ArtSlant - Current exhibits en-us 40 Jorge Santos - 101/EXHIBIT - April 13th, 2013 - June 15th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>101 /exhibit Los Angeles</strong> presents<em> <strong>Paintings</strong></em>, a solo exhibition from <strong>Jorge Santos</strong> including seven momentous works ranging from 2010-13. This is the artist’s first solo showing with the new Los Angeles gallery space, which opened in October of 2012. The opening reception with the arti st will be held on Saturday, April 13 from 7 – 10 pm. The exhibition will c onclude on June 15. The gallery is located at 8920 Melrose Avenue at the intersection of Melrose and North Almont Drive.<br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Jorge Santos paintings are a profound display of picture making for the sheer purposes of formulating an all but transparent narrative via highly technical draftsmanship and paint handling. As a self-taught a rtist, the e volutionary process of his work is often subject to reconfiguration, repositioning, and refinement until the grand conclusion is met. Narrative is of such importance that even compositional concerns may be subordinate to the inclusion of a necessary motif in the storyline. </span></p> <p style="text-align: justify;"><span style="font-size: small;">One may recall the Latin term “dues ex machina,” which is a literary device used to resolve a troubled plot. In Engl ish, this translates to “God out of the machine.” It refers to an unexpected, artificial, or improbable character, de vice, or event intro- duced suddenly in a work of fiction to untangle a plot. For instance, consider the artist’s 2012 work entitled <em>Maitre D</em> where a fork between one of the dinner participant’s toes is tied by string to a wine bottle in the foreground thus preventing it from crashing to the f loor. How or why did this happen? This whimsical instance is the result of a mid-production decision to reposition compositional elements in order to resolve the foreground in a more provocative way without having to repaint the bottle. </span></p> <p style="text-align: justify;"><span style="font-size: small;">This almost humorous result often surfaces in a Santos work, as for the artist, there are little rules he truly feels the need to play by. Paintings for the arti st e xist as a cocktail of source materials, from still life to imagery of the mind’s eye. They are not pre-assembled sets such as that of the Realist painter, and any “photo realist” instances are purely the result of the artist’s skill to portray a likeness. In fact, the ambient lighting and elongated figures are more stylized than authentic, echoing the Italian Mannerist painters of the 16 th century.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> Though highly refined and emotive, a Santos painting may have a poetic title but this is not a necessity, it’s just by way of the artist’s improvisational nature. He seems to be commenting on pop culture, derives source material from TV, Internet videos, and other mass media but is humble and quite reluctant to be billed as a social critic. In his pictures, settings come off as irrational or precariously balanced, moods are secretive, illusory, and often ambiguous but there is no argument to their blatant allure and charm over the viewer. These complexities may seem to deliberately provoke interpretation but Santos will only entertain his personal opinion that he is simply an image-maker. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in 1959, Jorge Santos is of Portuguese descent. His childhood was spent in Luanda, Angola before his family fled to Lisbon, Portugal in order to escape a violent political agenda. As Portugal sunk into its own re volution, Santos relocated to the United States in 1982. Through out these years, the artist consistently honed his draftsmanship as a form of escape from life’s unrest. Particularly str uck by an Odd Nerdrum show at Forum Gal lery, NY in the 90s, Santos began to experiment with and use paint thereafter. </span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Jorge Santos has exhibited previously with 101/exhibit for a solo show in Miami in 2010 . He has participated in over 20 solo and 70 group exhibitions at numerous galleries, museums, and fine art fairs since 1986 including the Laguna Beach Art Museum in Laguna Beach, CA; the Joslyn Art Ce nter Gallery in Torrance, CA; Art Miami, Miami, FL; Art Platform, Santa Monica, CA; Art Chicago, Chicago, IL; SCOPE, Miami, FL; and Art Los Angeles Contemporary and George Billis Gallery in Los Angeles, CA. </span></p> Fri, 12 Apr 2013 10:17:11 +0000 Kirsten Everberg - 1301PE - May 4th, 2013 - June 29th, 2013 <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><strong>1301PE</strong> is pleased to announce its fifth solo exhibition with Los Angeles based artist <strong>Kirsten Everberg</strong>. In her latest body of work, Everberg continues her exploration of the subjective nature of perception.<br /> <br />Everberg's paintings of empty interiors and unpeopled landscapes enter into a dialogue with one another, as motifs repeat and transform like recollected memories. She views the works in this exhibition as part of a circular, non-linear narrative that can be entered at any point. In this respect, her paintings reference a fluid cinematic space. More than simply illustrating specific scenes or frames, however, these paintings uncover the persuasive power that images have to construct reality.<br /> </span></p> <blockquote> <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><br />"Ultimately, the works point to how images are framed, archived, and recalled by the viewer. The hazy edges and blurry lines of Everberg's paintings and works on paper seem clearly focused on the mediation of images within the broader landscape of visual culture."  – Gloria H. Sutton, "Surface Effects: Mediating Image Culture in the Paintings of Kirsten Everberg"</span></p> </blockquote> <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><br /> <br />It is Everberg's seductive surfaces that first capture our gaze. Using a unique combination of oil and enamel paint, her works hover between representation and pure paint. There is always a tension here between the convincing depiction of space, and the abstract skeins of color that dance across the canvas. What appears to be an historic ballroom or dense jungle from far away, is reconfigured into glossy pools of paint close-up. Everberg's mastery of her medium is demonstrated by how deftly she walks this line. Narrative and image; truth and fiction; surface and what lies beneath – are all woven together in Everberg's captivating works.<br /><br />Kirsten Everberg lives and works in Los Angeles. She has had recent solo exhibitions at the Pomona College Museum of Art, CA and the Scottsdale Museum of Contemporary Art, AZ. She has been included in exhibitions at several international institutions including FRAC Champagne-Ardenne, Reims, France; Le Consortium, Dijon, France; Vancouver Art Gallery, Vancouver BC, Canada; Museum of Contemporary Art, Los Angeles, CA; Hammer Museum, Los Angeles, CA; and Musée des beaux-arts, Nancy, France.</span></p> Mon, 13 May 2013 21:43:03 +0000 Alexandra Grant - 18th Street Arts Center - April 15th, 2013 - June 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong><b>Public Drawing Days:</b> Every Monday, Wednesday, Friday and Saturday from 11am until 3pm, April 15 - May 31, 2013 (ongoing)</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Forêt Intérieure/Interior Forest</strong> is a dual-venue exhibition and publication by Los Angeles-based artist Alexandra Grant in collaboration with Paris-based writer Hélène Cixous. This multi-dimensional project, which includes a residency component and contributions by both Los Angeles-based and Paris-based artists, is presented from April 15 to June 28, 2013 at 18th Street Arts Center in Santa Monica, CA and from September 6 to October 20, 2013 at Mains d’Oeuvres in Saint-Ouen, France. Pilar Tompkins Rivas, Curator and Director or Residency Programs at 18th Street Arts Center, and Isabelle Le Normand, Curator of Visual Arts at Mains d’Oeuvres, are co-organizers of this project.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Project background</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Several years ago, the iconic French author, poet, playwright and philosopher Hélène Cixous gave Grant one of her books, <em>Philippines</em>, as a source for imagery and entreated the artist to make work about the concepts present in the text.  <em>Philippines</em> is based around the story of <em>Peter</em> <em>Ibbetson</em>, a novel by Georges du Maurier, where two childhood friends are separated by class and country and reunite as adults in their shared dream-life.  The themes of <em>Philippines</em> are often paired: dreaming and reality; telepathy and empathy; the “perfect other;” the shape of two nuts found in a single mandorla or almond (known as a Philippine); and relationships between north and south, man and woman, colony and colonizer, and adult and child.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Grant’s response to Cixous and <em>Philippines</em> is the project <strong>Forêt Intérieure/Interior Forest</strong> centering on the image of a forest as a representation of both the shared imagination and a place for congregation and collaboration.  <strong>Forêt Intérieure/Interior Forest</strong> includes a large-scale installation of a forest and a collaborative drawing that invites community participation. Trees in the interior forest will be made of both text and textiles. The drawing, functioning both as an illustration and a text scroll, represents a visual narrative of <em>Philippines</em>. Created by Grant in conjunction with other artists and members of the public, the process of working jointly invites contemplation of Cixous’s concepts and develops a platform for shared imagining. The two iterations of the installation in both Santa Monica and Saint Ouen function as mirror images, or twin versions of the same whole.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Collaboration with others/Artists Residencies</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Grant has created two ways for Los Angeles-based and Paris-based artists to participate in her project. First, collaborating artists are invited to produce “Visiting Trees” (<em>Arbres d’Ailleurs</em>) inside the <strong>Forêt Intérieure/Interior Forest</strong> installation in either city. Second, Grant has established “Drawing Residencies” as part of the process of creating the large-scale drawing. Artists are invited to lead the public, including students, guests and passersby, in 3-hour guided sessions, helping to realize the larger work. Participants to date in the project at 18th Street Arts Center creating “Visiting Trees” include Channing Hansen, Bari Ziperstein, Annelie McKenzie and Tina Linville, and participants in the “Drawing Residencies” include Steve Roden, Renee Petropoulos, Lita Albuquerque and Audrey Cottin.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Programming</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">At 18th Street Arts Center, Grant and USC professor Robert Nashak will host a reading group beginning in January 2013 for members of the Los Angeles community interested in Cixous’s work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Programming at Mains d’Oeuvres includes a public lecture by Hélène Cixous, and a reading of <em>Philippines</em> by Cixous’s long-term collaborator, Daniel Mesguich, an actor and director of the Conservatoire National Supérieur d’Art Dramatique.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Publication</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">18th Street Arts Center and Mains d’Oeuvres will co-publish an exhibition catalog documenting the mirror-image projects of <strong>Forêt Intérieure/Interior Forest</strong> and the collaborative nature of Grant’s work. Contributors to the publication include Alexandra Grant, the curators Isabelle Le Normand and Pilar Tompkins Rivas, Hélène Cixous, Grant’s long-term collaborator, the hypertext pioneer Michael Joyce, and Los Angeles-based art critic Andrew Berardini. The full-color catalog is edited by John Farmer and designed by Jessica Fleischmann.</span></p> <p>–</p> <p><strong>For more information:</strong></p> <p><a href="" rel="nofollow" target="_blank"></a></p> <p>Facebook: <a href="" rel="nofollow" id="yui_3_7_2_1_1358731448590_2525" target="_blank"></a></p> <p>Twitter: @InteriorForest</p> <p><strong>Or contact:</strong></p> <p>Pilar Tompkins Rivas</p> <p><a href="" rel="nofollow"></a></p> <p>18th Street Arts Center</p> <p>1639 18th Street</p> <p>Santa Monica, CA 90404, USA</p> <p><a href="" rel="nofollow"></a></p> <p>Isabelle Le Normand</p> <p><a href="" rel="nofollow"></a></p> <p>Mains d’Oeuvres</p> <p>1, rue Charles Garnier</p> <p>93400 Saint-Ouen, FRANCE</p> <p><a href="" rel="nofollow"></a></p> <div class="post-meta"> <div class="row"></div> </div> Mon, 13 May 2013 21:43:07 +0000 Martin Schoeller - Ace Gallery- Beverly Hills - May 4th, 2013 - June 29th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Martin Schoeller has earned a reputation as one of the pre-eminent portrait photographers of our time, having photographed subjects from President Barack Obama to numerous actors, musicians and sports icons, to indigenous Amazonian tribesmen and women. With characteristic intimacy, Schoeller’s hyper-detailed work presents the prominent and unknown side by side, in unequivocal terms. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Consistently shooting each of his subjects in his singular crisp style, Schoeller equalizes these photographic subjects in facial close-ups. As he states: “A photographic close-up is perhaps the purest form of portraiture, creating a confrontation between the viewer and the subject that daily interaction makes impossible, or at least impolite. In a close-up, the impact stems largely from the static subject’s expression or apparent lack thereof, so the viewer is challenged to read a face without the benefit of the environmental cues we naturally use to form our inter-personal reactions.” <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">In 2011, when <i>National Geographic </i>magazine commissioned him to shoot an assignment on twins, he began what would become a year-long pursuit of the subject on an international scale, which has resulted in an expansive new body of work that is being exhibited for the first time at Ace Gallery Beverly Hills and is the subject of his latest book. Presenting twins, triplets and quadruplets, his images bare nuanced comparisons; the camera capturing the subtlest differences of division from a single fertilized human egg. The odds of identical quadruplets being born are one in 11-13 million, for identical triplets, and one in 150,000. Even when separated at birth, identical twins maintain their genetic similarities. As ‘duplicated people’ they share exact copies of their genes, questioning our notions of individuality and personal uniqueness: “They embody sameness and symmetry in the human form as literally and precisely as nature permits.” The parallelism of natural clones are represented in a new approach to well-known subject matter, i.e. revisiting the subject of Diane Arbus’s classic  <i>Identical Twins, Roselle, New Jersey</i>, (1967), where Schoeller consciously humanizes his subjects by revealing the individual characteristics of each and treating each separately although posed in the same position.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Now renowned for his hyper-detailed facial Close-Up’s, Schoeller gained professional experience working as assistant to Annie Leibovitz from 1993-96. Steering away from fashion photography and its dependence on the whims of designers and its seasonal stylistic obsolescence, Schoeller sought an alternative. It was during this pre-digital era, before the days of retouching, that he developed the style which would become his trademark. He would spend days setting up lighting tests and experimenting in extreme close up to find the most flattering lighting scenarios – examining how light effects faces, and refining techniques in the dark room, darkening and lightening certain areas. Even in his photography school days, his pictures with homeless people were also in close-up. As he began to articulate his own close-up portrait aesthetic in the mid-1990s, his peers were producing extreme glamour and beauty shots with over-the-top production values (paramount being Leibovitz’s lavish sets i.e. for <i>Vanity Fair </i>or David LaChappelle<i>)</i>. Schoeller’s work was the opposite of what others were doing at the time: modest and simple; “just about the person.” Schoeller cites a variety of mentors and influences from Richard Avedon to Philip-Lorca diCorcia, yet singles out seminal German photographers Bernd and Hilla Becher - recognized for creating a formally austere and consistent motif in their typologies of industrial structures. The repetition of similar but related subject matter - such as water towers and gas tanks - in the Becher’s work invites comparison, and was adopted as a model within which Schoeller could develop a similar approach.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Twins Day Festival in Twinsburg, Ohio, the largest annual gathering of twins (and other “multiples”) in the world, provided a grand-scale casting session for Schoeller’s project. Recruiting from over 2000 twins and multiples, they were photographed in the same style as diptychs (and triptychs). In the study of faces, physiognomy - Schoeller came to the conclusion that “faces don’t really reveal that much about a personality. You can’t really tell by a face necessarily what goes on in a person’s mind.” In the Twins series, the aging process comes to the fore. While each two are born with the same genetic information, the aging process due to leading possibly very different lives, creates visible divergences. It is those small differences which beg the question, what can be told from looking at a face?</span></p> <p style="text-align: justify;"><span style="font-size: small;">Portraits happen to lie; they require decision-making on the part of the photographer. They are constructed, manipulated, posed and styled. Even with straightforward shots such as these, there are multiple choices, and Schoeller’s aim in taking intimate portraits requires rapport. There was no additional styling; these twins arrived on set ‘as is’ – wearing the same outfits, jewelry, hairstyles, and makeup.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Is Schoeller conscious of feeding back his imagery into our saturated media culture? There are many fashion photographers doing ‘portraiture’ lacking authenticity (given they inhabit the same commercial magazine space and conceived, constructed, and circulated in the same way as advertising photography). To specifically show non-celebrity images in the context of Los Angeles, Schoeller further provokes the cloning debate, asking the question of whether genetic-engineering has manifested the advent of twin culture. As he observes of the natural occurrence, “We assemble impressions of and form mysterious attachments to universal features – hairline, forehead, eyes, nose, mouth, and chin. We take their arrangements to be unique. Identical twins dispute that assumption.”</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Martin Schoeller </b>was born in Munich, Germany in 1968, studied photography at Lette Verein in Berlin, and lives in New York. His work has appeared in <i>The New Yorker, Vanity Fair, Entertainment Weekly, Rolling Stone, TIME, GQ, Esquire </i>and <i>Vogue</i>. He has been staff photographer at <i>The New Yorker </i>since 1999. Schoeller had a major solo exhibition in 2010-11 at the National Portrait Gallery, Australia, and last exhibited at Ace Gallery Beverly Hills with <i>Female Bodybuilders </i>in 2008.</span></p> Mon, 20 May 2013 14:35:07 +0000 Group Show - Ace Gallery- Beverly Hills - May 4th, 2013 - May 31st, 2013 <p>Laurie Lipton's current drawing<br /> <br /> recent paintings by Brian Wills<br /> <br /> Dewain Valentine's historical resin sculptures from 1968-1975<br /> <br /> Robert Irwin's first column, 1967<br /> <br /> Mary Corse's first white, first black, and first glitter paintings<br /> <br /> sculptures by Robert Wilson<br /> <br /> Roy Lichtenstein's <em>Brushstrokes Screen</em><br /> <br /> Vincent Szarek's <em>Heavy Bag</em><br /> <br /> new paintings By The Date Farmers<br /> <br /> Jay Mark Johnson's <em>Wave</em> photograph<br /> <br /> Helen Pashgian's wall sculptures<br /> <br /> Ben Jones' video painting and ladder sculptures</p> Mon, 20 May 2013 14:47:47 +0000 Jason Brinkerhoff, Michelle Carla Handel, Damien Meade - ACME - May 4th, 2013 - June 1st, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>ACME.</strong> is pleased to present an exhibition of recent works by <strong>Jason Brinkerhoff, Michelle Carla Handel,</strong> and<strong> Damien Meade</strong>. All three artists' work reference bodily forms and sensual surfaces. Their work presents three different aspects of abstraction derived from the human body.</span><br /> <br /><span style="font-size: small;"><strong> Jason Brinkerhoff</strong> will be exhibiting a selection of small works on paper that portray the female form elegantly abstracted with curvilinear shapes and bold colors. Brinkerhoff creates his figures using graphite, colored pencil, wax pastel and collage elements onto found, aged paper. The small drawings reference early Modernist painters and the use of antique paper gives the works an overall patina. Jason Brinkerhoff is a self-taught artist that lives and works in Menlo Park, California.</span><br /> <br /><span style="font-size: small;"><strong> Michelle Carla Handel</strong>'s sculptures are a smart balance of humor and sexuality. Using a variety of materials such as silicone rubber, urethane plastic, fabric, plaster, and wood, her sculptures take on soft, bulbous shapes that reference human anatomy. While the plasticity of the forms and the fleshy colors make the sculptures very vulnerable and intimate, Handel also juxtaposes bright pops of color, giving the sculptures a playful element. Michelle Carla Handel received her MFA at Claremont Graduate University, and she currently lives and works in Los Angeles, California.</span><br /> <br /><span style="font-size: small;"><strong> Damien Meade</strong>'s paintings are richly layered spilling over the edges, yet the surfaces are smooth and sensuous. All the paintings are oil on linen over board. One grouping of paintings features simplified, mysterious female silhouettes, while another series of paintings depicts fleshy, knotted networks. While the paintings are made up of satin-like brushstrokes, the finished images seem to portray illusions of reflections possibly captured by color photography. Damien Meade received his MFA at the Chelsea College of Art in London. Born in Ireland, Meade currently lives and works in London, and exhibits his work internationally.</span></p> Thu, 25 Apr 2013 17:06:15 +0000 Miles Coolidge - ACME - May 4th, 2013 - June 1st, 2013 Mon, 20 May 2013 14:50:41 +0000 Joe Reihsen - Anat Ebgi - April 13th, 2013 - May 25th, 2013 <div style="text-align: justify;"> <div><span style="font-size: small;"><strong>Anat Ebgi</strong> is pleased to announce <strong><i>Clean Title, No Accidents</i></strong>, <strong>Joe Reihsen</strong>’s second solo exhibition with the gallery. The show will open on April 13, and will be on view until May 25. A reception will be held at the gallery on Saturday, April 13, from 6-8pm, coinciding with the grand opening of the new gallery space located at 2660 La Cienega Blvd in Culver City.</span></div> <div><span style="font-size: small;"> </span></div> <div><span style="font-size: small;">In <i>Clean Title, No Accidents</i>, Reihsen pushes the boundaries of surface, color, and flexibility of paint. Reihsen employs a performative method he describes as "capturing and intensifying the earlier version."  The paintings are executed using pneumatic devices and commercial painting tools. As the paint dries, the texture flattens and we are left with an impression of the original composition; a variation of frottage. The result is an acidic rainbow of pigments, creating optical illusions, where shapes leap forward and lines vibrate.</span></div> <div><span style="font-size: small;"> </span></div> <div><span style="font-size: small;">The paintings effectively embody a play between the hand, machine, and perception. The skilled application of paint feels as if they are made of another medium -- a Xerox print, photograph, or emulsion on film, leaving the viewer to wonder "how the f were these made?" The tension between the indistinguishable optical and organic forms triggers a hallucinatory afterimage that burns in the brain long after viewing.</span></div> <div><span style="font-size: small;"> </span></div> <div><span style="font-size: small;">Joe Reihsen, b.1979, Blaine, Minnesota, lives and works in Los Angeles. Joe received his BFA in painting and New Genres at the San Francisco Art Institute. In 2008, Joe received an MFA from the University of California, Santa Barbara, where he was awarded the UC Regents Fellowship. In May, the gallery will present a solo presentation of Joe’s paintings at the NADA Art Fair in New York City.</span></div> </div> Sat, 22 Feb 2014 15:32:53 +0000 Group Show - Angels Gate Cultural Center - May 20th, 2012 - August 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Angels Gate Cultural Center presents our exhibition year entitled&nbsp;<em>Into the Wilderness: The Journey Within</em>. Over the course of the next year, artists and curators will engage the term "wilderness" from multiple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary life and contemplate how we can find new opportunities to re/define the transition between physical and imaginary geographies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although, on first impression, "wilderness" may call to mind places of intense experience in nature far from civilization, it reveals itself to be much more than a location. Traditionally associated with a land of uncultivated, abandoned and inhospitable conditions or inhabited only by wild animals,<sup>1</sup>&nbsp;during the eighteenth and nineteenth centuries its meaning expanded subjectively to include more Romantic and transcendental notions like "the reflection of our own unexamined longings and desires" and "the best antidote to our human selves," while mysteriously remaining the site of "something profoundly Other."<sup>2</sup>&nbsp;</span><br /><br /><span style="font-size: small;">Whether places considered wilderness are ultimately to be regarded as wastelands or sacred spaces, in either case it is not the places themselves that define the nature of the wilderness experience. "Wilderness," regardless of where it is situated or whether it is described as frightening or divine, is a cultural construct that is typically placed in opposition to "civilization," located apart from the human world as something pure and essentially natural, to be preserved and protected both from the outrages of global industrial exploitation as well as the small defilements of daily life.&nbsp;</span><br /><br /><span style="font-size: small;">We disagree. We consider that creating even the most high-minded dualism between humans and nature sets up a dynamic that creates conflict and does not lead to effective stewardship of the environment, either locally or on a global scale. We also believe that rather than being defined either as a physical or an imaginary location, "wilderness" is more a state of mind that defies location, either geographical or imaginary-one in which social structure relaxes, logic slips away and time and space collapse. This open state of mind, or "wonder," can be experienced in natural environments that inspire fear, disorientation, foreboding or other qualities of "sublime" landscape appreciated by the likes of Edmund Burke<sup>3</sup>-and it can also unexpectedly arise in the midst of degraded urban grittiness or in an unexplored corner of a superficially unremarkable backyard.&nbsp;</span><br /><br /><span style="font-size: small;">Artists in our group discover natural wonder in many places-from Antarctic icebergs to carcasses of dead birds. And just as we respect "wilderness" in all of its manifestations, we believe that biodiversity and sustainability can only be maintained if we humans give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respect for the global interface of ecosystems, be they planetary or microscopic, that we unavoidably impact.&nbsp;</span><br /><br /><span style="font-size: small;">Wilderness Mind: Dissolving Duality includes the work of fourteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration; we have worked together to study and work as eco-artists since 2005. This proposed exhibition represents work that ranges from photography to non-representational painting, performance, and installation; it spans a continuum of references to water from suburban irrigation systems to the arctic ice cap; to wildlife, including Barr owls, sea otters, and golden trout from the Sierras; and to locations from San Pedro Harbor to Mozambique. Within the frame of wilderness, the group's work articulates themes of degradation and emergence, natural cycles, mystery, concern for the environment, and connected oneness. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative approach as an alternative to more traditional strategies of agency through domination, and to the possibility for everyone to experience "wilderness" in any number of settings, not just in uninhabited nature. Through the visual messages communicated in our work as well as through workshops and programs offered to the community in conjunction with the exhibition, our ultimate goal is to inspire visitors to participate in effective stewardship of the environment.&nbsp;</span><br /><br /><span style="font-size: small;"><small><sup>1</sup>&nbsp;New Oxford American Dictionary, Oxford University Press, third edition.&nbsp;<br /><sup>2</sup>&nbsp;Cronon, William, "The Trouble with Wilderness; or, Getting Back to the Wrong Nature," Uncommon Ground: Rethinking the Human Place in Nature, New York: W.W. Norton &amp; Co., 1995, 69-90.&nbsp;<br /><sup>3</sup>&nbsp;Burke, Edmund, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 1857.&nbsp;</small></span><br /><br /><em><span style="font-size: small;">Deborah Thomas is an artist, professor and independent curator who lives in Los Angeles; she has also lived and worked as an artist in Geneva, Switzerland and New York. With an undergraduate degree from the University of Michigan and an MA and ABD from the University of Pennsylvania, Thomas currently teaches art history and contemporary art and theory at Pasadena City College, Glendale College and the Los Angeles Academy of Figurative Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus; she also helped to organize "Elements," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artwork includes a series of conceptual installations and mixed media pieces using photographic images and found text; her work on environmental themes typically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet, Bringing the Past to Light: New Art from Old Images, Intimate Geography:&nbsp;</span><br /><br /><span style="font-size: small;">The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhibitions, educational programs and public actions. The group was first organized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA), a national organization dedicated to creating community through art, education and social activism. In April 2007, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San Francisco and at the Day of the Dead Planet exhibition curated by Deborah Thomas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago, Los Angeles, New York, San Francisco and throughout the rest of the United as well as Asia and Europe. The collective also engages the community through lectures, installations and events. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured at zoos and natural history museums across the country. San Pedro-based artists Annemarie Rawlinson and Hiroko Momii often intermix their meditative and activist practices.</span> <br /></em></p> Tue, 26 Nov 2013 18:04:50 +0000 Joao Silva, David Hume Kennerly, Edouard H.R. Glück, Ashley Gilbertson, Carolyn Cole, Alexandra Avakian - Annenberg Space for Photography - March 23rd, 2013 - June 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>WAR/PHOTOGRAPHY</strong>: <em>Images of Armed Conflict and Its Aftermath</em> will open at the Annenberg Space for Photography on March 23, 2013 and run through June 2, 2013. This exhibition has been organized by The Museum of Fine Arts, Houston.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>WAR/PHOTOGRAPHY</strong> encompasses over 150 images going as far back as 1887 through present-day and is arranged by themes presenting both the military and civilian point of view including the advent of war, daily routines, the fight itself, the aftermath, medical care, prisoners of war, refugees, executions, memorials, remembrance and more.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibit includes the work of award-winning portrait photographers and photojournalists, military photographers, amateurs and artists including iconic images such as Joe Rosenthal’s Old Glory Goes Up on Mount Suribachi, Iwo Jima and Alfred Eisenstaedt’s V-J Day, Times Square, New York.  Recognizable from news coverage is Eddie Adams’ image of the execution of a Viet Cong prisoner on the streets of Saigon.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Specific to the Los Angeles exhibit will be the Annenberg Space for Photography’s original short documentary film and digital image presentation produced by Arclight Productions. Both the documentary and digital gallery will feature over 500 photographs exclusive to the Photography Space from six acclaimed contemporary conflict photographers: Alexandra Avakian, Carolyn Cole, Ashley Gilbertson, Edouard H.R. Glück, David Hume Kennerly and Joao Silva.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In interviews in the film, these six photographers share their experiences, including life-threatening situations faced by their subjects and themselves. Photographer Joao Silva revisits sites in his native South Africa, recalling the violence that led up to that country’s first democratic election in 1994. Ashley Gilbertson is filmed in Midland, Texas, on the final shoot for his book, Bedrooms of the Fallen, which examines the bedrooms of young soldiers who never returned home from war.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>WAR/PHOTOGRAPHY</strong> arrives in Los Angeles from The Museum of Fine Arts, Houston on March 23, 2013 before it travels to the Corcoran Gallery of Art, Washington, D.C., and the Brooklyn Museum.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;">Though normally closed on Mondays (and Tuesdays), we will be open on Memorial Day, Monday, May 27. Please check ASP website in late May for Memorial Day hours of operation.</span></p> Thu, 24 Jan 2013 21:47:04 +0000 Joe Hoyt - Aran Cravey - April 11th, 2013 - May 19th, 2013 <p style="text-align: justify;"><a target="_blank">Aran Cravey Gallery </a>is pleased to present <strong><em>A to B</em></strong>, a solo exhibition of paintings and drawings from Los Angeles based artist Joe Hoyt.</p> <p style="text-align: justify;">The paintings and drawings exhibited in the gallery depict various locations in Los Angeles and surrounding areas.</p> <p style="text-align: justify;">The works capture the constructed environment in which we live through the filter of memory and perception, revealing only the fragments that remain as our visual references. In the six drawings presented, the artist explores the Central Valley communities to be linked by the first phase of California's controversial new high-speed rail system. Below is a text by artist Amy Howden-Chapman based on Hoyt’s process of gathering imagery along this potential path.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><em>A to B is from here to there. </em></p> <p style="text-align: justify;"><em>Moving from A to B is moving past a car into a dark bush. </em></p> <p style="text-align: justify;"><em>A is walking to find a scene. A is finding a scene and observing the scene. </em></p> <p style="text-align: justify;"><em>B is multiple points, in ink on paper. B is A rendered in image. </em></p> <p style="text-align: justify;"><em>A is the details of a stranger’s color- it is just there in front of you. You grow familiar with A. B is all you have left when A has left.</em></p> <p style="text-align: justify;"><em>A is abstraction, B is representation, and then there is moving between them.</em></p> <p style="text-align: justify;"><em>There is A- suburban infrastructure and there is B - urban infrastructure. This path from A-B is a road. The path from A-B is a train track. The path from A- B is time. </em></p> <p style="text-align: justify;"><em>A is a drawing. A is enlarged and it becomes B.</em></p> <p style="text-align: justify;"><em>B is a painting.</em></p> <p style="text-align: justify;"><em>A is a watery wash. B is a graphic mark. Looking back though B, we see the remains of A, that sunset stain, sadness stain, staring.</em></p> <p style="text-align: justify;"><em>A is architectural renderings, A is stenography, A is new topography. </em></p> <p style="text-align: justify;"><em>B is the influences of A corrupted by the hand and eye. </em></p> <p style="text-align: justify;"><em>A is a full view of a building. B is a corner of A. B has rough edges. </em></p> <p style="text-align: justify;"><em>A is an anecdote that ends in mid-sentence.</em></p> <p style="text-align: justify;"><em>B is your memory of A.</em></p> <p style="text-align: justify;"><em>A is light on a building.</em></p> <p style="text-align: justify;"><em>B is A captured, made flat, given to you.</em></p> Sat, 30 Mar 2013 18:11:59 +0000 Nate Page - Armory Center for the Arts - July 8th, 2012 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Armory Center for the Arts</strong> presents a temporary, site-specific installation by Los Angeles-based artist<strong> Nate Page</strong> in its central stairwell through June 2013. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Page’s newest work, entitled <em>Instituted Angles of Path and Display</em>, challenges the ultra-functional design of the Armory’s main stairwell. Page has removed one of the stairwell’s two large metal handrails, turned it 90 degrees, and mounted it in the middle of the space on a pedestal-like structure that follows the crooked trajectory of the stairs and the landing. This simple gesture both highlights and alters the existing framework and prescriptive design of the space, which remains fully functional although visually distorted. Central to Page’s practice is an interest in engaging elements of perceived and given space in built environments, often through objects dismissed as peripheral or incidental.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Page acknowledges that railings generally can serve two functions: one for handrail support, and the other as a boundary. By turning a railing on its side and using it to bisect the Armory stairwell, Page shifts our point of view what a handrail is for. Page has created a topography of the climber's passage and an opportunity for visitors to become aware of their physical and psychological relationships to the architecture by negotiating passage (stair) vs. path (boundary railing). Familiar visual and spatial rhythms are interrupted, inviting the viewer to reconsider the function of the space – and possibly, the artist hopes, to find more potential than what it is programmed for.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Nate Page</strong> lives in Los Angeles.  His work has been seen at Lothringer Dreizehn Space for Contemporary Art in Munich, Hotel Pupik in Schrattenberg Austria, Warsaw Academy of the Arts, Warsaw, John Michael Kohler Center for the Arts in Sheboygan, WI, No Name Exhibitions @ The Soap Factory, Minneapolis, and at Cooper Union and Jen Bekman Gallery, both in New York. Page has produced many environments with Machine Project in Los Angeles including A Field Guide to LACMA at Los Angeles County Museum of Art and has shown nationally including Woodbury University Hollywood Gallery, Institute of Visual Arts at University of Wisconsin-Milwaukee, and Otis College of Art and Design in Los Angeles. From 2001-2004, Page co-directed an experimental artist collaborative and exhibition space in Milwaukee called the Rust Spot. He received a MFA from the California Institute of the Arts and a BFA from Milwaukee Institute of Art and Design and attended the Warsaw Academy of Art in Warsaw, Hotel Pupik in Schrattenberg Austria, and the New York Studio Program and the Summer Residency at The Cooper Union, both in New York City.</span></p> Mon, 03 Sep 2012 09:00:44 +0000 Connie Samaras - Armory Center for the Arts - March 1st, 2013 - June 23rd, 2013 <div class="float-left"> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;"></span>Over the past two decades, <strong>Connie Samaras</strong> has used photography and video to represent particular built environments she characterizes as “speculative landscapes” against the backdrop of daily life. She explores the aspirations and anxieties of the imagined future – how the US dreams itself – along with the psychological and social dislocation within the everyday. <br /><br /> Samaras reveals the paradoxes of these surreal environments – vast, impersonal constructions such as the cities of Las Vegas and Dubai and the remote, scientific colonies of the South Pole or Spaceport America, an emerging corporate space launch facility in the remote desert of New Mexico. Her objective is to unhinge the speculative from the normative and thus illuminate the multiple timelines and social possibilities – the rich subjectivity – in any given moment of daily life. Works from six completed series will be presented – <em>Angelic States-Event Sequence, After the American Century, V.A.L.I.S. (Vast Action Living Intelligence System),</em> and <em>Spaceport America</em> – as well as works from the ongoing series <em>Surface Events</em>. Collectively, the works in <em>Tales of Tomorrow</em> address the social and economic construction of “future imaginaries” and the variable membrane between fiction and real world. <br /><br /> In addition to featuring works from the six series noted above, this survey exhibition debuts <em>Edge of Twilight</em>, new photography from the first part of an expansive trilogy that launches a conceptual turn in Samaras’ work. Historically the artist’s projects, such as those shot in Dubai and South Pole, depict the future imaginaries of global capitalism, or how the future is held out as a singular <span style="font-size: small;">probability. <em>Edge of Twilight</em> looks at humble and everyday future imaginaries inflected by social change movements, in which the future is seen as a series of shifting possibilities. Featuring photographs of homes in a women’s retirement RV park in the desert of the U.S. southwest, <em>Edge of Twilight</em> borrows from the genres of time travel and tourism literature as way to reconsider the intersecting complexity of marginalized, cross-generational personal experience and political histories. The long exposures of the photographs and the vapor light under which they were shot create an enigmatic environment in which black skies and yellow RVs are punctuated by the vivid colors of rainbow flags. </span><br /><br /><span style="font-size: small;"><em>Tales of Tomorrow</em> is the largest and most significant exhibition of Connie Samaras’ work to date. The exhibition is accompanied by a full-color, 108-page, hard-cover catalogue edited and with an introduction by exhibition curator Irene Tsatsos and texts by Charlotte Cotton, Lisa E. Bloom, Juli Carson, Ken Gonzalez-Day, Alice Echols, Kate Flint, Julie Lazar, Catherine Opie, Kavita Philip, Claire Phillips, Anna Joy Springer, Tyler Stallings, Roberto Tejada, and Matias Viegener. The catalogue was designed by Lorraine Wild of Green Dragon Office and is being distributed by D.A.P. The exhibition and publication have been supported by The Andy Warhol Foundation for the Visual Arts and the Pasadena Art Alliance. In addition, the artist received support from Creative Capital for the production of <em>Edge of Twilight</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About the Artist<br /></strong>Connie Samaras was born in Albuquerque, New Mexico in 1950. She has exhibited for over twenty-five years, mounting solo shows at venues such as the California Museum of Photography, the San Francisco Art Institute, Detroit Art Institute, School of the Museum of Fine Arts in Boston, Los Angeles Contemporary Exhibitions, and Franklin Furnace. A full professor at University of California/Irvine, Samaras has received more than four-dozen research and production grants from foundations such as the California Community Foundation, the National Science Foundation, Anonymous Was A Woman, Art Matters, Banff, and the National Endowment for the Arts. In addition to an extensive record of exhibitions and lectures, Samaras has published feminist critiques of the culture wars in the late ‘80s/early ‘90s (<em>New Art Examiner</em>, <em>ArtForum</em>, <em>New York Law School Review</em>); edited texts on technology and the cultural production of death (<em>Terminals</em>); and written experimental fiction (<em>Whitewalls</em>, <em>Central Park</em>) and critical narrative (<em>The Scholar and the Feminist Online</em>, <em>Remix: Santiago Bose</em>).<br /></span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition and publication supported by The Andy Warhol Foundation for the Visual Arts and the Pasadena Art Alliance. In addition, the artist received support from Creative Capital for the production of <em>the Edge of Twilight</em> series.</span></p> <p style="text-align: justify;"></p> <p style="text-align: left;"><img class="leftAlone" src="" alt="" title="" height="41" width="331" /></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p></p> </div> Mon, 27 May 2013 16:27:48 +0000 Gina Osterloh, Betsy Lin Seder, JEANNIE SIMMS, Gabie Strong, Kristine Thompson, Carrie Yury - Armory Center for the Arts - April 27th, 2013 - June 23rd, 2013 <p style="text-align: justify;"><em>Contested Destination</em> features photography, drawings, and video by six artists – Gina Osterloh, Betsy Lin Seder, Jeannie Simms, Gabie Strong, Kristine Thompson, and Carrie Yury. All of the artists are former students of artist <a href="" rel="nofollow" target="_blank">Connie Samaras</a>, a full professor at University of California, Irvine, whose exhibition <em><a href="" rel="nofollow" target="_blank">Tales of Tomorrow</a></em> is currently on display in Armory’s Caldwell Gallery. <em>Contested Destination</em> has been organized by Armory chief curator Irene Tsatsos with Connie Samaras.<br /><br /><em>Contested Destination</em> is an evocative look at ideas of precedents and homage, an alternatively organized matrix of time, and what <a href="" rel="nofollow" target="_blank">Donna Haraway</a> calls “reinscribed history,” all through the lens of artworks that evoke performance and performativity. The show includes:</p> <ul> <li style="text-align: justify;">photographs by <a href="" rel="nofollow" target="_blank"><strong>Gina Osterloh</strong></a> from <em>All of Our Edges</em>, a series that depicts an obscured figure in a monochromatic environment and reflects the tension between blending into and remaining distinct from an environment or an external presence;</li> <li style="text-align: justify;">a series of photographs entitled <em>Fool’s Gold</em> (from the <em>Elephant</em> series) by <a href="" rel="nofollow" target="_blank"><strong>Betsy Lin Seder</strong></a>, which lavishly represent that glittering mineral while evoking feelings of ambiguity, aspiration, and loss;</li> <li style="text-align: justify;"><a href="" rel="nofollow" target="_blank"><em>I’ll Keep Merapi’s Lava Away from the People</em></a>, a video by <a href="" rel="nofollow" target="_blank"><strong>Jeannie Simms</strong></a> that features women teaching or mimicking the dance-like movements of one another; the work is from her <em>Readymaids</em> series, which consists of videos made collaboratively with women inside a maid-training agency in Java, Indonesia;</li> <li style="text-align: justify;">video by <a href="" rel="nofollow" target="_blank"><strong>Gabie Strong</strong></a>, entitled <em>Memories of the Space Age</em>, which shows a rocket being launched in slow motion; the title of the work distorts a sense of time by implying nostalgia for something that arguably has not happened yet, and the imagery literally slows down something as its accelerating; </li> <li style="text-align: justify;">a photograph of <a href="" rel="nofollow" target="_blank"><strong>Kristine Thompson</strong></a> integrating – or ingratiating – herself into a photograph of artist Ana Mendieta as part of a series of works in which she responds to the work of deceased artists who addressed issues of self-portraiture, sentiment, and the relationship of their bodies to specific sites;</li> <li style="text-align: justify;">drawings by <a href="" rel="nofollow" target="_blank"><strong>Carrie Yury</strong></a> from a series entitled <em>(My) Performance Anxiety</em>, in which the artist addresses her conflicted relationship to performance art through a series of drawings of famous feminist performance art works, revised by having placed animal masks on their faces.</li> </ul> Mon, 10 Jun 2013 16:44:45 +0000 Erin Hammond, Judy Zimbert, Carl Smith, Bettina Mauel, Gerhard Völkle, Gel Jamlang - Artspace Warehouse - April 18th, 2013 - June 20th, 2013 <p>April 18 through June 20 at Artspace Warehouse: <br />People in Motion</p> <p>New artworks by UK artist Fabio Coruzzi, Los Angeles artists <a href="" class="pink" rel="nofollow">Erin Hammond</a> and <a href="" class="pink" rel="nofollow">Judy Zimbert</a>, Baltimore artist Gel Jamlang, and German artists <a href="" class="pink" rel="nofollow">Bettina Mauel</a>, <a href="" class="pink" rel="nofollow">Carl Smith</a> and <a href="" class="pink" rel="nofollow">Gerhard Völkle</a>, among many others.</p> <p>Opening Reception Thurs, April 18, 6:30-8:30pm. <a href="" class="pink" rel="nofollow">RSVP on fb</a></p> <p>Erin Nicole Hammond was born in Milwaukee, WI. She studied Fine Art with an emphasis on painting and sculpture at University of Wisconsin Parkside. Erin recently moved to Los Angeles. She expresses an eclectic style of fashion statement through her work. Many of her artworks are created first by writing which later turns to sketching, and finally into visual understanding.</p> <p>After a first career in radio and television, Judy Zimbert was able to channel her energies fully into what she’d always dreamed of doing…painting. Having studied for years in Taos, New Mexico with famed chiaroscuro artist David Leffel, she began a long examination of German Expressionist Art and incorporated the freshness of contemporary images. This was followed by a series of portrait commissions that helped refine her artistic voice.</p> <p>Bettina Mauel was born 1959 in Wuppertal, Germany. She studied at the Düsseldorf Art Academy with Professor Gerhard Richter. Since 1984 Bettina lives and works in Cologne, Germany. Vitality and sensuality are expressed in her paintings. “I paint what I experience, "she articulates, “This includes landscapes, flowers, people and always dancing.”</p> <p>Gerhard Völkle was born 1953 in Lörrach, Germany and studied at the Kunstgewerbeschule Basel, Switzerland. The connection to the Spanish island Lanzarote and the fascination with the ubiquitous volcanic rocks has long been reflected in his artworks. In order to capture the same color and structure as his metalworks on canvas, he is using the same media, the rust. A special technique to create metal oxidation allows Völkle to work with real rust which creates amazing visual effects.</p> Fri, 12 Apr 2013 05:44:35 +0000 Merwin Belin - Assembly - April 13th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Assembly</strong> and <strong>Tomwork</strong> (Tom Jimmerson, formerly of Cardwell Jimmerson Contemporary Art) present "<strong><em>Merwin Belin: Frontpages</em></strong>" on view from April 13 to May 11. Artist's reception is Saturday, April 13, 6-9 pm. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Ronald Reagan served as President of the United States from January 1981 until January 1989. Sometime in 1984, when the so-called "Reagan Era" was coming to be recognized as the political and cultural sea-change that it was, Merwin Belin embarked on an ambitious series of artworks of and about that era and the culture-wars that followed. The logic of Belin's project is as simple as it is relentless. Portions of a newspaper's front page--The Washington Post, New York Times, Wall Street Journal, Los Angeles Times and Herald Examiner--are excised by x-acto knife and discarded. Other portions from "the back" of the paper so to speak, are moved forward and substituted, thus generating a new narrative that was arguably already there; this within a design format--the front page--that is itself a "readymade" composition. Rinse and repeat.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Belin has so far executed more than two hundred such pieces, one hundred of which are on view here. Each is as particular and as general as the day it addresses. Collectively however, they raise two important critical issues. One is the matter of "method," Belin's means of production. The other is "time" and the circumstances of his reception.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">In the 1974 book "Theory of the Avant-Garde," Peter Burger identified collage / montage as the wedge dividing a (false) organic realism from a (true) dis-continuos reality. Collage was thus declared "the fundamental principal of avant-gardiste art" as it developed in the early twentieth century. Things have changed. Collage is now taught as an introductory art technique from kindergarten to the old-age home. No longer radical, it has instead become almost shockingly routine. Indeed, in the "cut and paste" digital workplace, are we not all collagists now? Belin concurs, comfortable in the knowledge that, except for frames and plexiglass, these now old-fashioned paper documents barely even register as art.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Time? It is a peculiar and perhaps defining feature of Belin's work that a statement made in time, about a specific moment in time, might take yet more time--years or perhaps even decades--to become fully legible. "Timing is everything," according to the vulgar phrase that so neatly fits into the pragmatic ideology of neo-liberal economics. Likewise, "yesterday's paper" was shorthand for something valueless back when newspapers still mattered. But there could be another, more subtle view of temporality that applies here. When the philosopher Nelson Goodman grew tired of circular arguments about "what is art," he countered with the question "when is art?" In the twilight of the once mighty print culture this artist so closely observes, Belin's "Frontpages" answer, "now."</span></p> <p style="text-align: justify;"><span style="font-size: small;">Exhibition hours are Tuesday through Saturday, noon to 6:00 pm. Assembly is located at 2045 S. La Cienega Blvd., Los Angeles CA 90232. Ample parking is available in the lot adjacent to WSS Shoe Warehouse at the same address.</span></p> Thu, 04 Apr 2013 08:16:50 +0000