ArtSlant - Recently added en-us 40 - David Kordansky Gallery - March 5th 7:00 PM - 9:00 PM <p style="text-align: justify;">David Kordansky Gallery is pleased to announce a behind-the-scenes look at "Eva Hesse", the first feature documentary about this groundbreaking 1960's artist, at 5130 Edgewood Place onThursday, March 5 at 7:00pm. Directed by Marcie Begleiter and produced by Karen Shapiro, "Eva Hesse" is currently in post-production in Los Angeles.</p> <p style="text-align: justify;">For this unique program Hammer Museum Chief Curator Connie Butler will join the filmmakers for a conversation and multimedia presentation about Hesse and the film's production. Begleiter and Shapiro will screen a 16-minute film on Hesse that was commissioned for "Eva Hesse - One More than One", a retrospective at the Hamburger Kunsthalle last year. They will also show slides that provide an insider's perspective on the feature documentary as well as the filmmakers' far-ranging research, which has uncovered a trove of never-before published images of the artist, her work, and her cohort including Sol LeWitt, Bob and Sylvia Mangold, Dan Graham, and Richard Serra. A Q&amp;A will follow.</p> <p style="text-align: justify;">For more information:&nbsp;<a title="Eva Hesse Documentary" href="" target="_blank">Eva Hesse Documentary</a>.</p> Fri, 27 Feb 2015 17:38:23 +0000 Fiona Connor - 1301PE - February 28th 1:00 PM - 2:00 PM <div style="text-align: justify;">Fiona Connor and Claire de Dobay Rifelj will consider Connor's new exhibition, Community Notice Board, in relationship to histories of collage, still life, and site-specific practices.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Fiona Connor is an artist based in Los Angeles who works out of an apartment in Miracle Mile. Community Notice Board is her second solo exhibition at 1301PE.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Claire de Dobay Rifelj is an L.A.-based writer and curator currently completing her dissertation at New York University on collage practices in Los Angeles in the 1960s and 1970s. &nbsp;</div> Fri, 27 Feb 2015 17:26:49 +0000 Group Show - Pehrspace in Echo Park - February 23rd 8:00 PM - 10:00 PM <p><a href="" data-hovercard="/ajax/hovercard/page.php?id=546922718737907" rel="nofollow">Prism Pipe</a>&nbsp;| LEXICON features text-based GIF and Video Art from artists around the world, woven together with a live score by the Prism Pipe Players to evoke a surreal narrative in the Dadaist style.<br /><br />Participating Artists:<br /><br /><a href="" data-hovercard="/ajax/hovercard/page.php?id=246942835435669" rel="nofollow">The Current Sea</a><br /><a href="" data-hovercard="/ajax/hovercard/page.php?id=1374323279519862" rel="nofollow">YoMeryl</a><br /><a href="" data-hovercard="/ajax/hovercard/user.php?id=566268948" rel="nofollow">Nick Kegeyan</a>&nbsp;/ INTERNET ART STAR<br /><a href="" data-hovercard="/ajax/hovercard/user.php?id=1113990568" rel="nofollow">Catherine Frazier</a>&nbsp;/ ANIMATEDTEXT<br /><a href="" data-hovercard="/ajax/hovercard/user.php?id=585741348" rel="nofollow">Pauline Lay</a><br /><a href="" data-hovercard="/ajax/hovercard/user.php?id=100005187881026" rel="nofollow">Ang Wilson</a><br /><a href="" data-hovercard="/ajax/hovercard/user.php?id=545509164" rel="nofollow">Travis Flournoy</a><br /><a href="" data-hovercard="/ajax/hovercard/user.php?id=503752588" rel="nofollow">Adam Badlotto</a><br /><a href="" data-hovercard="/ajax/hovercard/user.php?id=100004721114545" rel="nofollow">Joe Newlin</a><br />Courtney Asztalos<br />Ralph Klewitz<br />Tom Bogaert<br />Minkyung Choi<br />Krefer<br />Roxell Carr<br />Mark H. Ramos<br />Anne Orchier</p> <p>Live Score by Brian Griffith, Ang Wilson and Micaela Tobin</p> Wed, 25 Feb 2015 16:56:27 +0000 Glenn Ligon - Regen Projects (Hollywood) - March 14th - April 18th Tue, 24 Feb 2015 16:00:37 +0000 Sergei Tcherepnin - Overduin & Co. - March 22nd - April 18th Tue, 24 Feb 2015 15:58:37 +0000 Emily Joyce - Human Resources - March 21st - April 5th Tue, 24 Feb 2015 15:47:39 +0000 Amanda Ross-Ho, Andrea Zittel, Kelly Akashi, Kathleen Ryan, Nevine Mahmoud - Fran├žois Ghebaly Gallery - February 28th - April 4th <p style="text-align: justify;">SOGTFO (Sculpture Or Get The Fuck Out) is a critical play on the misogynistic acronym TOGTFO (Tits Or Get The Fuck Out), a prompt&nbsp;directed at anyone claiming to be female&nbsp;within online boards, chats, and forums. This prompt, which bridges &ldquo;accepted&rdquo; adolescent immaturity and the most menacing forms of misogyny, points to the pernicious &ldquo;made by and for men&rdquo; sentiment that persists in cultural realms both high and low.</p> <p style="text-align: justify;">Under such hegemonic primacy, male artists tend to be elevated far above their female peers, and the notion of genius is largely reserved for men. This bias resides most resolutely in the discourse surrounding the practice of sculpture, in which an emphasis on grandeur functions as the new phallus of nations, churning out massive works for even more massive sales floors, collections, and institutions.</p> <p style="text-align: justify;">This exhibition argues against the predominantly patriarchal imagination that has defined sculptural form,&nbsp;and it aims to&nbsp;reveal the energy, intensity, and originality being forged by artists who exchange the emptiness of grand gestures for complexity, criticality, humor, and meaningful gravitas.</p> <p style="text-align: justify;">Without discrediting or disregarding history, the exhibition makes a case in and for the present&mdash;a time when the market has nearly consumed every aspect of the maker&mdash;by&nbsp;turning our attention to five contemporary artists whose gestures in form embody the now and point to the new in Sculpture.&nbsp;Spanning three generations, the show introduces emerging artists Kelly Akashi, Nevine Mahmoud, and Kathleen Ryan, alongside established artists Andrea Zittel and Amanda Ross-Ho,&nbsp;illustrating a shift in mentorship and aesthetic lineage that argues against longstanding&mdash;and all-too-gendered&mdash;systems of artistic valuation and authority.</p> <p style="text-align: justify;">SOGTFO is curated by Charlie White, with accompanying texts by Sarah Lehrer-Graiwer and Charlie White.</p> Tue, 24 Feb 2015 15:41:01 +0000 - The Hive Gallery & Studios - February 24th - February 24th <p>The Hive has an eclectic mix of sculptors, photographers, painters, illustrators and performance and conceptual artists. Always a blast :)</p> Tue, 24 Feb 2015 01:29:28 +0000 - LA Artcore Union Center for the Arts - March 22nd - April 5th <div class="field field-type-text field-field-addistional-info"> <div class="field-items"> <div class="field-item odd">"Pulse of LA" is an intriguing exhibition that presents LA as a rapidly changing, interconnected arena will open March 22, 2015 at LA Artcore in Little Tokyo. Organized by the Southern California Women's Caucus for Art. Curator Leslie Cozzi of the Hammer Museum said of her selection process for the 29 works in the show:</div> </div> </div> <p>"I chose the pieces that most piqued my curiosity. The resulting selections are riotous, challenging, and in a few instances, gleefully perverse. The works range from the representational to the abstract and everything in between. They encompass a variety of media including assemblage, installation, painting, sculpture, video, and even iPhone photography. Some explicitly raise questions about identity, celebrity, and community; others embed their political concerns within their embrace of kitsch. Many of the works directly recall past feminist art practices, and in doing so yield new insights about the role of decoration, adornment, and self-display within the arts and society at large. When taken as a group, the diversity of these works may be a more compelling answer to the question originally posed than any single artwork could ever suggest."</p> <p>Participating artists: Julianna Balogh, Lili Bernard, April Bey, Ching Ching Cheng, L. Aviva Diamond, Merrilyn Duzy, Simone Gad, Shelley Gazin, Morgan Green, Shannon Keller, Denice Killian, Olga Lah, Emily Maddigan, Ana Medina, Susan Melly, Margaret Noble, Ellen November, Michelle Rozic, Cintia Segovia, Lidia Shaddow, Kendra Spear, Linda Vallejo and Emily Wiseman.</p> Mon, 23 Feb 2015 21:51:27 +0000 - UCLA New Wight Gallery - April 2nd - April 10th Thu, 26 Feb 2015 17:58:46 +0000 Larry Bell, Frank Stella, John McLaughlin, Ettore Spalletti, Joe Goode, Pier Paolo Calzolari, Carl Andre - Kohn Gallery - February 21st - March 28th <p style="text-align: justify;">The case for Minimalism as a purely formal pursuit has been long acknowledged as painting a woefully incomplete picture of a crucially important aspect of Contemporary Art. &nbsp;Reductive practices, ideas, visions, distillations, variations, hybrids, de-constructions, formations, experiments and tendencies&mdash;along with simple geometry&mdash;have all partially informed the production of serious art from the latter half of the Twentieth Century to today. One could say there is a reductive and pervasive influence over much artistic creativity since the last 60 years or so.&nbsp;<br /><br />This is made manifest through the work of artists Pier Paolo Calzolari, Ettore Spalletti, Carl Andre, Larry Bell, John McLaughlin, Joe Goode and Frank Stella, whose varied practices work toward an overall reconsideration of the art object. This group show aims to broaden our definition of Minimalism by including work that pushes the boundaries of structure, form, material, and production. Examining work by both domestic and international artists throughout the last sixty years, this show will also underscore how each artist renegotiates the relationship of the object to space and spectator. &nbsp;&nbsp;</p> Sun, 22 Feb 2015 14:54:33 +0000 Carolyn Marks Blackwood - Von Lintel Gallery - March 7th - April 18th <p style="text-align: justify;">Von Lintel Gallery is pleased to present an exhibition of recent work by New York artist, Carolyn Marks Blackwood. &nbsp;<em>On the Edge </em>is the&nbsp;artist's first solo show with the gallery. &nbsp;</p> <p style="text-align: justify;">&nbsp;<em>&ldquo;Carolyn Marks Blackwood is a modern day artist for whom the Hudson River is also an unfailing muse. Consumed by her daily photographic study of the water over which her studio is perched&mdash;as well as the sky that hovers above it&mdash;Blackwood&rsquo;s images are not the romantic vistas of her predecessors, but almost their opposite: focused close-ups that capture the river&rsquo;s power through the drama of detail. Instead of coalescing several scenes into one, her photographs are a celebration of the variation a single geographic location can elicit through the constantly changing conditions of wind, light, day, night, temperature and tide.&rdquo;</em>&nbsp;&nbsp;</p> <p style="text-align: justify;">&mdash;Excerpt from the essay Elements of Place by Carol Diehl</p> <p style="text-align: justify;">Coaxing painterly expression from a documentary device, Blackwood&rsquo;s photographs reframe segments of air, ice and water into&nbsp;vivid color fields, geometric abstractions and flattened motifs. &nbsp;By removing perspective and context, her unmodified images seize ephemeral moments within everyday occurrences and heighten them into foreign, unfamiliar pictures. &nbsp;</p> <p style="text-align: justify;">A screenwriter and producer, Blackwood is a principal partner of Magnolia Mae Films. &nbsp; Among the films produced by Magnolia Mae are The Duchess (2008), The Invisible Woman (2013) and Philomena (2013).&nbsp; Blackwood began exhibiting her photography in the last ten years.&nbsp;</p> <p style="text-align: justify;">The exhibition is accompanied by an illustrated brochure with an essay by Barbara Rose.&nbsp; For additional information or visual material, please contact the gallery at (310) 559-5700 or by email at&nbsp;<a href="" rel="nofollow"></a>.</p> <p>&nbsp;</p> Fri, 27 Feb 2015 17:33:44 +0000 Catherine Howe - Von Lintel Gallery - March 7th - April 18th <p>Von Lintel Gallery is pleased to present an exhibition of new paintings by New York artist, Catherine Howe. <em>Supreme Fiction </em>is the&nbsp;artist's third solo show with the gallery. &nbsp;</p> <p>&nbsp;</p> <p>The unrestrained brushwork in Howe&rsquo;s anarchic paintings inject raw emotion into docile subject matter, like flowers in a vase.&nbsp; By using the historical idiom of still-life as the anchor, Howe mashes the heroics of action-painting with the humility of vanitas tableaux.</p> <p>&nbsp;</p> <p>Rather than focus on intimate observation, Howe operates on memory and feeling to invest mutable mediums with immense physicality.&nbsp; Pushing buckets of clear gloss over titanium molding paste, nascent forms become visible only after a dusting of carborundum grit (traditionally used to smooth lithography stone) and a final sweep of a broom.&nbsp; A self-proclaimed materials fiend, Howe also experiments with mica interference pigment suspended in acrylic resin to lend a refractive, iridescence to the canvas ground.</p> <p>&nbsp;</p> <p>While the works explode with movement and texture, Howe restricts herself with respect to color.&nbsp; A stark palette emphasizes the expressive, psychological gestures seemingly unleashed during manic creative outputs.&nbsp; Howe qualifies the entire process as one of alchemy.&nbsp; As Mich&eacute;le C. Cone writes in a recent catalogue essay, &ldquo;Maybe, Howe&rsquo;s evocative paintings are not about still life per se, but about the naming of things transposed into paint, and the magical interaction between medium, memory and perception.&rdquo;</p> <p>&nbsp;</p> <p>Born in Western New York in 1959, Howe received an MFA from SUNY Buffalo in 1983.&nbsp; The many publications that have reviewed her work include <em>Art in America</em>, <em>Artforum</em>, <em>Art Critical</em>, <em>The New York Times</em>, <em>The New Yorker</em>, and the <em>Los Angeles Times</em>.&nbsp; Howe has exhibited throughout the United States and Europe for over twenty years, including shows at the Corcoran Gallery of Art in Washington, DC, MoMA PS 1 in New York, and the Albright-Knox Art Gallery in Buffalo.&nbsp;</p> <p>&nbsp;</p> <p>The exhibition is accompanied by an illustrated brochure with an essay by David Ebony.&nbsp; For additional information or visual material, please contact the gallery at (310) 559-5700 or by email at&nbsp;<a href="" rel="nofollow"></a>.</p> Sun, 22 Feb 2015 01:21:17 +0000 Kristina Collantes, Meagan Boyd, MARITZA TORRES, Darya Chiffon Baton - Pehrspace in Echo Park - February 28th - March 18th <p>Yin Shadowz Presents, "Dream World". The exhibition features the work from pretty dreamers, Kristina Collantes,&nbsp;<a href="" data-hovercard="/ajax/hovercard/user.php?id=100001073527962" rel="nofollow">Meagan Boyd</a>,&nbsp;<a href="" data-hovercard="/ajax/hovercard/user.php?id=614050015" rel="nofollow">Maritza Torres</a>, and&nbsp;<a href="" data-hovercard="/ajax/hovercard/user.php?id=100006714816425" rel="nofollow">Darya Chiffon Baton</a>.&nbsp;<br /><br /><br />ARTISTS:<br /><br />Kristina Collantes&nbsp;<a href="" rel="nofollow" target="_blank"></a><br /><br />Kristina Collantes was born in Cabiao Nueva Ecija, Philippines, in 1987. She currently lives and works as a full-time illustrator in Los Angeles, California. Her work has been featured in The New Yorker, The New York Times, Juxtapoz Magazine, HiFructose Magazine, and elsewhere. Collantes has collaborated with PlayStation, Visa, MasterCard, GQ Magazine, Comedy Central, and The Flaming Lips. She currently works as an inker and colorist for Image Comics. Kristina loves creating colorful Martian worlds through traditional and digital mediums and, despite being an island girl, really hates sunlight.<br /><br /><br />Meagan Boyd&nbsp;&nbsp;<a href=";h=OAQGqquhP&amp;enc=AZO6zU5zLAYGTYqzO-JShe3P8lHWMgEdA-bzKZlqewaueI9F_4KC79h_QLtmwkYpscM&amp;s=1" rel="nofollow" target="_blank"></a><br /><br />Meagan Boyd was born in California on the night of a full moon, across the street from a two-hundred year old cemetery lined with palm trees. She studied painting at CCA and then moved back down to the paradise known as LA. Her work explores the transcendence between dreams and waking-life in the context of magic and myth. The work often depicts utopian atmospheres filled with modern day nymphs, sphinxes, party monsters, and other friends. Using an explosive color palate along with intricate line-work, her freakishly folk-like paintings combine the nostalgic essence of the fauves combined with a neon glow.&nbsp;<br /><br /><br />Darya Chiffon Baton&nbsp;&nbsp;<a href=";h=JAQE55kyU&amp;enc=AZPi6Wvn0IRWb7exZWjHIeLSaUzcPRfaEC1UYvnY7uRpj-X1S72McQTF8oJBoiH28vg&amp;s=1" rel="nofollow" target="_blank"></a><br /><br />Darya is an experimental channel, exploring the connections between mythology and personal narrative. Her work celebrates a serious commitment to nonsense, an extra loud spacedrag aesthetic, and the act of casting magic spells into the abyss through manic lines on paper. She is an explorer of cognitive dissonance and every shade of every color.<br /><br /><br />Maritza Torres&nbsp;<a href=";h=tAQFQ448D&amp;enc=AZPvhJxHsmueHXsFZs9Sqe3NkTBH80Bn99ugrvMqnhjKlG8vW0u3yFYezI2Vd8T4eTc&amp;s=1" rel="nofollow" target="_blank"></a><br /><br />Born in Utah in 1983, as the eldest daughter of a large Mexican-American family I have been given a very unique view of life, experiencing different ways one can be included and excluded by their community. These social structures fascinate me and strongly influence my artwork. My work is meant to be inclusive focusing on the female and mother cultures. Color and bold lines create a psychotropic world, of feminine heroes. My intentions are to go deeper than sexuality and represent the female sex in a more whole way. Using the motifs and patterns of other cultures including the Aztecs I want to reveal to the viewer a new perspective. Where the distant past is as amazing as what lies in our future.&nbsp;<br /><br />At&nbsp;<a href="" data-hovercard="/ajax/hovercard/page.php?id=113156782035529" rel="nofollow">pehrspace</a><br />325 Glendale Blvd<br />Los Angeles, CA 90026<br /><br />February 28th- March 18th<br /><br />OPENING NIGHT, Saturday February 28th&nbsp;<br />7pm-9pm*<br /><br />*Exhibition is free until 9pm. After 9pm there is a $5 cover and live music by: Healers, Lilacs, Xina Xurner and Macdonna.</p> Sat, 21 Feb 2015 19:27:08 +0000 Thomas Burke - Western Project - February 21st - March 28th <p style="text-align: justify;">Western Project is proud to present the third solo exhibition by Thomas Burke. Originally from Boulder City, Nevada, the artist has lived and worked in New York since 2005. This bold body of work continues his interest in diamond shaped compositions, large in scale, forcefully illusive; new propositions in the lineage of geometric, hard-edge painting. Burke mines minimalism, color field painting, and op art of the 1960s. It is drawn with digital technology and hand sprayed with dozens of layers resulting in immaculate surfaces on metal panels. The paint is built up in formal structures creating a central point or visual peak; each a kind of dynamic rogue-wave structure. Using contrasting light and dark color values, the paintings appear to leap into the viewer&rsquo;s space as though they are three-dimensional sculptural works. Burke&rsquo;s intuitive use of color creates movement in the paintings. He writes:</p> <blockquote> <p style="text-align: justify;">I work on it until it feels right.&nbsp; It&rsquo;s right when it&rsquo;s bold but appealingly balanced with unexpected choices. I try to avoid color that&rsquo;s bound up with meaning, both cultural and personal&hellip; meanings vary with fashion and taste and time&hellip;..Paintings are to be lived with and looked at, and I aspire to make mine loud and subtle, fast and slow.</p> </blockquote> <p style="text-align: justify;">Mondrian&rsquo;s interest in the universal balance of nature was reflected in his use of the grid; Burke&rsquo;s grid knowingly spins and convulses, suggesting an aesthetic jolt for our hyper-driven time:</p> <blockquote> <p style="text-align: justify;">Optical effects are a tool to create motion in the compositions.&nbsp; It makes the curves, which along with color make the sex.&nbsp; I&rsquo;d rather be taken for a formalist than a practitioner of Op-art.&nbsp; I don&rsquo;t care much about the merits of Op-art, and its art-historical politics are unfortunate and distracting.&nbsp; Op is a means to an end.</p> </blockquote> <p style="text-align: justify;">One could also look to early concert posters from the Fillmore or Avalon Ballroom in San Francisco as psychedelic precedents; optical advertising for an experience rather than product. Burke&rsquo;s not dissimilar sensibility disrupts any architectural context; as an interference, a psychic wave. While his language comes directly from technology and the digital world of systems, mathematics and design, it is a landscape or mirror of the mind, not the exterior physical world. Conversely, it is a knowledge felt, not understood. As technology implies logic, Burke puts it to service for a more personal, contradictory, and perceptual vision.</p> <p style="text-align: justify;">Thomas Burke received his BFA from the University of Nevada at Las Vegas in 2002 and in 2004 attended the Skowhegan School of Painting and Sculpture. He has exhibited with Ameringer McEnery Yohe in New York, James Kelly Contemporary in Santa Fe, and Galerie Jean-Luc &amp; Takako Richard in Paris, France. His work was highlighted in the Las Vegas Diaspora: The Emergence of Contemporary Art from the Neon Homeland curated by Dave Hickey at the Las Vegas Art Museum in 2007 and the Laguna Beach Art Museum in 2008. His work is in numerous museums, as well as public and private collections.</p> Sat, 21 Feb 2015 07:37:02 +0000 Cole Case - Western Project - February 21st - March 28th <p style="text-align: justify;">Western Project is proud to present the fourth solo exhibition by Los Angeles artist, Cole Case. This will be his first works on paper show of landscapes and portraits. The artist always uses drawings as a stepping-stone into his paintings so this is a natural part of his creative process, and the foundation of his art. The two key elements of the drawings are their immediacy, and intimacy. For years, the artist has carried a small pad to mark key moments of interest in his life. On watercolor paper sheets five by eight inches or smaller, Case&rsquo;s images of people and environments are made with pen and gouache. Each landscape work is initially done on site and then finished in the studio from photos. Contrasting methodologies, he writes:</p> <blockquote> <p style="text-align: justify;"><em>One of the things I love most about drawing, especially on site, is that it is an activity that takes place over time. It&rsquo;s not a frozen singular moment like taking a photograph. While I am drawing a place, people and birds and aircraft and other vehicles come and go. The wind makes ripples on the water and moves the leaves and flowers and trees, then it stops. The sunlight changes constantly. I incorporate these changes into the final drawing and also edit out elements I find distracting, uninteresting, or irrelevant. So I am real-time editing an hour-plus long visual experience into what eventually becomes a static fixed image that embodies all of those changes and movements in its stillness.</em></p> </blockquote> <p style="text-align: justify;">His subject matter of urban landscape is not the untamed wild nature; it is comprised of parks, artificial reservoirs, protected wetlands and rivers. The drawings record the familiar man-made environments of our contemporary life.</p> <p style="text-align: justify;">Case&rsquo;s portraits are of fellow artists and friends are again, images quite small in scale, but feel life size as they contain a distinct presence. Taken from casual shots and informal situations, Case gives his people a simple intensity; a life-like quality filled subtle variation and nuance. The line work contains a confidence built from years of practice and natural discipline. Though the viewer must physically work a little harder to examine the small scale of the drawings, the reward is a kind of certainty about what is seen.</p> <p style="text-align: justify;">He writes:</p> <blockquote> <p style="text-align: justify;"><em>Ultimately, the simplest thing to say is that I draw my people, and I draw my places. Hopefully who and what I have chosen, and how I draw them, says something to people who look at my work. Something about being alive, and being an artist, in Los Angeles, in the early 21st century. That&rsquo;s all I can hope for.</em></p> </blockquote> <p style="text-align: justify;">As Manet drew subjects from ordinary city life, Case&rsquo;s works relate a sense of vitality about the new century in the most diverse metropolis in the world.&nbsp; Be it views of a new subway station or sports arena, or fellow artist in the studio, the drawings all come from reflective experience. It is the combination of practice and contemplation that binds a kind of pleasure as well as knowledge, into scenes of small wonder.</p> <p style="text-align: justify;">Case was recently included in Undercurrents: The Paintings of Cole Case and Joan Kahn, at Rio Hondo College, as well as The Painted Desert at the Lancaster Museum of Art and History, curated by Andi Campognone, and Underground Pop at the Parrish Art Museum in Southampton, New York, curated by David Pagel. He has shown at Howard House in Seattle, Washington; University of California Irvine, Irvine, California; Cypress College Art Gallery, Cypress, California and the Luckman Gallery at California State University, Los Angeles, among other venues.</p> Sat, 21 Feb 2015 07:35:58 +0000