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

Los-Angeles based artist Candi ce Lin continues her research into the historical and contemporary use of p lants in medicine\, cultural objects\, food\, consciousness-research\, and foraging practices in the Artist Lab. This exploration\, ongoing from her p ast work\, questions how socio-political interests engage with power\, circ ulating within language and form in the specific contexts of gendered relat ionships to technology\, nature\, food\, and domesticity. Lin explores the gendered and racialized figure of the healer\, herb-woman\, or witch\, and the role of botany in relationship to empire and colonialism. She considers historical figures\, such as the eighteenth-century explorer Jeanne Baret\ , as well as narrative characters\, like Sycorax\, the mother Caliban in Sh akespeare&rsquo\;s \;The Tempest. All are connected to legacie s of imperialism and revolution. She traces the inheritances of these syste ms in botanical nomenclature and in scientific taxonomies to look at how co ntemporary hierarchies define and order gender\, animacy\, and different ty pes of life forms.

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In the second half of her residency\, Lin will collaborate with artist Patrick Staff. Togethe r\, they will be investigating the hormonal properties of plants and their synthesis within the human body. Their research will concern phyto-hormones with which they will make a variety of substances including a natural test osterone salve harvested from local pine pollen and sculptural works that w ill form the basis for a film set\, within which the artists will document performative actions regarding the ingestion and constitution of such subst ances. Lin&rsquo\;s and Staff&rsquo\;s collaboration will incorporate forag ing and herbal medicine to examine the intersections of technologies of the body\, bio-political subjectivity\, and contemporary formulations of gende r and sexuality\, which also form the basis of Lin&rsquo\;s other plant-bas ed research project in the Artist Lab.

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Candice Lin&rsquo\;s Artist Lab Residency at 18th Street Arts Center is generously supported by the California Community Foundation and the Nati onal Endowment for the Arts.

DTEND:20150918 DTSTAMP:20150902T104320 DTSTART:20150713 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Sycorax’s Garden\, Candice Lin UID:389156 END:VEVENT BEGIN:VEVENT DTEND:20150829T200000 DTSTAMP:20150902T104320 DTSTART:20150829T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Sycorax’s Garden\, Candice Lin UID:389157 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Did you ever feel like your ma gazine should be looser? Masculini is a magazine so loose\, it&rsquo\;s bar ely contained by the giant cannelloni noodle poking through its center (Pas ta Pin&trade\;). The looseness of Masculini is evident in many senses: visu ally\, thematically\, chronologically and spiritually. Initiated in early 2 013 by Nancy Lupo and Molly McFadden\, Masculini Issue 0 is a set of conten t and random imagery collaged into the pages of twelve half-Vogue magazines from 1999. The logo\, typesetting and covers are by Cassandra Cisneros. Wh ile leafing through Masculini\, you may recognize such familiar faces as St ella Tennant\, a young fresh Gisele Bü\;ndchen\, those great girls from the late-90&rsquo\;s Prada ads\, one of whom I&rsquo\;m pretty sure sat in the row behind me on a plane once (in coach!). She looked great.

Masculini offers something special for nearly every reader\, from an inte rview with Memphis designer Natalie du Pasquier to a provocative script by Nik Gelormino\, a silver gelatin print by Em Rooney\, as well as nearly inv isible images from Christopher Page. There&rsquo\;s a plaid poster print by Cheryl Donegan\, three tissue collages from Christian Holstad and two take s on defining Art&rsquo\;s Minimum/The Minimum Degree by Stacie Vos and Jef frey Stuker. You&rsquo\;ll learn about the latest in office trends and how many circles there are in LA. If you hunt them all down\, you could win a M asculini T-shirt! Leila Hekmat reports on the romantic chasm dividing New Y ork and Berlin and Phyllis La Farge talks turkey about beauty. Some things that got cut out were a quiz (!) and a column called &ldquo\;Untenable.&rdq uo\; Also\, we forgot to ask Tony Conrad to write something\, which was a m istake.

Over the course of a month\, one issue of Masculini will be viewable under a vitrine designed and built by Nik Gelormino. The magaz ine will be moved through slowly\, at the rate of about 10 pages per day. F or more rapid viewing\, Masculini can also be found at masculini.us or by a ppointment in the collections of the Whitney Museum of Art and The Museum o f Modern Art in New York.

http://masculini.us/
thevanitygallery.tumblr.com

DTEND:20150913 DTSTAMP:20150902T104320 DTSTART:20150719 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Masculini\, Issue 0 What a Shape! at The Vanity East UID:390519 END:VEVENT BEGIN:VEVENT DTEND:20150719T170000 DTSTAMP:20150902T104320 DTSTART:20150719T140000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Masculini\, Issue 0 What a Shape! at The Vanity East UID:390520 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On August 20\, A+D Architectur e and Design Museum>\;Los Angeles will present Shelter: Rethinking ho w we live in Los Angeles\, featuring the imaginative work of Los Angel es-based architecture and design practices Bureau Spectacular\, LA Mas\, Lo rcan O'Herlihy Architects\, MAD Architects\, PAR\, and wHY.

The inaugural exhibition at A+D's new home in the Los Angeles Arts District\, S helter challenges these architects and designers to create new residential solutions responding to the city's increasing density\, decreasing buildabl e land\, new transit offerings\, growing diversity\, ballooning costs\, and intense environmental challenges. To engage these conditions\, Shelter par ticipants will create single or multi-family plans for a stretch of the Wil shire Corridor along Metro's Purple Line extension\, and along the Los Ange les River\, between Downtown Los Angeles and Griffith Park\; exploring fres h new inspirations for LA's diverse housing typologies.

Shelter seeks to change our expectations for living in Los Angeles within the conte mporary context of the expanding metropolis. Proposals - including large-sc ale models\, drawings\, images\, and video - will demonstrate how new forms of shelter can respond to changes in both the cultural fabric and physical landscape of the city\, better addressing its pressing issues.

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Shelter: Rethinking how we live in Los Angeles is organized by A+D Architecture and Design Museum>\;Los Angeles and co-curated by Sam Lubell and Danielle Rago. Exhibition design by the AE COM Los Angeles Design Studio.

DTEND:20151106 DTSTAMP:20150902T104320 DTSTART:20150820 GEO:34.0432739;-118.236222 LOCATION:A + D Museum\,900 E. 4th Street \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Shelter: Rethinking How We Live in Los Angeles UID:387836 END:VEVENT BEGIN:VEVENT DTEND:20150820T220000 DTSTAMP:20150902T104320 DTSTART:20150820T190000 GEO:34.0432739;-118.236222 LOCATION:A + D Museum\,900 E. 4th Street \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Shelter: Rethinking How We Live in Los Angeles UID:387837 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Emerging presents images by more than 90 emerging photographers fr om around the world who bring a fresh perspective and creative techniques t o professional photography. The exhibit explores how a new generation of ph otographers examines a variety of topics\, from the personal to the global: youth culture\, family\, the environment\, economic uncertainty\, conflict and civil unrest\, and the nature of the photographic image.

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Emerging was organized in partnership with Photo Distr ict News (PDN)\, the award-winning publication for profes sional photographers. The exhibit is comprised of works from photographers who have been featured in &ldquo\;PDN&rsquo\;s 30\,&rdquo\; Ph oto District News&rsquo\; annual selection of 30 emerging photographer s who represent a range of styles and genres and have demonstrated a distin ctive vision\, creativity\, and versatility. The photographers in Emerg ing come from 30 countries and while all are still relatively new to p rofessional photography\, many have already earned prestigious accolades.\n

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In addition to nearly 100 prints\, the exhibition will incl ude videos\, multimedia pieces\, self-published books\, zines and a changin g slideshow of images posted on social media illustrating the many ways eme rging photographers have shown and shared their work.

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The exhibition is guest curated by PDN leadership: Editor in Chief\ , Holly Stuart Hughes\; Senior Editor\, Conor Risch\; Photo Editor\, Amy Wo lff\; Executive Editor\, David Walker and Creative Director\, Darren Ching.

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DTEND:20150920 DTSTAMP:20150902T104320 DTSTART:20150606 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:Emerging UID:380480 END:VEVENT BEGIN:VEVENT DTEND:20150606T200000 DTSTAMP:20150902T104320 DTSTART:20150606T180000 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:Emerging UID:380481 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pinto mi Raya \;( &ldquo\;to draw the line&rdquo\;) is an art/archive project founded by Mexi co City-based artists Mó\;nica Mayer and Victor Lerma to &ldquo\;lubr icate the Mexican Art System.&rdquo\; It began as an artist-run gallery in 1989\, at a time when both galleries and museums were particularly closed t o non-traditional forms of art. It became a successful digital art editoria l project in the early 1990s\, producing portfolios likeMimesis\, Aquer otipo\, and \;EMPA. From its inception\, \;Pinto mi Rayahas also served as a platform from which Mayer and Lerma produc e performances that deal with different aspects of the art system\, such as the relationship between curators and critics with artists\, or the need t o document and archive ephemeral contemporary art. At points in its life&nb sp\;Pinto mi Raya \;has also transformed into radio and televi sion programs\, and now serves as a home for an array of workshops and educ ational projects on performance art\, feminist art\, and activism.

The \;Pinto mi Raya \;archive has been a central aspect of the project. In addition to their own documents and collection of catal ogues about and invitations to exhibitions of Mexican art\, Mayer and Lerma have\, since 1991\, collected the art criticism\, reviews\, and news publi shed in major local newspapers. The archive now totals approximately 300\,0 00 documents. In 2011\, to celebrate their 20th anniversary\, Mayer and Ler ma put together \;Archivo Activo\, a compilation of nearly 11\ ,000 articles divided into themes such as women artists\, performance art\, political art\, architecture\, installation\, artist-run spaces\, art and education\, and digital art. This comprehensive project was donated to seve ral Mexican universities and museums\; along with the donation Mayer and Le rma have been giving workshops and lectures on art and archive\, and archiv e and gender.

While at the Armory\, Mayer and Lerma will host a series of conversations and workshops with Los Angeles-based artists\, shar ing their experiences over the past 25 years with the \;Pinto mi Ra yaproject and focusing on artist-run spaces and the artists&rsquo\; wo rk in the archive.

A related exhibition in the Armory&rsquo\;s M ezzanine Galleries will feature a selection of the archives&rsquo\; documen ts that focuses on a series of very personal performances Mayer and Lerma h ave presented since 1980\, on their wedding day\, and are based on their pe rsonal and art-making relationship. This section of the archive was selecte d for the exhibition because their wedding invitation was printed on the sa me letterpress equipment that is now housed and used daily at the Armory\, which was previously used at the Woman&rsquo\;s Building where Mayer studie d at the Feminist Studio Workshop in the late 1970s.

Drawing fro m their earlier life experiences in Los Angeles\, another component of this residency will consist of work to extend the material in the \;Pin to mi Raya \;archive. While in residence\, the artists will explor e materials at Roosevelt High in Los Angeles\, which Lerma attended\, and a t Otis College of Art and Design\, which houses the slide and ephemera arch ive of The Woman&rsquo\;s Building\, with which Mayer was very active.

This residency and exhibition dovetails with the Armory&rsquo\;s&nbs p\;Aesthetic Experiments and Social Agents: Renegade Art and Action in Mexico in the 1990s\, part of the Getty&rsquo\;s \;Pacific Sta ndard Time: LA/LA initiative\, which will result in a series of exhibi tions in the Southern California region in 2017. \;Aesthetic Experi ments and Social Agents \;focuses on the engaged social spaces cre ated by alternative art practices in Mexico in the 1990s\, highlighting the emerging and overlapping relationships and outcomes between artistic and a ctivist practices at that time.

This exhibition is supported by the City of Los Angeles\, Department of Cultural Affairs and is part of the Getty&rsquo\;s \;Pacific Standard Time: LA/LAinitiative.

DTEND:20150906 DTSTAMP:20150902T104320 DTSTART:20150509 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Pinto mi Raya in Residency\, Mónica Mayer\, Victor Lerma UID:379215 END:VEVENT BEGIN:VEVENT DTEND:20150509T200000 DTSTAMP:20150902T104320 DTSTART:20150509T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Pinto mi Raya in Residency\, Victor Lerma\, Mónica Mayer UID:379216 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This group exhibition focuses on Victor Papanek&rsquo\;s pio neering influence on sustainable\, socially responsible\, human-centered de sign and the relevance of his oeuvre to current discourses in contemporary art\, particularly in providing a critical framework for an object-oriented social practice. The project asserts Papanek&rsquo\;s legacy as a galvaniz ing force in contemporary visual art and social practice.

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Victor Pa panek (1923\, Vienna - 1998\, Lawrence\, KS) was an American designer\, cri tic\, and educator. He studied design at Cooper Union and Massachusetts Ins titute of Technology\, was briefly a student of Frank Lloyd Wright\, taught and lectured widely around the country and in Europe\, and had a deep impa ct here in Southern California\, where he was a founding dean at California Institute of the Arts. He found a strong ally in Buckminster Fuller\, who wrote the introduction to his book \;Design for the Real World \, which remains one of the most widely read books in the field of design\, particularly in universities.

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Papanek did not believe in patents\, feeling they stymied innovation and prevented urgent design solutions from reaching their audiences. \;After Victor Papanek: The Future Is No t What It Used To Be \;pairs reproductions of Papanek&rsquo\;s ori ginal unpatented plans and drawings with realized projects by artists and a rt teams that offer interpretations of those original plans\, using Papanek &rsquo\;s works as &ldquo\;prompts&rdquo\; or &ldquo\;scores&rdquo\; for th e creation of new work by contemporary artists.

DTEND:20150906 DTSTAMP:20150902T104320 DTSTART:20150509 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:After Victor Papanek: The Future Is Not What It Used To Be \, Dave Hullfish Bailey\, CamLab\, Ken Ehrlich & Mathias Heyden\, Rafa Esparza\, Ro bby Herbst\, Olga Koumoundouros\, Liz Nurenberg\, Michael Parker UID:381560 END:VEVENT BEGIN:VEVENT DTEND:20150509T200000 DTSTAMP:20150902T104320 DTSTART:20150509T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:After Victor Papanek: The Future Is Not What It Used To Be \, Dave Hullfish Bailey\, CamLab\, Rafa Esparza\, Robby Herbst\, Ken Ehrlich & Math ias Heyden\, Olga Koumoundouros\, Liz Nurenberg\, Michael Parker UID:381561 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This group exhibition will foc us on Victor Papanek&rsquo\;s pioneering influence on sustainable\, sociall y responsible\, human-centered design and the relevance of his oeuvre to cu rrent discourses in contemporary art\, particularly in providing a critical framework for an object-oriented social practice. The project asserts Papa nek&rsquo\;s legacy as a galvanizing force in contemporary visual art and s ocial practice.

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Victor Papanek (1923\ , Vienna - 1998\, Lawrence\, KS) was an American designer\, critic\, and ed ucator. He studied design at Cooper Union and Massachusetts Institute of Te chnology\, was briefly a student of Frank Lloyd Wright\, taught and lecture d widely around the country and in Europe\, and had a deep impact here in S outhern California\, where he was a founding dean at California Institute o f the Arts. He found a strong ally in Buckminster Fuller\, who wrote the in troduction to his book \;Design for the Real World\, which rem ains one of the most widely read books in the field of design\, particularl y in universities.

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Papanek did not be lieve in patents\, feeling they stymied innovation and prevented urgent des ign solutions from reaching their audiences.After Victor Papanek: The F uture Is Not What It Used To Be \;pairs reproductions of Papanek&r squo\;s original unpatented plans and drawings with realized projects by ar tists and art teams that offer interpretations of those original plans\, us ing Papanek&rsquo\;s works as &ldquo\;prompts&rdquo\; or &ldquo\;scores&rdq uo\; for the creation of new work by contemporary artists.

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This exhibition is supported by The National Endowmen t for the Arts

DTEND:20150906 DTSTAMP:20150902T104320 DTSTART:20150510 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:After Victor Papanek: The Future Is Not What It Used To Be\, Victor Papanek UID:379217 END:VEVENT BEGIN:VEVENT DTEND:20150509T200000 DTSTAMP:20150902T104320 DTSTART:20150509T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:After Victor Papanek: The Future Is Not What It Used To Be\, Victor Papanek UID:379218 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Have you ever wondered who was behind all of the timelines and creative graphics that make an exhibition come to life? This exhibition gives you the unique chance to learn about th e creative process of the Bowers Museum&rsquo\;s former Director of Creativ e Design\, Nancy Ravenhall Johnson.

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Where Ends Meet is about ingenuity and artistic ins piration\; it reveals a journey that thread through a graphic designer's ca reer and will be on display at the Bowers Museum from March 13 until August 16\, 2015. From 1987 to 2012\, Nancy Ravenhall Johnson grew and mastered a variety of positions at the Bowers Museum. She started as Gallery Store Ma nager\, then Graphic Designer\, VP of Public Relations and Director of Crea tive Design.

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Nancy&rs quo\;s works represent many hours of research vested in technical learning\ , developing graphics and timelines and overseeing their production. Exampl es of these will be used as backdrops to the exhibition. In the foreground will be her artistic compositions. The end result is a whimsical\, joyful v iew through a kaleidoscope of digital arts\, graphic design\, and fibers.\n

As an artist\, Nancy c ommented\, &ldquo\;I have the opportunity to work with amazing artifacts an d see how other cultures transformed craft into an individual art form.&rdq uo\; It was an experience that influenced the way she looked at the world. The objects of her creation and soulful thoughts were left as a resounding message of love for people\, their culture\, and folklore\, whispered from her spirit.

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Nancy elo quently explained her creative process through basketry\, which reveals her genuine nature found in both her professional and creative careers. &ldquo \;My baskets are a reflection of other activities or projects in my life. I often sketch as a means to figure out how to utilize a scrap of raw materi al that catches my eye. Then I attempt to surrender to the process. Like wa lking a labyrinth\, weaving is an activity that has become a metaphor for m y journey in life\, choosing what path to take\, learning lessons along the way\; it can be a time for sharing within a group or inner reflection. The results are always unexpected. It is that element of surprise in how the f inished piece will turn out that keeps the process exciting.&rdquo\;

\n< p style="text-align: justify\;">Paul Johnson\, Vice President of Exhibit De sign and loving spouse to Nancy shared\, &ldquo\;Little did she know that s he was the treasure in my life. Little did I know that I would be presentin g her gifted life for the public to view and falling in love with her all o ver again.&rdquo\; All of her experiences and vision find a way for all end s to meet.

DTEND:20150927 DTSTAMP:20150902T104320 DTSTART:20150313 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Where Ends Meet: A Retrospective of Works by Nancy Ravenhall Johnso n\, Nancy Ravenhall Johnson UID:375711 END:VEVENT BEGIN:VEVENT DTEND:20150313T160000 DTSTAMP:20150902T104320 DTSTART:20150313T100000 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Where Ends Meet: A Retrospective of Works by Nancy Ravenhall Johnso n\, Nancy Ravenhall Johnson UID:375712 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The lure of the American West has entranced many throughout the course of history. Ansel Adams\, Edward S . Curtis and Edward Weston were held captive by its promise\, beauty and pe ril.

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Adams\, Curtis and Weston: P hotographers of the American West documents the changing landscape of the west and the art of photography through time as well as through the len ses of three of the most celebrated 20th century American photographers.

DTEND:20151129 DTSTAMP:20150902T104320 DTSTART:20150516 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Adams\, Curtis and Weston: Photographers of the American West\, Ans el Adams\, Edward S. Curtis\, Edward Weston UID:372199 END:VEVENT BEGIN:VEVENT DTEND:20150516T160000 DTSTAMP:20150902T104320 DTSTART:20150516T100000 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Adams\, Curtis and Weston: Photographers of the American West\, Ans el Adams\, Edward S. Curtis\, Edward Weston UID:372200 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Minnesota Historical Socie ty\, in partnership with the Atlanta History Center\, the Chicago History M useum and the Oakland Museum of California\, brings you a major exhibit doc umenting this pivotal year. The 1968 Exhibit is an ambitious\, state-of-the -art \, multimedia exhibit that looks at how the experiences of the year fu eled a persistent\, if often contradictory\, sense of identity for the peop le who were there. It is the unsettled nature of the debate about damage do ne or victories won that makes an exhibit on this subject so compelling and urgent.

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The social forces that swirl ed through the turbulent 1960s crested in 1968. It was a turning point for a generation coming of age and a nation at war. The year saw the peak of th e Vietnam War\, the assassinations of Dr. Martin Luther King Jr. and Robert Kennedy\, riots at the Democratic National Convention\, assertions of Blac k Power at the Olympic Games and feminist demonstrations at the Miss Americ a pageant. Hair opened on Broadway\, Laugh-In debuted and became the number -one show on TV\, Bonnie and Clyde and The Graduate picked up Oscars and Jo hnny Cash gave a legendary performance at Folsom Prison. President Lyndon J ohnson spoke of a country "challenged\, at home and abroad" in his State of the Union address\; his successor\, Richard Nixon\, promised in his nomina tion acceptance speech that "the long\, dark night for America is about to end." In the closing days of the year\, we saw Earth in its entirety for th e first time from the window of the Apollo 8 space capsule.

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The 1968 Exhibit is a traveling exhibit organized by the Minnesota History Center in partnership with the Atlanta History Cente r\, the Chicago History Museum and the Oakland Museum of California. The ex hibit is supported by major grants from the National Endowment for the Huma nities and the Institute of Museum and Library Services.

DTEND:20150913 DTSTAMP:20150902T104320 DTSTART:20150613 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:The 1968 Exhibit UID:380482 END:VEVENT BEGIN:VEVENT DTEND:20150613T160000 DTSTAMP:20150902T104320 DTSTART:20150613T100000 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:The 1968 Exhibit UID:380483 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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The California African American Museum (CAAM )\, in collaboration with the USC Roski School of Art and Design\, presents &ldquo\;Shared Otherness\,&rdquo\; an exhibition of work by USC Roski stud ents. \; \;This is the second \;such collaboration between USC Roski and CAAM \;as part of the CAAM Courtyard Series. &ldquo\;Shared O therness&rdquo\; is a mixed-media exhibit referencing the communities to wh ich USC and CAAM belong. USC artists and designers mix conceptual and concr ete ideas\, addressing their immediate geographical context while also cont ributing their voices to larger\, national and international dialogues.&nbs p\; Through &ldquo\;Shared Otherness\,&rdquo\; the students hope to meet th e diversity and change ever present around them with an exhibition equally as dynamic and multi-faceted. \;The students are guided by the collabor ative professional team of Sherin Guirguis\, Assistant Professor of Art at the USC Roski School of Art and Design\, Vida L. Brown\, Visual Arts Curato r\, CAAM and Ed Garcia\, Exhibition Supervisor\, CAAM.  \;

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DTEND:20150906 DTSTAMP:20150902T104320 DTSTART:20150528 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Shared Otherness\, USC Roski UID:384417 END:VEVENT BEGIN:VEVENT DTEND:20150528T200000 DTSTAMP:20150902T104320 DTSTART:20150528T120000 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Shared Otherness\, USC Roski UID:384418 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition exp lores &ldquo\;hard-edgedness&rdquo\; within a group of Los Angeles artists who have used\, and continue to use\, geometry and different levels of abst raction in a variety of media.

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Hard Edged presents over thirty visual artists of African descent who create paintings\, sculptures\, collages\, photographs\, videos\, and inst allations. These artists have ventured into the realm of abstraction with v ery different approaches\, from perceptual to conceptual\, from formal to b oundary-crossing\, yet all of them share a clear sense of composition\, uni ty of form\, bold shapes and\, often\, intense or solid color choices.  \;

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The exhibition draws w idely from local sources\, including CAAM&rsquo\;s permanent collection\, p rivate collectors\, galleries\, and the artists themselves. From CAAM&rsquo \;s permanent collection we present assemblages by masters David Hammons\, Noah Purifoy\, and John T. Riddle\, as well as paintings by Doyle Lane and Mathew Thomas. From private collectors we have borrowed sculptures by Melvi n Edwards and Senga Nengudi. \; Additional renowned artists in this gro up are Greg Pitts with his conceptual assemblages\; Enoch Mack\, with his s haped canvases\; Charles Dickson\, with his repurposed metal sculptures\; a nd Timothy Washington\, with his colorful collages made with magazine cut-o uts.

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Mid-career and emergi ng artists in the exhibition include April Bey\, Lavialle Campbell\, June E dmonds\, Kathy Foley-Meyer\, Kori Newkirk\, Duane Paul\, Karl Peyton\, Char la Puryear\, Lisa Soto\, Holly Tempo\, Devin Troy Strother and Lisa Diane W edgeworth. \;

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Hard Edg ed illustrates the rich interplay of tradition\, innovation\, and individua l talent among a group of Los Angeles artists for whom geometric abstractio n is their choice of expression when addressing such relevant issues as fem inism\, identity\, colonialism\, stereotypes\, family relations\, and socia l justice.

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Saturday\, Augu st 15\, 2015 \; \; \; 1:00 &ndash\; 2:00 pm Exhibition Walk-thr ough

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Saturday\, September 26\, 2015 \; 1:00 &ndash\; 3:30 pm Art Workshop with Charla Puryear

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Saturday\, October 17\, \ ; 1:00 &ndash\; 3:30 pm \; Art Workshop with April Bey

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DTEND:20160424 DTSTAMP:20150902T104320 DTSTART:20150813 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Hard Edged: Geometrical Abstraction and Beyond\, April Bey\, Lavial le Campbell\, June Edmonds\, Kathy Foley-Meyer\, Kori Newkirk\, Duane Paul\ , Karl Peyton\, Charla Puryear\, Lisa Soto\, Holly Tempo\, Devin Troy Strot her\, Lisa Diane Wedgeworth UID:390538 END:VEVENT BEGIN:VEVENT DTEND:20150815T140000 DTSTAMP:20150902T104320 DTSTART:20150815T120000 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Hard Edged: Geometrical Abstraction and Beyond\, April Bey\, Lavial le Campbell\, June Edmonds\, Kathy Foley-Meyer\, Kori Newkirk\, Duane Paul\ , Karl Peyton\, Charla Puryear\, Lisa Soto\, Devin Troy Strother\, Holly Te mpo\, Lisa Diane Wedgeworth UID:390539 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CAAM celebrates African Americ an cinematic moments from the 1940&rsquo\;s through an independent lens.

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This exhibition features over 80 film s tills and related photographs from the museum&rsquo\;s unique collection of African American films from the 1940&rsquo\;s\, a time of limited characte r roles and access to the mainstream movie industry. Typically referred to as &ldquo\;Race Films\,&rdquo\; these independent productions were created with a black cast and for an African American audience. Come explore the di stinct images and stories told more than 65 years ago as part of the broade r African American filmmaking tradition. Among the films selected are < strong>Beware (1946)\, showcasing musical pioneer Louis Jorda n\, The Betrayal (1948)\, directed and written by Oscar Micheaux\, and I Ain&rsquo\;t Gonna Open That Door (1949)\, starring Stepin Fetchit.

DTEND:20160228 DTSTAMP:20150902T104320 DTSTART:20150827 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Coloring Independently: 1940’s African American Film Stills from th e Collection of the California African American Museum UID:394555 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For his exhibition in the main gallery at CB1 Gallery\, Jeff rey Vallance will exhibit a series of &ldquo\;Spirit Photos&rdquo\; relatin g to each dead artist channeled during a series of sé\;ances. Histori cally spirit photography came in vogue around the end of the 19th century w hen photography was in its infancy. The early photographers use of double e xposure and trick photography now looks quaint to 21st century eyes. In thi s new series\, Vallance has endeavored to capture the essence of the of the spirit artists he encountered using digital technology. Each &ldquo\;Spiri t Photo&rdquo\; represents what Vallance saw in his mind&rsquo\;s eye durin g the sé\;ances\, including specific imagery and details described by the spirits.

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In gallery 2 Vallance presents his series of &ldquo\; Spirit Objects&rdquo\; or relics that Vallance felt he was directed to make by the spirits. For example\, one relic relates to the Spirit of Marcel Du champ&rsquo\;s concern for his lost cuff links. For another relic\, Vallanc e follows the Spirit of Jackson Pollock&rsquo\;s advice to &ldquo\;draw sea creatures.&rdquo\; Also shown in gallery 2 is the feature length video of the London sé\;ance.

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Since the late 1970s\, Jeffrey Vallance has been interested in paranormal phenomenon. When Jeffrey was growing up\, tales of his two family members that were professional psychics surrounded him. In 1994 after the death of President Nixon\, Vallance became interest ed in the story of the haunting of the Richard Nixon Presidential Library i n Yorba Linda\, California. For his first sé\;ance\, Vallance worked with a psychic to channel the ghost of Nixon. At a more recent sé\;an ce performance in London\, Vallance had five psychic mediums channel five f amous dead artists including Leonardo da Vinci\, Marcel Duchamp\, Frida Kah lo\, Vincent van Gogh and Jackson Pollock. The spirit artists were asked a series of questions concerning art in the afterlife and the current art mar ket. By the end of the performance\, the spirit artists were arguing and ne arly brawling with each other.

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Although Jeffrey Vallance has been o n the forefront of paranormal art for over three decades\, he is Fortean wh o neither believes nor disbelieves\, but like an anthropologist he reports on numerous phenomenon.
In conjunction with the exhibition\, Jeffrey V allance will do a new performance with legendary psychic Joseph Ross who wi ll channel dead art critics to hopefully review the show. The performance w ill be at the gallery on August 8 at 8 p.m.

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Jeffrey Vallance&rsquo\ ;s work blurs the lines between object making\, installation\, performance\ , painting\, writing and curating. Critics have described his work as an in definable cross-pollination of many disciplines. Often his intervention/inf iltration projects are site-specific including burying a frozen chicken at a pet cemetery\; traveling to Polynesia to research the myth of Tiki\; havi ng audiences with the king of Tonga\, the queen and president of Palau and the presidents of Iceland\; creating a Richard Nixon Museum\; traveling to the Vatican to study Christian relics\; installing an exhibit aboard a tugb oat and at a Christian Dinosaur museum in Sweden. In Las Vegas Vallance cur ated shows in the fabulous Vegas Strip museums\, such as the Liberace\, Cra nberry\, Magic and Clown Museum. In Lapland Vallance constructed a shamanic &ldquo\;magic drum\,&rdquo\; In Orange County\, Mr. Vallance curated the o nly art-world exhibition of the Painter of Light&trade\; entitled &ldquo\;T homas Kinkade: Heaven on Earth.&rdquo\; In 1983\, he was host of MTV&rsquo\ ;s The Cutting Edge and appeared on NBC&rsquo\;s Late Night with David Lett erman. In 2004\, Vallance received the prestigious John Simon Guggenheim Me morial Foundation award.

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In addition to exhibiting his artwork\, Mr . Vallance has written for such publications and journals as Art issues\, A rtforum\, L.A. Weekly\, Juxtapoz\, Frieze and Fortean Times. He has publish ed over 10 books including: Blinky the Friendly Hen\, The World of Jeffrey Vallance: Collected Writings 1978-1994\, Christian Dinosaur\, Art on the Ro cks\, Preserving America&rsquo\;s Cultural Heritage\, Thomas Kinkade: Heave n on Earth\, My Life with Dick\, Relics and Reliquaries\, and The Vallance Bible.

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Exhibition Page

DTEND:20150905 DTSTAMP:20150902T104320 DTSTART:20150725 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:The Medium is the Message\, Jeffrey Vallance UID:390608 END:VEVENT BEGIN:VEVENT DTEND:20150725T180000 DTSTAMP:20150902T104320 DTSTART:20150725T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:The Medium is the Message\, Jeffrey Vallance UID:390609 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On view in CB1 Gallery&rsquo\;s Project Room is Painting of Levitated Mass\, Emily Davis Adams&rsquo\; second one-person show with CB1. The exhibition consists of a single work that directly references Michael Heizer&rsquo\;s installation at the Los Angeles County Museum of A rt.

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In Painting of Levitated Mass\, Adams presents the vie wer with an oil painting of the boulder from the famous sculptural work\, o ffering a challenge to Heizer&rsquo\;s assertion that &ldquo\;size is real\ , scale is imagined&rdquo\; and intentionally raising questions about reali sm\, representation\, and artistic media in the context of contemporary art making.

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&ldquo\;I&rsquo\;m attracted to the paradox of the paintin g as both a representation of an earthwork and as an earthwork itself\,&rdq uo\; says Ms Adams. &ldquo\;Ultimately\, my work and Heizer&rsquo\;s &lsquo \;Levitated Mass&rsquo\; are both essentially of the same materials&mdash\; earth &ndash\; and the experience of viewing each piece has everything to d o with context.&rdquo\;

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Emily Davis Adams&rsquo\; most recent paint ings of earthen forms and surfaces&ndash\; rocks\, minerals and composites (granite\, concrete\, marble\, etc)&ndash\; bear the marks of human presenc e and the passage of time. The paintings serve as records while also explor ing each subject&rsquo\;s relationship to the languages of visual art. Her subjects also include Robert Irwin&rsquo\;s landing stones for his garden a t the Getty Museum\, the faç\;ade of Plymouth Rock\, the sidewalk aro und her studio in Brooklyn\, as well as a piece of Trinitite from the test site in New Mexico. The paintings range in format from large-scale canvases to scrolls to miniature watercolors\, and all share a high degree of obser ved detail from direct observation.

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Emily Davis Adams was born in S an Francisco\, California. She studied art at the University of California\ , Los Angeles\, UC Berkeley\, and the New York Academy of Art. Her painting s draw on personal history\, art history and environmental history\, and in vestigate aspects of contemporary American landscape and their relationship to the languages of visual art. She holds a BS in environmental science an d policy and an MFA in visual art. She currently lives and works in Brookly n\, New York\, and is an adjunct assistant professor in the art department at Queens College.

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Exhibition Page

DTEND:20150905 DTSTAMP:20150902T104320 DTSTART:20150725 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Painting of Levitated Mass\, Emily Davis Adams UID:390610 END:VEVENT BEGIN:VEVENT DTEND:20150725T180000 DTSTAMP:20150902T104320 DTSTART:20150725T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Painting of Levitated Mass\, Emily Davis Adams UID:390611 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is p leased to present Robert Overby (1935-1993): See Robert\, a solo e xhibition spanning three decades of the formidable artist's career includin g sculptures\, works on paper\, neon and paintings.

L ike many earlier artists\, Robert Overby has spent years trying to emulate old master techniques of surface and paint handling. While a student at the Chicago Art Institute in the 50&rsquo\;s he roamed the painting galleries. "Although I&rsquo\;ve been doing fine art only for a few years (1969)\," h e says\, "I can still remember liking what I still like today. Even as adve rtising students\, the Museum galleries always seemed to be part of our ass ignments.&rdquo\; In fact\, the frustration of his inability in his attempt s to blend oil painting and achieve the &lsquo\;look&rsquo\; sent him on so me interesting tangents for the first few years of his fine artists career. Then a friend of a friend gave him some home-brew painting medium formulas and voila!\, old master technique. He still makes medium and paint. "It&rs quo\;s cheaper\,&rdquo\; he says.

Overby&rsquo\;s interest in Baroque era paintings doesn&rsquo\;t\, however\, extend to their narrative content\, "I have to reconstruct the painting in my mind to see whether the re are putti or not\, but the form and feeling are very strong\,&rdquo\; he remarks\, "and the drawing\," he adds. Since ancient art concerns seems so far removed from today&rsquo\;s Overby feels that the precedent for realis tic art is primarily the mass media\, "Photography in particular was import ant to me as a designer - shapes I didn&rsquo\;t draw myself I had photogra phed - and as a way of seeing it still fascinates me.&rdquo\; Another sourc e is commercial illustration\, pocket book covers in particular\, "The 40&r squo\;s and 50&rsquo\;s had some marvelous illustrators\," and although the ir style of painting had died out for years\, "it&rsquo\;s come booming bac k on the cover of romance novels\,&rdquo\; he says happily. "When I was goi ng to school here in Los Angeles\, there were also great handpainted billbo ards around\, like the Gas Company boards\, for instance. There&rsquo\;s a (billboard painting of the) head of &lsquo\;David&rsquo\; at Forest Lawn in Glendale now that&rsquo\;s a knockout\, a real good painter." Overby conti nues\, "Most representational artists shy away from the commercial stuff&he llip\;I like it!&rdquo\; So much for precedent.

It all has to do with the accessibility of image\, Overby says\, and he sees nothing wron g with the old saws\, it&rsquo\;s what you do with them that counts\, he cl aims. Overby&rsquo\;s painted collage images belie their source and origina l intent\, like as not forming a kind of grim sociological footnote. His ar t in the 70&rsquo\;s had something to do with the burgeoning of pornography then and still extant. Plus it turned up at his fingertips\, "My Hollywood Boulevard studio - at the crotch of Hollywood and Sunset - had a sometime porn printer nearby. I used to raid his dumpster\,&rdquo\; he says\, "The p ress sheets I&rsquo\;d find were all the things that could go wrong with a printing press\; smears caused by dryers and water balance problems\, muscu lar and registry\, images that looked like what some N.Y. painters are doin g today\,&rdquo\; he laughs.

One direction Overby&rsquo\;s art is taking at present time is in what he calls his &lsquo\;Disparate Women&r squo\; series painted from paperbacks\,"Late 50s paperback covers are somet hing else\,&rdquo\; he comments\, "sexy woman victims\, and we wonder at ou r present reality." Overby tends to be an observer\, even a voyeur\, rather than a moralizer\, which puts him at odds with some. He seldom glosses his content\, bringing up serious questions of responsibility. On this he take s the First Amendment.*

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*All of the above text was written by Robe rt Overby at some point in the 1980&rsquo\;s and released by him as an info rmal\, quasi-promotional pamphlet (one of a set of six pamphlets published by the artist). At the time he wrote these words\, Overby had chosen to ope rate largely outside the art world. He was judge and jury for himself and h is artistic output\, much as he had been since the publication of his &lsqu o\;red book\,&rsquo\; 336 to 1: August 1973-July 1969 in 1974. Robert Overby passed away in 1993.

Overby&rsquo\;s work was recently the subject of a major solo mu seum survey\, Robert Overby: Works 1969 &ndash\; 1987\, curated by Alessandro Rabottini [Centre d&rsquo\;Art Contemporain (Geneva\, Switzerla nd)\; travelled to Galleria d'Arte Moderna e Contemporanea di Bergamo (Berg amo\, Italy)\, Bergen Kunsthall (Bergen\, Norway) and Le Consortium (Dijon\ , France)]. Robert Overby: Works 1969 &ndash\; 1987 was accompanied by a ma jor publication of the same title. Robert Overby&rsquo\;s work is in such c ollections as Metropolitan Museum of Art (New York)\; Museum of Modern Art (New York)\; Whitney Museum of American Art (New York)\, Weatherspoon Art M useum (Greensboro)\; Art Institute of Chicago (Chicago)\; San Francisco Mus eum of Modern Art (San Francisco)\; Museum of Contemporary Art (Los Angeles )\; Los Angeles County Museum of Art (Los Angeles)\; Hammer Museum (Los Ang eles)\; and Museum of Contemporary Art (San Diego).

DTEND:20150919 DTSTAMP:20150902T104320 DTSTART:20150808 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:See Robert\, Robert Overby UID:390775 END:VEVENT BEGIN:VEVENT DTEND:20150808T200000 DTSTAMP:20150902T104320 DTSTART:20150808T180000 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:See Robert\, Robert Overby UID:390776 END:VEVENT END:VCALENDAR