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lum &\; Poe is pleased to p resent \;Black.\, an exhibition investigating the notion and f unction of monochromatic black painting by way of the work of three artists : Zhu Jinshi\, Quentin Morris\, and Kōji Enokura. Via three distinct impuls es\, the artists convey identity\, practice\, and methodology from the frin ge &ndash\; be it sociopolitical\, geographical\, or spiritual &ndash\; man ifested through a spectrum of scale\, timbre\, and texture\, as a platform for the black pigment palette. \;Black. is comprised of three rooms respectively presenting the work of three artists.

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In the first gallery\, the viewer is confronted with Zh u Jinshi&rsquo\;s staggering work titled \;Wall of Air\; ten c anvases adjoined to metal frames\, spanning over 65 feet in length. These p aintings are created through a highly physical process\, oil paint applied to canvas in a manner akin to pouring asphalt pavement for roadwork. The re ference to labor is never distant from the artist&rsquo\;s practice &ndash\ ; coming of age during the onset of the Cultural Revolution of China\, Zhu was assigned factory work as a youth and thereafter developed his painterly skills by apprenticeship and without formal academic training. Zhu has con sistently experienced the position of the outsider &ndash\; operating on th e sociopolitical fringe of oppressive Cultural Revolution era China by virt ue of being an experimental artist\; and in self-exile\, relocating from Be ijing to Berlin in 1986\, remaining in the West for the following twenty ye ars. The color black of this sprawling piece channels Eastern lexicons: Hea ven&rsquo\;s Color (I-Ching)\, Daoist color symbology\, and the artist desc ribes the color as one comprised of five others &ndash\; the antithesis of void and deprivation\, but rather a dynamic amalgam.  \;

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In a second room\, Philadelphia artist Quentin Morr is&rsquo\; black monochrome circle paintings float on charcoal walls &ndash \; unframed\, unstretched\, and affixed by only the crest of the canvas. Mo rris has been almost exclusively employing black paint and the form of the circle in his art practice for fifty years\, beginning as a student at the Pennsylvania Academy of the Fine Arts. These narrow aesthetic parameters se rve the artist as tools for prodding and navigating identity politics and s pirituality\; they function in the critical analysis and subversion of lade n Western connotations surrounding the color\, and engage signifiers centra l to Buddhist concepts of enlightenment\, transcendence\, and the void. Mor ris explains\, &ldquo\;I began exploring monochromatic painting ... exclusi vely black using a myriad of tonalities and textures to present black's int rinsically enigmatic beauty and infinite depth\, to refute all negative cul tural mythologies about the color\, and ultimately\, to create work that in nately expresses the all encompassing spirituality of life." Morris&rsquo\; process consists of the application of graphite\, powdered pigment\, crayo n\, spray-paint\, ink\, and acrylic to surfaces of canvas\, linen\, mylar\, or found paper as they lay flat on the studio floor. What results is a bod y of work with a plethora of subtle variations\, yielded from a half-centur y meditation on the color black.

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The work of Kōji Enokura is rooted in the existential anxiety that permeated Ja pan in the late 1960s and early 1970s. Amid a politically tense climate of antiwar protest and concerns about the environmental cost of Japan&rsquo\;s rapid postwar modernization\, artists focused on the elemental questions o f material and space. At this time\, Enokura was associated with Mono-ha\, a group of artists who explored the qualities of natural and industrial mat erials\, and the interdependent relationships among them and their surround ing space. Discoloring the floors and walls of galleries and outdoor sites with oil\, grease\, soil and mortar\, Enokura&rsquo\;s interventions were s ome of the most enigmatic examples of the Mono-ha practice. From the end of the 1970s\, he shifted these acts of staining onto cotton cloth\, which ar e displayed in the third gallery. The artist built up dense fields of smoot h black paint\, allowing it to bleed into unmarked sections of the canvas. The phenomenological relationship between the wall\, floor\, and everyday o bjects remains crucial to many of these works. In the \;Interventio n \;series\, the artist variously leaned wooden beams against the canvas or affixed bottles\, houseplants\, and electrical sockets to the sur face\; drenching each of them in paint. In the \;Figure A  \;series\, he pinned all-black cloths to the wall and let them fold out ont o the floor.

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Zhu Jinshi has been the subject of numerous solo exhibitions\, including at Blum &\; Poe\, New Y ork (2016) and Blum &\; Poe\, Los Angeles (2012). \;A retrospective of the artist&rsquo\;s work \;Performance in Paint \;curat ed by Melissa Chiu\, director of the Hirshhorn Museum and Sculpture Garden in Washington DC\, recently closed at the Inside-Out Museum\, Beijing. Othe r important solo shows include \;On the Road\, City of Prague Museum\, Czech Republic (2002)\; \;Tao of Rice Paper\, Museum of Vancouver\, Canada (1997)\; and \;Fangzhen\, DAAD Galerie\, Berlin (1990). \;Recent group exhibitions include \;Alone Toge ther\, Rubell Family Collection\, Miami (2012)\; \;Mind Space: Maximalism in Contrasts\, University of Pittsburgh\, Pennsylvania (20 11)\; and \;China Now &ndash\; Art in Times of Change\, ESSL M useum\, Vienna\, Austria (2006).

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Quen tin Morris has exhibited at numerous museums across the country and interna tionally\, including a retrospective of the artist&rsquo\;s work at the Pen nsylvania Academy of the Fine Arts\, Philadelphia in 2004. His work has bee n featured in group exhibitions at such institutions as the African America n Museum in Philadelphia (2006\, 2000)\; Arcadia University Art Gallery\, G lenside\, PA (2001)\; The Drawing Center\, New York\, NY (2002\, 1993)\; Em ory Museum of Art and Archeology\, Atlanta\, GA (1990)\; Moore College of A rt and Design\, Philadelphia\, PA (1991\, 1990\, 1988)\; Museu de Arte Cont emporâ\;nea\, Recife\, Brazil (1993)\; Pennsylvania Academy of the Fin e Arts (2010\, 2004\, 1975)\; Philadelphia Museum of Art (1999)\; and The S tudio Museum in Harlem\, New York\, NY (2009\, 2006\, 2004).  \;

\n< p style="text-align: justify\;">This will be the third exhibition at Blum & amp\; Poe to feature the work of Kōji Enokura\, including a solo exhibition in 2013\, and his inclusion in the monumental\, historical presentation of Mono-ha curated by Mika Yoshitake in 2012\, \;Requiem for the Sun: The Art of Mono-ha. \;The artist has had numerous solo e xhibitions at Japanese galleries and museums\, including the National Museu m of Art\, Osaka (1994)\, and the Museum of Contemporary Art\, Tokyo (2005) . Enokura&rsquo\;s work has also been included in landmark surveys\, such a s \;Prima Materia\, at the Punta della Dogana\, Venic e\, Italy (2013)\; \;Reconsidering Mono-ha\, National Museum o f Art\, Osaka (2005)\; \;Avanguardie Giapponese degli Anni 70\,&nbs p\;Galleria Comunale d&rsquo\;Arte Moderna di Bologna (1992)\, and Set agaya Art Museum\, Tokyo (1993)\; Venice Biennale (1978)\; Biennale of Sydn ey (1976)\; Paris Biennale (1971)\; and \;Tokyo Biennale &rsquo\;70 : Between Man and Matter\, Tokyo Metropolitan Art Museum (1970).

DTEND:20160625 DTSTAMP:20160430T152317 DTSTART:20160513 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Black.\, Zhu Jinshi\, Quentin Morris\, Kōji Enokura UID:417168 END:VEVENT BEGIN:VEVENT DTEND:20160513T200000 DTSTAMP:20160430T152317 DTSTART:20160513T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Black.\, Kōji Enokura\, Zhu Jinshi\, Quentin Morris UID:417169 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum \;&\; Poe is pleas ed to present an exhibition of new work by Los Angeles-based artist Julian Hoeber. The exhibition marks Hoeber&rsquo\;s \;sixth solo exhibition wi th the gallery\, and the second chapter of an expansive ongoing project tit led \;Going \;Nowhere. \;

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The work of the project centers around designing and imagining an airport terminal &ndash\; one from which there are no flights\, but rather  \;circuitous journeys through the structure itself. This imaginary ter minal functions as a machine for rumination and imagination &ndash\; an exp erience intended for the viewer\, but also directly mimicking the artist&rs quo\;s process and practice\, in and out of the studio.

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The title \;Going Nowhere \;carries the double meaning of both the failure to make progress\, as well as the insis tence on permanence. It also plays on the etymology of the word &lsquo\;uto pia\,&rsquo\; which literally \;translates as &lsquo\;nowhere.&rsquo\; The project is in \;part a rewriting of various bits and pieces of Mode rnist utopian endeavors\, some versions more sympathetic than others. With& nbsp\;Going Nowhere \;the artist envisions what it would be li ke to make a space that produces \;contemplation and even laziness\, wh ile simultaneously acting as an architectural metaphor for the radical pote ntial of introspection.

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The exhibitio n includes new sculptures comprised of fiberglass-reinforced gypsum-cement\ ; molds used for producing objects that are repurposed as sculptures in and of themselves\; structural wall reliefs of curious\, meticulous forms\; as well as \;works on paper. Many of the artworks in the exhibition are p art idea-development\, part model\, and part self-contained\, informing in greater detail what the form of the airport may be &mdash\; and solidifying the artist&rsquo\;s desire to imagine the building as generative of more t han just a product of its inhabitants.

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Developing a formal vocabulary which fuels Hoeber to produce an ever-evol ving environment that allows for this sort of return to the center of a str ucture (or to the center of the self)\, this newest body of work \;crib s from the ideas and forms of Gin Wong\, Janet Bennett\, and Charles D. Kra tka who worked for William Pereira on the design of the Los Angeles Interna tional Airport. As well\, the work explores and riffs off of the mathematic al architecture of Anne Tyng\, who worked closely with Louis I. Kahn and is seen as a precursor to contemporary computational architecture. Through po etics and metaphor\, Hoeber&rsquo\;s ongoing collaborative processes utiliz e the forms and materials to continuously sculpt negative space.

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Julian Hoeber \;(b. 1974\, Philadelphia\, P A) has a BA in Art History from Tufts University\, a BFA from the School of the Museum of Fine Arts\, Boston\, and an MFA from Art Center College of D esign\, Pasadena. His work is featured in public and private collections in ternationally including Dallas Museum of Art\; Deste Foundation Centre for Contemporary Art\, Athens\; Hammer Museum\, Los Angeles\; Museum of Contemp orary Art\, Los Angeles\; Museum of Modern Art\, New York\; Nasher Sculptur e Center\, Dallas\; Rosenblum Collection\, Paris\; Rubell Family Collection \, Miami\; Francis Young Tang Teaching Museum and Art Gallery\, Skidmore Co llege\, Saratoga Springs\, NY\; and the Western Bridge Museum\, Seattle.

DTEND:20160625 DTSTAMP:20160430T152317 DTSTART:20160513 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Julian Hoeber UID:417166 END:VEVENT BEGIN:VEVENT DTEND:20160513T200000 DTSTAMP:20160430T152317 DTSTART:20160513T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Julian Hoeber UID:417167 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over 40 artist studios open to the public with food\, drinks and art in DTLA.

DTEND:20160515 DTSTAMP:20160430T152317 DTSTART:20160515 GEO:34.014926;-118.232117 LOCATION:Santa Fe Art Colony\,2401 S. Santa Fe Ave. \nLos Angeles\, CA 9005 8 SEQUENCE:0 SUMMARY:27th Annual Santa Fe Open Studios Event\, 40+ Artists UID:417053 END:VEVENT BEGIN:VEVENT DTEND:20160515T180000 DTSTAMP:20160430T152317 DTSTART:20160515T120000 GEO:34.014926;-118.232117 LOCATION:Santa Fe Art Colony\,2401 S. Santa Fe Ave. \nLos Angeles\, CA 9005 8 SEQUENCE:0 SUMMARY:27th Annual Santa Fe Open Studios Event\, 40+ Artists UID:417054 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over 40 artis studios open to the public with food\, drinks and art in DTLA.

DTEND:20160514 DTSTAMP:20160430T152317 DTSTART:20160514 GEO:34.014926;-118.232117 LOCATION:Santa Fe Art Colony\,2401 S. Santa Fe Ave. \nLos Angeles\, CA 9005 8 SEQUENCE:0 SUMMARY:27th Annual Santa Fe Open Studios Event\, 40+ Artists UID:417051 END:VEVENT BEGIN:VEVENT DTEND:20160514T190000 DTSTAMP:20160430T152317 DTSTART:20160514T120000 GEO:34.014926;-118.232117 LOCATION:Santa Fe Art Colony\,2401 S. Santa Fe Ave. \nLos Angeles\, CA 9005 8 SEQUENCE:0 SUMMARY:27th Annual Santa Fe Open Studios Event\, 40+ Artists UID:417052 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Von Lintel Gallery is pleased to an announce an exhibition of experimental photography by New York artist  \;Chuck Kelton. The exhibition is the artist&rsquo\;s first solo show with the gallery.

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Kelton works inside the darkroom transforming light\, paper and chemistry into rich\, abstract landscapes that express the beauty and function of silver photographic mat erials. Because his practice foregoes cameras and negatives\, each work is rendered entirely unique.

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Gold chlori de and selenium toned chemograms coax a surprising palette of fiery oranges and lush violets from gelatin silver paper. In a smaller suite of work\, K elton combines chemogram and photogram techniques\; the shift marked with a cracked\, folded horizon line separating swirling tones from values that t ransition into a subtle\, velvety black.

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The image in a photogram is the result of exposing photographic paper t o light&mdash\;writing with light. Whereas the image in a chemogra m is the outcome of exposing photographic paper to developer and fixer&mdas h\;writing with chemistry.

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A fter decades of working with negative based imagery\, Kelton turned his eye towards a reduced pictorial space. He stripped photographic materials down to the studs\; building essential\, minimalist compositions of black and w hite lines. In subsequent series\, he pushed color back into the structure by exploring early processes like gold and iron toning using new and expire d chemicals.

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&ldquo\;The darkroom experience has always had a magical place in my life. Though the materials change\, the thrill of the darkroom drama remains the same. The process ha s been going on for more than 150 years and every time you make a print\, y ou are tied into that history.&rdquo\;

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&mdash\;Chuck Kelton interview with Onward Photo

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Kelton's work has been featured in numerous exhibitions and publications and is in the collections of the Museum of Fine Arts Bosto n\; Bibliothé\;que nationale de France\; Norton Museum of Art\, West Palm Beach\, Florida\; International Center of Photography\, New York\; and New York Public Library. The artist lives and works in Jersey City\, NJ. DTEND:20160618 DTSTAMP:20160430T152317 DTSTART:20160507 GEO:34.0335131;-118.3764207 LOCATION:Von Lintel Gallery\,2685 S. La Cienega Blvd. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Chuck Kelton UID:416951 END:VEVENT BEGIN:VEVENT DTEND:20160507T200000 DTSTAMP:20160430T152317 DTSTART:20160507T180000 GEO:34.0335131;-118.3764207 LOCATION:Von Lintel Gallery\,2685 S. La Cienega Blvd. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Chuck Kelton UID:416952 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Matthew Marks is pleased to an nounce \;Pavlova's Dawg and Other Works by Gallery Artists\, t he next exhibition in his galleries at 1062 North Orange Grove and 7818 San ta Monica Boulevard\, Los Angeles. The exhibition is comprised of works by Peter Cain\, Thomas Demand\, Vincent Fecteau\, Katharina Fritsch\, Ellswort h Kelly\, Ron Nagle\, Charles Ray\, and Paul Sietsema.

Pavlo va's Dawg and Other Works by Gallery Artists \;will be on view at 1062 Orange Grove and 7818 Santa Monica Boulevard from April 30 to June 25\ , Tuesday through Saturday\, from 10:00 AM to 6:00 PM.

DTEND:20160625 DTSTAMP:20160430T152317 DTSTART:20160430 GEO:34.0902995;-118.3605261 LOCATION:Matthew Marks Gallery\, North Orange Grove\,1062 North Orange Grov e \n Los Angeles\, 90046 SEQUENCE:0 SUMMARY:Pavlova's Dawg and Other Works by Gallery Artists\, Charles Ray\, R on Nagle\, Ellsworth Kelly\, Katharina Fritsch\, Vincent Fecteau\, Thomas D emand\, Peter Cain\, Paul Sietsema UID:416947 END:VEVENT BEGIN:VEVENT DTEND:20160430T200000 DTSTAMP:20160430T152317 DTSTART:20160430T180000 GEO:34.0902995;-118.3605261 LOCATION:Matthew Marks Gallery\, North Orange Grove\,1062 North Orange Grov e \n Los Angeles\, 90046 SEQUENCE:0 SUMMARY:Pavlova's Dawg and Other Works by Gallery Artists\, Peter Cain\, Th omas Demand\, Vincent Fecteau\, Katharina Fritsch\, Ellsworth Kelly\, Ron N agle\, Charles Ray\, Paul Sietsema UID:416948 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Matthew Marks is pleased to an nounce \;Pavlova's Dawg and Other Works by Gallery Artists\, t he next exhibition in his galleries at 1062 North Orange Grove and 7818 San ta Monica Boulevard\, Los Angeles. The exhibition is comprised of works by Peter Cain\, Thomas Demand\, Vincent Fecteau\, Katharina Fritsch\, Ellswort h Kelly\, Ron Nagle\, Charles Ray\, and Paul Sietsema.

Pavlo va's Dawg and Other Works by Gallery Artists \;will be on view at 1062 Orange Grove and 7818 Santa Monica Boulevard from April 30 to June 25\ , Tuesday through Saturday\, from 10:00 AM to 6:00 PM.

DTEND:20160625 DTSTAMP:20160430T152317 DTSTART:20160430 GEO:34.0907133;-118.3600566 LOCATION:Matthew Marks Gallery\, Santa Monica\,7818 Santa Monica Boulevard \nLos Angeles \, 90046 SEQUENCE:0 SUMMARY:Pavlova's Dawg and Other Works by Gallery Artists\, Paul Sietsema\, Charles Ray\, Ron Nagle\, Ellsworth Kelly\, Katharina Fritsch\, Vincent Fe cteau\, Thomas Demand\, Peter Cain UID:416945 END:VEVENT BEGIN:VEVENT DTEND:20160430T200000 DTSTAMP:20160430T152317 DTSTART:20160430T180000 GEO:34.0907133;-118.3600566 LOCATION:Matthew Marks Gallery\, Santa Monica\,7818 Santa Monica Boulevard \nLos Angeles \, 90046 SEQUENCE:0 SUMMARY:Pavlova's Dawg and Other Works by Gallery Artists\, Peter Cain\, Th omas Demand\, Vincent Fecteau\, Katharina Fritsch\, Ellsworth Kelly\, Ron N agle\, Charles Ray\, Paul Sietsema UID:416946 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Von Lintel Gallery is pleased to announce a solo exhibition of new paintings by New York artist \;Mark Sh einkman. The exhibition marks the artist&rsquo\;s tenth with the galler y.

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The compositions in this show are among the artist&rsquo\;s most diverse. Frenetic\, crisscrossing lines and spirographic roulettes cop the language of mechanical drawings and plunge i nto perpetual depths of field. While elsewhere serpentine scribbles and wav ing verticals vibrate into optical illusions focused more immediately on th e surface.

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The paintings follow a sub tractive and additive process. Crushed graphite covers linen coated with wh ite oil and alkyd. Then Sheinkman&mdash\;wielding an eraser\, brushes and v arious tools&mdash\;carves into and wipes away the dark gray to expose the layers underneath. More graphite is applied and the method repeats\; creati ng endless monochromatic variations of line and space.

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"The method yields inverted values: the drawings vagu ely resemble photographic negatives\, luminous tracery floating within dark fields. Sheinkman's all-over lines are kin to Jackson Pollock's skeins of paint and Brice Marden's calligraphic lyricism\, but they have a distinctiv e ephemeral quality\, somewhere between wisps of smoke and the ghost-like t races on X-rays.&ldquo\;

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&mdash\ ;Leah Ollman\, Los Angeles Times

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Shei nkman was born in New York in 1963 and received a B.A. from Princeton Unive rsity. His work is included in the permanent collections of the Museum of M odern Art\, New York\; the Metropolitan Museum of Art\, New York\; the Whit ney Museum of American Art\, New York\; the National Gallery of Art\, Washi ngton\, D.C.\; and the Museum of Fine Arts\, Houston\, among others. He has exhibited regularly in the United States and abroad\, including solo exhib itions at the Kemper Museum of Contemporary Art\, Kansas City\, MO\; the Gr and Rapids Art Museum\, Grand Rapids\, Michigan\; and the Museum Gegenstand sfreier Kunst\, Otterndorf\, Germany.

DTEND:20160618 DTSTAMP:20160430T152317 DTSTART:20160507 GEO:34.0335131;-118.3764207 LOCATION:Von Lintel Gallery\,2685 S. La Cienega Blvd. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Mark Sheinkman UID:416930 END:VEVENT BEGIN:VEVENT DTEND:20160507T200000 DTSTAMP:20160430T152317 DTSTART:20160507T180000 GEO:34.0335131;-118.3764207 LOCATION:Von Lintel Gallery\,2685 S. La Cienega Blvd. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Mark Sheinkman UID:416931 END:VEVENT BEGIN:VEVENT DESCRIPTION:

LACE BENEFIT ART AUCTI ON | \;Wednesday\, May 18\, 2016\, \;7-10 pm

PURCHASE TICKETS HERE!

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< strong>PARTICIPATING ARTISTS
Kim Abeles\, Edgar Arceneaux\, J ohn Baldessari\, Chris Burden\, Kristin Calabrese\, Cassils\, York Chang\, Beatriz Cortez\, Kenturah Davis\, Sam Durant\, Martin Durazo\, Rafa Esparza \, Cayetano Ferrer\, Mariah Garnett\, Mark Steven Greenfield\, Ashley Hunt\ , Candice Lin\, Tala Madani\, Elana Mann\, Barry Markowitz\, Emily Mast\, M ichael McMillen\, Sandeep Mukherjee\, Ruben Ortiz-Torres\, Gina Osterloh\, Gala Porras-Kim\, Andy Robert\, Ed Ruscha\, Lindsay August Salazar\, A.L. S teiner\, Don Suggs\, Clarissa Tossin\, Jeffrey Vallance\, among others.&nbs p\;See the full list here.

AUCTION CO-CHAIRS
Kathie Foley-Meyer and Robert Galstian

HOST COMMITTEE
Councilmember Mitch O&rsquo\;Farrell\, \;Kit Baron\, \ ;Lyndon and Janine Barrois\, \;Kathryn Bise\, \;Luis de Jesus\, Fox Entertainment Group\,Sam Freeman\, \;Anne Friedman\, \;Robert Gals tian\, Cami and Howard Gordon\, \;The Honorable Robert M. Hertzberg\,&n bsp\;Annette Johnson and George Urena\, \;Demetrio Kerrison and Gianna Drake Kerrison\, \;Tulsa Kinney\, \;Sherry Kondor\, \;Winnie La m\, \;Linda Maggard\, \;Juliet McIver\, \;Joe and Janet Nunez\,  \;Pauli Ochi\, \;Sarah and Bill Odenkirk\, \;Michelle Papillio n\, \;Judy and Stuart Spence\, \;Ryosuke Tsukioka\, \;Carney R. Shegerian\, \;Elinor and Rubin Turner\, \;Li Wen\, \;Jae Yang< br />
SPONSORS
Adrian Rivas Framing\, Allan Jeff ries Framing\, Artillery Magazine\, Art Mechanics\, Art Services Melrose\, Beverly Hills Fine Art Framing\, Doce Robles Winery\, Fine Art Solutions\, Fox Entertainment Group\, Ota House\, Panera Bread of La Cañ\;ada Fli ntridge\, \;Midnight \;Cellars\, Mountain Valley Water of L.A.\, Ra ndom Framing\, Stone Brewing Co.\, and Tito&rsquo\;s Handmade Vodka

DTEND:20160518T220000 DTSTAMP:20160430T152317 DTSTART:20160518T190000 GEO:34.10119;-118.331831 LOCATION:Los Angeles Contemporary Exhibitions (LACE)\,6522 Hollywood Blvd. \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:LACE Benefit Art Auction UID:416929 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160529T190000 DTSTAMP:20160430T152317 DTSTART:20160529T150000 GEO:34.1102951;-118.1973971 LOCATION:Monte Vista\,5442 Monte Vista Street \nLos Angeles\, CA 90042 SEQUENCE:0 SUMMARY:Closing Reception: Event October Horizon\, Greg Curtis UID:416928 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;&ldquo\;Lens flare&rdquo\; is a phenomena in photography and cinema that occurs when non -image forming light enters and refracts within the glass components of a c amera lens before reaching the camera&rsquo\;s film or digital sensor. The visible artifacts typically manifest themselves as \;starbursts\, rings \, or geometric shapes in a row across the image. \;These artifacts are a common obstacle in photography\, usually suppressed through the use of c oated lenses\, hoods\, and lighting technologies. \;However\, the use o f lens flare as a signifier of the presence of a documenting camera is suff use within filmic culture today as a tool for lending reality to an otherwi se fabricated digital world\; in CGI sequences lens flare gives the illusio n of a camera filming a scene that was digitally fabricated inside a comput er.

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 \;  \;  \; &nb sp\;  \;Monte Vista Projects is proud to present \;Event Octobe r Horizon. Greg Curtis' exhibition is an installation of framed chromo genic prints wherein the mechanics of the camera lens itself are the sole o bject. With a camera pointed at a black backdrop in the artist&rsquo\;s stu dio\, a light was pointed into various lenses to produce and record isolate d lens flares. The resulting images are at once diminutive and expansive: p ortraits of the camera&rsquo\;s own machinations presented as vast extrater restrial events. The images are paired with identically sized black monochr omatic chromogenic prints that contain no information from the camera\, poi nting to the spaces between still images that construct cinematic sequences . The installed panorama consists of self-reflexive operations made with th e fundamental apparatus of the entertainment industry\, isolating and foreg rounding what is usually considered at best an aesthetic flourish\, and at worst an error on the part of the photographer. \;
 \;

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Greg Curtis&rsquo\; works in photo graphy\, video\, and animation have recently been exhibited at the Conley G allery at CSU Fresno\; The Institute of Jamais Vu\, London UK\; Elephant\, Los Angeles CA\; Hedreen Gallery at Seattle University\; Concord\, Los Ange les CA\; Weekend\, Los Angeles CA\; Cirrus Gallery\, Los Angeles CA\; Land of \;Tomorrow\, Lexington KY\; and Dan Graham\, Los Angeles CA\, among others. He received an MFA from California Institute of the Arts and is bas ed in Los Angeles.

DTEND:20160529 DTSTAMP:20160430T152317 DTSTART:20160507 GEO:34.1102951;-118.1973971 LOCATION:Monte Vista\,5442 Monte Vista Street \nLos Angeles\, CA 90042 SEQUENCE:0 SUMMARY:Event October Horizon\, Greg Curtis UID:416926 END:VEVENT BEGIN:VEVENT DTEND:20160507T220000 DTSTAMP:20160430T152317 DTSTART:20160507T180000 GEO:34.1102951;-118.1973971 LOCATION:Monte Vista\,5442 Monte Vista Street \nLos Angeles\, CA 90042 SEQUENCE:0 SUMMARY:Event October Horizon\, Greg Curtis UID:416927 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On view in the Thinkspace proj ect room is \;Underground\, featuring new oil paintings by Los Angeles-based artist Matthew Grabelsky. His works combine a hyperrealistic painting technique with a surreal penchant for unlikely juxtapositions. Ra ised in New York City\, Grabelsky uses its subway&rsquo\;s underground worl d as the setting for his unlikely pairings.

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Grabelsky&rsquo\;s works depict couples on subways\, often nonchalan tly reading magazines or newspapers\, but the male figures in these dyads a re strange\, quasi-mythological human hybrids with animal heads. Deer\, bea rs\, elephants\, tigers\, and everything in between\, make a suited appeara nce in rush hour. By contrasting the platitudes of the day-to-day with the presence of the extraordinary and unlikely\, Grabelsky stages the unexpecte d within the most unassuming of circumstances.

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The appearance of the animal head feels distantly totemic\, an ar chetype for something primordial\, ancient\, and psychologically motivated. Fascinated by the persistence of animal imagery in mythology and communal cultural imaginaries\, Grabelsky superimposes its presence onto his depicti ons of the contemporary world. For the artist\, the animal becomes a manife station of the inner workings of the hidden subconscious\, literally reveal ing the latent identities and motivations lurking beyond the composure of t he human mask.

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Technically inspired b y 19th Century academic and naturalist painters\, Grabelsky creates these u nlikely\, surreal scenes with a staggering degree of realistic detail. The contrast created between the visual verisimilitude of the works\, and the s urreal improbability of their content catches the viewer in a prolonged mom ent of convincingly suspended disbelief.

DTEND:20160521 DTSTAMP:20160430T152317 DTSTART:20160430 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Undergound\, Matthew Grabelsky UID:416924 END:VEVENT BEGIN:VEVENT DTEND:20160430T210000 DTSTAMP:20160430T152317 DTSTART:20160430T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Undergound\, Matthew Grabelsky UID:416925 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Thinkspace (Los Angele s) &ndash\; \;is pleased to present \;Melancholia \, the gallery&rsquo\;s first solo exhibition of paintings by Korean artist Kwon Kyung-Yup. A graduate of Sejong University in Korea\, where she compl eted an M.F.A\, Kwon is currently based out of Seoul. Known for her pale gh ostly paintings of delicately rendered figures\, the artist uses the human body in her imagery as a vehicle for healing\, mourning\, and memory. Medit ative in their starkness and otherworldly in their filmy delicacy\, her fig urative depictions are cathartic and emotional\, suggesting both trauma and recovery\, forgetting and remembering.

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Kwon&rsquo\;s figures seem suspended in time\, arrested in a sort of age less androgyny. They are beautiful\, and yet unspecific\, functioning more like symbolic emblems than individual subjects. When creating her work she describes a process of emotive recall in which she revisits emotional event s from her past\, actively summoning memories to inspire the work. The figu re becomes a literal instrument of psycho-spiritual expression through whic h she explores universally relatable\, though intensely personal\, themes o f femininity\, sexuality\, death\, libidinal impulse\, transformation\, and ego. The human body becomes a poetic device through which Kwon explores ex istential drives and deficiencies.

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Th e artist describes her paintings as meditative spaces in which she depicts longing\, sadness\, and fantasy. A deliberate slowness and calm are typical of their tone and pace. A single figure\, minimally adorned\, tends to occ upy the focus of the foreground. Surrounded by a still expanse of emptiness \, there are few other details\, if any\, to distract from the complete pre sence of the form. The viewer is left feeling captivated\, drawn in by the concise simplicity of the image\, submerged in its heavy quietude. The figu res&rsquo\; skins convey a nuanced depth and pallor\, an impressive range o f gradation and muted color that resonates through several thin\, carefully applied\, layers of oil paint. Kwon&rsquo\;s attention to the translucent rendering of these milky skins\, and the contrast she creates with subtly b loodshot eyes and carefully stylized features transports the figurative rea lism in her work beyond the realm of naturalism. The figures are excessivel y human in their pristine vulnerability\, and yet entirely other\, emotiona lly charged\, and surreal.

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At times\, the bodies depicted in Kwon&rsquo\;s works are wrapped in bandages\, caugh t somewhere between life\, trauma\, death\, and convalescence. This space o f ambiguity in which the self is suspended somewhere between a beginning an d an end is a recurrent theme in her work. Measured and introspective\, Kwo n&rsquo\;s process is thoughtful rather than reactive\, and each piece take s up to two months to complete. She begins her paintings in a contemplative state\, a literal meditation aided by conscious breath work\, and carefull y allows the surface to live\, extracting wraiths from the void.

DTEND:20160521 DTSTAMP:20160430T152317 DTSTART:20160430 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Melancholia\, Kwon Kyung-yup UID:416922 END:VEVENT BEGIN:VEVENT DTEND:20160430T210000 DTSTAMP:20160430T152317 DTSTART:20160430T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Melancholia\, Kwon Kyung-yup UID:416923 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In celebration of CSUSB&rsquo\ ;s 50th anniversary\, the Robert and Frances Fullerton Museum of Art will p resent &ldquo\;Time and Place: 47 years of Art Faculty at CSUSB&rdquo\;. Th e exhibition will be on display April 9 &ndash\; May 14\, with an opening r eception on Thursday\, April 7 from 5-7 p.m. with a special\, members-only preview at 4:30p.m.

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Featuring the art work of more than thirty current and emeritus faculty members\, the exhibit ion will explore the last five decades of teaching\, creating and presentin g art. Examining the significance of time and influence of place\, the exhi bition includes artwork created during the period that each artist was a me mber of the CSUSB department of art faculty.

DTEND:20160514 DTSTAMP:20160430T152317 DTSTART:20160407 GEO:34.180688;-117.324134 LOCATION:Robert and Frances Fullerton Museum of Art\,Cal State University S an Bernardino 5500 University Parkway\nSan Bernardino\, CA 92407 SEQUENCE:0 SUMMARY:Time + Place: 47 Years of Art Faculty at CSUSB UID:416919 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160702 DTSTAMP:20160430T152317 DTSTART:20160428 GEO:34.0807028;-118.3878482 LOCATION:Louis Stern Fine Arts\,9002 Melrose Avenue \nWest Hollywood\, CA 9 0069 SEQUENCE:0 SUMMARY:Helen Lundeberg & The Four Abstract Classicists\, Helen Lundeberg\, Lorser Feitelson\, Karl Benjamin\, John McLaughlin\, Frederick Hammerlsey UID:416917 END:VEVENT BEGIN:VEVENT DTEND:20160428T200000 DTSTAMP:20160430T152317 DTSTART:20160428T180000 GEO:34.0807028;-118.3878482 LOCATION:Louis Stern Fine Arts\,9002 Melrose Avenue \nWest Hollywood\, CA 9 0069 SEQUENCE:0 SUMMARY:Helen Lundeberg & The Four Abstract Classicists\, Karl Benjamin\, L orser Feitelson\, Frederick Hammerlsey\, Helen Lundeberg\, John McLaughlin UID:416918 END:VEVENT BEGIN:VEVENT DESCRIPTION:
THEMODELINGAGENCY invites you to the release of
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"The Dr awing Cure"

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Sunday May 1st \;4-6 PM
ltd los angeles 7561
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Sunset Boulevard
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Mark Verabioff to read from the essay at \;5 PM
A May Day cocktail created by Andre w Emard to be served
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"The Drawing Cure" is a limited edition artist book that docume nts the eponymous installation and performance held at the Merchandise Mart in 2013. Including drawing reproductions\, laminated cue cards\, two fold- out illustrations and an essay by Nick Herman\, the book is collated in a t hree-ringed binder and printed in an edition of 25.
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In 2013\, THEMODELINGAGENCY (Christopher James an d Nick Herman) took up residency at the Los Angeles Merchandise Mart where they created an office devoted to a single project: \;The Drawing Cure. Subjects were asked to choose one of the hand-sized "fetish" sculptures on display and draw it according to simple yet inhibitive directives while oc cupying a chair specifically built for the occasion.
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THEMODELINGAGENCY will install an iteration of t he office at the gallery\, including the original chair and "fetishes\," as well as a sample of the subjects' drawings produced in the exercises.
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Resulting in a fascinating arr ay of drawings\, these exercises were preliminary to a larger project compl eted in 2015 titled \;Tektite \;-reflux. This launch coincides with an exhibition of \;Tektite \;-refluxopening on \;June 4 \; at Armory Center for the Arts\, Pasadena.
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DTEND:20160501T180000 DTSTAMP:20160430T152317 DTSTART:20160501T160000 GEO:34.098048;-118.3543467 LOCATION:ltd los angeles\,7561 Sunset Blvd. \nLos Angeles\, CA 90046 SEQUENCE:0 SUMMARY:"The Drawing Cure" Book Release and Reading UID:416914 END:VEVENT END:VCALENDAR