BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20160508 DTSTAMP:20160504T133822 DTSTART:20160319 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:A Novel of Thank You and Other Paintings\, Wayne Koestenbaum UID:412719 END:VEVENT BEGIN:VEVENT DTEND:20160319T220000 DTSTAMP:20160504T133822 DTSTART:20160319T200000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:A Novel of Thank You and Other Paintings\, Wayne Koestenbaum UID:412720 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present In termission.\, a solo exhibition of new work by New York based artist Natali e Frank. Cut wooden paintings and paper pulp paintings show glimpses of per verse private dramas and the theatrical spaces in which they are performed. In one painting\, two women interact over a vase that is cut away from the painting. The woman who is most fleshed out extrudes two fingers in instru ction\, a beckoning invitation. The second woman\, more abstracted and sewn up the side\, hovers. In the other paintings\, women perform: dancing on s tage and dancing in front of a fractured sky. In another painting\, a woman 's face peers into an intimate space of men at a bathhouse\, where a scale discrepancy leads the viewer to question who is on the outside and who is o n the inside.

Also included in the show are paper pulp paintings that punctuate the space\, populating the walls with portraits of women wh o howl\, wear disguises and play with dogs. These paintings\, made at Dieu Donné\;\, a New York paper-making atelier\, use pulp to simulate pain t in some areas\, while using the materiality of the paper to evoke areas o f decorative\, gestural abstraction. All were made by dripping\, spooning a nd brushing pulp paint\, which is made up of tiny particles of paper suspen ded in water\, and placed onto a cotton or linen\, wet\, paper base. \;

Presented on yellow walls\, Frank's new paintings in paper and on wood portray women who have created worlds of their own liking--full of voyeurism\, performance\, pets and the hot colors and exuberance of horror films.

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Exhibition walk-through with the artist:
Saturday\, A pril 30\, 5 - 6 PM

Opening reception:
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Saturday\, Apr il 30\, 6 - 8 PM
DTEND:20160604 DTSTAMP:20160504T133822 DTSTART:20160430 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Intermission. \, Natalie Frank UID:416897 END:VEVENT BEGIN:VEVENT DTEND:20160430T200000 DTSTAMP:20160504T133822 DTSTART:20160430T170000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Intermission. \, Natalie Frank UID:416898 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160604 DTSTAMP:20160504T133822 DTSTART:20160430 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Part 2\, Matt Lifson UID:416899 END:VEVENT BEGIN:VEVENT DTEND:20160430T200000 DTSTAMP:20160504T133822 DTSTART:20160430T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Part 2\, Matt Lifson UID:416900 END:VEVENT BEGIN:VEVENT DESCRIPTION:
In order to read what has ne ver been written\, look deeply onto a blank wall\, an obscured face or a gl impse of human form. Every perception is fertile with meaning&ndash\;even a perceived absence provokes a search for a hidden piece or illusory presenc e. Images of two hands\, hung closely apart\, will guide the eyes towards t he unseen arms of the body that binds them together. While a keyboard space bar inputs distances between characters\, this spacing also unifies words i n the structure of a sentence. Legibility is found in the perception of wha t is real\, what is present and what is possible.
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Anat Ebg i is pleased to present \;Quote Unquote\, Amie Dicke&rsquo\;s second solo show at the gallery\, composed of photographic prints\, mixed m edia assemblages and raw color ink plates. In this new series of work\, Dic ke interrogates the language of visual culture through breaks\, spaces and intervals of absence. Each item used by the artist is a quotation of an exi sting structure\, an artifact of a previous visual or material identity cul led from print media\, archived photography or found studio materials. Dick e&rsquo\;s work interrogates these existing visual mediums through sandpape r abrasions\, selective framing\, cropping and other deviations.
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Expanding on her &ldquo\;corrected artwork&rdquo\; series\, Dicke&rs quo\;s new body of work introduces pairings between similar formal elements taken from varying sources and materials. A pair of crossed women&rsquo\;s legs and a boy's folded arms echo one another in two photographs\, yet are differentiated by each figure&rsquo\;s skin tone and background color&mdas h\;black and white become inverted notions. Another pairing shows two sets of hands gesturing at a quotation mark\, but are subtracted from the male f igure lurking invisibly between the frames. Dicke&rsquo\;s \;Split Self \;is composed of two images that remove the center of a femal e face\, yet\, through this removal\, open up her identity to an infinite n umber of possibilities. A further elaboration of the unwritten is explored in two mosaics of meticulously arranged crayons.
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In rootin g her work between the threshold of presence and possibility\, Amie Dicke a ctively engages in the sequences and contingencies that structure visual la nguage and human perception.
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Amie Dicke (b. 1978) lives an d works in Amsterdam\, Netherlands. She received her masters at the Willem de Kooning Academy of Fine Arts in Rotterdam. Dicke has shown international ly at galleries and institutions including the Gemeente Museum\, The Hague\ , Stigter van Doesburg and Castrum Peregrini\, Amsterdam\, Peres Projects\, Berlin and Hiromi Yoshii Gallery\, Tokyo. Her work is included in collecti ons including Gemeentemuseum The Hague\, Collection Rob Defares\, Direct Ar t Collection\, the Zabludowicz Collection\, Collection Rik Reinking\, Takas hi Murakami and the City Collection of Rotterdam through the Museum Boijman s van Beuningen. Upcoming exhibitions include her solo show \;Impor tant Souvnirs \;at Looiersgracht 60\, Amsterdam.
DTEND:20160604 DTSTAMP:20160504T133822 DTSTART:20160430 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Quote Unquote\, Amie Dicke UID:415353 END:VEVENT BEGIN:VEVENT DTEND:20160430T200000 DTSTAMP:20160504T133822 DTSTART:20160430T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Quote Unquote\, Amie Dicke UID:415354 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of tapestries ma de of fabric\, thread\, paint\, and ink\, which depict the rich landscape o f the West while mapping the fault lines throughout the region with vivid r ed lines. The artist\, who calls these works "mapestries\," descr ibes them as "safe art for above one's bed in case of temblors."

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Learn More About the Artist

DTEND:20160515 DTSTAMP:20160504T133822 DTSTART:20160124 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Mapestries\, Jessie Homer French UID:406198 END:VEVENT BEGIN:VEVENT DTEND:20160123T200000 DTSTAMP:20160504T133822 DTSTART:20160123T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Mapestries\, Jessie Homer French UID:406199 END:VEVENT BEGIN:VEVENT DESCRIPTION:

What Fuels Development? is an installation that serves as a set for a devised theater piece that explores the mechanics of displacement in an age of immense income inequal ity as well as the Los Angeles Skid Row community's fight to not be overwhelmed by a rapidly expanding\, alcohol-fueled entertainment district .

Developed by John Malpede of the Los Angeles Poverty Department (LAPD)\, the project builds upon the shared interests of the Armory and LAPD in connecti ng the experiences of people to the social\, economic\, and political force s that shape their lives. The exhibition will include the LAPD archive\, wh ich documents 30 years of LAPD&rsquo\;s work and originated in an exhibitio n at the Queens Museum\, New York\, in 2014. Pe rformances will take place on March 25\, 26\, 27 and April 1\, 2\, and 3. DTEND:20160515 DTSTAMP:20160504T133822 DTSTART:20160124 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Los Angeles Poverty Department: What Fuels Development? UID:406200 END:VEVENT BEGIN:VEVENT DTEND:20160123T200000 DTSTAMP:20160504T133822 DTSTART:20160123T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Los Angeles Poverty Department: What Fuels Development? UID:406201 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Passionate about skateboarding since a child\, French artist R atur was inspired to make a tribute to this freestyle art in his amazing ne w series "Breaking Dimensions".
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Influenced by the c lassic techniques of oil painting from the European masters\, and inspired by the fresh energy of graffiti - Ratur has developed a distinct dynamic st yle that is executed with the most skillful detail. \;Allying digital w ork and technical virtuosity\, Ratur explores the painter's place in our ov erwhelmingly digital society as well as the relationship between street art and classical art. \;

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In Ratur's paintings\, the subjects faces are never in view - so that the character remains anonymous and rather the focus is towards the animated dynamic movement of the figure s - which appear exploding\, fractured\, or depicted in layered sequential planes of motion.
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This unique new series includes 6 incredible oil paintings of skateboarding figures levitating through the a ir in action. The skateboard is depicted as an extension of the body and be comes an appendage that propels the soul forward. A signature element of Ra tur's work is also a focus on the hands of each figure\, which are skillful ly rendered to express the figures intention and appear as if they are push ing out from the canvas as the figure glides in motion.
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Each piece in th is special collection is intended to inspire the message: "better to stumbl e and bounce back even stronger\, than fall down and stay down feeling sorr y for yourself."
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Ratur was born in Le Havre\, France in 1983. He received a Bachelor's degree in 2004 from St Vincent de Paul College in Le Havre\, and has exhibited his artwork and participated in various street art festivals in France and the US since 201 0. \;
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DTEND:20160508 DTSTAMP:20160504T133822 DTSTART:20160409 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Breaking Dimensions\, Ratur UID:414121 END:VEVENT BEGIN:VEVENT DTEND:20160409T213000 DTSTAMP:20160504T133822 DTSTART:20160409T183000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Breaking Dimensions\, Ratur UID:414122 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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C.A .V.E. Gallery is pleased to present "Unfinished Thoughts" - the solo exhibi tion by Polish artist Nawer.
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Nawer has developed a fresh\, distinct creative style i nspired by the quest to express the rigor of industrial architecture and th e evocative power of music through painting.

His work has quick ly gained international attention and was featured in 2016 at the Yokohama Museum of Art\, in the the first large-scale public showing of the renowned contemporary Japanese artist Takashi Murakami's private contemporary art c ollection.

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Nawer is one of the most representative members of the "Graffuturis m" movement. Working with aerosol on the urban streets since the 90's and a graduate of the Architecture and Urbanism program in Krakow\, Nawer incorp orates the basic elements of architecture - volume\, mass\, color\, space\, and rhythm - and then stylistically composes them onto canvas using aeroso l\, masking tape\, X-ACTO blades\, stencils\, and precision - into intersec ting geometric planes and shifting axes that have a dynamic energy.
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This much anticipated solo exhibition by Nawer includes 13 impressive new paintings. In each canvas there is an alluring dissonance between the geometric rigor of intersecting lines and the omnipresence of fluid paint trickles that giv e the futuristic paintings an organic element and evoke the incoercible car efreeness of graffiti.

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Nawer's style is also very much influenced by the rhyth m of music and is an expression of sound triggering emotion. Nawer's carefu lly selected color palettes and skillful technique of creating evanescent l ayers reinforce the perception of dynamic movement. Black\, white and neutr als are activated with intense or fluorescent colors that pulse back and fo rth like intersecting beams of light - inviting the viewer to continuously feel or see something new in the work.
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Nawer's work has been exhibited across Europe\, the U.S.\, Japa n and Brazil since 2005\, was recently profiled in current issue of Graffit i Art Magazine.
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DTEND:20160508 DTSTAMP:20160504T133822 DTSTART:20160409 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Unfinished Thoughts\, Nawer UID:414123 END:VEVENT BEGIN:VEVENT DTEND:20160409T213000 DTSTAMP:20160504T133822 DTSTART:20160409T183000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Unfinished Thoughts\, Nawer UID:414124 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition is an immersive\, multi-media installation cr eated by Surreal Box Cinema\, an artistic duo formed by Lynn Rossi (photogr apher/set designer) and Nichelle Evans (set designer/conceptual artists)\, which explores the African American revolutionary path from the Trans Atlan tic Middle Passage to the present day political Arena. The multi-media inst allations includes bright\, large-scale photographs as well as live models posing with props to provide a sharp and historical insight featuring pivot al moments such as the Underground Railroad and Civil Rights Movement. This exhibition is free and open to the public. \; CAAM is located at 600 S tate Drive\, Exposition Park\, Los Angeles\, 90017. For more information vi sit www.caamuseum.org or call (213) 744-7432

DTEND:20160626 DTSTAMP:20160504T133822 DTSTART:20160118 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Evolution of the Revolution UID:407018 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Overton Loyd is an artist and illustrator widely known for designing a v ariety of caricatures and album covers\, most notably for George Clinton an d the Parliament-Funkadelic collective. Rhythm of Vision: The Artistry of O verton Loyd is the first exhibition to reveal the full trajectory of Loyd&r squo\;s complex and varied practice in painting\, drawing\, illustration an d album cover design. The exhibition features more than fifty works and cel ebrates a career that now spans four decades.

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Exhibition Programs
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Saturday\, March 19\, 2016\, 1 PM &ndash\; 4:30 PM
&ldquo\;Beyond the Nose: A Look Into My Creative Eccentric Life&rdquo\; One-on-One with Overton Loyd &\; Reception
An interview with Overton Loyd\, as he shares his creative journey from dra wing caricatures at the Michigan State Fair to becoming a visual and multim edia artist\, designer and creative director for George Clinton and Parliam ent-Funkadelic. (Artist talk: 1 - 2:30PM) (Reception: 3 - 4:30PM)

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Sunday\, March 20\, 2016\, 3 PM &ndash\; 4:30 PM
Exhibition Walk-through w ith Overton Loyd
Loyd wil l walk visitors through the exhibition and share insight of the history beh ind several of his artworks. Visitors can also download an app and listen t o Loyd&rsquo\;s short narratives about a few of his artworks.

\n< p class="panel-p" style="text-align: justify\;">Saturday\, April 2\, 2016\, 2 PM &ndash\; 4 PM
Character Design Art Workshop
Inspired by Overton Loyd&r squo\;s character design techniques\, this workshop will guide participants in creating their own music-inspired characters. The workshop is led by gr affiti artists MAN ONE and writer/artist Gustavo Garcia Vaca. They collabor ated with Overton Loyd on their art group Unification Theory. Ages 10 yrs & amp\; up.

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Saturday\, April 16\, 2016\, 2 PM &nda sh\; 4 PM
&ldquo\ ;The History of Funk&rdquo\; Lecture &\; Talk Presented by Dr. Rickey Vi ncent
Author\, scholar\, educator and radio host Dr. Rickey Vincent will provide attendees with insi ght into the history\, culture and politics of funk music. He holds a Ph.D. in Ethnic Studies from UC Berkeley and is the author of \;Funk: Th e Music\, the People and the Rhythm of The One.

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Saturday\, May 28\, 2016\, 1 PM &ndash\; 4 PM
&ldquo\;A Day of Funk&rdquo\;
Kick back and enjoy the sounds of Fu nk being spun by a live DJ while experiencing the creative process as graff iti artists transform canvas into a street art masterpiece. The finished ar twork will be raffled off to a lucky audience member. Nosh on fare from tre ndy food trucks or nearby restaurants and take a moment to visit the curren t exhibitions on view at CAAM.

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Please RSVP @ 213 .744.2024 to attend one or more of the events\, lectures or workshops.

DTEND:20160918 DTSTAMP:20160504T133822 DTSTART:20160317 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Rhythm of Vision: The Artistry of Overton Loyd\, Overton Loyd UID:410433 END:VEVENT BEGIN:VEVENT DTEND:20160319T163000 DTSTAMP:20160504T133822 DTSTART:20160319T130000 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Rhythm of Vision: The Artistry of Overton Loyd\, Overton Loyd UID:412533 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CB1 Gallery is pleased to present \;Midnight Sun\, \;Lily Simonson&rsq uo\;s \;third exhibition with the gallery. Simonson&rsquo\ ;s new work stems from her second expedition to Antarctica as the Awardee f or the National Science Foundation Antarctic Artists and Writers Program. T he exhibition will be on view from Saturday\, April 16 through Sunday\, May 29. An opening reception for the artist will take place on Saturday\, Apri l 16\, from 3 to 6 pm.

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CB1 Gallery will host a panel discussion\,&n bsp\;Beneath the Midnight Sun: Art and Science in Antarctica\, on Saturday\, May 21\, in which biologist Gretchen Hofmann of UC Santa Barbara and planetary geologist Joe Levy of University of Texas Institute for Geop hysics will speak about collaborating with Simonson during her three- month residency on the ice.

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Lily Simonson&rsquo\;s paintings and accompa nying video installation immerse viewers in an uncanny world that is at onc e naturalistic and psychedelic. Through hyper-saturated canvases\, Simonson magnifies the vibrantly colored crystalline ice formations\, dizzying vist as\, and unexpected creatures that she encountered while scuba diving daily beneath the world&rsquo\;s largest expanse of sea ice off the Antarctic co ast. She also delves into Antarctica&rsquo\;s terrestrial landscape\, honin g in on the movement of liquid water through permafrost. Simonson worked al ongside researchers who study this phenomenon to understand how water might behave on the similarly extreme cold dry surface of Mars. Invoking the lan guage of abstract expressionism\, Simonson&rsquo\;s works trace these water track patterns through rich swaths of fluorescent paint.

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Ethereal winged mollusks\, submerged glaciers\, and gestural expanses of color appea r and dissolve through lush\, translucent glazes. Both the paintings and th e subjects themselves hover between the familiar and the unknown\; depth an d flatness\; clarity and disorientation. In this way\, Simonson&rsquo\;s wo rk tugs at the tension between figuration and abstraction that drives so ma ny issues in contemporary painting. Antarctica emerges not only as a site f or expanding scientific knowledge\, but also for pushing the boundaries of painting itself.

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Camping in sub-freezing temperatures and working a longside researchers at remote field sites\, from the crater of Antarctica& rsquo\;s most active volcano to the glacial-carved McMurdo Dry Valleys\, Si monson reframes the role of the expedition artist in contemporary culture. Combining traditions of natural illustration with figuration\, psychedelia\ , and abstraction\, she entices viewers to contemplate both the thrill of e xploration and the limits of existence.

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Once characterized by isola tion\, these unique ecosystems face increased connectivity as a result of h uman activities and natural geological shifts. Though such extreme worlds h ave never supported a native human population\, they are paradoxically vuln erable to Anthropocene-induced collapse. Simonson&rsquo\;s work investigate s these otherworldly landscapes and life forms as harbingers of dramatic gl obal change.

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In addition to her Antarctic expeditions\, Simonson ha s also served as the Artist in Residence aboard the Exploration Vessel Naut ilus and the Research Vessel Melville. Her work has been exhibited across t he US and Europe\, and has appeared in a range of media outlets\, including the LA Times\, LA Weekly\, MTV\, the Huffington Post\, CBS News\, and MSNB C. Simonson holds an MFA from UCLA and a BA from UC Berkeley. She has taugh t painting and drawing at UC Berkeley\, the Norton Simon Museum of Art\, an d CSU Pomona.

DTEND:20160529 DTSTAMP:20160504T133822 DTSTART:20160416 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Midnight Sun\, Lily Simonson UID:415189 END:VEVENT BEGIN:VEVENT DTEND:20160416T180000 DTSTAMP:20160504T133822 DTSTART:20160416T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Midnight Sun\, Lily Simonson UID:415190 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CB1 Gallery is pleased to present new haven\, a group exhibi tion featuring five painters who all attended Yale University in New Haven\ , CT. The exhibition opens on April 16 and continues through May 29.

\n< p>For certain artists\, all roads\, and certain train tracks\, lead to New Haven\, and Yale University. Such is the case with the five painters featur ed in this exhibition.

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TOM BETTHAUSER (MFA 2012) arrived from the S an Francisco Art Institute (BFA 2010)\; \;AIN COCKE \;(MFA 2004) from Ca lifornia State University\, Long Beach (BFA 2002). \;CRAIG TAYLOR \;a nd MICHAEL MANCARI were classmates (MFA 1998)\, after receiving BFAs from t he Maine College of Art (Taylor) and the Maryland Institute College of Art (Mancari). ALEXANDER KROLL did his undergraduate work in New Haven (BA\, 20 04)\, receiving his MFA from the Otis Art Institute in Los Angeles in 2008.

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These five artists also speak to Los Angeles\, and CB1 Gallery\, i n particular. CB1 Gallery was the first commercial gallery in Los Angeles t o show Alexander Kroll starting in 2010\, with solo exhibitions in 2011 and 2012. Craig Taylor has shown with CB1 Gallery in 2013 and 2015 and Ain Coc ke is scheduled for his first CB1 Gallery solo exhibition in 2017. Plus\, w e have recently become interested in the work of Tom \;Betthauser and M ichael Mancari\, both are recent new residents to Los Angeles.

DTEND:20160529 DTSTAMP:20160504T133822 DTSTART:20160416 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:new haven\, TOM BETTHAUSER\, Ain Cocke\, Alexander Kroll\, Michael Mancari\, Craig Taylor UID:415191 END:VEVENT BEGIN:VEVENT DTEND:20160416T180000 DTSTAMP:20160504T133822 DTSTART:20160416T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:new haven\, TOM BETTHAUSER\, Ain Cocke\, Alexander Kroll\, Michael Mancari\, Craig Taylor UID:415192 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Charlie James Gallery \;is delighted to present LA-based artistRamiro Gomez \;in his third so lo show with the gallery titled \;On Melrose \;opening Sat urday\, April 16th from 6-9pm. This show will feature Gomez&rsquo\;s larges t show of painting and installation to date. Drawn from everyday scenes in Los Angeles\, Gomez&rsquo\;s large-scale acrylic on canvas paintings will f eature uniquely recognizable Melrose Avenue locations and their inhabitants . The Paul Smith Store\, Paramount Studios\, and Fred Segal are among the l andmark locations to make appearances in the paintings. In the lead-up to t he show\, Gomez will be creating cardboard cutout pieces and placing them a round some of these iconic Melrose Avenue locations. He will also present a n ambitious painting installation in our basement project space titled &ldq uo\;Melrose Avenue &ndash\; Eastbound&rdquo\; &ndash\; a series of painting s tracking the journey eastbound on Melrose Ave from West Hollywood to Hoov er Street in Los Angeles proper.

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Book Release &ndash\; Sign ing: Lawrence Weschler&rsquo\;s new book on Ramiro Gomez titled&nb sp\;Domestic Scenes: The Art of Ramiro Gomez \;(Abrams) will b e celebrated during the reception as well. Copies of the book will be avail able and Gomez will be signing.

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Ramiro Gomez\, bor n in 1986 in San Bernardino\, California to undocumented Mexican immigrant parents\, briefly attended the California Institute for the Arts before lea ving to take work as a live-in nanny with a West Hollywood family\, an expe rience that did much to inform his artistic practice. In 2013 Gomez had his first solo exhibition at the UCLA Chicano Studies Research Center\, and wa s also awarded with a residency to install a mural in West Hollywood Park\, a project titled The Caretakers\, which remains on view. In 2014 Gomez had his solo gallery debut at Charlie James Gallery in Los Angeles\, and went on to show widely across North America. In 2015 Gomez exhibited at the Univ ersity of Michigan Institute for the Humanities\, the Chicago Humanities Fe stival\, and again at Charlie James Gallery. Gomez&rsquo\;s work has been c overed in the New York Times Magazine\, the Washington Post\, NPR\, the Los Angeles Times\, Hyperallergic\, Huffington Post\, and CNN. This spring Gom ez will be having a third show at the Charlie James Gallery in conjunction with the publication of a monograph on his work by Lawrence Weschler (Abram s). Gomez lives and works in West Hollywood\, California. He is represented by Charlie James Gallery in Los Angeles.

DTEND:20160528 DTSTAMP:20160504T133822 DTSTART:20160416 GEO:34.066589;-118.2382615 LOCATION:Charlie James Gallery\,969 Chung King Road \nLos Angeles\, CA 9001 2 SEQUENCE:0 SUMMARY:On Melrose\, Ramiro Gomez UID:414753 END:VEVENT BEGIN:VEVENT DTEND:20160416T210000 DTSTAMP:20160504T133822 DTSTART:20160416T180000 GEO:34.066589;-118.2382615 LOCATION:Charlie James Gallery\,969 Chung King Road \nLos Angeles\, CA 9001 2 SEQUENCE:0 SUMMARY:On Melrose\, Ramiro Gomez UID:414754 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is p roud to present Nathan Mabry&rsquo\;s fifth solo exhibition at the gallery. The exhibition will include new drawings and two new bodies of sculptural work: \;Late One Night \;and \;Low Hanging Fruit.

For over a decade\, Nathan Mabry has explored the power of transformation. His sculptures and drawings are sites for energeti c formal and intellectual reinvention. Mabry writes\, &ldquo\;I've always b een fascinated by the power of the object\, and how it relates to personal and collective experiences.&rdquo\; In Mabry&rsquo\;s work\, objects&mdash\ ;be they art historical or pop cultural&mdash\;are transformed. In playing with the look and feel of these objects\, how we relate to them and how the y relate to each other\, Mabry reinvents their meaning&mdash\;and thus thei r power.

The works in the exhibition draw from pop cultural hist ory\, American and European Modernism\, and global ceramic traditions. In t hese works\, Mabry investigates the relation between high-art and low-art\; between western art and so-called &lsquo\;ethnographic&rsquo\; art\; and t he various complications inherent in the handmade\, the remade\, the found and the fabricated. Nathan Mabry&rsquo\;s new works allow for a shifting sp ace between individualism and pre-determination that is perhaps the truest expression of the modern American condition. Mabry has long been interested in individual artistic agency\, but for Mabry\, exploring the relationship between the artist\, the work\, the viewer and art historical precedents i s a deliberate approach that provides an interplay of iconic association an d idiosyncratic vision.

The works in Mabry&rsquo\;s new \;Late One Night
 \;series draw from the ideals of mid-century abst ract steel sculpture. In theLate One Night \;works\, Mabry exp lores the aesthetic tropes of a certain conformist vision that occurs in Am erican and European sculpture in the early 60s. Stainless steel cast gloves \, cans and a shop bucket are placed in dialog with sheets of &ldquo\;junky ard&rdquo\; metal. A ruin-like landscape presents an amalgamation of ritual istic performance&mdash\;are we seeing studio process?&mdash\;that is at th e same time an investigation of historical stylized uses of found material. Mabry&rsquo\;s works have the mystical presence of shadows&mdash\;or works made in the shadows&mdash\;offering cryptic forms that reveal themselves t hrough prolonged looking. They are at once fragile and impermanent\, but ma de with an authority and skill that defies gravity. Totemic and familiarly monumental\, Mabry&rsquo\;s \;Late One Night \;objects wor k in a referential network of association where the authoritarian rule coll apses. Mabry writes\, &ldquo\;Things are just things&hellip\;or are they?&r dquo\;

Low Hanging Fruit
 \;is the second body of sc ulptural work included in Mabry&rsquo\;s show. These works are incorporated into a kind of quasi-landscape or in-flux temple. Made from casts of vario us animals\, fruit\, plants and detritus\, and painted in tones of red\, th e pieces in the \;Low Hanging Fruit \;group are mysterious and mystical signifiers. These obscure &ldquo\;collages&rdquo\; or trans-h istorical exchanges are a nod to the grand moments and movements within art objects&mdash\;a meta-reference to metaphors about culture that are undefi nable\, reference the historical\, and synthesize an emotional\, organic se nse of humanity.

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Nathan Mabry receive d his BFA from the Kansas City Art Institute and his MFA from the Universit y of California\, Los Angeles. Mabry&rsquo\;s work has been the focus of im portant exhibitions\, including his solo exhibition at the Nasher Sculpture Center (Dallas\, TX)\; \;Thing: New Sculpture from Los Angeles \;(Hammer Museum\, Los Angeles\, CA)\; \;Red Eye: Los Angeles Artists from the Rubell Family Collection \;(Rubell Family Collec tion\, Miami\, FL)\; and \;Thief Among Thieves(Museum of Conte mporary Art\, Denver\, CO). Mabry&rsquo\;s work is included in the collecti ons of the Hammer Museum (Los Angeles\, CA)\; Los Angeles County Museum of Art (Los Angeles\, CA)\; Orange County Museum of Art (Newport Beach\, CA)\; Museum of Contemporary Art (San Diego\, CA)\; Phoenix Museum of Art (Phoen ix\; AZ)\; Dallas Museum of Art (Dallas\, TX)\; Nasher Sculpture Center (Da llas\, TX)\; Nelson-Atkins Museum of Art (Kansas City\, MO)\; Whitney Museu m of American Art (New York\, NY). Private collections include 176 / Zablud owicz Collection (London\, UK)\; The Rubell Family Collection\, (Miami\, FL )\; and Vanhaerents Art Museum (Brussels\, Belgium). Mabry&rsquo\;s work ha s been the subject of reviews and articles in such domestic and internation al publications as Art in America\, Art Forum\, Art + Auction\, Frieze\, Mo dern Painters\, The Art Newspaper\, Los Angeles Times\, and The New York Ti mes. Mabry lives and works in Los Angeles.

DTEND:20160514 DTSTAMP:20160504T133822 DTSTART:20160402 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:gripgrabstacksqueeze\, Nathan Mabry UID:412725 END:VEVENT BEGIN:VEVENT DTEND:20160402T200000 DTSTAMP:20160504T133822 DTSTART:20160402T180000 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:gripgrabstacksqueeze\, Nathan Mabry UID:412726 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is p leased to present\, \;Body Language\, Adam Silverman&rsquo\;s first solo project at the gallery. The Los Angeles based Silverman&rsquo\;s ceramic works recently appeared in the group exhibition\, \;Try ag ain. Fail again. Fail Better\, at Cherry and Martin. His work has been the subject of recent solo exhibitions at the Nasher Sculpture Center (Dal las\, TX)\; Kimbell Art Museum (Ft. Worth\, TX)\; Laguna Art Museum (Laguna Beach\, CA)\; and Tomio Koyama Gallery (Tokyo\, Japan).

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Adam Silverman is an artist with a long-standi ng interest in architecture and dance. His work begins on the potter&rsquo\ ;s wheel\, in an age-old process of speed\, pressure and gravity - a kind o f math in motion. The result is elemental geometric forms that combine tech nical and formal precision with chance. Silverman fires and re-fires his wo rk many times\, building up their beautiful and richly tactile glazed surfa ces. His resulting works - organized singly or in groups - reflect Silverma n&rsquo\;s commitment to the complexities of sculpture\, and place his work firmly in both the present and in the 10\,000 year old history of people m aking art out of clay.

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Adam Silverman received his BFA and B.Arch from the Rhode Island School of Design. Silver man&rsquo\;s work has been the subject of recent solo and group exhibitions at such museums and galleries as Cherry and Martin (Los Angeles\, CA)\; Sa lon 94 (New York\, NY)\; Kimbell Art Museum (Fort Worth\, TX)\; Laguna Art Museum (Laguna Beach\, CA)\; Tomio Koyama Gallery (Tokyo\, Japan). Silverma n&rsquo\;s two-person installation\, \;Boolean Valley\, a coll aboration with Nader Tehrani\, travelled from San Jose Museum of Art (San J ose\, CA) to MOCA (Los Angeles\, CA) to the Nasher Sculpture Center (Dallas \, TX). Silverman's work is in the collection of such museums as the Los An geles County Museum of Art (Los Angeles\, CA)\; Nasher Sculpture Center (Da llas\, TX)\; and Rhode Island School of Design Museum (Providence\, RI). A major monograph on Silverman&rsquo\;s work\, \;Adam Silverman Ceramics \;(2013) was publish by Rizzoli. His work has been the subject of articles and reviews in \; Artforum\, \;Wallpaper\, \;Architectural Dige st\, \;New York Times \;and \;Los Angeles Tim es. \;

DTEND:20160514 DTSTAMP:20160504T133822 DTSTART:20160319 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Body Language\, Adam Silverman UID:412723 END:VEVENT BEGIN:VEVENT DTEND:20160319T200000 DTSTAMP:20160504T133822 DTSTART:20160319T180000 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Body Language\, Adam Silverman UID:412724 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Cirrus is pleased to present Liar Chan nel\, Brice Bischoff's second solo exhibition at the gallery. In drawi ng from the urban storefront and its familiar yet overlooked signage\, the installation of photographic and architectural structures\, videos and fibe rglass sculptures considers how the experience of place is shaped by way of light\, reflection and architecture.
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The exhibition takes as its starting point a disc overy Bischoff made while on a routine walk. Coming across a window that wa s empty except for a plastic ribbon\, with white and red stripes\, he notic ed the ribbon formed a '/' roughly from the top right corner to the bottom left corner. The glass of the window reflected architecture from across the street\, and below\, Clear Channel's logo had been vandalized. \; The 'C' had been blacked out and erased and the three horizontal lines of the ' E' in 'CLEAR' had also been blacked out to create an 'I'. The logo had been transformed from 'CLEAR Channel' into 'LIAR Channel'. This trajectory of v isual codes sparked an inquiry into our perception of "real space" and the resonant qualities of the familiar.
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In the installation\, we see structural elements ta ken from the common window storefront\, such as the aluminum frame or the s tucco base\, to guide us through a visceral experience of the city. But whe re a glass window should be\, there is a photogram and photograph. While th e photographs are of various storefronts found by the artist while navigati ng Los Angeles\, the photograms are created by exposing dismantled neon sig ns onto light sensitive paper. The information in these works has been digi tized into pixels and burned onto film\, manipulated and hacked with softwa re and electricity\, mapped and traced\, and printed with ink and chemicals . Like Man Ray's \;rayographs\, Bischoff uses the process of making a p hotogram to create an abstract work. While Man Ray's photograms employed th e object itself\, the gestural blues in Bischoff's photograms are created b y the light from the disused neon sign.
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While the photogram brings to mind Man Ray\, th e use of the storefront is reminiscent of Christo's 1960s "Storefront" seri es. While Christo's concealed storefronts denied access to content\, Bischo ff's Liar Channel \;reveals numerous layers. \;In \;Computer Re pair\, we believe we are seeing the reflection of our background in what wo uld appear to be a photograph behind glass. It isn't until further investig ation that we realize the photograph is not behind glass\, and the landscap e actually exists within the image. This subtle scene-within-a-scene situat es the viewer within the frame of the photograph\, while physically wedging them between the information in the window and their own background.
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This inquiry into the depths of an image can be seen as a parallel to how we engage with soc ial media in our everyday. Accompanying Bischoff's storefronts\, are resin sculptures whose reflective surface is translated as luminous when flash ph otographed by the viewer. This type of interaction negates the \;object ness \;of the sculpture\, as its image is co-opted and negotiated on th e web. As the work is taken out of the non-virtual environment\, similar to the experience of passing a window storefront\, its presence becomes a gho stly afterimage of the viewer's experience.
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Brice Bischoff is a Los Angeles based artist born in New O rleans\, LA. He received his MFA from the San Francisco Art Institute in 20 07. His work has appeared in exhibitions at Regina Rex in New York and the U.S. Embassy in Berlin. In 2010\, he was a participating artist in New Orle ans' Prospect 1.5 Biennial and in 2013 in the California-Pacific Triennial at the Orange County Museum of Art. His work is in the collections of the L os Angeles County Museum of Art and the Orange County Museum of Art among o thers. This will be Bischoff's second solo show at Cirrus Gallery.
DTEND:20160514 DTSTAMP:20160504T133822 DTSTART:20160319 GEO:34.0207704;-118.2303981 LOCATION:Cirrus Gallery\,2011 South Santa Fe Avenue \nLos Angeles\, CA 9002 1 SEQUENCE:0 SUMMARY:Liar Channel\, Brice Bischoff UID:410259 END:VEVENT BEGIN:VEVENT DTEND:20160319T200000 DTSTAMP:20160504T133822 DTSTART:20160319T180000 GEO:34.0207704;-118.2303981 LOCATION:Cirrus Gallery\,2011 South Santa Fe Avenue \nLos Angeles\, CA 9002 1 SEQUENCE:0 SUMMARY:Liar Channel\, Brice Bischoff UID:410260 END:VEVENT END:VCALENDAR