ArtSlant - Closing soon en-us 40 Group Show - Cella Gallery - April 20th, 2013 - May 10th, 2013 <div style="text-align: justify;"><span style="font-size: small;">Cannibal Flower and Cella Gallery are pleased to present "Never A Dull Moment" an exciting group exhibition featuring work from some of the brightest emerging artists in the LA scene.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">Featuring the talents of Gustavo Rimada, Cody Lusby, Ariel Deandrea, Jackson Thilenius, Lauren Haggis, John Park, Michael Christy, Sarah Stieber, Ken Flewellyn, Elliot Brown, Kristin Bockrath, Kelly Thompson, L. Croskey, Kate Zambrano, Macsorro, Ramiro Hernandez, Christopher Willingham, Salah, Jeaneen Carlino, Telopa and Jenna Gibson.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">The opening reception for "Never A Dull Moment" takes place Saturday, April 20th from 7-11 pm, at Cella Gallery.  The reception is open to the public with a number of the artist attending. Beats curated by the one and only Mr. Numberonederful.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>About Cannibal Flower:</strong></span><br /><span style="font-size: small;">The Cannibal Flower Art Gallery and Performance Space is a once-a-month, portable venue for the arts that showcases art, music, dance, film, projections, magic and fashion shows. Cannibal Flower believes that if an artist is truly passionate and dedicated to what they do, they deserve a chance to show their art. By working with different galleries and alternative spaces, Cannibal Flower is able to bring the arts to a wider and more diverse audience.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>About Cella Gallery:</strong></span><br /><span style="font-size: small;">Cella Gallery is a contemporary fine art gallery located in the heart of the NoHo Arts District in Los Angeles, California. Cella has been on the forefront of emerging art in LA since 2008 and continues to champion and support new and emerging artists through creative programming and events. For more information about the gallery, visit<a shape="rect" href="" target="_blank"></a></span></div> Sat, 06 Apr 2013 17:44:00 +0000 Steve DeGroodt, Mara De Luca, Andy Kolar, Doug Meyer and Carolee Toon - CMay Gallery - April 13th, 2013 - May 10th, 2013 <p>The <b>AndrewShire Gallery </b>is pleased to present <i>De Stil,</i> a group exhibition of paintings and sculpture by Los Angeles-based artists Steve DeGroodt, Mara De Luca, Andy Kolar, Doug Meyer and Carolee Toon, curated by veteran LA-curator Carl Berg.</p> <p> </p> <p><i>De Stil</i>, which in Dutch translates to <i>The Quiet,</i> describes the nature of these five artists’ works. Quiet but revealing, the work presents a visual and conceptual layering that requires the viewer to investigate, ponder, and contemplate the works.</p> <p> </p> <p>Abstraction has made a tremendous resurgence in the art world in the past decade, as generations of artists continue to explore this form in their practice. <i>De Stil</i> includes a mix of both younger and older artists whose investigation of abstraction evolves from different eras and approaches. Crossing the boundaries of concept and time, there is an underlying synergy between the works in the exhibition, a fertile interaction that emphasizes the quietness, the stillness, of each piece.</p> <p> </p> <p>Berg, the exhibition curator, has had a long-term interest in abstraction, having curated over a dozen exhibitions exploring the genre. <i>De Stil</i> is the first exhibition he has curated at the AndrewShire Gallery. He will continue his exploration of abstraction with a second show at the gallery in the fall of 2013.</p> <p> </p> <p>AndrewShire Gallery is dedicated to the development and exhibition of innovative contemporary artworks by international and local talents. In addition to its Los Angeles location, the gallery established an alternative space in Singapore in 2006. AndrewShire continues to push the international envelope while remaining an integral part of the local community. The gallery is located at 3850 Wilshire Boulevard #107, Los Angeles, CA 90010.  AndrewShire Gallery, Singapore is located at 63 Hillview Avenue #10-13, Lamb Spoon Building, Singapore, 669569.</p> <p> </p> <p> </p> <p> </p> <p align="center"> </p> <p align="center">For press inquiries contact Christine Anderson, Communication Arts + Design <a href="" rel="nofollow"></a> (310) 869-8957  <a href="" rel="nofollow"></a></p> <p> </p> <p align="center">For further information contact May Chung</p> <p align="center"><a href="" rel="nofollow" target="_blank"></a></p> <p align="center">213 389-2601</p> <p> </p> Tue, 09 Apr 2013 19:32:41 +0000 - UCI Art Gallery - April 25th, 2013 - May 10th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><b><i>Part I</i></b><b>, from April 25 - May 10, 2013, will have two opening receptions: Thursday April 25, from 6-9 pm and Saturday April 27, from 12-6 pm.</b></span></p> <p style="text-align: justify;"><span style="font-size: small;">The University of California at Irvine has renamed the Studio Art Department the Department of Art. The MFA class of 2013 is the first to receive their degrees with this new title and the work they will present in UCI MFA Thesis Exhibition: Parts I and II reflects this turn. The nine candidates will exhibit work demonstrating fresh interpretations of interdisciplinary practice, including performative installation, sculptural video, theatrical soundscapes, critical abstraction, painting, and institutional critique.</span><br /> <br /><span style="font-size: small;"> In the Room Gallery Cassie Riger will present Early Influences. The viewer enters a darkened gallery to find a series of playfully constructed video projections, which meditate upon the possibilities and problematics of the apparatus of cinema. Filmic effects now typically achieved in post production are achieved in Riger’s work through ridiculously obtuse physical efforts. Meanwhile, a series of cinematically composed color photographs stage expressive tableaus from remembered moments of television spectacle. She uses these telegenic reenactments to interrogate the emotional affects and collective traumas projected via mass media. </span><br /> <br /><span style="font-size: small;"> In the University Art Gallery (UAG) Yaron Michael Hakim will show an installation incorporating a handmade boat in which he will sail to Catalina Island following the exhibition. Through sculptures, installations, paintings and performance he creates a phenomenological world to negotiate interests in ritual, travel, science and politics. This bricolage practice is influenced by his travels, nomadic-like upbringing and general sense of placeless-ness. </span><br /> <br /><span style="font-size: small;"> Todd Bura will show a series of paintings in the Contemporary Arts Center Gallery (CAC). The work is the result of his recent investigations into fixed and unfixed compositions. He is invested in both the history of painting and poetically working within the medium. </span><br /> <br /><span style="font-size: small;"> Also in the CAC, Martabel Wasserman will present #ReclaimMayDay, an installation exploring the pagan and political origins of the holiday. She investigates the difficulty of coalition building ultimately seeking to mobilize political action through craft, camp, text, and social practice.</span></p> Fri, 26 Apr 2013 15:57:35 +0000 Jonathan Apgar, EJ Hill, Gerardo Monterrubio, David Fisk Whitaker - UCLA New Wight Gallery - May 2nd, 2013 - May 10th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The fourth and final installment of showcases by the MFA (Master of Fine Arts) 2013 candidates in the UCLA Department of Art, MFA #4 features work by <strong>Jonathan Apgar</strong> (painting/drawing), <strong>EJ Hill</strong> (new genres), <strong>Gerardo Monterrubio</strong> (ceramics), and <strong>David Fisk Whitaker</strong> (ceramics). Join us for the opening on Thursday, May 2 from 5-8pm.</span></p> Mon, 08 Apr 2013 12:42:41 +0000 Ethan Breckenridge - University Art Gallery, UCSD - February 21st, 2013 - May 10th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>We'd love your company </em>is a new project with New York-based artist Ethan Breckenridge.  The project extends an open invitation to publics to repurpose the UAG into a negotiated space of research, dialogue, performance, sociality, and activism. The gallery becomes a place where the assumptions of participatory formats in art practice and popular culture, are thought through, discussed, performed and tested through a program of events and conditions of in/hospitable space.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The physical walls of the gallery, which previously served to delineate separate display spaces and to maximize surface area for exhibition of artworks, are cut out and reconstructed to provide a physical platform, as well as other ambiguous grounded structures, that invite indeterminate use. Translucent scrims, scattered throughout the newly opened space, allow guests to erect mutable enclosures and barriers, while life-size figures, enlarged from architectural models, populate the space as its imagined and real participants. Through this redesign, Breckenridge acts as architect and host to ambivalent inhabitation by all guests and collaborators — both allied and adversarial, idealized and actualized. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>We’d love your company</em> parlays the open invitation into a call for program proposals as a transactional vehicle for the use and exchange of space and time by the UAG's most proximate public, the university student(s), as well as its ancillary publics, the “community.” Parallel to this invitation, <em>We'd love your company</em> hosts a series of guest lectures, performances, and workshops that critically respond to the participatory imperative in contemporary art practices and political institutions. Alongside this programming, the performance of an adapted teleplay and the screening of a video, both produced by Breckenridge, consider projective and reflexive instances of the hospitable gesture and participation in piecemeal, narrative forms.  To view the full schedule of programs, please visit the <a href="">Upcoming Talks and Events</a> page. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the course of <em>We'd love your company</em>, a progressive publication will document the project in a self-archiving format to become a flexible instruction manual that invites further reflection and both auspicious and dubious participation. </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>Call for Proposals<br /> <br /> </b></span></p> <p style="text-align: justify;"><span style="font-size: small;">Members of publics are invited to propose event programs as part of, or separate from, the exhibition. We welcome all proposals! Conferences, performances, seminars, gabfests, team building sessions, social gatherings, tête-à-tête's, etc.  To propose an event program, or for any related inquiries, please e-mail <a href="" target="_blank"></a> with your name, organization, potential dates and times, a brief description, potential equipment/material needs, your contact information, and "YOUR PROGRAM HERE" in the subject line.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Ethan Breckenridge (b. Madison, Wisconsin, 1977) lives and works in New York. He earned his BFA from the School of Visual Arts and MFA from Columbia University. He has exhibited in galleries and institutions internationally and has produced projects for unitednationsplaza in Berlin, Germany (2006), Goethe Institut's Ludlow38 in New York (2008), the Museo Patino in Santa Cruz, Bolivia (2009), and the Sommerakademie at Zentrum Paul Klee in Bern, Switzerland (2009). Most recently, he exhibited at Gresham’s Ghost in Baltimore, The Zabludowicz Collection in London, UK, Thierry Goldberg Gallery in New York, and The Suburban in Chicago.</span></p> Sat, 09 Feb 2013 16:31:05 +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 Siri Kaur, John Knuth, Heather Rasmussen - Cohen Gallery - March 28th, 2013 - May 11th, 2013 <blockquote> <p style="text-align: justify;"><i>The Cosmos is all that is or ever was or ever will be. Our feeblest contemplations of the Cosmos stir us — there is a tingling in the spine, a catch in the voice, a faint sensation of a distant memory, as if we were falling from a great height. We know we are approaching the greatest of mysteries.</i> --Carl Sagan</p> </blockquote> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>The Cohen Gallery</strong> is pleased to announce <strong><i>Falling from Great Heights</i></strong>, a group exhibition featuring photographic works by <strong>Siri Kaur, John Knuth,</strong> and<strong> Heather Rasmussen</strong>. While each of the three Los Angeles-based artists owns a distinct style, all have a fascination with photography as a vehicle to abstract locations and space.  Each artist’s work transcends the materials used to dislocate the viewer by means of manipulation, scale, and movement. All of them engage with the sublime, the beauty and fear of the spectacle of nature and the unknown. This poetic leitmotif draws their work together, however each artist manifests this in different ways.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Siri Kaur will show images from her <i>Half of the Whole</i> series—a photographic exploration of deep space through a telescope lens. She manipulates the color and depth of the celestial forms with chemicals in the darkroom to create new images that look like “real” photographs of distant galaxies. With this series the artist plays with photography’s uncanny ability to dislocate space and time. Kaur received her MFA from the California Institute of the Arts and is currently an Assistant Professor at Otis College of Art and Design. Her work will be included in the forthcoming 2013 California Triennial of Photography.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">John Knuth’s Polaroid images from <i>High Harbor</i> and <i>Faded Siren</i>, are based upon a simple process of photographing survival materials that echo patterns in the natural world. The result yields little jewels of one-of-a-kind Polaroid prints. <i>High Harbor </i>includes abstract images of crumpled, light-reflecting Mylar blankets tossed into the night sky and upon being photographed result in abstract images of what could be glimmering mountains and valleys. <i>Faded Siren</i> exposes billowing clouds of orange smoke from emergency flares photographed with flash that cause fractal patterns in the black night sky. Knuth’s corresponding video displays his practice of working with the smoke flares in the desert landscape. Knuth was the director of Circus Gallery from 2007 to 2010.  He has shown his work in Sweden, Germany, Denmark, Iceland and Mexico and at the Los Angeles County Museum of Art, the Minneapolis Institute of Art and in galleries in Los Angeles, Chicago and San Francisco.  He received an MFA from USC.  </span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>DestructConstruct</i> by Heather Rasmussen is a series inspired by the artist’s ongoing investigation into shipping container disasters as systems of dysfunction. Colorful, handmade paper sculptures are stacked, scattered or crumpled into formations that replicate found images on the Internet of actual cargo accidents. These abstracted incidents remove the viewer from a dangerous scene and into an exploration of shape, color and pattern with deceivingly fragile materials, representing the delicate foundation of man’s trophies to globalization.  Heather received her MFA from the California Institute of the Arts and has exhibited at the Art Institute of Chicago, Mixed Greens in NYC and numerous galleries across the country.</span></p> Sat, 09 Mar 2013 09:17:43 +0000 Jeff Gillette - CoproGallery - April 20th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Copro Gallery </strong>presents <strong>Jeff Gillette's</strong> fourth solo show with the gallery,<strong>"Slum Landfills"</strong>. This brand new body of work is inspired by a culmination of travels Jeff took through the slums of India, most recently, the Dharavi Slum (of Slumdog Millionaire fame) last spring. Most remarkable in his latest visual documentation of his experiences are the environments of many of the shanty town areas where it's hard discerning the trash from the architecture. Most of the paintings feature Mickey Mouse either prominently, hidden or dead in the piles of debris. Included in the show are a multitude of sculptures that mimic the detritus that is the material used by the slum inhabitants to create their impromptu homes. This show will give you a glimpse into some of the most wretched places on earth!</span><br /><span style="font-size: small;"><strong><br /></strong><strong>Artist Statement </strong></span><br /><span style="font-size: small;">When I was thirty-eight years old, I was dragged, kicking and screaming into the Disneyland Theme Park in Anaheim, California to have "fun." Everything was clean, orderly and happy. I may have vomited. I prefer Calcutta, India. Over there I routinely contract food poisoning or worse,and vomit.It all started for me back in the late 1980’s as a Peace Corps volunteer in Nepal, I visited all of India’s large cities and their megaslums. Besides India, I’ve ventured into favelas, barrios, bastis and shantytowns, experiencing urban blight in North Africa, Southeast Asia, Central and South America, Mexico and Bangladesh. Aside from the seething humanity, suffering, unfairness and cruelty of the slum is a strange beauty. The cacophony of filthy debris rising from oceans of garbage comprises an architecture of depravation and necessity. What emerges is a living environment of aesthetic wonder, spectacular visuals of space, color, form, and texture. These images, I re-create in the all too-realism of my “slumscape” artwork, in drawings, paintings, sculptures and installations.</span></p> Thu, 18 Apr 2013 09:18:00 +0000 Becca, Philip Lumbang - CoproGallery - April 20th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Gallery 2 <strong>Copro</strong> presents <strong>becca &amp; Philip Lumbang. </strong>For this exhibition there will be paintings by becca and Philip as well as colloboration pieces done by both artists. Since the late 80's artist <strong>becca</strong> has been taking her work to the street and helping to pioneer a phenomena in Los Angeles know as “street art”. Her vision in seeing the potential of our urban landscapes as a endless canvas played an integral role in accelerating a movement that would change art and how artists express themselves. beccas' paintings on wood have a look like they have been taken from the street much like her work used to sell in the begining from paintings procured from construction sites or boarded up buildings in Los Angeles. Since the 80's she has done many fine art exhibitions with major galleries and continues to represent the feminine side to a mostly masculine dominated art form. <br /><br /><strong>Philip Lumbang</strong>'s greatest passion is drawing and painting. Doing the only thing that seemed natural to him, he pursued his artistic talent and went to art school. By divine entanglement, he was offered a seat next to Sheperd Fairey, at Studio Number One. There, immersed in a world where an artist is not a trouble maker, but a respected professional, he realized he could be one too. Los Angeles was a world apart from his humble suburban home back in Elk Grove, California. When he would draw he would channel all the noise, traffic, bad habits and negativity that the city was boiling over with. His bears first emerged as gaspingly rude mammals. But the bears transformed as Philip did. As a counter attack to the world's problems they went to artistic reform school, rather – charm school. They appeared all over Los Angeles as courteous and well mannered cuddly creatures. Now, as a most wise people, Philip Lumbang's message through the bears is to love each other and the bears do it quite nicely!<br /></span></p> Thu, 18 Apr 2013 09:15:29 +0000 Kazuki Takamatsu - Corey Helford Gallery - April 13th, 2013 - May 11th, 2013 <p><span size="2" style="font-size: small;"><span face="Helvetica, Verdana, Arial" style="font-family: Helvetica, Verdana, Arial;"><b>Corey Helford Gallery presents<br /> </b><br /> <b>Kazuki Takamatsu<br /> “Japanese Ideology of Puberty”<br /> Solo Exhibition<br /> <br /> Opening Reception Saturday, April 13, 2013 from 7-10pm<br /> On View April 13 – May,11, 2013<br /> </b> <br /> <strong>Corey Helford Gallery             </strong><br /><strong> 8522 Washington Boulevard              </strong><br /><strong> Culver City, CA  90232                </strong><br /><strong> T: 310-287-2340                  </strong><br /><strong></strong><br /><strong> Open Tuesday - Saturday, Noon to 6:00pm</strong> <br /> <br /> On <b>Saturday, April 13</b>, 2013, <b>Corey Helford Gallery</b> presents the <b>“Japanese Ideology of Puberty,” </b>featuring the light and shadow paintings of Japanese artist <b>Kazuki Takamatsu</b>, his first solo show with the gallery.<br /> <br /> Takamatsu’s paintings of contemporary awakenings are a catharsis of tonalities. “I use computer graphics-digital-and painting-analog-to make a work and it indicates the emotion of boys and girls metaphorically,” says Takamatsu of his painting method. Through the computer graphic technique of depth mapping, three-dimensional space is digitally visualized in a series of multiple depth plains. Takamatsu hand paints the emotions of his teenage subjects modeled on deep computer visual space. “Each graduation from surface to depth means the distance and there is no light and shadow. The color of black and white are metaphor for truth and evil, race and religion.” With acrylic black and white paints and gouaches, Takamatsu renders his girls with a method mediated on social fields of sexual identity, depth-fields mapping emotions engaging with a “systematic society.”<br /> <br /> In the featured painting, “What is Important to Me Now?,” Takamatsu reveals a girl’s contemplation as a defense of being overwhelmed: “Weapons to protect something or to get rid of something. Information, life, politics, culture, religion, friends, nature, animal, plant or mind?” Youth becomes a field of awakenings, multiple perceptions of an adulterated world. “A pure emotion of Teenager who can’t get used to the society of adult has a mirror of inconsistency of society. I think there is a beauty in it,” he says. Takamatsu celebrates the adolescent’s vision as a purity blossoming through technology media, a venus fly-trap of tech culture and viral thinking.<br /> <br /> “Japanese Ideology of Puberty” will exhibit twelve oil paintings painted in acrylic and gouache, focusing on the emotive depth of coming of age. Of his painting, “The Flu” depicting a virus complicating life and transmitted by people, he visualizes metamorphosis. “The information, society and people always keep changing,” says Takamatsu of his ephemeral figures’ world, a vibrant, noir mapping of the rites of youth, where growing-up is a surreal awakening, a beauty transcending technocracy.<br /> <br /> The opening reception for “Japanese Ideology of Puberty” takes place Saturday, April 13 at Corey Helford Gallery. The reception is open to the public, and the exhibition will be on view through May 11, 2013.</span></span> <!--EndFragment--></p> Sat, 13 Apr 2013 19:45:05 +0000 Sam Gilliam - David Kordansky Gallery - March 28th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>David Kordansky Gallery</strong> is very pleased to announce <strong><em>Sam Gilliam: Hard-Edge Paintings 1963-1966</em></strong>, its first exhibition of the artist's work. The show, curated by fellow gallery artist Rashid Johnson, will open on March 28 and run through May 11, 2013. An opening reception will be held on Thursday, March 28 from 6:00 until 8:00pm.</span><br /><br /><span style="font-size: small;">A revolutionary figure in postwar American art, Sam Gilliam helped define the Washington Color School in the mid-1960s and pushed Color Field painting to its extremes. Gilliam utilized the tenets of hard-edge geometric painting as starting points for a series of formal experiments that would soon lead to subsequent breakthroughs in contemporary painting, including the installation-based drape paintings for which he is best known. Exhibition curator Rashid Johnson has focused on this lesser-known period as a way of shedding light on the full scope of Gilliam's achievement. The exhibition is therefore an opportunity to see the early paintings of a major figure through the eyes of a young artist who himself has recently emerged as a leading voice of his generation. </span><br /><br /><span style="font-size: small;">The earliest paintings on view feature wash-like monochromatic fields inscribed with diagonal stripes. While executed using the same Magna acrylic resin paints preferred by many of his Washington-based peers during this period, these works display a subtle sense of color and texture, and show Gilliam beginning to gradually diverge from the strict parameters of what was understood as Color Field painting. In other works, hard edges start to give way to a more organic interaction of pigments––diagonal stripes and triangular forms divide areas of raw canvas but also blend into one another. No longer wholly reliant on what Kenneth Noland described as a "one-shot" process of pre-conceived design, these paintings show Gilliam developing a freer method of composition. </span><br /><br /><span style="font-size: small;">This transition was enacted by a young artist responding to an increasingly unpredictable world by adapting a structured methodology for greater experimentation. For Gilliam, the hard-edge ethos was not a theoretical end itself, but the beginning of a lifelong interest in the connection between painting and sculpture, and in creating, in critic and curator Jonathan Binstock's words, "a totally painterly environment, one that made a viewer's relationship to the object and the space around the object... almost as important as the object itself." </span><br /><br /><span style="font-size: small;">Gilliam would soon expand the field of the painting beyond the limits of the stretcher into the surrounding architecture. But he would also question the connection between formalism and issues outside of a purely art historical context, including those related to the particularities of African-American experiences. Throughout his evolution, and regardless of the specific parameters of a given period, Gilliam has always focused on the lyrical potential of his chosen materials. As a result, his work has increasingly proven to be a prevailing influence on younger artists working across all media.</span><br /><br /><span style="font-size: small;"><strong>Sam Gilliam</strong> (b. 1933) lives and works in Washington, D.C. His work is in the collections of many major institutions worldwide, including the Museum of Modern Art, New York; Tate Modern, London; The Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Musée d'Art Moderne de la Ville de Paris; Los Angeles County Museum of Art; Dallas Museum of Art; Walker Art Center, Minneapolis; and the Solomon R. Guggenheim Museum, New York. A major retrospective was held at the Corcoran Gallery of Art, Washingon, D.C. in 2005. Included in many seminal group exhibitions over the last fifty years, his work is currently on view in <em>A Bigger Splash: Painting after Performance</em>, Tate Modern, London. Other forthcoming and recent group shows include <em>The Force of Color</em>, Madison Museum of Contemporary Art, Madison, WI; <em>Drip, Drape, Draft</em>, curated by Rashid Johnson, South London Gallery, London; <em>The Spirit Level</em>, curated by Ugo Rondinone, Gladstone Gallery, New York; <em>Colorscape: Abstract Painting, 1960-1979</em>, Santa Barbara Museum of Art; and <em>The Shape of Color</em>, Art Gallery of Ontario, Toronto. Gilliam will be honored alongside other artists by American Patrons of Tate, in a ceremony to be held in New York in May 2013.</span></p> Sat, 30 Mar 2013 22:57:05 +0000 Louise Nevelson - L&M Arts, Los Angeles - March 22nd, 2013 - May 11th, 2013 <p style="text-align: justify;" align="justify"><span style="font-family: arial,helvetica,sans-serif; font-size: small;"><strong>L&amp;M Arts</strong> is pleased to present<strong> Louise Nevelson:</strong> <i>The 70s</i>, an in depth look at a diverse and defining decade of work by the woman deemed the “Grande Dame of Contemporary Sculpture.” This extensive exhibition will include over thirty works described by the artist at the time of their making to be about the now, which have since matured over the past three decades to take on new and evolved relevancy. The first exhibition to focus solely on works from this era examines a culminating crest of her investigations into the relationship between elements, sculpture, and architecture to achieve her distinct material alchemy. </span><br /> <br /><span style="font-family: arial,helvetica,sans-serif; font-size: small;"> After Nevelson’s first major retrospective at The Whitney Museum of American Art in New York in 1967, her work noticeably shifted in tone and form. In his essay for the forthcoming monograph Louise Nevelson, slated to be released by Skira publishers in April 2013, art historian Germano Celant reflects on this charged period:</span></p> <blockquote><span style="font-family: arial,helvetica,sans-serif; font-size: small;">“from the 1970s, the continuity of the wall structures was broken down in pursuit of a discontinuity that emancipated the individual elements, separating them and making them autonomous and different, no longer contained in boxes…(they) seemed to come from an order that was no longer primitive, but rather cultured and mature, where verticality was a metaphor for the pride and presence that had been achieved.”</span></blockquote> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Adobe garamond pro"><span size="3"><br /> The 1970s were a time of unprecedented success for Nevelson: she participated for the second time in the Venice Biennale (1976), New York City Mayor Ed Koch named a downtown Manhattan park after her (1978), and President Carter honored her as one of five most important woman contributing to the arts in the United States. These accolades allowed her to pursue a new, larger scale for her work as a result of invitations for various commission projects. In addition, a steady stream of gallery and museum exhibitions afforded the opportunity to expand on her previous practice with increasing momentum. The works displayed in Louise Nevelson: <i>The 70s</i> present a holistic look into not only her artistic achievements, but also intellectual and aesthetic explorations at the time. Among the objects providing insight into these pursuits are <i>Small Cities IX</i>, 1978, a rare wooden ‘tool’ box; <i>Untitled</i>, 1971, an 89-piece intricate geometric wall sculpture; and a large-scale work that, like many of her commissioned works from the era, will be erected outside in the gallery's garden. <br /> <br /> The exhibition will also include a suite of fourteen collages by the artist known for her signature eccentric style. More often than not, Nevelson could be found draped in decadent furs over richly textured garments, her eyes heavily outlined in black pencil and a net of false eyelashes. She believed that aesthetics are a closed circuit; the current running from her intellectual perceptions to her personal style to her artwork fed a continuous dialogue. The 1970s proved a prolific period of collage-making for Nevelson, who, at the time, remarked on the subject, “I love to put things together. My whole life is one big collage. Every time I put on clothes, I am creating a picture, a living picture, for myself... I like clothes that are upholstered. I like that you build up your clothes…You can do it two-dimensionally, and every time I do it, when I go back to my work, I use that again.” Her collages are an integral component to a body of work deeply rooted in her distinct sensibility.<br /> <br /> Louise Nevelson (1899–1988) was born Louise Berliawsky in Kiev, Russia and immigrated to Rockland, Maine at the age of six. After marrying Charles Nevelson in 1920, the couple settled in New York City. It was there that she enrolled in the Art Students League, studying under Kenneth Hayes Miller and Hans Hoffman. Over the next two decades she worked as an assistant to Diego Rivera as well as at the Sculpture Center in New York and Atelier 17. After the mid-1950s she began showing regularly in New York and abroad. Nevelson’s work can be found in nearly 90 public collections worldwide, including: Albright-Knox Art Gallery, New York; The Art Institute of Chicago; The Brooklyn Museum, New York; The Cleveland Museum of Art; The Corcoran Gallery of Art, Washington, D.C.; Dallas Museum of Art; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Israel Museum, Jerusalem; Los Angeles County Museum of Art; Centre Georges Pompidou, Paris; Tate Gallery, London; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York.</span></span></p> Sat, 30 Mar 2013 22:59:00 +0000 Cecilia Miguez - Louis Stern Fine Arts - March 23rd, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Roses decorate the wooden torso of the pale queen. El Rey, her king, stands at her side, inclines his head and motions to a silent crowd. The tower, washed a bright candy apple red, keeps watch from afar. Pawns and knights, hands poised mid-gesture, train their golden eyes on a distant horizon. Magicians caught thinking before they speak? Or are they simply chess pieces in an elaborate imaginary game? What they might have seen or heard remains mysterious. But the charisma conjured by these figures is unmistakable.</span><br /><br /><span style="font-size: small;"> As per usual with Miguez' meticulously dreamed creations, each sculpture features found objects coupled with specifically crafted structural components: printing blocks serve as podium for a small bronze figure, a tin cake mold suggests a carefully pleated collar, a tiny salt spoon adorns the wooden front piece of a circular tower of Chinese boxes and rusted gears, a porcelain skinned figure sits cross-legged on a battered doll-sized chair. The combinations of bronze and wood, the patinas of gunmetal gold and ebony evoke the illusion of an object-generated light. Shadow and substance, fantasy and identity, are interwoven via the history of the 'old' object and the lively accomplishment of the artist's invention.</span><br /> <br /> Ms. Miguez' work is included in numerous public and private collections. Louis Stern Fine Arts represents the artist exclusively</p> Sat, 23 Mar 2013 16:22:25 +0000 Michael Linares - ltd los angeles - April 6th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;">the artist saw the rat</span><br /><span style="font-size: small;">the finger saw the rainbow</span><br /><span style="font-size: small;">the toulambi tribe saw the white man</span><br /><span style="font-size: small;">the spectator didn’t see</span><br /><span style="font-size: small;">the painter wasn't there</span><br /><span style="font-size: small;">the rat saw the mirror</span><br /><span style="font-size: small;">the elephants made new work</span><br /><span style="font-size: small;">the gallerist refused to consign</span><br /><span style="font-size: small;">the insignificant works were handmade signs</span><br /><span style="font-size: small;">the artist is crafty- that comes in handy</span><br /><span style="font-size: small;">as he is behind the wall and behind the viewers of the viewers</span><br /><span style="font-size: small;">there is no doubt the artist is the rat</span></p> <p style="text-align: justify;"><span style="font-size: small;">–another artist</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">The artist has memory and is able to recognize him/herself in a mirror, both characteristics indicate he/she is aware of</span> <span style="font-size: small;">him/herself as an individual in a collective. Elephants do too. *</span></p> <p style="text-align: justify;"><span style="font-size: small;">A video made in 1976 documents the first ever encounter of a Nueva Guinea's tribe with the white man. This work </span><span style="font-size: small;">portrays both tribes' curiosity in observing each other and by showing it on a screen one would feel curiosity to observe</span> <span style="font-size: small;">this too, except Michael D. Linares decides to cover it. A prohibited self-recognition interest is what the artist seems to</span> <span style="font-size: small;">be curious to observe.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As a way to conveniently state the artist has the ultimate control of his work's meaning, Insignificant is chosen as the title</span> <span style="font-size: small;">for a series of prints. Because the work is not only explained by hand sign language, but it is as well hand printed on</span> <span style="font-size: small;">hand made paper, the artist might be redirecting the significance to its craft. Michael D. Linares is painter of origin, born</span> <span style="font-size: small;">in San Juan, Puerto Rico. </span></p> <p style="text-align: justify;"><span style="font-size: small;">With these works the artist, like every other artist, proves himself an artist, when trying to recognize his own abilities, as</span> <span style="font-size: small;">a way to find an origin to his own practice. The self-awareness capacity, intrinsic to the human aesthetic knowledge</span> <span style="font-size: small;">becomes the base of his observation and inspired on this idea, all the pieces above described exit the artist's studio in</span> <span style="font-size: small;">Puerto Rico to be presented in ltd los angeles for the exhibition under the title "Was it a rat I saw?"</span></p> <p style="text-align: justify;"><span style="font-size: small;">PS – The viewer can view other viewers by hiding in a wall, simultaneously creating a multi-gaze mural in the back part</span> <span style="font-size: small;">of the gallery. The artist will observe the wall, the viewers, and the viewed; having said this, I believe the artist is the rat.</span></p> <p style="text-align: justify;"><span style="font-size: small;">* The elephant paintings are real</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">-Adriana Lara, 2013</span></p> <p></p> <p></p> Sat, 20 Apr 2013 17:56:20 +0000 Matthew Grover - ltd los angeles - April 6th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Shot along the 22.4 mile stretch that Glenoaks Boulevard cuts across the San Fernando Valley, the 63 image suite that comprises <strong>Matthew Grover</strong>'s<em><strong> Traps Forward</strong></em> eschews straight street photography in favor of impressionistic manipulations of color and tone. The pictures were exposed on Kodak Vivid Color film, pushed at the lab for higher contrast, before Grover brought them into Photoshop for further alteration. This interweaving of the grain of the film with the wider color gamut of the inkjet printer on which Grover's scanned negatives were printed evokes the look of an old film clip uploaded onto YouTube, and the project's very premise seems to rhyme the slow crawl of Ed Ruscha's<em> Every Building on Sunset Strip</em> with the lowriders cruising down the boulevard in an early 90s Snoop Dogg video. Accentuating these layers of mediation, the work asks to be placed alongside that of other artists interested in the ways that representations make meaning not in relationship to an external referent, such as a geographically defined locale, but rather in relation to other representations.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> The banal sites captured by Grover's lens are photographed less as the scene of a crime than the staging of one in line with hip hop's obsessive appropriation of Brian De Palma's <em>Scarface</em> (1983). Innocuous interactions are made sinister, and tinted windows imply something worth hiding. Photographed from a certain angle and at a certain distance, mundane situations are caught in an ill-boding narrative. Aided by Grover's manipulations in post-production the images enter a network of associations, which include tropes of rap music videos that are themselves drawn more from Hollywood gangster films than firsthand experience. Yet, these street scenes are overwhelmingly nondescript, hardly the cinematic mise en scéne likely to launch an aspiring rapper into a larger than life career.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Beyond their hazy atmosphere, the images record a monotonous suburban sprawl that's only distinguishing features are the occasional palm tree or the possibly recognizable mountain range in the distance. In this compound of ominous atmospherics and prosaic daily life, there's an unsettling suggestion that nothing happens next.</span></p> <p style="text-align: justify;"><br style="font-size: small;" /><span style="font-size: small;">—Ben Carlson, 2013</span></p> Sat, 20 Apr 2013 18:00:54 +0000 Marcos Ramirez ERRE, Marco Ramirez ERRE - Luis De Jesus Los Angeles - April 6th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><b>Luis De Jesus Los Angeles</b> is very pleased to present <b>Marcos </b><b>Ramírez</b><b> ERRE</b> in his first solo exhibition at the gallery, titled <i><b>Playing <span style="text-decoration: line-through;">Series</span> Serious</b></i>, on view from April 6 through May 11, 2013. An artist's reception will be held on Saturday, April 6th, from 6:00 to 9:00 p.m., and will include an opening night-only participatory performance titled <b><i>The Bottlefield</i></b>, starting at 7:30 p.m.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Invested in an ongoing interrogation of language and the consequences of its translation, across terrains and cultures, Marcos Ramírez ERRE's works intimately negotiate the subject and the object, history and memory, aesthetics and politics, the local and the global, and the personal and the collective. Posing questions about the relationship between art and audience, ERRE's works transform spectators into implicated subjects charged with the responsibility of taking an active role in producing the tensions expressed by the works.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">ERRE's new series of works, entitled <i>Playing Series Serious</i>, uses humor, word play, and the format of crossword, game search, Sudoku, labyrinth, and maze puzzles to continue his strategic appropriation of language-based signage. His work addresses the internalization of politics into thehabitual vernacular of the everyday. Testing the limits of cognition as well as the conventions of word and sign puzzles, <i>Playing Series Serious</i> also explores translation, misunderstanding and the impossibility of choosing to recognize what is hiding in plain sight.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Rational choice dictates that the decisions we make are directed towards finding the most efficient solution to a problem that will also cause the greatest good. ERRE's <i>Playing <span style="text-decoration: line-through;">Series </span>Serious</i> brings us face to face with the real contradictions inherent in making any kind of choice let alone a positive one, whether personal or political, as he challenges the viewer to resolve puzzle and word-games that confront loaded political statements juxtaposed with their grammatical dissolution into image. Just as in politics, <i>Playing <span style="text-decoration: line-through;">Series</span> Serious</i> teasingly prompts us to restore order by electing to play the game and engage our logical and emotive apparatus in exercises of conscious seeing.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Acknowledged as one of the most significant figures in the history of borderland cultural practices for over two decades, Marcos Ramírez ERRE--known by his pen name "ERRE" (pronounced <i>ēh-Rrēh</i>, the sound of the Spanish double R letter)--is a formally-trained attorney, skilled carpenter, and self-taught artist whose practice includes performance, installation, sculpture, billboards, photography, video, and painting. ERRE has participated in residencies, lectures and numerous collective exhibitions in Mexico, the United States, Russia, China, France, Spain, Cuba, Puerto Rico, Chile, Colombia, Argentina, and Brazil, including: InSite95 and InSite97; VI and VII Havana Biennials; 2000 Whitney Biennial; 2004 San Juan Poly/Graphic Triennial; 2007 Sao Paolo Biennial; 2007 Valencia Biennial; 2<sup>nd</sup> Moscow Biennial 2007; 2008 California Biennial; and 2012 ZERO1 Biennial.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Other solo and group exhibitions include <i>Marcos Ramirez ERRE:</i> <i>La reconstrucción de los hechos</i><i>(A Reconstruction of Events)</i>, 20-Year Retrospective, at the Museo de Arte Contemporáneo Carrillo Gil, Mexico City; <i>Ballad for Mellisa and Bob (or, the different ways to live on the border)</i>, an intervention at Casa Azul, Frida Kahlo Museum, Mexico City;<i> How Many Revolutions?,</i> LAX ART, Los Angeles; <i>The Body of Crime</i>, Artpace, San Antonio, TX; <i>The Four Pilots of the Apocalypse</i>, The Suburban, Chicago, IL; <i>Postcards from the Edge</i>, The Atheaneum of Music and Arts Library, La Jolla, CA; <i>To whom it may concern/War notes</i>, Stanlee and Gerald Rubin Center for the Visual Arts, University of Texas at El Paso, El Paso, TX; <i>Strange New World</i>, Museum of Contemporary Art, San Diego, CA; and <i>Baja to Vancouver: West Coast Contemporary Art</i>, Seattle Art Museum, Seattle, WA, amongst others.</span></p> <p style="text-align: justify;"></p> Wed, 20 Mar 2013 15:46:08 +0000