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In her third solo exhibition at Gallery Luisotti\, Los Angeles-based ph otographer Christina Fernandez presents a fresh continuation of her ongoin g series Serano (2005 – to present). Furthering her inquiry into the inter section between landscape photography and urban spaces\, these images focu s on parks and other public places in and around Los Angeles. All are loca ted in her neighborhood or close to her studio. These sites\, though utili zed by the broader community\, have a personal connection to the artist. < /span>

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Generally\, Fernandez’s Serano images that depict open spaces often inc lude discarded furniture\, Christmas trees\, and other detritus that the v iewer can easily identify as superfluous residue of urban culture. Expertl y combining the seemingly objective approach of a documentarian with subtl e hints of emotional involvement\, Fernandez invites a personal dimension of topographic photography. Through the inclusion of both open spaces and miscellaneous debris\, Christina’s photographs examine personal\, albeit s ubmerged elements of personal life abandoned in the public realm.\n

Ferna ndez’s work has always addressed multiple subjects including labor\, gende r\, and migration via both documentary photography and conceptual photogra phy. Continually drawing on the landscape of Los Angeles\, she captures t he landscape and diverse cultures that flourish here. In her previous seri es Manuela S-T-I-T-C-H-E-D (1996)\, she photographed non-descript concrete sweatshops surrounding downtown

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Los Angeles\, she combined narrative te xt with the images\, giving viewers a political context for her urban imag es. With Serano\, Fernandez eliminates all text. This streamlines and sim plifies the body of work\, but allows for a broad range of interpretations . One possible interpretation of Bench (Deb’s Park) is that the unfocused background points to the vast distance between the dream of home ownership in LA and the reality of life in the midst of the economic downturn. The closest many Angelinos will get to a house in the suburbs is sitting on t his bench. Works such as Couch or Encampment II offer both a meditation on the serenity of the neighborhood and a sense of loss and ruin indicated b y decomposing furniture\, dry brush\, and brown\, blatantly denying the im age of a “golden” California landscape.

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Serano displays the depth and br eadth of Fernandez’s approach to topographic photography. In this new ser ies\, Christina’s rigorous and elegant transformation of the gallery trans cends the often-depicted barren landscape of Los Angeles by providing an i ntimate survey of her immediate surroundings.

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Christina Fernandez’s wo rk has been exhibited in major museums throughout the United States since the early 1990s. Among the many landmark exhibitions she has participated in are How Many Billboards? / Art In Stead\, MAK Center for Art &\; Arc hitecture\, Los Angeles (2010)\, the traveling exhibition Phantom Sighting s: Art After the Chicano Movement organized by the Los Angeles County Muse um of Art (2008) and This Side of Paradise: Body and Language in L.A. Phot ography\, Huntington Museum\, San Marino\, CA (2008). Fernandez is represe nted in the permanent collections of Los Angeles County Museum of Art\, Th e Latino Museum of History\, Art and Culture\, Los Angeles\, as well as Th e Museum of Contemporary Art\, Los Angeles and Williams College Museum of Art in Williamstown\, Massachusetts.

DTEND:20101106 DTSTAMP:20140920T105134 DTSTART:20100910 GEO:34.0276049;-118.4678444 LOCATION:Gallery Luisotti\,2525 Michigan Ave. Bergamot Station: Gallery A-2 \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Residue / Residuo \, Christina Fernandez UID:124880 END:VEVENT END:VCALENDAR