ArtSlant - Recently added en-us 40 Nicolas Grenier - Luis De Jesus Los Angeles - November 8th - December 20th <p style="text-align: justify;">Luis De Jesus Los Angeles is very pleased to present&nbsp;<strong>NICOLAS GRENIER:&nbsp;</strong><strong><em>One Day Mismatched Anthems Will Be Shouted in Tune</em></strong>, on view from November 8 through&nbsp;December 20, 2014. An artist's reception will be held on&nbsp;Saturday, November 8, from&nbsp;6:00 to 8:00 p.m.Grenier, who splits his time between Montreal and Los Angeles, is currently participating in the 2014&nbsp;Biennale de Montreal,&nbsp;<em>L'avenir (Looking Forward),&nbsp;</em>at the Mus&eacute;e d'Art Contemporain de Montr&eacute;al. This is his first solo exhibition with the gallery.</p> <p style="text-align: justify;"><em>One Day Mismatched Anthems Will Be Shouted in Tune</em>&nbsp;relays the cruel optimism of political ideals and proposals. On one hand, we rely upon systems to protect the legitimacy of living life, and on the other hand, these systems continually fail us--proving to be antagonistic and serving their own idealized representation rather than their subjects. Nicolas Grenier's work channels this cycle of faith, obedience and betrayal--within and towards systems--through a careful mapping of color and text.</p> <p style="text-align: justify;">The paintings in this show propose a dialectical tension between the perceptual and the didactic as visual and verbal signs are deployed into complex forms of abstraction and representation. Based on the interaction between concept, language, color and form, these systems evoke conflicting ideologies, changes in the social order and issues of inclusion and exclusion. Arrows and other representational minutiae of bureaucracy function as signifiers for the strategic planning models of corporate and government enterprise, while the use of text creates an indexical relation to specific ideas and concepts outside the painting--yet the meaning of these words remains relative to the colors and shapes which they are attached. &nbsp;&nbsp;</p> <p style="text-align: justify;">For Grenier, color functions as a kind of ecosystem to house the social, political, and cultural systems that serve as points of departure within the work. Gradation is used as a scalable, mutable device for organizing the paintings into large, concentric forms, as well as the interface through which we experience smaller letter forms and vectors. Thus, color plays a double agent: working to both solidify meaning (produce readability) and obscure signs as they become recognizable. Grenier's intuitive but highly ordered system of depiction amounts to a schema that reveals abstraction as both a system of control through this confounding means, and also a possible respite from the administrative, logistical, and quantitative--reigniting the color field in service to the politics of subjectivity.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The result is a perverse (and darkly humorous) play on these standardized design mechanisms' desire to "chart" material things systematically. As words begin to function less as graphic elements and content dissolves into the color field, Grenier's modular jewels become sites for contemplation. Neither illustrations of ideas, theories or opinions, these works invite us to reconsider the issues and concepts outside of their usual framework, offering a complex visual experience that slows down our reading of the works and brings us to a mindful state that helps to facilitate a form of critical engagement--less strictly cerebral and more intuitive--a place of meditation where the political dissolves into the philosophical.</p> <p style="text-align: justify;">&nbsp;&nbsp;</p> <p style="text-align: justify;">Nicolas Grenier received his BFA from Concordia University, Montreal, in 2004 and his MFA from CalArts, Los Angeles, in 2010. He lives and works in Los Angeles and Montreal, and has exhibited regularly in Canada, the U.S. and Europe. Recent exhibitions include&nbsp;<em>Schemas/Assorted Templates</em>, galerie Art M&ucirc;r in Montreal;&nbsp;<em>Chroma-Syst&egrave;me</em><em>, C</em><em>entre Bang (Espace S&eacute;quence), Montreal;&nbsp;</em><em>Promised Land Template</em>, Commonwealth &amp; Council, Los Angeles;&nbsp;<em>The Road</em>, Luis De Jesus, Los Angeles;&nbsp;<em>Marginal Revolutions</em>, KUAD Gallery, Istanbul;&nbsp;<em>The Work of The Work</em>, University of California, Santa Barbara;&nbsp;<em>Building on Ruins,</em>&nbsp;Cirrus Gallery, Los Angeles;&nbsp;<em>Color Consciousness</em>&nbsp;and&nbsp;<em>The Subterraneans,&nbsp;</em>Torrance Art Museum;&nbsp;<em>Untitled Tower/Brutalist Treehouse</em>, Concord, Los Angeles;&nbsp;<em>Corner-Thru</em>, Choi&amp;Lager Gallery, Cologne, and Union Gallery, London; and,&nbsp;<em>Proximities</em>, galerie Art M&ucirc;r, Montreal. His work is included in the Loto-Qu&eacute;bec Collection, the Mus&eacute;e Nationale des Beaux-Arts du Qu&eacute;bec (CPOA collection), as well as numerous corporate and private collections.</p> Fri, 31 Oct 2014 07:38:16 +0000 Shirley Irons - Gallery Luisotti - November 1st - January 3rd, 2015 <p style="text-align: justify;">Gallery Luisotti is pleased to announce&nbsp;<em>galleries, etc.</em>, an exhibition of paintings by Shirley Irons.<em>Galleries, etc.</em>&nbsp;continues Irons&rsquo; long interest in capturing partial and provocative views of quotidian spaces of a certain category. The series views galleries in such a way to suggest that at times, and perhaps increasingly, context and the identity of the particular space overbears not only the work on display but potentially the visitors to that space as well. These paintings, varied in their color schema and scale, act as a counterbalance and suggest ways to work through the anxieties provoked by ostensibly neutral environments.&nbsp;<br /><br />Started about five years ago in the midst of a global financial crisis and continued through the lethargic rebuilding of capitalist markets, this series depicts stereotypically inert gallery spaces at once removed from the world at large and sharing in the desolation of spirit that filters in through an occasional window. Galleries have always been austere places of contemplation, but at the time this series was produced, another form of austerity took hold. Austerity as a coherent and seamless system is short-circuited by the way Irons handles paint; she chooses to accentuate and not conceal her facture. Hard surfaces and edges across the series are softened to a comical degree. Where one expects to find a pristine wall, Irons substitutes in a paint finish that expresses no qualms about being the work of human hands. On the contrary, the play of light and shadow that is an increasing rarity in uniformly lighted gallery spaces is emphasized as a way of expressing the contingency of viewing conditions&mdash;over the course of a day or several years. Black Gallery and Greene Naftali reveal a range of atmospheric conditions; the former is totally subdued save for sporadic glare on the wall from the spotlights overhead, and the latter is bathed in the late afternoon glow that gives the room a coppery tinge and turns the floor a murky teal shade.&nbsp;<br /><br />Although it is tempting to subscribe to the notion that all galleries are formulaic and homogenous in appearance, Irons proves that through sustained and deliberate looking, a startling heterogeneity lies in wait. In 976 Madison Avenue, cool, earthy tones sketch out an anonymous corner of the Gagosian&rsquo;s Upper East Side outpost while in John McCracken at Zwirner, a muted champagne room is nearly completely bisected by a pillar of black, white and gray. In two still lifes, Irons produces a sampling of the innumerable things that fall under the umbrella of et cetera in the show&rsquo;s title. For a brief moment they reintroduce aspects of life outside the gallery.&nbsp;<em>Galleries, etc.</em>&nbsp;playfully deprecates the insider shorthand and shortspeak that is rife within the spaces on view, but in the formal care Irons takes with her subject, a serious consternation and contemplation, suggestively hopeful, is also on view.&nbsp;<br /><br />_____<br /><br />Shirley Irons, born Pittsburgh, PA, lives and works in New York and is a Professor of Fine Art at the School for Visual Arts. Irons' work has been shown internationally and has been part of group shows at Pera Museum, Istanbul; McDonough Museum, Youngstown, Ohio, Islip Museum, Long Island; Rosamund Felson Gallery, Santa Monica; and in New York City at Murray Guy, Postmasters, Caren Golden Gallery, Patrick Callery, Alexander Bonin, Emily Harvey Gallery, Leubsdorf Gallery at Hunter College, the Clocktower, P. S. 1 and Threadwaxing Space. NYC. She has had solo exhibitions at White Columns, The Queens Museum, Tyler Gallery at Temple University, Staniar Gallery at Washington and Lee University, and Luisotti Gallery, Santa Monica, where she is represented. Her work has been written about in the LA Times, New York Times, Art Papers, Art Monthly, Time Out, Flash Art, Bomb, Acme, among others, and she was profiled in The New Yorker Talk of the Town.</p> Fri, 31 Oct 2014 07:32:17 +0000 Skullphone, Sabio - New Image Art Gallery - November 8th - November 29th <p style="text-align: justify;" align="justify">New Image Art, Los Angeles is pleased to present a 2 person exhibition of recent paintings and ceramics by Sabio and Skullphone&nbsp;from&nbsp;November 8th&nbsp;to&nbsp;November 28th, 2014. Titled "OMBRE", this exhibition reflects both artist's ongoing investigation of the relationship between the chaotic streets which they communicate consistently and the calm inviting space of the studio or Gallery. Both Artist's seek a balance and a way to settle their identities in a world unknown, drawn from mystery and surprise to a consistent blend of pattern and form, shaping their own unique language inspired within the endless urban sprawl.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">About Sabio:</p> <p style="text-align: justify;">For the last ten years Sabio has been living between Rio De Janeiro and New York City, thus superimposing a cultural identity and unique approach to both tropic and skyscraper dualities.&nbsp;Drawing inspiration from these divergent cultures and refining his own visual and conceptual vocabulary, a body of work has emerged from his travels, inspired by a focus on historical allegories, spiritualism, architecture, fashion, and an exploration of the dichotomy of life and death. Sabio has been painting and documenting the outdoor urban landscape for over two decades, both in the United States and abroad. This is his first showing with New Image Art.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">About Skullphone:</p> <p style="text-align: justify;">Skullphone returns to New Image Art with a looser hand and a richer context beyond his stark black and white imagery. He's spent the past 5 years painting pointillistic imagery inspired by outdoor digital signage and emerges with a discerning eye for pattern. As an active participant in the posting of street work for the past 15 years, Skullphone's work draws attention to the act of mark making, paint application, and the lifestyle of daily ritual.</p> Fri, 31 Oct 2014 07:29:47 +0000 Jesse Fleming - 356 Mission - November 2nd 4:30 PM - 6:00 PM <p style="text-align: justify;">Guided meditation by Jesse Fleming&nbsp;<br />Pure tone sound meditation by Lewis Pesacov&nbsp;</p> <p style="text-align: justify;">Please join us&nbsp;November 2 at 4:30pm, under the light of the setting sun, for a special&nbsp;Sunday&nbsp;Sit with guest Lewis Pesacov. Composer of the shimmering soundtrack for "The Halftime Show," Lewis will dial his oscillators in to the astral realm and guide us beyond the veil. After your journey, we will celebrate the conclusion of the this iteration of Jesse's&nbsp;<a href="" target="_blank">"Halftime Show"</a>&nbsp;with some light fare and tunes from Yung Lode. Hope to see you there!&nbsp;</p> Fri, 31 Oct 2014 07:22:10 +0000 Siri Kaur - Cohen Gallery - November 6th - December 23rd <p style="text-align: justify;"><em>You know, I&rsquo;d like to thank the whole world. I love America. It&rsquo;s been really good to me, man.&nbsp;</em><em>And the only thing that saved me from drug addiction and alcohol and allows me to be here&nbsp;now is having this kind of face.&nbsp;How the heck did I know I was gonna look like the man, Jack? I am what America can foster, if you allow America to work in your life.</em></p> <p style="text-align: justify;">-Joe Richards, Jack Nicholson Impersonator&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Cohen Gallery is pleased to present&nbsp;<em>This Kind of Face</em>, an exhibition of photographs and videos by Los Angeles-based artist Siri Kaur.&nbsp;</p> <p style="text-align: justify;">The works on view are selected from an ongoing series Kaur started in 2006 to capture impersonators who spend much of their daily life as costumed celebrity look-alikes. Kaur initially set out to photograph the moment when the subject of a photograph lets down their guard and cracks appear in the everyday performance of the idea of self. Impersonators offer an exaggerated instance of this schism, representing conflict on the surface of their bodies in the uncomfortable conflation of their everyday existence with the aggrandized construction they attempt to embody. We see the impersonator in an ordinary, natural habitat: Cyndi Lauper on a motel mattress, Abe Lincoln in a Southern California backyard.&nbsp;</p> <p style="text-align: justify;">As we look closely at the subjects of Kaur&rsquo;s photographs we see people who are not quite living out fantasies of being the rich and famous. Rather, they are look-alikes in the business of being a doppelganger, providing a tangible vessel for the audience&rsquo;s already media-saturated imagination. Like her subjects, who fashion themselves after specific glamorized Hollywood and media constructions, Kaur found herself over the course of the project impersonating the production of celebrity photographers such as Richard Avedon and Bruce Weber. &nbsp;The formal structures of her photographs morphed as she expanded the scope of her practice. She imitated Hollywood industry headshots and US Weekly paparazzo pictures, and created her own 4x5 photographic versions of Warhol&rsquo;s Marilyns and dictators. In other images, mundane moments reveal themselves, rendered both poignant and uncanny by Kaur's formal eye: Superman talking on the telephone, Saddam Hussein cracking a smile, Marilyn Monroe shyly crossing her hands together. Together the pictures in&nbsp;<em>This Kind of Face&nbsp;</em>function as playful hybridic references to the multiplicity of possibilities existing within the expansive field of photographic portraiture</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">SIRI KAUR received her M.F.A from The California Institute of the Arts, and an M.A. and B.A. from Smith College. Her work has been exhibited nationally, including solo shows at Blythe Projects (LA), 99 Cent Plus (NY), and The Vermont Center for Photography (Brattleboro, VT) and group shows at the Aperture Foundation (NY), The Portland Museum of Art (Portland, ME), Angles Gallery (LA), Soho Photo Gallery (NY), The Camera Club of New York, The Torrance Museum of Art, and The California Triennial of Photography at the Museum of Photographic Arts (San Diego). Kaur&rsquo;s work has been reviewed in&nbsp;<em>ARTFORUM</em>,&nbsp;<em>art ltd.,</em>&nbsp;<em>Art Practical, The Los Angeles</em>&nbsp;<em>Times</em>, and&nbsp;<em>The Washington Post</em>, and has been featured in&nbsp;<em>Marie Claire, Installation Magazine</em>,&nbsp;<em>Of the Afternoon</em>, and&nbsp;<em>The Huffington Post</em>. In 2014 Leroy Press published Kaur&rsquo;s first monograph,&nbsp;<em>This Kind of Face</em>. She lives and works in Los Angeles, where she serves as Associate Professor at Otis College of Art and Design. &nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p><a href=";msgid=1883695&amp;act=PMBA&amp;c=621185&amp;" target="_blank">Please Follow Link to Siri Kaur-&nbsp;<em>This Kind of Face</em>&nbsp;Facebook Event Page</a></p> Fri, 31 Oct 2014 07:08:33 +0000 9999, Allan Kaprow, Gordon Matta-Clark, Gianni Pettena, Robert Smithson, UFO - Los Angeles Contemporary Exhibitions (LACE) - November 6th 7:00 PM - 9:00 PM <p style="text-align: justify;"><strong>Join LACE and Sci-Arc in celebrating the closing of Beyond Environment on&nbsp;Thursday November 6, 7-9PM.</strong><br /><br /><em><a href=";id=f70a999a10&amp;e=55639b7d50" target="_blank"><strong>Beyond Environment</strong></a></em>&nbsp;explores the potent interchange between architecture, Land Art, and Performance Art that emerged through Italian architect Gianni Pettena&rsquo;s idealized collaboration with American artists Allan Kaprow and Robert Smithson in the 1970s.&nbsp;<strong>Featuring works by Gianni Pettena, Allan Kaprow, Robert Smithson, UFO, 9999, Gordon Matta-Clark</strong>.<br /><br />Curated by Emanuele Piccardo and Amit Wolf, the exhibition showcases contractual, electroacoustic, and video aspects of Pettena&rsquo;s work, alongside Kaprow&rsquo;s&nbsp;<em>Happenings&nbsp;</em>and a forgotten collection of drawings that Smithson created in preparation for&nbsp;<em>Asphalt Rundown</em>&nbsp;(1969) in Rome. These are supplemented by the works of Italian groups UFO and 9999, as well as an environment-dialog between Pettena and the Los Angeles based collective Pentagon, which recreate anew this important architecture-art complex.&nbsp;&nbsp;&nbsp;<br /><br /><strong>Read more about&nbsp;<em>Beyond Environment&nbsp;</em><a href=";id=716118afed&amp;e=55639b7d50" target="_blank">here</a>.</strong></p> Wed, 29 Oct 2014 09:41:54 +0000 Erika Lynne Hanson - Monte Vista - November 1st - November 23rd <p style="text-align: justify;">&ldquo;<em>Landscape:</em>&nbsp;a fantasy of not belonging to the totality of life of a terrestrial expanse,</p> <p style="text-align: justify;">traditionally taking the form:&nbsp;<em>you belong to us we, do not belong to you</em>.&rdquo;</p> <p style="text-align: justify;">- Robin Kelsey,&nbsp;<em>Landscape As Not Belonging</em>&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Landscape is one of few circumstances where the thing and a representation of the thing share the same terminology. It is this space and overlap that&nbsp;<em>Excerpt from Location.........&nbsp;</em>investigates, specifically which qualities of a place are highlighted, altered, or lost when depicted through (or as) an object.&nbsp;</p> <p style="text-align: justify;">Focusing on the surreal, mundane, and sublime landscapes that exist at the edges of more developed spaces, the show explores the translation of a view in fabric, video, and sculpture. Whether a video or a weaving, information is always lost and added by the method of representation, i.e. pixels jumping, a lens distorting, the linearity of a weaving, or the limitations of the hand.&nbsp;</p> <p style="text-align: justify;">The installation brings together textiles, video projections and related objects (such as plants, rocks, or shelves) that work to create their own scene for the viewer to interact with&mdash;a new landscape. &nbsp;</p> <p style="text-align: justify;">Erika Lynne Hanson&nbsp;creates weavings, videos, and installations that connect diverse materials, histories, and places. Running through her work is a concern with the&nbsp;<em>idea</em>&nbsp;of landscape; specifically how landscape exists, by definition, as a view or representation&mdash;a space or scene that can never be reached physically. Hanson received a MFA from California College of the Arts, and holds a BFA in Fiber from The Kansas City Art Institute. Her work has been exhibited in various locations including Los Angeles, Kansas City, San Francisco, New York, Iceland, Chicago and Minneapolis. Hanson is a Charlotte Street Foundation Visual Art fellow and has been artist in residence at Real Time and Space in Oakland CA, and The Icelandic Textile Center in Blonduos, IS. In 2012 she co-founded 1522 Saint Louis<em>,&nbsp;</em>an experimental project space in Kansas City. Hanson is currently Assistant Professor of Fibers/Socially Engaged Practices at Arizona State University.</p> Wed, 29 Oct 2014 09:33:22 +0000 Matt Connors, Bernard Piffaretti, Michael Rey - Cherry and Martin - 2732 - November 8th - January 3rd, 2015 <p style="text-align: justify;"><strong>*Cherry and Martin is pleased to announce an exhibition of selected works by Matt Connors, Bernard Piffaretti and Michael Rey.</strong></p> <p style="text-align: justify;">Thanksgiving hours: Closed November 27-29.<br />Winter holiday hours: Closed December 25-27, 31 and January 1. Open regular hours December 28-31 and January 2-3.</p> Wed, 29 Oct 2014 09:28:51 +0000 - Human Resources - November 1st 8:00 PM - 10:00 PM <p style="text-align: justify;">Join us for a live taping of experimental music and video curated by Obfuscated Records in collaboration with Experimental Half-Hour. This event is curated by Adrian from Obfuscated Records; it is more Romeroesque than the traditional Day of the Dead celebration.&nbsp;<a href="" target="_blank">FB event page</a>.&nbsp;8PM</p> Wed, 29 Oct 2014 09:25:47 +0000 Nick Waplington - Little Big Man Gallery - November 7th - January 7th, 2015 <p style="text-align: justify;">Little Big Man Gallery is pleased to announce <em>A Good Man&rsquo;s Grave Is&nbsp;</em><em>His Sabbath, </em>on view November 7, 2014 through January 7, 2015, featuring the work of acclaimed British contemporary photographer Nick Waplington. The exhibition presents two bodies of Waplington&rsquo;s work that have been recently published as limited edition photography books, <em>Made Glorious Summer </em>and <em>Surf Riot</em>. For this exhibition<em>,&nbsp;</em>the photographs will be presented alongside a selection of the artist&rsquo;s drawings, and various memorabilia from Waplington&rsquo;s collection of fanzines, books, records, concert tickets and T-shirts that he collected from 1979 through 1986, the period of time that relates to the photographic works on view. The artist reception will be on Friday, November 7 from 6 - 9pm with a DJ set by Waplington, featuring music from his 7inch singles collection. A limited-run zine designed by the artist will also accompany the show.</p> <p style="text-align: justify;"><em>Made Glorious Summer </em>is a compilation of photographs taken by Waplington between 1979 and 1984, the period when a storm of post-punk music swept across the United Kingdom. Bombarded by such things as politics, women, photos, and records, the young Waplington was eager to understand the world, as well as himself. &ldquo;I was figuring things out &ndash; figuring the world out, and figuring myself out. How this period led me to create art is what is recorded in the photos, records, and the odds and sods I kept from the period 1979 to 1984,&rdquo; explains Waplington. This body of work also tells another story about that time, and about the past and the future. The story of Waplington&rsquo;s family and particularly of his father &ndash; a man who centered his life on the idea of human progress.</p> <p style="text-align: justify;">The black and white photos in <em>Made Glorious Summer </em>represent the artist&rsquo;s earliest work. There are also a small number of color images taken during this period, which also documents his family moving from Woking, Surrey to Steyning, West Sussex, the work was conceived in 2009 while Waplington looked after his father in the family home during the final stages of his battle with cancer.</p> <p style="text-align: justify;"><em>Surf Riot </em>captured the scene at Huntington Beach on August 31,1986. On that morning Waplington had been planning to watch the OP Surf Pro Championships, instead upon arrival to the event he discovered that a massive riot had broken out amidst the event's estimated 100,000 spectators. Having only one roll of 24 exposure film, Waplington documented the chaos exploding around him in 25 concise frames. The photographs within <em>Surf Riot </em>contradict the standard imagery associated with American surf culture from the 1980s. Unlike other youth revolts, this surf riot bears little in the name of protest; it was merely a spontaneous eruption of violence just for the sport of it.</p> <p style="text-align: justify;">Waplington is noted for capturing photographs of his family and friends, of places and events that he has witnessed first hand. <em>Made Glorious Summer </em>and <em>Surf Riot </em>are two bodies of work that connect the artist&rsquo;s distant memories and link them together in the mind of the viewer.</p> <p style="text-align: justify;"><strong>About Nick Waplington </strong></p> <p style="text-align: justify;">British artist Nick Waplington (b. 1965) was initially recognized and encouraged by Richard Avedon, who discovered him in a photography class at the Royal College of Art in London and compared him to a modern-day Brueghel or Rubens. Throughout Waplington&rsquo;s career he has created a number of acclaimed photographic books including <em>Living Room </em>(1991), <em>Other Edens </em>(1993), <em>The Wedding </em>(1994) <em>Safety in&nbsp;</em><em>Numbers </em>(1996), <em>Truth or Consequences </em>(2001), Surf Riot (2011). Solo exhibitions include The Philadelphia Museum of Modern Art (1992), Photographer&rsquo;s Gallery (1995), the Underwood Street Gallery (1999), and the Whitechapel Art Gallery (2007). In March 2015, the Tate Britain will present Waplington&rsquo;s collaboration with Alexander McQueen that documented the late designer&rsquo;s final Autumn/Winter collection, <em>Horn of Plenty. </em>In addition, Waplington&rsquo;s work was exhibited at the 2001 Venice Biennale and is held within a number of international collections, including The Museum of Modern Art, The Guggenheim, and the Victoria and Albert Museum.</p> <p style="text-align: justify;"><a href="" target="_blank"></a></p> Wed, 29 Oct 2014 06:02:24 +0000 - Torrance Art Museum - November 8th - December 5th <p>The <strong>Torrance Art Museum at the Joslyn Center (TAM)</strong> invites the public to attend TAM&rsquo;s Annual <strong><em>2013</em></strong> <strong><em>South Bay Focus </em></strong>Exhibition.Opening reception is on <strong>Saturday, November 8, 2014 from 6 &ndash; 9 p.m</strong>. The opening reception is free to the public and no RSVP is necessary. The exhibition will be <strong>on view from Tuesday, November 11 - Saturday, December 5, 2014. The museum is open Tuesday through Saturday from 11a.m. to 5 p.m</strong>.&nbsp;</p> <p>&nbsp;</p> <p><strong><em><span style="text-decoration: underline;">South Bay Focus</span></em></strong></p> <p><strong><em>South Bay Focus</em></strong> is Torrance Art Museum&rsquo;s annual Contemporary and Traditional Juried art exhibition. The <strong>2014 South Bay Focus</strong> is presented in conjunction with the<a href="" rel="nofollow"> <strong><em>Torrance Artists Guild</em></strong></a> and the <a href="" rel="nofollow"><strong><em>South Bay Watercolor </em></strong><strong><em>Society</em></strong></a>. This year's Juror is Scott Canty, Director and Curator of the Los Angeles Municipal Art Gallery.</p> <p>&nbsp;</p> <p>The Torrance Art Museum is the premiere visual art space to view contemporary art in the South Bay. It is a program of the City of Torrance Cultural Services Division of the Community Services Department. The Cultural Services Division is responsible for City sponsored arts and culture initiatives held at the Torrance Cultural Arts Center and throughout the City.</p> <p>&nbsp;</p> <p>Additional information about special events and upcoming arts programming at the Torrance Art Museum can be requested by email at <a href="" rel="nofollow"></a> or by calling 310-618-3846.</p> Tue, 28 Oct 2014 18:26:52 +0000 - Various Small Fires - November 15th - December 20th <p><a style="color: black;"><em>Accompanying sound program curated by John Tain</em></a></p> <p>&nbsp;</p> Mon, 27 Oct 2014 15:38:31 +0000 Margaret Lee - Team Gallery - November 16th - January 25th, 2015 <p style="text-align: justify;">Team (gallery, inc.) is pleased to announce a solo show of work by New York-based artist Margaret Lee. Entitled&nbsp;<em>Reading Into Things</em>, the exhibition will run from 16 November 2014 through 25 January 2015. Team (bungalow) in located at 306 Windward Avenue in Venice, CA. Concurrently, our 47 Wooster Street and 83 Grand Street spaces in New York will house exhibitions by Andreas Schulze and Sam Samore, respectively.</p> <p style="text-align: justify;">Decontextualization serves as the fulcrum of Margaret Lee&rsquo;s practice. Frequently pairing readymades with alternately fabricated and hand-crafted objects, the work consistently interrogates modes of display, transforming the act of presentation into a subject unto itself. The works employ their context to generate meaning; as artifice supplants substance, questions of content are rendered irrelevant.</p> <p style="text-align: justify;">Lee&rsquo;s objects and materials are loaded with immediately identifiable referents, all of which can be read as metonymic or metaphorical surrogates for broader concepts like femininity, masculinity, commodity or self-reflection. However, her interest is not merely in evoking these notions, but in interrogating the act of signification, and the ways in which the viewer receives and processes symbols.</p> <p style="text-align: justify;">Reveling in the detritus of established good taste, Lee&rsquo;s work intentionally evokes many of the common trappings of contemporary art, mimicking and appropriating the clich&eacute;d tropes relied upon by artists and their supporting institutions, transforming objects of luxury into objects of ridicule.</p> <p style="text-align: justify;">Margaret Lee has exhibited widely both stateside and internationally. She participated in the 2013 Lyon Biennale and the Hammer Museum&rsquo;s 2014 <em>Made in L.A. </em>biennial. Recent shows include&nbsp;<em>Margaret Lee/Emily Sunblad</em>, Off Vend&ocirc;me, Dusseldorf, <em>New Pictures of Common Objects</em> (with Trisha Baga, Lucas Blalock, Josh Kline and Helen Martin), MoMA PS1 and <em>Closer to Right than Wrong / Closer to Wrong than Right</em>, Jack Hanley Gallery. In 2009, Lee founded the artist-run space 179 Canal, and is currently a partner at the gallery 47 Canal. Lee lives and works in New York City.</p> <p style="text-align: justify;">Lee was first included in the group show <em>Parasitic Gaps, </em>curated by Miriam Katzeff, at Team in 2013. This is her first solo exhibition at the gallery.</p> Mon, 27 Oct 2014 15:37:23 +0000 Tricia Lawless Murray - Jancar Gallery - November 16th - December 20th Mon, 27 Oct 2014 15:37:18 +0000 Rachelle Sawatsky - Harmony Murphy Gallery - November 22nd - December 27th Mon, 27 Oct 2014 15:30:50 +0000 Anton Zolotov - Harmony Murphy Gallery - November 22nd - December 27th Mon, 27 Oct 2014 15:30:43 +0000