BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20150531 DTSTAMP:20150525T134409 DTSTART:20150410 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:The Loste Note\, Kerry Tribe UID:377825 END:VEVENT BEGIN:VEVENT DTEND:20150410T220000 DTSTAMP:20150525T134409 DTSTART:20150410T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:The Loste Note\, Kerry Tribe UID:377826 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening reception \;
Sunday\, May 3rd from \;6 - 9 PM \;
with a performance by Graham Lambkin at \;7:30 PM

DTEND:20150628 DTSTAMP:20150525T134409 DTSTART:20150503 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Marble on the Rot\, Graham Lambkin UID:382641 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ace Gallery presents a solo exhibition by Natalie Arnoldi on Friday\, May 1st\, 2015 from 7:00 &ndash\; 9:00 PM at Ace Gallery Los Ange les located at 5514 Wilshire Boulevard\, Los Angeles\, CA 90036.

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Th ese opaque works necessitate a deeper comprehension of her subjects beyond what they explicitly represent. Roads emerge from a thick blanket of fog\; airplane lights dazzle in an early morning haze\; fireworks ignite an onyx- vblack night sky\; her paintings separate the viewer from the world of hars h lines\, distinct form\, and certainty\; transporting them into the calm a nd sometimes unsettling world of ambiguity and solace.

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The harmonio us balance that arises from a lack of extraneous detail and the attention t o vaporous texture creates layers of profound and psychological nuances tha t the viewer is encouraged to explore. It is this masterful appreciation fo r the sublime that allows the viewer to become immersed into the dense\, ne bulous and seemingly endless atmosphere of her paintings.

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&ldquo\;I am very interested in exploring the line between abstract and figurative w ork &ndash\; trying to combine the ambiguous evocativeness of abstract pain ting with enough figurative representation to place the viewer in a specifi c time and space.&rdquo\; Her minimal works employ universally understood s ubject matter to facilitate entry into the unique world she has created. Th is world is both familiar and mysterious\, as it emcompasses both an unders tanding of modern amenities (roads\, planes and fuel stations)\, and a sens e of nostalgia\, as if these modern conveniences were abandoned in decades prior.

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Arnoldi&rsquo\;s fascination with the ocean and modern scien ce emerges in her art with an unlikely marriage between romantic art and lo gic-driven science. These atmospheric works embody an ethereal layer of haz e that swallows even the subtlest drops of light\, transforming them into b eacons that signal human presence in even the most desolate of places.

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&ldquo\;I choose the imagery for several reasons\, the first of which b eing\, of course\, that they appeal to me. Airplanes\, transportation\, fos sil fuels\, dying technologies and environments\; all are very important to me in both my academic and artistic life.&rdquo\;

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&ldquo\;Both pro cesses\, science and art\, are a form of exploration\, at once (both) highl y emotional and analytical\, but always inquisitive.&rdquo\;

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Natali e Arnoldi was born in 1990 and lives and works southern California. Recentl y graduating from Stanford University with a Masters degree in Earth System s specializing in ocean science and policy along with her Bachelors in Mari ne Biology\, Arnoldi has seamlessly coalesced her academic pursuits with he r artistic expression. Since Arnoldi&rsquo\;s first exhibition at the age o f 19\, her precocious beginnings have expanded to include over 25 exhibitio ns.

DTEND:20150701 DTSTAMP:20150525T134409 DTSTART:20150501 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Natalie Arnoldi : Recent Paintings\, Natalie Arnoldi UID:382051 END:VEVENT BEGIN:VEVENT DTEND:20150501T210000 DTSTAMP:20150525T134409 DTSTART:20150501T190000 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Natalie Arnoldi : Recent Paintings\, Natalie Arnoldi UID:382052 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150530 DTSTAMP:20150525T134409 DTSTART:20150425 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:UR Merkel\, Matt Merkel Hess UID:379939 END:VEVENT BEGIN:VEVENT DTEND:20150425T200000 DTSTAMP:20150525T134409 DTSTART:20150425T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:UR Merkel\, Matt Merkel Hess UID:379940 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present a solo exhibition of four new sculptures by Los Angeles based artist Iva Gueo rguieva. Composed of found metal\, epoxy clay and various printmaking techn iques\, each sculpture traverses a terrain that is both physically present and illusionistic\; a dichotomy which Gueorguieva has explored extensively in her collaged paintings and works on paper. The sculptural works are a na tural step in the artist's investigation of the tension between the materia lity of paint and support\, and the possibility of illusory space. \;
Gueorguieva's complex sculptures suggest hybrid forms constructed from fragments of figures\, landscapes and machines. The sculpture\, "Vess el and Horse" resembles a model for a not-yet-built monument or building\, while "Old Knight" and "Undone Man\," appear more intimate with their human -scale. Gueorguieva's inspiration for these two sculptures is the last draw ing in Shel Silverstein's "The Giving Tree\," of the old man sitting on the stump. Lastly\, the large-scale wall sculpture "Switching House" addresses the subject of the landscape. Its bulging\, sweeping forms evoke the land as it is shaped by human activity: highways\, railroad tracks\, oil rigs\, and industry. \;

Gueorguieva first started experimenting wit h cutting and collaging the surfaces of her paintings in order to explore t he shallow yet real space produced by the cut and the glued edge. Subsequen tly\, the two-dimensional space transitioned into the three-dimensional spa ce\, and the artist proceeded to create armatures that could support the fr agments of painted and printed images. The "bodies" for the sculptures are made of found metal scraps\, each suggesting a very specific mood and space \, and therefore calling for a specific color and image. Gueorguieva then c reated etching and litho plates for each structure\, generating appropriate collage materials that were then draped over the metal and the thin layers of epoxy clay. The surfaces were further complicated by meticulous paintin g on top of the collage material\, blurring the line between the real\, scu lptural space and the perceived spaces produced by the painted mark.
< br />Iva Gueorguieva (b. 1974\, Bulgaria) received an MFA from the Tyler Sc hool of Art in Philadelphia. Recent solo shows include Samsø\;n\, Bos ton\, MA\; Ameringer | McEnery | Yohe\, New York\, NY\; Stefan Roepke Galle ry\, Cologne\, Germany\; Susanne Vielmetter Los Angeles Projects\, LA\, CA\ ; Bravin Lee Programs\, New York\, NY\; LUX Art Institute\, Encinitas\, CA\ ; Angles Gallery\, Los Angeles\, CA\; Stichting Outline\, Amsterdam\, Nethe rlands\; Pomona Museum of Art\, Claremont\, CA. Notable group shows among o thers include the Contemporary Art Museum at USF\, Tampa\, FL\; Galerie Lel ong\, New York\, NY\; Pasadena Museum of Art\, Pasadena\, CA\; Dunn and Bro wn Contemporary\, Dallas\, TX. Her work is included in many public and priv ate collections including the Los Angeles County Museum of Art\, the Minnea polis Institute of Art\, and The Museum of Contemporary Art\, Los Angeles. She is the recipient of the California Community Foundation mid-career fell owship for 2010 and the Pollock-Krasner Grant for 2006. Her work is represe nted by ACME. in Los Angeles and Ameringer| McEnery | Yohe in New York.

Iva Gueorguieva's sculptures were produced through a series of resi dencies at Graphicstudio in Tampa\, FL.

DTEND:20150530 DTSTAMP:20150525T134409 DTSTART:20150425 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Iva Gueorguieva UID:379941 END:VEVENT BEGIN:VEVENT DTEND:20150425T200000 DTSTAMP:20150525T134409 DTSTART:20150425T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Iva Gueorguieva UID:379942 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The painter observes the lands cape\, takes a palette knife and graces the canvas. It creates a geometric smudge of paint. Two more palette knife strokes and a mountain begins to fo rm. It looks coarse\, but with a background brush and some applied magic wh ite\, the slopes begin to distinguish themselves covered in heavy snowfall. Another mountain begins to form\, just to the top right\, and then another on the bottom left. The bottom of each mountain denotes a new mountain\, j ust as each peak dissolves into a new one. One mountain\, ten mountains\, a canvas of mountains.

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Whether you&rsq uo\;re climbing mountains or relaxing in your estate housing\, your Kappa t racksuit is affixed with the logo of two figures sitting back-to-back. Kapp a&rsquo\;s range of football jerseys display the wearer&rsquo\;s affinity f or clubs like West Ham\, Tottenham and Leicester City. The sleeves carry th e Kappa logo repeated down the sides of the tracksuits. Two figures on top\ , twenty down the sleeve\, a line of figures down the leg. You never forget the hook ups\, breakups and fuck ups you&rsquo\;ve experienced while weari ng your Kappa tracksuit.

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&ldquo\;I ho pe you are plagued with dissatisfaction your entire life\,&rdquo\; said Bob Ross. Because that&rsquo\;s what makes you want to paint another forest\, a hundred forests\, a whole career of forests&mdash\;the Sunday painter und erstands the rigors of landscape painting as a leisurely pursuit. The pigme nts may be oil or watercolor\, and are applied in gestures that create an i llusion of depth\, perspective and reflect the unfolding delicacy of natura l light. Every landscape is different with varied nuances\, yet the process remains similar. In one painting\, Alizarin Crimson\, Indian Yellow and Sa p Green are brought onto the palette board and mixed together to create a m ountain cabin within a placid\, densely forested valley.

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Each painting ceaselessly samples these idyllic images on repeat. One loop\, ten loops\, a whole tape of mixed signals. The langua ges are chopped and screwed\, each ripple giving way to the next in an arc of color. Tie-dyed in the age of photoshopped flawlessness. The sojourn con tinues from each point in continued cyclical motion. The tape player&rsquo\ ;s heads are worn\, the sound crackles with fuzz and it skips from overuse. The song has changed\, but it is still the same rhythm.

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Well\, the little clock on the wall says we&rsquo\;re j ust about out of time. Happy painting and God bless.

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Neil Raitt (b. 1986) recently graduated from the Royal Coll ege of Art. Raitt&rsquo\;s work has been exhibited at public and private in stitutions including the Goss-Michael Foundation\, Dallas and is the recipi ent of the Catlin Art Prize 2014. Recent exhibitions include group shows at Untitled NYC and Choi and Lager\, Cologne. Upcoming exhibitions include gr oup shows at The Hole and Super Dakota. He lives and works in London.

DTEND:20150530 DTSTAMP:20150525T134409 DTSTART:20150418 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Happy Painting\, Neil Raitt UID:378469 END:VEVENT BEGIN:VEVENT DTEND:20150418T190000 DTSTAMP:20150525T134409 DTSTART:20150418T170000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Happy Painting\, Neil Raitt UID:378470 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:20150525T134409 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:20150525T134409 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:

Creative Referendums to Human Trafficking

DTEND:20150606 DTSTAMP:20150525T134409 DTSTART:20150426 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Hidden In Plain Site\, Jerri Allyn\, Melissa Crandall\, Katelyn Dor oh\, Leah Laird\, Christine Palma\, Sarafina Rodriguez\, Leah Solo\, April Williams\, Erich Wise\, Marjan Vayghan UID:382859 END:VEVENT BEGIN:VEVENT DTEND:20150426T170000 DTSTAMP:20150525T134409 DTSTART:20150426T140000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Hidden In Plain Site\, Jerri Allyn\, Melissa Crandall\, Katelyn Dor oh\, Leah Laird\, Christine Palma\, Sarafina Rodriguez\, Leah Solo\, Marjan Vayghan\, April Williams\, Erich Wise UID:382860 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;There must be another way to go through life besides being pulled through it kicking and screamin g\,&rdquo\; thought Grisha\, as he walked out the front door heading to wor k early one \;Tuesday \;morning. The sun was shining so brightly it was painful to look up\; he squinted and schlepped to his bus stop\, heat radiating on his stooped shoulders. Grisha pictured his bus getting into an accident just cataclysmic enough where he wouldn&rsquo\;t have to go to wo rk: twisted metal without any life threatening injuries\, he quickly told h imself\, uncomfortable with the feeling that his imagination imperiled othe r people. He wondered if another downtown building would explode \;a li ttle closer to his office\, smoke coming in the cracked windows. He imagine d deftly gathering up in his arms his computer\, keyboard\, and spiral-cord ed phone\, walking past his boss\, and dropping it all on the curb. He mash ed the side of his hair with one hand and checked his watch\; \;7:45.
A bird came down off a wire to look at him\, and Grisha squinted back. The bird didn&rsquo\;t seem afraid of Grisha\; in fact\, it was the f riendliest bird he had ever interacted with. Grisha kicked his foot to scar e off the tiny creature\, but the bird did not react. Grisha glanced toward his approaching bus\, but his ambivalence was assuaged when he realized th e bird had addressed him by name. \;&ldquo\;Hello Grisha\,&rdquo\; said the bird. Hesitant to respond\, Grisha tugged his collared shirt. At almos t the same time the bus arrived to the stop and opened its large metal door s for Grisha to step in. The bird looked up one last time and said &ldquo\; Well? What are you going to do Grisha?&rdquo\; The bird began hopping down a side street and impulsively\, Grisha decided to follow the bird as the do ors of the bus closed shut.

&ldquo\;Wait\, wait\,&rdquo\; cried Grisha as he struggled to keep up with the bird. The bird halted in front o f a cafe and stared pointedly at people streaming out into the morning with cups of coffee. &ldquo\;Tell me bird\, how did you know my name?&rdquo\; a sked Grisha\, but the bird said nothing. A woman with a drawn expression to re sections of a warm rosewater almond croissant out of a brown paper bag. She chewed while shouldering her tote\, stepping off a curb\, pausing befor e finding her moment to walk between cars. Her pleasure in the pastry was g one as she arrived on the other side of the street\; her face twisted as sh e chided herself\, she shoved the remaining croissant\, wax paper\, and rec eipt back into the brown bag and deposited in a trash can without breaking her stride. \;

&ldquo\;What a waste\,&rdquo\; Grisha said\, &ldquo\;I don&rsquo\;t throw away food. Actually\, I don&rsquo\;t eat sugar \, really.&rdquo\; Grisha wondered what he was trying to prove to the bird.  \;

The bird flew to the edge of the city&rsquo\;s center\, Grisha at his heels. At the entrance to the tunnel that connected the city& rsquo\;s employees to their outlying homes\, a municipal worker sprayed a c oncrete wall with a power washer. The water ricocheted off the wall and fil led the air with mist that made little rainbows in the headlights of cars t hat crawled into the tunnel\, and the bird beckoned Grisha onto the narrow pedestrian path. Grisha hesitated to enter\; \;the tunnel was noisy and noxious with no perceivable end. Car after car contained a man or woman li p syncing to the radio or making phone calls. A diesel engine stalled\; emi ssions commingled with cigarette smoke from some languid arms in the cars&r squo\; windows. At intervals\, drivers would start up a din of horn honking even though no one had a move to make. Emerging finally from the echo cham ber\, the bird led Grisha to a footpath\, \;and they watched traffic fa n out and accelerate across the eight lane highway. \;

&ldqu o\;The city is ugly\,&rdquo\; Grisha said\, tired \;and unsure of what else could even be said. An expression of mirth flashed in the bird&rsquo\; s eyes\; the bird made a caustic dip in the air and blinked at Grisha. &ldq uo\;Bird\, I don&rsquo\;t love being the object of your ire. What do you wa nt from me? Where could I even start?&rdquo\; A weird thought occurred to G risha\, but he couldn&rsquo\;t shake it\, so he asked\, &ldquo\;Did God sen d you?&rdquo\; Met with silence from the bird\, a few steps later: &ldquo\; God?&rdquo\; \;

&ldquo\;Easy now. We have some ground to cov er Grisha. I&rsquo\;ll try to tell you when we get there.&rdquo\;

The bird set into a pace befitting a long trudge\, flying level with Gris ha&rsquo\;s hand\, as they crossed two cemeteries in grim companionable sil ence. Streets widened\, \;soot and soil blew and adhered to Grisha&rsqu o\;s moistened face. &ldquo\;There is an increasing recognition among peopl e everywhere that we are destroying ourselves and the world in which we liv e\,&rdquo\; said the bird. &ldquo\;We do not seem to be able to change the world\, to change other people\, or to change ourselves. Many of us\, mysel f included\, have felt the futility of trying to rid ourselves of frustrati on\, conflict\, pain\, and illness\, while still holding on to our old beli ef systems.&rdquo\; Relenting\, the bird was lifted into a gale and rose se veral stories higher than any of the disused buildings on the street. Grish a squinted in the ambient filth\, running\, rounded a curve\, and broke upo n a wooden boardwalk just in time to see the bird land on the prow of a boa t as it left the port. The boat towed an enormous barge of refuse. The barg e embraced heaps of wet cloth\, aluminum\, and paper exhumed from snow pile s\, containers for liquids\, drywall\, polyester\, water-spotted metal\, ma gnets\, and mud. \;

Grisha called the bird back\, but the wi nd took the sound. He was too far from home to be so alone. Grisha slumped on a high \;barbed fence and toed a bifurcated circuit board. He watche d as barge after barge made its drifting progress across the horizon.

DTEND:20150613 DTSTAMP:20150525T134409 DTSTART:20150423 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Hindsight is 20/20\, Bea Fremderman UID:378467 END:VEVENT BEGIN:VEVENT DTEND:20150423T210000 DTSTAMP:20150525T134409 DTSTART:20150423T180000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:Hindsight is 20/20\, Bea Fremderman UID:378468 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pinto mi Raya \;( &ldquo\;to draw the line&rdquo\;) is an art/archive project founded by Mexi co City-based artists Mó\;nica Mayer and Victor Lerma to &ldquo\;lubr icate the Mexican Art System.&rdquo\; It began as an artist-run gallery in 1989\, at a time when both galleries and museums were particularly closed t o non-traditional forms of art. It became a successful digital art editoria l project in the early 1990s\, producing portfolios likeMimesis\, Aquer otipo\, and \;EMPA. From its inception\, \;Pinto mi Rayahas also served as a platform from which Mayer and Lerma produc e performances that deal with different aspects of the art system\, such as the relationship between curators and critics with artists\, or the need t o document and archive ephemeral contemporary art. At points in its life&nb sp\;Pinto mi Raya \;has also transformed into radio and televi sion programs\, and now serves as a home for an array of workshops and educ ational projects on performance art\, feminist art\, and activism.

The \;Pinto mi Raya \;archive has been a central aspect of the project. In addition to their own documents and collection of catal ogues about and invitations to exhibitions of Mexican art\, Mayer and Lerma have\, since 1991\, collected the art criticism\, reviews\, and news publi shed in major local newspapers. The archive now totals approximately 300\,0 00 documents. In 2011\, to celebrate their 20th anniversary\, Mayer and Ler ma put together \;Archivo Activo\, a compilation of nearly 11\ ,000 articles divided into themes such as women artists\, performance art\, political art\, architecture\, installation\, artist-run spaces\, art and education\, and digital art. This comprehensive project was donated to seve ral Mexican universities and museums\; along with the donation Mayer and Le rma have been giving workshops and lectures on art and archive\, and archiv e and gender.

While at the Armory\, Mayer and Lerma will host a series of conversations and workshops with Los Angeles-based artists\, shar ing their experiences over the past 25 years with the \;Pinto mi Ra yaproject and focusing on artist-run spaces and the artists&rsquo\; wo rk in the archive.

A related exhibition in the Armory&rsquo\;s M ezzanine Galleries will feature a selection of the archives&rsquo\; documen ts that focuses on a series of very personal performances Mayer and Lerma h ave presented since 1980\, on their wedding day\, and are based on their pe rsonal and art-making relationship. This section of the archive was selecte d for the exhibition because their wedding invitation was printed on the sa me letterpress equipment that is now housed and used daily at the Armory\, which was previously used at the Woman&rsquo\;s Building where Mayer studie d at the Feminist Studio Workshop in the late 1970s.

Drawing fro m their earlier life experiences in Los Angeles\, another component of this residency will consist of work to extend the material in the \;Pin to mi Raya \;archive. While in residence\, the artists will explor e materials at Roosevelt High in Los Angeles\, which Lerma attended\, and a t Otis College of Art and Design\, which houses the slide and ephemera arch ive of The Woman&rsquo\;s Building\, with which Mayer was very active.

This residency and exhibition dovetails with the Armory&rsquo\;s&nbs p\;Aesthetic Experiments and Social Agents: Renegade Art and Action in Mexico in the 1990s\, part of the Getty&rsquo\;s \;Pacific Sta ndard Time: LA/LA initiative\, which will result in a series of exhibi tions in the Southern California region in 2017. \;Aesthetic Experi ments and Social Agents \;focuses on the engaged social spaces cre ated by alternative art practices in Mexico in the 1990s\, highlighting the emerging and overlapping relationships and outcomes between artistic and a ctivist practices at that time.

This exhibition is supported by the City of Los Angeles\, Department of Cultural Affairs and is part of the Getty&rsquo\;s \;Pacific Standard Time: LA/LAinitiative.

DTEND:20150906 DTSTAMP:20150525T134409 DTSTART:20150509 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Pinto mi Raya in Residency\, Mónica Mayer\, Victor Lerma UID:379215 END:VEVENT BEGIN:VEVENT DTEND:20150509T200000 DTSTAMP:20150525T134409 DTSTART:20150509T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Pinto mi Raya in Residency\, Victor Lerma\, Mónica Mayer UID:379216 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This group exhibition focuses on Victor Papanek&rsquo\;s pio neering influence on sustainable\, socially responsible\, human-centered de sign and the relevance of his oeuvre to current discourses in contemporary art\, particularly in providing a critical framework for an object-oriented social practice. The project asserts Papanek&rsquo\;s legacy as a galvaniz ing force in contemporary visual art and social practice.

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Victor Pa panek (1923\, Vienna - 1998\, Lawrence\, KS) was an American designer\, cri tic\, and educator. He studied design at Cooper Union and Massachusetts Ins titute of Technology\, was briefly a student of Frank Lloyd Wright\, taught and lectured widely around the country and in Europe\, and had a deep impa ct here in Southern California\, where he was a founding dean at California Institute of the Arts. He found a strong ally in Buckminster Fuller\, who wrote the introduction to his book \;Design for the Real World \, which remains one of the most widely read books in the field of design\, particularly in universities.

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Papanek did not believe in patents\, feeling they stymied innovation and prevented urgent design solutions from reaching their audiences. \;After Victor Papanek: The Future Is No t What It Used To Be \;pairs reproductions of Papanek&rsquo\;s ori ginal unpatented plans and drawings with realized projects by artists and a rt teams that offer interpretations of those original plans\, using Papanek &rsquo\;s works as &ldquo\;prompts&rdquo\; or &ldquo\;scores&rdquo\; for th e creation of new work by contemporary artists.

DTEND:20150906 DTSTAMP:20150525T134409 DTSTART:20150509 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:After Victor Papanek: The Future Is Not What It Used To Be \, Dave Hullfish Bailey\, CamLab\, Ken Ehrlich & Mathias Heyden\, Rafa Esparza\, Ro bby Herbst\, Olga Koumoundouros\, Liz Nurenberg\, Michael Parker UID:381560 END:VEVENT BEGIN:VEVENT DTEND:20150509T200000 DTSTAMP:20150525T134409 DTSTART:20150509T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:After Victor Papanek: The Future Is Not What It Used To Be \, Dave Hullfish Bailey\, CamLab\, Rafa Esparza\, Robby Herbst\, Ken Ehrlich & Math ias Heyden\, Olga Koumoundouros\, Liz Nurenberg\, Michael Parker UID:381561 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This group exhibition will foc us on Victor Papanek&rsquo\;s pioneering influence on sustainable\, sociall y responsible\, human-centered design and the relevance of his oeuvre to cu rrent discourses in contemporary art\, particularly in providing a critical framework for an object-oriented social practice. The project asserts Papa nek&rsquo\;s legacy as a galvanizing force in contemporary visual art and s ocial practice.

\n

Victor Papanek (1923\ , Vienna - 1998\, Lawrence\, KS) was an American designer\, critic\, and ed ucator. He studied design at Cooper Union and Massachusetts Institute of Te chnology\, was briefly a student of Frank Lloyd Wright\, taught and lecture d widely around the country and in Europe\, and had a deep impact here in S outhern California\, where he was a founding dean at California Institute o f the Arts. He found a strong ally in Buckminster Fuller\, who wrote the in troduction to his book \;Design for the Real World\, which rem ains one of the most widely read books in the field of design\, particularl y in universities.

\n

Papanek did not be lieve in patents\, feeling they stymied innovation and prevented urgent des ign solutions from reaching their audiences.After Victor Papanek: The F uture Is Not What It Used To Be \;pairs reproductions of Papanek&r squo\;s original unpatented plans and drawings with realized projects by ar tists and art teams that offer interpretations of those original plans\, us ing Papanek&rsquo\;s works as &ldquo\;prompts&rdquo\; or &ldquo\;scores&rdq uo\; for the creation of new work by contemporary artists.

\n

This exhibition is supported by The National Endowmen t for the Arts

DTEND:20150906 DTSTAMP:20150525T134409 DTSTART:20150510 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:After Victor Papanek: The Future Is Not What It Used To Be\, Victor Papanek UID:379217 END:VEVENT BEGIN:VEVENT DTEND:20150509T200000 DTSTAMP:20150525T134409 DTSTART:20150509T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:After Victor Papanek: The Future Is Not What It Used To Be\, Victor Papanek UID:379218 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art exhibition Fluidity in Ascending Scales April 25 - May 2 6\, 2015 at Artspace Warehouse. Featured artists include \;Ekaterina Ermilkina\, \;Mic hael Habicht\, \;Greet Helsen\, \;Nicola Katsikis\, andEdith Kon rad.

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The highlighted artworks explore the fluidity of scales. T his exhibition focuses on artists who actively pursue ideals on a variable scale while providing a coherent understanding of harmony in a divergent hi erarchy. The fluidity resembles a widespread analysis of globalization\, re defining existing economic and ecological boundaries. These international a rtists are motivated to transform social practices and livelyhoods. The art works include local visions while exploring global interdependent developme nts.

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Ekaterina Ermilkina's \;or iginal abstract paintings are created using a skillful combination of apply ing and removing oil paint with a palette knife on canvas. The urban scenic views are abstracted and rich with vivid and textured layers. Ermilkina&rs quo\;s emotional architectural patchwork and mosaic cityscapes radiate a li fe of balance and positive energy.

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The driving influences behind&nb sp\;Michael Habicht's \;innovative sculptur es include his unique interpretations of peace and love and the California lifestyle. Using &ldquo\;found&rdquo\; or "reclaimed" objects from seminal Los Angeles locations like the legendary Hollywood Walk of Fame and the ico nic Pacific Coast Highway\, Michael Habicht&rsquo\;s body of work reaches i nto all aspects of our visual culture.

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In her works \;Greet Helsen \;uses mainly acrylic paint\, but uses it like watercolor paint. The shimmering colored areas are superimposed and tr ansparent and are accentuated by ink lines and white light reflecting field s of color. This process produces artworks with unmistakable lightness and softness.

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Nicola Katsikis \;has bee n intrigued by graffiti from a young age\, observing subway cars with color ful images. Nicola&rsquo\;s artworks are a combination of her own photograp hs applied onto a wood panel and finished off with several coats of clear r esin.

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Edith Konrad \;paints particular ly acrylic on canvas\, collage and mixed media. Her artworks have been exhi bited internationally\, including many art fairs. In 2007 her art was acqui red by the State Museum Halifax\, Nova Scotia\, Canada. She won the 2009 Pa lm Art Award\, a Certificate of Excellence for outstanding artistic quality and originality of the work. In 2010 she exhibited at the Salon de la Cult ure at the Louvre in Paris\, France.

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DTEND:20150526 DTSTAMP:20150525T134409 DTSTART:20150425 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:Fluidity in Ascending Scales\, Ekaterina Ermilkina\, Michael Habich t\, Greet Helsen\, Nicola Katsikis\, Edith Konrad UID:382596 END:VEVENT BEGIN:VEVENT DTEND:20150425T200000 DTSTAMP:20150525T134409 DTSTART:20150425T180000 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:Fluidity in Ascending Scales\, Ekaterina Ermilkina\, Michael Habich t\, Greet Helsen\, Nicola Katsikis\, Edith Konrad UID:382597 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Blum &\; Poe announces an exhibition of new \;Face \;paintings by Mark Grotjahn. \;Fiftee n Paintings \;marks the artist's sixth solo presentation at Blum & amp\; Poe and follows recent exhibitions of Grotjahn's \;Circus \;paintings at Kunstverein Freiburg\, Germany and his \;Turki sh Forest \;series at Palazzo Grassi\, Venice\, Italy.

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Furthering his exploration into the possibilit ies of non-representational painting\, Grotjahn digs deeper into motifs dev eloped nearly a decade ago in his earliest \;Facepaintings. Du ring the last two years\, Grotjahn has made a suite of fifteen oil painting s on cardboard mounted on canvas\, each scaled at approximately 50 x 40 inc hes and informally referred to as "Indians" and "Non-Indians\," distinguish able by their respective color palettes and unique compositions. Each paint ing is grounded by a central white vertical axis from which the composition sharply radiates outward. Much like his celebrated \;Butterfly \;paintings\, the prevailing central line (resembling a tulip in earl y bloom) becomes the backbone from which the rest of the painting emerges. Other recognizable focal points\, such as elongated Picasso-esque eyes\, fl ared nostrils\, and Cheshire Cat-like grins\, can be deciphered upon furthe r reflection.

Grotjahn employs a palette knife to drag\, scrape\ , and feather densely woven layers of oil paint. Aggressively worked from t he center of the painting\, the impasto offers a glimpse into the many laye rs of color comprising the composition. Reds\, yellows\, blues\, purples\, and greens explode forward from darkened backgrounds. In some areas\, the t exture of raw cardboard is still visible. Extending beyond the vertical edg es\, thick accumulations have been left exposed. As one carefully observes and appreciates the complexity of the process\, the generosities of the wor ks as a whole are revealed.

Mark Grotjahn lives and works in Los Angeles. He has had recent solo exhibitions at Kunstverein Freiburg\, Germ any (2014)\; Nasher Sculpture Center\, Dallas (2014)\; and the Aspen Art Mu seum (2012). He also has been included in group exhibitions at the Los Ange les County Museum of Art (2014) and Museum of Modern Art\, New York (2014)\ , as well as in the Whitney Biennial (2006) and 54th Carnegie International (2004). His work is represented in numerous public collections\, including the Carnegie Museum of Art\, Pittsburgh\; Hammer Museum\, Los Angeles\; Hi rshhorn Museum and Sculpture Garden\, Washington\, D.C.\; Los Angeles Count y 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 th e Whitney Museum of American Art\, New York.
DTEND:20150620 DTSTAMP:20150525T134409 DTSTART:20150501 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Fifteen Paintings\, Mark Grotjahn UID:379943 END:VEVENT BEGIN:VEVENT DTEND:20150501T190000 DTSTAMP:20150525T134409 DTSTART:20150501T170000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Fifteen Paintings\, Mark Grotjahn UID:379944 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Have you ever wondered who was behind all of the timelines and creative graphics that make an exhibition come to life? This exhibition gives you the unique chance to learn about th e creative process of the Bowers Museum&rsquo\;s former Director of Creativ e Design\, Nancy Ravenhall Johnson.

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Where Ends Meet is about ingenuity and artistic ins piration\; it reveals a journey that thread through a graphic designer's ca reer and will be on display at the Bowers Museum from March 13 until August 16\, 2015. From 1987 to 2012\, Nancy Ravenhall Johnson grew and mastered a variety of positions at the Bowers Museum. She started as Gallery Store Ma nager\, then Graphic Designer\, VP of Public Relations and Director of Crea tive Design.

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Nancy&rs quo\;s works represent many hours of research vested in technical learning\ , developing graphics and timelines and overseeing their production. Exampl es of these will be used as backdrops to the exhibition. In the foreground will be her artistic compositions. The end result is a whimsical\, joyful v iew through a kaleidoscope of digital arts\, graphic design\, and fibers.\n

As an artist\, Nancy c ommented\, &ldquo\;I have the opportunity to work with amazing artifacts an d see how other cultures transformed craft into an individual art form.&rdq uo\; It was an experience that influenced the way she looked at the world. The objects of her creation and soulful thoughts were left as a resounding message of love for people\, their culture\, and folklore\, whispered from her spirit.

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Nancy elo quently explained her creative process through basketry\, which reveals her genuine nature found in both her professional and creative careers. &ldquo \;My baskets are a reflection of other activities or projects in my life. I often sketch as a means to figure out how to utilize a scrap of raw materi al that catches my eye. Then I attempt to surrender to the process. Like wa lking a labyrinth\, weaving is an activity that has become a metaphor for m y journey in life\, choosing what path to take\, learning lessons along the way\; it can be a time for sharing within a group or inner reflection. The results are always unexpected. It is that element of surprise in how the f inished piece will turn out that keeps the process exciting.&rdquo\;

\n< p style="text-align: justify\;">Paul Johnson\, Vice President of Exhibit De sign and loving spouse to Nancy shared\, &ldquo\;Little did she know that s he was the treasure in my life. Little did I know that I would be presentin g her gifted life for the public to view and falling in love with her all o ver again.&rdquo\; All of her experiences and vision find a way for all end s to meet.

DTEND:20150816 DTSTAMP:20150525T134409 DTSTART:20150313 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Where Ends Meet: A Retrospective of Works by Nancy Ravenhall Johnso n\, Nancy Ravenhall Johnson UID:375711 END:VEVENT BEGIN:VEVENT DTEND:20150313T160000 DTSTAMP:20150525T134409 DTSTART:20150313T100000 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Where Ends Meet: A Retrospective of Works by Nancy Ravenhall Johnso n\, Nancy Ravenhall Johnson UID:375712 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A Master. China's Picasso. The People's Artist. All of these prestigious titles belong to one man\, Qi Ba ishi. Regardless of which title precedes him\, Qi Baishi is widely regarded as the most well-known and influential Chinese modern artist.

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Qi Baishi: China&rsquo\;s Modern Mas ter features over 40 of the artist's paintings\, seal carvings and woo dworks\, all of which have never before been seen outside of China. These w orks exemplify the celebrated way in which Qi Baishi employed traditional C hinese style and technique in tandem with modern individualism and expressi on. This exhibition is on loan from the Hunan Provincial Museum in Changsha \, China.

DTEND:20150711 DTSTAMP:20150525T134409 DTSTART:20150411 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:China’s Modern Master\, Qi Baishi UID:372197 END:VEVENT BEGIN:VEVENT DTEND:20150411T160000 DTSTAMP:20150525T134409 DTSTART:20150411T100000 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:China’s Modern Master\, Qi Baishi UID:372198 END:VEVENT END:VCALENDAR