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1301PE is pleased to announce its first solo exhibition with Los Angeles-based artist Fiona Connor. Working at the intersection of architecture\, sculpture\, and installati on\, Fiona Connor encourages us to reflect on physical surroundings by re-c ontextualizing objects and creating disruptions in the built environment. H er painstakingly fabricated replicas of everyday objects function both as s culpture to be perceived\, and as stage pieces through which we can enact o ur own narratives.

Connor has often focused on the institutional space of the gallery or museum\, engaging with the overlooked framework up on which art resides. In 2009 she replicated the façade of Michael Lett's g allery inside the gallery space\, not once but fourteen times\, literally p utting the gallery on display. For What you bring with you to work ( 2010)\, she cut holes in the museum walls\, placed window frames over the h oles\, and let us peer behind the scenes. These were not generic windows\, however\, but facsimiles of the bedroom windows of individual gallery atten dants. More than simply institutional critique\, this work offered an intim ate look into the lives of others.

Her contribution to Made i n L.A. 2012\, the first Los Angeles biennial\, was a replica of the fir st few steps of the Hammer Museum's marble staircase\, placed across the lo bby by the front windows. Titled Lobbies on Wilshire\, her precise r eproduction functioned as both mimetic sculpture and interactive environmen t.

"I am interested in laying one scripted space over another to explore the way art is approached and our boundaries of engagement\, aband onment and empathy." – Fiona Connor

For Bare Use\, Connor looks to the restorative oasis of the spa\, fastidiously re-fabricating th e typical objects that characterize this environment – water fountain\, tow el case\, signs. She introduces these specific items to the gallery\, inves tigating what happens when the elements of one specialized space collide wi th another. Her sculptures operate on both aesthetic and performative level s: they are works of art based on functional objects\, and functional objec ts themselves\, dislocated from their origins.

Fiona Connor was born in Auckland\, New Zealand and lives and works in Los Angeles. She was included in the first Los Angeles biennial\, Made in L.A. 2012 at th e Hammer Museum\, and her 2010 solo show Murals and Print was the in augural exhibition at Various Small Fires\, Los Angeles\, CA. Recent group exhibitions include Gap\, Mark\, Sever and Return\, Human Resources\ , Los Angeles\, CA\; Concrete Situations\, Pact\, Essen\, Germany\; Experimental Impulse\, REDCAT\, Los Angeles\, CA\; You Are Here\, Artspace\, Auckland\, New Zealand\; and Octopus 8\, Gertrude Co ntemporary\, Melbourne\, Australia. In 2010 she was a finalist for New Zeal and's most prestigious contemporary art award\, the Walters Prize.
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We are pleased to announce that we will be extending our current exhibition "Fiona Connor: Bare Use" through March 2.

DTEND:20130302 DTSTAMP:20140919T192544 DTSTART:20130119 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Bare Use\, Fiona Connor UID:253173 END:VEVENT BEGIN:VEVENT DTEND:20130119T200000 DTSTAMP:20140919T192544 DTSTART:20130119T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Bare Use\, Fiona Connor UID:253174 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Artist Lab open studio\, January 14 - March 29
\nOpenin g Reception\, February 23\, 8 - 10 pm \n
'Born to Curate' Event \, 6:00 - 8:00 pm
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SANTA MONICA\, CA - Encompassing 18th Street Arts Cent er's Visiting Artist Residency Program\, its Artis t Labs process-based exhibition series\, and in partnership with H ighways Performance Space\, Paris-based artists Ivan Argote and Pauline Bastard tap into multiple platforms for publ ic engagement from January through March 2013. Guest-curated by Isabelle Le Normand\, Argote and Bastard are frequent collaborators that create "scena rios" as the premise for their art-making. Often times relying on public or community participation\, Argote and Bastard favor the unexpected outcomes that arise from collective action. A group of videos\, objects and functio nal installations will occupy the main gallery\, and new works will be deve loped on-site throughout the course of their residency. 

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As a culminatin g event\, Argote and Bastard present  BORN TO CURATE\, a l ive curatorial battle that pits four teams of Los Angeles-based curators he ad to head in a fast-paced game of wit and knowledge. Structured like a gam e show\, teams have two minutes to conceptualize a curatorial project or ex hibition in response to a theme picked at random. Inverting the largely pri vate curatorial process into a public event\, ideas behind the construction of meaning are infused with open response and humor. Winners are determine d by an applause meter and receive the coveted BORN TO CURATE trophy. 

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Ivan Argote &\; Pauline Bastard and BORN TO CURATE are part of Ceci n'est pas...\, a p roject initiated by the Cultural Services of the French Embassy in the Unit ed States in association with the Institut Français\, with the support of t he Alliance Française of Los Angeles\, the French Ministry of Culture and C ommunication and the participation of many local institutions over the cour se of five months.      

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DATES:

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Residency: January 2 - February 28\, 2013

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Artist Labs Exhibition: January 14 - March 29\, 2013 (in process until February 2 3)

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Public Event and Reception: February 23\, 2013

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Iván Argote    

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Iván Argote was born in Bogota in 1983. He lives and works between Paris and New York\, and gra duated from the Beaux-Arts in Paris in 2009.  Recent exhibitions include: 3 0th São Paulo Biennial\, "Sin heroísmos\, por favor" (solo)\, CA2M\, Madrid (2012)\; Art Brussels (solo)\, Perrotin booth (2012)\; Girarse\, Joan Miró Fundation\, Barcelona\; The Dialectic City\, Laboratorio de Artes Binarios \, Puerto Rico (2011)\; Caliente\, Galerie Emmanuel Perrotin\, Paris\, 2011 (solo show)\; A brake to dance\, Galerie Valenzuela &\; Klenner\, Bogot a\, Colombia\, 2009\; Zapping Unit\, MAC/VAL Museum of Contemporary Art of Val-de-Marne\, Vitry-sur-Seine\, France\, 2009. He's preparing upcoming exh ibitions\, including: 30th Sao Paulo Biennale (Sep 2012)\; La Estrategia\, Palais de Tokyo (Dec 2012). Iván Argote's practice deals with social\, poli tical and art historical fields through mediums as varied as video\, photogr aphy\, sculpture and painting. Being simultaneously the director and main a ctor in his work\, Iván interrogates with humour the views and perspectives imposed by our social positions\, the status of an artwork and the notion of interactivity\, which he addresses through a fictionalisation of the ever yday.

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Pauline Bastard

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Pauline Bastard was born in 1982 and lives and works between Paris and New York. She graduated in 20 09 from the Beaux-Arts in Paris and from the University of La Sorbonne\, Pa ris in 2010\, she then spent a one year research residency in New York Univ ersity. Recent exhibitions include: 30th São Paulo Biennial\, Unheimliche R eisen at Dienstgebaude\, Zurich\; Coup Double at FRAC Aquitaine\, Bordeaux\ ; Voyage voyage at Maison de l'Amérique Latine\; Green-white-red at Collezi one Maramotti\, Regio Emilia\, Italia\; Jours Heureux at 80WSE\, New York\; XOVUXY at Eva Hober gallery\, Paris (solo show)\; Rehab\, Espace Electra\, Paris. She is now in residency in Domaine departemental de Chamarande wher e she is preparing for upcoming exhibitions\, including the 30th Sao Paulo biennal. She invites us into a world where fiction and reality are entangled \, at the heart of which misleading fictions reign. Through mediums such as video and sculpture\, she plays with and defies narrative processes through the phenomenon of detachment\, re-appropriation and semantic displacement. Popular objects and everyday materials are omnipresent in her practice\, cr eating a complicit game with the spectator where the veracity of their ficti onal and dramatic potential is questioned. The Sauna\, Mains d'Oeuvres\, 20 10\, Paris

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Curator\, Isabelle Le Normand  

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Isa belle Le Normand is curator and Director of Visual Arts at Mains d'Œuvres\, a nonprofit\, multidisciplinary gallery and performance space in the heart of the Flea Market of Paris showing emerging\, mid-career and established a rtists. She has recently organized the exhibitions Better Being a Virus Tha n Catching a Cold\, (Budapest\, FKSE 2011\, Mains d'Œuvres\, 2008)\, An Auc tion\, (Mains d'Œuvres\, 2011)\, Who do you admire ? (La Box\, Bourges\, 20 11)\, La Famille Farrell (Maison Populaire\, Montreuil \; Mains d'Œuvres\, Saint-Ouen\, 2010)\, Diagonal Argument (Bétonsalon\, 2008). Since September 2011\, she runs the seminar  Los Angeles -from Margins to Center at ESAAA\ , Annecy. She is currently in residency at Cité Des Arts in Paris to curate the project I Am Here For You\, to establish links between artists from ab road and the Parisian art scene. 

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Ceci n'est pas... is a project initiated by the Cultural S ervices of the French Embassy in the United States in association with the Institut Français\, with the support of the Alliance Française of Los Angel es\, the French Ministry of Culture and Communication and the participation of many local institutions.Ceci n'est pas... will begin on December 1\, 20 12 with the opening of the exhibition LOST IN LA\, organized by the FLAX Fo undation and will continue for 5 months\, ending in April 2013. It will gat her more than 30 Franco-American collaborations that are being prepared by art centers\, museums\, art schools and non-profit organizations in Los Ang eles\, covering a large spectrum of contemporary creation\, from sculpture to performance\, and from architecture to video.

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In 2006\, The Cent re Pompidou proposed the exhibition\, "Los Angeles\, 1955-1985\, Birth of a n artistic capital". Building on this large exhibition\, through the existi ng references to French art and culture in the Los Angeles art scene\, it b ecame pertinent to highlight the ties between France and the City of Angels \, which has since become a true cultural capital of the world.

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DTEND:20130329 DTSTAMP:20140919T192544 DTSTART:20130114 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Artist Labs Exhibition\, Ivan Argote\, Pauline Bastard UID:249287 END:VEVENT BEGIN:VEVENT DTEND:20130223T220000 DTSTAMP:20140919T192544 DTSTART:20130223T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Artist Labs Exhibition\, Ivan Argote\, Pauline Bastard UID:249288 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Born in Finland\, Eero Saarinen (1 910 – 1961) is recognized today as one of America’s most influential archit ects of the 20th Century. The exhibition at the Architecture and Design Mus eum will highlight his short but brilliant career beginning with the Smiths onian Gallery of Art Competition in 1939 and culminating with Dulles Airpor t in 1962 and highlighting his influence on design in mid-Century America. 

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Saarinen is recognized today as one of the America ’s most influential architects of the 20th Century. He has built numerous c orporate\, educational\, cultural public and private buildings with such re cognizable icons as the St. Louis Gateway Arch\, the TWA terminal at JFK\, and Dulles Airport.

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This exhibition is a tribute to Saarinen’s short and brilliant career which was bookended with two iconic buildings: the Smithsonian Gallery of Art\, a museum of modern art on the M all which remained unbuilt and the nation’s first jet airport\, Dulles Inte rnational Airport which was completed one year after his death. 

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The much-publicized national competition of 1939 catapulted S aarinen into the architectural limelight at the age of 29\, marking a trium ph for the modernist camp.  Opposition to the cutting edge modernist vocabu lary was strong in the pre- World War II era and even though it would influ ence museums built throughout the world for decades to come\, the Smithsoni an Gallery of Art remained an unbuilt icon. Lost for 50 years\, the discove ry of the drawings twenty years ago and their secure place at the Smithsoni an Institution confirms that architecture even when unbuilt can be influent ial\, provocative and groundbreaking. 
 

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Shedding light on Saarinen’s se cret professional life

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Saarinen’s associat ion with Washington continued throughout the war years when he volunteered for the OSS (Office of Strategic Services)\, the precursor to the CIA (Cent ral Intelligence Agency). Recognized for “his outstanding capacity” for ori ginal design work in any field\, Eero quickly excelled in his service to th e OSS to became the chief of the Presentation Division responsible for all exhibits work.

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The exhibition at A+D Architecture a nd Design Museum>\;Los Angeles is unique in shedding light on this little known chapter of Eero Saarinen’s secret professional life. While still in his 30’s Eero established himself as one of the most creative product desig ners with recognizable furniture broke technological and aesthetic boundari es with such icons as the tulip chair and the womb chair.

DTEND:20130228 DTSTAMP:20140919T192544 DTSTART:20121005 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:EERO SAARINEN\, Eero Saarinen UID:228655 END:VEVENT BEGIN:VEVENT DTEND:20121005T210000 DTSTAMP:20140919T192544 DTSTART:20121005T180000 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:EERO SAARINEN\, Eero Saarinen UID:228656 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130215 DTSTAMP:20140919T192544 DTSTART:20120908 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:A Rotating Exhibtion of Selected Artworks\, Justin Bower UID:232335 END:VEVENT BEGIN:VEVENT DESCRIPTION:

There are certain artists who grip the subconscious and dive into tempor alities of the forgotten\, touching upon the cornerstones of human memory a nd being. Charles Fine is one such artist. He works human  consciousness in a way that connects the corporeal thinking organism with the intimacies of what might be called earth consciousness. Fine attends to the natural worl d and ancientness in ways that are both thought provoking and transcendent. With an oeuvre that is diverse and far-reaching Fine addresses themes of e nvironment\, time\, memory\, encounter\, discovery\, decay\, and evolution. His art is ever evolving as he works with a variety of media and objects t o inspire questions concerning existence and impermanence. While the artist deals with powerful themes\, he does so with varying intensity. Rather tha n privileging a direct and aggressive style\, Fine layers\, composes\, and builds as he illuminates subtle changes and quiet progression.

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ACE Galle ry presents a thirty-year survey of work by Charles Fine\,  including drawi ngs\, paintings\, sculptures\, photographs\, and video which explore and ex pand upon the intricacies of the natural world and the effects of human hab itation. Fine investigates the interconnectedness of living systems with pa rticular attention given to subjects ranging from population densities\, mu tations in nature\, irrigation patterning\, photosynthesis\, and the effect s of weather and climate.

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From his explorations in Central America\, Mex ico\, and the western United States\, Fine has amassed and continues to cul tivate an unusual assemblage of objects\, which have been\, and continue to be\, a significant source bank for much of the imagery in his paintings\, sculptures\, photographs\, and vitrines.

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The artist has gathered mutant pod seeds\, ceremonial stone objects\, bone implements\, and ancient tools amongst numerous other exotic and prosaic natural items from his travels an d has transformed these earthly substances into breathtaking works of art. For his Table of Contents series Fine meticulously assembles an asso rtment of naturally found and re-altered objects into large glass vitrines. Each of these objects were selected by Fine because he felt they possessed an individual poignancy\, attained either through nature or through necess ity for practical or liturgical applications.

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Fine’s heterogeneous group ings are works of art in themselves transforming familiar natural objects i nto spiritually charged symbols with rich narratives.

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From this fascinat ing reservoir of imagery and inspiration\, Fine has created complex metaphy sical works of art that are often imbued with animistic or totemic associat ions. The artist’s approach to painting and sculpture is just as dynamic as the roots of his inspiration. His canvases are reworked over extended peri ods of time and are composed of translucent layers of oil paint\, alkyd res in\, and asphaltum. The layered effects of the paint engender a sense that the underlying forms are always in flux—materializing or dematerializing on the surface of the canvas. His panel paintings employ a dramatically diffe rent method indicated by his use of encaustic painting\, which give them a fertile tactile quality. Fine’s cast bronze sculptures trace their origins both to shapes extracted from the paintings and to his extensive gathering of archaeological relics and found objects.

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Moving sinuously from the mi cro to the macro and back\, the artworks in Charles Fine’s in-depth survey offer a dynamic look into the artist’s distinctive cloistered sphere of cur iosity and experimentation.

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Charles Fine was born in 1951. He attended t he Otis Art Institute\, California State University\, the Brooks Institute of Art\, and the University of California. The artist has exhibited at ACE Gallery since 1987.

DTEND:20130427 DTSTAMP:20140919T192544 DTSTART:20121026 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:A Thirty-Year Survey Of Drawings\, Paintings\, Sculptures\, Photogr aphs\, and Video\, Charles Fine UID:234520 END:VEVENT BEGIN:VEVENT DESCRIPTION:

AMBACH &\; RICE is pleased to present It ’s Never Over\, a solo exhibition of paintings\, textiles and ceramics by Ellen Lesperance. The exhibit continues the a rtist’s reverential examination of female activism while underscoring the p arallels between contemporary and ancient heroines. Lesperance places the v iewer on the periphery of female activism\, manifesting political and socie tal transgression through a delicate use of materials. Images of protest pl acards or demonstrations are eclipsed in favor of interpersonal dynamics th at place ideology in tandem with individuality.

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Lesperance’s paintings o f activists’ sweater patterns extract intimacy from collectivism\; their or nate grids suggest sieves through which ideals and virtue take root. These atlases of soft armor are accompanied by text\; Lesperance’s own\, historic al accounts\, and direct quotations from artists and activists such as Nanc y Spero and Rachel Corrie. The integration of text into the paintings orien ts the viewer\, evoking the bodies and minds that once inhabited what have become patterned husks.

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For the first time Lesperance’s paintings introd uce textiles derived from mythic sources\, the representations of fighting Amazons found on ancient Greek\, Roman and Turkish ceramics. The Amazons\, a mythic tribe of female warriors depicted in postures of defiance\, serve as a bridge between the resilience and courage embodied by modern day femal e activists. Lesperance discovered formal correspondences and shared emblem s such as snowflakes and chevrons to effectively parallel a historical lexi con of dissent.

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In 2012 Lesperance encountered ancient Tanagras at the P rinceton University Art Museum that depicted running Amazons\; an anomaly g iven these terracotta figurines dating from fourth century B.C. typically o nly portray cloaked women and girls. Tanagras are believed to have been vot ive objects or funerary offerings intended to appease female deities. Lespe rance produced ceramic molds to resurrect these effigies in the same manner they were originally produced. The prominence of the garments adorning the figures is echoed in Lesperance’s own conceptual practice\, which highligh t clothing as an extension of identity and attitude. The figurines will be augmented by pieces of draped silk and wool. The artist wrapped these texti les around bouquets of flower dyestuffs which were subsequently buried in t he ground to fix the dyes into the fabric via decomposition. Burial and res urrection are mirrored in the artist’s process and the archeological excava tion of the original statues\, poetic insubordination that although weather ed\, refuses to die.

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Ellen Lesperance li ves and works in Portland\, Oregon. Recent exhibitions include Dear Pippa B acca…\, AMBACH &\; RICE\, Frieze Frame\, New York\, US\, and Hang Up\, J osh Lilley Gallery\, London\, UK. Her work was recently acquired by The Bro oklyn Art Museum and The Museum of Arts and Design. She will be featuring i n the forthcoming Phaidon drawing anthology\, Vitamin D2.

DTEND:20130223 DTSTAMP:20140919T192544 DTSTART:20130119 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:It’s Never Over\, Ellen Lesperance UID:253952 END:VEVENT BEGIN:VEVENT DTEND:20130119T200000 DTSTAMP:20140919T192544 DTSTART:20130119T180000 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:It’s Never Over\, Ellen Lesperance UID:253953 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angels Gate Cultural Center presents our exhibition year entitled \; Into the Wilderness: The Journey Within. Over the course of the ne xt year\, artists and curators will engage the term "wilderness" from multi ple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary li fe and contemplate how we can find new opportunities to re/define the trans ition between physical and imaginary geographies.

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Although\, on first im pression\, "wilderness" may call to mind places of intense experience in na ture far from civilization\, it reveals itself to be much more than a locat ion. Traditionally associated with a land of uncultivated\, abandoned and i nhospitable conditions or inhabited only by wild animals\,1  \;during the eighteenth and nineteenth centuries its meaning expanded subje ctively to include more Romantic and transcendental notions like "the refle ction of our own unexamined longings and desires" and "the best antidote to our human selves\," while mysteriously remaining the site of "something pr ofoundly Other."2 \;

Whether places considered wilderness are ultimately to be regar ded as wastelands or sacred spaces\, in either case it is not the places th emselves that define the nature of the wilderness experience. "Wilderness\, " regardless of where it is situated or whether it is described as frighten ing or divine\, is a cultural construct that is typically placed in opposit ion to "civilization\," located apart from the human world as something pur e and essentially natural\, to be preserved and protected both from the out rages of global industrial exploitation as well as the small defilements of daily life. \;

We d isagree. We consider that creating even the most high-minded dualism betwee n humans and nature sets up a dynamic that creates conflict and does not le ad to effective stewardship of the environment\, either locally or on a glo bal scale. We also believe that rather than being defined either as a physi cal or an imaginary location\, "wilderness" is more a state of mind that de fies location\, either geographical or imaginary-one in which social struct ure relaxes\, logic slips away and time and space collapse. This open state of mind\, or "wonder\," can be experienced in natural environments that in spire fear\, disorientation\, foreboding or other qualities of "sublime" la ndscape appreciated by the likes of Edmund Burke3-and it can als o unexpectedly arise in the midst of degraded urban grittiness or in an une xplored corner of a superficially unremarkable backyard. \;

Artists in our group discover natur al wonder in many places-from Antarctic icebergs to carcasses of dead birds . And just as we respect "wilderness" in all of its manifestations\, we bel ieve that biodiversity and sustainability can only be maintained if we huma ns give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respe ct for the global interface of ecosystems\, be they planetary or microscopi c\, that we unavoidably impact. \;

Wilderness Mind: Dissolving Duality includes the work of fou rteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration\; we have worked together to study and work as eco-artists since 2005. This proposed exhibition repre sents work that ranges from photography to non-representational painting\, performance\, and installation\; it spans a continuum of references to wate r from suburban irrigation systems to the arctic ice cap\; to wildlife\, in cluding Barr owls\, sea otters\, and golden trout from the Sierras\; and to locations from San Pedro Harbor to Mozambique. Within the frame of wildern ess\, the group's work articulates themes of degradation and emergence\, na tural cycles\, mystery\, concern for the environment\, and connected onenes s. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative appr oach as an alternative to more traditional strategies of agency through dom ination\, and to the possibility for everyone to experience "wilderness" in any number of settings\, not just in uninhabited nature. Through the visua l messages communicated in our work as well as through workshops and progra ms offered to the community in conjunction with the exhibition\, our ultima te goal is to inspire visitors to participate in effective stewardship of t he environment. \;

< small>1 \;New Oxford American Dictionary\, Oxford University Press\, third edition. \;
2 \;Cronon\, William\, " The Trouble with Wilderness\; or\, Getting Back to the Wrong Nature\," Unco mmon Ground: Rethinking the Human Place in Nature\, New York: W.W. Norton & amp\; Co.\, 1995\, 69-90. \;
3 \;Burke\, Edmund\, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beau tiful\, 1857. \;


Deborah Thomas is an artist\, professor and independent curator wh o lives in Los Angeles\; she has also lived and worked as an artist in Gene va\, Switzerland and New York. With an undergraduate degree from the Univer sity of Michigan and an MA and ABD from the University of Pennsylvania\, Th omas currently teaches art history and contemporary art and theory at Pasad ena City College\, Glendale College and the Los Angeles Academy of Figurati ve Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus\; she also helped to organize "Elements\," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artw ork includes a series of conceptual installations and mixed media pieces us ing photographic images and found text\; her work on environmental themes t ypically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet\, Bringing the Past to Light: New Art from Old Images\, Intimate Geography: \;< br />
The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhi bitions\, educational programs and public actions. The group was first orga nized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA)\, a natio nal organization dedicated to creating community through art\, education an d social activism. In April 2007\, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San F rancisco and at the Day of the Dead Planet exhibition curated by Deborah Th omas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago\, Los Angeles\, New York\, San Francisc o and throughout the rest of the United as well as Asia and Europe. The col lective also engages the community through lectures\, installations and eve nts. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured a t zoos and natural history museums across the country. San Pedro-based arti sts Annemarie Rawlinson and Hiroko Momii often intermix their meditative an d activist practices.

DTEND:20130817 DTSTAMP:20140919T192544 DTSTART:20120520 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Wilderness Mind: Dissolving Duality\, Carolyn Applegate\, Nicole An tebi\, Dori Atlantis\, Ulla Barr\, Marie Cenkner\, Danielle Eubank\, Ann Is olde\, Nancy Lissaman\, Meg Madison\, Hiroko Momii\, MaryLinda Moss\, Sandr a Mueller\, Annemarie Rawlinson\, Deborah Thomas\, France White\, Karen Fri mkess Wolff\, JEN ZEN (aka Jen Grey\, J.J.L'Heureux UID:218364 END:VEVENT BEGIN:VEVENT DTEND:20120520T170000 DTSTAMP:20140919T192544 DTSTART:20120520T120000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Wilderness Mind: Dissolving Duality\, Nicole Antebi\, Carolyn Apple gate\, Dori Atlantis\, Ulla Barr\, Marie Cenkner\, Danielle Eubank\, Karen Frimkess Wolff\, JEN ZEN (aka Jen Grey\, Ann Isolde\, J.J.L'Heureux\, Nancy Lissaman\, Meg Madison\, Hiroko Momii\, MaryLinda Moss\, Sandra Mueller\, Annemarie Rawlinson\, Deborah Thomas\, France White UID:218365 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In Los Angeles\, where non-native fauna\, golf courses\, and man-made lakes collide with a desert\, mountains and sea\, what is a natur al landscape? What is escape\, when surrounded by the fabricated artificial ? 

In a gesture that considers the methodologies of contemporary art\, theme restaurants\, parks\, and interior design\, Los Angeles Nat ional Forest is comprised of a 7' x 7' x 7' room with a 3' x 5' entrywa y into a planned wilderness. The greens of a lush copse are represented by gelled lighting and printed leaves\; wood is presented in the form of build ing materials\, natural to a point but treated as a commodity\; a naturalis t's escape to a Southern California beach is alluded to by a perpendicularl y-flipped fast food restaurant motif.

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I am interested in c reating art that can be at once analytical and illogical\, grounded in the mundane while walking the path of the sublime. My aim is to create pleasura bly disorienting reflections of a metaphoric modern world\, where one achie ves estrangement from everyday experience and all meaning is reached throug h indirect means\, individual thought processes. Constructing all encompass ing\, unfamiliar spatial experiences is a method in my work to expand upon the theories and lessons of post-modern conceptual art and to question its failures. I like to think of my practice as a slippage between crafstman an d trickster\, investigating the uncanny\, transforming medium\, space\, and perception.  

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 Keith Rocka Knittel holds an MFA from the Califo rnia Institute of the Arts (CalArts) and a BFA from the Maryland Institute\ , College of Art (M.I.C.A). He is currently a staff member at the USC Roski School of Fine Arts\, and the founding director of OCEAN (westofcalifornia .org).  He lives and works in San Pedro\, California.

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DTEND:20130419 DTSTAMP:20140919T192544 DTSTART:20130127 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Los Angeles National Forest\, Keith Rocka Knittel UID:250036 END:VEVENT BEGIN:VEVENT DTEND:20130127T150000 DTSTAMP:20140919T192544 DTSTART:20130127T130000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Los Angeles National Forest\, Keith Rocka Knittel UID:250037 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Searchin' is an exhibition that considers contemporar y\, critical engagements with the theoretical sublime. Inspired by 70s Cali fornian conceptual artist Bas Jan Ader's project\, In Search of the Mira culous\, the contemporary artists whose work makes up this exhibition r e-examine his quest for the sublime and through it\, launch their own journ eys into the wilderness. 

Emmanuel Kant's definition of and writ ings on the sublime in his Critique of Pure Reason (1790)\, created a methodology for humanknowledge of the limits of our imagination. While ne ver equated with nature\, the unfathomable expanse of the ocean or seemingl y unconquerable mountain peaks became signifiers\, even metaphors for the u n-representable sublime. 

In the nineteenth century\, appreciati on for nature and the wilderness was caused in part by the industrial revol ution and westward expansion's threats to its very existence. As the mechan ical revolution gained steam\, the power of man defined human existence\, w e continually sought the attainment of something greater that could\, by de finition not be constructed\, controlled\, or even defined. 

Ade r was deeply aware of the relationship that we have to romantic ideas like the sublime. His series of photographs\, In Search of the Miraculous (On e Night in Los Angeles) (1973) records his pedestrian nocturnal journey through the city as he traversed from Hollywood to the Pacific. The images of Ader\, alone in a city of millions\, his shadowy figure juxtaposed agai nst the vast urban lights\, and\,perhaps most eloquently\, the artist's fat al disappearance at sea in 1975\, simultaneously maintain a persistence of these seemingly timeless concepts with a postmodern criticality of their ex istence. 

The artists of Searchin' continue Bas Jan Ader' s quest for the sublime. By partaking on his romantic journey in the contex t of 70s Los Angeles\, Ader permitted contemporary artists to engage in\, a s opposed to automatically dismiss\, historically modernist notions. They l ook for the meaning inherent in their own existence\, in the city in which they live\, and the vastness of the unknown that defines it and them. Some follow Ader's footsteps\, or re-trace his paths\, not in an illusionary att empt to succeed where he failed but as a process\, a re-visitation of a myt h of which the original artist is now a part. They enact Ader's quest throu gh their own searches\, deconstructing his process and discovering the trut hs still inherent in his search for the miraculous. Others discover new sit es within the Los Angeles that beckon something greater\, moments that simu ltaneously capture the city and transcend it. Alternative signifiers of the sublime are broached\, its foreboding\, danger and at times tragedy are at brought to the fore\, even as the everyday is considered as an equally lik ely subject for such a dialogue. The artists of Searchin' look for t he meaning inherent in their own existence\, in the city in which they live and the vastness of the unknown that defines it and them. They stand on a cliff at the edge of a wilderness and consider whether or not to leap. 

BIOGRAPHY 

Mary Coyne is an emerging curator from the Los Angeles area. She is interested in the intersections between contempor ary art\, theory and performance. Her curatorial goals are to create though tful juxtapositions in the ambition ofsparking a meaningful artistic dialog ue. Mary holds a Bachelor's degree in Art History with a minor in Italian f rom the University of Southern California. She is finishing her Master's pr ogram in Art History with an emphasis in Museum and Curatorial Studies at C alifornia State University\, Long Beach.

DTEND:20130419 DTSTAMP:20140919T192544 DTSTART:20130127 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Searchin': Los Angeles and the Quest for the Sublime\, Erika Yoeman s\, CODY TREPTE\, Mara De Luca\, Zoe Crocher\, Kevin Cooley\, Thomas Althei mer UID:250308 END:VEVENT BEGIN:VEVENT DTEND:20130127T150000 DTSTAMP:20140919T192544 DTSTART:20130127T130000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Searchin': Los Angeles and the Quest for the Sublime\, Thomas Althe imer\, Kevin Cooley\, Zoe Crocher\, Mara De Luca\, CODY TREPTE\, Erika Yoem ans UID:250309 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Eloisa Guanlao's investigation of water in southern Californ ia takes her to the heart of modern notions of wilderness\, western settlem ent\, the dynamics of rural-urban divide\, and the tension between technolo gical development and ecological aesthetic. She is interested in understand ing the historical and current attitudes about water. Guanlao looks at curr ent attitudes by setting up her "water" truck alongside food trucks at vari ous streets in southern California where she conducts a water survey and di stributes maps of southern California water sources. Her survey results\, a long with careful historical research into water usage anddistribution infr astructure\, reveal a heavy human impact on the natural distribution and pr ocess of the water cycle. The general public will have the opportunity to t race the results of her finding on a large-scale floor map of California wa ter sources. They will also be able to determine for themselves the cost an d benefits of water usage in southern California. 

BIOGRAPHY 

Eloisa Guanlao was born in the Philippines. Her artistic resear ch is informed by her experiences living in the Philippines\, Wisconsin\, V irginia\, Minnesota\, Hawaii\, France\, and California. Eloisa Guanlao atte nded the Los Angeles County High School for the Arts\, Carleton College\, a nd the University of New Mexico. She currently makes her home in Los Angele s.

DTEND:20130308 DTSTAMP:20140919T192544 DTSTART:20130127 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Free Water: Wilderness and Infrastructure\, Eloisa Guanlao UID:250310 END:VEVENT BEGIN:VEVENT DTEND:20130127T150000 DTSTAMP:20140919T192544 DTSTART:20130127T130000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Free Water: Wilderness and Infrastructure\, Eloisa Guanlao UID:250311 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An old-growth forest\, through its great age\, exhibits uniq ue ecological features and is often home to rare\, threatened\, and endange red species of plants and animals\, making them ecologically significant. U nfortunately\, many of our old-growth forest stands are threatened by habit at destruction at the invasive hands of man. This exhibition hopes to addre ss the wonders and perils of the forest by creating an environment which is at once unique and fantastic\, dangerous and bizarre\, and by acknowledgin g that one day the built environment may be all that's left us. 

In November of 2011\, the Arroyo Arts Collective and Yarn Bombing Los Ange les invited artists from all over the world to participate in Forest\, For the Trees\, a built-environment site specific fiber based installation. It was initially assembled in the Annex section of the Avenue 50 Studio in Hig hland Park\, and later sprouted in the window of the Craft and Folk Art Mus eum. Artists\, whose talents extend from novice to expert crafters\, have c reated trees\, groundcover\, animals\, water\, rain and much more. Works us e standard\, recycled\, and unusual materials\, and/or push the knit/croche t envelope\, and with each new venue\, the Forest continues to grow. 

Both groups would like to thank everyone who contributed to the previ ous projects\, including Lions Brand Yarn\, ARTSgarage\, the Craft and Folk Art Museum\, the Heritage Square Museum\, and the Fiber Studio at Studio C hannel Islands. 

BIOGRAPHY 

Heather Hoggan  is a native of Los Angeles\, California. She is a board member and long tim e co-president of the Arroyo Arts Collective (AAC)\; a community based arts organization dedicated to the development and presentation of creative eve nts in the Northeast Los Angeles area. She is also an active member in Yarn Bombing Los Angeles (YBLA)\, a group of yarn artists who display their cra ft in public and private spaces. 

The Arroyo Arts Collective< /b> was established in 1989\, as a community organization of artists\, writ ers and performers who live and work in Northeast Los Angeles. The mission of the Arroyo Arts Collective is to develop and present creative events tha t educate while fostering an awareness of the creative vitality of Northeas t Los Angeles. More information about the collective can be found on their website: http://ArroyoArtsCollective.org/ 

Yarn Bombin g Los Angeles is a group of guerrilla knitters who originally came toge ther in October 2010 for "Fig KnitOn" L.A.'s first large scale public graff iti yarn installation/exhibition and the "Yarn Bombing 18th St" installatio n at the 18th Street Arts. More information about the group can be found on their website:http://www.yarnbombinglosangeles.com/

DTEND:20130308 DTSTAMP:20140919T192544 DTSTART:20130127 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Forest\, For The Trees UID:250314 END:VEVENT BEGIN:VEVENT DTEND:20130127T150000 DTSTAMP:20140919T192544 DTSTART:20130127T130000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Forest\, For The Trees UID:250315 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angles Gallery is pleased to present Not in Arcadia Ego\, featuring photographic works by < strong>Noriko Furunishi\, Ori Gersht\, Soo Kim\, and Walte r Niedermayr.  The exhibition will be on view in the main gallerie s January 12th through March 9th. < /span>

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The landscape has been a central theme in visual art since antiquity. But beginning in the 16th century\, a new market for secular art emerged in the Netherlands\, which caused a shift in the role of the lands cape that reverberates today. Often relegated to a theatrical backdrop for biblical\, mythological\, and historical scenes in the 17th and 18th centur ies\, the landscape was elevated to higher status with Poussin's second ver sion of Et in Arcadia Ego\, also known as Shepherds in Arcadia  (Les bergers d'Arcadie). Since that time\, the landscape has worn powerful human emotions\, previously reserved for history painting al one. 

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The radical u se of the landscape by the early Moderns\, and especially the Impressionist s\, opened the door for the early photographic works of the 19th century. T he new medium had a profound impact on painting in general\, and facilitate d an expansion of both representations and perceptions of the landscape in the visual arts. Through the 20th century\, the subject of the landscape re mained dominant in photography\, in response to industrialization\, globali zation\, and the threat of ecological disaster. By the close of the 20th ce ntury (and more evident today) artists used the photographic landscape to c ontemplate the future of the human race\, examine the history of culture an d war\, and\, still\, to illuminate the threat of ecological disaster. 

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The four artists repre sented in the exhibition use photography in unique ways to communicate an a rray of ideas to the viewer. Often referencing the tropes of painting\, and openly borrowing from the milieu for composition and scale\, today's lands cape\, as depicted in the photographic medium\, is layered with emotion\, h istory\, and the weight of human experience. 

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Also on view will be three recent sculptural wor ks by gallery artist Tom LaDuke. These works have never be fore been assembled in a single exhibition\, and represent the artist's exp loration of themes of perception and identity. Taking as a point of departu re the German Idealists' notion that the self is a linguistic construct\, a Mobius trip of reflection and perception\, the artist has created a number of intimate sculptures that make manifest the dichotomy of the internal an d external self.

DTEND:20130309 DTSTAMP:20140919T192544 DTSTART:20130112 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Not in Arcadia Ego\, Noriko Furunishi\, Ori Gersht\, Soo Kim\, Walt er Niedermayr\, Tom LaDuke UID:252516 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140919T192544 DTSTART:20130112T180000 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Not in Arcadia Ego\, Noriko Furunishi\, Ori Gersht\, Soo Kim\, Tom LaDuke\, Walter Niedermayr UID:252517 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Annenberg Space for Photography is pleased to announce its next exhi bit – no strangers: ancient wisdom in a modern world\, a group show about the wonder of culture and the plight of indigenous people throughout the world.  The exhibit is guest curate d by esteemed anthropologist\, author and photographer Wade Davis.  

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no strangers explores the ways cultures express a shared huma nity and navigate the circle of life.  It poses a fundamental question: Wha t does it mean to be human and alive?  When the people of the world answer this question\, they do so in 7\,000 unique voices.  Tragically\, half of t hese may be silenced within a generation or two.  At risk is our human lega cy\, a vast archive of knowledge and expertise.

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Photographers featured in the exhibit are Carol Beckwith &\; Angela Fisher\, Wade Davis\, Chris Johns\, Lynn Johnson\, Steve McCurry\, Randy Olson\, Chris Rainier and Ham id Sardar.  Also included are Timothy Allen\, Caroline Bennett\, James P. B lair\, Edward Burtynsky\, David Hiser\, Aaron Huey\, Thomas Kelly\, Maurici o Lima\, William Fernando Martinez\, James Stanfield\, Brent Stirton\, Amy Toensing\, Jeroen Toirkens\, A Yin and Gordon Wiltsie.

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The exhibit will feature an original short documentary produced by Arclight Productions for the Annenberg Space for Photography.  Filmed in many locations\, from Washi ngton\, DC to British Columbia\, Canada to London to Mongolia\, the documen tary will feature additional photographs\, interviews and behind the scenes footage with exhibit photographers\, indigenous people and experts .  The film will examine indigenous cultures through photography’s lens and encourage viewers to consider ancient traditions in a new context .

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The themes explored in the exhibit include: The Circle of Life\, Our S hared Origins\, Ancient Wisdom\, Sacred Geography\, Endangered\, Globalizat ion\, Ritual &\; Passages\, Beauty\, Quest for Spirit and Joy of Culture .

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Exhibit images present cultures such as the Tibetan Buddhists of Nepal and their 2\,500-year-old traditions\; the last rainforest nomads who stru ggle to survive in Borneo\; Ethiopian tribes who participate in bull-jumpin g as a ritual of tribal membership and manhood\; and the Lakota in South Da kota who continue their spiritual ceremonies such as Sun Dances and the use of sweat lodges.  no strangers celebrates our diverse and sometimes unfamiliar world.

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< span style="font-size: small\;">The Photography Space's successful IRIS Nig hts lecture series will continue to offer free presentations featuring phot ographers and guest artists who document rare and indigenous cultures.

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T he Annenberg Space for Photography will publish an exhibit catalogue showca sing the work of these 24 photographers and their images of rare and distin ctive cultures.  Also offered for purchase will be a seminal book on body p ainting and adornment by photographers of African culture\, Carol Beckwith and Angela Fisher\, Painted Bodies: African Body Painting\, Tattoos\, a nd Scarification\, Rizzoli\, September 2012.  The public will also be able to purchase no strangers street banners from a select ion of four stunning images by renowned photographers who have travelled th e world.  Proceeds from merchandise will be used for the Annenberg Space fo r Photography\, which is free to the community.

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This exhibit opens to th e public in Los Angeles on November 17\, 2012 and runs through February 24\ , 2013.

DTEND:20130224 DTSTAMP:20140919T192544 DTSTART:20121117 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:no strangers: ancient wisdom in a modern world\, Angela Fisher\, Ca rol Beckwith\, Wade Davis\, Chris Johns\, Lynn Johnson\, Steve McCurry\, Ra ndy Olson\, Chris Rainier\, Hamid Sardar\, Timothy Allen\, Caroline Bennett \, James P. Blair\, Edward Burtynsky\, David Hiser\, Aaron Huey\, thomas ke lly\, Mauricio Lima\, William Fernando Martinez\, James Stanfield\, Brent S tirton\, Amy Toensing\, Jeroen Toirkens\, A Yin\, Gordon Wiltsie UID:241170 END:VEVENT BEGIN:VEVENT DTEND:20121117T210000 DTSTAMP:20140919T192544 DTSTART:20121117T110000 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:no strangers: ancient wisdom in a modern world\, Timothy Allen\, Ca rol Beckwith\, Caroline Bennett\, James P. Blair\, Edward Burtynsky\, Wade Davis\, Angela Fisher\, David Hiser\, Aaron Huey\, Chris Johns\, Lynn Johns on\, thomas kelly\, Mauricio Lima\, William Fernando Martinez\, Steve McCur ry\, Randy Olson\, Chris Rainier\, Hamid Sardar\, James Stanfield\, Brent S tirton\, Amy Toensing\, Jeroen Toirkens\, Gordon Wiltsie\, A Yin UID:241171 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Another Year in LA will begin the new year with PHOTOGRAPHY 2013 focusing on a specific art activity – Photography – featuring the work of five artists from across the United States.  The participating artists are: Richard Haley\, Vincent Johnson\, John Knuth\, Ann Mitchell and Rachel Sussman.

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Although there are only five artists in PHOTOGRAPHY 2013\ , the range of imagery in this show is vast.  Ann Mitchell’s “Unmades” are digital prints on handmade Nepalese paper that record the unmade quality of her bed as she wakes up each day.  Whereas Mitchell’s photographs have an ethereal almost meditative/poetic quality\, Vincent Johnson’s gritty color photographs of dirty bathrooms are jarring as well as disgusting and remind s one of the nasty gas station restrooms you have encountered during a long drive where you just want to get in\, use it and get out as quickly as pos sible.

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Richard Haley continues his exploration between man and natu re even when both don’t appear to be real.  Rachel Sussman also turns to na ture and not necessarily for traditional landscape imagery but to photograp h the world’s oldest life forms on earth (including the La Llareta found in Chile that is 3\,000 years old).  John Knuth’s mysterious Polaroid photos of reflective emergency blankets tossed in the air have a wistful abstract quality that is accentuated by the field of the blue sky background.

DTEND:20130308 DTSTAMP:20140919T192544 DTSTART:20130117 GEO:34.0660859;-118.2384242 LOCATION:Another Year in LA\,Chung King Road \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:PHOTOGRAPHY 2013\, Richard Haley\, Vincent Johnson\, John Knuth\, A nn Mitchell\, Rachel Sussman UID:253383 END:VEVENT BEGIN:VEVENT DTEND:20130117T200000 DTSTAMP:20140919T192544 DTSTART:20130117T170000 GEO:34.0660859;-118.2384242 LOCATION:Another Year in LA\,Chung King Road \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:PHOTOGRAPHY 2013\, Richard Haley\, Vincent Johnson\, John Knuth\, A nn Mitchell\, Rachel Sussman UID:253384 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aran Cravey Gallery is pleased to present\, when we are at sea in the evidence\, a solo exhibition of dr awings by Tara Geer.

What does it mean to have a visual experience? ‘Seeing’ is no t a passive occurrence - to see an object or facial expression is an active experience.  It is at once an act of cognition and visual exposure\; we re cognize\, identify\, and conceptualize. For Tara Geer\, the act of drawing becomes a way to see the world\, and in her works\, deconstruction becomes a strategy to expose the comfort of recognition. Every instance of seeing i s manifested through the lens of our experiences\; to see is to make intent ional connections between what is in front of us now and instances in the p ast. Thus\, in her works a division takes place between our visual experien ce with the abstract flurry of charcoal\, chalk and pencils and the title\, implicating what the viewer observes on the paper is a documentation of so mething found in the tactile realm.

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The twelve works exhibited for this show materialize through the medium of drawing\; chalk\, charcoal\, pastels \, pencils and erasers on paper. There has been a notable return to abstrac tion in painting\; these works attempt to negotiate the practice of paintin g itself rather than the experience of a painting itself. Geer’s resolution in limiting her palette through the use of drawing materials allow the wor ks to disembark from a discussion on abstraction as it is expressed in pain ting. Despite being abstract\, the viewer does not have a purely optical ex perience with the works. Through our struggle for recognition we are pushed to reflect on our own engagement with visuality in the day to day.< /p>\n

 As a drawing instructor\, Geer’s philosophy on how one learns to draw is inter twined with her idea of seeing. Geer explains\, “The hardest thing about dr awing is nothing technical in your hand\; the hardest thing about drawing i s looking.” It follows that interacting with Geer’s drawings is itself a vi sual exercise. We question the process with which we recognize things\, wha t happens when we look at a recognizable object for an extended period of t ime\, until the individual aspects which made the object whole and percepti ble fall apart into their own visual entities. What happens here is curious \; words become a useless descriptive tool.


Tara Geer (b.1970) was born in B oston\, Massachusetts and received her BA from Columbia University with a d ouble major in Art and Art History\, graduating Magna Cum Laude &\; Phi Beta Kappa\, as well as an MFA with a teaching fellowship from Columbia Uni versity School of the Arts. She received the Loius Sudler Prize for excelle nce in the Arts and the Joan Sovern prize.  Currently\, she is an Adjunct A ssistant Professor in the Department of Visual Arts at Columbia and in Art &\; Art education at Teachers College. Geer also trains teachers and sta ff in Visual Thinking Strategies at the Brooklyn Museum\, El Museo \, and the Joan Mitchell Foundation among others.  She has worked at WNYC\, the NY public radio station\, writing and producing culture pieces for  “M orning Edition\,” “Studio 360\,” Leonard Lopate and other national radio sh ows.  Her work has been covered in publications such as the New York Times and has been included in exhibitions and collections throughout the US and France.  

DTEND:20130331 DTSTAMP:20140919T192544 DTSTART:20130126 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:when we are at sea in the evidence\, Tara Geer UID:255592 END:VEVENT BEGIN:VEVENT DTEND:20130126T200000 DTSTAMP:20140919T192544 DTSTART:20130126T180000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:when we are at sea in the evidence\, Tara Geer UID:255593 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Armory Center for the Arts presents a temporary\, site- specific installation by Los Angeles-based artist Nate Page in its central stairwell through June 2013. 

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Page’s newest work\, enti tled Instituted Angles of Path and Display\, challenges the ultra- functional design of the Armory’s main stairwell. Page has removed one of t he stairwell’s two large metal handrails\, turned it 90 degrees\, and mount ed it in the middle of the space on a pedestal-like structure that follows the crooked trajectory of the stairs and the landing. This simple gesture b oth highlights and alters the existing framework and prescriptive design of the space\, which remains fully functional although visually distorted. Ce ntral to Page’s practice is an interest in engaging elements of perceived a nd given space in built environments\, often through objects dismissed as p eripheral or incidental.

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Page acknowledges that railings generally can s erve two functions: one for handrail support\, and the other as a boundary. By turning a railing on its side and using it to bisect the Armory stairwe ll\, Page shifts our point of view what a handrail is for. Page has created a topography of the climber's passage and an opportunity for visitors to b ecome aware of their physical and psychological relationships to the archit ecture by negotiating passage (stair) vs. path (boundary railing). Familiar visual and spatial rhythms are interrupted\, inviting the viewer to recons ider the function of the space – and possibly\, the artist hopes\, to find more potential than what it is programmed for.

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Nate Page lives in Los Angeles.  His work has been seen at Lothringer Dreizehn Spac e for Contemporary Art in Munich\, Hotel Pupik in Schrattenberg Austria\, W arsaw Academy of the Arts\, Warsaw\, John Michael Kohler Center for the Art s in Sheboygan\, WI\, No Name Exhibitions @ The Soap Factory\, Minneapolis\ , and at Cooper Union and Jen Bekman Gallery\, both in New York. Page has p roduced many environments with Machine Project in Los Angeles including A F ield Guide to LACMA at Los Angeles County Museum of Art and has shown natio nally including Woodbury University Hollywood Gallery\, Institute of Visual Arts at University of Wisconsin-Milwaukee\, and Otis College of Art and De sign in Los Angeles. From 2001-2004\, Page co-directed an experimental arti st collaborative and exhibition space in Milwaukee called the Rust Spot. He received a MFA from the California Institute of the Arts and a BFA from Mi lwaukee Institute of Art and Design and attended the Warsaw Academy of Art in Warsaw\, Hotel Pupik in Schrattenberg Austria\, and the New York Studio Program and the Summer Residency at The Cooper Union\, both in New York Cit y.

DTEND:20130630 DTSTAMP:20140919T192544 DTSTART:20120708 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Instituted Angles of Path and Display\, Nate Page UID:234944 END:VEVENT END:VCALENDAR