ArtSlant - Recently added en-us 40 Karin Kneffel - Gagosian Gallery Beverly Hills - April 28th - June 11th Wed, 04 May 2016 18:28:48 +0000 John Kilduff - Daniel Rolnik Gallery - May 7th 6:00 PM - 11:00 PM <div>Hi,</div> <div>&nbsp;</div> <div>I'm Daniel and I own a little gallery in the Culver City Arts District right next to Blum &amp; Poe. On May 7th we are having an epic art show by John Kilduff as well as a live concert by The Radioactive Chicken Heads - my favorite band! It's going to be sweet! You and all your friends are invited!</div> <div><strong>&nbsp;</strong></div> <div><strong>&nbsp;</strong></div> <div><strong>INFO</strong></div> <div>Show Name: Kilduff's Cavern</div> <div>Opening Date: May 7th</div> <div>Opening Time: 6pm - 11pm</div> <div>Band Performance: 7:30pm</div> <div>Gallery:&nbsp;<a href="" target="_blank">Daniel Rolnik Gallery</a></div> <div>Address: 2675 S La Cienega Blvd, Los Angeles, CA 90034</div> <div>Artist:&nbsp;<a href="" target="_blank">John Kilduff (aka Mr. Let's Paint)</a></div> <div>Band:&nbsp;<a href="" target="_blank">The Radioactive Chicken Heads</a></div> <div>FB Event:&nbsp;<a href="" target="_blank"></a></div> <div>Short-Doc:&nbsp;<a href="" target="_blank"></a></div> Tue, 03 May 2016 18:16:22 +0000 Serban Savu - Nicodim Gallery - April 23rd - May 28th <p style="text-align: justify;">Nicodim Gallery Los Angeles is pleased to present 12 new paintings by Romanian artist Șerban Savu.<br />&nbsp;<br />In the new body of works, Savu continues with his subdued, detached and cerebral idiom attained with a curious effect of haziness, as if everything were observed through a veil of cool atmosphere. However, the artist has departed from his previous voyeuristic perspective of the bird&rsquo;s-eye view, and lowers his vantage point to the eye level, bringing the viewer closer to the subjects. He even takes a further step in a few paintings to depict the interiors of a bedroom where a girl is tripping for the webcam, an unnamed hall where a man repairing a mural painting, and a waiting room at a train station where tired passengers are reposing. In each&nbsp;interior, there is a picture on the wall. The images-within-images or meta-paintings reveal the artist&rsquo;s critical attitude toward pictorial representation, inasmuch as historically, since even prior to the Renaissance, the interplay between the double imagerial representations has embodied a profound aspect of self-awareness and self-reflection, be it personal or collective, in visual terms.<br />&nbsp;<br />The title of one of his paintings,&nbsp;<em>Impressionist Landscape With Thieves&nbsp;</em>(2016)<em>,</em>&nbsp;elucidates the artist&rsquo;s allusion to plein-air painting by Impressionist masters, such as Alfred Sisley and Camille Pissarro who employed delicate, dry and slow dabs to render nature and seasons. Savu&rsquo;s landscapes and now interiors are meticulously constructed with diagonal lines to create spatial recession in the center, back to the horizon; trees and architectural structures function as frames for human actions within: a classical composition resembling Poussin&rsquo;s. The theatrical poses of figures that are accentuated by the dramatic staging of light and its induced shadow conjure a visual tension in the mis-en-scene. In&nbsp;<em>Menage a Trois&nbsp;</em>(2016), a voluptuous woman is lounging on the meadow turning her back toward the viewer but facing two men: one is cutting the other&rsquo;s hair. She is looking down without paying attention to anything. The man, sitting upright on a rock, is depicted with a three-quarter view gazing at the distance to the right; and the haircutter who is facing the viewer concentrates only on his job. They are oblivious to the viewer. However, it is their disconnected gazes that direct the viewer&rsquo;s eyes to explore the entire pictorial plane. In the background, the sun shines through a thick grove of trees and tall flowers onto a sparkling stream that emerges from the dark woods. The allegorical pastoral scene calls to mind&nbsp;<em>Pastoral Concert&nbsp;</em>(1509) that is now often attributed to Titian by many scholars. Savu fully exploits the tactile potential of the oil paint by applying it with varied densities: sometimes allowing the weave of the canvas to show through and at others building up the surface with layers of strokes.<br />&nbsp;<br />Șerban Savu, born 1978, lives and works in Cluj. Previous solo exhibitions include: Sometimes my Eyes are the Eyes of a Stranger, Monica De Cardenas Galleria, Milan (2014), Daily Practice for the End of the World, Plan B Berlin (2012), Overview, Nicodim Gallery Los Angeles (2012), Under the Radar, PM Gallery and House London (2011), Close to Nature, David Nolan Gallery New York (2011). Previous group exhibitions include: A Few Grams of Red, Yellow, Blue. New Romanian Art, Centre for Contemporary Art Ujazdowski Castle, Warsaw (2014) Sc&egrave;nes Roumaines, Espace Louis Vuitton Paris (2013), Hotspot Cluj. New Romanian Art, ARKEN Museum for Moderne Kunst Ish&oslash;j (2013), European Travellers: Art from Cluj Today, Kunsthalle M&uuml;csarnok Budapest (2012), Unimportant Stories, Nicodim Gallery Los Angeles (2010), XS - Recent Small-Scale Painting, Knoxville Museum of Art (2008), Expanded Painting 2, Prague Biennale 3 (2007).<br />&nbsp;<br />With thanks to the Romanian Cultural Institute New York for their support. &nbsp;</p> Sun, 01 May 2016 07:04:08 +0000 - bG BLEICHER/GORMAN - April 30th 6:00 PM - 8:00 PM <p>bG Gallery invites you to the closing reception of the Monster Photo Gestalt exhibit. A composition of animal, human and lanscape, close-ups by multiple artists; grouped together to create a dense installation of surreal and unique creatures.<br /><br />ARTISTS: David Dumo, Marcus DeSieno, Lori Pond, Debra Behr, Nabil TAZI, Lauren K Barwood, Cameron McIntyre, Maureen Haldeman, Susan Mac, Allan Peach, Heather Roessler, Allyson Marie, Mara Zaslove, David Skernick, Robin Cohen, Amy Kanka Valadarsky, Mitch Cullin, Federico, Clea Jones, Bernard Wolf, Fong Lien, Organa Meets, Airom, Susie Loucks, Leonard Monje, Ip Hoi Wan and more to be announced.</p> Sat, 30 Apr 2016 20:41:29 +0000 Group Show - Track 16 Gallery - April 30th - June 4th <p style="text-align: justify;">Featuring over 130 works from artists of this famous anti-art collective of the 60&rsquo;s and 70&rsquo;s, including George Maciunas, Yoko Ono, Nam June Paik, George Brecht, Robert Watts, LaMonte Young, Robert Filliou, Ay-O, Daniel Spoerri, Ben Vautier, Allison Knowles and many others.<br /><br />The opening is from 6&ndash;9 P.M. and will include various spontaneous Fluxus performances throughout the space. A full-length Fluxconcert utilizing a stable of Los Angeles artists and performers will be held on Saturday, May 7 at 8 P.M. Please check our website for updates. The exhibition runs through June 4. Exhibition hours are Wednesday through Saturday from noon to 6 P.M.<br /><br />Concurrent with the Pop Art movement, but more radical in it&rsquo;s experimental approach to art-making, Fluxus flourished in the 60&rsquo;s, inspired by the ideas of composer John Cage and (through Cage), maverick artist Marcel Duchamp. &ldquo;Fluxus rejected the values and convention of high art in favor of new forms that were accessible, interactive, hybrid, and playful. The name Fluxus, from the Latin flux, connotes change, movement, renewal and fluidity &ndash; values that informed every aspect of the group&rsquo;s activities.&rdquo;</p> Sat, 30 Apr 2016 16:32:32 +0000 - Blum & Poe - May 5th 7:00 PM - 9:00 PM <p>&nbsp;</p> <div align="center"><a href=";c=Vxi159AD7NCSp8onZfeQPdnFlvqISdM_V6eHEAh-P5MhwQm85zCzVA==&amp;ch=NDRjy4EggR6rO112fLSVnaOIraP7_9qfE2FqM4Z9OCv9soD92rmllg==" shape="rect" target="_blank"><img class="CToWUd" src="" alt="" name="m_1031738591560238989_ACCOUNT.IMAGE.960" width="369" height="116" border="0" hspace="5" vspace="5" /></a></div> <div> <div align="center">&nbsp;</div> <div align="center">&nbsp;</div> </div> <div align="center"><em>Two Pianos</em></div> <div align="center">&nbsp;</div> <div align="center">&nbsp;</div> <div align="center"><em>Piano Destruction Concert</em>,&nbsp;performed by Jim Brown</div> <div align="center"><em>Drishti Point</em>,&nbsp;performed by Tom Recchion</div> <div align="center">&nbsp;</div> <div align="center">&nbsp;</div> <div align="center">Blum &amp; Poe, Los Angeles</div> <div align="center">Thursday, May 5, 2016</div> <div align="center">&nbsp;</div> <div align="center">Doors open:&nbsp;6:30pm</div> <div align="center">Performances begin:&nbsp;7pm</div> <div style="text-align: justify;" align="center">&nbsp;</div> <div align="center"> <div style="text-align: justify;">Blum and Poe and Three Day Weekend are pleased to present&nbsp;<em>Two Pianos</em>, an evening of piano-based compositions.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">On&nbsp;Thursday,&nbsp;May 5th, 2016&nbsp;at Blum &amp; Poe Los Angeles, Jim Brown will perform Raphael Monta&ntilde;ez Ortiz'&nbsp;<em>Piano Destruction Concert</em>,&nbsp;followed by Tom Recchion performing his own&nbsp;<em>Drishti Point</em>.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Originally presented in 1966 at the&nbsp;Destruction in Art Symposium in London,&nbsp;<em>Piano Destruction Concert</em>&nbsp;is a musical piece in which the artist dismantles a piano using an axe. This is the first time that Ortiz has permitted another artist to perform the piece.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In&nbsp;<em>Drishti Point</em>&nbsp;Tom Recchion manipulates the strings of a concert grand piano from inside the instrument, creating a sound without using the keys. A rich drone results, seemingly altering time and space for the audience.</div> <div>&nbsp;</div> <div align="center">+++&nbsp;</div> <div>&nbsp;</div> <div style="text-align: justify;">Jim Brown is a Los Angeles based artist/musician who performs and records music internationally.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Raphael Monta&ntilde;ez Ortiz is an American artist, educator, and founder of El Museo del Barrio in Brooklyn, NY.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Tom Recchion has been an artist/composer/art director in Southern California since the 1970s. He is the co-creator of the legendary Los Angeles Free Music Society (LAFMS). His early practice in low-tech sonic exploration presaged many of the genre's exciting developments of the last quarter-century: record manipulation, live tape loops, found and invented instruments, installation and free improvisation.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Three Day Weekend is a roving project space operated by Dave Muller.</div> <div style="text-align: justify;"> <div align="center">+++</div> <div align="center">&nbsp;</div> <div align="center">Seating is limited,&nbsp;RSVP is essential</div> <div align="center">&nbsp;</div> <div align="center">Email:&nbsp;<a href="" shape="rect" target="_blank"></a>&nbsp;before&nbsp;Tuesday, May 3</div> <div align="center">&nbsp;</div> <div align="center">Parking and entrance at the rear of the building via Alvira Street</div> </div> </div> Sat, 30 Apr 2016 16:26:35 +0000 Zhu Jinshi, Quentin Morris, Kōji Enokura - Blum & Poe - May 13th - June 25th <p style="text-align: justify;">lum &amp; Poe is pleased to present&nbsp;<em>Black.</em>, an exhibition investigating the notion and function of monochromatic black painting by way of the work of three artists: Zhu Jinshi, Quentin Morris, and Kōji Enokura. Via three distinct impulses, the artists convey identity, practice, and methodology from the fringe &ndash; be it sociopolitical, geographical, or spiritual &ndash; manifested through a spectrum of scale, timbre, and texture, as a platform for the black pigment palette.&nbsp;<em>Black</em>. is comprised of three rooms respectively presenting the work of three artists.</p> <p style="text-align: justify;">In the first gallery, the viewer is confronted with Zhu Jinshi&rsquo;s staggering work titled&nbsp;<em>Wall of Air</em>; ten canvases adjoined to metal frames, spanning over 65 feet in length. These paintings are created through a highly physical process, oil paint applied to canvas in a manner akin to pouring asphalt pavement for roadwork. The reference to labor is never distant from the artist&rsquo;s practice &ndash; coming of age during the onset of the Cultural Revolution of China, Zhu was assigned factory work as a youth and thereafter developed his painterly skills by apprenticeship and without formal academic training. Zhu has consistently experienced the position of the outsider &ndash; operating on the sociopolitical fringe of oppressive Cultural Revolution era China by virtue of being an experimental artist; and in self-exile, relocating from Beijing to Berlin in 1986, remaining in the West for the following twenty years. The color black of this sprawling piece channels Eastern lexicons: Heaven&rsquo;s Color (I-Ching), Daoist color symbology, and the artist describes the color as one comprised of five others &ndash; the antithesis of void and deprivation, but rather a dynamic amalgam. &nbsp;</p> <p style="text-align: justify;">In a second room, Philadelphia artist Quentin Morris&rsquo; black monochrome circle paintings float on charcoal walls &ndash; unframed, unstretched, and affixed by only the crest of the canvas. Morris has been almost exclusively employing black paint and the form of the circle in his art practice for fifty years, beginning as a student at the Pennsylvania Academy of the Fine Arts. These narrow aesthetic parameters serve the artist as tools for prodding and navigating identity politics and spirituality; they function in the critical analysis and subversion of laden Western connotations surrounding the color, and engage signifiers central to Buddhist concepts of enlightenment, transcendence, and the void. Morris explains, &ldquo;I began exploring monochromatic painting ... exclusively black using a myriad of tonalities and textures to present black's intrinsically enigmatic beauty and infinite depth, to refute all negative cultural mythologies about the color, and ultimately, to create work that innately expresses the all encompassing spirituality of life." Morris&rsquo; process consists of the application of graphite, powdered pigment, crayon, spray-paint, ink, and acrylic to surfaces of canvas, linen, mylar, or found paper as they lay flat on the studio floor. What results is a body of work with a plethora of subtle variations, yielded from a half-century meditation on the color black.</p> <p style="text-align: justify;">The work of Kōji Enokura is rooted in the existential anxiety that permeated Japan in the late 1960s and early 1970s. Amid a politically tense climate of antiwar protest and concerns about the environmental cost of Japan&rsquo;s rapid postwar modernization, artists focused on the elemental questions of material and space. At this time, Enokura was associated with Mono-ha, a group of artists who explored the qualities of natural and industrial materials, and the interdependent relationships among them and their surrounding space. Discoloring the floors and walls of galleries and outdoor sites with oil, grease, soil and mortar, Enokura&rsquo;s interventions were some of the most enigmatic examples of the Mono-ha practice. From the end of the 1970s, he shifted these acts of staining onto cotton cloth, which are displayed in the third gallery. The artist built up dense fields of smooth black paint, allowing it to bleed into unmarked sections of the canvas. The phenomenological relationship between the wall, floor, and everyday objects remains crucial to many of these works. In the&nbsp;<em>Intervention</em>&nbsp;series, the artist variously leaned wooden beams against the canvas or affixed bottles, houseplants, and electrical sockets to the surface; drenching each of them in paint. In the&nbsp;<em>Figure A</em>&nbsp;series, he pinned all-black cloths to the wall and let them fold out onto the floor.</p> <p style="text-align: justify;">Zhu Jinshi has been the subject of numerous solo exhibitions, including at Blum &amp; Poe, New York (2016) and Blum &amp; Poe, Los Angeles (2012).&nbsp;A retrospective of the artist&rsquo;s work&nbsp;<em>Performance in Paint</em>&nbsp;curated by Melissa Chiu, director of the Hirshhorn Museum and Sculpture Garden in Washington DC, recently closed at the Inside-Out Museum, Beijing. Other important solo shows include&nbsp;<em>On the Road</em>, City of Prague Museum, Czech Republic (2002);&nbsp;<em>Tao of Rice Paper</em>, Museum of Vancouver, Canada (1997); and&nbsp;<em>Fangzhen</em>, DAAD Galerie, Berlin (1990).&nbsp;Recent group exhibitions include&nbsp;<em>Alone Together</em>, Rubell Family Collection, Miami (2012);&nbsp;<em>Mind Space: Maximalism in Contrasts</em>, University of Pittsburgh, Pennsylvania (2011); and&nbsp;<em>China Now &ndash; Art in Times of Change</em>, ESSL Museum, Vienna, Austria (2006).</p> <p style="text-align: justify;">Quentin Morris has exhibited at numerous museums across the country and internationally, including a retrospective of the artist&rsquo;s work at the Pennsylvania Academy of the Fine Arts, Philadelphia in 2004. His work has been featured in group exhibitions at such institutions as the African American Museum in Philadelphia (2006, 2000); Arcadia University Art Gallery, Glenside, PA (2001); The Drawing Center, New York, NY (2002, 1993); Emory Museum of Art and Archeology, Atlanta, GA (1990); Moore College of Art and Design, Philadelphia, PA (1991, 1990, 1988); Museu de Arte Contempor&acirc;nea, Recife, Brazil (1993); Pennsylvania Academy of the Fine Arts (2010, 2004, 1975); Philadelphia Museum of Art (1999); and The Studio Museum in Harlem, New York, NY (2009, 2006, 2004). &nbsp;</p> <p style="text-align: justify;">This will be the third exhibition at Blum &amp; Poe to feature the work of Kōji Enokura, including a solo exhibition in 2013, and his inclusion in the monumental, historical presentation of Mono-ha curated by Mika Yoshitake in 2012,&nbsp;<em>Requiem for the Sun: The Art of Mono-ha.</em><em>&nbsp;</em>The artist has had numerous solo exhibitions at Japanese galleries and museums, including the National Museum of Art, Osaka (1994), and the Museum of Contemporary Art, Tokyo (2005). Enokura&rsquo;s work has also been included in landmark surveys, such as<em>&nbsp;</em><em>Prima Materia</em>, at the Punta della Dogana, Venice, Italy (2013);&nbsp;<em>Reconsidering Mono-ha</em>, National Museum of Art, Osaka (2005);&nbsp;<em>Avanguardie Giapponese degli Anni 70,&nbsp;</em>Galleria Comunale d&rsquo;Arte Moderna di Bologna (1992), and Setagaya Art Museum, Tokyo (1993); Venice Biennale (1978); Biennale of Sydney (1976); Paris Biennale (1971); and&nbsp;<em>Tokyo Biennale &rsquo;70: Between Man and Matter</em>, Tokyo Metropolitan Art Museum (1970).</p> Sat, 30 Apr 2016 07:45:52 +0000 Julian Hoeber - Blum & Poe - May 13th - June 25th <p style="text-align: justify;">Blum&nbsp;&amp; Poe is pleased to present an exhibition of new work by Los Angeles-based artist Julian Hoeber. The exhibition marks Hoeber&rsquo;s&nbsp;sixth solo exhibition with the gallery, and the second chapter of an expansive ongoing project titled&nbsp;<em>Going&nbsp;Nowhere</em>.&nbsp;</p> <p style="text-align: justify;">The work of the project centers around designing and imagining an airport terminal &ndash; one from which there are no flights, but rather&nbsp;circuitous journeys through the structure itself. This imaginary terminal functions as a machine for rumination and imagination &ndash; an experience intended for the viewer, but also directly mimicking the artist&rsquo;s process and practice, in and out of the studio.</p> <p style="text-align: justify;">The title&nbsp;<em>Going Nowhere</em>&nbsp;carries the double meaning of both the failure to make progress, as well as the insistence on permanence. It also plays on the etymology of the word &lsquo;utopia,&rsquo; which literally&nbsp;translates as &lsquo;nowhere.&rsquo; The project is in&nbsp;part a rewriting of various bits and pieces of Modernist utopian endeavors, some versions more sympathetic than others. With&nbsp;<em>Going Nowhere</em>&nbsp;the artist envisions what it would be like to make a space that produces&nbsp;contemplation and even laziness, while simultaneously acting as an architectural metaphor for the radical potential of introspection.</p> <p style="text-align: justify;">The exhibition includes new sculptures comprised of fiberglass-reinforced gypsum-cement; molds used for producing objects that are repurposed as sculptures in and of themselves; structural wall reliefs of curious, meticulous forms; as well as&nbsp;works on paper. Many of the artworks in the exhibition are part idea-development, part model, and part self-contained, informing in greater detail what the form of the airport may be &mdash; and solidifying the artist&rsquo;s desire to imagine the building as generative of more than just a product of its inhabitants.</p> <p style="text-align: justify;">Developing a formal vocabulary which fuels Hoeber to produce an ever-evolving environment that allows for this sort of return to the center of a structure (or to the center of the self), this newest body of work&nbsp;cribs from the ideas and forms of Gin Wong, Janet Bennett, and Charles D. Kratka who worked for William Pereira on the design of the Los Angeles International Airport. As well, the work explores and riffs off of the mathematical architecture of Anne Tyng, who worked closely with Louis I. Kahn and is seen as a precursor to contemporary computational architecture. Through poetics and metaphor, Hoeber&rsquo;s ongoing collaborative processes utilize the forms and materials to continuously sculpt negative space.</p> <p style="text-align: justify;">Julian Hoeber&nbsp;(b. 1974, Philadelphia, PA) has a BA in Art History from Tufts University, a BFA from the School of the Museum of Fine Arts, Boston, and an MFA from Art Center College of Design, Pasadena. His work is featured in public and private collections internationally including Dallas Museum of Art; Deste Foundation Centre for Contemporary Art, Athens; Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Nasher Sculpture Center, Dallas; Rosenblum Collection, Paris; Rubell Family Collection, Miami; Francis Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY; and the Western Bridge Museum, Seattle.</p> Sat, 30 Apr 2016 07:44:03 +0000 40+ Artists - Santa Fe Art Colony - May 15th - May 15th <p>Over 40 artist studios open to the public with food, drinks and art in DTLA.</p> Fri, 29 Apr 2016 04:53:18 +0000 40+ Artists - Santa Fe Art Colony - May 14th - May 14th <p>Over 40 artis studios open to the public with food, drinks and art in DTLA.</p> Fri, 29 Apr 2016 04:50:26 +0000