ArtSlant - Recently added en-us 40 - Human Resources - April 21st 7:30 PM - 10:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>A discussion with Joanne Nucho, Suzy M. Halajian &amp; Sasha Ussef</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">The session will explore the idea of not-knowing found within the highly contested Lebanese context. Taking Lebanon as a site to unpack ideas of not-knowing at the intersection of various temporalities -- ever-shifting and explosive, both virtual and "real" -- the session will question imagined states, the production of memories, as well as the gaps in historical narratives through an emphasis on contemporary artistic and cultural practices as well as other interdisciplinary ethnographic modes of inquiry. Artistic works under discussion include those by Rabih Mrou&eacute;, Mounira Al Solh, Ilaria Lupo, and Marwa Arsanios. This event will be an open discussion format.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Bios:</strong></span><br /><span style="font-size: small;">Joanne Randa Nucho is a filmmaker and anthropologist who lived and worked in Beirut from 2010-2011.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Suzy M. Halajian is a curator now based in Los Angeles. She lived and worked in Beirut in 2013 and summer of 2011.</span><br /><br /><span style="font-size: small;">Sasha Ussef is a curatorial and urban planning graduate student at USC. She spent time in Beirut in the summer of 2013.</span></p> Sat, 19 Apr 2014 08:00:33 +0000 Group Show - Human Resources - April 18th - April 20th <p style="text-align: justify;"><span style="font-size: small;"><strong><a href="" target="_blank">RECAPS</a>&nbsp;</strong>Magazine launches Issue 11 with&nbsp;<em>Rethinking Environment</em>, a weekend-long series of events, including an exhibition, presentations, and workshops.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>For a full schedule of events: visit&nbsp;</strong><a href="" target="_blank"></a></span></p> Sat, 19 Apr 2014 07:57:43 +0000 - BLEICHER/GOLIGHTLY/GORMAN - May 7th - May 20th <p>**</p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="" alt="" /></p> <p>&nbsp;</p> Sat, 19 Apr 2014 07:55:17 +0000 Vincent Cacciotti - CoproGallery - April 19th - May 10th <p style="text-align: justify;"><span style="font-size: small;"><strong><strong>Copro Gallery&nbsp;</strong></strong>presents 3 separate solo exhibitions by 3 different artists<strong><strong>.&nbsp;</strong></strong></span></p> <p class="style11" style="text-align: justify;"><strong><em>Vincent Cacciotti's</em></strong>&nbsp;work blends surrealism and fantasy depicting the travels of the human mind, body and soul. Vincent began painting as a child. He studied at The Art Students League in New York City and The California Art Institute in Westlake, CA. 'however is mostly self taught. His latest work for this show deals with girls behind masks and shows his talent for painting figurative realism/surrealism.</p> <p style="text-align: justify;"><span style="font-size: small;"><strong><strong>&nbsp;</strong></strong></span></p> Sat, 19 Apr 2014 07:51:59 +0000 Timothy Robert Smith - CoproGallery - April 19th - May 10th <p style="text-align: justify;"><span style="font-size: small;"><strong><strong>Copro Gallery&nbsp;</strong></strong>presents 3 separate solo exhibitions by 3 different artists<strong><strong>.&nbsp;</strong></strong></span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;"><strong>Timothy Robert Smith</strong>&nbsp;is a Los Angeles painter whose "Kaleidoscopic Realism" jumbles and disorients. His works have an air of visionary fiction that offers a dazzing antidote to what Smith calls the "tunnel vision" of civilization's dominant linearity. (<a href="" target="_blank">excerpt from Huffington Post article</a>)</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Some of the themes of Timothy Robert Smith's paintings include:</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Modern physics and the nature of reality: this includes time and space, hidden/alternate dimensions, and probable selves. Showing a cinematic picture of the universe based on these ideas.</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Art as Science: &agrave; la Leonardo Da Vinci</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Radical/intuitive/mystical/primitive science and the fine line that exists between what is/isn't considered "scientific": for example Nikola Tesla and his "psychic powers." Also, how our accepted ideas of physical reality are always in flux (see Steven Hawking's The Grand Design).</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Consciousness: belief systems and how they alter the nature of reality, The role of "the self" in our technological-based consumer society ("Technocracy"). The struggle to survive, the fine line between sanity and insanity... Who are we really?</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">The theory that everyone is really their own opposite: we are beautiful Contradictions, acting out roles in a theatre of the absurd.</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Finding peace within a civilization: empowerment through enlightenment.</span></p> <p class="style11" style="text-align: justify;"><span style="font-size: small;">Enlightenment: that undefinable sense of knowing. Operating like a Zen koan, throwing around paradoxical visual ideas designed to force a temporary glitch in our auto-pilot systems of consciousness.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><strong>&nbsp;</strong></strong></span></p> Sat, 19 Apr 2014 07:52:11 +0000 David Molesky - CoproGallery - April 19th - May 10th <p style="text-align: justify;"><span style="font-size: small;"><strong><strong>Copro Gallery&nbsp;</strong></strong>presents 3 separate solo exhibitions by 3 different artists<strong><strong>.&nbsp;</strong></strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>David Molesky was born in</strong>&nbsp;Washington D.C. He moved to the west coast in 1995 to study fine art and molecular biology at UC Berkeley.The science/art relationship combined leads to very interesting subject matter in his paintings. Mythological symbolism, animals, the sea, and ancient cultures pervade his work and are reflective of his travels to exotic places.Traces of Rembrandt, as well as the Venetian Renaissance style can be seen in his classical approach to a canvas with the use of light and brushwork. Living in Norway for several years as an apprentice to Odd Nerdrum, Molesky has managed to absorb his encounter with the Norwegian modern master and generate an artistic style that is quintessentially his own, This exhibition includes a continuation of a series of figures finding tranquility in nature juxtaposed with new paintings of political upheaval. In recent months media coverage of the Kiev protests inspired David to combine his interests in painting figures and fire.&nbsp;</span></p> Sat, 19 Apr 2014 07:52:25 +0000 Group Show - Los Angeles Contemporary Exhibitions (LACE) - May 22nd 7:00 PM - 10:00 PM <p><strong style="font-size: 1em;">Join the party:&nbsp;</strong><a style="font-size: 1em;" href="" target="_blank">LA Weekly thinks LACE knows how to throw a great event!</a></p> <h3><span style="font-size: 12px;">Bidding starts May 8 at&nbsp;</span><a style="font-size: 12px;" href="" target="_blank"></a></h3> <div>&nbsp;</div> <div>Start early and bid on artworks by the artists that make Los Angeles an exciting place to be.&nbsp;</div> <div>&nbsp;</div> <div><strong>Host Committee</strong></div> <div><strong>&nbsp;</strong></div> <div><span style="font-size: 1em;">Jeff Cain, Kenturah Davis, Melanie Edmunds, Kathie Folie-Meyer, Maureen Haines, Bill Moreno, Jackie Sharp, Ben Smith Marta Sullivan, Blake Koh, Mark Steven Greenfield, Chad Clark, Gary and Tracy Mezzatesta, The Honorable Robert M. Hertzberg, and Juliet McIver.&nbsp;</span></div> <div> <h3>&nbsp;</h3> <p><strong><span style="font-size: small;">Sponsors</span></strong></p> <p><span style="font-size: small;">Allan Jeffries, Art Mechanics, Art Services Melrose, Artillery Magazine, Beverly Hills Picture Framing Gallery, California Cactus Center, Ota House, Panera Bread of La Canada Flintridge, Random Gallery, Stone Brewing CO., Trader Joe's, Universal Framing Gallery</span></p> <div><span style="font-size: small;">&nbsp;</span></div> <div> <div><strong>Purchase tickets online with,&nbsp;</strong><strong>or you may purchase tickets over the phone by calling: 323-957-1777&nbsp;</strong></div> <div>&nbsp;</div> <div><a href="" target="_blank"><img src="" alt="Eventbrite - LACE Happening 2014: Benefit Art Auction" /></a></div> </div> </div> <div><span style="font-size: small;">&nbsp;</span></div> Sat, 19 Apr 2014 07:38:04 +0000 Chris Engman - Luis De Jesus Los Angeles - April 19th 3:00 PM - 4:00 PM <div align="center">Join us for an artist's talk with</div> <div align="center">&nbsp;</div> <div align="center"><strong>CHRIS ENGMAN</strong></div> <div align="center">&nbsp;</div> <div align="center">as he discusses his new photographs and current solo exhibition</div> <div align="center">&nbsp;</div> <div align="center"><strong>INK ON PAPER</strong></div> Sat, 19 Apr 2014 07:24:51 +0000 Yung Jake - Steve Turner Contemporary - May 3rd - May 31st <p>Steve Turner Contemporary is pleased to present&nbsp;<em>Drawings</em>, a solo exhibition by Los Angeles-based artist Yung Jake, featuring&nbsp;a new series of computer-generated drawings.</p> <p>Yung Jake was born on the Internet in 2011. He is best known for his rap videos that integrate the worlds of hip-hop, technology, social media and contemporary art.&nbsp;<em><a class="fancybox-youtube" href="" target="_blank" rel="nofollow">Datamosh</a></em>&nbsp;(2011) parodied the trend in music video of datamoshing (a digital technique that distorts images) while playing to a contemporary digital art audience. In&nbsp;<em><a class="fancybox-youtube" href="" target="_blank" rel="nofollow"></a></em>&nbsp;(2012), he commented on the pursuit of Internet fame. His work has been screened at Sundance (2013) and he has performed in Los Angeles at the Hammer Museum and&nbsp;Redcat (2013) and at MOCA (2014). He earned a BFA at CalArts in 2012.</p> Sat, 19 Apr 2014 00:06:27 +0000 Camilo Restrepo - Steve Turner Contemporary - May 3rd - May 31st <div class="post-entry"> <p>Steve Turner Contemporary is pleased to present&nbsp;<em>El Sue&ntilde;o De La Raz&oacute;n Produce Monstruos&nbsp;</em>(The Sleep of Reason Produces Monsters), a solo exhibition by Medell&iacute;n-based artist Camilo Restrepo, who creates drawings based on his proximity to the epicenter of drug-related violence in Colombia.</p> <p>In this, Restrepo&rsquo;s second solo exhibition at Steve Turner, the artist will present works from two series:&nbsp; three large-scale drawings from&nbsp;<em>A Land Reform</em>as well as a group of portraits from a new series,&nbsp;<em>Los Caprichos</em>. In both bodies of work, Restrepo creates images that are based on narco traffickers and the aliases they assume as reported daily in Colombian newspapers. The aliases are often based on television and comic book characters; celebrities; animals; and commercial brands. The childish nature of these assumed identities contrasts starkly to the traffickers&rsquo; vicious, violent behavior.</p> <p><em>A Land Reform</em>&nbsp;consists of seventy individual sheets of paper that are torn from the artist&rsquo;s drawing book and then crudely taped together. Filled with collaged newspaper clippings and Restrepo&rsquo;s cartoon-like characters, the various scenarios are connected by a series of what appear to be red hoses&mdash;or are they veins of blood? The hoses pass through the sheet onto the reverse side where there is another complicated system of hoses, both sides alluding to the interconnected intricacy of the armed conflict in Colombia.</p> <p>Taking his title from Goya&rsquo;s monumental series of etchings filled with images of human folly, vice and absurdity, Restrepo&rsquo;s&nbsp;<em>Los Caprichos</em>&nbsp;cover much the same territory in contemporary terms. &ldquo;Salvador,&rdquo; a Dali-like character, rides a horse whose head has been cut off while balancing an espresso cup in one hand&mdash;is it filled with coffee, or blood? &ldquo;Cristobal,&rdquo; a cartoon Columbus on bended knee, holds his sword wrapped in a vein of blood in one hand while taking a cell phone selfie with his other hand. The tattered, emblematic sail of the Santa Maria, entwined with an arterial-like ribbon, is beside him.</p> <p>Each of the portraits in&nbsp;<em>Los Caprichos</em>&nbsp;is surrounded by a distressed white background, one that Restrepo created by removing the top skin of paper, first by weakening it with his saliva, and then, by scraping it away. He then applied tape to heal the wounded paper&mdash;but the scars remain visible, yielding a devastated surface consisting of twelve sheets of paper barely held together, much like Colombian society. But Restrepo&rsquo;s images, like Goya&rsquo;s are not limited to the national environment that inspired them, they carry the weight of universal human madness.</p> <p>Camilo Restrepo (born 1973, Medell&iacute;n, Colombia), earned an MFA from CalArts (2013) and a masters degree in aesthetics from the National University of Colombia (2008). He has had solo exhibitions at Steve Turner (2013); Untitled, Miami Beach (2013); Galer&iacute;a Santa Fe, Bogot&aacute; (2011); Casa Tres Patios, Medell&iacute;n (2010); Galer&iacute;a de la Oficina, Medell&iacute;n (2010) and LA Galer&iacute;a, Bogot&aacute; (2009). In 2010, Restrepo was nominated for the Premio Luis Caballero, the most important prize in Colombia for artists over 35.</p> <p>&nbsp;</p> </div> Sat, 19 Apr 2014 00:03:43 +0000 Christiane Lyons - Anna Meliksetian | MJBriggs - April 19th - May 30th <p><span style="font-family: helvetica; font-size: x-small;"><strong>Christiane Lyons</strong></span></p> <p><span style="font-family: helvetica; font-size: x-small;"><strong>A Good Line: Can&rsquo;t Live Without You</strong></span></p> <p><span style="font-family: helvetica;"><strong>April 19th&nbsp; to May 30th&nbsp; 2014</strong></span></p> <p><span style="font-family: helvetica;"><strong>Opening reception: Saturday April 19th&nbsp; 6-8pm</strong></span></p> <p><span style="font-family: helvetica;">Anna Meliksetian and Michael Briggs are pleased to present <em>A Good Line: Can&rsquo;t Live Without You</em>,&nbsp;Christiane Lyons&rsquo; second solo show at the gallery.</span></p> <p><span style="font-family: helvetica;">Lyons&rsquo; practice is driven by an ongoing investigation into the process of painting and the use of&nbsp;appropriated material to recontexualize images and provoke new meanings and visual intepretations.</span></p> <p><span style="font-family: helvetica;">The works in <em>A Good Line: Can&rsquo;t Live Without You</em> are the result of manipulating found imagery by&nbsp;drawing upon the foundational, primary elements of painting.&nbsp;The paintings in Lyons&rsquo; last exhibition, <em>What Goes Around Comes Around</em>, drew upon the notion of the&nbsp;Rorschach inkblot as their primary compositional device, an image of bilateral symmetry, and its use&nbsp;continues in the current exhibition. This bilateral split offers an opportunity to combine normally&nbsp;unrelated source imagery by means of common colors and shapes, as well as less obvious&nbsp;commonalities, such as abstract notions of symmetry especially in relation to time and historical context.&nbsp;</span><span style="font-family: helvetica;">Often Lyons&rsquo; sources are taken from the art historical canon, reflecting her interest the production of art&nbsp;and the historical and social context in which art works were produced, along with their resonance in the&nbsp;contemporary world.</span></p> <p><span style="font-family: helvetica;"><em>A Good Line: Can&rsquo;t Live Without You</em> is comprised of nine works, three different paintings followed by&nbsp;the repetition of each painting three times; one is the original, one is its inverse, or difference, and one is&nbsp;primary-color or black-and-white based. Lyons uses repetition as a tool to further abstract qualities&nbsp;when the paintings are viewed as a group, in addition to the abstract qualities created by the use of&nbsp;Rorschach&rsquo;s bilateral symmetry. Lyons confidently breaks down and reassembles colors and forms,&nbsp;patterns and structures and blurs the lines between abstraction and representation. Not only is Lyons&nbsp;concerned with paintings theoretical history, but also its technical history as well, posing questions&nbsp;about current image making and representation in general.</span></p> <p><span style="font-family: helvetica;"><em>Christiane Lyons received her MFA in Painting/Drawing in 2004 from the University of California LosAngeles (UCLA) and her BA from the University of California, Berkeley. She lives and works in Los&nbsp;Angeles and San Francisco</em>.</span></p> Thu, 17 Apr 2014 20:49:36 +0000 Group Show - De Re Gallery - May 16th 10:00 AM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>De Re Gallery</strong> will open to the public on Friday, May 16.&nbsp; The gallery offers a vibrant new exhibit space where contemporary art from Europe, New York and Los Angeles intertwine, and modern prodigies mingle with established masters.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Initial painting, photographic and sculptural artists to be exhibited include Gretchen Andrew, Alison Bignon, Sophie Dickens, Victor Gingembre, Stephanie Hirsch, Caroline d&rsquo;Andlau Hombourg, Cyrus Mahboubian, Margherita Marzotto, Florence de Ponthaud, Mike Sagato and Stefanie Schneider, whose works will be displayed alongside those by Salvador Dali, Andy Warhol, Tom Wesselmann, Fernando Botero, Banksy and others. &nbsp;</span></p> Thu, 17 Apr 2014 05:49:41 +0000 Group Show - Kayne Griffin Corcoran - May 17th - July 5th Thu, 17 Apr 2014 00:56:47 +0000 - Cardwell Jimmerson Contemporary Art - April 19th - April 19th <p>Cardwell Jimmerson Contemporary Art is pleased to announce its final exhibition,&nbsp;<br />"BM: Retrospective-I."</p> Wed, 16 Apr 2014 08:49:34 +0000 ROSE CABAT - Couturier Gallery - May 17th - July 5th <div class="Section1"> <p><strong>Rose Cabat</strong> (b. 1914), one of the United States&rsquo; most reclusive ceramists, and certainly one of the oldest of the few well-known mid-20th century ceramists still alive and producing today.&nbsp; Couturier Gallery is honored to present <strong><em>Rose Cabat &ndash; 100 Years</em></strong>, a solo show for the distinguished ceramist celebrating her 100<sup>th</sup> birthday.&nbsp; The show will include her famous &ldquo;feelies&rdquo; &ndash; seductive, wheel-thrown porcelain closed-forms with her satin matte jewel-colored glazes dating from the 1960s to the present.&nbsp; <strong>The opening reception is Saturday, May 17 from 6-8pm.</strong></p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;The list of renowned 20<sup>th</sup> century American ceramists is long and impressive, with the likes of Gertrud and Otto Natzler, Peter Voulkos, Vivika &amp; Otto Heino and Paul Soldner to name but a few.&nbsp; All have in common a link with schools and art centers where they either taught, studied or did both.&nbsp; Rose Cabat, a New York City native, did neither. &nbsp;Her husband, Erni Cabat, an aspiring artist, in the 1930s brought home a lump of clay which Rose promptly began to play with resulting in work that encouraged Erni to enroll her at the Greenwich Settlement House in the Village in New York City where Rose threw simple utilitarian forms.&nbsp; It wasn&rsquo;t until the late 1950s, with the help of Erni, that she developed a glaze they called the &ldquo;feelie glaze&rdquo; which would become part of her signature work.&nbsp; The glaze, a variety of jewel-colored greens, turquoises, cobalt blues, onion-skin browns, whites, lavenders has a satin matte sheen that texturally feels like silk, and applied to the closed-forms ranging from chicken egg size to larger spherical and ovoid porcelain forms called &ldquo;feelies.&rdquo;</p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Rose Cabat has spent the better part of the past fifty-four years &nbsp;perfecting the forms of the &rdquo;feelies&rdquo; imbuing them with a Zen perfection.&nbsp; Like Gertrud Natzler, who when asked why she continued throwing bowls replied she was after perfection, Rose Cabat set her sights on the same ideal.&nbsp; &nbsp;It is one reason why Rose has always preferred to work alone, even today while confined to a wheel chair limiting her mobility and ability to raise herself up to make the larger works she was able to throw when she had use of her legs.&nbsp; She prefers the solitude allowing her precise focus eschewing the slightest interference of another&rsquo;s presence.&nbsp;&nbsp; It is this consistency in her work that has generated a burgeoning interest on the part of curators and collectors alike.</p> </div> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Rose Cabat has taken part in group exhibitions in California (at Los Angeles County Museum of Art (<em>Craftsmen U.S.A.</em>, 1966);&nbsp; ArtGallery, ScrippsCollege, Claremont (1965);&nbsp; Museum West, San Francisco (1966);&nbsp; The Egg and the Eye Gallery, Los Angeles (1967);&nbsp; California State College, Long Beach (1972);&nbsp; and Bannatyne Gallery, Santa Monica (1989). &nbsp;&ldquo;Rose Cabat &ndash; 100 Years&rdquo; pays homage to the work of&nbsp; this exceptional centenarian and will include work illustrating her wide vocabulary of forms and colors produced from the early 1960s through this year.&nbsp;</p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;In March of 2014 The Tuscon Museum of Art launched an extensive retrospective exhibition entitled, Rose Cabat at 100.&nbsp; The work of Rose Cabat has been exhibited throughout the United States, Canada, Iran, Australia, France, Germany, Switzerland and Belgium.&nbsp; Her work can be found in the museum collections of the Everson Museum of Art, Syracuse, NY.&nbsp; Metropolitan Museum of Art, New York, NY; &nbsp;Museum of Arts &amp; Design, New York, NY; &nbsp;Philadelphia Museum of Art, Philadelphia, PA; &nbsp;PhoenixArt Museum, Phoenix, AZ; &nbsp;Renwick Gallery of the Smithsonian Institution, WashingtonDC; &nbsp;TucsonMuseum of Art, Tucson, AZ.</p> Tue, 15 Apr 2014 20:10:44 +0000 Manfred Müller - ROSEGALLERY - April 19th - May 31st <div class="WordSection1"> <p><strong>&nbsp;</strong></p> <div class="WordSection1"> <p><strong>Manfred &nbsp;M&uuml;ller</strong></p> <p><strong><em>Federal Avenue</em></strong></p> <p>April 19 through May 31, 2014</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>ROSEGALLERY is pleased to announce <em>Federal Avenue</em>, an exhibition of new drawings and works on paper by Manfred M&uuml;ller, A reception for the artist and book signing will be held Saturday, April 19, 2014 from six to eight pm.</p> <p>&nbsp;</p> <p>&ldquo;Y<em>ou have to reflect because it balances you... You need to exercise your fingers, to refine the technique&rdquo;.</em></p> <p>&nbsp;</p> <p>Throughout his career in Germany and Los Angeles, M&uuml;ller has made large-scale site specific, sculptures and installations. Utilizing diverse materials such as steel, wood, paper, natural and man-made elements or recycled industrial machine parts. Using architectural space, the industrial landscape and simple geometric form to explore the relationship between form, color, raw material, and the viewer&rsquo;s relationship to object, space and meaning, these works bring together disparate elements uniting in eloquent combinations.</p> <p>Working in a variety of techniques and employing an equally wide range of materials, the drawings, collages and works on paper that M&uuml;ller creates, explore continually evolving approaches to making art. These paper pieces are occasionally studies towards larger projects, but more often serve as a response to what is happening in the studio and are conceived and executed as independent works in their own right. Primarily flat but bearing incised lines or raised edges, so common in his work, the drawings are almost three dimensional, allowing light to play on the surface. M&uuml;ller incorporates subtly nuanced changes in surface, texture, focusing attention on surface detail and the point of contact between, drawn line, fields of color and surface, where edge tension plays a crucial part. M&uuml;ller transforms the humblest of materials into objects of profound poetic beauty. The works on paper continue to serve M&uuml;ller as a rich depository of ideas and ongoing visual diary.</p> <p>&nbsp;</p> <p>Manfred M&uuml;ller was born 1950 in D&uuml;sseldorf, Germany. From 1967 to 1970 he apprenticed as a technical draftsman, receiving his state license as an engineering draftsman. From 1971 to 1975 he studied visual communication at the Fachlochschule D&uuml;sseldorf and from 1976 to 1981 he attended the Kunstakademie in D&uuml;sseldorf, Germany &ndash; studying under Erwin Heerich (1922-2004). After leaving the Kunstakademia in 1981 he was awarded a Cit&eacute; des Artes Scholarship, Paris, France and received important grants from the city of D&uuml;sseldorf in 1983, and the German Industry Endowment of the Arts in 1985.&nbsp;</p> <p>In 1989 M&uuml;ller relocated to Los Angeles and continues to maintain studios in California and Germany.</p> <p>Recent selected solo and group exhibitions include: 2014, <em>Objects are Closer Than They Appear</em>, Los Angeles Municipal Art Gallery, Barnsdall Art Park, Los Angeles, CA; 2011, <em>Framing Abstraction: Mark, Symbol, Signifier</em>, Los Angeles Municipal Art Gallery, Barnsdall Art Park, Los Angeles, CA; 2010,Heidi Cho Gallery, New York, NY; <em>Heliotropo,</em> Galerie Lopez Quiroga, Mexico</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>City, Mexico; 2008, <em>Hidden Cache No. 1</em>, ROSEGALLERY, Santa Monica, CA; 2007, Made in California: Contemporary California Art from the Frederick R. Weisman Art Foundation, Frederick R, Weisman Museum of Art, Pepperdine University, Malibu, CA; 2006, <em>CONTRATO: New Work by Manfred M&uuml;ller</em>, Mike Karstens Galerie, Munster, Germany; 2003, <em>Human Conditions: Demo: The Body Shop</em>, USC Fisher Museum of Art, Los Angeles, CA. 1999, <em>Palacio de Memoria</em>, Museo Universitario del Chopo, Mexico City, Mexico.</p> <p>Public Artworks include: 2002, <em>When a Person Plants a Tree</em>&hellip;, public installation, Civic Center</p> </div> <p><strong>&nbsp;</strong></p> <div class="WordSection2"> <p>and Library, Agora Hills, CA; 2000<em>, Ringrotsiebzehngrad</em> (ringredsevendegrees), Universt&auml;t</p> </div> <p><strong>&nbsp;</strong></p> <p>M&uuml;nster, commissioned by the city of M&uuml;nster, Germany; 1998, <em>Twilight and Yearning</em>, installation beneath the Santa Monica Pier, Santa Monica, CA</p> <p>&nbsp;</p> <p>The exhibition will be accompanied by the recent 2014 publication: <em>Objects are Closer Than They Appear</em>, with essays by Claudia Bohn-Spector and Howard Fox, published by Marquand Books, Seattle.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Quote from in <em>Manfred M&uuml;ller: Things to Remember</em>, Claudia Bohn-Spector, published in <em>Objects are Closer Than They Appear</em>, (Marquand Books, Seattle, p.42)</p> <p>&nbsp;</p> <p>Image: Manfred M&uuml;ller, Untitled, 2009 courtesy of the artist and ROSEGALLERY, Santa Monica.</p> <p>&nbsp;</p> <p><strong>l</strong></p> </div> Tue, 15 Apr 2014 19:54:18 +0000