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Autonomie is proud to present\, We're All Sensitive P eople\,  the two-person show of Jason Ramos and Jorin Bossen on Friday\, Ap ril 13th\, from 7-10pm. Please join us for this incredible show.

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Jason Ramos 

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Ramos's practice as a painter is hard to properly categorize in a climate where self-reflexivi ty has been all but naturalized. Its not that Ramos's work attempts to skip over the postmodern condition — loosely defined as an inability to identif y with the theater of representation — but that his pictures try to extract something of the personal from public image production. Of course\, this n otion itself\, takes for granted the idea that all images now have a 'publi c' life of sorts that reaches from the digital family album to the new face book timeline. In this regard\, Ramos's work transverses the public/private dyad by imbuing all of his source material\, whether digital or photograph ic\, with a kind of subjective candor that emerges from the act of interpre tation.

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For Ramos\, this occurs in any number of way s. It happens through the process of selection and editing\, through living with images in the studio and by playing with the varied historical priori ties attributed to picture making. While the above concerns are associated with any kind of image based art practice\, for Ramos\, painting is about e voking a kind of intimacy with the image that activates unconscious associa tions\, personal mythologies and even the fleeting quality of the moment. A s such\, Ramos's pictures are a kind of open source event that digs into th e history of mark making\, everywhere conflating the strategies of impressi onism and expressionism\, realism and bad painting\, bay area influence and Leipzig school techniques — all with an eye toward investigating the confl icted nature of contemporary life. This shows itself in Ramos's ability to shuffle through a heady mix of historical idioms — such as the group portra it\, vanitas\, and self-portraiture — while everywhere reinventing the term s and conditions of genre-based pictorialism.

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Whethe r or not such a project is viewed as a way to personalized public referents and found material\, or as a gesture toward publicizing a private pictoria l world that is all his own\, Ramos's images are an opportunity to engage w ith painting as a type of thinking that occurs through picture making. Towa rd this end\, Ramos's new body of work plays with additive and subtractive processes\, stark and wispy contrasts\, the reversal of figure and ground r elations\, and the sharp division between natural and irradiated colors. Hi s images are a kind of polyphonic investigation into materials and memory t hat only hint at a semblance of internal logic after the fact. Informed by the play between context and content\, Ramos's pictures capture something o f that ever elusive and uncanny feeling that Freud called the enigmatic\, b ut which we also might call a poetics of the idiosyncratic.

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Bio:  Jason Ramos is an artist\, a curator and a teacher. He maintains a pai nting practice at RAID Projects\, where he also serves as proprietor and Di rector. He is also the assistant curator at Torrance Art Museum and part of ARTRA curatorial. He has shown in group exhibitions nationally and interna tionally and was formerly represented by the co-operative gallery initiativ e Durden and Ray.

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Jorin Bossen 

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The recent works of Bossen are not about nostalgia. They are cert ainly images from the past\, and specifically from the cinematic past\, but they are not romantic ideals. Of course\, to say this means that they are not treated in a finished manner\; that they avoid the typical tropes of il lustration\; and that they are not necessarily handled in a  sympathetic ma nner. In this way\, Bossen's practice as a painter is a rare blend of moder nist simplicity and postmodern reflexivity\, everywhere letting us know tha t the image is a construction that is itself\, about another construction. The first of these gestures issues from a degree of unfinish in Bossen's wo rk\, the second\, from the selection of a heroic modernist archetype — the American cowboy.

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But the insights provided by Bossen 's paintings\, which place the construction of identity on equal footing wi th the construction of the picture plane\, go far beyond being a hermetic p roposition. Playing with a reduced pallet\, a generic 'type' and a clarity of means allows Bossen to pin point something critical in the cultural unco nscious during this election year. The cowboy is an allegorical figure that is writ large across the politics of the present moment\, sustaining not o nly the mythos of Reagan (the actor)\, but also Bush Jr.\, and the failed c ampaign of Rick Perry. One might even go so far as to argue that the republ ican's inability to recapture the authenticity of the cowboy resulted in th e recent political quagmire that beset the republican nomination.

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And in many ways\, it is this same notion that permeates the work of Bossen\, which plays with the style of a cultural construction by r educing it to just that\, a depersonalized image re-presented as the artifi ce of ideology. It goes without saying that Bossen's work enacts a return o f the repressed by conjuring up the boogey 'man' of identity politics\, but this is not to simply valorize male machismo. He has\, in some way\, made our appraisal of the masculine image that much more clinical by going one b etter than either Fischl or Salley\, reaching out for a true zero degree of expressivity. But what remains truly significant about such an endeavor is that his paintings point to the lack of a substantive replacement for the ontological status of 'the masculine'. In this regard\, Bossen's work is en gaged in a type of pictorial anthropology that makes us question the tropes of yesterday while calling into question the representational forms that c ontinue to over-determine the political present — and perhaps even\, the pr oblems of tomorrow.

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Bio: Jorin Bossen is an MFA Candidate at Claremont Graduate University. His work has been exhibited in Chicago\, De troit\, Los Angeles and Washington D.C.. His artwork was recently featured on the cover of New American Paintings\, number 53. 

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DTEND:20120505 DTSTAMP:20140731T122303 DTSTART:20120413 GEO:34.0397568;-118.3429393 LOCATION:Autonomie\,4742 West Washington Blvd \nLos Angeles\, California 9 0016 SEQUENCE:0 SUMMARY:Jason Ramos / Jorin Bossen: We're All Sensitive People\, Jorin Boss en\, Jason Ramos UID:211838 END:VEVENT BEGIN:VEVENT DTEND:20120413T220000 DTSTAMP:20140731T122303 DTSTART:20120413T190000 GEO:34.0397568;-118.3429393 LOCATION:Autonomie\,4742 West Washington Blvd \nLos Angeles\, California 9 0016 SEQUENCE:0 SUMMARY:Jason Ramos / Jorin Bossen: We're All Sensitive People\, Jorin Boss en\, Jason Ramos UID:211839 END:VEVENT END:VCALENDAR