ArtSlant - Current exhibits en-us 40 Robin Eley, Micah Ganske, Craig Kucia, Siobhan McClure, Christopher Parrott, GINA RUGGERI - 101/EXHIBIT - June 22nd, 2013 - August 3rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">West Hollywood, CA — <b>101</b>/exhibit is pleased to announce the first annual <i>Koi No Yokan </i>contemporary art survey featuring Robin Eley, Micah Ganske, Craig Kucia, Siobhan McClure, Christopher Parrott and Gina Ruggeri — June <b>22 </b>through August <b>3</b>, <b>2013</b>. The newly conceived exhibition will emphasize contemporary figural work proficient in draftsmanship while moving into experimental territories. <i>Koi No Yokan </i>opens with an artist reception June <b>22</b>, <b>2013 </b>at <b>7</b>— <b>10</b>PM.  <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>Koi No Yokan </i>is a Japanese term that has no English equivalent. It loosely translates as: The sense one can have upon first meeting another person and possessing the feeling the two will fall in love. This differs from “love at first sight” as it does not imply that the feeling of love already exists, only the knowledge that a future love is inescapable.  <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Kevin Van Gorp, director of 101/exhibit shares, “The term <i>Koi No Yokan </i>is fitting for our first annual summer show. Each of the six featured artists are held in the highest regard for their accomplishments, draftsmanship and work in the field. <i>Koi No Yokan </i>represents the essential notion for a fruitful relationship being imminent in the near distant future.”</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>101</b>/exhibit actively presents important figurative works throughout the year. With the summer presentation of <i>Koi No Yokan </i>each selected artist will have the opportunity to present conceptual deviations in compliment to the figural program. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>Koi No Yokan </i>opens June <b>22 </b>at <b>7</b>PM and on view through August <b>3</b>, <b>2013.</b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b> </b></span></p> <p style="text-align: justify;"><span style="font-size: small;">Australian realist painter <b>Robin Eley </b>describes his paintings as “essays of observation, born from a relentless examination of my milieu.” Robin Eley’s painted realism contemplates his relationship with time often revealing sociological underpinnings in direct response to isolation, anxiety and failed ambition. Robin is the recent finalist for the Archibald prize. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">New York fine artist and futurist <b>Micah Ganske </b>explores realism through painted and sculptural forms. His recent body of ongoing work, <i>Tomorrow Land</i>, addresses vacated land mass and mankind’s failed attempt at maintaining control of invention gone awry. Micah is the recent recipient of the Museum of Art and Design Open Studios Residency and Fellow in Painting from the New York Foundation for the Arts. Micah Ganske also received his MFA from Yale University. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">New York painter <b>Craig Kucia </b>explores the visual and psychological spaces that arise between memory and imagination, often resulting in other-worldly compositions. His work often delivers simultaneous feelings of wakefulness and dream like states. Craig Kucia’s paintings are featured in the permanent collections of the Miami Art Museum in Miami, High Museum of Art in Atlanta and the Progressive Art Collection in Cleveland. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Los Angeles native and narrative painter <b>Siobhan McClure </b>creates expansive realms where children roam looking for safe havens. Societal pressures expose flawed systems where singular points of view are protected by societal laws while failing to offer protection to the inhabitants of her divergent worlds. Siobhan McClure is a professor at Cal State Long Beach. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Contemporary realist painter <b>Christopher Parrott </b>carefully arranges his youthful subjects, often depicting them as sensual and strong, yet ambiguous and disinterested. Relationships shared are seemingly fluid and temporal, on the brink of unspoken words and endings. Parrott’s compositions frequently divide the picture plane into halves, thirds, fourths, and fifths, using rectangular doorways, walls, and paintings in the background to do so. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">New York fine artist <b>Gina Ruggeri </b>paints on mylar, cuts out her compositions and applies her work directly against the wall. Gina’s work oscillates between the material and the immaterial shared between painting, (sensuous experience) and drawing, (conceptual experience). Gina is the recent recipient of a 2014 residency and fellowship with the Civitella Ranieri Foundation and currently teaches drawing at Vassar College and Purchase College, State University of New York. Gina Ruggeri received her MFA from Yale University.</span></p> <p> </p> Fri, 14 Jun 2013 17:05:01 +0000 Kirsten Everberg - 1301PE - May 4th, 2013 - June 29th, 2013 <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><strong>1301PE</strong> is pleased to announce its fifth solo exhibition with Los Angeles based artist <strong>Kirsten Everberg</strong>. In her latest body of work, Everberg continues her exploration of the subjective nature of perception.<br /> <br />Everberg's paintings of empty interiors and unpeopled landscapes enter into a dialogue with one another, as motifs repeat and transform like recollected memories. She views the works in this exhibition as part of a circular, non-linear narrative that can be entered at any point. In this respect, her paintings reference a fluid cinematic space. More than simply illustrating specific scenes or frames, however, these paintings uncover the persuasive power that images have to construct reality.<br /> </span></p> <blockquote> <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><br />"Ultimately, the works point to how images are framed, archived, and recalled by the viewer. The hazy edges and blurry lines of Everberg's paintings and works on paper seem clearly focused on the mediation of images within the broader landscape of visual culture."  – Gloria H. Sutton, "Surface Effects: Mediating Image Culture in the Paintings of Kirsten Everberg"</span></p> </blockquote> <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><br /> <br />It is Everberg's seductive surfaces that first capture our gaze. Using a unique combination of oil and enamel paint, her works hover between representation and pure paint. There is always a tension here between the convincing depiction of space, and the abstract skeins of color that dance across the canvas. What appears to be an historic ballroom or dense jungle from far away, is reconfigured into glossy pools of paint close-up. Everberg's mastery of her medium is demonstrated by how deftly she walks this line. Narrative and image; truth and fiction; surface and what lies beneath – are all woven together in Everberg's captivating works.<br /><br />Kirsten Everberg lives and works in Los Angeles. She has had recent solo exhibitions at the Pomona College Museum of Art, CA and the Scottsdale Museum of Contemporary Art, AZ. She has been included in exhibitions at several international institutions including FRAC Champagne-Ardenne, Reims, France; Le Consortium, Dijon, France; Vancouver Art Gallery, Vancouver BC, Canada; Museum of Contemporary Art, Los Angeles, CA; Hammer Museum, Los Angeles, CA; and Musée des beaux-arts, Nancy, France.</span></p> Mon, 13 May 2013 21:43:03 +0000 Alexandra Grant - 18th Street Arts Center - April 15th, 2013 - June 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong><b>Public Drawing Days:</b> Every Monday, Wednesday, Friday and Saturday from 11am until 3pm, April 15 - May 31, 2013 (ongoing)</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Forêt Intérieure/Interior Forest</strong> is a dual-venue exhibition and publication by Los Angeles-based artist Alexandra Grant in collaboration with Paris-based writer Hélène Cixous. This multi-dimensional project, which includes a residency component and contributions by both Los Angeles-based and Paris-based artists, is presented from April 15 to June 28, 2013 at 18th Street Arts Center in Santa Monica, CA and from September 6 to October 20, 2013 at Mains d’Oeuvres in Saint-Ouen, France. Pilar Tompkins Rivas, Curator and Director or Residency Programs at 18th Street Arts Center, and Isabelle Le Normand, Curator of Visual Arts at Mains d’Oeuvres, are co-organizers of this project.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Project background</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Several years ago, the iconic French author, poet, playwright and philosopher Hélène Cixous gave Grant one of her books, <em>Philippines</em>, as a source for imagery and entreated the artist to make work about the concepts present in the text.  <em>Philippines</em> is based around the story of <em>Peter</em> <em>Ibbetson</em>, a novel by Georges du Maurier, where two childhood friends are separated by class and country and reunite as adults in their shared dream-life.  The themes of <em>Philippines</em> are often paired: dreaming and reality; telepathy and empathy; the “perfect other;” the shape of two nuts found in a single mandorla or almond (known as a Philippine); and relationships between north and south, man and woman, colony and colonizer, and adult and child.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Grant’s response to Cixous and <em>Philippines</em> is the project <strong>Forêt Intérieure/Interior Forest</strong> centering on the image of a forest as a representation of both the shared imagination and a place for congregation and collaboration.  <strong>Forêt Intérieure/Interior Forest</strong> includes a large-scale installation of a forest and a collaborative drawing that invites community participation. Trees in the interior forest will be made of both text and textiles. The drawing, functioning both as an illustration and a text scroll, represents a visual narrative of <em>Philippines</em>. Created by Grant in conjunction with other artists and members of the public, the process of working jointly invites contemplation of Cixous’s concepts and develops a platform for shared imagining. The two iterations of the installation in both Santa Monica and Saint Ouen function as mirror images, or twin versions of the same whole.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Collaboration with others/Artists Residencies</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Grant has created two ways for Los Angeles-based and Paris-based artists to participate in her project. First, collaborating artists are invited to produce “Visiting Trees” (<em>Arbres d’Ailleurs</em>) inside the <strong>Forêt Intérieure/Interior Forest</strong> installation in either city. Second, Grant has established “Drawing Residencies” as part of the process of creating the large-scale drawing. Artists are invited to lead the public, including students, guests and passersby, in 3-hour guided sessions, helping to realize the larger work. Participants to date in the project at 18th Street Arts Center creating “Visiting Trees” include Channing Hansen, Bari Ziperstein, Annelie McKenzie and Tina Linville, and participants in the “Drawing Residencies” include Steve Roden, Renee Petropoulos, Lita Albuquerque and Audrey Cottin.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Programming</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">At 18th Street Arts Center, Grant and USC professor Robert Nashak will host a reading group beginning in January 2013 for members of the Los Angeles community interested in Cixous’s work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Programming at Mains d’Oeuvres includes a public lecture by Hélène Cixous, and a reading of <em>Philippines</em> by Cixous’s long-term collaborator, Daniel Mesguich, an actor and director of the Conservatoire National Supérieur d’Art Dramatique.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Publication</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">18th Street Arts Center and Mains d’Oeuvres will co-publish an exhibition catalog documenting the mirror-image projects of <strong>Forêt Intérieure/Interior Forest</strong> and the collaborative nature of Grant’s work. Contributors to the publication include Alexandra Grant, the curators Isabelle Le Normand and Pilar Tompkins Rivas, Hélène Cixous, Grant’s long-term collaborator, the hypertext pioneer Michael Joyce, and Los Angeles-based art critic Andrew Berardini. The full-color catalog is edited by John Farmer and designed by Jessica Fleischmann.</span></p> <p>–</p> <p><strong>For more information:</strong></p> <p><a href="" rel="nofollow" target="_blank"></a></p> <p>Facebook: <a href="" rel="nofollow" id="yui_3_7_2_1_1358731448590_2525" target="_blank"></a></p> <p>Twitter: @InteriorForest</p> <p><strong>Or contact:</strong></p> <p>Pilar Tompkins Rivas</p> <p><a href="" rel="nofollow"></a></p> <p>18th Street Arts Center</p> <p>1639 18th Street</p> <p>Santa Monica, CA 90404, USA</p> <p><a href="" rel="nofollow"></a></p> <p>Isabelle Le Normand</p> <p><a href="" rel="nofollow"></a></p> <p>Mains d’Oeuvres</p> <p>1, rue Charles Garnier</p> <p>93400 Saint-Ouen, FRANCE</p> <p><a href="" rel="nofollow"></a></p> <div class="post-meta"> <div class="row"></div> </div> Mon, 13 May 2013 21:43:07 +0000 Shagha Ariannia - 18th Street Arts Center - May 19th, 2013 - August 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Through video, sound and installation,&nbsp;<strong>Shagha Ariannia</strong>&lsquo;s work insists that personal and political domains are inextricably linked. Her practice negotiates the physical and cultural gaps between her native Iran and her current home in the U.S., where she has lived for almost eleven years; a distance of space and timethat she measures with small, nuanced gestures. Drawing upon family experiences and the paradox of existing between political realms, Ariannia responds to questions of revolution, immigration, nationalism, and global power relationships from within the framework of the intimate, domestic sphere.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Using surveillance footage of an interior setting<em>,&nbsp;<strong>Two America&rsquo;s Away&nbsp;</strong></em>evokes an unsettling sense of waiting in a space absent of inhabitants and activity. By way of a&nbsp;security system installed in the home of the artist&rsquo;s grandparents in Iran so that Ariannia&rsquo;s mother may monitor and look after her own aging parents, we see an intimate, yet removed vantage point proclaiming a loving, yet ruptured means of participating in the lives and well-being of family members from afar. While intended as a means of caring for loved ones in Shahrood, Iran from Los Angeles, the piecealso comments on types of military watch systems monitoring distant subjects, such as Long Range Surveillance units, drones, and satellites, as well as invoking a sense of war-time waiting, as ongoing threats of military action against Iran from the US and Israel persist.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The&nbsp;sound piece&nbsp;<strong><em>Our Future is The Approaching Past</em></strong>&nbsp;employs audio from a family cassette tape recorded and re-recorded over from 1978 to 1993, which includes entries from different, real moments in time. Dubbed over a tape originally holding revolutionary songs, we hear the artist&rsquo;s mother teaching her children the English language, and a young child singing a Farsi fable. The interlayering of a time capsule of political ideologies with the soft, encouraging voices of mother and child highlight the complexity of the artist&rsquo;s past and her place in the present. The disjuncture of the audio echoes uprooted family narratives relative to historic events.</span></p> Mon, 08 Jul 2013 16:29:18 +0000 - A + D Museum - May 17th, 2013 - July 7th, 2013 <div class="album_description"> <p style="text-align: justify;" class="content_left"><span style="font-size: small;"><em>Windshield Perspective</em> focuses on a short yet dense stretch of Beverly Boulevard from Normandie to Virgil. The windshield is both a lens and a shield; a screen which acts much like a magnifying glass to clarify the view and as a scrim to obscure the sight. This drive along Beverly stands for hundreds, if not thousands, of daily journeys through the city’s landscape. The exhibit is about seeing <em>and</em> not seeing.</span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">Typically, our way of seeing from behind the wheel is unconscious. Beverly Boulevard, in its apparent bleakness, is easily dismissed as “nowhere,” falling into the hole in our consciousness put there by the dominant notion that much (if not all) of Los Angeles is not a city at all. Roll up the windows, crank up the sounds, and drive.</span></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;">But a choreographed drive, recreated within the Museum, reveals the very essence of the built city: messy, disorderly, impromptu, and vital. Windshield Perspective will provide a way of seeing and a sight to be seen. The windshield is converted from scrim to lens.</span></p> <p style="text-align: justify;" class="content_left"><em>Windshield Perspective</em> is part of Pacific Standard Time Presents: Modern Architecture in L.A. and has been funded by grants from the Getty Foundation.  This collaboration, initiated by the Getty, brings together several local arts institutions for a wide-ranging look at the postwar built environment of the city as a whole, from its famous residential architecture to its vast freeway network, revealing the city’s development and ongoing impact in new ways.  A+D Architecture and Design Museum&gt;Los Angeles is the only area museum with continuous exhibits of architecture and design, and is honored to have been chosen to collaborate with the Getty as part of this hallmark event.</p> <p class="content_left"><img alt="" src="" style="width: 270px; height: 69px;" /><img alt="" src="" style="width: 105px; height: 23px;" /></p> <p style="text-align: justify;" class="content_left"><span style="font-size: small;"> OPENING RECEPTION<br /> THURSDAY, MAY 16th | 6.00 - 9.00pm<br /> ADMISSION:$20 Individual, $15 Student w/ valid ID, A+D Members FREE<a href="" target="_blank"><br /> &gt;TICKET PURCHASE</a><a target="_blank" href=";body=Name%3A%20%0AMember%20%23%3A"><br /> &gt;A+D MEMBERS RSVP</a></span></p> </div> Sat, 29 Jun 2013 16:45:41 +0000 Martin Schoeller - Ace Gallery- Beverly Hills - May 4th, 2013 - June 29th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Martin Schoeller has earned a reputation as one of the pre-eminent portrait photographers of our time, having photographed subjects from President Barack Obama to numerous actors, musicians and sports icons, to indigenous Amazonian tribesmen and women. With characteristic intimacy, Schoeller’s hyper-detailed work presents the prominent and unknown side by side, in unequivocal terms. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Consistently shooting each of his subjects in his singular crisp style, Schoeller equalizes these photographic subjects in facial close-ups. As he states: “A photographic close-up is perhaps the purest form of portraiture, creating a confrontation between the viewer and the subject that daily interaction makes impossible, or at least impolite. In a close-up, the impact stems largely from the static subject’s expression or apparent lack thereof, so the viewer is challenged to read a face without the benefit of the environmental cues we naturally use to form our inter-personal reactions.” <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">In 2011, when <i>National Geographic </i>magazine commissioned him to shoot an assignment on twins, he began what would become a year-long pursuit of the subject on an international scale, which has resulted in an expansive new body of work that is being exhibited for the first time at Ace Gallery Beverly Hills and is the subject of his latest book. Presenting twins, triplets and quadruplets, his images bare nuanced comparisons; the camera capturing the subtlest differences of division from a single fertilized human egg. The odds of identical quadruplets being born are one in 11-13 million, for identical triplets, and one in 150,000. Even when separated at birth, identical twins maintain their genetic similarities. As ‘duplicated people’ they share exact copies of their genes, questioning our notions of individuality and personal uniqueness: “They embody sameness and symmetry in the human form as literally and precisely as nature permits.” The parallelism of natural clones are represented in a new approach to well-known subject matter, i.e. revisiting the subject of Diane Arbus’s classic  <i>Identical Twins, Roselle, New Jersey</i>, (1967), where Schoeller consciously humanizes his subjects by revealing the individual characteristics of each and treating each separately although posed in the same position.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Now renowned for his hyper-detailed facial Close-Up’s, Schoeller gained professional experience working as assistant to Annie Leibovitz from 1993-96. Steering away from fashion photography and its dependence on the whims of designers and its seasonal stylistic obsolescence, Schoeller sought an alternative. It was during this pre-digital era, before the days of retouching, that he developed the style which would become his trademark. He would spend days setting up lighting tests and experimenting in extreme close up to find the most flattering lighting scenarios – examining how light effects faces, and refining techniques in the dark room, darkening and lightening certain areas. Even in his photography school days, his pictures with homeless people were also in close-up. As he began to articulate his own close-up portrait aesthetic in the mid-1990s, his peers were producing extreme glamour and beauty shots with over-the-top production values (paramount being Leibovitz’s lavish sets i.e. for <i>Vanity Fair </i>or David LaChappelle<i>)</i>. Schoeller’s work was the opposite of what others were doing at the time: modest and simple; “just about the person.” Schoeller cites a variety of mentors and influences from Richard Avedon to Philip-Lorca diCorcia, yet singles out seminal German photographers Bernd and Hilla Becher - recognized for creating a formally austere and consistent motif in their typologies of industrial structures. The repetition of similar but related subject matter - such as water towers and gas tanks - in the Becher’s work invites comparison, and was adopted as a model within which Schoeller could develop a similar approach.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Twins Day Festival in Twinsburg, Ohio, the largest annual gathering of twins (and other “multiples”) in the world, provided a grand-scale casting session for Schoeller’s project. Recruiting from over 2000 twins and multiples, they were photographed in the same style as diptychs (and triptychs). In the study of faces, physiognomy - Schoeller came to the conclusion that “faces don’t really reveal that much about a personality. You can’t really tell by a face necessarily what goes on in a person’s mind.” In the Twins series, the aging process comes to the fore. While each two are born with the same genetic information, the aging process due to leading possibly very different lives, creates visible divergences. It is those small differences which beg the question, what can be told from looking at a face?</span></p> <p style="text-align: justify;"><span style="font-size: small;">Portraits happen to lie; they require decision-making on the part of the photographer. They are constructed, manipulated, posed and styled. Even with straightforward shots such as these, there are multiple choices, and Schoeller’s aim in taking intimate portraits requires rapport. There was no additional styling; these twins arrived on set ‘as is’ – wearing the same outfits, jewelry, hairstyles, and makeup.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Is Schoeller conscious of feeding back his imagery into our saturated media culture? There are many fashion photographers doing ‘portraiture’ lacking authenticity (given they inhabit the same commercial magazine space and conceived, constructed, and circulated in the same way as advertising photography). To specifically show non-celebrity images in the context of Los Angeles, Schoeller further provokes the cloning debate, asking the question of whether genetic-engineering has manifested the advent of twin culture. As he observes of the natural occurrence, “We assemble impressions of and form mysterious attachments to universal features – hairline, forehead, eyes, nose, mouth, and chin. We take their arrangements to be unique. Identical twins dispute that assumption.”</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Martin Schoeller </b>was born in Munich, Germany in 1968, studied photography at Lette Verein in Berlin, and lives in New York. His work has appeared in <i>The New Yorker, Vanity Fair, Entertainment Weekly, Rolling Stone, TIME, GQ, Esquire </i>and <i>Vogue</i>. He has been staff photographer at <i>The New Yorker </i>since 1999. Schoeller had a major solo exhibition in 2010-11 at the National Portrait Gallery, Australia, and last exhibited at Ace Gallery Beverly Hills with <i>Female Bodybuilders </i>in 2008.</span></p> Mon, 20 May 2013 14:35:07 +0000 Michael Norton - ACME - June 8th, 2013 - July 6th, 2013 <p style="text-align: justify;"><span style="font-size: small;">A solo exhibition of several recent egg tempera paintings on wood panel and works on paper. In his ninth solo exhibition at ACME., Norton continues to use pure pigments to create captivating, luminous paintings in a variety of sizes. Painted with thin layers composed over a long period of time, Norton's work appears purely abstract at first viewing, but then quickly becomes a landscape or seascape of vast dimensions.</span></p> Sun, 26 May 2013 08:00:45 +0000 Matthias Merkel-Hess - ACME - June 8th, 2013 - July 6th, 2013 <p style="text-align: justify;"><span style="font-size: small;">A solo exhibition of new ceramic work by Los Angeles based artist Matthias Merkel Hess. In his second solo exhibition at ACME., Merkel Hess will feature a large group of ceramic anvils presented on pedestals. Drawing upon his interest of the role of pottery in a world filled with the consumption of plastic forms, Merkel Hess's current exhibition continues to use comedy and irony to transform utilitarian objects.</span></p> Tue, 11 Jun 2013 11:01:33 +0000 Tony Feher - ACME - June 8th, 2013 - July 6th, 2013 <p style="text-align: justify;"><span style="font-size: small;">A solo exhibition featuring one single installation by New York based artist Tony Feher. The work will consist of various colored Depression glassware attached to metal chains hanging from the ceiling that cast jewel-toned illuminations from a nearby window. Feher is an internationally acclaimed artist known for his abilities to transform banal objects into elegant arrangements that resonate with viewers.</span><br /> <br /><span style="font-size: small;"> A survey of Tony Feher's work is currently on view at the deCordova Sculpture Park and Museum in Lincoln, MA. The traveling exhibition started at the Des Moines Art Center in May 2012, and then traveled to the Blaffer Art Museum at the Univeristy of Houston on October 2012, and will end at the Bronx Museum of the Arts, Bronx, NY in October 2013. The 25 year survey is curated by Claudia Schmuckli and is accompanied by a 200+ page color monograph.</span></p> Tue, 11 Jun 2013 11:01:35 +0000 Markus Kayser, Allison Kudla, Philip Ross, Machine Project, BCL - Alyce de Roulet Williamson Gallery - May 30th, 2013 - August 18th, 2013 <p style="text-align: justify;"><span style="font-size: small;">"Intimate Science features artists who are engaged in non-disciplinary inquiry; they aren’t allied to the customs of any single field, and therefore have license to reach beyond conventions. This kind of practice hinges on up-close observation, experiential learning, and inventing new ways for the public to participate in the process."</span><br /><span style="font-size: small;"> -- Andrea Grover, Curator, Intimate Science</span><br /> <br /><span style="font-size: small;"> “In an interesting new development in the art world, a generation of artists [is] now collecting data about their world using technological instruments but for cultural purposes. Shared tool-using leads to overlapping epistemologies and ontologies. These artists both make powerful art and help make science intimate, sensual, intuitive."</span><br /><span style="font-size: small;"> -- Roger Malina, physicist, astronomer and executive editor of Leonardo Journal</span><br /> <br /><span style="font-size: small;"> Artists:</span><br /><span style="font-size: small;"> BCL (Tokyo)</span><br /><span style="font-size: small;"> Center for PostNatural History (Pittsburgh)</span><br /><span style="font-size: small;"> Markus Kayser (London)</span><br /><span style="font-size: small;"> Allison Kudla (Seattle)</span><br /><span style="font-size: small;"> Machine Project (Los Angeles)</span><br /><span style="font-size: small;"> Philip Ross (San Francisco)</span><br /> <br /><span style="font-size: small;"> Intimate Science is curated by Andrea Grover and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh.</span><br /> <br /><span style="font-size: small;"> A densely illustrated publication, "New Art/Science Affinities" ( http://<wbr><wbr>nasabook ), accompanies the exhibition. Co-authored by Andrea Grover, Régine Debatty, Claire Evans and Pablo Garcia, and designed by Thumb, the book features more than 60 international artists and collaboratives.</wbr></wbr></span></p> Mon, 06 May 2013 19:00:50 +0000 Kerstin Brätsch, Paul Cowan, Cynthia Daignault, Liam Everett, Henrik Olai Kaarstein, Molly Zuckerman-Hartung - Anat Ebgi - June 8th, 2013 - July 20th, 2013 <div style="text-align: justify;"><span style="font-size: small;">Anat Ebgi is pleased to present <b><i>Wassup Painters</i></b>, a group show organized by Pavan Segal featuring work by Kerstin Brätsch, Paul Cowan, Cynthia Daignault, Liam Everett, Henrik Olai Kaarstein, and Molly Zuckerman-Hartung. The show will open on June 8, and will be on view until July 20. A reception will be held at the gallery on Saturday, June 8 from 6-9pm, at 2660 La Cienega Blvd in Culver City.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><i>Wassup Painters</i> brings together contemporary artists who approach painting through the use of nontraditional materials and innovative processes as a way of exploring new conceptual ground. Painting as a medium has a long and rich history and recent trends have focused on exploring and reinterpreting what has come before. In some contrast to this, <i>Wassup Painters</i> highlights artistic practices that push the possibilities of the medium into unexpected realms, blurring the boundaries between painting and other forms of object making.</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 exhibition title references Larry Clark’s 2005 film <i>Wassup Rockers</i>, which features a group of Latino teenagers searching for identity in the racially diverse and ever changing South Central neighborhoods of Los Angeles. In the film, the teens are often mislabeled as “rockers” due to their long hair and black clothes even though they primarily self-identify as “skaters,” making them feel misunderstood in their own community. While many of the works in Wassup Painters have leanings toward painting, they could easily be perceived or labeled as other forms entirely, such as glasswork, photography, signage, deconstructed material, collage, sculpture, and fabric art. This show offers the opportunity to view works that have direct points of intersection with these forms of object making as a way of contemplating what comprises and defines painting, while asking what role context, intention, and expectation play in this process. </span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><b>Kerstin Brätsch</b> was born in Hamburg, Germany. She received Her MFA in 2007 from Columbia University.  Solo exhibitions include Gavin Brown, New York and Balice Hertling, Paris. Select exhibitions include Kölnischer Kunstverein, Cologne (with DAS INSTITUT), Kunsthalle Zurich (with DAS INSTITUT), The 54th Venice Biennial (with DAS INSTITUT), MoMA/ PS1 (with DAS INSTITUT), Sculpture Center, New Museum, New York, Museum of Contemporary Art, Chicago, and Museum of Contemporary Art, Los Angeles (with DAS INSTITUT). She lives and works in New York.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><b>Paul Cowan</b> was born in Kansas City, MI. He received His MFA in 2012 from University of Illinois at Chicago. In 2012, Cowan mounted a solo exhibition at the Museum of Contemporary Art, Chicago. Solo exhibitions include Clifton Benevento, New York, and Shane Campbell, Chicago. Recently, his work has been included in group exhibitions at Kavi Gupta, Berlin, James Cohan Gallery, New York, and Thomas Duncan Gallery, LA. His work has been reviewed in Modern Painters, Kaleidoscope, Mousse Magazine, and Art Forum. He currently lives and works in Milwaukee.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><b>Cynthia Daignault</b> was born in Baltimore, Maryland. She attended Stanford University, and was a MacDowell Colony Fellow in 2010. She was invited for a solo exhibition at White Columns in 2011, which received a review in the October 2011 issue of Artforum. Solo shows include Lisa Cooley, New York and group shows at American Contemporary, New York, and Bureau, New York. Daignault is a recipient of the 2011 Rema Hort Mann Foundation Grant. She currently lives and works in New York. </span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><b>Liam Everett</b> was born in Rochester, NY. He has had solo shows at Altman Siegel, and Romer Young Gallery in San Francisco, Paul Kasmin Gallery, New York, and White Columns, New York. He has been included in group shows at 303 Gallery, New York, Canada, New York, Josh Lilley Gallery, London, and Wattis Institute, San Francisco, CA. In 2012, he received the Fellowship Award for the Artist in Residence program at Headlands Center For the Arts. He currenty lives and works in San Francisco, CA.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><b>Henrik Olai Kaarstein</b> was born in Oslo, Norway. He currently lives and works in Frankfurt, Germany.  Solo exhibitions include T293, Rome, FIAC Paris, Holodeck, Oslo, D’Amelio Gallery, New York, and Leonhardi Kulturprojekte, Frankfurt. His work has been written about in New York times, Flash Art (Italy), and Artforum. He currently studies at Staatliche Hochschule fur Bildende Kunste Staedelschule, in Frankfurt Germany.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><b>Molly Zuckerman-Hartung</b> was born in Olympia, WA. In 2012, she presented her first solo museum show the Museum of Contemporary Art, Chicago. Recently, she was invited to participate in the group show, <i>Painter Painter</i> at the Walker Art Center. Molly is represented by Corbett vs Dempsey, Chicago. She teaches painting and drawing at the school of the art institute, and Northwestern University, and is co-founder of <i>Julius Cesar,</i>an artist run exhibition space in Chicago. She currently lives and works in Chicago.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><b>Pavan Segal</b>, M.D. is a child and adolescent psychiatrist that specializes in working with mentally ill teenagers and is a professor of clinical psychiatry based in Chicago. He has broad interests in contemporary art and is an independent curator, collector, and has collaborated with a number of artists on various projects. His interest in art focuses primarily on the role that experience, context, ideas, and personal psychology play in the production and interpretation of art. He most recently organized a group exhibition in the Summer of 2012 involving fourteen artists working across all mediums at D'Amelio Gallery, New York. This exhibition entitled, "Idea is the Object" focused on the early philosophical writings of John Locke and examined the role that experience plays in the conception of ideas and how this functions to facilitate the production of art objects and the perception of such works. This exhibition received a number of very favorable reviews including a large review in the New York Times by Roberta Smith. The next show that he is working on is entitled, "The Atlantic Effect" and will aim to compare and contrast the role and influence that regional histories play in artistic practices within the United States and Western Europe. This exhibition is slated for 2014 and will take place in Berlin.</span></div> Sat, 22 Feb 2014 15:32:53 +0000 Group Show - Angels Gate Cultural Center - May 20th, 2012 - August 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Angels Gate Cultural Center presents our exhibition year entitled&nbsp;<em>Into the Wilderness: The Journey Within</em>. Over the course of the next year, artists and curators will engage the term "wilderness" from multiple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary life and contemplate how we can find new opportunities to re/define the transition between physical and imaginary geographies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although, on first impression, "wilderness" may call to mind places of intense experience in nature far from civilization, it reveals itself to be much more than a location. Traditionally associated with a land of uncultivated, abandoned and inhospitable conditions or inhabited only by wild animals,<sup>1</sup>&nbsp;during the eighteenth and nineteenth centuries its meaning expanded subjectively to include more Romantic and transcendental notions like "the reflection of our own unexamined longings and desires" and "the best antidote to our human selves," while mysteriously remaining the site of "something profoundly Other."<sup>2</sup>&nbsp;</span><br /><br /><span style="font-size: small;">Whether places considered wilderness are ultimately to be regarded as wastelands or sacred spaces, in either case it is not the places themselves that define the nature of the wilderness experience. "Wilderness," regardless of where it is situated or whether it is described as frightening or divine, is a cultural construct that is typically placed in opposition to "civilization," located apart from the human world as something pure and essentially natural, to be preserved and protected both from the outrages of global industrial exploitation as well as the small defilements of daily life.&nbsp;</span><br /><br /><span style="font-size: small;">We disagree. We consider that creating even the most high-minded dualism between humans and nature sets up a dynamic that creates conflict and does not lead to effective stewardship of the environment, either locally or on a global scale. We also believe that rather than being defined either as a physical or an imaginary location, "wilderness" is more a state of mind that defies location, either geographical or imaginary-one in which social structure relaxes, logic slips away and time and space collapse. This open state of mind, or "wonder," can be experienced in natural environments that inspire fear, disorientation, foreboding or other qualities of "sublime" landscape appreciated by the likes of Edmund Burke<sup>3</sup>-and it can also unexpectedly arise in the midst of degraded urban grittiness or in an unexplored corner of a superficially unremarkable backyard.&nbsp;</span><br /><br /><span style="font-size: small;">Artists in our group discover natural wonder in many places-from Antarctic icebergs to carcasses of dead birds. And just as we respect "wilderness" in all of its manifestations, we believe that biodiversity and sustainability can only be maintained if we humans give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respect for the global interface of ecosystems, be they planetary or microscopic, that we unavoidably impact.&nbsp;</span><br /><br /><span style="font-size: small;">Wilderness Mind: Dissolving Duality includes the work of fourteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration; we have worked together to study and work as eco-artists since 2005. This proposed exhibition represents work that ranges from photography to non-representational painting, performance, and installation; it spans a continuum of references to water from suburban irrigation systems to the arctic ice cap; to wildlife, including Barr owls, sea otters, and golden trout from the Sierras; and to locations from San Pedro Harbor to Mozambique. Within the frame of wilderness, the group's work articulates themes of degradation and emergence, natural cycles, mystery, concern for the environment, and connected oneness. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative approach as an alternative to more traditional strategies of agency through domination, and to the possibility for everyone to experience "wilderness" in any number of settings, not just in uninhabited nature. Through the visual messages communicated in our work as well as through workshops and programs offered to the community in conjunction with the exhibition, our ultimate goal is to inspire visitors to participate in effective stewardship of the environment.&nbsp;</span><br /><br /><span style="font-size: small;"><small><sup>1</sup>&nbsp;New Oxford American Dictionary, Oxford University Press, third edition.&nbsp;<br /><sup>2</sup>&nbsp;Cronon, William, "The Trouble with Wilderness; or, Getting Back to the Wrong Nature," Uncommon Ground: Rethinking the Human Place in Nature, New York: W.W. Norton &amp; Co., 1995, 69-90.&nbsp;<br /><sup>3</sup>&nbsp;Burke, Edmund, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 1857.&nbsp;</small></span><br /><br /><em><span style="font-size: small;">Deborah Thomas is an artist, professor and independent curator who lives in Los Angeles; she has also lived and worked as an artist in Geneva, Switzerland and New York. With an undergraduate degree from the University of Michigan and an MA and ABD from the University of Pennsylvania, Thomas currently teaches art history and contemporary art and theory at Pasadena City College, Glendale College and the Los Angeles Academy of Figurative Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus; she also helped to organize "Elements," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artwork includes a series of conceptual installations and mixed media pieces using photographic images and found text; her work on environmental themes typically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet, Bringing the Past to Light: New Art from Old Images, Intimate Geography:&nbsp;</span><br /><br /><span style="font-size: small;">The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhibitions, educational programs and public actions. The group was first organized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA), a national organization dedicated to creating community through art, education and social activism. In April 2007, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San Francisco and at the Day of the Dead Planet exhibition curated by Deborah Thomas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago, Los Angeles, New York, San Francisco and throughout the rest of the United as well as Asia and Europe. The collective also engages the community through lectures, installations and events. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured at zoos and natural history museums across the country. San Pedro-based artists Annemarie Rawlinson and Hiroko Momii often intermix their meditative and activist practices.</span> <br /></em></p> Tue, 26 Nov 2013 18:04:50 +0000 - Angels Gate Cultural Center - May 12th, 2013 - June 19th, 2015 <p>The 2013 -2015 exhibition year at Angels Gate Cultural Center marks the beginning of a larger concept that explores our local community’s stories and personal narratives in the galleries. We hope to generate dialogue about how, as a community, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an experimental space where art and art-making become part of an ongoing conversation about the community. Through partnerships with local non-profits, artists, storytellers and the community at large, the galleries hope to capture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. <br /><br /><small><br /></small></p> Sat, 11 May 2013 02:32:05 +0000 Group Show - Angels Gate Cultural Center - May 12th, 2013 - January 10th, 2014 <p>In 2007, the local Audubon Society got word of an anonymous action taken by a resident of San Pedro. A nest box mysteriously appeared one day in Harbor Park along the 110 Freeway. In recent years, Southern California's western bluebird population has been on the decline. Though it's not fully understood why, it seems that urban growth and climate change may disturb the nesting process. Surprisingly, bluebirds took to the anonymously placed box, depositing gem-like blue eggs. Now the Audubon Club has adopted the park project, placing more boxes and hosting pairs of birds. <br /><br />Based on the story of the nesting box, <i>Out of the Blue</i> is a visual response by artists from San Pedro's Exceptional Children's Foundation. Nestled along Gaffey Street, the ECF studio is a professional workshop where adults with developmental disabilities come to create art. Like the migrating bluebirds, the artists have found a place where they may exist creatively, undisturbed by the outside world. Here, the act of art-making, with its intense focus on special objects, characters, and dream-inspired landscapes provides shelter for the spirit. Out of the blue, anything can happen, but the creative life is our true home. </p> <p>This project was done in partnership with the Exceptional Children's Foundation. </p> Sat, 11 May 2013 20:50:13 +0000 Miyo Hernandez, Ann Le, Karena Massengill, Dusty Tailor, Xiaowen Zhu - Angels Gate Cultural Center - May 12th, 2013 - October 18th, 2013 <p>Over the next two years artwork will be selected on an ongoing basis that employ storytelling techniques to encourage dialogue on issues relevant to the South Bay/Harbor community and/or shared history. The artworks encourage us to think about our lives and how we communicate our story with each other.&nbsp;</p> <p><span style="font-size: medium;"><strong>Miyo Hernandez</strong></span></p> <p>Miyo Hernandez's narrative photography is based in and around Los Angeles. The stories are presented in the form of images and text, which offer a momentary look into events that reflect conflicts and experiences within her community.&nbsp;<br /><br />BIOGRAPHY&nbsp;<br /><br /><em>Miyo Hernandez is a Los Angeles based artist whose narrative work reflects life in the San Gabriel Valley and East Los Angeles. Other projects based in the Midwest and southern United States, trace her own family history, including her experiences as a biracial child and also the local histories of her birthplace in Indiana. Her work has been exhibited in the United States and Europe. She received her BFA from the California College of the Arts in Oakland, CA in 1996, and received her MFA in photography from the California Institute of the Arts in 2000. She currently works as an adjunct professor in photography at the College of the Canyons in Santa Clarita and Pasadena City College. In addition to photography, she also works in the medium of printmaking, producing linocut, woodcut, and limited edition prints in collaboration with Self Help Graphics.&nbsp;<a href="" rel="nofollow" target="_blank">Go to artist's website</a>&nbsp;</em></p> <p><span style="font-size: medium;"><strong>Ann Le</strong></span></p> <p>The series, Thinking of You, consists of hundreds of old family photos that the artist merged to create a visual "mash-up". The images were inspired by a recorded conversation between the artist's mother and older sister when she was a little girl; the conversation is about the family's emigration from Vietnam to Malaysia by boat. As each image is lost within the collective whole, a new image emerges that is both specific to the artist and open to our own interpretation.&nbsp;<br /><em><br />BIOGRAPHY&nbsp;<br /><br /><em>Ann Le is a Southern California native and a recent MFA graduate at California State University Long Beach with an emphasis in Photography and Mixed Media. She is interested in voyeurism and finds it pleasing to look in while others look away. Fascinated by the ever-engaging memory in the midst of the present. She correlates the artificial with her remembrances of family drama, alongside with her ethnicity and culture. Sentiment is vital in her works as she pulls from her personal experiences to construct imposing art.&nbsp;<a href="" rel="nofollow" target="_blank">Go to artist's website</a></em></em></p> <p><strong><span style="font-size: medium;">Karena Massengill</span></strong></p> <p>Karena Massengill's work begins in her heart as emotions, and as she start to build the concept becomes clearer. For many years she was involved with creating visual sounds. The idea of someone's eyes hearing, and ears seeing, fascinated her and is evidenced within her early work.&nbsp;<br /><br />More recently socio political ideas manifested within communities and families have captivated her interest. Presently she is also exploring these ideas within digital media as well as more traditional materials for sculpture, drawing, and painting.&nbsp;<br /><br />She created the installation "Looking In, Seeing Out" just after the 1992 Los Angeles riots. Within her neighborhood, she saw burning buildings and angry desperate people.&nbsp;<br /><br />The idea of the work evolved as she began casting old and young people of all sorts of backgrounds and ethnicities. It intrigued her to see how people experienced the installation, largely dependent upon their own life perspective. Some viewed them as arms that were reaching out in desperation, in need of help. Others saw them as wanting to grab and or take advantage of the viewer.&nbsp;<br /><br />She has always wanted people to think and feel something when they experience her work and she is pleased with the timelessness of this artwork, even though it was made over 20 years ago!&nbsp;<em><em><br /><br />BIOGRAPHY&nbsp;<br /><br /><em>Karena Massengill is an artist working with socio political ideas expressed through the use of multi media including traditional materials used for casting and fabrication, digital imaging, drawing, and painting. Massengill has an MFA in Sculpture from California State University at Fullerton, BFA in Jewelry and MetalSmithing from Tyler School of Fine Art, Temple University in Philadelphia, and a Bachelor of Education in Visual and Industrial Technology from the University of Toronto in Canada. She is an adjunct professor teaching Photoshop at Harbor College and is Department Head of Digital and Visual Arts at Cabrillo High School in Long Beach.&nbsp;<a href="" rel="nofollow" target="_blank">Go to artist's website</a>&nbsp;</em></em></em></p> <p><em><em><em>&nbsp;</em></em></em></p> <p><span style="font-size: medium;"><strong>Dusty Tailor</strong></span></p> <p>Dusty Tailor pulls inspiration from his surroundings and interactions with animals and nature. Being raised in a family of immigrant farmers, plants and produce goods find a place in his work as symbolic imagery of his upbringing and heritage. The work symbolizes the travels and exploration of his family's migration from central Mexico to the Central Coast of California, and personal exploration and interaction with the environment around him. In this context, the Humpback Whale, anatomical drawings of the fruit and flower from the Mission cactus are a direct representation of his migration, exploration and heritage .&nbsp;<em><em><em><br /><br />BIOGRAPHY&nbsp;<br /><br /><em>Dusty Tailor is a printmaker currently attending the School of Art-California State University, Long Beach with a specific interest in lithography, silkscreen, and relief printing. He finds a form of mysticism in printmaking, nostalgia, and a world of perfect resonance from the moment of prepping to printing.&nbsp;</em></em></em></em></p> <p><em><em><em><em>&nbsp;</em></em></em></em></p> <p><strong><span style="font-size: medium;">Xiaowen Zhu</span></strong></p> <p>Terminal Island reflects a visual and psychological journey inside a recycling company, where the world of materials ends and restarts. Through nuanced manipulation of documentary footage, the artist is interested in presenting an alternative perception of time and space in a physically specific and yet philosophically ambiguous environment.&nbsp;<em><em><em><em><br /><br />BIOGRAPHY&nbsp;<br /><br /><em>Xiaowen Zhu is a media artist, scholar and curator. Described as a visual poet, social critic, and aesthetic researcher. She uses video, performance, installation, and web as platforms to communicate the complicated experience of being an international person and to wrestle with the notion of a disembodied identity. Her questions are often raised from her observation and reflection as a critical thinker and an active communicator.&nbsp;<br /><br />Currently, Xiaowen Zhu resides in San Pedro, the port of Los Angeles, for a yearlong artist fellowship program. She received her MFA in Art Video from Syracuse University, USA and a BA in Film, TV Production &amp; Media Art from Tongji University, China. During her undergraduate study, she attended an exchange program in Academy of Art and Design Offenbach in Germany.&nbsp;<br /><br />Her work has been shown nationally and internationally at institutions such as: ZKM | Center for Art and Media (Karlsruhe, Germany), V2 Institute for the Unstable Media (Rotterdam, the Netherlands), ISEA2011 (Istanbul, Turkey), Dumbo Arts Center (New York, USA), Videonale (Berlin, Germany), Museum of Contemporary Photography (Chicago, USA), Strozzina Art Space (Florence,Italy), Sainsbury Center for Visual Arts (Norwich, UK), DOK Munich (Munich, Germany), Everson Museum of Art (Syracuse, USA), Toronto Urban Film Festival (Toronto, Canada), Shanghai eArts Festival(Shanghai, China).&nbsp;<a href="" rel="nofollow" target="_blank">Go to artist's website</a>&nbsp;</em></em></em></em></em></p> Wed, 09 Oct 2013 20:53:19 +0000 Group Show - Angels Gate Cultural Center - May 12th, 2013 - August 2nd, 2013 <p class="p1">The land that Angels Gate Cultural Center sits upon has been shared by many people. Currently, nearly fifty Studio Artists occupy this former military site and make artwork in their studio. The artists all cherish the tranquility of the environment that allows them to be creative. All Studio Artist were invited to submit work that was a reflection of their musings, thoughts, ideas, and struggles and, ultimately, articulation their joy over what is ALIVE.&nbsp;</p> Thu, 22 Aug 2013 22:41:45 +0000