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1301PE is pleased to present an exhibition of Diana Thater&rsquo\;s new work Colorvision\, 2016\, and Fiona Banner&rsquo\;s scu lpture Dummy\, 2013.

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The worldwide debut of Diana Thater&rsquo\;s n ew work at 1301PE follows the artist&rsquo\;s comprehensive mid-career surv ey at LACMA (2015-16)\, which travels to the MCA Chicago in October 2016. T his is Thater&rsquo\;s ninth solo exhibition at the gallery. The series Col orvision consists of 8 individual monitor pieces. Each vertically-hung moni tor displays the name of a color along with a bouquet of flowers in a diffe rent\, complimentary\, color. The colors used are those of the video spectr um: red\, green\, blue (primaries)\; cyan\, magenta\, yellow

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(secon daries)\; purple and orange (tertiary). The word &ldquo\;RED&rdquo\;\, for examples\, appears with cyan flowers\, while the word &ldquo\;CYAN&rdquo\; appears with red flowers. The series is based on a neurological test that i s given to people to decipher the relationship between sensation and langua ge:

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&ldquo\;It&rsquo\;s especially difficult for a viewer to th ink about color and language simultaneously and the dichotomy\, when shown one color but asked to read the name of it&rsquo\;s opposite\, forces a rup ture between the two. The question is: Does reason or sensation dominate ou r experience of art?&rdquo\; - Diana Thater

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The presen tation of Fiona Banner&rsquo\;s sculpture Dummy\, 2013\, also takes the lim itations of language as a starting point. Presenting itself in the form of a re-constructed typewriter\, Dummy consists of only punctuation mark keys. Writing on this typewriter results in abstract landscapes of periods\, com mas\, parentheses and other marks. Referring to the absence of words\, the typed punctuation marks express &ldquo\;the sense of a need to communicate in words but the impossibility of doing that sometimes&rdquo\; (Fiona Banne r). A continuation of the seminal Full Stop sculptures Banner first created in the late 1990s\, Dummy prompts a reconsideration of the very signs that ascribe and clarify meaning in written word.

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Diana Thater (b. 1962\, San Francisco\, USA) ha s created pioneering film\, video\, and installation-based works since the early 1990s. The artist lives and works in Los Angeles. Her work has recent ly been the subject of solo exhibitions at prominent institutions that incl ude the Aspen Art Museum\, Colorado\; San Jose Museum of Art\, California ( both 2015)\; Institute of Modern Art\, Brisbane (2011)\; Santa Monica Museu m of Art\, California (2010)\; Kunsthaus Graz\, Austria\; Natural History M useum\, London (both 2009). Thater&rsquo\;s work is held in such public col lection as the Solomon R. Guggenheim Museum\, New York\; Tate\, London\; Th e Whitney Museum of American Art\, New York\; and the Museum of Contemporar y Art\, Los Angeles. Thater&rsquo\;s mid-career survey The Sympathetic Imag ination travels from the Los Angeles County Museum of Art to the Museum of Contemporary Art Chicago this Fall (October 29\, 2016 - January 8\, 2017).< /p>\n

Fiona Banner (b. 1966\, Liverpool\, UK) came to pr ominence in the 1990s with her &lsquo\;wordscapes&rsquo\;\, epic transcript ions of iconic films retold in the artist&rsquo\;s own stream-of-consciousn ess writing. Banner lives and works in London\, where she also runs her imp rint The Vanity Press. Banner is represented in major collections including The Museum of Modern Art\, New York\; Philadelphia Museum\; Walker Art Gal lery\, Minneapolis\; she was short-listed for the Turner Prize at Tate Brit ain in 2012. Her work has been the subject of solo exhibitions and commissi ons at Tate Britain\, London\; Whitechapel Gallery\, London\; The Power Pla nt\, Toronto\; Yorkshire Sculpture Park\, Wakefield\; IKON\, Birmingham\; K unsthalle Nuremberg. Upcoming solo exhibitions will take place at The De La Warr Pavilion\, Bexhill on Sea\, UK (September 24\, 2016 - January 8\, 201 7) and Museum de Pont\, Tilburg\, Netherlands (2017).

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\n< /div> DTEND:20161105 DTSTAMP:20160928T173506 DTSTART:20160917 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Diana Thater & Fiona Banner\, Diana Thater\, Fiona Banner UID:427536 END:VEVENT BEGIN:VEVENT DTEND:20160917T190000 DTSTAMP:20160928T173506 DTSTART:20160917T170000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Diana Thater & Fiona Banner\, Fiona Banner\, Diana Thater UID:427537 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Los Angeles-based Lucky Dragon s (a collaboration between artists Luke Fischbeck and Sarah Rara) presents& nbsp\;User Agreement\, \;the latest phase of an ongoi ng project which examines existing modalities of peace through performance. The aim of \;User Agreement \;is to reverse engineer the technologies of peace&mdash\;treaties\, protocols\, symbols\, and systems&m dash\;in order to learn from what has already been invented\, to repurpose and re-contextualize\, to fix existing bugs and to create new possibilities for interaction. \;

DTEND:20161216 DTSTAMP:20160928T173506 DTSTART:20160924 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Lucky Dragons User Agreement\, Lucky Dragons UID:428717 END:VEVENT BEGIN:VEVENT DTEND:20160924T200000 DTSTAMP:20160928T173506 DTSTART:20160924T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Lucky Dragons User Agreement\, Lucky Dragons UID:428718 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161106 DTSTAMP:20160928T173506 DTSTART:20160911 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:The Luscious Land of God is Sinking\, Wu Tsang UID:424970 END:VEVENT BEGIN:VEVENT DTEND:20160911T200000 DTSTAMP:20160928T173506 DTSTART:20160911T170000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:The Luscious Land of God is Sinking\, Wu Tsang UID:424971 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161023 DTSTAMP:20160928T173506 DTSTART:20160917 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:After The Sun at The Vanity East\, Chris Domenick\, Em Rooney UID:428675 END:VEVENT BEGIN:VEVENT DTEND:20160917T170000 DTSTAMP:20160928T173506 DTSTART:20160917T140000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:After The Sun at The Vanity East\, Chris Domenick\, Em Rooney UID:428676 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161127 DTSTAMP:20160928T173506 DTSTART:20160924 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Gigi's Underground \, Maggie Lee UID:427614 END:VEVENT BEGIN:VEVENT DTEND:20160924T210000 DTSTAMP:20160928T173506 DTSTART:20160924T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Gigi's Underground \, Maggie Lee UID:427615 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present "R econstruction"\, a solo exhibition of new works by Los Angeles based artist Fran Siegel. The artist continues her investigations of place through the activity of drawing on a massive scale. Shifting perspectives generate a se nse of motion and time\, and multiple viewpoints are pieced together by com bining a cyanotype photographic process with layered collage and drawing. T hrough these works\, Siegel explores the evolution of settlement\, migratio n\, and exodus within the borders of the Los Angeles metropolis\, and how t his constant shuffling creates geographical space. \;

Includ ed in the show are monumental pieces\, as well as a group of smaller drawin gs. Massive "Overland 18" is the last work in a series derived from aerial viewpoints of the vast Los Angeles' city sprawl\, and "Bridge" is the first large drawing in a brand new body of work from a reconstruction of images over the course of the re-building of the Gerald Desmond Bridge at the Port of Los Angeles\, located near the artist's studio. \;

Fran Siegel (b. New York) received her MFA from Yale University School of Art an d her BFA from Tyler School of Art\, at Temple University. A forthcoming so lo exhibition is scheduled in 2017 at the Fowler Museum at UCLA\, Los Angel es\, CA as part of the Getty's city-wide initiative "PST- LA/LA" \, and rec ent exhibitions include Lesley Heller Workspace\, NY\; Art Center College o f Art and Design Gallery\, Pasadena\, CA\; ICA San Jose\, CA\; The Art Desi gn and Architecture Museum UCSB\, Santa Barbara\, CA\; among others. Recent monumental works from the Overland series have been acquired by LACMA\, MO CA\, Los Angeles\, and the Yale Art Gallery.

DTEND:20161022 DTSTAMP:20160928T173506 DTSTART:20160917 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Reconstruction\, Fran Siegel UID:428737 END:VEVENT BEGIN:VEVENT DTEND:20160917T200000 DTSTAMP:20160928T173506 DTSTART:20160917T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Reconstruction\, Fran Siegel UID:428738 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present "C hemical Pictures"\, a solo exhibition of new work by Los Angeles based arti st Miles Coolidge. "Chemical Pictures" is a group of images inspired by sci entist F.F. Runge's mid-19th century "self-grown pictures". The series of f ramed 23cm x 25.75 cm paper chromatographs are planned to number 31 altoget her. \;

Friedlieb Ferdinand Runge pioneered the use of paper as a material to serve as the staging ground for investigations into the c hemical components of complex substances. A close acquaintance of Goethe\, and student of Hegel\, Runge read a surplus of meaning into his proto-Chrom atographic experiments at the same time as he used this research tool to id entify and isolate for use the first artificial dye-stuffs such as analine from coal-tars. By encouraging various agents to react on porous paper surf aces he provided the space for his "self-grown pictures" to develop. On a t echnical level this work led to the ability to control color by way of tech nology\, a process fundamental to the development of 4-color lithographic p rinting\, and color photography. Runge\, however\, intended these "self-gro wn pictures" to be understood as art\; the automatic and impossible-to-anti cipate character of the images excited his sense of wonder\, leading to inc reasingly non-utilitarian impulses explored and elaborated in his book\, De r Bildungstrieb der Stoffe (Oranienburg\, 1855).

This project ta kes its cue directly from Runge's book\; it consists of 31 images that foll ow the instructions Runge gives below each image in his book. These instruc tions comprise the titles of the individual chemical pictures.

T his show includes 27 of the 31 images in the "Chemical Pictures" series. Th e 4 not included in this exhibition are featured in a group exhibition titl ed "Things Themselves" at Vernon Gardens\, Los Angeles\, curated by Zully A dler\, which runs concurrently with this exhibition.

"Chemical P ictures" was produced with the support of a 2015 Guggenheim Fellowship.

Miles Coolidge (b. 1963\, Montreal) received his MFA from the Calif ornia Institute of the Arts. This is the artist's ninth solo exhibition at ACME. His work is included in many museum collections including the Albrigh t-Knox Gallery\, Baltimore Museum of Art\, Metropolitan Museum of Art\, Mus eum of Contemporary Art\, Los Angeles\, Orange County Museum of Art\, San F rancisco Museum of Modern Art\, the Solomon R. Guggenheim Museum\, among ot hers.

DTEND:20161022 DTSTAMP:20160928T173506 DTSTART:20160917 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Chemical Pictures\, Miles Coolidge UID:428739 END:VEVENT BEGIN:VEVENT DTEND:20160917T200000 DTSTAMP:20160928T173506 DTSTART:20160917T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Chemical Pictures\, Miles Coolidge UID:428740 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present a solo exhibition of new sculptural work by Los Angeles based artist Patrick Nickell. The show consists of five new large tabletop sculptures made of co lorless glass with matte surfaces. Nickell continues his exploration of spo ntaneous line\, captured this time in translucent light infused forms. Ther e is a duality between the ethereal quality of the figures and the natural heft and weight of solid glass material. The sensuous surfaces\, mysterious forms\, and phenomenal play of light in Nickell's sculptures reference the Light and Space movement originating in Southern California in the 1960s. These sculptures\, however\, are more grounded in figuration.

Th ese forms of translucent linear mass are meant to spur the imagination of v iewers with references that range from the human body\, microscopic organis ms and industrial machines. Abstract references display the schism between the micro and the macro of the human body and the duality between the natur al and industrial world. \;

Patrick Nickell (b. 1960\, Van N uys\, CA) received his MFA from Claremont Graduate University and his BA fr om Linfield College. Recent exhibitions include Rosamund Felsen Gallery\, L os Angeles\, CA\; Sturt Haaga Gallery\, Descanso Gardens\, La Cañ\;ad a Flintridge\, CA\; San Diego State University Downtown Art Gallery\, San D iego\, CA\; among others.

Patrick Nickell's sculptures were prod uced during a residency at the Pilchuck Glass School in Stanwood\, Washingt on in the summer of 2016.

DTEND:20161022 DTSTAMP:20160928T173506 DTSTART:20160917 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:New Glass Sculpture\, Patrick Nickell UID:428741 END:VEVENT BEGIN:VEVENT DTEND:20160917T200000 DTSTAMP:20160928T173506 DTSTART:20160917T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:New Glass Sculpture\, Patrick Nickell UID:428742 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Anat Ebgi is pleas ed to present Chris Coy&rsquo\;s first solo show at the gallery\, A Lit tle Death\, opening September 10th and on view until October 22\, 2016 . The reception will take place on Saturday\, September 10th from 2-5pm.\n
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Late 18th century France brought us deca pitation and\, in equal measure\, rococo\, with its playful\, effervescent brush strokes and soothing pastel radiance. Fragonard's grand gesture of Th e Swing was as much a sweeping erotic spectacle of ancien ré\;gime co urtship as it was a prologue to the sanguine collapse of the French social order. And yet\, within the jardin à\; la franç\;aise\, all are subject to a rigid Cartesian logic\, from the hare&rsquo\;s warm blood sti ll flowing over freshly-cut grass to the upskirt hijinks of a maiden and he r two male admirers.
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It is from the ex terior environment of the French garden to the chateau&rsquo\;s interior wh ere the rococo steps in\, imagineering domestic space with a complete total ity\, and an overwhelming compulsion to link spatial awareness with sensual cues. Gilded leaves\, floral patterns\, branches\, tree roots and bronze c herubs become hyperlinked invitations to touch\, hear\, smell or taste this simulated garden of earthly delights. Unblemished mirrors are part and par cel of the experience\, bouncing midsummer sunshine throughout the room&rsq uo\;s arched surfaces and asymmetrical stucco trim&mdash\;a tableau of bour geois rituals regurgitated as decor.
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The primacy of the mirror in the rococo was perhaps a reflection of the frivolity of form\ , yet as an interface it made viewing oneself both a social and political e xperience. The world made flesh reworked into the picturesque\, the curious and the whimsical\, atop mantels\, ornamented wall panels and gallery pass ages. Here was a codification of the glances\, winks and errant looks that sustained a social order fortunate enough to occupy this private space\, an d whose future slaughter would thrill a jeering public. The mirror is the s ame imagined site of action within which we now touch\, tap\, swipe and pin ch\, all in the hope of an immediate realization of an imponderable dream.< /div>\n
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Comprising a new series of painting\, installation and video work\, Coy expands on his use of themes blending fri volity with horror\, sublimated psychological desire and sanctified experie nce. A mural-sized oil painting of airbrushed chrome mines the surface lang uage of rococo\, linking the movement&rsquo\;s attentiveness to sensuality and form with the overwhelmingly haptic characteristics of the modern inter face. Elaborating upon these narratives are mirror installations placed at opposite ends of the gallery\, one atop a mantle in the front room\, while an opposing pair etched with Disney iconography flanks a video installation in the gallery&rsquo\;s rear. In situating his work in the rituals of soci al identification\, beauty and superfluidity\, Coy addresses how the visual paints a vector towards both unknowable and transcendent potentialities.\n

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Chris Coy (b. 1980) lives and works between Los Angeles\, CA and Las Vegas\, NV. Coy received his MFA at the Ro ski School of Visual Arts at USC in 2012. He has previously shown at instit utions including The New Museum of Contemporary Art\, New York\; Utah Museu m of Contemporary Art\, Salt Lake City\; Torrance Art Museum\, Torrance\; N etherlands Media Art Institute\, Amsterdam. Coy has previously shown intern ationally at galleries including Johan Berggren\, Malmö\;\; Michael Thi bault\, Los Angeles\; Honor Fraser\, Los Angeles\; and Import Projects\, Be rlin. Coy is also a former member of the internet art collective Nasty Nets and additionally has presented work at Sundance Film Festival&rsquo\;s New Frontiers in Park City\, Utah\, Free Form Festival\, San Francisco and the 5th Moscow International Biennale for Young Art.
DTEND:20161022 DTSTAMP:20160928T173506 DTSTART:20160910 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:A Little Death\, Chris Coy UID:427502 END:VEVENT BEGIN:VEVENT DTEND:20160910T170000 DTSTAMP:20160928T173506 DTSTART:20160910T140000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:A Little Death\, Chris Coy UID:427503 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ASHES/ASHES is pleased to present TRAUMA SAUNA\, an exhibition by Brian Kokoska featuring Chelsea Culprit\, Erik Frydenborg\, and Ben Stone. The exhibition will be on view September 10 &ndash\; October 22\, 2016\, with an opening reception on Saturday\, September 10 from 7&nd ash\;9pm.

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TRAUMA SAUNA presents a new series of paintings by Brian Kokoska within an installation of sculptures by Chelsea Culprit\, Erik Frydenborg\, and Ben Stone. Kokoska&rsquo\;s paintings\, built from la yers of drawing and color blocking\, deny any illusion of depth and instead focus on an almost-flat rendering of imaginative scenes inhabited by andro gynous figures\, mystical creatures and frolicking devils. Crescent moons\, stars\, bones\, genitals\, flora and fauna are among the motifs that obses sively reappear\, often anthropomorphized and evoking anxieties of sex\, ec stasy and death. Accompanied by their morbidly playful and poetic titles\, Kokoska&rsquo\;s paintings are gestural interpretations toward a fleeting e xperience or unknown place that is intentionally left murky and resistant t o any one definitive perception by viewers.

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In his installations\, Kokoska frequently incorporates sculptures by other artists as a device to create dynamic\, multi-authored environments\, placing the characters in hi s paintings into a concrete &ldquo\;home&rdquo\; or pretend relational habi tat. The somber\, monochromatic sculptures in the foreground activate Kokos ka&rsquo\;s lively\, erotic and grotesque paintings\, creating a silhouette -like effect in which the relationship between figure and ground is reminis cent of a domestic interior\, stage set\, or mausoleum.

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Brian Kokos ka (born 1988\, Vancouver\, BC) lives and works in New York\, NY. Recent so lo and group exhibitions include: Hush Hook\, LOYAL (Stockholm)\, I&rsquo\;m a horse now\, East Hampton Shed (East Hampton)\, Po ison IV\, Valentin (Paris)\, Rare Angel (with Debo Eilers)\, American Medium (Brooklyn)\, and Blood Reply\, Ohmydays (Singapore ). His work has been featured and reviewed in Mousse\, Dazed\, New York Obs erver\, Art in America\, The Philadelphia Inquirer\, Elle Mé\;xico an d VICE. A recent essay on his work by Alex Bacon was published in Notion Ma gazine. Forthcoming exhibitions will take place at Frank F. Yang Art &\; Education Foundation (Shenzhen) and COMA (Sydney).

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Chelsea Culprit (born 1984\, Paducah\, KY) lives and works in Chicago\, IL and Mexico City \, MX. Recent exhibitions include: Miss Universe\, Yautepec (Mexic o City\, MX)\, PAGAN SLUTz\, SPF15 Exhibitions (San Diego\, CA)\, and Blessed with a Job\, Queer Thoughts (New York\, NY).

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E rik Frydenborg (born 1977\, Miami\, FL) lives and works in Los Angeles\, CA . Recent exhibitions include: Roman à\; Clef and/or the Appetite of the Chef (Part 2)\, Rainbow in Spanish (Los Angeles\, CA)\, An Erik Frydenborg Omnibus\, The Pit II\, (Glendale\, CA)\, and Nebul a Winners\, Andrew Rafacz Gallery (Chicago\, IL).

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Ben Stone (b orn 1968\, Chicago\, IL) lives in Berwyn\, IL and works in Chicago\, IL. Re cent exhibitions include: Ben Stone\, Western Exhibitions (Chicago \, IL)\, Chicago and Vicinity\, Shane Campbell Gallery (Chicago\, IL)\, and Ryan Travis Christian Presents 21st Century LOL&rsquo\;s \, Left Field (San Luis Obispo\, CA).

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On view in LA/DW~PS is Chelse a Culprit&rsquo\;s \;nightshift \;(2016).

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Tony Hop e&rsquo\;s permanent installation \;Untitled (Dawn) \;(201 5) remains on view \;in the gallery&rsquo\;s bathroom. \;

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F or more information\, please contact the gallery at (213) 926-6348 or info@ ashesonashes.com.

DTEND:20161022 DTSTAMP:20160928T173506 DTSTART:20160910 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:TRAUMA SAUNA\, Brian Kokoska\, Chelsea Culprit\, Erik Frydenborg\, Ben Stone UID:427354 END:VEVENT BEGIN:VEVENT DTEND:20160910T210000 DTSTAMP:20160928T173506 DTSTART:20160910T190000 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:TRAUMA SAUNA\, Chelsea Culprit\, Erik Frydenborg\, Brian Kokoska\, Ben Stone UID:427355 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Poe is pleased to present \;Sign Exchange 1993-98\, a solo exhibition by Los Ang eles-based artist Mark Grotjahn. This marks the artist's eighth solo presen tation with Blum &\; Poe. \;Sign Exchange 1993-98 \;off ers a unique and lesser-known body of Grotjahn's work from the 1990s -- a g rouping that documents a young artist's developing practice as he turned aw ay from figurative painting and the coded language of abstraction to explor e the functionality and effective communication of hand-made store signs.&n bsp\;

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Sign s 1993&ndash\;1998 Rough Draft and Notes January 8\, 2016.

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I had a penthouse stu dio in San Francisco\, this was 1992&ndash\;93. In addition to the 2\,000-s quare-foot studio\, we had 8\,000 square feet of rooftop. I paid $200 a mon th for that\, 360-degree view of the city. Lloyds was a bar across the stre et or down the street. It was close by. It had handmade signs outside: HOT DOG $1.25\, A SHOT &\; GLASS OF BEER $1.50. Good deal\, but I didn&rsquo \;t drink during the day. The signs gave off the impression that they might have a decent hot dog\, but I went in there and it was four or five nightm are dogs in a glass heat box. I never ate one. Wish I had so I could say th at I did.

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When I got to grad school I decided to stop painting the figure. I was unhappy with my painting and I wanted to change. The paintings looked like Baselitz or Basquiat\, plaster\, chicken wire. They had some political ide as that one could just barely tap into given their titles. No way was anybo dy going to get to any of the specific ideas from the work unless they talk ed to me or the gallerist. Looking back\, that actually is an acceptable wa y to disseminate information. It wasn&rsquo\;t enough for me then. Too code d\, too much talking.

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So I started to look at people who used painting and drawi ng to communicate effectively and I thought again about all the signs I&rsq uo\;d been looking at that I loved. I painted my first few from photos I ha d taken of the signs at Lloyds. Then I painted a few more before I put them up in my studio and I contemplated them. I kind of thought they were bitch in&rsquo\;\, but I knew somehow that the originals were better than mine an d I figured that the reason that theirs were better was that they had the a udience. They knew who their audience was and they knew what they wanted to say. Their signs were functioning. I figured in order to get my sign to be as good as their signs I needed to get my sign in their store. And that&rs quo\;s what led me to the trade or exchange. So I decided to take my sign t o them and see if I could get them to put it up.

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It&rsquo\;s hard to know exactl y how it started or with what sign but the point was\, I made a copy of the sign I saw and brought it to the store owner. I told the store owner I wan ted to trade my sign for their sign. I told them I was an artist and this w as my art. It&rsquo\;s a weird thing\, the exchange\, and I wanted to be op en about my intention. No shenanigans. There didn&rsquo\;t need to be any e xtra confusion. Should be simple and straightforward\, garner me a little t rust and increase my odds of a successful exchange. I might make the signs a little brighter and bump up the material. I also allowed myself to correc t any spelling mistakes I noticed. I have my own spelling &ldquo\;differenc es&rdquo\; so not always successful. I&rsquo\;d say I was at least 90% succ essful in terms of getting the trade done. Success being measured by me get ting their sign and getting to install my sign. I brought tape\, scissors\, paper\, pens\, etc.\, in case I needed to make any adjustments. If my meas urements were off\, or if prices had changed\, I was ready. \;

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It&rsquo\;s h ard for me to recall how exactly the trades went down. How the people respo nded&hellip\; people being people it was always different. Often\, after pr esenting my proposition for the exchange\, I&rsquo\;d get asked\, &ldquo\;W hy do this?&rdquo\; Answer\, &ldquo\;I&rsquo\;m an artist\, this is what I do etc.&rdquo\; &ldquo\;You waste time and money?&rdquo\; So I&rsquo\;d shr ug my shoulder indicating yeah\, okay\, that&rsquo\;s a valid way of lookin g at it. Usually it was a yes and hurry up&mdash\;I want your sign because it&rsquo\;s cleaner\, but lets get this over with and get out. That&rsquo\; s my assessment of what was often being thought but who knows. I&rsquo\;m n o mind reader.

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At K&\;H Liquor there were so many signs that I was there at l east a couple of hours. They showed me the safe. Showed me the gun that the y kept in the cut-off milk carton taped to the counter next to the register . Out of sight\, easy access. Of course I lived for shit like that. Functio n. Secrets.

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I traded a butcher for huge signs drawn on white butcher paper\, hun g high in the store near the top windows. Maybe ten\, all with different am ounts of fading. When I got them back to the studio I hung them from darkes t to lightest\, with the darkest on top. Later\, I taped them together and 3 pinned them at the top. Long\, tall work\, the paper folded\, rolled inwa rd toward the bottom. Nice fade\, minimal\, dark to light. This work surviv ed my move to Los Angeles\, but it seems to be gone now?

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As a young artist I kne w that art could be whatever you wanted it to be. That there weren&rsquo\;t any rules\, and I believed that. Having said this\, it&rsquo\;s one thing to know something intellectually\, and it is something different to know it emotionally\, to actually experience that idea. Perhaps heavyhanded\, the exchange did that for me. That perfect space of the exchange\, the time in the store\, the clarity changed my life and perspective forever.

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Here are some n otes I&rsquo\;ve written and grabbed from a short talk I did with Brendan w hile looking at the show. As follows&hellip\;

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The deeper I got into the sign wor k\, the deeper I got into the ways the specific signs\, and specific kinds of signs\, worked. I&rsquo\;m &ldquo\;naturally&rdquo\; drawn to pornograph y\, porno mags. I&rsquo\;ve always been excited: since I was a kid and not allowed\, still now\, and of course in my twenties too. Pornography and mon ey\, pretty much the one place in the store where the owners feel comfortab le using sarcasm. Porno sign says\, &ldquo\;This is not a library.&rdquo\; or &ldquo\;You look you buy!&rdquo\; or &ldquo\;No browsing.&rdquo\; Discip line and shame. &ldquo\;In God we trust. You pay cash.&rdquo\; It&rsquo\;s just a fuck you\, don&rsquo\;t even ask\, you know? And so that was excitin g to me. Two places\, money/porno\, where they will discipline you\, shame you. They are selling the thing and then\, at the same time\, they will sha me you for being interested in it. And of course\, they want to protect the ir merchandize. Everything else is fairly direct\, helpful\, and maybe even friendly.

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I also got interested in signs that come from the distributors. These signs are mass-produced\, hot off the press\, right? The companies ship th em to stores all over\, but there is room to individualize them to the need of the specific store. Like the one here\, the one that&rsquo\;s in the sh ow\, Miller\, that says 6.99\, 12 PACK CANS\, and then some advertising\, r ight? Now\, it is there to captivate the audience\, it&rsquo\;s very graphi c. And the neon green paper and the black. It&rsquo\;s simple. There is als o an economy to that. It&rsquo\;s the color of the paper and then one color print. But it comes &ldquo\;Miller 88.88\,&rdquo\; like a digital alarm cl ock. Then it has 88 PACK CANS and you can see underneath it&rsquo\;s got so mething about bottles. So you can change the sign\, there&rsquo\;s room for individualization\, you decide how much the thing is going to cost. As the store owner\, it could be up to $99.99 and this is 6.99 and it&rsquo\;s a 12-pack\, it&rsquo\;s not an 18-pack. You fill in the parts of the eight to make the numbers you want. And you do that by coloring-in some of those se gmented parts. So you were allowed\, requested actually\, to participate. Y ou participate. You individualize it\, but those don&rsquo\;t even look ind ividualized\, because they still look standard. They still look planned\, t hey still look printed from a distance so they have a certain kind of effic iency.

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The company more or less controls the whole image. Anyway\, it&rsquo\;s j ust exciting to me that they ask for a certain kind of participation and it allows for a certain kind of augmentation. With the smaller one like Mille r High Life\, the Classic American Beer\, it&rsquo\;s a black on orange vis ual with the dollar sign printed. Here\, right here by the dollar sign\, wi th the blank space they signify: this is where you can write the price and whatever it is you&rsquo\;re selling. This is where you get to individualiz e it. This part is up to you. They are providing a service because guess wh at\, the person does sell Miller\, so they are providing the service and th is is the place where you can do whatever it is that you need to do to comm unicate whatever it is that you&rsquo\;re going to communicate within basic ally the parameters of\, it&rsquo\;s about Miller. And so here it is\, it&r squo\;s $1.25 for 32 ounces or $5.99 for a 12-pack of cans and then you get a dollar sign\, whatever it is\, you know. And so it&rsquo\;s there&hellip \; that&rsquo\;s nice. And here with the Magnum\, you could see that the pe rson kind of went for some design elements and got into their own&hellip\; their own formal kind of\, whatever.

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With the Augsburger sign you&rsquo\;ve got this illustration of a woman with the 6-pack\, it&rsquo\;s retro. Looks lik e a woman drawn in the 50s. It&rsquo\;s nostalgic. It&rsquo\;s the real dea l. It&rsquo\;s from Europe\, right? This is the image that they want. They& rsquo\;ve got the room\, they&rsquo\;ve got this blank space for you to ind ividualize it. So this is kind of everything\, they understand that a drawi ng works different than a photograph.

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I personally prefer the signs with the rea l women. I would rather go for the fantasy with the specific woman\, than s ome kind of cartoon fantasy of an illustrated woman\, because I don&rsquo\; t know where to take that. With the hotdog\, I would prefer the illustratio n. But that&rsquo\;s\, you know\, that&rsquo\;s on me\, that&rsquo\;s on me .

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And it&rsquo\;s worth talking about. How in these examples\, in these situatio ns\, how do the drawings and paintings work? Why is it that an illustration of a hotdog\, a hamburger\, fish soup is different? When you see the illus tration of it as opposed to a photo of the same. With the photo of the hotd og\, the soup\, one tends to imagine that specific food pictured. Perhaps n ot so appetizing (I think of menus with all their different dishes pictured ). It&rsquo\;s my feeling that with the drawing you are encouraged to use y our imagination\, to imagine the perfect hotdog\, your ideal hotdog\, the p erfect soup\, whatever. \;

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Additional Notes August 1\, 2016
Bu cket/Stands/Grocery Stores

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I traded for a few buckets. I liked them as objects. I liked seeing bunches of flowers. White buckets on the sidewalk or on a mi lk carton on the sidewalk. Since I wanted the whole thing\, not just the si gn\, I offered the shop owners a new bucket.

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The big K&\;H piece\, which I fi rst showed as a long line\, I also put a bucket of flowers with it. The buc ket I had traded for but\, the flowers I bought and put in.

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The bucket was the f irst sculpture to come out of the sign exchange project. The second sculptu re was the flower stands and that lead to both the fruit stand and newspape r stand. Which in turn lead to the performative sculptural objects made in situ at grocery stores\, i.e.\, Surf and Turf.

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When I started to make copies or fabricate the flower stand or the newspaper stand\, I was interested in how they worked formally. I was interested in how they worked functionally. Th ey are on wheels\, so they can be moved easily because they weight a lot. B ut there are also on wheels so that they can come in at night and not get s tolen. \;

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They are built in a way so that the flowers are displayed at an an gle\, so when they put the flower in the holes&mdash\;different sizes for d ifferent size bouquets&mdash\;you can see them at an angle&hellip\;I think it&rsquo\;s just more appealing\, right? And it is the same with the fruit stand. \; \;

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But anyway\, I painted the stands. The flower stand was ori ginally green. It was green for a reason. It&rsquo\;s green because trees a re green\, and green stuff is green\, and that&rsquo\;s why it was green. A nd they always are green&mdash\;not always\, right? But they are green in N ew York\, and green in San Francisco\, and green in Los Angeles. \; I c hanged the color [to pink] because I wanted to own up to the fact that ther e were certain decisions that were being made. \; I was redirecting som e of the formal issues and I wanted to own up to that fact in the way that I hadn&rsquo\;t when I originally started showing the sign work which was s eemingly more straight forward\, conceptual work.

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Grocery Store/

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Going into mom and p op stores got me thinking on the unwritten rules of the grocery store.  \; You get a shopping cart and you put things in your shopping cart. But th at&rsquo\;s not your stuff. You don&rsquo\;t own the items just because you put them in there\, but you declare them as yours and in a sense it is you rs. You are not really allowed to go into somebody else&rsquo\;s shopping c art and take it just because you want it. This is a temporary private place \, a private property space. So that&rsquo\;s one rule. \; But nobody s tates these rules. \; I started taking some of the products and making sculptures in the middle of the aisles. Just because I wanted to see what i t looked like. \; And perhaps for the thrill of doing something you&rsq uo\;re not supposed to do. You might get told you can&rsquo\;t do that. The re are no rules that say no so I would go to stores and take items from the shelves and stack them. I would stack coffee cans as high as I could.  \; I would contemplate them. I would look and I would watch people navigate them. I took pictures of this. Aisles are just wide enough so that you can have two carts going opposite directions without hitting each other. The s tacks would often bisect that\, not always. \;

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I would go to a store and loo k like I knew what I was doing because there are people that build displays in the stores but they are usually from Nabisco or another company or the store itself. They make their sculptures. But I was making completely diffe rent sculptural compositions with different ideas in mind.

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I made a sculpture du ring a busy time and the clerks came over to me and just asked if I could c ome back and do it at a less busy time. &ldquo\;It&rsquo\;s just too busy&r dquo\; they said. \; It was surprising. \; And I said\, &ldquo\;oka y\, that&rsquo\;s fine. Let me take a picture and I&rsquo\;m out.&rdquo\; A nd so I did. It was as close to as busted as I ever got.

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There was the Surf and Turf piece where I took the boxes of detergent-- they&rsquo\;re so beautifu l with their blues and their oranges&mdash\;and stack them from big to smal l\, kinda like a pyramid right in front of all the meat\, all the packaged meat.

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For me\, because I saw these performances/actions as post punk\, it was im portant that after I was done\, after I had contemplated it\, maybe took so me pictures or not\, that I put back the products that I had used. That I p ut them back where they were supposed to be.

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Mark Grotjahn lives and works in Los An geles. His work has been exhibited extensively around the world including i n recent solo exhibitions at Kunstverein Freiburg\, Germany (2014)\; the Na sher Sculpture Center\, Dallas (2014)\; the Aspen Art Museum (2012)\; and i n group exhibitions at the Los Angeles County Museum of Art (2014)\; Museum of Modern Art\, New York (2014)\; and the Whitney Biennial (2006). His wor k is represented in numerous public collections\, including the Carnegie Mu seum of Art\, Pittsburgh\; Hammer Museum\, Los Angeles\; Hirshhorn Museum a nd Sculpture Garden\, Washington\, D.C.\; Los Angeles County Museum of Art\ , Los Angeles\; Museum of Contemporary Art\, Los Angeles\; Museum of Modern Art\, New York\; San Francisco Museum of Modern Art\, San Francisco\; Tate Modern\, London\; Walker Art Center\, Minneapolis\; and the Whitney Museum of American Art\, New York

DTEND:20161105 DTSTAMP:20160928T173506 DTSTART:20160910 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Sign Exchange 1993-98\, Mark Grotjahn UID:425420 END:VEVENT BEGIN:VEVENT DTEND:20160910T200000 DTSTAMP:20160928T173506 DTSTART:20160910T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Sign Exchange 1993-98\, Mark Grotjahn UID:425421 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Blum &\; Poe is pleased t o present an exhibition of new works by Los Angeles-based artist Henry Tayl or. Including new paintings and a video installation\, the works are instal led in three unique environments. This is the artist's fourth solo show wit h the gallery.
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\nTaylor's work continues to delve and expand upon the language of portraiture and painting\, while also pointing to the social and political issues affecting African Americans today. From racial inequality\, homelessness\, and poverty\, to the importance of family and community\, Taylor says\, "my paintings are what I see around me...they are my landscape paintings." His portraits reveal a fascination with the sitte rs\, who are oftentimes portrayed against solid-colored backgrounds\, as we ll as domestic and outdoor spaces. The psychological and physical implicati ons of "space" -- public vs. private\, interior vs. exterior -- is a theme that Taylor explores throughout this presentation.
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The exh ibition begins inside of an abandoned dirt lot\, similar to those from Tayl or's own adolescence\, which became playgrounds and gathering spaces for th e community. These lots also provided temporary housing\, becoming tent cit ies for the disenfranchised. As a result\, they did not go unnoticed and we re always policed. Such memories continue to influence Taylor\, who turns t o both his personal archives as well as found imagery and objects for sourc e material.
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Taylor marks the disparity between social clas ses from one gallery to the next by installing in each space a distinct ter rain. An empty\, dirt lot beside a lush\, grassy lawn inevitably points to the different groups of people who inhabit these spaces. While one space po rtrays a certain sense of abandon and despair\, the other is more about exp eriencing pleasure and comfort within private property. The subjects in the paintings vary -- from scenes of Taylor's life to imagery inspired by curr ent affairs\, candidly depicting the world around him.
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\n< div>On the evening of the opening\, a performance collaboratively conceived by Taylor and close friend\, Los Angeles-based artist and filmmaker Kahlil Joseph\, will take place in the third gallery. This staging will precede t he installation of a related video project created by the artists and inspi red by Taylor's encounter with reggae legend Bob Marley. This multi-media a nd immersive presentation weaves together personal history with collective memory\, contributing to our understanding of how public memory has been an d might continue to be framed. \;
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Henry Taylor was born in Ventura\, CA (1958) and received a BFA from the California Ins titute of the Arts. Recent solo exhibitions include \;This Side\, T hat Side\, \;The Mistake Room\, Guadalajara\, Mexico (2016)\;  \;They shot my dad\, they shot my dad!\, Artpace\, San Antonio\, T X (2015)\; \;and a \;retrospective at MoMA PS1\, Long Island City\, NY (2012). His work has been featured in group exhibitions in museums worl dwide including the Stedelijk Museum voor Actuele Kunst\, Ghent\, Belgium ( forthcoming\, 2016)\; \;Astrup Fearnley Museet\, Oslo\, Norway  \;(forthcoming\, 2016)\; \;Whitney Museum of American Art\, New Yo rk NY (2016)\; \;Hammer Museum at Art + Practice\, Los Angeles\, CA&nbs p\;(2016)\; Camden Arts Centre\, London\, UK (2016)\; \;Studio Museum\, Harlem\, NY (2013)\; Carnegie International\, Carnegie Museum of Art\, Pit tsburgh\, PA (2013)\; \;Museum of Contemporary Art\, Los Angeles\, CA ( 2012)\; \;Los Angeles County Museum of Art\, Los Angeles\, CA (2011)\; and \;the Rubell Family Collection\, Miami\, FL (2011).
DTEND:20161105 DTSTAMP:20160928T173506 DTSTART:20160910 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Henry Taylor UID:425422 END:VEVENT BEGIN:VEVENT DTEND:20160910T200000 DTSTAMP:20160928T173506 DTSTART:20160910T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Henry Taylor UID:425423 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

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

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

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

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

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ABOUT THE ARTISTS

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

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

DTEND:20161016 DTSTAMP:20160928T173506 DTSTART:20160806 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Navigating the Historical Present\, Kenyatta A.C. Hinkle\, Tyler Ma tthew Oyer UID:424574 END:VEVENT BEGIN:VEVENT DTEND:20160806T220000 DTSTAMP:20160928T173506 DTSTART:20160806T190000 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Navigating the Historical Present\, Kenyatta A.C. Hinkle\, Tyler Ma tthew Oyer UID:424575 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

DTEND:20161016 DTSTAMP:20160928T173506 DTSTART:20160806 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Days\, Jesse Kees UID:424576 END:VEVENT BEGIN:VEVENT DTEND:20160806T220000 DTSTAMP:20160928T173506 DTSTART:20160806T190000 GEO:33.7461522;-117.8695317 LOCATION:Cal State Fullerton Grand Central Art Center\,125 N. Broadway \nSa nta Ana\, CA 92701 SEQUENCE:0 SUMMARY:Days\, Jesse Kees UID:424577 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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&ldquo\;< em>My personal investigation into life deals with the human condition of tr ying to find a sense of balance that seems to exist between polar extremes &ndash\; that the human condition is to attempt to find a sense of balance between these polarities -this balance is a metaphor of life.&rdquo\;& nbsp\; - Jack Reilly\, speaking about his art.
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\n< div>Jack Reilly (b. 1950 -)\, widely recognized as a trailblazer in the Abs tract Illusion Movement\, a style where paintings &lsquo\;bend the eye&rsqu o\; to achieve three-dimensionality on a two-dimensional surface\, returns to Southern California for a concise but stirring re-evaluation of his arti stic production.
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In 1980\, Reilly burst int o L.A. with his solo show at the indomitable Molly Barnes Gallery (a tastem aker who gave early shows to John Baldessari\, Billy Al Bengston and Gronk) . This formative exhibition helped to cement Reilly&rsquo\;s reputation of creating visually powerful and unique works of art &ndash\; works that conv erge abstract expressionistic boldness\, minimalist restraint with trompe l &rsquo\;oeil wonderment. As Suzanne Muchnic\, Los Angeles Times art critic\ , observed\, &ldquo\;He does offer immediate pleasure in carefully orchestr ated compositions\, meticulous technique\, complexity of shadows and ambigu ity of light source."

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Impressed by Reilly&rsquo\;s unique style exhibited at the Barnes Gallery\, Donald Brewer (then Director of LA&rsquo\;s first museum -USC&rsquo\;s Fisher Gallery) quickly arranged for Reilly to be a featured artist for \;The Reality of Illusion\, a national traveling exhibition (Denver Art Museum\, Oakland Museum\, Johnson Museum at Cornell\, and USC Fisher Gallery). From then on\, there was no looking back. Reilly&rsquo\;s prolific artistic output has resulted in numerous public commissions\, domestic and international exhibitions\, a nd his works are in the permanent collection of several museums throughout the country.
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Balancing Act: Paintings b y Jack Reilly \;will highlight the spirit of freedom and experimen tation found in his:
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Basic Object Series \;Two-dimensional surfa ces take on ambiguous characteristics of three-dimensionality as geometric shaped canvases straddle the line between painting and sculpture\; \;\n
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S haped-Canvas Abstractions \; In these works\, Reilly continued t o challenge traditional concepts of illusionary and pictorial space\, execu ted within an abstract painting context\;
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Convergence Period \;Explores an eclectic mix o f abstraction\, representational painting\, classical\, historical and popu lar imagery combined with richly textured surfaces\, cast bas relief and mo saics\, all on a singular-level shaped canvas. These pieces simultaneously comment on a variety of artistic issues ranging from postmodernism to aspec ts of popular culture\, politics and the human condition\;
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The Icon Series \;Considered h ybrids of painting and sculpture\, are rendered in oil and crowned with ela borate\, gilded framework. The format Reilly has adopted pays homage to Eur opean Gothic and Proto-Renaissance icon painting. He elevates the notion of the painted landscape to that of a sacred image\, depicting nature in its pure and perfect form. Working from original sketches and photographs taken at the location\, a variety of scenic elements are composited together to create the idealized depiction of the perfect time and place.
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As the CMATO exhibition will show\, Reilly&rsquo\;s works are bright\, clean and constrained by geometry but no t artistic convention. Although the Getty Museum&rsquo\;s \;Pac ific Standard Time \;exhibition (2012) solidified Reilly&rsquo \;s place in the zeitgeist of the 80&rsquo\;s &ndash\; an era of extremes\, political movements\, the beginning of globalization- do not be mistaken i n thinking his works are out of time with our age. His works are perpetual manifestations of an artist&rsquo\;s investigation of the human condition & ndash\; an ageless inquiry into the nature of our being.
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Balancing Act: Paintings by Jack Reilly \;comple ments CMATO's permanent installation of Betty Gold's sculptures.
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\nOpening Rece ption: Thursday\, September 15\, 2016 (6PM - 8PM) @ CMATO. DTEND:20161211 DTSTAMP:20160928T173506 DTSTART:20160916 GEO:34.1759445;-118.8491312 LOCATION:California Museum of Art (CMATO)\,1948 Thousand Oaks Blvd. \nThous and Oaks\, CA 91362 SEQUENCE:0 SUMMARY:BALANCING ACT: PAINTINGS BY JACK REILLY\, Jack Reilly UID:426344 END:VEVENT BEGIN:VEVENT DTEND:20160915T200000 DTSTAMP:20160928T173506 DTSTART:20160915T180000 GEO:34.1759445;-118.8491312 LOCATION:California Museum of Art (CMATO)\,1948 Thousand Oaks Blvd. \nThous and Oaks\, CA 91362 SEQUENCE:0 SUMMARY:BALANCING ACT: PAINTINGS BY JACK REILLY\, Jack Reilly UID:426345 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CB1 Gallery is proud to announce \;Mira Schor&rsquo\;s \ ;upcoming solo exhibition \;War Frieze\, opening September 10\ , 2016. This will be the most comprehensive presentation of a major multi- canvas painting installation on the theme of militarism and aggression\, co nceived and begun by the artist in the immediate aftermath of the First Gul f War in the winter of 1991 and completed in 1994. The total work is over 2 00 running feet long and has never been seen in its entirety\, either publi cly or by the artist. CB1 Gallery will present the second half of this majo r work\, at once historic yet with continued resonance in the present day.< /p>\n

This will be the third exhibition of Schor&rsquo\;s work at CB1 Gal lery since 2010. In addition to the 1991 &ndash\; 1994 body of work\, CB1 G allery will also present a new series of works on paper\, \;&ldquo\ ;Power&rdquo\; Frieze. The exhibition will be on view from September 1 0 &ndash\; October 30\, 2016. A reception for the artist will be held on Sa turday\, September 10\, 3 &ndash\; 6 p.m.

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In her work from the 1970 s to the present\, Schor has insisted on the joining of language&mdash\;dis cursive\, narrative\, theoretical and political&mdash\;with the materiality of paint\, marking a unique path in a highly contested territory of visual art. \;War Frieze \;is exemplary of her practice. It is a lso a work which has only been seen in fragments and has yet to be fully un derstood in its role within a specific critical and historical context\, a critical lacunae that we hope this exhibition will redress\, expanding the dialogue around the work of an important\, unique\, yet under-recognized ar tist.

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In \;War Frieze\, the transmission of power in s ociety is represented by the flow of language as body fluid from sexual bod y part to body part&mdash\;language embedded into the body of oil paint. Th e language is public\, appropriated from the news\, including such phrases as &ldquo\;Area of Denial&rdquo\;&ndash\;a class of weapon aimed at denying the viability of territory for any living beings. Schor focused on this te rm because of its multiple meanings and applicability including not only it s meaning in warfare\, but also the body of painting as an area of denial w ithin postmodernism\, the body of woman as an area of denial within patriar chal culture: other phrases and words anchoring the work were suggested by the Clarence Thomas hearings and by the wording of still in play Supreme Co urt decisions on abortion\, including &ldquo\;pub(l)ic&rdquo\; and &ldquo\; Undue Burden.&rdquo\;

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In an interview published in conjunction with an exhibition at Horodner Romley Gallery in NYC in 1993\, Schor spoke abou t \;War Frieze\,

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I started \;War Frieze&n bsp\;right after the Gulf War. I wanted to make an endless painting\, about completely circular militarism and aggressivity. It is a continuation of w orks in which I represented the transmission of power in society through th e transmission of fluids from sexual body part to body part. In \;W ar Frieze \;the fluids became discursive script: sometimes the lan guage\, spelling out &ldquo\;area of denial\,&rdquo\; or &ldquo\;undue burd en&rdquo\; (from the wording of the Supreme Court&rsquo\;s Webster ruling o n abortion limits) is blood streaming through scrapped flesh\, or milk stre aking across barely stained linen. Paint is body-like anyway\, it can be me ssy or fluid\, it imparts these bodily traits to the language. \;Wa r Frieze \;is a work in progress which has evolved into nearly 200 &rsquo\; of discrete segments of from 1&rsquo\;x8&rsquo\; to 1x25&rsquo\;. One segment\, Pub(l)ic hair\, speaks to the Clarence Thomas/Anita Hill hear ings and Duchamp&rsquo\;s Fountain. Another spells out &ldquo\;It&rsquo\;s Modernism\, Stupid\,&rdquo\; inspired by the Clinton campaign motto\, &ldqu o\;It&rsquo\;s the economy\, stupid.&rdquo\; My favorite panel is the red c omma. It looks very graphic on a slide\, but is in fact very painterly. Tha t led to painting incarnated punctuation marks: cunts\, breasts\, penises f ramed by quote marks\; red commas and semi-colons set into public hair\, em bedded in flesh. Markers of printed language are sexualized\, and text\, wh ich had been so dominant over visuality in feminist theory and art in the 8 0s\, is presented for its visual seductivity and bodily contingency.

\n< p>In response to her own historical work\, Schor will also exhibit a new se ries of works on paper\, collectively titled \;&ldquo\;Power&rdquo\ ; Frieze. These drawings feature a new articulation of Schor&rsquo\;s interest in the intersection of political language and private embodiment e xemplified by the imagery of \;War Frieze\, now in the form of a phalanx of individual figures\, drawn and painted in ink and oil on skin -like tracing paper\, addressing the fragility and the resolution of the mo rtal body as the artist continues painting and writing in the face of toxic masculinity and looming fascism\, a continuation of the endless militarism and aggression that was the underlying subject of \;War Frieze.

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Of these recent works\, artist and critic Bradley Rubenstein has written\, &ldquo\;Schor&rsquo\;s paintings\, dark\, compactly strong medit ations on mortality\, power\, and language\, show an artist wrestling with the big questions. Schor has always been a painter who confronted politics\ , art history\, and painting head-on\, and these new paintings don&rsquo\;t veer far from that course&hellip\;.Schor understands the vocabulary of the millennial generation\, yet her work suggests that there are traditions in painting that are slowly being degraded or forgotten&mdash\;lost knowledge coming at great expense to our shared cultural understanding. Schor&rsquo\ ;s drawings are meditations on time and aging\, and on the power of art to transform and transcend the temporal.&rdquo\; Novelist and critic Will Hein rich wrote of Schor&rsquo\;s \;&ldquo\;Power&rdquo\; Figures\, &ldquo\;By stripping the husk from self-image &hellip\; what Schor reveals is its mysteriously contradictory truth: the anger\, frustration\, and ins ecurity that underlie an extravagantly self- deprecating joke like a skelet on with breasts\, but also the absurdity that underlies them\; the bitter p inch of decay underlying creation\, and vice versa\; and\, especially\, the unresolvable tussle between roles that are socially imposed and those that emerge from within.&rdquo\;

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Mira Schor is a New York-based artist and writer. Her work has been included in exhibitions at the Jewish Museum in New York City\, The Hammer Museum\, P.S.1\, the Neuberger Museum\, and t he Aldrich Museum. Interviews with Schor have appeared on Art21Blog\, Bombl og\, Hyperallergic\, Artinfo and Culture Catch. She participated in ARTspac e&rsquo\;s Annual Distinguished Artists&rsquo\; Interviews at the 2013 Annu al College Art Association Conference in New York. She is the author of&nbs p\;A Decade of Negative Thinking: Essays on Art\, Politics\, and Daily Life \;(2009)\, \;Wet: On Painting\, Feminism\, and Art Cu lture \;(1997\; both Duke University Press)\, and of the blog  \;A Year of Positive Thinking. She is the co-editor of \;M /E/A/N/I/N/G \;Online and recent writings have appeared in Artforu m and The Brooklyn Rail. Schor is the recipient of many prestigious awards including a Guggenheim Fellowship in Painting\, a Pollock Krasner Grant\, t he College Art Association&rsquo\;s Frank Jewett Mather Award in Art Critic ism\, and the Creative Capital / Warhol Foundation Arts Writers Grant. She is an Associate Teaching Professor in Fine Arts at Parsons The New School f or Design. Schor&rsquo\;s recent exhibition of paintings and works on paper at Lyles &\; King Gallery in New York City\, \;Death Is A Conce ptual Artist\, was an Artforum Critics&rsquo\; Pick\, and received ste llar reviews on Hyperallergic and Artslant\; the exhibition was featured on Contemporary Art Daily.

DTEND:20161030 DTSTAMP:20160928T173506 DTSTART:20160910 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:War Frieze (1991 – 1994) and “Power” Frieze\, Mira Schor UID:426728 END:VEVENT BEGIN:VEVENT DTEND:20160910T180000 DTSTAMP:20160928T173506 DTSTART:20160910T150000 GEO:34.022341;-118.230476 LOCATION:CB1 Gallery\,1923 S. Santa Fe Ave \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:War Frieze (1991 – 1994) and “Power” Frieze\, Mira Schor UID:426729 END:VEVENT END:VCALENDAR