ArtSlant - Openings & events en-us 40 Unmanned Minerals - Human Resources - March 18th, 2013 7:30 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">nmanned Minerals will read from and interpenetrate the poems of Jared Stanley, Paleolithic Cosmonaut and Predator of the Marvelous.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Unmanned Minerals (Matthew Hebert, Jared Stanley, Gabie Strong) is an interdisciplinary California and Nevada-based art collective interested in the ways history and language mediate landscape. Together, we combine individual practices in poetry, design, sculpture, photography, and music, to create collaborative site-specific installations evoking a contemporary Western identity. Strong is an artist and designer exploring spaces of degeneration, drone and decay as a means to improvise new arrangements of self-reflexive meaning. Stanley is a poet working at the intersection of lyric poetry and land use, and has written two collections of poetry, The Weeds and Book Made of Forest; Hebert is interested in the creation of objects that generate content and experiences via interactions between the user(s), object(s), and the environment. <a href="" target="_blank"></a></span></p> Sat, 16 Mar 2013 07:40:13 +0000 Caroline Cox - Another Year in LA - March 19th, 2013 5:00 PM - 8:00 PM <p align="center" style="text-align: left;"><b>“SWERVE” – sculpture/installations by Caroline Cox</b></p> <p style="text-align: left;"><b>March 19 – May 3, 2013     </b></p> <p style="text-align: left;"><b>Opening Reception:  Tuesday, March 19, 5pm – 8pm</b></p> <p>“Swerve” is the first solo exhibition at Another Year in LA by NY based artist, Caroline Cox.  Cox’s work is whimsical and ethereal.  At its foundation, the work assumes it own form with meandering permutations that culminate in lyrical sculptures formations – all made using a simple material – plastic filament.  When installed, the works create a visual dialogue replete with both static and kinetic nuances.  The forms in this incarnation entitled, “Swerve” indicate matter with energy; directionality as a response to force in nature.</p> <p>Cox says, “My work is physically transparent, so I’m always concerned about the context that I put it in. Fortunately, for the most part, viewers are pretty good at focusing in on what they want to see.  I make my work without sketches or pre-planning – it typically goes through numerous permutations.  I set the piece in motion focusing on the materials that I use, ignoring content.  I want the piece to come into being through the process.  My interests are eclectic and I incorporate diverse materials, objects and ideas into my installations.  While making this piece I was particularly interested in a wide range of natural structures: from warping of the space/time fabric to diatoms to microscopic structures of mold.  I trusted that these interests would surface during the process of making the piece and I didn’t consciously introduce them.”</p> Thu, 14 Mar 2013 13:23:17 +0000 Jaqueline Cedar - Wharton+Espinosa - March 19th, 2013 6:00 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;"><em>“Come to the edge.' 'We can't. We're afraid.' 'Come to the edge.' 'We can't. We will fall!' Come to the edge.' And they came. And he pushed them. And they flew." ― Guillaume Apollinaire</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Jaqueline Cedar utilizes a fractured dimensionality in which bodies, light, and location intersect and coexist on parallel planes dictated not by a natural order but a dreamlike logic. Flesh, matter, and consciousness all fragment within her layered fields of disorienting space. Time, on the other hand is static, either nonexistent or in suspension, inducing an ambiguous sense of suspense or infinite irresolution.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Cedarʼs artistic genealogy is found in a heady concoction of early 20th century painting and faint hints of a west coast sensibility seeping in from her Southern Californian roots. Her most recent works cite Orphism as a key source, referring to the mystical content of painters rooted in cubism whose primary interest was the expression of sensation and infinite interrelated states of being. This reference poignantly surfaces in Cedarʼs enigmatic narratives of deep contemplative states and disjointed physical and psychological engagements; all charged with a permanent sense of foreboding - forever</span><br /><span style="font-size: small;">preparing and waiting for events to come.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jaqueline Cedar received a Master of Fine Arts from Columbia University, NY in 2009; and a Bachelor of Arts from the University of California, Los Angeles in 2007. She has shown at Fredricks &amp; Freiser Gallery and The International Studio and Curatorial Program in New York. Her work has been featured in <em>The Huffington Post</em>, <em>The Graphite Interdisciplinary Journal of the Arts</em>, and <em>New American Paintings</em>. This will be her first exhibition with Wharton + Espinosa.</span></p> Sat, 16 Mar 2013 07:44:42 +0000 Alice Könitz, Nicolau Vergueiro, Tyler Vlahovich - Wharton+Espinosa - March 19th, 2013 6:00 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">Wharton + Espinosa is pleased to announce an exhibition of 3 Los Angeles-based artists: <strong>Alice Könitz, Nicolau Vergueiro,</strong> and<strong> Tyler Vlahovich</strong>. All three have been active participants in the visual dialog of our city for more than a decade and have extensively exhibited both locally and internationally. This will be their first show at Wharton + Espinosa. </span></p> <p style="text-align: justify;"><span style="font-size: small;">The idea of potential is a primary binding element in <strong>Alice Könitz</strong>'s artistic production. Her object’s behavior often lingers in close proximity to that of a placebo; but their self-sufficient posture never entirely allows them to be pinned down quite that easily. Könitz is known for her use of impermanent materials in constructions that appear structurally sound but are in reality just the opposite. These dichotomous objects employ the innate characteristics of non-structural craft materials, in conjunction with human scale and actual proportion, to induce an incongruous perception based on the viewer’s experiential familiarity with objects and materials.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Könitz says: “Sometimes the materials stand in for other materials, but since the objects I’m making are completely invented, it’s hard to say what these materials would be.” If Könitz objects are something akin to a full-scale 1:1 proportional model of a hypothetical or imagined object, how then do we negotiate a miniature scale model of that? A model of a model -- a potential potential? Könitz’s presentation at Wharton + Espinosa will include twenty-two maquettes, most of which have manifested as her larger sculptures or installations, while some only exist in this intimate size. These works will be seen for the first time outside of her studio and represent 15 years of her creative process.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Alice Könitz (born in Essen-Werden, Germany) has presented her work in numerous exhibitions including The 2008 Whitney Biennial (Whitney Museum of American Art, NY); The 2008 California Biennial (Joshua Tree/Orange County Museum of Art); and International Paper (UCLA Hammer Museum, LA). She has held solo exhibitions at Susanne Vielmetter Projects, Los Angeles and Berlin, The University Art Museum, CSU Long Beach; LA&gt;&lt;Art; Hudson Franklin, New York; Los Angeles Contemporary Exhibitions and Kunstverein Norden, Germany. Her work has been reviewed in Artforum, Frieze, Flash Art, Sculpture magazine, Art and Text, New York Times, Los Angeles Times, and other magazines and newspapers. She is featured in the catalog The Shape of Things to Come: New Sculpture published by the Saatchi Gallery, London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Nicolau Vergueiro</strong>’s work distills an expansive range of social and cultural influences; infusing them into seemingly disparate materials sourced from fashion, music, design, pop culture, and art history. The effect is of an uneasy familiarity or subconscious-level form of recognition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Vergueiro’s new work situates charged imagery in an uncomfortable relationship with the decorative. He transfers news clippings rife with imagery of conflict, war, and struggle onto fleshy strips of poured latex. The symptoms of the technical process cause dilution and abstraction of the original media. The result renders embedded content illegible, distorting it to pattern or enigmatic visual noise.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The ink-stained latex is then draped onto cast aluminum armatures so that the object teeters somewhere between a ceremonial banner and a curing animal hide. Vergueiro positions polemical elements side by side: soft and hard, high and low, hand made and industrial, modern and primitive, masculine and feminine - all engaging to create a fertile destabilized terrain.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in New York and raised in Brazil, Nicolau Vergueiro received his MFA in 2002 from CalArts and his BA from UCLA in 2000. Vergueiro has had solo exhibitions at David Kordansky Gallery in Los Angeles, Galerie Nathalie Obadia in Paris, The Pasadena Museum of California Art, and at the Aspen Museum of Art. His work has been included in group exhibitions at the Orange County Museum of Art, David Zwirner Gallery, NY, Hiromi Yoshii Gallery, Tokyo, and Museu de Arte Moderna da Bahia, Brazil. Reviews and articles of Vergueiro’s work have appeared in Artforum, Art in America, Los Angeles Times, Frieze, and A Folha de São Paulo, and are in the collections of MoMA, NY, the Rubell Family Collection/Contemporary Arts Foundation and the Museu de Arte Moderna da Bahia in Brazil, among other international private and public collections.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In 2012 Vergueiro realized a commissioned 90-minute digital video as part of a musical presentation at Carnegie Hall in New York; and in 2013 he will realize two collaborative projects with Norwegian artist Marte Eknaes, granted by the Office for Contemporary Art Norway. In September 2013 Nicolau Vergueiro will have his first solo exhibition at Wharton &amp; Espinosa.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Tyler Vlahovich</strong> combines painterly mark making with forms that anachronistically resuscitate Meso-American hieroglyphs, Chinese wall murals, and homespun signage. His “Strata” series refocuses his previous relationship to painting, redirecting it towards a language of forms where each component dictates what follows. Vlahovich’s works are created using a left to right, top to bottom writing system. This calligraphic technique integrates quirky forms and negative space to break up the pictorial plane into cell-like compositions. Biomorphic data becomes idiom as every brushstroke and ink drop shifts between idea and word. Vlahovich states, “My specific interest with painting is to describe the flux of perception within the shifting codes of narrative. To keep perception from being fixed allows the image to expand in subconscious and tangential ways. It’s about the satisfaction of observing.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Originally from Tacoma, Washington, Tyler Vlahovich’s solo exhibitions include Feature Inc. NY, John Tevis Gallery, Paris; and Mary Goldman, LA. His works have been included in group exhibitions at the Institute of Contemporary Art, London; Anton Kern Gallery, NY; Cherry and Martin, LA; Rhona Hoffman Gallery, Chicago; Richard Telles Gallery, LA; Leo Koenig Gallery, NY; Acme, LA; Atelier Cardenas Bellanger, Paris; and Royal Academy of Art, London.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Vlahovich’s work has been featured in numerous publications including Artforum, Artext, Los Angeles Times, and the New York Times. His work can be found in international private and public collections including the Hammer Museum, LA; and the Frederick R. Weisman Art Foundation, LA. Tyler Vlahovich lives and works in Los Angeles.</span></p> Sat, 16 Mar 2013 07:46:09 +0000 - A + D Museum - March 20th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Architect Curtis Fentress will share the thinking behind the bold new master plan for LAX. Explore his firm’s vision of the future of aviation architecture and discuss the winning entries from the Fentress Global Challenge: Airports of the Future student design competition.</span></p> Thu, 07 Mar 2013 09:23:18 +0000 Stefan Sagmeister - MOCA Pacific Design Center - March 20th, 2013 11:00 AM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">The <strong>Museum of Contemporary Art, Los Angeles</strong> presents the first Los Angeles museum exhibition of the work of graphic designer Stefan Sagmeister. The exhibition <em><strong>Stefan Sagmeister The Happy Show</strong> </em>follows presentations at the Institute of Contemporary Art, University of Pennsylvania (April 4-August 12, 2012) and the Design Exchange in Toronto (January 9-March 3, 2013), and will open at MOCA Pacific Design Center on March 20-June 9, 2013. Sagmeister not only tests the boundary between art and design, but often transgesses it through his imaginative implementation of typography. <em>The Happy Show</em>, a thematic exhibition of film, print, infographics, sculpture, and interactive installations offers visitors the experience of walking into the designer's mind as he attempts to increase his happiness via mediation, cognitive therapy, and mood-altering pharmaceuticals.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Centered around the designer's ten-year exploration of happiness, this exhibition presents typographic investigations of a series of maxims, or rules to live by, originally culled from Sagmeister's diary, manifested in a variety of imaginative and interactive forms. To contextualize the maxims that appear throughout the exhibition, Sagmeister has gathered the social data of Harvard psychologists Daniel Gilbert and Steven Pinker, psychologist Jonathan Haidt, anthropologist Donald Symons, and several prominent historians. In addition to individual works, some of which have been custom-made for this exhibition, <em>The Happy Show</em> includes a personal narrative, as Sagmeister's individual experience is portrayed beside social data detailing the role of age, gender, race, money, and other factors that determine happiness. A 12-minute segment of the <em>Having Guts</em>, a feature length exploration of whether it is possible to train the mind the way we train the body, will also be on view.</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>Stefan Sagmeister</strong> (b. 1962 Bregenz, Austria; lives New York) is a designer who blends typography and imagery in striking, fresh, ambitious, and unsettling ways. Having influenced the culture of design over the past decade, he is perhaps best known for his album covers for Talking Heads, Lou Reed, OK Go, and The Rolling Stones, to name only a few, as well as innovative campaigns, for companies like Levis, that have entered the public consciousness.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Stefan Sagmeister The Happy Show</em> is organized by the Institute of Contemporary Art, University of Pennsylvania.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is curated by Claudia Gould, the Helen Goldsmith Menschel Director, The Jewish Museum, New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Generous support for MOCA Pacific Design Center is provided by Charles S. Cohen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">ICA is grateful for primary sponsorship from The Pew Center for Arts and Heritage through the Philadelphia Exhibitions Initiative. Additional funding has been provided by ICA's Leadership Circle. ICA is also grateful to The Chodorow Exhibition Initiative Fund for support of the exhibition's tour. We are grateful for the support of The Horace W. Goldsmith Foundation; The Dietrich Foundation, Inc.; the Overseers Board for the Institute of Contemporary Art; friends and members of ICA; and the University of Pennsylvania. General operating support provided, in part, by the Philadelphia Cultural Fund. ICA receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency. ICA acknowledges Le Meridien Philadelphia as our official Unlock Art partner hotel.</span></p> Tue, 12 Mar 2013 05:33:41 +0000 Hope Atherton, Adam McEwan, Brie Ruais, Keith Sonnier - Marc Selwyn Fine Art - March 21st, 2013 6:00 PM - 8:00 PM Mon, 21 Jan 2013 16:12:32 +0000 David Avalos, Louis Hock, Elizabeth Sisco, Perry Vasquez, Victor Payan, Marcos Ramírez ERRE - Museum of Contemporary Art San Diego-Downtown - March 21st, 2013 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Hear directly from the artist  in the new iteration of works in the "white cube" space focused on border activism. Gain a deeper understanding of the works as David Avalos, Louis Hock, Elizabeth Sisco talk about <em>Art Revate, </em>Perry Vasquez and Victor Payan discuss <em>Keep on Crossing, </em>2003 on its tenth anniversary and Marcos Ramírez ERRE, talk about his work <em>Toy and Horse. </em>This program invites participants to be challenged and inspired.</span></p> Wed, 06 Mar 2013 12:48:21 +0000 Richard Jackson - Orange County Museum of Art (OCMA) - March 21st, 2013 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Richard Jackson, curator Paul Schimmel, catalogue essayist John Welchman and George Baker, UCLA art historian discuss how post-studio practices have changed the way artists make work, the idea of self-reliance, and the way artists maintain control over his/her practice.</span></p> Tue, 12 Mar 2013 05:33:48 +0000 Natasa Prosenc-Stearns - Ruth Bachofner Gallery - March 21st, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;"><b>Ruth Bachofner Gallery</b> is pleased to present an exhibition of new work by <strong>Natasa Prosenc-Stearns.</strong></p> <p style="text-align: justify;">Natasa Prosenc-Stearns' project, <strong><em>Backfill</em></strong>, was originally conceived as part of a site-specific installation in Maribor, Slovenia, where the artist was born. The piece was inspired by the recent excavation of a castle's bastion that had been backfilled in the 16th Century to protect the city against Turkish invasions. Originally projected onto three walls of once buried chambers, the video shows super close-up images of sand, rocks and other particulates falling and tumbling into striated fonnations. In the gallery, the video is presented as a triptych which occupies a twelve foot tall wall, enveloping viewers with the largerthan life images and sounds of the falling matter.</p> <p style="text-align: justify;">As with her other video works, the installation revolves around a narrative that speaks to principles of time and transformation. while it was originally conceptually tied to a specific time and place in Slovenia, in the gallery context, these universal themes are highlighted. The installation walks the line between anxiety and fear on one side and calmness and inevitability of change on the other," the artist states. "Projections transform the space into constantly changing interplay of ever-mounting piles of rocks. <em>Backfill</em> does not just establish a plain correlation with today's hostilities and crisis; I am interested in atrail. Sediment that is present here and now as a reminder of necessity for a change. Moving images of falling rocks and sand, creating layers, infinitely piling and disappearing, stir the thoughts about inevitable sediment-ing of not only matter, but of memories, experiences, time." </p> <p style="text-align: justify;">Natasa Prosenc-Stearns earned her BA at Academy of Fine Arts in Ljubljana, Slovenia, where she began making herfirst video pieces, gradually expanding her practice towards installations, prints and films. In 1997 Natasa traveled to Los Angeles on a Fulbright Grant for her MFA in Film and Video at Cal Arts. She is a recipient of the Soros Grant and Durffee Foundation Grant; her work was shown at the 48th Venice Biennale, AR CO Fair in Madrid, Douloun Museum of Art in Shanghai, Tel Aviv Museum ofArt in Israel, as part of the program of European Capital of Culture and in numerous venues and festivals in USA. Natasa's exhibition is in conjunction with SEEFEST, the leading voice in the U.S. for the presentation of cinematic and cultural diversity of South East Europe. The 8th Annual Festival will take place in Los Angeles, May 2 - 6, 2013. </p> Thu, 21 Mar 2013 07:46:27 +0000 Jessica Miller, Tahir Ün, Marco Mendeni, Stephanie Hough, Rocky Horton, Rembrandt Quiballo, Mikey Peterson, Charmaine Ortiz - Armory Center for the Arts - March 22nd, 2013 8:00 PM - 10:00 PM <p class="p1"><b><i>ATTENTIONAL SHIFT  </i></b>features a selection of video art projects working with repetition, manipulation and found footage. These works focus the audience's attention through selective editing and image manipulation to reveal secondary meanings behind the initial surface impression. The show starts at 8PM, 22 March 2013 featuring work by Jessica Miller, Tahir Ün, Marco Mendeni, Stephanie Hough, Rocky Horton, Rembrandt Quiballo, Zach Nader, Mikey Peterson, and Charmaine Ortiz.</p> Sat, 09 Mar 2013 22:50:44 +0000 Louise Nevelson - L&M Arts, Los Angeles - March 22nd, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;" align="justify"><span style="font-family: arial,helvetica,sans-serif; font-size: small;"><strong>L&amp;M Arts</strong> is pleased to present<strong> Louise Nevelson:</strong> <i>The 70s</i>, an in depth look at a diverse and defining decade of work by the woman deemed the “Grande Dame of Contemporary Sculpture.” This extensive exhibition will include over thirty works described by the artist at the time of their making to be about the now, which have since matured over the past three decades to take on new and evolved relevancy. The first exhibition to focus solely on works from this era examines a culminating crest of her investigations into the relationship between elements, sculpture, and architecture to achieve her distinct material alchemy. </span><br /> <br /><span style="font-family: arial,helvetica,sans-serif; font-size: small;"> After Nevelson’s first major retrospective at The Whitney Museum of American Art in New York in 1967, her work noticeably shifted in tone and form. In his essay for the forthcoming monograph Louise Nevelson, slated to be released by Skira publishers in April 2013, art historian Germano Celant reflects on this charged period:</span></p> <blockquote><span style="font-family: arial,helvetica,sans-serif; font-size: small;">“from the 1970s, the continuity of the wall structures was broken down in pursuit of a discontinuity that emancipated the individual elements, separating them and making them autonomous and different, no longer contained in boxes…(they) seemed to come from an order that was no longer primitive, but rather cultured and mature, where verticality was a metaphor for the pride and presence that had been achieved.”</span></blockquote> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Adobe garamond pro"><span size="3"><br /> The 1970s were a time of unprecedented success for Nevelson: she participated for the second time in the Venice Biennale (1976), New York City Mayor Ed Koch named a downtown Manhattan park after her (1978), and President Carter honored her as one of five most important woman contributing to the arts in the United States. These accolades allowed her to pursue a new, larger scale for her work as a result of invitations for various commission projects. In addition, a steady stream of gallery and museum exhibitions afforded the opportunity to expand on her previous practice with increasing momentum. The works displayed in Louise Nevelson: <i>The 70s</i> present a holistic look into not only her artistic achievements, but also intellectual and aesthetic explorations at the time. Among the objects providing insight into these pursuits are <i>Small Cities IX</i>, 1978, a rare wooden ‘tool’ box; <i>Untitled</i>, 1971, an 89-piece intricate geometric wall sculpture; and a large-scale work that, like many of her commissioned works from the era, will be erected outside in the gallery's garden. <br /> <br /> The exhibition will also include a suite of fourteen collages by the artist known for her signature eccentric style. More often than not, Nevelson could be found draped in decadent furs over richly textured garments, her eyes heavily outlined in black pencil and a net of false eyelashes. She believed that aesthetics are a closed circuit; the current running from her intellectual perceptions to her personal style to her artwork fed a continuous dialogue. The 1970s proved a prolific period of collage-making for Nevelson, who, at the time, remarked on the subject, “I love to put things together. My whole life is one big collage. Every time I put on clothes, I am creating a picture, a living picture, for myself... I like clothes that are upholstered. I like that you build up your clothes…You can do it two-dimensionally, and every time I do it, when I go back to my work, I use that again.” Her collages are an integral component to a body of work deeply rooted in her distinct sensibility.<br /> <br /> Louise Nevelson (1899–1988) was born Louise Berliawsky in Kiev, Russia and immigrated to Rockland, Maine at the age of six. After marrying Charles Nevelson in 1920, the couple settled in New York City. It was there that she enrolled in the Art Students League, studying under Kenneth Hayes Miller and Hans Hoffman. Over the next two decades she worked as an assistant to Diego Rivera as well as at the Sculpture Center in New York and Atelier 17. After the mid-1950s she began showing regularly in New York and abroad. Nevelson’s work can be found in nearly 90 public collections worldwide, including: Albright-Knox Art Gallery, New York; The Art Institute of Chicago; The Brooklyn Museum, New York; The Cleveland Museum of Art; The Corcoran Gallery of Art, Washington, D.C.; Dallas Museum of Art; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Israel Museum, Jerusalem; Los Angeles County Museum of Art; Centre Georges Pompidou, Paris; Tate Gallery, London; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York.</span></span></p> Fri, 15 Mar 2013 16:54:52 +0000 Sue Bakley - Mingei International Museum - San Diego - March 22nd, 2013 10:00 AM - 4:00 PM <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 17:10:52 +0000 Philippe Parreno - 1301PE - March 23rd, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><strong>1301PE</strong> presents <strong><i>Fade to Black</i></strong>, its third exhibition with artist <strong>Philippe Parreno</strong>, from 23 March until 27 April 2013.<br /><br />The ghosts of Parreno's past projects come back to haunt this new series of glow-in-the-dark posters that depict previously aborted works. The posters must be exposed to light before the imprints become visible in the dark, gradually fading away only to reappear when re-exposed to light. The posters show quasi-objects - forms that do not exist on their own but depend upon the conditions of the exhibition to appear.<br /><br />The images bring to the surface of the conscious mind precisely the things that it could not tolerate. Their slight radioactive decay energizes the phosphor, emitting a glow. The imprints of never realized works, failures and unfulfilled desires, were left behind in excess. They cannot be truly qualified as artworks as they were originally rejected. They are the heterogeneous; the pushed back; the soiled; the abject; the gutter; the filthy; the snot; the scum; the excremental; the stercoraceous; the dross; the ragged; the eliminated; the pulverized; the ruined; the fermented; the spoiled, the decomposed; the negligible; the slag; the scoria; the putrescible; the rotting; the turd; the dejection; the evacuation; the sewer; the discharge; the release…<br /><br />Rising to prominence in the 1990s, Parreno has earned critical acclaim for his work, which employs a diversity of media including film, sculpture, performance, drawing and text. He has radically redefined the exhibition experience by conceiving his shows as a scripted space where a series of events unfolds.<br /><br />Parreno used this format for the recent exhibition, <i>Dancing around the Bride </i>at the Philadelphia Museum of Art which is currently on show as <i>The Bride and The Bachelors</i> at the Barbican, London. For this show he has acted as metteur-en-scène (orchestrator), using temporal and spatial sequencing to activate the artworks of John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg, and Marcel Duchamp.<br /><br />At his current solo show at Garage Center for Contemporary Culture, Moscow, Parreno presents <i>Marilyn</i> (2012), which premiered last summer at the Fondation Beyeler, Basel. For this film he conjured up Marilyn Monroe through a phantasmagoric séance in a suite at the Waldorf Astoria hotel in New York, where she lived in the 1950s. The film reproduces Marilyn Monroe's presence by means of three algorithms: the camera becomes her eyes, a computer reconstructs the rhythms of her voice, and a robot recreates her handwriting.<br /><br /><strong>Philippe Parreno</strong> lives and works in Paris, France. He has shown in a series of major solo exhibitions at Garage Center for Contemporary Culture, Moscow, Russia; Fondation Beyeler, Basel, Switzerland; Serpentine Gallery, London, UK; Hessel Museum, CCS Bard College, Annandale-on- Hudson, NY; Irish Museum of Modern Art, Dublin, Ireland; Kunsthalle Zurich, Zurich, Switzerland; and Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.</span></p> Tue, 12 Mar 2013 05:34:09 +0000 Amir Zaki - ACME - March 23rd, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>ACME.</strong> is pleased to present a solo exhibition of new black and white photographs by<strong> Amir Zaki</strong>. The exhibition will feature two series of photographs: trees that are isolated against an open sky and cropped so there is no ground, and steep cliff sides as seen from the beach along the Southern California coast. All of the photographs are printed with a warm tonality, and vary in size depending on the specific image. The photos are presented in white frames without Plexiglas, revealing the matte surface of the image without any reflections. Both series of photographs capture the beautiful natural imperfections found in the coastal landscape.</span><br /> <br /><span style="font-size: small;"> In one series, Zaki photographs individual trees that seem to be abused by the natural elements or mankind. He often selects the trees based on their irregular and eccentric forms. Each photograph becomes an intimate portrait, revealing unexpected beauty. In contrast to the singularity of the trees, the second body of work depicts Southern California beach cliff sides. Monumentally scaled retaining walls and fragile zigzagging stairwells that lead to private residences populate the rugged coastal landscape. Through time, both the natural and manmade elements evolve together and become subtly blended. Zaki photographs the beach scenes in the late morning when the coastal fog is burning off creating a visually haunting atmosphere.</span><br /> <br /><span style="font-size: small;"> Amir Zaki lives and works in Southern California. He received his MFA from UCLA in 1999 and has been exhibiting nationally and internationally since graduating. He is an associate professor at University of California at Riverside. Zaki has been included in many group exhibitions including the Orange County Museum of Art, Santa Barbara Museum of Art, the Whitney Museum of American Art, and the New Museum of Contemporary Art, among others.</span></p> Fri, 15 Mar 2013 16:51:13 +0000 Christopher Miles - ACME - March 23rd, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>ACME.</strong> is pleased to present the gallery's second solo exhibition by Los Angeles artist <strong>Christopher Miles</strong>. The exhibition comprises three new sculptures made of paper layered and laminated with acrylic polymer and paint over aluminum armatures. Related to the ceramic works Miles has previously exhibited at ACME., the works in this exhibition further the artist's ongoing interests in sculpture as constructed form and the expressive potential of sculpture. </span><br /><br /><span style="font-size: small;">Miles' works in recent years give nods to influences as varied as Expressionist, Cubist, Surrealist, and Vitalist sculpture, Abstract Expressionist ceramics, "Neo-Dada," West Coast Assemblage and "Funk" art, pre-Minimalist experiments in the evocative potential of space and form, Postminimalist investigations of phenomenology and materiality, and both contemporary and historical artistic considerations of the grotesque and the abject. The works bridge between anthropomorphic suggestion, visceral presence, and heavily gestural, abstract form. The works operate in both the domain of the literal with their insistent materiality, and the domain of the literary, with their teasing allusion. </span><br /><br /><span style="font-size: small;">Christopher Miles completed his BA at the College of Creative Studies, University of California at Santa Barbara, and his MFA at the School of Fine Arts, University of Southern California. Also well known as a writer and curator, he has been active in the Los Angeles arts community for two decades. He has taught at multiple art schools and departments in Southern California, and since 1998, he has been on the faculty at California State University, Long Beach, where he recently served as Director of the School of Art, and presently serves as the interim Dean of the College of the Arts.</span><br /><br /><span style="font-size: small;">Eight new sculptures by Miles currently are featured in the artist's first solo museum exhibition, on view though July 28, at the Pasadena Museum of California Art.</span></p> Sat, 16 Mar 2013 07:36:17 +0000