ArtSlant - Openings & events en-us 40 Joe Hoyt - Aran Cravey - April 11th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><a target="_blank">Aran Cravey Gallery </a>is pleased to present <strong><em>A to B</em></strong>, a solo exhibition of paintings and drawings from Los Angeles based artist Joe Hoyt.</p> <p style="text-align: justify;">The paintings and drawings exhibited in the gallery depict various locations in Los Angeles and surrounding areas.</p> <p style="text-align: justify;">The works capture the constructed environment in which we live through the filter of memory and perception, revealing only the fragments that remain as our visual references. In the six drawings presented, the artist explores the Central Valley communities to be linked by the first phase of California's controversial new high-speed rail system. Below is a text by artist Amy Howden-Chapman based on Hoyt’s process of gathering imagery along this potential path.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><em>A to B is from here to there. </em></p> <p style="text-align: justify;"><em>Moving from A to B is moving past a car into a dark bush. </em></p> <p style="text-align: justify;"><em>A is walking to find a scene. A is finding a scene and observing the scene. </em></p> <p style="text-align: justify;"><em>B is multiple points, in ink on paper. B is A rendered in image. </em></p> <p style="text-align: justify;"><em>A is the details of a stranger’s color- it is just there in front of you. You grow familiar with A. B is all you have left when A has left.</em></p> <p style="text-align: justify;"><em>A is abstraction, B is representation, and then there is moving between them.</em></p> <p style="text-align: justify;"><em>There is A- suburban infrastructure and there is B - urban infrastructure. This path from A-B is a road. The path from A-B is a train track. The path from A- B is time. </em></p> <p style="text-align: justify;"><em>A is a drawing. A is enlarged and it becomes B.</em></p> <p style="text-align: justify;"><em>B is a painting.</em></p> <p style="text-align: justify;"><em>A is a watery wash. B is a graphic mark. Looking back though B, we see the remains of A, that sunset stain, sadness stain, staring.</em></p> <p style="text-align: justify;"><em>A is architectural renderings, A is stenography, A is new topography. </em></p> <p style="text-align: justify;"><em>B is the influences of A corrupted by the hand and eye. </em></p> <p style="text-align: justify;"><em>A is a full view of a building. B is a corner of A. B has rough edges. </em></p> <p style="text-align: justify;"><em>A is an anecdote that ends in mid-sentence.</em></p> <p style="text-align: justify;"><em>B is your memory of A.</em></p> <p style="text-align: justify;"><em>A is light on a building.</em></p> <p style="text-align: justify;"><em>B is A captured, made flat, given to you.</em></p> Sat, 30 Mar 2013 18:11:59 +0000 Silvia Rigon, Ellie Irons, Chris Adler, Tahir Ün - Armory Center for the Arts - April 11th, 2013 10:00 AM - 5:00 PM <p class="p1"><b>PASADENA EARTH &amp; ARTS FESTIVAL</b></p> <p class="p2">MIA presents a special pop-up exhibition</p> <p class="p2">20 APRIL 2013 - 10AM-5PM</p> <p class="p5">MIA is presenting a special pop-up exhibition for Pasadena’s Earth Day celebration, the Earth &amp; Arts Festival. We’re taking over the mezzanine gallery inside the Armory with a selection of videos investigating pollution, ecology and landscape. </p> <p class="p5">A two wall installation from <a href="" rel="nofollow">Chris Adler</a>, Situating Surface I: People Watching (2012) places the viewer uncomfortably between a series of 8 models who appear to be gazing at beach landscapes projected on the opposing wall. From Turkish artist <a href="" rel="nofollow">Tahir Ün</a>, POSE (2011) observes a popular vista point, where tourists pose for photographs. <a href="" rel="nofollow">Silvia Rigon</a>'s, Panta Rei (2012) is an animation of an endless stream of trash flowing towards the viewer. Filmed through a compound microscope, <a href="" rel="nofollow">Ellie Irons</a>', Phytoplastic (2012) shows the deterioration of a aquatic ecosystem.</p> Thu, 11 Apr 2013 20:08:18 +0000 Dara Friedman - Hammer Museum - April 11th, 2013 7:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Dara Friedman</strong> explores notions of performativity, urban space, and the individual in the public sphere in her poetic films and videos. Friedman’s work has been the subject of one person exhibitions at venues such as the Miami Art Museum, the Museum of Modern Art, New York; the Kitchen, New York; and Site Santa Fe, Santa Fe, NM. Her work has been included in recent group shows at the Künstlerhaus Stuttgart, Stuttgart, Germany; MoMA PS1, Long Island City, NY; and the Whitney Museum of American Art, New York. A new work, Dancer, is currently on view at the Hammer through April 14. </span><br /> <br /><span style="font-size: small;"> ALL HAMMER PUBLIC PROGRAMS ARE FREE. Assigned seating is available in the Billy Wilder Theater. Free tickets are required and available at the Box Office, one ticket per person on a first come, first served basis. Members enjoy priority seating and seat selection, subject to availability. Membership does not guarantee seating. Arrival at least one half hour prior to program time is recommended. </span><br /> <br /><span style="font-size: small;"> Parking is available under the museum for a flat fee of $3 after 6PM. </span><br /> <br /><span style="font-size: small;"> The UCLA Department of Art’s visiting lecture series is made possible through the generous support of the William D. Feldman Family Endowed Art Lecture Fund.</span><br /> <br /><span style="font-size: small;"> Public programs are made possible by a major gift from the Dream Fund at UCLA.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Generous support is also provided by Hammer members; Susan Bay Nimoy and Leonard Nimoy; the Simms/Mann Family Foundation; Bronya and Andrew Galef; Good Works Foundation and Laura Donnelley; and an anonymous donor.</span></p> Thu, 07 Mar 2013 11:02:48 +0000 Dawn Kasper - Human Resources - April 11th, 2013 7:00 PM - 10:00 PM <p style="text-align: center;"><span style="font-size: small;">Human Resources LA is pleased to present </span></p> <p style="text-align: center;"><span style="font-size: small;">EMA</span><br /><span style="font-size: small;">Bouquet</span><br /><span style="font-size: small;">DK</span><br /><span style="font-size: small;">Roses</span></p> <p style="text-align: center;"><span style="font-size: small;">Thursday April 11 7-10pm</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>EMA</strong> is Erika form Gowns' new band and she says: "Every time EMA has played LA we always play in a club and I'm stoked for this opportunity to play at HR. New stuff and some oldies too!"</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Bouquet </strong>is: Carolyn and Aaron, formerly of The Finches.</span><br /><span style="font-size: small;">Ardor for gothy, folk, and progressive rock, arranged into a psychedelic 4-piece pop band.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>DK</strong> aka Dawn Kasper is inspired by social sculpture. Under the new persona DK, Kasper will enact the second in this new series making visual music sculptures inspired by the environment, people, and making mistakes.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Roses</strong> (member of Abe Vigoda)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="" target="_blank"></a></span></p> Fri, 05 Apr 2013 10:48:17 +0000 - Jack Rutberg Fine Arts - April 11th, 2013 8:00 PM - 8:00 PM <div style="text-align: left;">An Evening Conversation</div> <p><strong>Panel Discussion</strong></p> <p>with<br /> <strong>Lita Albuquerque</strong><br /> <strong>Alexandra Grant<br /> Mark Greenfield<br /> Scott Grieger<br /> Jack Rutberg</strong></p> <p><strong><strong>Join us for a provocative dialogue on the artists' work in the context of</strong><br /> <em>Letters From Los Angeles Part II: Identity &amp; Self-Identity Through Text in Art</em></strong></p> <p><br />Doors open at 7:00pm<em></em><strong><em><br /></em></strong></p> Wed, 03 Apr 2013 18:34:24 +0000 - Kinkead Pop-Up Residency - April 11th, 2013 6:30 PM - 7:45 PM <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Join us </em></strong>as we consider the concept of sustaining an art practice outside of the gallery system.  We'll discuss subtopics such as other opportunites - grants &amp; residencies, public engagement, and what to do when you're "inbetween galleries".  We'll even tackle the ever enigmatic and elusive idea of patronage.</span></p> <p><a title="RSVP" href=";id=75da98fdfd&amp;e=ea1b2467a8" target="_blank">RSVP</a></p> Tue, 09 Apr 2013 17:14:03 +0000 Matt Wedel - L.A. Louver - April 11th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Venice, CA -<strong> L.A. Louver</strong> is pleased to announce the first solo exhibition of new work by <strong>Matt Wedel</strong>. The exhibition, titled <strong><em>Sheep's Head</em></strong>, features over twenty ceramic sculptures, and is presented throughout L.A. Louver’s first floor galleries and second floor open air Skyroom.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Four monumentally scaled figurative works form the heart of the exhibition. Inspired by the hand-painted design of a 16th century Italian bowl by Giorgio Andreoli. Wedel animates a larger-than life figure. poised in mid-air as if rising up (or perhaps about to sit) on a stool below. A second figure. with bulbous midriff and thighs. kneels on the gallery floor. And a female head, measuring over 6 feet tall x 6 feet wide (1.8 x 1.8 m). its surface coated in pewter-colored luster. also rests directly on the ground. its form conjuring an Olmec sculpture. Nearby. atop a bed of succulent flowers, an animal body morphs into a human head: a towering contemporary Centaur barely contained by the almost 14 feet (4.3 m) gallery ceiling. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Two related forms complement the large-scale figures: plants and rocks. The former, which Wedel titles “flower trees," are of varying palette and scale. from tabletop size to more than 6 feet (1.8 m) tall. The flower tree is a recurring subject for Wedel, who is constantly developing its form. while stretching the limits of the Clay's materiality. In this exhibition, a large faceted rock, over 5 feet (1.5 m) tall. and covered in a rich brown luster. takes center stage. Wedel also frequently integrates the rock form. colored with painterly splashes, into his plant sculptures. Like an eccentric botanist who experiments with hybrids in a hot house, Wedel imposes his willon his subjects, to defy the qualities of the clay.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ambiguity is felt throughout the exhibition: while Wedel focuses on the female form, other figures appear androgynous. and the flower trees seem to be a strange cross between real succulents and science-fiction growths. Alluding to classical motifs, the sculptures are also entirely contemporary. Color is used lavishly: bright yellows, reds, greens and blues abound, and elegant browns and greys gleam with subtle complexity. Working quickly - he states “clay abolishes the time lag between the idea and the object” - Wedel’s prolific output expresses his vivid imagination and formal inventiveness.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Matt Wedel</strong> was born and raised in Colorado, and first began working with clay at age 2. Under the guidance of his father. a functional ceramicist, Wedel developed an early passion for making sculpture. With easy access to a wheel and kiln, and a teacher at his side, he developed a proficiency and easy facility with the medium by his adolescent years. Wedel earned a BFA from The School of the Art Institute of Chicago, Illinois, in 2005, and a MFA from California State University, Long Beach, California, in 2007, where he studied with Tony Marsh. Wedel went on to teach at the University, and has since received teaching positions at Nova Scotia College of Art and Design, Halifax, Nova Scotia, Canada; Rhode Island School of Design, Providence, Rhode Island, and University of Colorado. Boulder. Colorado. In each location Wedel was lured by the accessibility to large kilns, which allowed him to create the sculptures of his imagination. In early 2012. Wedel moved with his family to Athens. Ohio, where he built his own studio and a massive kiln. He works alone. propagating his magical flora and fauna without the help of studio assistants. All the work in <em>Sheep’s Head</em> has emerged from the studio over the past 12 months.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matt Wedel’s work has received national attention with his inclusion in group exhibitions at Ellis Armory, Pittsburgh, Pennsylvania, 2008; Art Gallery of Nova Scotia, Halifax, Nova Scotia, Canada, 2009; <em>67th Scripps Annual</em>, Ruth Chandler Williainson Gallery, Claremont, California, 2011; Brevard Art Museum, Melbourne, Florida, 2011; and <em>Stone Gravy</em> curated by David Pagel, Ameringer McEnery Yohe Fine Art, New York, New York, 2012. L.A. Louver first presented Matt'Wedel's work in the group exhibition <em>Rogue Wave '09</em>, and since 2011 has represented the artist. L.A. Louver’s presentations ofWedel's work at Art Basel, Switzerland in 201 l and 2012, has led to international recognition, with work entering collections in Britain, France, Italy, Switzerland and Turkey.</span><b style="text-align: left;"> </b></p> <p style="text-align: justify;"><b style="text-align: left;"> </b></p> <p style="text-align: justify;"><b style="text-align: left;"><b>Artist conversation: </b></b>Matt Wedel will speak with Christopher Miles at L.A. Louver on Saturday, 13 April at 11 a.m. The event is free but reservations are required. Please rsvp to 310-822-4955 or <strong><i></i></strong>.</p> Thu, 25 Apr 2013 23:19:57 +0000 Charles Garabedian - L.A. Louver - April 11th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>L.A. Louver</strong> is pleased to announce an exhibition of new paintings on paper by Los Angeles artist <strong>Charles Garabedian</strong>.</span></p> <p class="p2" style="text-align: justify;"><span style="font-size: small;">Titled <strong><i>re:GENERATION</i></strong>, the exhibition features acrylic paintings (all dated 2013) whose coloristic exuberance enlivens deeper reflections. The works embody Garbedian’s interest in presenting contemporary themes through an exploration of classical motifs.</span></p> <p class="p3" style="text-align: justify;"><span style="font-size: small;">The two largest paintings (each over 8 feet [2.4 m] in height), offer a complex narrative. In <i>Family Affair</i>, two crowned figures dressed in modern clothes stand with their backs to us. One figure presents a severed human head on a golden platter to a naked woman who passively gazes at the offering. The executioner, attired in a black mask, gloves, and shoes, and vibrantly colored, skin-tight trousers, grasps a bloodied ax while he straddles the headless body. Closer to us, a minstrel, who stands at the edge of a large manhole, serenades the participants in this gruesome drama. The rich patterns and bright colors in this metaphorical work of portent, convey a lightness of being that seems to defy the subject.</span></p> Thu, 25 Apr 2013 23:20:23 +0000 Peter Clothier - Lancaster Museum of Art and History - April 11th, 2013 6:00 PM - 8:00 PM <p> Celebrated author and art critic Peter Clothier will lead a contemplative art viewing session followed by offering signed copies of his new book: “Slow Looking: The Art of Looking at Art” which is based on his One Hour /One Painting method of practicing a different, more profound and more rewarding way of looking at art. It combines the practices of meditation and contemplation, asking participants to sit for a full hour in front of a single work of art. Participants learn to drop the baggage of prejudice and expectation at the door and take time to really examine what is actually there. Come experience Peter’s calming and enjoyable method and take home a copy of his book.</p> Sat, 02 Mar 2013 21:00:33 +0000 Jennifer Pastor - Regen Projects (Hollywood) - April 11th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Regen Projects is pleased to announce an exhibition of a new sculpture by Los Angeles-based artist,<b>Jennifer Pastor</b>.</span></p> <p style="text-align: justify;"><i style="font-size: small;">Endless Arena</i><span style="font-size: small;"> (2009-2012), made of electroless nickel-plated steel and painted fiberglass, is a large-scale work that renders a self-consuming endless loop. The sculpture emerged from elements of blind gesture drawings that </span><b style="font-size: small;">Pastor</b><span style="font-size: small;"> made over a two-year period at minor circuits of unregulated 'no-holds-barred' fighting events. During the same time, </span><b style="font-size: small;">Pastor</b><span style="font-size: small;"> was engaged in a series of conversations with veteran combat artists, viewing and photographing acute observational drawings in their possession, in personal sketchbooks, and in the odd situation of direct 'on the spot' sketches of action and stillness found in the isolated 'mortuaries' of flat files in the National Military Archives and storage facilities.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In her practice, </span><b style="font-size: small;">Pastor</b><span style="font-size: small;"> has long explored a dialogue with one's surroundings that implicates and entangles the observer and observed, as well as structures where the built and enacted environment confound notions of bodies in space. </span><i style="font-size: small;">Endless Arena </i><span style="font-size: small;">grew out of a drawn exploration of the complex situational and temporal space of the fights, which include synchronized movements and shifting dominances of bodies and structures, the spectacle of crowds, chaos, and the mediation of numerous cameras projecting multiple view points on surrounding video screens. While researching for an earlier project, </span><i style="font-size: small;">Dead Landscape</i><span style="font-size: small;"> (2007- 2009)</span><i style="font-size: small;">,</i><span style="font-size: small;">a pattern of relationships evolved from observing the environment of extreme spectacle at the fights, and intimately looking at the hidden, overlooked situation of the drawings by combat artists. </span><b style="font-size: small;">Pastor</b><span style="font-size: small;"> sought to synthesize and distill fragments of these observations, spaces, and visceral experiences into a sculptural work, </span><i style="font-size: small;">Endless Arena</i><span style="font-size: small;">. </span><b style="font-size: small;">Pastor</b><span style="font-size: small;">considers this work an extruded drawing, an inside-out agitated hybrid, constructed from the peculiar situations, distortions, and perceptions of those events.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Jennifer Pastor</b> has exhibited in major museums domestically and internationally including the Whitney Museum of American Art, New York, NY; the Museum of Contemporary Art, Chicago, IL; the Museum of Contemporary Art, Los Angeles, CA; the Louisiana Museum of Modern Art, Humelback, Denmark; Kunstmuseum, Wolfsburg, Germany; and FRAC Bourgogne, Dijon, France. <strong>Pastor</strong>participated in the 1996 Sao Paulo Biennial, the 1997 Whitney Biennial and the 2003 Venice Biennale, and is the recipient of the 1995 Louis Comfort Tiffany Award. Her tripartite sculpture <i>The Perfect Ride</i>(2003) will be shown at the Stedelijk Museum, Amsterdam this spring.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">An opening reception for <b>Jennifer Pastor</b> will take place on Thursday, April 11<sup>th</sup> from 6:00 to 8:00pm. For further information, please contact Jennifer Loh, Heather Harmon, or Donna Chu at the gallery. </span></p> Wed, 27 Mar 2013 04:35:58 +0000 - Riverside Art Museum - April 11th, 2013 6:00 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;">Continuing a tradition that is now marked by its 51st year, the Riverside Art Museum is tremendously proud of its history hosting <em>The Press-Enterprise Riverside County High School Art Show</em>. High school art students across the county will submit a piece of original artwork within the categories of: Photography, Ceramics, Sculpture, Mixed Media / Collage, Acrylic / Oil Painting, Watercolor, Drawing in Black and White / Ink, Drawing in Color, and Graphic Art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">All submissions will be judged by a panel of prominent local figures in the art community to select winners from each category, as well as ‘Best of Show’ and sponsor-selected awards. This year, RAM has joined forces with our partnering exhibition venue at the Riverside Public Library, Main Branch. The fifty award-winning pieces will be displayed at RAM in the Bobbie Powell and Ross DeVean gallery on the second floor, where their award titles will be displayed following the award reception on April 17. All other submissions will be displayed throughout the 2nd level of the Riverside Public Library. All submissions will also be viewable online in the virtual gallery for the duration of the exhibition.</span></p> Wed, 06 Mar 2013 14:25:23 +0000 - Social and Public Art Resource Center (SPARC) - April 11th, 2013 7:00 PM - 9:00 PM <p style="text-align: justify;"><span color="#000000" face="Arial" size="2" style="color: #000000; font-family: Arial; font-size: small;"><b>Center for the Study of Political Graphics</b>(CSPG), <b>Critical Resistance</b> (CR) and <b>Los de Abajo Printmaking Collective </b>will host a dynamic conversation with artists, writers and activists who are working to expose and arrest the growing prison industrial complex in the United States and around the world.<br /><br />Participants in the conversation will include editors and contributors to <i>Beyond Walls and Cages</i>, curators of CSPG's <i>Prison Nation</i> exhibition, members of <i>Critical Resistance</i>, and artists from <b>Los de Abajo </b>whose works are featured in <i>Behind Bars</i> currently showing at <i>SPARC</i>.</span></p> <p style="text-align: justify;"><span color="#000000" face="Arial" size="2" style="color: #000000; font-family: Arial; font-size: small;"><i>Beyond Walls and Cages </i>(UGA Press, 2012) challenges the idea that borders and prisons create safety, security, and order. Instead, walls and cages fortify wealth and power inequalities, racism, gender and sexual oppression. Promoting an abolitionist, no borders agenda, <i>Beyond Walls and Cages</i> seeks to foster the understanding that freedom of movement and freedom to inhabit are necessarily connected and important for creating a more just and free world. Editors and contributors to this important collection will be taking part in the conversation.<br /><br /></span></p> <p style="text-align: justify;"><span color="#000000" face="Arial" size="2" style="color: #000000; font-family: Arial; font-size: small;"><i>Behind Bars</i> is showcasing <b>Los de Abajo's </b>new suite of prints denouncing the critical state of the prison system in the U.S. The impact such a punitive system has on the psyche of this nation is alarming and is having a nefarious effect on the quality of life of its people. <b>Los de Abajo's</b>work addresses the way society at large has become imprisoned by the ruthless capitalist machine that surveys and controls every move and every urge of its consumers. What does it mean to lose your freedom? What does the way the prison complex works say about the kind of society we live in? <i>Behind Bars</i> was curated by Argentinian art historian and CSPG Board member, Laura Pomerantz.<br /><br /><i>Behind Bars</i> will be open Tues-Sat, 11am to 5pm through April 21, 2013 and is free to the public. visit<br /><br /></span></p> <p style="text-align: justify;"><span color="#000000" face="Arial" size="2" style="color: #000000; font-family: Arial; font-size: small;"><b>Critical Resistance</b> seeks to build an international movement to end the prison industrial complex (PIC) by challenging the belief that caging and controlling people makes us safe. CR believes that basic necessities such as food, shelter, and freedom are what really make our communities secure. As such, their work is part of global struggles against inequality and powerlessness.<br /><br /><i>Prison Nation: Posters on the Prison Industrial Complex</i>, from the archives of<b> CSPG</b>, features powerful posters from artists, activists, and organizations around the country and the world. They cry out against the devastating impact of the mass incarceration and the growing prison industrial complex (PIC). The posters in <i>Prison Nation</i> cover many of the critical issues surrounding the system of mass incarceration including: the death penalty, the Three Strikes law, racism, access to education and health care, the growing rate of incarceration, slave labor, divestment, privatization, torture, and re-entry into the community. They show the power of art to educate and inspire.</span></p> Thu, 04 Apr 2013 07:35:26 +0000 Alex Segade - UCR Barbara and Art Culver Center of the Arts - April 11th, 2013 7:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">A performance of <strong>Alex Segade's The Holo Library</strong>, will coincide with the 2013 Eaton Science Fiction Conference. Segade (of My Barbarian) will present his performance The Holo Library, a multi-media performance exploring the relationship between screens and human beings. Set in a futuristic Los Angeles in a fascist state, the sci-fi narrative depicts a night in the life of a detective who becomes embroiled in a political intrigue when he is seduced in an online chat with a teen-age terrorist boy-band singer. Alexandro Segade, performing as Ace, directs the unfolding action through audience participation and readings enacted by volunteers and special guests as the performance shifts in a darkly humorous discussion of privacy, gender, sexuality, law, media and power. The performance is accompanied by an electronic set mixed by DJ Mateo Segade. The Holo Library is the third part of Segade's Rep/Sep Series depicting a future world of wars over reproduction, cloning, mutation and mandated gay marriage. Organized by UCR English Professor, Jennifer Doyle, as part of a series of Queer Lab events at UCR.</span></p> Wed, 06 Mar 2013 12:25:32 +0000 - University Art Gallery, UCSD - April 11th, 2013 4:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">A musical performance by <strong>Rachel Mason</strong>, in collaboration with <strong>The Preuss School UCSD</strong>, that intervenes into an undisclosed public location, parallel to a version within the gallery, invites both participation and spectatorship by the uninitiated.  Will an impromptu rendition of a well-known anthem rouse engagement or hostility? Can you participate without invitation? What forms of engagement are initiated when the host is not there?  A collaboration with student musicians, the performance will attempt to unsettle distinctions from the unfamiliar, uninitiated, and uninvited.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Rachel Mason</strong> collaborates with musicians, dancers, actors, and other artists to realize large scale multi-media experimental operas and film projects. She has toured, exhibited sculpture, video and performance internationally, including the Whitney Museum, Queens Museum, Museum of Contemporary Art Detroit, School of the Art Institute in Chicago, Henry Gallery in Seattle, James Gallery at CUNY, University Art Museum in Buffalo, Sculpture Center, Hessel Museum of Art at CCS Bard College, Kunsthalle Zurich, The New Museum, Park Avenue Armory, and EMPAC Center for Performance. Mason recently completed The Lives of Hamilton Fish, a musical feature film, and will soon release her first album with her band, Little Band of Sailors.</span></p> Sat, 09 Feb 2013 16:39:45 +0000 Margaret Lee, Matthew Higgs, Marlon Mullen - China Art Objects Galleries - April 12th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><em>Selecting things is not always easy but seems to happen frequently. </em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Images and objects include: elephant, pink, grey, black, dots, cactus, Paintings, table, bench, middle age, loneliness, circle, half circle, pear, banana, tangerines. </em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Read a book: Dennis Cooper's 'Idols' and 'The Tenderness of Wolves', Bob Nickas's 'Live Free or Die' and 'Theft Is Vision', George Melly and J.R. Glaves-Smith's 'A Child of Six Could Do It!', and Sam Kash's 'Surf Goddesses'.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>There is no telephone in this show but there is a third artist. </em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Thank you.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>MHMMML<br />L.A., CA<br />2013</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">This is the third in an ongoing series of collaborative exhibitions organized by Matthew Higgs and </span><span style="font-size: small;">Margaret Lee. The first was held at Milwaukee's Green Gallery in 2012, and the second at New York's Murray Guy in 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Matthew Higgs </strong>is an artist, curator and writer based in New York. Since 2004 he has been the</span> <span style="font-size: small;">director of White Columns, New York's oldest alternative space. He has shown his own work since 1993. Recent exhibitions include Murray Guy, New York and Green Gallery, Milwaukee (both with Margaret Lee); Glenn Horowitz Bookseller, East Hampton; and Galerie Senn, Vienna (with Gedi Sibony). </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Margaret Lee </strong>is an artist and curator based in New York. She is the co-proprietor (with Oliver Newton) of New York's 47 Canal gallery. Previously she was the founder of the artist-run space 179 Canal. Recent solo exhibitions include Jack Hanley Gallery, New York; and Callicoon Fine Arts, Callicoon. Recent group exhibitions include New Pictures of Common Objects, MoMA PS1, New York; and Bulletin Boards, Venus over Manhattan, New York.</span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Marlon Mullen </strong>is an artist based in Richmond, CA he works with N.I.A.D- the National Institute of Art and Disabilities,  a studio program for artist with mental and developmental disabilities Mullen had a solo exhibition at White Columns, New York (2012), his work was included in Create (Berkeley Art Museum, curated by Larry Rinder and Matthew Higgs), and After Shelly Duval '72 (Frogs On The High Line) at Maccarone, New York (curated by Bjarne Melgaard.)</span></p> Mon, 18 Mar 2013 18:19:52 +0000 Jorge Santos - 101/EXHIBIT - April 13th, 2013 7:00 PM - 10:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>101 /exhibit Los Angeles</strong> presents<em> <strong>Paintings</strong></em>, a solo exhibition from <strong>Jorge Santos</strong> including seven momentous works ranging from 2010-13. This is the artist’s first solo showing with the new Los Angeles gallery space, which opened in October of 2012. The opening reception with the arti st will be held on Saturday, April 13 from 7 – 10 pm. The exhibition will c onclude on June 15. The gallery is located at 8920 Melrose Avenue at the intersection of Melrose and North Almont Drive.<br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Jorge Santos paintings are a profound display of picture making for the sheer purposes of formulating an all but transparent narrative via highly technical draftsmanship and paint handling. As a self-taught a rtist, the e volutionary process of his work is often subject to reconfiguration, repositioning, and refinement until the grand conclusion is met. Narrative is of such importance that even compositional concerns may be subordinate to the inclusion of a necessary motif in the storyline. </span></p> <p style="text-align: justify;"><span style="font-size: small;">One may recall the Latin term “dues ex machina,” which is a literary device used to resolve a troubled plot. In Engl ish, this translates to “God out of the machine.” It refers to an unexpected, artificial, or improbable character, de vice, or event intro- duced suddenly in a work of fiction to untangle a plot. For instance, consider the artist’s 2012 work entitled <em>Maitre D</em> where a fork between one of the dinner participant’s toes is tied by string to a wine bottle in the foreground thus preventing it from crashing to the f loor. How or why did this happen? This whimsical instance is the result of a mid-production decision to reposition compositional elements in order to resolve the foreground in a more provocative way without having to repaint the bottle. </span></p> <p style="text-align: justify;"><span style="font-size: small;">This almost humorous result often surfaces in a Santos work, as for the artist, there are little rules he truly feels the need to play by. Paintings for the arti st e xist as a cocktail of source materials, from still life to imagery of the mind’s eye. They are not pre-assembled sets such as that of the Realist painter, and any “photo realist” instances are purely the result of the artist’s skill to portray a likeness. In fact, the ambient lighting and elongated figures are more stylized than authentic, echoing the Italian Mannerist painters of the 16 th century.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> Though highly refined and emotive, a Santos painting may have a poetic title but this is not a necessity, it’s just by way of the artist’s improvisational nature. He seems to be commenting on pop culture, derives source material from TV, Internet videos, and other mass media but is humble and quite reluctant to be billed as a social critic. In his pictures, settings come off as irrational or precariously balanced, moods are secretive, illusory, and often ambiguous but there is no argument to their blatant allure and charm over the viewer. These complexities may seem to deliberately provoke interpretation but Santos will only entertain his personal opinion that he is simply an image-maker. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in 1959, Jorge Santos is of Portuguese descent. His childhood was spent in Luanda, Angola before his family fled to Lisbon, Portugal in order to escape a violent political agenda. As Portugal sunk into its own re volution, Santos relocated to the United States in 1982. Through out these years, the artist consistently honed his draftsmanship as a form of escape from life’s unrest. Particularly str uck by an Odd Nerdrum show at Forum Gal lery, NY in the 90s, Santos began to experiment with and use paint thereafter. </span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Jorge Santos has exhibited previously with 101/exhibit for a solo show in Miami in 2010 . He has participated in over 20 solo and 70 group exhibitions at numerous galleries, museums, and fine art fairs since 1986 including the Laguna Beach Art Museum in Laguna Beach, CA; the Joslyn Art Ce nter Gallery in Torrance, CA; Art Miami, Miami, FL; Art Platform, Santa Monica, CA; Art Chicago, Chicago, IL; SCOPE, Miami, FL; and Art Los Angeles Contemporary and George Billis Gallery in Los Angeles, CA. </span></p> Fri, 12 Apr 2013 10:17:12 +0000