ArtSlant - Recently added en-us 40 - Los Angeles Municipal Art Gallery at Barnsdall Park (LAMAG) - August 14th - September 18th <div id="mainContent"> <div id="content1"> <div id="post-3009" class="post"> <h4><span style="font-size: small;"><em>Play: Open Call 2016</em></span></h4> <h3><span style="font-size: x-small;">A THEMATIC COMMUNITY-BASED BIENNIAL FEATURING WORK BY 300 ARTISTS</span></h3> <p>On view from August 18 to September 18, 2016<br />Opening Reception August 14 from 2 to 5pm</p> <p>The reception will feature an award ceremony honoring best in show ($250), second place ($100), third place ($50), and three honorable mentions ($30) selected by former LAMAG curator Scott Canty.</p> <p>Having begun as the &ldquo;All City Outdoor Festival&rdquo; in 1950, Open Call has evolved into one of LA&rsquo;s premier exhibitions for emerging artists and students to exhibit their artwork and achieve recognition through cash prizes. In 2014, nearly 400 artists lined up to deliver their artwork to the Gallery and this year&rsquo;s biannual Open Call followed a different format with artists encouraged to freely interpret the notion of play. Only works that spoke to the theme were accepted and the mediums included sculpture, paintings, and photography.</p> <p>This year&rsquo;s juror is Scott Canty, who recently retired after 30 years with DCA&rsquo;s Los Angeles Municipal Art Gallery. Canty began his time at LAMAG as a young curator developing exhibitions, education programs, special events, and,&nbsp;most notably, innovative initiatives including the City of Los Angeles (C.O.L.A.) Individual Artists Fellowship program.</p> </div> </div> </div> Fri, 22 Jul 2016 19:04:40 +0000 JT Burke - Palm Springs Fine Art Fair - February 4th - February 7th <p>Fabulosus Fabularis&nbsp;</p> <p>An art installation by JT Burke for the Palm Springs Fine Art Fair 2016</p> <p><strong>Fabulosus Fabularis</strong> (<em>Google Latin &ndash; &ldquo;Legendary Mythology&rdquo;</em>) is an 18&rsquo; tall monument to the power of mythology. Its incomprehensible letters and mysterious symbols surround apparent tales of heroism and drama, canon law and ancient wisdom, good and evil, dominance and submission. It describes powerful empires and great religions from a make-believe world.</p> <p>Inspired by Byzantine icons, Persian miniatures and epic poems, <em>Fabulosus Fabularis</em> invokes the power of Imperial Rome and the wonder of the Hagia Sophia. The indecipherable words and images displayed on this imposing monument suggest volumes about our notions of heroes, saints, kings and mythical beings.</p> <p>A construction of inventive mythology, <em>Fabulosus Fabularis</em> presents gilded yarn as ancient pedigree and wraps it in a cloak of authority. Its icons, filigree and embellishments become symbols of social order. <em>Fabulosus Fabularis</em> assumes authority and dares you to challenge it.</p> <p>Artist JT Burke designed and created this installation as part of a continuing body of work that focuses on Mankind&rsquo;s obsession with Paradise. The elaborate scenes, storybook creatures and even the invented alphabets are all composed from detailed photos of used costume jewelry. Purchased at swap meets and estate sales then photographed in-studio, these Man-made creations are the building blocks for every element in JT Burke&rsquo;s highly manipulated, digital compositions.</p> <p>Installation materials for this project include a cardboard construction tube, CNC-milled plywood wood, rolled aluminum, fiberglass-reinforced castings, paint &nbsp;and custom-printed wallpaper. The work was created at the artist&rsquo;s studio in South Pasadena, CA for the Palm Springs Fine Art Fair 2016.</p> <p>&nbsp;</p> Wed, 20 Jul 2016 19:49:13 +0000 - Blum & Poe - July 26th - July 30th <p style="text-align: justify;">Blum &amp; Poe is pleased to present a collaboration between artist Richard Prince and the paragon of marijuana counterculture press,&nbsp;<em>HIGH TIMES</em>&nbsp;magazine.</p> <p style="text-align: justify;">Well known for his penchant for outsider aesthetics and subculture iconography, Prince works with&nbsp;<em>HIGH TIMES</em>&nbsp;for the first time, lending original compositions from his<em>Hippie Drawings</em>&nbsp;series of the late 1990s/early 2000s for the September 2016 special<em>&nbsp;Trippy</em>&nbsp;issue. These drawings exemplify Prince&rsquo;s practice of investigating the American collective unconscious and pursuing dualities &ndash; he mines the marginalized and commonplace, and then filters this content through a discerning, expressive, and painterly tradition. Extraterrestrial, polychromatic figures wielding joints smirk at their viewer; wild and joyful gestures that recall the artwork of children or channel the renderings of a psychedelic trip &ndash; Prince says of this series, &ldquo;Being funny is a way to survive.&rdquo;<a title="" href="">[1]</a></p> <p style="text-align: justify;">In conjunction with the launch of the special issue, Prince has curated a collection of historical&nbsp;<em>HIGH TIMES</em>&nbsp;covers traversing the publication&rsquo;s history from 1974-2014. The artist&rsquo;s practice of gleaning inspiration from news and popular media well documented, here Prince selects covers from the magazine&rsquo;s archives that reflect certain subjects commonly found in his oeuvre. On the occasion of the special edition issue launch, rolling papers designed by the artist will be produced, along with a marijuana strain. This presentation has been organized in cooperation with Green St. Agency.</p> <p style="text-align: justify;">Richard Prince was born in the Panama Canal Zone in 1949 and lives and works in New York.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><a title="" href="">[1]</a>&nbsp;Prince, Richard.&nbsp;<em>Hippie Drawings</em>. Ostfildern, Germany: Hatje Cantz, 2005.</p> Mon, 18 Jul 2016 17:28:03 +0000 Cindy Bernard, Sam Contis, Whitney Hubbs, Chelsea Mosher, Lisa Ohlweiler - Gallery Luisotti - July 30th - September 24th Mon, 18 Jul 2016 16:52:30 +0000 Bridget Beck, erik parra - Samuel Freeman - July 30th 3:00 PM - 4:00 PM <div> <p style="text-align: justify;">Samuel Freeman presents:&nbsp;<em>How to Build a Foghorn,</em>&nbsp;an exhibition with&nbsp;<strong>Mie Olise, Erik Parra, Craig Kauffman&nbsp;</strong>and<strong>&nbsp;Bridget Beck.&nbsp;</strong>These&nbsp;artists translate the hidden language of man-made landscapes&nbsp;through painting, drawing, printmaking and sculpture. We each navigate a daily passage through&nbsp;subconscious negotiation, where expectations are met constantly and unnoticeably, but if&nbsp;a&nbsp;fog rolls in&nbsp;our&nbsp;world quickly&nbsp;becomes&nbsp;an ambiguous environment lacking normal cues for location or definition. The gathered works in&nbsp;<em>How to Build a Foghorn</em>&nbsp;do not so much warn of impending danger as reveal a different understanding of the reality&nbsp;surrounding us. Expected constructions shape-shift into novel configurations, ships, tree houses, benches and structures, while flowers become skyscrapers who have simply forgotten that scale is a matter of perspective.</p> </div> <div style="text-align: justify;"> <div>&nbsp;</div> </div> <div> <p style="text-align: justify;" lang="x-size-12">In her latest series of lithographs, printed at Edition Copenhagen,&nbsp;<strong>Mie Olise&nbsp;</strong>shifts and rephrases the visual narratives of man-made constructions and disused architectural spaces. The abandoned buildings of the former soviet mining town Pyramiden inspired the visual dialogue found in Olise&rsquo;s lithographs. Remaking these vacant buildings gives new life to the industrial monuments of a throwaway society, creating space to step inside and activate abandoned treehouses and airborne houseboats. Olise creates a vehicle for the audience to communicate with the forgotten waters of their own imaginations.</p> <p style="text-align: justify;" lang="x-size-12"><strong>Erik Parra&rsquo;</strong><strong>s</strong>&nbsp;practice draws on the visual imagery from mid-century aesthetics, classic horror films, and current affairs to pose questions about our sociopolitical narratives and the language surrounding the pictorial constructions of our own environments.<a href="">[1]</a>&nbsp;Parra states the he, &ldquo;Often works in small series&rsquo; of original compositions that conflate my personal history and knowledge with modern historical narratives in order to view important, current social concerns through the lens of history. This serves as an entryway into a process of constructing images that draw on our conception of space and the stories we tell ourselves in order to navigate the environments we build.&rdquo;<a href="">[2]</a>&nbsp;Parra&rsquo;s paintings and sculptural installation will serve as a new lens for the viewer to see and navigate the layered sociopolitical narratives of our built environments.&nbsp; Parra draws attention to the dangers of blindly accepting a manufactured environment produced by the rhetoric of American exceptionalism and consumerism.</p> <p style="text-align: justify;" lang="x-size-12">In&nbsp;<strong>Craig Kauffman&rsquo;s</strong>&nbsp;<em>Number</em>&nbsp;series we see a reflection of the architectural and cultural landscape of Philippines, through the eyes of a fascinated foreigner. As Frank Lloyd argues &ldquo;The large-scale paintings&mdash;some as tall as ten feet&mdash;were made following Kauffman&rsquo;s first move to the Philippines. A rich landscape and powerful native forms from his new-found home are interwoven with the layers of numbers.&rdquo;<a href="">[3]</a>&nbsp;Kauffman uses his traditional style of the broken, skipping line on large silk canvases to transfer the cultural landscape of his &ldquo;new-found home&rdquo; into these architectural paintings of Orchids and Birds of Paradise. Kauffman repurposes the familiar tropical imagery to craft and communicate a hybrid language within an alien landscape.</p> <p style="text-align: justify;" lang="x-size-12"><strong>Bridget Beck&rsquo;s</strong>&nbsp;practice consists of large scale sculptural installations and drawings that rely heavily on the connection between site, community, communication and materials. Beck describes her work as a &ldquo;constant communication with the viewer. This conversation posits drudgery and play in a cosmology of opposites.&rdquo;<a href="">[4]</a>&nbsp;Beck will be constructing new sculptures entitled&nbsp;<em>Portland Carts</em>&nbsp;made from the salvaged sections of older discarded works. After the exhibition,&nbsp;<em>Portland Carts</em>&nbsp;will act as crates transporting Beck&rsquo;s life and studio from Los Angeles to Portland, giving a third life to the original scavenged parts. &ldquo;Because my work is the journey and the ship, as the traveler I keep asking myself&hellip;what is land, what is sky and what of this voyage is missing?&rdquo;<a href="">[5]</a>&nbsp;Beck connects with the imagination of communities, constructing impossible structures that function outside of the confines of functional architecture, guiding communities through a fog of misunderstanding and miscommunication.</p> <div style="text-align: justify;"> <p lang="x-size-8">Footnotes:<a href="">[1]</a>&nbsp;Erik Parra, "Artist Statement," Erik Parra,&nbsp;<a href="" target="_blank"></a>, Accessed June 24, 2016.<a href="">[2]</a>&nbsp;Erik Parra, "Artist Statement," Erik Parra,<a href="" target="_blank"></a>, Accessed June 24, 2016.[3] Frank Lloyd, " Craig Kauffman: The Numbers Paintings," Frank Lloyd's blog,&nbsp;<a href="" target="_blank"></a>, Accessed June 24, 2016.<a href="">[4]</a>Bridget Beck, "Thesis Statement,"&nbsp;<em>University of California- Los Angeles</em>, CA Master of Fine Art, 2014.<a href="">[5]</a>&nbsp;Bridget Beck, "Thesis Statement,"&nbsp;<em>University of California- Los Angeles</em>, CA Master of Fine Art, 2014.</p> </div> <div> <div>&nbsp; <p style="text-align: justify;" lang="x-size-11"><a href="" target="_blank"><strong>Mie Olise</strong></a><strong>&nbsp;-&nbsp;</strong>b. 1974 in Denmark, lives in Copenhagen and New York. Olise works as a painter, sculptor and film/soundmaker. Since graduating with an MFA (distinction) from Central St. Martins, London in 2007, Olise has been awarded residencies at Skowhegan and The ISCP in New York. She additionally holds an MA in Architecture. Solo shows include: Samuel Freeman, Los Angeles; Nikolaj Copenhagen Contemporary Art Centre; Honor Fraser Gallery, Los Angeles; SNYK, Skive New Museum of Art, Denmark; Barbara Davis Gallery, Houston, Texas; Duve, Berlin. Group shows Athens Video Art Festival 2011, 10th Istanbul Biennale, The Liverpool Biennale 08, Damascus Video Art Festival 2011, Fonlad Video Arts Festival 2011, The Whistable Biennale 2010(UK), Torrance Art Museum, LA; Museum of Contemporary Art, UTAH and Philara Sammlung e.V.,Dusseldorf. She was a finalist in the Saatchi competition &ldquo;4 New Sensations&rdquo; in London as well as the Celeste Art Prize.</p> <p style="text-align: justify;" lang="x-size-11"><strong><a href="" target="_blank">Erik Parra</a>&nbsp;-&nbsp;</strong>b. 1975 in El Paso, Texas. He received his MFA from the University of Wisconsin, Madison and his BFA from the University of Texas, Austin. Upon completion of his MFA (2004) he moved to Brooklyn, New York where he maintained a studio, taught art and exhibited his artwork. Notable exhibitions include&nbsp;<em>Each Devil His Own,</em>Transmission Gallery (Oakland, CA),&nbsp;<em>@HOME,&nbsp;</em>Project Grant Artist Residency (Buffalo, NY),&nbsp;<em>Between Currencies-</em>Johansson Projects, Oakland, CA,&nbsp;<em>Salon09-&nbsp;</em>Matt Roberts Arts (London, UK) and the Museu de Arte de Brasilia. Erik Parra currently lives and works in San Francisco, California.</p> <p style="text-align: justify;" lang="x-size-11"><strong>Craig Kauffman -&nbsp;</strong>b. 1932 in Los Angeles, California. He received his B.A. and M.A. from the University of California, Los Angeles in 1955 and 1956. Best known for his lozenge-shaped plastic wall reliefs, or &ldquo;bubbles,&rdquo; Craig Kauffman was a major figure in the Southern Californian art world of the 1950s and &rsquo;60s and part of the original stable of artists associated with the renowned Ferus Gallery. Kauffman produced abstract paintings and experimented with different techniques and materials, such as resin and glass, but worked primarily with colorful industrial plastics, which he found more robust, as well as being capable of capturing the gloss and luminosity of Southern California. Influenced by both&nbsp;<a href="" target="_blank">Minimalism</a>&nbsp;and&nbsp;<a href="" target="_blank">Pop</a>, Kauffman represented in his voluptuous wall sculptures California&rsquo;s pervasive car culture. Kauffman pasted away in 2010 in Angeles City, Philippines.&nbsp;</p> <p style="text-align: justify;" lang="x-size-11"><strong><a href="" target="_blank">Bridget Beck</a>&nbsp;</strong>grew up in South Dakota where she soaked in the plains and the sky until graduating from Augustana College in 2000 with a BA in English and Art.&nbsp; She then spent some time at Franconia Sculpture Park, Socrates Sculpture Park, Mark DiSuvero&rsquo;s Spacetime Studio, and the Connecticut Sculpture Park. Bridget then&nbsp;supplemented her eclectic resume with an AS degree in Geomatics (Civil Engineering) which she completed in 2006.&nbsp; After receiving&nbsp;her AS degree she was employed by Ramsey County, MN where she designed roads in 3D, surveyed the lay of the land, inspected road projects, and tested soils until 2012. &nbsp;She then attended graduate school at UCLA. Bridget is a fellowship recipient and recent MFA graduate who is currently&nbsp;the&nbsp;Director of the UCLA&nbsp;Summer Art Institute&nbsp;and Program Coordinator for UCLA&rsquo;s FORM Academy (a pilot program for disadvantaged teens in Los Angeles).&nbsp; Bridget&rsquo;s has exhibited outdoor sculptures in California, Kentucky, South Dakota, Minnesota, New York, Wisconsin, Vermont, and is planning a move from Southern California's thriving art scene to Portland, OR with her<em>Portland Carts</em>&nbsp;immediately following the close of this Samuel Freeman show.</p> </div> </div> </div> Mon, 18 Jul 2016 16:46:20 +0000 Barbara Kasten - MOCA Pacific Design Center - July 24th 3:00 PM - 4:00 PM <p style="text-align: justify;">Chicago-based artist Barbara Kasten, ICA Philadelphia Curator Alex Klein, and MOCA Senior Curator Bennett Simpson lead a walkthrough of the exhibition&nbsp;<em data-verified="redactor">Barbara Kasten: Stages</em>&nbsp;at MOCA Pacific Design Center. The first major survey of Kasten&rsquo;s work, the exhibition highlights nearly five decades of her career. Kasten, Klein, and Simpson will discuss the artist&rsquo;s celebrated series of elaborately staged, abstract color photographs as well as her early fiber-based sculptures, mixed-media works, experimentations with cyanotype printing, forays into set design, and more recent work.</p> Mon, 18 Jul 2016 16:40:37 +0000 Barbara Kasten - Hannah Hoffman Gallery - July 23rd - September 2nd Mon, 18 Jul 2016 16:38:27 +0000 Chris Engman - Luis De Jesus Los Angeles - October 22nd - December 3rd <p style="text-align: justify;">According to the theory of&nbsp;<em>Prospect and Refuge</em>, two of our most basic and deep-rooted needs are for opportunity and shelter, and this plays a role in our experience of the environment and in our aesthetics. In this exhibition, Chris Engman continues his investigations into the nature and materiality of the medium of photography. He also returns to his roots with the use of imagery from nature, combining this with architectural imagery to consider and question notions of landscape and the natural. This will be the artist's third solo exhibition with the gallery.</p> Mon, 18 Jul 2016 16:36:20 +0000 Edith Beaucage - Luis De Jesus Los Angeles - September 10th - October 15th <p style="text-align: justify;">Transposing the idea of surround sound to the visual realm, Edith Beaucage's new paintings in<em>Sequencer-Spectrum-Reverb</em>&nbsp;introduce you to a music production crew whose characters include American, British, and German electronic musicians, singers and producers. The exhibition consists of portraits on paper (close ups and shoulder shots), figures in landscapes, and&nbsp;abstract sculptural elements.&nbsp;&nbsp;In this exhibition, portraits and abstractions are mixed together as frequencies, becoming melodies to create&nbsp;polyphonic&nbsp;songs.&nbsp;The immersive perspective of the installation will allow&nbsp;the viewer to become part of the Waveform. This will be Beaucage's first solo exhibition at the gallery.</p> Mon, 18 Jul 2016 16:34:43 +0000 Bryan Zanisnik - Luis De Jesus Los Angeles - September 10th - October 15th <p style="text-align: justify;">Bryan Zanisnik's debut solo exhibition&nbsp;<em>Skull Crusher 1964</em>&nbsp;will consist of a new multidisciplinary body of work that explores a road trip across America in 1964. The exhibition will include large-scale photographs, a multi-channel video and a site-specific installation. Zanisnik's photographs are of sets constructed outdoors in Flushing Meadows Corona Park in Queens, New York, and appear like collages in the landscape, flattening the tattered wallpaper interiors with the remnants of the 1964 World's Fair monuments in the distance. The multi-channel video presents an enigmatic narrative around the artist's road trip through the Southern United States earlier this year. Locales visited include forgotten roadside amusement parks, The Great Smoky Mountains National Park, and a bar in Hattiesburg, Mississippi forebodingly named "The Tavern: Home of the Skull Crusher." Lastly, the site-specific installation uses domestic construction materials to create a towering, architectural-like column that functions as reliquary for objects personal to the artist. These intimate possessions sit alongside objects produced in the year 1964, such as Topps 1964 baseball cards and 1964 vintage wine bottles.</p> Mon, 18 Jul 2016 16:33:35 +0000 Alex Gardner - New Image Art Gallery - July 16th - August 6th <div align="justify">Alex Gardner's paintings have a cold, surreal feeling upon first glance but as one engages the work further, the caring hand, the gentle embrace, and the smooth caress become equally apparent. The bodies are youthfully slender, sensually sleek, and mysteriously beautiful with the omission of facial features furthering the notion of a universal human experience.<br /><br /></div> <div align="justify">Gardner's figures demonstrate a bionic sensibility complete with their own artificial intelligence conveying the emotive backlash to a digital revolution where human interaction has been refined to a synthetic online experience made to fit within a screen. All figures are black yet they reflect no race and every race convincingly. Both female and male figures play out various roles of their relationship through the portrayal of body language. Both genders are fluid in form and motion giving the works a sense of imbued balance. Gardner's work demonstrates a simplistic painting style with a soothing palette and composition.<br /><br /></div> <div align="justify">What is really going on in each piece is a mysteriously familiar, which perhaps speaks to the ever-changing landscape of relationships. The sexual roles are turned around and race and gender are rendered equal. Given our current socio-political climate of gender inequality and racial strife, Gardner brakes through the noise and creates a sexy cold world of mystery.</div> <div style="font-family: 'Century Gothic', 'ITC Avant Garde', Arial, Helvetica, sans-serif; font-size: 12.8px; text-align: justify;" align="justify">Alex Gardner's paintings have a cold, surreal feeling upon first glance but as one engages the work further, the caring hand, the gentle embrace, and the smooth caress become equally apparent. The bodies are youthfully slender, sensually sleek, and mysteriously beautiful with the omission of facial features furthering the notion of a universal human experience.<br /><br /></div> <div style="font-family: 'Century Gothic', 'ITC Avant Garde', Arial, Helvetica, sans-serif; font-size: 12.8px; text-align: justify;" align="justify">Gardner's figures demonstrate a bionic sensibility complete with their own artificial intelligence conveying the emotive backlash to a digital revolution where human interaction has been refined to a synthetic online experience made to fit within a screen. All figures are black yet they reflect no race and every race convincingly. Both female and male figures play out various roles of their relationship through the portrayal of body language. Both genders are fluid in form and motion giving the works a sense of imbued balance. Gardner's work demonstrates a simplistic painting style with a soothing palette and composition.<br /><br /></div> <div style="font-family: 'Century Gothic', 'ITC Avant Garde', Arial, Helvetica, sans-serif; font-size: 12.8px; text-align: justify;" align="justify">What is really going on in each piece is a mysteriously familiar, which perhaps speaks to the ever-changing landscape of relationships. The sexual roles are turned around and race and gender are rendered equal. Given our current socio-political climate of gender inequality and racial strife, Gardner brakes through the noise and creates a sexy cold world of mystery.</div> Mon, 18 Jul 2016 16:28:22 +0000 Group Show - Roberts & Tilton - July 16th - August 20th <div align="justify">Roberts &amp; Tilton is pleased to present&nbsp;<em>Perfect Day,</em>&nbsp;a group exhibition exploring the syncretism of beauty within imperfection. The work on view will highlight the shifting of paradigms necessary to find beauty within imperfect gestures, the parallels between systemic ideas of perfection and modes of ideal image construction, and how the works on view engage with these possibilities.&nbsp;&nbsp;<br /><br /></div> <div align="justify">What brings us to a perfect day?</div> <div align="justify">&nbsp;</div> <div align="justify">Is the perfect day a seemingly sweet love story? Is it marked by the simplicity of narratives driving most timeless pop music. Or, is it the laid-back fantasy daydream of compiled experiences. Can one re-visit the perfect day, as one might revisit a book fresh, or does it evaporate once experienced? The perfect day is an auspicious contradiction, defined only as cumulative moments passed, seen through the lens of perspective; while experienced in the present, the realization of its presence lags achingly behind.&nbsp;&nbsp;</div> <div align="justify">&nbsp;</div> <div align="justify">Perfection is fleeting, maybe illusory, always at a distance. The word alone neatly sketches a world.&nbsp;Yet a tenant of perfection is its very incompleteness, since only the latter can attain innovation, or sustain change. Roughness arising from aesthetic disruptions, rather than detracting from, add singularity and elegance; often,&nbsp;the&nbsp;most interesting effect happens without intention, a byproduct of what was originally predetermined.&nbsp;These subsequent "errors" present within accurate abstractions form constructed images that appear uncanny, subtly&nbsp;deceitful in the transmutation of old signifiers into new.</div> <div align="justify">&nbsp;</div> <div align="justify">The works on view are conversational in their approach: artful while uplifting, subtle yet populist, affective rather than academic. They elude straightforward classification, deftly using the&nbsp;representational as a point of departure into the abstract, allowing the subject to become incidental to the compositional form created.&nbsp;This conceptual turn of analysis complicates notions of how art, as containers for the idealizations and constructions of the artist, transforms at the point where the work and the viewer intersect.</div> <div align="justify">&nbsp;</div> <div align="justify">Here, in the light of the perfect day, distortion transforms an instance of banality into one of harmonious beauty, and then back again.</div> Mon, 18 Jul 2016 16:19:46 +0000 Group Show - Various Small Fires - July 23rd - August 27th <p style="text-align: justify;">I grew up with the feeling that our cities would evolve toward some kind of extreme state; utopian commune, technological wonder, total apocalypse etc. I think I absorbed these notions from our culture. But I&rsquo;ve come to believe that the current nature of the city is likely its default state. Its apex more mundane than I (or anyone) had imagined: comfortable with its dysfunction, cozy in its chaos.&nbsp;</p> <p style="text-align: justify;">Conversations regarding the eventual state of the city feel irrelevant, as the future seems folded into the past; self-driving cars amble along streets originally paved for horses, Pokemon are projected onto 19th century brownstones, and 3-D programs dutifully render simulations of rusted cans. The city is a churning mess of ancient/current/future. Grand hopes now seem naive and it&rsquo;s really a bummer. &nbsp;&nbsp;</p> <p style="text-align: justify;">Yet the city is still an ecosystem fueled by enormous forces. Although its trajectory may be circular it still gives birth to cultures that thrive along the periphery. And the feeling that the future is indefinitely delayed makes it possible for artists to gaze into the present with an unflinching eye and a twisted sense of glee at the unfathomable strangeness of it all. &nbsp;&nbsp;</p> <p style="text-align: justify;">In our paradigm the city is rarely an overt subject but rather the de facto setting for art&rsquo;s production and reception &ndash; where the city&rsquo;s emergent forces manifest. This show will feature artists whose work reflect urban life from our current position. It&rsquo;s a sketch of the city &nbsp;&ndash; incomplete, oblique and at times pessimistic, but evidence of life flourishing within the persistent clutter.</p> Mon, 18 Jul 2016 16:16:53 +0000 Sigrid Sandström - Anat Ebgi - July 30th - August 27th <div style="text-align: justify;">Anat Ebgi is pleased to present <em>Other Places</em>, the gallery&rsquo;s second solo show by the Swedish painter Sigrid Sandstr&ouml;m, opening July 30 and on view until August 27.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Sandstr&ouml;m&rsquo;s practice actively interrogates the methods by which viewing initiates and elicits thought and cognition. Her newest body of work consists of a series of portrait-sized paintings hung at equal distance throughout the gallery. As a gestural template, each painting comprises an assortment of brushstrokes impastoed onto intimately-scaled canvases colored vividly with swatches of magenta, industrial yellow and concrete grey. With wide gestures applied alongside delicately-painted trompe l&rsquo;oeil motifs, Sandstr&ouml;m situates the dialectic of her practice relationally to the perspective of the viewer.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Sandstr&ouml;m&rsquo;s work engages in the ontology of painting and viewing; how relatively few elements of pigment, stretcher bars and canvas convey complex relationships and sensations far beyond their immediate sensorial qualities. Her idiomatic use of paint explores relationships of experience and materiality, as when a stripe of paint has the likeness of an index card or a strip of tape stuck to the canvas&rsquo; surface. These motifs both encode and reveal the phenomenological space within her painting where presence and perception supercede material reality. It is in this space that the viewer is connected with their self-awareness as a perceptual agent. They are caught between the awareness of themselves and the transcendent experience of the external object.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Sigrid Sandstr&ouml;m (b. 1970) is a painter and Professor of Fine Art at the Royal Institute<strong>&nbsp;</strong>of Art in Stockholm, Sweden. She lives and works in Stockholm. Her work has been shown in numerous international institutions including Kunsthal Charlottenborg, Copenhagen, Moderna Museet, Stockholm, Nationalmuseum, Stockholm, Bor&aring;s Konstmuseum, Bor&aring;s, the Contemporary Art Museum, Houston, the Museum of Fine Arts, Houston and the Dallas Center for Contemporary Art. Her work is part of public and private collections including the Bor&aring;s Konstmuseum, Moderna Museet, Stockholm, Museum of Fine Arts, Houston, Ulrich Museum of Art, Wichita and the Yale University Art Gallery in New Haven. In addition to her work as a painter, she has edited and published several scholarly books and anthologies on painting including&nbsp;<em>Sigrid Sandstr&ouml;m: The Site of Painting</em>&nbsp;(Art &amp; Theory: 2016),&nbsp;<em>Studio Talks: Thinking through Painting&nbsp;</em>(Arvinius+Orfeus: 2015) and<em>Grey Hope: The Persistence of Melancholy</em>&nbsp;(Antopia: 2013). Copies of her most recent publication,<em>The Site of Painting,</em>&nbsp;will be available in conjunction with her show at the gallery.</div> Mon, 18 Jul 2016 16:11:24 +0000 Rachel Mason - Night Gallery - July 20th 8:00 PM - 10:00 PM <p style="text-align: justify;"><em>The Lives of Hamilton Fish</em>&nbsp;is a feature film whose story is told through songs written and performed by Rachel Mason. The true&nbsp;story is based on an&nbsp;uncanny coincidence involving&nbsp;actual people who endured the Great Depression while living in&nbsp;New York state in the 1930s. The separate deaths of a serial killer and a statesman&mdash;both named Hamilton Fish&mdash;were printed on the same day and on the same front page of a single newspaper. Hamilton Fish II was&nbsp;a descendant of one of the most prominent families on the east coast, and Hamilton &ldquo;Albert&rdquo; Fish was&nbsp;a psychopath and notorious murderer. In the film a&nbsp;newspaper editor, played by Mason in drag, becomes obsessed with this coincidence after simultaneously publishing the two obituaries on his front page. Scenes were filmed at historic sites including Sing Sing prison, where Mason was a volunteer art teacher from 2005-2010, and the Jumel-Morris Mansion, where Alexander Hamilton was shot. Real locations are intercut with fabricated sets imagined as abstract paintings, mimicking the actors&rsquo; makeup and costume design.&nbsp;<br /><br />On&nbsp;July 20, the film will be performed live with Mason singing in sync&nbsp;with the film's soundtrack, accompanied by Jeff Hassay.&nbsp;</p> <p><a href=";id=96ee66db0d&amp;e=9092a92f6d" target="_blank"></a><br />&nbsp;</p> <p style="text-align: justify;"><strong>Rachel Mason</strong>&nbsp;is a visual artist, songwriter, and performer. She has written three operas, recorded thirteen full-length albums of songs, and has exhibited and performed nationally and internationally at venues including the Queens Museum, New York; the School of the Art Institute in Chicago; the Whitney Museum of American Art, New York; the Henry Art Gallery, Seattle; SculptureCenter, New York; The Clocktower Gallery, New York; Kunsthalle Zurich; the Hessel Museum of Art at Bard College, Annandale-on-Hudson; the Swiss Institute, New York; Human Resources, Los Angeles; The New Museum, New York; the Museum of Contemporary Art Detroit; James Gallery at the&nbsp;CUNY&nbsp;Graduate Center, New York; the Park Avenue Armory, New York; and&nbsp;EMPAC&nbsp;Center for Performance, Troy. Mason has shared stages with Josephine Foster, Prince Rama, Diane Cluck, Sharon Von Etten, Phosphorescent, Light Asylum, and Ed Askew and she has been the subject of articles in publications including The&nbsp;New York Times,&nbsp;Artforum, The&nbsp;Los Angeles Times,&nbsp;Art in America, and&nbsp;Flash Art. Mason received her B.A. from the University of California, Los Angeles and her M.F.A. in Sculpture from Yale University.</p> Mon, 18 Jul 2016 16:03:46 +0000 Morya Davey, LaToya Ruby Frazier, Richard Hawkins, Heinz Peter Knes, Sean Landers, Emily Mae Smith, Frances Stark - China Art Objects Galleries - July 16th - August 20th <div align="center"> <div style="text-align: justify;" align="left">China Art Object's summer group show&nbsp;<em>Me, Myself, I</em>&nbsp;brings together seven&nbsp;artists who explore ideas of the self as an artistic medium. This group uses the&nbsp;self not only as a subject, as found in self-portraiture or autobiography, but rather&nbsp;as a basic building block to create artistic works.&nbsp;</div> <div style="text-align: justify;" align="left">&nbsp;</div> </div> <div style="text-align: justify;" align="center"> <div align="left">In philosophy and psychology there are clear cut, negotiated ideas of what the self is and how it exists in the world. These negotiated ideas have a history and were developed through the academic process which is one of peer review and consensus. For an artist making physical objects, these definitions frequently can be an uneasy fit.&nbsp;<br /><br /></div> <div> <div align="left">In his monumental canvas&nbsp;<em>We're All,&nbsp;</em><strong>Sean Landers&nbsp;</strong>paints a birch tree&nbsp;stand&nbsp;scarred by graffiti. Revealing the artist's inner thoughts as public subject&nbsp;matter, Landers presents the illusion of his stream of consciousness. Yet, these fleeting moments don't rest easily with the lengthy process of creating an intricate&nbsp;representational oil painting.</div> </div> <div align="left">&nbsp;</div> <div align="left">Another example can be seen in the work of&nbsp;<strong>Moyra Davey</strong>. In this show her&nbsp;photographic works capture the physical accumulations of her intellectual&nbsp;pursuits and personal life that create an impression of peering into the actual&nbsp;workings of her mind. By mailing them in fragments to others, she seems to be&nbsp;deconstructing her past and asking the recipients to project meaning and value&nbsp;on it. Yet when the artist reassembles these parts new meanings open.</div> <div align="left">&nbsp;</div> <div align="left">Making her West Coast premier, 2015 McArthur Fellow&nbsp;<strong>LaToya Ruby Frazier</strong>&nbsp;uses photography to record the specifics of her life and community in Braddock,&nbsp;Pennsylvania. Through the intensity of the images she chooses to capture, she is&nbsp;able to build a visual conversation about America's past and present while&nbsp;exposing the workings of some of our most fundamental national myths.</div> <div align="left"><br /><strong>Richard Hawkins</strong>&nbsp;contributes&nbsp;<em>The Mark Hanter Series,&nbsp;</em>a four part work from 1999. This early work explores the idea of internet catfishing as a deceptive construction of&nbsp;persona before the term catfishing existed.&nbsp;</div> </div> <div style="text-align: justify;" align="left">&nbsp;</div> <div align="left"> <div style="text-align: justify;">In a recent interview with Maurizio Cattelan,&nbsp;<strong>Emily Mae Smith</strong>&nbsp;described her&nbsp;work as existing in "the disconnect between the way I know/believe the world to&nbsp;be and the way the world is presented to me."<br /><br /></div> <div style="text-align: justify;">In photographer&nbsp;<strong>Heinz Peter Knes</strong>&nbsp;work, there seem to be flickering moments of internal thought that range from personal amusement, to profound connection, to blind&nbsp;drunkenness.</div> <div style="text-align: justify;"><strong>Frances Stark</strong>, subject of a recent Hammer Museum survey, creates work that revolves&nbsp;around the use and meaning of language, and the often difficult personal&nbsp;anxieties of translating thought and ideas into a work of art.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">As part of this exhibition, there will be a screening of Moyra Davey's acclaimed 60&nbsp;minute narrative video work<em>Les Goddesses</em>&nbsp;at 356 S. Mission Road on&nbsp;July&nbsp;28th, 2016 at 8PM&nbsp;which was included in the Guggenheim's recent exhibition&nbsp;<em>Photo-Poetics</em>.<br /><br /></div> <div style="text-align: justify;">John Morace is a local collector, former longtime chair of the Drawing Acquisition&nbsp;Committee at Moca, LA and founding member of the Mountain School of Art.</div> </div> Mon, 18 Jul 2016 15:48:45 +0000