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101/EXHIBIT is now highlighting a distinguished selection of gallery inventory works by artists Charles Pfahl\, Ian Ingram\, and Larry Rivers. The works assembled together here have not been previously exhibite d on the West Coast. The feature will run until Tuesday\, August 4th at 892 0 Melrose Ave on the corner of North Almont Drive\, one block south of Sant a Monica Blvd.

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Since 2009\, 101/EXHIBIT has managed sole representa tion of American Realist painter Charles Pfahl (American\, 1946-2013) and t he estate upon his passing. On view will be an assortment of 2D works rangi ng from early drawings and mixed media paintings to the large-scale oil on canvas\, entitled Shadow\, which is the final painting completed by the art ist. The gallery has also produced a new 263 page monograph with a JHT Genu ine cloth wrapped cover and slip case which is now available at the gallery or through the site (click for info).

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Ian I ngram came to be represented by 101/EXHIBIT in the wake of the closing of B arry Friedman\, Ltd in New York City\, who previously represented the artis t. On view will be three large-scale charcoal on paper self portraits rangi ng from 2009-13. The artist is currently producing his first solo show with the gallery set for the winter of 2015-16.

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The gallery will also f eature a number of privately held selections by the late American Pop Artis t Larry Rivers. As the gallery looks deeper into the career of the artist a nd his significance within the context of the 20th century\, we would like to share a pre-emptive glimpse of his Construct paintings as we plan our fo rthcoming survey of his Birds of America works from the late 1990s.

DTEND:20150804 DTSTAMP:20150706T221932 DTSTART:20150530 GEO:34.0807161;-118.3873912 LOCATION:101/EXHIBIT\,8920 Melrose Avenue \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:Gallery Feature\, Ian Ingram\, Larry Rivers\, Charles Pfahl UID:388227 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150711 DTSTAMP:20150706T221932 DTSTART:20150603 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ana Prvacki UID:385959 END:VEVENT BEGIN:VEVENT DTEND:20150603T200000 DTSTAMP:20150706T221932 DTSTART:20150603T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ana Prvacki UID:385960 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150802 DTSTAMP:20150706T221932 DTSTART:20150619 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Prosthetic Everyday \, Shahryar Nashat UID:386413 END:VEVENT BEGIN:VEVENT DTEND:20150619T220000 DTSTAMP:20150706T221932 DTSTART:20150619T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Prosthetic Everyday \, Shahryar Nashat UID:386414 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present a solo exhibition of new works by Los Angeles based artist Matt Lifson. On vi ew will be two bodies of work that focus on concepts of storytelling throug h the suggestiveness of painting. By using strategic methodologies such as repetition and projection\, Lifson is able to bore out a mysticism from a s eemingly banal representational image\, denying access to its familiarity. The artist is fascinated by the way in which stories are told in contempora ry culture\, especially through the viewpoint of film and photography that infiltrate a more ubiquitous concept of personal narrative. Lifson has a lo ngtime interest in a picture's history and trajectory\, and employs a varie ty of approaches to painting and installation to perforate that history.

The first body of work starts with a series of small paintings o f a snowy landscape painted in succession on the same canvas\, which are th en individually photographed in the different stages of paint\, then the im ages are enlarged and printed on canvas\, which are then are overlaid with a translucent silk fabric and painted again. The resulting works have a pan ning effect\, like still frames of a film. The overlaid paintings on the si lk act as 'emotional' responses to the subtle nuances of the snowy landscap e paintings beneath them. The effect is exaggerated\, brushy gestures and w ashes that hover above a now almost indiscernible image underneath.
< br /> The second body of work consists of serial paintings of a still life with projected text in the form of subtitles and book pages that are consta ntly changing. Lifson is exploring the notion of how images find themselves being owned and produced\, stretching the elasticity of meaning\, and betw een these two techniques\, an overarching concept of projection occurs\, be it literally or figuratively.

DTEND:20150711 DTSTAMP:20150706T221932 DTSTART:20150606 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:The Snakes That Remain\, Matt Lifson UID:384343 END:VEVENT BEGIN:VEVENT DTEND:20150606T200000 DTSTAMP:20150706T221932 DTSTART:20150606T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:The Snakes That Remain\, Matt Lifson UID:384344 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present a solo exhibition of new paintin gs by New York based artist Kurt Kauper.

DTEND:20150711 DTSTAMP:20150706T221932 DTSTART:20150606 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kurt Kauper UID:384848 END:VEVENT BEGIN:VEVENT DTEND:20150606T200000 DTSTAMP:20150706T221932 DTSTART:20150606T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kurt Kauper UID:384849 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Keep track of this jumbl e\, it&rsquo\;s important to know how it all works out. Rich people look li ke candy\, but their facials aren&rsquo\;t cheap. Today&rsquo\;s headache p redicates another night of heavy drinking. Tylenol®\; should help with t hat. \;
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A trip to the mall is a trip to the liquor store\; a throwaway experience. Marbled interiors a nd glossy surfaces are the best places to find silk socks or finely aged wh iskey. It&rsquo\;s the finest on display until it&rsquo\;s usurped in the f all\; hangovers always remain in season.
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Confidence is a convertible sprayed by a sprinkler with red lipstick smear ed on the rich leather seats. Ruined bed sheets and carpet stains only add to this unfolding Jack Pollock of salty virility. White always can use a go od dose of pigment\, anyway\, and the credit card will always cover the mes s.
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\n< div style="text-align: justify\;">Between the Ativan in the medicine ca binet and the oxfords in the closet\, an unfolding narrative emerges. A tri umph of disposable income is hanging on the living room wall. Those rich\, deep hues are a damn good thing to look at while getting in her pants. \n
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There is no need to explain when the televis ion is on and Marcello has the whip\, Asa nisi masa. It&rsquo\;s classic\, all in black and white with a touch of grey. Before you: voyages between me eting rooms\, cocktail lounges and blackout moments between two legs.< /div>\n
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It&rsquo\;s the best a man can get.
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Anat Ebgi is pleased to present \;A Guide to Benefits\, the first Los Angeles solo show of New York-based artist Ma rtin Basher. Expanding upon the lineage of display-based artistic practices \, Basher&rsquo\;s work taps consumer psychology\, sublimated desire and ma sculine gaze. The title of the exhibition refers to credit card protections \, customer loyalty programs and the masochistic intimacy of encounters bet ween associates\, clients\, friends and partners.
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For his solo exhibition\, Basher will \;present a series of paintings and collages featuring his signature motif of flawless oil-painted gradated stripes\, along with a site specific sculpture made from plexiglass\, alum inum\, chrome and everyday consumer goods. Marking a new development in the work\, \;A Guide to Benefits \;brings ph oto-real renderings of legs and liquor glasses into the paintings and colla ges\, making an explicit link between the paintings and the retail forms th at constitute his sculpture. The objects and images resonate with the emoti onal undercurrents of consumerism. \;The consumer&rsquo\;s appetite is insatiable\; customer loyalty is only as good as its dopamine kick. In this context\, Basher&rsquo\;s work wryly locates the sublime on the shop floor and gallery wall in equal measure.
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Martin Basher was born in 1979 in Wellington\, New Zealand and lives and works in New York. The a rtist received his MFA at Columbia University. He has shown internationally at public institutions including University of Connecticut\, Art In Genera l\, Auckland Art Gallery\, and The Public Art Fund. Recent solo exhibitions include Starkwhite\, Auckland and Saatchi &\; Saatchi\, New York. Bashe r has been included in group shows at 179 Canal\, Tracy Williams\, New York and Brand New Gallery\, Milan. Basher has an upcoming solo exhibition this fall with Brand New Gallery\, Milan.
DTEND:20150725 DTSTAMP:20150706T221932 DTSTART:20150613 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:A Guide to Benefits\, Martin Basher UID:383254 END:VEVENT BEGIN:VEVENT DTEND:20150613T200000 DTSTAMP:20150706T221932 DTSTART:20150613T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:A Guide to Benefits\, Martin Basher UID:386412 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 Dist rict News (PDN)\, the award-winning publication for profe ssional photographers. The exhibit is comprised of works from photographers who have been featured in &ldquo\;PDN&rsquo\;s 30\,&rdquo\; P hoto District News&rsquo\; annual selection of 30 emerging photographe rs who represent a range of styles and genres and have demonstrated a disti nctive vision\, creativity\, and versatility. The photographers in Emer ging come from 30 countries and while all are still relatively new to professional photography\, many have already earned prestigious accolades.< /p>\n

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In addition to nearly 100 prints\, the exhibition will inc lude videos\, multimedia pieces\, self-published books\, zines and a changi ng slideshow of images posted on social media illustrating the many ways em erging 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 W olff\; Executive Editor\, David Walker and Creative Director\, Darren Ching .

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DTEND:20150927 DTSTAMP:20150706T221932 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:20150706T221932 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:20150706T221932 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:20150706T221932 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:20150706T221932 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:20150706T221932 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:20150706T221932 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:20150706T221932 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:

Michael Parker's sculpture\, a fully-functioning s team sauna\, is available for public steam sessions on the first and third Sundays of the month throughout the run of the exhibition.

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Steam enthusiasts can RSVP to enjoy the egg in 1-hour rot ations. Walk-ins are welcome\, but first come\, first steam. Bring your own towels and suits. Please\, no changing in the gallery. Bathrooms are avail able\, but there are no showers on the premises.

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You can leave your belongings on the hooks of the installation and your shoes under the egg&rsquo\;s subfloor. The Armory/Artist is not respon sible for lost or stolen possessions. Participants must be in good health a nd sign a waiver of liability before participating in the Steam Egg.

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Sign up in person\, call the Armory gallery at 626.792.5101 x122\, or email gallery@armoryarts.org.

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Pres ented in conjunction with "After Victor Papanek: The Future Is Not What It Used To Be\," a group exhibition that focuses on Papanek&rsquo\;s pioneerin g influence on sustainable\, socially responsible\, human-centered design. On view through September 6. Visit armoryarts.org/papanek for more info.

DTEND:20150705 DTSTAMP:20150706T221932 DTSTART:20150705 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Michael Parker\, Steam Egg\, Michael Parker UID:385666 END:VEVENT BEGIN:VEVENT DESCRIPTION:

May 27 - July 10\, 2015 at Artspace Warehouse:
Decoding the Memories

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New art exhibition Decoding the Memories opens May 27 \, 2015 at Artspace Warehouse. Featured artists include \;Clara Berta\, \;Bettina Mauel\,  \;Miki Reimann\, and \;Maura Segal.

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Opening Reception Wednesday\, May 27\, 6-9pm.

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Clara Berta&rsquo\;s \;pa intings explore themes such as the ebb and flow of memory\, the significanc e of personal heritage\, renewal\, the passing of physical time\, desire\, passion\, and love. Manipulating the texture with many layers of paint\, sh e will work and re-work her canvases\, layering\, scraping\, piling up text ures to give added dimension\, creating works that intrigue and invite the viewer in for closer inspection.

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The driving influences behind  \;Bettina Mauel \;Mauel expresses vitality an d sensuality in her paintings. &ldquo\;I paint what I experience\,&rdquo\; she articulates. &ldquo\;This includes landscapes\, flowers\, people and al ways dancing.&rdquo\; She has presented her work in numerous exhibitions th roughout Europe and her art has been acquired by many public institutions.< /p>\n

In her works \;Miki Reimann \;crea tes compositions that generate tranquil poetic images\, leaving traces and balances on the edge of recognition and alienation. Her spatial use of pigm ents and oil allows three-dimensional space to intrude into an otherwise tw o-dimensional surface and form a visualization of her ideas of fulfillment and state of mind.

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Maura Segal \;constr ucts multi-layered artworks\, using a combination of acrylic paint and care fully selected papers\, new and antique\, resulting in a complex universe o f balance\, texture\, color and vibrant rhythms.

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http://www.artspac ewarehouse.com/decoding-the-memories-affordable-art-exhibition-2015-5-Artsp ace-Warehouse-Gallery-Los-Angeles.html

DTEND:20150710 DTSTAMP:20150706T221932 DTSTART:20150527 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:Decoding the Memories\, Clara Berta\, Bettina Mauel\, Miki Reimann\ , and Maura Segal. UID:385682 END:VEVENT BEGIN:VEVENT DTEND:20150527T210000 DTSTAMP:20150706T221932 DTSTART:20150527T180000 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:Decoding the Memories\, Clara Berta\, Bettina Mauel\, Miki Reimann\ , and Maura Segal. UID:385683 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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ASHES/ASHES is pleased to announce BODY PART S I - V\, an exhibition of early video works by Knut Å\;sdam\, Nayland Blake\, Patty Chang\, Cheryl Donegan\, and Bob Flanagan &\; Sheree Rose &\; Mike Kelley.

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Schedule and Synopses

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PART I: June 2 - 6

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Cheryl Donegan / Gag

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Woman in Marcel Breuer chair devours French baguette.

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1991 / color / sound / 8:57min

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PA RT II: June 9 - 13

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Bob Flanagan &\; Sheree Rose &\; Mike Kell ey / 100 Reasons

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Off-screen mistress paddles man&rsquo\;s buttocks from 1 to 100.

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1991 /color / sound / 6:41min

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PART III: June 16 - 20 \;

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Knut Å\;sdam / Un titled: Pissing

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Man in flat-front trousers pisses himself.

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1995 / color / no sound / 0:50min

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PART IV: Jun e 23 - 27 \;

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Patty Chang / Shaved (At A Loss)

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Blindfolded woman takes three sips of Perrier then shaves vagina.

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1 998 / color / sound / 5:18min

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PART V: June 30 - Jul y 4 \;

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Nayland Blake / Gorge

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Dom feeds sub con tinuously for one hour.

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1998 / color / sound / 60:00min

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PARTS I - V: July 7 - 11

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Cheryl Donegan\, Bob Flanagan &\; Sheree Rose &\; Mike Kelley\, Knut Å\;sdam\, Patty Chang\, Nayland Blake / Binge

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1991 - 1998 / color / sound &\; s ilent / 0:50 - 60:00min

DTEND:20150711 DTSTAMP:20150706T221932 DTSTART:20150602 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:BODY PARTS I - V\, Knut Asdam\, Nayland Blake\, Patty Chang\, Chery l Donegan\, Bob Flanagan\, Sheree Rose\, Mike Kelley UID:386069 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Poe announces the gallery&rsquo\;s first-time solo exhibitions with artist Anthony Burdin. Bu rdin&rsquo\;s exhibition \;Fragments from Expeditions: Destitution\ , Deterioration\, and Devastation \;is comprised of paintings and video documentation of live performances. His new satirical\, text-based pa intings\, written in a pseudo-calligraphic style\, bleed words together to create visual tongue twisters. Utilizing journalistic talking points or tre ndy phrases\, the works grapple with ever dwindling free speech. Other pain tings continue the artist&rsquo\;s exploration of a trademark graffiti tech nique he refers to as &ldquo\;Kookscrawl.&rdquo\; Two videos of Burdin&rsqu o\;s automatic performances\, \;shallosscrave \;(2014) and  \;Vape Lounge \;(2014)\, record the journey of a fictiona l character named Desert Mix as he traverses his claimed domains scattered with sight gags. Also included will be abstract paintings based on fictiona l landscapes where the performances could have taken place. \;

DTEND:20150822 DTSTAMP:20150706T221932 DTSTART:20150702 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Fragments from Expeditions: Destitution\, Deterioration\, and Devas tation \, Anthony Burdin UID:386855 END:VEVENT BEGIN:VEVENT DTEND:20150702T200000 DTSTAMP:20150706T221932 DTSTART:20150702T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Fragments from Expeditions: Destitution\, Deterioration\, and Devas tation \, Anthony Burdin UID:386856 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Poe announces the gallery&rsquo\;s first-time solo exhibition with artist A.L. Steiner. \ ;Between the interlude of state-sanctioned exploitation and violence\, the Amerikkkin project of mass incarceration and slavery\, the uncertain future of California's viability\, and planetary implosion\, A.L. Steiner present s an overview of her photo archive from 1995-2015 at Blum &\; Poe. \ ;Come &\; Go \;will feature a relaxing space for the lost a rt of print viewing\, complete with a revolving cast of subversives and int erlocutors. The gallery serves as an all-access pass to integrate the acts of looking\, seeing\, understanding\, and listening while the time-space co ntinuum is placed on hold / pause / play / fast-forward / rewind.

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The exhibition features a collaboration with S hinichiro Okuda/WAKA WAKA\; live performances by Brave Accepter on July 11\ , Jibade-Khalil Huffman on August 15\, and YACHT on August 22\; and an arch ivist to guide viewers daily\, 10am &ndash\; 1pm and 2 &ndash\; 6pm.

DTEND:20150822 DTSTAMP:20150706T221932 DTSTART:20150702 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Come & Go \, A.L. Steiner UID:386857 END:VEVENT BEGIN:VEVENT DTEND:20150702T200000 DTSTAMP:20150706T221932 DTSTART:20150702T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Come & Go \, A.L. Steiner UID:386858 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Poe announces the gallery&rsquo\;s third exhibition with Drew Heitzler. As Don DeLillo in&nbs p\;White Noise \;(Viking\, 1985) postulated\, "Californians in vented the concept of life-style. This alone \;warrants \;their doo m.&rdquo\; In \;Pacific Palisades\, Drew Heitzler employs vide o\, sculpture\, works on paper\, and wall text to expand upon his interest in \;the intersection of two groups of German and Austro-Hungarian exil es and é\;migré\;s who called Los Angeles home in the post-war period. The first group\, popularly described as Weimar on the Pacific\, be gan arriving in the early 1930&rsquo\;s\, their numbers rapidly growing as Europe became more and more inhospitable. These were the Jewish and Leftist writers\, musicians\, and filmmakers brought to Los Angeles through visas and employment offered as life-saving grants by Hollywood Studios. The seco nd group began arriving after the war\, when NASA and the aerospace industr y\, under the auspices of the National Security Administration\, began recr uiting rocket scientists and communications specialists for the Space Race. These \;two groups\, now melded and dispersed\, became an expanded fie ld of influence from which aesthetic philosophy\, socio-political thought\, technological development\, and industrial material trickled down into the architecture and popular culture of Southern California\, where its co-min gling created the concept of lifestyle. Heitzler&rsquo\;s works explore thi s figment of the American Dream\, one that has consequences for which we ar e just now beginning to understand. \;

DTEND:20150822 DTSTAMP:20150706T221932 DTSTART:20150702 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Pacific Palisades\, Drew Heitzler UID:387046 END:VEVENT BEGIN:VEVENT DTEND:20150702T200000 DTSTAMP:20150706T221932 DTSTART:20150702T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Pacific Palisades\, Drew Heitzler UID:387047 END:VEVENT END:VCALENDAR