ArtSlant - Recently added en-us 40 - SCI-Arc Exhibitions - September 9th - September 11th <p><strong>Graduate Thesis Weekend Schedule:</strong><br /><strong>Friday, September 9, 2pm-6pm</strong><br /><strong>Saturday, September 10, 9am-6pm</strong><br /><strong>Sunday, September 11, 9am-4pm</strong><br />&nbsp;<br />Elena Manferdini<br />Graduate Program&nbsp;Chair</p> <p>Florencia Pita<br />Graduate Thesis Coordinator</p> <p>Brett Steele<br />Special Advisor<br />&nbsp;<br />All school exhibition of thesis work reviewed by members of the SCI-Arc faculty and distinguished local and visiting architects.<br />&nbsp;<br />Guest Critics Include:</p> <p>Antonino Saggio<br />Axel Friedman<br />Barbara Bestor<br />Ben West<br />Brendan MacFarlane<br />Brett Steele<br />Bruno Juricic<br />Didier Faustino<br />Birgit Lohmann<br />Donald Bates<br />Dominique Jakob<br />Fabrizio Gallanti<br />Frances Anderton<br />Francisco Pardo<br />Jennifer Siegal<br />Jeffrey Kipnis<br />Peter Frankfurt<br />Pippo Ciorra<br />Thom Mayne</p> Wed, 24 Aug 2016 21:42:53 +0000 Jack Reilly - California Museum of Art (CMATO) - September 16th - December 11th <blockquote> <div align="center">&nbsp;</div> <div>&ldquo;<em>My personal investigation into life deals with the human condition of trying to find a sense of balance that seems to exist between polar extremes &ndash; that the human condition is to attempt to find a sense of balance between these polarities -this balance is a metaphor of life.&rdquo;</em>&nbsp; - Jack Reilly, speaking about his art.</div> <div>&nbsp;</div> <div>Jack Reilly (b. 1950 -), widely recognized as a trailblazer in the Abstract Illusion Movement, a style where paintings &lsquo;bend the eye&rsquo; to achieve three-dimensionality on a two-dimensional surface, returns to Southern California for a concise but stirring re-evaluation of his artistic production.</div> <div>&nbsp;</div> <div>In 1980, Reilly burst into L.A. with his solo show at the indomitable Molly Barnes Gallery (a tastemaker who gave early shows to John Baldessari, Billy Al Bengston and Gronk). This formative exhibition helped to cement Reilly&rsquo;s reputation of creating visually powerful and unique works of art &ndash; works that converge abstract expressionistic boldness, minimalist restraint with trompe l&rsquo;oeil wonderment. As Suzanne Muchnic, Los Angeles Times art critic, observed, &ldquo;He does offer immediate pleasure in carefully orchestrated compositions, meticulous technique, complexity of shadows and ambiguity of light source."<br /><br /></div> <div>Impressed by Reilly&rsquo;s unique style exhibited at the Barnes Gallery, Donald Brewer (then Director of LA&rsquo;s first museum -USC&rsquo;s Fisher Gallery) quickly arranged for Reilly to be a featured artist for&nbsp;<em>The Reality of Illusion</em>, a national traveling exhibition (Denver Art Museum, Oakland Museum, Johnson Museum at Cornell, and USC Fisher Gallery). From then on, there was no looking back. Reilly&rsquo;s prolific artistic output has resulted in numerous public commissions, domestic and international exhibitions, and his works are in the permanent collection of several museums throughout the country.</div> <div>&nbsp;</div> <div><em>Balancing Act: Paintings by Jack Reilly&nbsp;</em>will highlight the spirit of freedom and experimentation found in his:</div> <div>&nbsp;</div> <div><span style="text-decoration: underline;">Basic Object Series</span>&nbsp;Two-dimensional surfaces take on ambiguous characteristics of three-dimensionality as geometric shaped canvases straddle the line between painting and sculpture;&nbsp;</div> <div>&nbsp;</div> <div><span style="text-decoration: underline;">Shaped-Canvas Abstractions</span>&nbsp; In these works, Reilly continued to challenge traditional concepts of illusionary and pictorial space, executed within an abstract painting context;</div> <div><span style="text-decoration: underline;">&nbsp;</span></div> <div><span style="text-decoration: underline;">Convergence Period</span>&nbsp;Explores an eclectic mix of abstraction, representational painting, classical, historical and popular imagery combined with richly textured surfaces, cast bas relief and mosaics, all on a singular-level shaped canvas. These pieces simultaneously comment on a variety of artistic issues ranging from postmodernism to aspects of popular culture, politics and the human condition;</div> <div><span style="text-decoration: underline;">&nbsp;</span></div> <div><span style="text-decoration: underline;">The Icon Series</span>&nbsp;Considered hybrids of painting and sculpture, are rendered in oil and crowned with elaborate, gilded framework. The format Reilly has adopted pays homage to European Gothic and Proto-Renaissance icon painting. He elevates the notion of the painted landscape to that of a sacred image, depicting nature in its pure and perfect form. Working from original sketches and photographs taken at the location, a variety of scenic elements are composited together to create the idealized depiction of the perfect time and place.</div> <div>&nbsp;</div> <div>&nbsp;</div> <div>As the CMATO exhibition will show, Reilly&rsquo;s works are bright, clean and constrained by geometry but not artistic convention. Although the Getty Museum&rsquo;s&nbsp;<strong>Pacific Standard Time</strong>&nbsp;exhibition (2012) solidified Reilly&rsquo;s place in the zeitgeist of the 80&rsquo;s &ndash; an era of extremes, political movements, the beginning of globalization- do not be mistaken in thinking his works are out of time with our age. His works are perpetual manifestations of an artist&rsquo;s investigation of the human condition &ndash; an ageless inquiry into the nature of our being.</div> <div>&nbsp;</div> <div><em>Balancing Act: Paintings by Jack Reilly&nbsp;</em>complements CMATO's permanent installation of Betty Gold's sculptures.</div> <div>&nbsp;</div> <span style="font-family: verdana, geneva;">Opening Reception: Thursday, September 15, 2016 (6PM - 8PM) @ CMATO.</span></blockquote> Wed, 24 Aug 2016 21:32:43 +0000 - SCI-Arc Exhibitions - September 14th 7:00 PM - 9:00 PM <p>The symposium aims to address the speculative directions for architecture in relation to contemporary digital culture.&nbsp;As information becomes increasingly mobile, instantaneous and pervasive, we take look at the current impact of digital media and the roles online publications and social media will play in the future of architecture and design.</p> <p>Moderator:&nbsp;</p> <p>Bruno Juricic: Architect, curator and emergent scholar in the field of architecture, art and technology.</p> <p>Panelists:<br />Birgit Lohmann: CEO/Editor in Chief,&nbsp;<a href="" target="_blank" rel="nofollow"><em class="redactor-inline-converted">designboom</em></a><br />Devin Gharakhanian: Creative Director,&nbsp;<em class="redactor-inline-converted"><a href="" target="_blank" rel="nofollow">SuperArchitects</a></em><br />Amelia Taylor-Hochberg: Managing Editor and Podcast Co-Producer,&nbsp;<em class="redactor-inline-converted"><a href="" target="_blank" rel="nofollow">Archinect</a></em><br />Lucy Redoglia: Digital Marketing and Social Media,&nbsp;<em class="redactor-inline-converted"><a href="" target="_blank" rel="nofollow">LACMA</a></em><br />Benjamin Bratton: SCI-Arc Visiting Faculty, Cultural Studies and Author of&nbsp;<em><a href="" target="_blank" rel="nofollow">The Stack</a></em></p> <p>Bruno Juricic is an architect, curator and entrepreneur. Juricic graduated from the University of Architecture in Venice IUAV, Italy and later received his MSc degree in Urban Strategies, with excellence, from the University of Applied Arts in Vienna, where he studied under the auspices of Wolf Prix.&nbsp;Juricic is a director / CEO of Atelier Bruno Juricic ABJ , a small, and agile international design practice. Recently, ABJ started the construction of the IT Campus ( Pangea ) for the IT tech company called INFOBIP, that is one world&rsquo;s leading company in the interaction between people and enterprises through mobile technology.&nbsp;</p> <p>Birgit Lohmann is founder and editor-in-chief of designboom.&nbsp;Established in 1999, is the world's first cultural online magazine for architecture and design news, jumpstarting emerging talent and giving creatives&nbsp;the breaking news they need to know, everyday.&nbsp;It is the go-to creative resource for manufacturers, cultural institutions, governmental departments for economic growth within the design industry, fair and events.&nbsp;</p> <p>Devin&nbsp;Gharakhanian is co-founder and creative director of SuperArchitects,&nbsp;a global (publication +&nbsp;media) network influencing architectures&rsquo; future counterculture.&nbsp;Although primarily trained as an architect through the academic and professional world, his antidisciplinary desires continue and lead him towards alternative scenarios such as urban dynamics, design fiction, social culture, all in which integrate emerging technologies. Currently, Devin has been developing a new type of collaborative design lab within the basis of visual strategy and environmental design, along with pursuing independent research towards soſtware/content within virtual reality - questioning or speculating Architectures&rsquo; future through a more user-interactive or immersive way of storytelling.&nbsp;</p> <p>Amelia Taylor-Hochberg is a writer, editor and podcaster in Los Angeles. As Managing Editor and Podcast Producer for Archinect, she works to make architecture more accessible and expansive&mdash;by developing original editorial, podcast discussions, and live events. Outside of Archinect, Amelia co-runs The Conflict Arrives, a &ldquo;conceptual studio&rdquo; that makes stuff like a board game about Los Angeles. She has been published in A+U and the Journal of Urban Design and Mental Health, and is also a contributor to Hawkmoth, an online science quarterly, and writes about television and film for Tiny Mix Tapes.&nbsp;She has a BA with Honors in Rhetoric from UC Berkeley, where she wrote her thesis on the aesthetics of molecular gastronomy, and swore she'd never move back to LA.</p> <p>Lucy Redoglia is a museum marketing and communications specialist, currently working as Social Media Manager the Los Angeles County Museum of Art. She has received international acclaim for her imaginative and forward-thinking approach to social media; notably, a Webby award for LACMA&rsquo;s Snapchat. From 2009&ndash;2015, Lucy worked in the Digital Media department at The Metropolitan Museum of Art, contributing to many aspects of digital strategy including email marketing, website imaging and design, and social media. Lucy also built the social media presence for ArtPriv&eacute;e, an online directory of private art collections around the world, and a resource for art enthusiasts and collectors. She is particularly interested in the ways technology can enhance communication and engagement with art. Lucy loves the encyclopedic collections of the museums for which she has worked, bringing awareness of the museum initiatives and their artworks to a global audience.</p> <p>Benjamin H. Bratton is a theorist whose work spans Philosophy, Art and Design. He is Associate Professor of Visual Arts and Director of The Center for Design and Geopolitics at the University of California, San Diego. He is also Professor of Digital Design at The European Graduate School in Saas-Fee, Switzerland. His research is situated at the intersections of political &amp; social theory, emerging computational media &amp; infrastructure, and interdisciplinary design methodologies. His next book, The Stack: On Software and Sovereignty, will be published by MIT Press. Bratton has lectured widely, and is the author of dozens of essays, articles, book chapters, in both academic and popular publications. He has been a visiting lecturer and critic at Columbia, Princeton, UCLA, Parsons/ The New School, The Strelka Institute (Moscow), Art Center College of Design, Michigan, Die Angewandte (Vienna), Bauhaus-University, Moscow State, among many others.</p> <p><em>&nbsp;</em></p> Wed, 24 Aug 2016 19:13:36 +0000 Katie Shapiro - Kopeikin Gallery - September 10th - October 22nd Wed, 24 Aug 2016 14:45:05 +0000 Group Show - ltd los angeles @ Hollywood Hills House - August 28th - October 2nd <p style="text-align: justify;">The depiction of the human body in art history is a field littered with problematic tropes: the heroic male, the objectified female, the exotic native. These pervasive images stem from traditions of art and beauty that were developed from a strictly white, European, male, and heteronormative perspective. Feminine bodies in western culture have almost always been viewed as objects of display, not to mention non-white or queer bodies, which are likewise consigned to be fetishitic oddities if they are included at all. The artists in this exhibition take the human form, with all of its art historical and societal baggage, as their subject.</p> <p style="text-align: justify;">Loren Britton and Tatiana Berg use abstraction as a tool to blur the lines of gender and sexuality. In Britton&rsquo;s paintings the abstraction of bodily forms provides an aesthetic space for a spectrum of gender identities while Berg&rsquo;s brushy simplified figures possess an unencumbered and joyful embrace of their human sexuality. Likewise, Roger Herman&rsquo;s messy erotic ceramics take their inspiration from Hans Bladung Grien&rsquo;s 16th century depictions of witches, earthy and obscene in their naked exuberance.</p> <p style="text-align: justify;">Both Courtney Cone and Aimee Goguen mine more taboo aspects of bodies: the warm, wet, sticky places of biological processes. Cone&rsquo;s orifice sculptures revel in the gross possibilities of flesh as form, while Goguen&rsquo;s visceral mashup of amateur pornography and horror visuals illustrate how little space exists between repulsion and arousal. Max Maslansky and Anja Salonen opt for humor in depicting their subjects. Salonen samples comic books and cartoons as visual inspiration her goofily absurd, sausage-handed figures while Maslansky&rsquo;s creates clown-nosed parodies of pornography to address the (white) male gaze in relation to the nude and the sex act.</p> <p style="text-align: justify;">Ashley Armitage&rsquo;s works glorify alternatives to the standard ideal forms of feminine beauty. Armitage&rsquo;s photo series &lsquo;Taking Back What&rsquo;s Ours&rsquo; highlights the beauty of stretch marks, armpit hair, and non-white skin. Similarly, Chanel Von Habsburg-Lothringen&rsquo;s masked photos of herself and her grandmother play with the slick tropes of fashion photography. Her inclusion of the aging female body in images of sexualized objectification empathize visual culture&rsquo;s pervasive youthbias.</p> <p style="text-align: justify;">Art brand BFGF mines a high/low mix of art historical motifs and Tumblr-era pop culture to create an array of lifestyle products depicting classical and primitive nudes freed from their patriarchal ancestry to enjoy a chill-zone of idealized pleasure. Cheryl Bentley&rsquo;s drawings of unselfconsciously libertarian sexuality refuse societal prescriptions of sex and gender with abandon.</p> <p style="text-align: justify;">Both Shanna Waddell and Bari Ziperstein promote new visions of feminine strength and power, celebrating girly aesthetics along with athleticism and aggression respectively. Alternately, Andrea Joyce Heimer&rsquo;s representations of unselfconscious female nudes are evocative in their universally legible suburban weirdness. Laurie Nye&rsquo;s confidently assertive sci-fi figure blends nature and technology into an empowered hybrid form. Also forward thinking are the silicone sculptures of Ellen Schafer which consider bioengineering and the future of the body as commodity. Nicole Lesser explores the commodities themselves, and the ways that the clothing and accessories with which we adorn our bodies are cultural and aesthetic signifiers.</p> <p style="text-align: justify;">Taken in total these works give voice to different possibilities, agency to marginalized positions and resist dominant understandings of gender, race, and sexuality. The body may be &nbsp;a battleground but it is also the essential humanity that unites us all. Shouldn&rsquo;t our art and culture represent and celebrate the multiplicity of voices it contains, rather than glorify a timeworn singular definition?</p> <p style="text-align: justify;">The exhibition will be accompanied by a series of events featuring the work and thoughts of: Meghan Gordon, Liz Toonkel, Shanna Waddell, and Catherine Wagley.&nbsp;</p> Tue, 23 Aug 2016 07:32:23 +0000 Trang T. Le - Ruth Bachofner Gallery - September 10th - October 15th <p style="text-align: justify;">Ruth Bachofner Gallery is pleased to present an exhibition of new paintings by Trang T. L&ecirc;. There will be a reception for the artist Saturday, September 10, 4-6 PM.</p> <p style="text-align: justify;">Trang T. L&ecirc;'s paintings and process are tied to a personal journey that follows an irregular course that spans early childhood to the present - the idyllic surroundings of her Vietnamese village, her experience as an immigrant fleeing the Vietnam war and the Communist regime of the 1980's, acclimating to a new country as a refugee and the numerous transitions in her recent past, are all distilled in the abstract paintings she has produced throughout her career as a painter. She has continuously and boldly drawn from her inner workings, while remaining keenly aware of and reacting to the world around her.</p> <p style="text-align: justify;">L&ecirc;'s formal evolution with respect to marking-marking is intertwined with the personal narrative from which she draws. In 2010, the artist culminated a 56-foot long painting which honored and tallied civilian and soldier deaths of the Iraq war. The 111,978 tiny oil paint spirals she used as somber tally marks were gathered into a beautifully flowing composition. The piece was a rumination on human losses, as well as her own experiences with political conflict, but ultimately reflect on and radiate tranquility and healing. The conceptual underpinnings of this small mark made a dramatic shift in the matter of a couple years - from taking in the movements and details of a leaf in work produced in 2004, to an epic meditation on the consequences of war.</p> <p style="text-align: justify;">Her obsessive approach to painting continues to find new adaptations with this exhibition, where the spiral has unfurled and become tight loops and sinuous threads that float across the canvas. In this exhibition, Trang T. L&ecirc;'s formal moves come together into single paintings where bold painterly</p> <p style="text-align: justify;">smudging holds variously composed swirls and fibrous trails. With this combination comes a new dimensionality and grounding that retains the buoyancy of past work. Turmoil and grace, strength and vulnerability, intuition and calculation, gravity and weightlessness merge in these stirring paintings, where Trang finds strength and clarity. As has been the case with all her work, she gets lost in obsessive delineations which become cathartic acts, filtered through personal toil, joy, survival and triumphant transition.</p> <p style="text-align: justify;">Trang T. L&ecirc; received her MFA from Claremont Graduate University in 2006. This exhibition is accompanied by a book titled <em>Gentle Wave</em>, that traces her personal journey and artistic evolution.&nbsp;</p> Tue, 23 Aug 2016 07:16:48 +0000 Trygve Faste - Ruth Bachofner Gallery - September 10th - October 15th <p style="text-align: justify;">Ruth Bachofner Gallery is pleased to present <em>Op-Tech</em>, an exhibition of new paintings by Trygve Faste. There will be a reception for the artist on Saturday, September 10, 4-6 PM.</p> <p style="text-align: justify;">Trygve Faste responds to prevailing currents in contemporary products, design and technology through abstract paintings that address the aesthetic and cultural impact of these forces. Faste's particular language of abstraction expresses a fascination with the visual aspect of consumerism, while acknowledging the correlating complexities that come with it &ndash; particularly issues pertaining to outward perception. Faste uses visual cues of product design within the practice of fine art to incite a conversation about how images (or products) are comprehended and intended to be read and the consequences of those choices.</p> <p style="text-align: justify;">Faste's work begins with an architectural approach where hand and computer-generated drawing help form the intricate substructures for his paintings. Through the use of airbrush and painting, his surfaces slowly evolve into spatially complex objects, where illusion of depth supports actual dimensionality and vise versa. While the bright palette and angularity of the work creates a kinship with the slickness of a manufactured product, there is an enduring intimacy that most industry does not achieve or even strive for. The slight lift of built-up paint, evidence of a moving hand to push paint across the surface, and imperfectly articulated transitions keeps the work grounded in the world of painting.</p> <p style="text-align: justify;">&ldquo;My current body of work uses abstraction to reference the aesthetic sensibility of the many contemporary products and technologies that I find fascinating,&rdquo; Faste states. &ldquo;Similar to the way in which science fiction can address societal issues in a way that removes them from the immediate reality of politics so that they can be more openly and less controversially discussed, I use these paintings to examine the duality of futuristic opportunity and tragic side effect that can be found in many aspects of consumerism. The relationship of appearance to substance in design can be fickle. It is also an area that naturally merges with my interest in the interconnected nature of image as realized through graphics on form.&rdquo;</p> <p style="text-align: justify;">Trygve Faste received an MFA in painting from Cranbrook Academy of Art, and a BA in Mathematics-Computer Science and Studio Art from Whitman College. Trygve Faste lives and works in Eugene, Oregon where he is an Assistant Professor of Product Design at The University of Oregon.&nbsp;</p> Tue, 23 Aug 2016 07:15:24 +0000 - 18th Street Arts Center - September 24th 1:00 PM - 5:00 PM Tue, 23 Aug 2016 07:08:23 +0000 Tyler Matthew Oyer - Cirrus Gallery - September 16th - November 12th <div style="text-align: justify;">Cirrus Gallery is pleased to announce the opening of&nbsp;<em>RELEASE</em>, Tyler Matthew Oyer's second solo show with the gallery. The exhibition continues Oyer's theatrical investigations and critiques of American imperialism, neoliberalism and greed with an installation of paintings, sculptures, apparel, and an original music album.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The exhibition presents Oyer's highly sought after, iconic black and gold works on paper that are derived from meditations on text and images sourced from song lyrics, film scripts, Bible verse, advertisements, art history, and personal experiences. The painting, "Marquee #59" reproduces Phillip Johnson's Glass House - minimal to the bone - with a large message across it, saying "Glamourize Your Messes", while in "Marquee #90", "Helplessness" is scrawled on what appears to be a contorted Picasso figure. Dating from 2011-2016, these works amass as an uncanny architecture of signifiers and symbols that call names and recite phrases to create a lexicon of desire and destruction. Despite this distopian view, the playful nature of the paintings transcends their cultural anchors to encourage multiple readings of the text and thus inspire personal reflection and narrative.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Oyer's collaborative album further engages the viewer and the stronghold of meta-narratives of the past, by way of sound and movement. The album,&nbsp;<em>RELEASE</em>, begins its journey with an inquiry into a series of spells that were embedded within the sound waves of a number of popular songs in 1982. These spells were engineered to enter the minds of listeners via their eardrums and dismantle the white supremacist, capitalist, imperialist, and patriarchal pathologies that characterize American domination. The album,&nbsp;<em>RELEASE</em>, harnesses club music in order to conjure, engineer, and cast new spells and prompt movement, participation, and subsequently change.&nbsp;<em>RELEASE</em>&nbsp;will be available through wireless headsets, creating an experiential viewing of the paintings and sculptural elements. The album will also be available on various platforms, distributed by Practical Records. Musical collaborators include Max Boss, Bendik Giske, Anders Rhedin, Julia Giertz, Kelman Duran, Ingmar Carlson, Lex Brown and Kembra Pfahler.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">As with his first exhibition,&nbsp;<em>Shimmy Shake Earthquake</em>,&nbsp;<em>RELEASE</em>&nbsp;considers the body and our senses as an agent for participation and change. While the paintings in the exhibition transfix the viewer by way of image and text, the album utilizes music and myth to entrance and disarm the architects of our current social and political constructs.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Tyler Matthew Oyer (b. 1987, Pennsylvania) has exhibited and performed extensively throughout the US and Europe. Recent presentations include,&nbsp;<em>Exploring the Nowannago</em>&nbsp;with Kenyatta A.C. Hinkle, Grand Central Art Center, Santa Ana, CA, and Museum of the African Diaspora, San Francisco; SOPPEN Performance Festival, Oslo, Norway; BOFFO Festival, Fire Island Pines, NY; MoMA PS1, NY; REDCAT, Los Angeles; dOCUMENTA (13), Kassel, Germany; Hammer Museum in Los Angeles; Kunstnernes Hus Oslo, Oslo, Norway; Bergen Kunstall, Bergen, Norway; and Rogaland Kunstsenter in Stavanger. His work can be found in the permanent collection of the Museum of Modern Art (NY), along with a number of private collections.&nbsp;</div> Tue, 23 Aug 2016 07:04:37 +0000 Mark Bennett - Mark Moore Gallery - September 10th - October 29th Tue, 23 Aug 2016 06:54:37 +0000 Zemer Peled - Mark Moore Gallery - September 10th - October 29th Tue, 23 Aug 2016 06:54:35 +0000 Group Show - ROSEGALLERY - August 20th - September 3rd <p style="text-align: justify;"><a href=";id=6fc0c77e53&amp;e=7724a341a4" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1472020227803000&amp;usg=AFQjCNHL94Wl1ItAZPfgudUzsBWkAyjJfQ">The Photographic Arts Council &middot; Los Angeles</a>&nbsp;is pleased to announce&nbsp;<em>COLLECTORS&rsquo; FAVORITES</em>, a special exhibition of photographs on loan from private collections of members of PAC &middot; LA, hosted by<a href=";id=3508d77c1e&amp;e=7724a341a4" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1472020227803000&amp;usg=AFQjCNFCAjCrNqNH-I6geJDfMtOFZi1H9w">ROSEGALLERY</a>. A private opening will take place on Saturday, August 20,&nbsp;6 - 8 p.m.</p> <p style="text-align: justify;">On view will be over 70 artworks, ranging from early photographs to works of the present day. This year&rsquo;s Collectors&rsquo; Favorites exhibition features such masters as Robert Frank, Irving Penn, Imogen Cunningham and Edward Weston, as well as new and vintage works by artists championed by PAC &middot; LA collectors. You&rsquo;ll see works by Lee Friedlander, Augusta Wood, Mary Ellen Mark, Torbj&oslash;n R&oslash;dland, Nick Waplington, Clarence Sinclair Bull, Dulce Pinz&oacute;n, Rinko Kawauchi, Margaret Bourke-White, and dozens more.</p> <p style="text-align: justify;"><em>COLLECTORS&rsquo; FAVORITES</em>&nbsp;reflects the diverse passions and interests of PAC &middot; LA&rsquo;s members, counting among their ranks many leading California photography collectors and those interested in learning more about photography. The prints on display will be accompanied by brief statements from the collectors, explaining their thoughts about their selections and reasons for exhibiting these specific photographs.<br />&nbsp;<br />Now in its fourth year as an independent group, the Photographic Arts Council &middot; Los Angeles was founded to foster individual and community-wide knowledge and appreciation of the Photographic Arts. Throughout the year, PAC &middot; LA members are invited to special collection and artists' studio visits, take part in educational programming, are offered private curator-led walkthroughs, as well as travel opportunities outside Los Angeles.</p> Tue, 23 Aug 2016 06:49:13 +0000 - 356 Mission - August 23rd 7:00 PM - 11:00 PM <p style="text-align: center;"><strong>GIVE ME THE NIGHT&nbsp;<br /></strong>A benefit show for&nbsp;<a href=";e=9DC032&amp;c=13EE5&amp;t=0&amp;l=7D677A1&amp;email=znl59I4xZBQwTLE%2FBaxf%2BXnlkRjLUbPe&amp;seq=1" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1472020229716000&amp;usg=AFQjCNGAGBJGgmYchNHzEZ1uEyHbntiK5g">The Smell</a>&nbsp;at 356 S. Mission Road&nbsp;<br />$5 (or more if you can)&nbsp;<br />All proceeds donated to The Smell's relocation fund&nbsp;<br />All ages / no drugs or alcohol<strong>&nbsp;<br /><br />performances by:</strong>&nbsp;<br /><strong>The Seth Bogart Show (Live)</strong>&nbsp;<br /><strong>Snake J&eacute; (ex-Mika Miko, ex-Crazy Band)</strong>&nbsp;<br /><strong>Fictitious Business DBA The Geminis</strong>&nbsp;<br /><strong>VIP</strong>&nbsp;<br /><strong>plus DJ M. Suarez</strong>&nbsp;<br /><br />Vegan treats by&nbsp;<a href=";e=9DC032&amp;c=13EE5&amp;t=0&amp;l=7D677A1&amp;email=znl59I4xZBQwTLE%2FBaxf%2BXnlkRjLUbPe&amp;seq=1" target="_blank" data-saferedirecturl=";q=;source=gmail&amp;ust=1472020229716000&amp;usg=AFQjCNE638gwRhXxaZY_dPqR_UYu__1Qyg">Clara Cakes</a>&nbsp;available&nbsp;<br /><br />Tuesday, August 23rd&nbsp;<br />7 - 11 PM&nbsp;</p> Tue, 23 Aug 2016 06:36:39 +0000 Jim Dine - Leslie Sacks Gallery - September 10th - October 22nd <div style="text-align: justify;">Leslie Sacks Gallery is pleased to announce an exhibition of graphic work by renowned artist, Jim Dine. The exhibition will include a range of iconic imagery from 1973-2010 of hearts, robes and Venuses, as well as early works of figures and tools. This presentation exemplifies the Ohio native's decades-long affinity for the medium of printmaking and further demonstrates his extraordinary abilities as an innovative printmaker.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Unlike many artists who produce editions, printmaking is a deliberate media choice for Jim Dine, enabling him tremendous freedom to explore, experiment and push the limits of the conventional wisdom of the process. Dine's earliest recorded prints were the product of a 'happening', which he staged at Reuben Gallery in New York City in 1960.&nbsp;<em>The Car Crash</em>, 1960 focused upon themes of human suffering, and consisted of five black and white and one color lithograph. In contrast to the oeuvre of recurring imagery that would follow, Dine would never repeat this dark gestural, expressionist imagery again. However, these early editions unmistakably exhibit the veneration Dine holds for master etchers like D&uuml;rer, Rembrandt and Picasso. As seen in&nbsp;<em>Four German Brushes (Plate 3)</em>, 1973, the etching detail is sensitive and meticulous and the plate richly inked. Printmaking is unquestionably a collaborative affair in which Dine relishes. &nbsp;He has worked with virtually every master printer the world over, printing in every city he visits and printing nearly everyday. He even worked with Picasso's illustrious master printer, Aldo Crommelynck. Crommelynck was famously appalled by some of Dine's seemingly outlandish techniques-his use of electric tools and a complete disregard for accepted printmaking practices. But, both artist and master printer must work together, whether in a push-pull manner or a more harmonious union, the two must cooperate to execute the vision.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Dine embraces the randomness and accidental nature of the printmaking process. He never sketches prior to printing; all ideas go immediately onto the plate, contributing to the born-at-once quality of his prints. His editions are complex endeavors, often integrating multiple printmaking techniques into a single work. In<em>Dream Venus</em>, 2002 he combines soft-ground etching, lithography and hand stamping. Dine commonly uses electric tools such as jigsaws, chainsaws, dremels and drills. In the large-scale robe&nbsp;<em>Very Picante</em>, 1995 the segments of the robe were cut and composited from a large sheet of cardboard, and then reassembled on the press like a jigsaw puzzle. Fourteen jigsaw pieces were then relief printed in one print run, after which two more plates, cut by chainsaw, were printed. Dine also employs additive elements by hand coloring after printing such as acrylic paint, powdered pigments and watercolor. The integrated result is a dynamic, activated surface and a unique multifaceted composition.</div> <div style="text-align: justify;"><br />Jim Dine's work is held in numerous esteemed private and public collections including the British Museum, London, the Centre Georges Pompidou, Paris, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York, the San Francisco Museum of Modern Art, California, the Smithsonian American Art Museum, Washington, D.C., the Solomon R. Guggenheim Museum, New York, the Tate Modern, London, the Walker Art Center, Minneapolis, and the Whitney Museum of American Art, New York.</div> Tue, 23 Aug 2016 06:33:07 +0000 Zachary Leener - Tif Sigfrids - September 17th - October 22nd Mon, 22 Aug 2016 12:00:45 +0000 Rodney McMillian - Susanne Vielmetter Los Angeles Projects - September 10th - October 15th Sun, 21 Aug 2016 06:14:36 +0000