ArtSlant - Closing soon en-us 40 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 Bernard Piffaretti - Cherry and Martin - January 12th, 2013 - February 16th, 2013 <div style="text-align: justify;"><span style="font-size: small;"><strong>Cherry and Martin presents the first United States solo exhibition in ten years by one of the most important contemporary French painters, Bernard Piffaretti, as curated in conversation with Matt Connors.</strong></span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>December 2012</strong>, <strong>Los Angeles</strong> – For more than 30 years Piffaretti has expressed the virtues and contradictions of painting, pairing codes of modern abstraction with a strict conceptual methodology. By vertically dividing the canvas into two equal halves creating the right-side as the original and the left-side its copy, Piffaretti has shaped his oeuvre into a multi-perplexing paradox that runs the gamut of painting’s canon while forming the quintessential Duchampian question to the audience.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">The rigor and restraints of Bernard Piffaretti’s practice is riddled with the interruption, or pause, from its initiating mark—the formal constant of the painted-vertical line—that equally connects and separates the whole of the canvas.  The paintings’ conception prompts a metaphorical plurality to the viewer on the creation of the pictorial image, the role of thinking in form, and the questions of negation and reaffirmation of the act of painting through the systematic role of copying to once more reveal what was already known. Unlike many of his contemporaries relaying on the power of the mechanical reproductive image, and the objective truth as presented in the photograph, Piffaretti posits himself into the endless variation of form as a traditional painter, acknowledging his strong conceptual threading, the thoughts within his paintings, and their relationship to space and time bearing the weight of the artist’s infinite dualities.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">Accompanying the exhibition will be a catalogue of Bernard Piffaretti’s work along with a text documenting the discourse between Bernard Piffaretti, in Paris, and Matt Connors, in New York. Their conversation, as conducted through email and in-person meetings, demonstrates the ebbs and flows of both the artists’ painting practice, their relationship to time and space, and the multifaceted questions that engage them in their acts of creation.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">“My painting is built around a great paradox: To deny in order to better assert. My painting thinks and put its thinking on display. It will unfold and thus deny its essential issues and underlying basis: chronology, origin, ending, incompleteness, series, montage, reproduction, etc… “ (Bernard Piffaretti in conversation with Matt Connors)</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Piffaretti</strong> has been the subject of solo museum exhibitions at the Musée d’ Art Moderne  (2009, Saint-Etienne, France); Mamco (2007, Geneva, Switzerland); Beaumont Public Gallery (2006, Luxembourg, Germany); Sara Hilden Art Museum (2001, Tampere, Switzerland); Cartier Foundation for Contemporary Art (2000, Paris, France); and Villa Arson (1991, Nice, France). Piffaretti has been featured in museum group exhibitions at the Centre Georges Pompidou (Paris, France); Hong Kong Museum; CAPC Museum of Contemporary Art (Bordeaux, France); Joan Miro Foundation (Barcelona, Spain); National Gallery of the Grand Palais (Paris, France); and Switzerland Museum of Fine Arts (Bern, Switzerland). Piffaretti was born in 1955 in Saint-Etienne, France; he currently lives and works in Paris, France.</span></div> <div style="text-align: justify;"><em style="font-size: small;"> </em></div> <div style="text-align: justify;"><em style="font-size: small;"> </em></div> <div style="text-align: justify;"><em style="font-size: small;">Bernard Piffaretti: Report</em><span style="font-size: small;"> is part of Ceci n’est pas… Art between France and Los Angeles. </span></div> Thu, 17 Jan 2013 20:52:26 +0000 Kim Fisher - China Art Objects Galleries - January 12th, 2013 - February 16th, 2013 Thu, 17 Jan 2013 20:53:47 +0000 Sojung Kwon - Commonwealth and Council - February 2nd, 2013 - February 16th, 2013 <p>In an ode to ramen, the instant noodle version, Sojung Kwon celebrates this seasonless, comfort food with drawings of the assorted varietals. Kwon searches for signification in the mundane and ordinary i.e., evasive verbiage and technical writing printed on ramen packaging or closing sentiments expressed in plethora of emails, spam or “real.”</p> <p>In another suite of drawings, Kwon chronicles the repetition of common sentiments expressed in a year’s worth of emails signed by friends, acquaintances, and strangers onto a blank calendar template by date of receipt. In an invisible grid of twelve months, Kwon tabulates each day with the presence/absence of a single word like wish, best, soon, or love.</p> <p>Born in Seoul, Korea, Sojung Kwon received her BFA and MFA in Sculpture from Sungshin Women’s University, Seoul, and received her second MFA from Otis School of Art and Design, Los Angeles, CA. Her work has been included in venues such as Seoul Municipal Museum, Seoul, Korea; Barnsdall Art Park, Los Angeles, CA; Insa Art Space, Seoul, Korea; Kunstvlaai Exhibition, Amsterdam; The Nevada Museum of Art, Reno, NV; Dumbo Festival, New York, NY; S1F gallery, Los Angeles, CA; Machine Project, Los Angeles, CA; Angels Gate Cultural Center, San Pedro, CA; Gallery Dam, Seoul, Korea; Pawnshop Gallery, Los Angeles, CA; and The Tahoe Gallery at Sierra Nevada College, NV. She attended artist residencies at MacDowell Colony, NH; Sandberg Institute Exchange Program, Amsterdam; and Can Serrat, Barcelona. She currently lives and works in Los Angeles.</p> Tue, 05 Feb 2013 05:45:29 +0000 Daniel Kaufman - George Billis Gallery- LA - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><em><span style="font-size: small;">New abstract wax paintings by Los Angeles based artist Daniel Kaufman.</span></em></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>George Billis Gallery</strong> is pleased to present the gallery’s first exhibition of paintings by <strong>Daniel Kaufman</strong>.  The exhibition features the artist’s most recent body of work and continues through February 16<sup>th</sup>.</span><br /><br /><span style="font-size: small;">Twenty-three years ago Kaufman gave up this successful career in photography to devote himself to painting, earning a living by writing non-fiction books and magazine articles, and working as a literary agent. As a photographer, Kaufman felt unsatisfied. As he put it, he felt as if he were "walking of the surface of the ocean of art". He wanted more from photography than he was able to find.</span><br /><br /><span style="font-size: small;">Apprenticing himself to the internationally exhibited painter Max Shertz, Daniel began to appreciate the underpinnings of art and his own consciousness. Whereas photography began on the surface, painting involved transcending the surface and giving expression to the Source of all creativity what he calls the "Inner Artist". Daniel's efforts to create art were now concerned with stilling the mind of preconceptions, silencing the ever-dominating ego, and going beyond personal fears to arrive at a completely humbling and intensely liberating art.</span><br /><br /><span style="font-size: small;">Daniel's paintings resist the temptation to record the merely accidental or chaotic, and in this he goes beyond the Abstract Expressionist painters to seek what he calls a "non-random beauty" that is never pre-conceived but is the expression of the purest impulses of "Creative Intelligence". His work abounds in detailed inner landscapes. Like Pollock, he does not consider himself an abstract or non-representational painter, but rather delights in the images and associations that rise up onto the surface unplanned and often invisible to the casual observer. Unlike Pollock, and his innumerable followers, Daniel is not content with leaving the drips and lines and spots where they lie. He takes away paint as freely as he applies it, his only goal the marriage of the conscious and unconscious at the perfect meeting place. Scintillating with color, now bold, now soft and dreamlike, Daniel's paintings delight the eye with their variety of form and (especially) color.</span></p> Tue, 08 Jan 2013 10:49:17 +0000 Group Show - George Billis Gallery- LA - January 12th, 2013 - February 16th, 2013 Tue, 08 Jan 2013 10:51:00 +0000 Annie Sprinkle & Elizabeth Stephens - Jancar Gallery - January 16th, 2013 - February 16th, 2013 <p style="text-align: justify;">JANCAR GALLERY is pleased to announce an important survey of the work of ANNIE SPRINKLE &amp; ELIZABETH STEPHENS – “The Collaboration”</p> Thu, 24 Jan 2013 11:21:41 +0000 Kahn & Selesnick - Kopeikin Gallery - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Nicholas Kahn</strong> and<strong> Richard Selesnick</strong>'s latest project concerns a fictitious cabaret troupe, the Truppe Fledermaus, who travel the countryside staging absurd and inscrutable performances in the abandoned landscapes beyond the town's edge. To create this 'Theater of Memory', the Truppe are as apt to commemorate the passing of an unusual cloud as they are to be found documenting their own attempts to flee the rising waters of a warming planet, or using black humor to comment upon mass extinction. In addition to using this concept to address ecological themes, Kahn &amp; Selesnick also use it as a metaphor for the manner in which seemingly inexhaustible quantities of information are disseminated to us in the modern world.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Richard Selesnick and Nicholas Kahn have been collaborating as Kahn/Selesnick since 1988 on a series of complex narrative photo-novellas and sculptural installations. They were both born in 1964, in New York City and London respectively and both are British citizens. They met at Washington University in St Louis where they collaborated informally from 1982-86 as photography majors. After graduation and a couple of years of showing their art separately they migrated to Cape Cod, Massachusetts to work on an evolving series of projects, some painting based, some photo based, all involving fictional attributions and narratives.  </span></p> Fri, 04 Jan 2013 13:12:47 +0000 Jose Guerrero - Kopeikin Gallery - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">"My work has revolved around themes such as memory and forgetting, the processes that transform landscapes and the way we perceive these landscapes through images." </span></p> <p style="text-align: justify;"></p> Fri, 11 Jan 2013 15:45:19 +0000 Group Show - PRISM - January 18th, 2013 - February 16th, 2013 <div class="exhibitPR"> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>Cast Recording</strong> </em>draws together works that employ two distinct methods of casting ― the casting of objects and casting of characters. One is in the aid of transfiguration and the other in aid of personification, yet both share the intention of filling a form with a substance malleable enough to assume a given shape.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Arranging these works in composition, the exhibition points to the philosophical relevance of casting-one-thing-into-another to the practice of making art. This gesture has particular relevance to contemporary art, which not only makes ample use of casting objects and casting characters, but relies on this kind of transfusion from one substance into another, to create sentience, meaning and an altered value.</span></p> <p style="text-align: justify;"><span style="font-size: small;">What transpires materially in the process of casting an object and character, also occurs metaphysically. Fundamental questions of materialism and translation are raised in these processes and refer to the theatrical, perceptual and metaphorical impulses of making art. The work will exhibit qualities that include the process of casting and reproduction, the formulation of character, fiction, mimesis, recordings and stage.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Artists in Cast Recording include <strong>Lucie Stahl, Marie Lund, Ryan Gander, Matt Hinkley, Hany Armanious, Math Bass, Sarah Conaway, Pierre Bismuth, Olga Balema, Pascual Sisto and Jayson Musson</strong>. <em>Cast Recording</em> is curated by Liv Barrett and will be accompanied by a catalogue, published online and available from upon the opening of the exhibition. An opening reception will be held from 7 – 9pm on Friday 18 January.</span></p> </div> Sat, 22 Feb 2014 15:48:57 +0000 Jack Pierson - Regen Projects (Hollywood) - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">You've gotta love <b>Jack Pierson</b>. In this his 19th comeback attempt in as many years he still relentlessly bangs a drum for the critical and curatorial attention that has eluded him since his move into big budget studio roles.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">In the early days of the 90's he rode into our collective conscience on an ecstatic wave that delivered him as grunge grandpa survivor. His early downtrodden exercises in blitheness seemed to speak so lyrically about lost youth AIDS and Beauty that we became blind as his overpowering self obsession morphed into a topiary of empty cultural signifiers. The International Cultural Elite (ICE) however did not. Once his salary became out of sync with the hobo-hemian legend he had created with the other crepe hangers of his 'scene' (he assiduously avoids the word 'generation', as they are all a few years much older than him) 'It' girl Nan Goldin, the late Mark Morrisroe, and the positively tubercular David Armstrong, only the most general public had any time for him. They showed up in droves though, to one treacly reassessment of his past glories after another, two tickets and a bag of popcorn in hand.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Oblivious to the fact that museums and art journals had long since slammed the door in his face poor <b>Pierson</b> continued to chew the scenery and sweep the floor with the lace sleeves of his despair. All he was hearing were the sighs of an adoring audience and the clatter of coins in the coffers. Hollywood beckons only once, and those who can, often do pass irretrievably through it gates. It happened to Rudolph Valentino, it happened to Elvis Presley, those idols had the sense to crumble and die. Pierson merely crumples as one hack director after another, each of them hand picked by the desperate aging actor, sets him like a marionette to strut and fret on the tiny stage of his latest self inflicted whim. Good Lord! His last picture play was released only in Europe under the misleading title Jesus and Nazimova.  </span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">It is a tragedy we can no longer be sure which role was his. In any case in this latest stab at re-establishing relevancy he has opted for the one commercial Grand Guignol he had managed to avoid lo these 30 years: The Badass Motherfucker in a Blockbuster. At 50+ the once winsome troubadour will star as a grizzled anti-action hero in this his biggest budget disaster spectacle to date: THE END OF THE WORLD! As if to insure sang-froid devil-may-fuck you delivery, the recently remodeled Pierson will star AND direct himself in this sure to be crowd pleaser.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">This just in: On January 12, 2013 (get it? 1*12*13) Regen Projects Hollywood will open, to a line of ticket holders who have been forming since yesterday, this newest <b>Jack Pierson</b> vehicle in which he plays X, a lonesome post-Rapture nihilist walking the landscape of his vanished youth looking for signs of Ricky Nelson amongst the debris of his discontent.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tearing tickets and kicking ass.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Sayonara Documenta.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Pierson's</b> work has been the subject of numerous solo exhibitions including CAC Málaga, Spain; Irish Museum of Art, Dublin, Ireland; MCA, Miami, Florida; and MCA, Chicago, Illinois.  Extensive monographs and publications have been published about the work including <i>Desire Despair</i>, <i>Angel Youth</i>, and <i>Jack Pierson</i>.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">An opening reception for <b>Jack Pierson</b> will take place on Saturday, January 12 from 6-8 pm. For further information please contact Heather Harmon, Donna Chu, or Jennifer Loh at<a href="tel:1-310-276-5424" value="+13102765424" target="_blank"> 1-310-276-5424      </a>.</span></p> Mon, 04 Feb 2013 17:51:22 +0000 Luke Whitlatch - Richard Heller Gallery - January 12th, 2013 - February 16th, 2013 Mon, 07 Jan 2013 10:43:03 +0000 Marc Fichou - ROBERT BERMAN GALLERY B7 - January 5th, 2013 - February 16th, 2013 <p>An official exhibition for Ceci N'est Pas<br />For more information on the Ceci N'est Pas events, please visit:<br /><a href="" rel="nofollow" target="_blank"></a><br />___<br /><br />In his new exhibition “Contenant Contenu” (Containing, Contained…) Marc Fichou offers a cross-medium exploration of a loop connecting two versions of the same object in space and time, one containing the other. In “8×8″, a sheet of wood has been divided into pieces to form a temporary three dimensional arrangement, which after being photographed in the gallery is put back into its original 2D shape to become the support of its own image. The exhibition space is now perceived as both containing the piece and contained by it.<br /><br />In the series entitled “Paper on paper“, the image of an animal made of folded paper is superimposed on the folds that led to its creation. Origami and paper are one and the same thing at two different times, in two different spaces and in two different shapes. The final piece is an unfolded print where folds in the picture blend with the actual folds, thus establishing a continuity between image and matter.<br /><br />In the last room, the artist cuts out from the very walls of the gallery to create an assemblage, which then sits inside it. This, by turning part of the spacial enclosure into what is displayed, the containing once again becomes the contained.<br />Marc Fichou was born in France and now lives in Los Angeles. His work has been shown internationally and “Contenant Contenu” will be his 4th solo exhibition at the Robert Berman gallery.</p> Thu, 06 Dec 2012 21:36:28 +0000 Ed Templeton - Roberts & Tilton - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Opening Reception Saturday, January 12th 6 – 9 pm<br />Book Signing Saturday, January 12th at 5pm</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Roberts &amp; Tilton</strong> is pleased to announce an exhibition of recent photographs by <strong>Ed</strong></span> <span style="font-size: small;"><strong>Templeton</strong> in his fifth exhibition with the gallery. Templeton has long mined the </span><span style="font-size: small;">middle ground between the public and the private, delving unreservedly into the </span><span style="font-size: small;">human situation, creating photographs that are at once heartbreaking and outrageous, </span><span style="font-size: small;">comical and sinister, his images, a visual litmus test of American youth culture in all </span><span style="font-size: small;">its twisted luminescence.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In his most recent exhibition, <em>Memory Foam</em>, Templeton takes a close look at his</span> <span style="font-size: small;">hometown of Huntington Beach, California, a sprawl of suburbia, “mile after mile of </span><span style="font-size: small;">walls that form a hard shell around the housing tracts where beige brick dividers represent the barrier between</span> <span style="font-size: small;">people’s backyards and the major street,” or less obviously perhaps, a division between the sanitized ideals of a</span> <span style="font-size: small;">planned community and the real world. Templeton’s choice to focus specifically on the "downtown" and Main Street,</span> <span style="font-size: small;">once a boulevard of skate shops, bikini stores and dive bars, where “people would hang out watching the fights</span> <span style="font-size: small;">between skinheads, jocks and local boys,” represents a journey back to his old stomping grounds, redefining not only </span><span style="font-size: small;">the artist’s own personal relationship to his past, but to a larger cultural tapestry. Through these images, Templeton</span> <span style="font-size: small;">navigates his own unique history, and his experience as a professional skateboarder, painter and photographer,</span> <span style="font-size: small;">defined by Huntington Beach’s particular brand of beach culture, now gentrified, yet still energetic and vital.</span></p> <p style="text-align: justify;"><span style="font-size: small;">With these recent images, Templeton creates a visual lexicon of the people who live and work in Huntington Beach,</span> <span style="font-size: small;">telling their stories with sensitivity, wit and compassion. Templeton‘s photographs, as with his other work, rarely</span> <span style="font-size: small;">concerns itself with literal space and time, but more importantly and emphatically with an enigmatic and</span> <span style="font-size: small;">complicated human impulse to create anything at all, prompting the artist to “explore the love/hate relationship I</span> <span style="font-size: small;">have with this city,” no longer taking it for granted, but celebrating the city as its own strangely compelling enigma. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;"><strong>Ed Templeton</strong> is a photographer, painter and two-time world champion professional skateboarder. His work was</span> <span style="font-size: small;">featured in the influential exhibition <em>Beautiful Losers</em>, curated by Aaron Rose as well as Art in the Streets at the</span> <span style="font-size: small;">Museum of Contemporary Art, Los Angeles. Upcoming exhibitions include solo presentations in Italy, Belgium, France</span> <span style="font-size: small;">and, in 2014, a solo exhibition at the Museum of Contemporary Art (MACO) Oaxaca, Mexico. Selected recent</span> <span style="font-size: small;">exhibitions include S.M.A.K., Ghent, Belgium; the ARKEN Museum of Modern Art,  Copenhagen, Denmark; SCHUNK </span><span style="font-size: small;">Glaspaleis, The Netherlands; Kunsthalle Vienna, Austria and the 2010 Photography Biennial at MAMAK Liege, Belgium. </span><span style="font-size: small;">Templeton’s work has been the subject of 8 monographs to date.</span></p> Thu, 20 Dec 2012 14:32:34 +0000 Zadok Ben David - Shoshana Wayne Gallery - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Shoshana Wayne Gallery</strong> is pleased to present <strong>Zadok Ben David</strong>’s second solo exhibition with the gallery.</span><br /><br /><span style="font-size: small;">Ben David’s work over the past two decades has explored the relationship between man and nature.  The artist is interested in utilizing metal; in this specific case, aluminum and stainless steel to point towards an exploration of nature as symbolic of the moment of discovery.</span><br /><br /><span style="font-size: small;">In the current exhibition, Ben David is showing new work themed around the butterfly.  The butterfly represents the last link in the chain between man and the natural world. In the main gallery, there is an installation of one circle with two disparate sides.  The three meter form is composed of over 2,000 miniature butterflies and insects; each meticulously hand painted in bright fluorescent colors.  Suspended in a darkened space and viewed only under UV light, one can bear witness to the shifts in imagery when contemplating one side versus the other. “The Other Side of Midnight” challenges perceptions of beauty on the one hand, and repulsion on the other; two seemingly different concepts that are quite closely connected via the nature that surrounds us all.</span><br /><br /><span style="font-size: small;">In the smaller gallery, Ben David shows sculptures comprised of small butterflies and people within the larger forms of figures and circles.</span><br /><br /><span style="font-size: small;">Zadok Ben David lives and works in London.  His work has been shown extensively in Europe and Asia.  The artist currently is featuring large scale outdoor work in the Singapore Botanical Gardens.  Ben David represented Israel in the Venice Biennale in 1988.  He is the recipient of both the Grande Biennial Premio at the XIV Biennale Internacional de Arte de Vila Nova de Cerveira, Portugal 2007 as well as the Tel Aviv Museum prize in 2005. He has had exhibitions in The Tel Aviv Musem titled <em>Human Nature</em> in 2009; <em>Living in Evolution</em> in Busan Biennial in 2010, South Korea; <em>Wonder</em>Singapore Biennale 2008 and at the Biennale Cuveé 2009 in Austria, among others. </span></p> Fri, 15 Feb 2013 08:15:22 +0000 Cynthia Ona Innis - Walter Maciel Gallery - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Walter Maciel Gallery</strong> will present a solo show entitled<strong> <i>Shine</i> </strong>by<strong> Cynthia Ona Innis</strong>.  The new work continues Innis’s interest in nature and interpreting the cyclical manifestations of landscape into well articulated abstractions.  The exhibition marks Innis’s fourth solo show with the gallery. </span><br /> <br /><span style="font-size: small;"> This past fall Innis became an Affiliate Artist at the Headlands Center for the Arts in the Golden Gate National Park just north of San Francisco.  Set within an old military building on a hill and adjacent to a restored missile site, her studio overlooks the ocean and sublime environment of rolling hills and majestic valleys.  The new work continues to be a study of forms under transformation, exploring exchanges that are seen and unseen to the eye and exposing moments when one thing becomes another. The subject specifically relates to the changing notions of light in the course of a 24 hour period.  Time, movement and observations of the effects of light on the eye are explored within the range of weather patterns ranging from extremely bright coastal days to dense fog and pitch-black nights.  The interference of light seen on objects and through the camera lens becomes the focus and is visually recreated using a variety of collaged information such as satin, silk and reflective metallic fabrics layered with ink and acrylic paint on canvas, wood panel and paper.  In contrast to the layering of materials, there are tightly drawn areas of patterns, overlapping honey comb-like networks made from observations of light and the dust and pollution left in its path between the eye/camera and the natural/artificial light source.    The work takes on a landscape format with a narrative created by a combination of drawing, painting and overall relationship of fabrics.  <b></b></span></p> <p style="text-align: justify;"><span style="font-size: small;">In addition to the paintings and drawings, a new video will be shown produced in collaboration with East Coast based video artist Adam Frelin.  The video explores the experience of traversing a pedestrian tunnel that leads to the Point Bonita lighthouse, near the artist's studio, and the light effects inside of the tunnel and the area.  The project was created with information and footage collected by Innis and Frelin and exchanged, highlighting each artist’s vision and interpretation.  </span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"> Last year Innis was part of summer residency at La Porte Peinte Centre for the Arts in Noyers Sur Serein, France. The work made during the residency began the initial exploration of light effects and patterns found in nature and some of the inventory is included in the current group exhibition <i>Bee</i> at their onsite gallery. Last year Innis featured a group of small paintings in the show <i>Contemplations and Conjectures: 12 Artists</i> at the Schick Art Gallery, Skidmore College in Saratoga Springs, NY and she was included in the shows <i>Materials + Process</i> at Traywick Contemporary  and <i>On View </i>at the Kala Art Institute both in Berkeley.  Innis’s work is in the collection of the Art in Embassies Program, US Department of State in Riga, Latvia; de Young Museum, Fine Arts Museums in San Francisco; Berkeley Art Museum; San Jose Museum of Art; County of Alameda, CA; City of Lafayette, CA; Madewell, New York; Microsoft Art Collection, Redmond, WA and the Capital Group Corporation, Los Angeles.  She has been an adjunct instructor at UC Berkeley, San Francisco Art Institute, Maine College of Art, Boise State University among other institutions. </span></p> Thu, 24 Jan 2013 10:53:29 +0000