ArtSlant - Recently added en-us 40 - Machine Project - October 31st - December 15th <p style="text-align: justify;"><a href="" target="_blank">Purple Electric Play (PEP!)</a> is a (literally) underground theatrical performance featuring magic, political history, black lights, black<br /> arts, levitation, gratuitous special effects and entertainers both human and puppet producing a bewildering array of emotional and artistic effects.</p> <p style="text-align: justify;">Please check out our fundraising campaign <a href="" target="_blank">here!</a></p> <p style="text-align: justify;"><strong>SUMMARY:</strong><br /> Over a year in the making, Purple Electric Play (PEP!) is Machine Project&rsquo;s newest collaboration with visionary playwright and psychic Asher Hartman. Commissioned specifically for the Machine Project&rsquo;s 17 seat underground theatre, PEP! will delight and bewilder the audience with performances of mind-melting intensity.</p> <p style="text-align: justify;">In a mix of black light theater and black magic, PEP! follows two underground entertainers, THE VITAL ORGAN and THE STAR, as they step in and out of rough and ridiculous political histories, assisted by their pals, THE AUDIENCE, four naive and playful puppets, LO-PHAT, DONKEY, SALAD BAR and STARVATION luring their live audience deeper into the morass of questions and confrontations that arise from memories of injustice and revolt. PEP! explicitly leverages an audience&rsquo;s expectation of diversion and excitement to explore the relationship of the creative class to privilege and power, both as&nbsp; resistors and provocateurs.</p> <p style="text-align: justify;">Are you the kind of person who wishes Machine Project was just a little more intense, overwhelming and delirious? Have we got a play for you!</p> <p style="text-align: justify;"><a href="" target="_blank"></a>.</p> Mon, 20 Oct 2014 08:14:17 +0000 Sanya Kantarovsky - LAXART - November 8th - December 13th Mon, 20 Oct 2014 08:10:47 +0000 D.E. May - LAXART - November 8th - December 13th <p style="text-align: justify;">D.E. May (b. 1952) is an Oregon-based artist active since the early 1970s, whose work emerged in relation to the under-known history of modernist experiment in the Pacific Northwest. He is a crucial figure in that regional context, but is also relatively unknown beyond it. This is the largest exhibition of D.E. May&rsquo;s work outside of Oregon to date, and the first introduction of this major artist&rsquo;s work to Los Angeles and the Southern California region.</p> <p style="text-align: justify;">Over a forty-year career, May has worked to extend and intensify a range of avant-garde languages, inventing a particular form of abstraction created from the re-use of materials found in the urban environment. Residing in Salem, Oregon, the artist exceeds any regional frame to engage directly the history of key abstract strategies such as constructivism, geometric abstraction, and the monochrome. But the work also explores the readymade and collage practice typical of Dada, or the child-like scale and alternative distribution channels (such as mail art) later explored by Fluxus, as well as the textual, archival, and architectural tactics central to certain forms of Conceptual art. Indeed, the work seems to evoke the ghosts of an eclectic but very specific range of canonical modernist or postwar artists, embraced in all their incompatibility and evident contradiction with each other: Kurt Schwitters and Kasimir Malevich; Joseph Cornell and Joseph Beuys; the precarious grids of painter Agnes Martin and the aggressive geometric cut-outs of Gordon Matta-Clark; the notion of a spontaneous&nbsp;<em>Art Brut</em>&nbsp;elaborated by Jean Dubuffet and the&nbsp;street aesthetics of the early work of Claes Oldenburg.</p> <p style="text-align: justify;">And yet the art of D.E. May also references everyday objects, simple and useful things, like tools, architectural shelters, or maps. With its titles and general spirit, the work often evokes the outdated places and characters found in film noir movies, or albums and song titles from our vinyl-record past. Allegorical references to mysterious regions or lands abound, utopian zones perhaps, or long-ago sites that have passed into oblivion. In their construction, May&rsquo;s objects also echo the labors characteristic of a range of non-art occupations like dressmaking or furniture design or haphazard carpentry.</p> <p style="text-align: justify;">Typically small if not miniature in scale, often no larger than an index card or even a postage stamp, May&rsquo;s work is usually pieced together from weathered cardboard and paper scraps, found detritus altered in almost imperceptible ways. While meticulously handcrafted, the work usually appears anonymous, as if created by impersonal forces of the natural world such as erosion, staining, or over-exposure to the sun. The work bases itself in processes of salvage and reuse, recycling the discarded materials of the artist&rsquo;s home environment into an infinitely variegated language of abstract form.</p> <p style="text-align: justify;">Organized as a miniature retrospective--the artist was last the subject of a mid-career retrospective in 2003 in Portland--the exhibition at LA&gt;&lt;ART includes a range of key early works of the 1980s and 1990s shown alongside series completed more recently. Some of D.E. May&rsquo;s earliest salvaged cardboard constructions are present, acting as historical anchors and archival reminders of the aesthetic development that has led to the recent work. Ranging from gentle grids to organic found materials to precarious architectural models cobbled-together from detritus, the exhibition comprises both small and larger-scale works that often hover characteristically, and ambivalently, between complete abstraction and recognizable objects in andThe exhibition features a recent series of gridded works on paper entitled&nbsp;<em>Template Studies</em>, shown for the first time in the 2014 Portland Biennial (organized by former LA&gt;&lt;ART curator Amanda Hunt). The&nbsp;<em>Template Studies</em>&nbsp;are accompanied here by several older series of cutout cardboards simply entitled&nbsp;<em>Templates</em>, like a set of potential stencils that could be used to produce further abstract forms. A new body of work comprising twenty-four miniature layered abstractions, from an on-going series entitled&nbsp;<em>Testbeds</em>--salvaged materials inlaid upon or incised from other found materials--has been produced especially for the LA&gt;&lt;ART exhibition. It co-exists in the space with a series of older artist books, miniature constructions, sculpture, ephemera, and rarely- or never-exhibited work borrowed from major private collections in Oregon, Los Angeles, and New York.</p> <p style="text-align: justify;">The exhibition is guest-curated by George Baker, an art critic, editor, and art historian based at the University of California, Los Angeles. Three years ago, Baker visited Oregon under the auspices of a new program initiated by the Ford Family Foundation, involving a series of studio visits with artists across the state. Baker&rsquo;s encounter with D.E. May was the starting point of a dialog and correspondence that has culminated in the current exhibition of work--the product of a set of interests and passions shared between the artist and the art historian.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About the Artist</strong></p> <p style="text-align: justify;">D.E. May has been the subject of a mid-career retrospective entitled &ldquo;D.E. May: The Occupations&rdquo; at Marylhurst University near Portland in 2003, and the solo museum exhibition &ldquo;The Artist as Archivist&rdquo; at the Hallie Ford Museum of Art, Willamette University in 2008. Recently, May was included in the 2014 Portland Biennial, and was a recipient of 2013 Hallie Ford Fellowship in the Visual Arts from the Ford Family Foundation. May is represented in Portland by PDX Contemporary Art.</p> Mon, 20 Oct 2014 08:10:22 +0000 Frances Scholz - Tif Sigfrids - November 8th - December 19th Mon, 20 Oct 2014 08:00:02 +0000 Howard Fried - The Box - November 15th - December 20th Mon, 20 Oct 2014 07:57:39 +0000 Heidi Bucher, Shimabuku, Phillip Zach - Freedman Fitzpatrick - November 16th - December 20th Mon, 20 Oct 2014 07:56:25 +0000 Christian Herman Cummings, Miriam Hanks-Todd - Michael Benevento - November 8th - December 20th Mon, 20 Oct 2014 07:53:14 +0000 Jonas Wood - David Kordansky Gallery - November 8th - January 10th, 2015 Mon, 20 Oct 2014 07:48:12 +0000 Scott Short - Christopher Grimes Gallery - November 8th - January 3rd, 2015 <div style="text-align: justify;"><strong><em>&ldquo;Even when you are merely copying, something new is added, whether your like it or not.&rdquo;</em></strong></div> <div style="text-align: justify;">&mdash; Gerhard Richter</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><strong>Christopher Grimes Gallery is pleased to present a solo exhibition of new paintings and drawings by Scott Short</strong>. The Main Gallery will feature an evolution in Short&rsquo;s imagery within his paintings as well as through a series of works on paper titled &ldquo;Holbein Flower,&rdquo; in which Short appropriates the anamorphic skull from Holbein&rsquo;s &ldquo;The French Ambasadors.&rdquo; The skull is replicated in ink on paper, ad infinitum, in a symmetrical flower formation against a stark black or white background. There is an elegance to Short&rsquo;s unorthodox approach to abstraction in works such as &ldquo;Untitled (red)&rdquo;, and his process of meticulously painting by hand the abstracted markings made by machine furthers his examination of the relationship between the original and the copy, the mechanical and hand-made, abstraction and representation.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The South Gallery will spotlight a series of 48 portraits, &ldquo;Thank you, Adam West, For Helping Make Me The Man I Am Today.&rdquo; In the early 1990s, Short experimented with the persistent copying and reworking of works by Gerhard Richter, including his &ldquo;48 Portraits.&rdquo; Returning to this as a point of departure, Short&rsquo;s use of Richter&rsquo;s standardized format, the seeming uniformity of the portraits, and his choice of cultural icons rendered as Batman belies the underlying absurdism of his own crisis of faith in painting and the heroic and functions as a reminder of its manifestation as banal.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Scott Short (b. 1964 Marion, OH) lives and works in Vallauris, France. Short was the subject of a solo exhibition at the Renaissance Society, Chicago, IL (2007), and his work has been included in the 2010 Whitney Biennial, New York, NY; &ldquo;Gerhard Richter and the Disappearance of the Image in Contemporary Art&rdquo; at the Centro di Cultura Contemporanea Strozzina, Palazzo Strozzi, Florence, Italy and &ldquo;No information available,&rdquo; curated by Francesco Bonami for the inaugural exhibition at Gladstone Gallery, Brussels, Belgium. His works are included in the collections of the Albright Knox Art Gallery, Buffalo, NY and Leal Rios Foundation, Lisbon, Portugal, among others.</div> Mon, 20 Oct 2014 07:46:20 +0000 Marco Braunschweiler, Jibade-Khalil Huffman, Kate Steciw, Martine Syms - Aran Cravey - November 15th - January 17th, 2015 Mon, 20 Oct 2014 07:41:52 +0000 Jorge Pardo - 1301PE - November 15th - January 10th, 2015 Mon, 20 Oct 2014 07:39:01 +0000 Chris Cran - Wilding Cran Gallery - November 15th - December 27th <p style="text-align: justify;">Wilding Cran Gallery is pleased to present&nbsp;<em>That&rsquo;s An Excellent Question!&nbsp;</em>a new body of work by Canadian painter Chris Cran on view&nbsp;November 15&ndash; December 27, 2014. The exhibition marks Cran&rsquo;s first solo show in Los Angeles.</p> <p style="text-align: justify;"><em>That&rsquo;s An Excellent Question!</em>&nbsp;is an extension of Cran&rsquo;s&nbsp;<em>The Chorus Series,</em>&nbsp;which was an earlier body of work that was first presented in 2006 in an exhibition entitled<em>Novel</em>, and again more thoroughly in an&nbsp;exhibition in 2011 entitled<em>&nbsp;Reading Room,</em>both at Tr&eacute;panier Baer Gallery in Calgary, Alberta.&nbsp; The ongoing series consists of a selection of oval and round paintings that each contain a face expressing enjoyment, surprise, curiosity, doubt, or disdain that looks beyond the periphery of the work itself.&nbsp; The Chorus portraits are intended to be placed around other works of art (by Cran or others) thereby appropriating those works and engaging them into a larger theatre of viewing, like the Greek Chorus from which the series is named.</p> <p style="text-align: justify;">For this exhibition Cran has created 31 new works, a combination of Chorus portraits and a number of larger still life paintings&nbsp;to invite the gazes of the &lsquo;Chorus&rsquo; and await their&nbsp; judgement. The works will float on the gallery walls, high and low, like the putti or cherubs in Renaissance and post-Renaissance paintings who also float around and, like the Greek chorus, comment on the main dramatic action.</p> <p style="text-align: justify;">Cran employs a wide-ranging color palette and experiments with textures as well as varied techniques to evoke the photographic image. His work explores the construction of personal and cultural identities and perceptual/cognitive illusion, both interests critically underpinned by&nbsp;the artist&rsquo;s disarming and revelatory sense of humor.</p> <p style="text-align: justify;"><span style="text-decoration: underline;"><strong>About Chris Cran</strong></span><br />Chris Cran lives and works in Calgary, Alberta.&nbsp; He graduated in 1979 from the Alberta College of Art and Design in Calgary. Cran has exhibited widely including international exhibitions at the 49th Parallel Gallery, New York City (1992), Taejon Expo 93, South Korea and the Fourth International Painting Biennial, Cuenca, Ecuador (1994). &nbsp;A twenty year survey exhibition entitled<em>&nbsp;</em><em>Chris Cran &ndash;&nbsp;</em><em>Surveying the Damage 1977 to 199</em>7,&nbsp;curated by Clint Roenisch, was organized by Kelowna Art Gallery to tour nationally from 1998 to 2000. &nbsp;A catalogue accompanied the exhibition with essays by Dr. Roald Nasgaard and art critic Nancy Tousley. In 2015, Cran will have solo exhibitions at Southern Alberta Art Gallery and Art Gallery of Alberta; and The National Gallery of Canada will be presenting a solo exhibition of his work in 2016.<br /><br />Cran&rsquo;s paintings are included in numerous collections, including&nbsp;The National Gallery of Canada, Canada Council Art Bank, Mendel Art Gallery (Saskatoon), University of Lethbridge Art Gallery, Glenbow Museum (Calgary), Edmonton Art Gallery, Nickle Arts Museum (University of Calgary), Kenderdine Art Gallery (Saskatoon), Dunlop Art Gallery (Regina), the Banff Centre, Alberta Foundation for the Arts, Art Gallery of Peel (Brampton), Art Gallery of Windsor, Kelowna Art Gallery and Museum of Canadian Contemporary Art (Toronto). &nbsp;</p> <p style="text-align: justify;">Cran has also ventured into a variety of other related activities including teaching art, curating exhibitions, and theatre set design. Cran was inducted into the Royal Canadian Academy in 2002. &nbsp;He received the ACAD Alumni Award of Excellence in 2011 and the Doug and Lois Mitchell Outstanding Calgary Artist Award in 2014.<br /><a href=";id=9515ad8e42&amp;e=542ac09618" target="_blank"></a></p> Sat, 18 Oct 2014 15:33:18 +0000 Patrick V. McGrath Muñiz - La Luz de Jesus Gallery - November 7th - November 30th <p style="text-align: justify;"><strong>Patrick V. McGrath Mu&ntilde;iz</strong>&nbsp;creates work that responds to consumer media culture and the historical use of Christian icons in colonial Latin America.</p> <p style="text-align: justify;">&ldquo;The present work responds to our consumerist society and it&rsquo;s indifference to the global ecological and social injustices. As a painter coming from a Roman Catholic background and growing up during the 1980&rsquo;s and 90&rsquo;s in the island of Puerto Rico, the oldest colony in the Western hemisphere, I&rsquo;m inspired by pop culture icons, Christian Iconography and mythological imagery present in Art History, Tarot and Astrology. These sources provide a set of universal archetypes that allow me to re-interpret our current socio-economic and cultural conditions holistically, viewing world history as cyclical and interconnected from an archetypal perspective. In my work I adopt painting techniques on canvas and &ldquo;retablos&rdquo; reminiscent of Spanish colonial art. This enables me to emulate earlier indoctrination strategies and devices from the time of the conquest of the Americas in order to provide historical continuity and a link between the Colonial and the Neo-colonial narratives. Living in an information age and Inspired by art history I recreate intimate 2-D theater stages where I appropriate, recontextualize and orchestrate figures from history, religion, mythology and pop culture into anachronisms, parodies and satirical narratives that mirror my experience of the world today.&rdquo;</p> Sat, 18 Oct 2014 15:25:14 +0000 Shaun Berke - La Luz de Jesus Gallery - November 7th - November 30th <p style="text-align: justify;">Painted with loose, deliberate brushstrokes,&nbsp;<strong>Shaun Berke</strong>&rsquo;s women are intimate depictions of the collapse of an ideological system. His paintings exhibit knowledge of classical composition which he molds to fit the requirements of his own fascination. This reconstruction is informed with �sensuality and an awareness of spiritual texts which manage to contemporize and re-cast Christian dogma.��</p> <p style="text-align: justify;">Rather than angling his faces in such a way as to recall the works of Rembrandt, Berke often chooses a direct eye line between subject and viewer. The line of demarcation between brightly illuminated and shadowy areas seems to be the product of thrust rather than the genteel comfort �of a planned sitting. By dramatizing the division of overwhelming clarity and brooding duskiness, Shaun impresses a diary of stolen moments into classic portraiture.��</p> <p style="text-align: justify;">&ldquo;It is about being human; about the desire for order, the untouchable; the id and conviction, clairvoyance and �transgression; a metamorphosis; a reticent hunger.&rdquo;</p> Sat, 18 Oct 2014 15:20:20 +0000 Knopp Ferro - Louis Stern Fine Arts - November 1st - January 10th, 2015 Sat, 18 Oct 2014 15:15:12 +0000 Alejandro Cartagena - Kopeikin Gallery - October 25th - December 20th <p style="text-align: justify;">"The past few years have found me obsessed with the idea of youth; fixating my attention to the different ways cultures construct the social meaning of this life period and how we are to act upon such settings. With these pictures I am looking to portray a moment of bliss in young adults who are shifting into a state of desired adult liberty and somewhat out of the construct they&acute;ve been born into. The images represent an instant of total disregard that offered them a flash of delight." - Alejandro Cartagena</p> <div style="text-align: justify;">RECEPTION &amp; BOOK-SIGNING*</div> <div style="text-align: justify;">SATURDAY, OCTOBER 25, 6:00 - 8:00 PM</div> <div style="text-align: justify;">*The artist will be signing copies of his recently published Monograph "Carpoolers" which received International acclaim</div> Sat, 18 Oct 2014 15:11:39 +0000