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101/EXHIBIT proudly presents \;Koi No Yokan III \, a concentrated group exhibition organized by New York-based curator Dext er Wimberly. This showing marks Wimberly&rsquo\;s 35th exhibition\, first i n Los Angeles\, and is the gallery&rsquo\;s third annual installment of the Koi No Yokan summer invitational. The opening will be held from 7-9pm on&n bsp\;Saturday\, July 9 \;at 668 N La Peer Drive\, located on the southe ast corner of the Santa Monica Blvd and N La Peer Drive intersection. A 40- page catalog with foreword by the curator and the gallery director will acc ompany the exhibition. This year&rsquo\;s show features six artists: Leonar do Benzant\, Dominik Halmer\, Galia Linn\, Nelson Loskamp\, Sam Vernon\, an d Cullen Washington Jr. The exhibition includes performance\, painting\, sc ulpture\, and installation.

DTEND:20160827 DTSTAMP:20160825T012511 DTSTART:20160709 GEO:34.082796;-118.3865132 LOCATION:101/EXHIBIT\,668 N. La Peer Drive \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Koi No Yokan III\, Leonardo Benzant\, Dominik Halmer\, Galia Linn\, Nelson Loskamp\, Sam Vernon\, Cullen Washington Jr. UID:422941 END:VEVENT BEGIN:VEVENT DTEND:20160709T210000 DTSTAMP:20160825T012511 DTSTART:20160709T190000 GEO:34.082796;-118.3865132 LOCATION:101/EXHIBIT\,668 N. La Peer Drive \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Koi No Yokan III\, Leonardo Benzant\, Dominik Halmer\, Galia Linn\, Nelson Loskamp\, Sam Vernon\, Cullen Washington Jr. UID:422942 END:VEVENT BEGIN:VEVENT DESCRIPTION:

1301PE is pleased to announce Brain Multiples at 25\, a survey exhibition featuring multiples by artists that have influenced or worked with Brain Multiples. While the works select ed span a broad range of categories\, they all articulate the respective ar tist&rsquo\;s common approach to the multiple as a possibility\, rather tha n an afterthought.

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Artists in the exh ibition include Edgar Arceneaux\, John Baldessari\, AA Bronson\, Andrea Bow ers\, Angela Bulloch\, Fiona Connor\, Meg Cranston\, Kate Ericson and Mel Z iegler\, Gretchen Faust\, Fischli/Weiss\, Katharina Fritsch\, Ann Veronica Janssens\, Mike Kelley\, Rachel Khedoori\, Martin Kippenberger\, Paul McCar thy\, Jorge Mendez Blake\, Jorge Pardo\, Philippe Parreno\, Sigmar Polke\, Ana Prvacki\, Ed Ruscha\, Jason Rhoades\, Dieter Roth\, Katy Schimert\, Jes sica Stockholder\, Thaddeus Strode\, Diana Thater\, Lincoln Tobier\, Rirkri t Tiravanija\, Rosemarie Trockel\, SUPERFLEX\, Fischli/Weiss\, Franz West a nd Pae White.

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Founded in Los Angeles in 1991\, Brain Multiples publishes and distributes artists&rsquo\; multipl es and books. Brain Multiples&rsquo\; early multiples with such artists as Angela Bulloch\, Diana Thater\, Meg Cranston\, Gretchen Faust\, Thaddeus St rode\, Kate Ericson and Mel Ziegler\, Jorge Pardo\, and Paul McCarthy provi des a remarkable insight into some of the themes and concerns that defined the spirit of art making in the 1990s. This spirit continues with artists\, such as Fiona Connor\, Ana Prvacki and Jorge Mé\;ndez Blake.

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The exhibition also includes artists who ins pired Brain Multiples creation and the basic philosophy of &ldquo\;ideas be st expressed in multiple form&rdquo\;. The exhibition celebrates the differ ent ways in which artists have conceptually and formally embraced the multi ple as a vocabulary within their respective oeuvres &ndash\; whether to que stion the original/copy dichotomy\, to explore the interdependence of aesth etics and utility\, or to extend earlier performative events into objects t hat are re-activated by the viewer&rsquo\;s participation.

DTEND:20160827 DTSTAMP:20160825T012511 DTSTART:20160715 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Brain Multiples at 25\, Peter Fischli & David Weiss\, Edgar Arcenea ux\, John Baldessari\, Fiona Banner\, Joseph Beuys\, Andrea Bowers\, AA Bro nson\, Angela Bulloch\, Fiona Connor\, Meg Cranston\, Kate Ericson\, Mel Zi egler\, Gretchen Faust\, Katharina Fritsch\, Jack Goldstein\, Ann Veronica Janssens\, Mike Kelley\, Rachel Khedoori\, Martin Kippenberger\, T. Kelly M ason\, Paul McCarthy\, Jorge Méndez Blake\, Jorge Pardo\, Philippe Parreno\ , Sigmar Polke\, Ana Prvacki\, Jason Rhoades\, Dieter Roth\, Ed Ruscha\, Ka ty Schimert\, Jessica Stockholder\, Thaddeus Strode\, Superflex\, Diana Tha ter\, Rirkrit Tiravanija\, Lincoln Tobier\, Rosemarie Trockel\, Franz West\ , Pae White UID:422180 END:VEVENT BEGIN:VEVENT DTEND:20160715T200000 DTSTAMP:20160825T012511 DTSTART:20160715T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Brain Multiples at 25\, Edgar Arceneaux\, John Baldessari\, Fiona B anner\, Joseph Beuys\, Jorge Méndez Blake\, Andrea Bowers\, AA Bronson\, An gela Bulloch\, Fiona Connor\, Meg Cranston\, Kate Ericson\, Gretchen Faust\ , Katharina Fritsch\, Jack Goldstein\, Ann Veronica Janssens\, Mike Kelley\ , T. Kelly Mason\, Rachel Khedoori\, Martin Kippenberger\, Paul McCarthy\, Jorge Pardo\, Philippe Parreno\, Sigmar Polke\, Ana Prvacki\, Jason Rhoades \, Dieter Roth\, Ed Ruscha\, Katy Schimert\, Jessica Stockholder\, Thaddeus Strode\, Superflex\, Diana Thater\, Rirkrit Tiravanija\, Lincoln Tobier\, Rosemarie Trockel\, Peter Fischli & David Weiss\, Franz West\, Pae White\, Mel Ziegler UID:422181 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Fast Forward: The Architecture of William F. Cody (1916 &ndash\; 1978) marks the archit ect&rsquo\;s 100th birthday and celebrates his seminal contribution to mode rn architecture. Before graduating from USC in 1942\, Cody had already dist inguished himself as an expert draftsman and designer while working for Cli ff May on housing developments in Los Angeles. An invitation to design a ho tel in Palm Springs brought Cody to the desert in 1946 where he remained ac tive until his death in 1978. From breakout jobs like the Del Marcos Hotel (1946)\, to inventive country club concepts like the Eldorado (1957)\, to h ouses for celebrities\, Cody&rsquo\;s designs defined cutting edge\, midcen tury living. His work is inextricable from Palm Springs\, the Bay Area\, an d the American Southwest\, and although his aesthetic is often referred to as &ldquo\;Desert Modernism&rdquo\; his architectural range was broader and more diversified. Cody&rsquo\;s international imprint can be seen in impor tant commissions in Mexico\, Cuba\, and smaller projects in London. This ex hibition honors the full scope of this work through rare examples of his ma sterful color renderings of personal sketches and architectural commissions \, photographs of now-lost structures\, and examples of vanguard building s ystems that included beams and roof slabs so thin that his buildings seemed to defy gravity. While his architecture was disciplined and technically in novative\, Cody was no rationalist. His love for entertaining was mirrored in his love for social spaces rich with patterns\, texture\, color\, and ar t.

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In this exhibition\, we honor Cody &rsquo\;s lifelong support of education by working collaboratively with Pro fessor Don Choi&rsquo\;s architecture students at Cal Poly San Luis Obispo. Based on their archival research of the William F. Cody Papers housed at t he Kennedy Library\, the students are creating contemporary interpretations of Cody&rsquo\;s innovations in environmental systems\, typography\, and f urniture and lighting design. Through their experiments with new digital te chnologies students will be able to realize Cody&rsquo\;s expressionistic d esigns in ways nearly impossible 50 years ago.

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Fast Forward: The Architecture of William F. Cody is org anized for the A+D Museum by curatorial team of Jo Lauria\, Catherine Cody\ , Dr. Emily Bills\, and Dr. Don Choi.

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READ MORE

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DTEND:20160925 DTSTAMP:20160825T012511 DTSTART:20160710 GEO:34.0432739;-118.236222 LOCATION:A + D Museum\,900 E. 4th Street \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Fast Forward: The Architecture of William F. Cody\, William F. Cody UID:419922 END:VEVENT BEGIN:VEVENT DTEND:20160710T180000 DTSTAMP:20160825T012511 DTSTART:20160710T120000 GEO:34.0432739;-118.236222 LOCATION:A + D Museum\,900 E. 4th Street \nLos Angeles\, CA 90013 SEQUENCE:0 SUMMARY:Fast Forward: The Architecture of William F. Cody\, William F. Cody UID:419923 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160917 DTSTAMP:20160825T012511 DTSTART:20160806 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Passage\, Jonathan Apgar\, Kristin Baker\, Dawn Clements\, Miles Co olidge\, Daniel Cummings\, Tomory Dodge\, Carlee Fernandez\, Natalie Frank\ , Gregor Gleiwitz\, Iva Gueorguieva\, Michael Henry Hayden\, Matt Merkel He ss\, Hadley Holliday\, Bill Jensen\, Kurt Kauper\, Aaron Morse\, Julian Rog ers\, Jennifer Steinkamp\, Neal Tait\, Amir Zaki UID:424973 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Anat Ebgi is pleased to pres ent Other Places\, the gallery&rsquo\;s second solo show by the Sw edish painter Sigrid Sandströ\;m\, opening July 30 and on view until Au gust 27.
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Sandströ\;m&rsquo\;s practice actively interr ogates the methods by which viewing initiates and elicits thought and cogni tion. Her newest body of work consists of a series of portrait-sized painti ngs hung at equal distance throughout the gallery. As a gestural template\, each painting comprises an assortment of brushstrokes impastoed onto intim ately-scaled canvases colored vividly with swatches of magenta\, industrial yellow and concrete grey. With wide gestures applied alongside delicately- painted trompe l&rsquo\;oeil motifs\, Sandströ\;m situates the dialecti c of her practice relationally to the perspective of the viewer.
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Sandströ\;m&rsquo\;s work engages in the ontology of painting an d viewing\; how relatively few elements of pigment\, stretcher bars and can vas convey complex relationships and sensations far beyond their immediate sensorial qualities. Her idiomatic use of paint explores relationships of e xperience and materiality\, as when a stripe of paint has the likeness of a n index card or a strip of tape stuck to the canvas&rsquo\; surface. These motifs both encode and reveal the phenomenological space within her paintin g where presence and perception supercede material reality. It is in this s pace that the viewer is connected with their self-awareness as a perceptual agent. They are caught between the awareness of themselves and the transce ndent experience of the external object.
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Sigrid Sandstr&ou ml\;m (b. 1970) is a painter and Professor of Fine Art at the Royal Institu te \;of Art in Stockholm\, Sweden. She lives and works in Stockholm. Her work has been shown in numerous international institutio ns including Kunsthal Charlottenborg\, Copenhagen\, Moderna Museet\, Stockh olm\, Nationalmuseum\, Stockholm\, Borå\;s Konstmuseum\, Borå\;s\ , the Contemporary Art Museum\, Houston\, the Museum of Fine Arts\, Houston and the Dallas Center for Contemporary Art. Her work is part of public and private collections including the Borå\;s Konstmuseum\, Moderna Musee t\, Stockholm\, Museum of Fine Arts\, Houston\, Ulrich Museum of Art\, Wich ita and the Yale University Art Gallery in New Haven. In addition to her wo rk as a painter\, she has edited and published several scholarly books and anthologies on painting including \;Sigrid Sandströ\;m: The Sit e of Painting \;(Art &\; Theory: 2016)\, \;Studio Talks : Thinking through Painting \;(Arvinius+Orfeus: 2015) andGrey Hope: The Persistence of Melancholy \;(Antopia: 2013). Copies of h er most recent publication\,The Site of Painting\, \;will be a vailable in conjunction with her show at the gallery.
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Please note for the month of August our hours are Wed-Sat\, \;10-4p m \;or by appointment \;
DTEND:20160827 DTSTAMP:20160825T012511 DTSTART:20160730 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Other Places\, Sigrid Sandström UID:423493 END:VEVENT BEGIN:VEVENT DTEND:20160730T190000 DTSTAMP:20160825T012511 DTSTART:20160730T170000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Other Places\, Sigrid Sandström UID:423494 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Craft and action resonate in
< em>Ellen Lesperance\, Helen Mirra\, Traversing

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Pasadena\, CA &ndash\; The Armory Center f or the Arts is proud to present Ellen Lesperance\, Helen Mirra\, Traver sing\, an exhibition that features new paintings and a recent interact ive project by Lesperance\, and an international\, intergenerational weavin g project organized by Mirra. The exhibition has been organized for the Arm ory by guest curator Cassandra Coblentz\, with generous support from The An dy Warhol Foundation for the Visual Arts and the Pasadena Art Alliance. The exhibition is on view in the Armory&rsquo\;s Caldwell Gallery from June 5 through September 11\, 2016. A reception\, free and open to the public\, wi ll take place on Saturday\, June 4\, 2016 from 6-8pm.

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Through their works\, Ellen Lesperance and Helen Mirra bo th consider the complex relationships we as individuals have to the physica l and political landscapes we navigate. Each approaches her practice with a similarly poetic tone and critical consciousness. They share an interest i n the material of textiles and the structural grid as well as a tendency to create work within carefully derived conceptual systems and parameters. Fu rthermore\, for both artists\, walking plays a central role in their art.&n bsp\;

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Despite their affinities\, how ever\, Mirra and Lesperance approach these concepts and activities in strik ingly different ways. In this exhibition\, the metaphor of traversing also refers to the idea of moving across the space between ideas and perspective s. The presentation of their projects together generates a dialogue between their ideologically distinct positions and subjectivities. Seen together\, the projects offer an opportunity to compare and contrast approaches to si ngular\, specific\, and intimate physical experience versus public\, shared experience.

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Ellen Lesperance\, H elen Mirra\, Traversing highlights another conceptual underpinning of the overall project: the notions of dialogue and exchange as they relate to artistic production and exhibition curating. An accompanying publication d ocuments these dynamics and poses questions about how we can move beyond bi nary models of conversation\, collaboration and the nature of making and ex periencing art.

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About the Artists

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Ellen Lesperance (b. 1971\, Minneap olis MN) lives and works in Portland\, Oregon. Her work has been exhibited widely\, most recently at the Drawing Center\, New York\, the Seattle Art M useum\, the Portland Art Museum\, and in the People&rsquo\;s Biennial (trav eling). Lesperance&rsquo\;s work is represented in the following public col lections: the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum\; the Museum of Art and Design\; the Portland Art Museum\; the Bill and Melinda Gates Foundation\; and at the Kadist Art Foundation. Lesperance has been honored with the Northwest regional Betty Bowen Award\, a Robert Rauschenberg &ldquo\;Artist-as-Activist&rdquo\; Grant\, a Ford Family Fello wship in the Arts\, and a Pollock-Krasner Foundation Grant. She received he r MFA from Rutgers University in 1999 and has received residencies at the S kowhegan School\; the MacDowell Colony\; the Djerassi Foundation\; and the Atlantic Center.

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Helen Mirra (b. 1970\, Rochester NY) presently maintains a rhythm of working in a sustained relation to wal king\, and her loyalty is to both the metrical and the ecological. Solo exh ibitions include the Renaissance Society at the University of Chicago\, the Berkeley Art Museum\, Kunst-Werke Berlin\, Haus Konstruktiv Zurich. She ha s also participated in the 50th Venice Biennial\, the 30th Sao Paulo Bienal \, and the 12th Havana Bienal. Public projects include Farbenweg\, indi rekter\, architecturally embedded among the houses of the Universalmus eum Joanneum in Graz\, Austria\, and Instance the Determination at the University of Chicago\, and a GSA Art-in-Architecture project at the M innesota-Canada border. A fifteen-year survey (1996-2010) of her work was p resented at Culturgest in Lisbon Portugal in 2014. Mirra has received award s from the Louis Comfort Tiffany Foundation\, the Driehaus Foundation\, and Artadia\, and has been a guest of the DAAD Kunstlerprogramm in Berlin\, th e Laurenz Haus in Basel\, IASPIS in Stockholm\, and OCA in Oslo\, a fellow at the MacDowell Colony and Civitella Ranieri\, and artist-in-residence wit h the Consortium of the Arts at the University of California at Berkeley\, the Center for Book Arts at Mills College\, and the Isabella Stewart Gardne r Museum.

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About the Curator

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Cassandra Coblentz is Senior Curator and Director of Public Engagement at Orange County Museum of Art. She has a diverse curatorial practice that champions the ar tistic process. Taking innovative approaches to collaborating with artists and architects\, she initiated the Scottsdale Museum of Contemporary Art&rs quo\;s Architecture + Art program that explores the boundaries between thes e creative practices\, producing large-scale site-specific commissions with Hector Zamora\, Annie Han\, and Daniel Mihalyo of Lead Pencil Studio\, as well as Jay Atherton and Cy Keener. Most recently she curated the exhibitio n We Tell Ourselves Stories in Order to Live for The Ford Family F oundation and Museum of Contemporary Craft in Portland\, Oregon. She has au thored and managed the production of several exhibition catalogues and publ ications including How Deep Is Your\, a mid-career survey of the w ork of Julianne Swartz\, published in 2012\, and Lyle Ashton Harris: Bl ow Up\,published by D.A.P. Her professional experience includes appoin tments at Hammer Museum\, DIA Center for the Arts\, Fabric Workshop and Mus eum\, and The J. Paul Getty Museum. She received her BA in Art History and English from Cornell University and her MA from the Center for Curatorial S tudies at Bard College.

DTEND:20160911 DTSTAMP:20160825T012511 DTSTART:20160605 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Ellen Lesperance\, Helen Mirra\, Traversing\, Ellen Lesperance\, He len Mirra UID:419687 END:VEVENT BEGIN:VEVENT DTEND:20160604T200000 DTSTAMP:20160825T012511 DTSTART:20160604T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Ellen Lesperance\, Helen Mirra\, Traversing\, Ellen Lesperance\, He len Mirra UID:419688 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Knowledge production

\n< p align="center">in art and science

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explored by THEMODELINGAGENCY

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Pasadena\, CA &ndash\; The Armory Cent er for the Arts is proud to present THEMODELINGAGENCY: TEKTITE &nbs p\;&ndash\;reflux\, an exhibition of new works by THEMODELINGAGENCY\, a collaboration bet ween artists Nick Herman and Christopher James. Conflating experimental art with scientific method\, the drawings\, paintings\, sculptures\, and video displayed here utilize the environment of the lab and strategies familiar to field work to produce alternative results to an existing body of scienti fic research. In doing so\, these objects and images (re)frame the oppositi onal relationship between utility and art\, the objective and subjective\, and aesthetics and knowledge. The exhibition is on view in the Armory&rsquo \;s Mezzanine Galleries from June 5 through September 11\, 2016. A receptio n\, free and open to the public\, will take place on Saturday\, June 4\, 20 16 from 6-8pm. The exhibition has been organized by Irene Tsatsos\, the Arm ory&rsquo\;s Gallery Director/Chief Curator\, with generous support from Th e Andy Warhol Foundation for the Visual Arts.

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During the Spring of 2013\, THEMODELINGAGENCY took up residence a t the Virgin Islands Ecological Research Station (VIERS)\, located on the r emote south side of the island of St. John in the U.S. Virgin Islands. The facilities there had been built to support the 1969 project Tektite\, a NAS A experiment in undersea living and working envisioned as a model for the f easibility of con­\;ducting research in space. While at VIERS\, THEMODEL INGAGENCY investigated both the research undertaken by the marine scientist s occupying the undersea habitat as well as the concurrent NASA-funded beha vioral study conducted on the submariner scientists from above. Enacting a kind of aesthetic reproduction of these tiered projects and utilizing metho dologies and materials employed in conducting the original research\, THEMO DELINGAGENCY offers a consideration of the context and contingencies of how knowledge is produced.

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According to the artists\, the strategy of modeling is fundamental to scientific inquiry \, but it is also familiar to artistic practices that employ process-based experimentation. Herman and James emphasize that while scientists use model s to describe and account for phenomena\, artists use modeling to embod y phenomena and so accordingly\, the kind of knowledge produc es differs. In scientific modeling\, data is gathered through controlled ob servation and the knowledge that is produced is considered objective. In co ntrast\, the subjective\, experimental strategies of artists create the con ditions for unpredictable outcomes for reasons that may have more to do wit h achieving a sense of emancipation from those uncertainties than an unders tanding of them.

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About the Artists

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Nick Herman is an artist and write r and publisher of the imprint anteprojects. He has an MFA in sculpture fro m Yale University and a BA in religious studies from Macalester College. He has exhibited his work nationally and internationally at The Museum of Mod ern Art\, Antwerp\, The Sculpture Center\, Peter Blum Gallery\, LA>\;<\ ;ART\, 356 Mission\, Artist Curated Projects (ACP)\, and Public Fiction\, a mong others. He was an artist-in-residence at The Chinati Foundation in Mar fa\, Texas in 2011.  \;

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C hristopher James is an artist\, writer\, and curator. He has been published in The Believer\, Cabinet\, artUS\, an d X-TRA Journal of Contemporary Art\, where he has written about t he unique conditions of art production in Southern California.  \;His a rtwork has been exhibited in New York at The Kitchen\, Brooklyn Museum\, Wh itney at Altria\, SAUCE\; Internationally at the Museo San Telmo\, San Seba stian\; Magasin 3\, Stockholm\; and Gasworks\, London as well as numerous s ites and galleries in Los Angeles. He was educated at Colgate University\, Hamilton\, New York\, and the San Francisco Art Institute and was awarded a Joan Mitchell grant to attend the residency program at the Atlantic Center for the Arts. In 2010 he produced artwork as a guest of the Hotchalpine Fo rschungsstation Jungfraujoch\, a high altitude research station located at 11\,400 feet in the Swiss Alps.

DTEND:20160911 DTSTAMP:20160825T012511 DTSTART:20160605 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:THEMODELINGAGENCY: TEKTITE –reflux\, Nick Herman\, Christopher Jame s UID:419691 END:VEVENT BEGIN:VEVENT DTEND:20160604T200000 DTSTAMP:20160825T012511 DTSTART:20160604T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:THEMODELINGAGENCY: TEKTITE –reflux\, Nick Herman\, Christopher Jame s UID:419692 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ASHES/ASHES is pleased to announce REVIVER\, a grou p exhibition of Yale University&rsquo\;s MFA Photography 2016 Graduates. Cu rated by International Center of Photography Curator-in-Residence\, Charlot te Cotton\, the exhibition will be on view August 13th&ndash\;August 27th\, with an opening reception on Saturday\, August 13th from 7-9pm.

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Gr ouped together under the title REVIVER\, the artists engage with f ormal photographic practice while trying to find a place in a world of ever -proliferating images. Cotton says of the exhibition\, &ldquo\;I&rsquo\;m s truck by the singularity of the choice of the title&mdash\;a word that cont ains and embodies their shared aims for the ongoing exploration of photogra phic thinking.&rdquo\;

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REVIVER presents 10 photographers w hose work varies from Sara Cwynar&rsquo\;s experimental appropriations on t he interactions of body and object to Monique Atherton&rsquo\;s observation s about portraiture&rsquo\;s potential futures. Black-and-white photography is seen freshly through the enchantingly ambiguous narratives posted in th e images of Eli Durst and the graphic compositions of Drew Brown. John Edmo nds&rsquo\; installation invites the viewer to consider what portraiture mi sses through its repetition\, while simultaneously evoking discourse around race and gender. \;

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Ye Weon Mary Kim incorporates traditional forms of painting and digital collage into her photographic narratives\, co mplicating the tropes of landscape photography. Robin Myers&rsquo\; surreal ist photographs reexamine traditional notions of the bodily form while Cole Don Kelley\, Adam Pape\, and Eva O&rsquo\;Leary use the associative powers of color to create arrestingly intimate images of what are often considere d commonplace subjects.

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Over the course of two years\, working in c lose proximity to one another\, each artist has emerged with a distinctive voice and a shared goal of pushing the medium further into the future while keeping in mind its historical past. It is in exhibitions like REVIVER that the viewer gets to see what is happening on the ground level of contemporary photography while looking out for the work that will foretell its path.

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On view in LA/DW~PS is Derek Corns&rsquo\; \;IWKI MV \;(2016).

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Tony Hope&rsquo\;s permanent installation&nbs p\;Untitled (Dawn) \;(2015) remains on view \;in the galle ry&rsquo\;s bathroom.

DTEND:20160827 DTSTAMP:20160825T012511 DTSTART:20160813 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:REVIVER: Yale MFA Photography 2016\, Adam Pape\, Eva O'Leary\, Robi n Myers\, Ye Weon Mary Kim\, Cole Don Kelley\, John Edmonds\, Eli Durst\, S ara Cwynar\, Drew Brown\, Monique Atherton UID:425176 END:VEVENT BEGIN:VEVENT DTEND:20160813T210000 DTSTAMP:20160825T012511 DTSTART:20160813T190000 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:REVIVER: Yale MFA Photography 2016\, Monique Atherton\, Drew Brown\ , Sara Cwynar\, Eli Durst\, John Edmonds\, Cole Don Kelley\, Ye Weon Mary K im\, Robin Myers\, Eva O'Leary\, Adam Pape UID:425177 END:VEVENT BEGIN:VEVENT DESCRIPTION:

bG Gallery presents the first US solo exhibit for artist Martin Krammer. Through his work as a furniture designer\, Krammer h as developed a deep knowledge of woodwork carving that has permitted him to create a unique combination of watercolor portraiture on wood\, often expl oring philosophical and social issues.The exhibit received its name from a common Viennese tree that the artist uses in his artworks. He contemplates the medium as a symbol of time by mixing the structure of the growth rings to the portrait. Krammer considers taking portraits as not only a way to fr eeze time\, but also as a way to freeze somebody in a pose that he or she m ay not have chosen for his or herself.

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In 2016\, Krammer work ed on two projects that will be the core of the upcoming exhibit - &ldquo\; The Art of Driving&rdquo\; and &ldquo\;The Vogue Series&rdquo\;. &ldquo\;Th e Art of Driving&rdquo\; is a combination of his personal toy car fetish al ong with cultural fetishes\; these fetishes are stranded together in a brea kdown of time and are represented by the breakdown of the car. &ldquo\;The Vogue Series&rdquo\; is a depiction of the desired fetishized lifestyle as well as iconic appearances of individuals within the issues of Italian vogu e.

DTEND:20160825 DTSTAMP:20160825T012511 DTSTART:20160813 GEO:34.0279746;-118.4679684 LOCATION:bG Gallery\,Bergamot Station\, 2525 Michigan Ave space G8A\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:SPRUCIFICATION by Martin Krammer\, Martin Krammer UID:423216 END:VEVENT BEGIN:VEVENT DTEND:20160813T200000 DTSTAMP:20160825T012511 DTSTART:20160813T170000 GEO:34.0279746;-118.4679684 LOCATION:bG Gallery\,Bergamot Station\, 2525 Michigan Ave space G8A\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:SPRUCIFICATION by Martin Krammer\, Martin Krammer UID:423217 END:VEVENT BEGIN:VEVENT DESCRIPTION:

bG Gallery eagerly presents a first US solo exhib it by Austrian captivating artist Martin Krammer. \;Creating a unique c ombination of watercolor portraiture on woodwork carvings\, Martin is able to explore philosophical and social issues in a non-conformist and audaciou s way. \;The exhibit received its name from a common Viennese tree that the artist uses in his artworks\, using it as a symbol of time by mixing t he structure of the growth rings to the portrait. \;Kramer succeed in f reezing the fortuity of the moment in the distorted and dramatic shapes of his art that will be hosted in the gallery from August 13th.

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Where: BLEICHER/GORMAN (bG) Gallery Bergamot Station &ndash\; Space G8 A\, 2525 Michigan Avenue\, Santa Monica 90404 Phone: +1 (310) 906 4211 Hour s: 10-6pm Tues-Sat or by appointment. Website: bGartGalleries.com

DTEND:20160825 DTSTAMP:20160825T012511 DTSTART:20160813 GEO:34.0279746;-118.4679684 LOCATION:bG Gallery\,Bergamot Station\, 2525 Michigan Ave space G8A\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:SPRUCIFICATION\, Martin Krammer UID:423338 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Inside every mummy is a story waiting to be told.

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Mummies of the World portrays a once-in-a-lifetime collection of real mummi es and artifacts from across the globe. This compelling collection\, presen ted with reverence and dignity\, includes ancient mummies dating back as fa r as 4\,500 years.

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A fascinating mix of old and new\, this captivating collection bridges the gap between past a nd present with contributions from 10 world-renowned Institutions and two p rivate collectors.

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Embark on a journe y into the extraordinary world of mummies and mummification. Through modern science\, engaging interactive and multi-media exhibits featuring 3-D anim ation\, explore how mummies are created\, where they come from and who they were. Using state-of-the-art scientific methodology\, discover how modern science enables researchers to study mummies through innovative and non-inv asive ways\, offering unprecedented insights into past cultures and civiliz ations.

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What secrets do mummies hold about the past? What clues do they bring us for the future? A journey await s as we unravel their mysteries.

DTEND:20160905 DTSTAMP:20160825T012511 DTSTART:20160319 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Mummies of the World UID:419926 END:VEVENT BEGIN:VEVENT DESCRIPTION:
In this captivating new seri es of work - titled VOUZ DOUZ II - Dutch artist SIT processes through paint ing his observations on modern society. He examines the idea of personal id entity\, and how focus on materialism\, ego and success can make us drift a way from our true intentions and unique self.

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To explore these ideas\, SIT creates tension betwe en abstract and realistic figures by juxtaposing both techniques to the poi nt where the true identity of the animals and characters in his work become s blurred\, fragmented and undefinable. This talented artist challenges us to question a world in which people and nature are in a confused state\, in search of a healthier way to relate to each other.

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VOUZ DOUZ is the artist's fourth solo show w ith C.A.V.E. Gallery.
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The work of Dutch artist SIT is inevi tably characterized by a feeling of discomfort: his paintings and sculpture s show the moment when beauty loses its raison d'ê\;tre\, and presents its darkest side. Behind his figurative images lies a disturbing analysis of our times. \;SIT portrays imaginary characters\, human beings and an imals that reflect our obsession with appearance\, look and materialism - a s well as the banality of everyday life. These characters are the victims o f our visual and fast society\, the technology of the visible - where human vanity stands in the way of a truly ethical life. \;

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By using black and white\, SIT creates sober and melancholic images\, as if man - while endlessly believing in pr ogress - has lost something on the way. At the same time\, his paintings di splay richness: the fabrics\, textures and costumes look sensual and seduct ive\, the settings are theatrical and surreal. This ambiguity - between the temptation of beauty and our constant urge to abuse her - is the driving f orce behind his work.
DTEND:20160829 DTSTAMP:20160825T012511 DTSTART:20160730 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Vouz Douz II\, SIT UID:424585 END:VEVENT BEGIN:VEVENT DESCRIPTION:
PROCESS - \;"the unp lanned\, unexpected\, the collected in a corner\, saved in a stack\,\n
the leftovers\, the beauty\, t he magic in the scraps. Process is motion. It's the forever in
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the moment\, until it isn't. It's th e notes\, the plans\, the dates\, maps\, and scribbles. It's
\nthe paint that missed the canvas\, the test before the print. It's the ghost for the catching\,
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the zone for the coasting. Process is for ever unfolding." \;Bisco Smith 2016
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BIO
\nBisco Smith (b.1980) is an American contem porary urban artist whose work is characterized as a blend of graffiti deco nstruction\, abstract gesturalism\, graphic design\, and "visual freestyle. " Using household tools learned from painting on street walls and influence d by the process of freestyle rapping and song writing\, Bisco fuses the sp ontaneous art forms into style-writing and action painting. His technique i nvolves energetic\, expressive brushstrokes that reflect the flow of music and translates the consciousness of the moment into painted lyrics and abst ract black and white works of art.\n
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Bisco believes that art is energy transmitted through various mediums\, and as such\, the artist b ecomes the conduit. His art captures the unseen rhythms of music\, the unta med energy of a moment\, duality\, and good intentions. He aims to bring a good intention to all his paintings in hopes that the energy will continue to resonate wherever the art lives.
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Bisco has exhibited ar t\, performed music\, painted murals\, and partnered with creative
\n< div style="text-align: justify\;">brands and live events worldwide. Bisco's work is regularly exhibited in national galleries and has established a na tional and international collector base.\n
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Bisco Smith curre ntly lives and works in Venice\, CA.
DTEND:20160829 DTSTAMP:20160825T012511 DTSTART:20160730 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Process\, Bisco Smith UID:424586 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Danielle Abrams is a perform ance and video-based artist who grew up in Queens\, New York\, with her Jew ish mother and African-American father. Abrams' parents raised her with the ir "double vision" belief\, one that allowed her to view the world through the lenses of her two cultural backgrounds. Abrams' \;Quadroon  \;derives from blind spots she discovered in her parents' "double visi on" notion. This work deals with her consciousness of the disparities betwe en the black community and the "white world."
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Quadroon\, a Louisiana Creole term for a person who is one-quarter bl ack\, is a performance/video work based on Abrams' four female voices.  \; \; These voices explore the shadowy areas that lie among labeled ide ntities. One of her personae is Dee\, a precocious 15-year-old "hair girl" from Queens who\, because of her skin tone\, can "pass" for Greek\, but can never achieve true acceptance in the Greek community. Another voice is Dew Drop Lady\, a New York Jewish grandmother eager to share advice and faith in the belief that one can achieve anything\, despite stereotypes that may exist. Janie Bell\, Abrams' black grandmother from Ashland\, Virginia\, is a third character\, which keeps the connection between family and heritage alive. Last\, Abrams dons the guise of Butch in the Kitchen\, a 30-year-old San Francisco butch dyke who\, through her own special version of "Meals o n Wheels\," addresses issues of nurturance. Together the four voices provid e the viewer an insider's portrait of the artist.
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ABOUT THE ARTIST
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Danielle Abrams \;work has exhibited extensi vely throughout New York\, Los Angeles\, San Francisco\, and for internatio nal audiences. \; \;She has performed at prestigious institutions i ncluding: Detroit Institute of the Arts\, Jewish Museum\, Bronx Museum of t he Arts\, University of Michigan Museum of Art\, Queens Museum\, The Kitche n\, ABC No Rio\, 848 Community Space\, and WOW Café\; Theater. \;  \;Abrams work has been supported by: New York Foundation of the Arts\, Franklin Furnace\, Urban Artist Initiative\, Brooklyn Arts Exchange\, and College Art Association.
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DTEND:20160911 DTSTAMP:20160825T012511 DTSTART:20160702 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Quadroon\, Danielle Abrams UID:424578 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Navigating the Historical Present \;is a mantra for Kenyatta A.C. Hinkle&rsquo\;s practice i n which she creates performative situations to illustrate how she grapples with the residue of history related to the context of exploring the exotifi cation and exploitation of the Black female body. Within her \;Kent ifrica Project\, Hinkle conducted extensive research and recreated an artifact called the Nowannago to be used as a symbol of navigating the hist orical present. The Nowannago is akin to the Oroborus\, the serpent that ea ts its tale within ancient Egyptian mythology. The fight with time\, spatia lity and social dynamics creates a never-ending cycle in which oppositional parties have to grapple with their issues.

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The exhibition \;Exploring The Nowannago: Kentifrican Mo des of Resistance \;will serve as an ongoing stage and ins tallation for video and performance featuring Kenyatta A.C. Hinkle and Tyle r Matthew Oyer. This body of work involves a Kentifrican narrative that pro vides a social critique of how we are chained to the residue of the past an d how bodies that are deemed the &ldquo\;other&rdquo\; through labels of qu eerness\, racial constructions and gender constructions are treated.\n

A tug of war will ensue during the per formance in which the Nowannago will be used to illustrate the complex push and pull of realities within historical and contemporary hegemonic impulse s that seek to condemn bodies that are misunderstood. The Nowannago\, the d ouble noose\, is an instrument integral to Kentifrican presence in relation ship to encounters with cultures that were intrusive and different from the ir own. The double noose was used as a forced mating ritual between a Briti sh or Portuguese trader and a Kentifrican woman. Kentifrica\, as geography\ , has never been formally colonized. Due to a deadly poisonous plant called the Yahwaseen located on the coast of West Kentifrica\, discovery was limi ted to a few small nearly visible ports along the northern and eastern coas ts. It was near these ports that Kentifrican individuals found themselves a bducted to be a part of the slave trade and brought to North and South Amer ica. The noose became known as a Nowannago from few witnesses who managed t o escape the deadly game.

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The ritual& rsquo\;s rules of engagement were carried out in the following manner:

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&bull\; A European man and a Kentifrican woman were tied together with a double noose.
&bull\; If the Kentifric an woman succeeded in killing her captor she won her freedom.
&bull\; If she did not succeed she became the man&rsquo\;s concubine throughout the voyage and upon arrival.

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This contem porary performance and exhibition with the Nowannago at Grand Central Art C enter will transcend the boundaries of Kentifrica as a geography to serve a s an abstract confrontation with the following issues and movements plaguin g our local and global societies: The Black Lives Matters Movement\, the cu rrent human trafficking trade\, LGBTQ awareness\, immigration reform\, pris on reform\, white supremacy\, genocide\, xenophobia\, etc.

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As we are now witnesses to this exhibition and/or the performance\, and its evolving space of participatory action\, the artists invite you to respectfully add names\, with the chalk provided\, of those who have died at the hands of hate crimes\, police brutality\, human traffi cking\, and other unjustified actions that have taken place in our society.

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ABOUT THE ARTISTS

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Kenyatta A.C. Hinkle \;is an inter disciplinary visual artist\, writer and performer. Her practice fluctuates between collaborations and participatory projects with alternative gallery spaces within various communities to projects that are intimate and based u pon her private experiences in relationship to historical events and contex ts. A term that has become a mantra for her practice is the &ldquo\;Histori cal Present\,&rdquo\; as she examines the residue of history and how it aff ects our contemporary world perspective. Her artwork and experimental writi ng has been exhibited and performed at: The Studio Museum in Harlem\, NY\; Project Row Houses in Houston\, TX\; The Hammer Museum in Los Angeles\, CA\ ; The Museum of Art at The University of New Hampshire\; and The Museum of the African Diaspora (MoAD) in San Francisco. Hinkle was the youngest artis t to participate in the multi-generational biennial \;Made in LA 20 12. The artists work have been reviewed by the Los Angeles Times\, LA Weekly\, Artforum\, The Huffington Post\, The Washington Post and The New Y ork Times. Hinkle was listed on The Huffington Post&rsquo\;s Black Artists: 30 Contemporary Art Makers Under 40 You Should Know. She is also the recip ient of several fellowships and grants including: The Cultural Center for I nnovation&rsquo\;s Investing in Artists Grant\, Social Practice in Art (SPa rt-LA)\, Jacob K Javits Fellowship for Graduate Study\, The Fulbright Stude nt Fellowship\, and The Rema Hort Mann Foundation&rsquo\;s Emerging Artists Award. Kenyatta A.C. Hinkle is represented by Jenkins Johnson Gallery in S an Francisco\, CA and New York City.

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Called an &ldquo\;interdisciplinary gospel immortalist&rdquo\; by Kembra Pf ahler of the Voluptuous Horror of Karen Black\, \;Tyler Matthew Oyer \;is an artist\, writer\, and organizer based in Los Ang eles. He has presented work at: MoMA PS1 in New York\; REDCAT in Los Angele s\; dOCUMENTA (13) in Kassel\, Germany\; Hammer Museum in Los Angeles\; Kun stnernes Hus Oslo in Oslo\, Norway\; Art Basel Miami Beach in Florida\; Ber gen Kunstall in Bergen\, Norway\; Rogaland Kunstsenter in Stavanger\, Norwa y\; The Royal Vauxhall Tavern in London\, UK\; High Desert Test Sites in Yu cca Valley\, CA\; Highways Performance Space in Santa Monica\; Human Resour ces in Los Angeles\; and the Orange County Museum of Art. He has written wo rks of performance including \;GONE FOR GOLD\, \;Shimm y Shake Earthquake\, and \;100 Years of Noise: Beyoncé\; is ready to receive you now. Oyer is represented by Cirrus Gallery an d his work is in the permanent collection of the Museum of Modern Art (NY). Oyer is the founder of tir journal\, an online platform for queer\, femini st\, and underrepresented voices. He received an MFA from the California In stitute of the Arts in 2012. He is currently working on his first movie\,&n bsp\;Conquest of the Universe or When Queens Collide.

DTEND:20161016 DTSTAMP:20160825T012511 DTSTART:20160806 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Navigating the Historical Present\, Kenyatta A.C. Hinkle\, Tyler Ma tthew Oyer UID:424574 END:VEVENT BEGIN:VEVENT DTEND:20160806T220000 DTSTAMP:20160825T012511 DTSTART:20160806T190000 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Navigating the Historical Present\, Kenyatta A.C. Hinkle\, Tyler Ma tthew Oyer UID:424575 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Created during his time as an artist-in-residence at Grand Central Art Center\, Jesse Kees new body of wo rk \;Days \;involves field and studio recordings\, process ed and edited into a series of sound pieces that can be observed as a loose narrative about his experience in the Santa Ana area. \; The works dra w upon Kees emotions felt during the time period of July 5-14\, 2016.

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Related drawings were made to accompany th e sound pieces as objects of meditation.

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ABOUT THE ARTIST
Jesse Kees  \;is a Baton Rouge\, Louisiana born artist working in both aural and visual art.

DTEND:20161016 DTSTAMP:20160825T012511 DTSTART:20160806 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Days\, Jesse Kees UID:424576 END:VEVENT BEGIN:VEVENT DTEND:20160806T220000 DTSTAMP:20160825T012511 DTSTART:20160806T190000 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Days\, Jesse Kees UID:424577 END:VEVENT END:VCALENDAR