ArtSlant - Closing soon en-us 40 Meg Cranston - Hammer Museum - June 2nd, 2012 - February 7th, 2013 <p style="text-align: justify;"><span style="font-size: small;">With levity and wit, <strong>Meg Cranston</strong> investigates the intersections between individual and shared experience and how imagery and objects acquire meaning in our culture. Equally enamored of the diverse aesthetics of color theory, design, fashion, and supermarket advertising, she makes energetic collages pairing found imagery with monochromatic abstract forms. While often taking personal attributes or historical events as a jumping-off point, Cranston’s work is equally concerned with the formal language of art and the role the artist plays in helping us see the world in new ways. An iconic blonde California girl greets visitors from the east wall in <em>California</em> (Full Size) (2012). A playful nod to the notion of the artist as seer or mystic, <em>Fireplace 12 </em>(2012), on the north wall, borrows its colors from a spring–summer 2012 color forecast for fashion and home design. Symbols of the fire that they produce, the larger-than-life lighters conjure everything from rock concerts to religious rituals. Commissioned for <em>Made in L.A. 2012</em>, the museum’s inaugural biennial of work by Los Angeles–based artists, the murals reflect Cranston’s interest in weaving together formal experimentation with recognizable cultural references, a strategy that she shares with many other artists in our city.</span></p> Fri, 05 Oct 2012 17:09:45 +0000 Julia Haft-Candell - ACME - January 12th, 2013 - February 9th, 2013 Fri, 04 Jan 2013 17:18:55 +0000 Josh Peters - ACME - January 12th, 2013 - February 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>ACME</strong>. is pleased to present a solo exhibition featuring new acrylic paintings on canvas and linen by Los Angeles based artist<strong> Josh Peters</strong>. Interested in making paintings that evoke a sense of inevitability, Peters attempts to harness the tension between opposing forces in his work, from the conscious and the unconscious, to the accidental and the very deliberate. The paintings are started by wetting the painting the back of the canvas or linen (thus seeping through to what will become the front) and the adding additional elements and textures. in this way a great sense of unpredictability unfolds in Peters work, enabling an amalgamation of naked process and careful planning.</span><br /> <br /><span style="font-size: small;"><strong> Josh Peters</strong> received his BFA from the University of Massachusetts at Amherst and his MFA from the Mason Gross School of the Arts, Rutgers University. Peters has had solo exhibitions at the Torrance Art Museum, Torrance, CA, Schuebbe Projects in Dusseldorf, Germany, Kaycee Olsen Gallery, Los Angeles, CA and Sara Nightingale Gallery, Water Mill, New York.</span></p> Thu, 24 Jan 2013 10:41:39 +0000 Kelly Kleinschrodt, Samara Golden, John Opera, Antonio Adriano Puleo, Analia Saban, Max Springer, JPW 3 - Carter & Citizen - January 12th, 2013 - February 9th, 2013 <div id="SecondaryColumn"> <div class="exhibition-description"> <p style="text-align: justify;"><span style="font-size: small;">The New Now brings together a group of artists whose practices cross reference multiple media blur the boundaries traditionally associated with painting, sculpture, photography and installation.</span></p> </div> </div> Thu, 17 Jan 2013 09:44:46 +0000 Richard Kraft - Charlie James Gallery - December 15th, 2012 - February 9th, 2013 <p style="text-align: justify;">Charlie James Gallery is delighted to present Eyes Words, our second solo show of photographs and collage by LA artist Richard Kraft. A visual work in three movements, Eyes Words consists of two iterations of Kraft’s Tube Portraits—one a series of large-scale photographic prints, the other a collection of one hundred miniature photographic images. These two rooms are separated by an installation of collages and drawings that are composed entirely of language. Separately and in relationship to one another, these three elements probe the tensions between the known and the unknown, meaning and the inscrutable while creating a different kind of space of the imagination and the interior mind.</p> <p style="text-align: justify;">Inspired by Walker Evans’s Many Are Called, the Tube Portraits are black-and-white photographic stills from video taken surreptitiously of travelers on the London Underground. Kraft selects and re-photographs split-second moments during which each subject seems to reveal something private and naked in this very public space. He shifts color to black-and-white, then crops tightly on each face, almost eliminating the physical world in which they exist. Many of the faces simply float in a deep void of black or a haze of gray, which upon closer inspection start to dissolve into interlaced lines – the face as screen.</p> <p style="text-align: justify;">In the first room seven large Tube Portraits are presented, each nearly four feet high. Creating a cathedral-like atmosphere, the portraits convey a kind of emotional infinity, each seemingly a window into the complexity of a human life. The presentation in the main gallery is in explicit contrast to the basement installation, where a grid of one hundred tiny tube portraits will be presented. From a distance this piece is an abstract composition of grays and blacks against a white background, but closer inspection reveals multiple series of images (some depicting the same subjects as in the upstairs gallery) each printed in the form of a postage stamp from an undeclared country.</p> <p style="text-align: justify;">Between these two installations the rear gallery installation serves as an interlude of sorts. In this chamber Kraft presents a number of monumental text pieces, one of which, entitled Ulysses, is a 5 x 8 foot collage in which every page of James Joyce’s text has been cut up and reassembled. In two twinned large scale drawings Kraft reinterprets Franz Kafka’s famous Letter to his Father. Just as the “Tube Portraits” radiate the tension between what we can see with our own eyes, what we may never know, and what we might possibly imagine, these works—though composed only of words—ask the viewer to ponder the space between meaning and its absence.</p> <p style="text-align: justify;">Richard Kraft grew up in London and lives in Los Angeles. Kraft earned his BFA at Parsons School of Design and his MFA at the University of Michigan. His work has been exhibited in galleries such as L.A. Louver, Rosamund Felsen, Greg Kucera and non-profit spaces including the Portland Art Museum, Bemis Center for Contemporary Art, the Photographic Resource Center, among others. He has frequently used public spaces for installations with work appearing on the sides of buses and in library aisles, as well for performances such as at Oxford Circus in London and along the full length of Wilshire Boulevard in Los Angeles. In the summer of 2009, he conducted a series of performances at Speakers’ Corner in London and at several rural sites in Scotland and Northern England. Most recently he has embarked on a series of walking performances (for anywhere from one to one hundred walkers). Walks have already taken place in cities such as Los Angeles and Las Vegas, and remote locations such as Death Valley and the Wendover Airfield in Wendover, Utah. Siglio Press will publish an artist’s monograph in 2013. Siglio has already released six multiples (100 Soldiers for a Revolution, Untitled: Kapitan Kloss, Two Tube Portraits, R.S. A Library Portrait, Conturbatio: A Selection and Study for Ulysses/Let’s Look Around ). Kraft has a solo exhibition in the fall of 2013 at the Laguna Art Museum.</p> Mon, 21 Jan 2013 16:06:55 +0000 Laura Menz - CMay Gallery - January 12th, 2013 - February 9th, 2013 <p align="center"><i>Synthetic Minds</i>, the Photographs of Laura Menz, opens at AndrewShire Gallery</p> <p align="center">January 12, 2013 – February 9, 2013</p> <p>(Los Angeles, CA—November 27, 2012)  Laura Menz is a photographer who, as a professional model, has been extensively photographed. Partly as a result, Menz’s photographs seek to understand and even construct the self. Who – or even what – am I, asks Menz in her photographs.  And, as photographic collages, made as much outside the camera as in, Menz’s images ask the same about themselves.</p> <p>In <i>Synthetic Minds</i>, opening January 12<sup>th</sup> at AndrewShire Gallery, Menz shows three series of photographic works, “Androids,” “Three Acts,” and “Kopfgeburten.” In his essay for the exhibition catalogue, Peter Frank writes that these three series “regard the self from different angles, and in doing so wonder openly what comprises the self, what defines it, what it wants to be and what it is forced to be.”</p> <p>In the “Androids” series, as Frank notes, the artist presents the self stripped bare, devoid of clothing, bodily enhancement, or, even hair, reduced to a corpus.  Looking closer at these oddly transformed bodies (which, of course, are all one and the same body), we realize that they are vitalized by some sort of energy radiating through them, causing them to vibrate even as they sit stock still. This is the “self as un-still life.”</p> <p>In Menz’s “Three Acts” series, the self takes advantage of its bodied form to express itself through movement. Menz casts herself here as all Three Graces, going well beyond the ancient trichotomy of Faith, Hope, and Charity.  What is consistent among these relationships is their implied dialectic, the inference that the ideational opposition of two of the figures resolves in the third.  In the end, all of Menz’s works demonstrate that the “self,” something every one of us has and yet none of us can thoroughly describe, is forever under construction.</p> <p>In the “Kopfgeburten” series (a German term, “head births,” meaning mental inventions), Menz moves from body to head, locating the self in the mind, and revealing the mind as a battleground for competing exterior forces. How successfully does the mind resist these invaders? How successfully does it absorb and incorporate them? Where, and how, do we distinguish ourselves from the outside self, and from the myriad forces that we pass through and that pass through us?</p> <p>The exhibition demonstrates that, as humans, we need various identities and many personas, some real and some impossible, in order to comprehend ourselves fully. In doing so, Menz’s work exposes some of her—and thus our own—infinite possible selves.</p> <p>AndrewShire Gallery is dedicated to the development and exhibition of innovative contemporary art works by international and local talents.  In addition to its Los Angeles location, the gallery established an alternative space in Singapore in 2006.  AndrewShire continues to push the international envelope while remaining an integral part of the local community.  The gallery is located at 3850 Wilshire Boulevard #107, Los Angeles, CA  90010.  AndrewShire Gallery, Singapore, is located at 63 Hillview Avenue #10-13, Lamb soon Building, Singapore, 669569.</p> <p>For further information contact Susan Baik, Director</p> <p><a href="" rel="nofollow"></a></p> <p>213 389-2601</p> <p> </p> <p>For press inquiries contact Christine Anderson, Communication Arts + Design <a href="" rel="nofollow"></a> (310) 869-8957  <a href="" rel="nofollow"></a></p> <p> </p> <p>###</p> <p> </p> <p> </p> <p> </p> Wed, 19 Dec 2012 00:28:06 +0000 Chet Zar, Zombienose, Group Show - CoproGallery - January 19th, 2013 - February 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>CONJOINED 3: THE FINAL CHAPTER</strong>, closes the book on the Conjoined Trilogy and for the last and final chapter Copro features some of the most outrageous and majestic work yet! Classic sculptures, Lifelike &amp; Life sized models, Surreal assemblages, mixed media paintings, Art Toys and other conjoined work will all be featured. Curated by Chet Zar this show will include many artists of Pop-Surrealism as well as motion picture industry special effects and Toy Art. Everyone will be pulling out all the stops for <strong>THE FINAL CHAPTER</strong> so don't miss it! </span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">Participating Artist list: Alex Grey, Akhito Ikeda, Bruce Mitchell, Bill Sturgeon, Black Mass, Brian Poor, Brian Smith, Cass Mclure, Chantal Menard, Chet Zar, Charles Krafft, Chris Haas, Colin Christian, Craig LaRotunda, Daniel Saks, Dave Grasso, Dave Pressler, David Meng, David Richardson, Doktor A, Douglas Thielscher, Eddie Sparr, Eli Livingston, Glenn Hetrick, Grant Fuhst, Grant Standard, Jack Howe, Jason Hite, John Cebollero, Jake Roanhaus, James Zar, Jared Gunther, Jaremy Aiello, Jason Hite, John Haley III, Johny Chow, Jesse Gee, Jeffrey Kibbe, Kazu Tsuji, Kevin Kirkpatrick, Kevin Mack, Krys Sapp, Larkin, Laurie Hassold, Mark Setrakian, Matt Ullman, Matthew Levin, Mark Walker, Meats Meier, Meesha Goldberg, Michael McCracken, Mike Hill, Mike Regan, Nathan Cartwright, Neil Winn, Neal Kennemore, Paul Komoda, R.H. McClurg, Richard Landon, Rick Zar, Russ Lukich, Ryan Petereson, Sarina Brewer, Scott Stoddard, Scott Ligon, Scott Radke, Simon Lee, Shifflet Bros, Thomas Harris Tracey Roberts, Taslimur, Thomas Kuebler, Travis Louie, Ver Mar, Vincent VanDyke, Yvette Endrijautzki, Zoetica Ebb, Zombienose &amp; more!</span> </strong></p> Sat, 12 Jan 2013 15:21:57 +0000 Chet Zar - CoproGallery - January 19th, 2013 - February 9th, 2013 Wed, 26 Dec 2012 07:40:36 +0000 Brad Howe - Katherine Cone Gallery - January 12th, 2013 - February 9th, 2013 <p>BRAD HOWE: Deprivato</p> <p>By</p> <p>Peter Frank</p> <p>Brad Howe’s reputation precedes him. One of America’s wittiest and most versatile makers of public art, a direct stylistic and spiritual inheritor of Alexander Calder and Joan Miró, a sculptor of broad formal range but consistently expansive spirit, Howe has delighted serious and casual audiences for several decades with series after series of artworks that seem to spring as much from Santa’s shop as from Brancusi’s. But however pervasive and persistent Howe’s exuberance, it has its serious side. From the first, Howe has always taken his calling as an artist – an abstract artist – quite soberly, seeking poetry no less than punch line in his bumptious, unpredictable formulations. And now he has stepped back to reassess, and to give vent to another voice he feels welling in him, a voice quieter, more reflective, more guarded than has ever before manifested in his work. It is still the voice of Brad Howe – you can tell that immediately in its grace, economy, and lingering hint of humor – but it is Howe’s still small voice, one that has rarely if ever found exterior expression until now.</p> <p>To be sure, there is still playfulness to these new objects, and the bright colors and eccentric shapes we associate with Howe’s style have not disappeared. They have simply retreated behind a partial barrier – hence the series’ name, “Deprivato” – giving them (and us) a chance to quiet down and move into a slower tempo. In doing so, they underscore Howe’s fealty to the language – the entire vocabulary – of modernism. Indeed, one of the considerations motivating Howe to this relatively restrained position is his abiding interest in predecessors such as Brancusi and Arp, David Smith and Ellsworth Kelly, shapers of three dimensions (as well as two) whose sense of form, of physical space, was prompted by their drive to find, admire, and work with the essence of shape. The sense of play lies a little less close to the surface in their work, and Howe wants to examine what happens when his own sprightliness recedes a bit, when it becomes a supporting player in his visual theater and lets more classic formal expression come to the fore.</p> <p>The portmanteau name “Deprivato” also suggests a loss or lack, a diminution of some sort of energy. In this regard, Howe may be overdoing the self-effacement; even if we accept that this new sobriety is the expression of a man embracing middle age and its trials, we don’t see a waning of his gifts or of his ability to exploit them. On the other hand, we are being “deprived” in this series of direct, full-on access to Howe’ s once-pervasive aesthetic of boisterousness. Behind the smooth, obdurate silver barriers of these new works lurk many of the same jocular presences that have populated Howe’s oeuvre from its beginning; we just no longer have direct access to them.</p> <p>If you give it thought, however, these barriers are themselves rather coy, slipping and sliding around the shapes behind them so that we <i>can </i>glimpse these shapes, if only in part. This goes doubly for the corrugated Plexiglas boxes encasing some other, obviously hot-colored and oddly bent presences. You could say that the newly appointed guardians of Howe’s giddy creatures act like chaperones, keeping their wards in line and keeping their admirers at bay. But the silver walls and distorting encasements have their own sense of play, and are content to tease us by, in effect, lifting and lowering their veils.</p> <p>This, then, is admittedly the art of a no-longer-young man. It bespeaks not the gratification of desire but its provocation. It also bespeaks not the revelation of wholes, but the contemplation of parts, of what can now be seen rather than what once stood, evident and unencumbered, before us. Brad Howe is not retreating behind so many elegant baffles; doubtless, some of his greatest, wildest, nakedest, most high-spirited monuments have yet to appear. But the veteran sculptor has now added a few new arrows to his quiver, ones that aim lower, travel less far, and hit their mark almost by surprise. The important thing, of course, is that they are hitting their mark.</p> Tue, 04 Dec 2012 21:14:54 +0000 MARTIN DURAZO - Luis De Jesus Los Angeles - January 5th, 2013 - February 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Luis De Jesus Los Angeles is pleased to announce <b><i>Points of Entry</i></b>, a solo exhibition of large-scale paintings and an audience interactive sculpture by <b>MARTIN DURAZO</b>, on view from January 5 through February 9, 2013.  An artist's reception will take place on Saturday, January 12th, from 6:00 to 9:00 p.m.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Martin Durazo is the recipient of the <em>2012 C.O.L.A.</em> <i>Individual Artists</i> <em>Fellowship</em><em> from the City of Los Angeles </em>and a <i>2011 California Community Foundation Fellowship Award</i>, funded by the Getty Trust. His work was included in the inaugural <i>2011 SUR Biennial</i> and in 2010 he was <i>Artist-in-Residence</i> at the <em>18th</em><i> Street Arts Center </i>in Santa Monica. In the last two years, he has also been featured in solo projects at NADA Hudson and PULSE LA, as well as in group exhibitions at the Torrance Art Museum and galleries and venues in Brussels, Miami, Los Angeles, Basel, Tokyo, and New York.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Martin Durazo's new paintings combine fluorescent colors--yellows, pinks, and reds--with bright metallic silvers, blacks, and iridescent blues and whites, creating a collision of atmospheric layers of abstraction, a palimpsest of social distortion shaped by intoxicating forces of club-lighting, punk and heavy metal music, narcotics, and extreme psycho and sexual behaviors.  Employing broad gestural swipes and pools of color, the paintings distressed surfaces offer enigmatic associations to intense and aggressive environments, from graffitied walls and gay leather bars to mosh pits and S&amp;M clubs, and more.  <i>Points of Entry</i> is the synthesis of Durazo's varied influences--his ongoing exploration into fringe subcultures and the expression of personal fulfillment rooted in dangerous excesses.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">The second gallery will present an audience-interactive room within a room, a bastardized version of a meditation room-cum-club complete with sound, lighting, reflective surfaces, and seating.  The concept is tied to his previous ruminations exploring the symbiotic relationship between the sacred and the profane, the lurid and the spiritual, the taboo and the socially acceptable.  In this new iteration, the large-scale paintings in the first gallery will intimate a temple-like environment that may provoke visitors to contemplate an inner calm in the face of a roller-coaster ride of wild existences and unguarded points of entry, real or imagined. </span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Martin Durazo holds a Master of Fine Arts from the University of California, Los Angeles, and aBachelor of Arts degree in English and Art from Pitzer College.  He has exhibited at Luis De Jesus Los Angeles, Mark Moore Gallery, Susanne Vielmetter Los Angeles Projects, CB1 Gallery, Torrance Art Museum, Pomona College Museum of Art, Harris Art Gallery at the University of LaVerne, as wellas White Box in New York City; Galería MDF, Mexico City; Gallery Lara, Tokyo; ArtForum Berlin and Art Basel Miami Beach. His work has been written about in Flash Art International, the Los Angeles Times, The New York Times, LA Weekly, Art Ltd, Artweek, and Art Review.</span></p> Sun, 30 Dec 2012 18:10:11 +0000 Andrew Schoultz - Mark Moore Gallery - January 12th, 2013 - February 9th, 2013 <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;"><strong>Mark Moore Gallery</strong> proudly presents <strong><em>"Fall Out</em></strong>," an inaugural solo exhibition of paintings by San Francisco-based artist, <strong>Andrew Schoultz</strong>. In this exhibition, Schoultz translates the motifs in his kinetic two-dimensional works into a real scale three-dimensional installation – presenting an interrelated combination of painting, sculpture, drawing, and collage. Referencing the social constructions and implications of a public civic center, museum, or church, Schoultz invites the viewer be seated on his handcrafted benches, and be immersed in the ramifications of our contemporaneous globalization.</span></p> <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;">Sourcing aesthetic inspiration from 15th Century German map making and Indian miniature paintings, Andrew Schoultz's frenetic imagery depicts an ephemeral history bound to repeat itself. In his mixed-media works, notions of war, spirituality and sociopolitical imperialism are reoccurring themes, which shrewdly parallel an equally repetitive contemporary pursuit of accumulation and power. "Fall Out" primarily investigates the notion of the monumental, both in its commemorative personification of power structures, and the increasingly prodigious consequences of our egocentric consumption. In these works, undulating bodies of water recall the devastating realities of global warming, while American flags stamped with the ubiquitous "Made in China" inscription question our domestic authenticity. Schoultz facilitates a dialogue that is both topical and ageless, and prompts the viewer to navigate a physical and visual space suggestive of our cyclical parochialism. While his illustrated world seems one of chaos and frenzy, Schoultz also implies a sense of alluring fantasy and whimsy - a crossroads vaguely reminiscent of the modern world.</span></p> <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;">Schoultz (b. 1975, WI) received his BFA from the Academy of Art University, San Francisco (CA). He has had solo exhibitions in Los Angeles, New York, San Francisco, Copenhagen, Philadelphia, Rotterdam, Boston, London, Portland, Detroit and Milan. He has been included in group exhibitions at the Andy Warhol Museum (PA), Torrance Art Museum (CA), Havana Biennial (Cuba), Hyde Park Arts Center (IL), Laguna Art Museum (CA), San Francisco Museum of Modern Art (CA), among others. His work can be seen in the public collections of the San Francisco Museum of Modern Art (CA), Frederick R. Weisman Foundation (CA) and the Progressive Art Collection (OH), in addition to his publicly funded murals in Portland (ME), Jogjakarta (Indonesia) and San Francisco (CA). Schoultz lives and works in San Francisco (CA).</span></p> Sat, 22 Feb 2014 15:21:27 +0000 Nano Rubio - Mark Moore Gallery - January 12th, 2013 - February 9th, 2013 <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;"><strong>Mark Moore Gallery</strong> proudly presents "<strong><em>Smear</em></strong>," a solo exhibition of paintings by Los Angeles-based artist, <strong>Nano Rubio</strong>. Rubio is the recipient of the inaugural Moore Family Foundation Grant (MFF Grant) - awarded and juried by local curatorial entity, 5790projects - which includes a financial grant and Project Room show with Mark Moore Gallery. Engaging with seemingly discordant elements of structure and chaos, Rubio’s paintings are reminiscent of the “push/pull” spatial qualities associated with abstract expressionist painters, such as Hans Hofmann. By composing a background of highly precise line work behind a foreground of loosely gestured swaths of paint, Rubio engages in a rich interchange between geometric precision and performative mark-marking techniques.</span></p> <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;">Rubio’s meticulously rendered lines are derived from a traditional pinstriping technique, and recall the laborious methodology of hot rod detailing. Seemingly mechanical bands fill the canvas in waves, transforming the field into an undulating kind of optical ambiguity. By contrast, each foreground features the unpredictable quality of organic forms - some evoking the haunting presence of the human likeness while others merely allude to an indexical thumbprint. Rubio’s interest in a duplicitous surface is best exemplified by his manipulation of layering and distorting a single medium. While occupying a shared space and makeup, the paint's variance implies disconnected genres; an inequality that Rubio likens to sociopolitical polarities and limited consumer choice. The relationship between these dissonant practices creates a curious terrain in which macro structures rest upon surfaces of micro detailing; a tension that allows the viewer to magnify or diminish these elements at will. In Rubio's hands, paint is both the unifying and dividing constituent of an overall experience, and ultimately the cartography of his process-oriented execution. Whether it is achieved by filling a punching bag with paint, and letting the evidence of his exertion drag across the canvas, or painstakingly fashioning networks of painterly veins, Rubio's critique of societal disconnectivity is executed through his own physicality as much as his conceptual representation.</span></p> <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;">Nano Rubio (b.1983) received his MFA from Claremont Graduate University (CGU). He is the recipient of a Graduate Fellowship from CGU and a Joan Mitchell Foundation MFA Grant Nominee. Rubio has exhibited throughout Southern California at various venues such as R&amp;R Gallery (Los Angeles), dA Center for Arts (Pomona), Todd Madigan Gallery (CSU Bakersfield), and most recently a solo exhibition at George Lawson Gallery (Los Angeles). The artist lives and works in Bakersfield, CA.</span></p> Sat, 22 Feb 2014 15:21:27 +0000 Michael Genovese - Moran Bondaroff - January 12th, 2013 - February 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>OHWOW</strong> is pleased to announce <strong>Michael Genovese</strong>'s second solo exhibition with the gallery, titled </span><strong><em style="font-size: small;">Lines and Cracks and Zebras and Horses</em></strong><span style="font-size: small;">, presenting a recently completed body of work based on lineation, cleave, and the concept implied by the aphorism: "When you hear hoof beats behind you, don't expect to see a zebra." A series of plasma-cut steel wall reliefs located throughout the gallery compose a subtle arrangement based equally on materiality and concept.</span></p> <p style="text-align: justify;"><span style="font-size: small;">These raised, sculptural "drawings" suggest following the maxim that common sense is the shortest distance between two points or to recognize the grace in directness. Genovese recreates various, common occurrences of line – an architectural fracture; a hair in the bathtub; the mark of automatic writing; a military line of demarcation; a varicose vein, or a simple fabric seam. He considers where these delineations appear, why they develop, and how they are finally perceived. With a piece titled <em>Mimesis</em>, 2013, Genovese merges a crack found in a Pompeii fresco with a line from Metallica's <em>…And Justice for All</em> album cover artwork. By stitching these unrelated strands together, Genovese formulates a new pattern, but one that still reads as spontaneous as chance. The compound of seemingly disparate fissures subsequently reveals self-similar patterns, as in the logic of fractal mathematics. Therefore, variations in contour between unrelated sources are not as far removed from one other as they may first appear, and conceptually framed, what one assumes a chasm may actually serve as a suture.<br /><br />Michael Genovese creates work that aims to connect with collective experiences, be it social or existential. He speaks to the familiar; however, through mark making, reduction, or transformation of the recognizable, he reassigns power. Rather than eliminating evidence or obscuring facts, he re-contextualizes our perception of meaning and history. His work deals with archives, permanence, and the designation of value. His concern with materiality and the treatment of his chosen media furthers his investigation of worth. Genovese's particular approach, and the work's content, move to alter our preconceptions, changing our proximity to what is tangible. <em>Lines and Cracks and Zebras and Horses</em> traces pressure, time, and the role of division, or more aptly put, it traces the ideology of those measures, questioning why we don't see something for what it isn't.<br /><br /><strong>Michael Genovese</strong> (b. 1976, Chicago, IL) currently lives and works in Los Angeles, CA. Genovese's work has exhibited at the Museum of Contemporary Art, Chicago, IL; University of Texas at San Antonio, San Antonio, TX; Chicago Cultural Center, Chicago, IL; Patricia and Philip Frost Museum, and Miami Art Museum, Miami, FL. OHWOW will be publishing a catalogue to accompany the exhibition, including artist notes, images, and sketches, along with an essay by Shamim Momin.</span></p> Fri, 04 Jan 2013 11:16:46 +0000 Christopher Cascio, Holly Hein & Bryson Brooks, Marc Cross, Chad Muska, Panda Sex - New Image Art Gallery - January 5th, 2013 - February 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;">On Saturday, January 5, 2013, New Image Art is pleased to present "<strong><em>3 Cowboys, 2 Drugs and A Skater</em></strong>" a group show with participating artists, Christopher Cascio, Bryson Brooks and Holly Hein Brooks, Marc Cross, Chad Muska and Panda Sex.  Bringing together three energetic groups of American youth culture; Western cowboys, The Drugs Crew and Skate boarding.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">About the artists-</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Christopher Cascio (Cowboy)</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Christopher Cascio works with themes of obsession, compulsion and collection, primarily through collage.  He makes no secret of his history with mind-altering substances, and he clearly has a propensity for hoarding.  Combine these tendencies with an intense creative impulse and you've got a uniquely twisted art form - collages that tell a very personal story of habitual consumption and compulsive collecting.  Cascio seeks out images that directly relate to his own experiences then prints, cuts and organizes them into categorical compositions; the remnants of these cuttings meticulously saved for futures unknown.  The artist's youthful passions provide a source for his work, the evidence of which is carefully collected, aestheticized and exposed for our viewing pleasure. Cascio graduated from the San Francisco Art Institute in 1999 and is expecting to complete his Master of Painting from the University of Houston in 2013.  Recently he has shown at Front Gallery, Cardoza Fine Art, Lawndale Art Center and UTSA Satellite Gallery (San Antonio).</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">During 2001 Christopher Cascio along with Martin Simmons showed at New Image Art as the collaborative duo, "The Uncomfortable Jams". The Jams not only had a solo exhibition of their comic based artwork but also performed a musical performance based mostly about their fast food obsession.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Bryson Brooks and Holly Hein Brooks (Cowboy + Cowgirl)</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Bryson Brooks and Holly Hein Brooks are a married artist duo that live and work in Texas. Their collaborative works focus on western themes: cowboys, horses, easy riders, motorcycles, iconic stars, and figurative abstractions. Their works include 24-karat gold leaf as one of their mediums; glitzy explores a variety of gestural westerns. Holly and Bryson also do performances and Bryson is in a band.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Chad Muska (Skater)</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Pro skateboarding icon Chad Muska recalls art being a monumental part of his life for as long as he can remember. From his graffiti and sketchbook days as a teenager, Muska was introduced to graphic, logo, shoe and apparel design during his rise to fame as a professional skateboarder. After tearing his ACL, art quickly started to rival skateboarding as a personal outlet, until it became an obsession. The artist's inspirations are purely instinctual, proclaiming insightful messages of overcoming obstacles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">  </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Marc Cross (Drugs Crew)</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Marc Cross is a member of the San Francisco DRUGS Crew and currently lives in New York. He dropped out of the San Francisco Art Institute and takes pictures occasionally.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Cross is exhibiting woven blankets made from photos he took of homeless people sleeping on the streets of New York City. </span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Panda Sex (Drugs Crew)</strong>  </span></p> <p style="text-align: justify;"><span style="font-size: small;">San Francisco based artist Panda Sex is a member of the DRUGS CREW and a prominent figure-head in the San Francisco graffiti scene. Panda Sex explores the humorous boundaries between graffiti and "high art."  His work often draws on the imagery of early style video games and expresses the artist's zany sense of humor. </span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">After receiving recognition in the Los Angeles MOCA's "Art in the Streets," exhibition the DRUGS CREW is now recognized as a world-wide brand and the standard for originality, psychedelia, and has been garnering much respect for their futuristic sensibilities.</span></p> Sat, 22 Feb 2014 15:22:08 +0000 Michiel Ceulers, Oliver Osborne, Yelena Popova, Stefan Sandner - Nicodim Gallery - January 12th, 2013 - February 9th, 2013 <div title="Page 1"> <p style="text-align: justify;"><span style="font-size: small;"><strong>Mihai Nicodim Gallery</strong> is pleased to present a group exhibition bringing together artists whose work addresses the contemporary context of painting within four distinctive practices. Working primarily within the genre, all four artists both respond to and employ the tactics of gesture’s divisive history. Propositional negotiations exist both between works and within each individual work, conceptually mitigating notions of process and authorship, ethos and ornament. Whilst formally conceding to painting’s storied structures, each artist simultaneously opposes these traditions through the conceptual architecture of composition.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Michiel Ceulers</strong> (born 1986 Waregem, Belgium) Recent solo exhibitions include Back Once Again Forever, Juliette Jongma, Amsterdam (2012), Comment Tuer l'Amant de Sa Femme Quand on a Été Élevé Comme Moi dans La Tradition?, Nicodim Gallery, Los Angeles (2012) and Des Malentendus Et Le Temps Perdu, Ana Cristea Gallery, New York. Ceulers lives and works in Brussels.</span></p> </div> <div title="Page 2"> <p style="text-align: justify;"><span style="font-size: small;"><strong>Oliver Osborne</strong> (born 1985 Edinburgh, UK) Recent solo exhibitions include Buy A Good Bed And Good Shoes, If You Are Not In One You Are In The Other, Peles Empire, London (2010). Recent group exhibitions include Bloomberg New Contemporaries, London, UK (2012) and Jack Lavender, Oliver Osborne, Marco Palmieri, The Approach, London (2011). Osborne lives and works in London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Yelena Popova</strong> (born 1978 Urals, Russia) Recent solo exhibitions include Abstract Possible, East Side Projects, Birmingham (2012), Olympic Throw, Zabludowicz Collection ‘Invites’, London (2012) and Solo Show, Figge Von Rosen Gallery, Berlin (2012). Popova lives and works in London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Stefan Sandner</strong> (born 1968 Vienna, Austria) Recent solo exhibitions include Text, Andreas Grimm Galllery, Munich (2011), Autonomie und Wirklichkeit, American Contemporary, New York (2011) and Prokrastination, Museum 52, New York (2008). Sandner lives and works in Vienna. </span></p> </div> Thu, 10 Jan 2013 06:40:30 +0000 Martina Sauter, Judith Raum, Bessie Kunath, Tamara Henderson, Martin Dahlqvist, Cristina David - UCI Art Gallery - January 10th, 2013 - February 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>Remembrance of things past is not necessarily the remembrance of things as they were.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">- Marcel Proust</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Continuing our <em>Critical Curatorial Series</em>, the UAG presents <em>If Memory Serves</em>, an interdisciplinary exhibition of international emerging artists. Conventionally, we understand memory as reflecting a coherent personal history. However, memory simultaneously produces an illusory chronicle — a paradoxical combination of what is lived and what is perceived. We might ask, therefore: <em>what or whom does memory serve?</em> As a response to this quandary,<em> If Memory Serves</em> examines the act of remembrance as both an individual and collective production. Through and across various mediums — including hyperrealist drawing, large-scale installation, abstract sculpture, narrative photography and film — the exhibited artworks ultimately uncouple memory from linear storytelling. In so doing, the difference between global versus local, private versus public, and the sublime versus the real are collapsed. As reconceived through these artworks, memory thus performatively binds the subject's "inner" and "outer" worlds in the most poetic form. Curated by Kellie Lanham, Isabel Theselius, and Allyson Unzicker.</span></p> Mon, 28 Jan 2013 15:39:23 +0000