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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:20140801T143505 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 BEGIN:VEVENT DESCRIPTION:

Curators Nery Gabriel Lemus an d Mar Hollingsworth have taken James Baldwin’s 1953 novel of the same title \, “Go Tell It on the Mountain\,” as a point of departure to select a varie ty of pieces that explore oppositional forces within Christianity\, and exposing underlying tensions of rel igious control and human hypocrisy. Often\, the works also examine Christianity's role in fostering politic al action and social engagement.

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Go Tell It on the Mountain presents the work of a mult icultural group of creators of diverse backgrounds and styles\, ranging fro m internationally known artists to recent graduates of prominent Los  Angeles colleges \, in addition to self-taught artists from the American South. Pieces inclu ded are installation and conceptual work\, wood carvings\, assemblage\, pai ntings\, drawings\, sculpture\, collage and photography.

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DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20121004 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Go Tell it on the Mountain\, Edgar Arceneaux\, Daphne Arthur\, Andr ea Bowers\, Carolyn Castaño\, Robert Colescott\, Lynn Aldrich\, Zeal Harris \, Caroline Kent\, Nery Gabriel Lemus\, Kerry James Marshall\, John Outterb ridge\, Nikki Pressley\, Erika Rothenberg\, Sanjit Sethi\, Nate Young\, Tra cy Brown\, Sam Doyle\, Todd Gray\, Mark Steven Greenfield\, John K. Lawson\ , Diego Leclery\, Rosalyn Myles\, Sulton Rogers\, Herbert Singleton UID:236139 END:VEVENT BEGIN:VEVENT DTEND:20121004T170000 DTSTAMP:20140801T143505 DTSTART:20121004T100000 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Go Tell it on the Mountain\, Lynn Aldrich\, Edgar Arceneaux\, Daphn e Arthur\, Andrea Bowers\, Tracy Brown\, Carolyn Castaño\, Robert Colescott \, Sam Doyle\, Todd Gray\, Mark Steven Greenfield\, Zeal Harris\, Caroline Kent\, John K. Lawson\, Diego Leclery\, Nery Gabriel Lemus\, Kerry James Ma rshall\, Rosalyn Myles\, John Outterbridge\, Nikki Pressley\, Sulton Rogers \, Erika Rothenberg\, Sanjit Sethi\, Herbert Singleton\, Nate Young UID:236140 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Life\, death\, and leisure.

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Monte Cristo is a sandwich\, an adventure novel and most evidently a small island off the coast of Tuscany.\n

As an island\, Monte Cristo has a particularly disastrous history: ancient home to hermits and monks later enslaved by pirates\, overrun by black rats\, bo mbed with poison pellets and now only a spare population of two inhabit thi s desolate rock. Attempted colonizers desperately imposed blind optimism up on this steep and slippery rock\, their mistakes had nowhere to go but into the sea. Artists Math Bass and Leidy Churchman have used Monte Cristo as a kind of mantra\, an unattainable island populated by only two souls\, here working together.

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Monte C risto is also most simply a frame… the way an island is a fra me.

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Both working with the mediums of painting and video\, Bass and Churc hman’s practices uses the compositional space of the frame to abstract real ity\; reducing content like a plinth\, a human limb\, a mound of pubic hair or dirty sock to pure shape and color. By employing the ever-effective cin ematic move of reveal\, Monte Cristo pushes past the edges of one frame into the next—the exhibition itself—to re-forge cohe rent symbols.

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Bass’ new sculptures are concerned with formlessness\, act ivating found objects and constructed materials in a series of works that p lay with ideas of set and scene. Connected to her performance practice and recent work Brutal Set (2012)\, She approaches sculpture as a site of potential action.

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Churchman’s recent video work and painting revel i n the slow reveal. Steadily shifting landscapes\, both actual and construct ed are inter-cut to produce video that points to his painting practice.  Fo r Churchman\, recognizable symbols rendered with brush in hand can transcen d a flattened sign\, the slow reveal of meaning as emotion leaks off canvas over prolonged observation.

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< span style="font-size: small\;">Brought together for the month of May by Hu man Resources L.A.\, Bass (Los Angeles) and Churchman (New York City) have been commissioned to produce new works in tandem\, this confluence a celebr ation of their long friendship.

DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20130530 GEO:34.0675686;-118.2356123 LOCATION:Human Resources\,410 Cottage Home St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Monte Cristo\, Math Bass\, Leidy Churchman UID:275546 END:VEVENT BEGIN:VEVENT DTEND:20130530T210000 DTSTAMP:20140801T143505 DTSTART:20130530T190000 GEO:34.0675686;-118.2356123 LOCATION:Human Resources\,410 Cottage Home St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Monte Cristo\, Math Bass\, Leidy Churchman UID:275547 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Joshua Tree Art Gallery present a Themed show  AIR\, artist interruption of the concept of air.

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Showcasing over 46 new works of artists creative concepts based on the idea of air.  Find some unusual wor ks of art at this exhibition\, from Ann Magnuson's found object to Snake Ja gger's metal construction of air.

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Reception June 8th 6-8PM \,show r uns until June 30th \, 2013

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www.joshuatreeartgallery.com

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DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20130608 GEO:34.1361;-116.210388 LOCATION:Joshua Tree Art Gallery\,61607 29 Palms Hwy \nJoshua Tree\, CA 925 52 SEQUENCE:0 SUMMARY:THE AIR SHOW JTAG\, 46 Artist UID:280657 END:VEVENT BEGIN:VEVENT DTEND:20130608T200000 DTSTAMP:20140801T143505 DTSTART:20130608T180000 GEO:34.1361;-116.210388 LOCATION:Joshua Tree Art Gallery\,61607 29 Palms Hwy \nJoshua Tree\, CA 925 52 SEQUENCE:0 SUMMARY:THE AIR SHOW JTAG\, 46 Artist UID:280658 END:VEVENT BEGIN:VEVENT DESCRIPTION:

FOR IMMEDIATE RELEASE

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LA ARTCORE PRESENTS

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A THREE-PERSON EX HIBIT:

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SUKRAN HAN\, NICHOLAS CORONEOS &\; OTTO YOUNGERS

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June 1 – 30TH\, 2013

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Reception – Sunday June 2nd\,

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1pm – 3pm – Union Center

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LA Artcore Brewery Annex

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LOS ANGELES\, CA (March 15th\, 2013) LA Artcore presents a three-art ist exhibit featuring work in a variety of mediums.  The choices in texture \, material and working method will stimulate a feeling of excitement over the different avenues of creativity\, and the many options at our disposal\ , from everyday materials to more technical process-oriented work.

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Sukran Han is a painter who set out from the beginning to visuall y describe the relationship between human beings and passing time.  From th e start\, she had a clear idea of what she hoped to understand better with her creative pursuit\, and the first symbols that came to mind were trees\, images of the various generations of family\, and the sun passing overhead .  While observing trees for this purpose\, her attention began to be drawn to the play of light among the canopy of leaves. There was a shifting\, sh immering quality to time that her static family images couldn’t quite relat e. Gradually\, her paintings shifted to totally abstract compositions of tr anslucent shadows\, with rays\, spots and streaks of light. She regards thi s transformation as a way in which nature taught her how to better understa nd a difficult subject\, while also fulfilling the goal of achieving an exp ression of beauty and connectedness to the world. 

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Nichol as Coroneos works in a variety of mediums\, including tongue-in-cheek bronz e sculptures using a mixture of techniques\, from assemblage to casting bro nze through waxwork and other raw materials\, and different metal texturing techniques.  Working in a bronze foundry near Santa Barbara\, his pieces w ere created alongside work for a variety of artists\, and represent a certa in spontaneous use of his immediate environment to express his ideas.  Insp ired by the Neo-Dada movement\, the central theme in his work involves bein g a provocateur.  He has a very specific objective of creating\, in each pi ece\, a platform for challenging ideas and pre-conceptions that impact mode rn life.  These often socially or politically charged images are not withou t humor\, and he has built a body of formally elegant and plain commentarie s on religion\, consumption\, and war.

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Otto Youngers has a recognizable\, almost gestural approach to sculpting in wood\, creating w ork that is playful exaggeration and sharp social critique all at once.  In spired while working in a warehouse setting by the ample supply of palette and shipping crate woods\, he developed a vocabulary of components made wit h loose\, iconic lines.  An installation made of strung up oversized bones\ , guns\, skulls and animal parts which might otherwise be gruesome\, have b een softened by sandpaper and rasp into a playful\, toy-like array.  It is a fitting way to face the darker aspects of human behavior\, offering brigh t\, spontaneous shapes that recall the games of children.  It is a well doc umented aspect of much contemporary art\, this finding of a way to approach all the most difficult elements of society. Otto delivers hard news with l evity\, sharp symbols softened around the edges by the homey feeling of a g arage woodshop.

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Artist Reception:

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Sunday\, June 2nd\, 2013

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1pm – 3pm

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Conversation with the artist: 4pm

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LA Artcore Brewery Annex

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650A S. Ave. 21 / Los Angeles\, CA 90031

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Gallery hours: 12-4pm\, Thu-Sun.\n

 

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ABOUT LA ARTCORE:

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LA Artcore helps develop the career s of visual artists of diverse cultural backgrounds\, bringing innovative c ontemporary art to the public\, and provides educational programs by profes sional artists for people of all ages. For more information visit www.laartcore.org.

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DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20130601 GEO:34.064801;-118.2168067 LOCATION:LA Artcore Brewery Annex\,650 A South Avenue 21 \nLos Angeles\, CA 90031 SEQUENCE:0 SUMMARY:Three-Person Group Show: Sukran Han\, Nicholas Coroneos & Otto Youn gers\, Sukran Han Chung\, Nicholas Coroneos\, Otto Youngers UID:276700 END:VEVENT BEGIN:VEVENT DTEND:20130602T150000 DTSTAMP:20140801T143505 DTSTART:20130602T130000 GEO:34.064801;-118.2168067 LOCATION:LA Artcore Brewery Annex\,650 A South Avenue 21 \nLos Angeles\, CA 90031 SEQUENCE:0 SUMMARY:Three-Person Group Show: Sukran Han\, Nicholas Coroneos & Otto Youn gers\, Sukran Han Chung\, Nicholas Coroneos\, Otto Youngers UID:276701 END:VEVENT BEGIN:VEVENT DESCRIPTION:

LA ARTCORE PRESENTS

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A TANDEM-SOLO EXHIBIT:

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BRONZEVIL LE BY KATHIE FOLEY-MEYER

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MIXED- MEDIA WORKS BY SHIZUKO GREENBLATT

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June 1 – 30 TH\, 2013

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Reception – Sunday June 2nd\,

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3pm – 5pm – Union Center

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LA Artcore at Union Center for the Arts

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LOS ANGELES\, CA (March 15th\, 2013) - LA Artcore is pleased to present a tandem-solo sh ow with two artists whose contrasting cultural perspectives enliven reflect ion upon our cultural histories as they transform the contemporary moment.  

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As one-half of this exhibition\, multimedia artist Kathie Fole y-Meyer will present "When Little Tokyo Went Bronze\, "  and wil l exhibit a series of sculptures combining various media. The central work in the exhibition is both informational and abstract evoking both the conne ction between history and memory as well as visuality itself. Using element s of glass\, cast resin hands in various sign-language gesture (consequentl y spelling out "Bronzeville")\, neon lighting and text\, Foley-Meyer pieces together these different modes of communication suggesting a language we m ay not speak or a history we do not recognize or remember. Etched into the frosted glass coverings are inscriptions of businesses and community member s that provide moments of transparency into the worlds circulating around B ronzeville.  In doing so\, Foley-Meyer explores gaps between the present an d the past\, history and memory\, lived experience and personal mythology. The following is an excerpt from Foley-Meyer:

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In February of 1942 F ranklin D Roosevelt signed Executive Order 9066\, which led to the internme nt of over 120\,000 Japanese Americans for the duration of World War II.  F or the section of Los Angeles known as Little Tokyo\, the removal of its Ja panese American residents created a ghost town of empty houses and business es. The abandoned neighborhood soon became a source of opportunity for the influx of southern African American citizens that were migrating to LA\, wh o\, like the Japanese\, were barred from living anywhere west of Central Av enue by the city’s racially restrictive housing covenants. As thousands of African American families moved into homes and retail spaces vacated by Jap anese Americans\, the Little Tokyo neighborhood became known as “Bronzevill e”.

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Few remnants remain of the time when the streets of Little Toky o became Bronzeville and were known for the jazz and “breakfast clubs” that operated until the wee hours\, and leading citizens such as Leonard Christ mas who organized the Bronzeville Chamber of Commerce.  A long-time fascina tion with the period led artist Kathie Foley-Meyer to create Project Bronzeville\, a combination of fine art\, theater\, a panel discussion and music coming together to commemorate this brief but v ibrant part of LA history

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*The art exhibition and symposium are bot h free events.  For information regarding tickets to the play\, please visi t robeytheatrecompany.com .  For information regarding the jazz concert\, please visit bluewhalemusic.com.

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For the mos t up-to-date information about dates\, locations\, and tickets\, visit www.projectbronzevil le.com.

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Los Angeles artist and curator Shiz uko Greenblatt combines Japanese characters and fusion ikebana with Wes tern expressionistic sensibilities in her mixed-media sculptures and painti ngs.  The artist's joining of elements of Eastern and Western cultures\, re vels here\, in the aesthetic  possibilities of the shared moment between cu ltural perspectives as it produces something new\, propelled by vibrantly-o rchestrated  compositions and arrangements.

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An uncanny sense of des ign and vision pervades all of Greenblatt's works: Controlled elements of g radated color or a Japanese character give way to the natural flow of an as cending tree branch or gestural brushwork. Indeed\, balance is a fundamenta l quest in Greenblatt's approach. Her desire is to communicate a positive a nd inspiring message through not only through the use of balanced elements — the weight of a line\, the thickness of paint or the proportions between natural and plastic elements— but of the characters themselves which carry such associations as "Passion for Life"\, "Go Forward" and "Infinite Growth ". Greenblatt comments that these messages underlie all of her works if not explicitly\, then implicitly. But after all\, Greenblatt's objective is to create: Whatever character or material she uses is only a beginning point to modification or alteration in order to take it somewhere unexplored.

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Artist Reception:

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Sunday\, June 2nd\, 2013

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3pm – 5pm

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Conversation with the artist: 4pm

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LA Artcore at Union Center for the Arts

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120 J udge John Aiso St.\, Los Angeles\, CA 90012

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Gallery hours: 12-5pm\, Wed-Sun.

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ABOUT LA ARTCORE:

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LA Artcore helps d evelop the careers of visual artists of diverse cultural backgrounds\, brin ging innovative contemporary art to the public\, and provides educational p rograms by professional artists for people of all ages. For more informatio n visit www.laartcore.org .

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DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20130601 GEO:34.050988;-118.239927 LOCATION:LA Artcore Union Center for the Arts\,120 Judge John Aiso St. \nLo s Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Tandem Solo Exhibit\, Shizuko Greenblatt\, Kathie Foley-Meyer UID:276358 END:VEVENT BEGIN:VEVENT DTEND:20130601T170000 DTSTAMP:20140801T143505 DTSTART:20130601T150000 GEO:34.050988;-118.239927 LOCATION:LA Artcore Union Center for the Arts\,120 Judge John Aiso St. \nLo s Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Tandem Solo Exhibit\, Kathie Foley-Meyer\, Shizuko Greenblatt UID:276359 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Project Bronzeville is a combination of fine art\, theater\, a panel discussion and music coming together to commemorate the brief but vibrant part of LA history when Japanese Americans were forced out of their homes and businesses in Little Tokyo during WWII and African American fami lies from the south moved into these vacant spaces and renamed the neighbor hood "Bronzeville." 

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Join artist and Project Bronzeville creator Ka thie Foley-Meyer in this special exhibition of art inspired by the Bronzevi lle period.

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For more information about the Project Bronzeville prog ram\, visit www.projectbronzeville.com

DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20130601 GEO:34.050988;-118.239927 LOCATION:LA Artcore Union Center for the Arts\,120 Judge John Aiso St. \nLo s Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Project Bronzeville\, Kathie Foley-Meyer UID:276914 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Assemblage arti st Bobby Furst's studio / compound sits on the edge of the  Joshua Tree National Monument. It is an artistic wonderland\, fil led with his creative works made from old industrial and household items\, block lettering\, musical instruments\, weapons\, helmets\, signs\, even a motorcycle\, many of which express commentary on the tragedy of war and the state of the environment. Bobby turns objects upside down and inside out u sing color\, form\, texture\, shape and words\, inviting viewers to see fam iliar objects anew\, thereby creating new worlds and new landscapes of lang uage and image\, to stimulate conversation about the social\, political and environmental realities in our world today. 

As a child\, Bobby would roam the trails of his neighborhood\, Laurel Canyon\, collecting sti cks\, stones\, bones\, etc. Walking to school on Thursday mornings he would raid the local trashcans and stow his finds in bushes to be taken home lat er that day. Making order out of the chaos of these castoffs was the beginn ing of a life-long pursuit of collecting stuff and assembling art. 
As a teenager in the late sixties he wanted to become a photojournalist after accompanying his father\, Peter Furst\, now an anth ropologist and art collector\, to Tepic\, Mexico where the senior Furst doc umented the life and visionary art of the Huichol Indians. In the 1970's Bo bby spent time photographing musicians and concerts\, street people in Holl ywood and Venice Beach\, and went on location to Mata Ortiz\, Mexico for a month to document the now famous potter Juan Quesada (in the late nineties those photographs accompanied a retrospective of Juan Quasada's work at the Museum of Man in San Diego\, California.)
< br />In 1998 he went with a friend to the studio of assemblage artist George Herms
. Soon after\, at a garage sale\, he met a painter attending the Santa Monica College of Design Art and Architecture who menti oned that George Herms taught there and that classes began the next day. Si nce admission to the school was by the administration's' approval of an art ist's portfolio\, Bobby arrived the next day with art work in hand hoping t o get into Georges' class. Bobby spent the next year and a half\, ten hours a day\, seven days a week creating art at his studio space at the school.< /span>

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Don't Push Me is a collection of Bobby's works\, hand- picked and curated by Billy Shire.

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DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20130607 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Don't Push Me\, Bobby Furst UID:278060 END:VEVENT BEGIN:VEVENT DTEND:20130607T230000 DTSTAMP:20140801T143505 DTSTART:20130607T200000 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Don't Push Me\, Bobby Furst UID:278061 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A Tr ibute to Ed "Big Daddy" Roth

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Big Daddy has left somet hing that will live on forever. After forty years\, Rat Fink fever has gotten in our heads\, on our speedways\, in our skate parks–there is no cure. We've gone on to become artists\, filmmakers\, mech anics\, executives. He's become an action figure\, a bobble head\, a race c ar\, a doll\, and has achieved timeless cult status along the way. At first it may have seemed that Rat Fink was originally drawn for us to laugh at\, as a throw away cartoon. Now he's the one laughing–Ra t Fink's Revenge indeed.

This collection of Rat Fink statues is taken from the book Rat Fink's Revenge . The project originated as a way for the author and four score contemporary artists to exorcize their inner Fink–the sick monst er inside who needs to come out and show itself to the world. All the contr ibutors\, for whom Rat Fink is part of their soul\, were given the same 12" resin model kit to customize.

La Luz de Jesus Gallery is proud and honored to present this collection based on Ed Roth's mos t notorious Custom Monster.

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The exhibition will also include collectible and vintag e toys\, archival illustrations and pieces of Rat Fink history.

DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20130607 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Rat Fink's Revenge\, Ed "Big Daddy" Roth UID:278064 END:VEVENT BEGIN:VEVENT DTEND:20130607T230000 DTSTAMP:20140801T143505 DTSTART:20130607T200000 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:Rat Fink's Revenge\, Ed "Big Daddy" Roth UID:278065 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Born in New York\, Ruby Ray migrated to San Francisco i n the mid-'70s. She entered the underground scene while working at Tower Re cords in North Beach. When she acquired her first camera\, she quickly turn ed it into a weapon. Ray shot using a Nikon FM and Tri-X 400 film\, the fas test film of its time. While documenting new bands and people forSearch &\; Destroy magazine\, she wielded her lens like many young DIY ar tists were brandishing guitars – bold\, carefree and absolutely necessary.< /span>

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As a fixture on the first wave punk scene\, Ray photographed with a star k intimacy. There are candid shots of The Sex Pistols' fat eful trip to San Francisco\, Darby Crash slashed and blood ied\, Exene Cervenka sitting amongst discarded tires like tombstones\, and The Avengers' Penelope Houston writhing o n stage.

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From the introduction by Jon Savage: "For a brief period\, Los Angeles and San Francisco hosted vibrant subcultures t hat threw up sounds\, noises\, ideas and images that remain some of the 20t h century's most vivid youth statements. You can hear how in the few record s that were made at the time… These pictures are a record of a lost moment that is finally receiving the attention that it was always due."

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From the Edge of the World comes with a 16-song bon us CD that compiles some of bands photographed in the book: GERMS\, THE ZER OS\, THE DILS\, THE AVENGERS\, CRIME\, THE SCREAMERS\, CHROME\, THE BAGS\, MUTANTS\, FACTRIX\, THE SLEEPERS\, NEGATIVE TREND\, NOH MERCY\, PINK SECTIO N\, THE OFFS\, and Z'EV. Ray accurately prophesied that her scene's art wou ld endure and strove to depict it precisely as it was – breathtaking.

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In addition to hosting the official Los Angeles release party\, La Luz de Jes us Gallery will host a pop-up exhibiton of Ruby's iconic photographs. Signe d and limited prints will be for sale while editions are available.< /p> DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20130628 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:California Punk 1977-81 Photo Show\, Ruby Ray UID:284195 END:VEVENT BEGIN:VEVENT DTEND:20130628T200000 DTSTAMP:20140801T143505 DTSTART:20130628T180000 GEO:34.100466;-118.28998 LOCATION:La Luz de Jesus Gallery\,4633 Hollywood Blvd. \nLos Angeles\, CA 9 0027 SEQUENCE:0 SUMMARY:California Punk 1977-81 Photo Show\, Ruby Ray UID:284196 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Stanley Kubrick was known for exerting complete artistic control over hi s projects\; in doing so\, he reconceived the genres in which he worked. Th e exhibition covers the breadth of Kubrick’s practice\, beginning with his early photographs for Look magazine\, taken in the 1940s\, and con tinuing with his groundbreaking directorial achievements of the 1950s throu gh the 1990s. His films are represented through a selection of annotated sc ripts\, production photography\, lenses and cameras\, set models\, costumes \, and props. In addition\, the exhibition explores Napoleon and < em>The Aryan Papers\, two projects that Kubrick never completed\, as w ell as the technological advances developed and utilized by Kubrick and his team. By featuring this legendary film auteur and his oeuvre as the focus of his first retrospective in the context of an art museum\, the exhibition reevaluates how we define the artist in the 21st century\, and simultaneou sly expands upon LACMA’s commitment to exploring the intersection of art an d film.

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This exhibition is organized by the Deutsches Filmmuseum\, Fran kfurt am Main\, Christiane Kubrick and The Stanley Kubrick Archive at Unive rsity of the Arts London\, with the support of Warner Bros. Entertainment I nc.\, Sony-Columbia Pictures Industries Inc.\, Metro Goldwyn Mayer Studios Inc.\, Universal Studios Inc.\, and SK Film Archives LLC.

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In Los Angeles\, Stanley Kubrick is co-presented by the Los Angeles County Museum of Art and the Academy of Motion Picture Arts and Sciences\, and has been generously supported by Steve Tisch. Additional funding has been provided by Warner Bros. Entertain ment\, Violet Spitzer-Lucas and the Spitzer Family Foundation.

DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20121101 GEO:34.062785;-118.3587631 LOCATION:LACMA - Los Angeles County Museum of Art\,5905 Wilshire Avenue \nL os Angeles\, CA 90036 SEQUENCE:0 SUMMARY:STANLEY KUBRICK\, Stanley Kubrick UID:240620 END:VEVENT BEGIN:VEVENT DTEND:20121101T200000 DTSTAMP:20140801T143505 DTSTART:20121101T120000 GEO:34.062785;-118.3587631 LOCATION:LACMA - Los Angeles County Museum of Art\,5905 Wilshire Avenue \nL os Angeles\, CA 90036 SEQUENCE:0 SUMMARY:STANLEY KUBRICK\, Stanley Kubrick UID:240621 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Jane and Louise Wilson's video installations often inhabit the decaying si tes of twentieth century institutions. Unfolding the Aryan Papers (2009) is a special project commissioned by Animate Projects and the Britis h Film Institute (BFI)\, presented within the exhibition Stanley Kubric k.

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Unfolding the Aryan Paper s  is an artistic consideration of Kubrick’s process and\, in particul ar\, Kubrick’s unfinished project\, The Aryan Papers. On site at t he Kubrick archive the Wilson sisters gravitated to the history of Kubrick' s film\, which was to be based on a World War II novel Wartime Lies\, by Louis Begley\, set in the Warsaw ghetto. Unfolding the Aryan Pap ers reveals a connection between the Wilson sisters observational prac tice and that of Stanley Kubrick\, and reflects the legendary filmmaker's l ongstanding influence on contemporary art.

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DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20121101 GEO:34.062785;-118.3587631 LOCATION:LACMA - Los Angeles County Museum of Art\,5905 Wilshire Avenue \nL os Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Unfolding the Aryan Papers\, Jane Wilson\, Louise Wilson UID:247525 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In 2010\, Eli and Edythe Broad announced plans to open The Broad\, a new public museum of contemporary art on Grand Avenue in downtown Los Angeles (anticipated opening: 2014). Dubbed "the veil and the vault"\, the museum's design merges the two key components of the building\; public exhibition s pace and archive/storage. The museum's exhibition programming will focus on the contents of the renowned contemporary art collections of Eli and Edyth e Broad\, which feature in total 2000 artworks by more than 200 artists. Th e Broad Art Foundation and The Elia and Edythe Broad Foundation together co mprise The Broad Foundations\, which have assets of $2.4 billion.

Meanwhile\, across the street at Grand Avuenue\, MOCA was melting down. In December 2008\, the press reporte d that the museum's endowment had dwindled in nine years from $40 million t o $6 milliion\, and that California's attorney general was investigating it s finances. A Letter of Agreement between MOCA and the Eli and Edythe Broad foundation was signed on December 23\, 2008. Two notable clauses require t he museum "to strengthen its Board of Trustees to include a substantial num ber of individuals who share MOCA's vision of downtown Los Angeles and art" and "to acknowledge Eli Broad as the founding chairman of the Board of MOC A".

On February 10\, 201 3 Nancy Popp performed on the Broad Museum construction site as an interven tionist political action to protest and call attention to the machinations of money and redevelopment that lie behind the establishment of The Broad\, including the history of KB Homes (Eli Broad's real estate development cor poration) and its role in destroying the urban cores of cities such as Detr oit while attempting to 'enliven' downtown Los Angeles.

< span style="font-size: small\;">Sources: http://broadartfoundation.org/thebroadmuseum.html    http://www.vanit yfair.com/culture/2013/03/problem-moca-la-jeffrey-deitch


Artist Bio :
Nancy Popp is a Los Ange les-based artist and educator. Her performances\, videos\, drawings\, and p hotographs draw upon the rich traditions of durational\, corporeal performa nce and political intervention to explore relations between body and site\, and often incorporate public and architectural spaces. Collaboration is a long-term strategy she employs in her practice. She exhibits frequently at such venues as the 2011 Istanbul Biennial\, Turkey\; the Manifesta 9 Bienni al\, Belgium\; the Getty Center\, Los Angeles\; Atlanta Contemporary Arts C enter\; Rowan University\, New Jersey\; SUNY University\, New York\, numero us galleries in Los Angeles\, Düsseldorf\, Belgrade\, and Tijuana\, and ma ny other public sites and institutions. She holds degrees from Art Center C ollege of Design\, Pasadena and the San Francisco Art Institute\, and is a recipient of the California Community Foundation's Visual Arts Fellowship a nd a Lucas Artist Fellowship from the Montalvo Arts Center. Upcoming exhibi tions include solo shows at Monte Vista Projects and Gallery KM in Los Ange les as well as a group exhibition at the Luckman Gallery at Cal State LA.

DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20130608 GEO:34.1102951;-118.1973971 LOCATION:Monte Vista\,5442 Monte Vista Street \nLos Angeles\, CA 90042 SEQUENCE:0 SUMMARY:Strung Broad\, Nancy Popp UID:279406 END:VEVENT BEGIN:VEVENT DTEND:20130608T220000 DTSTAMP:20140801T143505 DTSTART:20130608T190000 GEO:34.1102951;-118.1973971 LOCATION:Monte Vista\,5442 Monte Vista Street \nLos Angeles\, CA 90042 SEQUENCE:0 SUMMARY:Strung Broad\, Nancy Popp UID:279407 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition proposes a study on the line in space in the work of thre e artists: Dario Escobar (Guatemala\, b. 1971)\, Ricardo Rodríguez (Puerto Rico\, b. 1983) and Enrique Castrejón (Mexico\, b. 1972). The line is not o nly the foundation of drawing but of other art disciplines\, as the represe ntation of a line in space marks delimitations as well as movement. The two works in MOLAA’s collection\, Kukulkán\, 2009\, by Darío Escobar an d Attempt to Construct\, 2010\, by Ricardo Rodríguez\, use the line in a poetic way to address the nature of sculpture. In the case of Escobar\ , his work consists of baroque lines of rubber snakes which struggle to ret urn to their natural curved state. Rodríguez’s work is a continuous line th at breaks the barrier of bi-dimensionality of a photograph as the line “com es out” form the plane as a rope\, a tridimensional object\, which has no b eginning and no end as an ouroboros. The curators have invited artis t Enrique Castrejón to create an installation which will respond to the two works and will serve as a conceptual bridge using measurement and line to bring together time and space as intricate parts in the process of drawing.

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The Collaborative: A Project of the Arts Council for Long Beach and the Museum of Latin American Art

DTEND:20130630 DTSTAMP:20140801T143505 DTSTART:20130406 GEO:33.7695869;-118.1969413 LOCATION:The Collaborative\,421 W Broadway Ave. \nLong Beach\, CA 90802 SEQUENCE:0 SUMMARY:Question In The Line\, Dario Escobar\, Ricardo Rodríguez\, Enrique Castrejon UID:271054 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Cherry and Martin is plea sed to present Florian Morlat's first solo exhibition at the gallery. Morla t's show will take place in two parts: Part 1 opens May 4th\, 2013\; Part 2 opens June 6\, 2013.

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Florian Morlat's first solo exhib ition at Cherry and Martin includes works made from materials like cardboar d\, paint\, plaster and wood. It also features a selection of new cast and painted aluminum pieces. This is a new direction for the artist. Morlat has long incorporated everyday materials into his sculptures and wall works. I n his first exhibition at Cherry and Martin\, he goes even further\, adding organic materials like straw\, French bread\, and bananas.

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Morlat was b orn in Munich. The physical components of his work recall his roots in a Ge rman-language post-war artistic tradition. At the same time\, Morlat's visu al pursuits\, particularly with regard to shape\, suggest an aesthetic born of 1960s California pop culture—he's lived in the state almost 20 years—an d a familiarity with American modernist icons. In Morlat's work we sense th e rawness of Franz West\, the freedom of Alexander Calder\, the poetry of D avid Smith. Morlat's pieces are subjective\, stylized representations of pe ople and things\; at the same time\, they are objective investigations into form and mass\, color and\, especially\, shape. The tension of an encounte r with the 'one-sideness' of Morlat's pieces is only resolved through circu mnavigating them and getting a sense of their totality from all sides.

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C herry and Martin has previously presented Florian Morlat's work at Art Brus sels as well as the three-person exhibition\, "Matt Connors\, Robert Cummin g\, Florian Morlat” (2011). He has been the subject of solo exhibitions at Galerie Ben Kaufmann (Berlin\, 2009\, 2005)\; Rowley Kennerk Gallery (Chica go\, 2007)\; and Daniel Hug Gallery (Los Angeles\, 2007\, 2004). Group exhi bitions include "Home Show\, Revisited\," Santa Barbara Contemporary Arts F orum (Santa Barbara\, 2011)\; "YBA\," curated by Ali Subotnick\, Mauritzio Cattelan and Olaf Metzel (2006)\; Berlin Biennale (Berlin\, 2006)\; "Abstra ct Art Now—Strictly Geometrical?\," Wilhelm-Hack Museum\, (Ludwigshafen\, G ermany\, 2006)\; and "Florian Morlat and Thaddeus Strode\," Michael Hall Ga llery (Vienna\, 2003). Morlat studied at the Akademie der bildenden Künste\ , Munich\, received his diploma from the Kunstakademie Düsseldorf in 1996 a nd his MFA at University of California\, Los Angeles in 1999. He lives and works in Los Angeles.

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DTEND:20130703 DTSTAMP:20140801T143505 DTSTART:20130606 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Sticks and Stones Part 2 \, Florian Morlat UID:275029 END:VEVENT BEGIN:VEVENT DTEND:20130606T200000 DTSTAMP:20140801T143505 DTSTART:20130606T180000 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Sticks and Stones Part 2 \, Florian Morlat UID:275030 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Clench your fists into the smoggy air of L.A. no more! Documentary material and new works from three artist s (one is a writer) working in Germ any! A trio from Köln offers a brief lung transplant into alternate history factoids! Long lost nights of crui sing on the Sunset Strip are only a click away from these three\, at the same time as their strange adjacency in Germany\, on the west coast of t he River Rhine.

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No taboo lays uncovered between them! Mother loads of indignities are faced! All three fill and empty the cipher like a threaded needle thru the skin of time into the Rhineland\, not now passed ov er for other digs.

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Frances Scholz's films and paintings easily surv ive the demise of 90s Cologne to an ti-dazzle with a new kind of plastic infinity! Between silted rows of color on white\, pressed values of space time marble like meat onto crispies t surface. Gushes of LSD\, wisps of sound stop and carry the bus away. Suddenly a hugging machine appears\, laying waste to hackneyed ideas of li ght painting\, furniture\, lovers\, consolation prizes\, animal husbandry and bondage\, etc. in the process.

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In the gaps the visual can't cover Dr. von Schlegell's Neo Fictocrit icism debunks previous time forms with old intelligence and a keen eye for the forgery of illusions pressed on by contemporary cultural demanders /those in control of distribution -- including Rheinland museum directors and Berlin printmeisters! Science fi ction on view here.

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Julia Scher! Alien commix\, landing pad\, historical document and welcome sign. Self instructor whose faux machismo mixed for Cologne the historical parables of Scher\, Schindler and Schlemiel from the 80s and beyond\, is brought to the table. It was deep into Bush t he Second when she wound up moving for good to Cologne\, taking a Prof essorship at the KHM. Scher hardly recognized what she saw upon her arrival. The 80s were gone\, but now even the 90s too! Nothing stood between herself and that castle high in the mountains with runic symbols carved in its floor. Two friends appeared. Sm all models of alien landing pads be gan popping into the digital horizon. Might they serve as open hole way-outs? The art space\, she realized\, < /span>the l-void\, can be the welcoming pl ace\, the feeding area for the newe st visitors. Not just meet and greet -- entire museums might now hotel aliens…

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Exhibition includes :
Paintings\, sculptures\, pub lications\, video\, surveillance\, literature\, zines\, Scrapbooks\, etc. by all the artists\, 198?-2013.

DTEND:20130703 DTSTAMP:20140801T143505 DTSTART:20130517 GEO:34.098048;-118.3543467 LOCATION:ltd los angeles\,7561 Sunset Blvd. \nLos Angeles\, CA 90046 SEQUENCE:0 SUMMARY:A Short History of Cologne \, Julia Scher\, Frances Scholz\, Mark v on Schlegell UID:273747 END:VEVENT BEGIN:VEVENT DTEND:20130517T200000 DTSTAMP:20140801T143505 DTSTART:20130517T180000 GEO:34.098048;-118.3543467 LOCATION:ltd los angeles\,7561 Sunset Blvd. \nLos Angeles\, CA 90046 SEQUENCE:0 SUMMARY:A Short History of Cologne \, Julia Scher\, Frances Scholz\, Mark v on Schlegell UID:273748 END:VEVENT END:VCALENDAR