ArtSlant - Openings & events en-us 40 Christopher Rivera - Riverside Art Museum - September 21st, 2012 6:00 PM - 9:00 PM <p style="text-align: justify;"><span href="">A panel discussion with Puerto Rican Artist <strong>Christopher Rivera</strong> and students from the <strong>R</strong>iverside <strong>A</strong>rt <strong>M</strong>useum <strong>S</strong>tudent <strong>C</strong>uratorial <strong>C</strong>ouncil (RAMSCC), a team of highly talented students of varying backgrounds who have curated small sections of the museum in response to the ideas explored in <em></em><i><a href="">You Are Breathing In It! </a></i> Christopher Rivera received his MFA from Hunter College in New York City and will discuss his work with students and his co-curatorial project, “Cave In,” an exhibition that takes place in Puerto Rico this summer. Closing reception festivities will follow.</span></p> Thu, 05 Jul 2012 15:31:42 +0000 Alexis Rochas - SCI-Arc Exhibitions - September 21st, 2012 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">SCI-Arc is pleased to present STEREO.BOT, a Library Gallery installation by design faculty Alexis Rochas. The installation documents the realization of the Coachella Gateway Pavilion, the largest customized structure in the US featuring interactive 3D projection mapping content, designed and built by Alexis Rochas of I/O for the 2012 Coachella Music Festival in Indio, Calif. The freestandig pavilion measured 70ft in width and 35ft in height, featured over 18 hours of video content, and was experienced by more than 150,000 people attending the festival over a 2-weekend period.</span></p> <p style="text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">The exhibition in the SCI-Arc library features dynamic architectural models, 3D mapping projections and documentary material that follows the development of the project from inception to realization. The pavilion concept was born out of a collaborative initiative seeking to fuse architecture, art and engineering into a unique and dynamic immersive experience. The project combines innovative 3D building systems developed by STEREO.BOT, 4D generative visuals created by Bryant Place of Sensory Sync, and state-of-the-art engineering by Bruce Danziger of Arup Los Angeles.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;"><small><strong>About STEREO.BOT</strong><br /> STEREO.BOT is led by Alexis Rochas, architect and founder of I/O, a Los Angeles-based practice focused on the development of dynamic building technologies integrating design, engineering and advanced fabrication techniques. As principal of I/O, Rochas has introduced a series of groundbreaking building methodologies arising from the complex interactions of spatial, temporal and economic variables. </small></span></p> <p style="text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;"><small>Recent work includes the award-winning SYNTHe interface, an adaptable synthetic environment managing air pollution and storm water runoff; and AEROMADS, an architectural system combining air pressure and high-strength fabrics for the creation of minimal mass structures. </small></span></p> <p style="text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;"><small>A member of the SCI-Arc design faculty since 2003, Rochas has headed several projects through the Community Design Program, including the FAB Arts Market Temporal Gallery, LINC Housing community grounds prototyping, SCI-Arc's lecture hall acoustic treatment, and the LAMP community's sun shelter pavilion. Since 2006, Rochas has been coordinating SCI-Arc's Making+Meaning 5-week summer foundation program in architecture. He is the recipient of the 2004 City of Los Angeles Design Award, the 2002 New York Society of Architects M.W. Del Gaudio Award for Excellence in Total Design, and the 1996 Award for Excellence in Design and Architecture Department of the University of Buenos Aires. </small></span></p> <p style="text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;"><small> </small></span></p> <p></p> <p style="text-align: justify;"><strong>About Alexis Rochas</strong><br /> Alexis Rochas is the founder of I/O, a Los Angeles based practice focusing on the development of dynamic architectural methodologies integrating design, technology and advanced fabrication techniques. His recent work includes SYNTHe, an adaptable synthetic environment managing air pollution and storm water runoff; the sPARK network, a resource generation infrastructure for the City of New Orleans; and the AEROMADS project, which outlines an architectural system that combines air pressure and high-strength intelligent fabrics as a tectonic solution for the creation of minimal mass, self-sustaining structures.</p> <p style="text-align: justify;">A member of SCI-Arc's design faculty since 2003, Rochas has headed projects through the Community Design Program, including the FAB Arts Market Temporal Gallery, LINC Housing community grounds prototyping, SCI-Arc's Lecture Hall Acoustical Treatment, and the LAMP Community's Sun Shelter Pavilion. Since 2006 Rochas coordinates the Making and Meaning program, SCIARC'S foundation program in Architecture.</p> <p style="text-align: justify;"><small>He is the recipient of the 2004 City of Los Angeles Design Award, the 2002 New York Society of Architects M.W. Del Gaudio Award for Excellence in Total Design, and the 1996 Award for Excellence in Design from the Architecture department of the University of Buenos Aires. </small></p> Tue, 26 Jun 2012 15:09:59 +0000 - SCI-Arc Exhibitions - September 21st, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">A juried exhibition of exceptional thesis projects by 2012 graduates, featuring the 2012 Gehry Prize winning thesis, and the six best graduate thesis projects, will be on view in the SCI-Arc Gallery September 17-28.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> <strong>Friday, September 21, 6pm<br /></strong> Eric Owen Moss and the 2012 best thesis winners discuss the exhibition</span><br /><span style="font-size: small;"> <em>Reception to follow</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">The 2012 Gehry Prize was awarded to the husband and wife team Liz von Hasseln (M.Arch 1 ‘12) and Kyle von Hasseln (M.Arch ‘12) for their project, <em>Phantom Geometry</em>, developed in the SCI-Arc Robot House. Thesis advisers were faculty members Devyn Weiser and Peter Testa.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Graduate students honored with 2012 Best Thesis awards are <strong>Maya Alam</strong> (M.Arch 1) for <em>The Bastardized Gestalt</em>, <strong>Daniel Nytoft Berlin</strong> (M.Arch 2) for <em>Rendezvous—Subverting the latent relationship between a stack and a pile</em>, <strong>Erin D. Bessler</strong> (M.Arch 1) for <em>Low Fidelity</em>, <strong>Fernando Herrera</strong> (M.Arch 2) for <em>Unraveled</em>, <strong>Dale Strong</strong> (M.Arch 2) for <strong>Working Blue</strong> and <strong>Ben Warwas</strong> (M.Arch 1) for <em>Field So Good</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">An integrated two-term experience, the thesis program at SCI-Arc is designed to engage the interests and methods of working of each individual student. The first term is primarily dedicated to research, and to the development of a formal thesis proposal that rigorously lays the groundwork for the in-depth design study expected during the following term. The thesis term itself is dedicated to exploring responses to the inquiry posed by the thesis proposal.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Graduate thesis reflects SCI-Arc's rigorous architectural education that is responsive to cultural change, promotes architectural experimentation and creative and academic freedom, and supports a fluid relationship between education and practice.</span></p> Mon, 17 Sep 2012 14:56:00 +0000 Sarah Dougherty - Aran Cravey - September 22nd, 2012 5:00 PM - 8:00 PM <p style="text-align: justify;">Aran Cravey Gallery is pleased to present, “A Home is Medicine,” a solo exhibition of paintings by Sarah Dougherty.</p> <p style="text-align: justify;">         A covert revolution is taking place within the domestic Los Angeles landscape of Sarah Dougherty’s mixed-media compositions. In the modest exteriors and intimate interiors, seeds of latent anarchy sprout, take root within the sidewalk cracks and creep into open windows. Conventional notions of linear perspective are challenged and the formal hierarchy of value is collapsed. From this aesthetic upheaval emerges a compositional narrative that is less restricted and more expansive, one that interweaves the artistic constructs of western and non-western traditions together with the diverse artistic practices of the city’s multicultural heritage, offering an alternative perspective to the current aesthetic.</p> <p style="text-align: justify;">         Though the majority of her childhood was spent in central Virginia, Dougherty attributes her reverence for domestic sanctity and decorative bricolage to the transcultural aesthetic she inherited from her maternal Bolivian roots. Time spent teaching throughout Latin America exposed her to various regional artistic practices and sparked her passion for sustainable urban horticulture. In the culturally diverse cityscape of Los Angeles, Dougherty found inspiration in the city’s pastiche of domestic décor and indigenous vegetation. As the artist explains it, “homes are the places we construct to reflect the self and fulfill our needs… I portrait the artifacts we surround ourselves with- an Itzapalapa student summed this up as ‘<em>Tú eres tu casa, tu casa eres tú</em>’ or you are your home, your home is you.”</p> <p style="text-align: justify;"><br />          In the seven works exhibited for the current show, four of which will be shown in the gallery’s main space on Abbot Kinney Blvd, the other three in the gallery’s annex in the Venice Art Lofts, Dougherty documents her own home interiors and neighborhood house exteriors, often incorporating found fabrics and personal photographs into the mixed media paintings. The works serve as ethnographic portraiture, as much as they do documentation, in that they capture the personal, cultural and historical narratives of a moment and place. Merging the artistic traditions of both western and non-western exemplars, outsider and mainstream, secular and spiritual, Dougherty’s dynamic compositions question notions of fine art’s preeminence over folk art, as well as challenge the institutional, one-point perspective structure. Dougherty accordingly presents an equality between <em>artes plásticas</em> and <em>arte popular</em> within a spatial reality that acknowledges the subjective, visual experience of both the artist and the viewer, offering a fresh perspective on a narrative that is simultaneously foreign and familiar.</p> <p style="text-align: justify;">Additional works from the show will be on display by appointment at the Venice Art Lofts. Please contact the gallery for further information.</p> <p style="text-align: justify;">Sarah Dougherty (b.1983) earned her BA from the University of North Carolina, Chapel Hill in 2005 and received her MFA in painting from UCLA in 2012. Dougherty has taught in various institutes throughout the United States, Bolivia, and Mexico. She instructed students in art and sustainable gardening at the Watts House Project in South Central Los Angeles and was the 2011 artist in residence at the education focused artist collective, Slanguage based in Wilmington, CA. Her work has been published in Graphite and New American Paintings magazine and has been shown at the New Wright Gallery at UCLA, New Insights, Art Chicago, and LACE and Found Gallery in Los Angeles. She currently lives and works in San Jose, CA.</p> Mon, 29 Oct 2012 13:17:32 +0000 Group Show - C.A.V.E. Gallery - September 22nd, 2012 6:00 PM - 10:00 PM Sat, 22 Feb 2014 15:39:26 +0000 Paul D'Elia - Cella Gallery - September 22nd, 2012 7:00 PM - 11:00 PM <p>Paul D’Elia’s solo exhibition “Strange Obsessions” marks his long awaited return to Cella Gallery.  The show features all new work including large scale prints and collage, along with a large interactive installation piece.  <br /><br />D’Elia is best known for his work with California surf company Quiksilver as head designer for their popular mens line of t-shirts.  Fans of independent punk most likely have D’Elia’s work on the cover of any number of albums from Blacklisted to Modern Life is War.  Under his company name:  Screenin 4 A Change, D'Elia has produced hundreds of gig posters.  Over one hundred of these limited edition posters were part of the wildly successful "Something from Nothing” exhibit that was held in Los Angeles in 2010.  A selection of these original gig posters will also be available.<br /><br />“Paul’s work is executed with a level of sophistication, command of design, sense of composition and a wink and a nod that so often eludes others.  Paul’s work demands the viewer’s full attention.” - Adrew Jaukmauh<br /><br />Also on view at Cella Gallery is a collection of prints, books and tees from favorite artists including:  Tara McPherson, Alex Pardee, Dave Correia and Thea Saks.</p> Mon, 10 Sep 2012 22:30:29 +0000 Dennis Hollingsworth - Cirrus Gallery - September 22nd, 2012 7:00 PM - 10:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Cirrus Gallery</strong> is pleased to announce an exhibition of lithographs and monoprints by <strong>Dennis Hollingsworth</strong>. In 1998, he created a series of three lithographs called <em>Hearts and Minds</em>. Since then, he has explored the immediate and tactile process of lithographic monoprints employing both silk screening and collage. In his most recent series, <em>The Dog</em>, "monads" drift across the picture plane as Hollingsworth reflects on Goya's <em>Black Paintings</em> and the uncertainty of figure and of ground.     </span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">"<em>The Dog</em> is as simple as a figure in a field. The creature is a figure of fragile hope. The figures in these monoprints are ink jet avatars culled from the language of fracture. These spiny hemispheres of paint, resembling sea urchins, I call them monads, a name inspired by the author of <em>Monadology</em>, German philosopher, Gottfried Leibniz. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Thus, monads for this project, are my dogs."</span></p> <p style="text-align: justify;"><span style="font-size: small;">   </span></p> <p style="text-align: justify;"><span style="font-size: small;">-Dennis Hollingsworth, 2012, Los Angeles</span></p> <p style="text-align: justify;"><span style="font-size: small;">  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Dennis Hollingsworth was born in Madrid, in 1956. He received his BA from California Polytechnic St</span><wbr><span style="font-size: small;">ate University, and his MFA fromClaremont. He currently resides in New York.</span></wbr></p> Fri, 24 Aug 2012 06:14:50 +0000 Rashid Johnson - David Kordansky Gallery - September 22nd, 2012 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>David Kordansky Gallery</strong> is very pleased to announce<em> <strong>Coup d'état</strong></em>, an exhibition of new work by<strong> Rashid Johnson</strong>. This is the artist's second solo exhibition at the gallery. It will open on September 22 and run through November 10. An opening reception will be held on Saturday, September 22, from 6:00pm until 9:00pm. </span><br /><br /><span style="font-size: small;">Rashid Johnson has become known for his ability to engage both the physical and cultural ramifications of his chosen materials. Beginning with early work in conceptual photography, and an abiding interest in the African American intellectual elite, he has gradually broadened the scope of his practice, creating reliquary-like objects, installations, and wall-based works that increasingly take on established legacies of painting. </span><br /><br /><span style="font-size: small;">With <em>Coup d'état</em>, Johnson examines the neuroses of power that accompany established regimes of all kinds. In art, as in governmental structures, the concentration of power allows for stability on the one hand and the potential for overthrow on the other. The ways in which these themes are resonant throughout many interdependent spheres––from the personal to the patently political––find formal parallels in the mutable threshold between painting and sculpture, and in the variety of marks that animate Johnson's work. The exhibition will feature a group of major new works in a variety of materials, in which wood, mirrored tile and wax are used as grounds for a series of mark-making strategies; as well as a series of floor-based works that use rugs as supports for further gestures. Among these are several works that represent new typologies for the artist. </span><br /><br /><span style="font-size: small;">For the first time, Johnson has used black mirrored tile as the basis for large-scale, wall-based works that complicate the notions of domesticity, minimalism, and geometry that previous works first set out. If earlier mirrored tile pieces pressed their reflected environments into overt dialogue with the marks (scratching, poured wax and soap) Johnson applied to them, these depict their surroundings as zones of blackness. Any scratched or poured wax marks, therefore, become inscriptions in a black painterly field that is <em>also</em> a reflection. The work becomes a double-articulated instance of optical revolt: black mirror disrupts clear reflection, while the marks disrupt reflection altogether as they establish the work's own independent vocabulary. </span><br /><br /><span style="font-size: small;">Another new typology involves the use of wood that has been scorched to an intense, aggressive black. Whereas other wall-based wood works used branding as a mark-making tool, here fire has transformed the entirety of the ground itself, turning it into a field of charcoal-like mutability. Johnson renders the difference between additive and subtractive procedures moot; instead, the ground itself is altered. Here, as in the large-scale, wax-based 'Cosmic Slop' work on view in the exhibition, the mark legislates the transformation of the ground into a network of more- or less-visible gestures. Strict divisions between mark and ground are now impossible to make. Further complicating this relationship, the scorched wood work will include shelves that support found objects.</span><br /><br /><span style="font-size: small;">Included among these objects are a record by the Art Ensemble of Chicago (displayed so that its back faces forward), and a copy of <em>Coup d'état: A Practical Handbook</em>, a book by the military strategist Edward Lutt. While the book lends its title to the exhibition, its evocation of a step-by-step revolution also sheds light on Johnson's interest in broaching themes of political identity through the hands-on arrangement of materials. References to political overthrow therefore become metaphorical windows through which to view the upheaval inherent in the studio process; in order to progress, old approaches are jettisoned (sometimes violently) and the chaos of new procedures are allowed to take root. </span><br /><br /><span style="font-size: small;">While past exhibitions work were inspired by the ways in which elite African Americans have created more or less covert (and perhaps even fictional) organizations to wield influence, in <em>Coup d'état</em> Johnson shifts his focus to a broader––and more abstract––investigation of power and instability. Suddenly it becomes possible to imagine the wall-based works as trophies in the tenuous palace of a recently victorious African dictator, subject at any moment to deposition. </span><br /><br /><span style="font-size: small;">The floor-based works, meanwhile––which use Persian and zebra-skin rugs as grounds for branded marks, and the arrangement of objects––lend the exhibition an aura of menacing luxury. (They also remind the viewer that Johnson has long combined critique and humor as driving modes in his practice.) In effect, they are paintings that have been pushed into relationship with the floor, forced into an accord with sculpture. In this sense they occupy the uneasy ground marked out by Carl Andre and other minimalists who sought to rewire the perceptual experience of objects in space, though they do so by using objects with which the viewer is imminently familiar.</span><br /><br /><span style="font-size: small;">For at least the last century, aesthetic advances, especially in painting, are predicated upon rupture. Throughout <em>Coup d'état</em>, Johnson uses the terms of painting as a foil. As a result, philosophical and political endgames, like the futile attempt to define 'blackness', for instance, find a formal analogue in the endgame narrative that has come to define painting. Cultural advances of all kinds involve coups d'état; progress, however ambiguous a term it might be, is always dependent on destruction and erasure. For Johnson, personal advances occupy similar territory, and require a quasi-pathological insistence on pushing forward despite the looming specter of destruction. </span><br /><br /><span style="font-size: small;">Rashid Johnson's work is currently the subject of a mid-career survey entitled<em>Rashid Johnson: A Message to Our Folks</em>, organized by the Museum of Contemporary Art, Chicago. In 2012-2013, it will travel to the Miami Art Museum; the High Museum of Art, Atlanta; and the Mildred Lane Kemper Art Museum, St. Louis. Also on view beginning in September, 2012 is a solo exhibition at the South London Gallery, London. Other solo exhibitions include shows at SculptureCenter, Long Island City, NY; Kunstmuseum Kloster Unser Lieben Fauen Magdeburg, Germany; and the Indianapolis Museum of Art. Recent group exhibitions include <em>In the Holocene</em>, MIT List Visual Arts Center, Cambridge, MA; <em>American Exuberance</em>, Rubell Family Collection, Miami;<em>Becoming: Photographs from the Wedge Collection</em>, The Nasher Museum of Art at Duke University, Durham, NC; <em>ILLUMInations</em>, International Pavilion, 54th Venice Biennale; and <em>Secret Societies. To Know, To Dare, To Will, To Keep Silence</em>, Schirn Kunsthalle, Frankfurt and CAPC de Bordeaux.</span></p> Tue, 04 Sep 2012 15:51:43 +0000 Domenico Foschi - drkrm - September 22nd, 2012 9:00 PM - 6:00 PM <p>Street photography is arguably one of the most demanding styles of candid photography. As a street shooter, we have to keep seeing as rapid camera adjustments are needed. Being inconspicuous is often necessary in order not to disturb the unfolding scene.</p> <p>This 3-day workshop is intended for students who have intermediate technical knowledge of camera use and film photography in general.</p> <p><strong><em><span style="text-decoration: underline;">Day 1 - Saturday, September 22, 2012:</span></em></strong><br /><strong>9:00 am</strong> Meet at <strong>drkrm</strong> for introductions, coffee and pastries</p> <p><strong>9:30 am</strong> The workshop begins with a discussion of the following: technical elements, camera choices, characteristics and use of the wide angle, normal and telephoto lenses, quick focusing techniques, exposure, optimal developing for the street photography approach, image composition, form and content.</p> <p><strong>1:00 pm</strong> Lunch break</p> <p><strong>2:00 pm</strong> Continued discussion addressing the following topics:</p> <ul> <li>Philosophy of Street Photography: This instructor-led discussion is intended to dispel the misconception of street photography seen as a “predatory” act.</li> <li>The List: Exploring guidelines on how to interact within the environment for street shooting.</li> </ul> <p><strong>5:00 - 6:00 pm</strong> Workshop wrap-up</p> <p><strong><em><span style="text-decoration: underline;">Day 2 - Sunday, September 23, 2012:</span></em></strong><br /><strong>9:30 am</strong> Meet in Downtown Los Angeles, location will be announced the previous day</p> <p><strong>10:00 am</strong> Photo outing</p> <p><strong>12:00 pm</strong> Lunch break at Grand Central Market located on Broadway between 3rd &amp; 4th Streets. Questions, concerns and stories resulting from the morning outing will be discussed.</p> <p><strong>1:00 pm</strong> Travel to Hollywood &amp; Highland via Metro Red Line</p> <p><strong>4:30 pm</strong> Gathering and discussion, location to be announced</p> <p><strong>6:00 pm</strong> Return to morning location via Metro Red Line for those with cars</p> <p><strong><em><span style="text-decoration: underline;">Day 3 - Saturday, September 29, 2012:</span></em></strong> <br /><strong>2:00 pm</strong> Meet at <strong>drkrm</strong> for image viewing and discussion of work produced during photo outing</p> <p><strong>5:00 pm</strong> End of workshop</p> <p><strong><span style="text-decoration: underline;">Each participant should bring:</span></strong></p> <ul> <li>35mm or medium format film camera with lenses (only needed for Day 2)</li> <li>Appropriate camera bag for shooting equipment</li> <li>A minimum of 3 rolls of film</li> <li>Comfortable shoes, clothing, water and sun protection</li> <li>Cash for parking, lunch, Metro transportation and any additional expenses</li> </ul> <p>Film and other shooting supplies can be purchased at <br /><a href="" rel="nofollow" target="_new"><img src="" border="0" height="48" alt="" width="200" /></a> <br /><br /></p> <p><strong>Workshop Location: </strong><br /><br />drkrm<br />727 S. Spring Street<br />Los Angeles, CA 90014</p> <p><strong>Parking:</strong> Pay lots are located on either side of Spring Street just south of the gallery.</p> <p><strong>Fee:</strong> $350/person which includes:</p> <ul> <li>3 days of instruction</li> <li>Light refreshments during Days 1 &amp; 3</li> <li>(1) 8x10 signed original silver print by Domenico Foschi.</li> </ul> <p><strong>Enrollment Limit:</strong> 10 participants<br /><br />Participants must register in advance for all workshops.</p> <p><a href="" rel="nofollow" target="_blank">SIGN UP HERE</a></p> <p>By registering for this workshop, I agree to the following <a href="" rel="nofollow" target="_new">Terms and Conditions</a></p> <p><strong><em>About Domenico Foschi:</em></strong><strong> </strong><br /><em>Domenico Foschi was born in Bari, Italy in 1962. Although he explored many different kinds of creative media from childhood on, when Domenico was nineteen he found photography was what he would stick with after stealing his brother’s camera for a short trip.</em></p> <p><em>Not being able to afford a formal education in photography, Domenico began studying the work of the masters in books. He found the expressive power in the works of Alvin Langdon Coburn, Kertesz, Steichen, Stieglitz, Strand, Sander, Penn Avedon and several others of pivotal importance in his path to becoming a fine art photographer.</em></p> <p><em>He received hands-on training in the use of large format cameras, as well as film processing and printing, while working with Sergio Guidetti Studio Fotografico. He then worked as a freelance commercial photographer in his hometown of Ravenna, shooting primarily for magazines, newspapers, the city of Ravenna and political parties.</em></p> <p><em>Soon, he realized commercial photography wasn’t going to allow him to explore his creativity in a more personal way. After moving to the U.S. in 1989, Domenico expanded his creative focus and produced many different portfolios ranging from black &amp; white fine art portraiture to urban landscapes.</em></p> <p><em>In addition to the awards Domenico has received for his photography, his work has also been published in View Camera, B/W Magazine and Silvershotz Magazine. His work has been exhibited at the Los Angeles County Museum of Art (LACMA) as well as other notable galleries in the U.S., Spain and Italy. In 2009, he was a grant recipient from the HARC Foundation. <a href="" rel="nofollow" target="_blank"></a></em></p> <p>For any questions, please contact drkrm at <a href="" rel="nofollow"></a> or 213.612.0276</p> Sat, 25 Aug 2012 00:33:32 +0000 Larry Bell - Frank Lloyd Gallery - September 22nd, 2012 10:30 AM - 11:00 AM <p style="text-align: justify;"><span style="font-size: small;">Frank Lloyd Gallery and Rosamund Felsen Gallery invite you to join us Saturday, September 22nd at 10:00 am for coffee and a series of artists' talks. First, artist Jacci Den Hartog will speak at 10:00 am at Rosamund Felsen Gallery about her current show,<em><a href="">Come and Show Me the Way</a></em>, where her recent sculptures continue her investigations into the meaning of landscape, and refer to Navajo rugs and the geology of the American Southwest.</span><br /><br /><span style="font-size: small;">We’ll then move to Frank Lloyd Gallery at 10:30 am where the artist Larry Bell will speak about the late Ken Price, his good friend and one of the most important artists to have emerged in Los Angeles in the last 50 years. Ken Price is the subject of a survey of small works at Frank Lloyd Gallery, with the show focusing on the intimate, human scale of his functional wares. Our exhibition is intended to complement the comprehensive retrospective of Price’s work, opening this weekend at LACMA.</span><br /><br /><span style="font-size: small;">We hope you’ll be able to make it out to Bergamot Station and take advantage of this opportunity to hear from these artists in person!</span></p> Sat, 15 Sep 2012 07:50:39 +0000 Sun Yuan & Peng Yu - Hammer Museum - September 22nd, 2012 11:00 AM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">Collaborators since the late 1990s, Chinese artists <strong>Sun Yuan </strong>and<strong> Peng Yu</strong> create provocative works that take as their subject some of the most compelling and complex issues of our day, from stem cell research and plastic surgery to terrorism and other forms of violence like rioting and dog fighting. Sometimes creating a direct confrontation with their viewers, their works often tap into common fears and anxieties and challenge particular worldviews. They tease out these issues by placing their viewers in the midst of strange situations: a self-propelled garbage dumpster that crashes into gallery walls, lifelike sculptures of elderly world leaders in wheelchairs bumping into one another, and a tall column comprised of human fat removed during plastic surgeries, to describe a few. The single work on view in their Hammer Project—<em>I Am Here</em> (2006)—grapples with the political complexities that inform </span><strong><span style="font-size: small;"><em>Hammer Projects: Sun Yuan and Peng Yu</em></span></strong><span style="font-size: small;"> East-West relations and the lingering conflicts that have deeply affected our relationship to the Middle East. By bringing these issues to the forefront, the artists shed light on prejudices and worries that might otherwise stay dormant. <em></em> will be the first presentation of the duo’s work in the United States. </span><br /> <br /><span style="font-size: small;"> This exhibition is organized by guest curator James Elaine. </span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Artists <strong>Sun Yuan</strong> (b. 1972 in Beijing) and <strong>Peng Yu</strong> (b. 1974 in Heilongjian, China) both studied oil painting at the Central Academy of Fine Arts, Beijing. As a collaborative duo, they have had solo exhibition at the Vargas Museum, Quezon City, Philippines; Arario Gallery, Seoul; Galleria Continua, San Gimignano, Italy; Tang Contemporary Art, Beijing; Osage, Hong Kong; and F2 Gallery, Beijing. They have shown in numerous group exhibitions including the Aichi Trieannale 2010, Nagoya, Japan; the 17th Biennale of Sydney, Sydney; the 2nd and 3rd Moscow Biennale of Contemporary Art, Moscow; the Liverpool Biennial 2006, Liverpool, United Kingdom; the 51st Venice Biennale, Venice; the Yokohama Triennial (2001), Yokohama, Japan; and the 5th Lyon Biennial of Contemporary Art, Lyon, France. They currently live in Beijing and this will be their first exhibition in the United States.</span></p> Sat, 28 Jul 2012 17:24:52 +0000 Lana Shuttleworth, Gary Simpson, Pat Warner - Huntington Beach Art Center - September 22nd, 2012 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="color: #000000; font-family: Arial,Arial Unicode MS; font-size: small;" color="#000000" face="Arial,Arial Unicode MS" size="2">This three-person exhibition features large scale sculpture, painting, and mixed media by<strong> Lana Shuttleworth, Gary Simpson,</strong> and<strong> Pat Warner</strong>.  Each artist addresses issues concerning our natural environment and the landscape.  The title of the exhibition is taken from Cezanne’s famous remarks about nature and painting… to focus on the cylinder, the sphere, and the cone… and are often described as the beginning of modern art and quite possibly leading to conceptual art. Each artist’</span><span style="color: #000000; font-family: Arial,Arial Unicode MS; font-size: small;" color="#000000" face="Arial,Arial Unicode MS" size="2">concept or idea is focused on the planning of the work beforehand with the use of – dirt collected from all over the sphere, the cylindrical trunks of trees and branches, and the safety cone – an object seen across all landscapes.</span></p> Mon, 10 Sep 2012 14:16:48 +0000 Zach Gage, Albert Reyes, Sean Chao, Saelee Oh, Eishi Takaoka, Ako Castuera, Deth P. Sun, Rob Sato - Japanese American National Museum - September 22nd, 2012 6:00 PM - 10:00 PM <p style="text-align: justify;"><span style="font-size: small;">The <strong>Japanese American National Museum</strong> presents <strong><em>Giant Robot Biennale 3</em></strong>, its third show in conjunction with Eric Nakamura, owner of Asian American pop culture juggernaut Giant Robot. The expansive show features a gallery of eight emerging artists along with a customized vinyl figure collection.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Following two previous successful exhibitions at the National Museum, the <em>Biennale</em> continues to push the envelope with a creative, fresh, and uniquely interactive experience. This year’s exhibition highlights the works of <strong>Rob Sato, Deth P. Sun, Ako Castuera, Eishi Takaoka, Saelee Oh, Sean Chao, Albert Reyes</strong>, and<strong> Zach Gage</strong>, all with long ties to Giant Robot. Each artist brings their original style, from whimsical wall paintings and creatures in clay worlds, to a life-size “haunted” maze especially built for this <em>Biennale</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Using figures designed by Uglydoll creator David Horvath, Nakamura curated Project Remix, a custom vinyl show with over 80 artists from seven countries—including the rare combination of both established customizers and fine artists. Special additions to the exhibition include an original piece from Japanese painter Masakatsu Sashie as well as arcade machines running Jeni Yang and Beau Blyth’s new indie video game, Catburger.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"></p> <div class="date"><strong>Saturday, September 22, 2012</strong></div> <p style="text-align: justify;"></p> <div class="time">6:00 PM—10:00 PM</div> <p style="text-align: justify;"></p> <h3 class="title">Giant Robot Biennale 3 - Opening Party</h3> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"></p> <p><strong>FREE!</strong></p> <p style="text-align: justify;"></p> <p>Join us in celebrating the opening of <em>Giant Robot Biennale 3</em> with curator Eric Nakamura, JANM President/CEO G.W. Kimura, GRB3 artists, and Money Mark!</p> <p style="text-align: justify;"></p> <p>Program starts at 7:30pm, performance at 8pm</p> <p style="text-align: justify;">Past Giant Robot Biennale exhibitions:<br />Giant Robot Biennale 1: 50 Issues<br />Giant Robot Biennale 2: 15 Years<br />This exhibition is another in the Salon Pop series, which provides short-term opportunities for the Museum to present the creative talents of Japanese and Japanese Americans whose unique and innovative work is currently having an influence on American culture.<span style="font-size: small;"></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">「ジャイアント・ロボット」を立ち上げたエリック・ナカムラ氏による企画展、第3回ジャイアント・ロボット・ビエンナーレを全米日系人博物館にて開催することになりました。 <br /><br /> 開館以来最多の2700名ものゲストを開催初日に迎えた第1回ジャイアント・ロボット・ビエンナーレ展から6年、「ジャイアント・ロボット」は今、新しい 記事や動画をオンラインにて紹介し、日々ブログを更新するだけでなく、ウエスト・ロサンゼルスの店内では毎月アートショーを行っています。過去15年にわ たりアジア人やアジア系アメリカ人のポップカルチャーを紹介してきた「ジャイアント・ロボット」は、前途有望なアジア系アメリカ人アーティストたちを「発 見」して世に送り出すことでも知られています。</span></p> Sat, 01 Sep 2012 16:45:42 +0000 - LACMA - Los Angeles County Museum of Art - September 22nd, 2012 11:00 AM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Expressionist cinema of the 1920s, so masterfully realized in two iconic examples, <em>Dr. Caligari</em> (1920) and <em>Metropolis </em>(1927), had a lasting impact on visual culture, giving rise to such popular genres as film noir, horror, and science fiction. Filmmakers Robert Wiene and Fritz Lang drew upon the broader Expressionist movement, which emerged in the 1910s and encompassed literature, theater, dance, and the graphic arts. The installation includes projected sequences, vintage posters, and set stills from these two iconic films, as well as selected prints from the Robert Gore Rifkind Collection demonstrating the stark black-and-white contrasts, off-kilter compositions, and exaggerated gestures that found their way from page to screen during the Weimar Republic (1919–33). The Expressionist legacy continues to inspire the imaginations of filmmakers, graphic novelists, and artists today.</span></p> Thu, 02 Aug 2012 18:23:07 +0000 Christian Marclay - LACMA - Los Angeles County Museum of Art - September 22nd, 2012 12:00 PM - 11:59 AM <p style="text-align: justify;"><span style="font-size: small;">LACMA presents another special twenty-four-hour screening of Christian Marclay's <em>The Clock </em>beginning Saturday, September 22, at noon and ending at noon on Sunday, September 23.<em> The Clock</em> is a twenty-four-hour single-channel montage constructed from thousands of moments of cinema and television history depicting the passage of time. Marclay has excerpted each of these moments from their original contexts and edited them together to create a functioning timepiece synchronized to local time wherever it is viewed—marking the exact time in real time for the viewer for twenty-four consecutive hours. The sampled clips come from films of all genres, time periods, and cultures, some lasting only seconds, others minutes, and have been culled from hundreds of films, famous and obscure, into a seamless whole. The result, a melding of video and reality, unfolds with a seemingly endless cast of cameos. By making the film available in its entirety, this free screening will allow <em>The Clock</em> to be viewed in the way Marclay intended.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>September 22, 12 pm to September 23, 12 pm</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Bing Theater | Free; first-come first-served, no reservations | The Plaza Café will be open September 22 from 11 am to 11 pm and will be open again on September 23 from 8 am to 8 pm  | Ray's will be open on September 22 from 11 am to 2 am and on September 23 from 11 am to 11 pm | Between 8 pm on September 22 and 11 am September 23, please enter the museum at Wilshire and Spaulding | Please park in the Spaulding lot on the corner of Wilshire and Spaulding; $10; free from 7 pm to 6 am | Film may not be appropriate for all ages.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Please note: This is not a Film Department Program. For more information, please contact <a href=""></a></span></p> Thu, 02 Aug 2012 19:29:43 +0000 Ed Ruscha - LACMA - Los Angeles County Museum of Art - September 22nd, 2012 11:00 AM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Ed Ruscha</strong> is recognized as one of the most important artists of our time. His influence can be seen in graphic design, cinema, architectural theory, and urban history. Ruscha's art depicts everyday objects – gas stations, street signs, billboards, commercial packaging – yet often triggers philosophical reflection about the relationship between words, things, and ideas. The word “standard” is a case in point: it can be a banner or rallying point, an established level of quality, and an oil company’s brand name. In his depictions of Standard stations, Ruscha points to each of these definitions and more. LACMA's collection includes more than 300 works by Ruscha. This exhibition highlights generous donations of the artist's work over the years, and coincides with LACMA’s Fall 2012 Art + Film gala, honoring Ed Ruscha and Stanley Kubrick.</span></p> Sat, 01 Sep 2012 16:57:35 +0000