ArtSlant - Recommended en-us 40 Fritz Faiss, George Luks, Arnold Mesches, Howard Warshaw - Vincent Price Art Museum - May 20th, 2011 - May 20th, 2013 <p style="text-align: justify;"><span style="color: #944a18; font-family: arial, helvetica, sans-serif; font-size: small;"><em>PLEASE NOTE: VPAM will be closed to the public from June 19 to July 4 2012.</em></span></p> <p style="text-align: justify;"><span style="color: #944a18; font-family: arial, helvetica, sans-serif; font-size: small;"><em>Modern Expressions of Figure and Form</em> showcases modern art works in a range of media, techniques, and styles, highlighting representations of the human form among the holdings of our permanent collection. This exhibition presents works that take the figure as its focal point, from portraits and studies of the human form to images of devotion, recreation and abstraction. We can learn a great deal about the history, customs, values, and beliefs of any given culture by considering the ways in which its artists characterize the human form. Indeed, the art of the human figure is instructive in revealing the myriad ways we see ourselves.</span></p> <p style="text-align: justify;"><span style="color: #944a18; font-family: arial, helvetica, sans-serif; font-size: small;">This exhibition was co-organized by Surana Singh-Bischofberger, Assistant Professor of Art History at East Los Angeles College, and the Vincent Price Art Museum.</span></p> Fri, 01 Jun 2012 10:46:54 +0000 - Vincent Price Art Museum - June 21st, 2011 - June 21st, 2013 <p style="padding-left: 30px; text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;"><span style="color: #0081b5;">PLEASE NOTE: VPAM will be closed to the public from June 19 to July 4 2012.</span></span></p> <p style="padding-left: 30px; text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;"><span style="color: #0081b5;">VPAM’s permanent collection includes artworks from ancient civilizations in Central and South America, with a concentration of art from West Mexico and Peru. This show highlights a wide range of cultures from the </span><span class="Apple-style-span" style="color: #0081b5;">Pre-Columbian period, from the Nayarit-Colima-Jalisco region of West Mexico (2000-1000 BCE) to the Chimú of Peru (900-1500 CE), among others.</span></span></p> <p style="text-align: center;"><img src="" /></p> Fri, 01 Jun 2012 10:46:30 +0000 Keith Rocka Knittel - Angels Gate Cultural Center - January 27th, 2013 - April 19th, 2013 <p>In Los Angeles, where non-native fauna, golf courses, and man-made lakes collide with a desert, mountains and sea, what is a natural landscape? What is escape, when surrounded by the fabricated artificial? <br /><br />In a gesture that considers the methodologies of contemporary art, theme restaurants, parks, and interior design, <i>Los Angeles National Forest</i> is comprised of a 7' x 7' x 7' room with a 3' x 5' entryway into a planned wilderness. The greens of a lush copse are represented by gelled lighting and printed leaves; wood is presented in the form of building materials, natural to a point but treated as a commodity; a naturalist's escape to a Southern California beach is alluded to by a perpendicularly-flipped fast food restaurant motif.</p> <p></p> <p>I am interested in creating art that can be at once analytical and illogical, grounded in the mundane while walking the path of the sublime. My aim is to create pleasurably disorienting reflections of a metaphoric modern world, where one achieves estrangement from everyday experience and all meaning is reached through indirect means, individual thought processes. Constructing all encompassing, unfamiliar spatial experiences is a method in my work to expand upon the theories and lessons of post-modern conceptual art and to question its failures. I like to think of my practice as a slippage between crafstman and trickster, investigating the uncanny, transforming medium, space, and perception.  </p> <p> <i>Keith Rocka Knittel holds an MFA from the California Institute of the Arts (CalArts) and a BFA from the Maryland Institute, College of Art (M.I.C.A). He is currently a staff member at the USC Roski School of Fine Arts, and the founding director of OCEAN (  He lives and works in San Pedro, California.</i></p> <p></p> Tue, 04 Dec 2012 23:46:00 +0000 Nathan Bell, Brian Butler, Corey Fogel, Tito Fuentes, Dave Muller, Brian Roettinger, Eddie Ruscha, Yasmin Than - See Line Gallery - January 17th, 2013 - March 8th, 2013 <p></p> <p>Blended, curated by Janet Levy, brings together artists that intermix diverse disciplines inspired by music, exploring the relationship of music and visual art. Their musical influences are expressed in various mediums including drawing, photography, collage, works on paper, painting, sculpture and installation. The exhibition contents works by  Nathan Bell,  Brian Butler,  Corey Fogel,  Tito Fuentes,  Dave Muller,   Eddie Ruscha, Brian Roettinger, Yasmin Than</p> <p><b>Nathan Bell</b>’s drawings and paintings are strongly influenced by pop culture and music, he recently collaborated on a t-shirt with the band Divine Fits. <b>Brian Butler</b> is an artist, filmmaker and musician, he is the lead guitarist for Technicolor Skull a collaboration with Kenneth Anger and recently directed Black Lips “Modern Art” and Divine Fits “Would That Not Be Nice” videos. <b>Corey Fogel</b> presents performance and sculpture using sound, objects, textile and food; he is a drummer currently working with Julia Holter. <b>Tito Fuentes</b> is a founding member; guitarist and vocalist of the Mexico City band Molotov. His collages and photography pieces are reminiscent of earlier surrealist works. <b>Dave Muller</b> is an artist and DJ whose works on paper present a dialogue about his musical interests through depictions of albums from his collection of thousands. <b>Brian Roettinger</b>’s gateway into design was through his early fascination with album artwork. He owns the record label Hand Held Heart and amongst others, collaborates with the band No Age. <b> Eddie Ruscha</b> is a visual artist and a musician/DJ known as Secret Circuit. He has released many albums under many different aliases and has been involved in many art shows around the world. His visual work is deeply affected by music and vice versa.  <b>Yasmin Than</b> is influenced by the darker side of indie rock, apparent in her collages and photography of the band IO Echo.</p> <p></p> Fri, 25 Jan 2013 20:34:36 +0000 Christian Burchard, Todd Hoyer, William Hunter, Art Leistman, Pascal Oudet, George Peterson, Michael Peterson, Merryll Saylan, Jack Slentz - Craft and Folk Art Museum - January 27th, 2013 - May 5th, 2013 <p style="text-align: justify;"><span style="font-size: small;">LOS ANGELES, CA — The Craft and Folk Art Museum presents <em>Scratching the Surface: Contemporary Wood</em></span> <span style="font-size: small;"><em>Sculpture</em>, an exhibition featuring the works of nine contemporary artists whose unique sculptural forms capitalize on the</span> <span style="font-size: small;">naturally occurring textures and irregularities of wood. This international selection of artists includes Christian Burchard</span> <span style="font-size: small;">(OR), Todd Hoyer (AZ), William Hunter (CA), Art Leistman (Canada), Pascal Oudet (France), George Peterson (NC), </span><span style="font-size: small;">Michael Peterson (WA), Merryll Saylan (CA), and Jack Slentz (NM). The exhibition is curated by Ray Leier in association </span><span style="font-size: small;">with del Mano Gallery and will be on view from January 27 through May 5, 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Using both machine-cut and natural surfaces, each of these artists shares a proclivity for working with the grain of wood </span><span style="font-size: small;">by reworking its surface via sawing, bleaching, sandblasting, and exposing surfaces to rain, sunlight, and dry heat. Their</span> <span style="font-size: small;">carving methods range from using the lathe to produce refined shapes, to using chainsaws for unpredictable abstract</span> <span style="font-size: small;">forms. Relying on a balance of approximation and accident, some of the artists are able to envision how the final artwork </span><span style="font-size: small;">will look; while others let the material itself reveal the finished piece.</span></p> <p style="text-align: justify;"><span style="font-size: small;">French woodturner Pascal Oudet uses sandblasting to dislodge the soft wood between the growth rings of the tree. The</span> <span style="font-size: small;">resulting sculptures are intricate with lace-like surfaces. Oudet describes, “I try to work with these characteristics, playing</span> <span style="font-size: small;">with the grain through various surface treatments (textures, sandblasting, scorching, colors). Most of the time, I have a</span> <span style="font-size: small;">precise idea of the piece I want to create, and then look for the wood that will render the effect I’m after.” </span></p> <p style="text-align: justify;"><span style="font-size: small;">Michael Peterson draws inspiration from the natural surroundings of the Pacific Northwest, where he lives and works. </span><span style="font-size: small;">Working primarily with a chainsaw, he hollows and carves through damp pieces of wood, which contort into warped form</span> <span style="font-size: small;">and textures upon drying. “When starting a piece, it's not always best to know where it's headed,” says Peterson. “Rather</span> <span style="font-size: small;">than thinking my way through a piece, it's more like feeling my way through it.” <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Jack Slentz and George Peterson look equally to the natural environment, as well as to</span> <span style="font-size: small;">designs in the urban landscape when developing concepts. Peterson often carves and </span><span style="font-size: small;">paints into recycled wood from skateboards to incorporate an urban motif into his work. </span><span style="font-size: small;">Slentz expresses, “The ideas for my artwork come from every day objects, things that we </span><span style="font-size: small;">notice and take for granted. Some of the everyday forms I use, as points of departure, are</span> <span style="font-size: small;">manhole covers, storm grates, and seedpods.”</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">An opening reception for <em>Scratching the Surface</em> will take place on Saturday, January 26</span> <span style="font-size: small;">from 6:00 – 9:00 p.m. The reception is open to museum members and the public.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="text-decoration: underline;"><strong><span style="font-size: small;">Public programs:</span></strong></span><br /><span style="font-size: small;">CAFAM will offer exhibition-related workshops and events in conjunction with the exhibition.</span> <span style="font-size: small;">Other events will include CraftLab family workshops, held on the second Sunday of each </span><span style="font-size: small;">month from 1:30 to 3:30 p.m.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><strong><span style="font-size: small;">Sunday, April 21 | 3:00 p.m.</span></strong><br /><span style="font-size: small;">Artist Talk with William Hunter</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><strong><span style="font-size: small;">Sunday, February 17 | 3:00 p.m.</span></strong><br /><span style="font-size: small;">Artist Talk with Merryll Saylan</span></p> Thu, 20 Dec 2012 15:11:37 +0000 Fiona Connor - 1301PE - January 19th, 2013 - March 2nd, 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 announce its first solo exhibition with Los Angeles-based artist<strong> Fiona Connor</strong>. Working at the intersection of architecture, sculpture, and installation, Fiona Connor encourages us to reflect on physical surroundings by re-contextualizing objects and creating disruptions in the built environment. Her painstakingly fabricated replicas of everyday objects function both as sculpture to be perceived, and as stage pieces through which we can enact our own narratives.<br /><br />Connor has often focused on the institutional space of the gallery or museum, engaging with the overlooked framework upon which art resides. In 2009 she replicated the façade of Michael Lett's gallery inside the gallery space, not once but fourteen times, literally putting the gallery on display. For <i>What you bring with you to work </i>(2010), she cut holes in the museum walls, placed window frames over the holes, and let us peer behind the scenes. These were not generic windows, however, but facsimiles of the bedroom windows of individual gallery attendants. More than simply institutional critique, this work offered an intimate look into the lives of others.<br /><br />Her contribution to <i>Made in L.A. 2012</i>, the first Los Angeles biennial, was a replica of the first few steps of the Hammer Museum's marble staircase, placed across the lobby by the front windows. Titled <i>Lobbies on Wilshire</i>, her precise reproduction functioned as both mimetic sculpture and interactive environment.<br /><br />"I am interested in laying one scripted space over another to explore the way art is approached and our boundaries of engagement, abandonment and empathy." – Fiona Connor<br /><br />For <i>Bare Use</i>, Connor looks to the restorative oasis of the spa, fastidiously re-fabricating the typical objects that characterize this environment – water fountain, towel case, signs. She introduces these specific items to the gallery, investigating what happens when the elements of one specialized space collide with another. Her sculptures operate on both aesthetic and performative levels: they are works of art based on functional objects, and functional objects themselves, dislocated from their origins.<br /><br />Fiona Connor was born in Auckland, New Zealand and lives and works in Los Angeles. She was included in the first Los Angeles biennial, <i>Made in L.A. 2012</i> at the Hammer Museum, and her 2010 solo show <i>Murals and Print</i> was the inaugural exhibition at Various Small Fires, Los Angeles, CA. Recent group exhibitions include <i>Gap, Mark, Sever and Return</i>, Human Resources, Los Angeles, CA; <i>Concrete Situations</i>, Pact, Essen, Germany; <i>Experimental Impulse</i>, REDCAT, Los Angeles, CA; <i>You Are Here</i>, Artspace, Auckland, New Zealand; and <i>Octopus 8</i>, Gertrude Contemporary, Melbourne, Australia. In 2010 she was a finalist for New Zealand's most prestigious contemporary art award, the Walters Prize.</span></p> <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2">We are pleased to announce that we will be extending our current exhibition "Fiona Connor: Bare Use" through March 2.</span></p> Wed, 20 Feb 2013 18:28:47 +0000 Michael Kontopoulos - Monte Vista - January 19th, 2013 - February 10th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Monte Vista Projects</strong> is proud to present <strong><em>Terra Firma</em></strong>, the first solo exhibition of Los Angeles based artist,<strong> MICHAEL KONTOPOULOS</strong>. The exhibition runs from January 19 to February 10, 2013. The opening reception is Saturday, January 19, 7-10pm.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The work in this exhibition borrows strategies from speculative fiction and design in order to explore themes of escapism, the frontier and the illusion of utopia. In collaboration with graphic designers and 3D computer modelers, Michael has fabricated a series of artifacts that contrast the obviously fictitious with the ambiguously realistic and uncanny in an effort to anticipate the political imaginary of abandoning the Earth.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Through print design, sculpture and installation, the works in <em>Terra Firma</em> explore several ideas including the visual vernacular of how rovers and satellites (themselves, unique sculptures) "see" their environment and therefore, how we experience the unknown through them. In addition to this, Michael is utilizing the strategies of graphic design branding campaigns to envision boarding passes for impossible destinations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">At once an imagining of a potential future and a lamentation for an unsatisfactory present, this work investigates space exploration and space tourism as an adult concretization of a childhood need to be subsumed by fantasy.</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>Michael Kontopoulos</strong> is a Los Angeles based artist and educator. After studying electronic and time-based art at Carnegie Mellon University, he went on to receive his MFA in Design and Media Arts from UCLA.</span></p> <p style="text-align: justify;"><span style="font-size: small;">He has exhibited solo and collaborative projects in galleries, festivals and conferences in the U.S., Asia and Europe, including the Santa Monica Glow Festival, the Sundance Film Festival, and the TED conference. He was the winner of a 2010 Rhizome Commission for Emerging Artists, sponsored by the New Museum (NYC). Currently, Michael teaches electronic media courses at USC, UCLA, Cal State Long Beach and Art Center College of Design.</span></p> Fri, 11 Jan 2013 15:30:43 +0000