ArtSlant - Recently added en-us 40 Jenni Olson - Spielberg Theatre at the Egyptian - August 2nd 7:30 PM - 10:00 PM <p><strong>Los Angeles Filmforum presents </strong></p> <p><strong>The Royal Road, by Jenni Olson</strong></p> <p><strong><strong>Sunday Aug 2, 2015, 7:30 pm </strong></strong></p> <p><strong>At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles CA 90028</strong></p> <p>Filmmaker Jenni Olson in person!</p> <p>&ldquo;A breathtaking cinematic essay&hellip;a masterpiece.&rdquo;<strong>&mdash; </strong>Sam Fragoso, <a href="" rel="nofollow">Roger</a></p> <p>&ldquo;A beguiling meditation&hellip;.serenely accomplished.&rdquo; &mdash; Dennis Harvey, <a href="" rel="nofollow">Variety</a></p> <p>&nbsp;</p> <p>From acclaimed filmmaker Jenni Olson, THE ROYAL ROAD is a stunning feature-length cinematic essay that offers up a primer on the Spanish colonization of California and the Mexican American War alongside intimate reflections on nostalgia, butch identity, the quest for unattainable women, and Alfred Hitchcock&rsquo;s <em>Vertigo</em>&mdash;all against a contemplative backdrop of 16mm urban California landscapes, and featuring a voiceover cameo by Tony Kushner.</p> <p>For more event information: <a href="" rel="nofollow"></a>, or 323-377-7238&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>Tickets: $10 general, $6 students/seniors; free for Filmforum members.&nbsp; Available by credit card in advance from Brown Paper Tickets at <a href="" rel="nofollow"></a> or at the door.</p> <p><span style="text-decoration: underline;">Screening</span></p> <p><strong><em>The Royal Road</em></strong> (2015, USA, 16mm/HD, color, 65 minutes)</p> <p>Jenni Olson, Writer-Director-Voiceover; Sophie Constantinou, Cinematographer; Dawn Logsdon, Editor; Jim Lively, Sound; Julie Dorf, Producer</p> <p>A cinematic essay in defense of remembering, <em>The Royal Road</em> offers up a primer on the Spanish colonization of California and the Mexican American War alongside intimate reflections on nostalgia, butch identity and Alfred Hitchcock's <em>Vertigo</em> &mdash; all against a contemplative backdrop of 16mm urban California&nbsp; landscapes, and featuring a voiceover cameo by Tony Kushner.</p> <p>I strive in my films to achieve a combination of essayistic personal reflection,&nbsp; romanticized fictional narrative, the sharing of lesser-known histories &mdash; all&nbsp; against a backdrop of carefully composed urban landscape images. Deceptively simple California urban landscapes serve as the framework for the film's lyrically-written voiceover which combines rigorous historical research with a stream-of-consciousness personal monologue and relates these seemingly disparate stories from an intimate, colloquial perspective to tell a one-of-a-kind California tale. Shot on 16mm film and contemplatively crafted of long takes, <em>The Royal Road</em> is a film about landscapes and desire, memory and history - and the stories we tell.&nbsp;</p> <p><strong>Jenni Olson</strong> is one of the world's leading experts on LGBT cinema history and is currently VP of e-commerce at Her debut feature film, <em>The Joy of Life</em>, world premiered at the 2005 Sundance Film Festival and went on to play a pivotal role in renewing debate about the need for a suicide barrier on the Golden Gate Bridge, as well as earning the 2005 Outfest Award for Outstanding Artistic Achievement and the 2005 NewFest Award for Best U.S. Screenplay. Jenni&rsquo;s most recent short film, 575 Castro St. premiered at Sundance and the Berlin Panorama in 2009. Commissioned for the release of Gus Van Sant&rsquo;s <em>Milk</em>, the film can still be seen online at the Milk website, on the Sundance YouTube Screening Room page, and in a permanent installation at 575 Castro Street (home of the Human Rights Campaign Action Center &amp; Store).</p> <p>In 1995 Jenni was one of the founders of where she established the massive queer film industry resource, PopcornQ and pioneered the first online showcase for LGBT short films (the PlanetOut Online Cinema). More recently she co-founded the first global LGBT streaming movie platform, She is on many advisory boards including the Outfest/UCLA Legacy Project for LGBT Film Preservation, and Canyon Cinema. She is also on the board of the San Francisco Jewish Film Festival and is very proud to be the co-founder of the legendary Queer Brunch at Sundance. She frequently serves as an advisor to filmmakers and is currently a consultant on Deb Shoval&rsquo;s new lesbian feature, AWOL (now in pre-production).</p> <p>As a film collector and archivist Jenni&rsquo;s historical movie trailer programs (including the ever-popular: Homo Promo, which is now available on DVD) have been shown at film festivals around the world, as have her many short films and videos. In addition to her vast curatorial experience (including stints at the Minneapolis/St. Paul and San Francisco LGBT Film Festivals) Jenni has written extensively about LGBT film since 1985 for publications too numerous to mention.</p> <p>---------------<br /> This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; Bloomberg Philanthropies; and the Mike Kelley Foundation for the Arts. Additional support generously provided by American Cinematheque. We also depend on our members, ticket buyers, and individual donors.</p> <p>Los Angeles Filmforum is the city's longest-running organization screening experimental and avant-garde film and video art, documentaries, and experimental animation.&nbsp; 2015 is our 40<sup>th</sup> year.</p> <p>Memberships available, $70 single, $115 dual, or $50 single student</p> <p>Contact us at</p> <p>Find us online at</p> <p>Become a fan on Facebook and follow us on Twitter @LosAngFilmforum!</p> Mon, 27 Jul 2015 19:49:49 +0000 Adam Linder - 356 Mission - July 25th 3:00 PM - 5:00 PM Fri, 24 Jul 2015 05:58:03 +0000 - Various Small Fires - August 6th 7:30 PM - 8:30 PM <p style="text-align: justify;">Join us&nbsp;for&nbsp;<a href=";id=0537c05c57&amp;e=725de708a3" target="_blank"><strong>Subject To Change</strong>,</a>&nbsp;a VSF panel discussion&nbsp;<strong>Thursday,&nbsp;August 6th,&nbsp;7:30pm</strong>.<br /><br /><strong>Andrea Fraser<br />Amelia Jones<br />Vanessa Place</strong><br /><strong>Hamza Walker</strong><br /><br />Moderated by&nbsp;<strong>Esther Kim Varet</strong><br /><br />Panelists discuss the role of the artists, curators, and critics&nbsp;in addressing work that escapes its intended institutional frame, and the question of the unforseen audience response.&nbsp;Art is always site-specific, even if that site is the general site of the gallery. If artists are responsible for the representations of their art and curators responsible for its framing, and critics for its external contextualization, what becomes of these responsibilities when art generates an unanticipated response? What happens when a work&rsquo;s context, and arguably, content, shifts because of unrelated current events or its reception by a more general (non-art) public? In the age of social media and the involuntary archive, can art ever remain within the field of art?<br /><br />This panel has been organized in conjunction with VSF's&nbsp;current exhibition,&nbsp;<a href="" target="_blank"><em>The Slick &amp;&nbsp;The Sticky</em>.&nbsp;</a></p> Fri, 24 Jul 2015 05:54:39 +0000 Luis E. Camejo - ROBERT BERMAN GALLERY B7 - July 25th - August 15th <div style="text-align: justify;">ROBERT BERMAN GALLERY is pleased to present Habana Cool - an exhibition of paintings by Cuban artist Luis E. Camejo. Depicted in vast dimension, Camejo captures the sultry and nocturnal cosmopolitan life of Havana. In Camejo's eye, the city is dripping, moving and resonating the heat of Cuban life. Pre-revolutionary cars scream through puddles, the skies, the horizon, the cement pavement merge into one, and the pedestrians blur into the urban landscape.&nbsp;</div> <div style="text-align: justify;">Curated by LA art impresario Adolfo V Nodal, this exhibition brings the latest paintings by the artist to Santa Monica. Some of his new themes depict the ever changing city and new images that are the result of an expanded crop of visitors from the US and elsewhere.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">"...Luis Camejo has consistently captured city life in Havana in all its gritty, humid and bright splendor. Havana has often been compared to Paris and for good reason. The city has its own breathtaking vistas and bohemian culture. Camejo sees the city exactly how you see it and shows you what it looks like in your dreams..." said Adolfo V. Nodal.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Habana Cool brings Havana movement to the Santa Monica summer. The artist will be present at the exhibition's opening night July 25th.</div> Fri, 24 Jul 2015 05:50:42 +0000 Shana Lutker - Susanne Vielmetter Los Angeles Projects - July 25th 4:30 PM - 5:30 PM <p>Artist's lecture on the Surrealist fistfight at the Banquet of Saint-Pol-Roux on July 2 1925.</p> Fri, 24 Jul 2015 05:47:47 +0000 Tamara Henderson - China Art Objects Galleries - July 25th 6:00 PM - 8:00 PM <p align="center">Week 7, now on view:&nbsp;</p> <p align="center"><strong>Tamara Henderson,&nbsp;<em>The Scarecrow's Holiday</em></strong></p> <p align="center">&nbsp;</p> <p align="center">And on<strong>&nbsp;Saturday July 25th from 6-8pm,</strong></p> <div align="center">please join us for a talk by writer&nbsp;<strong>Alexander Keefe&nbsp;</strong>on dancer&nbsp;<strong>Viola Farber,</strong></div> <p align="center">with a partial screening of Merce Cunningham's&nbsp;</p> <p align="center"><em>Crises&nbsp;</em>(1961)</p> <p style="text-align: justify;">On week seven, Tamara Henderson introduces a new sculpture, a scarecrow, a decoy.&nbsp;A large figure, mid-motion, part-human part-architecture, a totem extending into the exhibition.&nbsp;</p> <div style="text-align: justify;">Alongside it's entrance, on Saturday July 25th, writer Alexander Keefe will give a public talk on Merce Cunningham company dancer (and Black Mountain College student) Viola Farber, accompanied by screened excepts of her films and performances. This talk will focus on&nbsp;<em>Crises</em>, a tense tangle of a dance, choreographed by Cunningham in 1960 and performed with Farber.&nbsp;In 1961 this piece was translated into film by Helen Priest Rogers, co-founder of the Dance Notation Bureau and a compelling figure important to any discussion of dance on film, as well as the history of attempts at "preserving" dance (via notation, film and photography). Lastly, sometime between 1960 and 1961, Jasper Johns produced a mysterious painting titled&nbsp;<em>Portrait - Viola Farber</em>, one which, we might suppose, is his own translation of the physical, emotional and creative knot that Viola Farber found herself at the center of, as a dancer and a witness.</div> <p style="text-align: justify;">&nbsp;And so, through&nbsp;<em>Crises&nbsp;</em>(the dance, the film, the painting) and Farber's story, Keefe's talk will bring up the question of how much of a dance (and a time) can be captured or preserved, if any, and what does it mean to flatten dance onto a screen (or a painting), to steal its temporality?</p> <p style="text-align: justify;">--</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Tamara Henderson</strong>&nbsp;is an artist based in Vancouver with recent solo shows at the ICA Philadelphia, the&nbsp;Konsthalle Stavenger in Norway and Rodeo Gallery in London. Later this year, she is will be a participating artist to the&nbsp;Glasgow International in Glasgow, Scotland. &nbsp;&nbsp;</p> <p style="text-align: justify;"><strong>Alexander Keefe,</strong>&nbsp;a freelance writer based in Claremont CA, writes about art, media, aesthetics and Indology for Bidoun, East of Borneo, and others. Recent articles include "Lord of the Drone: Pandit Pran Nath and the American Underground" in&nbsp;Bidoun&nbsp;20, "Whirling in the West" in&nbsp;Bidoun&nbsp;23, and "Aleph-Null" in&nbsp;Bidoun&nbsp;27. Keefe studied Sanskrit and Indian studies at Harvard University and was an assistant professor at Ohio University. In 2010 he was the recipient of the Warhol Foundation Art Writers Grant.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">--&nbsp;</p> <p style="text-align: justify;">ps: This is Week 7 of a summer-long exhibition, This Sentence, whose artists and ideas are accumulating. The exhibition will run from&nbsp;June 6th to August 22nd. It is organized by Public Fiction at China Art Objects and will present the work of (in order of appearance): Becket Flannery, Gregory Kalliche, Sascha Braunig, Jibade-Khalil Huffman, Emily Mast, Ryan Gander, Tamara Henderson, Helen Marten and Pascual Sisto.&nbsp;</p> <p style="text-align: justify;">As well as a program of screenings including: John Smith, Merce Cunningham, Sophia Al-Maria, Charles Atlas,&nbsp;Ericka Beckman, Derek Boshier, Joan Jonas, Ohad Fishof, Tzion Abraham Hazan, Babette Mangolte, Sara Magenheimer, Rashaad Newsome, Shahryar Nashat, A. Michael Noll, Martine Syms, and a few more to be announced soon... There will be performances staged by Ryan Gander, and Adam Linder, as well as a conversation with writer Alexander Keefe.</p> Fri, 24 Jul 2015 05:42:26 +0000 - Lancaster Museum of Art and History - July 18th - September 8th <p><span style="font-family: helvetica; font-size: medium;">In the Main Gallery, MOAH is showcasing The Art of Toys: A Left Coast Retrospective of Designer Toys, guest curated by Julie B. from Pretty in Plastic and Heidi Johnson of Hijinx Artist Management &amp; PR. This exhibition will feature the top artists and brands that have come to define this art movement over the past twenty years and will spotlight the influential history of Art Toys. More than 80 artists, stores, and manufacturers will be included in this exhibition. Artists include: Gary Baseman, Luke Chueh, Tristan Eaton, Frank Kozik, Joe Ledbetter, Buff Monster, Kathie Olivas, Brandt Peters, Mark Ryden, Greg (CRAOLA) Simkins, and more. Stores/brands include: Circus Posterus/Stranger Factory, DKE Toys, Giant Robot, Meltdown, Munky King, Necessary Toy Foundation, Pretty In Plastic, Silent Stage Gallery, Soap Super 7, 3D Retro, and Toy Art Gallery. In conjunction, MOAH will be transforming the first floor Vault Gallery into Collect: Art Toys and Prints, a specialized store offering limited edition collectables.</span></p> Thu, 23 Jul 2015 19:56:46 +0000 Group Show - Los Angeles Municipal Art Gallery at Barnsdall Park (LAMAG) - July 26th - September 20th <p>Presented by&nbsp;<strong>the City of Los Angeles Department of Cultural Affairs, Los Angeles Municipal Art Gallery</strong>&nbsp;at the historic Barnsdall Park. Taking place from July 26th through September 20th, this pioneering biennial exhibition provides emerging artists from across Southern California with a competitive opportunity to exhibit their work.</p> <p>&nbsp;</p> Wed, 22 Jul 2015 19:23:58 +0000 Robert Overby - Cherry and Martin - August 8th - September 19th <p style="text-align: justify;"><strong>Cherry and Martin is pleased to present Robert Overby (1935-1993):<em> See Robert</em>, a solo exhibition spanning three decades of the formidable artist's career including sculptures, works on paper, neon and paintings.</strong><br /> <br /> Like many earlier artists, Robert Overby has spent years trying to emulate old master techniques of surface and paint handling. While a student at the Chicago Art Institute in the 50&rsquo;s he roamed the painting galleries. "Although I&rsquo;ve been doing fine art only for a few years (1969)," he says, "I can still remember liking what I still like today. Even as advertising students, the Museum galleries always seemed to be part of our assignments.&rdquo; In fact, the frustration of his inability in his attempts to blend oil painting and achieve the &lsquo;look&rsquo; sent him on some interesting tangents for the first few years of his fine artists career. Then a friend of a friend gave him some home-brew painting medium formulas and voila!, old master technique. He still makes medium and paint. "It&rsquo;s cheaper,&rdquo; he says.<br /> <br /> Overby&rsquo;s interest in Baroque era paintings doesn&rsquo;t, however, extend to their narrative content, "I have to reconstruct the painting in my mind to see whether there are putti or not, but the form and feeling are very strong,&rdquo; he remarks, "and the drawing," he adds. Since ancient art concerns seems so far removed from today&rsquo;s Overby feels that the precedent for realistic art is primarily the mass media, "Photography in particular was important to me as a designer - shapes I didn&rsquo;t draw myself I had photographed - and as a way of seeing it still fascinates me.&rdquo; Another source is commercial illustration, pocket book covers in particular, "The 40&rsquo;s and 50&rsquo;s had some marvelous illustrators," and although their style of painting had died out for years, "it&rsquo;s come booming back on the cover of romance novels,&rdquo; he says happily. "When I was going to school here in Los Angeles, there were also great handpainted billboards around, like the Gas Company boards, for instance. There&rsquo;s a (billboard painting of the) head of &lsquo;David&rsquo; at Forest Lawn in Glendale now that&rsquo;s a knockout, a real good painter." Overby continues, "Most representational artists shy away from the commercial stuff&hellip;I like it!&rdquo; So much for precedent.<br /> <br /> It all has to do with the accessibility of image, Overby says, and he sees nothing wrong with the old saws, it&rsquo;s what you do with them that counts, he claims. Overby&rsquo;s painted collage images belie their source and original intent, like as not forming a kind of grim sociological footnote. His art in the 70&rsquo;s had something to do with the burgeoning of pornography then and still extant. Plus it turned up at his fingertips, "My Hollywood Boulevard studio - at the crotch of Hollywood and Sunset - had a sometime porn printer nearby. I used to raid his dumpster,&rdquo; he says, "The press sheets I&rsquo;d find were all the things that could go wrong with a printing press; smears caused by dryers and water balance problems, muscular and registry, images that looked like what some N.Y. painters are doing today,&rdquo; he laughs.<br /> <br />One direction Overby&rsquo;s art is taking at present time is in what he calls his &lsquo;Disparate Women&rsquo; series painted from paperbacks,"Late 50s paperback covers are something else,&rdquo; he comments, "sexy woman victims, and we wonder at our present reality." Overby tends to be an observer, even a voyeur, rather than a moralizer, which puts him at odds with some. He seldom glosses his content, bringing up serious questions of responsibility. On this he takes the First Amendment.*</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">*All of the above text was written by Robert Overby at some point in the 1980&rsquo;s and released by him as an informal, quasi-promotional pamphlet (one of a set of six pamphlets published by the artist). At the time he wrote these words, Overby had chosen to operate largely outside the art world. He was judge and jury for himself and his artistic output, much as he had been since the publication of his &lsquo;red book,&rsquo; <span style="text-decoration: underline;">336 to 1: August 1973-July 1969</span> in 1974. Robert Overby passed away in 1993.<br /> <br /> Overby&rsquo;s work was recently the subject of a major solo museum survey, <em>Robert Overby: Works 1969 &ndash; 1987</em>, curated by Alessandro Rabottini [Centre d&rsquo;Art Contemporain (Geneva, Switzerland); travelled to Galleria d'Arte Moderna e Contemporanea di Bergamo (Bergamo, Italy), Bergen Kunsthall (Bergen, Norway) and Le Consortium (Dijon, France)]. Robert Overby: Works 1969 &ndash; 1987 was accompanied by a major publication of the same title. Robert Overby&rsquo;s work is in such collections as Metropolitan Museum of Art (New York); Museum of Modern Art (New York); Whitney Museum of American Art (New York), Weatherspoon Art Museum (Greensboro); Art Institute of Chicago (Chicago); San Francisco Museum of Modern Art (San Francisco); Museum of Contemporary Art (Los Angeles); Los Angeles County Museum of Art (Los Angeles); Hammer Museum (Los Angeles); and Museum of Contemporary Art (San Diego).</p> Sat, 25 Jul 2015 17:20:11 +0000 Katy Cowan, Takuro Kuwata, William J. O’Brien, Adam Silverman - Cherry and Martin - 2732 - August 22nd - September 19th <p style="text-align: justify;"><strong>Cherry and Martin is pleased to present <em>Try again. Fail again. Fail better</em>. This exhibition examines four artists&rsquo; explorations of ceramics and the inherent nature of its process, contributing authentic voices to the conversation surrounding clay. Artists working today are continually embracing modes of the medium, often freeing it from the rooted sense of tradition and functionality, but ever interested in the physical &lsquo;making&rsquo; of art. The show title, taken from Samuel Beckett&rsquo;s 1983 prose <em>Worstword Ho</em>, emphasizes the chance driven process that is often part of working with clay. Multiple attempts are made, fired, re-fired, glazed, glazed again, assembled, re-assembled, and so forth. The unfolding of this progression is ultimately what draws us to the final objects.</strong></p> <p style="text-align: justify;">Katy Cowan&rsquo;s slip cast ceramic objects are conceptual signifiers of her practice&rsquo;s larger purpose: repeating object, idea and meaning through multiple castings. A hammer, for example, is cast over and over again becoming a painterly ceramic parody of itself before being put back to use as a studio tool. Often incorporated into larger installations with other craft oriented media such as hand braided and dyed ropes, Cowan&rsquo;s ceramic objects index her own physical approach to making work in her studio.</p> <p style="text-align: justify;">Young Japanese artist, Takuro Kuwata, draws from tradition, but his haphazard approach to the medium is both innovative and exploratory. Kuwata&rsquo;s work combines eastern tradition with western technique. This duality manifests itself in pop colored vessels and mounds encrusted with metallic drips atop ruptured surfaces of clay that have been blown apart from a firing technique called Ishihaze or &ldquo;stone explosion."</p> <p style="text-align: justify;">William J. O&rsquo;Brien&rsquo;s practice expands well beyond ceramics and includes collage, drawing, painting, tapestries and sculpture. His ceramic works are both impulsive and primitive in their making, but pay keen attention to color, pattern and form. Ceramic pieces are stacked atop one another as totem-like forms and can feel both playful and irregular. However, O&rsquo;Brien&rsquo;s distinct visual language is that of an artist drawing from history, language, popular culture, and ethnogaphic narratives.</p> <p style="text-align: justify;">Adam Silverman&rsquo;s ceramic vessels are rooted in the centuries-old tradition of throwing clay. However, Silverman is as much of an installation artist as a ceramicist and often approaches a body of work as a whole rather than through singular objects. Ceramic vessels sit atop precisely chosen bases, and various vessels are fired and glazed multiple times - at times, together in one kiln. A fusion of form, experimentation and tradition are the foundation of Silverman&rsquo;s practice.</p> Wed, 22 Jul 2015 15:25:51 +0000 John McAllister - Richard Telles Fine Art - September 12th - October 17th Wed, 22 Jul 2015 15:16:02 +0000 Mathis Altmann, DAS INSTITUT, Allison Katz, Rochelle Goldberg, Juan José Gurrola, Julien Nguyen, Margaret Salmon, Oscar Tuazon - Freedman Fitzpatrick - July 26th - September 5th <p style="text-align: justify;">An encrusted pillar. A standing, lodged and vertical oak. Pierced through the body from above by a concrete column, entwined, locked and locking worlds together. </p> <p style="text-align: justify;">Provoking the limits of a form, contort or melt to move through. A patch of undead chia, a feigned arability, retreating from or pushing into life. Distant landscapes point at conflicting realities. </p> <p style="text-align: justify;">A coral swamp pulses in a violent thrust. Disorientation in a synthetic maze born from a path, trapped in place and presenting solace as if it were some kind of raft leading ahead in an effervescent flow. </p> <p style="text-align: justify;">Between the bait and the mouth. Iridescent jaws pierce water, leaping outwards and crashing to disperse a mist. Eyes sink to water level, a duplicitous vantage point. The flesh of mud on toes, slowly letting go into a tread, a submergence into a drifting dive. </p> <p style="text-align: justify;">A cocoon, one or many bodies nesting, a feverish molt. A chrysalis waiting to hatch and swarm. A reason for caution, care of the fragile panoply&rsquo;s latent hatchling. A sign of a new inhabitant. </p> <p style="text-align: justify;">Sirens and tricksters, a languid social flesh of aggregate forms adorned at the end of a morass. A palace complex becomes an alcoved cell, a prison and a dwelling, forever dislocated in the depths. The light is a bait beckoning, to dive into a darkness, provoked by an angler. </p> <p style="text-align: justify;">Constrained and afloat, a body conflicted, twisted and spit out, dizzied in the rip. The net of an Other pulls and drags, caught and entwined, a moment of buoyancy in a departure. A hidden world of copycats reflecting an image of yourself. A piercing agent, the gradation of diminishing light. Vacating a bounded rationality to swim and build in an entropic swirl, and then coming home.</p> <p style="text-align: justify;">Midway through the exhibition the work &ldquo;Scattered A, Scattered K&rdquo; (2012-2015), a collaborative work by Das Institut and Allison Katz, will be removed from the gallery and brought to an off-site burial ground, left to decompose, and replaced by a video documenting the final passage of this work&rsquo;s material life, which was first exhibited at Family Business in 2012 and then in Gaylen Gerber&rsquo;s 2013 exhibition at MCA Chicago.</p> Wed, 22 Jul 2015 15:13:56 +0000 Douglas Alvarez, Kimber Berry - bG BLEICHER/GORMAN - July 25th 4:30 PM - 6:30 PM <p style="text-align: justify;" dir="ltr">bG Gallery presents &ldquo;Pretty Pollution," an exhibit featuring new bodies of work by Douglas Alvarez and Kimber Berry, as well as a group exhibit of artists who capture beauty in unexpected places.&nbsp;</p> <p style="text-align: justify;" dir="ltr">Alvarez explores his experiences within the city of Los Angeles and its decay using humor and popular iconography. He observes that, &ldquo;Collectively, LA is changing and what I can do is visually document this evolution and endeavor to find beauty in unlikely places.&rdquo; &nbsp;Alvarez draws his inspiration for his artwork from subjects others would easily overlook; from a crack in the sidewalk to a foreclosed home. Alvarez is allured to the deterioration of Los Angeles and when he ventures out in exploration he describes himself as a tourist in his own city. &nbsp; &nbsp;&nbsp;</p> <p style="text-align: justify;" dir="ltr">Through her series of paintings, Plastic Gardens, Berry raises important social questions as to how we live and interact with nature. As we encroach further into natural environments that were once untouched and eliminate them, will we be able to restore balance and harmony with Mother Earth, or have we already caused irreparable damages? Being surrounded by steel, we feel a disconnect from nature and are compelled to create green spaces, oases, parks, constructed waterfalls, highly designed flower beds; essentially formatting nature based on our own terms. Plastic refers to the materials the artist uses, as well as the flexibility of these in-organic environments to exist and to take any form the gardener wishes.<span style="text-align: left;">&nbsp;</span></p> Wed, 22 Jul 2015 08:15:04 +0000 Robin Repp - Orange County Center for Contemporary Art - December 1st, 2012 - January 12th, 2013 Tue, 21 Jul 2015 07:09:28 +0000 Evalynn Alu, Courtney Gordon, Beverly Jacobs, Robin Repp - Orange County Center for Contemporary Art - June 6th - July 12th <p><strong><em>Moist&nbsp;</em></strong>casts a long, slow look at sensuality, sexuality and eroticism in today's art, giving free reign to desire.</p> Tue, 21 Jul 2015 06:48:20 +0000 Minor White, Jeffrey Frisch - Orange County Center for Contemporary Art - August 1st - August 29th <p style="font-family: Calibri; color: #830695; text-align: left; font-style: normal; font-weight: normal; margin: 0in 27pt 8pt 0in; font-size: 11pt;" align="left">The exhibition is multi-layered in concepts and features Orange County artist &amp; exhibition curator, Jeffrey Frisch and photographer/scientist/mathematician Minor White.</p> <p style="font-family: Calibri; color: #830695; text-align: left; font-style: normal; font-weight: normal; margin: 0in 27pt 8pt 0in; font-size: 11pt;" align="left">On its surface it is a mildly whimsical exhibition celebrating creativity. Using narrative from science and near-science, it's much more subversive subtext seeks to undermine a substantial portion of Western Civilization's 2000 year old-plus foundational belief system. The exhibit has also been organized to subtly respect one of the Ten Commandments while concurrently meta-referencing today's technological reshaping of entertainment delivery.</p> <div style="color: #830695; text-align: left;" align="left">An additional exhibition innovation is a web site page as an art piece for this exhibit by Mr. White, an academically documented exo-planet discoverer.&nbsp;</div> <div style="color: #830695; text-align: left;" align="left">&nbsp;</div> <div style="color: #830695; text-align: left;" align="left"></div> <div style="color: #830695; text-align: left;" align="left">&nbsp;</div> Tue, 21 Jul 2015 03:29:43 +0000