the Arts (Cal Arts). Gray</em><em>works in multiple formats including photo-based work as well as sculpture and performance. Gray will be re-staging the performance piece &ldquo;Ray&rdquo; for the duration of this year&rsquo;s Made in LA biennial, entitled a, the, though, only, curated by Aram Moshayedi and Hamza Walker open from June 12 to August 28, 2016. </em></p> <p class="Body"><em>&nbsp;</em></p> <p class="Body"><em>Past solo and group exhibitions include the Luckman Gallery, Cal State University, Los Angeles, Studio Museum, Harlem, NY, USC Fisher Museum of Art, Los Angeles, California African American Museum, Los Angeles, Tucson Museum of Art, Detroit Museum of Art, Renaissance Society, University of Chicago among others. Performance works have been presented at institutions such as the Roy &amp; Edna Disney Cal/Arts Theater, REDCAT, Los Angeles, Armory Center for the Arts, Pasadena, and the Japanese American National Museum, Los Angeles. </em></p> <p class="Body"><em>&nbsp;</em></p> <p class="Body"><em>A partial list of Gray&rsquo;s work in public collections includes the National Gallery of Canada, SFMoMA / San Francisco Museum of Modern Art, LACMA / Los Angeles County Museum of Art, MOCA / Museum of Contemporary Art, Los Angeles, the University of Connecticut and the Studio Museum, Harlem.</em></p> Fri, 27 May 2016 19:30:29 +0000 Nick Herman, Christopher James - Armory Center for the Arts - June 5th - September 11th <p align="center"><strong>Knowledge production </strong></p> <p align="center"><strong>in art and science </strong></p> <p align="center"><strong>explored by THEMODELINGAGENCY</strong></p> <p>&nbsp;</p> <p style="text-align: justify;"><em>Pasadena, CA</em> &ndash; The Armory Center for the Arts is proud to present <strong>THEMODELINGAGENCY: TEKTITE &nbsp;</strong><strong>&ndash;</strong><strong><em>reflux</em></strong><em>, </em>an exhibition of new works by THEMODELINGAGENCY, a collaboration between artists Nick Herman and Christopher James. Conflating experimental art with scientific method, the drawings, paintings, sculptures, and video displayed here utilize the environment of the lab and strategies familiar to field work to produce alternative results to an existing body of scientific research. In doing so, these objects and images (re)frame the oppositional relationship between utility and art, the objective and subjective, and aesthetics and knowledge. The exhibition is on view in the Armory&rsquo;s Mezzanine Galleries from June 5 through September 11, 2016. A reception, free and open to the public, will take place on Saturday, June 4, 2016 from 6-8pm. The exhibition has been organized by Irene Tsatsos, the Armory&rsquo;s Gallery Director/Chief Curator, with generous support from The Andy Warhol Foundation for the Visual Arts. </p> <p style="text-align: justify;">During the Spring of 2013, THEMODELINGAGENCY took up residence at the Virgin Islands Ecological Research Station (VIERS), located on the remote south side of the island of St. John in the U.S. Virgin Islands. The facilities there had been built to support the 1969 project Tektite, a NASA experiment in undersea living and working envisioned as a model for the feasibility of con&shy;ducting research in space. While at VIERS, THEMODELINGAGENCY investigated both the research undertaken by the marine scientists occupying the undersea habitat as well as the concurrent NASA-funded behavioral study conducted on the submariner scientists from above. Enacting a kind of aesthetic reproduction of these tiered projects and utilizing methodologies and materials employed in conducting the original research, THEMODELINGAGENCY offers a consideration of the context and contingencies of how knowledge is produced.</p> <p style="text-align: justify;">According to the artists, the strategy of modeling is fundamental to scientific inquiry, but it is also familiar to artistic practices that employ process-based experimentation. Herman and James emphasize that while scientists use models to describe and account for phenomena, artists use modeling to <em>embody</em> phenomena and so accordingly, the <em>kind</em> of knowledge produces differs. In scientific modeling, data is gathered through controlled observation and the knowledge that is produced is considered objective. In contrast, the subjective, experimental strategies of artists create the conditions for unpredictable outcomes for reasons that may have more to do with achieving a sense of emancipation from those uncertainties than an understanding of them.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About the Artists</strong></p> <p style="text-align: justify;"><strong>Nick Herman</strong> is an artist and writer and publisher of the imprint anteprojects. He has an MFA in sculpture from Yale University and a BA in religious studies from Macalester College. He has exhibited his work nationally and internationally at The Museum of Modern Art, Antwerp, The Sculpture Center, Peter Blum Gallery, LA&gt;&lt;ART, 356 Mission, Artist Curated Projects (ACP), and Public Fiction, among others. He was an artist-in-residence at The Chinati Foundation in Marfa, Texas in 2011. &nbsp;</p> <p style="text-align: justify;"><strong>Christopher James</strong> is an artist, writer, and curator. He has been published in <em>The Believer</em>, <em>Cabinet</em>, <em>artUS</em>, and <em>X-TRA Journal of Contemporary Art</em>, where he has written about the unique conditions of art production in Southern California. &nbsp;His artwork has been exhibited in New York at The Kitchen, Brooklyn Museum, Whitney at Altria, SAUCE; Internationally at the Museo San Telmo, San Sebastian; Magasin 3, Stockholm; and Gasworks, London as well as numerous sites and galleries in Los Angeles. He was educated at Colgate University, Hamilton, New York, and the San Francisco Art Institute and was awarded a Joan Mitchell grant to attend the residency program at the Atlantic Center for the Arts. In 2010 he produced artwork as a guest of the Hotchalpine Forschungsstation Jungfraujoch, a high altitude research station located at 11,400 feet in the Swiss Alps. </p> Fri, 27 May 2016 16:35:28 +0000 Ellen Lesperance, Helen Mirra - Armory Center for the Arts - June 5th - September 11th <p align="center"><strong>Craft and action resonate in <br /> <em>Ellen Lesperance, Helen Mirra, Traversing</em></strong></p> <p style="text-align: justify;"><em>Pasadena, CA</em> &ndash; The Armory Center for the Arts is proud to present <em>Ellen Lesperance, Helen Mirra, Traversing</em>, an exhibition that features new paintings and a recent interactive project by Lesperance, and an international, intergenerational weaving project organized by Mirra. The exhibition has been organized for the Armory by guest curator Cassandra Coblentz, with generous support from The Andy Warhol Foundation for the Visual Arts and the Pasadena Art Alliance. The exhibition is on view in the Armory&rsquo;s Caldwell Gallery from June 5 through September 11, 2016. A reception, free and open to the public, will take place on Saturday, June 4, 2016 from 6-8pm. </p> <p style="text-align: justify;">Through their works, Ellen Lesperance and Helen Mirra both consider the complex relationships we as individuals have to the physical and political landscapes we navigate. Each approaches her practice with a similarly poetic tone and critical consciousness. They share an interest in the material of textiles and the structural grid as well as a tendency to create work within carefully derived conceptual systems and parameters. Furthermore, for both artists, walking plays a central role in their art.&nbsp; </p> <p style="text-align: justify;">Despite their affinities, however, Mirra and Lesperance approach these concepts and activities in strikingly different ways. In this exhibition, the metaphor of traversing also refers to the idea of moving across the space between ideas and perspectives. The presentation of their projects together generates a dialogue between their ideologically distinct positions and subjectivities. Seen together, the projects offer an opportunity to compare and contrast approaches to singular, specific, and intimate physical experience versus public, shared experience.</p> <p style="text-align: justify;"><em>Ellen Lesperance, Helen Mirra, Traversing </em>highlights another conceptual underpinning of the overall project: the notions of dialogue and exchange as they relate to artistic production and exhibition curating. An accompanying publication documents these dynamics and poses questions about how we can move beyond binary models of conversation, collaboration and the nature of making and experiencing art.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About the Artists</strong></p> <p style="text-align: justify;"><strong>Ellen Lesperance</strong> (b. 1971, Minneapolis MN) lives and works in Portland, Oregon. Her work has been exhibited widely, most recently at the Drawing Center, New York, the Seattle Art Museum, the Portland Art Museum, and in the People&rsquo;s Biennial (traveling). Lesperance&rsquo;s work is represented in the following public collections: the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum; the Museum of Art and Design; the Portland Art Museum; the Bill and Melinda Gates Foundation; and at the Kadist Art Foundation. Lesperance has been honored with the Northwest regional Betty Bowen Award, a Robert Rauschenberg &ldquo;Artist-as-Activist&rdquo; Grant, a Ford Family Fellowship in the Arts, and a Pollock-Krasner Foundation Grant. She received her MFA from Rutgers University in 1999 and has received residencies at the Skowhegan School; the MacDowell Colony; the Djerassi Foundation; and the Atlantic Center.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Helen Mirra</strong> (b. 1970, Rochester NY) presently maintains a rhythm of working in a sustained relation to walking, and her loyalty is to both the metrical and the ecological. Solo exhibitions include the Renaissance Society at the University of Chicago, the Berkeley Art Museum, Kunst-Werke Berlin, Haus Konstruktiv Zurich. She has also participated in the 50th Venice Biennial, the 30th Sao Paulo Bienal, and the 12th Havana Bienal. Public projects include <em>Farbenweg, indirekter</em>, architecturally embedded among the houses of the Universalmuseum Joanneum in Graz, Austria, and <em>Instance the Determination</em> at the University of Chicago, and a GSA Art-in-Architecture project at the Minnesota-Canada border. A fifteen-year survey (1996-2010) of her work was presented at Culturgest in Lisbon Portugal in 2014. Mirra has received awards from the Louis Comfort Tiffany Foundation, the Driehaus Foundation, and Artadia, and has been a guest of the DAAD Kunstlerprogramm in Berlin, the Laurenz Haus in Basel, IASPIS in Stockholm, and OCA in Oslo, a fellow at the MacDowell Colony and Civitella Ranieri, and artist-in-residence with the Consortium of the Arts at the University of California at Berkeley, the Center for Book Arts at Mills College, and the Isabella Stewart Gardner Museum.</p> <p style="text-align: justify;"><strong>About the Curator</strong></p> <p style="text-align: justify;"><strong>Cassandra Coblentz </strong>is Senior Curator and Director of Public Engagement at Orange County Museum of Art. She has a diverse curatorial practice that champions the artistic process. Taking innovative approaches to collaborating with artists and architects, she initiated the Scottsdale Museum of Contemporary Art&rsquo;s Architecture + Art program that explores the boundaries between these creative practices, producing large-scale site-specific commissions with Hector Zamora, Annie Han, and Daniel Mihalyo of Lead Pencil Studio, as well as Jay Atherton and Cy Keener. Most recently she curated the exhibition <em>We Tell Ourselves Stories in Order to Live</em> for The Ford Family Foundation and Museum of Contemporary Craft in Portland, Oregon. She has authored and managed the production of several exhibition catalogues and publications including <em>How Deep Is Your</em>, a mid-career survey of the work of Julianne Swartz, published in 2012, and <em>Lyle Ashton Harris: Blow Up</em>,published by D.A.P. Her professional experience includes appointments at Hammer Museum, DIA Center for the Arts, Fabric Workshop and Museum, and The J. Paul Getty Museum. She received her BA in Art History and English from Cornell University and her MA from the Center for Curatorial Studies at Bard College. </p> Fri, 27 May 2016 16:30:08 +0000 - Los Angeles Contemporary Exhibitions (LACE) - June 7th - June 7th Fri, 27 May 2016 05:35:55 +0000 Ivan Comas - Steve Turner - June 3rd - July 9th <p class="p1">Steve Turner is pleased to present <em>After Sonora</em>, a solo exhibition of new paintings by Ivan Comas that are loosely based on the scenery of Sonora, a state in northern Mexico that Comas recently explored in depth, wandering slowly between its red and yellow desert and and its blue coastline.&nbsp;</p> Thu, 26 May 2016 20:26:01 +0000 Matt Lipps - Marc Selwyn Fine Art - May 26th - May 26th <p class="p1">Marc Selwyn Fine Art is pleased to announce, <em>Looking Through&nbsp;</em><em>Pictures</em>, an exhibition of new work by Matt Lipps.</p> <p class="p1">In this series, Lipps explores the genre of still life photography in relation to the <em>mise-en-sc&egrave;ne </em>of theater as a space for figures, props, objects&mdash;and photography itself&mdash;to perform. With a broad cast of characters culled from various high and low sources, the &ldquo;actors&rdquo; range from the familiar to the formal (including modernist sculpture, figure models, and floral arrangements) set to a backdrop that engages the &ldquo;death&rdquo; of Modernism as seen through the medium of photography and artwork reproductions found on the book&rsquo;s page.</p> Thu, 26 May 2016 17:34:15 +0000 Sandra Lauterbach - LA Artcore Brewery Annex - June 5th - June 26th <p><strong>Sandra Lauterbach | Material Matters</strong></p> <p>LA Artcore Brewery Annex</p> <p>650 A South Avenue 21</p> <p>Los Angeles, CA 90031</p> <p>(323) 276-9320</p> <p></p> <p>&nbsp;</p> <p></p> <p></p> <p>&nbsp;</p> <p>Opening reception June 5, 1-3pm</p> <p>Exhibition runs June 2nd through June 26th</p> <p>&nbsp;</p> <p>Using a sewing machine as a tool for artistic creation, Sandra creates complexity with color and depth to explore dimensions of physical space. This results in a complex layering of materials, free form shape and a three dimensional aspect to the work. Swirls, circles, flowers, patterns, lines, and prints of almost every imaginable color are pieced together to form a complete transcendental piece of time and place.</p> Wed, 25 May 2016 22:51:33 +0000 Donn Delson - Photo LA - January 21st - January 24th <p>Archival Metallic Print/Acrylic Facemount, single image</p> Wed, 25 May 2016 16:54:35 +0000 Gilbert "Magu" Lujan - Craig Krull Gallery - May 28th - July 2nd <p>The gallery is pleased to announce representation of the estate of Gilbert &ldquo;Magu&rdquo; Luj&aacute;n.&nbsp; One of the members of the legendary Chicano arts collective, <em>Los Four,</em> Luj&aacute;n and his compatriots Carlos Almaraz, Frank Romero, and Robert De La Rocha, drew attention to Chicano art in the 70s with murals and public art projects.&nbsp; Luj&aacute;n invented a plethora of mythical/fanciful creatures and cultural oddities; dogs shaped like pyramids, brilliantly colored low-rider cars inflated like balloons, strutting stick figures and anthropomorphic rabbits in sunglasses.&nbsp; They populated an imaginary place called &ldquo;Magulandia&rdquo; but were drawn from the essence of Chicano culture.&nbsp; In 2017, Luj&aacute;n will be the subject of a major retrospective at UCI, curated by Hal Glicksman. This exhibition is part of <em>LA/LA,</em> the Getty&rsquo;s Pacific Standard Time initiative focusing on the relationship of Los Angeles to Latin American cultures.</p> Tue, 24 May 2016 22:14:56 +0000 Javier Carrillo, Roberto Ortiz, Jairo Perez - Craig Krull Gallery - May 28th - July 2nd <p>In an adjoining gallery, we will present linoleum-cut prints made by Javier Carrillo, Roberto Ortiz and Jairo Perez from the print department of Art Division, a non-profit art school for young adults in the Rampart District of LA, founded and directed by Dan McCleary.&nbsp; Images made by Carrillo in particular, share McCleary&rsquo;s simple purity of a singular form on a flat background.&nbsp; His little pick-up truck overloaded with stacks of wooden palettes has the flat, bold power of Manet&rsquo;s <em>Fifer</em>.</p> Tue, 24 May 2016 22:06:38 +0000 Dan McCleary - Craig Krull Gallery - May 28th - July 2nd <p>On May 28, the gallery will present its fifth exhibition of Dan McCleary, who is regarded by Christopher Knight at the LA TIMES as &ldquo;one of the finest figure painters working today.&rdquo;&nbsp; McCleary employs classical methodologies and devices like the golden mean, as well as traditional building blocks of design: cube, sphere, cylinder and cone.&nbsp; His everyday moments of LA life and simple still-lifes contain the gravity, structure and balance of Piero della Francesca. The new works are small paintings of quietly centered fruit, classic frontal portraits, and etchings of florals made recently in Oaxaca.</p> Tue, 24 May 2016 21:38:54 +0000