ArtSlant - Current exhibits en-us 40 Diana Thater - 1301PE - November 17th, 2012 - January 12th, 2013 <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><strong>1301PE </strong>is pleased to present <strong>Diana Thater</strong>ʼs <strong><i>Oo Fifi, Five Days in Claude Monetʼs Garden, Part I and Part II</i> </strong>on the occasion of its 20th anniversary. In 1992, Diana Thater premiered <i>Oo Fifi Part I </i>as part of the critically acclaimed exhibition <i>Into the Lapse</i> at 1301. This was Thaterʼs first exhibition since her return from France where she was a Lila Acheson-Wallace Readerʼs Digest Foundation artist-in-residence at the Claude Monet Foundation, Giverny, the home of Claude Monet.<br /><br />The work was revolutionary; it broke with the traditions of the previous generations of video artists. Thaterʼs subject matter was simple and the use of structural methods helped to articulate the medium of video projection. Thater created a jewel box with footage of Monetʼs garden broken into the primary video colors. The image was not broken apart in post-production but inside the Barco projector. Also critical to the work was Thater addressing the existing architecture of the gallery. She allowed the outside to be present and turned the window into a front and rear screen. The viewer was present, often being projected upon.<br /><br />A few weeks later, <i>Oo Fifi Part II</i> was premiered at Shoshana Wayne Gallery. Here, Thater took three projectors, each one projecting only one color (red, green or blue) and reconstructed the image. The footage was the same as <i>Oo Fifi Part I</i>, but the result was an installation that accomplished its inverse. Instead of separating the projection into three component parts, Thater used three projectors to create a single composite image, thereby forming an analog approximation of a digital projection.<br /><br />In both works, the focus shifts between the pure visual delight of the phantasm, to the individual colors that make up the image, to the physical apparatus of the projector, to the architecture of the space. Engaged in the act of looking, the viewer is also made aware of their own presence and participation in the work, as their body interrupts the construction of the image. For <i>Part II</i>, Thater heightens this awareness by placing colored gels on the widows, expanding the work beyond the boundaries of the room, and enveloping the audience so that they may, in her words, "see the way projectors see." It is a testament to the power of these works that they have retained their ability to captivate twenty years after they were first exhibited.<br /><br />Diana Thater works and lives in Los Angeles. <i>Oo Fifi, Five Days in Claude Monetʼs Garden </i>has been shown around the world in venues such as The Kwangju Biennale, MUKA, the Beyeler Foundation and MOCA, Los Angeles among many others. Her recent solo museum exhibitions include Chernobyl, IMA, Brisbane, Australia, and Peonies, Wexner Center for the Arts, Columbus, OH. She has also had solo exhibitions at SMMA, Santa Monica, CA; Kunsthalle Bremen, Germany; Kunsthaus Graz, Austria; Dia Center for the Arts, New York; Vienna Secession, Vienna, Austria; MOMA, New York; Walker Art Center, Minneapolis, MN. In 2012 her work was included in the inaugural exhibition of the newly re-opened Stedelijk Museum, Amsterdam, The Netherlands. <i>Broken Circle</i>, her contribution to the 1997 Münster Sculpture Project is permanently on view at the Museum für Gegenwartskunst in Siegen, Germany. In 2008, she installed a permanent public installation at the Cahill Center for Astronomy and Astrophysics, California Institute of Technology, Pasadena.</span></p> <p style="text-align: justify;"><strong><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"> </span></strong></p> <p style="text-align: justify;"><strong><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2">We will be closed over the holidays and re-open on Thursday, 3 January.</span></strong></p> Sat, 22 Dec 2012 14:01:29 +0000 Eero Saarinen - A + D Museum - October 5th, 2012 - February 28th, 2013 <p style="text-align: justify;" class="content_left"><span style="font-size: small;">Born in Finland, <strong>Eero Saarinen</strong> (1910 – 1961) is recognized today as one of America’s most influential architects of the 20th Century. The exhibition at the Architecture and Design Museum will highlight his short but brilliant career beginning with the Smithsonian Gallery of Art Competition in 1939 and culminating with Dulles Airport in 1962 and highlighting his influence on design in mid-Century America. </span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">Saarinen is recognized today as one of the America’s most influential architects of the 20th Century. He has built numerous corporate, educational, cultural public and private buildings with such recognizable icons as the St. Louis Gateway Arch, the TWA terminal at JFK, and Dulles Airport.</span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">This exhibition is a tribute to Saarinen’s short and brilliant career which was bookended with two iconic buildings: the Smithsonian Gallery of Art, a museum of modern art on the Mall which remained unbuilt and the nation’s first jet airport, Dulles International Airport which was completed one year after his death. </span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">The much-publicized national competition of 1939 catapulted Saarinen into the architectural limelight at the age of 29, marking a triumph for the modernist camp.  Opposition to the cutting edge modernist vocabulary was strong in the pre- World War II era and even though it would influence museums built throughout the world for decades to come, the Smithsonian Gallery of Art remained an unbuilt icon. Lost for 50 years, the discovery of the drawings twenty years ago and their secure place at the Smithsonian Institution confirms that architecture even when unbuilt can be influential, provocative and groundbreaking. </span><br /><span style="font-size: small;">  </span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;"><strong>Shedding light on Saarinen’s secret professional life</strong></span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">Saarinen’s association with Washington continued throughout the war years when he volunteered for the OSS (Office of Strategic Services), the precursor to the CIA (Central Intelligence Agency). Recognized for “his outstanding capacity” for original design work in any field, Eero quickly excelled in his service to the OSS to became the chief of the Presentation Division responsible for all exhibits work.</span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">The exhibition at A+D Architecture and Design Museum&gt;Los Angeles is unique in shedding light on this little known chapter of Eero Saarinen’s secret professional life. While still in his 30’s Eero established himself as one of the most creative product designers with recognizable furniture broke technological and aesthetic boundaries with such icons as the tulip chair and the womb chair.</span></p> Sat, 19 Jan 2013 15:45:00 +0000 Justin Bower - Ace Gallery- Beverly Hills - September 8th, 2012 - February 15th, 2013 Wed, 02 Jan 2013 07:23:59 +0000 Charles Fine - Ace Gallery- Los Angeles - October 26th, 2012 - April 27th, 2013 <p style="text-align: justify;"><span style="font-size: small;">There are certain artists who grip the subconscious and dive into temporalities of the forgotten, touching upon the cornerstones of human memory and being. Charles Fine is one such artist. He works human  consciousness in a way that connects the corporeal thinking organism with the intimacies of what might be called earth consciousness. Fine attends to the natural world and ancientness in ways that are both thought provoking and transcendent. With an oeuvre that is diverse and far-reaching Fine addresses themes of environment, time, memory, encounter, discovery, decay, and evolution. His art is ever evolving as he works with a variety of media and objects to inspire questions concerning existence and impermanence. While the artist deals with powerful themes, he does so with varying intensity. Rather than privileging a direct and aggressive style, Fine layers, composes, and builds as he illuminates subtle changes and quiet progression.</span></p> <p style="text-align: justify;"><span style="font-size: small;">ACE Gallery presents a thirty-year survey of work by Charles Fine,  including drawings, paintings, sculptures, photographs, and video which explore and expand upon the intricacies of the natural world and the effects of human habitation. Fine investigates the interconnectedness of living systems with particular attention given to subjects ranging from population densities, mutations in nature, irrigation patterning, photosynthesis, and the effects of weather and climate.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From his explorations in Central America, Mexico, and the western United States, Fine has amassed and continues to cultivate an unusual assemblage of objects, which have been, and continue to be, a significant source bank for much of the imagery in his paintings, sculptures, photographs, and vitrines.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist has gathered mutant pod seeds, ceremonial stone objects, bone implements, and ancient tools amongst numerous other exotic and prosaic natural items from his travels and has transformed these earthly substances into breathtaking works of art. For his <i>Table of Contents </i>series Fine meticulously assembles an assortment of naturally found and re-altered objects into large glass vitrines. Each of these objects were selected by Fine because he felt they possessed an individual poignancy, attained either through nature or through necessity for practical or liturgical applications.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Fine’s heterogeneous groupings are works of art in themselves transforming familiar natural objects into spiritually charged symbols with rich narratives.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From this fascinating reservoir of imagery and inspiration, Fine has created complex metaphysical works of art that are often imbued with animistic or totemic associations. The artist’s approach to painting and sculpture is just as dynamic as the roots of his inspiration. His canvases are reworked over extended periods of time and are composed of translucent layers of oil paint, alkyd resin, and asphaltum. The layered effects of the paint engender a sense that the underlying forms are always in flux—materializing or dematerializing on the surface of the canvas. His panel paintings employ a dramatically different method indicated by his use of encaustic painting, which give them a fertile tactile quality. Fine’s cast bronze sculptures trace their origins both to shapes extracted from the paintings and to his extensive gathering of archaeological relics and found objects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Moving sinuously from the micro to the macro and back, the artworks in Charles Fine’s in-depth survey offer a dynamic look into the artist’s distinctive cloistered sphere of curiosity and experimentation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Charles Fine was born in 1951. He attended the Otis Art Institute, California State University, the Brooks Institute of Art, and the University of California. The artist has exhibited at ACE Gallery since 1987.</span></p> Mon, 22 Apr 2013 10:35:15 +0000 Group Show - Alyce de Roulet Williamson Gallery - October 13th, 2012 - January 27th, 2013 <p style="text-align: justify;"><span style="font-size: small;">PAGES debuts @ the Williamson Gallery on ArtNight Pasadena. </span><b><span style="text-decoration: underline;">PAGES dates extended</span> — now through <span style="text-decoration: underline;">JANUARY 27</span></b><br /> <br /><span style="font-size: small;"> PAGES is a non-linear exhibition probing the terrain of the page, revealing its poetics and its polemics, and celebrating its seminal role in the progression of culture and knowledge over time. The exhibition draws upon jewels, surprises, and provocations from the domains of art, science, literature, and history.</span></p> <p><span style="font-size: small;"><img style="display: block; margin-left: auto; margin-right: auto;" src="" height="719" width="354" /></span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Mon, 07 Jan 2013 10:00:09 +0000 Jen DeNike - Anat Ebgi - November 10th, 2012 - January 26th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Anat Ebgi</strong> is pleased to announce <strong>Jen DeNike</strong>’s second Los Angeles exhibition<strong>, <em>The Star Card</em></strong>, a sensory experience and immersive environment of video, photography, sculpture, collage, and performance. The exhibition pronounces her interest in the choreography of ritual as forms, sites and artifacts.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Star Card, the title of DeNike’s new video and centerpiece of the exhibition, takes its name from the seventeenth Major Arcana tarot card. In the video a voluptuous nude female figure kneels at the edge of a small pool of water, one foot on land, one foot in the water. She pours water into water and water onto the land from two pitchers; the act of pouring becomes an endless ritual for renewal.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the original tarot card eight stars appear overhead, symbolically paralleling eight planets (the Sun, the Moon, Mercury, Mars, Jupiter, Saturn and Venus) time and space as the four elements, the two solstices and two equinoxes, the eight pathways of the Buddha, and the eight pointed star as an emblem of hope and inspiration. In DeNike’s version, she pulls small white hand-made stars one at a time from her mouth, a birthing rite of sorts, as she awkwardly crouches in the foliage, the reflective pool an oasis for her subconscious, the stars a wishing well, the water her fountain of youth, immortal, yet fragile as she teeters at the edge of the landscape.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A series of ten all white abstract works on paper with painted canvas will be presented as energy works; collaged artifacts from Jen’s performance work relating to the color white as a medium, using circles and sacred geometry. While making the collages DeNike enters into a hypnotic state where physical labor merges into another state; something akin to what certain types of music can induce, like dance or meditation. In Kundalini yoga the practitioner raises energy from the lower chakras up the spine to the pituitary gland otherwise known as the third eye. Through the act of cutting and arranging the material, DeNike is raising energy and projecting it into the culmination of these visual abstractions.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>I am the great grand-daughter of a Finnish seer, a woman who read the tarot and rode bare-back in the Wild Bill Cody traveling show in 1917 to support herself after she divorced her orthodox Jewish husband because she wasn’t Jewish enough, but I suspect maybe there were other reasons; she couldn’t contain the nomadic feminist adventurer, and went solo.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>When I moved to Brooklyn straight out of college, I realized years later that I had been living just two blocks from where my great-grandmother had landed at her first residence in America. My father only told me about her seven years ago and I put the details together. A few months following the unraveling of her story, a friend gave me my first tarot deck and I dove in. Finding my seer great-grandmother was an epiphany, having thus far been a misfit with unexplainable odd visions that other people usually only have on hallucinogenic drugs (none of which I ever took). Shortly there-after another spirit guide/mentor prodded me with this, “Jen, you’re a prodigy without a piano, when are you going to start practicing? Find a piano”.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>This exhibition is a continuation of my research into various forms of ritual, alchemy, the tarot, ecstatic dance or actions that elicit other states of being, hypnosis, ideas regarding the mystic, and meditation. These days the general public can relate to the word meditation; it’s a less scary and more acceptable way of saying “the search for a higher form of consciousness”. The occult merely means “the unknown”, hermetic language and various magick practices have always been misunderstood and bastardized.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Am I witch? Can I see your future? Can I see spirits? Can I levitate?</em> <em>Maybe… the last two. Ha!</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>I’m not a witch, more of a magician.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>- Jen DeNike, October 15, 2012</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Jen DeNike lives and works in New York City. She received her MFA from Bard College in 2002, where she also completed a Master class with photographer Stephen Shore. Her work has been exhibited internationally including: Museum of Modern Art, MOMA/PS1, Julia Stoschek Collection Dusseldorf, The Brooklyn Museum, CCS Bard, Miami Art Basel: Art Public, KW Institute for Contemporary Art Berlin, Tensta Konsthall Sweden, Performa Biennial, CAMH Contemporary Arts Museum Houston, Deichtorhallen Hamburg, Experimenta Biennial Australia, MOMA Shanghai. Her video work is in the permanent collection of the Museum of Modern Art, Julia Stoschek Collection, and IL Giardino dei Lauri Collection. DeNike is represented by Mendes-Wood in Sao Paulo, and Anat Ebgi in Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Opening Reception Saturday November 10, 7-9PM</span><br /><span style="font-size: small;"> Full Moon Fever, Two-hour live performance at the opening</span></p> Sat, 22 Feb 2014 15:32:53 +0000 Group Show - Angels Gate Cultural Center - May 20th, 2012 - August 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Angels Gate Cultural Center presents our exhibition year entitled&nbsp;<em>Into the Wilderness: The Journey Within</em>. Over the course of the next year, artists and curators will engage the term "wilderness" from multiple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary life and contemplate how we can find new opportunities to re/define the transition between physical and imaginary geographies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although, on first impression, "wilderness" may call to mind places of intense experience in nature far from civilization, it reveals itself to be much more than a location. Traditionally associated with a land of uncultivated, abandoned and inhospitable conditions or inhabited only by wild animals,<sup>1</sup>&nbsp;during the eighteenth and nineteenth centuries its meaning expanded subjectively to include more Romantic and transcendental notions like "the reflection of our own unexamined longings and desires" and "the best antidote to our human selves," while mysteriously remaining the site of "something profoundly Other."<sup>2</sup>&nbsp;</span><br /><br /><span style="font-size: small;">Whether places considered wilderness are ultimately to be regarded as wastelands or sacred spaces, in either case it is not the places themselves that define the nature of the wilderness experience. "Wilderness," regardless of where it is situated or whether it is described as frightening or divine, is a cultural construct that is typically placed in opposition to "civilization," located apart from the human world as something pure and essentially natural, to be preserved and protected both from the outrages of global industrial exploitation as well as the small defilements of daily life.&nbsp;</span><br /><br /><span style="font-size: small;">We disagree. We consider that creating even the most high-minded dualism between humans and nature sets up a dynamic that creates conflict and does not lead to effective stewardship of the environment, either locally or on a global scale. We also believe that rather than being defined either as a physical or an imaginary location, "wilderness" is more a state of mind that defies location, either geographical or imaginary-one in which social structure relaxes, logic slips away and time and space collapse. This open state of mind, or "wonder," can be experienced in natural environments that inspire fear, disorientation, foreboding or other qualities of "sublime" landscape appreciated by the likes of Edmund Burke<sup>3</sup>-and it can also unexpectedly arise in the midst of degraded urban grittiness or in an unexplored corner of a superficially unremarkable backyard.&nbsp;</span><br /><br /><span style="font-size: small;">Artists in our group discover natural wonder in many places-from Antarctic icebergs to carcasses of dead birds. And just as we respect "wilderness" in all of its manifestations, we believe that biodiversity and sustainability can only be maintained if we humans give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respect for the global interface of ecosystems, be they planetary or microscopic, that we unavoidably impact.&nbsp;</span><br /><br /><span style="font-size: small;">Wilderness Mind: Dissolving Duality includes the work of fourteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration; we have worked together to study and work as eco-artists since 2005. This proposed exhibition represents work that ranges from photography to non-representational painting, performance, and installation; it spans a continuum of references to water from suburban irrigation systems to the arctic ice cap; to wildlife, including Barr owls, sea otters, and golden trout from the Sierras; and to locations from San Pedro Harbor to Mozambique. Within the frame of wilderness, the group's work articulates themes of degradation and emergence, natural cycles, mystery, concern for the environment, and connected oneness. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative approach as an alternative to more traditional strategies of agency through domination, and to the possibility for everyone to experience "wilderness" in any number of settings, not just in uninhabited nature. Through the visual messages communicated in our work as well as through workshops and programs offered to the community in conjunction with the exhibition, our ultimate goal is to inspire visitors to participate in effective stewardship of the environment.&nbsp;</span><br /><br /><span style="font-size: small;"><small><sup>1</sup>&nbsp;New Oxford American Dictionary, Oxford University Press, third edition.&nbsp;<br /><sup>2</sup>&nbsp;Cronon, William, "The Trouble with Wilderness; or, Getting Back to the Wrong Nature," Uncommon Ground: Rethinking the Human Place in Nature, New York: W.W. Norton &amp; Co., 1995, 69-90.&nbsp;<br /><sup>3</sup>&nbsp;Burke, Edmund, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 1857.&nbsp;</small></span><br /><br /><em><span style="font-size: small;">Deborah Thomas is an artist, professor and independent curator who lives in Los Angeles; she has also lived and worked as an artist in Geneva, Switzerland and New York. With an undergraduate degree from the University of Michigan and an MA and ABD from the University of Pennsylvania, Thomas currently teaches art history and contemporary art and theory at Pasadena City College, Glendale College and the Los Angeles Academy of Figurative Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus; she also helped to organize "Elements," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artwork includes a series of conceptual installations and mixed media pieces using photographic images and found text; her work on environmental themes typically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet, Bringing the Past to Light: New Art from Old Images, Intimate Geography:&nbsp;</span><br /><br /><span style="font-size: small;">The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhibitions, educational programs and public actions. The group was first organized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA), a national organization dedicated to creating community through art, education and social activism. In April 2007, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San Francisco and at the Day of the Dead Planet exhibition curated by Deborah Thomas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago, Los Angeles, New York, San Francisco and throughout the rest of the United as well as Asia and Europe. The collective also engages the community through lectures, installations and events. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured at zoos and natural history museums across the country. San Pedro-based artists Annemarie Rawlinson and Hiroko Momii often intermix their meditative and activist practices.</span> <br /></em></p> Tue, 26 Nov 2013 18:04:50 +0000 Group Show - Annenberg Space for Photography - November 17th, 2012 - February 24th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The Annenberg Space for Photography is pleased to announce its next exhibit –<strong> no strangers: </strong><em>ancient wisdom in a modern world</em>, a group show about the wonder of culture and the plight of indigenous people throughout the world. <strong> The exhibit </strong>is guest curated by esteemed anthropologist, author and photographer Wade Davis.  </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>no strangers </strong>explores the ways cultures express a shared humanity and navigate the circle of life.  It poses a fundamental question: What does it mean to be human and alive?  When the people of the world answer this question, they do so in 7,000 unique voices.  Tragically, half of these may be silenced within a generation or two.  At risk is our human legacy, a vast archive of knowledge and expertise. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Photographers featured in the exhibit are Carol Beckwith &amp; Angela Fisher, Wade Davis, Chris Johns, Lynn Johnson, Steve McCurry, Randy Olson, Chris Rainier and Hamid Sardar.  Also included are Timothy Allen, Caroline Bennett, James P. Blair, Edward Burtynsky, David Hiser, Aaron Huey, Thomas Kelly, Mauricio Lima, William Fernando Martinez, James Stanfield, Brent Stirton, Amy Toensing, Jeroen Toirkens, A Yin and Gordon Wiltsie.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibit will feature an original short documentary produced by Arclight Productions for the Annenberg Space for Photography.  Filmed in many locations, from Washington, DC to British Columbia, Canada to London to Mongolia, the documentary will feature additional photographs, interviews and behind the scenes footage with exhibit photographers, indigenous people and experts<strong>.</strong>  The film will examine indigenous cultures through photography’s lens and encourage viewers to consider ancient traditions in a new context.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The themes explored in the exhibit include: The Circle of Life, Our Shared Origins, Ancient Wisdom, Sacred Geography, Endangered, Globalization, Ritual &amp; Passages, Beauty, Quest for Spirit and Joy of Culture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Exhibit images present cultures such as the Tibetan Buddhists of Nepal and their 2,500-year-old traditions; the last rainforest nomads who struggle to survive in Borneo; Ethiopian tribes who participate in bull-jumping as a ritual of tribal membership and manhood; and the Lakota in South Dakota who continue their spiritual ceremonies such as Sun Dances and the use of sweat lodges.  <strong>no strangers</strong> celebrates our diverse and sometimes unfamiliar world.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Photography Space's successful IRIS Nights lecture series will continue to offer free presentations featuring photographers and guest artists who document rare and indigenous cultures.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Annenberg Space for Photography will publish an exhibit catalogue showcasing the work of these 24 photographers and their images of rare and distinctive cultures.  Also offered for purchase will be a seminal book on body painting and adornment by photographers of African culture, Carol Beckwith and Angela Fisher, <em>Painted Bodies: African Body Painting, Tattoos, and Scarification, </em>Rizzoli, September 2012.  The public will also be able to purchase <strong>no strangers </strong>street banners from a selection of four stunning images by renowned photographers who have travelled the world.  Proceeds from merchandise will be used for the Annenberg Space for Photography, which is free to the community.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibit opens to the public in Los Angeles on November 17, 2012 and runs through February 24, 2013.</span></p> Tue, 09 Oct 2012 03:20:48 +0000 Bea Fremderman - Aran Cravey - December 1st, 2012 - January 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Aran Cravey Gallery</strong> is pleased to present<strong> <em>c,o,n,t,i,n,u,o,u,s &amp; c-o-n-n-e-c-t-e-d</em></strong>, a solo exhibition of works by artist <strong>Bea Fremderman</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mining the office spaces of the corporate world, Bea Fremderman deconstructs the commercial structural materials of the institutional work environment and reassemblages them into concise sculptural statements that undermine the very bureaucratic system for which they were made to uphold. Through her mixed media sculptures, photography and video works, Fremderman molds the elements of a capitalist context into a reflection of the daily life that has slipped away from society’s consciousness.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">The following is taken from an instant message (IM) conversation between the artist (bea) and the gallery assistant director, Whitney Lasker (me).</span><br /><span style="font-size: small;">. . . .</span><br /><span style="font-size: small;"><strong>bea:</strong> and it sorta operates in the same way the work does</span><br /><span style="font-size: small;">as in making the viewer ask questions of its legitimacy</span><br /><span style="font-size: small;">you know what i mean?</span><br /><span style="font-size: small;"><strong>me:</strong> did the work do that?</span><br /><span style="font-size: small;"><strong>bea:</strong> i think so</span><br /><span style="font-size: small;">because materials are easily recognizable but then they are arranged in a way that doesn't make sense</span><br /><span style="font-size: small;">it undermines the use of the materials</span><br /><span style="font-size: small;">or how they are supposed to function which make you question things</span><br /><span style="font-size: small;">cause the materials are subject to aesthetic choices</span><br /><span style="font-size: small;">instead of practical or functional ones</span><br /><span style="font-size: small;"><strong>me:</strong> its funnie your work is more nostalgic to me then anything else no</span><br /><span style="font-size: small;"><strong>bea: </strong>yea i agree</span><br /><span style="font-size: small;">reagan office</span><br /><span style="font-size: small;">but what's that nostalgia isn't very distant...a lot of offices still look that way/are made up of the same materials</span><br /><span style="font-size: small;">it's not just office, but also institutional places</span><br /><span style="font-size: small;"><strong>me:</strong> yeah totes</span><br /><span style="font-size: small;"><strong>bea:</strong> that are bureaucratic in nature / structure</span><br /><span style="font-size: small;"><strong>me:</strong> ok ok</span><br /><span style="font-size: small;"><strong>bea:</strong> they are bureaucratic places made up of these materials</span><br /><span style="font-size: small;"><strong>me:</strong> yes yes</span><br /><span style="font-size: small;"><strong>bea:</strong> and by disassembling their structure into parts and segments and then reassembling them the way i see fit</span><br /><span style="font-size: small;">is a way of questioning those structures</span><br /><span style="font-size: small;">and how legitimate they are</span><br /><span style="font-size: small;"><strong>me: </strong>is it?</span><br /><span style="font-size: small;">but its funnie cus it such a small part of the structure</span><br /><span style="font-size: small;"><strong>bea:</strong> i mean, that's my intent with making them. it's playful aesthetically and i don't force a political message...but it's why i made the work</span><br /><span style="font-size: small;">and to someone walking up to them as a viewer, i feel like there are parts and pieces you recognize because of their materials but their overall construction is bizarre cause it's sort of familiar but then not quite</span><br /><span style="font-size: small;"><strong>me: </strong>its like the atomic elements of the structure</span><br /><span style="font-size: small;"><strong>bea:</strong> yea definitely</span><br /><span style="font-size: small;">i guess when people want to just talk about the political message i want to urge them to not make it all about the work</span><br /><span style="font-size: small;">because there are aesthetic things</span><br /><span style="font-size: small;">and i don't want to make it so heady</span><br /><span style="font-size: small;"><strong>me:</strong> but just the materials which is nice approach</span><br /><span style="font-size: small;"><strong>bea:</strong> i want ppl to also enjoy it</span><br /><span style="font-size: small;">cause it's so playful</span><br /><span style="font-size: small;">and at the same time when the only thing you see is aesthetic i want to bring in a more serious content</span><br /><span style="font-size: small;"><strong>me:</strong> lol you're like &gt;&gt;&gt;but its playful!!!</span><br /><span style="font-size: small;">comon</span><br /><span style="font-size: small;"><strong>bea:</strong> it is</span><br /><span style="font-size: small;">i mean i'm talking to u like a friend</span><br /><span style="font-size: small;">not trying to get you to write a press release or something lol</span><br /><span style="font-size: small;"><strong>me:</strong> lol this is the press release</span><br /><span style="font-size: small;"><strong>bea:</strong> i mean i definitely try my hardest to work with both concepts and angles ....the conceptual/political side and also the playful/aesthetic/form side</span><br /><span style="font-size: small;">that's how i formulate my work, i want it to be accessible to both views</span><br /><span style="font-size: small;">and for each side to see the other</span><br /><br /><span style="font-size: small;">Bea Fremderman (b.1988) Born in Kishinov, Moldova, Bea Fremderman finished her studies at The School of the Art Institute in Chicago in 2012 where she presently lives and works.  Her current research interests are American corporate office design, Franz Kafka, bureaucratic structures and false notions of freedom. Fremderman's work has been exhibited in Mexico and Canada, and throughout the United States and Europe. Recent exhibitions include <em>S,M,L,XL</em> (2012, Appendix Gallery, Portland, OR), <em>A Cast Of Something Else</em> (2012, Narwhal, Toronto, Canada),<em> Take Me In Your Arms And Fuck Me </em>(2009 Preteen Gallery, Hermosillo, Mexico) and <em>Younger Than Jesus </em>(2009, The New Museum, New York, NY). In 2012 Fremderman was awarded the BFA Fellowship Award and the Fred Endsley Memorial Fellowship from the School of the Art Institute of Chicago.</span></p> Thu, 10 Jan 2013 06:45:32 +0000 Nate Page - Armory Center for the Arts - July 8th, 2012 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Armory Center for the Arts</strong> presents a temporary, site-specific installation by Los Angeles-based artist<strong> Nate Page</strong> in its central stairwell through June 2013. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Page’s newest work, entitled <em>Instituted Angles of Path and Display</em>, challenges the ultra-functional design of the Armory’s main stairwell. Page has removed one of the stairwell’s two large metal handrails, turned it 90 degrees, and mounted it in the middle of the space on a pedestal-like structure that follows the crooked trajectory of the stairs and the landing. This simple gesture both highlights and alters the existing framework and prescriptive design of the space, which remains fully functional although visually distorted. Central to Page’s practice is an interest in engaging elements of perceived and given space in built environments, often through objects dismissed as peripheral or incidental.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Page acknowledges that railings generally can serve two functions: one for handrail support, and the other as a boundary. By turning a railing on its side and using it to bisect the Armory stairwell, Page shifts our point of view what a handrail is for. Page has created a topography of the climber's passage and an opportunity for visitors to become aware of their physical and psychological relationships to the architecture by negotiating passage (stair) vs. path (boundary railing). Familiar visual and spatial rhythms are interrupted, inviting the viewer to reconsider the function of the space – and possibly, the artist hopes, to find more potential than what it is programmed for.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Nate Page</strong> lives in Los Angeles.  His work has been seen at Lothringer Dreizehn Space for Contemporary Art in Munich, Hotel Pupik in Schrattenberg Austria, Warsaw Academy of the Arts, Warsaw, John Michael Kohler Center for the Arts in Sheboygan, WI, No Name Exhibitions @ The Soap Factory, Minneapolis, and at Cooper Union and Jen Bekman Gallery, both in New York. Page has produced many environments with Machine Project in Los Angeles including A Field Guide to LACMA at Los Angeles County Museum of Art and has shown nationally including Woodbury University Hollywood Gallery, Institute of Visual Arts at University of Wisconsin-Milwaukee, and Otis College of Art and Design in Los Angeles. From 2001-2004, Page co-directed an experimental artist collaborative and exhibition space in Milwaukee called the Rust Spot. He received a MFA from the California Institute of the Arts and a BFA from Milwaukee Institute of Art and Design and attended the Warsaw Academy of Art in Warsaw, Hotel Pupik in Schrattenberg Austria, and the New York Studio Program and the Summer Residency at The Cooper Union, both in New York City.</span></p> Mon, 03 Sep 2012 09:00:44 +0000 Group Show - Armory Center for the Arts - October 7th, 2012 - January 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Twenty years or so ago, well before the ongoing reclamation efforts were underway, a friend, who was sitting on the concrete banks of the river, spotted a full-size kitchen refrigerator bobbing along, "as lightly," he said, "as a styrofoam cup." Water easily carries car-sized boulders over miles and moves acres of mud across slopes. It evaporates, leaks, and erodes. Despite our best efforts to contain it and our constant need for it, the nature of water is to move, wherever it is. If a power outage were to stop the constant pumping of water, the subways of Manhattan would be fully submerged within twelve hours. As the fauna growing through the cracks of the concrete bed of the Los Angeles River show, water ultimately operates outside our control. </span><br /><br /><span style="font-size: small;"> The utopic locale of "Water, CA" in the show's title evokes a hypothetical place, a kind of semi-plausible environmental nirvana where human needs are met humanely. Water itself is, of course, a highly contested resource here in California and globally. The monetization of water – an essential primal element, like air – remains a fundamental challenge to notions of fairness and humanity around the world, just as it did in the earliest days of the historic water wars of this state. The notoriety and the tragedy of various engineering feats, such as the paving of the Los Angeles River and the failure of the breach wall in New Orleans, reveal our social ambitions as well as our arrogance. Yet our drive to harness the power of water is what makes us human. The innovation and the urgency of the environmental movement and the irrefutable need for a sustainable, sane, and ethical approach to meeting basic human needs around the globe are characterized by very real constraints, palpable desperation, and persistent optimism. </span><br /><br /><span style="font-size: small;"><em>Facing the Sublime in Water, CA</em> offers metaphors – both explicit and implicit – for the timeless idea that constraints and desperation can provide constructive applications and outcomes – unexpected or not – in a variety of social, political, and personal contexts. Whether accidentally or on purpose, constraints can make an idea, an action, or an object fluid. That conflict is at the core of the content of this show. </span><br /><br /><span style="font-size: small;"> The idea for <em>Facing the Sublime in Water, CA</em> began as a response to another's fascination with the Salton Sea – a geographic anomaly that was created by an agricultural blunder, is California's largest lake, and is so immense that it is visible from space. The Salton Sea inspired artists and Nicole Antebi and Enid Baxter Blader to explore water issues and create a project entitled <em>Water, CA</em>, a website that includes images and texts Antebi and Blader gathered from artists, environmentalists, and historians, that address the history and representation of water and water use through the lens of artistic production. The exhibition checklist of <em>Facing the Sublime in Water, CA</em> will be added as a link on <a href="" target="_blank"></a> – likewise, the website itself is an item on the exhibition checklist, is to be included in the exhibition itself (along with drawings, photographs, texts, books, videos, and other elements represented on the web site that will be selected and organized by Antebi and Blader), and will be listed accordingly in the accompanying catalogue. The elliptical relationship between these platforms – the website, the exhibition, and the exhibition catalogue – reflects the fluid constraints at the center of the show.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Funding for <em>Facing the Sublime in Water, CA</em> provided by the National Endowment for the Arts, The Steven B. and Kelly Sutherlin McLeod Family Foundation, Pasadena Water &amp; Power, and Helen N. Lewis and the Estate of Marvin B. Meyer. Image courtesy Katie Shapiro from her <em>Malibu Sandbags</em> series.</span></p> <p></p> <p><br /><img class="left" src="" alt="" title="" height="100" width="139" /><img class="left" src="" alt="" title="" height="100" width="260" /></p> Wed, 02 Jan 2013 18:13:07 +0000 David Jang, Barbara Kolo - Artspace Warehouse - November 10th, 2012 - January 10th, 2013 <p>The exhibition focuses on the impact and shift in relationships as a result of re-appropriating new materials and incorporating unexpected inspirations in art. The exhibition spotlights Los Angeles artist <a href="" class="pink" rel="nofollow">David Jang</a>. Also on view is a new series of artworks by Los Angeles artist <a href="" class="pink" rel="nofollow">Barbara Kolo</a> among many others.</p> <p>David Jang's work utilizes materials and object-making to articulate the countervailing forces inherent in the everyday—expansion and contraction, perfection and imperfection, force and balance, have and have not. His process can be described as an exacting, fanciful, even obsessive re-appropriation of common materials—one in which he deconstructs, re-programs and re-constitutes industrial and commercial cast-offs to reveal new relationships between the object and the viewer.</p> Wed, 21 Nov 2012 05:13:19 +0000 - Bowers Museum - May 21st, 2011 - July 7th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>The bygone era of American whaling led many men on distant voyages in search of the giants of the sea. In spare time whalers carved the teeth, bone and other unused parts of the whale, developing a carving tradition that came to be called scrimshaw.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>Scrimshaw: The Art and Craft of the American Whaler</strong></em> celebrates this unique American folk art, created purely for the necessity or enjoyment of its makers, which captures the reality of life at sea. Nearly 100 objects of various types are displayed in this exhibition including tools made for mending clothes and ship sails, cribbage boards and dice for gaming, household articles and toys made for loved ones, and a variety of personal items including tools for shaving, smoking, writing and other daily activities. Whole whale teeth are carved with images of beautiful ladies in fashionable clothing, notorious female pirates, sailing ships of the period and animated scenes of whalers at work. Additionally, the exhibition includes incredible works of carved bone and ivory art produced by late 18th and early 19th century French prisoners-of-war confined on prison ships afloat or in buildings ashore. These small masterpieces include model ships complete with full rigging and cannons, and wonderful mechanical carvings, including working guillotines that lop the heads from miniature figures.</span></p> Mon, 13 May 2013 21:52:17 +0000 Shashi Dhoj Tulachan - Bowers Museum - October 12th, 2012 - March 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">*closing date is subject to change</span><br /><br /><span style="font-size: small;">The nine oversized paintings shown in this exhibition are all the work of one extraordinary 69-year-old Buddhist monk named Shashi Dhoj Tulachan, a second generation thangka artist living in Tuksche, a remote village located in Mustang, Nepal’s northernmost district adjacent to Tibet. Shashi Dhoj Tulachan has devoted much of his life to the restoration of a nearby 18th century gompo (Tibetan monastery) known as the Chhairo Gompa.</span></p> <p style="text-align: justify;"><span style="font-size: small;">He is part of a local initiative, the Kali Gandaki Foundation Trust, which is dedicated to raising money to preserve the Chhairo Gompa. </span><br /><br /><span style="font-size: small;">The practice of thangka painting is centuries old and is an art carried out by highly trained monks for the purpose of teaching about Buddha and the </span><span style="font-size: small;">tenets of the Buddhist religion. The overwhelming amount of detailed imagery in each painting includes deities, mythologies, and the use of  repeated and abstracted design. For those seeking enlightenment, thangka paintings exist as objects of meditation.</span><br /><br /><span style="font-size: small;">The paintings in this collection are not thangkas in the traditional sense. Thangkas are usually much smaller and are rolled on canvas so that they can be easily transported and hung anywhere for teaching. The thangkas exhibited here are similar in size to mural paintings found in monasteries. These paintings also deviate from the rules for the creation of a thangka where the exact use of color, shape, proportion, characteristics and qualities of the imagery are all strictly regulated. </span><br /><br /><span style="font-size: small;">Shashi Dhoj Tulachan has painted this set of images by combining the traditional motifs of one of the foremost schools recognized by high-level monks in Tibet today, the Tibetan Karma Ghadri School, with images that are purely and cleverly of his imagination. The vibrant colors he used are made from natural mineral pigments</span></p> Thu, 17 Jan 2013 14:51:21 +0000 - Bowers Museum - October 20th, 2012 - January 13th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The Albright collection consists of pins that Secretary Madeleine K. Albright, America’s ambassador to the United Nations (1993-1997) and then as the first woman to occupy the position of U.S. Secretary of State (1997-2001), wore before, during and after her years of public service.  Shortly after becoming a diplomat, Albright discovered the power of jewelry to convey a foreign policy message.  Before long, she began selecting appropriate pins to wear to particular meetings, visually expressing her high hopes, determination, impatience, or warm feelings.  The brooches soon became her diplomatic signature.  Their stories and messages reflect the Secretary’s sense of humor and her humanity.</span></p> <p style="text-align: justify;" class="``BasicParagraph``"><span style="font-size: small;">The exhibition examines the collection for its historic significance as well as the expressive power of jewelry and its ability to communicate through a style and language of its own.</span></p> <p style="text-align: justify;" class="``BasicParagraph``"><span style="font-size: small;">In 1997, Albright was named the first female Secretary of State and became, at that time, the highest ranking woman in the history of the U.S. government. While serving under President Bill Clinton, first as U.S ambassador to the United Nations, and then as Secretary of State, Albright became known for wearing brooches that purposefully conveyed her views about the situation at hand. “I found that jewelry had become part of my personal diplomatic arsenal,” Secretary Albright has said. “While President George H.W. Bush had been known for saying ‘Read my lips,’ I began urging colleagues and reporters to ‘Read my pins.’”</span></p> <p style="text-align: justify;" class="``BasicParagraph``"><span style="font-size: small;">The collection that Secretary Albright cultivated is distinctive and democratic-sometimes demure and understated, sometimes outlandish and outspoken-spanning more than a century of jewelry design and including fascinating pieces from across the globe. The works on view are chosen for their symbolic value, and while some are fine antiques, many are costume jewelry. "Read My Pins" will explore the stories behind these works and their historical and artistic significance, and will be accompanied by a book, "<em>Read My Pins": Stories from a Diplomat’s Jewel Box</em>, published by HarperCollins. For information about ordering the catalog, please call The Store at 714.567.3613 or <a href="">click here</a>.</span></p> <p style="text-align: justify;" class="``BasicParagraph``"><span style="font-size: small;">Over the years, Secretary Albright’s pins became a part of her public persona, and they chart the course of an extraordinary journey, carving out a visual path through international and cultural diplomacy. A highlight of the exhibition will be the brooch that began Secretary Albright’s unusual use of pins as a tool in her diplomatic arsenal. After Saddam Hussein’s press referred to her as a serpent, Secretary Albright wore a golden snake brooch pinned to her suit for her next meeting on Iraq. Read My Pins will feature the famous snake brooch among many other pins with similar stories-some associated with important world events, others gifts from international leaders or valued friends.</span></p> <p style="text-align: justify;" class="``BasicParagraph``"><span style="font-size: small;">The exhibition will also showcase a group of Americana, which is at the center of the Madeleine Albright collection. One of her most original pieces is a pin made for her specifically on the occasion of “Brooching It Diplomatically.” The silver brooch shows the head of Lady Liberty with two watch faces for eyes, one of which is upside down-allowing both her and her visitor to see when it is time for an appointment to end. As demonstrated in this clever work, Read My Pins explores Albright’s ongoing impact on the field of jewelry design and collecting.</span></p> Fri, 03 Aug 2012 17:57:56 +0000 - Bowers Museum - December 15th, 2012 - March 10th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Discover the glamour, luxury and artistry of cinematic couture in this exhibition from the renowned British costumer, Cosprop Ltd and organized by Exhibits Development Group.  Forty-three costumes worn by 30 actors in 25 different films attest to the sumptuous fabrics, lavish lace and embroidery, unparalleled craftsmanship and creativity, and the essential ingredient costumes play in the authenticity of a period film. Many of the costumes have won major awards including Oscars from the Academy of Motion Picture Arts and Sciences and BAFTAs from the British Association of Film and Television Arts.</span><br /><br /><span style="font-size: small;">Visitors to the exhibition will be transported from fairy tale England (Angelica Huston,  Ever After) to colonial Virginia (Colin Farrell, The New World) to 18th-century England (Keira Knightley, The Duchess) and to 19th-century Paris – fantastic and opulent – (Emmy Rossum, The Phantom of the Opera).  They will enjoy the fashions of the early 20th century – of World War I Italy (Sandra Bullock, In Love and War), of seedy Shanghai in the 1930s (Natasha Richardson and Ralph Fiennes,  The White Countess)  and of World War II Belarus (Daniel Craig, Defiance).</span><br /><br /><span style="font-size: small;"><strong>SUPPORT</strong></span><br /><br /><span style="font-size: small;"><em>CUT! COSTUME AND THE CINEMA</em> </span><br /><span style="font-size: small;">Presented by Exhibits Development Group in cooperation with Cosprop Ltd., London, England. Sponsored at the Bowers Museum  by Margaret A. Cargill Foundation, East West Bank, and Mei-Yen Chang.</span></p> Wed, 02 Jan 2013 06:57:41 +0000