ArtSlant - Recently added en-us 40 Ramsey Dau - KM Fine Arts - November 3rd - December 23rd <blockquote> <div id="m_1997685292451783388rootDiv"> <div class="m_1997685292451783388OuterBGColor" align="center"> <table class="m_1997685292451783388OuterBGColor" width="100%" border="0" cellspacing="0" cellpadding="0" bgcolor="#E6E6E6"> <tbody> <tr> <td class="m_1997685292451783388MainWidth" rowspan="1" colspan="1" align="center" valign="top" width="630"> <div class="m_1997685292451783388MaxMainWidth" align="center"> <table width="100%" border="0" cellspacing="0" cellpadding="0"> <tbody> <tr> <td class="m_1997685292451783388BodyPadding" rowspan="1" colspan="1" align="center" valign="top"> <table width="100%" border="0" cellspacing="0" cellpadding="0"> <tbody> <tr> <td class="m_1997685292451783388OuterBorderColor m_1997685292451783388OuterBorder" rowspan="1" colspan="1" align="center" valign="top" bgcolor="#403F42" width="100%"> <table class="m_1997685292451783388InnerBGColor" width="100%" border="0" cellspacing="0" cellpadding="0" bgcolor="#FFFFFF"> <tbody> <tr> <td class="m_1997685292451783388EmailContainer" rowspan="1" colspan="1" align="center" valign="top" width="100%"> <table id="m_1997685292451783388content_LETTER.BLOCK22" width="100%" border="0" cellspacing="0" cellpadding="0"> <tbody> <tr> <td class="m_1997685292451783388ArticlePadding m_1997685292451783388MainText" rowspan="1" colspan="1" align="left" valign="top"> <div class="m_1997685292451783388ArticleHeadlineText"> <div class="m_1997685292451783388WordSection1"> <div>LOS ANGELES, CA&nbsp;(October 12, 2016) -&nbsp;<strong>KM Fine Arts</strong>&nbsp;is pleased to announce&nbsp;<strong><em>An Ocean Beneath the Sea,</em></strong>&nbsp;a solo exhibition of new hyperrealist paintings by&nbsp;<strong>Ramsey Dau</strong>, on view from&nbsp;November 3, 2016 - December 23, 2016&nbsp;at the gallery's West Hollywood location at 814 N. La Cienega Blvd, Los Angeles, CA 90069. An opening reception will be held on&nbsp;Thursday, November 3, from&nbsp;6-9pm&nbsp;with the artist in attendance. A catalog will accompany the exhibition and feature an essay by Arty Nelson.</div> <div>&nbsp;</div> <div>For Dau's second solo exhibition with KM Fine Arts he will feature ten new paintings, along with seven collages which served as compositional studies and his first three dimensional sculpture. Modern Painters will feature a biopic in their December issue on the occasion of this exhibition.</div> <div>Ramsey Dau's paintings exist in a space of tension between intuitive, subconscious composition and an intensely focused painterly practice. Informed by a collage aesthetic, his meticulously rendered paintings may appear to be multimedia works at first glance. Upon closer inspection, subtle hints of the artist's hand can be unearthed.</div> <div align="center">&nbsp;</div> <div align="center">&nbsp;</div> <div align="center"> <table class="m_1997685292451783388OneColumnMobile" width="560" cellspacing="0" cellpadding="0"> <tbody> <tr> <td rowspan="1" colspan="1" width="100%"> <div align="center"><img class="CToWUd a6T" src="" alt="" name="m_1997685292451783388_ACCOUNT.IMAGE.1222" width="560" border="0" hspace="0" vspace="0" /></div> </td> </tr> </tbody> </table> &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<em>Turning Inward</em>, 2015-2016, Acrylic on wood panel, 36 x 36 in.</div> <div>&nbsp;</div> <div>The components found in Dau's paintings are culled from his personal collection of imagery, text, knowledge of Art History, and his studies on human neuropsychology. His visual source material is in this body of work is amassed from local flyers, magazines, and construction paper. Dau's practice is based on aesthetics as dictated by what he refers to as his "internal compass". Contrived works are of no interest to him creatively; instead, his work serves as a minimalist roadmap to the subconscious mind. He explains:</div> <div><em>"At the end of the day, it comes down to aesthetics; I'm not trying to make some over statement or narrative in the work. It's more about listening to my internal compass in the collection and composition of subject matter, without an intellectual intention... Many of the works, after the fact, feel like they have a point of view and I like that the viewers are open to come to multiple interpretations about what the work is about."</em></div> <div>The most apparent source of tension in Dau's work can be understood when considering his technical approach to the physical act of painting alongside his intuitive composition process. Works in this exhibition range in size from 36 x 36 inches to 72 x 72 inches, each hand painted with painstaking precision. Critic Art Nelson best explains this dichotomy in his recent essay:</div> <div>"<em>Dau's many-stepped process offers the eye much to take in formally. Plainly put, the paintings are cool as shit to look at which as far as criterion goes beats everything. But beyond that-or rather, underneath that-lurks a powerful yin and yang; on one side, is the artist's commitment to craft and refine a vibrant piece of art while, on the other side, is the artist's conviction to protect, from even himself, the mysterious genesis of his compositions, the resulting fruits of Dau's ambitions endeavor look and feel like nothing else presently being produced.</em>"</div> <div><strong>&nbsp;</strong></div> <div class="m_1997685292451783388p1"><strong>About KM Fine Arts &nbsp;</strong><br />With locations in Chicago on Oak Street and West Hollywood in Los Angeles,&nbsp;KM Fine Arts, directed by curator Ana Hollinger, has been critically acclaimed for its museum-quality exhibitions since 2006. The gallery specializes in&nbsp;American and European artists of early modernism, postwar, and contemporary art-including&nbsp;the movements of&nbsp;Abstract Expressionism and&nbsp;Color Field painting.&nbsp;The gallery program includes works by Georg Baselitz, Norman Bluhm, Fernando Botero, James Brooks, Alexander Calder, John Chamberlain, Michael Goldberg, Hans Hofmann, Robert Indiana, Wolf Kahn, Alex Katz, Julie Mehretu, Joan Miro, and Lucien Smith, along with contemporary Ramsey Dau, Brandon Boyd, Erik Brunetti, Carole Feuerman, Kim Gottlieb-Walker, Dana Louise Kirkpatrick, Gary Lang, Victor Matthews, Geoff Moore, Ruth Pastine, Wilson Schlamme, Bernie Taupin, and Carinthia West.&nbsp;</div> </div> <div>&nbsp;</div> </div> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </div> </td> </tr> </tbody> </table> </div> </div> </blockquote> Thu, 27 Oct 2016 13:18:22 +0000 Group Show - L.A. Louver - November 16th - January 14th, 2017 <p>&nbsp;L.A. Louver is pleased to present a group exhibition curated by Los Angeles artist Gajin Fujita. &ldquo;Roll Call&rdquo; refers to tagging all of the names of a graffiti crew who work together to make a piece. Fujita&rsquo;s inspiration for both the show and its title is in this same spirit, recognizing individual contributors that create an overall picture &mdash; a vision of L.A</p> Wed, 26 Oct 2016 23:04:01 +0000 Billy Al Bengston - Samuel Freeman - October 29th 11:00 AM - 1:00 PM <p style="text-align: justify;">Samuel Freeman is pleased to present an exhibition of works by renowned painter&nbsp;<strong>Billy Al Bengston,</strong>&nbsp;ranging from 1962 to the summer of 2016.</p> <p style="text-align: justify;" lang="x-size-14">Billy&rsquo;s world is a clamor of paint. Tender Mexican watercolors hang alongside young macho acrylics from the mid seventies, four-foot-square gauntlets thrown down over forty years ago. Painted Ladies and Farmers Daughters share space with John Wayne and Count Dracula, repeating icons in infamously unsettling color combinations, so skillfully executed as to render them sweetly innocent.</p> <p style="text-align: justify;" lang="x-size-14">In an unusual twist for a Bengston show,&nbsp;<em>Billy Al&nbsp;</em>was not fully orchestrated by Billy Al. At 83 he still dominates most exhibits, curating and combining his own paintings as another way to construct a picture. Not in this case: for<em>&nbsp;Billy Al,</em>&nbsp;we dug into the archives when he wasn&rsquo;t looking. Any combination of color, year, medium or scale was up for grabs, revealing some of the subconscious connections created over the years.&nbsp; From the iconic 1960&rsquo;s Chevrons to the Dracula Irises of the summer of &lsquo;16, Billy Al rockets from sublime ocean horizons (Lost at Sea) to the raucous windowpane Hawaiian paintings of the 1990&rsquo;s. The 80&rsquo;s just won&rsquo;t die and the 70&rsquo;s claim the biggest walls. There&rsquo;s also a whole room of bitchin&rsquo; shirts.</p> Wed, 26 Oct 2016 17:17:40 +0000 Group Show - Moran Bondaroff - November 19th - December 17th Wed, 26 Oct 2016 17:08:39 +0000 Radhouane El Meddeb - Los Angeles Contemporary Exhibitions (LACE) - December 2nd - December 3rd <p style="text-align: justify;">LACE presents&nbsp;<em>O Solitude, My sweetest choice!</em>, a dance performance by Paris and Tunisia based choreographer <strong>Radhouane El Meddeb</strong>.</p> <p style="text-align: justify;"><strong>Radhouane El Meddeb</strong> is a choreographer and dancer from Tunisia, currently&nbsp;based in France. His work addresses taboos and normative expectations&nbsp;within Arab culture through dance. By transcribing feminine movements with&nbsp;the male body, El Meddeb explores and questions cultural understandings of&nbsp;sexuality and gender in Arab religion, mythology and contemporary&nbsp;representations in Western media.</p> <p style="text-align: justify;">Upon graduating from the Tunis Institute of Dramatic Art, El Meddeb was&nbsp;deemed the &ldquo;young hope of Tunisian theater&rdquo; and soon started to&nbsp;perform in France and Tunisia. He was trained in Toulouse by Jacques&nbsp;Rosner, and also worked with directors Lotfi Achour, Catherine Boskowitz&nbsp;and contemporary writers like Natacha de Pontcharra, Adel Hakim and Camille&nbsp;de Toledo. In Tunisia, he collaborated with major Arab artists such as&nbsp;Fadhel Jaibi, Taoufik Jebali and Mohamed Driss.&nbsp;El Meddeb created his first autobiographic solo &ldquo;Pour en finer avec&nbsp;Moi&rdquo; in 2005 and has since explored innovative ways of expressing&nbsp;motion in bodies that are anchored in traditional culture. Working alone or&nbsp;in collaboration with other artists (including Thomas Lebrun, Philippe&nbsp;Adam, Matias Pilet and Alexandre Fournier), El Meddeb has participated in&nbsp;social projects such as &ldquo;Mon corps, mon lieu in Saint-Denis,&rdquo;&nbsp;where he performed in front of an audience unfamiliar with contemporary&nbsp;dance. In 2011, El Meddeb created &ldquo;Chant d&rsquo;amour (Collectif 12),&rdquo; a duo based on works by Jean Genet (Notre Dame des Fleurs and&nbsp;Chant d&rsquo;amour); &ldquo;A L&rsquo;Etroit&rdquo; (CENTQUATRE, 2011)&nbsp;following an invitation from writer Philippe Adam and the Concordan(s)e&nbsp;festival; and &ldquo;Tunis le 14 janvier 2011&rdquo; for Meeting Point 6&nbsp;(2011). In 2012, he choreographed &ldquo;Nos Limites,&rdquo; a duo for circus&nbsp;performers (CENTQUATRE), and &ldquo;sous leurs pieds le paradis&rdquo;(2013)&nbsp;for the 2013 Biennale Homeworks 6 in Beirut, Lebanon. El Meddeb is a&nbsp;CENTQUATRE (Paris) associated artist since 2011.</p> <p style="text-align: justify;"><strong>SUPPORT</strong><br /> <em>O Solitude, My sweetest choice!</em>&nbsp;is made possible by The MAP Fund, a program of Creative Capital, primarily supported by the Doris Duke Charitable Foundation. Additional funds come from the Andrew W. Mellon Foundation.</p> Wed, 26 Oct 2016 17:02:37 +0000 Bruce Conner - Kohn Gallery - November 11th - January 14th, 2017 <p style="text-align: justify;">During SFMOMA and MoMA&rsquo;s large survey retrospective honoring the late Bruce Conner (1933 - 2008), Kohn Gallery premieres Conner&rsquo;s masterwork, the seminal A MOVIE (1958). Comprised of scavenged newsreels, B-movies, and coming attractions, A MOVIE has been described as the first contemporary &ldquo;found footage film.&rdquo; The sophistication in which Conner has crafted the work &ndash; a precision that would define his entire oeuvre across diverse media &ndash; belies any association with the readymade.</p> <p style="text-align: justify;">A MOVIE orchestrates a virtual symphony of disasters, including car crashes, explosions, war, and famine, as well as moments of grace &ndash; a tightrope act, a plane floating through clouds, or light reflected on water. The images in their specificity become archetype, and they attain a state of visual poetry that allows the viewer to feel their full emotional weight.</p> <p style="text-align: justify;">With his initial exploration in the film medium, Conner launched a lifelong career positioning moving image alongside collage, assemblage sculpture, drawing, painting, and photography; in this first film he reconceived notions of cinema itself. A MOVIE is deeply invested in exploring the tactile nature of its medium, where Conner found the perfect vehicle to explore the depths of the human experience in modernity.</p> <p style="text-align: justify;">In A MOVIE&rsquo;s joining of montage with Respighi&rsquo;s &ldquo;Pines of Rome,&rdquo; Conner also established a filmic language of music and image that he would refine in his work over the course of several decades. In this stroke, Conner managed to not only re-introduce film to the art world (after a relative absence dating to the 1930&rsquo;s), but invented the music video--an achievement later recognized by David Byrne and Brian Eno, who approached him to make films accompanying their classic &ldquo;My Life in the Bush of Ghosts.&rdquo;</p> <p style="text-align: justify;">The new 4K digital restoration of A MOVIE, conducted from Conner&rsquo;s original 16mm positive A-roll, is the second in a series of groundbreaking digital restorations which will ultimately preserve all of his films in unique limited editions of the highest quality. The first to receive this treatment, CROSSROADS (1976) was described in a feature-length essay in Artforum in 2013, and has been hailed as a new standard in the presentation and archiving of moving image.</p> <p style="text-align: justify;">About Bruce Conner</p> <p style="text-align: justify;">Born in 1933, internationally recognized American artist, Bruce Conner is best known for his assemblages, surrealist sculptures, avant-garde short films and detailed paintings and drawings. Conner&rsquo;s innovative film works, often utilizing montaged shots from pre-existing footage and incorporation of pop music for sound tracks, have inspired generations of filmmakers and considered to be precursors to the music video genre. He was a central figure in the San Francisco Beat scene of the 1950s and remained an active proponent of the counter-cultural movement, at large through his death in San Francisco in 2008.</p> <p style="text-align: justify;">The San Francisco Museum of Modern Art (SFMoMA) is currently exhibiting a major retrospective of work by Bruce Conner. The exhibition will be on view through October 2016 at MoMA, New York, and opens in <a href="" target="_blank">October 2016 at SFMoMA</a>. The retrospective is co-curated by SFMoMA's Rudolf Frieling, Curator of Media Arts and Gary Garrels, Senior Curator of Painting and Sculpture in collaboration with MoMA's Stuart Comer, Chief Curator of Media and Performance and Laura Hoptman, Curator of Painting and Sculpture. While offering a comprehensive selection of works spanning his career, this retrospective will underscore the parallels between Conner's work as an artist and as a filmmaker.</p> Wed, 26 Oct 2016 17:07:02 +0000 Yong Soon Min - Commonwealth and Council - November 19th - January 7th, 2017 Wed, 26 Oct 2016 16:52:15 +0000 Candice Lin - Commonwealth and Council - November 19th - January 7th, 2017 Wed, 26 Oct 2016 16:52:14 +0000 Sharon Ellis - Christopher Grimes Gallery - November 12th - January 7th, 2017 <div class="text"> <p style="text-align: justify;"><em>&ldquo;[Ellis&rsquo; paintings] give everything and ask nothing. Their scale betrays no demand for an august setting,&nbsp;no aspiration to public oratory or civic circumstance, no interference of the artist&rsquo;s heroic persona,&nbsp;or any urgent necessity to persuade.&rdquo;</em></p> <p style="text-align: justify;">- Dave Hickey</p> <p style="text-align: justify;"><strong>Christopher Grimes Gallery is pleased to announce a solo exhibition of new paintings by Sharon Ellis, representing her first ever show of works on paper</strong>. Ellis continues to mine the trajectory of Symbolism with its imaginary dream worlds, however now she has turned her attention toward making more intimate works on paper. Using light as the primary medium, Ellis juxtaposes light and dark values, creating seemingly sculptural forms and deep spaces. Her subjects are rendered with multiple layers of transparent glazes, resulting in surfaces that are spacious and immaterial. While it typically takes one year to make a work on canvas, this change in material and scale allows Ellis to work more spontaneously and offers her the opportunity to explore her ideas with greater fluidity.</p> <p style="text-align: justify;"><strong>Please join us for a conversation between&nbsp;Sharon Ellis and Hunter Drohojowska-Philp on Saturday, November 12 from 6:00-7:00pm. Seating is limited, please RSVP <a href="" target="_blank">here.</a></strong></p> <p style="text-align: justify;">We are pleased to share that Ellis is featured in the new book by Dave Hickey, <em>Twenty Five Women: Essays on Their Art</em>.</p> <p style="text-align: justify;">Sharon Ellis lives and works in Yucca Valley, CA. Her work is currently on view in the exhibition <em>Explode Every Day: An Inquiry into the Phenomena of Wonder</em>&nbsp;at MASS MoCA, North Adams, MA. Previous exhibitions include&nbsp;<em>Experience 19: Touch</em> at the El Segundo Museum of Art, El Segundo, CA (2015);&nbsp;<em>Eden&rsquo;s Edge: Art in L.A.</em> at the Hammer Museum, Los Angeles, CA (2007); and <em>POPulence</em> (2005), curated by David Pagel, which traveled throughout the United States. In 2002 the Long Beach Museum of Art organized a ten-year survey of Ellis&rsquo; work entitled <em>Evocations</em>, which traveled to the Contemporary Arts Center, Cincinnati, OH and the San Jose Museum of Art, San Jose, CA. Ellis was also included in <em>Flower Power</em> at Palais des Beaux-Arts in Lille, France (2004).</p> </div> Wed, 26 Oct 2016 16:49:59 +0000 Pia Fries - Christopher Grimes Gallery - November 12th - January 7th, 2017 <div class="text"> <p style="text-align: justify;"><strong>Christopher Grimes Gallery is pleased to announce an exhibition of new seascape paintings by Pia Fries</strong>. In this body of work, roiling seas and capsizing ships taken from the engravings of renowned Italian artist of the Baroque period, Stefano della Bella, act as the ground over which Fries applies bristling, vibrant color. The gestures of della Bella&rsquo;s engravings are echoed in Fries&rsquo; energetic application of paint while the white, negative spaces proffer respite from the storm.</p> <p style="text-align: justify;">Fries is featured in the new book by Dave Hickey, <em>Twenty Five Women: Essays on Their Art</em>.</p> <p style="text-align: justify;">Pia Fries lives and works in Dusseldorf and Berlin, Germany. She is an MA student of Gerhard Richter, having attended his painting classes at the Kunstakademie Dusserldorf from 1980 to 1986. Fries has been the subject of solo exhibitions at Kunstplattform AKKU, Emmenbr&uuml;cke, Lucerne, Switzerland (2015);&nbsp;Staatliche Kunsthalle Karlsruhe, Germany (2011); and Kunstmuseum Winterthur, Winterthur, Switzerland (2007). Her work has been included in the group exhibitions, <em>freshly painted</em>, Brother Klaus Museum, Sachseln (2014);&nbsp;<em>Yes, No, Maybe,</em>&nbsp;Artists Working at Crown Point Press, National Gallery of Art, Washington, D.C. (2013);&nbsp;<em>The Doubled Image</em>, Kunstmuseum Solothurn, Switzerland (2013); <em>Landscape Confection, </em>Wexner Center for the Arts, Columbus, OH (2005); <em>Beau Monde</em>, SITE Santa Fe Biennial, curated by Dave Hickey (2001); and the <em>Venice Biennale </em>(1999). Fries&rsquo; work is held in the collections of the Los Angeles County Museum of Art, CA; Museum of Contemporary Art San Diego, CA; Albright-Knox Art Gallery, NY; Kunstmuseum Bonn, Germany; and Kunsthaus Zurich, Switzerland, among others.</p> </div> Wed, 26 Oct 2016 16:48:23 +0000 - Blum & Poe - November 12th - December 17th Wed, 26 Oct 2016 16:42:43 +0000 Alexander Tovborg - Blum & Poe - November 12th - December 17th Wed, 26 Oct 2016 16:41:27 +0000 Ha Chong-hyun - Blum & Poe - November 12th - December 17th Wed, 26 Oct 2016 16:41:26 +0000 Jan Albers - 1301PE - November 11th - December 20th Wed, 26 Oct 2016 16:36:17 +0000 Ragen Moss - Redling Fine Art - October 27th - December 3rd Wed, 26 Oct 2016 16:28:46 +0000 - Machine Project - November 3rd 8:00 PM - 9:00 PM <h3 style="text-align: justify;">Come down to Machine Project <strong>Tuesday, November 3rd at 8pm</strong>, for a lecture on <em>The Thermostatic Interior</em> by UCLA architectural historian Michael Osman.</h3> <p style="text-align: justify;">The lecture will trace the development of the thermostatic interior through the nineteenth century, and show this artifact to be one consequence of &ldquo;a principle of regulation&rdquo; that gave purpose to environmental mechanisms in both the home and factory.</p> <p style="text-align: justify;">From Michael: &ldquo;The historical process of coordinating these mechanisms into systems reveals the construction of certain boundaries that we now take for granted: interior and exterior, work and home, architect and technician, material and immaterial, visible and invisible, mechanism and organism. As environmental instruments were transferred from industrial to domestic contexts, the lecture will show that they became central to a managed &ldquo;economy of labor&rdquo; in the household and thus fundamental to the definition of its modernity.&rdquo;</p> Wed, 26 Oct 2016 16:25:04 +0000