ArtSlant - Closing soon en-us 40 Kuhl & Leyton - Cal State Fullerton Grand Central Art Center - March 2nd, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>A series of work exploring white collar crime of the past decade in America.  </em>  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Kuhl &amp; Leyton's collaborative work explores the American and global culture of crime and its relationship to fame, media and the bizarre. The solo exhibition at Grand Central Art Center marks the US premiere of their new body of work, which focuses on the subject of white-collar crimes.  The artists draw inspiration from both obscure and popular subjects in the news, on the Internet and television.  Their primary medium is tape on paper.  [ is pretty cray cray]</span><br /><br /><span style="font-size: small;">Subjects of the current body of work include: Jack Abramoff, Martha Stewart,Bernie and Ruth Madoff, Enron, and Allen Stanford and the former chief regulator of his Antigua bank. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Brad Kuhl and Monique Leyton were both born in Miami, Florida in 1983. They grew up in Miami and met at Design and Architecture Senior High School. They began collaborating in college at Cornell University in Ithaca, New York.  They currently divide there time between Beijing, China and the United States.</span></p> Sat, 02 Mar 2013 16:41:05 +0000 Lisa Adams - CB1 Gallery - April 7th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">CB1 Gallery is pleased to present <strong>Lisa Adams’</strong> second solo show with the gallery,<strong><em> Second Life</em></strong>. Wielding an increased vocabulary of imagery and also of paint treatments, Adams transfers what she knows about nature, biology, zoology, botany, geometry, light, space, and spray paint into a parallel universe where the elements of composition have a different relationship to one another. The exhibition will be on view April 7 – May 12, 2013 and a reception for the artist will be held on Sunday, April 7, 2013, 5 – 7 p.m.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The works in <strong><em>Second Life</em></strong> were headed into unknown visual territory before an eye-surgery crisis intervened in <strong>Lisa Adams</strong> life and paintings. A convalescence of enforced non-looking drove Adams even deeper into her imagination. She didn’t stop looking just because her eyes were closed -- she looked around inside her head instead. Thinking took the place of seeing for a while, the very definition of imagination, and it’s that second world depicted in these landscapes. All of this happened right before Hurricane Sandy, so when she opened her eyes again, the real world really looked different -- all coastal town architecture abstracted through destruction and roiling forces of nature. The exhibition includes the painting she started before and finished after; and its lonely black-mud island and forlorn cottage wound up a perfect allegory of storms raging inside and out. Throughout <strong><em>Second Life</em></strong> she expands her established lexicon of birch trees, varied surfaces, lone plant life, awkward built environments, smoke, vapor, clouds, faux finishes, deracinated shadows, lime green, sweated ochre, pepto pink, burnt lemon, and all kinds of blues.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The show’s title was inspired by the performance art of Jon Rafman, whose avatar Kool-Aid Man bedevils the simulated online game, <em>Second Life</em>. Rafman has talked about his work inside the sim world as being both hilarious and unsettling for other players to whom his incongruous juxtapositions are disruptive -- for example appearing inside a D&amp;D scenario without warning. “It’s like I’m destroying the consistency of their make-believe world. [My] presence triggers a Dadaist celebration of nonsense.” It’s a sweet irony, causing both consternation and nostalgic exuberance by injecting the unreal into something that’s also always already unreal. Adams likes it.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In one new painting a huge black spot eclipses most of the middle of the composition. Beyond it are gyres of sky and cloud, to the right a creeping vine falls and comes to rest along the bottom edge of the image, compressing space and pushing it back, obscuring and depicting at the same time. In other canvases, floating geometrical shapes dip underneath and hover over pictorial objects, making space both collapse and expand -- and in the process drawing attention to the physical mechanics of sight. Joan Mitchell has said that painting is a way of being in the world. For Adams, it’s a way of being in the other world, too.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Lisa Adams</strong> is a painter and public artist, who has a B.A. from Scripps College and an M.F.A. from the Claremont Graduate University. She has exhibited nationally and internationally and has been an artist-in-resident in Slovenia, Finland, Holland, Japan and Costa Rica. Her many accomplishments include a Fulbright Professional Scholar Award and her work is in the public collections of Eli Broad, the San Jose Museum of Art, the Frederick R. Weisman Museum of Art, the Laguna Museum of Art and the Edward Albee Foundation. She currently blogs on Los Angeles art for the Huffington Post.</span></p> Sat, 23 Mar 2013 16:00:49 +0000 Steve Rogers - CB1 Gallery - April 7th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">CB1 Gallery is pleased to present a solo exhibition of new work by artist <strong>Steve Rogers</strong>, <em><strong>Blood At The Roost</strong></em>. Working the past four years in the Inland Empire, Rogers recent terra cotta works along with gouaches and hand colored, oil over lino- cut work from 2006 to the present, are from his “Inland Empire Bantam Yard” series. The exhibition will be on view from April 7 – May 12 2013. An opening reception for the artist will take place on Sunday, April 7, 2013 from 5 – 7 p.m.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Rogers’</strong> love of story telling combined with memories of time spent in the 1980’s with an old friend chicken Vern, a cock fighter from North Carolina, led the artist to create this ongoing body of work. Vern had two hundred specially bred and trained roosters and would go to farms, barns and garages where Vern would pit his roosters against others. Not a spectator sport, Roger’s states that he felt strangely as if he was in the “twilight zone.” While he has no specific interest in cock fighting, memories led Rogers to create these bas-relief and gouache works.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Maintaining his fondness for observing and exploring conflict, the current work, from his ongoing “Bantam Yard” series, continues Rogers’ desire to create a fiction surrounding chickens and roosters. In 2006 Rogers started making cubist surreal cockerels and at the same time began working with hand colored lino-cuts. Moving away from pure bred looking fowl he began pushing more into abstraction and around 2010 starting making clay figures with a nod to Magritte and Picasso.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Steve Rogers</strong> received his BFA from the San Francisco Art Institute and has taught sculpture at Otis College of Art and Design. He has had solo from 1982 – 1998 at Rosamund Felsen Gallery, Santa Monica, and also has shown at Louis Stern Gallery, West Hollywood, and Mor York Gallery, Los Angeles. His work has been included in numerous group exhibitions at various galleries in Los Angeles, San Diego, Albuquerque, San Francisco and Paris. In 1988 Rogers received a fellowship from the National Endowment for the Arts.</span></p> Sat, 23 Mar 2013 16:01:41 +0000 - Getty Center Los Angeles - February 26th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">For hundreds of years, medieval manuscripts have been bought and sold, gifted and stolen, preserved and rearranged, loved and forgotten, hidden and displayed. They were cut into pieces, hung on walls, and glued into albums. They have survived wars, fires, floods, religious conflict, political tumult, the invention of printing, and changes in taste.<br /><br /> At times valued for their beauty, for their spiritual significance, or simply for the strength of their parchment pages, the books, leaves, and cuttings in this exhibition have been transformed again and again to suit the changing expectations of their various audiences and owners. By revealing the ways in which manuscripts have been repurposed both conceptually and physically, this exhibition explores their long and eventful history since the Middle Ages.<br /><br /> In this image, a male figure forms the letter <em>I</em>. His exact identity is unknown, but the presence of multiple instruments of torture identify him as a martyr. Notice the two large stones on his head, a sword through his neck, and a grill and fire at his feet. It was a common practice in the 19th century for collectors to trim away all traces of surrounding text in illuminated manuscripts, as here. Collectors mounted such cuttings into albums, allowing the viewer to concentrate solely on the imagery.</span></p> Sat, 23 Feb 2013 16:58:25 +0000 Bill Traylor - Mingei International Museum - San Diego - February 9th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Bill Traylor (1854?-1949) is one of the best-known and most highly esteemed artists from the American south. A self-taught artist from Montgomery, Alabama, Traylor’s depictions of life in rural and urban Alabama have made him one of the most acclaimed artists of the twentieth century. Beginning when he was in his early eighties, in a prolific decade of art making, Traylor produced more than 1200 drawings in graphite, colored pencil, poster paints and crayon. Many of his works were created on shirt cardboard, cast-off signs and other shaped supports, whose unusual forms often influenced his designs. Traylor used these materials to create geometrically based representations of human and animal figures, often combining them in complex compositions that included abstracted buildings or “constructions.” The exhibition will feature over 60 rarely seen drawings from the two largest public collections of his work, the High Museum of Art in Atlanta and the Montgomery Museum of Fine Arts.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Cygnet and Mingei Celebrate Black History Month</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Cygnet Theatre and Mingei International Museum have partnered to help maximize audience for two important shows during Black History Month: the exhibition <em><strong>Bill Traylor</strong></em>, opening at Mingei February 9th, and the play <em>Gem of the Ocean</em> running at Cygnet from January 24 - February 24.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>For Cygnet Members</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Mingei will provide free museum admission to all Cygnet subscribers throughout the month of February. One per person.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>For Mingei Members</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Cygnet will provide 50% off single tickets to <em>Gem of the Ocean</em>, and 2-for-1 discounts on purchases of two or more tickets. For more information, please email <a href=""></a>. February 7 is "Mingei Members Night" at Cygnet. Members who hold tickets for that nights performance will be invited to arrive early for wine and light snacks in the lobby, and to hear a pre-show talk.</span></p> Sat, 19 Jan 2013 17:56:21 +0000 - Museum of Latin American Art (MOLAA) - December 16th, 2012 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><i>Lotería,</i> a game of chance that is popular in Mexico and resembles “Bingo,” relies upon the identification of symbols instead of numbers. The <i>Lotería</i> deck uses 54 images that are representative of the culture of the region in which the deck was developed. Popular images include the characters, flora, fauna and objects people see or use on a daily basis. While various decks exist, U.S. players are most familiar with the <i>Gallo Pasatiempos</i> deck, whose iconic images, including <i>El Corazón</i> (The Heart) and <i>La Sirena</i> (The Mermaid) are symbols that have become synonymous with Mexican identity. </span><br /><br /><span style="font-size: small;">In <i>¡Lotería!: Highlights from the Permanent Collection,</i> the curators took objects from MOLAA’s Permanent Collection and identified what they interpreted to be their corresponding cards in the Lotería deck. Some, like <i>La Sandía</i> (The Watermelon) and <i>El Valiente</i> (The Brave One) are literal representations of the cards, while others are connected either by formal qualities or by concept. In creating a “deck” that is unique to MOLAA and its location, the curators have also identified some symbols that are representative of life in Southern California, including <i>El Mickey</i> (Mickey) and <i>La Pistola</i> (The Gun). </span><br /><br /><span style="font-size: small;"><i>¡Lotería!</i> uses a playful approach to MOLAA’s Permanent Collection while encouraging viewers to investigate the development and meanings of national, cultural and religious symbols. Through the exhibition’s education station, viewers are encouraged to develop their own <i>Lotería</i> cards and riddles as well as play a game of <i>Lotería</i> with their fellow visitors. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Curated by Gabriela Martínez, Curator of Education and Rebecca Horta, MOLAA’s Education Coordinator.</span></p> Fri, 12 Apr 2013 17:07:12 +0000 Peter Everett - Torrance Art Museum - March 30th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">I am interested in utopian experiments from the 19th Century and their cultural and architectural manifestations. My work explores the use of geometric systems for organizing images, forms, cities, and cultures. I use systems that appear linear, but that are actually loops that turn back on themselves or break into chaos. I often establish a system or a set of rules in order to undermine it.</span></p> Wed, 27 Mar 2013 08:48:41 +0000 Irene Abraham, Bruce Barton, Edith Hillinger - Platt & Borstein Galleries at American Jewish University - January 13th, 2013 - May 13th, 2013 <p style="text-align: justify;"><span style="font-size: small;">A show featuring 3-artists addressing culture and identity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Fine Arts Council of American Jewish University announced today the opening of "<strong>Patterns, Symbols, Codes/ Understanding Culture and Identity</strong>" a new exhibit at its Platt/Borstein Galleries featuring the work of <strong>Edith Hillinger, Irene Abraham, and Bruce Barton</strong>. Each artist in his/her own unique way is interested in human communication and their work explores the different modes of visual language.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibit will open on Sunday, January 13, 2013, with a "Meet the Artist Reception" from 3:00PM-5:00PM. The exhibit will run through May 13, 2013 and the public is invited free of charge.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Edith Hillinger's</strong> personal identity is reflected in her art work. Moving from Berlin to Istanbul in the 1930's as a child and then to New York as a teenager, she experienced varied cultures and lifestyles. She combines the geometric forms of the family's Bauhaus furniture with the rich patterns and calligraphy from Turkish carpets in her home. She has been drawing strong black India ink lines since childhood. Strongly influenced by her father, an architect, she developed a love for small visual notations in architectural dictionaries and included these patterns of stairs, bricks, and flooring materials in her works.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Irene Abraham's</strong> experience as a research biologist using data to interpret natural phenomena influenced the direction of her art. Working with scientific data in research led to her interest in how different modes of communication are expressed through visual means such as alphabets, codes, and numerical data. Also of interest is how they are organized into networks and systems resulting in a scientific language of data and codes. Her artwork explores the translation of these systems such as graphs, Braille messages, and maps of highways and housing developments for their pure aesthetics.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In one body of work, <strong>Bruce Barton</strong> uses computer generated drawings to look at early drawings in ancient caves and how they communicate a fundamentally different understanding of the order of nature than our vision today. Bruce Barton considers the early form of communication through cave drawings to be an elementary form of writing. With the repetition of the same forms, the drawings could reinvent language and communicate ideas. In another body of work Bruce Barton refers to many of his drawings as sonnets and vignettes. Through his poems he explores man in his environment and his encroachment into the animal world.</span></p> Fri, 04 Jan 2013 17:50:17 +0000 Cristopher Cichocki - See Line Gallery - March 19th, 2013 - May 16th, 2013 <p style="text-align: justify;">See Line Gallery presents the first Los Angeles solo exhibition from Coachella Valley-based artist Cristopher Cichocki, entitled <i>Epicenter</i>, including paintings, photographs and sculptures. <i>Epicenter</i> is curated by See Line Gallery owner and independent curator Janet Levy. </p> <p style="text-align: justify;">The Coachella Valley is a diverse desert region in Southern California, located along the San Andreas Fault Line, the "master" fault of an intricate network that cuts through California's coastal region. <i>Epicenter</i> investigates the ephemeral nature of the San Andreas Fault as an existential meditation of time and space in constant flux. </p> <p style="text-align: justify;"><i>Epicenter</i> showcases Cichocki's ongoing body of work, which spans eight years and explores, intervenes, and comments on the Salton Sea and other desert regions. An extension of his studio, the open desert becomes the setting for momentary installations, paintings and sculptures, which he further frames through photographic fragmentation. Through gestures of immediacy and raw materiality, Cichocki promotes an awareness of interconnection between continually shifting elements above and below the surface of everyday perception. "Post-Earthwork" landscapes, topographies and micro worlds are brought forth within a palate of acidic neon contrasted by arid earth tones and textures. Within his "San Andreas Series" Cichocki has painted highly textural mixed-media panels reminiscent of cracked asphalt and desert earth which simultaneously suggest satellite topographies, both earthbound and planetary. Sculpturally <i>Epicenter </i>yields neon orange branches emerging from rusted steel foundations in combination with living cacti transplanted into cinder blocks. Cichocki will also present his "Synthetic Organism" photographs, a large series of circular cropped prints abstracted from decaying desert terrain. The perception of Cichocki's painting and photographic works oscillate between telescopic and microscopic. A visual archetype permeates throughout <i>Epicenter</i>, illuminating nature as a symbiotic system of chain reactions. </p> <p style="text-align: justify;">Cristopher Cichocki was born in 1979  in Charleston, Ill., and received his BFA in 2001 from California Institute of the Arts. Palm Springs Art Museum selected him as its 2013 Artist In Residence. From July to September, the museum will exhibit his solo installation, <i>Desert Abyss: Cycle in Cycle</i>. Other recent exhibitions include: ROJO® NOVA Casa Franca Brasil, Rio de Janerio, Brazil; Time Based Art Festival, Portland Institute of Contemporary Art, Portland, Ore.; Full Pull, Inter Arts Center, Malmö, Sweden; ROJO® NOVA, Museum of Image and Sound, Sao Paulo, Brazil; Remains in the End Times, The Popular Workshop, San Franciscio, Calif.</p> Tue, 30 Apr 2013 21:08:08 +0000 Group Show - Torrance Art Museum - March 30th, 2013 - May 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">These days potential catastrophes are everywhere you look. You can’t go outside or turn on the TV without reports of the world coming to an ‘End’ - global climate collapsing or terrorists planning new attacks. The world is so full of danger, threats, stress, overload and insecurity. Assuming that we, against all odds, survive the terrifying pitfalls of the future, is creativity going to be the thing that saves us? Will our imagination become an escape route, a place where we can hide, or will it be the one thing that forcefully confronts us with the truth and gives us the strength needed to make a change? What kind of art would a generation of unlikely survivors produce and where would they find their inspiration? What influence would surviving a catastrophe have on our values, ethics and our perception of truth and how might this situation visualize itself in the art of the future? This pressure coming from a hyper tense society of doom is having a massive impact on the art being produced by the artists who manage to keep up their practice and it is forcing others to remain passive or paralyzed while waiting for a change of current that may never come.</span></p> <p style="text-align: justify;"><span style="font-size: small;">One of the ways in which you can see contemporary art adjusting to the current circumstances is the merger between art and social politics, manifested in movements such as the Occupy movement. New media and the social networks have made it possible for spontaneous online societies to form, spread and organize themselves, and staging real life, long term protests that resemble cultural events or art performances, but also represent a new kind of radical democracy that aims to “occupy the future” and resurrect the hope that’s been lost.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The ICWDD Project was created to instigate a discussion about future creative spaces, temporary creative communities and networks, the current relationship between art and social politics and the potential of the shared creative process.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Bibi Katholm, Artist &amp; Curator, ICWDD</b></span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Featured works by:</span><br /><span style="font-size: small;"> <b>Andreas Emenius (SE), Jacob Kirkegaard (DK), Devin Troy Strother (US), Paco Pomet (ES), Mie Olise (DK), Ida Kvetny (DK), Theis Wendt (DK), Bibi Katholm (DK), Monique Prieto (US), Christine Gray (US), Frohawk Two Feathers (US), Chris Natrop (US), Per Hüttner (SE), Troels Carlsen (DK), Mamma Andersson (SE), Mai Hofstad Gunnes (NO), Asger Carlsen (DK)</b></span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">From 8-9 p.m., on the night of the opening reception, there will be a live performance by <b>Dreamers</b>, who describe themselves as, “An electrical storm of punk rock and minimal techno.”</span></p> <p></p> <p><em>In Case We Don’t Die</em> is sponsored in part by:</p> <p></p> <p><img src="" width="300" /></p> <p><br /> <img src="" width="200" /></p> Sat, 06 Apr 2013 16:33:16 +0000 David Benjamin Sherry - Moran Bondaroff - April 18th, 2013 - May 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>OHWOW</strong> is pleased to announce <strong>David Benjamin Sherry</strong>’s second solo exhibition with the gallery, <strong><em>Wonderful Land</em></strong>, on view from April 18 through May 17, 2013. With this exhibition, Sherry presents a new series of analog photographs taken over the course of several months while he travelled through the Western and Southwestern states, recording scenes of the American landscape, in exceptional detail. Through a painstaking darkroom process, Sherry transformed these photographs of national parks, monuments, and familiar panoramas into impossibly chromatic and passionate renditions of the country.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Sherry traversed these feral regions equipped with a large format, handmade, wooden camera. Using an f/64 aperture, he was able to capture photographs that were evenly sharp from foreground to background. This exposure setting was an aperture used by Group f/64, a group comprised of seven 20th century photographers, including Ansel Adams and Edward Weston, whose pictures were characterized by carefully framed images captured in sharp focus – often of the American West. The result of Sherry’s technical process, photographing parallel subject matter, delivers prints that are hyper-real in their detail, exposing an infinite depth. His images inhabit an unfamiliar, strange space, as we recognize the physical inability of our own eyes to gauge such extreme levels of visual information. His attention to process relays his personal conviction, but it also insists on reflection, appreciation, and preservation of his muse.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Brilliant colors are achieved during Sherry’s analog darkroom printing process, as he seeks new tones, values and hues, which evoke an emotional state, as a result. His use of 8 x 10 negatives enables him to attain variations similar to ranges typically associated with black and white printing. Through technique, <em>Wonderful Land</em> innovates natural phenomena by visually communicating the intensity of firsthand experience. These photographs depict scenes so precise and carefully framed that the composition of elements feels staged. It is as if, like arranging a portrait, the subject and composer experience a simultaneous recognition of significance. True, these are images of landscapes not people; for Sherry, however, his relationship to the natural world is as intimate as any human equivalent.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Sherry’s approach to the medium challenges categorical ideologies and the question of photographic truth. It could be argued that no photograph can be completely detached or objective, but the distinction concerning a photographer’s intent seems to divide directives: aesthetic or objective. With this collection of “truthful” images, presented in exaggerated colors, the artist marries opposing categorizations, or the division implied therein. <em>Wonderful Land</em> reminds us, through photography, of the inherent value that exists in any natural resource – what it offers, what it represents, and ultimately, its ability to connect us to a broader experience.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>“Everybody needs beauty as well as bread, places to play in and pray in, where Nature may heal and cheer and give strength to body and soul alike… This natural beauty – hunger is made manifest … in our magnificent National Parks … Nature’s sublime wonderlands, the admiration and joy of the world.”</em> – John Muir</span></p> Fri, 12 Apr 2013 11:59:11 +0000 David Korty - Night Gallery - April 20th, 2013 - May 17th, 2013 <div style="text-align: justify;"><span style="font-size: small;"><strong>Night Gallery</strong> is pleased to present “<em><strong>New Paintings</strong></em>” by <strong>David Korty</strong>, the artist’s first solo exhibition with the gallery. In his latest works, Korty collages inked patterns and images onto a metaphorical filmstrip. Rather than relating linearly, as frames in a film, Korty’s hand-drawn frames are stacked, neighbored, and overlapped like apartments in a city or trees in a forest. Limiting his palette to black ink, Korty’s frames include traced shadows of plants, hazy gradations, anonymous figures, stamped fruit, and automatic rubbings made from wire and hot glue. The filmstrips in Korty’s paintings are not tied to camera or celluloid but to montage and memory. They relate not to film’s physical attributes but to its consciousness. <i>It was made like a piece of automatic writing. It was in the editing that the pieces of the puzzle came together, and it wasn’t me who designed the puzzle1.</i> This automatic puzzle, the study of film through still images, is the fabric of David Korty’s paintings.</span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;">    #</span><wbr><span style="font-size: small;">BirdInFlightConstatineBrancusi #concentrated not on the #physicalattributes of the #bird but #onitsmovement --- from a #Romanianfolklegend about a magical bird who had #supernaturalpowers. She was the #queenofthebirds with a #beautifulvoice #onlythechosen could hear and her voice had the potential to #makethelistener #younger.</span></wbr></div> <div style="text-align: justify;"><span style="font-size: small;"><i> </i></span></div> <div style="text-align: justify;"><span style="font-size: small;">     The affective imprint of cinema is not from its enchantment through moving images, but in its presentation of time, writes Deleuze in <i>Difference and Repetition.</i> Stepping into a theater we encounter worlds where time can be stretched like elastic, contracted, or even stopped. In Korty’s paintings time exists on a geological scale. It is stretched so far as to be virtually static. This stasis invites a different kind of looking in which the eye and mind become active agents and blinking becomes a kind of editing.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"> <p>1 <br />Chris Marker on the making of his film La Jetée. Harbord, Janet. Chris Marker: La Jetée. AFTERALL, 2009</p> </div> Mon, 13 May 2013 21:49:27 +0000 Mark A. Rodriguez - Night Gallery - April 20th, 2013 - May 17th, 2013 Wed, 17 Apr 2013 09:56:04 +0000 - USC Fisher Museum of Art - May 7th, 2013 - May 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The Annual Undergraduate Exhibition showcases outstanding artwork made by USC undergraduate students over the course of the 2012-13 academic year. The faculty committee welcomes work from all USC students, regardless of their major, to be submitted for the jury process. The exhibition will include work in painting, drawing, ceramics, sculpture, printmaking, photography, video and graphic design. All of these areas of emphasis are taught at the Roski School by a faculty of practicing artists and designers. USC Roski has long-advocated an interdisciplinary approach culling from rich studio practice and instruction across six areas. The works of art on display here represent a cross-section of exciting contemporary approaches ranging from traditional representation to conceptually based projects.</span></p> Wed, 15 May 2013 16:44:38 +0000 Diane Arbus - Fahey/Klein Gallery - March 28th, 2013 - May 18th, 2013 <p style="text-align: center;"><strong><span style="font-size: small;">“I really believe there are things which nobody would see unless I photographed them.” -Diane Arbus</span></strong></p> <p style="text-align: justify;" class="presstxt" align="center"><span style="font-size: small;">The <strong>Fahey/Klein Gallery</strong> is pleased to present a special exhibition of<strong> Diane Arbus</strong> photographs. Culled over many years, this never-before-exhibited private collection contains several important Arbus photographs including, among others, <em>Russian midget friends in a living room on 100th Street, N.Y.C.,</em> 1963; <em>Lady Bartender at home with a souvenir dog, New Orleans, L.A.,</em> 1964; <em>Jack Dracula, the Marked Man, N.Y.C.,</em> 1961; <em>Two ladies at the automat, N.Y.C.,</em> 1966; and <em>Circus fat lady and her dog, Troubles</em>. Diane Arbus remains one of the most influential and revered artists in the history of photography.</span></p> <p style="text-align: justify;" class="presstxt"><span style="font-size: small;">Diane Arbus’ portraits of socialites, nudists, transvestites, carnival performers, and eccentrics reflect her long-standing interest in subcultures and the rituals of groups within society. Arbus closely collaborated with her subjects by posing them, engaging them in conversations, and spending time in their homes and environments. This process set Arbus apart from her contemporaries, and resulted in images that are formal and deliberate, but also exceedingly personal. In turn, each portrait becomes an engaging collaboration between the subject, photographer, and viewer. “Privately, Arbus compared her photographic approach to gathering a butterfly collection, a metaphor that evokes both the evanescent quality of photography and its scientific objectivity.” (Sandra S. Phillips, <em>The Question of Belief,</em> “Diane Arbus: Revelations”, Random House, 2003)</span></p> <p style="text-align: justify;" class="presstxt"><span style="font-size: small;">Arbus’ images contain a paradoxical element which uncovers the strange in the everyday while simultaneously revealing the familiar in the unknown. Diane Arbus’ images investigate the nature of identity, and explore the difference between how her subjects want to be seen and how others see them— what Arbus referred to as the “gap between intention and effect”. Arbus’ photographs acknowledge her subjects’ complexity and duality, and in turn reveal the defining characteristics of each person.</span></p> <p style="text-align: justify;" class="presstxt"><span style="font-size: small;">“Arbus’ particular contribution as an artist was not in what kinds of people she approached to photograph, but in what she was able to derive from the experience. Her devotion to the principles of the art she practiced—without deference to any extraneous social or political agenda—has produced a body of work that is often shocking in its purity, in its bold commitment to the celebration of things as they are. Her refusal to patronize the people she photographed, her acceptance of the challenge of the encounter constitutes a deep and abiding humanism.” (Sandra S. Phillips, <em>The Question of Belief,</em> “Diane Arbus: Revelations”, Random House, 2003)</span></p> <p style="text-align: justify;" class="presstxt"><span style="font-size: small;">In 1967, Diane Arbus was included with her contemporaries Garry Winogrand and Lee Friedlander, in the hugely significant exhibition “New Documents” at the Museum of Modern Art, New York curated by John Szarkowski. A posthumous retrospective of her work was exhibited at MoMA in 1972, one year after her death.</span></p> Mon, 25 Mar 2013 14:15:42 +0000 Scott Benzel - Human Resources - April 20th, 2013 - May 18th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Opening and Performances Saturday, April 27th 7-10 PM </span><br /><span style="font-size: small;">Preview(open to the public) April 20-26</span><br /><span style="font-size: small;">Shows Closes Saturday, May 18</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Human Resources</strong> is pleased to present two concurrent shows by<strong> Scott Benzel</strong>. The downstairs space will feature a show of the artist's recent work including large-scale installations, vitrines containing new works, and performances. The upstairs will feature <em>What does Possession Mean to You?</em> a selection of works and objects from Benzel's collection to be deaccessioned, stored, or promised to individuals and institutions following the closing of the show.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Benzel's conceptually-based practice is comprised of sculptural, photographic, sound, and performance works often employing readymade elements. His interest in "genealogy" or "geology" -the process of mining layers of history to trace connections between objects and ideas- serves as a thread through the diverse work. Meaning is often a product of recombination, with individual objects and ideas –often found or appropriated- operating as components in the system of each piece. Benzel interrogates the lines between appropriation and anthropological examination, collecting and authorship, poetics and politics and often employs strategies of reversal, inversion, and doubling.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The anthropological-poetic turn is expressed in a long plinth featuring a series of doubled objects reflecting the double articulation that occurs in appropriation:  <em>Untitled (for Gerard de Nerval)</em>consists simply of two drinking glasses of sea-water- supposedly the eccentric poet’s favorite drink, <em>Untitled (for Laurie Parsons)</em> is a double noose on a bright yellow rope. The twin nooses suggest the chain of referral and influence between Parsons (the reclusive artist known for exhibiting disparate found objects) and Benzel. A nearby vitrine features an array of found defaced or altered objects including an Islamic Revolution-era Iranian banknote on which the Shah's face has been printed over in an elaborate Islamic pattern, a British coin with 'I.R.A.' etched onto the visage of the queen, and an Allen Ruppersberg work featuring a male crooner obscenely graffittied over by a visitor to an exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Turin Horse</em> features a taxidermied giraffe from the neck up and a copy of "The Use and Abuse of History" by Friedrich Nietzsche recalling Nietzsche’s famous intervention into the beating of a horse by throwing his arms around its neck, often cited as the moment of his descent into madness. <em>Un Coup de Des / Presence</em> is a large-scale set-like installation. A table holds the ‘object’ from the cover of Led Zeppelin's album Presence, a copy of Mallarme’s <em>Un coup de Des Jamais N’abolira le Hasard</em>, and a revolver.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Kiosk</em> features a vast number of books and magazines interweaving complex histories of influence and obfuscation displayed in the manner of the kiosk/bookstore in Jean Luc Godard's One Plus One. The books and magazines follow narrative links through unexamined histories of 20th Century radicalism, popular culture, and the avant-garde.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A new performance, <em>Un Coup de Des / Presence</em>, and a ‘recombination’ of Benzel’s <em>Folk History and Non-Genre I for Female Black Metal Guitarist and Belt Sanders </em>(2012), first performed at the Black Box as part of the Pacific Standard Time Performance Festival, will take place during the opening Saturday April 27 from 7-10 pm.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>What Does Possession Mean to You?</em> (upstairs)</span></p> <p style="text-align: justify;"><span style="font-size: small;">Benzel’s poster for <em>What Does Possession Mean to You?</em> reworks Victor Burgin's seminal work of 1976 of the same title, substituting Burgin's glamorous couple redolent of a luxury goods ad with a still from a ‘Possession’- genre horror film. The poster and show posit possession by an evil entity as analogous to the influence of one's possessions over one’s life. The show focuses on selections from Benzel's collection: a small cave section, video, and portraits of Benzel by Mike Kelley, an early sculpture by Kathryn Andrews, a large silkscreened wallpaper by Olga Koumoundouros, the catalog of the first exhibition of conceptual art assembled by Seth Siegelaub, an early novel by Liam Gillick, and more by artists including Rodney Mcmillian, Marcel Broodthaers, Jakob Erol, Violet Hopkins, Martin Kippenberger, Malcolm McLaren, and Gustav Metzger. The collection is presented as a catalogue of influences: following the close of the exhibition, Benzel will ‘give up all material possessions for an undisclosed period’. The works will be stored, deaccessioned, or promised to institutions and individuals.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Scott Benzel is a Los Angeles-based artist and composer. His work was featured in Made in LA 2012 at the Hammer Museum and has been shown or performed at the Los Angeles County Museum of Art, the Museum Of Contemporary Art Los Angeles, LAXART, and the Contemporary Art Museum St. Louis. This is his second solo show at Human Resources.</span></p> Mon, 13 May 2013 21:45:59 +0000