ArtSlant - Closing soon en-us 40 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 Martin Wittfooth - Corey Helford Gallery - September 15th, 2012 - October 6th, 2012 <p><span face="Helvetica, Verdana, Arial" style="font-family: Helvetica, Verdana, Arial;"><b>Corey Helford Gallery presents<br /> <br /> MARTIN WITTFOOTH<br /> “Empire”<br /> <br /> Opening Reception Saturday, September 15, 2012 from 7-10pm<br /> On View September 15 –  October 6, 2012<br /> <br /> Corey Helford Gallery             <br /> 8522 Washington Boulevard              <br /> Culver City, CA  90232                <br /> T: 310-287-2340                  <br /><br /> Open Tuesday - Saturday, Noon to 6:00pm<br /> </b><br /> On Saturday, September 15, 2012, Corey Helford Gallery is extremely proud to present “Empire”, an exhibition of new paintings by New York artist Martin Wittfooth. “Empire” marks Wittfooth’s first solo exhibition at Corey Helford Gallery and his most powerful work to date.<br /> <br /> The paintings of “Empire” explore allegorical themes of power through a contemporary eye. Wittfooth’s <br /> previous animal meditations have evolved into the paradoxes of world consciousness. The large canvas <br /> “Occupy” visualizes the recent Wall Street protests; “I wanted to play off of the idea of the symbol of Wall Street, the bull perched up on a girder,” says Martin, “being swarmed by songbirds, who have no perceived effect whatsoever on his position, despite the great deal of noise we can imagine them collectively creating.” The beautiful canvases reveal the dreams of dominion, feral spirits occupying an empire of the past, present and future. A white polar bear stands vigilant over foreign poppy fields, a crashed chopper beyond in “Harvest.” A white she-wolf nurses primates as Romulus and Remus in burning ruins in ”Capitoline.” Martin describes his work as “classically-inspired but contemporarily-filtered allegorical realism.” <br /> <br /> Envisioning the familiar with the foreign, the paintings portray ‘empire’ as a dream in mythical repetition. Wittfooth says, “The behaviors of modern empires parallel those of history, and the dynamics of power and hierarchy that have always characterized them.” The past becomes a painterly vision of a global psyche, lucid in theme, vibrant with tonality and color.<br /> <br /> “Empire” will feature eleven oil paintings, with the largest of Martin’s work completed. Rich color schemes, scale, and themes of the exhibition mark his most ambitious work to date. “I am varying up my palette quite drastically, and have approached each piece with a fresh color scheme, light, and atmosphere,” says Martin, unifying the idea of “Empire” by a wide scope of theme and technique. “I was driven by the idea of making these scenes close to life-size, to imbue them with a sense of presence, to be immersive, transportive.” <br /> <br /> The opening reception for “Empire” takes place Saturday, September 15 at Corey Helford Gallery. The reception is open to the public, and the exhibition will be on view through October 6, 2012.</span> <!--EndFragment--></p> Sat, 15 Sep 2012 18:07:22 +0000 Wes Hempel - George Billis Gallery- LA - September 8th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>George Billis Gallery Los Angeles</strong> is happy to represent artist <strong>Wes Hempel</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For decades, Wes Hempel has been committed to re-envisioning the depiction of masculinity in contemporary art. By setting psychologically acute portraits of modern-day men against backdrops appropriated from such disparate sources as neoclassical history painting and Dutch golden age landscapes, the artist’s works forge provocative dialogues between past and present.</span><br /><br /><span style="font-size: small;">The current body of work continues this longstanding practice of combining art historical elements with contemporary figures.  The paintings are linked to the past both in their subject matter and their surface qualities. Even when they aren't quoting specific art historical references, the paintings have a traditional look, as if they were produced in another era. The figures, upon close inspection, however, reveal that these are indeed contemporary work.  Hempel has actively cultivated this traditional look for a number of reasons. One of his ongoing projects is a re-visioning of what art history might have looked like had homosexuality not been vilified.</span><br /><br /><span style="font-size: small;">Hempel writes of his work, “a walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the validity of the canon, paintings of the old masters on the walls of museums like the Met, the Louvre, Rijksmuseum still have a certain cache. They're revered not just for their technique but because they enshrine our collective past experience. Of course, it's a selected past that gets validated. Conspicuously absent to me as a gay man is my own story. By presenting contemporary males as objects of desire in familiar looking art historical settings, I'm able to imagine (and allow viewers to imagine) a past that includes rather than excludes gay experience-and ride the coattails, as it were, of art history's imprimatur.”</span><br /><br /><span style="font-size: small;">Quite a few of Hempel’s paintings are working on that level (some rather playfully). For example, the piece titled Auction is an easily recognizable rendition of Jean-Leon Gerome's (1824-1904) painting Slave Auction (c.1884), except the artist moved the setting outdoors. And where in the original a nude woman is offered for sale to the crowd, the auctioneer now offers a rope-bound male angel. Similarly, in the piece titled A Breakfast , he has taken the setting of Sir Lawrence Alma-Tadema's (1839-1912) painting Silver Favourites (1903) and replaced the three beautiful maidens with four nude young men. The paintings Breather and Return of Spring (revisions of a Vermeer and Bouguereau, respectively) offer similar exchanges.</span><br /><br /><span style="font-size: small;">Christopher Harrity writes of Hempel’s work, “joining the mythic allusions and technical fluency of classical art together with the ideas of personal narrative and social content of postmodern art, Hempel’s paintings explore the divide between the ancient and modern, reason and passion, august ideals and the profoundly individual. The artist recasts modern male figures in historical and culturally iconographic settings, provoking both a rethinking of assumed narratives and mythic themes and inviting a similar reconsideration of contemporary life, masculinity, and sexual norms. Hempel’s societal investigations are rendered in sensuously modeled flesh tones, gleaming marble surfaces, and the immersive depth of Arcadian landscapes — proving as visually seductive as they are conceptually rigorous.”</span></p> Fri, 24 Aug 2012 06:25:09 +0000 Bryan Ida - George Billis Gallery- LA - September 8th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>George Billis Gallery</strong> is pleased to present <em><strong>Socal</strong></em>, the gallery's first exhibition of<strong> Bryan Ida</strong>'s new work. The exhibition features a series of rectangular and circular wall pieces. The show runs from September 8th through October 6th with an artist reception on September 8th from 5 - 8pm.</span><br /><br /><span style="font-size: small;">The artist writes of his work: "My new series of paintings, using round and rectangular shaped panels, explore the intricacy, diversity, complexity, and beauty of the cities we live in.  Cities are built in layers, and when you peel away layer by layer truths are revealed.  I like the idea of layers and reveals, digging and unearthing forms.</span><br /><br /><span style="font-size: small;">The round panels in my new series are mandalas.  These come from the perspective of looking straight up from a city street and seeing the tall buildings converge on a central point. The focal point is the center of the mandala. When one looks straight up from a downtown street perspective is lost.  Things turn into abstraction because one has no idea where he/she is or how to navigate. From the vertical perspective things have less identity.  When turning your gaze down and looking from the horizontal perspective, order is somewhat restored. One can see the signs and buildings used to identify a location. The rectangular paintings in my series demonstrate this concept.</span><br /><br /><span style="font-size: small;">I use the representation of the negative space behind the forms to tell as much of the story as possible. The use of negative space for me is about finding a place to fit in; the relationship between what is there and what is not.</span><br /><br /><span style="font-size: small;">I try to create a feeling of depth by isolating layers of paint between thick layers of epoxy. You get a physical depth as well as painted depth with forms intertwining themselves, like stories of individuals in a city full of people.</span><br /><br /><span style="font-size: small;">I explore a new palette in my “Cities.”  My goal is to give more emphasis to the intermediate colors that are more muted, but still vibrant, which cover most of the space. These intermediate colors can be composed to create contrast and vibrant interaction much like the day to day workings of a large city. Warm colors will move forward while the cooler colors will recede.  Then the high intensity, pure hues can be introduced as compliments in the composition and create places that attract the eye. These hues are the flash and glitz of the big city."</span></p> Fri, 24 Aug 2012 06:28:08 +0000 Robert Cumming - Jancar Gallery - September 8th, 2012 - October 6th, 2012 Tue, 28 Aug 2012 19:27:33 +0000 Tony Bevan - L.A. Louver - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Venice, CA — <strong>L.A. Louver</strong> is pleased to present new paintings and works on paper by the British artist <strong>Tony Bevan</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition focuses on Bevan’s ongoing examination of the head through self-portraiture, and debuts a new series of paintings and drawings that depict a solitary tree.</span></p> <blockquote> <p style="text-align: justify;"><span style="font-size: small;">“Many of Bevan’s paintings are allusive—unnervingly combining the figurative and the symbolic.”—Sandy Nairne, Director, National Portrait Gallery, London, UK</span></p> </blockquote> <p style="text-align: justify;"><br /><span style="font-size: small;">For over thirty years, Tony Bevan has made paintings and drawings in acrylic and charcoal, which have extended and expanded the tradition of expressive figure-based painting. Bevan uses his own image to explore his subjects, but transforms literal appearance by distilling line and form. The head is islolated: positioned either on a low horizon line or seeming to emerge from the bottom edge of the canvas. Bevan offsets each head with a range of dramatic backgrounds including unmodulated, flat color fields of red, blue or black; mottled fleshy tones; or a vigorous range of marks in what appears to be the residue of materials employed in the making of the head itself. Contour lines appear ground into the surface of each head to imply musculature or veins, and convey expressive content. In a recent compositional development for the artist, several of the heads are encircled by an abstracted architectural superstructure.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The tree, as a subject for Bevan, stems from his extensive travels to China in 2007 and 2008. In China, Bevan visited the cave paintings of Dunhuang, Gansu Province, and the great Buddah at Leshan, both of which influenced his subsequent work. However it was an ancient tree that he discovered in the courtyard of a temple in the district of Dujiangyan, Sichuan Province, which has captivated Bevan’s imagination for this new series.</span></p> <blockquote> <p style="text-align: justify;"><span style="font-size: small;">“What attracted me was the tree’s contradictions and the endless forms that came from this—a bit like looking at clouds changing—I set out to explore its full nature, and the forms it held within.” —Tony Bevan</span></p> </blockquote> <p style="text-align: justify;"><br /><span style="font-size: small;">Included in this new series is the colossal Tree, 2012, which measures almost 8 x 11 feet, and is Bevan’s largest painting to date of the subject. By reducing the tree to elemental architectural form on canvas, Bevan conveys its noble bearing and life force.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In all his work, Bevan limits his palette to a distinctive range of flaming reds and oranges, intense cobalt blue, dense blacks, and off-white, fleshy tones. He mixes raw pigment with acrylic, and uses thick chunks of charcoal that he applies directly onto canvas or paper, working first on the floor and then on the wall. Grainy residue and clumps of medium are dispersed throughout the works, which give them a visceral appearance, and demonstrate the intense physicality of their creation, while conveying complex and ambiguous emotional content.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tony Bevan’s paintings are concurrently on view in the exhibition <em>Messerschmidt and Modernity</em>, J. Paul Getty Museum, Los Angeles, California, 24 July through 14 October, 2012.</span><br /><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>Tony Bevan</strong> was born in Bradford, England, in 1951, and lives and works in London. He studied in London at the Bradford School of Art (1968-1971), Goldsmiths’ College (1971-1974), and the Slade School of Fine Art (1974-1976). Since 1976, Bevan has exhibited in Europe, the United States and Asia. Significant solo museum exhibitions include the Institute of Contemporary Art, London, UK, 1987-88; Staatsgalerie Moderner Kunst, Munich, Germany, 1989; Whitechapel Gallery, London, 1993; Brandenburgische Kunstsammlungen, Cottbus, Germany, 1997; Israel Museum, Jerusalem, 2003; Institut Valencià d’Art Modern, Spain, 2005; and the National Portrait Gallery, London, 2011. Public collections include the British Museum, National Portrait Gallery, Royal Academy and the Tate, London; Kunsthalle zu Kiel, Germany; Israel Museum, Jerusalem; Louisiana Museum, Humlebaek, Denmark; Museum of Modern Art, Stockholm, Sweden; Metropolitan Museum of Art and Museum of Modern Art, New York; Yale University Art Gallery, Connecticut; and the Museum of Contemporary Art, Los Angeles and Palm Springs Desert Museum, California.</span></p> <p style="text-align: justify;">In March 2007, Tony Bevan was elected a Royal Academician by the Royal Academy of Arts, London.</p> Mon, 27 Aug 2012 06:46:48 +0000 Shirazeh Houshiary - L.A. Louver - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Venice, CA – <strong>L.A. Louver</strong> is pleased to present the first solo exhibition in Los Angeles for the Iranian-born, London-based artist <strong>Shirazeh Houshiary</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A new sculpture by Houshiary titled <em>String Quintet</em> will be exhibited in L.A. Louver’s open air Skyroom. Standing 16 1/2 feet (5 meters) high, the sculpture is comprised of five slim, entwined, stainless steel forms that emerge from the ground, and reach towards the sky with twisted rhythmic force. The five tapered tendrils seem to embrace each other, then pull apart, elegantly soaring into space.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Three paintings are presented in the intimate environment of L.A. Louver’s south gallery. Houshiary first maps each painting through a series of small studies. Then, working on the floor, she uses aquacryl (a water based acrylic paint) and pencil on canvas, applying numerous fine layers of medium, moving back and forth between transparency and opaqueness. The paintings evoke delicate atmospheric color fields that encourage prolonged attention. They conjure emotional states, yet remain both elusive and intangible. Beauty is their surface, and the sublime is their substance.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">Named after her birthplace of Shiraz, Iran, Houshiary studied at the Chelsea School of Art in London, England, and Cardiff College of Art, Wales. Houshiary has exhibited extensively in Europe and North America, including solo exhibitions at Centre d’Art Contemporain, Musée Rath, Geneva, Switzerland (traveled to the Museum of Modern Art, Oxford, England), 1988-89; Camden Art Center, London, England, 1993; University of Massachusetts, Amherst Fine Art Center, MA, U.S. (traveled to York University Art Gallery, Ontario, Canada, and University of Florida, Samuel P. Harn Museum, Gainsville, FL, U.S.), 1993-1994; Centre National d’Art Contemporain, Grenoble, France (traveled to Museum Villa Stuck, Munich, Germany; Bonnefanten Museum, Maastricht, Netherlands and Hochschule für angewandte Kunst, Vienna, Austria), 1995-1996; British Museum, London, England, 1997; Site Santa Fe, NM, U.S., 2002; and Tate Liverpool, England, 2003.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">Houshiary has accomplished a number of distinguished commissions that include Tate Britain, London, 1993; Battery Park, New York, NY, 2004, and the East Window and Altar for St. Martin-in-the-Fields, London (in 2008 and 2011 respectively). Public collections include the Museum of Modern Art and the Guggenheim, New York, NY, U.S.; the Tate and the British Council Collection, London, England; the Museum of Contemporary Art, Prato, Italy, and MACBA, Barcelona, Spain.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In 1994, Houshiary was nominated for the Turner Prize; and in 1997, became a Professor at the London Institute.</span></p> Mon, 27 Aug 2012 06:52:07 +0000 Tony Bevan, Gajin Fujita, Leon Kossoff, Jason Martin, Juan Uslé, Edward and Nancy Reddin Kienholz - L.A. Louver - September 6th, 2012 - October 6th, 2012 Mon, 24 Sep 2012 20:46:25 +0000 Todd Carpenter - Launch LA - La Brea - September 8th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">LAUNCH LA is proud to present <strong>Todd Carpenter</strong>'s Solo show, <em><strong>Grey</strong></em>. In this exhibition Carpenter demonstrates that his appeal lies both in the meticulous forethought with which he crafts his works and in his natural eye for what makes a scene truly captivating. </span><br /><br /><span style="font-size: small;">At first Carpenter's paintings are blankets of monochromatic light and shadow, drawing together diverse subjects into singular, often photorealistic impressions. All is unified by a myriad of grey. Yet the more we look, the more the details stand out. Our eyes are drawn to the stark beauty of trees with withered, textured trunks, complex arrangements of bare branches, the evening light that forces dark shapes outward and the mist that swallows spectral trees into the backdrop. In other paintings there is a struggle for supremacy - city scenes face-off with what remains of their natural settings; a jungle of murkily radiant street lights competes with the subdued patches of night-black foliage, a mountain towers over its man-made foreground, while artificial light eats into its cloak of natural darkness. In some paintings it is easy to imagine primordial woodland, while in others, cities sit serenely and comfortably in their surroundings, assuming dominance over nature. From afar these paintings are windows into landscapes frozen in sharp contrast; up close they are a jumble of oil paint, pallet knife scars and the board beneath. </span><br /><br /><span style="font-size: small;">Even with a total absence of the human form and the dominance of a much maligned color - grey - these paintings remain almost unexpectedly emotionally ripe and atmospheric, subsuming us completely into the artist's "unreal realism". </span><br /><br /><span style="font-size: small;">Todd Carpenter's career is as multifaceted as his work. Carpenter teaches photography and has also previously taught Neuroscience at the San Diego New School of Architecture and Design. He avidly pursues the field of Neuroesthetics - how the human brain interacts with art and what elements it perceives as beauty. This understanding has led him to master the effects of light, depth and visual space as precision tools in the creation of art. His art has been exhibited at LAUNCH LA and other venues around the United States as well as Hong Kong and Seoul. </span></p> Thu, 06 Sep 2012 09:03:58 +0000 Richard Ibghy & Marilou Lemmens - Monte Vista - September 7th, 2012 - October 6th, 2012 <p style="text-align: justify;"><strong>Monte Vista</strong> is pleased to announce Canadian artists<strong> Richard Ibghy &amp; Marilou Lemmens</strong>' first solo exhibition in Los Angeles,<strong><em> Real failure needs no excuse</em></strong>. Ibghy &amp; Lemmens have been working collaboratively for ten years with recent exhibitions at the Centre for Contemporary Arts, Glasgow, Scotland (2012), Milton Keynes Gallery, UK (2012) and the 10th Sharjah Biennial, UAE (2011). At Monte Vista, they will present two new works, a performance and a video installation, that make use of libretto and ephemeral constructions to explore uncertain ground as an artistic position.</p> <p style="text-align: justify;"><span style="font-size: small;">Invoking a world on the edge of economic collapse, <em>Until it is totally destroyed, unrecognizable</em> is a performance that generates a peculiar urgency - the suggestion that the performers, the materials, and the viewers are on the brink of immanent failure. <em>Until it is totally destroyed, unrecognizable</em> will be performed by the artists on September 7, 2012 at 7:30pm.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Consisting of a series of performances realized for the camera in an abandoned office building in Glasgow,<em> Real failure needs no excuse</em> is a three-channel video installation that investigates the transgressive potential of non-productive action and its relation to labour, work and the imagination. <em>Real failure needs no excuse </em>will be presented at Monte Vista Projects for the duration of the exhibition period.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Oriented around the themes of productive labour and the discourse of crisis, the works present continuous flows of improvised actions in which materials are ordered, piled, and assembled in various configurations.  Precariously balanced structures, visible for only a short time, collapse (because everything, eventually, collapses) to make way for new shapes and arrangements. These operations combine equal doses of gravity-defying setups and sudden breakdowns to suggest a soul cracking under the stress of hyper-productivity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Richard Ibghy &amp; Marilou Lemmens are based in Durham-Sud, Canada. Their work has been presented at the Centre for Contemporary Arts, Glasgow, Scotland (2012), Milton Keynes Gallery, UK (2012); Ausland, Berlin, Germany (2012); 10th Sharjah Biennial, UAE (2011); Galleria Alkovi, Helsinki, Finland (2011); and the European Media Art Festival, Osnabrück, Germany (2009). Their artistic projects and writings have been published in Le Merle, C-magazine, New Social Inquiry, and Pyramid Power.</span></p> Fri, 31 Aug 2012 19:00:31 +0000