ArtSlant - Closing soon en-us 40 Mary Corman, Edith Konrad, Ron Piller, Brenda Holzke - Artspace Warehouse - February 28th, 2013 - April 18th, 2013 <p>February 28 through April 18 at Artspace Warehouse: <br />Abstract Urban Harmony</p> <p>New artworks by Swiss artist <a href="" class="pink" rel="nofollow">Edith Konrad</a>, Los Angeles artist <a href="" class="pink" rel="nofollow">Ron Piller</a>, New York artist Mary Corman, and Los Angeles artist Brenda Holzke, among many others.</p> <p>Swiss artist Edith Konrad has studied in numerous master classes with artists from Germany and Italy. She paints in a variety of techniques in Switzerland and Italy-particularly acrylic on canvas, collage and mixed media. She has been represented at several art fairs including Montreux, Geneva, Salzburg, Rotterdam, Marbella, Porto Ceresio, Los Angeles and Paris She won the 2009 Palm Art Award, a Certificate of Excellence for outstanding artistic quality and originality of the work. In 2010 she exhibited at the Salon de la Culture at the Louvre in Paris, France.</p> <p>It was not until recently that Los Angeles artist Ron Piller was able to realize his lifetime ambition of painting full time. Color and geometric order/disorder are his main focus. Beginning each painting he seeks to create a subtle but visually engaging ground which serves as a foil to the next layers of geometric shapes - usually stripes, squares or color spokes - all contained within or challenging the penciled grid. He works with acrylic paint on wood panels. Frequently he layers newsprint and advertising with glue and then sands it to create a background. He finishes his work with resin, as it provides a window into the work and also reflects back the room and light in which it hangs.</p> <p>Brenda Holzke lives and works in Los Angeles. In 1985 she graduated from The Art Center College of Design with a BFA. Brenda's series of collage and mixed media wall art are applied to found board and layered with painted paper, textiles, found metal, fired clay and other inanimate objects. A continuous thread throughout her work is the marriage between color, pattern and texture.</p> <p>New York artist Mary Corman is intrigued by the seemingly mundane. There is an alluring mystery to these strangely familiar, yet distant environments. Her work speaks to uncertainty-the rise and fall of these once glimmering sites and those who inhabit them. They act as constant reminders of an unintended consequence of disposable culture: the fragile aesthetic of an ephemeral, transitory built environment.</p> <p>This precariousness and unknown is translated in her work through altered geometry and unreal architecture. Mary's paintings become studies of flatness and depth, growth and decline. Giving her work a luminous quality, her abstract, anonymous buildings are not tied to any specific place. They feel like paper lanterns: tenuous, weightless, movable.</p> Mon, 25 Feb 2013 05:33:56 +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 Group Show - bG Gallery - April 13th, 2013 - April 20th, 2013 <p><b id="internal-source-marker_0.10406576283276081">Beyond the Naked Eye is an exhibit of contemporary photographers exploring the invisible nether-region beyond the spectrum of human sight.  Techniques such as x-ray, telescope, photographic experimentation, and microscope are used to delve deep into phenomena otherwise invisible to the naked eye - consequently bridging science and art to explore a parallel world that is as real as it is surreal.      </b></p> Sat, 22 Feb 2014 15:45:32 +0000 Scott Myles - David Kordansky Gallery - March 2nd, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>David Kordansky Gallery</strong> is pleased to announce <strong><em>EXCESS ENERGY</em></strong>, its first exhibition of new work by <strong>Scott Myles</strong>. The show will open on March 2, 2013, and run through April 20. An opening reception will be held on Saturday, March 2, from 6:00 until 9:00pm.</span><br /><br /><span style="font-size: small;">Myles' is a conceptually-based practice that finds material expression in sculpture, text-based works, juxtapositions of readymade objects, and installations. As a whole, the work represents a complex network of responses to social and physical infrastructures of all kinds. Most notably, these have taken shape as investigations into architecture and language, including the use of forms extracted from the municipal and cultural landscapes, as well as formal experiments that engage particular art historical lineages like gestural abstraction. </span><br /><br /><span style="font-size: small;"><em>EXCESS ENERGY</em> is an exploration of these themes with an eye turned toward the metaphorical ramifications of scarcity and overflow, economic precarity, and studio practice itself. But rather than having set out with overriding thematic concerns in mind, Myles has taken an improvisational approach, and has developed works that reflect the state of a world that veers violently between paucity and abundance, stupefied silence and unmediated chatter, logic and recklessness. </span><br /><br /><span style="font-size: small;">Nowhere is this more clear than in 'Habitat,' the major wall-based sculpture that functions as the centerpiece of the show. The creation of the work involved several stages, the first being the removal of the large-scale sign hanging above the entrance to the Glasgow location of the now-defunct Habitat chain, a UK-based retailer that specialized in home furnishings and design items. But the piece does not merely enact a process of appropriation––rather, the original sign has been used to make a highly-detailed 1:1 scale electro-formed copper cast. The final object reproduces with uncanny fidelity not only the Habitat logo, and the scuffs and marks that the sign accumulated over time, but the film of black plastic that covered the sign after the store closed as a kind of shroud, a melancholic symbol of economic mourning.</span><br /><br /><span style="font-size: small;">An abstract sculpture also makes use of material derived from Habitat-related source material. Entitled 'The Comfort of Order,' it is based upon a point-of-sale unit that Myles has deconstructed. After remaking the ten constituent elements of the original unit, he affixed them to a fabricated steel frame. A myriad of referents come to mind––including formal sculpture, built architecture, flat-pack furniture and spatial support structures––but above all Myles is concerned with creating something new, bringing about something from surplus that has been shorn of its original function. With the panels held in place by this new structure, they seem to float in space, liberated from their previous connection to commerce.</span><br /><br /><span style="font-size: small;">The exhibition also includes the latest of Myles' works to incorporate posters taken from Felix Gonzalez-Torres installations. If the Gonzalez-Torres works enact a kind of gift exchange by allowing viewers to literally walk away with them, Myles makes that gift his own, and reciprocates by creating a new work that appeals to new audiences. 'Silver Lining' takes shape as a flag-like form that is attached to both the floor and the wall; the poster is encased in a Perspex box tinted an acidic orange; finally, the interior of the box is used as a surface for the gestural application of mirror screen-printing ink. As such, the piece treads a fine line between formalism and topical or personal investigative processes. The choice to tint the Perspex box orange, for instance, is inspired by the blister packaging used for over-the-counter medication that Myles takes for migraine headaches––as if the associative process of viewing (and in this case handling and literally taking) another artist's work draws towards it a host of other, previously unrelated objects that lie close at hand, and that make up the texture of everyday life. </span><br /><br /><span style="font-size: small;">Though objects of this kind are pervasive in the lived (i.e. non-art specific) environment, they tend to exist at the edges of the perceptual foreground. In works like his series of paper sculptures based on ELBA branded folders, Myles isolates such forms as representative of his organizational methods in the studio. Created in enlarged scale using printmaking techniques, the sculptures bring the folders into relationship with the artist's own body (their width corresponds to Myles' height), suggesting that the ordering of ideas finds a direct analogue in movement through physical space, and raising questions about the interdependent roles of containment and freedom in artistic practice. </span><br /><br /><span style="font-size: small;">But perhaps the primary questions raised by these works, and by the diverse activities Myles brings together in this exhibition, concern structures of language and translation, whether in the greater world of social relationships or in the cognitive space of the artist's mind. A major new text-based work addresses these themes directly. Screen-printed on aluminum, and inscribed using font and colors commonly associated with instructional signage, the words <em>THE INK IS BLACK THE PAGE IS WHITE</em> have been distributed across eight panels, becoming more or less legible as they progress. Myles has printed the text in an additive manner, so that the panels for 'BLACK' and 'WHITE', for instance, also contain the three words that precede them. The text is essentially written over itself, disrupting literal meaning in favor of physicality and visual power. Like all of Myles' work, the piece focuses the viewer's attention on that critical zone between poetry and action from which all human endeavor emerges.</span><br /><br /><span style="font-size: small;">Scott Myles has been the subject of numerous solo exhibitions, including shows at Dundee Contemporary Arts, Dundee, UK; Projects in Art and Theory, Cologne; and Kunsthalle Zurich. Group exhibitions include <em>Every Day</em>, Gallery of Modern Art, Glasgow (forthcoming, 2013); <em>Who Decides?</em>, Stadtgalerie Mannheim, Germany; <em>DLA Piper Series: This is Sculpture</em><em>, Conversation Pieces</em>, Tate Liverpool; <em>Contemporary Scottish Art: New Acquistions &amp; Loans</em>, SNGMA, Edinburgh; <em>Blasted Allegories, Works from the Ringier Collection</em>, Kunstmuseum Luzern; <em>On interchange/Interludes of a collection</em>, Museum Kurhaus Kleve, Germany; <em>Theorema</em>, Collection Lambert en Avignon, Avignon;<em>Image/Text (Permanent Collection)</em>, Tate Modern, London;<em> Tate Triennial: New British Art</em>, Tate Britain, London; and <em>Kontext, Form, Troja</em>, Secession, Vienna. Myles lives and works in Glasgow.</span></p> Wed, 20 Feb 2013 18:32:08 +0000 Terry Romero Paul - James Gray Gallery - March 15th, 2013 - April 20th, 2013 <p>The inspiration for this show is to tell the story of an individual by creating a portrait of the person’s shoes. The subjects will come from people of various walks of life.  Such as dancers, athletes and service men. Each work will be accompanied by a paragraph about the owner of the shoes, a small photo of the person and a quote from them. A percentage of the sales will be donated to the non-profit shoe charity Soles4Souls. </p> Thu, 31 Jan 2013 16:01:39 +0000 Ryan Fabel - Jancar Jones Gallery - March 16th, 2013 - April 20th, 2013 <p style="text-align: justify;">Jancar Jones Gallery is pleased to announce an exhibit of new work and an immersive installation by Los Angelesbased artist Ryan Fabel.<br /><br />For this exhibition Fabel interrogates the variation between how space is initially remembered and how memory acts as an agent in the perception of new space. Fabel’s installation in the gallery will act as an intermediary and an attempt to collapse this distinction, by facilitating a situation that will allow the spectator to examine the gap between the interior self and the social.<br /><br />By transforming the quality of the walls and lights in the gallery, Fabel will begin to unravel the prescribed state of the exhibition space. Through his interest in human awareness and perception, Fabel addresses how direction and disruption influences acuity and highlights the contradictions in labor, production, and ultimately reception.<br /><br />Ryan Fabel (b. 1980) received his MFA from Washington University in St. Louis in 2010, and attended The Mountain School of Arts, Los Angeles in 2012. He has worked on projects and exhibited at White Flag Projects, St. Louis, MO, Kulturprojekte, Berlin, Germany, UICA, Grand Rapids, MI, and Reference Art Gallery, Richmond, VA. He lives and works in Los Angeles, California.<br /><br />For more information please contact us at or visit Jancar Jones Gallery is located at 1031 N. Broadway in Chinatown, Los Angeles.</p> <p></p> Sat, 30 Mar 2013 22:58:40 +0000 Korakrit Arunanondchai, Andisheh Avini, Amy Granat, Richard Hoblock, Eddie Martinez - Kohn Gallery - March 15th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>Opposing the Binary </em>brings together five emerging to mid-career artists whose varied practices question the notion of abstraction in art. From traditional and non-traditional paintings on canvas, to sculpture, video and photogram collages, this body of work transcends historical perceptions of abstraction and challenges<a name="_GoBack" id="_GoBack"></a> the boundaries of the genre.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Brooklyn artist <strong>Andisheh Avini</strong>’s abstract works are influenced by a fascinating range of references, from art history and Andy Warhol to traditional Persian pattern and craft. Avini uses abstraction and obfuscation to create clarity in terms of questions of identity and self—questions that he grapples with personally, but certainly are widely relevant for the globalized, multicultural world we live in. As an American of Iranian descent, his works combine Western art history as well as traditional Iranian miniature drawings and patterns and the Farsi language. The abstraction in his paintings and sculpture amounts to a physical, tangible anonymity, a theme often developed and explored in his work as it relates to the anonymity and obscurity Avini often feels as he straddles American and Persian cultures.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Known for her experimental film installations and photogram collages, <strong>Amy Granat</strong> explores abstraction in motion and light with the nontraditional use of film and photographic media. Her photography often approaches the sculptural as she induces materials like color or acid to manually manipulate the medium. In her films, often created without the use of a camera, the high-contrast, flicking images sear powerfully into the viewer’s vision during and after their viewing, and are reminiscent of the emotional painterly gesture brought to bear by the post-war Abstract Expressionists. Citing Cy Twombly’s scratches and scribbles on canvas, Granat physically etches into her film strips and notes the performative and physical aspect of her film installations—both during the creative process but also as a finished product for the viewer as they take in an environmentally visual and aural experience.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Richard Hoblock</strong> grounds the exhibition by continuing the practice of traditional abstraction to create paintings that are deeply complex and fulfilling to behold. His canvases are rich with layers upon layers of paint, infused with a dynamism redolent of Jackson Pollock’s fervent action painting combined with the deliberation and thoughtfulness of Lee Krasner’s work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hailing from Thailand and educated at the Rhode Island School of Design and Columbia University, rising art world phenom <strong>Korakrit Arunanondchai</strong> creates stunning and stimulating visual storms inspired by Japanese manga, traditional Thai motifs and all manners of art and design. For Arunanondchai and his mixed media installations and performances, abstraction is a realm of infinite possibilities in visual stimuli.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Eddie Martinez</strong> works with an extensive but intuitively applied abstracted visual vocabulary that echoes the learned, deliberately posed naiveté of Jean-Michel Basquiat. The paintings are filled with his signature wide-eyed, block-headed figures that convey a spontaneity that belie the worked over surfaces of the paintings. He often carves and scrapes into the paint, creating a physicality that imbues the work with a sense of distinct personality and style.</span></p> Sat, 22 Feb 2014 15:21:42 +0000 Michael Hussar, NATALIA FABIA, Frances Bean Cobain, Sylvia Ji, Josh Petkar, Clayton Brothers - La Luz de Jesus Gallery - April 16th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span size="2" face="Arial, Helvetica, sans-serif" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">I am routinely contacted by private patrons, estate managers and even other galleries to represent their high-profile, <em><strong>Blue Chip</strong></em>caliber collections (including actual, museum exhibited paintings), often from artists who got their start here at <strong>La Luz de Jesus Gallery</strong>. </span></p> <p style="text-align: justify;"><span size="2" face="Arial, Helvetica, sans-serif" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">This year I've got a small but incredible collection of early and important pieces from <strong>Michael Hussar</strong>, <strong>Natalia Fabia</strong>,<strong>Frances Bean Cobain</strong> and <strong>The Clayton Brothers</strong>, plus a great collaboration between <strong>Sylvia Ji </strong>&amp;<strong> Josh Petkar.<br /><br /></strong></span><span size="3" face="Arial, Helvetica, sans-serif" style="font-family: Arial, Helvetica, sans-serif; font-size: medium;">CONSIGNEES HAVE OFFERED INCREDIBLY AFFORDABLE PRICING–BUT FOR 2-WEEKS ONLY!<br /></span><span size="2" face="Arial, Helvetica, sans-serif" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br />You've got until the strike of <em><strong>Midnight on April 30th</strong></em> to reap the benefits of this temporary price break. This may be your one and only chance to bring home an original <strong>Fiddle Tim</strong> drawing or to acquire something in the four figure range by <strong>Michael Hussar</strong> or catch a great Sylvia Ji before her prices catch fire. You get the picture.<br /><br />Don't be afraid to inquire about artists whose work is normally only relegated to wantlists.</span><span face="Arial, Helvetica, sans-serif" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></p> Wed, 17 Apr 2013 10:09:55 +0000 Alex Israel - LAXART - March 2nd, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Alex Israel received a BA from Yale University and his MFA from USC in 2010. Israel has exhibited at the 2010 California Biennial at OCMA, Venice Beach Biennial, part of “Made in LA” organized by the Hammer in collaboration with LA&gt;&lt;ART, Reena Spaulings Fine Art, New York, Peres Projects, Berlin, Greater LA, New York. Forthcoming projects include Museum of Contemporary Art Utah, Garage, Saint Petersburg, Almine Rech, Paris and LA&gt;&lt;ART, Los Angeles. His first public project through LA&gt;&lt;ART was a video installation on Sunset Boulevard Videotron entitled “Roughwinds,” 2010.</span></p> Tue, 12 Feb 2013 05:16:30 +0000 Meg Cranston - LAXART - March 2nd, 2013 - April 20th, 2013 Tue, 12 Feb 2013 05:17:05 +0000 Guido van der Werve - Marc Foxx - March 9th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;">"Nummer veertien, <i>home</i>" spans across exceptional distance and time. Created as a Requiem in three movements with twelve acts, van der Werve performs a 1,000 mile triathlon from Warsaw to Paris, retracing the reverse path of Frédéric Chopin's heart. Chopin, before his death in 1849, asked his sister to fulfill his intent request of returning his heart to his native Poland. His heart was interred in the Church of the Holy Cross while his body remained at the Père Lachaise Cemetery. Intermixed in this classic Requiem are the tales of Alexander the Great's military campaign and van der Werve's own deadpan, but candid, humer in his personal narratives of endurance and the concept of home.</span></p> Sat, 30 Mar 2013 23:00:29 +0000 Won Ju Lim - Patrick Painter Inc. - March 16th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Patrick Painter Inc.</strong> is pleased to present <strong><em>Vitrines</em></strong> , an exhibition featuring the work of <strong>Won Ju Lim</strong>. This exhibition will feature a serie s of seven sculptures , which explore the ephemeral qualities of landscape, memory and time. </span></p> <p style="text-align: justify;"><span style="font-size: small;">These works are a part of Lim’s <em>Broken Landscape</em> series, which explores the unattainable nature of remembering the fleeting aspects of landscap e . Lim intends to visually represent the body’s relationship to space, as well as the mind’s fragmentation of memory and time.<br /></span></p> <p style="text-align: justify;"><span style="font-size: small;"> In <em>A Piece of Highland Park</em> , small model homes rest upon a hillside embedded with lush green foliage housed in yellow Plexiglas. The hillside then dissolves into plaster ruins that become brightly colored landslides. Both syntheti c and natural elements combine to blur the lines between wha t is real and what is imagined to form one figurative work. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Untitled (Hawaii #2 )</em> is one of five works which feature the Hawaiian landscape. Encased in orange Plexiglas , thi s work visualizes simultaneously a landscape with rich green hilltops as well as a landscape covered in heavy winter snow. The sculpture is built upon a structure of oozing orange an d white glue, which gives the landscape the appearance of melting from within. In these works, t he disjunc tion between reality and hyper - reality displays the fragmentation of memory and time in relation to landscape. </span></p> <p style="text-align: justify;"><span style="font-size: small;"> This exhibition marks Won Ju Lim’s sixth solo exhibition with our gallery . Lim studied architecture at Woodbury University and rece i ved her MFA from Art Center in Pasadena, CA. She was the recipient of many prestigious awards, including the Rockefeller Foundation Media Arts Fellowship in 2007. Her work is currently on d isplay at the Museum of Contemporary Art in Los Angeles. She has reached inter national acclaim by exhibiting in many public institutions including Kunsthalle Detroit, Detroit; Vancouver Art Gallery, Vancouver; Hammer Museum, Los Angeles; Museum of Art, Seoul; Ullens Center for Contemporary Art, Beijing; Schirn Kunsthalle, Frankfurt; DA2 Domus Artium, Salamanca; Incheon Biennale; Wexner Center for the Arts, Columbus; and the Gwangju Biennale , and M ü nster Sculpture Biennial . She has exhibited with international galleries in Berlin, London, Madrid, New York, and Vienna. </span></p> Fri, 12 Apr 2013 11:45:18 +0000 Miriam Wosk - Santa Monica Museum of Art - January 19th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Abundance and Devotion: The Art of Miriam Wosk </em></strong>is the first major survey of the acclaimed local artist. The exhibition distills essential pieces from Wosk’s exuberant lifework to trace the arc of her explorations into the connections among nature, human consciousness, aesthetics, and spiritual transcendence. Wosk worked prolifically across disciplines. She began her career in New York as a commercial illustrator for such prominent publications as <em>Ms.</em> <em>Magazine</em> and the <em>New Yorker</em> and then settled in Santa Monica to refine her art practice. The survey culminates in Wosk’s massive collages whose encrusted surfaces teem with a materiality that reveals the beauty and terror of life on both a molecular and a cosmic scale.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Wosk is best known for intricate paintings and collages that she often adorned with pearls, glitter, crystals, starfish, collaged images, and other vivid ornamentation. Many of her rich landscapes juxtapose skeletal figures with budding flowers, dense roots, and dazzling celestial imaginings, and her process of pouring, painting, airbrushing, gluing, embedding, and coating possessed a devotional, mantra-like repetition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is accompanied by a comprehensive catalog with introductions by architect Frank Gehry and designer Milton Glaser, an essay by artist Robert Kusher, and an interview between journalist Kristine McKenna and Wosk’s son Adam Gunther.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Abundance and Devotion: The Art of Miriam Wosk</em> is organized by Elsa Longhauser, executive director of the Santa Monica Museum of Art.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Support for this exhibition was made possible by the Maple Trust and SMMoA’s Ambassador Circle. Additional support was provided by the City of Santa Monica and the Santa Monica Arts Commission and Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission.</em> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About the artist:</strong></span><br /><span style="font-size: small;">Born in 1947 in Vancouver, British Columbia, Wosk died in 2010 in Santa Monica. She attended the University of British Columbia, Canada, and the Fashion Institute of Technology, New School for Social Research, and the School of Visual Arts, New York. Wosk completed residencies at the American Academy in Rome, Italy, Vermont Studio Center, Johnson, Vermont, and Anderson Ranch Arts Center, Snowmass Village, Colorado. A prolific artist whose career spanned nearly four decades, Wosk’s work was shown in more than 100 exhibitions including at such distinguished galleries and institutions as Santa Monica Museum of Art, Orange County Center for Contemporary Art, Santa Ana, Laguna Art Museum, Laguna Beach, Billy Shire Fine Arts, Culver City, The Gabarron Foundation, Carriage House Center for the Arts, New York, Ricco Maresca Gallery, New York, and Edward Cella Art+Architecture, Santa Barbara.</span></p> <p>Main Gallery</p> Wed, 12 Dec 2012 16:54:04 +0000 Samira Yamin - Santa Monica Museum of Art - January 19th, 2013 - April 20th, 2013 <div class="event_description"> <p style="text-align: justify;"><span style="font-size: small;"><em>We Will Not Fail</em> revolves around the October 1, 2001 issue of <em>TIME Magazine</em>, the first instance of Osama Bin Laden on the magazine’s cover and the first issue dedicated entirely to the “war on terror.” In this body of work, Yamin meticulously hand cuts Islamic geometric patterns into photographs of Middle Eastern subjects. In this context, portraits of presumed Arab insurgents, American soldiers serving abroad, local civilians, and architectural structures are simultaneously defaced and embellished by Islamic traditional motifs. Yamin’s hand-cut latticework repeats geometries that, in Islamic culture, represent the underlying and infinite structure of the universe. The patterns evoke both the decorative and the divine.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Exquisite in design and subversive in content, the works in <em>We Will Not Fail</em> hold aesthetic beauty and terror in precarious tension. In this exhibition, the October 1, 2001 issue of <em>TIME Magazine</em> is installed in multiple formats. It is displayed in its entirety like an illuminated manuscript uncannily floating in a transparent vitrine. Four additional excised articles are framed and hung individually on the surrounding gallery walls.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Who is the implied “We” in the exhibition <em>We Will Not Fail?</em> Is the “We” intended to vocalize a Western position or might the “We” champion cultural perspectives from the Arab lands? Yamin’s aesthetic interventions physically and metaphorically question the legibility of media images; they turn seemingly nationalistic binaries into a multi-layered conversation. Carved into the pages of <em>TIME</em>, Yamin’s work transfigures and reinterprets journalistic representations of war. Quite literally, her interventions puncture existing narratives, question the production of news, and initiate a nuanced relationship between the sacred and the profane, beauty and terror, and the United States and the Middle East.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>We Will Not Fail</em> is organized by Jeffrey Uslip, Curator-at-Large for the Santa Monica Museum of Art.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>This exhibition was made possible by SMMoA’s Ambassador Circle. Additional support was provided by the City of Santa Monica and the Santa Monica Arts Commission and Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission..</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;"><strong>About the artist:</strong></span><br /><span style="font-size: small;">Samira Yamin was born in Evanston, Illinois in 1983. She received a dual BA in studio art and sociology from the University of California, Los Angeles and an MFA from the University of California, Irvine. Yamin lives and works in Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About the curator:</strong></span><br /><span style="font-size: small;">Jeffrey Uslip was born in 1977 and lives and works in New York City. He has organized exhibitions for PS1/MoMA, New York, Artists Space, New York, Columbia University’s Graduate School of Arts and Sciences, California State University, Los Angeles, and LA&gt;Artforum. Uslip is currently a PhD candidate at The Institute of Fine Arts, New York University. </span></p> </div> <p>Project Room 2 Jan 19–Apr 20, 2013</p> Wed, 12 Dec 2012 16:53:45 +0000 Kim McCarty - Santa Monica Museum of Art - April 6th, 2013 - April 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>SANTA MONICA, CA—</strong>The<strong> </strong>Santa Monica Museum of Art’s innovative gift store, GRACIE, presents <strong><em>Kim McCarty Paints, </em></strong>a unique installation and pop-up shop featuring new work by this internationally acclaimed artist. The installation and store will be open April 6 through April 20, 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Kim McCarty Paints,</em></strong> a vibrant installation and art sale in GRACIE and Project Room 1, will present a collection of intimate watercolors created by the artist exclusively for SMMoA. During the installation and sale, a watercolor studio in the project room will provide visitors with close-up access to McCarty at work. Visitors may sign up for the extraordinary opportunity to paint alongside McCarty in this studio setting. Register in advance for these coveted spots at <em></em><em> </em>(workshop General Admission $25, Members/Students $10). McCarty will generously donate the majority of proceeds from the sale of her work to benefit SMMoA.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Kim McCarty is best known for her fragile and ephemeral images of slender, youthful figures. She uses a “wet into wet” watercolor medium that allows the paint to flow and pool, creating ethereal patterns over the surfaces of the paper. McCarty says, “I’m looking forward to the challenge of translating my very private art practice into the public space of the Santa Monica Museum of Art. The process will certainly affect both my work and the work of visitors who paint alongside me.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">McCarty’s work has been featured in numerous exhibitions at museums and galleries, including <em>Fresh </em>at the Museum of Contemporary Art, Los Angeles, and <em>Contemporary Passions </em>at the Museo de Ponce, Puerto Rico in 2012. She has had solo exhibitions at Morgan Lehman, New York, and Cherry and Martin and Lightbox galleries, Los Angeles. Her work is in the collections of the Museum of Modern Art and Judith Rothschild Foundation, New York, the Hammer Museum, Los Angeles, and the Honolulu Academy of Art. She received her BFA from the Art Center College of Design and her MFA from the University of California, Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">GRACIE’s inventive art installations and pop-up shops support the Santa Monica Museum of Art. Past projects have included <strong><em>A Murder of Crows: Lynn Hanson, </em></strong>an exhibition and sale of charcoal and pencil drawings<em>;<strong> Astrid Preston: Small Forest</strong></em>, an exclusive collection of trees and birds by Preston;<em> </em>and <strong><em>dosa for SMMoA</em></strong>, which featured a special line of clothing by dosa’s renowned designer Christina Kim.</span></p> Wed, 06 Mar 2013 09:51:13 +0000