ArtSlant - Recently added en-us 40 Maureen Selwood - Rosamund Felsen Gallery - October 17th - November 14th <p align="right"><strong>Artist talk w/Molly Barnes</strong></p> <p align="right">Sun, Nov. 1<sup>st</sup>, 3:00 PM</p> <p style="text-align: right;"><strong>RSVP</strong> for talk: <a href="mailto://" rel="nofollow"></a></p> <p>Borrowing from the political resistance language of Pussy Riot for the title, <em>Sounding the Note of A,&nbsp;</em>is&nbsp;<strong>Maureen Selwood</strong><strong>&rsquo;s</strong> first one artist exhibition as well as her first with <strong>Rosamund Felsen Gallery</strong>. Both a departure from and an outgrowth of Selwood&rsquo;s career as a filmmaker who incorporates installation and performance, this exhibition features works on paper and sculptures. <em>Sounding the Note of A</em> explores gestures of resistance from women throughout history and celebrates women&rsquo;s strength in outrage and defiance through sensual yet halting abstractions. Inspired by the medieval trial of Joan of Arc, the treason of anti-Nazi activist Sophie Scholl, and the contemporary punk prayer of Pussy Riot, <em>Sounding the Note of A</em> grapples with the uncompromising feminine. Selwood extols the power of sensuality and thought to transcend violence.</p> <p>The exhibition features transfer drawings with graphite and gold leaf ranging in color from ethereal blues to fully saturated acidic hues, as the motifs journey from the mystical to the now. The gold leaf unifies and anchors the drawings in a world that is both mythical and unsentimental. The exhibition also features a garden of five sculptural heads constructed from chicken wire, burlap, hydrocal and knit yarn. The materiality of the sculptures references the lineage of women&rsquo;s work, from the empowerment of craft to the oppression of the sweatshop. Evocative of Pussy Riot&rsquo;s iconic vibrant balaclavas (garments covering the head), the sculptures confront viewers with the contradictory power of masks to both conceal the subjective identity of the wearer and reveal broader interior truths.&nbsp;</p> <p><em>Maureen Selwood&rsquo;s films and installations have been shown at the Whitney Museum, Le Centre Pompidou, MOMA, REDCAT, Montreal Museum of Fine Arts, Barnsdall, Harvard Carpenter Center and the Sharjah Biennial and others. Her films have been screened in international film festivals including the Venice Biennale Film Festival, Annecy FF, SXSW, Ottawa, Cardiff, Cork, ANIMAC, Dallas, Chicago, New York, Hong Kong and Se-Ma-For to name a few. Selwood has received grants from the Center for Cultural Innovation (L.A.), C.O.L.A. Individual Artists Fellowship (L.A.), John Solomon Guggenheim Foundation, NY State Council on the Arts, the Jerome Foundation and the American Film Institute.&nbsp; Residencies include the MacDowell Colony, ARTELUKU (Spain) and a Rome Prize Fellowship at the American Academy in Rome. She presently lives in L.A. and is a member of the faculty at the School of Film/Video at CalArts.</em></p> <p style="text-align: right;">More info:&nbsp;<a href="" rel="nofollow"></a></p> Tue, 06 Oct 2015 23:43:45 +0000 Steven Hull, Tanya Haden - Rosamund Felsen Gallery - October 11th 2:00 PM - 4:00 PM <div class="WordSection1"> <p>Announcing the book release, Sunday October 11<sup>th</sup>, 2 - 4pm</p> <p><strong>&nbsp;</strong><strong>LAS CIENEGAS</strong></p> <p><strong>&nbsp;</strong><strong>06.18.2009 &ndash; 12.17.2011</strong></p> <p>Please join us&nbsp;Sunday, October 11&nbsp;at Rosamund Felsen Gallery for the publication release of&nbsp;<strong><em>Las Cienegas 06.18.2009 -12.17.2011</em></strong>, a cloth-bound, hard cover book documenting the history of Las Cienegas Projects,&nbsp;an artist-run project space&nbsp;in Los Angeles&nbsp;operating between 2009-2011.&nbsp;Opening its doors during the peak of the Great Recession, Las Cienegas Projects singularly bridged the wide-ranging art communities and diverse practices of Los Angeles, serving, in the words of artist, scholar, and educator Charles Gaines, as "an alternative to the alternative space".</p> <p>Designed by&nbsp;Jennifer Rider&nbsp;in conjunction with LCP's founders&nbsp;Amy Thoner and Steven Hull&nbsp;(who is represented by Rosamund Felsen Gallery), the&nbsp;416 page&nbsp;book serves as an archive of the gallery's&nbsp;61&nbsp;exhibitions from its main curatorial program, including extensive photographic documentation&nbsp;in full color&nbsp;and the original press release texts.&nbsp;Opening the&nbsp;book&nbsp;is an introduction by&nbsp;Los Angeles-based writer&nbsp;Susan Morgan, followed by the&nbsp;Charles Gaines&nbsp;essay, "Las Cienegas Projects: Art, Egalitarianism, and the Well-being of Artists,"&nbsp;which critically examines the history of alternative spaces while contextualizing LCP's unique place within that history.&nbsp;</p> <p>The October 11th event will include a musical performance by the Haden Triplets and Alejandro Pelayo (performing "Kites", the 1967 hit by&nbsp;Simon Dupree and the Big Sound)&nbsp;and a short welcoming speech by&nbsp;Charles Gaines.</p> <p>Wine and refreshments will be served.&nbsp;</p> <p>You are warmly invited to help us celebrate this special publication&nbsp;and grab your copy (available for only $20&nbsp;for this event only).&nbsp; We hope to see you here!</p> <p><strong>FB event link: <a href="" rel="nofollow"></a></strong></p> <p><strong>More info: <a href="" rel="nofollow">;</a></strong></p> <p><strong>&nbsp;</strong></p> <p><strong><em>Photographic documentation in the book includes work by the following artists:</em></strong></p> </div> <p>Dennis Adams</p> <p>Dewey Ambrosino</p> <p>Ray Barrie</p> <p>Merwin Belin</p> <p>James Benning</p> <p>Jesse Benson</p> <p>Erik Bluhm&nbsp;</p> <p>Derek Boshier</p> <p>Andrea Bowers</p> <p>Dante Brebner&nbsp;</p> <p>Sky Burchard</p> <p>Scott Marvel Cassidy</p> <p>Chromium Dumb Belle</p> <p>Francis Coy</p> <p>Liz Craft</p> <p>Sarah Cromarty</p> <p>Zoe Crosher</p> <p>Dorit Cypis</p> <p>Greg Dalton</p> <p>Trinie Dalton</p> <p>Ismael de Anda</p> <p>Michael Decker</p> <p>Sandy de Lissovoy&nbsp;</p> <p>Tami Demaree</p> <p>Michele Di Menna&nbsp;</p> <p>Michelle Dizon</p> <p>Didier Hess</p> <p>Rachel Foullon</p> <p>Andrew Freeman</p> <p>Erik Frydenborg</p> <p>Aaron GM</p> <p>Francesca Gabbiani</p> <p>Charles Gaines</p> <p>David Galbraith</p> <p>Diego Garza</p> <p>Wendell Gladstone</p> <p>Flora Golden&nbsp;</p> <p>Sayre Gomez</p> <p>Ken Gonzales-Day</p> <p>Tanya Haden&nbsp;</p> <p>Kevin Hanley</p> <p>Daniel Hawkins</p> <p>Isabell Heimerdinger</p> <p>Katie Herzog</p> <p>Naotaka Hiro</p> <p>Alexis Hudgins&nbsp;</p> <p>Cannon Hudson</p> <p>Steven Hull&nbsp;</p> <p>Pearl C. Hsiung</p> <p>Daniel Ingroff</p> <p>Charles Irvin&nbsp;</p> <p>Vincent Johnson</p> <p>Vishal Jugdeo</p> <p>Annetta Kapon</p> <p>David Kelley</p> <p>Patrick Killoran</p> <p>Alex Klein</p> <p>Bill Komoski</p> <p>David Lamelas</p> <p>Lisa Lapinski</p> <p>Caitlin Lainoff</p> <p>Nery Gabriel Lemus</p> <p>Simon Leung</p> <p>Stefan Lochm&uuml;ller</p> <p>Fred Lonidier</p> <p>Benjamin Lord</p> <p>Marilyn Lowey</p> <p>Lakshmi Luthra</p> <p>Brian Mann</p> <p>Stephen McCarty</p> <p>Matthias Merkel Hess</p> <p>Jonathan Monk</p> <p>Pentti Monkkonen</p> <p>Beatriz Monteavaro</p> <p>Sandeep Mukherjee</p> <p>Jay Needham</p> <p>Karina Nimmerfall</p> <p>Paul Noble</p> <p>Yann Novak</p> <p>Kaz Oshiro</p> <p>Juliana Paciulli</p> <p>Stephan Pascher</p> <p>Alia Penner</p> <p>Terri Phillips</p> <p>Nikki Pressley</p> <p>Ben Pruskin</p> <p>Yvonne Rainer</p> <p>Vincent Ramos&nbsp;</p> <p>Andrea Robbins and Max Becher</p> <p>Mark Roeder</p> <p>Marcos Rosales&nbsp;</p> <p>Eddie Ruscha</p> <p>Ron Russell</p> <p>Amy Sarkisian</p> <p>Nils Schirrmacher</p> <p>Allison Schulnik</p> <p>Betsy Lin Seder</p> <p>Joaquin Segura</p> <p>Anna Sew Hoy</p> <p>Mindy Shapero</p> <p>Jim Shaw</p> <p>Taro Shinoda</p> <p>Katie Shook&nbsp;</p> <p>Georgina Starr</p> <p>Laurie Steelink</p> <p>Gabie Strong</p> <p>Donnie Stroud</p> <p>Jennifer Sullivan</p> <p>Lynton Talbot&nbsp;</p> <p>Kara Tanaka</p> <p>Koki Tanaka</p> <p>Caroline Thomas</p> <p>Amy Thoner&nbsp;</p> <p>Shelli Tollman</p> <p>April Totten</p> <p>John Tottenham</p> <p>Dani Tull</p> <p>Torbj&ouml;rn Vejvi</p> <p>J. Patrick Walsh III</p> <p>Marnie Weber</p> <p>Owleyes &ldquo;James&rdquo; Weigel</p> <p>Megan Whitmarsh</p> <p>Landon Wiggs</p> <p>Millie Wilson</p> <p>Aaron Wrinkle</p> <p>Kent and Kevin Young</p> <p>Nate Young</p> <p>Bari Ziperstein</p> <p>100Xbtr</p> Tue, 06 Oct 2015 23:38:28 +0000 Audra Weaser - Ruth Bachofner Gallery - October 24th - November 28th <p style="text-align: justify;">Ruth Bachofner Gallery is pleased to present <em>Surround</em>, an exhibition of new work by Los Angelesbased artist Audra Weaser. There will be a reception for the artist Saturday, October 24, 5-7 PM.&nbsp;</p> <p style="text-align: justify;">Audra Weaser's newest body of work <em>Surround </em>evokes the &ldquo;heightened sensation one often feels when faced with the immensity of nature,&rdquo; a feeling both humbling and liberating. Light penetrates the watery landscapes in these pieces and suggests the strength of the contrast between the elements of water and fire. The power of these elements allows the emerging organic colors to vibrate to life. In this vibration, viewers' emotions and subconscious feelings reflect back at them, like an image in rippling water.</p> <p style="text-align: justify;">Weaser obscures her intuitive, organically colorful compositions beneath a thick layer of white, which she then wears away to reveal layers of color and abstracted, natural forms. Emerging from a plane of white, the forms appear to flow like water but also suggest natural rock formations, stalagmites, trees and landscapes. There is an unpredictability about how the colors will reveal themselves in the end, yet all of these works are balanced and flowing, as they evoke the immensity and allemcompassing feeling of nature.</p> <p style="text-align: justify;">Having grown up spending time in nature, Weaser draws inspiration from her memories, photographs, and the sense of wonder and peacefulness she recalls from childhood. Her works evoke the extraordinary and enveloping feeling of being in nature. Weaser works quickly and lays down each layer of color at once, without pausing to over-rationalize her intuitive decisions. In this way, Weaser's own process resembles nature and the growth of new life.</p> Mon, 05 Oct 2015 09:03:29 +0000 Virginia Katz - Ruth Bachofner Gallery - October 24th - November 28th <p style="text-align: justify;">Ruth Bachofner Gallery is pleased to present <em>Spaces and Forms</em>, an exhibition of new work by Southern California-based artist Virginia Katz. There will be a reception on Saturday, October 24, 5-7 PM.</p> <p style="text-align: justify;">Over the course of her career, Virginia Katz has built her artistic practice around observing and reinterpreting the natural world using a broad range of approaches. She has charted and translated the rhythm of waves in a massive installation of scrolls, employed the movement of wind to create delicate pencil drawings, amassed discarded ephemera slated for landfills into collages, and used satellite imagery as a substrate for paintings that reference topography. For Katz, each series represents a new conceptualization within the tradition of landscape painting. While she envisions herself as part of the greater history of the genre, she is neither a casual nor a sentimental observer of her surroundings; her work brings attention to and asserts our connection to nature, as well as a sense of responsibility towards issues facing our environment.</p> <p style="text-align: justify;">In this new series, Virginia Katz shapes paint into three-dimensional paintings that reference water and our symbiotic relationship to it. The acrylic is slowly built up and then shaped, carved and drilled to invoke aqueous and topographic formations. The exhibition is comprised of 9 paintings and 19 gallons of paint, which gives a sense of the extensive build-up Katz engages to create the works. Using acrylic in this hybrid manner pushes and builds on the tradition of landscape painting, by giving tangibility to the depicted forms. This is a process Katz has been developing since 2010, and with this exhibition, she takes it even further with thicker paint applications, larger scale and bolder compositions.</p> <p style="text-align: justify;">&ldquo;Observing conditions in our landscape is our way of gauging our connection with nature,&rdquo; Katz states. &ldquo;With an emphasis on <em>water</em>, mountains, canyons, dry lake and creek beds, oceans, glaciers, and icebergs are natural forms that remind us of water&rsquo;s importance and powerful influence in shaping and maintaining our world. &ldquo;Snow Pack,&rdquo; &ldquo;Dry Bed,&rdquo; and &ldquo;Unsettled&rdquo; are a few of the works that suggest processes of snowfall, droughts, floods, and storms, as we currently witness the intensity of such phenomena.&rdquo;</p> <p style="text-align: justify;">Virginia Katz received her M.F.A. from California State University, Long Beach in 2004. Last year, she was a resident at Stichting (Foundation) Kaus Australis, Rotterdam, The Netherlands, and this year, she received the &ldquo;Seen and Heard Project&rdquo; award, an anonymously-founded initiative that bestows, without application, recognition to Los Angeles-based women artists. In 2017, she will be one of five artists in the exhibition entitled <em>The Feminine Sublime </em>at the Pasadena Museum of California Art, Pasadena, California.</p> Mon, 05 Oct 2015 09:02:17 +0000 Gay Summer Rick - bG BLEICHER/GORMAN - October 17th - November 11th <p>Gay Summer Rick&rsquo;s new series depicts urban habitats vibrating alongside Southern California&rsquo;s ephemeral coastline. Rick intended to focus on the journey rather than the destination with this body of work. Views from the roadways and walkways traveling from downtown Los Angeles to the beaches of Venice or Malibu take us on an adventure where we are able to enjoy the views along the way. We can observe and relish intimate moments; stopping to enjoy the lights on Broadway in a moment without traffic, or by walking up 6th Street toward the Bridge without the sight or sound of cars.</p> <p>The dynamic relationship between the two environments of urban habitats and the coastline is heightened by the artist&rsquo;s choice of using a palette knife instead of a brush. Her distinctive painting style creates an arresting color field in which the city&rsquo;s sharp edges dissolve into the impressionistic embrace of sand, sea and sky.</p> Mon, 05 Oct 2015 20:23:57 +0000 Bradford Kessler - ASHES/ASHES - September 19th - October 30th <p>ASHES/ASHES is pleased to announce Bradford Kessler&rsquo;s debut Los Angeles solo exhibition <em>ANXIETY SOCIAL CLUB</em>. The exhibition will also feature works by Dylan Abel, Michael Assiff, Korakrit Arunanondchai, Jeff Baij, Ivana Basic, Tony Hope, Ajay Kurian, Maggie Lee, Kristin Smallwood and Yasmeen Sudairy.&nbsp;</p> <p>The exhibition will be on view September 19&ndash;October 30, 2015 with an opening reception on Saturday, September 19, from 7&ndash;9pm.</p> <p>&nbsp;</p> <p>"<em>The ruling ideology today is basically something like a vague hedonism with a Buddhist touch</em>" &ndash; Slavoj Žižek</p> <p><em>ANXIETY SOCIAL CLUB</em> follows up Kessler&rsquo;s exhibitions <em>Land Lords</em> at MonCH&Eacute;RI, Brussels (2015), and <em>Finally Every Dimension of the Soil</em> at American Medium, New York (2015). Abstract, anti-romantic notions of revolution and chaos in both society and nature pulsate across the exhibition&rsquo;s dark ecological synapses. Through a toxic yet innocent transformation of the gallery space, Kessler aims to enable the viewers to apprehend an inner child at the core of the entropic world he depicts. At the center of the space stands <em>David</em> (2015), a young boy protected only by a child-sized, bullet-proof vest and an arm-strapped blade gazing into the mouth of a giant beast. A billboard advertises a <em>Lord of the Flies</em> like vacation with a dirt road leading to a land of suspicious imaginary friends and gerontophilic Googling babies. <em>In the Belly of the Gar</em> (2015), a minimalist chamber modeled after deep-sea exploration equipment holds the decapitated head of a possessed Chucky doll resting on a tall African drum overlooked by two kneeling angels on bongos. A catastrophic symphony of shifting childhood imagination and political ideology are submerged together in a watery grave of art production and entertainment industry processes. Kessler&rsquo;s genre of Žižekian horror explores, if not celebrates, the violent beauty of man&rsquo;s natural descent into savagery and the psychoticism lurking beneath individuality and group thought.</p> <p>Bradford Kessler (b. High Plains, Kansas) received his MFA from the School of Visual Arts, New York, and his BFA from University of Kansas, Lawrence. His work has been shown nationally and internationally including MonCheri, Brussels, Interstate Projects, Brooklyn; American Medium, Brooklyn; 63rd-77th Steps, Bari; Rowing, London; and Witte de With, Rotterdam. Recent solo exhibitions include <em>Pile of Mist</em> at 247365, New York (2014), <em>Stink by Instinct</em> at Welcome Screen, London (2014). He currently lives and works in New York.</p> Sat, 03 Oct 2015 06:52:45 +0000 Jay Kvapil - Couturier Gallery - November 7th - December 23rd <p><strong><span style="text-decoration: underline;">FOR IMMEDIATE RELEASE</span></strong></p> <p>&nbsp;</p> <p><strong>EXHIBITION:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong><strong>JAY KVAPIL: </strong>&nbsp;<strong>Chaos and Control</strong></p> <p>&nbsp;</p> <p><strong>DATES:</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <strong>November 7 &ndash; December 23, 2015</strong></p> <p><strong>OPENING:&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>Artist&rsquo;s Reception - SaturdayNovember 7,&nbsp; 6-8pm</p> <p><strong>GALLERY HOURS:</strong>&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Tuesday - Saturday, 11am - 5pm</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Couturier Gallery is pleased to present &ldquo;<strong>JAY KVAPIL: <em>Chaos and Control,</em></strong>&rdquo;an exhibition of ceramic vessel forms of intentional intensity and drama.&nbsp; The large-scale thrown vessels in the form of bowls, vases and bottles, clothed with Kvapil&rsquo;s invented vibrant and subtle glazes, strike remarkable balances between two strong opponents, control and chaos.&nbsp; It is the careful marriage of form with surface texture and color created by the ceramist&rsquo;s steady hand and the fire of the kiln.&nbsp; The public is invited to the Artist&rsquo;s Reception on Saturday, November 7<sup>th</sup> , 6-8pm.&nbsp; The exhibition will continue through December 23, 2015.</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The glazing and firing stages of Kvapil&rsquo;s process give birth to the active surface textures which command ones attention.&nbsp; The painterly and fluid glazes set the scene for his interpretations of portraiture and landscape, with crater surfaces or molten lava drips, creating works of great life, character and movement.&nbsp; Kvapil is constantly experimenting in his studio with clay, glaze and kiln to produce new effects, new colors, new textures. Not all of his pieces make it thru the process, many are lost, but those survivors find the balance between chaos and control giving birth to vehicles that express life and death.&nbsp;</p> <p>&nbsp;</p> <p>&ldquo;With these new pieces I have intentionally increased the intensity and drama of each piece. Risk taking in forming, glazing, and firing has increased as well, meaning many pieces were lost in the process of producing these. I do not see these pieces as bowls or bottles, but as paintings, landscapes, and portraits.&rdquo; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&ndash;Jay Kvapil&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jay Kvapil&rsquo;s work has been exhibited in numerous exhibitions including <em>American Porcelain, New Dimensions in an Ancient Art</em>, Smithsonian Institution, Renwick Gallery, Washington, D.C., 1980; Taipei Fine Arts Museum, Taiwan, 1985;&nbsp; <em>On and Off the Wall: Shaped and Colored</em>, Oakland Museum, CA, 1983 to 1985;&nbsp; <em>Satellite Exhibition</em>, Downey Museum of Art, Downey, CA, 1990.&nbsp; Additionally, his work may be found in the public collections of the Long Beach Museum of Art, Long Beach, CA and the San Jose Museum of Art, San Jose, CA.</p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>For further information and/or press photographs please contact the gallery: <a href="" rel="nofollow"></a> .</strong></p> Fri, 02 Oct 2015 20:07:10 +0000 William Pope.L - Susanne Vielmetter Los Angeles Projects - October 23rd - December 5th <p style="text-align: justify;">Susanne Vielmetter Los Angeles Projects is pleased to announce, &ldquo;Forest,&rdquo; our first solo exhibition with William Pope.L opening on October 23, 2015. This exhibition will feature paintings and sculptures in an architectural installation surveying the artist&rsquo;s object-based practice from the mid-1990&rsquo;s through the present. A simultaneous solo exhibition, &ldquo;Desert,&rdquo; at Steve Turner Contemporary will present a new film, &ldquo;Obi Sunt,&rdquo; about the ghost of Joe Gans, the first African American World Boxing Champion, and the mythology that surrounds the resurrection of a past through biography. The exhibitions will be accompanied by a GPS tour of the space in between the &ldquo;forest&rdquo; and the &ldquo;desert,&rdquo; Susanne Vielmetter Los Angeles Projects and Steve Turner Gallery. An artist-led walking tour exploring these themes will leave from each gallery on November 7, 2015. Please contact Ariel Pittman ( for more information about the walking tour leaving from Susanne Vielmetter Los Angeles Projects and how to RSVP.<br /> <br /> William Pope.L is a visual and performance-theater artist and educator who makes culture out of contraries. He has been making multidisciplinary works since the 1970&rsquo;s, and has exhibited internationally including New York, London, Los Angeles, Vienna, Montreal, Berlin, Zurich, and Tokyo. He is a featured artist in the book &ldquo;Intersections&rdquo; edited by Marci Nelligan and Nicole Mauro, and Darby English&rsquo;s &ldquo;How to See a Work of Art in Total Darkness.&rdquo; He participated in the New Museum&rsquo;s 2010 &ndash; 2011 exhibition &ldquo;The Last Newspaper&rdquo; with a reenactment of his infamous &ldquo;Eating the Wall Street Journal&rdquo; performance. In 2011, the Museum of Modern Art in New York invited Pope.L to participate in their &ldquo;FluxKit&rdquo; project. He is the recipient of the 2012 Joyce Foundation Award to create &ldquo;Pull!&rdquo; a large-scale public project presented through Spaces Gallery, Cleveland, OH. In 2013 he created the performance / film project &ldquo;A Long White Cloud&rdquo; at Te Tuhi, Auckland, New Zealand, and presented the solo exhibitions &ldquo;Colored Waiting Room&rdquo; at Mitchell-Innes &amp; Nash, NYC; and &ldquo;Forlesen&rdquo; at The Renaissance Society, Chicago, IL, which also published the accompanying 2014 monograph &ldquo;Pope.L: Showing Up to Withhold.&rdquo; His work was presented as part of the 2014 exhibitions &ldquo;Ruffneck Constructivists&rdquo; at the University of Pennsylvania&rsquo;s Institute of Contemporary Art and &ldquo;Radical Presence: Black Performance in Contemporary Art&rdquo; at Walker Art Center, Minneapolis, MN; and in the solo exhibitions &ldquo;Claim&rdquo; at Littman Gallery, Portland, OR, and &ldquo;Gold People Shit in their Valet,&rdquo; at Galerie Catherine Bastide, Brussels, Belgium. The Geffen Contemporary at MOCA, Los Angeles, CA, presented his 2015 solo exhibition &ldquo;William Pope.L: Trinket.&rdquo;</p> Fri, 02 Oct 2015 17:59:37 +0000 Eric Mack - OHWOW Los Angeles - October 17th - November 10th Fri, 02 Oct 2015 17:55:08 +0000 Tracy Molis - Night Gallery - October 24th - November 21st Fri, 02 Oct 2015 17:51:43 +0000 Sean Townley - Night Gallery - October 24th - November 21st Fri, 02 Oct 2015 17:51:42 +0000 Tomory Dodge - ACME - October 17th - November 14th Fri, 02 Oct 2015 17:50:14 +0000 Pepe Cruz, Ana Santos, Irving Herrera, Photographic Collective of Oaxaca, and more - Social and Public Art Resource Center (SPARC) - October 24th 5:00 PM - 7:00 PM <p>The Dur&oacute;n Gallery at SPARC will present our closing event with a discussion for &nbsp;&ldquo;New Codex Oaxaca: Immigration and Cultural Memory.&rdquo; A touring exhibit curated by Marietta Bernstorff, that looks into the lives and narratives of Oaxacan people, who following the &ldquo;Sue&ntilde;o Americano&rdquo; immigrated and settled in the Westside of Los Angeles. The exhibition offers an intimate view into the struggles faced in the dangerous journey, the memories and desolate families left behind, and the unjust immigration policies met with upon arrival. The exhibition depicts a human story that allows us to understand why someone would venture into the unknown journey across borders.</p> <p><strong>The Sparking Dialogue Series: Conversations on Art, History and Culture in Los Angeles</strong><br />This discussion consists of a conversation with scholars, activists and artists on the struggles of immigration and keeping a culture alive through language, art and historical memory.</p> <p><strong><em>Invited panelist:</em></strong><br />Ruben Martinez (writer, performer and teacher)<br /> Dr. Gaspar Rivera Salgado (Project Director at UCLA Center for Labor Research and Education)<br /> Yolozee Odilia Romero Xhogosh&nbsp; (Vice General Coordinator Frente Ind&iacute;gena de Organizaciones Binacionales FIOB)<br /> Dr. Xochiltl M. Flores-Marcial (Latin American History)</p> Fri, 02 Oct 2015 23:00:41 +0000 UCLA’s César E. Chávez Chicana/o Studies Department students - Social and Public Art Resource Center (SPARC) - November 1st 5:30 PM - 8:30 PM <p>SPARC-UCLA presents their annual <strong>&ldquo;D&iacute;a de los Muertos / Day of the Dead&rdquo; </strong>ceremony to honor the dearly departed with the annual ritual of <em>The Calling of the Spirits. </em>The traditional ceremony will start at 6:00P.M., guided by UCLA instructor and SPARC&rsquo;s Artist in Residence, Martha Ramirez-Oropeza, and her UCLA&rsquo;s C&eacute;sar E. Ch&aacute;vez Chicana/o Studies Department students. As in previous years, the ritual and altar setting invites community participation. Please bring a photo of a loved-one, and his or her personal memento to place on the altar.</p> <p>An evening of altars, music, and food!</p> Fri, 02 Oct 2015 17:06:44 +0000 Group Show - UCI Art Gallery - October 3rd - December 12th <p id="yui_3_16_0_1_1443723336549_3858" style="text-align: justify;"><em id="yui_3_16_0_1_1443723336549_3887">Libindinal Economies: Art in the Age of Bull Markets&nbsp;</em>takes as its economic mise-en-sc&egrave;ne the bull run market of 1982 (that crashed in 1987), tracing its origins in monetary policies of the 1970&rsquo;s, and mapping its echoes in the recent redux of this bull run from 2009 to the present. The New York Stock Exchange (where the selling and buying of securities, currency and commodities takes place)and the art world (where the critique ofWall Street culture is derived and scripted) presumably constitute two distinct psychic and fiscal economieslocated in two different physical locations. The former is supposed to be rational, mathematical and regulated, the latter libidinal, creative and subversive. However, that isn&rsquo;t true. The art world, in fact, has proven to be the bohemian substrate of the real deal, the bottom line, of the financial market. The gallery system, in the 80s and even more so recently, is the physical location &ndash; the center of mass &ndash; where these two celestial bodies effortlessly orbit each other with near mathematical precision. In this way, the economic and aesthetic spheres share a gravitational pull because they are &ndash; libidinally and economically &ndash; inextricably connected. Given so,&nbsp;<em>Libidinal Economies</em>&nbsp;showcases film works &ndash;experimental, narrative, and documentary &ndash; that are provoked by this cultural condition. As such, we are to consider these films as demonstrating various critical positions of resistance to the art market. But in so doing, this critique is made, naturally, from the inside, as there no longer is any way out of this closed system.</p> <p id="yui_3_16_0_1_1443723336549_3886" style="text-align: justify;">Artists: Yael Bartana, Maura Brewer, Hollis Frampton, Constanze Ruhm, Mike Kelley and Paul McCarthy, Axel Stockburger and Christoph Meier, Michael Snow, Benjamin Van Bebber and Bastian Zimmermann</p> <p id="yui_3_16_0_1_1443723336549_3879" style="text-align: justify;"><strong id="yui_3_16_0_1_1443723336549_3885">Film Series:&nbsp;<em id="yui_3_16_0_1_1443723336549_3884">Towards a Libidinal Aesthetics&nbsp;</em></strong></p> <p id="yui_3_16_0_1_1443723336549_3859" style="text-align: justify;">A weekly film-series,&nbsp;<em id="yui_3_16_0_1_1443723336549_3878">Towards a Libidinal Aesthetics</em>, will accompany the exhibition following late gallery hours on Thursday evenings.&nbsp; The series will showcase long-form, mainstream and alternative cinema, and will include original 16mm prints of Michael Snow&rsquo;s&nbsp;<em>Wavelength&nbsp;</em>(1967) as well as Hollis Frampton&rsquo;s&nbsp;<em id="yui_3_16_0_1_1443723336549_3883">(nostalgia)&nbsp;</em>(1973).</p> <p id="yui_3_16_0_1_1443723336549_3864" style="text-align: justify;">Click&nbsp;<a href="" rel="nofollow" target="_blank">here</a>&nbsp;to see the schedule.</p> Thu, 01 Oct 2015 18:55:42 +0000 - UCI Art Gallery - October 3rd - December 12th <p style="text-align: justify;">The rise of audiocassettes peaked in the 1980s, yet the relevance of mix tapes is still recognized today as a way of compiling songs, ideas and thoughts around a particular theme. Alternatively, the influence of pop culture and cassette tapes were popularized during the 1979 Iranian Revolution in which cassettes were used to spread sermons by Khomeini to a public, some of whom were illiterate. In this context, the cassette became a catalyst for social change &ndash; a mobilizing device for subversive speech. The role of songs and sermons were strongly affected by a nationalism that spread like wildfire in resistance to Westernization. This religious revolt led directly into the Iran-Iraq war (1980-1988), a war with no material gain. Shagha Ariannia&rsquo;s three-part installation is both a recollection and transposition of this moment.</p> <p style="text-align: justify;">The exhibition itself includes an audiocassette, <em>Our Future Is The Approaching Past</em>, 2012, which features recordings from 1978 to 1993 of Iranian revolutionary songs dubbed over the voice of the artist and her brother as children learning English with their mother. A video projection presents a montage of original and found footage including scenes from the popular Iranian children&rsquo;s film <em>City of Mice</em> (1985), a story of mice that must immigrate due to the invasion of a cat who wishes to consume them. Within the appropriated imagery Ariannia inserts footage of a typical Los Angeles landscape, swimming pools and palm trees, disrupted by fists beating against the water creating bomb-like silhouettes.&nbsp; Audio taken from documentary footage of the Iran-Iraq war is then overlaid within the video. The third part of the installation includes a mono print diptych depicting two historical sites &ndash; the first image being Los Angeles in the early 1930s during the first planting of palm trees after the Olympic Coliseum. This transplanting created the iconic Southern California landscape we recognize today: the illusion of a tropical paradise or Mediterranean oasis. The second image depicts the decimated date palms in Southern Iran, the most affected area by the war, which as a result are inherently associated with the wartime landscape. The palm trees&rsquo; symbolic resonance is thus always contradictory, representing loss and victory, luxury and waste. The planting of palm trees also represents a fantasy of home away from home for those who have emigrated from the Middle East to Southern California. Taken together, the exhibition&rsquo;s three parts form a screen memory, which simultaneously points towards the past whilst reconstructing the present. In this way, <strong><em>MIXTAPE: Goodbye street, Goodbye home </em></strong>is a symbolic representation for trauma, identity and the site of home.</p> Thu, 01 Oct 2015 18:53:30 +0000