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The exhibition ‘jerks\, balks\, outblurt s\, and jump-overs’\nponders the relationship between contemporary abs traction\, the poetry\nof William Carlos Williams\, and Lucy Lippard’s 1966 exhibition Eccentric Abstraction. \;\nIncluding painting and sculpture from both Los Angeles and New York\,\nthis exhibition aims to loc ate new avenues of abstraction that\nreconcile the localness of design\, th e humility of chance\, and the\nfragileness of grace. \; This exhibitio n includes the work of Brad\nEberhard\, Kent Hammond\, Pamela Jorden\, Pam Lins\, Daniel Mendel-Black\,\nRebecca Morris\, Halsey Rodman\, and Amy Sill man.
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\nIt is easy to cite the ineffable while d iscussing certain topics. \;\nAbstraction is one such topic\; a subject that mystifies as much as it\nprovokes. \; Still chief in the alienati on of the bourgeois\, seeming\nsignpost of decadence\, and guilty pleasure to those who have embraced\nthe satisfactions of shape\, line\, color\, mov ement\, space\, et al. \; While\nmeeting with these artists\, we spoke of these guilty pleasures\, with\nmurmurings of structure\, associations\, and metaphor.
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\nPoetry is another topic that oft en elicits enraptured silence\, shrugs\,\nor canned finger snapping. \; Beyond a cursory recounting of narrative\,\nthings can get complicated.&nb sp\; Consider the structure\, timing\, and\nmeditation of Williams’ classic The Red Wheelbarrow:

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so much depends
\n upon

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a red wheel
\n barrow

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glazed with rain
\n water

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beside the white
\n chick ens

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As\nthe reader slowly builds Wi lliams’ verse\, we are caught in a read that\npushes\, pulls\, tightens\, a nd slackens. \; This casual glimpse reveals as\nmuch in associations as it does in specific imagery. \; We are allowed to\nembrace the sensuou sness of the image and we are encouraged to push\nfurther into what rests i n the fate of that simple wheelbarrow.
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\nWriting on the poetry of William Carlos Williams\, Ezra Pound takes note\nof the\, “volts\, jerks\, sulks\, balks\, outblurts\, and jump-overs\,” that\nare f undamental structural themes in Williams verse. \; Though\nincomprehens ible to Pound\, he knows these interruptions are not\nsuperfluous. \; I t is editor Charles Tomlinson that reduces Pound’s\nquotation to where I de rive my title. \; \; \; \; \; \; \;
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\n ‘Eccentric Abstraction’
\nwas Lucy Lippard’s recognition that new forms were reconciling the\ndilemmas between formal considerations and associative meanings\,\nmaterial flatness and illusionary space\, image and object. \; While\nprimarily an exploration into sculpture\, Lippard wa s acknowledging\nforms that ideally dissolve such distinction. \; These works were quite\naware of their materiality\, their object-ness\, yet equ ally aware of\ntheir imagistic tendencies. \; The artists in ‘jerks \, balks\, outblurts\, and jump-overs’ are similarly engaged.

DTEND:20080117 DTSTAMP:20140822T192446 DTSTART:20071201 GEO:34.0659065;-118.2189386 LOCATION:RAID Projects Los Angeles\,602 Moulton Ave. \nLos Angeles\, CA 900 31 SEQUENCE:0 SUMMARY:jerks\, balks\, outblurts\, and jump-overs\, Brad Eberhard\, Kent H ammond\, Pamela Jorden\, Pam Lins\, Daniel Mendel-Black\, Rebecca Morris\, Halsey Rodman\, Amy Sillman UID:10054 END:VEVENT BEGIN:VEVENT DTEND:20071201T220000 DTSTAMP:20140822T192446 DTSTART:20071201T190000 GEO:34.0659065;-118.2189386 LOCATION:RAID Projects Los Angeles\,602 Moulton Ave. \nLos Angeles\, CA 900 31 SEQUENCE:0 SUMMARY:jerks\, balks\, outblurts\, and jump-overs\, Brad Eberhard\, Kent H ammond\, Pamela Jorden\, Pam Lins\, Daniel Mendel-Black\, Rebecca Morris\, Halsey Rodman\, Amy Sillman UID:10055 END:VEVENT END:VCALENDAR