ArtSlant - Recently added en-us 40 Brian Rea and Yong Sin - CMay Gallery - September 26th - October 28th <p>CMAY&nbsp;Gallery presents Whispers &amp; Echoes,</p> <p>a new exhibition&nbsp;featuring artworks by Los Angeles based&nbsp;artists Brian Rea and Yong Sin.</p> <p>The exhibition&nbsp;will run from September 26 October&nbsp;28, 2016.</p> <p>The opening reception will be held on&nbsp;Thursday, October 6, 2016 from 5:00 to 9:30 pm.</p> <p>&nbsp;</p> <p>In&nbsp;the&nbsp;midst&nbsp;of&nbsp;all&nbsp;the&nbsp;noise&nbsp;emanating&nbsp;from&nbsp;the&nbsp;electioneering,&nbsp;artists&nbsp;keep&nbsp;doing what&nbsp;they&nbsp;do&nbsp;best,&nbsp;creating&nbsp;quietly. They may reflect on the same issues that ail our society,&nbsp;but&nbsp;they&nbsp;do&nbsp;not&nbsp;need&nbsp;to&nbsp;scream&nbsp;it&nbsp;out&nbsp;every&nbsp;time&nbsp;there&nbsp;is&nbsp;an&nbsp;audience present.&nbsp;There&nbsp;aren&rsquo;t&nbsp;always&nbsp;messages embedded in their art,&nbsp;but&nbsp;if&nbsp;there&nbsp;were, they would come in any form. The works presented in Whispers &amp; Echoes choose to present themselves like little stories illustrated in varying forms. Brian Rea collects words that represent his own responses or "emotional conditions" in relation to the "natural world." In his practice of writing words down on stones and "gathering" them to build his work, his "wall of emotions", Brian Rea creates a different kind of work.&nbsp;Rea's wall seeks to deconstruct: it begs to be torn down. Yong Sin tells her story by employing human figures, shapes, like circles and squares, and abstract patterns. Her constant is to create "nuances to challenge the ideas of identity." She uses an endless variety of forms to find that ultimate meaning that perhaps already&nbsp;exists in her work. Brian Rea and Yong Sin embody the stories that are relevant to so many of us and tell them through Whispers &amp; Echoes.</p> <p>&nbsp;</p> <div>Brian&nbsp;Rea&nbsp;produces&nbsp;drawings&nbsp;and&nbsp;paintings&nbsp;for&nbsp;magazines,&nbsp;murals,&nbsp;fashion&nbsp;and film&nbsp;projects&nbsp;around&nbsp;the&nbsp;world. His work has been exhibited in Paris, New York, Los Angeles, Mexico City and Barcelona at the&nbsp;Fundaci&oacute;&nbsp;Joan&nbsp;Miro. He is an Adjunct Associate Professor at Art Center College of Design and a member of Alliance Graphique Internationale. He lives in Los Angeles, California with his wife and his plants.</div> <div>&nbsp;<br />Yong&nbsp;Sin&nbsp;is&nbsp;a&nbsp;Seoul,&nbsp;Korea&nbsp;born&nbsp;artist&nbsp;who&nbsp;completed&nbsp;her&nbsp;higher&nbsp;education&nbsp;at Otis College of Art and Design in Los Angeles. She has been exhibiting her work since 1995 and has been commissioned public Art projects three of which were exhibited at the Los Angeles International Airport. Her work is part of several major collections includnig Los Angeles County Museum of Art and Microsoft Corporation. She lives and works in San Pedro, California.</div> Sat, 24 Sep 2016 18:27:26 +0000 Josh Callaghan - Harmony Murphy Gallery - October 1st - November 12th <p class="p1">Harmony Murphy Gallery is pleased to present <em>LIFEFORCE</em>, a solo exhibition of new work by artist Josh Callaghan. Though observation and imitation of nature the two bodies of work on view in <em>LIFEFORCE</em> serve as a metaphors for the impulse to make an imprint on the cosmos though art.</p> <p class="p2">&nbsp;Inspired by the warped surfaces of mirrors found in bathrooms of public parks, pools and other municipal settings, lining the gallery walls are a new series of Metal Paintings. Repeatedly defacing, cleaning, rubbing, scratching and scuffing, Callaghan invents a narrative of use and wear to form a revelatory patina. The hard stainless steel surfaces recall the utilitarian aesthetic of spaceships, both real and imagined, as machines for living in the extreme conditions of space.&nbsp;</p> <p class="p2">&nbsp;Accompanying the paintings are excerpts from <em>The Nut Cycle</em>, an ongoing project by the artist to examine walnuts and other natural forms in sculpture. On view are a series of oversized ceramic Peach Pits. Referencing in scale the size of a human baby, these sculptures present an allegory for artistic creation as a version of parenthood. As the seeds of the fruit, the pit contains all the potential energy for rebirth. They also illustrate an artistic lineage between Callaghan and his father Mike Callaghan, a master ceramicist whose biomorphic forms are alluded to in the artfully rendered ridges of the pits&rsquo; surfaces. Magnifying his humble inspiration, Callaghan provides a new way of considering the complexity and strangeness of something most throw away without a thought.</p> <p class="p2">&nbsp;In conjunction with the exhibition, we present <em>Harmony&rsquo;s Gift Shop</em>; a store featuring objects by Callaghan&rsquo;s friends and collaborators. Participating artists will include: Michael Dopp, Chanel von Habsburg-Lothringen, Lisa Sitko, Kathryn O&rsquo;Halloran, Skylar Haskard, Mellissa Huddelston and Benjamin Lord.&nbsp;</p> <p class="p1"><strong>Josh Callaghan </strong>(b. 1969 Doylestown, PA) holds an MFA from University of California, Los Angeles and a BA in Cultural Anthropology from University of North Carolina at Asheville. He has had solo exhibitions at Harmony Murphy Gallery, Los Angeles; Steve Turner Contemporary, Los Angeles; Haas &amp; Fischer Gallery, Zurich; and Bank Gallery, Los Angeles. Group exhibitions include Current LA:Water, Public Art Biennale, Los Angeles, CA; After Effect, Ballroom Marfa, Marfa, TX; Made in Space, Gavin Brown&rsquo;s Enterprise, NY and Night Gallery, Los Angeles; Bienal Del Sur en Panama, Panama City, Panama; and Frieze Sculpture Park, Frieze New York.</p> Wed, 21 Sep 2016 23:23:38 +0000 - Palm Springs Art Museum - October 1st - November 27th Wed, 21 Sep 2016 20:52:42 +0000 - Palm Springs Art Museum - October 1st - October 1st Wed, 21 Sep 2016 20:48:09 +0000 Fred Eversley, Lisa Bartleson, Dana Bean, Mads Christensen, Susan Feldman, Miguel Osuna, Cola Smith, Gerard Stripling, Valentin Toledo - Craft and Folk Art Museum - September 24th - September 24th <p>This group exhibition sheds ned light on the idea of the self-taught artist by examining the work of nine established and emerging artists who have developed great conceptual and technical skill through non-traditional means. Combining their training in other professional fields with their own artistic investigations, these artists produce a dynamic rage of works in painting, metal, sculpture , and ceramics that embody a reverence for materials and commitment to process and technique. Organized by independent curator jill moniz, PhD.&nbsp;</p> Tue, 20 Sep 2016 21:46:13 +0000 Kay Sekimachi - Craft and Folk Art Museum - September 24th - September 8th, 2017 <p><em>Kay Sekimachi: Simple Complexity&nbsp;</em>traces the pioneering fiber artist's ground breaking works from 1960s to present day. Sekimachi's poetic fiber sculptures combine a minimal aesthetic with sophisticated multi-layered weaves and forms, emphasizing the natural, evocative qualities of the materials she uses. Curated in close collaboration with the artist, this career survey draws from the collection of Forrest L. Merrill, which spans the diversity and range of Sekimachi's work over the last six decades.&nbsp;</p> Tue, 20 Sep 2016 21:37:37 +0000 Patrick Nickell - ACME - September 17th - October 22nd <p style="text-align: justify;">ACME. is pleased to present a solo exhibition of new sculptural work by Los Angeles based artist Patrick Nickell. The show consists of five new large tabletop sculptures made of colorless glass with matte surfaces. Nickell continues his exploration of spontaneous line, captured this time in translucent light infused forms. There is a duality between the ethereal quality of the figures and the natural heft and weight of solid glass material. The sensuous surfaces, mysterious forms, and phenomenal play of light in Nickell's sculptures reference the Light and Space movement originating in Southern California in the 1960s. These sculptures, however, are more grounded in figuration.<br /><br />These forms of translucent linear mass are meant to spur the imagination of viewers with references that range from the human body, microscopic organisms and industrial machines. Abstract references display the schism between the micro and the macro of the human body and the duality between the natural and industrial world.&nbsp;<br /><br />Patrick Nickell (b. 1960, Van Nuys, CA) received his MFA from Claremont Graduate University and his BA from Linfield College. Recent exhibitions include Rosamund Felsen Gallery, Los Angeles, CA; Sturt Haaga Gallery, Descanso Gardens, La Ca&ntilde;ada Flintridge, CA; San Diego State University Downtown Art Gallery, San Diego, CA; among others.<br /><br />Patrick Nickell's sculptures were produced during a residency at the Pilchuck Glass School in Stanwood, Washington in the summer of 2016.</p> Tue, 20 Sep 2016 17:11:10 +0000 Miles Coolidge - ACME - September 17th - October 22nd <p style="text-align: justify;">ACME. is pleased to present "Chemical Pictures", a solo exhibition of new work by Los Angeles based artist Miles Coolidge. "Chemical Pictures" is a group of images inspired by scientist F.F. Runge's mid-19th century "self-grown pictures". The series of framed 23cm x 25.75 cm paper chromatographs are planned to number 31 altogether.&nbsp;<br /><br />Friedlieb Ferdinand Runge pioneered the use of paper as a material to serve as the staging ground for investigations into the chemical components of complex substances. A close acquaintance of Goethe, and student of Hegel, Runge read a surplus of meaning into his proto-Chromatographic experiments at the same time as he used this research tool to identify and isolate for use the first artificial dye-stuffs such as analine from coal-tars. By encouraging various agents to react on porous paper surfaces he provided the space for his "self-grown pictures" to develop. On a technical level this work led to the ability to control color by way of technology, a process fundamental to the development of 4-color lithographic printing, and color photography. Runge, however, intended these "self-grown pictures" to be understood as art; the automatic and impossible-to-anticipate character of the images excited his sense of wonder, leading to increasingly non-utilitarian impulses explored and elaborated in his book, Der Bildungstrieb der Stoffe (Oranienburg, 1855).<br /><br />This project takes its cue directly from Runge's book; it consists of 31 images that follow the instructions Runge gives below each image in his book. These instructions comprise the titles of the individual chemical pictures.<br /><br />This show includes 27 of the 31 images in the "Chemical Pictures" series. The 4 not included in this exhibition are featured in a group exhibition titled "Things Themselves" at Vernon Gardens, Los Angeles, curated by Zully Adler, which runs concurrently with this exhibition.<br /><br />"Chemical Pictures" was produced with the support of a 2015 Guggenheim Fellowship.<br /><br />Miles Coolidge (b. 1963, Montreal) received his MFA from the California Institute of the Arts. This is the artist's ninth solo exhibition at ACME. His work is included in many museum collections including the Albright-Knox Gallery, Baltimore Museum of Art, Metropolitan Museum of Art, Museum of Contemporary Art, Los Angeles, Orange County Museum of Art, San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum, among others.</p> Tue, 20 Sep 2016 17:10:06 +0000 Fran Siegel - ACME - September 17th - October 22nd <p style="text-align: justify;">ACME. is pleased to present "Reconstruction", a solo exhibition of new works by Los Angeles based artist Fran Siegel. The artist continues her investigations of place through the activity of drawing on a massive scale. Shifting perspectives generate a sense of motion and time, and multiple viewpoints are pieced together by combining a cyanotype photographic process with layered collage and drawing. Through these works, Siegel explores the evolution of settlement, migration, and exodus within the borders of the Los Angeles metropolis, and how this constant shuffling creates geographical space.&nbsp;<br /><br />Included in the show are monumental pieces, as well as a group of smaller drawings. Massive "Overland 18" is the last work in a series derived from aerial viewpoints of the vast Los Angeles' city sprawl, and "Bridge" is the first large drawing in a brand new body of work from a reconstruction of images over the course of the re-building of the Gerald Desmond Bridge at the Port of Los Angeles, located near the artist's studio.&nbsp;<br /><br />Fran Siegel (b. New York) received her MFA from Yale University School of Art and her BFA from Tyler School of Art, at Temple University. A forthcoming solo exhibition is scheduled in 2017 at the Fowler Museum at UCLA, Los Angeles, CA as part of the Getty's city-wide initiative "PST- LA/LA" , and recent exhibitions include Lesley Heller Workspace, NY; Art Center College of Art and Design Gallery, Pasadena, CA; ICA San Jose, CA; The Art Design and Architecture Museum UCSB, Santa Barbara, CA; among others. Recent monumental works from the Overland series have been acquired by LACMA, MOCA, Los Angeles, and the Yale Art Gallery.</p> Tue, 20 Sep 2016 17:09:22 +0000 Group Show - ROSEGALLERY - October 1st - November 12th <p style="text-align: justify;"><em>HE / SHE / THEY</em>&nbsp;collects the work of various photographers who utilize their own and others&rsquo; image to find what lies beyond the constructs of prescribed gender and sexual identity. With works by Diane Arbus, Manuel Alvarez Bravo, Nancy Burson, Antonio Caballero, Jo Ann Callis, Graciela Iturbide,&nbsp; Wayne Lawrence, Nikki S. Lee, Yasumasa Morimura, Cristina Garcia Rodero, Tomoko Sawada and Katsumi Watanabe ROSEGALLERY presents&nbsp;<em>HE / SHE / THEY</em>,&nbsp; on view from&nbsp;1 October until 12 November, 2016&nbsp;with a reception on&nbsp;Saturday, 1 October, 2016&nbsp;from six to eight pm.&nbsp;<br />&nbsp; &nbsp;</p> <p style="text-align: justify;">Performance for the camera - and performing in life - involves mastering oneself. Yet identity exists within a plethora of expectations. Performing does not entail that each movement is made for the camera; rather, people create their identity and perform themselves through the participation in or negation of cultural roles. In the 1960s, Diane Arbus&rsquo; documentary work in New York and Katsumi Watanabe&rsquo;s portraits in Tokyo both explored the lives of the &lsquo;other:&rsquo; those who live the roles not prescribed to their bodies. Female impersonators, drag queens and androgynous people strike the eye as the juxtaposition between the expected and their choice of being defies gender expectations. Katsumi Watanabe&rsquo;s photographs of drag queens, prostitutes, gangsters, and entertainers, created as portraits for the subjects themselves, are filled with the candid uniqueness of each sitter as they saw themselves, regardless of gender constructs.</p> <p style="text-align: justify;">&nbsp; &nbsp; Not always a question of the two distinct binaries of male and female, gender has existed with more fluidity in many societies. Long before the 2015 gay marriage ruling in the United States, the Navajo nation has supported various genders and sexualities; they believed in the presence of &ldquo;two-spirit&rdquo; individuals: those who do not identify with male or female roles. In Juchit&aacute;n, the &ldquo;queer paradise,&rdquo; Graciela Iturbide photographed Magnolia, who identified as&nbsp;<em>Muxe</em>, Spanish for homosexual and genderqueer. Magnolia&rsquo;s self-expressive portraits contrast with Manuel Alvarez Bravo&rsquo;s portraits of Salvador Novo and Xavier Villaurrutia, which exert a masculine and refined image of the two poets.<br />&nbsp; &nbsp;</p> <p style="text-align: justify;">Addressing the way female sexuality is often conflated with a certain form of femininity, Jo Ann Callis creates images that redefine gendered-sexuality. In Notes on Camp, Susan Sontag remarks that &ldquo;The most refined form of sexual attractiveness (as well as the most refined form of sexual pleasure) consists in going against the grain of one's sex.&rdquo; While Caballero&rsquo;s collected prints emphasize objectified distinctly feminine sexuality, Callis&rsquo;<em>Early Color</em>&nbsp;work mystifies and the body in erotically charged compositions that blur the lines of sexuality and gender. While Burson&rsquo;s photographs give life to often-sexualized plastic Barbies, the bodies in Callis&rsquo; photographs distill sexuality into a doll-like form, as if still lives of feminine, masculine and androgynous sexuality.&nbsp;<br />&nbsp; &nbsp;</p> <p style="text-align: justify;">Gender, sexuality, and how we perform ourselves largely play into group identity. While quite different at first, the works of Wayne Lawrence and Cristina Garcia Rodero each seek identity through group performance, whether for a ritual of dance or the ritual of going to the beach. Tomoko Sawada addresses the ritual of group aesthetics and questions of belonging in her&nbsp;<em>Decoration</em>series, wherein she dresses herself in recent fashion trends amongst Japanese teenagers. Even group identity exists within the artworks themselves; Yasumasa Morimura replaces cultural and art historical icons with his own body in his series&nbsp;<em>Daughter of Art History</em>. Yet group identity does not dictate how one participates. Nikki S. Lee has placed herself in the shoes of many in an effort to question the notion of static identity. In her&nbsp;<em>Project</em>series (1997-2001), she explores various american subcultures by posing herself within them. Describing individual identity as fluid, Lee exhibits the importance of aesthetics to identity by showing the possibility for one body to cross into various identities merely through appearance.&nbsp;<br />&nbsp; &nbsp;</p> <p style="text-align: justify;">Through addressing the questions of sexuality, gender, personal expression, and identity, these artists relay the complexities of self-representation. With subjects that challenge the creation of identities based on gender and idealized norms, the artists&rsquo; works reflect the bourgeoning independence from the prescribed norms of gender and sexuality.</p> Tue, 20 Sep 2016 16:57:53 +0000 Larry Johnson, Elisa Johns, Armen Eloyan, Michelle Segre, Toby Ziegler, Valerie Favre, Thomas Helbig - Patrick Painter Inc. - September 10th - October 1st <p style="text-align: justify;">Patrick Painter Inc.&nbsp;is pleased to present&nbsp;Urban Space Odyssey&nbsp;a group exhibition featuring the work of select artists, including:&nbsp;Larry Johnson,&nbsp;Elisa Johns, Armen Eloyan,&nbsp;Michelle Segre, Toby Ziegler,&nbsp;Valerie Favre and Thomas Helbig. On view&nbsp;September 10th - October 1st.&nbsp;</p> Tue, 20 Sep 2016 16:48:34 +0000 Beatriz Cortez - Vincent Price Art Museum - September 24th - January 28th, 2017 <p style="text-align: justify;">Beatriz Cortez is a visual artist and cultural critic based in Los Angeles, whose works often link contemporary philosophy to her own migratory experiences. In her solo exhibition,&nbsp;<em>Nomad World</em>, the artist conceptualizes the gallery space as an arcade, a space where games and amusement intersect with questions of global capitalism. This body of work includes interactive sculptures and installations &ndash; a fortune telling machine, a pinball machine, a jukebox, and a photo booth &ndash; that invite visitors to move between childhood and the present, to envision being in new places, and to imagine being other.</p> <p style="text-align: justify;">Through repurposed and hybridized machines that forge disparate levels of technology, the artist bridges diverse forms and experiences of modernity across time and place.&nbsp;<em>The Fortune Teller, Migrant Edition,</em>&nbsp;(2015) mimics the trained birds that pick one&rsquo;s fortune printed on a card, a game seen throughout Latin America. Cortez&rsquo;s version uses an automated cashier&rsquo;s paper tape to print the hopes for the future of people who have crossed borders, collected through interviews by the artist. Other works cull vintage machines that the artist intervenes and re-crafts as a means of locating split temporalities.&nbsp;<em>The Beast</em>(2015), derived from a modified late 1970s pinball machine, allows the viewer to consider the pinball as if it were a traveler migrating to&nbsp;<em>el norte</em>, whose fate is controlled from a removed positionality and by stokes of good or bad luck.&nbsp;<em>The Jukebox</em>(2015) plays audio recordings of urban landscapes, atmospheric sounds that often form the texture of memory. Simultaneity is a recurrent theme in the artist&rsquo;s work and in&nbsp;<em>Photobooth</em>&nbsp;(2015), the public can choose different backdrops from sites in Central America to pose in front of and take selfies. By uploading the photos to social media, viewers participate in a disembodied, virtual, and transnational space. Collectively, the works in&nbsp;<em>Nomad World</em>&nbsp;reveal associations with dislocation and fragmentation, mirroring the artist&rsquo;s experiences split between San Salvador and Los Angeles.</p> <p style="text-align: justify;">Beatriz Cortez was born in El Salvador and migrated to the United States in 1989. She has shown her work nationally in Los Angeles, San Francisco, Washington, D.C., and New York, and internationally in El Salvador, Guatemala, and Costa Rica. She holds a Masters in Fine Arts from the California Institute of the Arts and a doctorate in Latin American Literature from Arizona State University. She teaches in the Department of Central American Studies at California State University, Northridge.</p> Tue, 20 Sep 2016 16:38:18 +0000 Marc Horowitz - China Art Objects Galleries - September 17th - October 29th <div align="left"> <div style="text-align: justify;" align="left">China Art Objects Galleries is proud to present&nbsp;<em>D</em><em>awn of the Zone. O</em>ur first solo exhibition by newly represented artist Marc Horowitz.</div> <div style="text-align: justify;" align="left">&nbsp;</div> <div style="text-align: justify;" align="left">The exhibition will run&nbsp;September 17 through October 29, 2016.&nbsp;</div> <div style="text-align: justify;" align="left">&nbsp;</div> <div style="text-align: justify;" align="left">Please join us for the opening reception this Saturday, September 17th from&nbsp;6:00pm to 8:00pm.&nbsp;</div> <div style="text-align: justify;" align="center">&nbsp;</div> <div style="text-align: justify;" align="center">&nbsp;</div> <div style="text-align: justify;" align="center">&nbsp;</div> </div> <div style="text-align: justify;" align="center"><em>&nbsp;</em></div> <div style="text-align: justify;" align="left"><em>&nbsp;</em></div> <div align="left"> <div style="text-align: justify;">EXT. TOP OF THE EMBANKMENT</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;TWO COLORS SIT CHATTING</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;BIRD'S EYE VIEW - CAMERA 1 - SPINNING SLOWLY IN A CIRCLE</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;- CENTERED ON SPACE BETWEEN COLORS AS DIALOG BECOMES AUDIBLE</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;TWO SHOT - CAMERA 1 - DOLLY IN</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;BLUE</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;In the future, life will be so</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;exciting and fast that there will</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;be video games about achieving</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;boredom.</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;YELLOW</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Like a traffic simulator? Ha! Ya,</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;imagine sitting on the highway in</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;real time through a terrible</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;traffic jam. Radio stations are</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;meh, the next exit is at least</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;three miles...</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;BLUE</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;...or organizing desk drawers.</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;CUT IN - CG SCENE OF HANDS CLUMSILY SHUFFLING IN OAK DESK</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;DRAWER</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;YELLOW</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I like the idea of organizing</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;drawers better. There could be some</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;level of excitement in a traffic</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;jam - kinda stressful maybe. Does</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;stress cause too much excitement,</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;pushing boredom too far away?</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;BLUE slides down the embankment a little, YELLOW follows,</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;conversation continues</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;BLUE</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Good idea.</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;WS LOW ANGLE REVERSE - CAMERA 1 &nbsp;- JIB FROM LOW ANGLE TO SKY</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;A GREEN EXPANSE OPENS, LIT BY THE DAWN OF THE ZONE, TEARING</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;A RIFT IN THE CLOSE DISTANCE</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;YELLOW</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Finally, there it is.</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;BLUE</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;At last.</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;THEY STAND TO FACE THE GREEN EXPANSE</div> <br /> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;YELLOW</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;This is our time, our moment, this</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;is what we were made for.</div> <p style="text-align: justify;">&nbsp;</p> </div> Tue, 20 Sep 2016 16:01:32 +0000 Andrea Chung - New Image Art Gallery - September 24th - October 15th <p style="text-align: justify;">My exploration into cyanotypes comes from my interest in photography and its relationship with the Caribbean. The development of early photography came after the end of slavery in the Caribbean and the only pre-emancipation images that exist are paintings and drawings comissioned by the colonial regimes for propaganda purposes. The British in Jamaica, for instance, staged post-emancipation photographs and both types of images were used to sell a fantastic version of the Caribbean, a paradise peopled by docile, jovial workers. The legacy of that fantasy figures heavily in my work because it persists in torism materials, which I often mine for inspiraration and imagery, and in the global imagination. While the visual imagery produced during colonial period cannot be understood without heavy contextualization, there are artifacts that do give a clear picture of colonization. These are not pictures at all, but ship logs, ledgers, and other documentation that were generated by the meticulous planning that went into colonization. The cyanotype process is important for this series because of its association with prints from nature but also because of its association with the quintessential planning document, the blueprint, which places it at the intersection of ideas that I am exploring.<br /><br />For the past few years I have been collecting articles about the lionfish invasion in the Caribbean. They have been destrying coral reefs and since they are non-native, they have no local predators. Their invasion is a fitting metaphor for colonization in a at least two different ways: they are non-natives that are reshaping their environment to serve themselves but they were also brought there without consideration for their will.<br /><br />The images in&nbsp;<em>Pride and Prejudice</em>&nbsp;depict images of lionfish, arranged in various military formations, on their way to battle. While the images are confrontational, I have left them partially ambigous. I also construct the fish armies out of the same basic shapes so that the viewer must decide who the colonizer is, and our relationship to them.<br /><br />- Andrea Chung</p> Tue, 20 Sep 2016 15:41:44 +0000 Frohawk Two Feathers - New Image Art Gallery - September 24th - October 15th <p style="text-align: justify;">&ldquo;That Aint Gold, That&rsquo;s A Soul&rdquo; is a title taken from &ldquo;Watch and Learn&rdquo;, a song by Brooklyn rapper Cavalier. &nbsp;In this installment of my ongoing narrative, &ldquo;The History of Frengland&rdquo; (1680-1880), I&rsquo;m focusing on the Spanish colonial &ldquo;Mission System&rdquo; in the area known today as Los Angeles. &nbsp;Some minor narratives run concurrent with the main narrative of the disease, violence, and repression of the Spanish colonial government inflicted upon the indigenous polities of Upper California. &nbsp;These include, my retelling, and revision of the end of the Lewis and Clark expedition, mercenary activity to weaken Spanish colonial power, and an alternative narrative on the pluralism of the in regards to race, class, and gender. &nbsp;Indigenous and Judeo-Christian philosophy dovetail as the belligerents seek to find justification for their actions and solace in their convictions. &nbsp;The lands burn as they are nourished by blood and tears.&nbsp;</p> <p style="text-align: justify;">- Umar Rashid (Frohawk Two Feathers)</p> Tue, 20 Sep 2016 15:40:21 +0000 Lucky Dragons - 18th Street Arts Center - September 24th - December 16th <p style="text-align: justify;">Los Angeles-based Lucky Dragons (a collaboration between artists Luke Fischbeck and Sarah Rara) presents&nbsp;<em>User Agreement</em>,<em>&nbsp;</em>the latest phase of an ongoing project which examines existing modalities of peace through performance. The aim of&nbsp;<em>User Agreement</em>&nbsp;is to reverse engineer the technologies of peace&mdash;treaties, protocols, symbols, and systems&mdash;in order to learn from what has already been invented, to repurpose and re-contextualize, to fix existing bugs and to create new possibilities for interaction.&nbsp;</p> Tue, 20 Sep 2016 15:33:18 +0000