ArtSlant - Current exhibits en-us 40 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 Ivan Argote, Pauline Bastard - 18th Street Arts Center - January 14th, 2013 - March 29th, 2013 <div style="text-align: justify;"><span style="font-size: small;"><b>Artist Lab open studio, January 14 - March 29</b></span></div> <div style="text-align: justify;"><span style="font-size: small;"><b>Opening Reception, February 23, 8 - 10 pm </b></span></div> <div style="text-align: justify;"><span style="font-size: small;"><b>'Born to Curate' Event, 6:00 - 8:00 pm</b></span></div> <p style="text-align: justify;"></p> <p align="left" style="text-align: justify;"><span style="font-size: small;"><strong>SANTA MONICA, CA</strong> - Encompassing 18th Street Arts Center's <strong>Visiting Artist Residency Program</strong>, its <strong>Artist Labs</strong> process-based exhibition series, and in partnership with Highways Performance Space, Paris-based artists <strong>Ivan </strong><strong>Argote and Pauline Bastard</strong> tap into multiple platforms for public engagement from January through March 2013. Guest-curated by Isabelle Le Normand, Argote and Bastard are frequent collaborators that create "scenarios" as the premise for their art-making. Often times relying on public or community participation, Argote and Bastard favor the unexpected outcomes that arise from collective action. A group of videos, objects and functional installations will occupy the main gallery, and new works will be developed on-site throughout the course of their residency. </span></p> <p style="text-align: justify;"><span style="font-size: small;">As a culminating event, Argote and Bastard present </span><em style="font-size: small;"><strong>BORN TO CURATE</strong></em><span style="font-size: small;">, a live curatorial battle that pits four teams of Los Angeles-based curators head to head in a fast-paced game of wit and knowledge. Structured like a game show, teams have two minutes to conceptualize a curatorial project or exhibition in response to a theme picked at random. Inverting the largely private curatorial process into a public event, ideas behind the construction of meaning are infused with open response and humor. Winners are determined by an applause meter and receive the coveted BORN TO CURATE trophy. </span></p> <p style="text-align: justify;"><strong style="font-size: small;">Ivan Argote &amp; Pauline Bastard </strong><span style="font-size: small;">and </span><em style="font-size: small;"><strong>BORN TO CURATE</strong></em><span style="font-size: small;"> are part of Ceci n'est pas..., a project initiated by the Cultural Services of the French Embassy in the United States in association with the Institut Français, with the support of the Alliance Française of Los Angeles, the French Ministry of Culture and Communication and the participation of many local institutions over the course of five months.      </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong> </strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong> </strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>DATES:</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Residency: January 2 - February 28, 2013</span></p> <p style="text-align: justify;"><span style="font-size: small;">Artist Labs Exhibition: January 14 - March 29, 2013 (in process until February 23)</span></p> <p style="text-align: justify;"><span style="font-size: small;">Public Event and Reception: February 23, 2013</span></p> <ul style="text-align: justify;"> <li><span style="font-size: small;">Born To Curate (performance / curatorial battle) 6pm</span></li> <li><span style="font-size: small;">Reception 8 pm</span></li> <li><span style="font-size: small;"> </span></li> </ul> <p style="text-align: justify;"><span style="font-size: small;"><strong>Iván Argote </strong>   </span></p> <p style="text-align: justify;"><span style="font-size: small;">Iván Argote was born in Bogota in 1983. He lives and works between Paris and New York, and graduated from the Beaux-Arts in Paris in 2009.  Recent exhibitions include: 30th São Paulo Biennial, "Sin heroísmos, por favor" (solo), CA2M, Madrid (2012); Art Brussels (solo), Perrotin booth (2012); Girarse, Joan Miró Fundation, Barcelona; The Dialectic City, Laboratorio de Artes Binarios, Puerto Rico (2011); Caliente, Galerie Emmanuel Perrotin, Paris, 2011 (solo show); A brake to dance, Galerie Valenzuela &amp; Klenner, Bogota, Colombia, 2009; Zapping Unit, MAC/VAL Museum of Contemporary Art of Val-de-Marne, Vitry-sur-Seine, France, 2009. He's preparing upcoming exhibitions, including: 30th Sao Paulo Biennale (Sep 2012); La Estrategia, Palais de Tokyo (Dec 2012). Iván Argote's practice deals with social, political and art historical fields through mediums as varied as video, photography, sculpture and painting. Being simultaneously the director and main actor in his work, Iván interrogates with humour the views and perspectives imposed by our social positions, the status of an artwork and the notion of interactivity, which he addresses through a fictionalisation of the everyday.</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>Pauline Bastard</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Pauline Bastard was born in 1982 and lives and works between Paris and New York. She graduated in 2009 from the Beaux-Arts in Paris and from the University of La Sorbonne, Paris in 2010, she then spent a one year research residency in New York University. Recent exhibitions include: 30th São Paulo Biennial, Unheimliche Reisen at Dienstgebaude, Zurich; Coup Double at FRAC Aquitaine, Bordeaux; Voyage voyage at Maison de l'Amérique Latine; Green-white-red at Collezione Maramotti, Regio Emilia, Italia; Jours Heureux at 80WSE, New York; XOVUXY at Eva Hober gallery, Paris (solo show); Rehab, Espace Electra, Paris. She is now in residency in Domaine departemental de Chamarande where she is preparing for upcoming exhibitions, including the 30th Sao Paulo biennal. She invites us into a world where fiction and reality are entangled, at the heart of which misleading fictions reign. Through mediums such as video and sculpture, she plays with and defies narrative processes through the phenomenon of detachment, re-appropriation and semantic displacement. Popular objects and everyday materials are omnipresent in her practice, creating a complicit game with the spectator where the veracity of their fictional and dramatic potential is questioned. The Sauna, Mains d'Oeuvres, 2010, Paris</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>Curator, Isabelle Le Normand  </strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Isabelle Le Normand is curator and Director of Visual Arts at Mains d'Œuvres, a nonprofit, multidisciplinary gallery and performance space in the heart of the Flea Market of Paris showing emerging, mid-career and established artists. She has recently organized the exhibitions Better Being a Virus Than Catching a Cold, (Budapest, FKSE 2011, Mains d'Œuvres, 2008), An Auction, (Mains d'Œuvres, 2011), Who do you admire ? (La Box, Bourges, 2011), La Famille Farrell (Maison Populaire, Montreuil ; Mains d'Œuvres, Saint-Ouen, 2010), Diagonal Argument (Bétonsalon, 2008). Since September 2011, she runs the seminar  Los Angeles -from Margins to Center at ESAAA, Annecy. She is currently in residency at Cité Des Arts in Paris to curate the project I Am Here For You, to establish links between artists from abroad and the Parisian art scene. </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><a shape="rect" href="" target="_blank">Ceci n'est pas...</a></strong> is a project initiated by the Cultural Services of the French Embassy in the United States in association with the Institut Français, with the support of the Alliance Française of Los Angeles, the French Ministry of Culture and Communication and the participation of many local institutions.Ceci n'est pas... will begin on December 1, 2012 with the opening of the exhibition LOST IN LA, organized by the FLAX Foundation and will continue for 5 months, ending in April 2013. It will gather more than 30 Franco-American collaborations that are being prepared by art centers, museums, art schools and non-profit organizations in Los Angeles, covering a large spectrum of contemporary creation, from sculpture to performance, and from architecture to video.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">In 2006, The Centre Pompidou proposed the exhibition, "Los Angeles, 1955-1985, Birth of an artistic capital". Building on this large exhibition, through the existing references to French art and culture in the Los Angeles art scene, it became pertinent to highlight the ties between France and the City of Angels, which has since become a true cultural capital of the world.</span></p> <p></p> Fri, 30 Nov 2012 07:14:55 +0000 Eero Saarinen - A + D Museum - October 5th, 2012 - February 28th, 2013 <p style="text-align: justify;" class="content_left"><span style="font-size: small;">Born in Finland, <strong>Eero Saarinen</strong> (1910 – 1961) is recognized today as one of America’s most influential architects of the 20th Century. The exhibition at the Architecture and Design Museum will highlight his short but brilliant career beginning with the Smithsonian Gallery of Art Competition in 1939 and culminating with Dulles Airport in 1962 and highlighting his influence on design in mid-Century America. </span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">Saarinen is recognized today as one of the America’s most influential architects of the 20th Century. He has built numerous corporate, educational, cultural public and private buildings with such recognizable icons as the St. Louis Gateway Arch, the TWA terminal at JFK, and Dulles Airport.</span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">This exhibition is a tribute to Saarinen’s short and brilliant career which was bookended with two iconic buildings: the Smithsonian Gallery of Art, a museum of modern art on the Mall which remained unbuilt and the nation’s first jet airport, Dulles International Airport which was completed one year after his death. </span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">The much-publicized national competition of 1939 catapulted Saarinen into the architectural limelight at the age of 29, marking a triumph for the modernist camp.  Opposition to the cutting edge modernist vocabulary was strong in the pre- World War II era and even though it would influence museums built throughout the world for decades to come, the Smithsonian Gallery of Art remained an unbuilt icon. Lost for 50 years, the discovery of the drawings twenty years ago and their secure place at the Smithsonian Institution confirms that architecture even when unbuilt can be influential, provocative and groundbreaking. </span><br /><span style="font-size: small;">  </span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;"><strong>Shedding light on Saarinen’s secret professional life</strong></span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">Saarinen’s association with Washington continued throughout the war years when he volunteered for the OSS (Office of Strategic Services), the precursor to the CIA (Central Intelligence Agency). Recognized for “his outstanding capacity” for original design work in any field, Eero quickly excelled in his service to the OSS to became the chief of the Presentation Division responsible for all exhibits work.</span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">The exhibition at A+D Architecture and Design Museum&gt;Los Angeles is unique in shedding light on this little known chapter of Eero Saarinen’s secret professional life. While still in his 30’s Eero established himself as one of the most creative product designers with recognizable furniture broke technological and aesthetic boundaries with such icons as the tulip chair and the womb chair.</span></p> Sat, 19 Jan 2013 15:45:00 +0000 Justin Bower - Ace Gallery- Beverly Hills - September 8th, 2012 - February 15th, 2013 Wed, 02 Jan 2013 07:23:59 +0000 Charles Fine - Ace Gallery- Los Angeles - October 26th, 2012 - April 27th, 2013 <p style="text-align: justify;"><span style="font-size: small;">There are certain artists who grip the subconscious and dive into temporalities of the forgotten, touching upon the cornerstones of human memory and being. Charles Fine is one such artist. He works human  consciousness in a way that connects the corporeal thinking organism with the intimacies of what might be called earth consciousness. Fine attends to the natural world and ancientness in ways that are both thought provoking and transcendent. With an oeuvre that is diverse and far-reaching Fine addresses themes of environment, time, memory, encounter, discovery, decay, and evolution. His art is ever evolving as he works with a variety of media and objects to inspire questions concerning existence and impermanence. While the artist deals with powerful themes, he does so with varying intensity. Rather than privileging a direct and aggressive style, Fine layers, composes, and builds as he illuminates subtle changes and quiet progression.</span></p> <p style="text-align: justify;"><span style="font-size: small;">ACE Gallery presents a thirty-year survey of work by Charles Fine,  including drawings, paintings, sculptures, photographs, and video which explore and expand upon the intricacies of the natural world and the effects of human habitation. Fine investigates the interconnectedness of living systems with particular attention given to subjects ranging from population densities, mutations in nature, irrigation patterning, photosynthesis, and the effects of weather and climate.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From his explorations in Central America, Mexico, and the western United States, Fine has amassed and continues to cultivate an unusual assemblage of objects, which have been, and continue to be, a significant source bank for much of the imagery in his paintings, sculptures, photographs, and vitrines.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist has gathered mutant pod seeds, ceremonial stone objects, bone implements, and ancient tools amongst numerous other exotic and prosaic natural items from his travels and has transformed these earthly substances into breathtaking works of art. For his <i>Table of Contents </i>series Fine meticulously assembles an assortment of naturally found and re-altered objects into large glass vitrines. Each of these objects were selected by Fine because he felt they possessed an individual poignancy, attained either through nature or through necessity for practical or liturgical applications.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Fine’s heterogeneous groupings are works of art in themselves transforming familiar natural objects into spiritually charged symbols with rich narratives.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From this fascinating reservoir of imagery and inspiration, Fine has created complex metaphysical works of art that are often imbued with animistic or totemic associations. The artist’s approach to painting and sculpture is just as dynamic as the roots of his inspiration. His canvases are reworked over extended periods of time and are composed of translucent layers of oil paint, alkyd resin, and asphaltum. The layered effects of the paint engender a sense that the underlying forms are always in flux—materializing or dematerializing on the surface of the canvas. His panel paintings employ a dramatically different method indicated by his use of encaustic painting, which give them a fertile tactile quality. Fine’s cast bronze sculptures trace their origins both to shapes extracted from the paintings and to his extensive gathering of archaeological relics and found objects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Moving sinuously from the micro to the macro and back, the artworks in Charles Fine’s in-depth survey offer a dynamic look into the artist’s distinctive cloistered sphere of curiosity and experimentation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Charles Fine was born in 1951. He attended the Otis Art Institute, California State University, the Brooks Institute of Art, and the University of California. The artist has exhibited at ACE Gallery since 1987.</span></p> Mon, 22 Apr 2013 10:35:15 +0000 Group Show - Angels Gate Cultural Center - May 20th, 2012 - August 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Angels Gate Cultural Center presents our exhibition year entitled&nbsp;<em>Into the Wilderness: The Journey Within</em>. Over the course of the next year, artists and curators will engage the term "wilderness" from multiple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary life and contemplate how we can find new opportunities to re/define the transition between physical and imaginary geographies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although, on first impression, "wilderness" may call to mind places of intense experience in nature far from civilization, it reveals itself to be much more than a location. Traditionally associated with a land of uncultivated, abandoned and inhospitable conditions or inhabited only by wild animals,<sup>1</sup>&nbsp;during the eighteenth and nineteenth centuries its meaning expanded subjectively to include more Romantic and transcendental notions like "the reflection of our own unexamined longings and desires" and "the best antidote to our human selves," while mysteriously remaining the site of "something profoundly Other."<sup>2</sup>&nbsp;</span><br /><br /><span style="font-size: small;">Whether places considered wilderness are ultimately to be regarded as wastelands or sacred spaces, in either case it is not the places themselves that define the nature of the wilderness experience. "Wilderness," regardless of where it is situated or whether it is described as frightening or divine, is a cultural construct that is typically placed in opposition to "civilization," located apart from the human world as something pure and essentially natural, to be preserved and protected both from the outrages of global industrial exploitation as well as the small defilements of daily life.&nbsp;</span><br /><br /><span style="font-size: small;">We disagree. We consider that creating even the most high-minded dualism between humans and nature sets up a dynamic that creates conflict and does not lead to effective stewardship of the environment, either locally or on a global scale. We also believe that rather than being defined either as a physical or an imaginary location, "wilderness" is more a state of mind that defies location, either geographical or imaginary-one in which social structure relaxes, logic slips away and time and space collapse. This open state of mind, or "wonder," can be experienced in natural environments that inspire fear, disorientation, foreboding or other qualities of "sublime" landscape appreciated by the likes of Edmund Burke<sup>3</sup>-and it can also unexpectedly arise in the midst of degraded urban grittiness or in an unexplored corner of a superficially unremarkable backyard.&nbsp;</span><br /><br /><span style="font-size: small;">Artists in our group discover natural wonder in many places-from Antarctic icebergs to carcasses of dead birds. And just as we respect "wilderness" in all of its manifestations, we believe that biodiversity and sustainability can only be maintained if we humans give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respect for the global interface of ecosystems, be they planetary or microscopic, that we unavoidably impact.&nbsp;</span><br /><br /><span style="font-size: small;">Wilderness Mind: Dissolving Duality includes the work of fourteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration; we have worked together to study and work as eco-artists since 2005. This proposed exhibition represents work that ranges from photography to non-representational painting, performance, and installation; it spans a continuum of references to water from suburban irrigation systems to the arctic ice cap; to wildlife, including Barr owls, sea otters, and golden trout from the Sierras; and to locations from San Pedro Harbor to Mozambique. Within the frame of wilderness, the group's work articulates themes of degradation and emergence, natural cycles, mystery, concern for the environment, and connected oneness. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative approach as an alternative to more traditional strategies of agency through domination, and to the possibility for everyone to experience "wilderness" in any number of settings, not just in uninhabited nature. Through the visual messages communicated in our work as well as through workshops and programs offered to the community in conjunction with the exhibition, our ultimate goal is to inspire visitors to participate in effective stewardship of the environment.&nbsp;</span><br /><br /><span style="font-size: small;"><small><sup>1</sup>&nbsp;New Oxford American Dictionary, Oxford University Press, third edition.&nbsp;<br /><sup>2</sup>&nbsp;Cronon, William, "The Trouble with Wilderness; or, Getting Back to the Wrong Nature," Uncommon Ground: Rethinking the Human Place in Nature, New York: W.W. Norton &amp; Co., 1995, 69-90.&nbsp;<br /><sup>3</sup>&nbsp;Burke, Edmund, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 1857.&nbsp;</small></span><br /><br /><em><span style="font-size: small;">Deborah Thomas is an artist, professor and independent curator who lives in Los Angeles; she has also lived and worked as an artist in Geneva, Switzerland and New York. With an undergraduate degree from the University of Michigan and an MA and ABD from the University of Pennsylvania, Thomas currently teaches art history and contemporary art and theory at Pasadena City College, Glendale College and the Los Angeles Academy of Figurative Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus; she also helped to organize "Elements," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artwork includes a series of conceptual installations and mixed media pieces using photographic images and found text; her work on environmental themes typically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet, Bringing the Past to Light: New Art from Old Images, Intimate Geography:&nbsp;</span><br /><br /><span style="font-size: small;">The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhibitions, educational programs and public actions. The group was first organized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA), a national organization dedicated to creating community through art, education and social activism. In April 2007, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San Francisco and at the Day of the Dead Planet exhibition curated by Deborah Thomas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago, Los Angeles, New York, San Francisco and throughout the rest of the United as well as Asia and Europe. The collective also engages the community through lectures, installations and events. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured at zoos and natural history museums across the country. San Pedro-based artists Annemarie Rawlinson and Hiroko Momii often intermix their meditative and activist practices.</span> <br /></em></p> Tue, 26 Nov 2013 18:04:50 +0000 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 Erika Yoemans, CODY TREPTE, Mara De Luca, Zoe Crocher, Kevin Cooley, Thomas Altheimer - Angels Gate Cultural Center - January 27th, 2013 - April 19th, 2013 <p><i>Searchin'</i> is an exhibition that considers contemporary, critical engagements with the theoretical sublime. Inspired by 70s Californian conceptual artist Bas Jan Ader's project, <i>In Search of the Miraculous</i>, the contemporary artists whose work makes up this exhibition re-examine his quest for the sublime and through it, launch their own journeys into the wilderness. <br /><br />Emmanuel Kant's definition of and writings on the sublime in his <i>Critique of Pure Reason</i> (1790), created a methodology for humanknowledge of the limits of our imagination. While never equated with nature, the unfathomable expanse of the ocean or seemingly unconquerable mountain peaks became signifiers, even metaphors for the un-representable sublime. <br /><br />In the nineteenth century, appreciation for nature and the wilderness was caused in part by the industrial revolution and westward expansion's threats to its very existence. As the mechanical revolution gained steam, the power of man defined human existence, we continually sought the attainment of something greater that could, by definition not be constructed, controlled, or even defined. <br /><br />Ader was deeply aware of the relationship that we have to romantic ideas like the sublime. His series of photographs, <i>In Search of the Miraculous (One Night in Los Angeles)</i> (1973) records his pedestrian nocturnal journey through the city as he traversed from Hollywood to the Pacific. The images of Ader, alone in a city of millions, his shadowy figure juxtaposed against the vast urban lights, and,perhaps most eloquently, the artist's fatal disappearance at sea in 1975, simultaneously maintain a persistence of these seemingly timeless concepts with a postmodern criticality of their existence. <br /><br />The artists of <i>Searchin'</i> continue Bas Jan Ader's quest for the sublime. By partaking on his romantic journey in the context of 70s Los Angeles, Ader permitted contemporary artists to engage in, as opposed to automatically dismiss, historically modernist notions. They look for the meaning inherent in their own existence, in the city in which they live, and the vastness of the unknown that defines it and them. Some follow Ader's footsteps, or re-trace his paths, not in an illusionary attempt to succeed where he failed but as a process, a re-visitation of a myth of which the original artist is now a part. They enact Ader's quest through their own searches, deconstructing his process and discovering the truths still inherent in his search for the miraculous. Others discover new sites within the Los Angeles that beckon something greater, moments that simultaneously capture the city and transcend it. Alternative signifiers of the sublime are broached, its foreboding, danger and at times tragedy are at brought to the fore, even as the everyday is considered as an equally likely subject for such a dialogue. The artists of <i>Searchin'</i> look for the meaning inherent in their own existence, in the city in which they live and the vastness of the unknown that defines it and them. They stand on a cliff at the edge of a wilderness and consider whether or not to leap. <br /><br />BIOGRAPHY <br /><br /><i>Mary Coyne is an emerging curator from the Los Angeles area. She is interested in the intersections between contemporary art, theory and performance. Her curatorial goals are to create thoughtful juxtapositions in the ambition ofsparking a meaningful artistic dialogue. Mary holds a Bachelor's degree in Art History with a minor in Italian from the University of Southern California. She is finishing her Master's program in Art History with an emphasis in Museum and Curatorial Studies at California State University, Long Beach.</i></p> Thu, 06 Dec 2012 19:51:05 +0000 Eloisa Guanlao - Angels Gate Cultural Center - January 27th, 2013 - March 8th, 2013 <p>Eloisa Guanlao's investigation of water in southern California takes her to the heart of modern notions of wilderness, western settlement, the dynamics of rural-urban divide, and the tension between technological development and ecological aesthetic. She is interested in understanding the historical and current attitudes about water. Guanlao looks at current attitudes by setting up her "water" truck alongside food trucks at various streets in southern California where she conducts a water survey and distributes maps of southern California water sources. Her survey results, along with careful historical research into water usage anddistribution infrastructure, reveal a heavy human impact on the natural distribution and process of the water cycle. The general public will have the opportunity to trace the results of her finding on a large-scale floor map of California water sources. They will also be able to determine for themselves the cost and benefits of water usage in southern California. <br /><br />BIOGRAPHY <br /><br /><i>Eloisa Guanlao was born in the Philippines. Her artistic research is informed by her experiences living in the Philippines, Wisconsin, Virginia, Minnesota, Hawaii, France, and California. Eloisa Guanlao attended the Los Angeles County High School for the Arts, Carleton College, and the University of New Mexico. She currently makes her home in Los Angeles.</i></p> Thu, 06 Dec 2012 19:56:02 +0000 - Angels Gate Cultural Center - January 27th, 2013 - March 8th, 2013 <p>An old-growth forest, through its great age, exhibits unique ecological features and is often home to rare, threatened, and endangered species of plants and animals, making them ecologically significant. Unfortunately, many of our old-growth forest stands are threatened by habitat destruction at the invasive hands of man. This exhibition hopes to address the wonders and perils of the forest by creating an environment which is at once unique and fantastic, dangerous and bizarre, and by acknowledging that one day the built environment may be all that's left us. <br /><br />In November of 2011, the Arroyo Arts Collective and Yarn Bombing Los Angeles invited artists from all over the world to participate in Forest, For the Trees, a built-environment site specific fiber based installation. It was initially assembled in the Annex section of the Avenue 50 Studio in Highland Park, and later sprouted in the window of the Craft and Folk Art Museum. Artists, whose talents extend from novice to expert crafters, have created trees, groundcover, animals, water, rain and much more. Works use standard, recycled, and unusual materials, and/or push the knit/crochet envelope, and with each new venue, the Forest continues to grow. <br /><br />Both groups would like to thank everyone who contributed to the previous projects, including Lions Brand Yarn, ARTSgarage, the Craft and Folk Art Museum, the Heritage Square Museum, and the Fiber Studio at Studio Channel Islands. <br /><br />BIOGRAPHY <br /><br /><i><b>Heather Hoggan</b> is a native of Los Angeles, California. She is a board member and long time co-president of the Arroyo Arts Collective (AAC); a community based arts organization dedicated to the development and presentation of creative events in the Northeast Los Angeles area. She is also an active member in Yarn Bombing Los Angeles (YBLA), a group of yarn artists who display their craft in public and private spaces. <br /><br />The <b>Arroyo Arts Collective</b> was established in 1989, as a community organization of artists, writers and performers who live and work in Northeast Los Angeles. The mission of the Arroyo Arts Collective is to develop and present creative events that educate while fostering an awareness of the creative vitality of Northeast Los Angeles. More information about the collective can be found on their website: <a href="" rel="nofollow" target="_blank"></a> <br /><br /><b>Yarn Bombing Los Angeles</b> is a group of guerrilla knitters who originally came together in October 2010 for "Fig KnitOn" L.A.'s first large scale public graffiti yarn installation/exhibition and the "Yarn Bombing 18th St" installation at the 18th Street Arts. More information about the group can be found on their website:<a href="" rel="nofollow" target="_blank"></a></i></p> Thu, 06 Dec 2012 20:01:23 +0000 Group Show - Annenberg Space for Photography - November 17th, 2012 - February 24th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The Annenberg Space for Photography is pleased to announce its next exhibit –<strong> no strangers: </strong><em>ancient wisdom in a modern world</em>, a group show about the wonder of culture and the plight of indigenous people throughout the world. <strong> The exhibit </strong>is guest curated by esteemed anthropologist, author and photographer Wade Davis.  </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>no strangers </strong>explores the ways cultures express a shared humanity and navigate the circle of life.  It poses a fundamental question: What does it mean to be human and alive?  When the people of the world answer this question, they do so in 7,000 unique voices.  Tragically, half of these may be silenced within a generation or two.  At risk is our human legacy, a vast archive of knowledge and expertise. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Photographers featured in the exhibit are Carol Beckwith &amp; Angela Fisher, Wade Davis, Chris Johns, Lynn Johnson, Steve McCurry, Randy Olson, Chris Rainier and Hamid Sardar.  Also included are Timothy Allen, Caroline Bennett, James P. Blair, Edward Burtynsky, David Hiser, Aaron Huey, Thomas Kelly, Mauricio Lima, William Fernando Martinez, James Stanfield, Brent Stirton, Amy Toensing, Jeroen Toirkens, A Yin and Gordon Wiltsie.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibit will feature an original short documentary produced by Arclight Productions for the Annenberg Space for Photography.  Filmed in many locations, from Washington, DC to British Columbia, Canada to London to Mongolia, the documentary will feature additional photographs, interviews and behind the scenes footage with exhibit photographers, indigenous people and experts<strong>.</strong>  The film will examine indigenous cultures through photography’s lens and encourage viewers to consider ancient traditions in a new context.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The themes explored in the exhibit include: The Circle of Life, Our Shared Origins, Ancient Wisdom, Sacred Geography, Endangered, Globalization, Ritual &amp; Passages, Beauty, Quest for Spirit and Joy of Culture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Exhibit images present cultures such as the Tibetan Buddhists of Nepal and their 2,500-year-old traditions; the last rainforest nomads who struggle to survive in Borneo; Ethiopian tribes who participate in bull-jumping as a ritual of tribal membership and manhood; and the Lakota in South Dakota who continue their spiritual ceremonies such as Sun Dances and the use of sweat lodges.  <strong>no strangers</strong> celebrates our diverse and sometimes unfamiliar world.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Photography Space's successful IRIS Nights lecture series will continue to offer free presentations featuring photographers and guest artists who document rare and indigenous cultures.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Annenberg Space for Photography will publish an exhibit catalogue showcasing the work of these 24 photographers and their images of rare and distinctive cultures.  Also offered for purchase will be a seminal book on body painting and adornment by photographers of African culture, Carol Beckwith and Angela Fisher, <em>Painted Bodies: African Body Painting, Tattoos, and Scarification, </em>Rizzoli, September 2012.  The public will also be able to purchase <strong>no strangers </strong>street banners from a selection of four stunning images by renowned photographers who have travelled the world.  Proceeds from merchandise will be used for the Annenberg Space for Photography, which is free to the community.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibit opens to the public in Los Angeles on November 17, 2012 and runs through February 24, 2013.</span></p> Tue, 09 Oct 2012 03:20:48 +0000 Richard Haley, Vincent Johnson, John Knuth, Ann Mitchell, Rachel Sussman - Another Year in LA - January 17th, 2013 - March 8th, 2013 <p>Another Year in LA will begin the new year with PHOTOGRAPHY 2013 focusing on a specific art activity – Photography – featuring the work of five artists from across the United States.  The participating artists are: Richard Haley, Vincent Johnson, John Knuth, Ann Mitchell and Rachel Sussman.</p> <p>Although there are only five artists in PHOTOGRAPHY 2013, the range of imagery in this show is vast.  Ann Mitchell’s “Unmades” are digital prints on handmade Nepalese paper that record the unmade quality of her bed as she wakes up each day.  Whereas Mitchell’s photographs have an ethereal almost meditative/poetic quality, Vincent Johnson’s gritty color photographs of dirty bathrooms are jarring as well as disgusting and reminds one of the nasty gas station restrooms you have encountered during a long drive where you just want to get in, use it and get out as quickly as possible.</p> <p>Richard Haley continues his exploration between man and nature even when both don’t appear to be real.  Rachel Sussman also turns to nature and not necessarily for traditional landscape imagery but to photograph the world’s oldest life forms on earth (including the La Llareta found in Chile that is 3,000 years old).  John Knuth’s mysterious Polaroid photos of reflective emergency blankets tossed in the air have a wistful abstract quality that is accentuated by the field of the blue sky background.</p> Sun, 06 Jan 2013 23:38:58 +0000 Tara Geer - Aran Cravey - January 26th, 2013 - March 31st, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Aran Cravey Gallery</strong> is pleased to present, <strong><em>when we are at sea in the evidence</em></strong>, a solo exhibition of drawings by<strong> Tara Geer</strong>.</span><br /><br /><span style="font-size: small;">What does it mean to have a visual experience? ‘Seeing’ is not a passive occurrence - to see an object or facial expression is an active experience.  It is at once an act of cognition and visual exposure; we recognize, identify, and conceptualize. For Tara Geer, the act of drawing becomes a way to see the world, and in her works, deconstruction becomes a strategy to expose the comfort of recognition. Every instance of seeing is manifested through the lens of our experiences; to see is to make intentional connections between what is in front of us now and instances in the past. Thus, in her works a division takes place between our visual experience with the abstract flurry of charcoal, chalk and pencils and the title, implicating what the viewer observes on the paper is a documentation of something found in the tactile realm.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The twelve works exhibited for this show materialize through the medium of drawing; chalk, charcoal, pastels, pencils and erasers on paper. There has been a notable return to abstraction in painting; these works attempt to negotiate the practice of painting itself rather than the experience of a painting itself. Geer’s resolution in limiting her palette through the use of drawing materials allow the works to disembark from a discussion on abstraction as it is expressed in painting. Despite being abstract, the viewer does not have a purely optical experience with the works. Through our struggle for recognition we are pushed to reflect on our own engagement with visuality in the day to day.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> As a drawing instructor, Geer’s philosophy on how one learns to draw is intertwined with her idea of seeing. Geer explains, “The hardest thing about drawing is nothing technical in your hand; the hardest thing about drawing is looking.” It follows that interacting with Geer’s drawings is itself a visual exercise. We question the process with which we recognize things, what happens when we look at a recognizable object for an extended period of time, until the individual aspects which made the object whole and perceptible fall apart into their own visual entities. What happens here is curious; words become a useless descriptive tool.</span><br /><br /><br /><span style="font-size: small;"><strong>Tara Geer </strong>(b.1970) was born in Boston, Massachusetts and received her BA from Columbia University with a double major in Art and Art History, graduating Magna Cum Laude &amp; Phi Beta Kappa, as well as an MFA with a teaching fellowship from Columbia University School of the Arts. She received the Loius Sudler Prize for excellence in the Arts and the Joan Sovern prize.  Currently, she is an Adjunct Assistant Professor in the Department of Visual Arts at Columbia and in Art &amp; Art education at Teachers College. Geer also trains teachers and staff in <em>Visual Thinking Strategies</em> at the Brooklyn Museum, El Museo, and the Joan Mitchell Foundation among others.  She has worked at WNYC, the NY public radio station, writing and producing culture pieces for  “Morning Edition,” “Studio 360,” Leonard Lopate and other national radio shows.  Her work has been covered in publications such as the New York Times and has been included in exhibitions and collections throughout the US and France.  </span></p> Mon, 11 Mar 2013 18:12:45 +0000 Nate Page - Armory Center for the Arts - July 8th, 2012 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Armory Center for the Arts</strong> presents a temporary, site-specific installation by Los Angeles-based artist<strong> Nate Page</strong> in its central stairwell through June 2013. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Page’s newest work, entitled <em>Instituted Angles of Path and Display</em>, challenges the ultra-functional design of the Armory’s main stairwell. Page has removed one of the stairwell’s two large metal handrails, turned it 90 degrees, and mounted it in the middle of the space on a pedestal-like structure that follows the crooked trajectory of the stairs and the landing. This simple gesture both highlights and alters the existing framework and prescriptive design of the space, which remains fully functional although visually distorted. Central to Page’s practice is an interest in engaging elements of perceived and given space in built environments, often through objects dismissed as peripheral or incidental.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Page acknowledges that railings generally can serve two functions: one for handrail support, and the other as a boundary. By turning a railing on its side and using it to bisect the Armory stairwell, Page shifts our point of view what a handrail is for. Page has created a topography of the climber's passage and an opportunity for visitors to become aware of their physical and psychological relationships to the architecture by negotiating passage (stair) vs. path (boundary railing). Familiar visual and spatial rhythms are interrupted, inviting the viewer to reconsider the function of the space – and possibly, the artist hopes, to find more potential than what it is programmed for.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Nate Page</strong> lives in Los Angeles.  His work has been seen at Lothringer Dreizehn Space for Contemporary Art in Munich, Hotel Pupik in Schrattenberg Austria, Warsaw Academy of the Arts, Warsaw, John Michael Kohler Center for the Arts in Sheboygan, WI, No Name Exhibitions @ The Soap Factory, Minneapolis, and at Cooper Union and Jen Bekman Gallery, both in New York. Page has produced many environments with Machine Project in Los Angeles including A Field Guide to LACMA at Los Angeles County Museum of Art and has shown nationally including Woodbury University Hollywood Gallery, Institute of Visual Arts at University of Wisconsin-Milwaukee, and Otis College of Art and Design in Los Angeles. From 2001-2004, Page co-directed an experimental artist collaborative and exhibition space in Milwaukee called the Rust Spot. He received a MFA from the California Institute of the Arts and a BFA from Milwaukee Institute of Art and Design and attended the Warsaw Academy of Art in Warsaw, Hotel Pupik in Schrattenberg Austria, and the New York Studio Program and the Summer Residency at The Cooper Union, both in New York City.</span></p> Mon, 03 Sep 2012 09:00:44 +0000 - Artspace Warehouse - January 19th, 2013 - March 1st, 2013 <p>New art exhibition <b>Transcontinental Junction</b> opens Saturday January 19<b>, </b>2013 with an artist reception from 5 to 8 PM at<b> Artspace Warehouse</b> featuring artists from South Africa, Germany, the East Coast and Los Angeles.</p> <p> </p> <p><b>Gail Weissman</b> is a professional Los Angeles artist with over twenty years of experience.  Her large acrylic and mixed media paintings express the primordial acts of creation existing on the edge of a great abyss.  She conveys her deep emotion in her work:  “Our precarious position in the universe illustrates how special, unique and rare life really is.”</p> <p> </p> <p>Intense color, complementary palettes, dancing brushstrokes and generously painted figures convey layers of subtle shades in the expressive oil paintings by German artist <b>Barbara Egin</b>.  Loudness and silence eerily and successfully enrich and enhance each other in her compelling compositions.</p> <p> </p> <p>South African artist <b>Natasha June </b>utilizes the uncompromising mark of the charcoal as well as the ability to manipulate the particles.  Thinned out oils create an additional dimension in her stark colorful portraiture while adding the dangerous inability for correction.</p> <p> </p> <p>Originally from Chicago and now in Los Angeles; the career of painter <b>Cinzia Ferda</b> has literally spanned the continent.  At an early age she was awarded a Bachelor of Fine Arts scholarship to the United States International University in San Diego.  Her richly textured contemporary works range from global earthy themes featuring glimmers of metal leaf to edgy urban fare swathed in black drips and swirls.</p> <p> </p> <p><b>Artspace Warehouse</b>, one of the world's leading galleries for savvy contemporary art collectors, combines very different artists from locales spanning the Western Hemishpere in this new exhibition <b>Transcontinental Junction</b>.</p> <p> </p> <p>Artspace Warehouse specializes in guilt free international, urban, pop, street, photographic and abstract art with affordable contemporary art galleries in Zurich and Los Angeles.</p> <p> </p> <p><b><i>Artspace Warehouse | 7358 Beverly Boulevard | Los Angeles, CA 90036 | 323-936-7020 | </i></b><a href="" rel="nofollow"><b><i></i></b></a><b><i> | </i></b><a href="" rel="nofollow"><b><i></i></b></a><b><i></i></b></p> Thu, 17 Jan 2013 23:04:26 +0000 Hugh Scott-Douglas - Blum & Poe - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Blum &amp; Poe</strong> is pleased to present an exhibition of new work by the Canadian artist<strong> Hugh Scott-Douglas</strong>. This marks Scott-Douglas' first exhibition with Blum &amp; Poe and his first solo-presentation in Los Angeles. </span><br /><br /><span style="font-size: small;">For this exhibition, Scott-Douglas draws inspiration from the 1920 German Expressionist silent film, The Cabinet of Dr. Caligari. Directed by Robert Wiene, the film has long been regarded for its use of highly stylized two-dimensional stage sets and the employment of mise-en-abyme, or dream-within-a-dream narrative, to tell the story of Francis, its protagonist, through flashbacks -- one of the earliest films to utilize this technique. As the plot unfolds, a physical and psychological mirroring takes place, one in which time, space, and perspective are called into question. The deceptively elaborate (although in reality quite simple) stage sets used to create such visual trickery are paramount to the film's success and have inspired the installation and architectural choices in Scott-Douglas' current presentation. Much like how Wiene's stage sets dictate the mood of his film, Scott-Douglas, through careful study of Blum &amp; Poe's architectural footprint, has authored an ambitious installation comprised of ongoing bodies of work: cyanotypes, laser cuts, road cases, and slide projections. </span><br /><br /><span style="font-size: small;">The cyanotype (or blueprint), created in the 1840s and used largely by architects (and later artists), is one of the earliest non-camera photographic processes, developing images with the aid of the sun rather than artificial light. The process allowed architects to make inexpensive copies of their drawings prior to the age of photocopy machines. In Scott-Douglas' hands, the cyanotype is used to produce works imbued with motifs designed through computer-generated algorithms. The patterns are output onto transparent film, and then exposed on canvas. The resulting chromatic variation from one canvas to the next is a bi-product of the contingent environment -- the intensity of the sun passing over the canvas at its time of development. In this exhibition, Scott-Douglas uses a grid of eighteen cyanotype pictures measuring 18.5 feet high by 37.5 feet wide as the initial focal point for his installation, towering over four imposing road cases. Using the full surface area of the gallery's largest wall, Scott-Douglas builds a lattice of blue patterning, alternating and subtly shifting in tonality. The artist endeavors to create an "architectural kiss," a term coined by the architectural scholar Sylvia Lavin, whereby the cyanotypes gently embrace the existing architecture, and each piece of the remainder of the installation falls in line. </span><br /><br /><span style="font-size: small;">Just as Scott-Douglas' cyanotype pictures require ultraviolet light to develop, his laser cuts rely on infrared light to generate their motifs. Infrared, on the opposite end of the light spectrum from ultraviolet, has the ability to burn away the surface of a canvas in a highly controlled manner, unlike sunlight. Scott Douglas' laser cuts are "built" from the pictorial information found in his cyanotypes. After photographing a completed cyanotype, the artist will scan and decode the resulting image and export its content to a laser-cut machine. The laser cutter will then produce a "negative" of the blue picture, in essence creating a canvas devoid of all the cyan information found in the original source material. It is through this subtractive process that a relationship between these bodies of work takes shape. The life of the blue picture and the laser cut extends into a different potential space, all the while carrying the DNA of one and the other wherever it may travel. </span><br /><br /><span style="font-size: small;">This notion of transience is one that Scott-Douglas aims to address with his road cases. Conventionally used as a means of transporting equipment from one site to another, the road case here functions practically as a piece of "temporary architecture" and symbolically as the means to contain an inherently transient object. Constructed on a one-to-two descending scale from 14 x 28 feet at its largest to 2 x 4 feet at its smallest, the four road cases in the exhibition each contain an embedded laser cut filled within the metal frame of the case, which function equally as frames, walls, and cases. The laser cut exists only temporarily in its current incarnation as part of the gallery's architectural plan - like a fake wall. Upon the end of the exhibition, the transient object becomes victim to any number of environments it might travel to, eventually finding a resting place, only later to be moved again. Scott-Douglas retrains our eye to the power of the set or stage to distort our understanding of space and time. </span><br /><br /><span style="font-size: small;">Alone in the smallest of the three main galleries, Scott-Douglas will present a new slide project. Loaded with eighty slides, each of the five rotary slide carousels will throw a square of blue light on the opposing wall at unsynchronized intervals, creating a cacophony of mechanized shuttering. Similar to how the production of his laser cuts depend on the existence of their corresponding cyanotypes, the artist has matched the chromatic value of each slide to an existing blue found in a cyanotype picture. Beyond their formal relationship, the duration of each slide projector is timed exactly to fifteen minutes, the amount of time required for the sun to fully expose a canvas outdoors, after which time, no further cyan can be drawn from the chemistry. It is through these relationships of form, content, time and space in which Scott-Douglas' practice takes shape and one is left to negotiate within the hall of mirrors he has built. </span><br /><br /><span style="font-size: small;">Hugh Scott-Douglas (b. 1988, Cambridge, England) holds a BFA in sculpture from the Ontario College of Art and Design (OCAD). His work will be featured in the forthcoming exhibition Pattern: Follow the Rules at the Eli and Edythe Broad Art Museum at Michigan State Museum in March 2013.</span>  </p> Sat, 22 Dec 2012 14:09:13 +0000