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David Kordansky Gallery is very pleased to announce D.O.A. | D.O.B.\, its first solo exhibition of new work by Kathryn Andrews. The show will open on Dec ember 15\, 2012 and run through February 2\, 2013. An opening reception wil l be held on Saturday\, December 15\, from 7:00pm until 9:00pm. The opening reception will also coincide with a performance-based activation of one of the sculptures in the show. 

Kathryn Andrews juxtaposes legacies of pop art and minimalism\, creat ing works in which the experience of materials prompts the viewer to recons ider how subjectivity is constructed in contemporary culture. Her work ofte n combines fabricated forms with readymade objects sourced (or seemingly so urced) from Hollywood prop shops\, memorabilia stores\, party supply outlet s and other commercial venues. Rife with socio-economic associations\, thes e readymades pit popular and/or symbolic value against experience of the sc ulptural whole as material artifact.

The title of the show\, D.O.A. | D.O.B. (dea d on arrival / date of birth)\, points to the creation and annihilation tha t is at stake when images\, physical forms\, and personae are understood as fixed versus non-fixed entities. It will feature three floor-based sculptu res and three wall-based sculptures that incorporate polished stainless ste el forms which support\, surround\, and complicate both found and fabricate d objects. Their mirror-like surfaces\, meanwhile\, transform each into a v isual essay on the act of viewership itself\, and implicate both viewer and artist as active agents in each piece. 

Still Life (Woman with Fruit)\, for example\, con sists of a human-scaled stainless steel tube that supports a headdress made of artificial fruits and vegetables. From afar\, the object sets up a humo rously paradoxical relationship between the industrial\, polished cylinder and the ersatz organic matter perched on its 'head'. However\, the sculptur e is in fact designed to serve as the site of a performance\, in which the activated work becomes a complex composition of interiors and exteriors\, t angible and projected presence\, and lineages of both sculpture and paintin g.

Painting is also addr essed in a series of three inter-related wall sculptures that resemble wind ows. In these works\, the line between fabricated and existing forms is com plicated by the stickers that adorn them\; each features a unique image of a clown surrounded by imagery specific to one of the four seasons\, thus ra ising questions about how the passage of time can become an active part of otherwise static objects. Based on manipulated versions of found imagery\, the stickers represent condensed moments of painterly composition within th e rectilinear window frameworks. Furthermore\, they are modeled after decal s used to alert emergency responders to the presence of children (each work is titled Tot Finder)\, so that an implied body behind the window competes with the viewer's experience of his or her own reflection upon it s surface.

Throughout th e show\, images and reflections are intimately fused to the materials on an d in which they appear. Nowhere is this more apparent than in Lethal We apon\, a work which at first seems to be no more than a tall stainless steel cylinder with a small hole. Looking into the darkness of the cylinde r's interior slowly reveals that it contains a pistol pointed at the viewer \, and only upon reading a description does he or she realize that this is a gun used on the set of the film that shares its title with the piece. The formal vocabulary of minimalism conceals the most loaded and symbolic of p opular objects\, and the absences represented by the tube's opening and the gun's barrel threaten to override an otherwise overwhelming experience of materials and cultural references. 

In 2013\, Kathryn Andrews will be the subject of a solo exhibit ion at Museum Ludwig\, Cologne. Earlier this year she was included in M ade in L.A. 2012organized by the Hammer Museum and LAXART\, Hammer Mus eum\, Los Angeles\; First Among Equals\, ICA\, Philadelphia\; and  When Forms Become Attitudes\, CCA Wattis Institute for Contemporar y Arts\, San Francisco (traveling to the Museum of Contemporary Art\, Detro it). Other recent exhibitions includeAmerican Exuberance\, Rubell Family Collection\, Miami\; Modify\, As Needed\, MOCA\, North Miam i\; and George Herms: Xenophilia (Love Of The Other)\, MOCA\, Los Angeles. She has also created numerous performance works\; in 2012 these ha ve included Voix de Ville at Art 43 Basel and Fork Hunt a t Graystone Mansion\, Los Angeles (organized by LAXART). Andrews lives and works in Los Angeles.

DTEND:20130202 DTSTAMP:20140417T033527 DTSTART:20121215 GEO:34.0298855;-118.3721373 LOCATION:David Kordansky Gallery\,3143 S. La Cienega Blvd. Unit A\nLos Ang eles\, CA 90016 SEQUENCE:0 SUMMARY:D.O.A. | D.O.B.\, Kathryn Andrews UID:249945 END:VEVENT BEGIN:VEVENT DTEND:20121215T210000 DTSTAMP:20140417T033527 DTSTART:20121215T190000 GEO:34.0298855;-118.3721373 LOCATION:David Kordansky Gallery\,3143 S. La Cienega Blvd. Unit A\nLos Ang eles\, CA 90016 SEQUENCE:0 SUMMARY:D.O.A. | D.O.B.\, Kathryn Andrews UID:249946 END:VEVENT END:VCALENDAR