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Pasadena\, CA—The Norton Simon Museum presents “Beyond Brancusi: The Space of Sculpture\,” an exhibition that examines how the great sculpto rs of the 20th century\, both directly and indirectly\, were influenced by Constantin Brancusi and his groundbreaking use of space and material. Featu ring 19 works from the Museum’s renowned collection of post-war art\, by sc ulptors as diverse as Henry Moore\, Isamu Noguchi\, Barbara Hepworth\, Dona ld Judd\, Carl Andre\, John McCracken and Robert Irwin\, the exhibition dem onstrates how sculpture moved from being a self-contained\, three-dimension al object to one that engages with its surrounding space. In a variety of w ays and in a variety of materials\, including marble\, wood\, stainless ste el\, felt or Plexiglas\, the sculptures on view illustrate some of the most innovative moments in art making in the latter half of the 20th century. T he exhibition is on view from April 26\, 2013\, through Jan. 6\, 2014\, in the Museum’s temporary exhibition gallery.

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Romanian-born and Paris-based\, Brancusi was arguably the most influential sculptor of t he 20th century. His artistic inquiries into abstraction and representation \, into mass and space\, into craft and materials\, serve as the foundation on which later artists dealt with these transformative issues. Indeed\, Br ancusi set up an important dichotomy when he embraced an intense understand ing of his materials and worked them to a high degree of finish\, always by hand\, as in his masterpiece Bird in Space from 1931\, on view in t he Museum’s 20th-century gallery. But most significantly\, Brancusi was the first artist to approach sculpture as a work integral to its environment. “I don’t care what they reflect\,” the artist once mused of his artworks\, “as long as it is life itself.” “Beyond Brancusi: The Space of Sculpture” p resents signature works from the Norton Simon collections that exhibit thes e creative breakthroughs. While the featured works were made over a 30-year span\, in several different countries and using a variety of materials\, e ach can be seen as drawing on Brancusi’s revolutionary relationship to spac e.

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The exhibition begins with the works of renowned arti sts Henry Moore (English\, 1898–1986)\, Isamu Noguchi (American\, 1904–1988 ) and Barbara Hepworth (English\, 1903–1975)\, among others. Just a generat ion younger than Brancusi\, these artists introduced space into thei r compositions by using holes or assembling elements around negative space. For example\, supple curves reveal a dramatic cavity in Moore’s Reclini ng Form from 1966\, demonstrating the artist’s concerns in balancing th e physical permanence of the material with the buoyancy deliberately create d by the space below and within it. Hepworth’s Duo and Two Forms (Green and Green)\, both from 1973\, display the artist’s significant i nterest in piercing holes into her forms. These material absences literally and metaphorically open each mass\, where the work becomes about both the object and the opening\, with neither assuming a hegemonic role over the ot her. The graceful marble lattice that defines Noguchi’s The White Gunas from 1946 makes the space between the carved forms as important as the stone itself. Further\, the triangular placement of the three main vertical s denies a front or back\, requiring the viewer to move around the work and thus redefine it from differing viewpoints.

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The exhibit ion continues with works made of non-traditional materials—often industrial — such as metal\, felt\, Plexiglas and coated glass. Donald Judd (American\ , 1928–1994)\, Robert Morris (American\, b. 1931) and Carl Andre (American\ , b. 1935) all employed an aesthetic that removed their work from anything narrative or based in nature. And while they each had differing opinions as to the meaning of their sculpture\, they engaged space even more aggressiv ely than the previous generation. Judd’s Untitled from 1969 consists of 10 stainless-steel units\, coated in blue Plexiglas\, stacked verticall y onto a wall\, thus integrating space directly into the piece. The number of stacks varies depending on the height of the ceiling (this installation features 8 of 10)\, but the spaces between them remain consistent: they are the same distance apart as they are tall. Judd’s sculpture presents a visu al paradox—light and open on the one hand\, durable and inaccessible on the other. In Morris’s Untitled\, also from 1969\, five regular horizon tal slits\, cut into a large swath of industrial felt\, allow the work to c ascade rhythmically to the floor. Over time\, the gaps between the felt gro w\, changing the appearance of the object and the indication of space aroun d it. Wanting his materials to be straightforward and unmitigated\, Morris nevertheless was able to transform a raw manufactured product into an objec t of grace and beauty.

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The exhibition concludes with a g rouping of works by Southern California artists who introduced experimental materials and expanded the relationship between sculptural object and spac e even further. Robert Irwin (American\, b. 1928)\, DeWain Valentine (Ameri can\, b. 1936)\, Craig Kauffman (American\, 1932–2010) and Helen Pashgian ( American\, b. 1934) introduced light and its reflection into their work\, a s well as a perceptual aspect aimed at the viewer\, often fusing space and object. For example\, Irwin’s Untitled from 1969 plays with percepti on in such a way that the distinctions between solid and void—that is\, of form and space—are utterly blurred. In this piece\, a painted metal disc is mounted nearly two feet from the surface of the wall\, and yet it disappea rs into it\; the form has become visually part of its surrounding space. Va lentine’s Large Wall from 1968 is a monument to the atmosphere of se a and sky. Its transparency and its scale also reflect the artist’s pursuit of sculpture that becomes “involved with both the inside space and the out side space or surface—where most sculpture visually stops.” Pashgian’s U ntitled from 1969 uses resin with a bent acrylic rod at its center to g ive the work greater dimension. While Brancusi’s finish was intended to ref lect the surrounding world\, Pashgian’s aim was to consider the interior of the work: in the light it absorbed\, in the space it created and in the na ture of its purity.

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“Beyond Brancusi: The Space of Sculpture” is organiz ed by Associate Curator Leah Lehmbeck. A series of related programs will be presented. Dan Flavin’s 1966 sculpture “monument” on the survival of Mr s. Reppin is on view at the Museum from March 8 through Aug. 19\, 2013. More information can be found at www.nortonsimon.org.

DTEND:20140106 DTSTAMP:20140830T183120 DTSTART:20130426 GEO:34.1458399;-118.1583898 LOCATION:Norton Simon Museum\,411 W. Colorado Blvd \nPasadena\, CA 91105-18 25 SEQUENCE:0 SUMMARY:Beyond Brancusi: The Space of Sculpture\, Henry Moore\, Isamu Noguc hi\, Barbara Hepworth\, Donald Judd\, Carl Andre\, John McCracken\, Robert Irwin\, DeWain Valentine\, Helen Pashgian\, Louis Nevelson\, Robert Morris\ , Charles Mattox\, Gabriel Kohn\, Craig Krauffman\, Guy Dill\, Larry Bell\, Craig Kauffman UID:264450 END:VEVENT BEGIN:VEVENT DTEND:20130426T210000 DTSTAMP:20140830T183120 DTSTART:20130426T120000 GEO:34.1458399;-118.1583898 LOCATION:Norton Simon Museum\,411 W. Colorado Blvd \nPasadena\, CA 91105-18 25 SEQUENCE:0 SUMMARY:Beyond Brancusi: The Space of Sculpture\, Carl Andre\, Larry Bell\, Guy Dill\, Barbara Hepworth\, Robert Irwin\, Donald Judd\, Gabriel Kohn\, Craig Krauffman\, Charles Mattox\, John McCracken\, Henry Moore\, Robert Mo rris\, Louis Nevelson\, Isamu Noguchi\, Helen Pashgian\, DeWain Valentine UID:264451 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On the 100 year anniversary of Posada&rsquo\;s death\, MOLAA honors the &ldquo\;father of Mexican printmaking&rdquo\; with a display of chapbooks\, broadsides and blocks that feature his most iconic characters and sensatio nal illustrations. Special tours and workshops related to José\; Guad alupe Posada are available upon request. Contact the Education Department f or more details at education@molaa.org.

DTEND:20140108 DTSTAMP:20140830T183120 DTSTART:20131017 GEO:33.774417;-118.179876 LOCATION:Museum of Latin American Art (MOLAA)\,628 Alamitos Ave. \nLong Bea ch\, CA 90802 SEQUENCE:0 SUMMARY:Society\, Scandals and Satire: Jose Guadalupe Posada’s Iconic Print s\, Jose Guadalupe Posada UID:296325 END:VEVENT BEGIN:VEVENT DTEND:20131017T210000 DTSTAMP:20140830T183120 DTSTART:20131017T110000 GEO:33.774417;-118.179876 LOCATION:Museum of Latin American Art (MOLAA)\,628 Alamitos Ave. \nLong Bea ch\, CA 90802 SEQUENCE:0 SUMMARY:Society\, Scandals and Satire: Jose Guadalupe Posada’s Iconic Print s\, Jose Guadalupe Posada UID:296326 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the early years of the twentieth century\, California produced a uniq ue artistic style which combined several distinctive aspects of American an d European art. This style\, which is often called California Impressionism or California Plein Air painting\, after the French term for "in the open air"\, concerned itself with light and color. As a variant of the American Impressionist style\, it focused directly on the abundant California light. Here\, the land became the principal subject of this style\, and it was re presented as clean and unspoiled\, with vigor and grandeur. The sun shone i ts light on the land and gave it color: greens of spring\, browns of late s ummer and fall and everywhere\, the deep blue mantle of the sky.

One of The Irvine Museum's most popular and successful traveling exhibitions\, CALIFORNIA IMPRESSIONISM was inaugurated in 2010 when it was displayed at the Haggin Museum\, in Stockt on\, California\, and continued to the Boca Raton Museum in Florida\, the M onterey Museum of Art\, the Portland Art Museum\, the Whatcom County Museum in Bellingham\, Washington\, and the Bakersfield Museum of Art. Now\, this remarkable exhibition has returned home to The Irvine Museum.

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FEATURED ARTISTS

Some of the most popular works of art in the museum collection will be displayed in this exhibition. ARROYO SECO BRIDGE\, by Franz A. Bischoff (18 64-1929)\, was painted in South Pasadena in 1912. The bridge still stands t oday\, connecting Highland Park with South Pasadena at York Boulevard. Howe ver\, what used to be the picturesque banks of the Arroyo Seco has since be en completely paved over and is now the roadway of the Pasadena Freeway.

MAKING PORT\, by Armin C. Hansen (1886-1957)\, shows a tugboat in heavy seas\, valiantly going out t o help guide a schooner safely into port. The scene is bathed in cold and d reary color and the composition is precariously perched on a series of obli que and angular lines. Seen as a whole\, it shows a graphic view of the rig or and peril of seafaring life.

MOUNTAIN SILENCE\, painted by Paul Lauritz (1889-1975) in 1922\, i s a view of the California Sierra Nevada mountains on a bright\, clear morn ing. The artist combines the majesty of the mountains with a sense of clear \, crisp intense light so typical of the Sierra. This is achieved by adept handling of color and its application in a multitude of brightly colored do ts of paint. The constant apparent motion caused by numberless dots of colo r gives the work its exceptional sense of natural\, fluid light.

One of the most popular paintings in this show is LA JOLLA SHORES\, painted in the early 1920s by Alfred R. Mitchell (1888-1972). The scene shows the community of La Jolla\, just nort h of San Diego\, as it looked long before the rampant development that char acterize the area today. Mitchell was one of San Diego's most important pai nters and most popular art teachers.

Generally taken to be the most important of California's Impr essionists painters\, Guy Rose (1867-1925) is represented by LAGUNA EUCALYP TUS\, painted about 1916. One of the very few artists of this period to hav e been born and raised in California\, Rose studied art in San Francisco an d Paris and adopted a French Impressionist approach to painting. For eight years\, between 1904 and 1912\, Rose and his wife Ethel lived in the small village of Giverny and were friends and neighbors of Claude Monet. LAGUNA E UCALYPTUS was painted soon after Rose's return to California.

SOUTHERN CALIFORNIA COAST\, by Georg e Gardner Symons (1861-1930) shows the coast at Laguna Beach near today's c ommunity of Rockledge. Symons became quite famous for his paintings of snow covered hills and valleys in Massachusetts and New Hampshire but also love d to paint in southern California. A close friend of William Wendt (1865-19 46)\, whose work is also represented in this exhibition\, Symons built a st udio-home in Laguna Beach and became an active member of the local art comm unity.

DTEND:20140109 DTSTAMP:20140830T183120 DTSTART:20130928 GEO:33.6712444;-117.858098 LOCATION:Irvine Museum\,18881 Von Karman Ave. Ste. 1000 \nIrvine\, CA 92612 SEQUENCE:0 SUMMARY:California Impressionism: Selections from The Irvine Museum\, Franz A. Bischoff\, Armin C. Hansen\, Paul Lauritz\, Alfred R. Mitchell\, Guy Ro se\, George Gardner Symons UID:297647 END:VEVENT BEGIN:VEVENT DTEND:20130928T170000 DTSTAMP:20140830T183120 DTSTART:20130928T110000 GEO:33.6712444;-117.858098 LOCATION:Irvine Museum\,18881 Von Karman Ave. Ste. 1000 \nIrvine\, CA 92612 SEQUENCE:0 SUMMARY:California Impressionism: Selections from The Irvine Museum\, Franz A. Bischoff\, Armin C. Hansen\, Paul Lauritz\, Alfred R. Mitchell\, Guy Ro se\, George Gardner Symons UID:297648 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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 Ca lifornia's western bluebird population has been on the decline. Though it's not fully understood why\, it seems that urban growth and climate change m ay disturb the nesting process. Surprisingly\, bluebirds took to the anonym ously 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 />
Based on the story of the nesting box\, Out of the Blue i s a visual response by artists from San Pedro's Exceptional Children's Foun dation. Nestled along Gaffey Street\, the ECF studio is a professional work shop where adults with developmental disabilities come to create art. Like the migrating bluebirds\, the artists have found a place where they may exi st creatively\, undisturbed by the outside world. Here\, the act of art-mak ing\, with its intense focus on special objects\, characters\, and dream-in spired landscapes provides shelter for the spirit. Out of the blue\, anythi ng can happen\, but the creative life is our true home. 

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This proje ct was done in partnership with the Exceptional Children's Foundation. 

DTEND:20140110 DTSTAMP:20140830T183120 DTSTART:20130512 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Out of the Blue\, Michele Martínez\, Guadalupe Carbajal\, Christoph er Dao\, Diana López\, Raymond McAdams\, Victor Prieto\, Ralph De la Roca\, Cesar Rodríguez\, Armando Saucedo\, Sarah Woo UID:276575 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Picking up the Pieces: A Suicide Prevention Project  \;explores the difficult emotions and thoughts that accompany the subj ect of suicide and suicide prevention. The project is curated by artist\, S tacey Wexler in collaboration with residents from Harbor View House in San Pedro\, CA. Wexler and the participating residents transform two difficult subjects into an inspiring\,powerful and cohesive dialogue \;

Picking Up the Pieces \;is an ongoing community art project that utilizes the fundamental elements of a jigsaw puzzle originally consis ting of twenty-seven puzzle pieces. Each piece is an individual narration o f the experiences the residents of Harbor View House had with suicide and s uicide prevention. As a whole\, the project encompasses a range of emotions \, from the hopeless to the hopeful. Throughout the project's residency at Angels Gate Cultural Center (AGCC)\, the community will have the opportunit y to expand on the discussion that Wexler and the residents at Harbor View House started. Blank pieces of the puzzle will be made available by AGCC an d Wexler so that the audience may create artistic representations of their own experiences and thoughts on suicide and show what their hopes for suici de prevention look like. \;

BIOGRAPHY
Stacey Wexler has been working professionally in the arts for more than 3o years. She ea rned her MFA from Claremont Graduate University with an emphasis in Ceramic Sculpture and her BFA from The University of the Arts in Philadelphia. Add itionally\, she attended Art Center College of Design with a specialization in computer graphics. She is currently an adjunct assistant professor in t he Department of Art and Architecture at Los Angeles City College. Her own personal creative work has been exhibited nationally and in Germany\, Italy and Hungary. She was selected as a resident artist at the Hungarian Multi- Cultural Center in Budapest in 2011. Stacey Wexler has a studio in Downtown Los Angeles. \;

DTEND:20140110 DTSTAMP:20140830T183120 DTSTART:20130907 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Picking up the Pieces: a suicide prevention project UID:297067 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening Reception for new show in gallery  \;on October 27t h\, 2013 from 4:00pm-6:00pm

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 \;Angels Gate Cultural Center (AGCC) is pleased to exhibit wor k by several Los Angeles based artists that engage in the current conversat ion on community. \;

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 \;For the next few years\, AGCC&rsquo\;s gallery invites the community to share their stories with us. We are interested in how these stories shape the collective consciousness in San Pedro and the South Bay area. As part o f opening up the galleries to hear the voices within the community we have repositioned part of our Main Gallery to be a rotating roundtable discussio n using artwork to stimulate conversations about identity\, place\, fellows hip\, and culture. \; Throughout the exhibitions visitors are asked to consider their lives\, the lives of younger and older generations\, and how a healthy community&rsquo\;s well-being is sustained through the quality o f relationships that individuals form in their community.

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&n bsp\;For this roundtable conversation\, art work by artsts Fabian Debora\, Bia Gayotto\, Robin Johnson\, Narsiso Martin ez\, Sandy Rodriguez\, and John Trevino has been selected. \;

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 \;The opening coincides with our Annual HOWL &\; Scary Stories Halloween event. HOWL lasts from 4 &ndash \; 6pm and Scary Stories from 6:30- 8pm. The event is open to people of all ages.

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 \;Also opening :

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The Family Room space will feature work by AGCC artists.

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 \;Continuing Exhibitions:

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The Community Room will feature work by AGCC studio artists : Paul Carmichael\, Patrick Grugan\, Dennis Keeley\, Jon Nakamura and Frank Rodriguez. The show is brought together under the banner theme\, What We See. Each piece is an exploration of what we see\, what we don&rsqu o\;t see\, and what we think we see. The exhibit was organized by Getty Mul ticultural Intern\, Sabrina Orozco.

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The Community Gallery features Pickin g up the Pieces: a suicide prevention project\, a curated show by Stacey Wexler and Out of the Blue \, a collabora tion between Michele Martí\;nez and developmental disabled artists fr om the ECF Studio in San Pedro.  \;

DTEND:20140110 DTSTAMP:20140830T183120 DTSTART:20131027 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Featured Roundtable to Out of the Blue part II\, Fabian Debora\, Bi a Gayotto\, Robin Johnson\, Narsiso Martinez\, sandy rodriguez\, John Trevi no UID:301432 END:VEVENT BEGIN:VEVENT DTEND:20131027T180000 DTSTAMP:20140830T183120 DTSTART:20131027T160000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Featured Roundtable to Out of the Blue part II\, Fabian Debora\, Bi a Gayotto\, Robin Johnson\, Narsiso Martinez\, sandy rodriguez\, John Trevi no UID:301433 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Astrovandalistas is a translocal artist collective\, whose members come from different geographical areas. Their projects operate in the intersecti on of art\, activism\, research\, and the free distribution of knowledge. < /span>

The project Æ\; ffect Lab consists of the research and creation of a free communicatio n network based on affectivity: a network parallel to the internet in which direct human-human cooperation and communication take place. This network revolves around the creation of several communication hardware prototypes\, which include a mobile Telematic Sound Weapon\, Modular Text Scree ns and a FreeNet. The prototypes will be develope d through workshops in Mexico City\, Tijuana\, Los Angeles and other cities TBA\, and the documentation of these workshops will also be part of the ex hibition. These prototypes will be brought to the public in test-case scena rios that will also be understood as urban public space performances and in terventions.

With this project\, Astrovandalistas seek to create technologies that can be replicat ed and utilized in different countries\, proposing collaborative dialogues that promote the construction of new and shared realities.

MOLAA&rsquo\;S Project Room will be conv erted into a control and visualization hub for this network\, allowing the visitor to take part in its communication flow and to glimpse its current p rogress. The spectator will be able to experience the prototypes\, as well to witness the documentation of the evolution of the project. The exhibitio n catalogue will function as an &ldquo\;Astrovandalista Cookbook\,&rdquo\; with a manifesto and information on how to reproduce the prototypes.

The three prototypes to be dev eloped are:

Tele matic Sound Weapon: a mechanical device that will be activated by messages sent via the internet containing a hashtag similar to #armasonoraM OLAA. Its main purpose is to move virtual protest into physical space.

Modular Text Screens : a modular system of separate low-resolution screens that display messages which are received wirelessly. They are able to function individu ally and/or to automatically start functioning together when more than one is in the same space at the same time. When carried\, these individual scre ens can be understood as electronic picket signs that convey messages recei ved in real time. When installed in public space\, they function as an open billboard that a community can activate and place messages on.

FreeNet is a mobil e wireless server able to store archives\, audio and video\, generating an independent communal net in which the users can also talk to each other. Th e users can log into this system without using Internet. This net will be u sed in workshops in Tijuana and Los Angeles.

DTEND:20140110 DTSTAMP:20140830T183120 DTSTART:20130719 GEO:33.774417;-118.179876 LOCATION:Museum of Latin American Art (MOLAA)\,628 Alamitos Ave. \nLong Bea ch\, CA 90802 SEQUENCE:0 SUMMARY:Astrovandalistas Æffect Lab: Disrupting Technologies UID:284307 END:VEVENT BEGIN:VEVENT DTEND:20130719T170000 DTSTAMP:20140830T183120 DTSTART:20130719T110000 GEO:33.774417;-118.179876 LOCATION:Museum of Latin American Art (MOLAA)\,628 Alamitos Ave. \nLong Bea ch\, CA 90802 SEQUENCE:0 SUMMARY:Astrovandalistas Æffect Lab: Disrupting Technologies UID:284308 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The gallery will close December 22nd and will re-ope n \;January 2nd.

DTEND:20140111 DTSTAMP:20140830T183120 DTSTART:20131123 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:40 Years at the Daniel Weinberg Gallery\, Joe Zucker\, Dan Zeller\, Peter Young\, Christopher Wool\, Steve Wolfe\, John Wesley\, Richard Tuttl e\, Michael Tetherow\, Sturtevant\, James Siena\, Joel Shapiro\, Michelle S erge\, Alan Saret\, Robert Ryman\, Alexander Ross\, Dorothea Rockburne\, Da vid Rabinowitch\, Thomas Nozkowski\, Bruce Nauman\, Catherine Murphy\, Lore n Munk\, Robert Moskowitz\, Paul Mogensen\, John McLaughlin\, Andrew Masull o\, Chris Martin\, Brice Marden\, Robert Mangold\, Sol LeWitt\, Sherrie Lev ine\, Barry Le Va\, Harriet Korman\, Jeff Koons\, Alfred Jensen\, Bryan Hun t\, Ralph Humphrey\, Mary Heilmann\, Alexander Gorlizki\, Robert Gober\, Da n Flavin\, Paul Feeley\, Bart Exposito\, Victoria Gitman\, Carroll Dunham\, John Duff\, Steve DiBenedetto\, R. Crumb\, Peter Cain\, Scott Burton\, Lee Bontecou\, Mel Bochner\, James Bishop\, Bernd & Hilla Becher\, Richard Art schwager\, Carl Andre UID:305735 END:VEVENT BEGIN:VEVENT DTEND:20131123T200000 DTSTAMP:20140830T183120 DTSTART:20131123T180000 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:40 Years at the Daniel Weinberg Gallery\, Carl Andre\, Richard Arts chwager\, Bernd & Hilla Becher\, James Bishop\, Mel Bochner\, Lee Bontecou\ , Scott Burton\, Peter Cain\, R. Crumb\, Steve DiBenedetto\, John Duff\, Ca rroll Dunham\, Bart Exposito\, Paul Feeley\, Dan Flavin\, Victoria Gitman\, Robert Gober\, Alexander Gorlizki\, Mary Heilmann\, Ralph Humphrey\, Bryan Hunt\, Alfred Jensen\, Jeff Koons\, Harriet Korman\, Sherrie Levine\, Sol LeWitt\, Robert Mangold\, Brice Marden\, Chris Martin\, Andrew Masullo\, Jo hn McLaughlin\, Paul Mogensen\, Robert Moskowitz\, Loren Munk\, Catherine M urphy\, Bruce Nauman\, Thomas Nozkowski\, David Rabinowitch\, Dorothea Rock burne\, Alexander Ross\, Robert Ryman\, Alan Saret\, Michelle Serge\, Joel Shapiro\, James Siena\, Sturtevant\, Michael Tetherow\, Richard Tuttle\, Ba rry Le Va\, John Wesley\, Steve Wolfe\, Christopher Wool\, Peter Young\, Da n Zeller\, Joe Zucker UID:305736 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is pleased to announce Alan Shields' first solo exhibi tion on the West Coast in four decades. The exhibition will include major s culptural pieces\, conceptual word drawings\, free-hanging paintings and pu lped paper works.

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The brightly colored\, densely textured and layered wo rks of Alan Shields (1944-2005) grew out of his deep consideration of mater ial and process\, color and space. Throughout his many decades of practice\ , Alan Shields consistently took on a broader context for the art object an d what it could do. Shields intended for many of his objects to hang freely in space -- designed for buildings without walls -- and to be circumnaviga ted bodily by his viewers. Shields was actively engaged with architecture\, theater and dance\, and while he consistently used the word "painting" in interviews to describe his approach\, his art clearly takes on not only exp anded painting practice\, but also the conceptual and minimalist objects of the New York scene of the 60s and 70s in which Shields was immersed. With his long hair\, painted nails and handmade clothes\, Shields stood out\; up on moving to New York from Kansas in 1968\, he quickly established himself as one of the most successful young artists in the downtown New York scene\ , with successful shows at Paula Cooper Gallery\, a brief stint working at Max's Kansas City\, and a lengthy interview that made the cover of Artforum in 1971. Reflecting on those years\, he later recalled that\, "it didn't s eem logical to continue to paint a painting and hang it on a nail in the li ving room&hellip\;when I first came to New York it impressed me that the mo st interesting artists were the ones who could talk about other things" (Al an Shields "Dimensions of a Cherry Stone\," SUNY Stony Brook 1982). Shields ' life-long insistence on the connection between art and life was admired b y a diverse group of actors and writers\, filmmakers and playwrights\, and fellow artists as diverse as Lynda Benglis and Chuck Close\, Jack Whitten a nd Sol LeWitt.

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In her essay for "High Times Hard Times: New York Paintin g 1967-1975\," curator Katy Siegel writes that Shields was an artist that " insisted that painting could be radical in the late 60s." In his essay for the same exhibition\, which appeared at the National Academy Museum in 2007 \, David Reed goes on to say that\, "There is no sensible history of painti ng since the mid-1960s\, and there can be none until the contributions of a rtists like those in this exhibition are recognized" (p. 23). Reed points o ut the two-pronged attack on experimental painting of the 1970s\, which was not just\, "condemned by the conservative defenders of tradition&hellip\;a t the same time\, it was dismissed by those who did not see how painting co uld be connected to other forms of experimental art. For these critics\, no kind of painting was possible. Such attacks stemmed from a lack of underst anding and sympathy for experimental painting\, or from ideological turf wa rs and posturing. Often experimental painting was not acknowledged because in such an old and distinguished\, male dominated medium\, the innovations had come from unexpected\, new sources -- women\, blacks\, lesbians\, gays\ , counterculture radicals\, and bohemian sensualists." (p. 21-22).\n

One o f the earliest pieces in Cherry and Martin's exhibition\, "Untitled (typed drawing)" (1968) is a concrete word poem\, the text of which appears to be pulled from an advertisement for a "jim walker 'x-10' rubber powered airpla ne." Organized as a grid\, the piece emphasizes the shape\, pattern and str ucture of the type-written text. The strong formal logic of these works -- and Shields' approach to the modernist grid in part from the vantage point of craft -- relates perhaps to Shields's interest in other practices\, such as quilt-making (much of which is usually worked out in advance on graph p aper)\, that he learned from his mother and sisters growing up on a farm. I n his notebooks from 1968-1971\, we get a sense of Shields building his art \, playing his fibers-based practice off of conceptualism and minimalism. T hese notebooks include\, for example\, instructions for ephemeral grid piec es made with string\; indeed\, as curator Diane Vanderlip noted in her show of Shields's environments in 1977\, "His first works consisted of thread p atterns alone" ("Alan Shields: Four Parts\," Moore College of Art Gallery\, Philadelphia\, PA\, 1977).

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Another work in the Cherry and Martin show\, "Dance Bag" (1985) is a major hanging sculptural piece that consists of a dyed and beaded canvas construction suspended over a mirror to emphasize th e formal and spatial qualities of the work. The free-hanging "In Bed the Sk y is Teacups" (1976-1977) uses the sort of maritime belting and line that S hields encountered while \;fishing - a lifelong interest - and later in life working as a ferry boat driver on Shelter Island. Shields began livin g on Shelter Island in 1972 in order not only to make his work but also to hunt\, garden and get back to the land. On Shelter Island and in his loft i n New York\, Shields experimented with layered\, dyed pulp paper constructi ons\, which he worked on throughout his career - notably at the Sarabhai re sidency in Ahmadabad\, India. "The Queen of Jordella's Crown" (1978)\, whic h will appear in the Cherry and Martin show\, is a unique\, pulped paper\, wire construction using handmade paper. Shield's legacy in printmaking\, ac cording to the critic Robert Hughes\, is "one of the most important of his generation" (Robert Hughes\, "Alan Shields" Beach Museum\, 1999).

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In 197 3\, Shields was included in both the Whitney and Paris Biennials. Throughou t the next two decades he had solo museum and gallery shows in both the US and Europe: in France\, his work was seen through the lens of Supports/Surf aces\; in Italy\, it was included as some of only American art in Filiberto Menna's landmark 1978 exhibition\, "Disseminazione." Renewed interest in S hields' work has led to an intense examination of his practice. His environ ment\, "Maze" (1981-82) will be the subject of an exhibition at SITE Santa Fe (December 2013) that will travel to the Parrish Art Museum (October 2014 ). Shields work was recently seen in a solo exhibition in Paula Cooper Gall ery\, and was included in two recent shows curated by Ugo Rondinone: "The S pirit Level\," at Gladstone Gallery and "39greatjones\," at Galerie Eva Pre senhuber. Shields work is included in such museum collections such as the C orcoran Gallery of Art\, Washington\, D.C.\; Metropolitan Museum of Art\, N ew York\, NY\; Museum of Modern Art\, New York\, NY\; National Gallery of A rt\, Washington\, D.C.\; The Solomon R. Guggenheim Museum\, New York\, NY\; Tate Collection\, London\, UK\; Walker Art Center\, Minneapolis\, MN\; and the Whitney Museum of American Art\, New York\, NY. Shields is represented in New York by Van Doren Waxter.

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Gallery will be closed \;Thursday\, \ ;Friday\, and \;Saturday \;in observance of the Thanksgiving holida y.
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We will do our best to accomodate any clients in town. Please email the gallery for a special viewing appointment.
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DTEND:20140111 DTSTAMP:20140830T183120 DTSTART:20131123 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Solo Exhibition\, Alan Shields UID:286159 END:VEVENT BEGIN:VEVENT DTEND:20131123T180000 DTSTAMP:20140830T183120 DTSTART:20131123T160000 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Solo Exhibition\, Alan Shields UID:286160 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Saturday\, November 23\, 2013\, Corey Helford Gallery pre sents SHAG&rsquo\;s new exhibition &ldquo\;Pink Elephants&rdquo\;. The term &ldquo\;Pink Elephant&rdquo\; was coined by Jack London in 1913 to describ e visions and hallucinations brought on by excessive alcohol consumption. J osh Agle&rsquo\;s (aka Shag) work has always celebrated and advocated the d rinking of cocktails and liquor\, and his own lifestyle reflected the paint ings he created. Agle explains\, &ldquo\;I used alcohol as an aid to create art and as a means to escape the ex- panding responsibilities of a success ful art career. I pursued the variations and varieties of drink like the mo st dedicated stamp collector or fisherman might devote himself to his hobby . Because I was a well-known artist well known for the glorification of coc ktails\, I drank for free in many bars and restaurants. Painting became som ething I did between binges.The benders expanded. At some point\, the end o f one bout of drinking met \;the beginning of the next. I stopped drink ing the day I realized I hadn&rsquo\;t lifted a paint brush in a week. I pu t my hobby on hold\, cut myself off\, yelled &ldquo\;last call\,&rdquo\; an d haven&rsquo\;t had a drop in months. I&rsquo\;m not declaring I&rsquo\;ll never drink again - I cherish my rum too much. But I will give it a long v acation. I do miss it\, like one misses a close friend who&rsquo\;s moved t o London. In the meantime\, I can make paintings about drinking - paintings that embellish\, rebuke\, condemn\, and extol it&rdquo\;. Shag&rsquo\;s cu rrent exhibition &ldquo\;Pink Elephants&rdquo\; is a collection of those pa intings. \;

DTEND:20140111 DTSTAMP:20140830T183120 DTSTART:20131123 GEO:34.03078;-118.3794874 LOCATION:Corey Helford Gallery\,8522 Washington Blvd. \nCulver City\, CA 90 232 SEQUENCE:0 SUMMARY:SHAG \, Josh Agle (SHAG) UID:307753 END:VEVENT BEGIN:VEVENT DTEND:20131123T220000 DTSTAMP:20140830T183120 DTSTART:20131123T190000 GEO:34.03078;-118.3794874 LOCATION:Corey Helford Gallery\,8522 Washington Blvd. \nCulver City\, CA 90 232 SEQUENCE:0 SUMMARY:SHAG \, Josh Agle (SHAG) UID:307754 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Phranc\, \;best known as The All-American Jewish Le sbian folksinger\, \;is also a self-described "Cardboard Cobbler\," who fashions cardboard\, paper\, gouache\, and thread into life-size\, three-d imensional replications of everyday objects. As a teenager\, Phranc attende d The Feminist Studio Workshop at The Woman's Building in Los Angeles\, but she traces her obsession with cardboard back to childhood. She says\, "Fro m the time I sat in my first refrigerator box submarine\, I knew the cardbo ard sea was for me." Her first exhibition at Craig Krull Gallery\,Phran c of California \;(Summer of 2011)\, consisted of hand-crafted bea ch paraphernalia\, such as swimsuits\, inflatable rafts\, umbrellas and bea ch balls. For her new exhibition\, \;Winter\, Phranc will exhi bit painted paper and cardboard snowshoes\, ski sweaters\, ski pants\, lift tickets\, and even a shiny new red sled! In these trompe l'oeil re-creatio ns of nostalgic winter items\, Phranc remarks upon the reconstruction and i dealization of memories.

DTEND:20140111 DTSTAMP:20140830T183120 DTSTART:20131130 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Winter\, Phranc UID:307029 END:VEVENT BEGIN:VEVENT DTEND:20131207T180000 DTSTAMP:20140830T183120 DTSTART:20131207T160000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Winter\, Phranc UID:307030 END:VEVENT BEGIN:VEVENT DESCRIPTION:

John Huggins \;is a master of the challenging and e xacting process known as Polaroid transfer (made even more challenging by P olaroid's recent bankruptcy). This process\, in which wet Polaroid emulsion is transferred to another piece of paper\, results in a grainy\, desaturat ed image. Huggins then enlarges the transfer into a 30x40" archival pigment print\, further enhancing the grain of the image as well as the fiber of t he paper\, thus resulting in a textured\, tapestry quality. All of the phot ographs in this exhibition were made from the \;photographer's gond ola \;on the lifts of Aspen. His compositions of horizonless\, sno w-covered mountain faces dotted with tiny skiers suggest a Zen simplicity o f man in the context of nature. In the most minimal images\, it appears as if the tiny figures are actually skiing down the vertical surface of the pa per.

DTEND:20140111 DTSTAMP:20140830T183120 DTSTART:20131130 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Aspen\, John Huggins UID:307031 END:VEVENT BEGIN:VEVENT DTEND:20131207T180000 DTSTAMP:20140830T183120 DTSTART:20131207T160000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Aspen\, John Huggins UID:307032 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To complement these two winter exhibitions\, Winter and Aspen\, the gallery will pres ent a group show entitled\, \;A L ittle Snow... \;This exhibit of s mall snowscape paintings will include work by\; Marc Bohne\, \ ;Ann Lofquist\, \;Ro bin Mitchell\, \;Andrea Peters\, Astrid Prest on\, \;Pamela Kendall Schiffer\, and \;Nicole Str asburg.

DTEND:20140111 DTSTAMP:20140830T183120 DTSTART:20131130 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:A Little Snow: A Group Show of Small Snowscape\, Marc Bohne\, Ann L ofquist\, Astrid Preston\, Pamela Kendall Schiffer\, Andrea Peters\, Nicole Strasburg\, Robin Mitchell UID:307033 END:VEVENT BEGIN:VEVENT DTEND:20131207T180000 DTSTAMP:20140830T183120 DTSTART:20131207T160000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:A Little Snow: A Group Show of Small Snowscape\, Marc Bohne\, Ann L ofquist\, Robin Mitchell\, Andrea Peters\, Astrid Preston\, Pamela Kendall Schiffer\, Nicole Strasburg UID:307034 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Franç\;ois Ghebaly presents The Third Floor\, an exhibition of new work by Los Angeles-based artis t Patrick Jackson.  \;For this exhibition Jackson has installed scaffolding that divides the gallery into three levels. Each floo r is installed to different effect\, creating an ominous and psychologicall y loaded space.

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The basement level is set with a variety of oversized ce ramic vessels.  \;Most have a black cracking glaze that looks similar t o burnt wood\, but the giant mugs of the group come in an intense variety o f colors\, textures and patterns. \; Each mug holds an assortment of th ings\, such as dirt clumps\, soda colored epoxy and resin crystals.< /p>\n

The ground floor is lined with white carpeting and lit with daylight bulbs crea ting a very bright white room\, an uncanny gallery space. \; There is o ne floor piece and three wall works in this section.

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On the top floor st ands\, &ldquo\;Black Statue\,&rdquo\; a five-foot figure\, with body\, clot hing and hair all a shade of black. \; \;The eyes themselves are bl ack holes that burrow into the body.

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Jackson invited artist Mitchell Syr op to install a text piece on the exterior wall of the gallery\; it reads: THERE IS NO DEVCE TO RECORD IT

DTEND:20140111 DTSTAMP:20140830T183120 DTSTART:20131109 GEO:34.0190877;-118.2317065 LOCATION:François Ghebaly Gallery\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:The Third Floor\, Patrick Jackson UID:303480 END:VEVENT BEGIN:VEVENT DTEND:20131109T210000 DTSTAMP:20140830T183120 DTSTART:20131109T180000 GEO:34.0190877;-118.2317065 LOCATION:François Ghebaly Gallery\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:The Third Floor\, Patrick Jackson UID:303481 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Frank Lloyd Gallery is pleased to announce the open ing of a group exhibition\, \;Small is Beautiful.< /em> \;Presenting a selection of small-scale artworks in ceramics and o ther media\, \;Small is Beautiful \;privileges the intimac y of objects that can be held in one&rsquo\;s hands.

The works on display make explicit reference t o the role of the artist&rsquo\;s hand. Forming clay\, drawing ink across p aper\, and collaging materials are all personal\, human gestures that tie a work to its maker. The impact of these modestly-sized works lies in the de tails that reveal themselves upon close inspection.

Small is Beautiful \;includes work s by Ralph Bacerra\, Larry Bell\, Roseline Delisle\, Robert Graham\, Robert Hudson\, Jennifer Lee\, Ron Nagle\, Gustavo Pé\;rez\, Ken Price\, Ad rian Saxe\, and Richard Shaw. \;

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Holiday Hours

The Frank Lloyd Gallery will be closed to celebrate the h olidays from

December 22 \;&mdash\; \;26\, 2013 and  \;December 29\, 2013 \;&mdash\; \;January 1\, 2014.

DTEND:20140111 DTSTAMP:20140830T183120 DTSTART:20131207 GEO:34.0276049;-118.4678444 LOCATION:Frank Lloyd Gallery\,Bergamot Station 2525 Michigan Ave.\, B5B\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Small is Beautiful\, Ralph Bacerra\, Larry Bell\, Roseline Delisle\ , Robert Graham\, Robert Hudson\, Jennifer Lee\, Ron Nagle\, Gustavo Perez\ , Ken Price\, Adrian Saxe\, Richard Shaw UID:310047 END:VEVENT BEGIN:VEVENT DTEND:20131207T190000 DTSTAMP:20140830T183120 DTSTART:20131207T170000 GEO:34.0276049;-118.4678444 LOCATION:Frank Lloyd Gallery\,Bergamot Station 2525 Michigan Ave.\, B5B\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Small is Beautiful\, Ralph Bacerra\, Larry Bell\, Roseline Delisle\ , Robert Graham\, Robert Hudson\, Jennifer Lee\, Ron Nagle\, Gustavo Perez\ , Ken Price\, Adrian Saxe\, Richard Shaw UID:310048 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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DTEND:20140111 DTSTAMP:20140830T183120 DTSTART:20131207 GEO:34.0663502;-118.2384334 LOCATION:Jancar Gallery\,961 Chung King Road \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:East of Encino\, North of Moca\, Kathrin Burmester\, Ilene Segalove \, Elizabeth Tremante\, Cyril Kuhn\, Tricia Lawless Murray\, Doug Harvey\, Sofie Bird Moller\, Richard Newton\, Hildegarde Duane\, Jasmine Little\, Ka tia Santibañez\, Christian Cummings\, Annie Sprinkle\, Elizabeth Stephens\, Robert Fontenot UID:308112 END:VEVENT BEGIN:VEVENT DTEND:20131207T210000 DTSTAMP:20140830T183120 DTSTART:20131207T180000 GEO:34.0663502;-118.2384334 LOCATION:Jancar Gallery\,961 Chung King Road \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:East of Encino\, North of Moca\, Kathrin Burmester\, Christian Cumm ings\, Hildegarde Duane\, Robert Fontenot\, Doug Harvey\, Cyril Kuhn\, Jasm ine Little\, Sofie Bird Moller\, Tricia Lawless Murray\, Richard Newton\, K atia Santibañez\, Ilene Segalove\, Annie Sprinkle\, Elizabeth Stephens\, El izabeth Tremante UID:308113 END:VEVENT END:VCALENDAR