BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

The Fowler Museum at UCLA presents Past Forward: Contemporary Art from the Emirates\, the first major touring exhibition of Emirati art. \; The exhibition was organize d by the Meridian International Center and the Embassy of the United Arab E mirates (uae) and premiered in Washington\, D.C.\, in May 2014. As part of its eighteen-month U.S. tour&mdash\;which includes stops in Texas\, Califor nia\, and Washington&mdash\;the exhibition will be on view at the Fowler Mu seum at ucla from January 25 to March 8\, 2015.
 \;
This co mprehensive exhibition features over fifty paintings\, sculptures\, photogr aphs\, and works in other media by a group of twenty-five notable male and female artists who together represent all seven Emirates. The exhibition sh owcases the rich history and culture of the uae\, emphasizing the importanc e of kinship and home\, nature and landscape\, as well as the nation's rapi d development and focus on innovations. A lively contemporary art scene beg an in the uae over forty years ago\, and Past Forward includes wor ks by several of these pioneering artists\, including Abdul Qader Al Rais\, Dr. Najat Makki\, and Obaid Suroor.
 \;
Today&rsquo\;s you ng Emirati artists are increasingly immersed in a fast-moving environment\, which is continually updated with the latest technology. Nonetheless\, the y remain deeply connected to their roots and traditions. Shamma Al Amri\, M ohammed Al Qassab\, Alia Saeed Al Shamsi\, Hamdan Buti Al Shamsi\, Lamya Ga rgash\, Alia Lootah\, Lateefa bint Maktoum\, and Khalid Shafar approach rap id urbanization by creating works that reference earlier times. To preserve long-standing traditions\, Mattar Bin Lahej\, Alaa Edris\, and Salama Nasi b illustrate the significance of oral histories and local pastimes in the u ae\, while Ammar Al Attar\, Farah Al Qasimi\, and Afra Bin Dhaher photograp h everyday life. Works by Khalid Al Banna\, Shaikha Al Mazrou\, and Khalid Mezaina look at the psychology of contemporary existence and depict the art ists' visions for the future. Meanwhile\, Ebtisam AbdulAziz\, Zeinab Al Has hemi\, Maitha Al Mehairbi\, Maitha Demithan\, and Mohammed Saeed Harib expe riment with inventive techniques\, including animation and other digital me dia\, to convey traditional themes.
 \;
As Past Forward travels across the US\, the exhibition is complemented by public prog ramming and education outreach to encourage increased cultural understandin g. Khalid Shafar and Shaikha Al Mazrou\, two Emirati artists featured in th e exhibition\, will attend the Los Angeles opening and participate in works hops and lecture programs in the area. Of note to local visitors\, the uae was recently chosen as the "Featured Guest Country" for the 2015 LA Art Sho w and a selection of works from Past Forward will also be displaye d at that event before coming to the Fowler.
 \;
Mo re Information
The exhibition was organized and circulated b y Meridian International Center with support from the Embassy of th e United Arab Emirates in Washington\, D.C. Additional support for Past Forward is provided by the Abu Dhabi Tourism and Culture Aut hority\, the Salama Bint Hamdan Al Nahyan Foundation\, and Etihad Airways. The exhibition is co-curated by Dr. Curtis Sandberg\, Senior Vice President for Arts and Cultural Programs at the Meridian International Center\, and Noor Al Suwaidi\, an expert on contemporary Emirati art. The Meridian Inter national Center is headquartered in Washington\, D.C. It works with the U.S . Department of State and with government\, private\, and ngo educational s ectors globally to create lasting international partnerships through leader ship programs and cultural exchange. For more information: www.meridian.org.

\n


 \;
Public Events
Sunday\, January 25\, 3 pm
Past Forward: A Conversation ab out Contemporary Art and Design from the Emirates
Fowler OutSpoken
The first major touring exhibition of Emirati art\, Past Forward: C ontemporary Art from the Emirates\, showcases paintings\, photographs\ , sculptures\, video installations\, and other media \;by twenty-five l eading Emirati artists. In conjunction with the opening day of Past For ward\, exhibition co-curators Noor Al Suweidi and Curtis Sandberg\, Se nior Vice President for Arts and Cultural Programs at the Meridian Internat ional Center\, and exhibiting artists Khalid Shafar and Shaikha Al Mazrou s hare their insights on contemporary life and the emerging art scene. An Emi rati coffee and tea reception follows the panel.
 \;
Sunday \, January 25\, 1&ndash\;3 pm \; \; \; \; \; \;&nbs p\; \; \; \; \;
Kids in the Courtyard
Purdy Bir dy
In the United Arab Emirates and many other parts of the world the falcon is a greatly admired bird. Explore Past Forward to find art works depicting falcons and other birds. Use recycled materials such as bot tles\, cardboard\, and popsicle sticks to make your very own birdhouse. Let your imagination soar with this special activity inspired by Past Forw ard and Pascale Marthine Tayou&rsquo\;s collection of birdhouses entit led Favelas ABC. Presentation begins at 1 pm.
 \;
Thursday\, January 29\, 12 pm
Noor Al Suwaidi on New Art from the Emi rates
Culture Fix
The United Arab Emirates has a growing art sc ene that emerged in the 1950s and is flourishing today. Past Forward: C ontemporary Art from the Emirates showcases recent works by artists en gaging a variety of media. Past Forward co-curator Noor Al Suwaidi introduces the work of a selection of featured Emirati artists and discuss es the environment in which they build their own traditions and thrive at h ome and on the international scene.
 \;
Thursday\, January 29\, 6 pm
Takht Dirty
Fowler Out Loud
Bringing a contempo rary twist to the traditional Middle Eastern \;takht \;ens emble and celebrating the new exhibition \;Past Forward: Contempora ry Art from the Emirates\, Takht Dirty returns for \;a riveting pe rformance \;spotlighting the musical arts of the Persian Gulf and great er Arab world.

DTEND:20150308 DTSTAMP:20141220T165414 DTSTART:20150125 GEO:34.0686108;-118.4454795 LOCATION:Fowler Museum at UCLA\,North Campus \nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:Past Forward: Contemporary Art from the Emirates\, Shamma Al Amri\, Mohammed Al Qassab\, Alia Saeed Al Shamsi\, Hamdan Buti Al Shamsi\, Lamya Gargash\, Alia Lootah\, Lateefa Bint Maktoum\, Khalid Shafar\, Mattar Bin L ahej\, Alaa Edris\, Salama Nasib\, Ammar Al Attar\, Farah Al Qasimi\, Afra Bin Dhaher\, Khalid Al Banna\, Shaikha Al Mazrou\, Khalid Mezaina\, Ebtisam Abdulaziz\, Zeinab Al Hashemi\, Maitha Al Mehairbi\, Maitha Demithan\, Moh ammed Saeed Harib\, Abdul Qader Al Rais\, Dr. Najat Makki\, Obaid Suroor UID:368047 END:VEVENT BEGIN:VEVENT DTEND:20150125T170000 DTSTAMP:20141220T165414 DTSTART:20150125T120000 GEO:34.0686108;-118.4454795 LOCATION:Fowler Museum at UCLA\,North Campus \nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:Past Forward: Contemporary Art from the Emirates\, Ebtisam Abdulazi z\, Shamma Al Amri\, Ammar Al Attar\, Khalid Al Banna\, Maitha Demithan\, A fra Bin Dhaher\, Alaa Edris\, Lamya Gargash\, Mohammed Saeed Harib\, Zeinab Al Hashemi\, Mattar Bin Lahej\, Alia Lootah\, Dr. Najat Makki\, Lateefa Bi nt Maktoum\, Shaikha Al Mazrou\, Maitha Al Mehairbi\, Khalid Mezaina\, Sala ma Nasib\, Farah Al Qasimi\, Mohammed Al Qassab\, Abdul Qader Al Rais\, Kha lid Shafar\, Alia Saeed Al Shamsi\, Hamdan Buti Al Shamsi\, Obaid Suroor UID:368048 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CAAM Courtyard Series: Fro m Women&rsquo\;s Hands features the art of five women of color who add ress female presence and agency. These artists have filled our Courtyard wi th large installations that\, though widely varying in materials and style\ , have in common metaphorical references to the female body and experience. Castillo and Kristine Mays focus on traditional sources of female power: h air and clothing\, respectively. Castillo incorporates actual human hair in to imposing wall-hung mounds as a tribute to her ancestors\, while Mays cre ates airy\, metal-knitted garments that express female strength despite the ir apparent fragility. Other works subtly convey womanhood: Michelle Robins on paints geometrical figures and feathery lines on the wall and on a large wooden structure that evokes the female body\, and Bre Gipson&rsquo\;s man tra-like\, gestural paintings incorporate undulating organic shapes reminis cent of natural forms. Raksha Parekh&rsquo\;s stitched canvases encode symb ols of slavery and forced labor into deceivingly appealing fields of warm c olors and delicate tone gradations. These works are crafted from sugar\, a sweet substance associated with domesticity that Parekh turns bitter throug h a burning process.

DTEND:20150503 DTSTAMP:20141220T165414 DTSTART:20141107 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:CAAM Courtyard Series: From Women’s Hands \, Castillo\, Kristine Ma ys\, Michelle Robinson\, Bre Gipson\, Raksha Parekh UID:368045 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present an exhibition of new paintings by Trang T. Lê\;. There will be a reception for the artist Saturday\, January 10\, 4-6 PM.

\n

For this exhibition\, Trang Lê\; continu es a series of paintings titled Threads. As with previoius works i n the series\, the artist draws upon the combined influences of nature and personal experience in her abstract oil paintings.

\n

Lê\; navigates an intensely personal space that translat es onto her canvases as contrasting formal actions\, where metiuculous mark s float over dense\, gestural grounds. The marks range from individual poin tilist dots\, to tightly massed loops and long\, stretching delicate lines. Lê\; configures her quivering marks into varying formations that impa rt a sense of the arrested movement of marine life undulating in water\, bu ndles of yarn mounding over one another\, streaks of falling water or arid horizons.

\n

The painterly grounds enhan ce the hand-rendered delicacy of the artist's linework. Lê\;'s heavily layered\, often moody spaces\, contrasted with the buoyancy of her thread- like delineations\, impart a range of emotions from which she draws. Turmoi l and grace\, strength and vulnerability\, intuition and calculation\, grav ity and weightlessness merge in the impactful oil paintings. For Lê\;\ , he term 'thread' works as both a formal framework and a metaphorical refe rence to personal unraveling and pulling back together. As in her other wor ks\, the obsessive delineations are cathartic acts\, filtered through perso nal toil and joyous moments of a personal journey.

DTEND:20150221 DTSTAMP:20141220T165414 DTSTART:20150110 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Threads II\, Trang T. Le UID:368040 END:VEVENT BEGIN:VEVENT DTEND:20150110T200000 DTSTAMP:20141220T165414 DTSTART:20150110T180000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Threads II\, Trang T. Le UID:368041 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present an exhibition of new paintings by Trygve Faste. There will b e a reception for the artist on Saturday\, January 10\, 4-6 PM.

\n

Trygve Faste's work emerges from a response to p revailing currents in consumer culture\, architecture\, design and technolo gy. These systems\, which shape our physical and psychological environment\ , are explored by Faste through his own language of abstraction. The artist constructs and paints three-dimensional works that suggest a unique interf ace between industry\, fine art and technology. These discordant impulses s eamlessly merge in his works through conceptual motivations and formal prac tices.

\n

Faste shapes and paints his ob jects using precise geometry and a clean\, crisp palette to form a visual k inship with mass-produced\, high-tech objects. The compositions\, with thei r acute angulartiy and sheared surfaces\, imply a sense of propulsion\, spe ed\, precision and utility often associated with products. While the influe nce of industrial design informs Faste's practice\, including the use of Co mputer Aided Design and laser cutters\, the work remains grounded in the re alm of abstract painting. The scuptural quality of the stretchers he builds himself\, the skillfully fractured planes and intimate grading of paint al l counterbalance an initially slick\, manmade impression. In this new serie s\, Faste introduces landscape elements\, which pushes the merged dynamic o f manufactured sensibility with fine art even further.

\n

&ldquo\;This body of work is an exploration into a conflu ence of an industrially designed culture and the imaginary space possible t hrough paint\,&rdquo\; Fast states. &ldquo\;These pieces engage the futuris tic aspirations of an architecturally and technologically influenced cultur al existence... Consumer culture\, of which both art and design are integra l\, necessitates innovation\, creativity\, style\, seduction and manipulati on to propagate itself. My work engages these conceptual issues of material creation through an abstract visual language of implied technology and fun ction.

\n

Trygve Faste received an MFA i n painting from Cranbrook Academy of Art in 2004\, and a BA in Mathematics- Computer Science and Studio Art from Whitman College in 1997. Faste&rsquo\; s work has been exhibited both nationally and internationally\, and is in t he permanent collections of The Cranbrook Art Museum\, Compuware Inc. and C hrysler. Trygve Faste lives and works in Eugene\, Oregon where he is an Ass istant Professor of Product Design at The University of Oregon.

DTEND:20150221 DTSTAMP:20141220T165414 DTSTART:20150110 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Multidimensional Flatspace\, Trygve Faste UID:368038 END:VEVENT BEGIN:VEVENT DTEND:20150110T200000 DTSTAMP:20141220T165414 DTSTART:20150110T180000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Multidimensional Flatspace\, Trygve Faste UID:368039 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Von Lintel Gallery is please d to announce \;Stagecraft\, an exhibition of new works by&nbs p\;F arrah Karapetian. This will be the artist&rsquo\;s first solo show with the gallery. Comprised of photograms and the band of sculptural negatives built to produce them\, Karapetian&rsquo\;s latest series challenges the st ability of the photographic image through analogy with staged musical perfo rmance and sound.
\n
 \;
\n
In this body of work\, Karapetian isolat es and escalates her investigation of the abstract potential of photography . Just as the production elements of stagecraft underwrite the illusion of theater\, photography is the result of multiple acts of fabrication. The ph otogram can deconstruct photography into its constituent parts - object\, p hotographic paper\, light source - but how then an artist pushes these part s defines the artist's concerns. The object in Karapetian&rsquo\;s practice is often a &ldquo\;constructed negative&rdquo\; &ndash\; transparent in ei ther material (cymbals cast in glass) or form (the armature of a drum kit) &ndash\; fabricated by the artist and exhibited as sculpture\, challenging the notion that a negative is merely a means to an end.
\n
 \;
\n
Th e title of the exhibition also points to the parallels between stage perfor mance and the performative nature of Karapetian&rsquo\;s methods: subjects are invited into the darkroom to reenact postures of music-making and works are installed to interplay in real space as might the components of a band \, highlighting the ability of a photograph to both describe and occupy spa ce. Usually the photogram makes a very flat space\, a silhouette against a field of color\, but Karapetian is interested here in persuading movement a nd volume from the picture plane. In this setting\, the rhythms of object a nd shadow on paper translate into wavelengths of musical sound\; reflection easily interpreted as reverberation. Description aside\, much like attendi ng a concert\, experiencing Karapetian&rsquo\;s work is best done live.\n
 \;
\n
Karapetian was born in Marin\, CA\, in 1978. She received a B A from Yale and an MFA from the University of California Los Angeles. Recen t exhibitions include the Armory Center for the Arts in Pasadena\, CA\; the Torrance Art Museum in Torrance\, CA\; the UCR/California Museum of Photog raphy in Riverside\, CA\; the Orange County Museum of Art\; and the Vincent Price Art Museum in Monterey Park\, CA. Recent grants include the Californ ia Community Foundation Mid-Career Artist Fellowship and the Artswriters gr ant from the Warhol Foundation | Creative Capital. Her work is included in the collection of the San Francisco Museum of Modern Art. She lives and wor ks in Los Angeles.
DTEND:20150228 DTSTAMP:20141220T165414 DTSTART:20150117 GEO:34.0335131;-118.3764207 LOCATION:Von Lintel Gallery\,2685 S. La Cienega Blvd. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Stagecraft\, Farrah Karapetian UID:368036 END:VEVENT BEGIN:VEVENT DTEND:20150117T200000 DTSTAMP:20141220T165414 DTSTART:20150117T180000 GEO:34.0335131;-118.3764207 LOCATION:Von Lintel Gallery\,2685 S. La Cienega Blvd. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Stagecraft\, Farrah Karapetian UID:368037 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In this exhibition\, Yossifor&rsquo\;s time-based painting p rocess converges with the quintessential time-based medium\, wet cement. Th e more the material moves\, the faster it dries\; each subsequent motion a consequence of the gesture that came before.

 \;&bull\ ; \;View Press Kit

\n

Image: Liat Yossifor\, Detail 4 from \;Gesture (as) Consequence\, Cement on Concrete Canvas\, Courtesy of the artist

DTEND:20150322 DTSTAMP:20141220T165414 DTSTART:20150117 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Expanding on an expansive subject\, Part 4: Liat Yossifor\, Gesture (as) Consequence\, Liat Yossifor UID:368017 END:VEVENT BEGIN:VEVENT DTEND:20150117T200000 DTSTAMP:20141220T165414 DTSTART:20150117T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Expanding on an expansive subject\, Part 4: Liat Yossifor\, Gesture (as) Consequence\, Liat Yossifor UID:368018 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n

The Armory presents a series of un realized\, never-before shown\, and groundbreaking early works (produced fr om 1971 through 1989) examining Glassman&rsquo\;s musings with the mundane. Through repetition and simple gestures\, he reveals and isolates moments i n time that often go unnoticed\, and creates visual poetry with his chosen materials.

&bull\; \;View Press Kit

\n

Image: Joel Glassman\, \;Uneasy Attitudes \;(detail)\, c. 1989\, Ink and watercolor on paper\, 15 x 22 inches\, Courtesy of the ar tist

\n
DTEND:20150322 DTSTAMP:20141220T165414 DTSTART:20150117 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Joel Glassman: Humdrum Poetry\, Joel Glassman UID:368009 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Making of Personal Theory: Mysticism and Metaphysics in the Work of Sara Kathryn Arledge\, Charles Irvin\, and Jim Shaw&nb sp\;is a three-person exhibition that takes notions of &ldquo\;the mystical &rdquo\; as an entry point to consider daily encounters that are marked wit h eccentricity\, the surreal\, and a dream-like passage of time. Representa tions of mystical or spiritual alternatives to normative culture suggest th at the common is oftentimes complex and culture oftentimes askew\, and that subjective\, &ldquo\;alternative&rdquo\; normals are equally legitimate.
 \;  \;&bull\; \;View Press Kit

\n

Image: Sara Kathryn Arledge\, \;Untitled (abstract woman\, ba by inside)\, 1969. Watercolor on paper\, 22.25 x 31 inches. Courtesy A rmory Center for the Arts &\; the Sara Kathryn Arledge Memorial Trust. DTEND:20150322 DTSTAMP:20141220T165414 DTSTART:20150117 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:The Making of Personal Theory: Mysticism and Metaphysics in the Wor k of Sara Kathryn Arledge\, Charles Irvin\, and Jim Shaw\, Sara Kathryn Arl edge\, Charles Irvin\, Jim Shaw UID:368006 END:VEVENT BEGIN:VEVENT DTEND:20150117T200000 DTSTAMP:20141220T165414 DTSTART:20150117T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:The Making of Personal Theory: Mysticism and Metaphysics in the Wor k of Sara Kathryn Arledge\, Charles Irvin\, and Jim Shaw\, Sara Kathryn Arl edge\, Charles Irvin\, Jim Shaw UID:368007 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wilding Cran Gallery is please d to announce \;Soda Gardner\, a solo exhibition of new work b y Brooklyn-based artist Jason McLean. \;

\n

Soda Gardner \;will be on view \;January 17 - Febr uary 21\, 2015 \;and will include several pieces that highlight McLean& rsquo\;s characteristic combination of mixed media and found objects\, such as military grade helmets\, wooden doors\, presidential imagery and vintag e ephemera. Also\, on display will be McLean's new collage drawings\, creat ed with the spirit of the traveller.

\n

During a brief but transitional stay in Los Angeles in 2014\, McLean create d works that explore history and relate it to recent memory. \;Soda Gardner\, \;his first solo show with Wilding Cran\, will present drawings and mixed-media works that he created during his time in Los Angeles as well as new work from his studio in Brooklyn. \; McLean& rsquo\;s time in Los Angeles inspired him with a renewed spirit towards art making which is revealed in this exhibition.

\n

Jason McLean was born in 1971 in London\, Ontario. He received a B achelor of Fine Arts in 1997 from the Emily Carr Institute of Art and Desig n in Vancouver\, Canada.

\n

His diverse practice as an artist has included drawing\, sculpture\, installation\, sou nd \;performance\, zines\, and mail art. Using multiple mediums\, such as pencils\, felt markers\, \;acrylics and pastels\, McLean records his daily experiences\, observations and personal \;stories. Working on a range of surfaces from paper\, and papier maché\; to found objects&nb sp\;such as baseball gloves and shoes\, his drawings are often described as mental maps.

\n

Much of McLean&rsquo\;s work contains collaborative elements. McLean&rsquo\;s \;artistic \ ;influences \;include the automatic drawings of the Surrealists\, the p aintings of Jean-Michel Basquiat\, and the drawings of Raymond Pettibon.

\n

His art has been exhibited internationa lly at Colette\, Paris\; Richard Heller Gallery\, LosAngeles\; Mother's Tan k Station\, Dublin\, Ireland\; Bee Studios\, Tokyo\; Museum of \;Contem porary Canadian Art\, Toronto\; Neon Gallery\, Brosarp\, Sweden\; \;Spe ncer-Brownstone Gallery\, New York\; Franklin Parrasch\, New York\; Abel Ne ue Kunst Gallery\, Berlin\; Perugi Art Contemporenea\, Padova\, Italy\; and Fondazione Bevilacqua La Masa\, Venice among other institutions and galler ies.

\n

McLean received the Vancouver Ar ts Award in 2004. He is currently a member of the \;Advisory Board for the Art Gallery of Ontario (AGO) in Toronto for the upcoming Jean \;Mic hael Basquiat retrospective. He is also working on a book with Black Dog&nb sp\;Publishing.

DTEND:20150221 DTSTAMP:20141220T165414 DTSTART:20150117 GEO:34.0315;-118.230365 LOCATION:Wilding Cran Gallery\,939 S. Santa Fe Ave. \nLos Angeles \, CA 900 21 SEQUENCE:0 SUMMARY:Soda Gardner\, Jason McLean UID:367987 END:VEVENT BEGIN:VEVENT DTEND:20150117T210000 DTSTAMP:20141220T165414 DTSTART:20150117T180000 GEO:34.0315;-118.230365 LOCATION:Wilding Cran Gallery\,939 S. Santa Fe Ave. \nLos Angeles \, CA 900 21 SEQUENCE:0 SUMMARY:Soda Gardner\, Jason McLean UID:367988 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is p roud to present Hal Fischer&rsquo\;s \;Gay Semiotics \;(19 77/2014). This is the first time Fischer&rsquo\;s landmark group of photogr aphs has been seen in its entirety in almost forty years.

\n

Gay Semiotics \;is one of the fi rst conceptual works to bring the language of structuralism and linguistics into photographic practice. First seen in Hal Fischer&rsquo\;s 1977 exhibi tion at San Francisco&rsquo\;s Lawson de Celle Gallery\, \;Gay Semi otics \;presents the codes of sexual orientation and identificatio n Fischer saw in San Francisco&rsquo\;s Castro and Haight Ashbury districts as a tongue-in-cheek anthropological essay. Twenty-four photographs&mdash\ ;with text printed into the photographs&mdash\;are codified as &ldquo\;Arch etypal Media Images\,&rdquo\; &ldquo\;Signifiers\, &ldquo\;Street Fashion\, and &ldquo\;Fetish.&rdquo\;

\n

One of t he key artworks associated with 1970s California conceptual photography\,&n bsp\;Gay Semiotics \;is marked in particular by Fischer&rsquo\ ;s insistence on the visual equivalence of word and image. The use of words as pictures&mdash\;in additional to providing textual content&mdash\;is on e of conceptual photography&rsquo\;s most important contributions to art to day and a hallmark of the loose Photography and Language group that include d Fischer\, Lutz Bacher\, Lew Thomas and others working in the San Francisc o Bay Area.

\n

Published &ldquo\;at a ti me when gay people have been forced to both evaluate and defend their lifes tyles\,&rdquo\; \;Gay Semiotics \;is a proactive statement from a voice within the gay community. Fischer&rsquo\;s work goes in the o pposite direction of Robert Mapplethorpe\; as one \;Artforum&n bsp\;reviewer wrote in 1977\, &ldquo\;This is to say Fischer never sensatio nalizes\, and the voyeurism which seems to come so naturally to photography is absent.&rdquo\;

\n

Thirty-seven year s later\, \;Gay Semiotics \;stands as one of the most sign ificant conceptual works coming from the West Coast in the late 1970s\; a p rofound look at the years just after Watergate and before the political ass assinations of Harvey Milk and George Moscone\; the trauma of Jonestown\; t he ascendancy of California's former governor\, Ronald Reagan\, to the heig ht of American politics\; and the devastation wrought by AIDS. \;

DTEND:20150221 DTSTAMP:20141220T165414 DTSTART:20150110 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Gay Semiotics\, Hal Fischer UID:367979 END:VEVENT BEGIN:VEVENT DTEND:20150110T180000 DTSTAMP:20141220T165414 DTSTART:20150110T160000 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Gay Semiotics\, Hal Fischer UID:367980 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is p leased to present Michael Rey&rsquo\;s first solo exhibition at 2712 S. La Cienega Blvd. The exhibition will include new free-standing and wall-based pieces by the artist.

\n

&ldquo \;THE MACHINE PROCESSES UNTIL THE MACHINE DIES.&rdquo\; So says Michael Rey in reference to the mind&rsquo\;s never-ceasing attempts to organize new i nformation. Rey&rsquo\;s work has always addressed the mind&rsquo\;s indefa tigable action to seek meaning. It has also long addressed the fragility of the human body and the mysteries of an human existence over which we have no control. Referring to the scraped layers of Plasticine clay that cover m ost of his free-standing and all of his wall-based works\, Rey comments he wants his artworks to be as fragile as we all are: solid yet ephemeral\, im mediate yet ultimately unknowable. Sun Ra once said he wanted his work to b e closer to &lsquo\;the Aliens\,&rsquo\; Rey comments--art embraces the hum an condition\, while at the same time trying to escape it.

\n

Michael Rey has written that the shapes which compris e his wall-based works and free-standing sculptures come to him in his drea ms. This has led at least one writer to say that Rey&rsquo\;s works &ldquo\ ;operate poetically\, rather than pictorially.&rdquo\; A counter-argument m ight be made that it is precisely because Rey&rsquo\;s works operate so pic torially that they open the door to poetry. Rey&rsquo\;s use of shape and c olor has evolved toward a non-hierarchical relationship within his composit ions. His attentiveness to surface insists on the &lsquo\;objectness&rsquo\ ; of the wood panels on which he layers Plasticine and oil paint. In insist ing on these basic pictorial terms\, Rey&rsquo\;s art in many ways actually deflects the direct response it solicits. Its direct &lsquo\;simplicity' t urns viewers back upon themselves. We feel this both intellectually and bod ily--an odd sensation in an art world increasingly dominated by pre-package d artworks and messages. Michael Rey&rsquo\;s work asserts the viewing orde r of an earlier age\, dominated by art&rsquo\;s power to evoke mystery\, wo nder\, creativity\, and the communicative possibilities of human expression .

\n

Michael Rey received his BFA from t he Ringling College of Art and Design\, Sarasota\, and his MFA from Art Cen ter College of Design\, Pasadena. Recent group exhibitions include Freddy\, Baltimore\; Lisson Gallery\, London\; Ratio Three\, San Francisco\; Office Baroque\, Brussels\, and Swiss Institute Contemporary Art\, New York. Rey lives and works in Los Angeles.

DTEND:20150221 DTSTAMP:20141220T165414 DTSTART:20150110 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Solo Exhibition\, Michael Rey UID:367977 END:VEVENT BEGIN:VEVENT DTEND:20150110T180000 DTSTAMP:20141220T165414 DTSTART:20150110T160000 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Solo Exhibition\, Michael Rey UID:367978 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150228 DTSTAMP:20141220T165414 DTSTART:20150117 GEO:34.0907255;-118.3378115 LOCATION:Redling Fine Art\,6757 Santa Monica Blvd. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:GloMar: A Crane\, a giant eight fingered claw crane UID:367975 END:VEVENT BEGIN:VEVENT DTEND:20150117T200000 DTSTAMP:20141220T165414 DTSTART:20150117T180000 GEO:34.0907255;-118.3378115 LOCATION:Redling Fine Art\,6757 Santa Monica Blvd. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:GloMar: A Crane\, a giant eight fingered claw crane UID:367976 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150214 DTSTAMP:20141220T165414 DTSTART:20150108 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Solo Exhibition\, Meghan Smythe UID:367973 END:VEVENT BEGIN:VEVENT DTEND:20150108T210000 DTSTAMP:20141220T165414 DTSTART:20150108T190000 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Solo Exhibition\, Meghan Smythe UID:367974 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150214 DTSTAMP:20141220T165414 DTSTART:20150108 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:The Standard Model\, Ryan Wallace UID:367971 END:VEVENT BEGIN:VEVENT DTEND:20150108T210000 DTSTAMP:20141220T165414 DTSTART:20150108T190000 GEO:34.0339839;-118.370736 LOCATION:Mark Moore Gallery\,5790 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:The Standard Model\, Ryan Wallace UID:367972 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over 40 artists from different diciplines create work on 12x 12in and 24x24in wood panels.

DTEND:20150110 DTSTAMP:20141220T165414 DTSTART:20150110 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:144 (ii)\, Jill Sykes\, Mike Saijo\, Miles Regis\, and more.\, Simo ne Gad\, Stephen Anderson\, Airom\, Amber Trueblood\, Christina M. Tammaro UID:367946 END:VEVENT BEGIN:VEVENT DTEND:20150110T213000 DTSTAMP:20141220T165414 DTSTART:20150110T180000 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:144 (ii)\, Airom\, Stephen Anderson\, Simone Gad\, and more.\, Mile s Regis\, Mike Saijo\, Jill Sykes\, Christina M. Tammaro\, Amber Trueblood UID:367947 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n
\n\n

Zhao Zhao
无所不在 Omnipresent

\n

January 10 & ndash\; February 21\, 2015
Opening Reception: Saturday\, January 10th \, 6 - 8pm

\n

Roberts &\; Tilton is pleased to present ⽆无所不在 Omnipr esent\, Beijing based artist Zhao Zhao&rsquo\;s first solo exhibition in Lo s

\n

Angeles.

\n

Zhao Zhao is one of China&rsquo\;s most interest ing young contemporary artists. Living and working in Beijing\, Zhao&rsquo\ ;s practice expresses a personal and bold reflexivity of the political unre st and contentions of a barred society. His paintings\, sculptures and vide os move beyond institutional and political critique\, as they reveal someth ing more provocative\; the hushed realities grappled by his home country.&n bsp\;

\n
\n
\n\n

As a former assistant to Ai Weiwei\, Zhao Zhao is no stranger to complexities and set backs caused by political anxieties. Altho ugh of a different generation than his mentor\, growing up in the post-Maoi st era\, Zhao too has experienced the tarrying consequences of revolutionar y objectives first hand. Despite the many impediments regulated by the gove rnment\, Zhao Zhao fervently continues to exquisitely deliver his radical c oncepts through art.

\n

The exhibition will feature a series of oil on canvas paintings based on Beijing&rsquo\;s notorious skies. Beijing&rsquo\ ;s environment and population have suffered from unregulated pollution that is ever generating record-breaking levels of toxicity and hazardous enviro nmental and health concerns. These paintings depict skies that are neither airy nor bright\, but opaque\, tempestuous\, and weighted by bellowing hues of oscillating darkness. The skies exist in a time indistinguishable from day and night\, sumptuously delineating an asphyxiation of aeriform.

\n< p>Zhao Zhao will also present a sculptural work that is comprised of a numb er of found demolished Buddha sculptures destroyed in the aftermath of Mao& rsquo\;s Cultural Revolution\, a span of over a decade in which the governm ent sought to destroy ancient historical and cultural artifacts. Zhao harve sts these relics and composes them into a perfect cube\, cultivating a meta phor for the persistence of beliefs despite their altering forms.

\n

Z hao Zhao&rsquo\;s charge to produce provocative works despite the many tens ions and repercussions of political repression is unwavering. The pangs of a suppressed society supply a drive to give a voice to the silenced and lig ht to the overshadowed.

\n

Zhao Zhao received his BFA from Xinjiang In stitute of Arts in China. He has been featured in solo exhibitions at Alexa nder Ochs Gallery\, Berlin\; Chambers Fine Art\, Beijing\; Taikang Space\, Beijing\, and China Art Archives and Wavehouse\, Beijing.

\n

Gallery hours are Tuesday &ndash\; Saturday\, 11: 00am &ndash\; 6:00pm.
For a dditional information\, please contact Mary Skarbek at mary@robertsandtilto n.com or 323.549.0223. Roberts &\; Tilton is located between Fairfax Ave nue and La Cienega Boulevard.
Parking is available on the street and at Dunn Edwards located 1/2 block east of the gallery. \;

\n
\n
\n
\n
\n\n
DTEND:20150221 DTSTAMP:20141220T165414 DTSTART:20150110 GEO:34.0340352;-118.3714502 LOCATION:Roberts & Tilton\,5801 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Omnipresent\, Zhao Zhao UID:367935 END:VEVENT BEGIN:VEVENT DTEND:20150110T200000 DTSTAMP:20141220T165414 DTSTART:20150110T180000 GEO:34.0340352;-118.3714502 LOCATION:Roberts & Tilton\,5801 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Omnipresent\, Zhao Zhao UID:367936 END:VEVENT END:VCALENDAR