ArtSlant - Recently added en-us 40 Olga Balema, Tom Humphreys, Win McCarthy, Emanuel Röhss, José Rojas, J. Parker Valentine - Thomas Duncan Gallery - February 28th - March 21st Sat, 24 Jan 2015 08:55:13 +0000 Katy Cowan - Cherry and Martin - 2732 - February 28th - March 28th Sat, 24 Jan 2015 08:53:31 +0000 Pat O'Neill - Cherry and Martin - February 28th - March 28th Sat, 24 Jan 2015 08:51:46 +0000 David Kapp - Ruth Bachofner Gallery - February 28th - April 11th <p style="text-align: justify;">Ruth Bachofner Gallery is pleased to present a new exhibition of paintings by David Kapp. There will be &nbsp;a reception for the artist, Saturday, February 28, 4-6 PM &nbsp;</p> <p style="text-align: justify;">David Kapp was born and raised in New York and has painted the city since the 1970's. Kapp&rsquo;s paintings &nbsp; extract the dramatic contrasts, harmonies, collisions and forms of urban architecture and movement. &nbsp; Images of traffic, buildings and pedestrians from skewed perspectives have become signature for the &nbsp; artist. Kapp has revisited certain views and streetscapes, yet these same subjects arrive in fresh ways &nbsp; with each new series. His extreme perspectives and dramatic plays of light continually evolve in images &nbsp; that have become tools for conveying the essence of the city, rather than literal portraits of his &nbsp; surroundings. &nbsp;</p> <p style="text-align: justify;">In his latest body of work, Kapp brings a higher dose of geometry and an electric palette, particularly with &nbsp; collage studies that recall the optimism of Matisse's cut-outs. In his paintings, Kapp applies this same &nbsp; precise cutting to paint, where vertical views of a jagged sky through towering highrises become highly &nbsp; flattened, hard-edge abstractions. In some pieces, the context of the urban environment is barely &nbsp; discernible within complex, fractured geometries. These works are accompanied by more painterly &nbsp; approaches as well, where pedestrians, traffic scenes and crosswalks brim with energy. While the &nbsp; subjects are more recognizable in these paintings, Kapp has pared down the scenes to favor a gridded &nbsp; format with spare grounds. In all of his work, Kapp's focus is always on the light, which he sees of primary &nbsp;importance, the adhesive that binds the image together. &nbsp;</p> <p style="text-align: justify;">&ldquo;Intentionality is not the primary component of the creative process,&rdquo; Kapp states. &ldquo;Experimentation and &nbsp; play are of equal importance. I don&rsquo;t want only results but will achieve results through the process of &nbsp; doing. Failure thus becomes an important part of the creative process. The process itself always indicates &nbsp;a direction of interest. Habit is the biggest enemy of creation. The subject of any painting is not the object: &nbsp;the object is the relationship between parts, forms and colors, bound by natural forces.&rdquo;</p> <p style="text-align: justify;">&nbsp;David Kapp has received two Awards from The American Academy of Arts and Letters along with a &nbsp; Rosenthal Foundation award. His work is in many public and private collections including The &nbsp; Metropolitan Museum of Art, The National Academy of Design, and The Mint Museum of Art.&nbsp;</p> Sat, 24 Jan 2015 08:49:16 +0000 Tony Beauvy - Ruth Bachofner Gallery - February 28th - April 11th <p style="text-align: justify;">Ruth Bachofner Gallery is pleased to present an exhibition of paintings by Tony Beauvy. There will be a reception for the artist Saturday, February 28, 4-6 PM.</p> <p style="text-align: justify;">Tony Beauvy is a Los Angeles-based painter who received his M.F.A. from UCLA. The exhibition brings together a series of abstract paintings that Beauvy approaches with an improvisational approach, that involve notions of figuration as well as formal approaches. The large scale of the work creates environments in which viewers are enveloped by fibrous drips of paint over successively layered fields.</p> <p style="text-align: justify;">For Beauvy, resolution is achieved in the undetermined spaces of his paintings. He engages in scraping, pouring, and sanding which move the paintings toward a balance of refinement and roughness. The sense of abandonment and dissolving within the flowing areas of paint embrace the unknowable, which is where Beauvy sees the paintings reaching their highest potential. This interceding space, where the image dematerializes, yet holds interest has the most possibility and interest for both viewers and the artist.</p> <p style="text-align: justify;">&ldquo;My paintings are born out of process and practice, addition and subtraction,&rdquo; the artist states. I want to push the painting almost to its failure point &ndash; the point at which it is exhausted is where I find the most possibility. In my paintings, a sense of place appears and disappears. A constant unearthing of surface creates a geography that is not concrete, rather flexible.&rdquo;</p> Sat, 24 Jan 2015 08:48:38 +0000 Oscar Enberg - Thomas Duncan Gallery - January 28th 6:00 PM - 8:00 PM <div style="text-align: justify;">Please join us&nbsp;as Oscar Enberg&nbsp;discusses his latest exhibition and a related group of new works that will be shown at the&nbsp;<a href="" target="_blank">Paramount Ranch</a>&nbsp;fair.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Please rsvp to:&nbsp;<a href="" target="_blank"></a></div> Sat, 24 Jan 2015 08:33:42 +0000 John Sonsini - Patrick Painter Inc. - January 24th - February 21st <p style="text-align: justify;">Patrick Painter, Inc. is pleased to present a solo exhibition featuring new work by Los&nbsp;Angeles painter John Sonsini. The exhibition will showcase new pieces in the artist&rsquo;s&nbsp;on-going dialogue with expressionistic portraiture.</p> <p style="text-align: justify;">For Sonsini, portraits are not only about what you see, but what you don&rsquo;t see. He&nbsp;favors models who occupy spaces far removed from high art. His penchant for hiring&nbsp;Hispanic day laborers to sit for him has given rise to a body of work that defies the&nbsp;viewer&rsquo;s understanding of portraiture. His subjects are often placed against abstract,&nbsp;pastel backgrounds, setting the scene for the interesting play between masculinity&nbsp;and vulnerability. Though not overtly political, Sonsini&rsquo;s paintings invite us to look&nbsp;beyond the prototypical day laborer, the impoverished immigrant, or the&nbsp;disenfranchised urban youth, and ponder the unseen life they lead.&nbsp;</p> <p style="text-align: justify;">With their oversized shoes and hands, we are reminded that society characterizes&nbsp;these men by their work. Their clothing, rendered in broad, expressive strokes, is&nbsp;often generic and vaguely uniform. Plain polo shirts, blue jeans, and beat up&nbsp;sneakers tell us that these are not men of leisure. Skateboards, wallets, belt buckles,&nbsp;and hats give us glimpses into their world, while boxes and luggage hint at a recent&nbsp;&ldquo;move&rdquo;. However, these accoutrements give us only part of the story, and raise even&nbsp;more questions. We are confronted with an underlying tension found in the&nbsp;disconnect between how we define them and how they define themselves.&nbsp;</p> <p style="text-align: justify;">This is John Sonsini&rsquo;s first exhibition with Patrick Painter, Inc. Sonsini&rsquo;s work is&nbsp;currently on view in Los Angeles at the Museum of Contemporary Art, and the Autry&nbsp;National Center of the American West. He has had recent exhibitions at Bentley&nbsp;Gallery in Phoenix, AZ (2013) and Inman Gallery in Houston, Texas (2013). His work&nbsp;is included in major public collections such as the Smithsonian American Art&nbsp;Museum in Washington, D.C., and the Guggenheim Museum in New York , and the&nbsp;San Francisco Museum of Modern Art.</p> Sat, 24 Jan 2015 08:30:47 +0000 Betty Woodman - David Kordansky Gallery - January 31st - March 21st <p style="text-align: justify;">David Kordansky Gallery is pleased to announce&nbsp;<span style="text-decoration: underline;">Illusions of Domesticity</span>, an exhibition of new work by Betty Woodman. The exhibition will open on&nbsp;Saturday, January 31, 2015&nbsp;at 5130 W. Edgewood Place and will continue on view through&nbsp;March 21, 2015. An opening reception will be held on&nbsp;January 31 from 6:00pm until 8:00pm.</p> <p style="text-align: justify;">Legendary artist Betty Woodman is widely celebrated for her exuberant and vivid ceramic works that defy categorization as painting, sculpture, or pottery. Her singular experimentation with the vase form, as a contemplative and pictorial, as well as functional object, spans over fifty years---from producing utilitarian pots in the 1950s, to collaborations with the Pattern and Decoration movement in the late 1970s and 1980s, to her 2006 exhibition at New York's Metropolitan Museum of Art, the institution's first (and only) for a living artist working in ceramics, and its first (and only) retrospective for a living woman artist. In her recent mixed-media sculptures and installations, Woodman revisits the history of ceramics as a tradition of painted form, generating spectacular possibilities for the extension of painting into plastic space.</p> <p style="text-align: justify;"><span style="text-decoration: underline;">Illusions of Domesticity</span>, Woodman's first exhibition at David Kordansky Gallery and her first on the West Coast in nearly a decade, features an installation of new paintings and sculpture in glazed earthenware, unstretched canvas, and wood. In these polychrome reliefs and freestanding forms, she conjures the trappings of a bourgeois home as splendorous perceptual experiences. Woodman has long drawn inspiration from domestic Roman wall paintings, whose tromp l'oeil depictions of outdoor vistas accent lived space with pictorial depth. Here she furthers and inverts those dynamics, elaborating sculptural objects with painted imagery, but also vice versa. Picturing, if not mimicking rugs and tables, pedestaled vessels, and room interiors, the works elude expectations, shifting both between materials and modes of representation.</p> <p style="text-align: justify;">n each of a new series of still life paintings, for example, a depicted table partially emerges from the picture plane as a shelf-like protrusion. Atop these tables Woodman situates decorative dinnerware and pottery of her own making by placing these forms on the shelf and collaging others to the surface of the painting in bas-relief. As painted background becomes sculptural base, and image becomes object, and back again, the resulting picture appears at once continuous and discontinuous, immediately present yet illusory. The idiosyncrasies of a Cezanne-like perspective, a vibrant palette reminiscent of Gauguin, and patterning in the spirit of Matisse further activates the painterly, tactile sensations at play.</p> <p style="text-align: justify;">These optics become increasingly bodily in Woodman's freestanding works, in particular her Aztec vases. She adorns each thrown, tubular pot---inspired by a four-sided pre Columbian stone sculpture---with four wing-like slabs to create four distinct faces, and upon each a unique painting composition. One can only apprehend the entire Cubist-like construction and its permutations by circling the work, as Woodman keys each composition to the uniquely contoured forms it decorates and the paint's potential to alter perception of those surfaces, edges, and volumes. A fifth painting, this one on canvas flat on the floor, and overlaid with glazed earthenware slab remnants, completes each Aztec vase. With this relief painting, Woodman provides a base for the vessel, while establishing a fantastical mise-en-sc&egrave;ne and, like all of the works in&nbsp;<span style="text-decoration: underline;">Illusions of Domesticity</span>, a renewed picture of the pleasures of home life.</p> <p style="text-align: justify;">Betty Woodman (b. 1930, Norwalk, Connecticut) lived, worked, and taught in Colorado for forty years, and now divides her time between studios in New York and Antella, Italy. Besides numerous gallery exhibitions, recent solo presentations of her work include:&nbsp;<span style="text-decoration: underline;">Places, Spaces &amp; Things</span>, Gardiner Museum, Toronto (2011);&nbsp;<span style="text-decoration: underline;">Roman Fresco/Pleasures and Places,</span>&nbsp;American Academy in Rome (2010);&nbsp;<span style="text-decoration: underline;">L'allegra vitalit&agrave; delle porcellane</span>, Museo Delle Porcellane, Palazzo Pitti, Giardino di Boboli, Florence (2009); and&nbsp;<span style="text-decoration: underline;">Somewhere Between Denver and Naples</span>, Denver Art Museum (2006). Her work has also recently been featured in group exhibitions including&nbsp;<span style="text-decoration: underline;">Playing House</span>, Brooklyn Museum (2012);&nbsp;<span style="text-decoration: underline;">Postmodernism: Style and Subversion, 1970-1990</span>, Victoria and Albert Museum, London (2011);&nbsp;<span style="text-decoration: underline;">S&egrave;vres, Porcelaines Contemporaines</span>, The Menshikov Palace, The Hermitage Museum, St. Petersburg (2010); and<span style="text-decoration: underline;">Dirt on Delight: Impulses that Form Clay</span>, Institute of Contemporary Art, Philadelphia, and the Walker Art Center, Minneapolis (2009). Woodman's artworks are featured in over fifty public collections including the Stedelijk Museum, Amsterdam; the Whitney Museum of American Art, New York; the Los Angeles County Museum of Art; and the National Gallery of Art, Washington, D.C. In fall 2015, Museo Marino Marini, Florence, will present a major traveling exhibition of Woodman's work curated by Vincenzo De Bellis.</p> Sat, 24 Jan 2015 08:25:03 +0000 Tom Norris - Monte Vista - February 1st 2:00 PM - 6:00 PM <p style="text-align: justify;" dir="ltr">Monte Vista Projects is pleased to present the most recent installment of <em>Vinyl Potluck</em>, a project by Tom Norris. <em>Vinyl Potluck</em> is an ongoing series which investigates our relationship with vinyl records and nostalgia.&nbsp;</p> <p style="text-align: justify;" dir="ltr">Attendees are invited to bring a vinyl record from their own collection and share with the group. The selection can be musical, historical, art-centered, or otherwise personally meaningful. A crate of records will be provided for those participants without records from which they may choose a selection. This record may then be kept by its selector, starting a new thread of nostalgia associated with both the vinyl object and the <em>Vinyl Potluck </em>event.</p> <p dir="ltr"><em>Vinyl Potluck</em></p> <p dir="ltr">a project by Tom Norris</p> <p dir="ltr">Bring a record, play a few tracks</p> Sat, 24 Jan 2015 08:06:44 +0000 Sandro Miller - Fahey/Klein Gallery - February 12th - March 21st <p style="text-align: justify;" align="justify">The Fahey/Klein Gallery is pleased to announce the upcoming exhibition,&nbsp;<strong><em>Malkovich, Malkovich, Malkovich: Homage to Photographic Masters</em></strong>, a new photographic collaboration between Chicago photographer Sandro Miller and actor John Malkovich. The exhibition opens to the public on&nbsp;February 12th from 7-9pm, and will run through&nbsp;March 21st, 2015.&nbsp;</p> <p style="text-align: justify;" align="justify">At the age of sixteen, upon seeing the work of Irving Penn, Sandro Miller knew he wanted to become a photographer. Mostly self-taught, Sandro relied on books published by many of the great artists canonized in photographic history. Through their pictures, he learned the art of composition, lighting and portraiture. More than 30 years later, with clients from Forbes, GQ and Esquire, to American Express, Coca-Cola and BMW, Sandro has secured his place as one of the top advertising photographers worldwide.&nbsp;</p> <p style="text-align: justify;" align="justify">Sandro's success in commercial photography allows him to continue his personal projects, which have included working in Cuba, photographing American blues musicians, various dance troupes, and extended endeavors with John Malkovich, his long time friend and collaborator. Sandro first met&nbsp;Malkovich in the late 1990s, while working on a job for Steppenwolf Theater. More than 16 years later, Sandro and John are still collaborating, recently in their most elaborate photographic project yet,&nbsp;<em><strong>Malkovich, Malkovich, Malkovich: Homage to Photographic Masters</strong></em>. &nbsp; &nbsp;</p> <p style="text-align: justify;" align="justify">&nbsp;In 2013, Sandro set out to complete an ambitious series honoring the men and women whose photographs helped shape his career. After selecting forty one images to emulate, Sandro contacted Malkovich, who instantly agreed to participate. When speaking about Malkovich, Sandro states, "John is the most brilliant, prolific person I know. His genius is unparalleled. I can suggest a mood or an idea and within moments, he literally morphs into the character right in front of my eyes. He is so trusting of my work and our process... I'm truly blessed to have him as my friend and collaborator."&nbsp;</p> <p style="text-align: justify;" align="justify"><em><strong>Malkovich, Malkovich, Malkovich: Homage to Photographic Masters</strong></em>&nbsp;honors the photographs that have inspired and impacted Sandro, including Irving Penn's portrait of Truman Capote crouched in a corner; Bert Stern's photographs of Marilyn Monroe; Dorothea Lange's image of a migrant mother during the Great Depression; Robert Mapplethorpe's self-portrait with gun; Annie Leibovitz's image of John Lennon and Yoko Ono shot for Rolling Stone Magazine; Diane Arbus' iconic photograph of a boy holding a toy hand grenade; Richard Avedon's beekeeper, among many others.&nbsp;</p> <p style="text-align: justify;" align="justify">Sandro and his studio spent a year fastidiously researching each original photograph- studying every detail, hunting down outtakes from the shoots, and interviewing photographers. Each detail captured in the original photographs had to be painstakingly recreated in Sandro's version. After a year of planning, Miller and his team of set builders, make-up experts and costume designers worked with Malkovich over six 15 hour days in Sandro's Chicago Studio. Each set was pre-lit and dressed, waiting for Malkovich to transition from one character to the next.&nbsp;</p> <p style="text-align: justify;" align="justify">John Malkovich is considered to be one the greatest American actors of the 21st century. In&nbsp;<em><strong>Malkovich, Malkovich, Malkovich: Homage to Photographic Masters</strong></em>, he demonstrates his chameleon-like proclivity, morphing into Albert Einstein, Alfred Hitchcock, John Lennon and Andy Warhol. Through his immense skill and Sandro's amazing photographic eye,&nbsp;<em><strong>Malkovich, Malkovich, Malkovich: Homage to Photographic Masters</strong></em>&nbsp;pays homage to photographic history through the genius of a photographer and his muse.</p> Sat, 24 Jan 2015 08:02:27 +0000 - Spielberg Theatre at the Egyptian - February 15th 7:30 PM - 9:30 PM <p><strong>Los Angeles Premiere!</strong></p> <p><strong>Curators Jaimie Baron and Greg Cohen and filmmaker Maria Magnusson in person!</strong></p> <p>The Festival of (In)appropriation returns to Filmforum with its seventh program of cutting-edge experimental found footage shorts. Whether you call it collage, compilation, found footage, d&eacute;tournement, or recycled cinema, the incorporation of previously shot materials into new artworks is a practice that has generated novel juxtapositions of elements which have produced new meanings and ideas that may not have been intended by the original makers, that are, in other words &ldquo;inappropriate.&rdquo; Founded in 2009, the Festival of (In)appropriation is a yearly showcase of contemporary short audiovisual works that appropriate film or video footage and repurpose it in &ldquo;inappropriate&rdquo; and inventive ways. This year&rsquo;s show is curated by Jaimie Baron, Greg Cohen, and Lauren Berliner.</p> <p>This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; and the Mike Kelley Foundation for the Arts. Additional support generously provided by American Cinematheque. We also depend on our members, ticket buyers, and individual donors.</p> <p>&nbsp;</p> Fri, 23 Jan 2015 19:49:48 +0000 stephanie barber - Spielberg Theatre at the Egyptian - February 8th 7:30 PM - 9:30 PM <p>Filmforum welcomes back filmmaker Stephanie Barber for the Los Angeles premiere of her first feature film, DAREDEVILS.&nbsp; A portrait of risk and language, DAREDEVILS, presents the experimental narrative of a writer as she interviews a well-known artist and feels the reverberations of their discussion throughout her day. Visually spare, still and verbose, the video considers three formal handlings of language&mdash;a dialog, two monologues and a song.</p> <p>&ldquo;Here, the excitement of ideas, and of seeing, functions like the rising and falling of serotonin levels, moments of ecstasy leading to inevitably painful ends. Moments bend within that split second when happiness turns into melancholy on contact with the intellect.&rdquo; -- From &ldquo;Notes on Daredevils&rdquo; by Rachael Rakes, in the Brooklyn Rail</p> <p>This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; and the Mike Kelley Foundation for the Arts. Additional support generously provided by American Cinematheque. We also depend on our members, ticket buyers, and individual donors.</p> Fri, 23 Jan 2015 19:28:41 +0000 Joe Gibbons - Spielberg Theatre at the Egyptian - February 1st 7:30 PM - 9:30 PM <p>The experimental film world was blown away (&ldquo;shocked&rdquo; is not the right word, really) by the news just this month that acclaimed and singular filmmaker Joe Gibbons had been arrested for robbing a pair of northeastern banks.&nbsp; Not only that, but the only weapon he had employed in doing so was one with which he had extensive familiarity: a video camera, almost certainly documenting the robberies for inclusion in an in-progress work.&nbsp; The New York Post, in their condescending coverage of Gibbons&rsquo; apprehension (&ldquo;Bank Robber Appears to be Screwball Former Professor&rdquo;), referred to his &ldquo;art&rdquo; and his identity as a &ldquo;visual artist&rdquo; exactly like that - in quote marks.&nbsp; Well, to hell with the New York Post and to hell with the banks, Joe Gibbons is not only an artist, but a truly great artist, one who has for decades blended autobiography and fantasy into a richly confessional, bitingly hilarious, unparalleled first-person media/dream-fulfillment.&nbsp; The &ldquo;Joe&rdquo; in Gibbons&rsquo; films is not simply Joe Gibbons, and the already blurry distinction between his movie identity and real-guy Joe is smeared out of proportion and recognition the more of his work you see.&nbsp; He pushes deep, carefully hidden buttons of shame, hilarity, discomfort, and incredulity within us as his viewers/friends/victims/confidants, unpacking his neuroses and pretensions like a weird-smelling, slightly overstuffed carry-on bag being disallowed on the plane. Ultimately Joe Gibbons is the underworld king of the filmic first-person; there are scant few pretenders to his throne - no one even wants to try or would know where to begin. (Mark Toscano)</p> <p>&nbsp;</p> <p>For this screening, Filmforum is grateful to share Gibbons&rsquo; semi(?)-autobiographical masterwork <em>Confessions of a Sociopath</em> (2001- ) and other items to be determined.&nbsp; Joe is currently in a New York jail cell, but his honorarium for this program will be placed in a support fund being set up by his friends while he&rsquo;s temporarily indisposed.</p> <p>---------------<br /> This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; and the Mike Kelley Foundation for the Arts. Additional support generously provided by American Cinematheque. We also depend on our members, ticket buyers, and individual donors.</p> Fri, 23 Jan 2015 19:21:33 +0000 Anish Kapoor - Regen Projects (Hollywood) - January 31st - March 7th <p style="text-align: justify;">egen Projects is pleased to present an exhibition of recent work by the London-based artist <strong>Anish Kapoor</strong>. One of the most influential sculptors of his generation, Kapoor&rsquo;s work combines the formal concerns of minimalism with concerns for the material and psychical nature of both the object and the self. Known primarily for his large site-specific installations and objects that test the phenomenology of space, this exhibition features significant new work that pushes his use of materials into exciting new territories. Kapoor has shown with Regen Projects since 1992 and this marks the artist&rsquo;s fifth solo exhibition at the gallery.&nbsp; </p> <p style="text-align: justify;">A series of monumental works feature organic, terrestrial forms made from resin and earth. In contrast to their raw, earthly matter, a series of highly polished stainless steel sculptures reflect and refract an illusion of the world onto their mirrored surfaces and confound the viewers&rsquo; relationship to the space around them. Similarly, several monochromatic voids appear to float on the gallery walls, their concave interiors play with the viewers&rsquo; perception of surface and depth and create the illusion of infinite space reflected in their void like interiors. A trio of amorphous wall sculptures entitled Keriah (I, II, III) refer to the Jewish mourning practice of clothes tearing. Visceral and raw, their shapes hang on the wall as if in a perpetual state of decay.&nbsp; </p> <p style="text-align: justify;">Taken as a whole these works give testament to Kapoor&rsquo;s unparallelled attempts at harnessing the expressive properties of materials to push the limits of sculptural form.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Anish Kapoor</strong> (b. 1954 Bombay, India) lives and works in London, England. Recent major solo exhibitions include Sakıp Sabancı Museum, Istanbul (2013); Martin Gropius Bau, Berlin (2013); Museum of Contemporary Art, Sydney (2012); Le Grand Palais, Paris (2011); Mehboob Studios, Mumbai and National Gallery of Modern Art, New Delhi (2010); Royal Academy of Arts (2009) and the Turbine Hall, Tate Modern, London (2002). He has been the recipient of numerous international awards, including a Premio Duemila for his representation of Britain at the 44th Venice Biennale (1990), a Turner Prize (1991), a CBE (2003), a Padma Bhushan (2012), and a Knighthood (2013) for services to visual arts. This June Kapoor will be the subject of a solo show at the Ch&acirc;teau de Versailles in France. &nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">An opening reception for the artist will be held on Saturday, January 31, from 6:00 &ndash; 8:00 pm.</p> Fri, 23 Jan 2015 03:50:01 +0000 Kahlil Joseph - MOCA (Museum of Contemporary Art) at Grand Ave. - March 21st - July 27th Fri, 23 Jan 2015 03:46:43 +0000 Sturtevant - MOCA (Museum of Contemporary Art) at Grand Ave. - March 21st - July 27th <p style="text-align: justify;"><em>Sturtevant: Double Trouble</em> is the first comprehensive survey in America of Sturtevant's (American, b. 1924, d. 2014) 50-year career and the only institutional presentation of her work organized in the United States since 1973. Sturtevant has been "repeating" the works of her contemporaries since 1964, using some of the most iconic artworks of her generation as a source and catalyst for the exploration of originality, authorship, and the interior structures of art and image culture. Beginning with her versions of works by Jasper Johns and Andy Warhol, Sturtevant initially turned the visual logic of Pop art back on itself, probing uncomfortably at the workings of art history in real time. Her chameleon-like embrace of other artists' art has also resulted in her being largely overlooked in the history of postwar American art. As a woman "repeating" the work of better-known male artists, she has passed almost unnoticed through the hierarchies of mid-century modernism and postmodernism. <br /><br /> <em>Sturtevant: Double Trouble</em> is organized by The Museum of Modern Art, New York. <br /><br /> Curated by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1, with Ingrid Langston, Curatorial Assistant, Department of Drawings and Prints, MoMA. <br /><br /> The Los Angeles presentation is organized by MOCA Senior Curator Alma Ruiz. <br /><br /> Generous support is provided by Thaddaeus Ropac. <br /><br /> Additional support is provided by Schiff Fine Art. <br /><br /> In-kind media support is provided by KCETLink, KCRW 89.9 FM, and Los Angeles magazine.</p> Fri, 23 Jan 2015 03:46:37 +0000