ArtSlant - Openings & events en-us 40 Phillip Estlund, kirsten kindler, Katie Sinnott - ACME - February 16th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>ACME</strong>. is pleased to present <em><strong>Work/Space</strong></em>, a group exhibition of recent work by artists <strong>Phillip Estlund, Kirsten Kindler, </strong>and<strong> Katie Sinnott</strong>. These three artists are strongly influenced by architecture and the use found materials are inherent in their art making.</span><br /><br /><span style="font-size: small;">Phillip Estlund's works often reference architectural structures and landscape. He constructs his sculptures using the architectural ruins that remain after the devastation of natural or man-made disasters. Living in South Florida, Estlund has had first-hand experience of the devastation caused by hurricanes and other man-made accidents. By presenting the detritus that remains from destruction and transforming it, Estlund not only expresses the physicality and fragility of mankind's pursuits, but also our ability to rebuild. </span><br /><br /><span style="font-size: small;">Kirsten Kindler builds intricate cut paper constructions that seem to teeter between order and chaos. Kindler searches through magazines and collects images of architectural details. She then precisely cuts and extracts the architectural elements to build delicate structures that are both harmonious and contradictory. There is a visual harmony and symmetry in the overall arrangement that has a beautiful lace-like quality. At the same time, the structure created is an improbable space as stairwells lead into more stairwells, arches and columns rest upon more arches and columns. By amassing numerous images of architectural objects to create a large but vulnerable structure, Kindler's airy architecture becomes a thoughtful reflection on the emptiness and fragility of our material culture.</span><br /><br /><span style="font-size: small;">For Katie Sinnott, the architectural space is her canvas. Sinnott's work is motivated by a desire to step inside of a painting or drawing, and to truly engage with the painting and space. In a daily practice, she alters the space by adding or removing paint, drywall, plywood, light, and other materials around the space in an attempt to bring it close to a balancing point. The space becomes a document of her continual process, and the viewer becomes engaged in deciphering where the room ends and the painting begins.</span></p> Mon, 28 Jan 2013 15:20:57 +0000 Group Show - bG Gallery - February 16th, 2013 7:30 PM - 9:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>bG Gallery</strong> is pleased to present <strong><em>The Art of Literature</em></strong>, our newest exhibit featuring art inspired by great works of literature. Please join us for the opening reception February 16th at 7:30 pm or anytime during gallery hours February 16th through March 5th. We look forward to seeing you! </span><br /><br /><span style="font-size: small;">Exhibiting Artists Include: Joshua Hagler, Paulo Solano, Simone Gad, Kate Jackson, Barbara Kosoff, Susan Lizotte, Tami S. Tsark, Susan Lizotte, Gay Summer Rick, Linda Smith, Claudia Morales McCain, Barbara Kolo, Joella March, Mike Street, Treiops, Hilary Wootton, Allois, and more to be announced. </span><br /><br /><span style="font-size: small;">Select Works of Literature include: Mary Oliver's "A Thousand Mornings," The Tanakh, Shakespeare's "Sonnet 18", Robert Frost's "The Armful," Dante's "Inferno," Camus' "The Stranger," Select poems by Emily Dickinson, Lucia Impelluso's "Aphrodite and the Gods of Love," and others.</span><b> <br /></b></p> Sat, 22 Feb 2014 15:45:32 +0000 Maurice Sendak - Bowers Museum - February 16th, 2013 10:00 AM - 4:00 PM <p style="text-align: justify;"><span style="font-size: small;"><em></em></span><span style="font-size: small;"><strong>Santa Ana, CA</strong>— A touring exhibition commemorating the work of the iconic American illustrator and writer Maurice Sendak is scheduled to begin a national tour starting at the Bowers Museum in Santa Ana, California on February 16, 2013. Sendak’s last illustrated book is scheduled to be released posthumously on February 15, 2013. Sendak died in Danbury, Connecticut at age 83 in May of 2012.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br /><em>Maurice Sendak: 50 Years ● 50 Works ● 50 Reasons</em> - is a comprehensive memorial exhibition of 50 select works by the late artist supplemented with accompanying comments by celebrities, authors and noted personalities – celebrating the 50th anniversary of the publishing of the universally revered “Where the Wild Things Are”.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br />The exhibition includes works in a variety of media and offers a survey of the highlights of Sendak’s career and the diverse art forms in which he was renowned. From children’s literature to Broadway and the opera, from animated film to young adult textbooks – Sendak remained an iconic American illustrator and author, acclaimed around the world for his genius and insights.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br />Among the fifty contributing commentators to the exhibition are playwright and screenwriter Tony Kushner, comedian Stephan Colbert, artist Robert Crumb, Director Spike Jonze, President Barack Obama, New York Mayor Michael Bloomberg and actor Tom Hanks. Special note is given to Sendak’s teachers and commentary is also provided by his students from his teaching years in New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br />The exhibition will tour select venues throughout the United States in 2013, and in addition to the display and commentaries, will offer lectures, panel discussions, film screenings and family events to coincide with the presentation.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br />Works included in the exhibition were selected from private collectors, friends of the artist and numerous media sources – offering a survey of Sendak’s range as an artist and author – and his influence on generations of readers and young adults. Photos, sketches, finished works in a variety of mediums and supplementary documentary content offering insights into the artist’s biography and evolution of content are part of this family-friendly presentation.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br /><em>Maurice Sendak: 50 Years ● 50 Works ● 50 Reasons</em> exhibition tour is managed by Opar Media, LLC. Content © MSME. Artwork © Maurice Sendak &amp; participating artists. All rights reserved.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br />For more information, please visit the Bowers Museum website at</span></p> Sat, 02 Feb 2013 09:45:38 +0000 - Bowers Museum - February 16th, 2013 1:30 PM - 3:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>PART II OF SERIES</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Norma Kershaw Auditorium</span></p> <p style="text-align: justify;" class="``Body1``"><span style="font-size: small;">Presenters: William Shankle, MD; Phillip O’Carroll, MD</span></p> <p></p> <p style="text-align: justify;" class="``Body1``"><span style="font-size: small;">Join Dr. Shankle and Dr. O'Carroll for a fascinating discussion about how the mind-body connection factors into the creative process. How does creativity of the brain relate to movements of the body? An interactive, hands-on workshop will follow this stimulating lecture. More Details to come. </span></p> <p style="text-align: justify;" class="``Body1``"><span style="font-size: small;">Dr. Phillip O'Carroll is the program director of Hoag’s Neurobehavioral Medicine Program. He has helped to establish a comprehensive neurobehavioral program at Hoag and is regarded as a pioneer in his work to integrate conventional neurology with psychiatry. He is Board Certified in Internal Medicine, Neurology/Psychiatry and Pain Medicine.</span></p> <p style="text-align: justify;" class="``Body1``"><span style="font-size: small;"><strong>Don't Miss Part III!</strong> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Sponsored by The James Irvine Foundation. </span></p> <p style="text-align: justify;"><span style="font-size: small;">  </span></p> <p style="text-align: justify;" class="``````Style1``````"><span style="font-size: small;">Purchase Tickets: </span></p> <p style="text-align: justify;" class="``````Style1``````"><span style="font-size: small;">- At the museum front desk, <strong>Tuesday-Sunday, 10AM - 4PM</strong></span></p> <p style="text-align: justify;" class="``````Style1``````"><span style="font-size: small;"><strong></strong>- By printing and completing a <a href="">Reservation Form</a></span></p> <p style="text-align: justify;" class="``````Style1``````"><span style="font-size: small;">- By emailing <strong></strong> or calling <strong>714-567-3677</strong></span></p> Thu, 17 Jan 2013 15:09:52 +0000 Petra Schilder - Carter & Citizen - February 16th, 2013 6:00 PM - 8:00 PM Sun, 27 Apr 2014 16:07:41 +0000 Nery Gabriel Lemus - Charlie James Gallery - February 16th, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Charlie James Gallery</strong> is pleased to present our second solo show by gallery artist <strong>Nery Gabriel Lemus</strong>, winner of the 2013 COLA Individual Artist Grant, and the 2013 Rema Hort Mann Foundation Award. In this current body of work, Lemus continues to explore domestic issues, issues that can often manifest in society at large. In particular, Lemus brings focus to the influence, positive and negative, adult men have over young boys, either within families or as men in society. Lemus’ interest in the topic stems from his involvement in social work over the past 14 years, where he has worked with boys and young men with absent fathers and a lack of positive role models.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The work in the show examines the concept of heroism – particularly in what constitutes a hero. Society has established heroes in a multitude of different spaces, frequently cemented through entertainment culture. In our hyper-mediated age, many established heroes are found to be fraudulent, and many elevated personae exemplify behaviors of questionable merit. The title of this exhibition is taken from Alice Childress’ book, <em>A Hero Ain’t Nothin’ But a Sandwich</em> (1973). The book chronicles the struggles of Benjie, a young African-American kid struggling with acceptance and self-worth while flirting dangerously with heroin addiction. Benjie utters the titular phrase implying that heroes and saviors have ceased to exist in the hard times he lives in. Within this body of work, Lemus uses recognizable childhood archetypes like stuffed animals, piñatas, superheroes and childhood characters to incorporate the idea of heroic absence, and to suggest where heroes might be found.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nery Gabriel Lemus was born in Los Angeles, in 1977. Lemus received his BFA at Art Center College of Design in Pasadena, California (2007) and his MFA at the California Institute of the Arts in Valencia, California (2009). Lemus also attended the Skowhegan School of Painting and Sculpture in Maine (2008).</span></p> <p style="text-align: justify;"><span style="font-size: small;">His work has been featured is several group exhibitions including, Made in L.A. 2012, organized by the Hammer Museum in collaboration with LAXART, OZ: New Offerings From Angel City at Museo Regional Guadalajara in Jalisco, Mexico, The Seventh House at Project Row Houses in Houston, Texas, the 2010 Border Art Biennial at El Paso museum in El Paso, Texas, El Grito, at The University of Arkansas in Little Rock, Arkansas, and Common Ground, at the California African-American Museum. Lemus is also a recipient of the 2012- 2013 prestigious City of Los Angeles (C.O.L.A.) award and the 2013 recipient of the Rema Hort Mann Foundation Award.</span></p> Mon, 21 Jan 2013 16:09:12 +0000 EUN NIM RO - CMay Gallery - February 16th, 2013 6:00 PM - 8:00 PM <p align="center"><i>EUN NIM RO </i></p> <p align="center">February 16, 2012 – March 16, 2013</p> <p align="center">AndrewShire Gallery</p> <p align="center"></p> <p align="center"><img src="" style="vertical-align: middle; margin: 10px;" /></p> <p> </p> <p>(Los Angeles, California) December  26, 2012 – Andrew Shire Gallery is pleased to announce the solo exhibit of <i>Eun Nim Ro</i> opening February 16<sup>th</sup>, 2013.  Known as one of Korea’s leading contemporary artists, Ro’s work is highly reflective of her complex international background.  Her paintings cultivate qualities that embody the German Neue Wilde rediscovery of Fauvism and Expressionism, as well as the folk traditions of her native Korean heritage. </p> <p> </p> <p>Born in Chonju, Korea, Ro moved to West Germany as a young artist immediately after the Second World War, to study and ultimately to live and work in Hamburg.  Trained both in nursing as well as the arts, Ro’s work reflects a deep appreciation of “Art Brut” - the art of children and the institutionalized. </p> <p> </p> <p>Ro’s exhibition at AndrewShire leans towards a more abstract pictoriality.  In his essay for the exhibition catalogue writer Peter Frank states, “Ro’s work brims with a primal, irresistible almost frightening joy and directness.  But its formal qualities betray her highly discerning eye and deliberate hand.”</p> <p> </p> <p>Ro’s images are derived from her imagination rather than reality.  Such images are described by Frank as “fanciful spaces filled with indescribable or highly stylized, yet vital beings. Some of these creatures convey forceful simplicity, like traditional calligraphic markings, absent of color and given a contemporary edge. Others teem and engulf the picture plane with their proliferation, not to mention their luscious palette.” Such qualities of her work reflect the same childlike characteristics evident in the work of Paul Klee, Picasso and post-surrealist gestural painting, classifying her not as neo-expressionist but as neo-CoBrA.</p> <p> </p> <p>The cultivation of eastern qualities in Ro’s art is highly respected in her native Korea.  Her work often reveals the deep rooted eastern calligraphic tradition of her homeland, and in this tradition, Ro often uses poetry to clarify the spirit and impulse driving her art. </p> <p> </p> <p>In is a spirit of play, Frank writes, Ro exhibits an impulse to mischief that manifests most clearly and emphatically in her effervescent apparitions and evocative objects. Her art doesn’t simply ask us, but prompts us, to lighten our grasp on life – and thereby to relish it that much more.</p> <p> </p> <p>AndrewShire Gallery, is dedicated to the development and exhibition of innovative, contemporary art works by international and local talents.  In addition to the Los Angeles location, the gallery established an alternative space in Singapore in 2006.  AndrewShire continues to push the international envelope while remaining an integral part of the local community.  The gallery is located at 3850 Wilshire Boulevard #107, Los Angeles, CA  90010.  AndrewShire Gallery, Singapore, is located at 63 Hillview Avenue #10-13, Lamb soon Building, Singapore, 669569.</p> <p align="center">For further information contact Susan Baik, Director</p> <p align="center"><a href="" rel="nofollow"></a></p> <p align="center">213 389-2601</p> <p align="center"> </p> <p align="center">For press inquiries contact Christine Anderson, Communication Arts + Design <a href="" rel="nofollow"></a> (310) 869-8957  <a href="" rel="nofollow"></a></p> <p> </p> <p>###</p> Tue, 22 Jan 2013 23:10:32 +0000 Johannes Vermeer - Getty Center Los Angeles - February 16th, 2013 10:00 AM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Johannes Vermeer's painting <em>Woman in Blue Reading a Letter</em> is on view for six weeks as a special loan from Amsterdam's Rijksmuseum.</strong> <br /><br /> Luminous and exquisitely rendered, <em>Woman in Blue Reading a Letter</em> (about 1663–64) is one of Vermeer's most captivating portrayals of a young woman's private world. This generous loan from the <a href="">Rijksmuseum, Amsterdam</a> marks the first appearance of this remarkable painting in the western United States, and the last stop in a world tour heralding the opening of the Rijksmuseum on April 13, 2013, following an extensive renovation. This special installation situates <em>Woman in Blue Reading a Letter</em> among works by Vermeer's leading Dutch contemporaries and highlights the inimitable approach of one of the most celebrated painters of the Golden Age.<br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Vermeer's quiet scene is at once familiar and enigmatic. The composition is so meticulously ordered, that every element contributes to the reflective mood of the female subject at its center. Standing motionless at a table before an unseen window, a young woman intently reads the crisp page of a letter—possibly a precious message from a lover. On the table, a second page of the missive partially covers a string of large pearls on a blue ribbon, perhaps just removed from the open jewelry box nearby. The woman is comfortably dressed in a blue padded bed jacket (<em>beddejak</em>), decorated with yellow bows on the front and sleeve, and a long heavy skirt. Soft morning light highlights her forehead and glances across the delicate fabric of the jacket, but leaves the bow around a side curl of her hair and the back of her form in deep shadow. It glints off the large brass nails decorating the Spanish chairs, which have lions head finials, as well as the small tacks along the edge of the seat. <br /><br /> In a masterful demonstration of Vermeer's command (and manipulation) of optical effects, the chairs and map rail casts bluish shadows on the wall, but not the woman herself. In keeping with the delicate atmosphere of the interior, he softened the topography represented on the large map of Holland and West Friesland to muted blue, taupe and ocher tonalities that suggest her complex internal state. This is Vermeer's most refined and enigmatic treatment of the popular theme of letter reading. Although the content of the correspondence is a mystery, the woman's bent head and parted lips impart a sense of suspense. The significance of the woman's rounded silhouette, which was reduced along the back by Vermeer during the painting process, has prompted much debate since the late 19th century. For some viewers, her shape suggests pregnancy, which would have been an untypical subject for the period. As seen in other paintings by Vermeer and his contemporaries, the conical shape in style in the mid-1660s was achieved by wearing a flared jacket over a thick skirt turned over at the waist.</span></p> Sat, 19 Jan 2013 16:35:22 +0000 David Ryan - Mark Moore Gallery - February 16th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;"><strong>Mark Moore Gallery</strong> proudly presents "<em><strong>Object &gt; Path &gt; Outline Stroke</strong></em>," a solo exhibition in the Project Room of sculptural paintings by Las Vegas-based artist, <strong>David Ryan</strong>. While object-like in physicality, Ryan's works soften the distinction between the architectural, geographic, biomorphic, and abstract. In distorting the viewer's perception of depth, plane, and contour, Ryan creates ambiguous, but alluring compositions that engage with both quirky artifice and aesthetic formality.</span></p> <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;">"Object &gt; Path &gt; Outline Stroke" will feature several new works, as well as a progressive development in Ryan's overall practice. While still absorbed with the slick perfection of finish fetish, and procedural focus of hard edge abstraction, Ryan now also incorporates purposeful imperfections that animate his interest in organic form. Meticulously exact profiles are now wed with seemingly imprecise grooves, outlines, and crevices – paying homage to the spontaneity and uninhibited development intrinsic to creative process. His work explores the dynamic between craft and mass production, art and design, man and machine on an increasingly astute level, as evidence of the artist's own mortality is left permanently rendered on his bold terrains. An optical conundrum that echoes Robert Therrien's suggestively consumer-based forms and Ellsworth Kelly's willfully reductive abstraction, Ryan's work is an enchanting study in phenomenology as well as the collective unconscious.</span></p> <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;">Ryan (b. 1971, TX) received his BFA from the University of Texas in Austin, TX before making the move to earn his MFA from the University of Nevada, Las Vegas (NV) where he studied under Dave Hickey and Libby Lumpkin. His work has been exhibited at the Laguna Art Museum (CA), Las Vegas Art Museum (NV), Galerie Jean-Luc &amp; Takako Richard (Paris), Seomi &amp; Tuus (Seoul), Davidson Contemporary (NY), and James Kelly Contemporary (NM). David Ryan lives and works in Las Vegas.</span></p> Sat, 22 Feb 2014 15:21:27 +0000 Okay Mountain - Mark Moore Gallery - February 16th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;"><strong>Mark Moore Gallery</strong> proudly presents <em><strong>Long Plays</strong></em>, the first Los Angeles solo exhibition of works by Austin-based artist collective, Okay Mountain. Drawing upon various media, including video, sculpture, photography and drawing, the group’s nine members pay homage to the ubiquitous content of contemporary consumer culture. Long Plays delves further into the collective's observations about the calculated fluidity between entertainment, commodities, and advertising.</span></p> <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;">In 2006, Okay Mountain formed their collective and simultaneously opened an exhibition space in East Austin, Texas, by the same name.Their participation on both the production and vending sides of the same industry contributed to a shared heightened awareness about the nature of exchange—a trait that has manifested itself in objects and performances that parody our uniquely American reverence for commerce. Through calculated exaggeration and espousal of the absurd, Okay Mountain creates farcical caricatures of a national identity. Faux infomercials, flyers, guidebooks, and memos are rife with satirical imitations of salesmen, tour guides and mascots – playing on our communal tendency for unsatiable want. In Long Plays, the artists analyze the strategies of catalogue photography, corporate procedure, and "How To" books to fulfill an undefined yearning for perfection. As consumers, we're often told that the perfect handyman tool, business plan, or instructional manual can guide you towards your best self; Okay Mountain riffs on these distorted perceptions, and lampoons their fallacies with a shrewd wit. Nonsensical instructions scrawled across a whiteboard mimic the brainstorm sessions of a start-up company, but ultimately lead to inconclusive results. Products born from harebrained invention appear fetishized and enticing, but are fundamentally useless. Okay Mountain identifies the contrivances that shape our relentless desire for immediacy and accumulation, and spoofs them with a sagacious flair.</span></p> <p style="text-align: justify;" class="unit_copy"><span style="font-size: small;">Okay Mountain consists the following members: Sterling Allen, Tim Brown, Peat Duggins, Nathan Green, Justin Goldwater, Ryan Hennessee, Josh Rios, Carlos Rosales-Silva, and Michael Sieben. While most artists are alumni of the University of Texas at Austin (TX), others are graduates of University of California Los Angeles (CA), Rhode Island School of Design (RI), and the University of Kansas (KS). Institutional exhibitions have included those at the Blaffer Art Museum at the University of Houston (TX), Austin Museum of Art (TX), McNay Art Museum (TX), Art House (TX), University of Tennessee, Chattanooga (TN), deCordova Sculpture Park and Museum (MA).</span></p> Sat, 22 Feb 2014 15:21:27 +0000 Paul Wackers - New Image Art Gallery - February 16th, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>New Image Art</strong> is pleased to present, "<strong><em>Early Romantics</em></strong>," a solo exhibition by <strong>Paul Wackers</strong>, opening Saturday, February 16, 2013, 7-10PM.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Paul Wackers will exhibit a new body of paintings that depict geometric still life assemblages interacting with natural settings. Wackers takes the still life object, deduces it into geometric and linear form, and takes an additional step: the form is simplified to abstract shapes while raw painting techniques mimic the nature of the object itself.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Wackers' work is rooted in inventive means of figuration. He uses a multi-method technique to support the subject at large. The formal quality and sincerity of his work walks between the lines of that of a 17th century Dutch still life painter a la Margareta Haverman or Willem Van Aelst, to atmospheric and broken down geometric landscapes, and sometimes to paintings on a single canvas that imitate diptych. Objects placed in the foreground of landscapes resemble hand-made sculptures and viewers may be tempted to wonder if they are not looking at the two-dimensional works of a very accomplished ceramicist! In this latest body of work Paul's paintings balance amazing confidence in his technique and structure with a spirited gentleness.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Wackers- Born in New Haven, Connecticut, lives and works in Brooklyn, New York.Wackers received his MFA from the San Francisco Art Institute and BFA from the Corcoran College of Art and Design.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Solo Exhibitions include: "Wait and Watch Awhile Go By" Alice gallery, Brussels Belgium (2011), "Of Life" Morgan Lehman Gallery, New York , NY (2011), "Idle/Idol" Eleanor Harwood Gallery, San Francisco, Ca (2009), "New Work" Tournesol award show, Luggage store gallery, San Francisco, Ca (2008), "Stand Still Like the Hummingbird" Eleanor Harwood Gallery San Francisco, Ca (2006), "Another Side of This Life" Eleanor Harwood Gallery, San Francisco Ca , Critics pick in November 2006 by Glen Helfand (2005), "Old Bodies Become Crystal Clear", Record collector, San Francisco Ca (2001), "Eleven Ways to Cut an Egg", BFA Thesis show, Corcoran Gallery of Art, Washington D.C.</span></p> Sat, 22 Feb 2014 15:22:08 +0000 Saul Leiter - ROSEGALLERY - February 16th, 2013 4:30 PM - 6:30 PM <div align="justify" style="text-align: justify;"><span style="font-size: small;"><strong>ROSEGALLERY</strong> is pleased to present <strong>SAUL LEITER: POST-WAR COLOR</strong>.  Photographs from the late 1940s and 50s will be on view from 16 February through 16 March, 2013.  An opening reception will be held Saturday, 16 February, from 4:30 - 6:30 pm.  A screening of the recent documentary film </span><em style="font-size: small;">In No Great Hurry: 13 Life Lessons with Saul Leiter </em><span style="font-size: small;">directed by Tomas Leach is scheduled to coincide with the reception. </span></div> <div align="justify" style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;"> </span></div> <p align="justify" style="text-align: justify;"><span style="font-size: small;">A pioneer of early color photography, Saul Leiter has been shooting color pictures obsessively since the 1940s.  Largely self-taught, he developed an abstract, lyrical form of photography centering on radically toned representations of metropolitan scenes during the heyday of black and white photography, when relatively few photographs other than those intended for reproduction in magazines or as advertisements were made in color.  By compiling an extensive body of work in color during the medium's infancy the artist has made a significant contribution to its history and is noted as one of the outstanding figures in post-war photography.</span><span style="font-size: small;"> </span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">Leiter was born in Pittsburgh in 1923, the son of an internationally renowned Talmudic scholar. Though his family wanted Saul to follow in his father's footsteps and become a Rabbi, at the age of 23 he left theology school and set off for New York on a midnight bus with dreams of becoming a painter.  The city offered him a fresh start, removed from his Jewish Orthodox upbringing, and ultimately a lifetime of visual inspiration.  It was here that he met Richard Pousette-Dart, one of the younger New York Abstract Expressionists, who introduced him to experimental large-format photographic prints and ultimately inspired Leiter's interest in the camera as an artistic tool.  From the start, Leiter's affinity for Abstract Expressionism and color field painting informed his photographic vision, and while his subjects were the city streets and the often unyielding urban visual experience of Manhattan, the poetic underpinnings of his approach; the spare geometry, the semi-abstract, improvisational layering and fragmentation of space, and especially his innovative combinations of color, set him apart from his contemporaries in The New York School like Robert Frank and William Klein, for example.  By exploiting the color distortions inherent in outdated film stock and embracing the color rendition in emulsions available from small manufacturers Leiter created an experimental style, influenced as much by the avant-garde post-war painters whom he admired, as the urban environment in which he dwelt. Art critic Roberta Smith wrote in 2005:</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;"> </span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">'Mr. Leiter was a photographer less of people than of perception itself. His painter's instincts served him well in his emphasis on surface, spatial ambiguity and a lush, carefully calibrated palette. But the abstract allure of his work doesn't rely on soft focus, a persistent, often irritating photographic ploy, or the stark isolation of details, in the manner of Aaron Siskind or early Harry Callahan. Instead, Mr. Leiter captured the passing illusions of everyday life with a precision that might almost seem scientific, if it weren't so poetically resonant and visually layered.'</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;"> </span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">Leiter's first exhibition of color photography was held in the 1950s at the Artist's Club, a meeting place for many of the Abstract Expressionists at the time.  Then, in the late 1950s the art director Henry Wolf published his color fashion work in <em>Esquire</em> and later in <em>Harper's Bazaar</em>.  Leiter continued to work in the fashion world for the next twenty years for such publications as <em>Elle</em>, and <em>British Vogue</em>.  And although Edward Steichen included a group of Leiter's photographs in the 1953 exhibition <em>Always the Young Strangers</em> at the Museum of Modern Art, as well as twenty of his color images in the MoMA conference <em>Experimental Photography in Color</em> in 1957, for 40 years following, Leiter's noncommercial work remained virtually unknown to the wider art world.  Since the publication of his monograph, <em>Early Color</em>, by Steidl in 2006, however, Leiter's photography has experienced a surge of popularity and numerous exhibitions have followed, beginning with the artist's first major retrospective at the Milwaukee Museum of Art.  His work has also been the subject of solo shows at the Cartier Foundation, Paris; Forma Foundation for Photography, Milan; and Deichtorhallen, Hamburg.</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;"> </span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">Saul Leiter's photographs are featured in the book <em>The New York School: Photographs 1936-1963</em> by Jane Livingston, <em>Appearances: Fashion Photography Since 1945</em> by Martin Harrison and most recently, <em>Saul Leiter</em>, a catalogue published to accompany the artist's 2012 retrospective at the House of Photography in Hamburg.  His work is found in the permanent collections of The Museum of Modern Art, New York; The Whitney Museum of American Art; The Art Institute of Chicago; The Baltimore Museum of Art; the Victoria and Albert Museum, London; The Stedelijk Museum, Amsterdam and many other public and private collections.</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;"> </span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">The artist currently lives and works in New York City.</span></p> Sat, 19 Jan 2013 10:27:34 +0000 Marianne Sadowski, Don Newton, Poli Marichal, Nguyen Ly, Kay Brown - Social and Public Art Resource Center (SPARC) - February 16th, 2013 5:00 PM - 9:00 PM <div class="section"> <div class="layoutArea"> <div class="column"> <p>On Saturday, February 16, 2013, 5pm-9 pm, at 685 Venice Blvd., Venice, CA (Old Venice Police Station), SPARC’s historic headquarters since 1977, SPARC is honored to host Behind Bars, showcasing Los de Abajo Printmaking Collective’s new suite of prints denouncing the critical state of the prison system in the U.S., which to date houses close to 2,000,000 prisoners and counting. The evening will also feature a special performance by singer Angela Roa and guitarist Fernando Lozada. Wine, refreshments and appetizers will be served.</p> <p>California has the largest prison system in the industrialized world. A large percentage of the prisoners in this huge system are illiterate. Our society builds more prisons when it should be building more schools. Los de Abajo’s work also addresses the way society at large has also become imprisoned by the ruthless capitalist machine that surveys and controls every move and every urge of its consumers.</p> <p>What does it mean to lose your freedom? What does the way the prison complex works say about the kind of society we live in? The U.S. currently puts more people in jail than any other country in the world. The impact such a punitive system has on the psyche of this nation is alarming and is having a nefarious effect on the quality of life of its people.</p> <p>Argentinian art historian Laura Pomerantz, who also wrote the essay, Prisoners of Hope, for the catalog of the show, is the curator of Behind Bars. The body of work developed for this exhibition includes woodcuts, linocuts, drypoints, stencils, chine collé, mixed media and installation created by the members of the collective: Kay Brown, Nguyen Ly, Poli Marichal, Don Newton and Marianne Sadowski.</p> <p>About SPARC: SPARC is a community-based non-profit arts organization founded in 1976 by muralist Judith F. Baca, filmmaker Donna Deitch, and artist Christina Schlesinger. SPARC is dedicated to producing, presenting, and preserving public artworks in Los Angeles, nationally, and internationally. SPARC remains committed to helping individual communities find their voice, giving it public expression, and to breaking down barriers both real and perceived between communities.</p> <p>For more information about the group contact: or call 310-822-9560, ext 15 or visit The exhibition will be open Tues-Sat, 11am to 5pm through Saturday, March 30 and is free to the public.</p> </div> </div> </div> Thu, 03 Jan 2013 17:29:08 +0000 Barbara T. Smith - The Box - February 16th, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">In 1965 Barbara T. Smith was living with her husband and three children in Pasadena, CA and was looking to make a lithograph; she found a XEROX machine instead.  This exhibition will expose the majority of the works that she made during this time, using said XEROX machine. She made one large group of bound Xerox books called the <em>Coffins</em> and an unbound <em>Poetry Set </em>that included 5 individual folders: Joy, Rebellion, Sorrow, The Mystery and Child Voice.  Along with these books there are pieces that are framed, exploring visual sequence, time and machine manipulation.   There are about twenty <em>Coffins </em>and about twenty framed works.  This is the first time that they have all been seen in over 40 years.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">After being rejected from Gemini Gei’s newly formed lithography workshop Smith saw it as a motivation to turn away from this 19<sup>th</sup> century medium of lithography and turn to the 20<sup>th</sup> century printmaking medium, XEROX.  She kept the leased XEROX 914 black and white machine, in her dining room.  There she became flooded with the possibilities of electronically charged plastic toner particles, which are sintered onto the paper in direct replication of the object on the glass plate above.  Smith was a visionary in seeing the artistic potential of the business machine.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">The Xerox machine gave Smith the opportunity to immediately create exact black and white replicas of images or any object or form placed upon the machine.  She began to experiment with how the machine could be used; the fluidity of the images that could be created; how images could be manipulated and how technical shifts, such as toner and paper style would affect the images.  One such example in the exhibition is <em>Katie, which</em>is a framed set of six 8.5 x 11” sheets of paper of six copies of one photograph of her daughter Katie.  Each page has different texture, tone and shadow according to how the machine was adjusted and the result is a stunning portrait of her daughter. This piece is an example of how Smith began to use the new medium of Xerox to consider her personal relationship with her daughter.  At this time she was struggling in her marriage and held an unconscious dread that her family would soon split. In these pieces you see that she is coming into awareness about the struggle and sadness of this reality. </span></p> <p style="text-align: justify;"><span style="font-size: small;">In the <em>Coffins </em>one also begins to see a glimpse of Smith’s later performance work.  She began to experiment with placing her body on the glass plate of the machine giving way to new opportunities for explorations.  There are pieces that are quite provocative, in which Smith fully exposed body on the machine.  One such piece is ironically titled <em>Do Nut Tuch!</em>.  In another she presses her chest against the machine, seeing the breasts as flat spherical forms instead of voluptuous sexy flesh. These particular books show Smith discovering how her body, her face, her hair look via the Xerox process.    Others show a very different side, sometimes darker and more contemplative. These varied explorations come together to reveal an affirmation of herself as a woman. This moment in the work shows an amazing transition in her thought process: it is her body as female, her body as sex, her body as image, her body as medium.  But then there is a conflict because these images of her body are then placed inside a book, hidden under a black cover, thus giving her a measure of privacy.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The XEROX works were made before she went to graduate school, and show Smith as a woman on the forefront of artistic practices, experimenting with technology, experimenting with her body, exposing herself emotionally and physically in ways that very few were willing to do. The exploration enveloped her and allowed her to take her self to the next level; to become the brilliance that she is. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Barbara T. Smith who is primarily known for her performative works and has lived and worked in the Los Angeles Area her whole life.  After she received her BA from Pomona College in 1953, she married and had three children before returning to the University of California, Irvine for her MFA in 1971. She has been involved in the many important art and political movements and spaces including F-Space with Chris Burden and Nancy Buchanan. Much of her work address the social, spiritual and political struggles of women; using herself as a medium to work with.</span></p> Mon, 11 Mar 2013 18:07:28 +0000 Wayne White - Western Project - February 16th, 2013 6:00 PM - 8:00 PM <p align="justify" style="text-align: justify;"><span style="font-size: small;"><strong>Western Project</strong> is proud to present a survey of works by Los Angeles artist <strong>Wayne White</strong>.<em><strong> Masterworks</strong> </em>is comprised of selected paintings and works on paper from the first ten years of the White's signature word paintings. A traditionalist by trade (no computer or Photoshop) and armed with formidable drawing skills, White imbues every medium he touches, be it paper, canvas, bronze, wood or printmaking with his distinct, at times idiosyncratic sensibility. Abrasive, amusing or confrontational, his art pushes back at fine art assumptions and academic convention. A native of Chattanooga, Tennessee, White has used his career to preserve the innate 'Americana' of his youth; be it with words, phrases, expressions or stories, his narrative presses towards beauty as a peak experience, as evidenced by the recent award winning documentary, Beauty Is Embarrassing, directed by Neil Berkeley.</span><span style="font-size: small;"> </span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">Using framed offset lithographs from the 1960's and 70's, White inserts his voice as text into these readymades, forming a new American landscape; panoramic vistas rife with wit and insight. Working on mass-produced lithographs allows him to play with notions of the authenticity and conventions of painting while mirroring our cultural stories. Redeeming these mass produced items with words, White taps our collective memory of decorative pictures from the past while establishing a new clue or perverse quip of possible meanings. Good Looking People Having Fun With Out You is the earliest work in the exhibition, setting a tone derived from the artist's time working in the entertainment field. As one of the originators of the legendary 1980's television show, Pee Wee's Playhouse, White's humor reverberates through his art: Picasso's Ass Falling Off, "Honest Artists", and Tossed Off Crap, each chide our mythologies about cultural figures and/or interpersonal bad habits. </span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">Sculptures such as Wood Burn Country Boy describe his adolescence in the bucolic back woods of Tennessee (and the influence of his time as an assistant to Red Grooms), and are countered by the large epic painting, High Dollar Rig; his autobiographic high-speed escape to New York City in the 1970's. We Were Partin' at the Lake and Some Girl Starts Freakin' Out, describes any generation: the excess of youth and the pains of growing into adult scenarios.</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;"> </span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">This survey of ten years of work is by no means comprehensive. It is an overview of works that speak of growing up in America where language and landscape are now inseparable. He tells tales of the good, the bad, and sometimes ugly struggles of youth and adulthood; dealing with the duality of the physical world or plainly, the Sugar and Bullshit of everyday life. Consider White a kind of psychedelic, punked-out Mark Twain, at times more poet, spinning a surrealistic vernacular of wisdom and mirth.</span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;"> </span></p> <p align="justify" style="text-align: justify;"><span style="font-size: small;">White is a current recipient of the Rauschenberg Residency in Captiva, Florida. He is also the subject of the documentary film, Beauty Is Embarrassing: The Wayne White Story, directed by Neil Berkeley. He recently completed a site specific installation, Big Lick Boom, at the Taubman Museum in Roanoke, Virginia. He created series of live shows in Los Angeles at Café Largo and in New York at the Roseland Ballroom, entitled, "You're Supposed to Act All Impressed". White is in the collection of the New Museum of Contemporary Art in New York, Detroit Art Museum, Frederick R. Weisman Art Foundation in Los Angeles, Laguna Art Museum, among others. He has exhibited extensively throughout North America, most recently at the Marty Walker Gallery in Dallas, Herron School of Art and Design, Indianapolis, Rice University Houston, and in Germany, Naples, Italy and Zurich, Switzerland. A monograph of his work was released in 2009 titled: Wayne White: Maybe Now I'll Get the Respect I So Richly Deserve edited and designed by Todd Oldham and published by Ammo Books, LLC. His work has been written about in ArtForum, Art in America, The New Yorker, The Houston Chronicle, The New York Times, The Oxford American, Los Angeles Times, Huffington Post, Esquire, among many others.</span></p> Sat, 09 Feb 2013 09:07:45 +0000 Merryll Saylan - Craft and Folk Art Museum - February 17th, 2013 3:00 PM - 4:00 PM <p style="text-align: justify;"><span style="font-size: small;">Artist Merryll Saylan will discuss her unique approach to working with wood, color, and texture and also her experience being one of the leading female woodturners in the country. </span><br /> <br /><span style="font-size: small;"> RSVP requested to <a href=""></a></span></p> Sat, 19 Jan 2013 16:15:42 +0000