BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20130131 DTSTAMP:20141021T060926 DTSTART:20130101 GEO:34.078137;-118.262864 LOCATION:Machine Project\,1200 N. Alvarado St. \nLos Angeles\, CA 90026 SEQUENCE:0 SUMMARY:Los Angeles Chez Vous ! Paris At Your Home ! UID:293343 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On the spectrum of electromagnetic radiation\, ultraviolet light lies ju st beyond the realm of visible perception. This high-intensity energy is on ly detectable by the physical reactions it initiates. A source of ultraviol et light is a source of potential momentum\, emitting information along cou ntless pathways.

UCLA' s department of Design Media Arts\, charged with the accumulated creative p otential of talented students across multiple disciplines\, finds an outlet this year through UV / UG\, a showcase of recent personal and class projec ts. The range of these works represents divergent but overlapping trajector ies: each student is exposed to the same set of foundational skills\, but c hooses combinations that illuminate a unique direction. The result is ampli fied energy\, projected outward – circulating currents of ideas and inspira tion – and onward – providing momentum to sustain continuous growth of the department.

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Undergraduate Exhibition\, EDA\, Room 1250

DTEND:20130131 DTSTAMP:20141021T060926 DTSTART:20130117 GEO:34.075692;-118.4411339 LOCATION:UCLA New Wight Gallery\,1100 Broad Art Center 240 Charles E. Young Drive\nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:Design Media Arts Undergraduate Exhibition: UV / UG UID:249819 END:VEVENT BEGIN:VEVENT DTEND:20130117T200000 DTSTAMP:20141021T060926 DTSTART:20130117T170000 GEO:34.075692;-118.4411339 LOCATION:UCLA New Wight Gallery\,1100 Broad Art Center 240 Charles E. Young Drive\nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:Design Media Arts Undergraduate Exhibition: UV / UG UID:249820 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Images in Peril is a group show with Joe Goode\, Charles Hill\, and Marven Harden. The exhibition consists of prints that provide evidence of the tension between the artist and the picture plane. Whether the surfa ce was altered by means of armed aggression\, burial or subtle abrasion\, t he works in the show act as remnants of both a personal and material confli ct.

DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20121215 GEO:34.040097;-118.237935 LOCATION:Cirrus Gallery\,542 S. Alameda St. \nLos Angeles\, CA 90013-1708 SEQUENCE:0 SUMMARY:Images in Peril \, Joe Goode\, Charles Hill\, Marven Harden UID:249790 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20121215 GEO:34.040097;-118.237935 LOCATION:Cirrus Gallery\,542 S. Alameda St. \nLos Angeles\, CA 90013-1708 SEQUENCE:0 SUMMARY:Role Play\, Mark Briggs\, Erica Eyres\, Alex Gross\, Anna Mields\, Jennifer Moon\, David Snyder\, Patricia Valencia UID:249792 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join the museum shop for an exclusive trunk show of wearable art by four nationally renowned craft artists. Chris Triola handcrafts one-of-a-kind g arments with luxurious fabrics and functional design. Randall Darwall\, fea tured in Craft in America\, offers hand-loomed silk textiles from his New E ngland studio. Valerie Hector’s passion is beadwork\, both artistically and academically\, and jeweler Terri Logan creates her jewelry by mixing organ ic and industrial aesthetics. Join us to revel in the work of these remarka ble artisans. 10% of proceeds will benefit CAFAM.

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Wearable Art Preview and Cocktail Reception
Thursday\, January 31 | 5:00-8:00pm
Free
In the CAFAM Courtyard

The museum shop is holding a sneak preview for it's exclusive trunk show of wearable art by four nationally renowned craf t artists. Join the museum\, and truck show artists for a few cocktails and take a look at the items before they go on sale over the weekend!

DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20130201 GEO:34.062177;-118.3555702 LOCATION:Craft and Folk Art Museum\,5814 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Wearable Art Trunk Show\, Terri Logan\, Randall Darwall\, Valerie H ector\, Chris Triola UID:256142 END:VEVENT BEGIN:VEVENT DTEND:20130131T200000 DTSTAMP:20141021T060926 DTSTART:20130131T170000 GEO:34.062177;-118.3555702 LOCATION:Craft and Folk Art Museum\,5814 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Wearable Art Trunk Show\, Randall Darwall\, Valerie Hector\, Terri Logan\, Chris Triola UID:256143 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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:20141021T060926 DTSTART:20121215 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:D.O.A. | D.O.B.\, Kathryn Andrews UID:249945 END:VEVENT BEGIN:VEVENT DTEND:20121215T210000 DTSTAMP:20141021T060926 DTSTART:20121215T190000 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:D.O.A. | D.O.B.\, Kathryn Andrews UID:249946 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Back by popular demand\, the Frank Lloyd Gallery is ple ased to announce the opening of Frank's International House of Ceramics\, Part Two. This group show unites seven ceramists f rom all over the world\, reflecting the international scope of the gallery. While three of the artists from IHOC\, Part One are making second appearan ces\, they will be joined by four additional artists\, creating a new and e xciting mix of ceramic materials and styles from around the world.
This time\, we're including work by two British ceramists. Elizabeth Fritsch has been a leading figu re in British ceramics since the 1970s\, and her work is characterized by i ts sharp profiles and architectural qualities. After meticulously smoothing her hand-built vessels\, she colors them with dry matte slips and geometri c motifs. Jennifer Lee also hand-builds her graceful\, unglazed vess els\, and she achieves her singular colors by incorporating metallic oxides into the stoneware clay bodies of her pieces.

Japanese-American artist Akio Takamori will m ake another appearance\, this time with one of his signature envelope vesse ls\, as well as a small hanging sculpture\, both from the 1980s. Sugimot o Sadamitsu\, also from Japan\, is regarded as a living master of the I ga style\, and his work is highly regarded in his home country. Including b oth Iga and Shigaraki ware\, his ceremonial ceramic objects are rugged in a ppearance\, their coloration resulting from the accumulation of ash on thei r surfaces. Mexican artist Gustavo Pérez was also included in IHOC P art One\, and is showing several of his more abstract pieces\, which refere nce his earlier architectural vessels. Despite the change in form\, Pérez's work remains recognizably his own.

IHOC Part Two is completed with works by two more of our Ameri can artists. Ralph Bacerra's large covered vessels incorporate a var iety of elaborate non-western techniques\, and demonstrate his commitment t o the beauty of the decorated ceramic surface. Finally\, Adrian Saxe joins the exhibition for the second time\, with a series of teapots from t he Sèvres manufacture in France that riff on historical French ceramics.

Frank's International Hous e of Ceramics\, Part Two offers a second look at Frank Lloyd Gallery's inte rnational roster of ceramists. These seven artists work in a diverse range of materials and methods\, demonstrating how artists from different culture s draw on and interpret the world's rich ceramic traditions.

DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20130105 GEO:34.0276049;-118.4678444 LOCATION:Frank Lloyd Gallery\,Bergamot Station 2525 Michigan Ave.\, B5B\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:IHOC: Frank's International House of Ceramics\, Part Two \, Ralph B acerra\, Elizabeth Fritsch\, Jennifer Lee\, Gustavo Pérez\, Sugimoto Sadami tsu\, Adrian Saxe\, Akio Takamori UID:253188 END:VEVENT BEGIN:VEVENT DTEND:20130105T190000 DTSTAMP:20141021T060926 DTSTART:20130105T170000 GEO:34.0276049;-118.4678444 LOCATION:Frank Lloyd Gallery\,Bergamot Station 2525 Michigan Ave.\, B5B\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:IHOC: Frank's International House of Ceramics\, Part Two \, Ralph B acerra\, Elizabeth Fritsch\, Jennifer Lee\, Gustavo Pérez\, Sugimoto Sadami tsu\, Adrian Saxe\, Akio Takamori UID:253189 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20130111 GEO:33.9987366;-118.4797796 LOCATION:Gallery 1988 Venice\,214 Pier Avenue \nSanta Monica\, CA 90405 SEQUENCE:0 SUMMARY:"The Humorist" Woody Allen Tribute Show UID:270710 END:VEVENT BEGIN:VEVENT DTEND:20130111T200000 DTSTAMP:20141021T060926 DTSTART:20130111T180000 GEO:33.9987366;-118.4797796 LOCATION:Gallery 1988 Venice\,214 Pier Avenue \nSanta Monica\, CA 90405 SEQUENCE:0 SUMMARY:"The Humorist" Woody Allen Tribute Show UID:270711 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Rosamund Felsen Galler y presents the fourth solo show of new sculptural work by Patrick Nickell. The exhibition  “Letting Go” is comprised of color saturated large tabletop sculptures in which Ni ckell loosens his tight hold on strict  abstraction and allows his figurati ve tendencies to emerge creating a new body of work steeped in fantasy. Nic kell  continues his exploration of spontaneous line\, deviating from the cu rved flowing forms of his previous sculptures\, by  abruptly bursting the p laster sculptures at their ends. This exposure of tangled wire and burlap g ives way to  distinguishable forms: a falling figure\, raised fists\, protr uding tongue. These forms are perhaps the explicit  manifestation of the ar tist’s struggle to find his voice outside the realm of implicit abstraction .

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Patrick Nickell is a Los Angeles-based artist. His work is included in\, but not limited to\, the public collections of the  Laguna Art Museum\, Laguna Beach\, CA\; Ber keley Art Museum at the University of California\, Santa Barbara Museum  of Art\, CA\; and in Los Angeles at the Museum of Contemporary Art (MOCA)\, L os Angeles County Museum of Art  (LACMA) and the Luckman Fine Arts Gallery at California State University. Nickell is also Associate Professor of  Des ign Foundation at Woodbury University in the School of Media\, Culture and Design\, Los Angeles. In 2011 he was  awarded the Faculty Development Grant at Otis College of Art and Design.

DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20130105 GEO:34.0276049;-118.4678444 LOCATION:Rosamund Felsen Gallery\,Bergamot Station 2525 Michigan Ave. Build ing B-4\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Letting Go\, Patrick Nickell UID:250834 END:VEVENT BEGIN:VEVENT DTEND:20130105T190000 DTSTAMP:20141021T060926 DTSTART:20130105T170000 GEO:34.0276049;-118.4678444 LOCATION:Rosamund Felsen Gallery\,Bergamot Station 2525 Michigan Ave. Build ing B-4\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Letting Go\, Patrick Nickell UID:250835 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steve Turner Contemporary is pleased to present Apples\, an exhibition of fifteen collaborative wall-mounted sculptures by Eben Goff an d Rowan Wood. Using a range of materials and techniques\, the artists creat ed multi-faceted sculptural works that house prints. The centerpiece of the exhibition\, from which the show derives its title\, is a constellation of irregularly shaped etchings set in welded brass polygonal frames that will be installed on a single wall spanning more than twenty-five feet.
Goff and Wood decided to collaborate following their discussions on pri ntmaking and were particularly interested in how the action of the etching press creates a transformation between the artist's initial gesture and wha t is transferred to a sheet of paper during printing. They saw this gap bet ween the making and seeing of the work as a space for testing chance proces ses\, and that the language of printmaking itself\, where initial print res ults are called “proofs\,” signals the medium’s essential dynamic of workin g from a proposition to a conclusion.

The artists were also inte rested to see how their separate art practices would influence the outcome of collaborative work. Wood makes paintings that often involve visual rules and logical progressions while Goff utilizes the laws of physics to create work. In working together\, the artists melded their distinct approaches\, thereby abandoning the central element of any solo practice—the right to m ake a decision for any reason\, something they describe as "the caprice of individual impulse." By contrast\, working together to create a synchronize d vision demanded mutual transparency of intent only possible by verbal pro posal\, negotiation\, and agreement.

They approached the first w orks in their year-long collaboration in reverse order. Using completed pic ture frames that housed blank sheets of paper under glass\, they used heat\ , pressure\, and capillary absorption to cause pigment to be printed onto t he blank paper through the glass. The second phase of work eliminated pigme nt from the equation. Using only the structure of the frame and its glass\, by varying the degree of opacity\, refraction and reflection\, they create d images in light and shadow. The resulting works became more sculpture and less print as they increased the distance between the glass and the sheet of paper inside.

In the third phase of their collaboration\, the artists etched into and printed from an aluminum sheet according to a set of rules that unpredictably determined the quality\, size\, and shape of th e printed images. The genesis for this final work\, Apples\, was an orchest rated sequence of chance processes involving states of invisibility: Just a s the alumnium plate passed under the press\, out of sight\, the artists ma de compositional changes while wearing blindfolds. Apples consists of forty -one monoprints\, each housed in a sandblasted brass frame that closely sur rounds the contours of the print. More than the sum of frame and print\, th e artwork is a complex pattern that arises out of a multiplicity of relativ ely simple interactions.

Born in 1977\, Eben Goff earned an MFA at UCLA in 2009 and has had solo exhibitions with Ruth Bachofner Gallery\, Santa Monica (2010 and 2011). Born in 1977\, Rowan Wood earned a BA at UCLA in 2009 and has had solo exhibitions at Steve Turner\, Los Angeles (2010 & amp\; 2012).

DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20130105 GEO:34.0626721;-118.3602615 LOCATION:Steve Turner Contemporary\,6026 Wilshire Blvd \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Apples\, Eben Goff + Rowan Wood UID:251853 END:VEVENT BEGIN:VEVENT DTEND:20130105T200000 DTSTAMP:20141021T060926 DTSTART:20130105T180000 GEO:34.0626721;-118.3602615 LOCATION:Steve Turner Contemporary\,6026 Wilshire Blvd \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Apples\, Eben Goff + Rowan Wood UID:251854 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Steve Turner Contemporary i s pleased to present 1:1 featuring new work by Theo Michael\, Jon Rafman\, Travess Smalley and Kate Steciw\, where all of the works were generated thr ough the use of computer technology. Smalley creates clay sculptures that h e places on a flatbed scanner to capture their likeness\; Rafman uses Mudbo x to model three dimensional busts that overlay the patterns of a specific abstract expressionist painting and Steciw and Michael use Photoshop\, the former to create  abstract digital collages from stock images and the latte r to create collages of found internet images from his 150\,000 large image archive that he began developing in 1999. In 1:1 each artist’s work comes to exist in reality precisely as it appeared on the his or her computer scr een.

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Born in Panorama\, Gre ece in 1978\, Mexico City-based Theo Michael studied Fine Art at Aristotle University of Thessaloniki and Utrecht School of Art and earned an MA in Pa inting from the Wimbledon School of Art. His work has been included in nume rous exhibitions worldwide and he is represented by Galeria OMR\, Mexico Ci ty. He uses intuition\, primitivism and the unconscious to counterbalance t he over-intellectualization of contemporary art\, with the resulting works highlighting irrationality in form and content.

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Born in 1981\, Jon Rafman is a Montreal-based artist\, filmmaker and essayist whose work explores the impact of technology on con sciousness.  He earned a B. A.  in Philosophy and Literature from McGill Un iversity and an M .F. A. from the School of the Art Institute of Chicago. < /span>His films and artwork have been exhi bited  at Museum of Contemporary Art\, Rome\; New Museum\, New York\; Palai s de Tokyo\, Paris and Saatchi Gallery\, London. His Nine Eyes of Google St reet View has been featured in Modern Painter\, Frieze\, Der Spiegel\, Libé ration\, New York Times and Harper's Magazine.

Born in 1986\, Travess Smalley is a New York-based a rtist who paints with pixels to produce optically dynamic works that stradd le the boundaries of physical and digital image making. In his series Compo sition in Clay he  scans  colored modeling clay at high resolution to produ ce photographic prints that are lush and viscous. Smalley studied painting and digital printmaking at VCU before receiving his BFA from Cooper Union i n 2010. His work has been exhibited internationally with recent exhibitions at Drawing Room\, London\;  Foxy Production\, New York and House of Electr onic Arts\, Basel.

Born in 1978 Kate Steciw is New York based artist who earned a BA from Smith Co llege and an MFA from the School of the Art Institute of Chicago. She has h ad solo exhibitions at Green Room\, London and Toomer Labzda\, New York wit h her work included in group exhibitions at Higher Pictures\, Horton Galler y\, BAMart\, Stadium and foxy production. Steciw applies skills learned as a professional retoucher to create abstract digital collages from stock ima ges which are then combined with 3D elements in photo-based sculptural work s. Utilizing unseen aspects of the images (keywords\, metadata)\, she links the imagery with objects and embellishments found online to materialize th e kind of nonlinear logic native to the online experience.

DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20130105 GEO:34.0626721;-118.3602615 LOCATION:Steve Turner Contemporary\,6026 Wilshire Blvd \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:1:1\, Theo Michael\, Jon Rafman\, Travess Smalley\, Kate Steciw UID:251855 END:VEVENT BEGIN:VEVENT DTEND:20130105T200000 DTSTAMP:20141021T060926 DTSTART:20130105T180000 GEO:34.0626721;-118.3602615 LOCATION:Steve Turner Contemporary\,6026 Wilshire Blvd \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:1:1\, Theo Michael\, Jon Rafman\, Travess Smalley\, Kate Steciw UID:251856 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Box is pleased to announce we are extending the exhibition Painting until February 2nd to coincide wi th the LA Art Book Fair.

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Within the a rt world\, we place high value on painting. We love it for its beauty\, for its traditions\, for its ease. In our contemporary world it is often seen as a decoration for our walls and as a financial investment for our portfol io. The pieces in this show dating from 1956-2012 disrupt this attitude\, p ushing the viewer to think beyond the accepted idea of painting. Most of th ese artists work outside of the art world and use paintings to explore thei r social\, personal and artistic dilemmas. These pieces are deeply personal to highly controversial. Ignoring the accepted avenues of what is consider ed “hip” and “trendy”. There is a pursuit on the track of the ugly as beaut iful. Some of these artists are playing with materiality of painting. Some are dealing with the conceptual idea of painting. Some are using painting t o process and work through their internal battles be it with political conc erns or in matters of their intimate lives. You will walk into this exhibit ion and be confronted with what seems to be a random collection of painting s\, but there is a thread in that each of these artists has lived in the si ngular pursuit of art for 30 to 60 years. These are tailings of these lives . These artists pursued their art without the concern of the art market. Th ey pursued their art to an extreme. These paintings are without definition.

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Enjoy.

DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20121201 GEO:34.0452942;-118.2357181 LOCATION:The Box\,805 Traction Avenue \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Painting\, Judith Bernstein\, Wally Hedrick\, Michael Henderson\, L ee Lozano\, Boris Lurie\, Paul McCarthy\, Otto Muehl\, Al Payne\, Alfons Sc hilling\, Carolee Schneenmann\, Barbara T. Smith UID:247967 END:VEVENT BEGIN:VEVENT DTEND:20121201T210000 DTSTAMP:20141021T060926 DTSTART:20121201T180000 GEO:34.0452942;-118.2357181 LOCATION:The Box\,805 Traction Avenue \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Painting\, Judith Bernstein\, Wally Hedrick\, Michael Henderson\, L ee Lozano\, Boris Lurie\, Paul McCarthy\, Otto Muehl\, Al Payne\, Alfons Sc hilling\, Carolee Schneenmann\, Barbara T. Smith UID:247968 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Thinkspace is pleased to present Project May hem\, the gallery's first large scale solo exhibition of new w ork by New York based painter Dave MacDowell following two smaller past showcases in our project room. 

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Dave MacDowell's work deftly combines satire\, irreverence\, and seething wit. A sel f-taught artist\, MacDowell combines popular cultural references with the m agnetism of the "dark hook"\, creating unexpected plays on popular culture that inject the familiar with blistering hyperboles. Seeking to unveil the feared and the reviled\, while expertly weaving critical commentary with hi larity\, MacDowell's work is an effective combination of complicity and cri tique. Appropriately in keeping with the movement\, MacDowell's pieces comb ine a pop surrealist aesthetic with deliberately recognizable popular cultu ral references gleaned from movies\, cartoons\, and music\, among others\, and transforms the known into powerful generational odes to discontent and dystopian irony. His work combines humor with criticism and an acerbic wit\ , unearthing the nightmares that lurk just beneath the veneer of celebrity culture and the cult of Disney. His work fearlessly taunts the obsequiousne ss of popular culture\, and its iconographies\, by creating unexpected inve rsions and re-combinations that gently tug at its unravelling strings.    < /span>

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MacDowell's technical execution is highly detailed and seductive\, contr ibuting to the hallucinatory pleasure and draw of the work. In keeping with the tendency of the genre\, the more highly refined the execution\, the mo re effective the irreverence of the content\, and this certainly is the cas e with MacDowell's paintings.The work is at times controversial and unsettl ing\, but seems to combine contention and dissent with pleasure and whimsy. Highly accomplished at figuration and color\, the artist's work effectivel y conveys the vision of its hyperreality. The technicolor nightmares MacDow ell offers up are at times so densely populated with imagery that they feel bottomless\, like the contemporary equivalent of a Hieronymus Bosch Mediev al nightmare\, and at other times are sparse and perfectly simple. Each pie ce imparts the suggestion of narrative\, and reveals a story or core idea\, however obliquely\, that has motivated its juxtapositions and hooks. Distu rbing\, lascivious\, and funny\, each work is acuminate in its own abrupt r evelations.

DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20130112 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Project Mayhem\, Dave Macdowell UID:254733 END:VEVENT BEGIN:VEVENT DTEND:20130112T210000 DTSTAMP:20141021T060926 DTSTART:20130112T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Project Mayhem\, Dave Macdowell UID:254734 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Thinkspace is pleased to present Perennial W inds\, featuring new work by Brooklyn based artist Dan -ah Kim. Kim's work is personally charged\; informed by dream\, pe rsonal narrative\, and thematic intuition. A perfect combination of the per sonal and the appropriated\, the artist's work combines historical graphic and illustrative inspirations\, gleaned from textile\, print work\, and pat tern\, with a revitalized sensibility owing to the creative singularity of her vision. Haunted\, and delicately executed\, the artist's work offers us a glimpse into a folkloric world of her own making. The work feels simulta neously ancient and contemporary\, owing to the minutiae of its detail and execution\, coupled by its haunting psychological valence and graphic sensi bility. 

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The seeming fragility o f line and pattern in combination with dark graphic silhouettes\, gives the work a diaphanous and fleeting quality\, as though we are peering through a seamlessly woven veil of reality and reverie that could easily be dispers ed and scattered at a moment's notice. The tenuity of the mark making and p atterning are exceptional\, contributing to an aesthetic experience that co mbines delicacy with graphic clarity. The artist often incorporates textile \, collage\, and sewing techniques\, amplifying the delicacy of the work wi th depth and a unique materiality. Sifting through the artist's gossamer we bs\, we are left with the overwhelming feeling of an exquisite and indefina ble world\; itinerant\, fleeting\, and enigmatic. The works are moving poet ic investigations of complex psychological landscapes\, dexterously distill ed to a perfect economy of movement\, pattern\, and line in the artist's sk illful hand.

DTEND:20130202 DTSTAMP:20141021T060926 DTSTART:20130112 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Perennial Winds\, Dan-ah Kim UID:254735 END:VEVENT BEGIN:VEVENT DTEND:20130112T210000 DTSTAMP:20141021T060926 DTSTART:20130112T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Perennial Winds\, Dan-ah Kim UID:254736 END:VEVENT BEGIN:VEVENT DESCRIPTION:

C.A.V.E. Gallery is excited to kick-off this year with a new exhibition by Los Angeles based artist Max Neutra. B uilding on the momentum from his 2012 sold-out show with the gallery\, Max continues to create using his distinctive gonzo style\, exploring themes of communication and perception. Each piece encourages viewer interaction res ulting in another memorable\, experiential exhibition by this rising star. 

From the Artist:
"In my new exhibition at C.A.V.E. Gallery\, "New Tongues"\, I will be exploring themes of communication and perception. The way two peop le in strained communication will create a new language that is unique to t heir particular circumstance. The way heightened receptivity is a byproduct of creating these new languages. The way we are inventing new dialects as we gain increased access to each other through new technologies. The way a foreign culture can simultaneously repel and seduce. The way a written word of unknown meaning can hold aesthetic value. The way a touch of the unknow n can add allure to an otherwise familiar object or situation. The way the mysterious can inspire." - Max Neutra

DTEND:20130203 DTSTAMP:20141021T060926 DTSTART:20130112 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:New Tongues\, Max Neutra UID:252091 END:VEVENT BEGIN:VEVENT DTEND:20130112T220000 DTSTAMP:20141021T060926 DTSTART:20130112T190000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:New Tongues\, Max Neutra UID:252092 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Following strong showings at Scope (Miami)\, Moniker (London) and Stroke (Munich) art fairs\, Amanda Marie comes to Los Angeles wi th an impressive new collection of work for "From Here On Out" at C.A.V.E. Gallery. 

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Using spray paint and stencils\, Amanda Marie creates boy and girl characters reminiscent of iconic mid 20th century children's b ooks\, and plays on the sameness and ubiquity of an  instantly recognizable representation of wholesome American innocence.   There is an immediate fe eling of childhood nostalgia in the artwork of Amanda Marie.  Yet the story book imagery is laced with mischief\, mystery and allegory.

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Amanda Marie has co-opted a homogenized and stereotyped depiction of an ideal Modern Am erican childhood. Executed in a simplified illustrative style reminiscent o f the 1950s\, they seem to have been lifted from the pages of children's bo oks\, and have traded the protective home of childhood nostalgia for a slig htly more adventurous and unsettling world\, somewhere between dream and re ality. The children in Amanda Marie's artwork are forever caught ungrounded and out of context\, hovering in space\, blasted by expressionist splatter s\, and float within geometric diagrams. They encounter surreal scenarios w ell beyond the simple comfort of seeing spot run touching on the realities of alienation and feeling lost which lie underneath the surface of the pict ure perfect American childhood.

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Amanda Marie Ploegsma was born in 1981. She moved to Colorado in 2001 and currently lives in Greeley with her husband and two children-P urity (2) and Credence (5). She attended Rocky Mountain College of Art + De sign and has exhibited regularly in the US and Europe since 2005. 

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Amanda Marie is among the most talented women working in the genre of "Stencilism" with an endearing yet bold\, vis ual language accented by her trademark use of vintage sewing and geometric patterns. Her work is influenced by classic 'golden era' illustrators like Eloise Wilken\, Tibor Gergely and Leonard Weisgard.  

DTEND:20130203 DTSTAMP:20141021T060926 DTSTART:20130112 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:From Here on Out\, Amanda Marie UID:252093 END:VEVENT BEGIN:VEVENT DTEND:20130112T220000 DTSTAMP:20141021T060926 DTSTART:20130112T190000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:From Here on Out\, Amanda Marie UID:252094 END:VEVENT END:VCALENDAR