ArtSlant - Closing soon en-us 40 Willard Wigan - California African American Museum - January 18th, 2013 - March 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">When he was a child, Willard Wigan decided he would build homes for ants because he “felt they needed them.” Little did he know at the time that this desire would become the artistic rubric that would compel him to create whimsical sculptures that are so minute that they can only be viewed through a microscope. This new and highly unusual exhibit, Sampling the Microscopic Artwork of Willard Wigan, is a mind-bending blend of art and science that features 10 unique sculptures that are so small that they can fit in the eye of a needle, on a pin head or on the tip of an eyelash. These sculptures, created by the British-born artist, are the results of a unique process that requires Wigan to enter into a deeply meditative state to reduce hand tremors and allow him to sculpt between pulse beats. The sculptures have captured the imagination of the public, art critics, and avid collectors world-wide.</span></p> Thu, 07 Mar 2013 09:30:32 +0000 Audrey Kawasaki, Timothy Teruo Watters, Edwin Ushiro - Japanese American National Museum - February 9th, 2013 - March 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Traditions are an integral part of every community. Some of these come from superstitions that our ancestors carried with them.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Supernatural</em> features the work of Edwin Ushiro, Timothy Teruo Watters, and Audrey Kawasaki who have explored some of these otherworldly concepts, illustrating how traditional ideas have evolved and been adapted over time.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Part of the Salon Pop series, made possible with support from The James Irvine Foundation.</em></span></p> Sat, 19 Jan 2013 17:19:34 +0000 - San Diego Museum of Art - December 15th, 2012 - March 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">This December, the Museum will showcase 21 objects from the Suzhou Museum in an exhibition that highlights selections from China’s long and rich cultural history. Located only 66 miles west of Shanghai, Suzhou is often called the “Venice of China” because of its numerous canals intertwining the historic dwellings and gardens of its illustrious residents. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Part of the collections of the Suzhou Museum, an internationally renowned building by architect and one of Suzhou's native sons I. M. Pei,  these amazing works of art, some over 3,000 years old, are being exhibited in the United States for the first time.  The first grouping is of bronzes unearthed from tombs, including a set of bells and brilliantly cast ceremonial vessels.  Ancient artifacts like these pair well with those on display in the Museum's Permanent Collection and create a broader and more complete discussion of Chinese art and history.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Two hanging scrolls, masterworks by Wen Zhenming (1470–1559) and Tang Yin (1470–1523), two of the most celebrated and revolutionary artists of the Ming Dynasty, will highlight the <em>Ink</em> portion of the exhibition. These paintings display the mountainscapes of the Yangzi River Valley, a source of inspiration for Suzhou scholar-artists. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Suzhou is perhaps best known throughout China and the world for its silk tapestries that are so finely woven they resemble paintings. Four important textile works in pristine condition trace the history of silk embroidery at Suzhou from the 10th through 18th centuries.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Masterworks in <em>Metal, Ink and Silk </em>will be on view through March 17, allowing visitors to experience both this temporary exhibtion on its own and, after February 8th, alongside the Museum’s state of the art new display of <em>The Art of East Asia</em>. The selection of works has been made specifically to  complement those of the Museum’s Permanent Collection.</span></p> Wed, 07 Nov 2012 15:57:58 +0000 - MOCA (Museum of Contemporary Art) at Grand Ave. - August 20th, 2012 - March 18th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The Museum of Contemporary Art, Los Angeles, presents <em>The Panza Collection and Selections from Major Gifts of Beatrice and Philip Gersh, Rita and Taft Schreiber, and Marcia Simon Weisman</em>, now on view through January 14, 2013 at MOCA Grand Avenue. The exhibition celebrates the core of the museum's internationally renowned collection, which evolved as a result of the acquisition of The Panza Collection in 1984, considered at the time as one of the world's most important acquisitions of contemporary art and a turning point in the museum's early history. This exhibition also marks the first time since 2000 that almost the entire Panza Collection has been presented at MOCA. Installed by MOCA Senior Curator Alma Ruiz, <em>The Panza Collection and Selections from Major Gifts of Beatrice and Philip Gersh, Rita and Taft Schreiber, and Marcia Simon Weisman</em> features 92 works, comprising paintings, sculptures, and works on paper that serve both as evidence of the intellectual and emotional challenge that is involved in collecting and as a testament to exemplary civic patronage and its enduring legacy in the cultural growth of Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is generously supported by The Eli and Edythe Broad Foundation.</span></p> Wed, 12 Dec 2012 09:07:18 +0000 - bG Gallery - March 16th, 2013 - March 22nd, 2013 <p><strong>Opening Reception:</strong> Saturday March 16th, 7:00pm - 10:00pm <br /><strong>Show Duration:</strong> March 16th - March 22nd <br /><strong>Location: b/G Gallery (Bleicher/Golightly Gorman Gallery) 1431 Ocean Ave Suite 1800 Santa Monica, CA 90401 <br /><strong>Phone: </strong>+1 310 451 9983 <br /><strong>Hours:</strong> Sunday - Wednesday 12pm - 6pm, Thursday - Saturday 12pm - 10pm <br /><strong>Parking:</strong> Parking is available under the gallery building, free with validation from gallery for the reception. Free by appointment during gallery hours.<br /><strong>Curated by:</strong> Stuart Rapeport <br /><strong>Phone:</strong> +1 323.340.3992 <br /><strong>E-Mail:</strong> <a href="" rel="nofollow"></a> <br /><br />"The Still Life” features an assembly of many objects combined to become one subject as it’s viewed by multiple artists. This work will feature contributions by Margaret Adachi, Anna Stump, Margaret Garcia, Linda Jacobson, Barry Markowitz, Tuan Phan, Warren Long, and Stuart Rapeport. <br /><br />Like a singular event with several witnesses, not everyone sees the same thing in the same light. Can we trust these witnesses as they share their varying interpretations of the same subject?</strong></p> Sat, 22 Feb 2014 15:45:32 +0000 Group Show - Cella Gallery - February 23rd, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">On Saturday, February 23rd, Cella Gallery is delighted to present <strong>“Something Wicked This Way Comes”</strong>, a provocative group exhibition featuring multiple works from 10 innovative artists handpicked by Contemporary Art Curator,<strong> Stephanie Chefas.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">A celebratory mix of the surreal and macabre, <strong>“Something Wicked This Way Comes”</strong>, delves the senses into ominous worlds and forsaken dreams. The exhibition is a composition of some of the most powerful contemporary artists whose inherent aesthetic is both visually rebellious and viscerally seductive. “Each artist was chosen based on their dark allure and ability to transform what naturally repels us into something utterly captivating,” states <strong>Chefas</strong>. “By consistently pushing conventional norms, these artists are simultaneously challenging the viewer as well as themselves.”  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Through an assemblage of mixed media works, oil paintings, watercolor and graphite drawings, <strong>“Something Wicked This Way Comes”</strong> features the talent of <strong>Annie Owens</strong>, <strong>Christian Rex van Minnen</strong>, <strong>Christine Wu</strong>, <strong>Chrystal Chan</strong>, <strong>David Ball</strong>, <strong>Fulvio Di Piazza</strong>, <strong>Jana Brike</strong>, <strong>Jessica Ward</strong>, <strong>Judith Supine</strong>, and <strong>Michael Page</strong>. Expect to feel the hairs on your neck stand straight up; for something wicked this way comes.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">About the Curator:</span></p> <p style="text-align: justify;"><span style="font-size: small;">Stephanie Chefas is founder and curator of the art website Platinum Cheese as well as an online contributor to the highly regarded New Contemporary Art Magazine, Hi-Fructose. In addition to her online ventures, Stephanie curates several exhibitions annually that highlights a diverse group of emerging and established artists with an emphasis on cultivating new talent. Artists featured in previous exhibitions include Aaron Nagel, Ken Garduno, Korin Faught, Morgan Slade, Sarah Folkman, Scott Belcastro, and Stella Im Hultberg. For more info about the curator, visit <a href="" rel="nofollow"></a>.</span></p> Sat, 23 Feb 2013 15:40:52 +0000 Andrew Dadson - David Kordansky Gallery - February 9th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>David Kordansky Gallery</strong> is pleased to announce <strong><em>WAITED</em></strong>, an exhibition of new work by <strong>Andrew Dadson</strong>. This will be Dadson's first exhibition with the gallery, and his first solo exhibition in Los Angeles. The exhibition will run from February 9 through March 23, 2013. An opening reception will be held on Saturday, February 9 from 6:00 until 9:00pm. </span><br /><br /><span style="font-size: small;">Dadson has developed a practice in which the traditional limits of the canvas are crossed, blurred, and questioned. This iconoclastic stance, however, is not merely a formal one, or a way of simply making the next move in the chess match of endgames that has come to define painting as a historical genre. Rather, the driving force of the work posits that the objects and discourses that we have come to associate with painting are not nearly as familiar or discrete as we think.</span><br /><br /><span style="font-size: small;">Several works incorporating leaning canvases provide the first clues that Dadson has subverted the pictorial in favor of more directly physical concerns. But on closer inspection, even the sculptural placement of stretchers, some of them quite large in scale, is beholden to Dadson's literal handling of the paint they support. Layers of bright color have been covered with subsequent layers of black or white; these layers have then been painstakingly scraped, pushed, and dragged to the top edge of the canvas, forming a seductive, slick barrier of paint between canvas and wall. The accumulated medium becomes a zone where the painting seems to exceed itself, to reach out for the world beyond its borders. </span><br /><br /><span style="font-size: small;">A major new work, <em>5 Planks</em>, combines five of these leaning canvases, each of their multi-colored under-paintings covered by a top layer of white, creating a scenario in which Dadson's aggressively additive painting methodology is matched by the serial repetition of the support as a sculptural form. Towards the bottom of each 'plank,' the remnants of what appears to be an energetic, gestural composition in bright hues are seen against a backdrop of raw linen; the white paint that ultimately obscures this, and that comes to inhabit the gap between the top of the plank and the wall, seems to defy gravity. The work records––and exemplifies––the action of the body as it struggles to counteract the forces that weigh it down.</span><br /><br /><span style="font-size: small;">In keeping with this heightened consciousness of the body, the titles of two paintings on view are borrowed from well-known examples of performance-based work by other artists. <em>Zen Head</em> refers to Nam Jun Paik's <em>Zen for Head</em>, a performance in which the artist used his own head as a brush to drag pigment along a scroll of paper; and <em>Face Painting</em> draws its title from Paul McCarthy's performative action of the same name, in which the artist's body, led by his face, is used to spread a length of white paint across the floor. In Dadson's case, these works, which hang on the wall, feature layers of black or white that have been scraped from top to bottom, so that a mass of paint hangs precipitously from the lower edge of the canvas. The foundational gesture of hanging the painting on the wall becomes a means for highlighting the collaborative, performative relationship between an artist and his materials. </span><br /><br /><span style="font-size: small;">Regardless of scale, Dadson's work communicates intimacy, a willingness to extend the 'private' world of the painting into the 'public' world of its surrounding architecture and vice versa. The works in the 'Re-stretched' series, for example, are created by scraping layers of paint toward each of the four edges of a canvas; when the paint dries, Dadson re-stretches the linen onto a larger frame. The result changes the painting in two ways: it allows the virgin linen that was previously stapled to the back of the stretcher to become visible, and it pushes the thick band of paint that had accumulated at the edges onto the front of the composition, making it a pictorial as well as a sculptural element. In a major new eight-part work in this series, <em>Untitled "White/ Red/ Orange/ Yellow/ Green/ Blue/ Purple/ Pink Re-stretched,"</em> in which each canvas has been painted with a different base color, hue becomes the support upon which Dadson's other experiments are conducted. As these base colors show through the material that covers them, the optical aspect of painting is fused to its physicality. The senses are joined in a synesthetic circuit, and looking at the work is as embodied an experience as making it. </span><br /><br /><span style="font-size: small;"><strong>Andrew Dadson</strong> (b. 1980) was recently the subject of a solo exhibition at the Henry Art Gallery, Seattle. He has also participated in solo shows and projects at the Seattle Art Museum, Seattle; Galleria Franco Noero, Torino, Italy; and the Emily Carr Institute of Art and Design, Vancouver, B.C. Group exhibitions include <em>Che cosa sono le nuvole?</em>, Opere dalla Collezione Enea Righi, Museion, Bolzano, Italy; <em>Nothing to say and I am saying it</em>, Kunstverein Freiburg, Germany; <em>Without You I'm Nothing</em>, Museum of Contemporary Art, Chicago;<em>WYSIWYG</em>, Rosenblum Collection, Paris; and <em>Enacting Abstraction</em>, Vancouver Art Gallery, Vancouver, B.C. Dadson lives and works in Vancouver, B.C.</span></p> Wed, 30 Jan 2013 08:38:00 +0000 davide balula - François Ghebaly Gallery - January 25th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Davide Balula sought permission to enter the Guggenheim museum in New York City during hours that are typically reserved for non-viewing. His intention was to measure the slope and curve of Frank Lloyd Wright’s arcing wall. Visitors to the museum will recall that this architectural element is usually not a point of focus, but rather a plane on which to align objects of culture that become the focal nodes of one’s aesthetic experience. After deliberation, permission was granted to the artist, and he entered the museum. The works on display are manifestations of the artist’s measurements. Each is an exact replication of a fraction of the wall.</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>Part I: Standing on the Beach</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">As I type people pass by me in vectors determined by the space we’re all in. I am sitting on a circular stool with a rectangular computer in my lap. They pass me going one of two directions, up or down, though this looks like left or right. The path they walk spirals, but that’s not obvious in the steps it requires them to move through my visual field. Within five or six feet of me they walk, sometimes closer; occasionally gaining or dropping speed. Very few come to a full stop. I can only witness a fraction of their total movement, and it looks flat, a straight passage—but I know it isn’t. I know a curve can be composed of nothing but straight lines, and depending on one’s proximity to the bend, it is more or less visible. I know it all depends on my (seated) position relative to their (moving) positions relative to the space we’re all in, which is famous for its corkscrew design.</span></p> <p style="text-align: justify;"><span style="font-size: small;">There are pictures by Picasso on the walls today. They are all flat and rectangular; some are thicker than others, a few boast rather sumptuous frames. The incandescent gallery lights built into the museum’s ceiling are approximately a meter away from the wall. They shine down on his paintings and drawings at an acute angle and cast thin shadows beneath their frames. If not for these shadows shaped like the humps of gently rolling hills, the wall’s curve would be nearly imperceptible to someone standing five to ten feet away and staring straight ahead.  It is a bit of an optical illusion: you know the wall is curved, but the moment you focus your eyes on the flat object hanging upon it, the curve straightens out.</span></p> <p style="text-align: justify;"><span style="font-size: small;">I am sitting still in a pedestrian space designed for upwards and downwards flow and I am looking at a stretch of curved white wall. I am staring. It takes concentration and real effort to not be distracted by the nudes flanking my point of focus. Some passersby observe me observing the wall and they pause and look at the wall and then look back at me and then at the wall again and then they continue walking. What do they see? What don’t they see? What do they imagine they see? The bulbs’ illumination is warm and it spreads across the curved wall like a thing without true edges, fading into shadow before running into an abutment.</span></p> <p style="text-align: justify;"><span style="font-size: small;">An old riddle comes to mind, “what is the longest straight line in nature?” The answer can’t be literal because there are no straight lines in nature. Perspective is the key. The answer is the horizon of the ocean, which like this wall is actually an arc in a much larger circular formation. But it sure looks like a straight line when you’re standing on the beach.</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>Part II: Tea </strong>and<strong> Part III: Like a Childhood Memory</strong> will be divulged at the gallery during the run of the exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">- Charles Schultz</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Davide Balula was born in 1978, and currently lives and works between Paris and New York. He has held solo shows at Frank Elbaz, Paris; Fake Estate, New York, and Confort Moderne in Poitier among others. He also recently staged performances at Night Gallery, Los Angeles, Pompidou Museum, Paris, and Performa, New York, and was part of numerous group exhibition including, the Pompidou Museum, Paris; Eleven Rivington, New York, Thadeous Ropac, Paris, MassMOCA, MOCA Miami,MAC/VAL, Vitry Sur Seine, Songwon Art Center, Seoul, Fondation Cartier, Paris, Bieledefer Kunstverein, Germany. This exhibition will mark his Los Angeles solo debut.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is part of Ceci n’est pas inititiated by the Cultural Services of the French Embassy in the United States in collaboration with the Institut Français, with the support of the Alliance Française of Los Angeles and the French Ministry of Culture and Communication.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Opening Reception:</p> <p style="text-align: justify;">Friday,  January 25<br />6PM – 9PM</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Performance at 8:45PM :<em> Air Drawings of the Guggenheim Museum, NY  - </em>Davide Balula invited rhythmic gymnast Ani Keshishyan to use the ribbon and interpret the architecture of the iconic Guggenheim Museum designed by Frank Lloyd Wright.</p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Mon, 18 Mar 2013 18:52:16 +0000 Catherine Wagner - Gallery Luisotti - January 22nd, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Gallery Luisotti</strong> is pleased to announce its upcoming exhibition of <strong>Catherine Wagner</strong>’s new series of photographs, <em><strong>trans/literate</strong></em>. The nine diptychs on display are images of canonical texts of literature and philosophy transcribed through a medium going through a present-day state of function and dwindling use: braille.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Wagner’s work has long been one of finding fresh meaning through a documentary indexing of historical objects. Rendered into typologies, these investigations of what are otherwise social advances that have been confined to the rudiments of memory –architectural structures, medical equipment, obsolete remnants of technology, amongst others- shed light on modernity as an entity that runs its own course.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Louis Braille created the writing platform named after him in 1834, taken from an earlier system invented by Napoleon’s army as a way for soldiers to communicate silently amongst each other at night. In essence, Braille’s system was the first universal invention of modern-day communication, at once translatable as it is, by structure, digital – a sequence of touches by a finger that transfers the intentions of words and their meanings. It is also one that is resolutely specific to a lone sense and by usefulness, running counter to the ability of sight. By photographing something meant to be not seen but touched, the works of trans/literate are suggestive as the subject matters of the books. They are at once the books, the image, and materials of history and social consciousness that have lasted through passage of time. They are what we can guess through the senses available to us, as the white whale Moby Dick, a visual we cannot see but infer through the imaginative power of lasting words.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As subject matter, braille stands as a symbol of the decline of the publishing industry as we know it today, where readership in the great texts continue to diminish at an alarming rate, as do the volume of sales of physical books. Braille itself faces an ongoing decline with the growth of the audiobook affecting its reach. In resonance with her other works documenting the obsolescence of things past their usefulness, the braille books of trans/literate are premonitions of a seemingly doubtful fate. These works are the documentation of the physical loss of those objects that are familiar –and become too familiar- in our times, crystallized here as visual signifiers of what history once left us.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Catherine Wagner </strong>has been in numerous solo and group exhibitions internationally, including recent exhibitions at Museum of Modern Art, San Francisco and Museum of Contemporary Photography, Chicago. In addition to her photographic work, Wagner has created large-scale public art works for the City of San Francisco, the UCSF Medical School, and the City of Los Angeles. She was recently awarded the Central Subway Public Art Competition from the City of San Francisco’s Art Commission for the Moscone MUNI train station. Wagner’s work is represented in the collections of the Museum of Modern Art, New York; the Whitney Museum of American Art; Museum of Modern Art, San Francisco; the Metropolitan Museum of Art, New York; the Los Angeles County Museum of Art, The Museum of Fine Arts, Houston; the Victoria and Albert Museum, London; amongst many others.<strong><br /></strong></span><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">Gallery Luisotti is excited to announce the extension of Catherine Wagner's current exhibition, <em>trans/literate</em>, which will now be on view through Saturday, March 23rd. </span></strong></p> Sun, 10 Mar 2013 15:42:50 +0000 Andy Warhol - Luckman Fine Arts Complex - January 26th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">In the 70s and 80s, iconic pop artist Andy Warhol took thousands of pictures with his Polaroid camera. The subjects range from celebrities to unknown individuals to objects that fascinated him. Many of these photos served as inspiration for his later paintings and silkscreens. This exhibition, made possible by a donation to the Luckman Fine Arts Complex Permanent Collection from the Andy Warhol Foundation for the Visual Arts, presents a selection of these Polaroids to the public for the first time. Andy Warhol: Polaroids is on view January 26 through March 23 and is free to the public. </span></p> Fri, 30 Nov 2012 07:26:04 +0000 Sue Bakley - Mingei International Museum - San Diego - March 22nd, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Come celebrate the opening of our newest exhibition, MENAGERIE, with a special animal-themed trunk show!</span></p> <p style="text-align: justify;"><span style="font-size: small;">San Diego artist Sue Bakley has worked in fiber arts and porcelain sculpture for the past decade. With a background in art and fashion design, her works are embellished using a collection of materials gathered on travels both domestic and abroad.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Sue’s wall hangings begin with intricate sculpting in porcelain clay. Once fired, her animals are then “dressed” with a variety of colorful inks, beads, ribbons, wires, and other decorative elements. Through this process, each creature happily takes on its own distinctive personality and spirit.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Her unique purse line is fashioned from a whimsical, canine-themed fabric. The addition of ribbons, beads, and buttons enhance each bag, while a pop of colorful beads on the straps transform them into their own special pieces of jewelry.  </span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Location:</b> The Collectors' Gallery, Balboa Park</span></p> Fri, 15 Mar 2013 17:10:51 +0000 Raymonde Beraud - Nicodim Gallery - February 9th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Mihai Nicodim Gallery</strong> is pleased to present the first solo exhibition and U.S. debut of British artist<strong> Raymonde Beraud</strong>.  </span><br /><br /><span style="font-size: small;">Beraud approaches painting with a litigious methodology.  Embracing a process which is as reductive as it is additive, she speaks of her work as fulfilling an inward desire for ‘collectiveness’.  Exploring variations on an established set of actions, her practice deconstructs only to rebuild.  Her paintings’ patterned surfaces are excavated through both brush and the use of handmade clay tools which work to deepen and stain her opaque visual fields.</span><br /><br /><span style="font-size: small;">Individually, the works quietly radiate an embattled veneer, the result of scraping, sanding and shining through multiple layers of a previous self.  Small and seductive, each work possesses the quality of a crudely shined gem whose totality may be admired both for its visibly organic beginnings and polished newness.  However, any decided ‘beauty’ in Beraud’s work is knowing.  Attempting to democratise surface, her gestured hand consistently intersects the works’ polished overlay with a thud.  There is definite rhythm in this heavy patterning, an interest in mark-making which is kept decidedly acute throughout the stripping and processing of each work.</span><br /><br /><span style="font-size: small;">These painterly rhythms seem to both demarcate and fetishize Beraud’s planes in equal measure.  The cadence of her strokes seem to strive for a tonal balance that is essentially unattainable.  It’s within this awkward juncture of natural and mechanical that Beraud’s work seems to oscillate with a distinct sense of humanism as she openly exhibits the restrictions of her chosen medium. </span><br /><br /><span style="font-size: small;">The paintings’ surfaces, shined to near mirror, reflect the inwardness of Beraud’s practice.  In a way the paintings seem to begin and end with themselves, boldly acquiescing to the condition of their planes.   What are you left with when abstract language holds little to no currency as a kind of descriptive device?  When there’s perhaps no longer a space for metaphysical discovery or change within the picture plane, Beraud conversely looks to surface for pathos and play.  It’s in such measure that her paintings maintain a convincing currency, one which hums in contemporary meditation upon the notion that the limitations of surface are indeed unendingly expansive.</span><br /><br /><span style="font-size: small;"><strong>Raymonde Beraud</strong> (b.1989, Cyprus) lives and works in London.  She is currently a student at the Royal College of Art, earning her Masters Degree in May of this year. Recent exhibitions include Timber Tracks, Hockney Gallery, Royal College of Art, London (2012) and the Santorini Biennale of Arts, Santorini (2012).</span></p> Thu, 07 Feb 2013 16:03:18 +0000 Fabian Debora, Alex Kizu, Juan Carlos Muñoz Hernandez - OTIS Ben Maltz Gallery - January 2nd, 2013 - March 23rd, 2013 <p style="text-align: center;"><strong>Bridging Homeboy Industries: Fabian Debora, Alex Kizu, and Juan Carlos Muñoz Hernandez</strong><br /><strong>A group exhibition of three dynamic artists who share roots in Homeboy Industries</strong></p> <p style="text-align: justify;"><span style="font-size: small;">LOS ANGELES, CA - October, 2012 – The Ben Maltz Gallery continues to present new work by</span> <span style="font-size: small;">artists in the SoCal region with the three-person exhibition Bridging Homeboy Industries: Fabian</span> <span style="font-size: small;">Debora, Alex Kizu, and Juan Carlos Muñoz Hernandez on view January 2 – March 23, 2013. Guest</span> <span style="font-size: small;">Curator: Annie Buckley (MFA 2003). Reception: Saturday, January 26, 4pm-6pm.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"><em><strong>Bridging Homeboy Industries</strong> </em>features the work of <strong>Fabian Debora, Alex Kizu, </strong>and<strong> Juan Carlos</strong></span> <span style="font-size: small;"><strong>Muñoz Hernandez</strong>, three working artists who share roots in the East L.A. neighborhood of Boyle </span><span style="font-size: small;">Heights, a close-knit community beset by poverty and violence. Though their paths and practices are</span> <span style="font-size: small;">unique, each has benefited from the services of Homeboy Industries, the largest gang intervention</span> <span style="font-size: small;">program in the nation. Founded as a jobs program by <strong>Father Gregory Boyle</strong> in 1992, Homeboy</span> <span style="font-size: small;">Industries continues to thrive as a network of successful businesses supported and run by former gang</span> <span style="font-size: small;">members. Two decades on, Debora, Kizu, and Muñoz Hernandez all count Father Boyle—or G, as he</span> <span style="font-size: small;">is fondly referred to by many—as a mentor, supporter, and friend. He is the person who saw in them</span> <span style="font-size: small;">the artists they would become and who fostered a sense of hope and possibility for them during times</span> <span style="font-size: small;">when these were scarce. This encouragement, combined with their own relentless passion for art, fed</span> <span style="font-size: small;">their development as artists.</span></p> <blockquote> <p style="text-align: justify;"><em><span style="font-size: small;">“During what G [Father Greg Boyle] calls the ‘decade of death’, I got into a lot of trouble, but Father</span> <span style="font-size: small;">Greg, no matter what I did, was always encouraging me to do my art. … I felt hopeless, but G would</span> <span style="font-size: small;">hire us to do murals and artwork, and now I realize that those acts of faith helped me to overcome</span> </em><span style="font-size: small;"><em>many of the obstacles that I faced as a youth.”</em> —Alex Kizu</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;"><strong>Fabian Debora</strong>, who is now a staff-member at Homeboy Industries, makes compellingly honest </span><span style="font-size: small;">paintings influenced by Chicano and contemporary representational art. Alex Kizu's color-infused</span> <span style="font-size: small;">canvases feature variations on the highly complex and ornate graffiti lettering he learned as a boy from</span> <span style="font-size: small;">local street artists and knowledge gained as a recent graduate of the Art Department of California State</span> <span style="font-size: small;">University, Northridge (CSUN). <strong>Juan Carlos Muñoz Hernandez'</strong>s bronze sculptures and spray paint</span> <span style="font-size: small;">and marker paintings fuse graffiti with diagrammatic architectural drawings and grow out of an 18-</span><span style="font-size: small;">year apprenticeship with the sculptor Robert Graham and a background in street art. This exhibition</span> <span style="font-size: small;">includes several works by each artist and a new, large-scale collaborative mural.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is organized by the Ben Maltz Gallery at Otis College of Art and Design with Guest</span> <span style="font-size: small;">Curator Annie Buckley. Buckley (Otis MFA ’03) is an interdisciplinary artist, author, art critic, and</span> <span style="font-size: small;">Assistant Professor of Visual Studies at California State University, San Bernardino. She thanks OTIS</span> <span style="font-size: small;">Ben Maltz Gallery, Homeboy Industries, and Alice Buckley for their support in the presentation of this </span><span style="font-size: small;">exhibition.</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>Public Reception</strong>: Saturday, January 26, 2013, 4pm-6pm, Free with live music by Incendio</span></p> Mon, 05 Nov 2012 14:37:44 +0000 Will Benedict, Michaela Eichwald, Lucie Stahl, Erika Vogt - Overduin & Co. - February 10th, 2013 - March 23rd, 2013 <p></p> <p class="text"></p> Tue, 12 Mar 2013 05:48:25 +0000 Ryan Foster - Richard Heller Gallery - February 23rd, 2013 - March 23rd, 2013 Mon, 18 Feb 2013 17:42:40 +0000 Lowry Burgess, Richard Clar, Bradley Pitts, Nejc Trošt - Sweeney Art Gallery - January 19th, 2013 - March 23rd, 2013 <p style="margin: 0px 0px 1em; padding: 0px; color: #000000; font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-align: justify;">UCR ARTSblock presents<strong style="font-style: inherit; font-weight: bold;"><em style="font-style: italic; font-weight: inherit;"> Free Enterprise: The Art of Citizen Space Exploration</em></strong> is the first contemporary art exhibition in the U.S. to present an international array of artists and organizations who are exploring the potential democratization of space exploration and the intersection between artistic production and civilian space travel. The possibility of fulfilling the human dream to fly into space has been encouraged by a major political and cultural shift away from statesponsored space activities—which are controlled by agencies such as NASA in the USA, JAXA in Japan and RKA in Russia —towards a private enterprise model. <em style="font-style: italic; font-weight: inherit;">Free Enterprise</em> is organized by UCR ARTSblock and curated by Tyler Stallings and Marko Peljhan.</p> <p style="margin: 0px 0px 1em; padding: 0px; color: #000000; font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-align: justify;"><em style="font-style: italic; font-weight: inherit;">Free Enterprise</em> has been in the planning stages since fall 2009. “Its presentation in 2013 arrives at a time when several private enterprise ventures have come to fruition,” says co-curator Tyler Stallings. They include the successful launch in May 2012 of the Falcon 9 vehicle and the Dragon space capsule by Space X, a company based in Hawthorne, California, which rendezvoused with the International Space Station; the soon-to-be-completed spaceport in New Mexico that will be the launch site for Virgin Galactic’s space tourism program, and the burgeoning efforts of XCOR Aerospace, a Mojave based company represented in Free Enterprise. These developments are a clear sign that we are at a dawn of a new radical change in near-earth space exploration. Engaging artists directly in this discussion at an early stage is extremely important: it is the technology and capital that allow for exploration, but it is the imagination and the spiritual capital that create a new state of mind and allow for a broader awareness of humanity on Earth and beyond.</p> <p style="margin: 0px 0px 1em; padding: 0px; color: #000000; font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-align: justify;"><em style="font-style: italic; font-weight: inherit;">Free Enterprise</em> is comprised of twenty-five artists, collectives, organizations, and initiatives, which includes several commissions for the exhibition and additions to the permanent collections at UCR ARTSblock. A variety of media will be represented: drawing, photography, video, sculpture, painting, and artifacts by: The Arts Catalyst (London, U.K.), Lowry Burgess (Pittsburgh, PA), Center for Land Use Interpretation (Culver City, CA), Richard Clar (Paris/Los Angeles), Skeith De Wine (Santa Ana, CA), Kitsou Dubois (Paris), eteam (New York), European Space Agency Topical Team Arts and Science (international participants), Final Frontier Design (New York), Cultural Center of European Space Technologies / KSEVT (Vitanje, Slovenia), Agnes Meyer-Brandis (Berlin), MIR - Microgravity Interdisciplinary Research (international participants), Forrest Myers (New York), Trieste Constructivist Cabinet (Italy/Slovenia), Nejc Trošt (Slovenia/Houston, TX), Trevor Paglen (New York), Carrie Paterson (Los Angeles), Frank Pietronigro (San Francisco), Bradley Pitts (New York), Cosmokinetial Kabinet Noordung – Postgravityart (Ljubljana, Slovenia), Projekt Atol Flight Operations (Santa Barbara, CA and Ljubljana, Slovenia), Connie Samaras (Los Angeles), Christian Waldvogel (Zurich, Switzerland), Arthur Woods (Zurich, Switzerland), and XCOR Aerospace, Inc. (Mojave, CA).</p> <p style="margin: 0px 0px 1em; padding: 0px; color: #000000; font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-align: justify;"><strong style="font-style: inherit; font-weight: bold;">Culver Center of the Arts &amp; Sweeney Art Gallery</strong><em style="font-style: italic; font-weight: inherit;"> through March 23</em><br />• The Arts Catalyst<br />• Lowry Burgess<br />• Richard Clar<br />• European Space Agency Topical Team Arts and Science<br />• Cultural Center of European Space Technologies / KSEVT<br />• MIR – Microgravity Interdisciplinary Research<br />• Projekt Atol Flight Operations<br />• Bradley Pitts<br />• Nejc Trošt<br />• XCOR Aerospace, Inc.</p> <p style="text-align: justify;"><br /><span style="font-size: small;">UCR Sweeney Art Gallery and Culver Center of the Arts North Atrium Gallery</span></p> Thu, 17 Jan 2013 16:03:14 +0000