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101/EXHIBIT is proud to present Anti-Realism by Phoenix-based artist Colin Chillag. The opening reception with the artist will be held fr om 7 &ndash\; 10pm on Saturday\, February 28th. This is Chillag&rsquo\;s se cond solo showing with the gallery. Anti-Realism will run through April 18th at the 101/EXHIBIT West Hollywood space\, located at 8920 Melros e Ave on the corner of North Almont Drive\, one block south of Santa Monica Blvd. The exhibition will be accompanied by a 300 count limited edition sh ow poster replicating a work from the show.

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What we see in Chillag&rsquo\;s work is a hyperrealist painter&rsqu o\;s process of thinking and looking\, over several months time\, unfolded onto a single canvas. Passages of intensely detailed realism appear alongsi de hastily sketched areas. Often he includes notes and to-do lists\, color mixing tests\, blobs of thick oils\, and laconic spray-painted lines. Varie d mark-making techniques\, from painting to sketching to writing\, coalesce in Chillag&rsquo\;s work.

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When he d ecided several years ago to work within a hyperrealist context\, Chillag&rs quo\;s choice arose from a sincere admiration for the complexity of the vis ible world&mdash\;no matter how quotidian the subject matter&mdash\;and his desire to study that world as objectively\, as &ldquo\;truthfully\,&rdquo\ ; as possible. Working from photographs of Arizonan gas stations and touris t destinations\, crowded city streets\, and family members\, Chillag spends months translating images of frozen half-seconds in time (that is\, photog raphs) with as much fidelity to his subject&rsquo\;s appearance as possible . In Portrait of Jenna Taking A Self Portrait\, for example\, Chil lag renders precisely even the too-bright highlight from the sun&rsquo\;s l ight in his wife&rsquo\;s hair.

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Yet this is no real truth\, as Chillag reveals when his hyperrealism&rsquo\;s i ntense finish dissolves into sketches\, under-paintings and notes-to-self. Meditative in effect\, these passages show the tracks left by Chillag&rsquo \;s brain\, drawing connections between things and things-to-do\, wandering through varied creative spaces. Chillag refuses to adhere to any pretense of painting as a window onto another scene or a fixed moment in time. Inste ad he allows viewers a glimpse of his consciousness\; that is\, his experie nce of both the world and his process of depicting it. In Chillag&rsquo\;s work\, the desire for objective truth battles with the impossibility of rea lizing that truth in pictorial representation.

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Thus Chillag only half-follows in the footsteps of older greats working in the hyperrealist genre (such as Chuck Close\, Richard Estes\, Ro bert Bechtle)\, who rendered the visible world in acute detail and monument al scale\; their realism becoming more real than the real. Instead Chillag embraces failure. Given the pointlessness of fully finishing something alre ady photographed&mdash\;and therefore already represented with more detail than possible by the human hand&mdash\;Chillag never fully &ldquo\;finishes &rdquo\; a painting and instead leaves his daily thinking apparent to his v iewers. When looking at his work\, we look with him.

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Born in 1971\, Colin Chillag lives and works in Phoenix\, Arizona. Chillag&rsquo\;s work has been featured in solo exhibitions across the United States as well as numerous group shows. His most recent solo sh ow occurred at the Phoenix Art Museum\, in tandem with the Mid-Career Artis t Award he received from the PAM. Other venues include the Crystal Bridges Museum of American Art\, Angstrom Gallery in Los Angeles\, and Pravus Galle ry in Phoenix\, Arizona. Chillag&rsquo\;s works are in the permanent collec tions of Scottsdale Museum of Contemporary Art and Arizona State University Art Museum. He received his BFA from the San Francisco Art Institute in 19 93.

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DTEND:20150418 DTSTAMP:20150329T104117 DTSTART:20150228 GEO:34.0807161;-118.3873912 LOCATION:101/exhibit\,8920 Melrose Avenue \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:Anti-Realism\, Colin Chillag UID:373277 END:VEVENT BEGIN:VEVENT DTEND:20150228T220000 DTSTAMP:20150329T104117 DTSTART:20150228T190000 GEO:34.0807161;-118.3873912 LOCATION:101/exhibit\,8920 Melrose Avenue \nWest Hollywood\, CA 90069 SEQUENCE:0 SUMMARY:Anti-Realism\, Colin Chillag UID:373278 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150425 DTSTAMP:20150329T104117 DTSTART:20150321 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Not to Read\, Jorge Méndez Blake UID:374492 END:VEVENT BEGIN:VEVENT DTEND:20150321T200000 DTSTAMP:20150329T104117 DTSTART:20150321T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Not to Read\, Jorge Méndez Blake UID:374493 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150425 DTSTAMP:20150329T104117 DTSTART:20150318 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Finders\, Keepers\, Losers and Weepers\, Katy Fischer UID:376949 END:VEVENT BEGIN:VEVENT DTEND:20150318T210000 DTSTAMP:20150329T104117 DTSTART:20150318T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Finders\, Keepers\, Losers and Weepers\, Katy Fischer UID:376950 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150425 DTSTAMP:20150329T104117 DTSTART:20150318 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Slipping Control (West)\, Ben Vida UID:376951 END:VEVENT BEGIN:VEVENT DTEND:20150318T210000 DTSTAMP:20150329T104117 DTSTART:20150318T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Slipping Control (West)\, Ben Vida UID:376952 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150418 DTSTAMP:20150329T104117 DTSTART:20150321 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Works of Paper II\, Doug Crocco\, Dawn Clements\, Daniel Cummings\, Tomory Dodge\, Natalie Frank\, Gregor Gleiwitz\, Iva Gueorguieva\, Roger H erman\, Anne McCaddon\, Aaron Morse\, Michael Norton\, DEMETRIUS OLIVER\, Y uval Pudik\, Michael Reafsnyder\, Dario Robleto\, Brion Nuda Rosch\, ADAM R OSS\, Lisa Sanditz\, Aili Schmeltz\, Fran Siegel\, Stephanie Washburn\, Eri c Yahnker UID:375992 END:VEVENT BEGIN:VEVENT DTEND:20150321T200000 DTSTAMP:20150329T104117 DTSTART:20150321T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Works of Paper II\, Dawn Clements\, Doug Crocco\, Daniel Cummings\, Tomory Dodge\, Natalie Frank\, Gregor Gleiwitz\, Iva Gueorguieva\, Roger H erman\, Anne McCaddon\, Aaron Morse\, Michael Norton\, DEMETRIUS OLIVER\, Y uval Pudik\, Michael Reafsnyder\, Dario Robleto\, Brion Nuda Rosch\, ADAM R OSS\, Lisa Sanditz\, Aili Schmeltz\, Fran Siegel\, Stephanie Washburn\, Eri c Yahnker UID:375993 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Upon the pedestals rest pot metal\, a croquet ball\, a bowl\, copper tubing\, a gourd and some shrink-w rap. The wall works are made of Ultracal and ringed with rubber hose\, a ju mp rope and plastic. The pedestals are built of pine\, birch\, maple\; some finished with altered wallpaper patterns\, shellac and acrylic paint.
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&ldquo\;Jason\, you might consider combining the sections of the thin floor lamps to make one of two endless columns.&rdquo\; \;
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The objects upon each pedestal are found in thrift and second-hand stores. The motley collection is bought by the artis t&rsquo\;s father-in-law and boxed and sent to Losh. He uses these items an d constructs them into particular compositions\, sequences and arrangements .
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&ldquo\;You should consider that sculpture is elusive. It presents too many faces at once.&rdquo\; \;
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The surfa ce of each component is carved with a distinct history. Cracks\, dents and paint abrasions that have accrued over decades distinguish their weathered surfaces. The wall sculptures are laced with ropes and etched with lines th at record the artist&rsquo\;s hand.
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&ldquo\;Consider t hat presentness is grace.&rdquo\; \;
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The pedestals are either laid bare or laid with William Morris wallpaper patte rns. They are essential objects that contain the elegant\, gestural movemen t of each piece through consummating their raw presence.
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< em>&ldquo\;Jason\, simplicity is complexity resolved.&rdquo\;  \;
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Jason Bailer Losh&rsquo\;s works are composed of e veryday materials repurposed into wholly new objects. They feel visible and familiar\, yet relate outside of their tactility and functionality. Throug h the artist&rsquo\;s hand\, common\, commercial and domestic objects are e xposed of their sculptural\, formal and physical dimensions.
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&ldquo\;Well\, good for plow Louise.&rdquo\;
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Anat Ebgi is pleased to announce \;Plow Lou ise\, \;the gallery&rsquo\;s first solo exhibition with Los Angele s based sculptor Jason Bailer Losh. The exhibition opens \;February 27t h \;and is on view until \;April 4th. An opening reception will be held \;Friday\, February 27th from 7-9PM.
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Jaso n Bailer Losh \;(b. 1977\, Iowa) received his MFA from School of Visual Arts\, New York. Losh&rsquo\;s work has been recently exhibited a t several public and private institutions including \;The Museum of Love and Devotion\, \;at Fairview Museum of Art and History in Fa irview\, Utah\; the \;Gala at Greystonefor LAXART\, Los Angele s\; and \;Rockaway!\, \;an exhibition organized by Klaus B iesenbach at PS1/Rockaway Surf Club\, NY. Losh has also participated in&nbs p\;Soft Target\, a group exhibition curated by Phil Chang and Matt hew Porter at M+B Gallery\, Los Angeles\; and \;Building Materials\ , \;a group show curated by Lucas Blalock at Control Room\, Los An geles\; and a group exhibition at CANADA\, NY. He lives and works in Los An geles.
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\n DTEND:20150404 DTSTAMP:20150329T104117 DTSTART:20150227 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Plow Louise\, Jason Bailer Losh UID:373494 END:VEVENT BEGIN:VEVENT DTEND:20150227T210000 DTSTAMP:20150329T104117 DTSTART:20150227T190000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Plow Louise\, Jason Bailer Losh UID:373495 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 2013 -2015 exhibition year at Angels Gate Cultural Cente r marks the beginning of a larger concept that explores our local community ’s stories and personal narratives in the galleries. We hope to generate di alogue about how\, as a community\, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an e xperimental space where art and art-making become part of an ongoing conver sation about the community. Through partnerships with local non-profits\, a rtists\, storytellers and the community at large\, the galleries hope to ca pture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. 


DTEND:20150619 DTSTAMP:20150329T104117 DTSTART:20130512 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Gettin' Off the Ground: Contemporary Stories from an American Commu nity UID:276487 END:VEVENT BEGIN:VEVENT DTEND:20130512T200000 DTSTAMP:20150329T104117 DTSTART:20130512T180000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Gettin' Off the Ground: Contemporary Stories from an American Commu nity UID:276488 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sink or Swim: Designing for a Sea Change explores the human sto ry of resilience\, from adaptation for survival to ambitious infrastructure planning\, in some of the richest and poorest of the world&rsquo\;s coasta l communities. Rather than showing pristine architectural photography\, the photographs present viewers with various human responses to changes in the ir landscapes due to sea level rise.  \;Sink or Swim aims to f oster critical dialogue through the provocative juxtaposition of diverse re sponses to a challenge shared by millions worldwide.

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Curated by architec ture writer and radio host Frances Anderton with the Annen berg Space for Photography\, Sink or Swim features newly commissio ned and archival works by photographers Iwan Baan\, Stephen Wilkes\ , Paula Bronstein\, Jonas Bendiksen and Monica Nouwens. This is the first exhibition for Annenberg Space for Photography to feature commissioned works. \; Through the work of this select group of architectural\, fine art and news photographers\, the exhibition casts an eye on both the problem of climate change in densely populated coastal regi ons and contemporary design as a means to navigate the changing landscapes.  \;

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&ldquo\;We were eager to organize an exhibition focusing on arc hitecture but adamant that we wanted it to tell the story from a human pers pective\,&rdquo\; says Wallis Annenberg\, Chairman of the Board\, President and CEO of the Annenberg Foundation. \; &ldquo\;We are delighted that these new works tell such powerful stories about resiliency\, climate chang e and architecture as well as engage with viewers on a humanistic level. &n bsp\;The exhibit&rsquo\;s capacity to foster dialogue that offers fresh per spectives on the environmental issues of our day -- and how communities are rising up to meet the challenges -- is very much keeping with the mission of the Photography Space and the Annenberg Foundation.&rdquo\;

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In the fa ce of increasing global attention on climate change and rebuilding in the w ake of Hurricane Katrina\, the Indian Ocean tsunami\, Superstorm Sandy\, an d the \;Tōhoku \;tsunami\, Sink or Swim is a timely examin ation of resiliency strategies in architecture and design.  \;Images ra nge from highly complex coastal flood-mitigation in the Netherlands\, contr oversial sea walls in Japan\, to innovative homes and community buildings b y leading architects including Pritzker prize-winners Thom Mayne\, Toyo Ito and Shigeru Ban.

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Anderton collaborate d with photographers experienced in capturing fragile built environments to determine the locations\, design projects and communities across the world that served as subjects for the commissioned works in the exhibition. &nbs p\;Sea walls\, floating schools and temporary disaster relief housing in di sparate ecological and social contexts provide concrete starting points for considering questions about nature\, culture and design at the heart of Sink or Swim.

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&ldquo\;It has been a privilege to dig into these e xtraordinary photographers&rsquo\; rich archives and also send them back ou t on assignment to create compelling new work that we look forward to shari ng with the public through the exhibition\,&rdquo\; says Anderton.\n

&ldqu o\;Photography is an ideal medium through which to explore climate change a nd the built environment because ultimately this is a human story and the p hotographs get to the emotional heart of that story. Through images of coas tal communities&mdash\;the devastating impact of climate change\, including super-storms and rising sea levels\, and also the varied and innovated des ign solutions&mdash\;Sink or Swim offers visitors the opportunity to engage with and enrich dialogue about all aspects of this predicament.&r dquo\;

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An original documentary film commissioned by the Annenberg Space for Photography and produced by award-winning director Steven Kochones and Arclight Productions will include interviews with the artists\, architects\ , historians and scientists engaged with climate resilient strategies for w aterfront communities. \;

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A collaboration between the Annenberg Spac e for Photography and the Annenberg Retreat at Sunnylands will offer visito rs to Sunnylands a preview of \;select prints from the Sink or Swim exhibition. \; The images will be on display beginning in October 2014 to coincide with a retreat at Sunnylands on the topic of rising sea l evels and ocean acidification. \; An exhibition catalogue will be publi shed by Sunnylands Press for release in December 2014.

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The Photo graphers
Following h is experience photographing the celebrated Makoko Floating School (designed by Kunlé\; Adeyemi for the Makoko community on the water near Lagos\ , Nigeria\,) Dutch photographer Iwan Baan was drawn to the lake village of Ganvie in Benin\, where residents have lived on the water for centuries. New work by Baan in the exhibition also includes photographs of the massive Deltaworks sea defenses\; the promenade at Scheveningen nea r The Hague in the Netherlands\, a flood-protection system interwoven with a tourist destination designed by Spanish firm De Solà\;-Morales\; an d the post-tsunami Home-For-All community buildings by Toyo Ito and other l eading architects in Japan.

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U.S.-based fine art photographer Ste phen Wilkes revisited communities he first encountered in the wake of Hurricane Katrina and Superstorm Sandy.  \;His images include strik ing aerial photographs that present a unique perspective on infrastructure improvements within the context of natural landscapes that remain susceptib le to flooding. Wilkes also created portraits of New Orleans area residents in the newly built homes\, intended to be models for resilience\, by the M ake It Right Foundation and Global Green in the Lower 9th Ward a nd Holy Cross neighborhoods of New Orleans. One of the first photographers to capture aerial images of the coastline damage following Hurricane Sandy\ , Wilkes documented Staten Island&rsquo\;s Oakwood Beach where homeowners h ave elected to sell their property to the state\, which plans to return the area to wetlands rather than rebuild.

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Veteran photojournalist P aula Bronstein traveled to Japan for Sink or Swim and cap tured the immense sea walls now being built off the tsunami-hit coast of Ja pan. She also captured daily life in the storage container structures desig ned by 2014 Pritzker Prize winner Shigeru Ban to house refugees following t he Tohuko earthquake and Tsunami.

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Dutch-born\, Los Angeles-based\, photo grapher Monica Nouwens turned her lens on California\, fin ding in the restored Malibu Lagoon a local example of wetlands restoration. She also captures a very human story of denial\, exemplified in a photogra ph of a California woman walking her dogs\, oblivious to a tsunami sign abo ve her head.

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Sink or Swim also features Norwegian Magnum Photos photographer Jonas Bendiksen&rsquo\;s documentation of Ba ngladesh coastal and delta communities\, where increasingly unpredictable a nd intense flooding has prompted innovative adaptations in a culture that h as dealt with seasonal flooding for centuries. Bendiksen spent two years ca pturing the low-tech structural and farming innovations in the challenging landscape\, as well as the floating schools project designed by Mohammed Re zwan for his nonprofit Shidulai Swanirvar Sangstha.

DTEND:20150503 DTSTAMP:20150329T104117 DTSTART:20141213 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:Sink or Swim: Designing for a Sea Change\, Iwan Baan\, Stephen Wilk es\, Paula Bronstein\, Jonas Bendiksen\, Monica Nouwens UID:356815 END:VEVENT BEGIN:VEVENT DTEND:20141213T193000 DTSTAMP:20150329T104117 DTSTART:20141213T110000 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:Sink or Swim: Designing for a Sea Change\, Iwan Baan\, Jonas Bendik sen\, Paula Bronstein\, Monica Nouwens\, Stephen Wilkes UID:356816 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Another Year in LA has become an online gallery and will s till periodically hold exhibitions in a \;physical space. \; &ldquo \;Conglomerate Landscapes \;&ndash\; Paintings by Jerrin Wagstaff&rdquo \; \;will be his first solo exhibition at Another Year in LA and the fi rst show at 4695 Marwood Drive\, LA\, 90065 (Sundays\, 12pm &ndash\; 4pm).< /span>

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A transplant to Sou thern California\, Salt Lake City native\, Jerrin Wagstaff creates painting s that reflect his keen observations of the vast sprawl inherent in living and driving in Los Angeles. \; About his experience in LA\, Wagstaff sa ys\, &ldquo\;Like most residents\, I spend an unhealthy amount of time comm uting. \; \;One of the few \;benefits of \;commuting is tha t \;it gives me an opportunity to explore the \;landscape. \; I find Southern California incredibly engaging with it's beauty\, scale\, sp ace\, light\, and contradictions. \; The vast sprawl and patchwork of c ities and neighborhoods is unique and impossibly complex. \; As I navig ate the landscape on a daily basis\, I make drawings and take photographs t hat record my visual interaction with the region.&rdquo\; \;

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Although abstract in nature\, Wagstaff&rsquo\;s comp lex oil paintings on canvas on panel evoke both exterior landscape and inte rior space while generating calm and frenetic energy simultaneously.

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About his practice\, Wagstaff writes: &ldquo\;I use painting as a vehicle \;to create conglomerate structures and alter nate worlds where organic and man-made objects collide. \; These worlds are an interpretation of the increasingly complicated interaction between man and nature. \; They are also my attempt to \;communicate the fr ustration\, amazement\, and beauty of trying to take it all in.&rdquo\;&nbs p\;

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DTEND:20150329 DTSTAMP:20150329T104117 DTSTART:20150201 GEO:34.132366;-118.224125 LOCATION:Another Year in LA\,4695 Marwood Drive \nLos Angeles\, CA 90065 SEQUENCE:0 SUMMARY:CONGLOMERATE LANDSCAPES - Paintings by Jerrin Wagstaff\, Jerrin Wag staff UID:374348 END:VEVENT BEGIN:VEVENT DTEND:20150201T200000 DTSTAMP:20150329T104117 DTSTART:20150201T180000 GEO:34.132366;-118.224125 LOCATION:Another Year in LA\,4695 Marwood Drive \nLos Angeles\, CA 90065 SEQUENCE:0 SUMMARY:CONGLOMERATE LANDSCAPES - Paintings by Jerrin Wagstaff\, Jerrin Wag staff UID:374349 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Another Year in LA is pleased to present MORE WORKS ABOUT DUST\, LIGHT \, AND BREATH\, new work by Richard Haley\, his fourth solo exhibition (the only artist to have had solo exhibitions at every Another Year in LA venue and first artist to be showing work both at the new gallery space (4695 Ma rwood Drive\, LA\, 90065) and different work made specifically for the onli ne gallery).

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In describing these new works\, Richard Haley wrote\, &l dquo\;My recent work investigates the use of surrogates in performance.&nbs p\; Through video\, photographs\, animations and drawings\, I have recorded inanimate proxies for myself (performing the actions). \; The work tak es the literal representation of the body out of the picture and is replace d by fragments and traces. These works are documents of staged events perfo rmed by inert stand-ins tackling themes of corporeal reach and duration.&rd quo\;

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&ldquo\;The surrogates are literal casts of my body\; my hand\ , finger\, head\, and abdomen. Others are traces of the body\, such as the impression one would leave behind if lying down in the grass or residue lef t behind from the ashes of my cremated body. Similarly\, other works employ hand crafted miniature sculptures of everyday objects to be used as stand- ins for the original.

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In creating these works I was concerned with ma terial\, namely treating the body as raw material. I considered it as an ap paratus composed of animate matter that decisively uses its weight and mass as needed to implement tasks at hand. \; Moreover\, I considered its t rajectory as material in death\, such as employing it for tasks where a lif eless weight is needed.&rdquo\;

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&ldquo\;These stand-ins for myself c reate an attentiveness to the materials they are made from. In doing so\, t hey also point to the actual that they reference\, framing it in terms of m ateriality. My goal is to shift the work outside the vernacular of performa nce and documentation and steer it towards the presence and present-ness of sculpture.&rdquo\;

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&ldquo\;My training as an artist began with an in terest in the bay area figurative tradition of the 50/60&rsquo\;s. I was dr awn to the gestural mark. It led a dual life- it was a record of the maker being there to create it and the same time it had another temporality\, it was not just a record but a perpetually present mark as well\; severing its tie from its making.&rdquo\;

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DTEND:20150331 DTSTAMP:20150329T104117 DTSTART:20150301 GEO:34.132366;-118.224125 LOCATION:Another Year in LA\,4695 Marwood Drive \nLos Angeles\, CA 90065 SEQUENCE:0 SUMMARY:MORE WORKS ABOUT DUST\, LIGHT\, AND BREATH\, Richard Haley UID:374350 END:VEVENT BEGIN:VEVENT DTEND:20150307T160000 DTSTAMP:20150329T104117 DTSTART:20150307T130000 GEO:34.132366;-118.224125 LOCATION:Another Year in LA\,4695 Marwood Drive \nLos Angeles\, CA 90065 SEQUENCE:0 SUMMARY:MORE WORKS ABOUT DUST\, LIGHT\, AND BREATH\, Richard Haley UID:374351 END:VEVENT BEGIN:VEVENT DESCRIPTION:

She made my favorite works with words\, and I had never hear d of him at all\, except for a quote in this one paperback. At this stage\, I even feel strange putting them both in the same sentence\, even though t hey shared a canvas and it was massive. It wasn't like boxers or wrestlers share a canvas. He disappeared and she's still a favorite. I was still a te enager-- and in a new city.

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"Protect me from what I want."

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"An artist paints a picture. A vandal breaks a window. A graffiti artist pa ints a picture on a window and breaks it."

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"Abuse of power comes as no surprise."

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A few gaming consoles down and those flashing lights and business marquees have been spurned for millions of small glowing pane ls\, held bedside\, above thigh highs\, eye-height with pursed lips\, near breast\, cupped in hands that could be useful for breeding mosquitos\, just as well as absorbing waves\, just as well as affecting tissues in unknown ways. Where's Andy Dick's Tumor Toppers on ____? Am I gonna have to make th e gif myself?

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the new stuff is aweso meeee. when is it all finished? any more sneak peeks? >\;:3

\n< p>Yeah idunno I'm just not feeling it right now. it was a great day but I feel like I did this before and I feel like I don't want to make the same mistakes

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???

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oops wrong windo w.

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'Don&rsquo\;t write on houses of worship\, people's house s in general\, other writers&rsquo\; names\, and tombstones. Writing on mem orial walls and cars is beef beyond belief. Furthermore\, involving civilia ns in your beef is grounds for dismissal. These are the five fingers of you r right hand. Get to know them well. Give soul claps\, firm handshakes\, an d throw smooth bolo punches. Although being a toy seems undesirable\, you s hould enjoy it while you can. At this stage you can bite all you want with no remorse. All your elders will say is\, "Awww isn't that cute&hellip\;&rd quo\; So steal that dope connection\, rob that color scheme&hellip\; Don&rs quo\;t worry about giving any credit\, we'll pat ourselves on the back and brag how we're influencing the next generation.' \;

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This Zimbar do guy looks like a magician right?

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 \;Wrong Window is the firs t solo exhibition of art by Devin Kenny.

DTEND:20150404 DTSTAMP:20150329T104117 DTSTART:20150213 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Wrong Window\, Devin Kenny UID:373573 END:VEVENT BEGIN:VEVENT DTEND:20150213T210000 DTSTAMP:20150329T104117 DTSTART:20150213T180000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Wrong Window\, Devin Kenny UID:373574 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us for an exhibition of work by Skid Row artists from t he \;Lamp Arts Program \;&mdash\; an arts and cultural ce nter in the heart of Downtown Los Angeles made possible by \;Lamp Community . The center is a creative safe place for community residents to come t ogether\, reclaim confidence in telling their own stories\, and break throu gh existing stereotypes by starting alternative\, unexpected\, and delibera te dialogues across geographic and social boundaries.

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Lamp Communit y ends homelessness of Los Angeles' most vulnerable individuals\, primarily adults with mental illness\, through a continuum of services and housing\, enabling them to reach their highest level of self-sufficiency and communi ty integration. Interested in learning more about the Arts Program? Send an email to:Art@lampcom munity.org

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The exhibition opens in the Armory's Community Room on February 14\, and is followed by a public reception for the artists the following Saturday\, February 21\, from 5 &ndash\; 7pm.
The Armory's C ommunity Room is open Tuesday through Sundays\, Noon to 5pm.

DTEND:20150412 DTSTAMP:20150329T104117 DTSTART:20150214 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Heart of LA: An Exhibition of Work by Skid Row Artists from the Lam p Arts Program\, Lamp Community's Arts Program members UID:373829 END:VEVENT BEGIN:VEVENT DTEND:20150221T190000 DTSTAMP:20150329T104117 DTSTART:20150221T170000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Heart of LA: An Exhibition of Work by Skid Row Artists from the Lam p Arts Program\, Lamp Community's Arts Program members UID:373830 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Part five of the nine part painting series \;Expandi ng on an expansive subject \;continues with an exhibition by John Knuth entitled \;Desert Dispersion. In this exhibition\, Knuth creates a new series of performative paintings using emergency smoke flare s amid a stark desert landscape. The exhibition of paintings and accompanyi ng video runs from Saturday\, February 28 through Friday\, April 10\, 2015. A reception\, free and open to the public\, will take place on Saturday\, February 28\, from 6 - 8pm. The series \;Expanding on an expansive subject \;has been organized by the Armory&rsquo\;s Gallery Manage r/Assistant Curator Siné\;ad Finnerty-Pyne.

DTEND:20150410 DTSTAMP:20150329T104117 DTSTART:20150228 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Expanding on an expansive subject\, Part 5: John Knuth\, Desert Dis persion\, John Knuth UID:373450 END:VEVENT BEGIN:VEVENT DTEND:20150228T200000 DTSTAMP:20150329T104117 DTSTART:20150228T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Expanding on an expansive subject\, Part 5: John Knuth\, Desert Dis persion\, John Knuth UID:373451 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New art exhibition Abstract - Stylized - Naturalistic opens March 4\, 2015 at Artspace Warehouse. Featured artists include \;Kate deLigne\, \;Brenda Holzke \, \;Shauna La\, \;Ron Piller\, and \;Ross Tamlin.

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The ex hibition examines the processes in which artists simplify real objects in v arying degrees until the representation moves away from looking naturalisti c. Stylization results from the materials used in the artwork as well as th e artist&rsquo\;s conscious decision to emphasize one feature of an object more than another. Working from a realistic image toward an abstraction exp resses the visual world in a simplified\, reduced and fragmented direction. The degree of abstraction serves as a clue to the artist's individual styl e. Recognizing the degree of abstraction and the reasons for abstraction is the key to understanding the artist's goals and meaning. Many of these art works include naturalistic as well as idealized concepts while there often is an abstract quality to the execution of the artist&rsquo\;s ideas.

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Kate deLigne's \;use of malleable reflectiv e materials in her photographs portrays the melding of technology and natur e. She examines the power of nature in contrast with the distorted reflecti ons derived from the man-made materials is the heart of the artwork.

\n< p>Brenda Holzke \;reflects the struggle betw een creative expression and conformity though her art. Creative expression allows her the freedom to not fit in. Her materials dictate the direction a nd energy expressed. A continuous thread throughout her work is the marriag e between color\, pattern and texture

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Shauna La's  \;artworks express exploration and movement. Dreams\, colors\, tac tile sensation\, taste\, and smells all blend together into a fantastic mae lstrom that inspires her to create multi-layered paintings. She utilize pai nt\, pastels\, and charcoal to explore the hidden realms of thought and emo tion\, expressing herself without any inhibitions.

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Los Angeles arti st \;Ron Piller \;takes his inspirations fro m travelling extensively all his life. He has been fortunate to visit many beautiful and fascinating countries including India\, Vietnam and most rece ntly Cuba. Ron notes &ldquo\;every dilapidated building and car is an inspi ration and feast for the eye.&rdquo\; His series of geometric abstractions consist of conversations between colors in a defined space yet at the same time the infinite. The geometric shape tries to contain the colors\, but th e colors demand\, emerge\, transform and dazzle.

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Ross Tamlin's \;signature corrugated iron paintings combine tr aditional art genres including still-life and landscape along with graphic art\, representing a synthesis of art and function. Incorporating the aesth etics of modern industrial technique\, his photorealistic compositions are created by layers of paint and varnish.

DTEND:20150417 DTSTAMP:20150329T104117 DTSTART:20150304 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:ABSTRACT - STYLIZED - NATURALISTIC\, Shauna La\, Ron Piller\, Ross Tamlin\, Brenda Holzke\, Kate deLigne UID:377160 END:VEVENT BEGIN:VEVENT DTEND:20150304T210000 DTSTAMP:20150329T104117 DTSTART:20150304T180000 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:ABSTRACT - STYLIZED - NATURALISTIC\, Kate deLigne\, Brenda Holzke\, Shauna La\, Ron Piller\, Ross Tamlin UID:377161 END:VEVENT BEGIN:VEVENT DESCRIPTION:

At a data visualization conference a few years ago\, a colleague passed me a piece of paper with an Internet address written in nearly illegible handwriting. Th e address didn&rsquo\;t start with &ldquo\; http://www&rdquo\;\; instead it was a protocol I had never used. I showed it to a tech savvy friend\, w ho suggested I only visit the link anonymously. Curious\, but not knowing w hat I would find\, I decided I better not use my home network. I went to on e of the remaining public libraries in the city and opened the TOR network on my tablet.

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What I found was a database of JPEG\, AVI\, PDF\, DXF and GIS files\, alo ng with an antique Google maps-like application that allowed one to zoom in and out of high-resolution satellite images of various locations using pin ching gestures. I ran my fingers over the terrain\, which was labeled in a code unknown to me. A quick search revealed there were hundreds of thousand s of items in the database.

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The first file I opened was a PDF document on the history o f photogrammetry &ndash\;a technique in which photographs are used to measure scale and distance. Another query brought up a PowerPo int presentation on model making and subtractive manufacturing. There were documents and examples of the relationship between pantographs and &ldquo\;point clouds.&rdquo\; There were also t housands of files that contained soil sample data and information from a ma terials library.

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The most memorable files were video stills that appeared to have been captured directly from satellites or unmanned aircraft. They were what film maker Harun Farocki has called Operative Images &ndash\;i mages that exist merely to gather data. Some of the content was de eply upsetting\, though it was unclear to me at the time if the stills were simulations or not. These files were the exception though &ndash\ ;the majority of the content had to do with techniques for input\, processing\, and output.

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On my next visit to the library\, the database was empty. The interface was there\, but the content failed to load. The screen stopped r esponding to my touch. As I closed the browser\, and wandered through the l ibrary stacks\, I realized that I had stumbled upon something significant < /em>&ndash\;perhaps\, this could be a useful methodology< em>&hellip\;. The database was an allegory&helli p\;. Maybe I have to enact a similar set of operations&hellip\;.

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-- Daniel Lefcourt

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Blum &\; Poe is pleased to present Daniel Lefcourt&rsquo\;s first solo exhibi tion at the gallery\, which includes new large-scale paintings\, relief pan els\, and a selection of works on paper. All of the works in the show are d erived from small cultivated accidents created in the studio &ndash\; a pud dle of water and glue spilled on a debris-covered tarp or a spot of paint d ropped arbitrarily on a board. Measuring no more than a few inches\, the sc enes are digitally photographed dozens of times from a number of angles to generate a 3-dimensional computer model\, from which a low-relief foam carv ing is manufactured. Paint is poured into the low-relief mold\, allowed to dry\, peeled off\, and adhered to a large canvas. The final result of Lefco urt&rsquo\;s technique is a set of spectral images with an intense physical presence.

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Daniel Lef court was born in New York\, where he currently lives and works. He receive d his MFA from Columbia University and is a member of the faculty at the Rh ode Island School of Design. His work has been included in numerous group e xhibitions\, including First Among Equals\, Institute of Contempor ary Art\, Philadelphia\, PA\; Reel to Real: Photographs from the Traina Collection\, de Young Museum\, San Francisco\, CA\; Knight's Move \, Sculpture Center\, Long Island City\, NY\; Subject Index\, Malmö\; Konsthall\, Malmö\;\, Sweden\; and The Gold Standard\, MoMA P.S.1\, Long Island City\, NY. A recent web project\, Modele r\, was commissioned and presented by Dia Art Foundation.

DTEND:20150418 DTSTAMP:20150329T104117 DTSTART:20150307 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Daniel Lefcourt UID:374331 END:VEVENT BEGIN:VEVENT DTEND:20150307T200000 DTSTAMP:20150329T104117 DTSTART:20150307T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Daniel Lefcourt UID:374332 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Blum \;&\; Poe is pleased to presen t the first solo exhibition of Los Angeles-based \;artist Theodora Alle n. Through a range of symbolic imagery\, Allen's paintings explore tropes o f the natural world and the rudimentary tools we use to navigate it -- both emotionally and physically. The paintings resonate with the spiritual-lean ing aesthetics of such fringe countercultural movements and figures as the visionary poet William Blake\, designer William Morris\, the Pre-Raphaelite Brotherhood\, early abstractionist and mystic Hilma af Klint\, and the zei tgeist of 1960's California hippie idealism. However\, allusions to past id eologies are more despondent than optimistic -- fluttering moths\, wild fla mes\, \;guitars without strings\, an occasional counting hourglass\, an d the common weed or \;dandelion. The emblems stand in as markers of ti me\, symbols of persistence and blindsided foolishness\, the uncontrollable \, and the inward looking.  \; \;

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Allen's new paintings feature a range of enigmatic still lifes\, in which space is demarcated through interlocking planes of symmetry and frame d within a stylized architectural niche. Her works achieve a balance of gra phic flatness and illusionistic form\, evocative of sun prints. The surface s are slowly built up with thin washes of oil paint\, which are partially&n bsp\;removed before they can dry. The effect simultaneously \;defines a nd dissolves the picture plane\, producing a subtly \;polluted spectrum of colors and ghostly distressed surfaces.  \; \;

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Theodora Allen (b. 1985\, Los Angeles\, CA) holds&n bsp\;an MFA in painting from the University of California\, Los Angeles\, a BFA in \;painting \;from Art Center College of Design\, Pasadena\, CA\, and has completed a residency at \;Skowhegan School of Painting a nd \;Sculpture\, Skowhegan\, ME. \;Her work has \;recently been exhibited at the Museum of \;Contemporary Art\, Tucson\, AZ.  \; & nbsp\; \;
DTEND:20150418 DTSTAMP:20150329T104117 DTSTART:20150307 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Theodora Allen UID:374476 END:VEVENT BEGIN:VEVENT DTEND:20150307T200000 DTSTAMP:20150329T104117 DTSTART:20150307T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Theodora Allen UID:374477 END:VEVENT END:VCALENDAR