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

1301PE is pleased to announce its second collaborative exhibition with Rirkrit Tiravanija and SUPERFLEX.< br />
I believe in censorship\, I made a fortune out of it.
& ndash\; Mae West

Censorship is never over for those who have e xperienced it. It is a brand on the imagination that affects the individual who has suffered it\, forever.
&ndash\; Noam Chomsky

I n retrospect one needs to re-examine the reception and perception of the wo rk done in the past 20 years by the collective SUPERFLEX. In their question ing of identity\, authenticity and originality\, the modes of production an d circulation\, commodification and distribution of knowledge and disparity of economies\, SUPERFLEX have made a life&rsquo\;s work of problematising cultural and social\, personal and public issues the core of their artistic practice.

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In their work\, the ideas of ownership of both material and immaterialare put into question\, are pla yed out through collaborative and collective initiatives. The works of SUPE RFLEX require that there be interaction\, both individually and collectivel y\, exchange and change occurs\, dictated by the will (through the interact ion) of the collaboration. Because of the open-ended condition that SUPERFL EX has put forth in their methodology of working\, there are exchanges whic h are by nature volatile in their conception and reception.

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Volatility of course can be read as both positive an d negative energy in the open pasture of exchange and interaction\, the und erstandingand reading of the works can be excavated through many layers of experience\, and meanings are formed through the passage of interaction and exchange. But the line along which this volatility is accepted\, or reject ed\, is a narrow thread\, and an understanding of the importance of the col lective practices of SUPERFLEX demands that the viewer/reader/participant i s alert and paying attention. This line of volatility which we as active an d/or passive participants are confronted by in the work of SUPERFLEX has br ought on with great and interesting results\, misunderstandings and/or refu sals in dialogues with the institutions which the work itself is reflecting upon.

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The idea of censorship\, and t he process of litigation in some cases against the work of SUPERFLEX\, is a reflection of the volatility which their works tend to thread within\, and the line it carries is the necessary path by which the work or the concept ion of the work attempts to challenge\, first within the cultural sphere an d secondly in the greater social\, political sphere of our daily existence.

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In that I am interested to make a fo rmat of presentation which will bring to light the mechanics of the process \, &ldquo\;how things go&rdquo\;\, when the group SUPERFLEX begins to conce ptualise a work of art\, a project\, a production\, and how within that pro cess a narrative of events leads to the realisation and/or the diversion by which SUPERFLEX has to manoeuvre their way through the bogs of bureaucrati c institutionalised corporate mindsets\, which use their authoritative posi tion against the idea of difference\, of diversity\, and of poetry.

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― Rirkrit Tiravanija\, Catalogue\, SUPERFLEX An artist with six legs\, Kunsthal Charlottenborg 2014.
For more inf ormation please contact Isha Welsh or Brian Butler 323.938.5822.

DTEND:20141101 DTSTAMP:20141025T030544 DTSTART:20140906 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Rirkrit Tiravanija\, Superflex UID:347359 END:VEVENT BEGIN:VEVENT DTEND:20140906T200000 DTSTAMP:20141025T030544 DTSTART:20140906T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Superflex\, Rirkrit Tiravanija UID:347360 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141206 DTSTAMP:20141025T030544 DTSTART:20141010 GEO:34.0190925;-118.2316133 LOCATION:2nd Cannons\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:We Share The Bathroom\, Katie Aliprando UID:360241 END:VEVENT BEGIN:VEVENT DTEND:20141010T220000 DTSTAMP:20141025T030544 DTSTART:20141010T190000 GEO:34.0190925;-118.2316133 LOCATION:2nd Cannons\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:We Share The Bathroom\, Katie Aliprando UID:360242 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141102 DTSTAMP:20141025T030544 DTSTART:20140928 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:The Halftime Show\, Jesse Fleming UID:360244 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present "C loud World\," a solo exhibition of new work by Los Angeles based artist Aar on Morse. The show features new paintings ranging from small to large scale . These new canvases explore three different scenes: luminous cloudscapes\, turbulent seascapes\, and illustrations of various\, exotic animals from t he land\, sky\, and sea. Morse presents these three different worlds in col orful and surreal depictions where space manages to seem disorienting and i nfinite.

Aaron Morse (b. 1974\, Tucson\, Arizona) received hi s MFA from the University of Cincinnati and his BFA at the University of Ar izona. Recent exhibitions include I-20 Gallery\, New York\; Andrew Rafacz/C ountry Club\, Chicago\; Weatherspoon Art Museum\, Greensboro\; ACME.\, Los Angeles\; the Nora Eccles Harrison Museum of Art\, Logan\; and the Hammer M useum of Art\, Los Angeles. Morse's work is included in the permanent colle ctions of the Albright-Knox Art Gallery\, Buffalo\; the Hammer Museum of Ar t\, UCLA\; the Los Angeles County Museum of Art\, Los Angeles\; the Museum of Modern Art\, New York\; the Nerman Museum of Contemporary Art\, Overland Park\; and the Whitney Museum of American Art\, New York\, among others. DTEND:20141108 DTSTAMP:20141025T030544 DTSTART:20141011 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Cloud World\, Aaron Morse UID:357593 END:VEVENT BEGIN:VEVENT DTEND:20141011T200000 DTSTAMP:20141025T030544 DTSTART:20141011T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Cloud World\, Aaron Morse UID:357594 END:VEVENT BEGIN:VEVENT DESCRIPTION:

*Also includes artifacts and w ritings by James Ferguson (1710-1776)\, William Herschel (1738-1822)\, and Isaac Newton (1642-1727).

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DTEND:20150118 DTSTAMP:20141025T030544 DTSTART:20141004 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:REALSPACE\, Adam W. Brown\, Robert Root-Bernstein\, James Griffith\ , Dan Goods\, David Delgado\, Santiago Lombeyda\, Rebeca Mendez\, Jennifer Steinkamp UID:354130 END:VEVENT BEGIN:VEVENT DTEND:20141003T220000 DTSTAMP:20141025T030544 DTSTART:20141003T190000 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:REALSPACE\, Adam W. Brown\, David Delgado\, Dan Goods\, James Griff ith\, Santiago Lombeyda\, Rebeca Mendez\, Robert Root-Bernstein\, Jennifer Steinkamp UID:354131 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sincerely\, \;mar ks the 47th \;and final exhibition at A&\;R.
 \;
My wife Amanda and I founded AMBACH &\; RICE in 2009. We opened in a former garage space in Ballard\, what was then a blue-collar maritime co mmunity on the northern edge of Seattle. It was not uncommon to have days w hen inebriated fishermen outnumbered actual \;art viewers. Wit h other galleries miles across town we were the embodiment of a \;d estination \;gallery. Eventually a sports bar replaced the metal s hop next door. Our new neighbors ensured that we often began the day by cle aning up puke in our alcove\, an apt metaphor for opening and owning a gall ery\, a carousel of highs and hangovers\, work and play. \;
 \ ;
My friend owns a winery and once remarked that being a vintner is ul timately a glorified janitorial position\, more time spent scrubbing vats t han contemplating the complex notes of a Pinot Gris. \; Similarly\, ben eath the perceived glamour of the art world is a well of blood\, sweat and tears\, labor and toil rendered invisible within the immaculate confines of gallery walls. The art world is sustained by the uncompromising efforts of intrepid artists\, dealers\, collectors\, critics\, and curators. It has b een an honor to get my hands dirty with all of you\; the rewards have been immeasurable. Thank you. Our shared passions and pursuits ensure that this important work will continue.
 \;
When the gallery opened we chose to put our mothers&rsquo\; maiden names on the door instead of our ow n. \; This decision was a subtle homage to \;Mom\, but per haps more importantly\, an extension of our conviction that artists define a gallery&rsquo\;s legacy\, rather than its proprietors. Our artists will c ontinue to push boundaries in the studio\, to defy the status quo. To becom e a footnote in what will undoubtedly be long and meaningful careers is a s erious honor.
 \;
Three years ago the gallery re-located to L os Angeles\; the move was both unexpected and spontaneous. While in town fo r a satellite exhibit in Chinatown I received a phone call from Marc Foxx. Marc encouraged me to visit a space for lease next door to his gallery. Fiv e months later we were living in California\, gallery keys in hand. \; A fulfillment of Frank Lloyd Wright&rsquo\;s wry observation &ldquo\;Tip th e world over on its side and everything loose will land in Los Angeles.&rdq uo\; Things fell into place so to speak. L.A. is home\, and will continue t o be for our family.
 \;
Legendary curator Harald Szeeman onc e remarked that &ldquo\;in order to entertain certain ideas we may be oblig ed to abandon others upon which we have come to depend.&rdquo\; Currently t here are realities within the art world that I cannot transcend within the existing gallery model. The evolution of art will be reliant upon a combina tion of existing strategies and new models. I&rsquo\;m committed to explori ng new approaches with the same curiosity and enthusiasm that attracted me to the art in the first place. The future is unknown but my intentions are true. See you on the other side.
 \;
Sincerely\,
Charlie Kitchings

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Artists Exhibited
*Artists Represented
 \;
Carl Andre\, Richard Artschwager\, Alvin Baltrop\, Thomas Barrow\, \;Grant Barnhart\, Erica Baum\, Bernd &\; Hilla Becher\, Walead Beshty\, Doug Biggert\, James Bishop\, Gil Bla nk\, Mel Bochner\, Jennifer Bolande\, Lee Bontecou\, Tim Braden\, Bjö\; rn Braun\, Anders Brinch\, Scott Burton\, Peter Cain\, Martha Colburn\,&nbs p\;Anne Collier\, Peter Cordova\, Mary Corse\, R. Crumb\, Michael Decker\, Steve DiBenedetto\, Philip-Lorca diCorcia\, John Divola\, Trisha Donnelly\, Stan Douglas\, John Duff\, Carroll Dunham\, Shannon Ebner\, Ricardo Estell a\, Walker Evans\, \;Bart Exposito\, Paul Feeley\, Tony Feher\, Dan Fla vin\, Ryan Foerster\, Jason Fulford\, Noriko Furunishi\, Cameron Gainer\, V ictoria Gitman\, Robert Gober\, Tomoo Gokita\, Alexander Gorlizki\, Sara Gr eenberger Rafferty\, Mark Hagen\, Emilie Halpern Teenie Harris\, Deborah He de\, Mary Heilmann\, Robert Heinecken\, Sean Higgins\, Ariel Herwitz\, Cami lle Holvoet\, Sofia Hulté\;n\, Ralph Humphrey\, Bryan Hunt\, Alfred J ensen\, Robert Kinmont\, Jeff Koons\, Harriet Korman\, James Krone\, Isaac Layman\, Barry Le Va\, Bas Louter\, \;Ellen Lesperance \, \;Alon Levin\, \;Sherrie Levine\, Sol LeWitt\, Andrew Li\, Judy Linn\, Vivian Maier\, \; Florian Maier Aichen\, Robert Mangold\, Brice Marden\, Chris Martin\, Andrew Masullo\, Aspen Mays\, John McLaughlin\, Roy McMakin\, Joseph Mills\, John Miller\, \;Jeff ry Mitchell\, Paul Mogensen\, Robert Moskowitz\, Loren Munk\, Cath erine Murphy\, Bruce Nauman\, John Neff\, Thomas Nozkowski\, José\; N unez\, Robyn O&rsquo\;Neil\, Catherine Opie\, Joe Park\, Adrian Paules\, Ra ymond Pettibon \;Pablo Pijnappel\, Thomas Pringle\, Da vid Rabinowitch\, Evelyn Reyes\, \;Abigail Reynolds\, Dorothea Rockburne\, Torbjø\;rn Rø\;dland\, Will Rogan\, Ethan Rose\, Alexander Ross\, Dieter Roth\, Robert Ryman\, Sam Samore\, \;Karen Sargsyan
\, Alan Saret\, \;Martina Sauter\, Michelle Serge\, Joel Shapiro\, Stephen Shore\, James Siena\, Stur tevant\, Alison Elizabeth Taylor\, Whiting Tennis\, Edmund Teske\, Michael Tetherow\, Mungo Thomson\, Wolfgang Tillmans\, Josh Tonsfeldt\, Richard Tut tle\, \;Ron van der Ende\, Markus Vater\, Dan Webb\, C hristian Weihrauch\, James Welling\, John Wesley\, Gerald Wiggins\, Steve W olfe\, Christopher Wool Erwin Wurm\,Eric Yahnker\, Peter Y oung\, Dan Zeller\, Claude Zervas\, Joe Zucker

DTEND:20141122 DTSTAMP:20141025T030544 DTSTART:20141011 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Sincerely\,\, Grant Barnhart\, Ellen Lesperance\, Alon Levin\, Jeff ry Mitchell\, Pablo Pijnappel\, Abigail Reynolds\, Karen Sargsyan\, Martina Sauter\, Ron van der Ende\, Eric Yahnker UID:360245 END:VEVENT BEGIN:VEVENT DTEND:20141011T200000 DTSTAMP:20141025T030544 DTSTART:20141011T180000 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Sincerely\,\, Grant Barnhart\, Ellen Lesperance\, Alon Levin\, Jeff ry Mitchell\, Pablo Pijnappel\, Abigail Reynolds\, Karen Sargsyan\, Martina Sauter\, Ron van der Ende\, Eric Yahnker UID:360246 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anat Ebgi is pleased to announ ce \;Aftermarket Interior\, Factory Paint\, \;a solo exhib ition of new works by Joe Reihsen opening September 13 and on view until Oc tober 25\, 2014.

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Aftermarket Inte rior\, Factory Paint \;is Joe Reihsen&rsquo\;s third solo exhibiti on with Anat Ebgi\, and his first show in the newly expanded gallery space. In his previous show\, \;Clean Title\, No Accidents\, Reihsen focused on an intimate scale of works\, akin to the size of a computer scr een or sheet of paper. For this exhibition\, Reihsen continues his explorat ion of the medium of paint\, but on large-scale surfaces. Each panel deftly synthesizes three particular methods that Reihsen utilizes&mdash\; the bac kground stripes\, gestural swathes of gesso emphasized with pneumatic paint ing devices\, and the newest addition of paint &ldquo\;skins&rdquo\; applie d to the top most layer of the abstraction.

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The amalgamation of Reihsen&rsquo\;s techniques creates panels that are entrenched in the language of abstract painting\, while still exerting their relationship to contemporary digital culture. Like the ubiquitous dig ital screen\, each of Reihsen&rsquo\;s panels contains a profound sense of physical depth while remaining almost entirely flat. \;Aftermarket Interior\, Factory Paint \;is a collection of Joe Reihsen&rsquo\;s most sophisticated works in which the tensions between abstraction\, digit al technology and industrial materials are collapsed into monumental painti ngs.

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Joe Reihsen (b. 1979. Blaine\, M innesota) lives and works in Los Angeles. Joe received his BFA in painting and New Genres at the San Francisco Art Institute. In 2008\, Joe received a n MFA from the University of California\, Santa Barbara where he was awarde d the UC Regents Fellowship. Recent exhibitions include a solo presentation at Miart Milan. Upcoming exhibitions include a solo shows at Brand New Gal lery\, Milan\, and Praz-Delavallade\, Paris.

DTEND:20141025 DTSTAMP:20141025T030544 DTSTART:20140913 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Aftermarket Interior\, Factory Paint\, Joe Reihsen UID:346814 END:VEVENT BEGIN:VEVENT DTEND:20140913T200000 DTSTAMP:20141025T030544 DTSTART:20140913T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Aftermarket Interior\, Factory Paint\, Joe Reihsen UID:346815 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:20141025T030544 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:20141025T030544 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:

Angels Gate Cultural Center (AGCC) exhibition cycle 2013-201 5 explores how stories within the community shape the collective \;cons ciousness \;in San Pedro and South Bay area. For 2014\, Los Angeles bas ed artist Fausto Fernandez was selected to work on the next iteration of th e exhibition cycle. The collaboration marks \;the beginning of a year-l ong partnership with the \;Southwest Regional Council of \;Carpente rs\, \;the Pile Drivers\, Bridge\, Dock and Wharf Builders Local Union 2375 whereby \;AGCC will explore the stories of members and their famil ies\, the history of the labor movement in San Pedro and how this impacts t he community at large. \;

DTEND:20150109 DTSTAMP:20141025T030544 DTSTART:20140209 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Supporting Structures: A Community Arts Project\, Fausto Fernandez UID:318539 END:VEVENT BEGIN:VEVENT DTEND:20140209T160000 DTSTAMP:20141025T030544 DTSTART:20140209T140000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Supporting Structures: A Community Arts Project\, Fausto Fernandez UID:318540 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angles Gallery is very pleased to present \;Transmogrification of the Ordinary. \;This g roup exhibition will address representations of the domestic object in fine art\, including issues of still life\, consumerism\, gender\, and identity .  \;Exploring destabilization and the transformative shifts in cultura l and aesthetic value that elevate the ordinary to art\, the exhibition exa mines how everyday objects can be lifted from the mundane.

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DTEND:20141101 DTSTAMP:20141025T030544 DTSTART:20140913 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Transmogrification of the Ordinary\, Sean Duffy\, Hannah Greely\, M atthias Merkel Hess\, Ben Jackel\, Patrick Jackson\, Dwyer Kilcollin\, Jose ph Kohnke\, Olga Koumoundouros\, Dana Maiden\, Kristen Morgin\, Rory McAuli ffe\, Kaz Oshiro\, Joel Otterson\, Anthony Pearson\, Yuval Pudik\, Ross Rud el\, George Stoll\, Emily Sudd UID:354132 END:VEVENT BEGIN:VEVENT DTEND:20140913T200000 DTSTAMP:20141025T030544 DTSTART:20140913T180000 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Transmogrification of the Ordinary\, Sean Duffy\, Hannah Greely\, M atthias Merkel Hess\, Ben Jackel\, Patrick Jackson\, Dwyer Kilcollin\, Jose ph Kohnke\, Olga Koumoundouros\, Dana Maiden\, Rory McAuliffe\, Kristen Mor gin\, Kaz Oshiro\, Joel Otterson\, Anthony Pearson\, Yuval Pudik\, Ross Rud el\, George Stoll\, Emily Sudd UID:354133 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;In the beginning\, pure colour\, the universal s oul in which the human soul was bathing in a state of earthly paradise\, wa s mastered by the invasion of the line\, imprisoned\, compartmentalized\, c ut apart\, returned to slavery.  \;In the joy and delirium of its guile ful victory\, line subjugated man and imprinted upon him its abstract rhyth m.&rdquo\;
 \; \; \;  \;  \; &nb sp\;  \;  \;  \;  \;  \;  \;  \;  \;  \ ;  \;  \;  \;  \;  \;  \;  \;  \;  \; & nbsp\;  \;  \;  \;  \;  \;  \;  \;  \; &nbs p\;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; &n bsp\;  \;  \;  \;  \;  \;  \;  \;  \;   \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;&nbs p\;- Yves Klein

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 \;  \; For his proposed film&nb sp\;La \;guerre\, Yves Klein declares color the victo r in the historically entrenched debate over the supremacy of line vs.  \;color. Playing the role of the villain\, line is the oppressive force tha t imprisons color&rsquo\;s vitality. Elusive and unfettered\, color not onl y trumps line in its purity\, but embodies the true nature of the human sou l. In \;Informal Forms\, curator Noam Segal draws a parallel b etween Klein&rsquo\;s vision of color as the mercurial maverick and the bou ndary-breaking vigor of the abstract form. In the face of confinement\, abs traction defies its borders\, and in its transgression\, defines its own. S egal writes\, \;&ldquo\;The works shown in this exhibition challenge la nguage and disrupt coherent categorical conception. They \;strive towar ds singularity\, towards an inconstant \;gaze that presents each phenom enon in its own right.&rdquo\;

DTEND:20141101 DTSTAMP:20141025T030544 DTSTART:20140913 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Informal Forms\, Vlatka Horvat\, Ulla von Brandenburg\, Karl Haende l\, Nahum Tevet\, Jan Tichy\, Shahar Yahalom\, Guy Yanai UID:354637 END:VEVENT BEGIN:VEVENT DTEND:20140913T210000 DTSTAMP:20141025T030544 DTSTART:20140913T180000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Informal Forms\, Karl Haendel\, Vlatka Horvat\, Nahum Tevet\, Jan T ichy\, Ulla von Brandenburg\, Shahar Yahalom\, Guy Yanai UID:354638 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Fifth Wall \; is inspired by multiple sources: the unique architecture of the Armory&rsqu o\;s Raymond Avenue building\; German modernist theater practitioner Bertol t Brecht&rsquo\;s notion of dialectical theater\, including the breakdown o f the &ldquo\;fourth wall&rdquo\; and the emphasis of function over the bin ary considerations of form and content\; and artwork that challenges the au thority of a fixed point of view and suggests a deeper form of reciprocal e ngagement\; and the Armory&rsquo\;s 25th \;year of programmi ng.

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The Fifth Wall \;con sists of works on paper\, sculpture\, painting\, video\, and photography by seven artists from Los Angeles\, rural Connecticut\, Warsaw\, and Berlin. Each has created works that take into consideration alternate\, or &ldquo\; wrong&rdquo\; points of view or perspectives. Alice Kö\;nitz&rsquo\;s&n bsp\;Los Angeles Museum of Art\, \;a c. 13&rsquo\; x 10&rsquo\ ; x 10&rsquo\; outdoor sculpture that also functions as a museum\, will be moved from the driveway of her Eagle Rock studio and re-installed in the Ar mory&rsquo\;s Caldwell Gallery\, where it will provide a literal and metaph orical platform for performances to be staged during the run of the exhibit ion. Evan Holloway&rsquo\;s delicate line drawings of the sides of epic ste el sculptures by David Smith\, and Marco Rios&rsquo\;s &lsquo\;repaintings& rsquo\; in oil on canvas of his childhood abstractions\, consider artworks from unexpected spatial or temporal disruptions. Interior spaces are recons idered by Corrina Schnitt\, who has created a video that shows household an d domestic farm animals slowly being introduced into a living room and the mayhem that ensues\, and Farrah Karapetian\, who uses photograms to render images of architectural interiors in three dimensions. Our physical senses of sight and sound are challenged by Tom Friedman\, who confronts basic ass umptions about daily life through unexpected use of familiar materials\, an d Artur Zmijewski\, a visual artist and filmmaker who has created lyrical a udio/visual works with deaf/mute children.

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Drawing from Brecht&rsquo\;s theatrical practice\, the show invites c ritical self-reflectivity in the viewer. The works in this exhibition &ldqu o\;show what is shown in the showing\,&rdquo\; to borrow Brecht&rsquo\;s ph rasing. The viewer is made aware of ideas of labor\, point of view\, and ar chitectural and social constructs that affect their perception of a piece o f work. This show seeks to de-familiarize viewers with their own experience of art\, and to produce a feeling of strangeness toward what would otherwi se have been considered only in a canonical context. Brecht&rsquo\;s word f or this was the \;Verfremdungseffekt\, or &ldquo\;alienation e ffect&rdquo\; which\, when applied to art\, can offer new content in even t he most familiar contexts. Just as Brecht wanted his audience to remain awa re of the falsity of the spectacle\, \;The Fifth Wall \;se eks to remind the viewer of the fallacy of point of view. It provides famil iarity of subject matter with an estrangement to the object&rsquo\;s origin al context.

DTEND:20141214 DTSTAMP:20141025T030544 DTSTART:20140713 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:The Fifth Wall\, Tom Friedman\, Evan Holloway\, Farrah Karapetian\, Alice Könitz\, Marco Rios\, Corinna Schnitt\, Artur Zmijewski UID:336642 END:VEVENT BEGIN:VEVENT DTEND:20140712T210000 DTSTAMP:20141025T030544 DTSTART:20140712T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:The Fifth Wall\, Tom Friedman\, Evan Holloway\, Farrah Karapetian\, Alice Könitz\, Marco Rios\, Corinna Schnitt\, Artur Zmijewski UID:336643 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Big City Forum (BCF) will occupy the second-floor Mezzanine Galleries at Armory Center for the Arts from Sunday\, July 13 through Sunda y\, December 14\, 2014\, during Phase II of its 15-month residency entitled  \;City of Hope\, City of Resistance: Research and Actions at the U rban Level. With the Armory as a host venue\, BCF\, a project founded by Leonardo Bravo\, will design and build a dynamic reading room/library as a site from which to present three exhibitions\, conduct film screenings\, and hold a series of conversations\, workshops\, and other discursive even ts. The first exhibition\, from Sunday\, July 13 through Sunday\, August 31 \, will feature \;The Queen&rsquo\;s English\, work by Martine Syms with photographer Cat Roif. A reception\, free and open to the public \, will take place on Saturday\, July 12\, from 7-9pm. Big City Forum&rsquo \;s residency \;City of Hope\, City of Resistance: Research and Act ions at the Urban Level \;is being facilitated by Armory&rsquo\;s Gallery Director / Chief Curator Irene Tsatsos.

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The City of Hop e/City of Resistance \;reading room/library\, a central element of BCF&rsquo\;s residency at the Armory\, is designed by Los Angeles-based ar tist Jeff Cain of Shed Research Institute to frame and facilitate conversat ions and engagement around the key questions raised during the residency an d meant to serve as a dynamic\, interactive platform for diverse\, shared c reativity. A dynamic\, evolving set of programs within this context\, with special guest contributors\, will be featured in an exhibition format every two months. Programmatic continuity throughout BCF&rsquo\;s occupancy of t he Armory will be in the recommended reading shelf\, comprised of books con tributed by past BCF participants\, with each book to include a small biogr aphy and statement from each contributor.

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About Guest Contr ibutors Martine Syms and Cat Roif
Featured guest contributors will be introduced throughout BCF&rsquo\;s occupancy of the Armory. The fi rst of three sets of guest contributors are Martine Syms with Cat Roif\, wh ose work will be displayed from July 12-August 31\, 2014. \;The Que en&rsquo\;s English\, a project by Syms\, takes inspiration from libra rian JR Roberts&rsquo\;s 1981 annotated bibliography \;Black Lesbia ns\, a book whose cover she was drawn to when browsing at a used books tore with a specific intention not to purchase anything.

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The Qu een&rsquo\;s English \;gathers books from the chapter of \;Black Lesbians \;entitled &ldquo\;Literature &\; Criticism.&rd quo\; It also features a series of photographic diptychs in collaboration w ith Roif\, along with other source materials\, to consider the role of &ldq uo\;the reader&rdquo\; as a position of power. About this notion\, and in r esponse to her project entitledReading Trayvon Martin\, Syms notes \, &ldquo\;Here\, reading\, once considered a solitary endeavor\, is re-exa mined as an active stance through the added dimensions of posting\, sharing \, reframing\, and thus contributing to a broader conversation across socia l media. The act of bookmarking becomes synonymous with the process of stak ing out a position\, publicly declaring a side or a perspective.&rdquo\;

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About \;The Queen&rsquo\;s English\, and her work in gen eral\, Syms says\, &ldquo\;I consider much of my work an excursus from a pr imary text. I&rsquo\;m engaged in trying to read what&rsquo\;s not there.&r dquo\; The introduction of \;Black Lesbians \;states: &ldq uo\;As this bibliography undoubtedly proves\, a body of [Black lesbian] lit erature exists\, although it is often hidden or unidentified for reasons di rectly related to the social\, political\, and economic realities of being Black\, female\, and lesbian.&rdquo\;

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Martine Syms is an artist and &ldquo\;conceptual entrepreneur&rdquo\; based in Los Angeles. Her work exp lores themes as varied as Afrofuturism\, queer theory\, the power of langua ge\, and the spiritual nature of the color purple. From 2007-2011\, she dir ected Golden Age\, a project space she founded in Chicago that focused on e xhibitions\, performances\, and printed matter\, and where she organized ov er fifty innovative cultural projects ranging from film screenings to inter active online exhibitions. She also initiated Dominica Publishing\, which i ncludes a catalogue of ten titles by international\, emerging artists. Syms has lectured at Light Industry in Brooklyn\; Project Row Houses and the Ho uston Museum of African American Art\, both in Houston\; South by Southwest in Austin\; California Institute of the Arts\, Valencia\; University of Ch icago and the Museum of Contemporary Art in Chicago\; Johns Hopkins Univers ity and Maryland Institute College of Art\, both in Baltimore\; and MoMA P. S.1 in Queens\, among other venues. Her artwork has been exhibited and scre ened at the New Museum in New York\; Museum of Contemporary Art and School of the Art Institute of Chicago\; Capricious Space in Brooklyn\; The Wassai c Project in upstate New York\; and at White Flag Projects in St. Louis. Sy ms is a graduate of the School of the Art Institute of Chicago with a degre e in Film\, Video\, and New Media.

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Cat Roif is a Los Angeles-based photographer\, photo stylist\, and editor who experiments with the relation ships between color and light\; figure and landscape\; and sex\, maximalism \, and opulence. Her work has appeared in \;Spin\, \;R olling Stone\, \;Nasty Gal\, and more. Roif was raised in &ldquo\;late Post-modern Miami\,&rdquo\; attended Savannah College of Art and Design in Georgia\, and earned her BFA in Photography in 2010 from the School of Visual Arts in New York.

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About \;City of Hope\, City of Resistance: Research and Actions at the Urban Level
Los Angeles is at a pivotal moment of transition and transformat ion. Social fragmentation and isolation is giving way to a celebration of p lurality and difference\; identities and communities are coalescing around collective\, design-based solutions.

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City of Hope\, City of Res istance: Research and Actions at the Urban Level \;is Big City For um&rsquo\;s 15-month\, three-part residency at Armory Center for the Arts\; it brings together the creative forces of numerous participants across the fields of architecture\, urban design\, contemporary art\, new media\, and social and community activism. The residency explores\, discusses\, and pr oduces various forms of social space from community-based initiatives\; new physical and social architectures\; individual and collective actions that have affected public civic engagement\; and ideas and actions that will in fluence life in the region in constructive\, positive ways.

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The pro ject is organized in three separate phases. Phase I\, from January through June 2014\, has focused on research\; Phase II\, from July through December 2014\, is the occupation of the Armory Center for the Arts\; Phase II\, fr om January through March 2015\, will consolidate the ideas generated throug hout 2014 into a publication\, to be released in spring 2015.

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About Big City Forum
Big City Forum (BCF)\, founded in 200 8 by Los Angeles-based artist\, educator\, and activist Leonardo Bravo and co-directed with artist/graphic designer River Jukes-Hudson since 2013\, is an independent\, interdisciplinary project that explores the intersection between design-based creative disciplines within the context of public spac e\, the built environment\, and social change.

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About Big Ci ty Forum in Residence at the Armory
The residency \;C ity of Hope\, City of Resistance: Research and Actions at the Urban Level \;builds upon an existing collaboration between the Exhibitions Dep artment at the Armory and BCF\, which has been crucial in advancing public discourse on the notion of social and civic engagement within the built env ironment. Since spring 2012 BCF has been in residence at the Armory\, upon the invitation of Armory&rsquo\;s Gallery Director/Chief Curator Irene Tsat sos\, during which time it has programmed two seasons of lively\, discursiv e events (Mapping LA \;in 2012 and \;Transforming the Social \;in 2013) comprised of a series panels of leading architec ts\, theorists\, and planners who\, along with a room of engaged participan ts\, have explored current creative practices that inform the landscape\, c ulture\, and geography of Los Angeles. Along with the programmatic ambition s and theoretical investigations described above\, \;City of Hope\, City of Resistance: Research and Actions at the Urban Level \;ser ves as an incubation period for Big City Forum as it develops plans to laun ch future programmatic platforms. Big City Forum&rsquo\;s residency at Armo ry Center for the Arts is being supported with funding from the National En dowment for the Arts. \;

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DTEND:20150130 DTSTAMP:20141025T030544 DTSTART:20140713 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:City of Hope\, City of Resistance: Research and Actions at the Urba n Level \, Martine Syms with photographer Cat Roif UID:336648 END:VEVENT BEGIN:VEVENT DTEND:20140712T210000 DTSTAMP:20141025T030544 DTSTART:20140712T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:City of Hope\, City of Resistance: Research and Actions at the Urba n Level \, Martine Syms with photographer Cat Roif UID:336649 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New art exhibition COSMIC SCATTERINGS OF ABSTRACTION opens O ctober 18\, 2014 at Artspace Warehouse. Featured artists include \;Paul Kirley\, \;Mark Acetelli \, \;Atticus Adams\, \;Bettina Mauel.

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Opening Reception Sat\, October 18\, 6 - 8 pm.

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California artist \; Paul Kirley \;creates visual experiences that connect people to pla ce as though they were dreaming. His process begins as a series of digital photographic events. Iconic images and stories are identified and catalogue d. Selections are then composed and combined with found objects yielding a narrative assemblage. The final step in the process includes expressing con nections between the representational landscapes and ephemeral dreamscape e xperiences. Links between the two worlds are created as a series of traditi onally painted layers and gestures. The creative process of each piece pres ents opportunities to live fully immersed in the stories and places of our dreams.

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Mark Acetelli's \;artworks ar e inspired by the intensely personal introspective journey of life\, from t he ever changing complexities of love\, loss\, birth and death. His latest series is entitled &ldquo\;Absence and Presence&rdquo\;\, pertaining to how someone or something can be physically gone\, but the essence still remain s. Capturing the physical mixed with spirituality on canvas. His applicatio n of paint is an extension of that thought process. His artworks are a prod uct of continuously building up and tearing down\, layer upon layer\, addin g and subtracting. A visceral dance between the conscious and the unconscio us until the emotion is expressed.

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Atticus Ad ams \;is a sculptor whose work embodies the transformative power of art to create beauty\, meaning\, and emotional impact from industrial mate rials. Using mostly aluminum mesh&mdash\;generally found in screen doors/wi ndows and filters&mdash\;he creates abstract pieces and installations\, whi ch sometimes resemble flowers\, clouds\, and other natural phenomena.

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German artist \;Bettina Mauel \;studie d at the Dü\;sseldorf Art Academy with Professor Gerhard Richter. Mauel expresses vitality and sensuality in her paintings. In 1984 she was asked by the city of Wuppertal\, Germany to paint scenes of the dance theater of Pina Bausch. This had a major influence on the selection of themes in her i magery. Instead of focusing on spectacular poses\, she homed in on the in-b etween: feelings\, thoughts and fears.

DTEND:20141121 DTSTAMP:20141025T030544 DTSTART:20141018 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:COSMIC SCATTERINGS OF ABSTRACTION \, Paul Kirley\, Mark Acetelli\, Bettina Mauel\, Atticus Adams UID:361500 END:VEVENT BEGIN:VEVENT DTEND:20141018T200000 DTSTAMP:20141025T030544 DTSTART:20141018T180000 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:COSMIC SCATTERINGS OF ABSTRACTION \, Mark Acetelli\, Atticus Adams\ , Paul Kirley\, Bettina Mauel UID:361501 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Poe announces& nbsp\;From All Sides: Tansaekhwa on Abstraction\, \;a large-scale survey of Korean monochromatic painting from the 1960s to the 1980s. Consis ting of more than thirty-five seminal paintings\, the show is the first maj or overview of Tansaekhwa in North America\, focusing on six of its most re presentative artists: Chung Sang-hwa\, Ha Chonghyun\, Kwon Young-woo\, Lee Ufan\, Park Seobo\, and Yun Hyongkeun.  \; \;

From the m id-1960s and especially during the 1970s\, Tansaekhwa artists variously pus hed paint\, soaked canvas\, dragged pencils\, ripped paper\, and otherwise manipulated materials in ways that productively troubled the distinctions s eparating ink painting from oil\, painting from sculpture\, and object from viewer. Mostly rendered in white\, cream\, black\, brown\, and other neutr al hues\, Tansaekhwa works invited and deflected the gaze of the viewer in ways that enabled audiences to affirm their own sense of presence\, an effe ct with significant implications against the backdrop of authoritarian Sout h Korea. By the early 1980s\, Tansaekhwa was the first Korean artistic move ment to be successfully promoted internationally. Viewers in Seoul\, Tokyo\ , Taipei\, and Paris saw in its most representative examples the possibilit y of imagining what a distinct contemporary Asian art might look like\, thu s setting off a pattern of recognition that anticipated what is described a s contemporary art's "global turn."  \; \;

The show is c urated by Joan Kee\, Associate Professor of History of Art at the Universit y of Michigan and a leading authority on contemporary Asian art. Her book\,  \;Contemporary Korean Art: Tansaekhwa and the Urgency of Method \;(University of Minnesota Press\, 2013)\, was one of four finalists for the Charles Rufus Morey Award\, which honors an especially distinguish ed book in art history by the College Art Association. The exhibition will be accompanied by a substantial catalogue with over one hundred images\, na rrative artist biographies\, twelve newly translated artist texts\, and a s cholarly essay by the curator featuring previously unpublished archival sou rces.

DTEND:20141108 DTSTAMP:20141025T030544 DTSTART:20140913 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:From All Sides: Tansaekhwa on Abstraction\, Ha Chonghyun\, Kwon You ng-woo\, Lee Ufan\, Park Seobo\, Yun Hyongkeun UID:350696 END:VEVENT BEGIN:VEVENT DTEND:20140913T200000 DTSTAMP:20141025T030544 DTSTART:20140913T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:From All Sides: Tansaekhwa on Abstraction\, Ha Chonghyun\, Yun Hyon gkeun\, Park Seobo\, Lee Ufan\, Kwon Young-woo UID:350697 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The horse's impact on both Chi nese and Japanese culture cannot be overstated. They shepherded goods\, peo ple and ideas across the expansive and varied climates of a continent durin g the height of the Silk Roads. They were indispensable as military charger s and aided in the expansion and control of empires.

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The horse was embraced as companion and participant in leis ure and recreational activities including polo\, horse "dancing\," and hunt ing. Horses also figure prominently in the mythology\, philosophy\, religio n\, and folklore of both China and Japan.

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The Chinese quest for bigger\, better\, and faster horses required imm ense resources\, and breeders continually refined their stocks. The prized "heavenly horses" were large\, powerful specimens sought from the Fergana r egion of Central Asia. Legend states that these horses could fly and would sweat blood (likely caused by parasitic nematodes that lived just under the ir skin).

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Most of the earliest repres entations of horses from China are pottery\, stone\, or bronze sculptures f ound in the graves of the elite and intended to accompany the deceased into the afterlife. Later\, horse painting became a major genre in and of itsel f. Through trade and human exploration\, horses made their way from the Asi an mainland to Japan by way of the Korean peninsula. Early evidence of the importance of horses in Japanese life includes superb bronze trappings and haniwa (cylindrical clay sculptures) in the shape of horses that were place d within or around the great imperial tomb mounds. With the rise of the sam urai\, the horse became firmly established as an indispensable component of Japanese warfare as well as a lasting symbol of refinement and power.

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During this year of the horse we celebrat e these animals that continue to fascinate and inspire people around the wo rld.

DTEND:20150222 DTSTAMP:20141025T030544 DTSTART:20140614 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Heavenly Horses: Two Thousand Years of Chinese and Japanese Equine Art UID:340316 END:VEVENT BEGIN:VEVENT DTEND:20140614T160000 DTSTAMP:20141025T030544 DTSTART:20140614T100000 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Heavenly Horses: Two Thousand Years of Chinese and Japanese Equine Art UID:340317 END:VEVENT END:VCALENDAR