ArtSlant - Closing soon en-us 40 - Machine Project - January 1st, 2013 - January 31st, 2013 Wed, 28 Aug 2013 00:26:34 +0000 - UCLA New Wight Gallery - January 17th, 2013 - January 31st, 2013 <p style="text-align: justify;"><span style="font-size: small;">On the spectrum of electromagnetic radiation, ultraviolet light lies just beyond the realm of visible perception. This high-intensity energy is only detectable by the physical reactions it initiates. A source of ultraviolet light is a source of potential momentum, emitting information along countless pathways. </span><br /> <br /><span style="font-size: small;">UCLA's department of Design Media Arts, charged with the accumulated creative potential of talented students across multiple disciplines, finds an outlet this year through UV / UG, a showcase of recent personal and class projects. The range of these works represents divergent but overlapping trajectories: each student is exposed to the same set of foundational skills, but chooses combinations that illuminate a unique direction. The result is amplified energy, projected outward – circulating currents of ideas and inspiration – and onward – providing momentum to sustain continuous growth of the department. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Undergraduate Exhibition, EDA, Room 1250</span></p> Mon, 03 Dec 2012 14:35:08 +0000 Joe Goode, Charles Hill, Marven Harden - Cirrus Gallery - December 15th, 2012 - February 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>Images in Peril</em> is a group show with Joe Goode, Charles Hill, and Marven Harden. The exhibition consists of prints that provide evidence of the tension between the artist and the picture plane. Whether the surface was altered by means of armed aggression, burial or subtle abrasion, the works in the show act as remnants of both a personal and material conflict.</span></p> Mon, 03 Dec 2012 13:19:58 +0000 Mark Briggs, Erica Eyres, Alex Gross, Anna Mields, Jennifer Moon, David Snyder, Patricia Valencia - Cirrus Gallery - December 15th, 2012 - February 2nd, 2013 <p></p> <p></p> Mon, 03 Dec 2012 13:22:06 +0000 Terri Logan, Randall Darwall, Valerie Hector, Chris Triola - Craft and Folk Art Museum - February 1st, 2013 - February 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Join the museum shop for an exclusive trunk show of wearable art by four nationally renowned craft artists. Chris Triola handcrafts one-of-a-kind garments with luxurious fabrics and functional design. Randall Darwall, featured in Craft in America, offers hand-loomed silk textiles from his New England studio. Valerie Hector’s passion is beadwork, both artistically and academically, and jeweler Terri Logan creates her jewelry by mixing organic and industrial aesthetics. Join us to revel in the work of these remarkable artisans. 10% of proceeds will benefit CAFAM.</span> </p> <p style="text-align: justify;"><strong>Wearable Art Preview and Cocktail Reception</strong> <br /> Thursday, January 31 | 5:00-8:00pm <br /> Free<br /> In the CAFAM Courtyard<br /> <br /> The museum shop is holding a sneak preview for it's exclusive trunk show of wearable art by four nationally renowned craft artists. Join the museum, and truck show artists for a few cocktails and take a look at the items before they go on sale over the weekend!</p> Sat, 19 Jan 2013 16:11:22 +0000 Kathryn Andrews - David Kordansky Gallery - December 15th, 2012 - February 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>David Kordansky Gallery</strong> is very pleased to announce <strong><em>D.O.A.</em> | <em>D.O.B.</em></strong>, its first solo exhibition of new work by <strong>Kathryn Andrews</strong>. The show will open on December 15, 2012 and run through February 2, 2013. An opening reception will be held on Saturday, December 15, from 7:00pm until 9:00pm. The opening reception will also coincide with a performance-based activation of one of the sculptures in the show. </span><br /><br /><span style="font-size: small;">Kathryn Andrews juxtaposes legacies of pop art and minimalism, creating works in which the experience of materials prompts the viewer to reconsider how subjectivity is constructed in contemporary culture. Her work often combines fabricated forms with readymade objects sourced (or seemingly sourced) from Hollywood prop shops, memorabilia stores, party supply outlets and other commercial venues. Rife with socio-economic associations, these readymades pit popular and/or symbolic value against experience of the sculptural whole as material artifact.</span><br /><br /><span style="font-size: small;">The title of the show, <em>D.O.A.</em> | <em>D.O.B.</em> (dead on arrival / date of birth), points to the creation and annihilation that is at stake when images, physical forms, and personae are understood as fixed versus non-fixed entities. It will feature three floor-based sculptures and three wall-based sculptures that incorporate polished stainless steel forms which support, surround, and complicate both found and fabricated objects. Their mirror-like surfaces, meanwhile, transform each into a visual essay on the act of viewership itself, and implicate both viewer and artist as active agents in each piece. </span><br /><br /><span style="font-size: small;"><em>Still Life (Woman with Fruit)</em>, for example, consists of a human-scaled stainless steel tube that supports a headdress made of artificial fruits and vegetables. From afar, the object sets up a humorously paradoxical relationship between the industrial, polished cylinder and the ersatz organic matter perched on its 'head'. However, the sculpture is in fact designed to serve as the site of a performance, in which the activated work becomes a complex composition of interiors and exteriors, tangible and projected presence, and lineages of both sculpture and painting.</span><br /><br /><span style="font-size: small;">Painting is also addressed in a series of three inter-related wall sculptures that resemble windows. In these works, the line between fabricated and existing forms is complicated by the stickers that adorn them; each features a unique image of a clown surrounded by imagery specific to one of the four seasons, thus raising questions about how the passage of time can become an active part of otherwise static objects. Based on manipulated versions of found imagery, the stickers represent condensed moments of painterly composition within the rectilinear window frameworks. Furthermore, they are modeled after decals used to alert emergency responders to the presence of children (each work is titled <em>Tot Finder</em>), so that an implied body behind the window competes with the viewer's experience of his or her own reflection upon its surface.</span><br /><br /><span style="font-size: small;">Throughout the show, images and reflections are intimately fused to the materials on and in which they appear. Nowhere is this more apparent than in <em>Lethal Weapon</em>, a work which at first seems to be no more than a tall stainless steel cylinder with a small hole. Looking into the darkness of the cylinder's interior slowly reveals that it contains a pistol pointed at the viewer, and only upon reading a description does he or she realize that this is a gun used on the set of the film that shares its title with the piece. The formal vocabulary of minimalism conceals the most loaded and symbolic of popular objects, and the absences represented by the tube's opening and the gun's barrel threaten to override an otherwise overwhelming experience of materials and cultural references. </span><br /><br /><span style="font-size: small;">In 2013, Kathryn Andrews will be the subject of a solo exhibition at Museum Ludwig, Cologne. Earlier this year she was included in <em>Made in L.A. 2012</em>organized by the Hammer Museum and LAXART, Hammer Museum, Los Angeles; <em>First Among Equals</em>, ICA, Philadelphia; and <em>When Forms Become Attitudes</em>, CCA Wattis Institute for Contemporary Arts, San Francisco (traveling to the Museum of Contemporary Art, Detroit). Other recent exhibitions include<em>American Exuberance</em>, Rubell Family Collection, Miami; <em>Modify, As Needed</em>, MOCA, North Miami; and <em>George Herms: Xenophilia (Love Of The Other)</em>, MOCA, Los Angeles. She has also created numerous performance works; in 2012 these have included <em>Voix de Ville</em> at Art 43 Basel and <em>Fork Hunt</em> at Graystone Mansion, Los Angeles (organized by LAXART). Andrews lives and works in Los Angeles.</span></p> Wed, 02 Jan 2013 18:13:49 +0000 Ralph Bacerra, Elizabeth Fritsch, Jennifer Lee, Gustavo Pérez, Sugimoto Sadamitsu, Adrian Saxe, Akio Takamori - Frank Lloyd Gallery - January 5th, 2013 - February 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Back by popular demand, the <strong>Frank Lloyd Gallery</strong> is pleased to announce the opening of <em><strong>Frank's International House of Ceramics, Part Two</strong></em>. This group show unites seven ceramists from all over the world, reflecting the international scope of the gallery. While three of the artists from IHOC, Part One are making second appearances, they will be joined by four additional artists, creating a new and exciting mix of ceramic materials and styles from around the world.</span><br /><br /><span style="font-size: small;">This time, we're including work by two British ceramists. <b>Elizabeth Fritsch</b> has been a leading figure in British ceramics since the 1970s, and her work is characterized by its sharp profiles and architectural qualities. After meticulously smoothing her hand-built vessels, she colors them with dry matte slips and geometric motifs. <b>Jennifer Lee</b> also hand-builds her graceful, unglazed vessels, and she achieves her singular colors by incorporating metallic oxides into the stoneware clay bodies of her pieces.</span><br /><br /><span style="font-size: small;">Japanese-American artist <b>Akio Takamori</b> will make another appearance, this time with one of his signature envelope vessels, as well as a small hanging sculpture, both from the 1980s. <b>Sugimoto Sadamitsu</b>, also from Japan, is regarded as a living master of the Iga style, and his work is highly regarded in his home country. Including both Iga and Shigaraki ware, his ceremonial ceramic objects are rugged in appearance, their coloration resulting from the accumulation of ash on their surfaces. Mexican artist <b>Gustavo Pérez</b> was also included in IHOC Part One, and is showing several of his more abstract pieces, which reference his earlier architectural vessels. Despite the change in form, Pérez's work remains recognizably his own. </span><br /><br /><span style="font-size: small;">IHOC Part Two is completed with works by two more of our American artists. <b>Ralph Bacerra's</b> large covered vessels incorporate a variety of elaborate non-western techniques, and demonstrate his commitment to the beauty of the decorated ceramic surface. Finally, <b>Adrian Saxe</b> joins the exhibition for the second time, with a series of teapots from the Sèvres manufacture in France that riff on historical French ceramics.</span><br /><br /><span style="font-size: small;">Frank's International House of Ceramics, Part Two offers a second look at Frank Lloyd Gallery's international roster of ceramists. These seven artists work in a diverse range of materials and methods, demonstrating how artists from different cultures draw on and interpret the world's rich ceramic traditions.</span></p> Wed, 02 Jan 2013 07:28:39 +0000 - Gallery 1988 Venice - January 11th, 2013 - February 2nd, 2013 Wed, 10 Apr 2013 21:09:02 +0000 Patrick Nickell - Rosamund Felsen Gallery - January 5th, 2013 - February 2nd, 2013 <p style="text-align: justify;"><strong>Rosamund Felsen Gallery</strong> presents the fourth solo show of new sculptural work by <strong>Patrick Nickell</strong>. The exhibition  “<strong><em>Letting Go</em></strong>” is comprised of color saturated large tabletop sculptures in which Nickell loosens his tight hold on strict  abstraction and allows his figurative tendencies to emerge creating a new body of work steeped in fantasy. Nickell  continues his exploration of spontaneous line, deviating from the curved flowing forms of his previous sculptures, by  abruptly bursting the plaster sculptures at their ends. This exposure of tangled wire and burlap gives way to  distinguishable forms: a falling figure, raised fists, protruding tongue. These forms are perhaps the explicit  manifestation of the artist’s struggle to find his voice outside the realm of implicit abstraction.</p> <p style="text-align: justify;"><strong>Patrick Nickell</strong> is a Los Angeles-based artist. His work is included in, but not limited to, the public collections of the  Laguna Art Museum, Laguna Beach, CA; Berkeley Art Museum at the University of California, Santa Barbara Museum  of Art, CA; and in Los Angeles at the Museum of Contemporary Art (MOCA), Los Angeles County Museum of Art  (LACMA) and the Luckman Fine Arts Gallery at California State University. Nickell is also Associate Professor of  Design Foundation at Woodbury University in the School of Media, Culture and Design, Los Angeles. In 2011 he was  awarded the Faculty Development Grant at Otis College of Art and Design.</p> Sat, 29 Dec 2012 06:53:42 +0000 Eben Goff + Rowan Wood - Steve Turner - January 5th, 2013 - February 2nd, 2013 <p>Steve Turner Contemporary is pleased to present Apples, an exhibition of fifteen collaborative wall-mounted sculptures by Eben Goff and Rowan Wood. Using a range of materials and techniques, the artists created multi-faceted sculptural works that house prints. The centerpiece of the exhibition, from which the show derives its title, is a constellation of irregularly shaped etchings set in welded brass polygonal frames that will be installed on a single wall spanning more than twenty-five feet.<br /><br />Goff and Wood decided to collaborate following their discussions on printmaking and were particularly interested in how the action of the etching press creates a transformation between the artist's initial gesture and what is transferred to a sheet of paper during printing. They saw this gap between the making and seeing of the work as a space for testing chance processes, and that the language of printmaking itself, where initial print results are called “proofs,” signals the medium’s essential dynamic of working from a proposition to a conclusion.<br /><br />The artists were also interested to see how their separate art practices would influence the outcome of collaborative work. Wood makes paintings that often involve visual rules and logical progressions while Goff utilizes the laws of physics to create work. In working together, the artists melded their distinct approaches, thereby abandoning the central element of any solo practice—the right to make a decision for any reason, something they describe as "the caprice of individual impulse." By contrast, working together to create a synchronized vision demanded mutual transparency of intent only possible by verbal proposal, negotiation, and agreement.<br /><br />They approached the first works in their year-long collaboration in reverse order. Using completed picture frames that housed blank sheets of paper under glass, they used heat, pressure, and capillary absorption to cause pigment to be printed onto the blank paper through the glass. The second phase of work eliminated pigment from the equation. Using only the structure of the frame and its glass, by varying the degree of opacity, refraction and reflection, they created images in light and shadow. The resulting works became more sculpture and less print as they increased the distance between the glass and the sheet of paper inside.<br /><br />In the third phase of their collaboration, the artists etched into and printed from an aluminum sheet according to a set of rules that unpredictably determined the quality, size, and shape of the printed images. The genesis for this final work, Apples, was an orchestrated sequence of chance processes involving states of invisibility: Just as the alumnium plate passed under the press, out of sight, the artists made compositional changes while wearing blindfolds. Apples consists of forty-one monoprints, each housed in a sandblasted brass frame that closely surrounds the contours of the print. More than the sum of frame and print, the artwork is a complex pattern that arises out of a multiplicity of relatively simple interactions.<br /><br />Born in 1977, Eben Goff earned an MFA at UCLA in 2009 and has had solo exhibitions with Ruth Bachofner Gallery, Santa Monica (2010 and 2011). Born in 1977, Rowan Wood earned a BA at UCLA in 2009 and has had solo exhibitions at Steve Turner, Los Angeles (2010 &amp; 2012).</p> Tue, 18 Dec 2012 20:39:47 +0000 Theo Michael, Jon Rafman, Travess Smalley, Kate Steciw - Steve Turner - January 5th, 2013 - February 2nd, 2013 <p><span style="font-size: small;">Steve Turner Contemporary is pleased to present 1:1 featuring new work by Theo Michael, Jon Rafman, Travess Smalley and Kate Steciw, where all of the works were generated through the use of computer technology. Smalley creates clay sculptures that he places on a flatbed scanner to capture their likeness; Rafman uses Mudbox to model three dimensional busts that overlay the patterns of a specific abstract expressionist painting and Steciw and Michael use Photoshop, the former to create  abstract digital collages from stock images and the latter to create collages of found internet images from his 150,000 large image archive that he began developing in 1999. In 1:1 each artist’s work comes to exist in reality precisely as it appeared on the his or her computer screen.</span></p> <p><span style="font-size: small;">Born in Panorama, Greece in 1978, Mexico City-based Theo Michael studied Fine Art at Aristotle University of Thessaloniki and Utrecht School of Art and earned an MA in Painting from the Wimbledon School of Art. His work has been included in numerous exhibitions worldwide and he is represented by Galeria OMR, Mexico City. He uses intuition, primitivism and the unconscious to counterbalance the over-intellectualization of contemporary art, with the resulting works highlighting irrationality in form and content.</span></p> <p><span style="font-size: small;">Born in 1981, Jon Rafman is a Montreal-based artist, filmmaker and essayist whose work explores the impact of technology on consciousness.  He earned a B. A.  in Philosophy and Literature from McGill University and an M .F. A. from the School of the Art Institute of Chicago. </span><span style="font-size: small;">His films and artwork have been exhibited  at Museum of Contemporary Art, Rome; New Museum, New York; Palais de Tokyo, Paris and Saatchi Gallery, London. His Nine Eyes of Google Street View has been featured in Modern Painter, Frieze, Der Spiegel, Libération, New York Times and Harper's Magazine.</span><br /><br /><span style="font-size: small;">Born in 1986, Travess Smalley is a New York-based artist who paints with pixels to produce optically dynamic works that straddle the boundaries of physical and digital image making. In his series Composition in Clay he  scans  colored modeling clay at high resolution to produce photographic prints that are lush and viscous. Smalley studied painting and digital printmaking at VCU before receiving his BFA from Cooper Union in 2010. His work has been exhibited internationally with recent exhibitions at Drawing Room, London;  Foxy Production, New York and House of Electronic Arts, Basel. </span><br /><br /><span style="font-size: small;">Born in 1978 Kate Steciw is New York based artist who earned a BA from Smith College and an MFA from the School of the Art Institute of Chicago. She has had solo exhibitions at Green Room, London and Toomer Labzda, New York with her work included in group exhibitions at Higher Pictures, Horton Gallery, BAMart, Stadium and foxy production. Steciw applies skills learned as a professional retoucher to create abstract digital collages from stock images which are then combined with 3D elements in photo-based sculptural works. Utilizing unseen aspects of the images (keywords, metadata), she links the imagery with objects and embellishments found online to materialize the kind of nonlinear logic native to the online experience.</span></p> Tue, 18 Dec 2012 20:48:47 +0000 Group Show - The Box - December 1st, 2012 - February 2nd, 2013 <p style="text-align: justify;">The Box is pleased to announce we are extending the exhibition Painting until February 2nd to coincide with the LA Art Book Fair.</p> <p style="text-align: justify;">Within the art world, we place high value on painting. We love it for its beauty, for its traditions, for its ease. In our contemporary world it is often seen as a decoration for our walls and as a financial investment for our portfolio. The pieces in this show dating from 1956-2012 disrupt this attitude, pushing the viewer to think beyond the accepted idea of painting. Most of these artists work outside of the art world and use paintings to explore their social, personal and artistic dilemmas. These pieces are deeply personal to highly controversial. Ignoring the accepted avenues of what is considered “hip” and “trendy”. There is a pursuit on the track of the ugly as beautiful. Some of these artists are playing with materiality of painting. Some are dealing with the conceptual idea of painting. Some are using painting to process and work through their internal battles be it with political concerns or in matters of their intimate lives. You will walk into this exhibition and be confronted with what seems to be a random collection of paintings, but there is a thread in that each of these artists has lived in the singular pursuit of art for 30 to 60 years. These are tailings of these lives. These artists pursued their art without the concern of the art market. They pursued their art to an extreme. These paintings are without definition.</p> <p style="text-align: justify;"><br />Enjoy.</p> Mon, 28 Jan 2013 16:04:58 +0000 Dave Macdowell - Thinkspace - January 12th, 2013 - February 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Thinkspace</strong> is pleased to present <i><strong>Project Mayhem</strong>, </i>the gallery's first large scale solo exhibition of new work by New York based painter <strong>Dave MacDowell</strong> following two smaller past showcases in our project room. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Dave MacDowel</strong>l's work deftly combines satire, irreverence, and seething wit. A self-taught artist, MacDowell combines popular cultural references with the magnetism of the "dark hook", creating unexpected plays on popular culture that inject the familiar with blistering hyperboles. Seeking to unveil the feared and the reviled, while expertly weaving critical commentary with hilarity, MacDowell's work is an effective combination of complicity and critique. Appropriately in keeping with the movement, MacDowell's pieces combine a pop surrealist aesthetic with deliberately recognizable popular cultural references gleaned from movies, cartoons, and music, among others, and transforms the known into powerful generational odes to discontent and dystopian irony. His work combines humor with criticism and an acerbic wit, unearthing the nightmares that lurk just beneath the veneer of celebrity culture and the cult of Disney. His work fearlessly taunts the obsequiousness of popular culture, and its iconographies, by creating unexpected inversions and re-combinations that gently tug at its unravelling strings.    </span></p> <p style="text-align: justify;"><span style="font-size: small;">MacDowell's technical execution is highly detailed and seductive, contributing to the hallucinatory pleasure and draw of the work. In keeping with the tendency of the genre, the more highly refined the execution, the more effective the irreverence of the content, and this certainly is the case with MacDowell's paintings.The work is at times controversial and unsettling, but seems to combine contention and dissent with pleasure and whimsy. Highly accomplished at figuration and color, the artist's work effectively conveys the vision of its hyperreality. The technicolor nightmares MacDowell offers up are at times so densely populated with imagery that they feel bottomless, like the contemporary equivalent of a Hieronymus Bosch Medieval nightmare, and at other times are sparse and perfectly simple. Each piece imparts the suggestion of narrative, and reveals a story or core idea, however obliquely, that has motivated its juxtapositions and hooks. Disturbing, lascivious, and funny, each work is acuminate in its own abrupt revelations.</span></p> Sat, 22 Feb 2014 15:22:58 +0000 Dan-ah Kim - Thinkspace - January 12th, 2013 - February 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Thinkspace</strong> is pleased to present <i><strong>Perennial Winds</strong>, </i>featuring new work by Brooklyn based artist <strong>Dan-ah Kim</strong>. Kim's work is personally charged; informed by dream, personal narrative, and thematic intuition. A perfect combination of the personal and the appropriated, the artist's work combines historical graphic and illustrative inspirations, gleaned from textile, print work, and pattern, with a revitalized sensibility owing to the creative singularity of her vision. Haunted, and delicately executed, the artist's work offers us a glimpse into a folkloric world of her own making. The work feels simultaneously ancient and contemporary, owing to the minutiae of its detail and execution, coupled by its haunting psychological valence and graphic sensibility.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">The seeming fragility of line and pattern in combination with dark graphic silhouettes, gives the work a diaphanous and fleeting quality, as though we are peering through a seamlessly woven veil of reality and reverie that could easily be dispersed and scattered at a moment's notice. The tenuity of the mark making and patterning are exceptional, contributing to an aesthetic experience that combines delicacy with graphic clarity. The artist often incorporates textile, collage, and sewing techniques, amplifying the delicacy of the work with depth and a unique materiality. Sifting through the artist's gossamer webs, we are left with the overwhelming feeling of an exquisite and indefinable world; itinerant, fleeting, and enigmatic. The works are moving poetic investigations of complex psychological landscapes, dexterously distilled to a perfect economy of movement, pattern, and line in the artist's skillful hand.</span></p> Sat, 22 Feb 2014 15:22:58 +0000 Max Neutra - C.A.V.E. Gallery - January 12th, 2013 - February 3rd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>C.A.V.E. Gallery</strong> is excited to kick-off this year with a new exhibition by Los Angeles based artist <strong>Max Neutra</strong>. Building on the momentum from his 2012 sold-out show with the gallery, Max continues to create using his distinctive gonzo style, exploring themes of communication and perception. Each piece encourages viewer interaction resulting in another memorable, experiential exhibition by this rising star. </span><br /><br /><span style="text-decoration: underline;"><span style="font-size: small;">From the Artist:</span></span><br /><span style="font-size: small;">"In my new exhibition at C.A.V.E. Gallery, "New Tongues", I will be exploring themes of communication and perception. The way two people in strained communication will create a new language that is unique to their particular circumstance. The way heightened receptivity is a byproduct of creating these new languages. The way we are inventing new dialects as we gain increased access to each other through new technologies. The way a foreign culture can simultaneously repel and seduce. The way a written word of unknown meaning can hold aesthetic value. The way a touch of the unknown can add allure to an otherwise familiar object or situation. The way the mysterious can inspire." - <em>Max Neutra</em></span></p> Sat, 22 Feb 2014 15:39:23 +0000 Amanda Marie - C.A.V.E. Gallery - January 12th, 2013 - February 3rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Following strong showings at Scope (Miami), Moniker (London) and Stroke (Munich) art fairs, <strong>Amanda Marie</strong> comes to Los Angeles with an impressive new collection of work for "<strong><em>From Here On Out</em></strong>" at<strong> C.A.V.E. Gallery</strong>.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;">U<span style="font-size: small;">sing spray paint and stencils, Amanda Marie creates boy and girl characters reminiscent of iconic mid 20th century children's books, and plays on the sameness and ubiquity of an  instantly recognizable representation of wholesome American innocence.   There is an immediate feeling of childhood nostalgia in the artwork of Amanda Marie.  Yet the storybook imagery is laced with mischief, mystery and allegory.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Amanda Marie has co-opted a homogenized and stereotyped depiction of an ideal Modern American childhood. Executed in a simplified illustrative style reminiscent of the 1950s, they seem to have been lifted from the pages of children's books, and have traded the protective home of childhood nostalgia for a slightly more adventurous and unsettling world, somewhere between dream and reality. The children in Amanda Marie's artwork are forever caught ungrounded and out of context, hovering in space, blasted by expressionist splatters, and float within geometric diagrams. They encounter surreal scenarios well beyond the simple comfort of seeing spot run touching on the realities of alienation and feeling lost which lie underneath the surface of the picture perfect American childhood.</span></p> <p style="text-align: justify;"><span style="font-size: small;">______________________________</span><wbr><span style="font-size: small;">____</span></wbr></p> <p style="text-align: justify;"><span style="font-size: small;">Amanda Marie Ploegsma was born in 1981. She moved to Colorado in 2001 and currently lives </span><span style="font-size: small;">in Greeley with her husband and two children-Purity (2) and Credence (5). She attended Rocky Mountain College of Art + Design and has exhibited regularly in the US and Europe since 2005.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Amanda Marie is among the most talented women working in the genre of "Stencilism" with an endearing yet bold, visual language accented by her trademark use of vintage sewing and geometric patterns. Her work is influenced by classic 'golden era' illustrators like Eloise Wilken, Tibor Gergely and Leonard Weisgard.  </span></p> Sat, 22 Feb 2014 15:39:23 +0000