ArtSlant - Current exhibits en-us 40 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 Group Show - 18th Street Arts Center - February 23rd, 2013 - March 29th, 2013 <p style="text-align: justify;"><span style="font-size: small;">In a small art department 50 miles north of Santa Monica, Christine Morla and Ichiro Irie teach painting, drawing and design at Oxnard College, in a city perhaps better known for its agriculture, military base, and punk rock than for its visual art. Irie and Morla are current and former residents of 18th Street Arts Center, respectively, and both are alumni of Claremont Graduate University. Each brings an unconventional teaching style that emphasizes both traditional techniques and newer approaches in art making to a community, which despite its proximity to Los Angeles, has limited exposure to contemporary art. This mixed strategy, implemented with a tight-knit set of students and faculty, has generated a prominent core group whose works are commensurate with college and university art students across Southern California. Disciplines, genres and styles encompass conceptual and post-conceptual works, low-brow and street art, photography and illustration, and architecture. <em>The Oxnartians Have Landed</em> features recent students of Oxnard College who represent the most promising talents from the past 5 years.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Many have transitioned to four-year academic institutions such as UCLA, UC Berkley, UC Santa Barbara, Cal State L.A., Cal State Long Beach, and Otis College, while others that have completed their undergraduate educations have done so with aplomb. As most of the young artists in this exhibition have relocated to the greater Los Angeles area, it is clear that the Oxnartians have landed, and they are here to stay.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>CHRISTINE MORLA</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Christine Morla is an interdisciplinary artist and arts educator. Her practice includes drawing, painting, and installation. Ms. Morla graduated with a B.A. from Loyola Marymount University and received her M.F.A. from Claremont Graduate University. Her work has been exhibited internationally at venues such as at Art Frankfurt, Germany, Rimjaus Gallery, Mexico City, The Armory Show, New York, Santa Barbara Contemporary Arts Forum, Riverside Art Museum, Huntington Beach Art Center, Raid Projects, Los Angeles and 18th Street Arts Center, Santa Monica. Recent solo shows include The Space Between at CSU Channel Island Napa Gallery, Fields of Color at Left Coast in Goleta, CA, and an upcoming show of new works at Carnegie Museum in Oxnard, CA. Currently, she teaches at Oxnard College, and is Gallery Director of the McNish Art Gallery. Her numerous curatorial projects include “The Color of God: Contemporary Expressions of Spirit, Race and Justice” at the Laband Art Gallery at Loyola Marymount University and “Tabo(o) an exhibition of Filipino-American artists at Claremont Graduate University’s White Room Gallery. From 2002-2004, she served as an independent co-curator of exhibitions at Crazy Space Gallery in Santa Monica, California. Her work is featured in New American Paintings, issue #85, Spring 2010.</span><br /><span style="font-size: small;"><strong></strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>ICHIRO IRIE</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in Tokyo and raised in Los Angeles, Ichiro Irie received his B.A. from University of California, Santa Barbara and his M.F.A. from Claremont Graduate University. In 2001, Irie went to Mexico City on a Fulbright fellowship, and has maintained an active relationship with the visual art community in Mexico. Irie has exhibited his work internationally in galleries and museums such as Torrance Art Museum in Los Angeles, Gallery Lara Tokyo, CSW Museum in Warsaw, Museo Carrillo Gil in Mexico City, and Hendershot gallery, New York. Since 2009, he has had solo shows at Yautepec gallery, Mexico City, CAM Contemporaneo, Guadalajara, Casa Del Tunel, Tijuana, Sam Francis Gallery, Santa Monica and eitoeiko gallery, Tokyo. In 2013 he has exhibited at University Art Museum, Long Beach, CA, and as part of the Mexicali Biennial at Vincent Price Museum in Los Angeles, CA. As a curator he has organized over 30 exhibitions at venues such as 18th Street Arts Center and Raid Projects in Los Angeles, Art &amp; Idea and MUCA Roma in Mexico City, and Kyubidou Gallery in Tokyo. Irie currently lives and works in Los Angeles, teaches at Santa Monica College and Oxnard College, and is an artist in residence at the 18th Street Arts Center. He was Founding Editor of RiM magazine, and is currently Director of JAUS, Los Angeles.</span></p> Wed, 20 Feb 2013 18:38:24 +0000 - A + D Museum - March 9th, 2013 - April 7th, 2013 <p style="text-align: justify;" class="content_left"><span style="font-size: small;">A+D Museum is pleased to present <em>Airport of the Future</em>, the international student competition entries and winners of the Fentress Global Challenge 2011 as part of the larger traveling exhibition <em>Now Boarding: Fentress Airports + The Architecture of Flight </em>which is featured in three parts here in Los Angeles. The Museum of Flying will be exhibiting <em>Now Boarding</em>, and the Flight Path Museum is highlighting the rich past and promising future of LAX with artifacts from LAX’s past and a large-scale model of the new Tom Bradley International Terminal.</span></p> <p style="text-align: justify;" class="content_left"><br /><span style="font-size: small;"> A+D Museum’s exhibition, <em>Airport of the Future</em> celebrates insights on the future design of airports by university students from around the world. The show also examines the future of flight through the minds of the architects behind the modernized Tom Bradley International Terminal. Freehand sketches and final renderings from Fentress Architects’ Airport of the Future think tank provide a rare glimpse into the architect’s imagination and design process. The exhibition also includes a look at the architect’s scale model of the master plan for LAX’s future.</span></p> <h3 style="font-weight: normal; text-transform: uppercase; line-height: 21px; margin: 0px; text-align: justify;"><span style="font-size: small;"><strong><span style="text-decoration: underline;">RECEPTION | SATURDAY MARCH 9TH | 6.00 - 8.00PM</span></strong></span></h3> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">Join us in exploring the future of airport design with drinks and hors d’oeuvres at the <em>Airports of the Future</em> opening reception, Saturday March 9, 2013. </span><br /> <br /><span style="font-size: small;"> Admission: $10 Individual, A+D Members and Student w/valid ID FREE with RSVP</span><br /><span style="font-size: small;">  </span></p> <h3 style="font-weight: normal; text-transform: uppercase; font-size: 18px; line-height: 21px; margin: 0px; text-align: justify;"><span style="font-size: small;">&gt;<a target="_blank">TICKET PURCHASE | STUDENT RSVP | A+D MEMBER RSVP</a></span></h3> Thu, 07 Mar 2013 09:07:35 +0000 Samuel Bayer - Ace Gallery- Beverly Hills - March 3rd, 2013 - April 27th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Depicting the human body has been among the primary preoccupations and</span> <span style="font-size: small;">achievements of artists for millennia. Drawing inspiration from historic precedents in </span><span style="font-size: small;">painting, sculpture, photography and film history, for the past twenty years Samuel </span><span style="font-size: small;">Bayer has produced still photographs alongside his innumerable award-winning music </span><span style="font-size: small;">videos, film and commercials. Bayer has evolved an aesthetic of gritty rawness, a now </span><span style="font-size: small;">emblematic style that has typified his music videos since his groundbreaking first with </span><span style="font-size: small;">Nirvana in 1991. The culmination of his recent photography is a large-scale series of </span><span style="font-size: small;">black and white photographic nude portraits, being exhibited for the first time at Ace </span><span style="font-size: small;">Gallery Beverly Hills.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A series of sixteen nudes, shot in three sections with a large-format 4” x 5” camera in</span> <span style="font-size: small;">the studio against a simple white backdrop, envision larger-than-life contemporary </span><span style="font-size: small;">studies of young women, tackling the time-immemorial subject of the nude. They are </span><span style="font-size: small;">accompanied by two diptychs of faces in extreme close-up, eyes open, eyes closed; </span><span style="font-size: small;">the features and cool gaze of his subjects reveal every freckle, line and follicle. Face; </span><span style="font-size: small;">eyes, hair - features become a landscape to traverse as our eye wanders human terrain. </span><span style="font-size: small;">These are models and individuals Bayer has worked with and known over the past </span><span style="font-size: small;">decade, becoming living archetypes in the colossal scale of ancient goddesses looming </span><span style="font-size: small;">above a viewer at over 14ft. As contemporary studies of the female form, these </span><span style="font-size: small;">women would not have existed in the mid-twentieth century prior to the sexual </span><span style="font-size: small;">revolution of the 1960s when artists began to reconsider the body as a politicized</span> <span style="font-size: small;">terrain and explored issues of gender, identity, and sexuality manifest in photographers</span> <span style="font-size: small;">such as Diane Arbus, Robert Mapplethorpe, Larry Clark, Hannah Wilke, Nan Goldin </span><span style="font-size: small;">and Cynthia MacAdams.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In Bayer’s new series, we see an ongoing biological and sociological evolution. Posed</span> <span style="font-size: small;">frontally and exposed, they might be perceived as vulnerable on a smaller scale, </span><span style="font-size: small;">however the straight gaze and the enlarged scale creates an intimation of a nearapproaching </span><span style="font-size: small;">new race of superwomen quietly waiting in the wings. A viewer is surrounded by these unadorned figures, provoking possible intimidation in their </span><span style="font-size: small;">directness, uncompromised by faux modesty. Women have changed, transformed and</span> <span style="font-size: small;">advanced since Artemisia Gentileschi’s confrontation with the male gaze.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bayer does not objectify his models in a way that Herb Ritts “saw parts of the body’s</span> <span style="font-size: small;">surface in precisionist terms, often adding mud, skin paint, sand, and other materials to </span><span style="font-size: small;">sensually emphasize the follicles and pores of the epidermis,”1 verging on scopophilic </span><span style="font-size: small;">fixation with the exaggeratedly buff gym-engineered body. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Yves St. Laurent, always attracted to the androgynous and strong woman and the first</span> <span style="font-size: small;">couturier to use black models in 1962 has said: “I always found my style through </span><span style="font-size: small;">women. That’s what makes my vitality and strength: I lean on a woman’s body, on the </span><span style="font-size: small;">way she moves… the way she stands.”2 Sculptor Robert Graham has consistently used </span><span style="font-size: small;">this agile, frontally posed female form and in the mid 1980s created monumental </span><span style="font-size: small;">sculptures of which. He produced a giant nude, twice human size in 1984. Helmut </span><span style="font-size: small;">Newton photographed a portrait of Graham with his giant nude; while Newton began </span><span style="font-size: small;">his nude studies relatively late in career in 1980 saying “Women are much stronger </span><span style="font-size: small;">than men – in every possible way. I truly believe that. I’m a big admirer of women.”3 </span><span style="font-size: small;">As religious symbolism and reference has become irrelevant to contemporary </span><span style="font-size: small;">consumer society, the female form evokes millennia of pre-patriarchal goddess </span><span style="font-size: small;">worship, the archetype of Venus or Isis, transcending religions. American photographer </span><span style="font-size: small;">Cynthia MacAdams pioneered and defined the ‘goddess movement’ in <em>Emergence</em> the </span><span style="font-size: small;">new woman on her own terms in photography from the 1970 and 1980s – with</span><br /><span style="font-size: small;">fiercely independent women role models – portraiture and nudes including Jane</span> <span style="font-size: small;">Fonda, Kate Millett, Gloria Steinem, Laurie Anderson, and Patty Smith. In contrast to </span><span style="font-size: small;">Helmut Newton’s fetishism, the subject of gender in society was dramatically </span><span style="font-size: small;">changing; Bruce Weber was to evolve a new masculinity and homoeroticism in </span><span style="font-size: small;">commercial photography. Newton and subsequently Bayer, visualize women as they </span><span style="font-size: small;">are today; women who take the lead and have presence, who take pride in “the </span><span style="font-size: small;">resplendence and vitality of their bodies, bodies over which they themselves have sole </span><span style="font-size: small;">command”4; the liberated woman full of health and vigor - fit, capable and strong. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Bayer’s women are in no need of props, backdrops, adornment and decoration.</span> <span style="font-size: small;">Fashion becomes fast obsolete while the nude transcends time. Commercial and </span><span style="font-size: small;">fashion photography are intrinsically coercive, propelling sales of magazines and </span><span style="font-size: small;">products. As commissioned work imposes restrictions, the parameters of a creative eye </span><span style="font-size: small;">with a progressive view are challenged in creating images of society and of the role </span><span style="font-size: small;">that women play in it. Bayer’s nude portraits in this exhibition are not reliant on using </span><span style="font-size: small;">the powers of seduction and the desires they awaken – the subliminal attraction of fashion and image-making. Unlike Newton, Bayer’s nudes are devoid of glamorous </span><span style="font-size: small;">trappings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bayer’s intimidating, larger than life women echo a theme which emerged since the</span> <span style="font-size: small;">late 1970s – of portraying emancipated women for the first time in history able to </span><span style="font-size: small;">control their own sexuality – which had hitherto been inseparably bound up with </span><span style="font-size: small;">motherhood. As the taboos of Judaeo-Christian morality collapsed, a celebration of the </span><span style="font-size: small;">human body has reconnected to the glorious nudes of antiquity. An interplay of genres </span><span style="font-size: small;">as nude photograph can be fashion and/or art and vice versa became the norm of </span><span style="font-size: small;">particularly West Coast photographers – embodied in Herb Ritts or specifically Robert </span><span style="font-size: small;">Mapplethorpe’s first female body builder Lisa Lions. The new muscular females </span><span style="font-size: small;">contrast Bruce Weber’s passive males, seemingly available, which in the early 80s </span><span style="font-size: small;">raised controversy about sexual empowerment and what defined masculinity in the</span><br /><span style="font-size: small;">late twentieth century. Quarter of a century later, a new generation of women have a</span> <span style="font-size: small;">birth right of independence and self-determination unknown to previous generations, </span><span style="font-size: small;">to rebuke objectification. As Helmet Newton envisaged in A World Without Men – </span><span style="font-size: small;">jettisoning the sexist status quo, uncompromising; – is this the next evolutionary step </span><span style="font-size: small;">for a new world order? While various artists and writers chart collective cultural and </span><span style="font-size: small;">evolutionary decline, Bayer and other artists and photographers give us an </span><span style="font-size: small;">evolutionary snap-shot of positive strength and evolution of the human race where </span><span style="font-size: small;">strength and beauty can be found in self- confidence and self-determination, regardless</span> <span style="font-size: small;">of ethnicity or background, while beauty resides with equal potency in both genders,</span> <span style="font-size: small;">and gender itself is mutable. Here we might also see the marked cultural difference of</span> <span style="font-size: small;">American women’s grooming – gym-buff, articulated muscularity and hairless bodies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As with Herb Ritts, Bayer’s commercials and music videos evidence the cross-over’s</span> <span style="font-size: small;">and cross-pollination intrinsic to LA culture at its most influential – hybridizing music </span><span style="font-size: small;">world talent, celebrity, style, body beautiful – aesthetic and image-making unique to </span><span style="font-size: small;">LA.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Reminiscent of Helmut Newton’s celebrated series <em>Big Nudes </em>and<em> Sie Kommen</em> (1981,</span> <span style="font-size: small;"><em>Naked and Dressed</em>), the scale of each distinctive young woman defies potential </span><span style="font-size: small;">objectification; looking unequivocally, directly into the camera lens and by extension </span><span style="font-size: small;">boldly confronting a viewer. There is little chance for voyeurism. They are unified </span><span style="font-size: small;">despite their differences, in their hairless bodies – clearly stating their sex. A new </span><span style="font-size: small;">generation of women, assertively full-frontal posture in a stance undermining the </span><span style="font-size: small;">traditional pose of the female nude in an averted gaze (insinuating modesty yet aware </span><span style="font-size: small;">of being object of a male gaze). Autonomous and independent, they also stand in the </span><span style="font-size: small;">unified solidarity of an Amazonian tribe, or future superwomen, aware of their potent </span><span style="font-size: small;">presence and sure future. The Western world has maintained the nude as a fetishistic </span><span style="font-size: small;">subject beyond being an aesthetic object, and since the 20th century, has been </span><span style="font-size: small;">increasingly commercialized in selling products and merchandise, not to mention the </span><span style="font-size: small;">underbelly of Los Angeles in its vulgar porn industry. In cultures across the world, the </span><span style="font-size: small;">body is both sacred, ritualistic, a container of spiritual energy and the embodiment of </span><span style="font-size: small;">divine creation, linking humans to the Divine. Controversial, female and male nude</span> <span style="font-size: small;">depictions in photography have provoked impassioned discussion about sin, sexuality, </span><span style="font-size: small;">cultural identity, and canons of beauty, especially when the medium is photography, </span><span style="font-size: small;">with its inherent accuracy and specificity, as the Metropolitan Museum of Art </span><span style="font-size: small;">articulated in the recent 2012 exhibition<em> History of the Nude in Photography in Naked </em></span><span style="font-size: small;"><em>before the Camera</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Drawing on both a history of sculptural nudes in the classical tradition, and with his</span> <span style="font-size: small;">camera, simultaneously contemporizing this tradition, Bayer’s work can be seen in the </span><span style="font-size: small;">context within the history of portrait photographers. In the early 20th century, Alfred </span><span style="font-size: small;">Stieglitz and his gallery 291 Gallery introduced the medium of photography as fine art </span><span style="font-size: small;">to the public, with Eugène Atget as another early role model. Soon Man Ray vastly </span><span style="font-size: small;">expanded the possibilities of photography, not merely with his commercial work as a </span><span style="font-size: small;">portrait and fashion photographer, but with experimental techniques. With portraits of </span><span style="font-size: small;">the cultural luminaries of his day from Virginia Woolf, James Joyce, Gertrude Stein, to </span><span style="font-size: small;">his close friends Picasso and Max Ernst, Man Ray’s influence could be reflected in a </span><span style="font-size: small;">sense, in the contemporary image-making of Samuel Bayer. Both cross-pollinating </span><span style="font-size: small;">photography and film between artistic and commercial realms, and in our </span><span style="font-size: small;">contemporary media-saturated landscape, Bayer’s widespread and profound influence</span> <span style="font-size: small;">in pop culture from directing breakthrough independent rock music videos.</span></p> <p style="text-align: justify;"><span style="font-size: small;">While the nude as subject is timeless, does Bayer challenge stereotypes of beauty and</span> <span style="font-size: small;">obsession with youth? While fashion magazines and Hollywood continue to</span> <span style="font-size: small;">perpetuate and typecast the young and thin, perhaps with these representations of </span><span style="font-size: small;">young women confident in their bodies (noticeably without silicon-implanted breasts) </span><span style="font-size: small;">provides an antidote to the vulgarity of pornography and the explicit images that </span><span style="font-size: small;">bombard us relentlessly. From the plastic surgeried, talentless bimbos of reality</span> <span style="font-size: small;">television to whom privacy and silence are alien; to billboards for the paradoxically</span> <span style="font-size: small;">titled “gentleman’s clubs” to the back pages of the local newspaper sporting cheap</span> <span style="font-size: small;">prostitutes; images of over-sexualized vixens have become so prevalent as to become</span> <span style="font-size: small;">the tawdry norm. This series of nudes by Samuel Bayer addresses all these histories</span> <span style="font-size: small;">and aesthetics with a savvy and profound insight into image-making and presents his </span><span style="font-size: small;">alternative view.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Samuel Bayer was born in upstate New York in 1965 and grew up in Syracuse, New</span> <span style="font-size: small;">York. He graduated from New York City’s School of Visual Arts in 1987 with a degree </span><span style="font-size: small;">in Fine Arts. At the age of 26, Bayer set out to Los Angeles to begin his career as a </span><span style="font-size: small;">music video director and he went on to direct over 200 music videos with the likes of </span><span style="font-size: small;">The Rolling Stones, Greenday, John Lee Hooker, Marilyn Manson, Metallica, Smashing </span><span style="font-size: small;">Pumpkins, David Bowie, Aerosmith, and Lenny Kravitz. Bayer won an Emmy for the </span><span style="font-size: small;">2011 Super Bowl commercial for Chrysler, Born of Fire featuring Eminem; Bayer’s </span><span style="font-size: small;">commercials are represented in the permanent film/video collection at the Museum of </span>Modern Art in New York City.</p> <p><br />1 James Crump, “Collecting History: Herb Ritts’s Male Nudes,” in Paul Martineau, <em>Herb</em><br /><em>Ritts: L.A. Style</em>, J. Paul Getty Museum, Los Angeles / Getty Publications, 2012, p. 16<br />2 Yves Saint Laurent: <em>His Life and Times</em>, film by David Teboul, Empire Pictures, 2002<br />3 Helmut Newton interviewed by Carol Squiers,<em> Helmut Newton Portraits</em>, Schirmer/Mosel,<br />Munich, 1993, p. 11<br />4 Françoise Marquet, <em>Helmet Newton: Work</em>, Taschen, 2000, p. 13</p> Mon, 25 Feb 2013 17:27:18 +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 Phillip Estlund, kirsten kindler, Katie Sinnott - ACME - February 16th, 2013 - March 16th, 2013 <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> Tue, 12 Mar 2013 05:39:40 +0000 - Alyce de Roulet Williamson Gallery - March 8th, 2013 - April 28th, 2013 <p>**</p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="" height="750" width="437" /></p> <p></p> Mon, 25 Feb 2013 17:37:11 +0000 Lucie Fontaine - Anat Ebgi - February 14th, 2013 - March 16th, 2013 <div title="Page 1" class="page"> <div class="layoutArea"> <div class="column"> <p style="text-align: center;"><span style="font-size: small; font-family: 'courier new', courier;">I ♥ Lucie</span><br /><span style="font-size: small; font-family: 'courier new', courier;"> Valentine’s Day with Lucie Fontaine, Anat Ebgi, and Various Small Fires Opening Reception Valentine’s Day, February 14, from 6-8PM</span></p> <p><span style="font-size: small; font-family: 'courier new', courier;">Anat Ebgi and Esther Kim Varet have invited Lucie Fontaine to present a solo show to be split between their two Los Angeles galleries. Lucie Fontaine has conceived a series of artworks, each comprised of two parts, which will be divided between the two spaces: half of each piece will be shown at Anat Ebgi, and the other half will be shown at Various Small Fires.</span></p> <p><span style="font-size: small; font-family: 'courier new', courier;">By splitting and doubling the exhibition, Lucie Fontaine seeks to merge notions of form with those of format, acknowledging that the creation of feelings, ideas, objects, images, information and knowledge cannot be understood apart from the channels through which these forms are distributed—from conception to presentation to promotion of an exhibition, for example. Lucie Fontaine embraces those channels by freely mixing and matching “split” concepts belonging to disparate realms of the history of humankind, including: 1. Hegel’s Master-Slave dialectic presented in his Phenomenology of Spirit; 2. The diptych in art history; 3. Symbiosis in biology; 4. The Chinese “One Divides into Two” [一分为二] controversy of 1964 between philosophers and Maoists; 5. Labor divisions between art employer and art employee, dealer and artist, artist and curator, dealer and collector and so on.</span></p> <p><span style="font-size: small; font-family: 'courier new', courier;">For this project, Lucie Fontaine puts love at the center of her cerebral promiscuity. For Lucie Fontaine, love in all of its manifestations—love for your partner, love for yourself, love for God, love for what we do, love as friendship—transforms, making the singular into pluralities of streams of pleasure. Yet love’s authenticity inevitably comes laced with a sense of irony, which Lucie Fontaine fully embraces by opening her exhibition on Valentine’s Day, the day love becomes capital. Today, all that is immaterial, even love itself, has been transmuted into commodities, which is no news considering the sale of indulgences by the Catholic Church. The capitalization of feelings, and the capitalization of love, may be the clearest visualization of a reality where the opposition between what is material (stuff) and what is immaterial (feelings) no longer makes sense.</span></p> <p><span style="font-size: small; font-family: 'courier new', courier;">Lucie Fontaine lives and works in Colmar, France, from which she willingly distributes her signature, authorship, creativity, and labor through many avenues: art making, exhibition organizing, art collecting, writing, and editing, to mention those she already tried. To learn more about her activities in Milan, where her space is located, and elsewhere, please visit her website at or email her employees.</span></p> <p><span style="font-size: small; font-family: 'courier new', courier;">For more information about “I ♥ Lucie” please email</span><br /><span style="font-size: small; font-family: 'courier new', courier;"> Anat Ebgi is now located at 2660 La Cienega Boulevard, Los Angeles, CA 90034. </span></p> </div> </div> </div> Sat, 22 Feb 2014 15:32:53 +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 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 Connie Samaras - Armory Center for the Arts - March 1st, 2013 - June 23rd, 2013 <div class="float-left"> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;"></span>Over the past two decades, <strong>Connie Samaras</strong> has used photography and video to represent particular built environments she characterizes as “speculative landscapes” against the backdrop of daily life. She explores the aspirations and anxieties of the imagined future – how the US dreams itself – along with the psychological and social dislocation within the everyday. <br /><br /> Samaras reveals the paradoxes of these surreal environments – vast, impersonal constructions such as the cities of Las Vegas and Dubai and the remote, scientific colonies of the South Pole or Spaceport America, an emerging corporate space launch facility in the remote desert of New Mexico. Her objective is to unhinge the speculative from the normative and thus illuminate the multiple timelines and social possibilities – the rich subjectivity – in any given moment of daily life. Works from six completed series will be presented – <em>Angelic States-Event Sequence, After the American Century, V.A.L.I.S. (Vast Action Living Intelligence System),</em> and <em>Spaceport America</em> – as well as works from the ongoing series <em>Surface Events</em>. Collectively, the works in <em>Tales of Tomorrow</em> address the social and economic construction of “future imaginaries” and the variable membrane between fiction and real world. <br /><br /> In addition to featuring works from the six series noted above, this survey exhibition debuts <em>Edge of Twilight</em>, new photography from the first part of an expansive trilogy that launches a conceptual turn in Samaras’ work. Historically the artist’s projects, such as those shot in Dubai and South Pole, depict the future imaginaries of global capitalism, or how the future is held out as a singular <span style="font-size: small;">probability. <em>Edge of Twilight</em> looks at humble and everyday future imaginaries inflected by social change movements, in which the future is seen as a series of shifting possibilities. Featuring photographs of homes in a women’s retirement RV park in the desert of the U.S. southwest, <em>Edge of Twilight</em> borrows from the genres of time travel and tourism literature as way to reconsider the intersecting complexity of marginalized, cross-generational personal experience and political histories. The long exposures of the photographs and the vapor light under which they were shot create an enigmatic environment in which black skies and yellow RVs are punctuated by the vivid colors of rainbow flags. </span><br /><br /><span style="font-size: small;"><em>Tales of Tomorrow</em> is the largest and most significant exhibition of Connie Samaras’ work to date. The exhibition is accompanied by a full-color, 108-page, hard-cover catalogue edited and with an introduction by exhibition curator Irene Tsatsos and texts by Charlotte Cotton, Lisa E. Bloom, Juli Carson, Ken Gonzalez-Day, Alice Echols, Kate Flint, Julie Lazar, Catherine Opie, Kavita Philip, Claire Phillips, Anna Joy Springer, Tyler Stallings, Roberto Tejada, and Matias Viegener. The catalogue was designed by Lorraine Wild of Green Dragon Office and is being distributed by D.A.P. The exhibition and publication have been supported by The Andy Warhol Foundation for the Visual Arts and the Pasadena Art Alliance. In addition, the artist received support from Creative Capital for the production of <em>Edge of Twilight</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About the Artist<br /></strong>Connie Samaras was born in Albuquerque, New Mexico in 1950. She has exhibited for over twenty-five years, mounting solo shows at venues such as the California Museum of Photography, the San Francisco Art Institute, Detroit Art Institute, School of the Museum of Fine Arts in Boston, Los Angeles Contemporary Exhibitions, and Franklin Furnace. A full professor at University of California/Irvine, Samaras has received more than four-dozen research and production grants from foundations such as the California Community Foundation, the National Science Foundation, Anonymous Was A Woman, Art Matters, Banff, and the National Endowment for the Arts. In addition to an extensive record of exhibitions and lectures, Samaras has published feminist critiques of the culture wars in the late ‘80s/early ‘90s (<em>New Art Examiner</em>, <em>ArtForum</em>, <em>New York Law School Review</em>); edited texts on technology and the cultural production of death (<em>Terminals</em>); and written experimental fiction (<em>Whitewalls</em>, <em>Central Park</em>) and critical narrative (<em>The Scholar and the Feminist Online</em>, <em>Remix: Santiago Bose</em>).<br /></span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition and publication supported by The Andy Warhol Foundation for the Visual Arts and the Pasadena Art Alliance. In addition, the artist received support from Creative Capital for the production of <em>the Edge of Twilight</em> series.</span></p> <p style="text-align: justify;"></p> <p style="text-align: left;"><img class="leftAlone" src="" alt="" title="" height="41" width="331" /></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p></p> </div> Mon, 27 May 2013 16:27:48 +0000 Mary Corman, Edith Konrad, Ron Piller, Brenda Holzke - Artspace Warehouse - February 28th, 2013 - April 18th, 2013 <p>February 28 through April 18 at Artspace Warehouse: <br />Abstract Urban Harmony</p> <p>New artworks by Swiss artist <a href="" class="pink" rel="nofollow">Edith Konrad</a>, Los Angeles artist <a href="" class="pink" rel="nofollow">Ron Piller</a>, New York artist Mary Corman, and Los Angeles artist Brenda Holzke, among many others.</p> <p>Swiss artist Edith Konrad has studied in numerous master classes with artists from Germany and Italy. She paints in a variety of techniques in Switzerland and Italy-particularly acrylic on canvas, collage and mixed media. She has been represented at several art fairs including Montreux, Geneva, Salzburg, Rotterdam, Marbella, Porto Ceresio, Los Angeles and Paris She won the 2009 Palm Art Award, a Certificate of Excellence for outstanding artistic quality and originality of the work. In 2010 she exhibited at the Salon de la Culture at the Louvre in Paris, France.</p> <p>It was not until recently that Los Angeles artist Ron Piller was able to realize his lifetime ambition of painting full time. Color and geometric order/disorder are his main focus. Beginning each painting he seeks to create a subtle but visually engaging ground which serves as a foil to the next layers of geometric shapes - usually stripes, squares or color spokes - all contained within or challenging the penciled grid. He works with acrylic paint on wood panels. Frequently he layers newsprint and advertising with glue and then sands it to create a background. He finishes his work with resin, as it provides a window into the work and also reflects back the room and light in which it hangs.</p> <p>Brenda Holzke lives and works in Los Angeles. In 1985 she graduated from The Art Center College of Design with a BFA. Brenda's series of collage and mixed media wall art are applied to found board and layered with painted paper, textiles, found metal, fired clay and other inanimate objects. A continuous thread throughout her work is the marriage between color, pattern and texture.</p> <p>New York artist Mary Corman is intrigued by the seemingly mundane. There is an alluring mystery to these strangely familiar, yet distant environments. Her work speaks to uncertainty-the rise and fall of these once glimmering sites and those who inhabit them. They act as constant reminders of an unintended consequence of disposable culture: the fragile aesthetic of an ephemeral, transitory built environment.</p> <p>This precariousness and unknown is translated in her work through altered geometry and unreal architecture. Mary's paintings become studies of flatness and depth, growth and decline. Giving her work a luminous quality, her abstract, anonymous buildings are not tied to any specific place. They feel like paper lanterns: tenuous, weightless, movable.</p> Mon, 25 Feb 2013 05:33:56 +0000 Susumu Koshimizu - Blum & Poe - February 23rd, 2013 - March 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Blum &amp; Poe</strong> is very pleased to present a solo exhibition of <strong>Susumu Koshimizu</strong>, one of the principal figures of Mono-ha (School of Things), a group of Tokyo-based artists who were central to the Japanese avant-garde during the late 1960s and early 1970s. This is Koshimizu's first solo exhibition with the gallery and his first solo presentation outside of Japan. It follows the critical acclaimed survey <em>Requiem for the Sun: The Art of Mono-ha</em>, curated by Mika Yoshitake, assistant curator at the Hirshhorn Museum and Sculpture Garden, held at Blum &amp; Poe in February 2012.   </span><br /><br /><span style="font-size: small;">Working both indoors and outdoors, the Mono-ha artists explored the encounter between natural and industrial materials, such as charcoal, dirt, stones, steel plates, glass, paper, wood, plastic, rubber, rope, leather, oil, and water. Their usually transient arrangements focused not only on their respective material qualities, but also on the interdependent relationships generated by specific placements within a space. From early on, Koshimizu's investigation of material and space resulted in some of Mono-ha's most definitive artworks. </span><br /><br /><span style="font-size: small;">At the beginning of the 1970s, Koshimizu started to explore specifically the structure of surfaces. This exhibition will focus on a single installation, <em>From Surface to Surface (Wooden Logs Placed in a Radial Pattern on the Ground)</em>, 1972/2004. The work is composed of thirty, thirteen-foot-long square beams of wood, the surfaces of which have been sliced at varying intervals and angles to create undulating expanses of geometric form. First shown at the <em>3rd Contemporary Sculpture Exhibition</em> in Kobe's Suma Rikyu Park in 1972, this installation won Koshimizu the Ube City Open-Air Museum Award. Following showings at Yokohama Portside Gallery in 2004 and Kyoto City University of the Arts in 2010, the display at Blum &amp; Poe marks its North American debut.   </span><br /><br /><span style="font-size: small;"><strong>Susumu Koshimizu</strong> was born in Uwajima, Ehime Prefecture, in 1944, and currently lives and works in Kyoto and Osaka. He studied in the sculpture department at Tama Art University, Tokyo, from 1966 to 1971. Since then, he has had numerous solo exhibitions in Japan, including at the Museum of Fine Arts, Gifu; Ehime Prefectural Museum of Art; Kuma Museum of Art; and Kyoto City University of the Arts. His work has also been included in landmark surveys, such as <em>Tokyo 1955-1970: A New Avant-Garde</em>, Museum of Modern Art, New York, 2012; <em>Reconsidering Mono-ha</em>, National Museum of Art, Osaka, 2005; <em>Century City: Art and Culture in the Modern Metropolis</em>, Tate Modern, London, 2001; <em>Japanese Art after 1945: Scream Against the Sky</em>, Yokohama Museum of Art, Guggenheim Museum Soho, New York, and San Francisco Museum of Modern Art, 1994; São Paulo Biennale, 1983; and <em>Tokyo Biennale '70: Between Man and Matter</em>, Tokyo Metropolitan Art Museum, 1970.  </span></p> Tue, 12 Mar 2013 05:40:40 +0000