ArtSlant - Current exhibits en-us 40 Kerry Tribe - 1301PE - September 29th, 2012 - November 10th, 2012 <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><strong>1301PE</strong> is pleased to announce its second solo exhibition with Los Angeles-based artist <strong>Kerry Tribe</strong>, titled <strong><i>There Will Be <span style="text-decoration: underline;">            </span></i></strong>. Centered around her new work <i>Greystone</i>, the exhibition explores themes Tribe has dealt with in the past: perception, memory, and the elusiveness of objective truth, through the medium of film.<br /><br />"Of course our memories are always subjective, selective and shifting - we remember what we need to, how we need to."</span><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"> - Kerry Tribe</span><br /><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><br />Tribeʼs current body of work focuses on the legendary history of Greystone Mansion in Beverly Hills. Completed in 1928, Greystone was the most expensive residence in California at the time. Built for the family of Ned Doheny Jr., son of a prominent oil tycoon, the house became the site of tragedy when, only four months after moving in, Doheny and his secretary Hugh Plunkett were found shot to death. The official finding was murder-suicide: Plunkett killed Doheny in a fit of paranoia and then shot himself. But other theories abound. Dohenyʼs widow sold the mansion in 1955 and thereafter it became a popular Hollywood filming location. Over 60 feature films have used the mansion as a set.<br /><br />Tribeʼs new work confronts both the historical events that took place at the mansion and its second life in cinema. Shot on location at Greystone Mansion, it uses actors in period costume to explore a range of possible solutions to the mystery of what may have actually taken place. All of the dialogue in <i>Greystone</i> is appropriated from scenes in films that were also shot at the mansion. The result is an ensemble of historic characters who advance their story using oddly familiar yet radically decontextualized language.<br /><br />With <i>Greystone</i>, Tribe has created a structured, complex film that engages with the narrative possibilities and language of conventional Hollywood cinema. In addition to the film, she will be exhibiting photographs, collages, the annotated film script, and research materials.<br /><br /><strong>Kerry Tribe</strong> lives and works in Los Angeles. She has had recent solo exhibitions at The Power Plant, Toronto, Canada; Camden Art Center, London, UK; Modern Art Oxford, Oxford, UK; Arnolfini, Bristol, UK. She was included in the 2010 Whitney Biennial as well as recent group exhibitions at the Hammer Museum, Los Angeles; Govett-Brewster Art Gallery, New Plymouth, New Zealand; Museum of Contemporary Art, San Diego; Hirshhorn Museum and Sculpture Garden, Washington, DC; Generali Foundation, Vienna, Austria; New Museum for Contemporary Art, New York.</span></p> Tue, 02 Oct 2012 06:24:47 +0000 Eamon Ore-Giron - 18th Street Arts Center - September 24th, 2012 - December 14th, 2012 <p align="left" style="text-align: justify;"><span style="font-size: small;"><strong>SANTA MONICA, CA</strong> - As part of 18th Street Arts Center's <strong>Artist Labs program,</strong>and developed on-site in our Main Gallery, Los Angeles-based artist, musician and DJ <strong>Eamon Ore-Giron</strong> presents a dynamic installation of new work incorporating sculpture, video, painting, music and live performances from September 24 until December 14, 2012. Referencing the alternate guitar tuning scale E-B-G-D-B-G unique to the Central Andes, Ore-Giron likens this hybrid indigenous and Spanish musical scale with the merger of folk, pop, historical and conceptual references throughout his interdisciplinary artworks. A complex interplay between themes of tourism, revolution, design, and public sculpture reverberate within the works, while formal questions regarding the relationship between functional sculpture and introspective form are explored. In our Atrium Gallery, 18th Street Arts Center also presents a two-channel video installation by Los Angeles-based artist <strong>Clarissa Tossin </strong>that frames the disjuncture between Modernist architecture and ideals from the realities of the Brazillian tropical and contemporary sociological climate by documenting theSisyphean process of cleaning Brazilian Supreme Court building in the capital, Brasília.</span></p> <p align="left" style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Eamon Ore Giron: <em>E-D-G-B-D-G</em></strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Ore-Giron began developing this new body of work after learning that China recently purchased the mining town of Morococha, Peru with plans to relocate the entire municipality in order to extract the copper reserves underneath it. Having traveled numerous times in his life through this town to visit family in Peru, the artist recalled his own experiences there through found-images of the city in an online travel blog and began to marry these candid photographs with his interest in Latin American modernist and public sculpture.  Ore-Giron says, "These photos were very interesting because they portrayed a person that was anonymously concealed in an astronaut-like motorcycle outfit posing in front of various public sculptures representing the local struggle for justice and celebrations of their labor and mining history." The resulting artworks are linked to personal memories as well as ideas of labor and resistance, and represent an investigation into sculptural and musical forms inspired by Classical, Modernist and Folk Art genres.  The image of the guitar plays a central role in the exhibition, drawing upon art historical and cultural references in the works of Picasso, Braque, Gris and the Spanish poet Garcia Lorca, all of whom elevated folk forms of music and art such as Flamenco into a Classical status through abstraction.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For this exhibition, Ore-Giron presents a series of music-based performances that activate and interact with his sculptures, furthering the artist's continued interest in mash-ups of music and contemporary art. Performing with collaborators Chris Avitabile and Joshua Aster as the newly formed guitar trio Voluminous Sparks, Ore-Giron employs the Andean guitar tuning scale as a basis for his musical arrangements and as a metaphor for cultural and historical overlaps. These musical interventions will happen in the gallery throughout the three-month run of the exhibition.  </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Ore-Giron's work investigates the possibilities of cultural hybridity and how sub-cultural phenomena morph and adapt as they move between languages, cultures, and political systems. He was one of the original colleagues of the so-called Mission School in San Francisco during the mid-1990's and is also the founding member of the experimental audio-performance group OJO.  His music under the moniker DJ Lengua has gained global praise and success fusing obscure Latin American subgenres with electronic and abstract beats.  He has two vinyl LP's released on Unicornio Records and numerous online mixes.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Ore-Giron's artwork, music, and performances have been shown at venues including the Museum of Contemporary Art, Los Angeles; Deitch Projects, New York; MUCA ROMA, Mexico City; UCLA Hammer Museum, Los Angeles; Museo Tamayo Museum, Mexico City; Peres Projects, Los Angeles; Lonarte, Portugal; Consonni, Bilbao, Spain; Pennsylvania Academy of Fine Art, Philadelphia; Queens Nails Annex, San Francisco; Los Angeles County Museum of Art, Los Angeles; SFMOMA, San Francisco; and Yerba Buena Center For The Arts, San Francisco.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Samples of Ore-Giron's DJs mixes are available at <a track="on" href="" shape="rect" linktype="1" target="_blank">Super Sonido</a> and <a track="on" href="" shape="rect" linktype="1" target="_blank">Echo Park Records</a>.</span></p> <div style="text-align: justify;"> <p><span style="font-size: small;"> </span></p> <p><span style="font-size: small;"> </span></p> <p><span style="font-size: small;"><strong>During the reception: </strong></span></p> </div> <ul style="text-align: justify;"> <li><span style="font-size: small;">ARTIST TALK:  Eamon Ore-Giron in conversation with Pilar Tompkins Rivas and Bill Kelley, Jr., 6 - 7 pm</span></li> <li><span style="font-size: small;">DJ SET: Artist Gary Garay, also known as DJ Ganas, spinning sweet sounds all evening</span></li> <li><span style="font-size: small;">Complimentary bar </span></li> </ul> <div style="text-align: justify;"><span style="font-size: small;"><strong>Artist Lab Residency:   </strong></span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">Beginning on September 24 and culminating in the opening reception on October 27, Lab Artist Eamon Ore-Giron will use the main gallery space at 18th Street Arts Center as an open studio to develop his project on-site.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <p><strong>Additional Performances:</strong></p> <ul> <li>New guitar trio Voluminous Sparks, with Eamon Ore-Giron, Josh Aster and Chris Avitabile (all three of performance group OJO), debuts in conjunction with the exhibition November 10th at 8pm.</li> <li>Ore-Giron will host regular live broadcasts, featuring DJ sets, performances, and artist-to-artist interviews held in the gallery on Ustream [dates and times TBD].</li> </ul> Thu, 01 Nov 2012 17:02:41 +0000 Justin Bower - Ace Gallery- Beverly Hills - September 8th, 2012 - February 15th, 2013 Wed, 02 Jan 2013 07:23:59 +0000 Mary Corse - Ace Gallery- Los Angeles - February 25th, 2012 - October 6th, 2012 <p style="text-align: center;">MARY CORSE<br />Current Paintings<br />EXHIBITION ON VIEW THROUGH OCTOBER 6, 2012</p> <p style="text-align: center;">Essay excerpt from<br />The Realization of Perception:<br />White Paintings by Mary Corse<br />by Drew Hammond (2011)</p> <p style="text-align: justify;"><span style="font-size: small;">Since periodizations cannot all be arbitrary, we can notice how events of the early</span> <span style="font-size: small;">chronology of Mary Corse’s life could have projected themselves into the future. Her birth </span><span style="font-size: small;">in 1945 coincides with the year of Pollock’s first drip paintings made in the same year,</span> <span style="font-size: small;">and her precocious early work of the mid and late sixties saw the twilight of Abstract </span><span style="font-size: small;">Expressionism and the publication of Donald Judd’s Specific Objects1 in 1965, an essay </span><span style="font-size: small;">that was to signal the evolution of Minimalism as a force in American painting, “even </span><span style="font-size: small;">though,” as Corse has remarked, “we discovered there really are no specific objects.”2 </span><span style="font-size: small;">This discovery has to do with the most distinctive feature of Corse’s work as a dynamic </span><span style="font-size: small;">embodiment of perception. The work is such an embodiment in two senses of the term, </span><span style="font-size: small;">both as a visible expression of perception, and as a process by which perception becomes </span><span style="font-size: small;">tangible.3</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">In the presence of Corse’s paintings—often to our astonishment—we find that they</span> <span style="font-size: small;">transform before our eyes as we draw closer or farther away, and especially if we should </span><span style="font-size: small;">move across the field of view. Should there be a natural light source, then the paintings </span><span style="font-size: small;">also change as the light striking them moves due to a passing cloud, or by the trajectory of </span><span style="font-size: small;">the sun. At first, the works might appear to be fixed, undifferentiated, flat, hard-edged, </span><span style="font-size: small;">monochromatic—in this case matte white—geometric fields with neither a sign of the </span><span style="font-size: small;">artist’s hand nor an accidental pattern of surface variation. Then, even with a subtle </span><span style="font-size: small;">change in the spectator’s viewing position, the paintings suddenly reveal alternating bands </span><span style="font-size: small;">that might be reflective, gray, differentiated by brushstrokes, textured, and with what Hans </span><span style="font-size: small;">Hofmann called “push-pull” varying depth effects. With any further movement of the spectator or the light source, the  paintings continue to reveal innumerable oscillating</span> <span style="font-size: small;">variations between these two poles of unity and multiplicity.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Corse’s manner of compelling a variable perception with the viewing experience also</span> <span style="font-size: small;">renders her work conceptually distinct from older Minimalist contemporaries such as </span><span style="font-size: small;">Donald Judd, Frank Stella (early work), Larry Bell, Brice Marden (early work), John </span><span style="font-size: small;">McCracken, Carl Andre, and others. Despite its diversity, “orthodox” Minimalism </span><span style="font-size: small;">remained at heart a more radical assertion of the Modernist idea that a work of art could </span><span style="font-size: small;">aspire to dispense with any external referent in order to represent only itself. Corse’s work </span><span style="font-size: small;">rejects such a view not for traditional reasons of art as a representation of an external </span><span style="font-size: small;">referent, but because the Modernist autoreferential idea presupposes a fixed self to which </span><span style="font-size: small;">the artwork exclusively refers.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Instead, Corse’s own work posits an experience that entails the interaction of three</span> <span style="font-size: small;">elements: (1) an artwork contrived by the artist as a field that elicits acts of varying </span><span style="font-size: small;">perceptions; (2) the subjective and varying perceptions that the work compels thereby; </span><span style="font-size: small;">and (3) external conditions independent of the spectator that further vary the perceptions. </span><span style="font-size: small;">In this sense, the work is not autoreferential, but the nexus of a system of conditions in </span><span style="font-size: small;">shifting and continually dynamic equilibrium. As such, the work enacts rather than </span><span style="font-size: small;">represents our experience of reality.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">1. Judd, Donald “Specific Objects” in Thomas Kellein, ed. Donald Judd: Early Work 1955-1968 New York,</span> <span style="font-size: small;">2002. Originally published in Arts Yearbook 8, 1965</span><br /><span style="font-size: small;">2. Mary Corse in conversation with the author, August, 2011.</span><br /><span style="font-size: small;">3. See Husserl, E., 1963, Ideas: A General Introduction to Pure Phenomenology. Trans. W. R. Boyce Gibson. </span><span style="font-size: small;">New York: Collier Books. From the German original of 1913, originally titled Ideas pertaining to a Pure</span> <span style="font-size: small;">Phenomenology and to a Phenomenological Philosophy, First Book. Newly translated with the full title by</span> <span style="font-size: small;">Fred Kersten. Dordrecht and Boston, 1983.</span></p> Mon, 24 Sep 2012 20:20:11 +0000 Carl Andre - Ace Gallery- Los Angeles - February 25th, 2012 - October 6th, 2012 <p style="text-align: justify;">As a pioneer and preeminent member of Minimalism, Carl Andre’s groundbreaking work challenges the inherent qualities of the three-dimensional object. The purity of his sculpture divorces all relations to function, metaphor and emotion. He creates profoundly simple pieces that draw attention from their external conditions to the viewer’s perception of the object and its surrounding space. By simplifying his dialogue with the viewer, Andre emphasizes the importance of art within its space, because, in the artist’s own words, “the essence of art is human association.”1 To ensure a personal encounter with his works, Andre’s sculptures avoid superfluous forms. They invite exploration of the viewer’s field of vision and its perceptual consequences.</p> <p style="text-align: justify;">Andre exhibited <em>Fall</em> at the Solomon R. Guggenheim Museum, New York, in 1968.2 By employing modular units and ready-made materials, the artist articulated both positive and negative space. Nearly forty years later, Andre produced a work that replicates and expands the sculpture’s fundamentals. ACE Gallery presents<em> Rise</em> (2011), a 21-unit row of hot-rolled steel angles extending 49 feet along the gallery wall.</p> <p style="text-align: justify;"><em>Rise</em> is the culmination of a career devoid of associative, referential and non-hierarchic compositions—a pure form. The flatness of Rise neutralizes the sheer immensity of the sculpture until the viewer grasps its reality. Once this understanding is processed, Rise impresses a sense of immediacy for physical and intellectual contemplation. The artwork’s material, visual, and spatial qualities create a site-specific experience for viewers to discover, explore, and interpret. Andre assembles ordinary materials in a way that creates endless bounds of imaginary energy.</p> <p style="text-align: justify;">In March 2013, Dia Art Foundation will organize the first North American retrospective of the work of Andre. The exhibition will mark the most comprehensive presentation of Andre’s work in the United States since a 1970 exhibition at the Guggenheim. The retrospective will comprise a broad range of sculpture made over the past fifty years, including the artist’s emblematic floor and corner pieces, highlighting Andre’s radical use of standardized units of industrial material such as timber planks, concrete blocks, and metal plates, among others. It will also feature a vast selection of Andre’s poems, which echo and extend his geometric accumulations beyond the three-dimensional realm.</p> <p style="text-align: justify;">Carl Andre was born in 1935 in Quincy, Massachusetts and has exhibited with ACE Gallery since 1969. Andre has since solidified Minimalism’s position in twentieth century art history alongside Sol LeWitt, Donald Judd, and Dan Flavin The artist lives and works in New York City.</p> <p style="text-align: justify;"><br />1. Tomkins, Calvin. "The Materialist: Carl Andre's Emient Obscurity." The New Yorker<br />Dec. 5, 2011.<br />2. Rider, Alistair. Carl Andre: Things in Their Elements. London: Phaidon, 2011.</p> <p class="p5" style="text-align: center;"></p> <p class="p5" style="text-align: center;">ONE HOUR COMPLIMENTARY PARKING DURING THE DAY WITH VALIDATION AVAILABLE FROM 10AM - 6PM IMMEDIATELY BEHIND THE GALLERY BETWEEN DUNSMUIR AND BURNSIDE</p> Mon, 24 Sep 2012 20:19:14 +0000 Heather Carson - Ace Gallery- Los Angeles - July 14th, 2012 - October 6th, 2012 <p class="p1"><span style="font-family: arial, helvetica, sans-serif;">HEATHER CARSON</span></p> <p align="justify">“Sculptor and installation artist Heather Carson leads a parallel life as a theatrical lighting designer whose experimental use of industrial equipment led her to venture off the stage and into storefronts, airplane hangars, parking lots, and galleries, pursuing her affection for the abstract mathematical structure of lighting-grids and the optical character of indoor/outdoor light sources and spatial perception.” <sup>1</sup> Carson’s formal and conceptual investigations into the properties of light draw together the historic strands of East Coast Minimalism and West Coast Light and Space. Long fascinated by high intensity discharge sources such as sodium vapor and metal halide, as well as fluorescent tubes, her aesthetic is determined by the specificity of the choice of materials used in order to explore the physical nature of light itself.</p> <p align="justify">ACE Gallery is pleased to exhibit new works in Heather Carson’s “light/WHITE” oeuvre. Carson has created these as the most recent works in her light/ALBERS and light/LINES series. The pieces that comprise light/WHITE hew more closely to the formal properties of painting than installation yet still retain their sculptural qualities. They are invested in exploiting the proximal color temperatures of white light.</p> <p align="justify">The light/ALBERS series mine the architectural underpinnings of Josef Albers’ paintings. Upon encountering Albers’ <em>Study for Homage to the square: Dimly Reflected </em>(1963) and his use of shades of grey, Carson’s idea of exploring the use of shades of white light and shadow was born.  Mining color theory in light—as opposed to pigment—as the “carrier of pictorial action,” Carson creates an updated tribute to the “meditation panels” that Albers sought.</p> <p align="justify">In her light/LINES series, Carson utilizes the standard six-foot fluorescent tube but had the fixtures custom made to her specifications so that the ‘canvas’ is six feet square and both the presence and absence of light are equidistant. Part of Carson’s genius rests in her embracing the physical parameters of the materials she uses, a move that allows the artist to get her audience to consider the physicality of light as opposed to merely the opticality of light. The light/LINES pieces are, in Christopher Knight’s words, “simultaneously ephemeral and muscular.” <sup>2</sup></p> <p align="justify">Carson’s work foregrounds rather than masks the electrical components, using a heavy industrial aesthetic of the armatures and their joints. The artist says, “The fixture is as important to me as the light, it is not merely the carrier.” Carson has developed a highly refined aesthetic over the years, encompassing conduit and the use of indoor and outdoor electrical fittings. The use of aluminum pipe and Speed-Rail enables her to place lights in space, adjacent to each other but maintaining their individual structural integrity.</p> <p align="justify">Heather Carson was born and raised in Los Angeles. She has designed lighting in the US and Internationally for over 200 productions in theatre, opera, dance, concert and video primarily in downtown NY Theatre and European avant-garde opera. Carson was head of the lighting programs at Penn State and Cal Arts and has taught at NYU, Smith College, Bard College, Sci-Arc, UCSD and UCLA. She has been the recipient of numerous awards and prizes including the 1999 Rome Prize, the 2004 New York Foundation for the Arts Artists Fellowship in Architecture/Environmental Structures and the 2011 City of Los Angeles (COLA) Individual Artist Fellowship. Heather Carson lives and works in L.A.</p> <p class="p3"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">1. Nys Dambrot, Shana. “Heather Carson.”</span></p> <p class="p4"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2. Knight, Christopher. “Art Review: COLA 2011: Individual Artist Fellowship at Municipal Art Gallery.” Los Angeles Times June 09, 2011.</span></p> Thu, 04 Oct 2012 06:46:21 +0000 Laurie Lipton - Ace Gallery- Los Angeles - July 14th, 2012 - October 6th, 2012 <blockquote> <p style="text-align: justify;"><span style="font-size: small;">“I fear death and oblivion the most, which is why I try to capture, on paper,</span> <span style="font-size: small;">the fleeting horror and wonder of being alive.” -Laurie Lipton</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Laurie Lipton thinks in images and renders her psychically rich inner world</span> <span style="font-size: small;">visible via detailed pencil on paper drawings. Throughout her work, Lipton </span><span style="font-size: small;">complicates conventional notions of the grotesque by intertwining elements </span><span style="font-size: small;">of beauty, domesticity, humor, horror, life and death. Lipton’s curious </span><span style="font-size: small;">assemblage of characters, their expressions and her use of chiaroscuro</span> <span style="font-size: small;">rearticulate the knowable world.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Lipton reveals the ways in which typically mundane objects and</span> <span style="font-size: small;">relationships are rife with peculiarities and absurdities by imagining </span><span style="font-size: small;">machines as living and breathing entities with functioning arteries and, </span><span style="font-size: small;">conversely, by imagining humans as extensions of machines unable to </span><span style="font-size: small;">function as simply human. When Lipton gives a conventional 1950s </span><span style="font-size: small;">housewife a clown face or makes skeletons the drivers of automobiles that </span><span style="font-size: small;">go nowhere except “Round &amp; Round” she challenges superficial intelligence </span><span style="font-size: small;">and conformist associations.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Ace Gallery</strong> presents to<strong> Laurie Lipton</strong>’s “<em><strong>L.A. Sous-Real</strong></em>,” an exhibition of the</span> <span style="font-size: small;">artist’s most recent drawings. With an understated elegance and savvy </span><span style="font-size: small;">innocence, these works exemplify Lipton’s technical prowess and depict her </span><span style="font-size: small;">bizarre encounters upon relocating back to the United States from London.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“I am in the peculiar position of being a foreigner in my own country. I just</span> <span style="font-size: small;">moved back to the USA after living in Europe for over 36 years (more than </span><span style="font-size: small;">half my life). This show is about my first impressions of this new/old home. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">“Sous-Real” is a play on the term “Surreal”. “Sur” is the French word for</span> <span style="font-size: small;">“on,” whereas “Sous” means underneath. My drawings are not concerned </span><span style="font-size: small;">with surrealism or dreams. They try to capture the psychological underbelly </span><span style="font-size: small;">of everyday reality. Each piece takes a tremendous amount of time and </span><span style="font-size: small;">effort, so why waste it on something I don’t care about? “L.A. Sous-Real” is a </span><span style="font-size: small;">passionate response to Los Angeles, my strange and other-worldy city”.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Laurie Lipton was born in New York and began drawing detailed images at</span> <span style="font-size: small;">the age of four. She was the first person to graduate from Carnegie-Mellon </span><span style="font-size: small;">University in Pennsylvania with a Fine Arts Degree in Drawing (with </span><span style="font-size: small;">honors). She has lived in Holland, Belgium, Germany, France and London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Her work has been exhibited extensively throughout Europe and the USA.</span> <span style="font-size: small;">Notably, in 2003 Lipton was asked to create a series of works in response to </span><span style="font-size: small;">Francisco Goya’s “Caprichos” lithographs. The exhibition, titled “The Sleep </span><span style="font-size: small;">of Reason” was curated and exhibited by the Cervantes Institute in London </span><span style="font-size: small;">and later traveled to Spain for an exhibition in Caja Madrid. It featured 10 </span><span style="font-size: small;">Goyas (many of which had never left Spain before) and 20 drawings by</span> <span style="font-size: small;">Lipton each titled after one of Goya’s works.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Lipton was inspired by the religious paintings of the Flemish School. She</span> <span style="font-size: small;">tried to teach herself how to paint in the style of the 17th century Dutch </span><span style="font-size: small;">Masters and failed. When traveling around Europe as a student, she began </span><span style="font-size: small;">developing her very own peculiar drawing technique building up tone with </span><span style="font-size: small;">thousands of fine cross-hatching lines like an egg tempera painting. "It's an </span><span style="font-size: small;">insane way to draw", she says, "but the resulting detail and luminosity is </span><span style="font-size: small;">worth the amount of effort".</span></p> Mon, 24 Sep 2012 20:17:10 +0000 Daniel Buren - Ace Gallery- Los Angeles - July 14th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Daniel Buren is known for his unforgettable interventions, critical written </span><span style="font-size: small;">texts, controversial public art and engaging collaborations with artists from </span><span style="font-size: small;">different generations. As a conceptual artist Buren complicates the </span><span style="font-size: small;">relationship between art and space thus, heeding the ways in which </span><span style="font-size: small;">architecture functions as a condition of possibility. For Buren, architecture </span><span style="font-size: small;">extends beyond physical structures and onto social, political and economic </span><span style="font-size: small;">structures. </span></p> <p style="text-align: justify;"><span style="font-size: small;">In 1960 Buren graduated from the Ecole Nationale des Métiers d’Art, Paris. </span><span style="font-size: small;">In 1965 he abandoned traditional painting and began to focus on the </span><span style="font-size: small;">vertical stripes, which are now one of his signatures. Buren’s stripes are </span><span style="font-size: small;">inspired by French fabric motifs popular throughout the country and </span><span style="font-size: small;">exemplify his insistence of visually relating art to its context. Throughout the </span><span style="font-size: small;">1970s Buren installed unauthorized public art works in various cities </span><span style="font-size: small;">including Paris, New York and Los Angeles. Since the 1990s Buren has </span><span style="font-size: small;">become more architecturally focused, often creating new spaces within </span><span style="font-size: small;">existing environments. </span></p> <p style="text-align: justify;"><span style="font-size: small;">ACE Gallery is re-introducing Daniel Buren’s “Leaning Walls Installation,” </span><span style="font-size: small;">which was first exhibited here in 1989. This work is a quintessential Buren </span><span style="font-size: small;">installation: spatially situated, vertically and uniformly striped and provides </span><span style="font-size: small;">the viewer with a visual language to understand a specific space. This </span><span style="font-size: small;">installation simultaneously focuses and distorts the viewer’s attention, </span><span style="font-size: small;">blurring the distinction between perception and reality.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Daniel Buren was born in 1938 in Boulogne-Billancourt, near Paris. He has </span><span style="font-size: small;">exhibited extensively in museums and galleries worldwide. Since 1972, he </span><span style="font-size: small;">has participated four different times at Documenta in Kassel. The artist has </span><span style="font-size: small;">been invited to the Venice Biennial more than ten times, where he was </span><span style="font-size: small;">honored with the Golden Lion for the best pavilion in 1986. That same year </span><span style="font-size: small;">he completed the work, “Les Deux Plateaux, sculpture in situ” at the Palais </span><span style="font-size: small;">Royal in Paris. Buren has received several awards including the </span><span style="font-size: small;">“International Award for Best Artist” given in Stuttgart, Germany in 1991 and </span><span style="font-size: small;">the “Grand Prix National de Peinture” in France in 1992. In 1990 the artist </span><span style="font-size: small;">was honored as a “Living Treasure” in New Zealand.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span><span style="font-size: small;">Most recently Buren installed “Excentrique(s)” for Monumenta (2012) in </span><span style="font-size: small;">Paris’ Grand Palais, which features a canopy of brightly colored translucent </span><span style="font-size: small;">film discs inspired by the building’s curves and held up by 1,500 black and </span><span style="font-size: small;">white posts. “Excentrique(s)” might, at first glance, appear to be a departure </span><span style="font-size: small;">from Buren’s iconic “work in situ” (the term he coined in 1965 for his works </span><span style="font-size: small;">that questioned the place in which and for which they were created). </span><span style="font-size: small;">However, just as his works in situ play with perspective, space, color, light, </span><span style="font-size: small;">motion, and the environment, so too does “Excentrique(s).” Buren works </span><span style="font-size: small;">with the given, allowing the elements of a particular space and the reality of </span><span style="font-size: small;">the materials he uses to guide the viewer’s experience of each of his </span><br /><span style="font-size: small;">installations. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">Daniel Buren lives and works in-situ.</span></p> Mon, 24 Sep 2012 20:18:02 +0000 Jeppe Hein - Ace Gallery- Los Angeles - July 14th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">“For me, the concept of sculpture is closely linked with communication.” </span><span style="font-size: small;">-Jeppe Hein </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">Jeppe Hein is known for his experimental and interactive artworks that come </span><span style="font-size: small;">to life under the convergence of art, architecture, technology and society. </span><span style="font-size: small;">Hein’s sculptures are noted in their formal simplicity yet never fail to deliver </span><span style="font-size: small;">a dose of humor and liveliness. His works feature surprising and captivating </span><span style="font-size: small;">elements such as movement and interaction, which engages his audience </span><span style="font-size: small;">and places the spectator at the center of the event, foregrounding the </span><span style="font-size: small;">viewer’s experience and perception. Part of Hein’s genius rests in creating </span><span style="font-size: small;">sculptures that respond to human presence. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Hein’s early works include labyrinths in various media and sculptures that </span><span style="font-size: small;">refuse to be static. Other works hone in on the viewer’s perception of </span><span style="font-size: small;">gallery space often disorienting the viewer’s relationship to an object in </span><span style="font-size: small;">physical space. Most recently, Hein created a series of “Geometric Mirrors” </span><span style="font-size: small;">which emphasizes a key theme for him: illusion. Hein’s play with reality </span><span style="font-size: small;">has been central to his creative process and can also be seen in his </span><span style="font-size: small;">dysfunctional park benches that he calls “Modified Social Benches.” </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">ACE Gallery is featuring a collection of Jeppe Hein’s “Social Benches.” This </span><span style="font-size: small;">exhibition is designed to remind viewers of their fundamental part in </span><span style="font-size: small;">activating art’s communicative potential. “I want to show that the work isn’t </span><span style="font-size: small;">anything on its own it is only what the public informs it with. The viewers’ </span><span style="font-size: small;">role brings the piece to the center of attention.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jeppe Hein was born in Copenhagen, Denmark in 1974. He studied at the </span><span style="font-size: small;">Royal Danish Academy of Arts between 1997 and 2003 and at the </span><span style="font-size: small;">Städelschule in Frankfurt between 1999 and 2000. His work can be found </span><span style="font-size: small;">in many important collections worldwide including ARoS Kunstmuseum </span><span style="font-size: small;">Aarhaus (Denmark); Arken Museum of Modern Art (Denmark); the Tate </span><span style="font-size: small;">Gallery (London); National Museum of Modern Art, Centre Pompidou </span><span style="font-size: small;">(Paris); Museum of Contemporary Art (Los Angeles); Museum für Moderne </span><span style="font-size: small;">Kunst (Frankfurt, Germany); Statens Museum for Konst (Denmark) and Neues </span><span style="font-size: small;">Museum Nürnberg (Germany). In 2003 Jeppe Hein was invited to exhibit in </span><span style="font-size: small;">the 50</span><span style="font-size: small;">th</span> <span style="font-size: small;">Venice Biennale. In 2005 He was invited to participate MOCA’s </span><span style="font-size: small;">Ecstasy: In and About Altered States, a group exhibition themed around </span><span style="font-size: small;">perceptual experimentation. Jeppe Hein lives and works in Berlin, </span><span style="font-size: small;">Germany.</span></p> Mon, 24 Sep 2012 20:18:10 +0000 Tomory Dodge - ACME - September 8th, 2012 - October 6th, 2012 Tue, 31 Jul 2012 07:41:17 +0000 David Robbins, Sanya Kantarovsky, Devon Costello, Paul Branca, Lucas Blalock, Jos de Gruyter and Harald Thys - Anat Ebgi - September 15th, 2012 - October 27th, 2012 <div style="text-align: justify;"><span style="font-size: small;"><strong>Anat Ebgi/The Company </strong>is pleased to announce<strong> <i>Last Laugh</i></strong>, curated by Summer Guthery. The exhibition opens September 15 and runs thru October 27th. Opening reception Saturday, September 15, from 7-9PM.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">Last Laugh. A joke is all about the timing.</span><br /><span style="font-size: small;">Carol Burnett described comedy as Tragedy plus Time. Simon Critchley traced humor out to the tune of melancholia with dark results.</span></div> <div style="text-align: justify;"><br /><span style="font-size: small;">They turned it into an equation, middle larded with silence.</span><br /><span style="font-size: small;">I am interested in comic timing and gestures stretched out like taffy. a flabby, bulbous pause.</span><br /><br /></div> <div style="text-align: justify;"><span style="font-size: small;">William Carlos Williams called it the variable foot.</span><br /><span style="font-size: small;">Victor Borge called this simply the extended beat.</span><br /><span style="font-size: small;">Mary Douglas thought the joke played on form, bringing together disparate elements as a way to reveal anew.</span><br /><br /><span style="font-size: small;">Henri Bergson thought that humor was the mechanical encrusted on something living - slowly pulling it down and a laugh was horror at this incongruity - a last ditch effort to distance ourself. Bertolt Brecht thought you had not yet heard the bad news.</span><br /><br /></div> <div style="text-align: justify;"><span style="font-size: small;">Over-theorizing humor threatens to squash what it can do and a nice long gulp of air may help. I am interested in how stopping just short and stretching out the delay can be a strategy for a visual artist. The group of works in Last Laugh are not exactly funny, except in the most awkward sense. The works you see in the room do a lot of things, one of which is to get at that 'wait, wait' via gestures, theatrical tropes and a bit of dry camp.</span></div> Sat, 22 Feb 2014 15:32:55 +0000 Karen Frimkess Wolff & Dori Atlantis - Angels Gate Cultural Center - May 20th, 2012 - December 31st, 2012 <p>Merrily we grow along, looking at ourselves looking for a new or renewed place. Searching for wilderness or a pure place as we think it might have been before us, we find our imaginations and posit new harmonies instead. Most recent in our twelve year series of installation works about forests and human relationships with landscapes, <i>Merrily We Grow A-longing</i> continues the evolution of forms that began as allusions to urban longing for nature and current artificialities - cell phone towers dressed as trees. Now studded with references to human history and artifacts, three extended tree forms symbolize past, present and future and Earth, Life and Space. In a generally triangular formation, referring to repeating and connecting cycles, using recycled materials with rainbow colors, we have a form and environment that suggests successful solutions to current problematic issues of intense civilization. As heirs to the reverent values that have informed Romantic American art about landscape, with <i>Merrily We Grow A-longing</i>, we envision a positive future for Earth and human life within it.</p> <p></p> <p><i>Karen Frimkess Wolff was born in Los Angeles, received her BA in Painting and Drawing from U.C.L.A. and MA in Art History from California State University Northridge. Her work has been exhibited extensively in California, throughout the United States and in Germany. In 1991 she received a Los Angeles Cultural Affairs Grant. In 1976 she was one of thirty Americans nominated for the Paris Bienniele. Her work consists of drawings, constructions and installations, which usually follow natural or landscape forms and often involve an element of sound. Wolff is a member of the Los Angeles Art Association and continues to work both individually and collaboratively. Her recent work includes an exhibition of drawings at Happy in Los Feliz, CA and an installation in Tarfest 2011. Recent collaborative shows with Dori Atlantis include two installations at American Jewish University, an installation for the Gate Projects, Glendale, CA and site specific installations and individual works at Alpert Jewish Community Center, Long Beach, CA and Flag Stop Contemporary Art Event, Torrance, CA. <br /><br />Dori Atlantis was born in Los Angeles and grew up in the Lower Sierra Nevada Mountains. At California State University, Fresno, she became a founding member of the Feminist Art Program under the direction of Judy Chicago. Atlantis received her BFA and MFA from California Institute of the Arts in Valencia. Atlantis works in mixed-media Sculpture, installation and digital imagery. She has exhibited throughout the United States and is a member of the Los Angeles Art Association. Her recent work includes a mixed media art installation in Tarfest 2011, an art installation in The Hatchery: East of Fresno, Badger, CA. Recent collaborative art installations with Karen Frimkess Wolff include two installations at American Jewish University, installations for Gate Projects, Glendale, CA and FlagStop in Torrance, CA.</i></p> Wed, 16 May 2012 19:59:54 +0000 Group Show - Angels Gate Cultural Center - May 20th, 2012 - August 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Angels Gate Cultural Center presents our exhibition year entitled&nbsp;<em>Into the Wilderness: The Journey Within</em>. Over the course of the next year, artists and curators will engage the term "wilderness" from multiple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary life and contemplate how we can find new opportunities to re/define the transition between physical and imaginary geographies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although, on first impression, "wilderness" may call to mind places of intense experience in nature far from civilization, it reveals itself to be much more than a location. Traditionally associated with a land of uncultivated, abandoned and inhospitable conditions or inhabited only by wild animals,<sup>1</sup>&nbsp;during the eighteenth and nineteenth centuries its meaning expanded subjectively to include more Romantic and transcendental notions like "the reflection of our own unexamined longings and desires" and "the best antidote to our human selves," while mysteriously remaining the site of "something profoundly Other."<sup>2</sup>&nbsp;</span><br /><br /><span style="font-size: small;">Whether places considered wilderness are ultimately to be regarded as wastelands or sacred spaces, in either case it is not the places themselves that define the nature of the wilderness experience. "Wilderness," regardless of where it is situated or whether it is described as frightening or divine, is a cultural construct that is typically placed in opposition to "civilization," located apart from the human world as something pure and essentially natural, to be preserved and protected both from the outrages of global industrial exploitation as well as the small defilements of daily life.&nbsp;</span><br /><br /><span style="font-size: small;">We disagree. We consider that creating even the most high-minded dualism between humans and nature sets up a dynamic that creates conflict and does not lead to effective stewardship of the environment, either locally or on a global scale. We also believe that rather than being defined either as a physical or an imaginary location, "wilderness" is more a state of mind that defies location, either geographical or imaginary-one in which social structure relaxes, logic slips away and time and space collapse. This open state of mind, or "wonder," can be experienced in natural environments that inspire fear, disorientation, foreboding or other qualities of "sublime" landscape appreciated by the likes of Edmund Burke<sup>3</sup>-and it can also unexpectedly arise in the midst of degraded urban grittiness or in an unexplored corner of a superficially unremarkable backyard.&nbsp;</span><br /><br /><span style="font-size: small;">Artists in our group discover natural wonder in many places-from Antarctic icebergs to carcasses of dead birds. And just as we respect "wilderness" in all of its manifestations, we believe that biodiversity and sustainability can only be maintained if we humans give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respect for the global interface of ecosystems, be they planetary or microscopic, that we unavoidably impact.&nbsp;</span><br /><br /><span style="font-size: small;">Wilderness Mind: Dissolving Duality includes the work of fourteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration; we have worked together to study and work as eco-artists since 2005. This proposed exhibition represents work that ranges from photography to non-representational painting, performance, and installation; it spans a continuum of references to water from suburban irrigation systems to the arctic ice cap; to wildlife, including Barr owls, sea otters, and golden trout from the Sierras; and to locations from San Pedro Harbor to Mozambique. Within the frame of wilderness, the group's work articulates themes of degradation and emergence, natural cycles, mystery, concern for the environment, and connected oneness. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative approach as an alternative to more traditional strategies of agency through domination, and to the possibility for everyone to experience "wilderness" in any number of settings, not just in uninhabited nature. Through the visual messages communicated in our work as well as through workshops and programs offered to the community in conjunction with the exhibition, our ultimate goal is to inspire visitors to participate in effective stewardship of the environment.&nbsp;</span><br /><br /><span style="font-size: small;"><small><sup>1</sup>&nbsp;New Oxford American Dictionary, Oxford University Press, third edition.&nbsp;<br /><sup>2</sup>&nbsp;Cronon, William, "The Trouble with Wilderness; or, Getting Back to the Wrong Nature," Uncommon Ground: Rethinking the Human Place in Nature, New York: W.W. Norton &amp; Co., 1995, 69-90.&nbsp;<br /><sup>3</sup>&nbsp;Burke, Edmund, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 1857.&nbsp;</small></span><br /><br /><em><span style="font-size: small;">Deborah Thomas is an artist, professor and independent curator who lives in Los Angeles; she has also lived and worked as an artist in Geneva, Switzerland and New York. With an undergraduate degree from the University of Michigan and an MA and ABD from the University of Pennsylvania, Thomas currently teaches art history and contemporary art and theory at Pasadena City College, Glendale College and the Los Angeles Academy of Figurative Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus; she also helped to organize "Elements," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artwork includes a series of conceptual installations and mixed media pieces using photographic images and found text; her work on environmental themes typically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet, Bringing the Past to Light: New Art from Old Images, Intimate Geography:&nbsp;</span><br /><br /><span style="font-size: small;">The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhibitions, educational programs and public actions. The group was first organized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA), a national organization dedicated to creating community through art, education and social activism. In April 2007, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San Francisco and at the Day of the Dead Planet exhibition curated by Deborah Thomas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago, Los Angeles, New York, San Francisco and throughout the rest of the United as well as Asia and Europe. The collective also engages the community through lectures, installations and events. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured at zoos and natural history museums across the country. San Pedro-based artists Annemarie Rawlinson and Hiroko Momii often intermix their meditative and activist practices.</span> <br /></em></p> Tue, 26 Nov 2013 18:04:50 +0000 Katie Bachler, May Jong - Angels Gate Cultural Center - August 12th, 2012 - October 19th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The exhibition creates an archival library of San Pedro's natural history, mostly pertaining to plant life. This interactive space for scholarly and imaginative research would hold documentation (real and fictive) of maps, land deeds, and plant specimens that viewers could sit with, look at, touch, read, and contemplate. A reinvention of the archive, it would also consist of a marshland terrarium(s), reintroducing San Pedro to an earlier state of itself. Working with ideas of early natural history museums as curiosity cabinets of sorts, we will reconfigure the project space into a place for viewers to spend time engaging with the history of the site. We will curate walks through Friendship Park, through take-away maps and guided tours to encourage visitors to view the land itself through the lens of natural history. We will invite local naturalists to give lectures in the library. In the interest of indoor/outdoor connectedness, we would also build an outdoor vertical garden of edible and medicinal plants native to the San Pedro area. This archive and library invites viewers to not only peruse the past, but touch, smell and physically engage the natural world around them. </span><br /><br /><span style="font-size: small;">Our interest in <i>Into the Wilderness: The Journey Within</i>, lies in the complex histories found in the natural landscape, the wilderness. The modern cultural concept of wilderness as separate from humankind, create multi-layered geological, socio/political, and economic and natural histories. Separately, as artists, we have dealt with changes in our concept of wilderness, how information about the wild is gathered and learned, different ways of mapping the wilderness, and the economic value of nature. For this project, we would specifically explore the role of the archive in our cultural and historical understanding of wilderness as well as explore possibilities and potentialities of new ways of thinking about wilderness and our relationship to the wild, all through the lens of San Pedro and its environs. </span><br /><br /><span style="font-size: small;"><b>BIOGRAPHIES</b></span><br /><span style="font-size: small;"><i>May Jong is a Los Angeles based artist and educator. Her recent work explores humankind's relationship to the natural environment, whether mutually beneficial, detrimental or neutral. Jong Co-Founded and Co-Directed an artist-run space from 2006- 2008. Jong has exhibited in Los Angeles, New York and Berlin, most recently at the Crocker Museum of Art in Sacramento and the Cypress College Art Gallery. She received her M.F.A. from Claremont Graduate University and currently teaches at Cypress College, Glendale Community College, and the Los Angeles County Museum of Art. <br /><br />Katie Bachler is an artist and educator hailing from the woods of New England. Her work in Los Angeles deals with ideas of human interaction with nature and alternative modes of living in an urban context. She creates maps of these alternative experiences of the city and has worked on similar projects on residencies in Vermont and Europe. She has exhibited work in Paris, Los Angeles, and Vermont. Katie has a Master's from USC's Art in the Public Sphere program. She is currently the Slanguage green artist in residence, and teaches for the Los Angeles County Museum of Art. </i></span></p> Wed, 15 Aug 2012 22:36:35 +0000 Deanna Erdmann - Angels Gate Cultural Center - September 9th, 2012 - January 4th, 2013 <p>One of the last untouched rainforests in the world, the rainforest of the Cardamom Mountains in Cambodia is both a fact and a phantom. The Preak Piphot river and surrounding rainforest are home to many globally endangered species such as Asian elephants, tigers, sun bears, monkeys, hornbills, flying squirrels, and the last remaining Siamese crocodiles. It is considered one of the last true and most important wilderness areas in South East Asia. Currently, most of the world's rainforests are in danger by encroaching corporate endeavors, population growth, pollution, logging, and poaching. The literal and metaphoric diversity preserved therein critically threatened. In Cambodia, this encroachment stemmed largely from the effects of international warfare, impoverishing the country, leading to the radical and murderous regime of the Khmer Rouge, followed by deeper poverty, and financial and infrastructural insecurity. <br /><br /><i>Quartet For the End of Time</i> is composed of 1700 photographs taken while in the jungles of the Cardamom Mountains. Images continually shift as the viewer moves through a landscape both real and imagined. This landscape evokes varied and sometimes conflicted notions of wilderness ’Äì violence, beauty, disorientation, perpetual shift, transcendence and the sublime. The piece unfolds as a mesmerizing Rorschach test, emphasizing the participant's role, interlacing an interior, embodied space with a moving and uncontrollable landscape. <br /><br />Access to the wilderness takes a complicated turn in contemporary life. Threats to wilderness remind us that the open-ness, the wildness of public space, is also in danger of becoming extinct. As public parks, squares, and spaces close, or become owned, and corporatized, so too does our ability to rehabilitate ourselves, seek out and exercise creative solutions and community structures. <br /><br />BIOGRAPHY <br /><br /><i>Deanna Erdmann is an artist living and working in Los Angeles. She received her MFA (2008) from University of California, San Diego, where she was a Russel Grant recipient, and her BA (2002) from UC Irvine. Her work has been featured in solo and group exhibitions at Luis De Jesus, Patrick Painter, The Hammer Museum, REDCAT, LACE, Kavi Gupta Berlin, Sundown Salon, Lui Velasquez, compactspace, The New Children's Museum San Diego, and workspace.</i></p> Wed, 29 Aug 2012 20:08:55 +0000 Fran Siegel, Kim Schoenstadt, Dean Monogenis, Soo Kim - Angels Gate Cultural Center - September 9th, 2012 - January 4th, 2013 <p>ndependent curator Tim Christian is pleased to present <i>Wild Things</i>, an exhibition of works by Los Angeles artists Soo Kim, Kim Schoenstadt, and Fran Siegel. These artists, all enjoying national and international acclaim, explore the physical world through strategies incorporating traditional and digital practices. More than an examination of environment, these artists strive to move beyond traditional views of the wild or sublime and seek to illuminate a hidden world, a new frontier, visible to anyone who will take the time to contemplate, to imagine, and to believe in the potential of the wild to thrill, enrich, and nourish us. <br /><br />More than simply wild, the wilderness offers nourishment of the soul, and boundless opportunities for our imaginations to run free. As our world becomes increasingly bound, paved, controlled, and restrained, our need for an outlet increases, with limited opportunities. Each of these artists considers the urban space as a wild place, adaptive to our curiosity and imagination. Although bound by architecture and human development, these unique places, part real and part imagination, open the viewer to a psychic space outside the bounds of our buttoned-up world. "A wilderness, in contrast with those areas where man and his own works dominate the landscape, is hereby recognized as an area where the earth and its community of life are untrammeled by man, where man himself is a visitor who does not remain." (The Wilderness Act, 1964) <br /><br />BIOGRAPHY <br /><br /><i>Soo Kim (b. 1969, South Korea, Active, Los Angeles) is a professor and Program Director of Photography, at Otis College of Art and Design, Los Angeles. Her work has been exhibited at the J Paul Getty Museum, Los Angeles, Pasadena Museum of California Art, Indianapolis Museum of Art,Guggenheim Gallery at Chapman University, Orange, CA, Museum of Photographic Arts, San Diego, CA, the Frances Lehman Loeb Art Center at Vassar College, Poughkeepsie, NY, and Orange County Museum of Art, Newport Beach, CA. Public collections include the J Paul Getty Museum, Los Angeles, Los Angeles County Museum of Art, Albright Knox Art Gallery, Buffalo, NY, and the Broad Foundation. She received her MFA at California Institute of the Arts, and BA at University of California, Riverside. <br /><br />Dean Monogenis (b. 1973, New York City, active Brooklyn, NY) was awarded the residency at CCA Andratx, Mallorca, Spain, 2012; the Fountainhead Residency, Miami in 2010; and was the Dyson Artist in Residence at Pace University in 2008. His works have been exhibited at Walter Maciel Gallery, Los Angeles; Galerie Xippas, Athens; and Morgan Lehman Gallery, New York; as well as Hunterdon Art Museum, Clinton, NJ; Neuberger Museum of Art, Purchase College, State University of New York; and Herter Art Gallery, University of Massachusetts, Amherst. He received his BFA degree from the School of the Art Institute of Chicago. <br /><br />Kim Schoenstadt (b. 1973, Chicago, active Los Angeles); has exhibited nationally an internationally at venues including Wadsworth Atheneum Museum of Art, Hartford CT, Santa Monica Museum, Santa Monica, CA, VanAbbe Museum, Eindhoven, The Netherlands, Museum of Contemporary Art Chicago, Chicago, IL and Utah Museum of Contemporary Art, Salt Lake, UT. received the first Catherine Doctorow Prize for Contemporary Painting from the Salt LakeCity Art Center and the Jarvis and Constance Doctorow Foundation. She received her BFA degree at Pitzer College, Claremont. <br /><br />Fran Siegel (b. 1960, New York City, active Los Angeles) was awarded a 2010 prestigious California Community Foundation Fellowship from the Getty Trust and a residency award at the Bogliasco Foundation in Italy.Previous grants include an Individual Artist Fellowship from The City of Los Angeles Department of Cultural Affairs (C.O.L.A.), The American Academy in Rome, and The Fund for U.S. Artists. Siegel earned her M.F.A. from Yale University School of Art, and B.F.A. from Tyler School of Art, Temple University in Philadelphia and Rome. She a professor in the Art Department at California State University Long Beach. <br /><br />Tim Christian is an independent writer and management consultant, working in art administration since the 1990s. He has a BA degree in Linguistics and Cultural Anthropology from Pitzer College, Claremont and has studied in the graduate art history program at UCLA. Formerly he held positions at Otis College of Art Design and the School of the Arts and Architecture at the University of California, Los Angeles where he was the administrative manager of the New Wight Gallery. He has held positions at Angles Gallery, Cherry and Martin, and Thomas Solomon Gallery, Los Angeles. Since 2001 he has written about contemporary art, including several catalogue essays for exhibitions, and art reviews for major publications. His interests and research focus on contemporary art, with special attention to how new works by living artists dialogue with divergent practices from the 20th century. He has worked extensively in public art, collaborating with artists on several successful public art commissions. He is the founder and principal of Real Art Works, a consultancy dedicated to professional project management, outreach and grant writing for artists, and administrative management for galleries and not-for-profit organizations. His most recent curatorial project was the critically acclaimed 2010 mid-career survey, Splendid Entities: 25 Years of Objects by Phyllis Green (cocurated with Jo Lauria). </i></p> Wed, 29 Aug 2012 20:14:13 +0000