ArtSlant - Recently added en-us 40 Dominic Terlizzi, Mark Posey, Caroline Larsen, Riin Kaljurand, Roast Hoggmann, Keenan Derby, Chrissy Angliker - Craig Krull Gallery - July 9th - August 20th <p>Craig Krull Gallery is pleased to present <em>Paint is a Thing</em>, a group exhibition curated by Beth Parker.&nbsp; This exhibition showcases seven contemporary artists who use paint to create both an object and an illusionistic space.&nbsp; While these artists embrace the materiality of paint, they also depict images and narratives, allowing the paintings to become more than purely objects.&nbsp; Each piece incites a layered read, with a visceral reaction to the physicality of the surface, as well as a cerebral reaction to the illusion described.</p> <p>Chrissy Angliker scoops and smoothes acrylic paint with the back of a spoon, creating pools that drip down rocky surfaces.&nbsp; The paintings are a marriage of form and function, as they are fluid in both brush marks and subject matter. Her energetic strokes, reminiscent of abstract expressionism, add movement to her paintings, so that the water swirls, and the flowers seem to be perpetually shrinking and growing.</p> <p>Keenan Derby constructs his paintings with a mixture of acrylic and sand.&nbsp; Occasionally, he&rsquo;ll add in a little metallic paint, so that the dark, sea-like surfaces glimmer.&nbsp; Each layer is contradicted by the next, to the point where the painting&rsquo;s ripples really do seem to be on the surface of a deep abyss.</p> <p>The characters in Roast Hoggmann&rsquo;s paintings have one step in our world and one within that of the frame.&nbsp; Windows are glossy, jewelry is metallic, and frosting is matte.&nbsp; As he layers paint, he sculpts and cuts it, adding and subtracting until each element finds its natural place in space.&nbsp; The vulnerable figures are built up until they seem almost touchable, inviting us to share in their humorous and sweetly sad predicaments.</p> <p>Riin Kaljurand collages dried layers of acrylic and household paint, which she has manipulated with traditional handcraft techniques such as basket weaving, knitting and crocheting.&nbsp; She uses these techniques to reference jobs that women were required to do in the former Estonian Soviet Socialist Republic, where Kaljurand was born.&nbsp; She questions this socially constructed idea of femininity, however, by then depicting women from <em>Soviet Woman</em> (a magazine from Soviet Estonia) working in traditionally masculine milieus like farms, factories, and construction sites.</p> <p>Squeezing, weaving, and plopping, Caroline Larsen plays with paint until it is more than just the image that it&rsquo;s describing.&nbsp; The cacti and succulents on front lawns coil like yarn, and the pointed leaves wave off the surface as though they are being blown by wind. Car crashes and sinking boats are depicted in paintings woven entirely of thick single pigments squeezed like frosting. &nbsp;The textile-like surface veils the tragedy so that we may focus on the paint application, such as a cadmium ember suspended in a night sky.</p> <p>Mark Posey pours acrylic onto panels, creating a hilly terrain that he then covers with oil and spray paint.&nbsp; Bouquets, tabletops, trash-strewn yards, precarious piles of stones; Posey applies a cubist perspective to each scene he paints.&nbsp; The wobbly subjects defiantly ignore conventional perspective and their thick edges catch the light, playfully reminding us that they are built on a flat picture plane.</p> <p>With close inspection, Dominic Terlizzi&rsquo;s painted images dissolve into a mosaic of cast acrylic objects.&nbsp; Some of these shapes are immediately recognizable- the pretzels, Goldfish, and looped ends of ribbons- and some are ambiguous blocks of color, or shapes that, an artist statement divulges, come from homemade bread. &nbsp;His paint marks are truly small <em>things</em>, &ldquo;a found common object alphabet&rdquo;, which are applied to a surface, serving to transform &ldquo;minutia into grandeur.&rdquo;</p> Tue, 28 Jun 2016 19:04:41 +0000 M. Casey Rehm - SCI-Arc Exhibitions - July 1st - July 31st <p><em class="redactor-inline-converted">Control</em>&nbsp;utilizes a conflation of techniques between interactive media and formal generation to produce a space which engages interface as a domestic and cultural condition.&nbsp;The installation exploits the ubiquitous distribution of intelligent agents as daily mediators of our environment and lives as a device to rethink surface and tectonic as instruments in service to both human and inhuman agencies.&nbsp;Eschewing the urge to treat surveillance as invasive and design towards camouflage or isolation,&nbsp;<em>Control</em>&nbsp;instead embraces the narcissistic and exhibitionist qualities emerging in contemporary society to explore an aesthetic based on temporality and localized coherence (fiction) within a mutable field.</p> <p>M. Casey Rehm founded Kinch as a design and algorithmic consulting studio.&nbsp;The office&rsquo;s work spans architectural design, interactive media, robotic software development, data visualization and algorithmic consulting.&nbsp;The studio currently focuses on projects driven by the use of non-human intelligent agents to mediate and amplify the relationship between the digital, analog, and the human.&nbsp;In addition to his own work Casey&rsquo;s expertise has also been utilized by disparate fields from fashion design to video game design.&nbsp;The studio reconsiders the role of the designer from someone who generates fixed objects or finalized realizations, to someone who produces adaptive and extensive systems which can continuously generate new futures through response to human and non-human agencies.</p> <p>M. Casey Rehm received a MSAAD from Columbia University in 2009 and his BARCH from Carnegie Mellon University in 2005. He has over 10 years of architectural experience, working for firms in New York, Los Angeles, Berlin, and London prior to opening Kinch.&nbsp;His work has been exhibited nationally and internationally and featured in several publications.&nbsp;In addition to his professional experience, Casey has been a full time faculty member at Rensselaer Polytechnic Institute, assisted studios at Columbia University, the University of Pennsylvania, and the Pratt Institute.&nbsp;Additionally he has taught workshops in conjunction with Eyebeam in New York.&nbsp;Currently he teaches graduate design studios and seminars in architecture, programming and robotics in design at SCI-Arc in Los Angeles.</p> Mon, 27 Jun 2016 05:54:50 +0000 Gary Edward Blum - Ruth Bachofner Gallery - July 30th - September 3rd <p style="text-align: justify;">Ruth Bachofner Gallery is pleased to present an exhibition of new paintings by San Francisco-based artist Gary Edward Blum. There will be a reception for the artist Saturday, July 30, 5-7 PM.</p> <p style="text-align: justify;">In this new body of work, Gary Edward Blum continues his exploration of balance and dependent opposition. Utilizing a mixture of realism and minimalist abstraction, Blum creates a narrative between pictorial reality, artistic process and formal composition. The result is at once playful in its practice but earnest in execution.</p> <p style="text-align: justify;">Blum structures paintings around a series of grids that set into play a discourse between formal process and personal narrative. His gritty, buff backgrounds provide an architectonic framework for found objects that are at once still life, autobiographical record and instigators of compositional tension and examination. Paint swatch cards are rendered using trompe l'oeil, as is the painted tape holding the cards in place. Other 'incidental markings' such as more paint swatches, finger prints, and daubs of paint are carefully placed on the gridded fields comprised of hard edge linework and opaque quadrants of color. The seemingly casual, pin-board placement of objects are in reality carefully considered and strategically placed by Blum. These items are at once indicators of the artist's creative process and formal elements in the painting.</p> <p style="text-align: justify;">&ldquo;The use of trompe l&rsquo;oeil challenges the distinction between art and life and sheds light on the way in which representation is translated from experience,&rdquo; Blum states. &ldquo;Like miniature paintings, these tangible bits of paper often mimic the abstract passages and gridded backgrounds found in the composition. By employing divergent styles to create a picture within a picture, my hope is that the viewer comes away from my work with the understanding that oppositions can exist harmoniously in the same space.&rdquo;</p> Sun, 26 Jun 2016 18:41:24 +0000 Tony Beauvy - Ruth Bachofner Gallery - July 30th - September 3rd <p style="text-align: justify;">Ruth Bachofner Gallery is pleased to present an exhibition of paintings by <strong>Tony Beauvy</strong>. There will be a reception for the artist Saturday, July 30, 5-7 PM</p> <p style="text-align: justify;">Tony Beauvy is a Los Angeles-based painter who received his M.F.A. from UCLA. The exhibition brings together a series of abstract paintings that Beauvy achieves by working out of the unconscious. His improvisational practice is as much about breaking down the surface as it is building it up. The large scale of the paintings creates environments that echo a particular sense of glowing grittiness inspired by the artist's surroundings. Beauvy grew up in Los Angeles and like in his youth, his time is split between his home in Echo Park, an industrial studio space and surfing along the coast. The combination of his buoyant, luminous palette and roughly hewn surfaces reverberates with the layered paradoxes of the city as he experiences it.</p> <p style="text-align: justify;">For Beauvy, resolution is achieved in the undetermined spaces of his paintings. He engages in scraping, pouring, and sanding which move the paintings toward a balance of refinement and roughness. Fibrous drips of Iridescent paint glows through more opaque fields and offers a series of contrasts that range from weathered to refined. The sense of abandonment and dissolving within the flowing areas of paint embrace the unknowable, which is where Beauvy sees the paintings reaching their highest potential. This interceding space, where the image dematerializes, yet holds interest has the most possibility and interest for both viewers and the artist.</p> <p style="text-align: justify;">&ldquo;My paintings are born out of process and practice, addition and subtraction,&rdquo; the artist states. I want to push the painting almost to its failure point &ndash; the point at which it is exhausted is where I find the most possibility. In my paintings, a sense of place appears and disappears. A constant unearthing of surface creates a geography that is not concrete, rather flexible.&rdquo;</p> Sun, 26 Jun 2016 18:41:00 +0000 Troy Lovegates - Thinkspace - June 25th - July 16th <div style="text-align: justify;">Concurrently on view in the Thinkspace project room are new works by Canadian artist and street muralist Troy Lovegates in&nbsp;<em>Tales From The Riverbank.&nbsp;</em>Lovegates, AKA Other, creates intuitively from a wealth of collected impressions and unexpected associations. He allows his pieces to come together unexpectedly from these collected "patches and chunks." His works are meticulously rendered, however, and strategically chaotic. Graphically manifold, they combine unlikely elements and figures, held together by his use of linear detail and technicolor palettes. Combining figurative realism with graphic patterns and abstractions, Lovegates creates a world of imaginative, larger-than-life fictions.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">With a knack for the use of found materials and the unification of wildly disparate elements, both material and aesthetic, Lovegates uses everything from spray paint and oil stick to acrylic and ink to create his paintings. His sculptural works convey his signature aesthetic with hand-carved wood pieces, bringing his paintings to dimensional life as objects. A self-described "collector of lost souls," the powerfully weathered people in his imagery are often real, captured through photographs and observation taken while on his travels. Inspired by his own dreams and nightmares, Lovegates' works are emotive arrests of an awe-inspiring imagination.</div> Sun, 26 Jun 2016 18:19:37 +0000 Jim Houser, Jeremy Fish - Thinkspace - June 25th - July 16th <div style="text-align: justify;">Thinkspace is pleased to present&nbsp;<em>New Works</em>, featuring artists Jeremy Fish and Jim Houser. Two phenomenally influential and distinctively stylized artists, Fish, and Houser both came to their love of art making through drawing, music, and skate culture. Fish, originally from Albany New York, moved to San Francisco in the 90's to set up camp at the age of 19 in North Cali's skate mecca, eventually studying screen-printing and painting, and completing a degree at the Art Institute of San Francisco. He went on to work commercially as an illustrator, designer, and art director, contributing to apparel companies and magazines like DLX, Think, Thrasher, Juxtapoz, and Slap. Houser, an unmistakably iconic artist, known for the concision and poignancy of his graphic style, is self-taught and based out of Philadelphia. He began his successful career, much like Fish, in search of a creative outlet linked to the music and subculture in which he was immersed at the time. Since Houser's pivotal discovery of painting, his complex mixed-media works and installations have been exhibited all over the world.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Fish and Houser's styles are respectively singular and distinct, but both share some commonalities, including an illustrative sensibility that can only be cultivated through years of compulsive drawing. Each has taken their foundation in graphic paper-based imagery to new dimensional depths, exploring ways in which to translate the two-dimensional physically, sculpturally and through installation. They both share a personal and emotive approach to creating imagery that conveys both individual struggles and universally relatable themes, coupled with a poetic knack for allegory and storytelling. Fish's cleverly constructed animal object hybrids strike a balance between the playful and the macabre, while Houser's collage compositions are selectively systemic worlds of personal symbolism, revealing a limitless interconnectivity.</div> <p style="text-align: justify;">Inspired by children's books and cartoons from the 70s and skateboard graphics from the 80s and 90s, Jeremy Fish's world is both playful and dark, inhabited by animals, phenomenal graphic motifs, cool cars, and classic vans. He creates a whole cast of animal characters inspired by the cities and scenes he loves and the personal and human conflicts he observes. Last year, Fish became San Francisco's City Hall's first-ever artist in residence, creating a body of work based on the iconic city he has called home since 1994. In celebration of its centennial, he created 100 pieces of mixed-media drawing based on San Francisco's urban history and its civic hub, which were exhibited in a special project in November entitled,<em>&nbsp;O Glorious City.</em>&nbsp;If that wasn't enough, the city further showed their thanks for Fish by proclaiming November 19<sup>th</sup>&nbsp;to be "Jeremy Fish Day" from here on out. In this new body of work for Thinkspace,<em>&nbsp;Los Angelurkers</em>&nbsp;is a return to a more lighthearted Fish as he celebrates everything he loves about Los Angeles, in spite of his steadfast North Cali allegiances. In an attempt to cut out any unnecessary negativity from his life, following his recovery from a serious brain aneurysm in 2014, Fish has spent most of this year hunting down this imaginative world of mythical creatures from the recesses of his ingeniously offbeat mind, revealing a cool and playful world of fantasy and nostalgia.&nbsp;</p> <p style="text-align: justify;">Jim Houser creates beautifully concise and graphic works with a superabundance of information and imagery. Known for his use of collage, assemblage, and installation techniques, he is inspired by the combination of drawing, painting, and language. Houser converts assembled compositions of two-dimensional materials into more complex objects, panels, or sculptures. He begins with individual paintings on paper which he then assembles into composites. An artist who works with a poetic stream of consciousness, his pieces evolve from edited outpourings of personal associations to reveal poignant visual narratives and meditations. The simplicity of Houser's palette effectively offsets the intricacy of his clean, linear graphics; blood and the sea inspire his preference for the primary combination of blue and red, for instance. This elemental succinctness allows Houser to channel complex themes, concepts, and psychological states through a graphically striking restraint. Inspired by everything from children's art and science fiction to music and disease, Houser explores the interstitial spaces that tenuously separate beauty from disaster. His desire to "celebrate the negative" through his works reveals an appreciation for the thematic proximity of devastation to joy, and of gain to loss. With obscure and often cryptic references to recurring words and motifs, Houser's pieces reveal a patchwork of beautifully interrelated ideas and fixations. Houser has done commercial work for the likes of Toy Machine, designarium, and Nike and has exhibited in museums and galleries throughout the United States, Europe, Australia and Brazil.</p> Sun, 26 Jun 2016 18:19:21 +0000 Jibade-Khalil Huffman - Los Angeles Contemporary Exhibitions (LACE) - June 29th - August 14th <p style="text-align: justify;">For his summer residency at LACE, Los Angeles based artist&nbsp;<strong>Jibade-Khalil Huffman</strong>&nbsp;presents a newly commissioned multimedia installation that explores the subject of spectatorship, systems of display, and narrative making.</p> <p style="text-align: justify;"><strong><a href=";id=be69a8f3f0&amp;e=55639b7d50" target="_blank"><em>Verse Chorus Verse</em></a></strong>&nbsp;is comprised of a suite of formally connected works concerned with the question of perception by exposing and foregrounding systems of image-making and storytelling. Here, the projector serves as a stand-in for the act of uncovering certain narratives. Huffman layers and complicates methods of display in order to create a space that favors no one part, where hierarchies are leveled, and the process of storytelling bears equal weight to the story told.&nbsp;Colliding various strategies&mdash;the tracking shot in Hollywood cinema, the compacted narrative of music videos, and the nostalgic voice of advertising and television&mdash;<em>Verse Chorus Verse</em>&nbsp;considers the way in which form and mechanisms of display construct their own narratives, and shape how and what we collectively consume as the only story.</p> <p style="text-align: justify;">Drawing on his background in poetry, Huffman&rsquo;s work plays with the meaning-making capabilities of image and text. His videos experiment with timing and pace to build suspense and skew expectations, while his poetry challenges syntax and style to explore the malleability and inaccuracy of language. His recent works appropriated&nbsp;familiar cinematic strategies, including the title sequence, subtitles, music cues, camera zoom-ins, that hold the story together and strategically evoke emotion.<strong>&nbsp;<a href=";id=7d58828d38&amp;e=55639b7d50" target="_blank">Read more</a><a href=";id=84b0a59e48&amp;e=55639b7d50" target="_blank">&nbsp;about the artist</a></strong><a href=";id=c54763d8df&amp;e=55639b7d50" target="_blank"><strong>&nbsp;here.</strong></a><br /><br /><strong>Curated by LACE Assistant Director Shoghig Halajian.</strong></p> Sun, 26 Jun 2016 18:13:39 +0000 - 1301PE - July 15th - August 27th Sun, 26 Jun 2016 18:09:29 +0000 Group Show - ltd los angeles - July 8th - July 30th Sun, 26 Jun 2016 17:19:55 +0000 Joseph Stashkevetch - Von Lintel Gallery - June 25th - August 31st <p style="text-align: justify;">Von Lintel Gallery is pleased to present new work by New York artist&nbsp;<a href="" target="_blank">Joseph Stashkevetch</a>. The exhibition marks the artist&rsquo;s fifth with the gallery.</p> <p style="text-align: justify;">Joseph Stashkevetch is known for his realistic and richly textured drawings rendered in cont&eacute; crayon on rag paper. In a striking expansion, the artist's new compositions frequently disturb the two-dimensional plane, challenging our acceptance of flat, three-dimensional imagery and engaging the paper as an active participant in the unfolding drama. The sculptural works collage multiple drawings, the roiled surfaces obscuring and exposing images in counterpoint..</p> <p style="text-align: justify;">In addition to using his own photographs and memories as source material, Stashkevetch notably appropriates wallpaper patterns of nature; referencing a fundamental need to connect to an environment from which we have become increasingly divorced. The mechanical repetition of artificial flora and fauna falls away in delicately exhausted folds to reveal some of the less savory aspects of industrialization and economic &ldquo;growth.&rdquo;</p> <p style="text-align: justify;">The monumental, ten-foot &ldquo;All You Can Eat&rdquo; is a literal pile-up of iconography referencing subjects Stashkevetch has previously explored. The scene is a totemic parade of western hubris and consumerism that cracks and peels to reveal an antique wallpaper panorama of China.</p> <p style="text-align: justify;">The primarily monochrome works blend the graphic precision of photography with the expression of marks that can only be made by hand. Working with large-format watercolor paper, Stashkevetch builds his images gradually, alternately washing, rubbing, sanding and scraping the paper. With a narrow set of tools&mdash;carbon, paper, water&mdash;Stashkevetch imbues his drawings with preoccupations of fragmented expectations and disappointment, the fragility of dreams and the irresistible consequences of a materialistic society.</p> <p style="text-align: justify;"><em>&ldquo;There is a distinct duality in the subjects he chooses to represent, shifting from natural forms to human-made forms both celebrated and discarded. &hellip;They reveal a beautifully rich surface and evidence of the artist&rsquo;s patient and meticulous hand, rewarding us in a way that realist work often does not when examined closely.&rdquo;</em></p> <p style="text-align: justify;">&mdash;Deborah Rickman, Oxford University Press</p> <p style="text-align: justify;">Joseph Stashkevetch was born in 1958. Recent solo exhibitions include &ldquo;Epic&rdquo; at the Denver Art Museum in 2014. His work is included in numerous private and public collections including the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art; the Museum of Fine Arts, Houston; Dallas Museum of Art and the Denver Art Museum. He has been reviewed by&nbsp;<em>Art in America</em>,&nbsp;<em>The New Yorker</em>,&nbsp;<em>The New York Times</em>&nbsp;and the&nbsp;<em>Los Angeles Times Magazine</em>. Additionally, his work has frequently been featured in&nbsp;<em>Architectural Digest</em>&nbsp;and&nbsp;<em>Elle D&eacute;cor</em>. The artist lives and works in New York City.</p> Sun, 26 Jun 2016 17:00:18 +0000 Kim Ye - Machine Project - July 14th 8:00 PM - 10:00 PM <div class="row"> <div class=" col-12 px1 px2-sm pt3-5 pb4 col-md-8 col-md-offset-2 col-lg-6 col-lg-offset-3 "> <h3 style="text-align: justify;">This seminar is designed to teach the cultural producer how to <strong>BYD: BUILD YOUR DREAM</strong>.</h3> <p style="text-align: justify;">Learn what artists have in common with cult leaders and use their tips &amp; tricks to cultivate a following! Stop self-sabotaging and start to <strong>BYD</strong> today. Prot&eacute;g&eacute;s will learn (and be subject to) brainwashing techniques, aesthetic overhauls, manipulating group dynamics, and harnessing the awesome power of one&rsquo;s own neuroses! This workshop will require your physical involvement in art making, writing, public speaking, improvisation, public humiliation, group critique, group movement, and so much more!</p> </div> </div> Thu, 23 Jun 2016 19:33:35 +0000 Ed Ruscha - Gagosian Gallery Beverly Hills - July 28th - September 9th Thu, 23 Jun 2016 19:29:51 +0000 Ed Ruscha - Gagosian Gallery Beverly Hills - July 28th - September 9th Thu, 23 Jun 2016 19:29:32 +0000 Work Over School - Craft and Folk Art Museum - September 25th - January 8th, 2017 <p class="exhibition-date">September 25, 2016 - January 8, 2017</p> <p><em>Work Over School</em>&nbsp;sheds new light on the idea of the self-taught artist by examining the work of nine established and emerging artists who have developed great conceptual and technical skill through nontraditional means. Combining their training in other professional fields with their own artistic investigations, these artists produce a dynamic range of works in painting, metal, sculpture, and ceramics that embody a reverence for materials and commitment to process and technique. Curated by independent curator jill moniz.</p> Thu, 23 Jun 2016 18:25:06 +0000 Kay Sekimachi - Craft and Folk Art Museum - September 25th - January 8th, 2017 <p>A survey of the work of pioneering fiber artist Kay Sekimachi from the 1960s to today drawn from the collection of Forrest L. Merrill. With an economic approach to the use of color and pattern, Sekimachi&rsquo;s sculptural forms highlight the structure of her pieces and emphasize the natural properties of the materials she uses.</p> Thu, 23 Jun 2016 18:19:09 +0000