ArtSlant - Current exhibits en-us 40 Jason Freeny - 101/EXHIBIT - March 16th, 2013 - April 6th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>101/exhibit Los Angeles</strong> presents “<strong><em>Choice Cuts: New Sculptural Works</em></strong>” (March 16 - April 6) by NY toy designer and sculptor <strong>Jason Freeny</strong>. Inspired by Pop art, Jason Freeny exposes the inner workings of your favorite toys. No toy is safe from his steady knife. Jason deconstructs, sculpts and meticulously brings his subjects back to anatomical health with playful precision. “Choice Cuts” featuring Jason Freeny’s Pop inspired sculptures and limited edition poster opens to the public Saturday, March 16 from 7—10 pm. The exhibition continues through April 6, 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;">New York toy sculptor and designer Jason Freeny was awarded Clutter Magazine’s Break Through Artist of the Year in 2011 for his tireless collection of pop-culture toys. In 2012, Jason introduced the Brain Cube, a 3-dimensional puzzle game in the Rubik’s-style puzzle cube. Brain Cube is played by twisting the fleshy colored, squishy feeling cube around and around until you line up the folds of the brain on all six sides. Inventive, creepy cool. Jason Freeny is a deep thinker and reimagines everything from mundane household items to iconic toys. Jason describes, “I’m driven by the discovery of the interesting and grotesque skeletal systems that these characters produce. I work in what I consider a “reverse forensics.” I take cues from the exterior forms of the characters that dictates what the inner anatomy would look like. In a way, I’m liberating whats already inside. I like the anatomy to have a similar “toy like” feel as the exterior, colored in the same cartoonish fashion as the plastic toy.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">“Choice Cuts: New Sculptural Works” by Jason Freeny is the premiere exhibition and first public display of his work shared with the public at 101/exhibit in Los Angeles. Jason shares, “I wanted to present some of my personal favorite characters from my childhood as well as a few of my own twisted creations. I want the viewer to feel transformed back into their youth, but this time as if mom spiked their juice-box.” </span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">101/exhibit presents “Choice Cuts” by Jason Freeny opens Saturday, March 16 at 7PM and exhibits through April 6, 2013.</span></p> Tue, 19 Mar 2013 18:07:32 +0000 Philippe Parreno - 1301PE - March 23rd, 2013 - April 27th, 2013 <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> Sat, 30 Mar 2013 22:55:26 +0000 - A + D Museum - March 9th, 2013 - April 7th, 2013 <p style="text-align: justify;" class="content_left"><span style="font-size: small;">A+D Museum is pleased to present <em>Airport of the Future</em>, the international student competition entries and winners of the Fentress Global Challenge 2011 as part of the larger traveling exhibition <em>Now Boarding: Fentress Airports + The Architecture of Flight </em>which is featured in three parts here in Los Angeles. The Museum of Flying will be exhibiting <em>Now Boarding</em>, and the Flight Path Museum is highlighting the rich past and promising future of LAX with artifacts from LAX’s past and a large-scale model of the new Tom Bradley International Terminal.</span></p> <p style="text-align: justify;" class="content_left"><br /><span style="font-size: small;"> A+D Museum’s exhibition, <em>Airport of the Future</em> celebrates insights on the future design of airports by university students from around the world. The show also examines the future of flight through the minds of the architects behind the modernized Tom Bradley International Terminal. Freehand sketches and final renderings from Fentress Architects’ Airport of the Future think tank provide a rare glimpse into the architect’s imagination and design process. The exhibition also includes a look at the architect’s scale model of the master plan for LAX’s future.</span></p> <h3 style="font-weight: normal; text-transform: uppercase; line-height: 21px; margin: 0px; text-align: justify;"><span style="font-size: small;"><strong><span style="text-decoration: underline;">RECEPTION | SATURDAY MARCH 9TH | 6.00 - 8.00PM</span></strong></span></h3> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">Join us in exploring the future of airport design with drinks and hors d’oeuvres at the <em>Airports of the Future</em> opening reception, Saturday March 9, 2013. </span><br /> <br /><span style="font-size: small;"> Admission: $10 Individual, A+D Members and Student w/valid ID FREE with RSVP</span><br /><span style="font-size: small;">  </span></p> <h3 style="font-weight: normal; text-transform: uppercase; font-size: 18px; line-height: 21px; margin: 0px; text-align: justify;"><span style="font-size: small;">&gt;<a target="_blank">TICKET PURCHASE | STUDENT RSVP | A+D MEMBER RSVP</a></span></h3> Thu, 07 Mar 2013 09:07:35 +0000 Samuel Bayer - Ace Gallery- Beverly Hills - March 3rd, 2013 - April 27th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Depicting the human body has been among the primary preoccupations and</span> <span style="font-size: small;">achievements of artists for millennia. Drawing inspiration from historic precedents in </span><span style="font-size: small;">painting, sculpture, photography and film history, for the past twenty years Samuel </span><span style="font-size: small;">Bayer has produced still photographs alongside his innumerable award-winning music </span><span style="font-size: small;">videos, film and commercials. Bayer has evolved an aesthetic of gritty rawness, a now </span><span style="font-size: small;">emblematic style that has typified his music videos since his groundbreaking first with </span><span style="font-size: small;">Nirvana in 1991. The culmination of his recent photography is a large-scale series of </span><span style="font-size: small;">black and white photographic nude portraits, being exhibited for the first time at Ace </span><span style="font-size: small;">Gallery Beverly Hills.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A series of sixteen nudes, shot in three sections with a large-format 4” x 5” camera in</span> <span style="font-size: small;">the studio against a simple white backdrop, envision larger-than-life contemporary </span><span style="font-size: small;">studies of young women, tackling the time-immemorial subject of the nude. They are </span><span style="font-size: small;">accompanied by two diptychs of faces in extreme close-up, eyes open, eyes closed; </span><span style="font-size: small;">the features and cool gaze of his subjects reveal every freckle, line and follicle. Face; </span><span style="font-size: small;">eyes, hair - features become a landscape to traverse as our eye wanders human terrain. </span><span style="font-size: small;">These are models and individuals Bayer has worked with and known over the past </span><span style="font-size: small;">decade, becoming living archetypes in the colossal scale of ancient goddesses looming </span><span style="font-size: small;">above a viewer at over 14ft. As contemporary studies of the female form, these </span><span style="font-size: small;">women would not have existed in the mid-twentieth century prior to the sexual </span><span style="font-size: small;">revolution of the 1960s when artists began to reconsider the body as a politicized</span> <span style="font-size: small;">terrain and explored issues of gender, identity, and sexuality manifest in photographers</span> <span style="font-size: small;">such as Diane Arbus, Robert Mapplethorpe, Larry Clark, Hannah Wilke, Nan Goldin </span><span style="font-size: small;">and Cynthia MacAdams.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In Bayer’s new series, we see an ongoing biological and sociological evolution. Posed</span> <span style="font-size: small;">frontally and exposed, they might be perceived as vulnerable on a smaller scale, </span><span style="font-size: small;">however the straight gaze and the enlarged scale creates an intimation of a nearapproaching </span><span style="font-size: small;">new race of superwomen quietly waiting in the wings. A viewer is surrounded by these unadorned figures, provoking possible intimidation in their </span><span style="font-size: small;">directness, uncompromised by faux modesty. Women have changed, transformed and</span> <span style="font-size: small;">advanced since Artemisia Gentileschi’s confrontation with the male gaze.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bayer does not objectify his models in a way that Herb Ritts “saw parts of the body’s</span> <span style="font-size: small;">surface in precisionist terms, often adding mud, skin paint, sand, and other materials to </span><span style="font-size: small;">sensually emphasize the follicles and pores of the epidermis,”1 verging on scopophilic </span><span style="font-size: small;">fixation with the exaggeratedly buff gym-engineered body. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Yves St. Laurent, always attracted to the androgynous and strong woman and the first</span> <span style="font-size: small;">couturier to use black models in 1962 has said: “I always found my style through </span><span style="font-size: small;">women. That’s what makes my vitality and strength: I lean on a woman’s body, on the </span><span style="font-size: small;">way she moves… the way she stands.”2 Sculptor Robert Graham has consistently used </span><span style="font-size: small;">this agile, frontally posed female form and in the mid 1980s created monumental </span><span style="font-size: small;">sculptures of which. He produced a giant nude, twice human size in 1984. Helmut </span><span style="font-size: small;">Newton photographed a portrait of Graham with his giant nude; while Newton began </span><span style="font-size: small;">his nude studies relatively late in career in 1980 saying “Women are much stronger </span><span style="font-size: small;">than men – in every possible way. I truly believe that. I’m a big admirer of women.”3 </span><span style="font-size: small;">As religious symbolism and reference has become irrelevant to contemporary </span><span style="font-size: small;">consumer society, the female form evokes millennia of pre-patriarchal goddess </span><span style="font-size: small;">worship, the archetype of Venus or Isis, transcending religions. American photographer </span><span style="font-size: small;">Cynthia MacAdams pioneered and defined the ‘goddess movement’ in <em>Emergence</em> the </span><span style="font-size: small;">new woman on her own terms in photography from the 1970 and 1980s – with</span><br /><span style="font-size: small;">fiercely independent women role models – portraiture and nudes including Jane</span> <span style="font-size: small;">Fonda, Kate Millett, Gloria Steinem, Laurie Anderson, and Patty Smith. In contrast to </span><span style="font-size: small;">Helmut Newton’s fetishism, the subject of gender in society was dramatically </span><span style="font-size: small;">changing; Bruce Weber was to evolve a new masculinity and homoeroticism in </span><span style="font-size: small;">commercial photography. Newton and subsequently Bayer, visualize women as they </span><span style="font-size: small;">are today; women who take the lead and have presence, who take pride in “the </span><span style="font-size: small;">resplendence and vitality of their bodies, bodies over which they themselves have sole </span><span style="font-size: small;">command”4; the liberated woman full of health and vigor - fit, capable and strong. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Bayer’s women are in no need of props, backdrops, adornment and decoration.</span> <span style="font-size: small;">Fashion becomes fast obsolete while the nude transcends time. Commercial and </span><span style="font-size: small;">fashion photography are intrinsically coercive, propelling sales of magazines and </span><span style="font-size: small;">products. As commissioned work imposes restrictions, the parameters of a creative eye </span><span style="font-size: small;">with a progressive view are challenged in creating images of society and of the role </span><span style="font-size: small;">that women play in it. Bayer’s nude portraits in this exhibition are not reliant on using </span><span style="font-size: small;">the powers of seduction and the desires they awaken – the subliminal attraction of fashion and image-making. Unlike Newton, Bayer’s nudes are devoid of glamorous </span><span style="font-size: small;">trappings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bayer’s intimidating, larger than life women echo a theme which emerged since the</span> <span style="font-size: small;">late 1970s – of portraying emancipated women for the first time in history able to </span><span style="font-size: small;">control their own sexuality – which had hitherto been inseparably bound up with </span><span style="font-size: small;">motherhood. As the taboos of Judaeo-Christian morality collapsed, a celebration of the </span><span style="font-size: small;">human body has reconnected to the glorious nudes of antiquity. An interplay of genres </span><span style="font-size: small;">as nude photograph can be fashion and/or art and vice versa became the norm of </span><span style="font-size: small;">particularly West Coast photographers – embodied in Herb Ritts or specifically Robert </span><span style="font-size: small;">Mapplethorpe’s first female body builder Lisa Lions. The new muscular females </span><span style="font-size: small;">contrast Bruce Weber’s passive males, seemingly available, which in the early 80s </span><span style="font-size: small;">raised controversy about sexual empowerment and what defined masculinity in the</span><br /><span style="font-size: small;">late twentieth century. Quarter of a century later, a new generation of women have a</span> <span style="font-size: small;">birth right of independence and self-determination unknown to previous generations, </span><span style="font-size: small;">to rebuke objectification. As Helmet Newton envisaged in A World Without Men – </span><span style="font-size: small;">jettisoning the sexist status quo, uncompromising; – is this the next evolutionary step </span><span style="font-size: small;">for a new world order? While various artists and writers chart collective cultural and </span><span style="font-size: small;">evolutionary decline, Bayer and other artists and photographers give us an </span><span style="font-size: small;">evolutionary snap-shot of positive strength and evolution of the human race where </span><span style="font-size: small;">strength and beauty can be found in self- confidence and self-determination, regardless</span> <span style="font-size: small;">of ethnicity or background, while beauty resides with equal potency in both genders,</span> <span style="font-size: small;">and gender itself is mutable. Here we might also see the marked cultural difference of</span> <span style="font-size: small;">American women’s grooming – gym-buff, articulated muscularity and hairless bodies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As with Herb Ritts, Bayer’s commercials and music videos evidence the cross-over’s</span> <span style="font-size: small;">and cross-pollination intrinsic to LA culture at its most influential – hybridizing music </span><span style="font-size: small;">world talent, celebrity, style, body beautiful – aesthetic and image-making unique to </span><span style="font-size: small;">LA.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Reminiscent of Helmut Newton’s celebrated series <em>Big Nudes </em>and<em> Sie Kommen</em> (1981,</span> <span style="font-size: small;"><em>Naked and Dressed</em>), the scale of each distinctive young woman defies potential </span><span style="font-size: small;">objectification; looking unequivocally, directly into the camera lens and by extension </span><span style="font-size: small;">boldly confronting a viewer. There is little chance for voyeurism. They are unified </span><span style="font-size: small;">despite their differences, in their hairless bodies – clearly stating their sex. A new </span><span style="font-size: small;">generation of women, assertively full-frontal posture in a stance undermining the </span><span style="font-size: small;">traditional pose of the female nude in an averted gaze (insinuating modesty yet aware </span><span style="font-size: small;">of being object of a male gaze). Autonomous and independent, they also stand in the </span><span style="font-size: small;">unified solidarity of an Amazonian tribe, or future superwomen, aware of their potent </span><span style="font-size: small;">presence and sure future. The Western world has maintained the nude as a fetishistic </span><span style="font-size: small;">subject beyond being an aesthetic object, and since the 20th century, has been </span><span style="font-size: small;">increasingly commercialized in selling products and merchandise, not to mention the </span><span style="font-size: small;">underbelly of Los Angeles in its vulgar porn industry. In cultures across the world, the </span><span style="font-size: small;">body is both sacred, ritualistic, a container of spiritual energy and the embodiment of </span><span style="font-size: small;">divine creation, linking humans to the Divine. Controversial, female and male nude</span> <span style="font-size: small;">depictions in photography have provoked impassioned discussion about sin, sexuality, </span><span style="font-size: small;">cultural identity, and canons of beauty, especially when the medium is photography, </span><span style="font-size: small;">with its inherent accuracy and specificity, as the Metropolitan Museum of Art </span><span style="font-size: small;">articulated in the recent 2012 exhibition<em> History of the Nude in Photography in Naked </em></span><span style="font-size: small;"><em>before the Camera</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Drawing on both a history of sculptural nudes in the classical tradition, and with his</span> <span style="font-size: small;">camera, simultaneously contemporizing this tradition, Bayer’s work can be seen in the </span><span style="font-size: small;">context within the history of portrait photographers. In the early 20th century, Alfred </span><span style="font-size: small;">Stieglitz and his gallery 291 Gallery introduced the medium of photography as fine art </span><span style="font-size: small;">to the public, with Eugène Atget as another early role model. Soon Man Ray vastly </span><span style="font-size: small;">expanded the possibilities of photography, not merely with his commercial work as a </span><span style="font-size: small;">portrait and fashion photographer, but with experimental techniques. With portraits of </span><span style="font-size: small;">the cultural luminaries of his day from Virginia Woolf, James Joyce, Gertrude Stein, to </span><span style="font-size: small;">his close friends Picasso and Max Ernst, Man Ray’s influence could be reflected in a </span><span style="font-size: small;">sense, in the contemporary image-making of Samuel Bayer. Both cross-pollinating </span><span style="font-size: small;">photography and film between artistic and commercial realms, and in our </span><span style="font-size: small;">contemporary media-saturated landscape, Bayer’s widespread and profound influence</span> <span style="font-size: small;">in pop culture from directing breakthrough independent rock music videos.</span></p> <p style="text-align: justify;"><span style="font-size: small;">While the nude as subject is timeless, does Bayer challenge stereotypes of beauty and</span> <span style="font-size: small;">obsession with youth? While fashion magazines and Hollywood continue to</span> <span style="font-size: small;">perpetuate and typecast the young and thin, perhaps with these representations of </span><span style="font-size: small;">young women confident in their bodies (noticeably without silicon-implanted breasts) </span><span style="font-size: small;">provides an antidote to the vulgarity of pornography and the explicit images that </span><span style="font-size: small;">bombard us relentlessly. From the plastic surgeried, talentless bimbos of reality</span> <span style="font-size: small;">television to whom privacy and silence are alien; to billboards for the paradoxically</span> <span style="font-size: small;">titled “gentleman’s clubs” to the back pages of the local newspaper sporting cheap</span> <span style="font-size: small;">prostitutes; images of over-sexualized vixens have become so prevalent as to become</span> <span style="font-size: small;">the tawdry norm. This series of nudes by Samuel Bayer addresses all these histories</span> <span style="font-size: small;">and aesthetics with a savvy and profound insight into image-making and presents his </span><span style="font-size: small;">alternative view.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Samuel Bayer was born in upstate New York in 1965 and grew up in Syracuse, New</span> <span style="font-size: small;">York. He graduated from New York City’s School of Visual Arts in 1987 with a degree </span><span style="font-size: small;">in Fine Arts. At the age of 26, Bayer set out to Los Angeles to begin his career as a </span><span style="font-size: small;">music video director and he went on to direct over 200 music videos with the likes of </span><span style="font-size: small;">The Rolling Stones, Greenday, John Lee Hooker, Marilyn Manson, Metallica, Smashing </span><span style="font-size: small;">Pumpkins, David Bowie, Aerosmith, and Lenny Kravitz. Bayer won an Emmy for the </span><span style="font-size: small;">2011 Super Bowl commercial for Chrysler, Born of Fire featuring Eminem; Bayer’s </span><span style="font-size: small;">commercials are represented in the permanent film/video collection at the Museum of </span>Modern Art in New York City.</p> <p><br />1 James Crump, “Collecting History: Herb Ritts’s Male Nudes,” in Paul Martineau, <em>Herb</em><br /><em>Ritts: L.A. Style</em>, J. Paul Getty Museum, Los Angeles / Getty Publications, 2012, p. 16<br />2 Yves Saint Laurent: <em>His Life and Times</em>, film by David Teboul, Empire Pictures, 2002<br />3 Helmut Newton interviewed by Carol Squiers,<em> Helmut Newton Portraits</em>, Schirmer/Mosel,<br />Munich, 1993, p. 11<br />4 Françoise Marquet, <em>Helmet Newton: Work</em>, Taschen, 2000, p. 13</p> Mon, 25 Feb 2013 17:27:18 +0000 Charles Fine - Ace Gallery- Los Angeles - October 26th, 2012 - April 27th, 2013 <p style="text-align: justify;"><span style="font-size: small;">There are certain artists who grip the subconscious and dive into temporalities of the forgotten, touching upon the cornerstones of human memory and being. Charles Fine is one such artist. He works human  consciousness in a way that connects the corporeal thinking organism with the intimacies of what might be called earth consciousness. Fine attends to the natural world and ancientness in ways that are both thought provoking and transcendent. With an oeuvre that is diverse and far-reaching Fine addresses themes of environment, time, memory, encounter, discovery, decay, and evolution. His art is ever evolving as he works with a variety of media and objects to inspire questions concerning existence and impermanence. While the artist deals with powerful themes, he does so with varying intensity. Rather than privileging a direct and aggressive style, Fine layers, composes, and builds as he illuminates subtle changes and quiet progression.</span></p> <p style="text-align: justify;"><span style="font-size: small;">ACE Gallery presents a thirty-year survey of work by Charles Fine,  including drawings, paintings, sculptures, photographs, and video which explore and expand upon the intricacies of the natural world and the effects of human habitation. Fine investigates the interconnectedness of living systems with particular attention given to subjects ranging from population densities, mutations in nature, irrigation patterning, photosynthesis, and the effects of weather and climate.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From his explorations in Central America, Mexico, and the western United States, Fine has amassed and continues to cultivate an unusual assemblage of objects, which have been, and continue to be, a significant source bank for much of the imagery in his paintings, sculptures, photographs, and vitrines.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist has gathered mutant pod seeds, ceremonial stone objects, bone implements, and ancient tools amongst numerous other exotic and prosaic natural items from his travels and has transformed these earthly substances into breathtaking works of art. For his <i>Table of Contents </i>series Fine meticulously assembles an assortment of naturally found and re-altered objects into large glass vitrines. Each of these objects were selected by Fine because he felt they possessed an individual poignancy, attained either through nature or through necessity for practical or liturgical applications.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Fine’s heterogeneous groupings are works of art in themselves transforming familiar natural objects into spiritually charged symbols with rich narratives.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From this fascinating reservoir of imagery and inspiration, Fine has created complex metaphysical works of art that are often imbued with animistic or totemic associations. The artist’s approach to painting and sculpture is just as dynamic as the roots of his inspiration. His canvases are reworked over extended periods of time and are composed of translucent layers of oil paint, alkyd resin, and asphaltum. The layered effects of the paint engender a sense that the underlying forms are always in flux—materializing or dematerializing on the surface of the canvas. His panel paintings employ a dramatically different method indicated by his use of encaustic painting, which give them a fertile tactile quality. Fine’s cast bronze sculptures trace their origins both to shapes extracted from the paintings and to his extensive gathering of archaeological relics and found objects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Moving sinuously from the micro to the macro and back, the artworks in Charles Fine’s in-depth survey offer a dynamic look into the artist’s distinctive cloistered sphere of curiosity and experimentation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Charles Fine was born in 1951. He attended the Otis Art Institute, California State University, the Brooks Institute of Art, and the University of California. The artist has exhibited at ACE Gallery since 1987.</span></p> Mon, 22 Apr 2013 10:35:15 +0000 Amir Zaki - ACME - March 23rd, 2013 - April 27th, 2013 <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> Sat, 30 Mar 2013 22:55:33 +0000 Christopher Miles - ACME - March 23rd, 2013 - April 27th, 2013 <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 07:36:16 +0000 - Alyce de Roulet Williamson Gallery - March 8th, 2013 - April 28th, 2013 <p>**</p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="" height="750" width="437" /></p> <p></p> Mon, 25 Feb 2013 17:37:11 +0000 Group Show - Angels Gate Cultural Center - May 20th, 2012 - August 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Angels Gate Cultural Center presents our exhibition year entitled&nbsp;<em>Into the Wilderness: The Journey Within</em>. Over the course of the next year, artists and curators will engage the term "wilderness" from multiple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary life and contemplate how we can find new opportunities to re/define the transition between physical and imaginary geographies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although, on first impression, "wilderness" may call to mind places of intense experience in nature far from civilization, it reveals itself to be much more than a location. Traditionally associated with a land of uncultivated, abandoned and inhospitable conditions or inhabited only by wild animals,<sup>1</sup>&nbsp;during the eighteenth and nineteenth centuries its meaning expanded subjectively to include more Romantic and transcendental notions like "the reflection of our own unexamined longings and desires" and "the best antidote to our human selves," while mysteriously remaining the site of "something profoundly Other."<sup>2</sup>&nbsp;</span><br /><br /><span style="font-size: small;">Whether places considered wilderness are ultimately to be regarded as wastelands or sacred spaces, in either case it is not the places themselves that define the nature of the wilderness experience. "Wilderness," regardless of where it is situated or whether it is described as frightening or divine, is a cultural construct that is typically placed in opposition to "civilization," located apart from the human world as something pure and essentially natural, to be preserved and protected both from the outrages of global industrial exploitation as well as the small defilements of daily life.&nbsp;</span><br /><br /><span style="font-size: small;">We disagree. We consider that creating even the most high-minded dualism between humans and nature sets up a dynamic that creates conflict and does not lead to effective stewardship of the environment, either locally or on a global scale. We also believe that rather than being defined either as a physical or an imaginary location, "wilderness" is more a state of mind that defies location, either geographical or imaginary-one in which social structure relaxes, logic slips away and time and space collapse. This open state of mind, or "wonder," can be experienced in natural environments that inspire fear, disorientation, foreboding or other qualities of "sublime" landscape appreciated by the likes of Edmund Burke<sup>3</sup>-and it can also unexpectedly arise in the midst of degraded urban grittiness or in an unexplored corner of a superficially unremarkable backyard.&nbsp;</span><br /><br /><span style="font-size: small;">Artists in our group discover natural wonder in many places-from Antarctic icebergs to carcasses of dead birds. And just as we respect "wilderness" in all of its manifestations, we believe that biodiversity and sustainability can only be maintained if we humans give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respect for the global interface of ecosystems, be they planetary or microscopic, that we unavoidably impact.&nbsp;</span><br /><br /><span style="font-size: small;">Wilderness Mind: Dissolving Duality includes the work of fourteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration; we have worked together to study and work as eco-artists since 2005. This proposed exhibition represents work that ranges from photography to non-representational painting, performance, and installation; it spans a continuum of references to water from suburban irrigation systems to the arctic ice cap; to wildlife, including Barr owls, sea otters, and golden trout from the Sierras; and to locations from San Pedro Harbor to Mozambique. Within the frame of wilderness, the group's work articulates themes of degradation and emergence, natural cycles, mystery, concern for the environment, and connected oneness. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative approach as an alternative to more traditional strategies of agency through domination, and to the possibility for everyone to experience "wilderness" in any number of settings, not just in uninhabited nature. Through the visual messages communicated in our work as well as through workshops and programs offered to the community in conjunction with the exhibition, our ultimate goal is to inspire visitors to participate in effective stewardship of the environment.&nbsp;</span><br /><br /><span style="font-size: small;"><small><sup>1</sup>&nbsp;New Oxford American Dictionary, Oxford University Press, third edition.&nbsp;<br /><sup>2</sup>&nbsp;Cronon, William, "The Trouble with Wilderness; or, Getting Back to the Wrong Nature," Uncommon Ground: Rethinking the Human Place in Nature, New York: W.W. Norton &amp; Co., 1995, 69-90.&nbsp;<br /><sup>3</sup>&nbsp;Burke, Edmund, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 1857.&nbsp;</small></span><br /><br /><em><span style="font-size: small;">Deborah Thomas is an artist, professor and independent curator who lives in Los Angeles; she has also lived and worked as an artist in Geneva, Switzerland and New York. With an undergraduate degree from the University of Michigan and an MA and ABD from the University of Pennsylvania, Thomas currently teaches art history and contemporary art and theory at Pasadena City College, Glendale College and the Los Angeles Academy of Figurative Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus; she also helped to organize "Elements," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artwork includes a series of conceptual installations and mixed media pieces using photographic images and found text; her work on environmental themes typically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet, Bringing the Past to Light: New Art from Old Images, Intimate Geography:&nbsp;</span><br /><br /><span style="font-size: small;">The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhibitions, educational programs and public actions. The group was first organized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA), a national organization dedicated to creating community through art, education and social activism. In April 2007, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San Francisco and at the Day of the Dead Planet exhibition curated by Deborah Thomas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago, Los Angeles, New York, San Francisco and throughout the rest of the United as well as Asia and Europe. The collective also engages the community through lectures, installations and events. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured at zoos and natural history museums across the country. San Pedro-based artists Annemarie Rawlinson and Hiroko Momii often intermix their meditative and activist practices.</span> <br /></em></p> Tue, 26 Nov 2013 18:04:50 +0000 Keith Rocka Knittel - Angels Gate Cultural Center - January 27th, 2013 - April 19th, 2013 <p>In Los Angeles, where non-native fauna, golf courses, and man-made lakes collide with a desert, mountains and sea, what is a natural landscape? What is escape, when surrounded by the fabricated artificial? <br /><br />In a gesture that considers the methodologies of contemporary art, theme restaurants, parks, and interior design, <i>Los Angeles National Forest</i> is comprised of a 7' x 7' x 7' room with a 3' x 5' entryway into a planned wilderness. The greens of a lush copse are represented by gelled lighting and printed leaves; wood is presented in the form of building materials, natural to a point but treated as a commodity; a naturalist's escape to a Southern California beach is alluded to by a perpendicularly-flipped fast food restaurant motif.</p> <p></p> <p>I am interested in creating art that can be at once analytical and illogical, grounded in the mundane while walking the path of the sublime. My aim is to create pleasurably disorienting reflections of a metaphoric modern world, where one achieves estrangement from everyday experience and all meaning is reached through indirect means, individual thought processes. Constructing all encompassing, unfamiliar spatial experiences is a method in my work to expand upon the theories and lessons of post-modern conceptual art and to question its failures. I like to think of my practice as a slippage between crafstman and trickster, investigating the uncanny, transforming medium, space, and perception.  </p> <p> <i>Keith Rocka Knittel holds an MFA from the California Institute of the Arts (CalArts) and a BFA from the Maryland Institute, College of Art (M.I.C.A). He is currently a staff member at the USC Roski School of Fine Arts, and the founding director of OCEAN (  He lives and works in San Pedro, California.</i></p> <p></p> Tue, 04 Dec 2012 23:46:00 +0000 Erika Yoemans, CODY TREPTE, Mara De Luca, Zoe Crocher, Kevin Cooley, Thomas Altheimer - Angels Gate Cultural Center - January 27th, 2013 - April 19th, 2013 <p><i>Searchin'</i> is an exhibition that considers contemporary, critical engagements with the theoretical sublime. Inspired by 70s Californian conceptual artist Bas Jan Ader's project, <i>In Search of the Miraculous</i>, the contemporary artists whose work makes up this exhibition re-examine his quest for the sublime and through it, launch their own journeys into the wilderness. <br /><br />Emmanuel Kant's definition of and writings on the sublime in his <i>Critique of Pure Reason</i> (1790), created a methodology for humanknowledge of the limits of our imagination. While never equated with nature, the unfathomable expanse of the ocean or seemingly unconquerable mountain peaks became signifiers, even metaphors for the un-representable sublime. <br /><br />In the nineteenth century, appreciation for nature and the wilderness was caused in part by the industrial revolution and westward expansion's threats to its very existence. As the mechanical revolution gained steam, the power of man defined human existence, we continually sought the attainment of something greater that could, by definition not be constructed, controlled, or even defined. <br /><br />Ader was deeply aware of the relationship that we have to romantic ideas like the sublime. His series of photographs, <i>In Search of the Miraculous (One Night in Los Angeles)</i> (1973) records his pedestrian nocturnal journey through the city as he traversed from Hollywood to the Pacific. The images of Ader, alone in a city of millions, his shadowy figure juxtaposed against the vast urban lights, and,perhaps most eloquently, the artist's fatal disappearance at sea in 1975, simultaneously maintain a persistence of these seemingly timeless concepts with a postmodern criticality of their existence. <br /><br />The artists of <i>Searchin'</i> continue Bas Jan Ader's quest for the sublime. By partaking on his romantic journey in the context of 70s Los Angeles, Ader permitted contemporary artists to engage in, as opposed to automatically dismiss, historically modernist notions. They look for the meaning inherent in their own existence, in the city in which they live, and the vastness of the unknown that defines it and them. Some follow Ader's footsteps, or re-trace his paths, not in an illusionary attempt to succeed where he failed but as a process, a re-visitation of a myth of which the original artist is now a part. They enact Ader's quest through their own searches, deconstructing his process and discovering the truths still inherent in his search for the miraculous. Others discover new sites within the Los Angeles that beckon something greater, moments that simultaneously capture the city and transcend it. Alternative signifiers of the sublime are broached, its foreboding, danger and at times tragedy are at brought to the fore, even as the everyday is considered as an equally likely subject for such a dialogue. The artists of <i>Searchin'</i> look for the meaning inherent in their own existence, in the city in which they live and the vastness of the unknown that defines it and them. They stand on a cliff at the edge of a wilderness and consider whether or not to leap. <br /><br />BIOGRAPHY <br /><br /><i>Mary Coyne is an emerging curator from the Los Angeles area. She is interested in the intersections between contemporary art, theory and performance. Her curatorial goals are to create thoughtful juxtapositions in the ambition ofsparking a meaningful artistic dialogue. Mary holds a Bachelor's degree in Art History with a minor in Italian from the University of Southern California. She is finishing her Master's program in Art History with an emphasis in Museum and Curatorial Studies at California State University, Long Beach.</i></p> Thu, 06 Dec 2012 19:51:05 +0000 Anna Chiaretta Lavatelli with Jacque Culpepper, Jaime Hernandez, Jennifer Marroquin, Samantha Palazzolo, Chantelle U. Smith, Maylin Veal - Angels Gate Cultural Center - March 17th, 2013 - April 26th, 2013 <p>This site-specific fictional narrative incorporates the immediate space around Angels Gate Cultural Center and Angel's Gate High School, a space of innocent explorations by youth, but also, with a proximity to nature, an embodiment of wild energy of youth. The image of a teenager behind the wheel is not just one of growing up and independence, but also one of impending disaster. The car wreck is a tragic American narrative starring the teenager, and an allegory for the teenage experience. <br /><br />California is only second to the state of Texas in its number of teen fatalities from car wrecks. These big long fast roads that reach out past sprawling suburbs into even more sprawling suburbs are a means to escape the world, flying over asphalt wrapped in the personal space of a vehicle. The image of a teenager behind the wheel is not just one of growing up and independence, but also one of impending disaster. The car wreck is a tragic American narrative starring the teenager. <br /><br />The car wreck is also a story of disorder, one of chaos. Susan Griffith's novel Women and Nature: The Roaring Inside Her is a charged outlining of objectification of the female body along side her wild counterparts, or comrades, the animals and natural world. Her writing is from what feels now a clichˆ© second wave feminist dialogue, but despite its dated tone it resonates with today's imagining of human relationship to nature and the gendering of that relationship, that ism, the feminine as wild untamed and dangerous force. Lavatelli recalls turning over a car a year ago- crawling out the sunroof, pushing the car rightways, seeing it unharmed, getting back in, and driving away. Perhaps she was only able to do this because of her gender, being a woman she is wild and more akin to the unknown than the order of the world. <br /><br />Lavatelli and teens from Angel's Gate High School worked collaboratively to tell stories that considered how they remembered a moment beyond understanding, when they fell into the wilderness, into the unknown. Teenagers attempting to take hold of the ground below them to recognize the way we slip and slide down the road from the heights of our immortal self-image. All staged in a space between fantasy and the real, ripe with drama and ambiguity. <br /><br />BIOGRAPHY <br /><i><b>Anna Chiaretta Lavatelli</b> is a video installation artist engaging complexities of feminine identity, performance, and desire. She received her BA in Media Studies at the University at Buffalo while performing with various collectives throughout Western New York. After some years working out of Brooklyn she moved out west to obtain her MFA from UC San Diego, while there she also attended the Skowhegan School of Painting and Sculpture. Nowbased in San Diego she has continued to exhibit nationally and screen film and video work internationally. Most recently she was nominated for the San Diego Art Prize for emerging artists.</i></p> Fri, 15 Mar 2013 21:14:35 +0000 Kim Abeles and members of the South Bay/Harbor Community - Angels Gate Cultural Center - March 17th, 2013 - April 26th, 2013 <p><i>Shared Skies</i> speaks to the connections between global, local and personal. As people look toward the sky each morning, through the day or each night, the sky speaks to their personal and local concerns. In a global sense, we observe the effects of our environmental decisions and find community through a seamless sky.<br /><br /><i>Shared Skies'</i> photographs are being collected through four situations: Abeles' journeys and artists who participate as they travel worldwide, international friends through social media, and some purchased from photographers through stock photo sites. <br /><br /><i>Shared Skies</i> began as a permanent public artwork for the Anderson-Munger YMCA that is being built in Koreatown, Los Angeles. From the Salt Flats of Bolivia to Grand Forks in the United States, and Maasai Mara, Kenya to Pine Ridge, Oglala Sioux Tribe, our skies portray the connected parts of our place on this earth.<br /><br />BIOGRAPHY <br /><br /><i>Kim Abeles' installations and community projects cross disciplines and media to explore broad social issues. Her work brings together biography, geography and environment. She has created artwork in conjunction with a unique range of collaborators such as the Bureau of Automotive Repair, Santa Monica Bay Restoration Project, California Science Center, Natural History museums in California and Colorado, and the Lakota Indians of South Dakota. <br /><br />In 1987, she innovated a method to create images from the smog in the air, and Smog Collectors brought her work to national and international attention. <span style="text-decoration: underline;">Kim Abeles: Encyclopedia Persona A-Z</span> toured the United States and South America, sponsored by the United States Information Agency. She has exhibited in twenty-two countries, including large-scale installations in Vietnam, Thailand, Czech Republic, England, China and recently in South Korea. <br /><br />She represented the U.S. in both the Fotografie Biennale Rotterdam and the Cultural Centre of Berchem in Antwerp. Her work is in numerous private and public collections including the Museum of Contemporary Art, California African American Museum, Los Angeles County Museum of Art, and is archived in the library collections of the Museum of Modern Art and the Cooper-Hewitt Publication Design Collection of the Smithsonian. <br /><br />Abeles received fellowships from J. Paul Getty Trust Fund for the Visual Arts, California Community Foundation, Durfee Foundation, Pollack-Krasner Foundation, and the California Arts Council.</i></p> Fri, 15 Mar 2013 21:19:02 +0000 Joao Silva, David Hume Kennerly, Edouard H.R. Glück, Ashley Gilbertson, Carolyn Cole, Alexandra Avakian - Annenberg Space for Photography - March 23rd, 2013 - June 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>WAR/PHOTOGRAPHY</strong>: <em>Images of Armed Conflict and Its Aftermath</em> will open at the Annenberg Space for Photography on March 23, 2013 and run through June 2, 2013. This exhibition has been organized by The Museum of Fine Arts, Houston.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>WAR/PHOTOGRAPHY</strong> encompasses over 150 images going as far back as 1887 through present-day and is arranged by themes presenting both the military and civilian point of view including the advent of war, daily routines, the fight itself, the aftermath, medical care, prisoners of war, refugees, executions, memorials, remembrance and more.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibit includes the work of award-winning portrait photographers and photojournalists, military photographers, amateurs and artists including iconic images such as Joe Rosenthal’s Old Glory Goes Up on Mount Suribachi, Iwo Jima and Alfred Eisenstaedt’s V-J Day, Times Square, New York.  Recognizable from news coverage is Eddie Adams’ image of the execution of a Viet Cong prisoner on the streets of Saigon.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Specific to the Los Angeles exhibit will be the Annenberg Space for Photography’s original short documentary film and digital image presentation produced by Arclight Productions. Both the documentary and digital gallery will feature over 500 photographs exclusive to the Photography Space from six acclaimed contemporary conflict photographers: Alexandra Avakian, Carolyn Cole, Ashley Gilbertson, Edouard H.R. Glück, David Hume Kennerly and Joao Silva.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In interviews in the film, these six photographers share their experiences, including life-threatening situations faced by their subjects and themselves. Photographer Joao Silva revisits sites in his native South Africa, recalling the violence that led up to that country’s first democratic election in 1994. Ashley Gilbertson is filmed in Midland, Texas, on the final shoot for his book, Bedrooms of the Fallen, which examines the bedrooms of young soldiers who never returned home from war.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>WAR/PHOTOGRAPHY</strong> arrives in Los Angeles from The Museum of Fine Arts, Houston on March 23, 2013 before it travels to the Corcoran Gallery of Art, Washington, D.C., and the Brooklyn Museum.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;">Though normally closed on Mondays (and Tuesdays), we will be open on Memorial Day, Monday, May 27. Please check ASP website in late May for Memorial Day hours of operation.</span></p> Thu, 24 Jan 2013 21:47:04 +0000 Caroline Cox - Another Year in LA - March 19th, 2013 - May 3rd, 2013 <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 13:23:16 +0000 Nate Page - Armory Center for the Arts - July 8th, 2012 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Armory Center for the Arts</strong> presents a temporary, site-specific installation by Los Angeles-based artist<strong> Nate Page</strong> in its central stairwell through June 2013. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Page’s newest work, entitled <em>Instituted Angles of Path and Display</em>, challenges the ultra-functional design of the Armory’s main stairwell. Page has removed one of the stairwell’s two large metal handrails, turned it 90 degrees, and mounted it in the middle of the space on a pedestal-like structure that follows the crooked trajectory of the stairs and the landing. This simple gesture both highlights and alters the existing framework and prescriptive design of the space, which remains fully functional although visually distorted. Central to Page’s practice is an interest in engaging elements of perceived and given space in built environments, often through objects dismissed as peripheral or incidental.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Page acknowledges that railings generally can serve two functions: one for handrail support, and the other as a boundary. By turning a railing on its side and using it to bisect the Armory stairwell, Page shifts our point of view what a handrail is for. Page has created a topography of the climber's passage and an opportunity for visitors to become aware of their physical and psychological relationships to the architecture by negotiating passage (stair) vs. path (boundary railing). Familiar visual and spatial rhythms are interrupted, inviting the viewer to reconsider the function of the space – and possibly, the artist hopes, to find more potential than what it is programmed for.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Nate Page</strong> lives in Los Angeles.  His work has been seen at Lothringer Dreizehn Space for Contemporary Art in Munich, Hotel Pupik in Schrattenberg Austria, Warsaw Academy of the Arts, Warsaw, John Michael Kohler Center for the Arts in Sheboygan, WI, No Name Exhibitions @ The Soap Factory, Minneapolis, and at Cooper Union and Jen Bekman Gallery, both in New York. Page has produced many environments with Machine Project in Los Angeles including A Field Guide to LACMA at Los Angeles County Museum of Art and has shown nationally including Woodbury University Hollywood Gallery, Institute of Visual Arts at University of Wisconsin-Milwaukee, and Otis College of Art and Design in Los Angeles. From 2001-2004, Page co-directed an experimental artist collaborative and exhibition space in Milwaukee called the Rust Spot. He received a MFA from the California Institute of the Arts and a BFA from Milwaukee Institute of Art and Design and attended the Warsaw Academy of Art in Warsaw, Hotel Pupik in Schrattenberg Austria, and the New York Studio Program and the Summer Residency at The Cooper Union, both in New York City.</span></p> Mon, 03 Sep 2012 09:00:44 +0000