ArtSlant - Recently added en-us 40 Kristin Calabrese, Noah Davis, Ian Pines, Fran Siegel, Ali Smith, Etienne Zack - Wilding Cran Gallery - March 21st - May 2nd <p style="text-align: justify;">Wilding Cran Gallery is pleased to announce&nbsp;<em>Here Now: Six Works by 6 LA Artists</em>,&nbsp;a group exhibition featuring Kristin Calabrese,&nbsp;Noah Davis, Ian Pines, Fran Siegel, Ali Smith&nbsp;and Etienne Zack.&nbsp;</p> <p style="text-align: justify;"><strong><em>Here Now: Six Works by 6 LA Artists</em></strong><em>&nbsp;</em>will be on view March 21 - May 2, 2015 and features&nbsp;five large-scale paintings including new works by Noah Davis, Etienne Zack&nbsp;and a new mixed media sculpture by Fran Siegel. &nbsp;The exhibition is the gallery's first show dedicated to Los Angeles based&nbsp;artists and represents a&nbsp;wide variety of styles and impulses.</p> <p style="text-align: justify;"><strong>Kristin Calabrese</strong>&nbsp;received her MFA from UCLA in 1998, she lives and works in Los Angeles.&nbsp; Her paintings are imbued with multiple layers of meaning. Intentionally and intensely charged with psychological implications, the canvases eerily resonate on a subconscious level.&nbsp;Calabrese has exhibited with Gagosian, Leo Koenig, Saatchi Gallery, Susanne Vielmetter, amongst others, and is represented by Brennan &amp; Griffin in New York. Her work has been included in exhibitions at the Seattle Art Museum, WA, The Orange County Museum of Art, Newport Beach, CA, and the San Francisco Art Institute, CA. and is included in such prestigious collections as the Neuberger Berman, Saatchi, and the Armand Hammer Museum.&nbsp;</p> <p style="text-align: justify;"><strong>Noah Davis&nbsp;</strong>was born and raised in Seattle. &nbsp;He studied painting at Cooper Union and has lived and worked in Los Angeles since leaving school. His work&nbsp;explores the sadness and uncertainty of everyday life and African American history. Based on vintage photographs, art historical references, and his vivid imagination he creates&nbsp;psychological figurative paintings.&nbsp; He has an&nbsp;ongoing non-profit project titled Underground Museum. &nbsp;His paintings are in the collections at the Studio Museum in Harlem, The Rubell Family Collection in&nbsp;Miami, SF MOMA, and LACMA.&nbsp;<br /><br /><strong>Ian Pines</strong>&nbsp;received his BA in art from the University of California at Santa Cruz in 2007 and his MFA in painting from UCLA in 2010. He has exhibited his work at numerous venues throughout Los Angeles and the Southwest including Coagula Curatorial, California State University at Long Beach, the Manhattan Beach Art Center, Eastside Internationational, Creative ABQ, and the Santa Fe Art Institute.&nbsp;</p> <p style="text-align: justify;"><strong>Fran Siegel</strong>'s&nbsp;sprawling spatial constructions are depictions of time, movement, and change.&nbsp;Her drawings have recently been acquired by LACMA, the Museum of Contemporary Art, Los Angeles, and the Yale University Art Gallery. She represented the United States in the IX International Biennial of Cuenca, Ecuador. Other exhibits include the Center for Contemporary Art in Tel Aviv, Muzeum Stzuki in Lodz, Poland, and Nuova Icona in Venice, Italy, &ldquo;Slash&rdquo; at the Museum of Art and Design, and&nbsp; Lesley Heller Workspace in New York. Siegel is now working with the Fowler Museum at UCLA on a&nbsp;<em>Fowler in Focus</em>&nbsp;exhibition&nbsp;and has just been awarded a Fulbright to Brazil for this project&rsquo;s research. Siegel holds a Masters in Painting from Yale University School of Art and a Bachelor of Art in Art from Tyler in Philadelphia and Rome. She is currently a professor in The School of Art at California State University Long Beach.&nbsp;<br />&nbsp;<br /><strong>Ali Smith</strong>&nbsp;uses the canvas as an open space of exploration; an empty landscape that serves as the starting point for investigation into abstract terrains. &nbsp;Smith weaves together fleeting&nbsp;thoughts, moments of time, the fine lines between fact and fiction and subjective desires within her canvases, which in turn present the hopeful attitude of the artist, in the face of the realities of life and experience.&nbsp;Smith received her MFA from California State University, Long Beach (CA), and has since had solo exhibitions in New York, Houston and Los Angeles. She has been included in numerous group shows, including those at the Laguna Art Museum,&nbsp;Irvine Fine Arts Center, Center for the Arts, Eagle Rock, and Riverside Museum.&nbsp;Her work is included in the collections of the Laguna Art Museum, Frederick R. Weisman Foundation,&nbsp;and Progressive.&nbsp;Smith is represented by Mark Moore Gallery in Culver City and Mindy Solomon Gallery in Miami, and was the recipient of the Hoff Award in 2011 and the City of Long Beach Artist Grant in 2008.</p> <p style="text-align: justify;"><strong>Etienne Zack</strong>&nbsp;is a Canadian artist based in Los Angeles.&nbsp;His work considers how our collective writing of history is shaped by&nbsp;a reflection of those who write it, and is no less a conscious construction than the architectures which he paints and sculpts. He&nbsp;studied at Emily Carr University of Art and Design in Vancouver and Concordia University in Montreal.&nbsp;<br />Zack has been included in numerous group exhibitions internationally and his work can also be found in corporate and private collections in the United States, Europe, Scandinavia, Ireland, the UK and across Canada. Solo exhibitions have been mounted at the&nbsp;Montreal Museum of Contemporary Art,&nbsp;Montreal, Canada; Bergen Kunsthall, Bergen, Norway; Thomas Dane Gallery, London, England; Marina-Miranda, Madrid, Spain; Vision Machine, Surrey Art Gallery, Surrey, Canada; Blackwood Gallery at the University of Toronto, Mississauga, Canada and Equinox Gallery, Vancouver, Canada.&nbsp;</p> Sun, 29 Mar 2015 10:09:23 +0000 Kriwet - Cherry and Martin - 2732 - April 2nd - May 3rd <p style="text-align: justify;"><strong>Cherry and Martin is pleased to present the first West Coast solo exhibition of German artist Ferdinand KRIWET (b. 1942). The exhibition will include KRIWET&rsquo;s filmic works (sound-picture-collages), &ldquo;Apollovision" (1969/2005) and "Campaign" (1972-73/2005), as well as the hanging serigraphic piece, &ldquo;Text Dia&rdquo; (1970).</strong></p> <p style="text-align: justify;">KRIWET is pioneer in modern media art. In 1961, at the age of 19, KRIWET published his first book work, &ldquo;ROTOR,&rdquo; a text without capitalization or punctuation: his first foray into the idea that art is information and information is art. Well aware of figures like Yves Klein and John Cage, Kriwet was in communication with the important D&uuml;sseldorf dealer Jean-Pierre Wilhelm and his Galerie 22. KRIWET took a space in a building with Zero group artists Heinz Mack, Otto Piene and G&uuml;nther Uecker, and despite his youth, throughout the 60s, produced groundbreaking theater works, sound pieces and performances. KRIWET also made moving image works in conjunction with the Studio f&uuml;r Elektronische Musik (WDR, Cologne). These riotous happenings overlap, time-wise, with the activities of figures like Marshall McLuhan and Umberto Eco, and give some sense of KRIWET&rsquo;s important, if idiosyncratic, presence in post-war D&uuml;sseldorf. Continually interested in popular space, by the end of the decade, Kriwet took his activities to an even more public sphere, participating in the design for the legendary club, Creamcheese, the heart of artistic and radical cultural activity in D&uuml;sseldorf, directly adjacent to artist Konrad Lueg&rsquo;s new Konrad Fischer Galerie.</p> <p style="text-align: justify;">The Cherry and Martin exhibition begins with KRIWET&rsquo;s first trip to the United States, where KRIWET completed his monumental Mixed Media Project about the Apollo flight to the moon (1969), which consists of a radio text "APOLLO AMERIKA", a film "APOLLOVISION" and a book "APOLLO AMERIKA" published by Suhrkamp. The film version was shown nationwide on German television that same year. This project reflects KRIWET&rsquo;s deep interest in concrete poetry and his sense that the modern media landscape - experienced by the ordinary individual organically and through a range of mass communications &mdash; is a continuous text without a real beginning or end. Describing the piece, KRIWET writes at the time:</p> <p style="text-align: justify;"><em>&ldquo;To realize my radio text I went to a D&uuml;sseldorf travel agent and bought two plane tickets from D&uuml;sseldorf to New York. I flew to New York with an assistant and three stereo reporter tape recorders. I rented a room there at the FIFTH AVENUE HOTEL. Twenty-Four Fifth Avenue New York, N.Y. 10011 (rents payable in advance)&hellip;On 21 July 1969, the American Astronauts Edwin Aldrin, Neil Armstrong and Michael Collins orbited the moon as the first people-like-you-and-me with their &lsquo;Apollo 11&rsquo; spacecraft, landed on it with the lunar module or spider, and then returned from there back to the &lsquo;good earth.&rsquo; The theme of my audio text is the electronic publication of this project with telecommunications media, and not the project itself in its technical and scientific aspects and details.&rdquo;</em>&nbsp;(KRIWET, 1969).</p> <p style="text-align: justify;">In 1972, KRIWET came back to the United States to examine the 1972 primary season. The resulting work, &rdquo;Campaign" (1972-73/2005), records a remarkable cross-section of Americans &mdash; Shirley Chisholm, Patsy Mink, Hubert Humphrey, Eugene McCarthy, George Wallace and others &mdash; battling in one of the Democratic party&rsquo;s most bitter primaries. George McGovern, who ultimately won the nomination, then lost to Richard Nixon, who had just recently invaded Cambodia, and would soon resign as a result of the Watergate scandal. KRIWET&rsquo;s work brilliantly records the visual strength of images and graphs, advertising and text, and well as the emerging &rsquo;soundbite&rsquo;/&lsquo;talking head&rsquo; culture of American mass media, years before that idea had popular recognition.</p> <p style="text-align: justify;">KRIWET&rsquo;s work was the subject of a major 2011 retrospective co-organized by Kunsthalle D&uuml;sseldorf (D&uuml;sseldorf, Germany) and Galerie Im Taxispalais (Innsbruck, Austria). Other recent solo exhibitions include Fri-Art (2014, Fribourg, Switzerland); Museum Ludwig Department of Prints and Graphics (2011, Cologne); The Modern Institute (2008, Glasgow); and BQ(2013, 2010, 2008, 2004, Berlin). Cherry and Martin&rsquo;s exhibition reprises some aspects of KRIWET&rsquo;s first solo exhibition in the US, curated by Astrid Wege in 2010 at the Goethe-Institut&rsquo;s Ludlow 38 &ldquo;Kunstverein&rdquo; space in New York. KRIWET is represented by BQ. He lives and works in Dresden.&nbsp;</p> Sun, 29 Mar 2015 07:15:47 +0000 Jennifer Faist - Ruth Bachofner Gallery - March 29th - March 29th <p style="text-align: justify;">Ruth Bachofner Gallery is pleased to present an exhibition of new paintings by Jennifer Faist. There will be a reception for the artist Saturday, April 18, 5 - 7 PM.</p> <p style="text-align: justify;">Jennifer Faist creates perfectly smooth, reflective paintings that draw viewers into their vibrant, shimmering depths. While the artist's meticulously crafted work recalls the practices of the Finish Fetish work of the 60's, Faist curbs pure materiality and infuses her work with personal resonance.</p> <p style="text-align: justify;">Aiming to feminise the Minimalists that she admires, Faist approaches her work with a dedication to material integrity that also holds an emotional core. Alluding to nostalgia and memory, the artist appropriates patterns from clothing with which she associates specific, personal memories. The fabrics Faist uses have been collected over many years, and belong to her or people close to her.</p> <p style="text-align: justify;">The artist renders her chosen textile designs in fine detail and gradually envelopes the original form beneath layers of colored acrylic glazes. Each painting, suspended in resin on thick wood supports, becomes a relic of her past. Having just lost a parent to Alzheimer's disease, she has a particular interest in the process and meaning of recollection.</p> <p style="text-align: justify;">&ldquo;Our closets are treasure troves of memories,&rdquo; Faist states, &ldquo;and, as every garment is a reminder, every painting of these fabric patterns serves as a memento. The trompe l'oeil patterns buried in the depths of the paintings spark reflection on remnants of the past, but also the shiny surfaces literally reflect fragments of their present surrounds and the viewers themselves.&rdquo;</p> <p style="text-align: justify;">Jennifer Faist received her MFA from Claremont Graduate University. She lives and works in Los Angeles.</p> Sun, 29 Mar 2015 07:08:37 +0000 Sharon Weiner - Ruth Bachofner Gallery - April 18th - May 30th <p style="text-align: justify;">Ruth Bachofner Gallery is pleased to present&nbsp;<em>Beyond Words&nbsp;</em>by Sharon Weiner. There will be a reception for the artist Saturday, April 18, 5-7 PM</p> <p style="text-align: justify;">Sharon Weiner&rsquo;s abstract paintings emerge from a process of self-reflection and rigorous manipulation of paint. In her current series, Weiner trains acrylic paint into painterly volumes that seem suspended in various states of motion or metamorphosis. They are set in nebulous and vast, inky spaces made up of layer upon layer of paint that is alternately brushed, poured and airbrushed onto her canvases.</p> <p style="text-align: justify;">The forms in Weiner&rsquo;s work have a likeness to ridged topographies, cosmic bursts, rushes of water or a dramatic microscopic fission; they congeal and flare out in fluid, directional drips that appear to cast a light from within. While much of the dynamism in her work comes from the molten acrylic trills, the fluidity does not go unchecked. Weiner routinely harnesses the paint into structured, even hard-lined edges, offering a contrast to the organic forces. The free-associative aspect of the work emerges not from a love of pure materiality, but rather, translates an internal dialogue. Instead of embodying specific emotions, the artist gives a visual narrative of her process of accessing the inner voice that prompts the imagery in the paintings.</p> <p style="text-align: justify;">&ldquo;I give visual form to what experiencing my life feels like &ndash; indeed, to what awareness itself, an abstract concept, feels like,&rdquo; Weiner states. &ldquo;This embodiment of sensation and thought has always been the purpose of abstract art. In particular, I feel close to the transcendental tradition in postwar American abstraction, from Mark Rothko to Ross Bleckner and Philip Taaffe. Through this practice, I am able to manifest my regard for reality as a psychological rather than cultural dynamic. I see the artist&rsquo;s role as restating the internal psychological object through a language of images that make that object relevant to humanity.&rdquo;</p> Sun, 29 Mar 2015 07:08:26 +0000 David Adamo - Ibid. Los Angeles - March 31st - May 30th Sun, 29 Mar 2015 06:48:00 +0000 Robert Ginder - Lora Schlesinger Gallery - April 11th - May 23rd <p>Lora Schlesinger Gallery is proud to present Robert Ginder&rsquo;s <em>Apotheosis. </em>The show opens April 11<sup>th</sup> and runs through May 23, 2015. This will be our inaugural exhibition for our new gallery space at Bergamot Station. The exhibition is Robert Ginder&rsquo;s fourth solo show with the gallery.</p> <p>&nbsp;</p> <p>Robert Ginder&rsquo;s paintings are a devotional meditation on the material world. The exhibition <em>Apotheosis</em> focuses on the aggrandizement of conventional objects. Through the use of gold leaf and traditional painting techniques, Ginder creates venerable artifacts that elicit respect for subject matters that are ordinarily seen as mundane, so that they can be examined in a different light.</p> <p>&nbsp;</p> <p>His California suburban landscapes with golden skies are contemporary secular icons, reminiscent of 14<sup>th</sup> century Italian Renaissance paintings. The houses become icons for present day, reflecting the roots of our culture and our concept of &ldquo;home&rdquo;.&nbsp; The images become universal in the concept of a &ldquo;house&rdquo; and the fulfillment of human needs and dreams. A modern scene painted on wood panel with oil paint and gold leaf, brings the validity and veneration of an early sacred painting to a contemporary body of work that is timely and timeless.</p> <p>&nbsp;</p> <p>Ginder&rsquo;s still-life works heighten the traditional elements of a still-life painting, to accentuate the simplicity of each piece.&nbsp; The hyper-traditional imagery is presented in an unexpected larger-than-life scale, pushing the subject&rsquo;s inherent qualities. The effect makes the work contemporary by giving it a cinematic size and splendor.</p> <p>&nbsp;</p> <p>Robert Ginder lives and works in New York. His work has been exhibited internationally since 1984. In 2012, he was included in the Belvedere Castle &amp; Museum&rsquo;s <em>Gold</em> Exhibition, in Vienna, Austria. In 1992, he was the recipient of the New York Foundations for the Arts Fellowship. His work can be found in the collection of the Fisher Museum of Art at USC, Brooklyn Museum and the La Jolla Museum of Contemporary Art.&nbsp;&nbsp; &nbsp;</p> Fri, 27 Mar 2015 19:21:20 +0000 Erik Jones - Thinkspace - March 28th - April 18th <div> <div> <div style="text-align: justify;" align="justify">Concurrently on view in the Thinkspace project room are new works by Erik Jones in<em>Color/Full.&nbsp;</em>Originally from St Petersburg Florida, Jones currently lives and works in New York city. His technically complex mixed-media works combine the figurative with the geometric in seamless collusion and concert. Jones'&nbsp;'hyperrealistic figuration is offset by geometric patterns and momentums that seem to live and breathe as symbiotic organisms. The figure is ensconced by these colorful geometric expanses, as each"wears"&nbsp;the other and becomes virtually indivisible from its counterpart. Clothed by pattern and color, the body is set within and against expressionistic modules of sculpted graphic space. In his new body of work, Jones takes his penchant for spatial play and surreal composition to the next level in a series of Dimensional Paintings. These works invade the third dimension, literally, as surfaces peel from their supports, images slide from the walls, and paint pools on the floor.</div> <div style="text-align: justify;" align="justify">&nbsp;</div> <div style="text-align: justify;" align="justify">Jones begins his works by compiling a figurative reference from several photographic images, then designing harmonious geometric fields by compositing form, color and shape digitally. The composition is then projected and traced onto paper and materially executed with several painstaking layers of watercolor, ink, pencil, oil pastel and acrylic. This expert combination of illustration and painting techniques accounts for the depth and dimensionally of the work. The combination of graphic patterning, color blocking, line and hyperreal figuration meld into an entirely elevated visual plane of oppositional, and yet entirely confluent and continuous, axes. The visual delight of these paintings resides in this inspired reconciliation. The Dimensional Paintings take this impulse to the next level by revealing some of the materiality and process that remains otherwise concealed in the high finish of the work. This intentional disclosure of tension and process - a literal stripping and dismantling of planes - takes the paintings into a sculptural realm, revealing the artifice and construction of their dynamic oppositions.<span style="text-align: left;">&nbsp;</span></div> </div> </div> <div> <div> <div style="text-align: justify;" align="justify">As the title of the exhibition suggests, the work is<em>&nbsp;full;</em>&nbsp;saturated to the point of rupture, the paintings burst with color and movement, and spill unapologetically into real space and time.</div> </div> </div> Fri, 27 Mar 2015 15:36:38 +0000 Seth Armstrong - Thinkspace - March 28th - April 18th <div align="justify">Thinkspace is pleased to present<em>&nbsp;The Air is Thick&nbsp;</em>featuring new works by Los Angeles based artist Seth Armstrong. Armstrong's paintings self-consciously capture a sense of looking, arresting moments with cinematic detail and voyeuristic curiosity. Varying in scale, the paintings offer views that are alternately intimate and vast, moving expertly between the monumental and the minute. Laden with detail and suggestion, each piece offers a moment in the trajectory of a larger narrative, and the viewer is compelled to realign the fractures of these inconclusive moments. Hanging the works on suggestion rather than on the overt, Armstrong builds tension and excitement in every painting with the possibility and expectation of action. Surfeited with this palpable sense of permanent anticipation and arrest, the air is indeed thick enough to cut.<span style="text-align: left;">&nbsp;&nbsp;</span></div> <p align="justify">Originally from Los Angeles, Armstrong studied painting in Northern Holland&nbsp;and completed a BFA at San Francisco's California College of the Arts. His deft handling of oil paint clearly demonstrates a facility inspired by traditional painting techniques, and a material aptitude for the dense capture of light and color. The intense realism of his style is often tempered by a looser, more painterly approach, and by a stylized handling of light and dimension. With viscous luminosity and substantive flesh, qualities achieved with a seamlessly clean application, his works feel heavy with tactility and dense with tangible space and body. Armstrong's use of stark saturated contrasts is offset by a tendency towards stylized hyper-color, creating both depth and edge that exceeds the muted tones of the real. These contrasts achieve a sense of brooding visual tension that manages to evoke both nostalgia and strangeness simultaneously.</p> <p align="justify">In <em>The Air is Thick</em>, Armstrong continues to explore themes that have consistently fascinated his output: the intrigue of illicit looking, and the fine line between intimacy and trespass. Just as cinema manages to satisfy our innate love of voyeuristic access, so too do the paintings offer us views onto private lives that both frustrate and satisfy. The suggestion of constant narrative pervades even the stillest and least active views, as Armstrong reminds us of the secret recesses behind all closed doors and all quiet faces.</p> Fri, 27 Mar 2015 15:25:49 +0000 Ron Azevedo, barry rowan - The G2 Gallery - April 25th - April 25th <p>Come help raise awareness for the proposed Liberty Canyon Landbridge! Through the art of Southern California photographers, this group exhibit aims to show how many Los Angeles creatures (such as mountain lions, foxes, coyotes, deer, and lizards) would benefit from a wildlife crossing by decreasing car accidents, saving animals&rsquo; lives, and improving the genetic diversity of various species. Thanks to the dedicated work of groups such as the National Wildlife Federation, CalTrans, and the Santa Monica Mountains Fund the project has been granted $1 million from the State Coastal Conservancy, but to be shovel ready by 2018 an additional $3 million is still necessary to complete engineering, fund research, and facilitate outreach, education, and advocacy for the campaign. In addition to enjoying the wonderful art and learning about this nationally recognized effort, the $10 admission fee at the door includes wine, hors d&rsquo;oeuvres, an entry to the raffle, and complimentary valet in front of the gallery. All proceeds will be donated to the NWF. RSVP to to attend.</p> Fri, 27 Mar 2015 00:12:13 +0000 Jane Szabo - Phantom Galleries LA - - July 11th - August 1st Fri, 27 Mar 2015 03:15:20 +0000 Anthony Lepore - François Ghebaly Gallery - April 25th - June 6th Thu, 26 Mar 2015 17:27:39 +0000 Markus Bacher - SUSANNE VIELMETTER LOS ANGELES PROJECTS - April 11th - May 23rd <p style="text-align: justify;">Susanne Vielmetter Los Angeles Projects is pleased to announce our first solo exhibition with the Tyrolean painter Markus Bacher in Galleries 3 and 4. This is the artists first solo exhibition in the United States. Featuring Bachers new paintings, made in Los Angeles, onetwo painting focuses on a physical process of juxtaposition that follows individual and multi-layered decisions.<br /><br />Bachers paintings, which seem at first to be completely abstract, in fact teeter on the edge of representation, abstraction, and figuration, blurring the need for distinctions between these categories. In Bachers work a single gesture can evoke mountains, a swirl of script, movement and energy; an effect like sfumato fills the pictorial space with a suggestive, illuminated haze; and tiny figures emerge with such subtlety that one might suspect, at first, that they were imagined.<br /><br />"Words can kill paintings and defining through naming limits perception.<br /><br />The paintings explain themselves as themselves like a not forgotten handwritten love letter where the texture and quality of the paper simply felt right.&nbsp;<br /><br />For me part of the objective of painting is to reveal the time in<br />which we live and simultaneously engage in the disruption of that<br />perception. My emotions and subconscious inform and guide the continuing dialogue."<br /><br />--Markus Bacher, 2015<br /><br />Markus Bacher, (b. 1983, Kitzbhel, Austria) studied painting and tapestry at the University of Applied Arts in Vienna. He has had solo exhibitions at the Museum Stiegenhaus, Langenlois, Austria; the Galerie Goldener Engl, Hall in Tirol, Austria; and Contemporary Fine Arts, Berlin, Germany. Group exhibitions include the Biennale Giovani Monza, Serrone della Villa Reale Monza, Italy; Tiroler Landesmuseum, Ferdinandeum, Innsbruck, Austria; Red Bull Hangar-7, Salzburg and the Essl Museum, Klosterneuburg, Austria.</p> Thu, 26 Mar 2015 17:22:57 +0000 Tam Van Tran - SUSANNE VIELMETTER LOS ANGELES PROJECTS - April 11th - May 23rd <p style="text-align: justify;">Susanne Vielmetter Los Angeles Projects is pleased to announce our 6th solo exhibition with Tam Van Tran in Galleries 1 and 2. Dense rows of precious ceramic bottles surround Trans chaotic new paintings that explore the natural world and oppositional forces such as silence and noise, order and rupture.&nbsp;<br /><br />Trans return to painting on canvas favors immediate gesture and the language of abstraction. Profoundly tactile, these works employ markers, brushwork, stamping and collage. Partly inspired by the watercolors of John Marin, Tran's recent paintings are an orchestra of color, shape and gesture that produce a visual cacophony. Like jazz, the paintings are about improvisation and presence, the act and the process of making the work. Instead of acquiescing to the hermeneutic impulse, Tran invites the viewer for an encounter, to consider if the mystery of the world is the visible, not the invisible." *<br /><br />The petite ceramic vessels reference military and funerary formations, the family units of historical figures from Vietnam, and the number of characters in the English, Vietnamese and Sanskrit alphabets. These fragile treasures speak of time and heritage in contrast to the paintings, which explode before our eyes.&nbsp;<br /><br />If Trans paintings ask the viewer to allow her experience to remain in the realm of the visual and ineffable, the ceramics become vessels for memory and content. This duality is critical to Trans practice and the way his work is intertwined with his personal memories of childhood, war, emigration/ immigration and everyday situations including a stroll on the beach. In Exodus, viewers may meditate on the interaction of the past and present. How do memory and presence inform our experience? How do we hear the lessons of the past in the cacophony of the present?&nbsp;<br /><br />*Oscar Wilde<br /><br />Tam Van Trans work has been featured in solo museum exhibitions at the Blaffer Art Museum at the University of Houston, TX, and the Knoxville Museum of Art, TN and recent gallery exhibitions at Ameringer | McEnery | Yohe, New York, NY, and Anthony Meier Fine Art, San Francisco, CA. His work has been included in group exhibitions, such as Pattern: Follow the Rules, at the Eli and Edythe Broad Art Museum, Lansing, MI; east EX east, Brand New Gallery, Milan, Italy; the 2004 Whitney Biennial, Whitney Museum of American Art, New York, NY; in Paul Clay at Salon 94, New York, NY; Museum of Fine Art Houston, Houston, TX; the Institute of Contemporary Art Boston, MA; the San Francisco Art Institute, San Francisco, CA; International Paper, UCLA Hammer Museum, Los Angeles, CA; and in the Drawing Biennial at the Weatherspoon Art Gallery, The University of North Carolina, Greensboro, NC. His work is in the collections of the Museum of Modern Art, New York, NY; The Whitney Museum of American Art, New York, NY; the Hirshhorn Museum and Sculpture Garden, Washington, DC; the ICA Boston, Boston, MA; the Cleveland Museum of Art, Cleveland, OH; and the Museum of Fine Arts, Houston, TX, among others.</p> Thu, 26 Mar 2015 17:21:15 +0000 Héctor Bourges - REDCAT - May 13th 7:30 PM - 8:30 PM <p style="text-align: justify;">In this lecture-performance, H&eacute;ctor Bourges, a member of the Mexico City-based artistic collective&nbsp;<em>Teatro Ojo</em>, combines a series of gestures with images of historical events that have influenced the Mexican national identity project. Bourges explores a variety of staging forms and modes of performance (such as&nbsp;<em>nahualismo</em>, masks, metamorphosis, ventriloquism) to reveal common strategies of political powers.</p> <p style="text-align: justify;"><em>This lecture is part of a series of public programs leading to the upcoming project&nbsp;</em>Palabras Ajenas<em>&nbsp;at REDCAT, a proposal that revisits Argentine artist&nbsp;Le&oacute;n Ferrari&rsquo;s 1965 landmark piece of the same name. The research and curatorial line of this project includes a series of lectures and presentations that contextualize Ferrari&rsquo;s work historically and further investigate his processes and working method and related topics and issues.</em></p> Thu, 26 Mar 2015 17:08:10 +0000 Falke Pisano - REDCAT - May 9th - July 5th <p style="text-align: justify;">*The main concern of Falke Pisano&rsquo;s research-based practice is how, where and through what processes an art object is produced and produces meaning. Starting from a primarily sculptural practice, Pisano looks at the expanded sites and moments when a work of art is conceptualized, produced, viewed, discussed and represented. Her work includes lectures and presentations, installations of different configurations of objects, moving images of diagrams with voice-overs, photographs and written word, all of which create the multi-faceted artwork. Pisano&rsquo;s commissioned project looks at mathematics as a cultural construct, and is conceived as a set for a film of ten chapters with &lsquo;sets&rsquo; of very different forms, from a sculpture, to a display of&nbsp;objects on a table, to a script for a lecture or a PowerPoint presentation.&nbsp;</p> Thu, 26 Mar 2015 17:06:21 +0000 Gyung Jin Shin - Night Gallery - April 18th - May 23rd Thu, 26 Mar 2015 17:02:17 +0000