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Blum &\; Poe is pleased to present an exhibition of new work by the Canadian artist Hugh Scott-Douglas. This m arks Scott-Douglas' first exhibition with Blum &\; Poe and his first sol o-presentation in Los Angeles. 

For this exhibition\, Scott-Douglas draws inspiration from the 1920 German Expressionist silent film\, The Cabinet of Dr. Caligari. Directed b y Robert Wiene\, the film has long been regarded for its use of highly styl ized two-dimensional stage sets and the employment of mise-en-abyme\, or dr eam-within-a-dream narrative\, to tell the story of Francis\, its protagoni st\, through flashbacks -- one of the earliest films to utilize this techni que. As the plot unfolds\, a physical and psychological mirroring takes pla ce\, one in which time\, space\, and perspective are called into question. The deceptively elaborate (although in reality quite simple) stage sets use d to create such visual trickery are paramount to the film's success and ha ve inspired the installation and architectural choices in Scott-Douglas' cu rrent presentation. Much like how Wiene's stage sets dictate the mood of hi s film\, Scott-Douglas\, through careful study of Blum &\; Poe's archite ctural footprint\, has authored an ambitious installation comprised of ongo ing bodies of work: cyanotypes\, laser cuts\, road cases\, and slide projec tions. 

The cyanotype (o r blueprint)\, created in the 1840s and used largely by architects (and lat er artists)\, is one of the earliest non-camera photographic processes\, de veloping images with the aid of the sun rather than artificial light. The p rocess allowed architects to make inexpensive copies of their drawings prio r to the age of photocopy machines. In Scott-Douglas' hands\, the cyanotype is used to produce works imbued with motifs designed through computer-gene rated algorithms. The patterns are output onto transparent film\, and then exposed on canvas. The resulting chromatic variation from one canvas to the next is a bi-product of the contingent environment -- the intensity of the sun passing over the canvas at its time of development. In this exhibition \, Scott-Douglas uses a grid of eighteen cyanotype pictures measuring 18.5 feet high by 37.5 feet wide as the initial focal point for his installation \, towering over four imposing road cases. Using the full surface area of t he gallery's largest wall\, Scott-Douglas builds a lattice of blue patterni ng\, alternating and subtly shifting in tonality. The artist endeavors to c reate an "architectural kiss\," a term coined by the architectural scholar Sylvia Lavin\, whereby the cyanotypes gently embrace the existing architect ure\, and each piece of the remainder of the installation falls in line. 

Just as Scott-Douglas' cy anotype pictures require ultraviolet light to develop\, his laser cuts rely on infrared light to generate their motifs. Infrared\, on the opposite end of the light spectrum from ultraviolet\, has the ability to burn away the surface of a canvas in a highly controlled manner\, unlike sunlight. Scott Douglas' laser cuts are "built" from the pictorial information found in his cyanotypes. After photographing a completed cyanotype\, the artist will sc an and decode the resulting image and export its content to a laser-cut mac hine. The laser cutter will then produce a "negative" of the blue picture\, in essence creating a canvas devoid of all the cyan information found in t he original source material. It is through this subtractive process that a relationship between these bodies of work takes shape. The life of the blue picture and the laser cut extends into a different potential space\, all t he while carrying the DNA of one and the other wherever it may travel. 

This notion of transience i s one that Scott-Douglas aims to address with his road cases. Conventionall y used as a means of transporting equipment from one site to another\, the road case here functions practically as a piece of "temporary architecture" and symbolically as the means to contain an inherently transient object. C onstructed on a one-to-two descending scale from 14 x 28 feet at its larges t to 2 x 4 feet at its smallest\, the four road cases in the exhibition eac h contain an embedded laser cut filled within the metal frame of the case\, which function equally as frames\, walls\, and cases. The laser cut exists only temporarily in its current incarnation as part of the gallery's archi tectural plan - like a fake wall. Upon the end of the exhibition\, the tran sient object becomes victim to any number of environments it might travel t o\, eventually finding a resting place\, only later to be moved again. Scot t-Douglas retrains our eye to the power of the set or stage to distort our understanding of space and time. 

Alone in the smallest of the three main galleries\, Scott-Douglas will present a new slide project. Loaded with eighty slides\, each of the five rotary slide carousels will throw a square of blue light on the opposi ng wall at unsynchronized intervals\, creating a cacophony of mechanized sh uttering. Similar to how the production of his laser cuts depend on the exi stence of their corresponding cyanotypes\, the artist has matched the chrom atic value of each slide to an existing blue found in a cyanotype picture. Beyond their formal relationship\, the duration of each slide projector is timed exactly to fifteen minutes\, the amount of time required for the sun to fully expose a canvas outdoors\, after which time\, no further cyan can be drawn from the chemistry. It is through these relationships of form\, co ntent\, time and space in which Scott-Douglas' practice takes shape and one is left to negotiate within the hall of mirrors he has built. 

Hugh Scott-Douglas (b. 1988\, Cambr idge\, England) holds a BFA in sculpture from the Ontario College of Art an d Design (OCAD). His work will be featured in the forthcoming exhibition Pa ttern: Follow the Rules at the Eli and Edythe Broad Art Museum at Michigan State Museum in March 2013.  

DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:The Cabinet of Dr. Caligari\, Hugh Scott-Douglas UID:251626 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140821T213231 DTSTART:20130112T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:The Cabinet of Dr. Caligari\, Hugh Scott-Douglas UID:251627 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Cherry and Martin presents the first United States solo exhibi tion in ten years by one of the most important contemporary French painters \, Bernard Piffaretti\, as curated in conversation with Matt Connors.
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December 2012\, Los Angeles – For more than 30 years Piffaretti has expressed the virtues and co ntradictions of painting\, pairing codes of modern abstraction with a stric t conceptual methodology. By vertically dividing the canvas into two equal halves creating the right-side as the original and the left-side its copy\, Piffaretti has shaped his oeuvre into a multi-perplexing paradox that runs the gamut of painting’s canon while forming the quintessential Duchampian question to the audience.
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The rigor and restraints of Berna rd Piffaretti’s practice is riddled with the interruption\, or pause\, from its initiating mark—the formal constant of the painted-vertical line—that equally connects and separates the whole of the canvas.  The paintings’ con ception prompts a metaphorical plurality to the viewer on the creation of t he pictorial image\, the role of thinking in form\, and the questions of ne gation and reaffirmation of the act of painting through the systematic role of copying to once more reveal what was already known. Unlike many of his contemporaries relaying on the power of the mechanical reproductive image\, and the objective truth as presented in the photograph\, Piffaretti posits himself into the endless variation of form as a traditional painter\, ackn owledging his strong conceptual threading\, the thoughts within his paintin gs\, and their relationship to space and time bearing the weight of the art ist’s infinite dualities.
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Accompanying the exhibition will be a catalogue of Bernard Piffaretti’s work along with a text documenting t he discourse between Bernard Piffaretti\, in Paris\, and Matt Connors\, in New York. Their conversation\, as conducted through email and in-person mee tings\, demonstrates the ebbs and flows of both the artists’ painting pract ice\, their relationship to time and space\, and the multifaceted questions that engage them in their acts of creation.
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“My painting i s built around a great paradox: To deny in order to better assert. My paint ing thinks and put its thinking on display. It will unfold and thus deny it s essential issues and underlying basis: chronology\, origin\, ending\, inc ompleteness\, series\, montage\, reproduction\, etc… “ (Bernard Piffaretti in conversation with Matt Connors)
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Bernard Piffaret ti has been the subject of solo museum exhibitions at the Musée d’ Art Moderne  (2009\, Saint-Etienne\, France)\; Mamco (2007\, Geneva\, Swit zerland)\; Beaumont Public Gallery (2006\, Luxembourg\, Germany)\; Sara Hil den Art Museum (2001\, Tampere\, Switzerland)\; Cartier Foundation for Cont emporary Art (2000\, Paris\, France)\; and Villa Arson (1991\, Nice\, Franc e). Piffaretti has been featured in museum group exhibitions at the Centre Georges Pompidou (Paris\, France)\; Hong Kong Museum\; CAPC Museum of Conte mporary Art (Bordeaux\, France)\; Joan Miro Foundation (Barcelona\, Spain)\ ; National Gallery of the Grand Palais (Paris\, France)\; and Switzerland M useum of Fine Arts (Bern\, Switzerland). Piffaretti was born in 1955 in Sai nt-Etienne\, France\; he currently lives and works in Paris\, France.
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Bernard Piffaretti: Report  is part of Ceci n’est pas… Art between France and Los Angeles. 
DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Report\, Bernard Piffaretti UID:251796 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140821T213231 DTSTART:20130112T180000 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Report\, Bernard Piffaretti UID:251797 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.0351575;-118.377008 LOCATION:China Art Objects Galleries\,6086 Comey Ave. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:"Angus" with a poem by Arron Sands\, Kim Fisher UID:249799 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140821T213231 DTSTART:20130112T180000 GEO:34.0351575;-118.377008 LOCATION:China Art Objects Galleries\,6086 Comey Ave. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:"Angus" with a poem by Arron Sands\, Kim Fisher UID:249800 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In an ode to ramen\, the instant noodle version\, Sojung Kwo n celebrates this seasonless\, comfort food with drawings of the assorted v arietals. Kwon searches for signification in the mundane and ordinary i.e.\ , evasive verbiage and technical writing printed on ramen packaging or clos ing sentiments expressed in plethora of emails\, spam or “real.”

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In another suite of drawings\, Kwon chronicles the repetition of common senti ments expressed in a year’s worth of emails signed by friends\, acquaintanc es\, and strangers onto a blank calendar template by date of receipt. In an invisible grid of twelve months\, Kwon tabulates each day with the presenc e/absence of a single word like wish\, best\, soon\, or love.

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Born in Seoul\, Korea\, Sojung Kwon received her BFA and MFA in Sculpture from S ungshin Women’s University\, Seoul\, and received her second MFA from Otis School of Art and Design\, Los Angeles\, CA. Her work has been included in venues such as Seoul Municipal Museum\, Seoul\, Korea\; Barnsdall Art Park\ , Los Angeles\, CA\; Insa Art Space\, Seoul\, Korea\; Kunstvlaai Exhibition \, Amsterdam\; The Nevada Museum of Art\, Reno\, NV\; Dumbo Festival\, New York\, NY\; S1F gallery\, Los Angeles\, CA\; Machine Project\, Los Angeles\ , CA\; Angels Gate Cultural Center\, San Pedro\, CA\; Gallery Dam\, Seoul\, Korea\; Pawnshop Gallery\, Los Angeles\, CA\; and The Tahoe Gallery at Sie rra Nevada College\, NV. She attended artist residencies at MacDowell Colon y\, NH\; Sandberg Institute Exchange Program\, Amsterdam\; and Can Serrat\, Barcelona. She currently lives and works in Los Angeles.

DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130202 GEO:34.0596767;-118.2894231 LOCATION:Commonwealth and Council\,3006 W 7th St #220\nLos Angeles\, Califo rnia 90005 SEQUENCE:0 SUMMARY:Ramen Blues\, Sojung Kwon UID:258931 END:VEVENT BEGIN:VEVENT DTEND:20130202T230000 DTSTAMP:20140821T213231 DTSTART:20130202T190000 GEO:34.0596767;-118.2894231 LOCATION:Commonwealth and Council\,3006 W 7th St #220\nLos Angeles\, Califo rnia 90005 SEQUENCE:0 SUMMARY:Ramen Blues\, Sojung Kwon UID:258932 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New abstract wax paintings by Los Angeles based artist Daniel Kaufma n.

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George Billis Gallery is pleased to present the gallery’s first exhibition of paintings by Daniel Kaufman .  The exhibition features the artist’s most recent body of work and contin ues through February 16th.

Twenty-three years ago Kaufman gave up this successful career in photography to devote himself to painting\, earning a living by writing non-fiction books and magazine articles\, and working as a literary agent. As a photographer\, Kaufman felt unsatisfied. As he put it\, he felt as if he were "walking of the surface of the ocean of art". He wanted more from photography than he was able to find.

Apprenticing himself to the internationally exhibited painter Max Shertz\, Daniel began to appreciate the underpinnings of art and his o wn consciousness. Whereas photography began on the surface\, painting invol ved transcending the surface and giving expression to the Source of all cre ativity what he calls the "Inner Artist". Daniel's efforts to create art we re now concerned with stilling the mind of preconceptions\, silencing the e ver-dominating ego\, and going beyond personal fears to arrive at a complet ely humbling and intensely liberating art.

Daniel's paintings resist the temptation to record the m erely accidental or chaotic\, and in this he goes beyond the Abstract Expre ssionist painters to seek what he calls a "non-random beauty" that is never pre-conceived but is the expression of the purest impulses of "Creative In telligence". His work abounds in detailed inner landscapes. Like Pollock\, he does not consider himself an abstract or non-representational painter\, but rather delights in the images and associations that rise up onto the su rface unplanned and often invisible to the casual observer. Unlike Pollock\ , and his innumerable followers\, Daniel is not content with leaving the dr ips and lines and spots where they lie. He takes away paint as freely as he applies it\, his only goal the marriage of the conscious and unconscious a t the perfect meeting place. Scintillating with color\, now bold\, now soft and dreamlike\, Daniel's paintings delight the eye with their variety of f orm and (especially) color.

DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.033637;-118.375646 LOCATION:George Billis Gallery- LA\,2716 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Dutch Doors of Perception\, Daniel Kaufman UID:250150 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140821T213231 DTSTART:20130112T170000 GEO:34.033637;-118.375646 LOCATION:George Billis Gallery- LA\,2716 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Dutch Doors of Perception\, Daniel Kaufman UID:250151 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.033637;-118.375646 LOCATION:George Billis Gallery- LA\,2716 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Colorful Antics\, Derek Buckner\, YaYa Chou\, Carol Es\, Stanley Go ldstein\, Tom Gregg\, kathy halper\, Duane Paul\, Charlotte Smith\, Barbara Strasen\, Trine Wejp-Olson UID:254120 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140821T213231 DTSTART:20130112T170000 GEO:34.033637;-118.375646 LOCATION:George Billis Gallery- LA\,2716 S. La Cienega Blvd. \nLos Angeles\ , CA 90034 SEQUENCE:0 SUMMARY:Colorful Antics\, Derek Buckner\, YaYa Chou\, Carol Es\, Stanley Go ldstein\, Tom Gregg\, kathy halper\, Duane Paul\, Charlotte Smith\, Barbara Strasen\, Trine Wejp-Olson UID:254121 END:VEVENT BEGIN:VEVENT DESCRIPTION:

JANCAR GALLERY is pleased to a nnounce an important survey of the work of ANNIE SPRINKLE &\; ELIZABETH STEPHENS – “The Collaboration”

DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130116 GEO:34.0663502;-118.2384334 LOCATION:Jancar Gallery\,961 Chung King Road \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:The Collaboration\, Annie Sprinkle & Elizabeth Stephens UID:251630 END:VEVENT BEGIN:VEVENT DTEND:20130112T210000 DTSTAMP:20140821T213231 DTSTART:20130112T180000 GEO:34.0663502;-118.2384334 LOCATION:Jancar Gallery\,961 Chung King Road \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:The Collaboration\, Annie Sprinkle & Elizabeth Stephens UID:251631 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Nicholas Kahn and Richard Selesnick's latest project concerns a fictitious cabaret troupe\, the Truppe Fledermaus \, who travel the countryside staging absurd and inscrutable performances i n the abandoned landscapes beyond the town's edge. To create this 'Theater of Memory'\, the Truppe are as apt to commemorate the passing of an unusual cloud as they are to be found documenting their own attempts to flee the r ising waters of a warming planet\, or using black humor to comment upon mas s extinction. In addition to using this concept to address ecological theme s\, Kahn &\; Selesnick also use it as a metaphor for the manner in which seemingly inexhaustible quantities of information are disseminated to us i n the modern world.  

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Richard Selesnick and Nicholas Kahn have been coll aborating as Kahn/Selesnick since 1988 on a series of complex narrative pho to-novellas and sculptural installations. They were both born in 1964\, in New York City and London respectively and both are British citizens. They m et at Washington University in St Louis where they collaborated informally from 1982-86 as photography majors. After graduation and a couple of years of showing their art separately they migrated to Cape Cod\, Massachusetts t o work on an evolving series of projects\, some painting based\, some photo based\, all involving fictional attributions and narratives.  

DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.0329289;-118.3748082 LOCATION:Kopeikin Gallery\,2766 South La Cienega Blvd \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:The Carnival at the End of the World\, Kahn & Selesnick UID:253515 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140821T213231 DTSTART:20130112T180000 GEO:34.0329289;-118.3748082 LOCATION:Kopeikin Gallery\,2766 South La Cienega Blvd \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:The Carnival at the End of the World\, Kahn & Selesnick UID:253516 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"My work has revolved around themes such as memory and forgetting\, the processes that transform landscapes and the way we perceive these landscape s through images." 

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DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.0329289;-118.3748082 LOCATION:Kopeikin Gallery\,2766 South La Cienega Blvd \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:The "Thames" Portfolios\, Jose Guerrero UID:254737 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140821T213231 DTSTART:20130112T180000 GEO:34.0329289;-118.3748082 LOCATION:Kopeikin Gallery\,2766 South La Cienega Blvd \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:The "Thames" Portfolios\, Jose Guerrero UID:254738 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Koplin Del Rio is pleased to introduce a gallery exchan ge program with Prographica in Seattle\, WA.

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A fifteen year professional rela tionship between directors\, Eleana Del Rio and Norman Lundin has resulted in a collaborative exhibition venture between their two galleries.\n

A discussion began when Prographica opened its doors in Seattle in 2010. The gallery represented nationally re cognized and emerging artists with an emphasis on artists of the Northwest. As Prographica grew it developed a unique exhibition model similar to that of a repertory theatre\, wherein the work of gallery and invited artists i s showcased in rotating thematic shows. With this model came the opportunit y to share gallery artists with KDR and build careers in both locations.

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The affiliation will further manifest itself in January 2013\, as KDR announces I-5 Connects\, a program featuring regular exchange exhibitions between the two galleries.\n

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While each gallery will continue to maintain its individual identity\, the collaboration will function as a n annex\, building upon the expansion of two distinct programs.

DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.0316947;-118.3771554 LOCATION:Koplin Del Rio Gallery\,6031 Washington Blvd. \nCulver City\, CA 9 0232 SEQUENCE:0 SUMMARY:I-5 Connects:: Prographica at Koplin Del Rio: New Connections \, Ki mberly Clark\, Steve Costie\, Ellen Garvens\, Tamblyn Gawley\, Philip Goved are\, Laura Hamje\, Michael Howard\, Caoline Kapp\, Carolyn Krieg\, Dale Li ndman\, Norman Lundin\, Sean McElroy\, Elizabeth Ockwell\, Anne Petty\, Lau ra Swytak\, Kathy Vargas\, Evelyn Woods UID:249801 END:VEVENT BEGIN:VEVENT DTEND:20130112T190000 DTSTAMP:20140821T213231 DTSTART:20130112T170000 GEO:34.0316947;-118.3771554 LOCATION:Koplin Del Rio Gallery\,6031 Washington Blvd. \nCulver City\, CA 9 0232 SEQUENCE:0 SUMMARY:I-5 Connects:: Prographica at Koplin Del Rio: New Connections \, Ki mberly Clark\, Steve Costie\, Ellen Garvens\, Tamblyn Gawley\, Philip Goved are\, Laura Hamje\, Michael Howard\, Caoline Kapp\, Carolyn Krieg\, Dale Li ndman\, Norman Lundin\, Sean McElroy\, Elizabeth Ockwell\, Anne Petty\, Lau ra Swytak\, Kathy Vargas\, Evelyn Woods UID:249802 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Cast Recording draws together works that employ two distinct methods of casting ― the casting of objects and casting of characters. One is in the aid of transfiguration an d the other in aid of personification\, yet both share the intention of fil ling a form with a substance malleable enough to assume a given shape.

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A rranging these works in composition\, the exhibition points to the philosop hical relevance of casting-one-thing-into-another to the practice of making art. This gesture has particular relevance to contemporary art\, which not only makes ample use of casting objects and casting characters\, but relie s on this kind of transfusion from one substance into another\, to create s entience\, meaning and an altered value.

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What transpires materially in t he process of casting an object and character\, also occurs metaphysically. Fundamental questions of materialism and translation are raised in these p rocesses and refer to the theatrical\, perceptual and metaphorical impulses of making art. The work will exhibit qualities that include the process of casting and reproduction\, the formulation of character\, fiction\, mimesi s\, recordings and stage.

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Artists in Cast Recording include Luci e Stahl\, Marie Lund\, Ryan Gander\, Matt Hinkley\, Hany Armanious\, Math B ass\, Sarah Conaway\, Pierre Bismuth\, Olga Balema\, Pascual Sisto and Jays on Musson. Cast Recording is curated by Liv Barrett and w ill be accompanied by a catalogue\, published online and available from pri smla.com upon the opening of the exhibition. An opening reception will be h eld from 7 – 9pm on Friday 18 January.

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DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130118 GEO:34.091238;-118.381661 LOCATION:PRISM\,8746 West Sunset Boulevard \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:Cast Recording\, Lucie Stahl\, Marie Lund\, Ryan Gander\, Matt Hink ley\, Hany Armanious\, Math Bass\, Sarah Conaway\, Pierre Bismuth\, Olga Ba lema\, Pascual Sisto\, Jayson Musson UID:252510 END:VEVENT BEGIN:VEVENT DTEND:20130118T210000 DTSTAMP:20140821T213231 DTSTART:20130118T190000 GEO:34.091238;-118.381661 LOCATION:PRISM\,8746 West Sunset Boulevard \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:Cast Recording\, Hany Armanious\, Olga Balema\, Math Bass\, Pierre Bismuth\, Sarah Conaway\, Ryan Gander\, Matt Hinkley\, Marie Lund\, Jayson Musson\, Pascual Sisto\, Lucie Stahl UID:252511 END:VEVENT BEGIN:VEVENT DESCRIPTION:

You've gotta love Jack Pierson. In this his 19th comeback attempt in as many years he still relentlessly bangs a drum for the critical and c uratorial attention that has eluded him since his move into big budget stud io roles. 

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In the early days of the 90's he rode into our collective conscience on an ecstatic wave that de livered him as grunge grandpa survivor. His early downtrodden exercises in blitheness seemed to speak so lyrically about lost youth AIDS and Beauty th at we became blind as his overpowering self obsession morphed into a topiar y of empty cultural signifiers. The International Cultural Elite (ICE) howe ver did not. Once his salary became out of sync with the hobo-hemian legend he had created with the other crepe hangers of his 'scene' (he assiduously avoids the word 'generation'\, as they are all a few years much older than him) 'It' girl Nan Goldin\, the late Mark Morrisroe\, and the positively t ubercular David Armstrong\, only the most general public had any time for h im. They showed up in droves though\, to one treacly reassessment of his pa st glories after another\, two tickets and a bag of popcorn in hand.  

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Oblivious to the fact that museums an d art journals had long since slammed the door in his face poor Pierson< /b> continued to chew the scenery and sweep the floor with the lace sleeves of his despair. All he was hearing were the sighs of an adoring audience a nd the clatter of coins in the coffers. Hollywood beckons only once\, and t hose who can\, often do pass irretrievably through it gates. It happened to Rudolph Valentino\, it happened to Elvis Presley\, those idols had the sen se to crumble and die. Pierson merely crumples as one hack director after a nother\, each of them hand picked by the desperate aging actor\, sets him l ike a marionette to strut and fret on the tiny stage of his latest self inf licted whim. Good Lord! His last picture play was released only in Europe u nder the misleading title Jesus and Nazimova.   

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It is a tragedy we can no longer be sure which role was hi s. In any case in this latest stab at re-establishing relevancy he has opte d for the one commercial Grand Guignol he had managed to avoid lo these 30 years: The Badass Motherfucker in a Blockbuster. At 50+ the once winsome tr oubadour will star as a grizzled anti-action hero in this his biggest budge t disaster spectacle to date: THE END OF THE WORLD! As if to insure sang-fr oid devil-may-fuck you delivery\, the recently remodeled Pierson will star AND direct himself in this sure to be crowd pleaser. 

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This just in: On January 12\, 2013 (get it? 1*12*13) Regen Projects Hollywood will open\, to a line of ticket holders who have b een forming since yesterday\, this newest Jack Pierson vehicle in wh ich he plays X\, a lonesome post-Rapture nihilist walking the landscape of his vanished youth looking for signs of Ricky Nelson amongst the debris of his discontent.

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Tearing tickets and kicking ass.

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Sayonara Documenta.< /span>

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Pierson's work has been the subject of numerous solo exhibit ions including CAC Málaga\, Spain\; Irish Museum of Art\, Dublin\, Ireland\ ; MCA\, Miami\, Florida\; and MCA\, Chicago\, Illinois.  Extensive monograp hs and publications have been published about the work including Desire Despair\, Angel Youth\, and Jack Pierson. 

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An opening reception for Jack Pierson w ill take place on Saturday\, January 12 from 6-8 pm. For further informatio n please contact Heather Harmon\, Donna Chu\, or Jennifer Loh at 1-310-276-5424       .

DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.090396;-118.337743 LOCATION:Regen Projects\,6750 Santa Monica Boulevard \nLos Angeles\, CA 900 38 SEQUENCE:0 SUMMARY:The End of the World\, Jack Pierson UID:250833 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140821T213231 DTSTART:20130112T180000 GEO:34.090396;-118.337743 LOCATION:Regen Projects\,6750 Santa Monica Boulevard \nLos Angeles\, CA 900 38 SEQUENCE:0 SUMMARY:The End of the World\, Jack Pierson UID:252176 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.0276049;-118.4678444 LOCATION:Richard Heller Gallery\,Bergamot Station 2525 Michigan Ave B-5A\nS anta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Hand of the Slumber Man\, Luke Whitlatch UID:253963 END:VEVENT BEGIN:VEVENT DTEND:20130112T200000 DTSTAMP:20140821T213231 DTSTART:20130112T180000 GEO:34.0276049;-118.4678444 LOCATION:Richard Heller Gallery\,Bergamot Station 2525 Michigan Ave B-5A\nS anta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Hand of the Slumber Man\, Luke Whitlatch UID:253964 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An official exhibition for Ceci N'est Pas
For more info rmation on the Ceci N'est Pas events\, please visit:
http://www.cnp-la.org
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In his new exhibition “Contenant Contenu” (Containing\, C ontained…) Marc Fichou offers a cross-medium exploration of a loop connecti ng two versions of the same object in space and time\, one containing the o ther. In “8×8″\, a sheet of wood has been divided into pieces to form a tem porary three dimensional arrangement\, which after being photographed in th e gallery is put back into its original 2D shape to become the support of i ts own image. The exhibition space is now perceived as both containing the piece and contained by it.

In the series entitled “Paper on pape r“\, the image of an animal made of folded paper is superimposed on the fol ds that led to its creation. Origami and paper are one and the same thing a t two different times\, in two different spaces and in two different shapes . The final piece is an unfolded print where folds in the picture blend wit h the actual folds\, thus establishing a continuity between image and matte r.

In the last room\, the artist cuts out from the very walls of the gallery to create an assemblage\, which then sits inside it. This\, by turning part of the spacial enclosure into what is displayed\, the contain ing once again becomes the contained.
Marc Fichou was born in France a nd now lives in Los Angeles. His work has been shown internationally and “C ontenant Contenu” will be his 4th solo exhibition at the Robert Berman gall ery.

DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130105 GEO:34.0276049;-118.4678444 LOCATION:ROBERT BERMAN GALLERY B7\,2525 Michigan Ave. Suite B7 at Bergamot Station Arts Center\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Marc Fichou : CONTENANT CONTENU\, Marc Fichou UID:250322 END:VEVENT BEGIN:VEVENT DTEND:20130112T210000 DTSTAMP:20140821T213231 DTSTART:20130112T180000 GEO:34.0276049;-118.4678444 LOCATION:ROBERT BERMAN GALLERY B7\,2525 Michigan Ave. Suite B7 at Bergamot Station Arts Center\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Marc Fichou : CONTENANT CONTENU\, Marc Fichou UID:250323 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening Reception Saturday\, January 12th 6 – 9 pm
Book Sig ning Saturday\, January 12th at 5pm

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Roberts &\; Tilt on is pleased to announce an exhibition of recent photographs by < strong>Ed Templeto n in his fifth exhibition with the gallery. Templeton has long min ed the middle ground between the pu blic and the private\, delving unreservedly into the human situation\, creating photographs that are at once h eartbreaking and outrageous\, comic al and sinister\, his images\, a visual litmus test of American youth cultu re in all its twisted luminescence.

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In his most recent exhibition\, Memory Foam\, Templeton takes a close look at his hometown of Hun tington Beach\, California\, a sprawl of suburbia\, “mile after mile of walls that form a hard shell around th e housing tracts where beige brick dividers represent the barrier between people’s backyards and the major str eet\,” or less obviously perhaps\, a division between the sanitized ideals of a planned community and the real world. Templeton’s choice to focus specifically on the "downtown" and Main Street\, once a boulevard of skate shops\, bikini stores and dive bars\, where “people would hang out watchin g the fights between skinheads\, jo cks and local boys\,” represents a journey back to his old stomping grounds \, redefining not only the artist’s own personal relationship to his past\, but to a larger cultural tapestry. Through these images\, Templeton n avigates his own unique history\, and his experience as a professional skat eboarder\, painter and photographer\, defined by Huntington Beach’s particular brand of beach culture\, now ge ntrified\, yet still energetic and vital.

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With these recent images\, Tem pleton creates a visual lexicon of the people who live and work in Huntingt on Beach\, telling their stories wi th sensitivity\, wit and compassion. Templeton‘s photographs\, as with his other work\, rarely concerns itself with literal space and time\, but more importantly and emphatically with a n enigmatic and complicated human i mpulse to create anything at all\, prompting the artist to “explore the lov e/hate relationship I have with thi s city\,” no longer taking it for granted\, but celebrating the city as its own strangely compelling enigma.

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Ed Templeton is a photographer\, painter and two-time w orld champion professional skateboarder. His work was featured in the influential exhibition Beautiful Los ers\, curated by Aaron Rose as well as Art in the Streets at the Museum of Contemporary Art\, Los Angeles . Upcoming exhibitions include solo presentations in Italy\, Belgium\, Fran ce and\, in 2014\, a solo exhibitio n at the Museum of Contemporary Art (MACO) Oaxaca\, Mexico. Selected recent exhibitions include S.M.A.K.\, Ghe nt\, Belgium\; the ARKEN Museum of Modern Art\,  Copenhagen\, Denmark\; SCH UNK Glaspaleis\, The Netherlands\; Kunsthalle Vienna\, Austria and the 2010 Photography Biennial at MAMAK Lieg e\, Belgium. Templeton’s work has b een the subject of 8 monographs to date.

DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.0340352;-118.3714502 LOCATION:Roberts & Tilton\,5801 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Memory Foam\, Ed Templeton UID:249806 END:VEVENT BEGIN:VEVENT DTEND:20130112T210000 DTSTAMP:20140821T213231 DTSTART:20130112T170000 GEO:34.0340352;-118.3714502 LOCATION:Roberts & Tilton\,5801 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Memory Foam\, Ed Templeton UID:249807 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Shoshana Wayne Gallery is pleased to present Za dok Ben David’s second solo exhibition with the gallery.

Ben David’s work over the past tw o decades has explored the relationship between man and nature.  The artist is interested in utilizing metal\; in this specific case\, aluminum and st ainless steel to point towards an exploration of nature as symbolic of the moment of discovery.

In the current exhibition\, Ben David is showing new work themed around the bu tterfly.  The butterfly represents the last link in the chain between man a nd the natural world. In the main gallery\, there is an installation of one circle with two disparate sides.  The three meter form is composed of over 2\,000 miniature butterflies and insects\; each meticulously hand painted in bright fluorescent colors.  Suspended in a darkened space and viewed onl y under UV light\, one can bear witness to the shifts in imagery when conte mplating one side versus the other. “The Other Side of Midnight” challenges perceptions of beauty on the one hand\, and repulsion on the other\; two s eemingly different concepts that are quite closely connected via the nature that surrounds us all.

In the smaller gallery\, Ben David shows sculptures comprised of small butt erflies and people within the larger forms of figures and circles.
Zadok Ben David lives and works in London.  His work has been shown extensively in Europe and Asia.  The ar tist currently is featuring large scale outdoor work in the Singapore Botan ical Gardens.  Ben David represented Israel in the Venice Biennale in 1988.   He is the recipient of both the Grande Biennial Premio at the XIV Biennal e Internacional de Arte de Vila Nova de Cerveira\, Portugal 2007 as well as the Tel Aviv Museum prize in 2005. He has had exhibitions in The Tel Aviv Musem titled Human Nature in 2009\; Living in Evolution i n Busan Biennial in 2010\, South Korea\; WonderSingapore Biennale 2008 and at the Biennale Cuveé 2009 in Austria\, among others. 

DTEND:20130216 DTSTAMP:20140821T213231 DTSTART:20130112 GEO:34.0276049;-118.4678444 LOCATION:Shoshana Wayne Gallery\,Bergamot Station 2525 Michigan Ave.\, B1\n Santa Monica\, CA 90404 SEQUENCE:0 SUMMARY:The Other Side of Midnight\, Zadok Ben David UID:251798 END:VEVENT BEGIN:VEVENT DTEND:20130112T190000 DTSTAMP:20140821T213231 DTSTART:20130112T170000 GEO:34.0276049;-118.4678444 LOCATION:Shoshana Wayne Gallery\,Bergamot Station 2525 Michigan Ave.\, B1\n Santa Monica\, CA 90404 SEQUENCE:0 SUMMARY:The Other Side of Midnight\, Zadok Ben David UID:251799 END:VEVENT END:VCALENDAR