ArtSlant - Recently added en-us 40 Michelle Oh, Hiroko Yoshimoto, Kathy Youn Sook Kim - LA Artcore Brewery Annex - July 20th - July 20th <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>L.A. ARTCORE PRESENTS</strong></p> <p align="center"><strong>A GROUP EXHIBIT WITH ARTISTS</strong></p> <p align="center"><strong>MICHELLE OH, HIROKO YOSHIMOTO, KATHY YOUN SOOK KIM</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>JUNE 20<sup>TH</sup>-August 15<sup>TH</sup>, 2014</strong></p> <p align="center"><em>Reception &ndash; Sunday August 3<sup>rd</sup></em></p> <p align="center"><em>1 p.m. &ndash; 3 p.m. &ndash; Artcore Brewery Annex</em></p> <p align="center"><em>Conversation With The Artist Series: 2 p.m. </em></p> <p align="center"><em>L.A. Artcore Brewery Annex</em></p> <p><em>&nbsp;</em></p> <p><strong>LOS ANGELES, CA (June 22<sup>nd</sup>, 2014)</strong>For the first of two exhibits this month at Artcore&rsquo;s Brewery Annex, three painters will display their love of using intense color in creating abstract art.&nbsp; Each artist has working methods that are unique, making for a stimulating view of how many different directions we can go starting from the same basic departure of a single medium.</p> <p>Michelle Oh is a very gestural painter, working with great sweeps of color, wet on wet combined with marks and swirls, seeking to capture the closest simulation of her emotional state.&nbsp; She believes this physical action will inevitably reveal the deeper, more complicated side of her humanity.&nbsp; Reflecting that the questions we ask about life, and the answers we form, ultimately sculpt our inner lives in a way that is reproduced in our feelings and everyday actions, painting is a place where the deepest convictions can be revealed in the simplest, most purely emotive way.</p> <p>Hiroko Yoshimoto lives in Ventura County, where she is active in cross-disciplined use of her talents in arenas like theatre and music.&nbsp; Her paintings are tremendous, vibrant samples of the seeming chaos of organic life, more collision that composition, a kind of balance that is a real spectacle to behold.&nbsp; Working as though the canvas had no edges, the complex and defined elements of color produce purely abstract results, but of a effortless complexity that could only be reproduced in close-up views in nature&rsquo;s own texture, like a handful of sand under a magnifying glass, or the life-forms that fill every droplet of seawater.</p> <p>Kathy Youn Sook Kim creates compositional abstractions that scratch and collide themselves into taut surfaces full of tension.&nbsp; Using color to create space and distance, using mark to join and relate, the artist has a up-close, manual approach to her painting.&nbsp; The intense working of the surface collects the hours and days of activity, creating a record of the artist&rsquo;s presence.&nbsp; The overall result is a kind of static formed entirely of color, and nicely contrasts the other painters.</p> <p>-By Robert Seitz</p> <p>&nbsp;</p> <p>Michelle Oh:&nbsp; <a href="" rel="nofollow"></a></p> <p>Hiroko Yoshimoto: <a href="" rel="nofollow"></a></p> <p>&nbsp;</p> <p><strong>&nbsp;</strong></p> <p><strong>Artist Reception:</strong></p> <p>Sunday August 3<sup>rd</sup>, 2014, 1 p.m. &ndash; 3 p.m.</p> <p><em>Conversation With the Artist Series </em>at 2 p.m.</p> <p>&nbsp;</p> <p><strong>L.A. Artcore Brewery Annex</strong></p> <p>650A S. Ave. 21., Los Angeles, CA 90031</p> <p>Gallery hours: 12-5 p.m., Thu-Sun.</p> <p>&nbsp;</p> <p><strong>ABOUT L.A. ARTCORE </strong></p> <p>L.A. Artcore helps develop the careers of visual artists of diverse cultural backgrounds, bringing innovative contemporary art to the public, and provides educational programs by professional artists for people of all ages. For more information visit <a href="" rel="nofollow"></a></p> <p align="center">&nbsp;</p> <p>(</p> Thu, 10 Jul 2014 00:05:50 +0000 Karrie Ross, Dani Vinokurov, Michael Wood - LA Artcore Union Center for the Arts - August 3rd - August 31st <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>L.A. ARTCORE PRESENTS</strong></p> <p align="center"><strong>A GROUP EXHIBIT WITH ARTISTS</strong></p> <p align="center"><strong>MICHAEL FREITAS WOOD, DANI VINOKUROV </strong></p> <p align="center"><strong>&amp; KARRIE ROSS</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>AUG. 3-31<sup>ST</sup>, 2014</strong></p> <p align="center"><em>Reception &ndash; Sunday August 3<sup>rd</sup></em></p> <p align="center"><em>3 p.m. &ndash; 5 p.m. &ndash; Union Center</em></p> <p align="center"><em>Conversation With The Artist Series: 4 p.m. </em></p> <p align="center"><em>L.A. Artcore at Union Center for the Arts </em></p> <p><em>&nbsp;</em></p> <p><strong>LOS ANGELES, CA (May 22<sup>nd</sup>, 2014)</strong>L.A. Artcore is pleased to announce this drawing and painting show that reveals in its artists, an attraction to craft and the intimate role it plays in each artist's methodical and intuitive processes.</p> <p>&nbsp;</p> <p>The abstract paintings of <strong>Michael Freitas Wood</strong> are formed from numerous and overlaid handmade grids whose intricate structural buildup and exploration of color differentiate between compositions whose undulating and patterned effects are made active by underlying geometric forms that describe and an overall structure whose character fluidly travels between architectural elements, technological imprints, textile design (to name a few) and visually inquires about them through a lens similar to that of an</p> <p>&nbsp;</p> <p align="center">(more)</p> <p>(Ross, Vinokurov, Freitas Wood, pg. 2)</p> <p>&nbsp;</p> <p>archaeologist, anthropologist and/or sociologist engaging with the state of civilization past and present.</p> <p>The intricate lattice structures that make up Wood's paintings are created with pigmented-plaster that is thinly applied through strips of tape giving Wood the desired definition of a hard edge. But repeating this technique numerous times while layering them over and over yields optically-vibrating images that are produced between chromatic variation and distinguished by alternating forms. More info and images can be found at:</p> <p>&nbsp;</p> <p>In the curiously-inspired art of <strong>Dani Vinokurov</strong>, the artist exclaims, "My collages are one part magic, one part dreamscape, one part folk art, and one part nature." Vinokurov's &nbsp;visual narrative unfolds through tiny ink drawings, meticulous paper cuts, watercolor washes, miniature weavings, and embroidery. In the artist's words, "Each collage is a place where the conscious and subconscious minds intersect&mdash;a place of luscious and whimsical environments where flora and fauna interact with repeat-pattern design to tell a story of femininity, folklore, and fantasy." More information can be found here:</p> <p>&nbsp;</p> <p>At its core, the direct aesthetic world of human, animal and natural imagery in <strong>Karrie Ross' art </strong>correlates with the development of the artist's working techniques on paper. Yet, the artist describes her process of discovery as one that is intertwined with learning about matter itself, Ross expresses equal fascination for the implications of science and its detections of matter vibrating at a subatomic level and producing frequencies, which the artist conveys as, "...a fascination with the internal vibrations of the atom; that everything vibrates. That concept was brought really close to me back when I was around nineteen. A man walked up to the counter I was working at and slammed his hand on it and he said, "Do you know that that's moving!?" and I was a dumbfounded young girl going, "Okay, he's a customer, what do I do?" Well, come to find out, that everything has a frequency. If we meet that frequency of what we want, the universe can't help but give us that frequency." Needless to say, Ross captures the simultaneous</p> <p align="center">&nbsp;</p> <p align="center">(more)</p> <p>(Ross, Vinokurov, Freitas Wood, pg.3)</p> <p>&nbsp;</p> <p>interactions between materials and symbolic imagery. Ross vividly recalls&nbsp; a childhood experience of being outside in the yard during an earthquake, and being called after by her mom from inside while a bee flew into her dress, this being of a dreamlike quality whose absurdity of simultaneous events has become the defining quality of her art. More info on Karrie Ross (including a video) can be found at:</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong>&nbsp;</strong></p> <p><strong>Artist Reception:</strong></p> <p>Sunday August 3<sup>rd</sup>, 2014, 3 p.m. &ndash; 5 p.m.</p> <p><em>Conversation With the Artist Series </em>at 4 p.m.</p> <p>&nbsp;</p> <p><strong>L.A. Artcore at Union Center for the Arts</strong></p> <p>120 Judge John Aiso St., Los Angeles, CA 90012</p> <p>Gallery hours: 12-5 p.m., Wed-Sun.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong>ABOUT L.A. ARTCORE </strong></p> <p>L.A. Artcore helps develop the careers of visual artists of diverse cultural backgrounds, bringing innovative contemporary art to the public, and provides educational programs by professional artists for people of all ages. For more information visit <a href="" rel="nofollow"></a></p> <p align="center">&nbsp;</p> <p align="center">(end)</p> Thu, 10 Jul 2014 00:03:40 +0000 Jeff Foye, Gordon Winiemko - Monte Vista - July 19th - August 10th <p style="text-align: justify;"><span style="font-size: small;">If the Lumi&egrave;re Brothers&rsquo; &ldquo;Workers Leaving the Factory&rdquo; is synonymous with both the birth of film and the 20th century, then the 21st century, internet-based version might be called &ldquo;Workers Always at the Factory&rdquo;&mdash;a paradigm reflected and embodied in this new work by Jeff Foye and Gordon Winiemko. <strong>JEFF&amp;GORDON: DAY JOB</strong> is a split-screen video (or video diptych) that collapses a day in the life of the two artists&mdash;during which they are always in some state of labor, or engagement with labor&mdash;into a monolithic <strong>8-hour running time</strong> that coincides with the workday that laborers once fought and died for. The 8-hour running time implies a laborious commitment from the viewer but also deliberately undermines the expectation to take in &ldquo;the whole thing.&rdquo; <strong>JEFF&amp;GORDON: DAY JOB</strong> is a time-based work that transcends the boundaries of time, the way our labor now transcends boundaries under the &ldquo;empire&rdquo; of late capitalism. At the same time, this transformation of time given over to labor into an object of aesthetic contemplation begs the question, how might we transform our labor?&nbsp; JEFF&amp;GORDON is the collaboration of Jeff Foye and Gordon Winiemko. In their video and performance based work, the artists examine the social customs and cultural idioms that are so much a part of the &ldquo;air we breathe&rdquo; that we often ignore how they shape our lives, for better or worse. Together they have had solo shows at such venues as the UC Riverside Sweeney Art Gallery, the CSU Northridge West Gallery, the Museum of Contemporary Art Santa Barbara, and 323 Projects. In 2012 they were awarded the Investing in Artists grant by the Center for Cultural Innovation. They have each been awarded a Professional Artist Fellowship from the Arts Council for Long Beach, where they both reside. Jeff received his MFA from CSU Long Beach and currently works part-time there as the student gallery coordinator and as an instructor. Gordon received his MFA from UC Irvine and works as an instructor at the Art Institute of California, CSU Fullerton, Fullerton College, and Los Angeles Mission College.</span></p> <h1><span style="font-size: small;">Opening Reception: Saturday, July 19, 2014, 12 &ndash; 8 pm (special hours)</span><br /><span style="font-size: small;"> <em>Coffee and tea will be served 2 &ndash; 5 pm</em></span></h1> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> Mon, 07 Jul 2014 18:06:01 +0000 Group Show - Ruth Chandler Williamson Gallery (Scripps College) - September 13th - October 19th <p style="text-align: justify;"><span style="font-size: small;">Science, the environment, and politics are the themes taken up by 26 artists in the Gallery's first show of the year, which conveys the strength and breadth of work produced by women printmakers today.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Scripps College starts off its year of exhibitions with <em>Women and Print</em>: <em>A Contemporary View</em>, the fifth in a series dedicated to outstanding women artists<em>. </em>An opening reception will be held at the Ruth Chandler Williamson Gallery on Sept. 13 from 7 to 9 p.m. The same day, from 3 to 5 p.m, the &ldquo;Digital Technologies and Printmaking&rdquo; symposium will take place at the College&rsquo;s Boone Recital Hall with <em>Women and Print</em> artists Bernice Ficek-Swenson, Nancy Friese, and Rita Robillard and moderation by Susan Tallman, editor of <em>Art in Print.</em>&nbsp;The symposium is funded by the Scripps College Class of 1942. The exhibition runs through October 19th.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Identity, nature, and science predominate in this exhibition of contemporary printmaking. Through these themes, <em>Women in Print</em> investigates the art of the print. National in scope, the exhibition features 66 works by 26 artists, showcasing leading women printmakers who are working in new ways, often combining traditional and digital processes to produce hybrid prints with fresh expressive dimensions. Together, these works reveal the strength of work produced by women printmakers today.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The list of artists includes: J. Catherine Bebout; Anita Bunn; Sophie Calle; Squeak Carnwath; Amy Ellingson; Bernice Ficek-Swenson; Nancy Friese/Laurel Reuter; Monica Furmanski; Ellen Gallagher; Sandy Gellis; Catherine Kernan; Amanda Knowles; Karen Kunc; Sylvia Lark; Nancy Macko; Julie Mehretu; Karen Oremus; Ruby Osorio; Barbara Robertson; Rita Robillard; Paula Roland; Alison Saar; Mary Schina; Alyson Shotz; Pat Steir; Michelle Stuart; Sherrie Wolf.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A full-color catalog with essays o</span>n the works&rsquo; focal points of environment, politics, and science will accompany the exhibition.</p> Mon, 07 Jul 2014 18:03:19 +0000 Torey Thornton - OHWOW Los Angeles - September 6th - October 11th <p style="text-align: justify;"><span style="font-size: small;">Torey Thornton&rsquo;s exhibition, titled&nbsp;<em>Some Narrow Sleeping,</em>&nbsp;includes several bodies of work, all sharing a common thread. For the past year, the artist has been playing with the idea of perception &ndash; how the mind perceives an image. His paintings involve visual&nbsp;manipulations of scale and perspective, which&nbsp;inherently confuses interpretation &ndash; what might appear as a horizon line to one person could look like a tabletop to another. For instance, he may place a car on a &ldquo;horizon&rdquo; line next to a bowl of fruit. Is the car a toy, or is the fruit a giant sculpture?&nbsp;He is interested in the dialogue between objects and forms as they interact on the picture plane, and how the mind reacts to these unorthodox compositions, in turn.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Thornton employs a similar distortion approach with his sculptural work, just through a different medium and dimension. He selects materials, either found or constructed from scratch, to create final objects that appear to be several things, simultaneously. Is it a pizza or a rug? Through scale shifts, or shaping the sculptures to appear as something familiar, he alters the idea of what domestic objects are or what the definition of a domestic object can be. Thornton&rsquo;s works confuse the viewer by distorting form and using materials that interfere with what the mind wants to see.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Torey Thornton (b. 1990, Macon, GA) graduated from Cooper Union in 2013. His work has been shown both nationally and abroad, including solo exhibitions at Galerie Torri, Paris, FR; and at Karma, New York, NY. Recent group exhibitions include&nbsp;<em style="color: #000000;"><em><em>Live And Let Die</em></em></em>, Modern Art, London, UK;&nbsp;<em>Forever</em>, Metropolitan Art Society, Beirut, LB; and&nbsp;<em>Don&rsquo;t Look Now</em>, Zach Feuer Gallery, New York, NY.&nbsp;<em>Some Narrow Sleeping</em>&nbsp;is Thornton&rsquo;s Los Angeles debut and first solo exhibition at OHWOW.</span></p> Mon, 07 Jul 2014 17:55:29 +0000 Joe Lloyd - Western Project - July 26th - August 23rd Mon, 07 Jul 2014 17:40:15 +0000 Lucien Shapiro, Gosha Levochkin, Mel Kadel, P-Jay Fidler, Travis Millard, Jason Redwood - New Image Art Gallery - July 12th - August 17th Mon, 07 Jul 2014 17:22:57 +0000 - Gagosian Gallery - Beverly Hills - July 25th - August 22nd Mon, 07 Jul 2014 17:17:12 +0000 Gina Osterloh - François Ghebaly Gallery - E Washington Blvd. - July 19th - August 16th Mon, 07 Jul 2014 17:15:40 +0000 Carol Selter - Charlie James Gallery - July 26th - August 30th <p style="text-align: justify;"><span style="font-size: small;">Drawing upon her background in biological science, Carol Selter makes photo-based work that explores the natural world and our relationships to that environment. In <em>Outdoor World</em>, she constructs slightly altered versions of reality by photographing pages from Blurb photo books she made for an earlier project.</span></p> <p style="text-align: justify;"><span style="font-size: small;">While keeping the books intact, Selter manipulates the pages to create new, composite landscapes that are not exactly fictional yet not fully representational. They occupy the liminal space between documented and staged, original and appropriated, between &ldquo;taking&rdquo; and &ldquo;making.&rdquo; Rich with blur, focus revealing only halftone dots, the images are approximate rather than detailed, generic rather than specific.</span></p> <p style="text-align: justify;"><span style="font-size: small;">By making superficially ordinary yet ambiguous images that deviate from traditional landscape photographs, Selter seeks to extend our idea of what a such a photograph can be, while commenting on a future where pre-existing images may be all that&rsquo;s available to those who seek natural landscapes.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Carol Selter (b. Los Angeles) lives and works in Santa Cruz, CA. She received her MFA in Photography from the School of Art and Design, San Jose State University in 2002. She also holds degrees in botany and biology. Her work 
has been exhibited at Gallery 16, San Francisco, SF Camerawork, SFMOMA, SFAC, and the San Jose Museum of Art, as
 well as at Harvard University, The McKinney Avenue Contemporary, Dallas, TX, and CEPA Gallery in Buffalo, NY. She has received a SECA award and the Phelan Art Award in 
Photography. She is represented by Gallery 16 in San Francisco.</span></p> Mon, 07 Jul 2014 17:04:20 +0000 Jason Gringler - Steve Turner Contemporary - July 12th - August 23rd Sun, 06 Jul 2014 09:32:36 +0000 - Human Resources - July 8th 8:00 PM - 10:00 PM <p style="text-align: justify;"><span style="font-size: small;">Automated Futures traces 825 miles of fiber optic cable through the cities and townships of the rust belt. The cable was engineered to be shortest telecommunication line between Chicago and New York, and is a key piece of the material infrastructure used for algorithmic high-frequency trading. Assembled from video and audio recordings captured while traveling the route of the cable in summer of 2013, Automated Futures embeds the technology of high finance within its physical context -- the decaying landscape of the Midwest's once-thriving industrial economy.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Directed by Ulysses Pascal</span><br /><span style="font-size: small;">Cinematography by Brian Echon</span><br /><span style="font-size: small;">Sound by Matthew Doyle</span><br /><span style="font-size: small;">Runtime: 47 min.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The screening will be followed by a Q&amp;A with the filmmakers.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank"></a></span></p> Sat, 05 Jul 2014 05:57:13 +0000 Ruth Bernhard - Peter Fetterman Gallery - July 4th - September 13th <p style="text-align: justify;"><span style="font-size: small;">Peter Fetterman Gallery is pleased to present two exhibitions of original photographs by American photographer Robert Stivers and 20th Century icon Ruth Bernhard. The simultaneous exhibitions of contemporary and modern works provide a broad coverage of each artist's oeuvre.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Iconic nudes and rare still-lifes from the gallery's collection by Ruth Bernhard (Germany, 1905 - 2006) will be exhibited in the adjacent gallery space.&nbsp; Regarded as one the greatest photographers of the female nude, Bernhard's images are praised for their elegant study of the female form displayed in exquisitely printed traditional gelatin silver photographs. Prints exhibited include seminal works such as Classic Torso, 1952 and In the box horizontal, 1962 as well as more rarely seen later studies like Symbiosis, 1971. Dramatic use of light and abstraction of the body create images of unique&nbsp;expression&nbsp;beyond eroticism or fantasy.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In addition to nudes, several still-lifes display Bernhard's clear recognition of form and sensuality in objects and spaces apart from the body. Often surrealist though sharply focused, this rarely exhibited side of Bernhard's photography presents an increasingly rare medium of masterful darkroom printing.&nbsp;Bernhard is associated with the history of Northern California's wealth of eminent photographers including Edward Weston, Ansel Adams, Imogen Cunningham, Dorothea Lange and Minor White. In a career spanning more than seven decades, she created an imposing body of work. Distinguished by their exquisite use of light, her images have been internationally recognized and acclaimed by her peers.&nbsp;Radiant still-lifes and nude forms reflect her passionate search for the universal connection of all things. Bernhard's work has been exhibited and included in the permanent collections of major museums and universities in the United States, Europe, Japan, and Mexico, and has been published worldwide.</span></p> Fri, 04 Jul 2014 17:46:00 +0000 Robert Stivers - Peter Fetterman Gallery - July 12th - September 13th <p style="text-align: justify;"><span style="font-size: small;">Peter Fetterman Gallery is pleased to present two exhibitions of original photographs by American photographer Robert Stivers and 20th Century icon Ruth Bernhard. The simultaneous exhibitions of contemporary and modern works provide a broad coverage of each artist's oeuvre. An opening reception will be held with artist Robert Stivers on&nbsp;Saturday July 12, from&nbsp;5-8pm.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the second exhibition at Peter Fetterman Gallery by Robert Stivers (American, b. 1953), Gelatin silver and Platinum prints provide a curated retrospective spanning the artist's 25-year career. Photographs of mysterious figures, botanicals and nebulous spaces along with earlier works are all connected by a continual visual&nbsp;mystery and muted beauty. Early "Series 5" prints from Stivers' first monograph Robert Stivers: Photographs (Arena Editions, 1997) display an intentional loss of focus achieved in the printing process showing figures faded into a carbon-black void. Photographs from "Series 9" feature rich bronze-toned prints of frayed objects and dream-like scenarios from Listening to Cement (Arena Editions, 2000) and Sestina (Camera Work AG, 2003), while "Series 10" works created for the exhibition study peculiar objects and botanicals with a "distressed" printing process.&nbsp;Large platinum and pigment prints as well as a series of experimental unique gelatin silver prints highlight current projects by the artist in anticipation of his forthcoming monograph, The Art of Ruin (Twin Palms, 2014, Essay by Steve Brown).&nbsp;</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">For many of his works, Stivers begins with a sharply focused negative that is then manipulated in the printing process causing intentional loss of clarity to achieve sensual, dream-like images akin to early Pictorialism at the turn of the 20th Century. The works on view exhibit themes of emotional anxiety, memory and time through a blurring of reality and visual identity. Robert Stivers studied at the University of California, Irvine (1976), earned his M.A. at New York University (1980), and has exhibited internationally since the early 1990's. His work is in collections of the Biblioth&egrave;que Nationale, Paris, France; The Getty Museum, Los Angeles, CA; The Los Angeles County Museum of Art, CA; Center for Creative Photography, Tucson, AZ; George Eastman House, Rochester, NY; The Metropolitan Museum of Art, New York, NY; and the Victoria and Albert Museum, London, UK. He lives and works in Santa Fe, New Mexico.</span></p> <p align="justify">&nbsp;</p> Fri, 04 Jul 2014 17:45:10 +0000 Yukako Ando - 18th Street Arts Center - July 14th - September 30th <p style="text-align: justify;"><span style="font-size: small;">18th Street Arts Center&rsquo;s visiting artist&nbsp;<a href="" target="_blank">Yukako Ando</a>&nbsp;presents several site-specific installations in the Atrium Gallery that engage with themes of urban daily life in Los Angeles. This exhibition documents Ando&rsquo;s questions and impressions informed by the humor of American &ldquo;pop consumption culture&rdquo; and by her interior responses. Ando&rsquo;s approach to her work is diaristic, instinctive, and personal. Ando uses daily necessities to create the important elements of her work and explore ideas of time and space, drawing additional inspiration from the city&rsquo;s climate, buildings, and freeway connections. The works on exhibit reflect her experiences of Los Angeles collected from past visits and during her residency.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Yukako Ando is a visual artist who focuses on the everyday phenomena from which the fundamental questions of life are configured. Ando, born in 1972 in Osaka, Japan, currently lives and works in D&uuml;sseldorf, Germany. She graduated from the Department of Sculpture of Kyoto Seika University in 1994 and earned her MA degree from Kunstakademie D&uuml;sseldorf in 2001. She has won numerous international scholarships and prizes. Most notably she is a recent recipient of the Program for Arts Fellowship by the Japanese Department of Cultural Affairs who is the funder for her current residency at 18th Street Arts Center. Additionally, she is currently a 2014 Japan-United States Exchange Friendship Program in the Art Fellow, which is sponsored by the Art of Japan-United States Friendship Commission.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;Atrium Gallery programming is underwritten by the&nbsp;<a href="" target="_blank">Andy Warhol Foundation for the Visual Arts</a></em></span></p> Fri, 04 Jul 2014 15:19:21 +0000 Miljohn Ruperto - 18th Street Arts Center - July 14th - October 3rd <p style="text-align: justify;"><span style="font-size: small;">For the latest iteration of 18th Street Arts Center&rsquo;s Artist Lab series, artist&nbsp;<a href="" target="_blank">Miljohn Ruperto</a>&nbsp;brings the Lab framework into dialogue with science and philosophy. In collaboration with animator Aim&eacute;e de Jongh and neuroscientist Rajan Bhattacharyya, he will investigate the speculative possibilities of mineral &ldquo;deformities&rdquo; inspired by Georges Canguilhem&rsquo;s text,&nbsp;<em>Knowledge of Life</em>. The three come together to grapple with a particular assertion by Canguilhem, a philosopher of science, that &ldquo;there are no mineral monsters,&rdquo; or rather that the scientific category of mineral is incompatible with human notions of deformity. Ruperto&rsquo;s exhibition&nbsp;<em>Mineral Monsters&nbsp;</em>delves into a space wherein humans are irrelevant, unable to project their own attributes onto or against the material world. His work then troubles that space by introducing visual aspects that trigger our implicit, negative responses, such that the neutral tenor of Canghuilhem&rsquo;s position shifts to a more troubling, oppositional one. Ruperto will use the Artist Lab as a working studio to untangle the relationship between science and philosophy and contemplate the ways in which our categorization of natural phenomena both shapes and hinders our broader conceptualization of life. Working together with animator de Jongh, Ruperto will create computer-generated visuals. These visual forms will be derived from conversations with Bhattacharyya and from his research based in concrete scientific principles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Canguilhem, a French philosopher and physician, served as a mentor to many scholars and philosophers, notably Foucault and Derrida.&nbsp; His work often questions accepted science, arguing that it serves to reduce organisms to neatly functioning and predictable machines when in fact biology is complex and subject to wide variation. According to Canguilhem, all minerals exist in nature, whether they contain mutations or not, and thus the idea that there exists typical and atypical varieties of minerals is simply a human construction. Ruperto and his collaborators use Canguilhem&rsquo;s negation of human potential for influence over nature as the starting point for a meditation on the basic nature of humans to be governed by attraction and repulsion.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ruperto&rsquo;s interest in scientific philosophy and history is ongoing, represented by his earlier collaboration with artist Ulrik Heltoft,&nbsp;<em>Voynich Botanical Studies</em>, exhibited at the Thomas Solomon Gallery in New York in 2013 and in the 2014 Whitney Biennial.&nbsp;<em>Voynich Botanical Studies&nbsp;</em>was inspired by a 16th&nbsp;century manuscript containing drawings of various species of plants whose historical existence cannot be corroborated scientifically. Also displayed at the Whitney was an earlier collaborative animation created by Ruperto with de Jongh.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Miljohn Ruperto&rsquo;s Artist Lab Residency at 18th Street Arts Center and all associated events have been made possible through the generous support of the&nbsp;<a href="" target="_blank">Los Angeles County Arts Commission</a>&nbsp;and&nbsp;<a href="" target="_blank">The Andy Warhol Foundation for the Visual Arts</a>.</em></span></p> Fri, 04 Jul 2014 15:16:52 +0000