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1301PE is pleased to announce its first solo exhibition with Dü\; sseldorf-based artist Jan Albers. Albers utilizes a variety of primarily in dustrial materials and combines these elements into what can be described a s both pictures and objects. Presented in this exhibition will be a new oeu vre of chainsaw massacres\, wedge pieces\, crumbled bicycles and apocalypti c landscapes.

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&ldquo\;Even if the attitude is that painting is over\, I still keep on working on the idea of doing something new\, by avoiding oil paint on canvas.&rdquo\; &ndash\; Jan Albers

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Henry Hurt vs. Holly Heal is about the opposed ingredients that one needs for stimulation\, hurting and healing\, destruction and fixing\, and chaos and order. All th ese contradicting binaries make one feel alive. Albers&rsquo\; &ldquo\;pain tings&rdquo\; oscillate between sites of destruction and repair.

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Jan Albers was born in Wuppertal\, Germany and grew up in Namibia. He lives and works in Dü\;sseldorf\, Germany. Alber s was the recipient of the 2013 Dahlmann Prize in conjunction with his solo exhibition at the Leopold-Hoesch-Musuem in Dü\;ren\, Germany.

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Other recent solo exhibitions include Up & \; Down\, Kunsthalle Giessen\, Germany\; parcOurs mOrtale\, Langen Foundati on\, Neuss\, Germany\; and Kollekte\, two person show with Jens Ullrich\, c ur. Stefanie Kreuzer\, Museum Morsborich\, Leverkusen\, Germany. Selected g roup exhibitions include Transfer Korea-NRW\, Seoul\, South Korea\; The end of the line: attitudes in drawing\, organized by Hayward Touring\, UK\; Op tical &\; Visionary Art since the 1960s\, San Antonio Museum of Art\, Sa n Antonio\, TX and Memorial Gallery at the University of Rochester\, Roches ter\, NY\; and Non-stop beautiful ladies\, Marfa\, TX. Jan Albers was also given the Kaiserring Stipened Award in 2007 from the Museum Moenchehaus in Goslar\, Germany.

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For more informatio n please contact Carmel Ni or Brian Butler 323.938.5822.

DTEND:20140426 DTSTAMP:20140416T135432 DTSTART:20140315 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Henry Hurt vs. Holly Heal\, Jan Albers UID:318030 END:VEVENT BEGIN:VEVENT DTEND:20140315T200000 DTSTAMP:20140416T135432 DTSTART:20140315T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Henry Hurt vs. Holly Heal\, Jan Albers UID:318031 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As part of 18th Street Arts Center&rsquo\;s core program\, the Artist La bs series\, Spanish-born\, Los Angeles-based artist Patricia Fern&a acute\;ndez further develops her explorations of the geographic hi story that underpins generations of displacement and repression in Spain be ginning with Franco&rsquo\;s dictatorship. In her project Points of Dep arture (between Spain and France)\, Ferná\;ndez investigates nar ratives from her land of origin through a series of walks over the Pyrenees .

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Points of Departure (between Spain and France) encompasses a series of walks\, an archive\, objects\, and paintings. Ferná\;ndez&r squo\;s project began in 2012 with an initial walk over the mountain range of the Pyrenees\, the border from Spain into France\, following Jose Garcia Cinca in the footsteps of the thousands of Spanish Republicans that crosse d the same border during the mass exodus after the Spanish Civil War called La Retirada (1939). In an attempt to retrace personal histories through th e process of reading the landscape\, Ferná\;ndez began to rewrite and reconstruct narrative from this point of entry\, as she experienced both t his metaphorical and historical boundary line. Taking Pierre Nora&rsquo\;s idea of the historian as &ldquo\;vehicle of transmission\,&rdquo\; Fern&aac ute\;ndez attempts to weave together a dynamic account of history through a series of paintings\, objects and texts that re-present the sites and the persons that passed through them. Through this process of re-performing a p ath in history\, Ferná\;ndez began to build not only her story but al so Jose&rsquo\;s\, which is bound to the stories of the many others who wal ked.

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At 18th Street\, Ferná\;ndez will use the Artist Lab as a wor king studio where she will continue to index the collection of objects base d on her walks over the Pyrenees and translate writings from Spanish into E nglish. The material ephemera and the oral histories that construct her nar rative will be presented in an immersive installation\, as a reconstruction of a space resembling the municipal archives of Bordeaux. Ferná\;nde z will present a collection of reconstructed and found objects informed by the individual stories of Republican exiles that fled Spain during the mass exodus in 1939 and first-hand accounts of those that remained during Franc o&rsquo\;s 36 year dictatorship. She will weave together the history of the permanent exiles and Spanish Republicans that fled to France through an ar chive fabricated from individual exiles&rsquo\; memories standing in for th e missing archives of their journeys that were lost during the Vichy regime . Finding gaps in time and information\, Ferná\;ndez will recreate th e archives from recollections of the Spanish exiles who have shared lived e xperiences and recalled memories of their journeys over the Pyrenees with h er. Ferná\;ndez will engage in weekly performative lectures on the va rious subjects that build this archive\, expanding her artistic investigati ons of these stories from objects to oral histories and thereby developing an emerging sphere of its expression through language and performance.

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< em>Patricia Ferná\;ndez&rsquo\;s Artist Lab Residency at 18th Street Arts Center and all associated events have been made possible through the g enerous support of the Los Angeles County Arts Commission and The Andy Warh ol Foundation for the Visual Arts.

DTEND:20140628 DTSTAMP:20140416T135432 DTSTART:20140414 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Points of Departure (between Spain and France)\, PATRICIA FERNANDEZ UID:329613 END:VEVENT BEGIN:VEVENT DTEND:20140517T210000 DTSTAMP:20140416T135432 DTSTART:20140517T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Points of Departure (between Spain and France)\, PATRICIA FERNANDEZ UID:329614 END:VEVENT BEGIN:VEVENT DESCRIPTION:

18th Street Arts Center is pleased to present an exhibition curated by&n bsp\;EZTV&rsquo\;s Michael J. Masucci exploring the evolution of digital ar t in Los Angeles over two decades of recent history. \;EZTV\, a pioneer ing video space founded in West Hollywood in 1979\, has been part of the re sident artist community at 18th Street Arts Center since 2000. The exhibiti on in the Atrium Gallery is a complement to the retrospective \;EZT V: Video Transfer \;on view at USC&rsquo\;sONE Archives Gallery&nb sp\;and Museum through June 1\, 2014. \;Hacking the Timeline v3.0: Digilantism and the LA Digital Art Movement (1985-2005) \;includes artists Victor Acevedo\, Rebecca Allen\, Dave Curlender and David Goodsell \, Kate Johnson\, Shelley Lake\, Vibeke Sorensen\, and Michael Wright. Many of these digital art pioneers were associated withEZTV \;in the early days of the collective and the artistic medium. In an era before personal c omputing\, these artists imagined a future of ubiquitous connectivity that we now find commonplace. They developed a visual and technical language to articulate the relationships between live action and virtual imagery\, and between classical influences and new visual forms. Los Angeles has been hom e to much of this transformative arts movement\, conceptually as well as te chnologically. Many of the seminal collaboration projects realized by artis ts and scientists in tandem through \;EZTV \;have transformed the w orld that we take for granted today. The role that such trans-disciplinary collaboration played at universities\, governmental\, and industrial sites as well as at the independent artist studio level will be investigated thro ugh examination of the work of these seven artists and one collaborating sc ientist.

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Conceived in 1979 by John Dorr\, and founded in 1983 as an ongo ing space\, \;EZTV(eztvmuseum.com) has continued to evolve under the di rection of Michael J. Masucci (co-artistic director since 1986) and Kate Jo hnson (since 1993). \;EZTV \;was a pioneer in independent desktop v ideo production\, microcinema\, self-distribution\, artist-based curating\, public practice\, multimedia live performance and the use of video project ion in exhibition settings. It created what were among the world&rsquo\;s f irst theaters dedicated to video and among the world&rsquo\;s first art gal leries dedicated to digital art. \;EZTV \;was one of the earliest a rts groups to articulate the transformative emergence of mobile communicati ons.

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From the 1980s into the mid-1990s\, \;EZTV \;also operated a community-based production and post-production facility where independent media makers had low and sometimes no-cost access to technology\, prior to the proliferation of DIY tools and technologies. In addition to its litera lly hundreds of gallery shows\, site-specific performances\, television and video screenings\, \;EZTV \;became a major Southern California loc ation for the online digital revolution. As of 2013\, \;EZTV \;is n ow an online video gallery and resource to artists\, historians\, scholars\ , and anyone interested in the development and evolution of independent vid eo and digital media.

DTEND:20140627 DTSTAMP:20140416T135432 DTSTART:20140414 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Hacking the Timeline v3.0: Digilantism and the LA Digital Art Movem ent (1985-2005) UID:330310 END:VEVENT BEGIN:VEVENT DTEND:20140517T210000 DTSTAMP:20140416T135432 DTSTART:20140517T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Hacking the Timeline v3.0: Digilantism and the LA Digital Art Movem ent (1985-2005) UID:330311 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Frenetic Happiness

Proudly presenting a selection
of our fantastic printed matter

Vernissage
31 jan &ndash\; 19:00 - 22:00

A C rash Course in
Self Obsessed Behaviour

DTEND:20140508 DTSTAMP:20140416T135432 DTSTART:20140131 GEO:34.0190925;-118.2316133 LOCATION:2nd Cannons\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:A Crash Course in Self Obsessed Behaviour UID:323070 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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DTEND:20140510 DTSTAMP:20140416T135432 DTSTART:20140322 GEO:34.0190925;-118.2316133 LOCATION:2nd Cannons\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Cherub\, Polly Apfelbaum\, Keith Boadwee\, Aaron Curry\, Eve Fowler \, Math Bass\, Samara Golden\, Stanya Kahn\, Rachelle Sawatsky\, Benjamin W eissman\, Basil Wolverton UID:327794 END:VEVENT BEGIN:VEVENT DTEND:20140322T210000 DTSTAMP:20140416T135432 DTSTART:20140322T180000 GEO:34.0190925;-118.2316133 LOCATION:2nd Cannons\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Cherub\, Polly Apfelbaum\, Math Bass\, Keith Boadwee\, Aaron Curry\ , Eve Fowler\, Samara Golden\, Stanya Kahn\, Rachelle Sawatsky\, Benjamin W eissman\, Basil Wolverton UID:327795 END:VEVENT BEGIN:VEVENT DESCRIPTION:

2x8 is an annual exhibition sp onsored by the AIA|LA\, showcasing exemplary student work from architecture and design institutions throughout California. Each of the participating a cademic programs selects two projects that exemplify its core vision. The s tudents' work will be judged by a noteworthy panel of architects and design ers who will then announce the winners at the exhibition opening and conven e in a forum to discuss the award-winning work. \; \; \;

\n< p style="text-align: justify\;">A competition to design the exhibit for 2x8 : evolve was held earlier this year and the AIA|LA academic outreach commit tee selected &lsquo\;Cellular Complexity&rsquo\;\, a project by UCLA lectur er Julia Korner in collaboration With Marie Boltenstern and Kais Al-Rawi\, as the winning entry.

DTEND:20140511 DTSTAMP:20140416T135432 DTSTART:20140411 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:2x8 Evolve UID:327220 END:VEVENT BEGIN:VEVENT DTEND:20140411T170000 DTSTAMP:20140416T135432 DTSTART:20140411T110000 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:2x8 Evolve UID:327221 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This first of its kind exhibition looks at the architecture and technolo gy that created a new kind of space-age recreation center and reinvented th e sport of bowling in the 1950s.

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Through rarely seen photographs\, draw ings\, and original artifacts\, take a peek into this lost world of extreme architecture- a time when one in four Americans considered themselves bowl ers\, when glitzy 50-lane pleasure palaces were open 24 hours a day\, and e xperience the leisure lifestyle of Bowlarama. \;

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This exhibition is curated by Chris Nichols. Nichols is a longtime preservationist who has wor ked to save historic mid-century buildings for 25 years. He is former chair man of the Los Angeles Conservancy Modern Committee and is currently on the board of Hollywood Heritage. He is an editor and columnist at Los Angeles magazine.

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This exhibition is sponsored by Bowlmor AMF\, PINZ Bowling Cen ter\, International Bowling Industry magazine\, and the Bowling Centers of Southern California.
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DTEND:20140511 DTSTAMP:20140416T135432 DTSTART:20140411 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Bowlarama: California Bowling Architecture 1954-1964 UID:330721 END:VEVENT BEGIN:VEVENT DTEND:20140411T170000 DTSTAMP:20140416T135432 DTSTART:20140411T110000 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Bowlarama: California Bowling Architecture 1954-1964 UID:330722 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Since the early 1980&rsquo \;s Lang has explored his Circles in concert with his Word Work\, begun in the early 70&rsquo\;s. This exhibit is the first time the Words will be ins talled along with Lang&rsquo\;s Circles in a gallery. The Circles and the W ords combine seemingly opposing elements: the rational and the emotional\, the harmonic and the dissonant\, and a high degree of controlled randomness .

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Lang is deeply devoted t o the physical act of painting: that creative period when he focuses exclus ively on the subtle interaction of brush\, hand\, paint and canvas. Lang st ates\, &ldquo\;I ensure a free mind while applying paint to surface.&rdquo\ ; From a distance\, all of his works appear to be precisely painted\, almos t machine-made\, but up-close they are distinctly hand-made. In planning an d executing the Circle Paintings\, Lang first selects his palette\, devisin g a chart to determine\, or to use Lang&rsquo\;s word &ldquo\;navigate&rdqu o\;\, their sequence within the composition. &ldquo\;I do this preliminary work to eliminate the burden of mind while touching the surface with pigmen t.&rdquo\;

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Using these cha rts\, simple mathematical models\, and logic at the preparatory stage thus frees Lang to be &ldquo\;hyper-present&rdquo\; when painting. The process i ntroduces a degree of chance and the unexpected into his works\, which Lang relates to both musical compositions (especially the works and writings of John Cage) and the ambient sounds we hear everyday. When he was in his lat e teens\, Lange began taping the random sounds he heard at home and while t raveling. Seeking to depict in paint those indiscriminate passages of sound and silence\, he invented numerous ways to introduce chance\, lyricism\, t extures\, and rhythms into his painting&ndash\; a process that can extend o ver many months on a given work.

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Lang&rsquo\;s concepts relate most closely to marks and symbols that Paul Klee used in his paintings and drawings during the early 20th century \, and the origins of trance works witnessed in the primal marks and geomet ry of Paleolithic sites in Europe and petroglyphs in California.

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The tradition of circle paintings is indelibly linked to the symbolism of the circle itself. As a sign of perfe ction\, unity\, wholeness\, infinity\, and cosmic order among many other as sociations\, circle paintings date from pre-historic times. The circular co mposition or tondo became common in the fifteenth and early sixteenth centu ries\, when artists (particularly Botticelli and Raphael) utilized the shap e to focus the viewer&rsquo\;s attention on center.

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&ldquo\;The Words help me unravel and process the horror and magic of people. The Circles have always been a vehicle for dra wing the future my way while expanding the present&hellip\; a kind of tow r ope to eternity.&rdquo\;

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\n< p style="text-align: justify\;">Au ratic Absolutism: Gary Lang&rsquo\;s Tondos by Donald Kuspit

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It is\, no doubt\, a strange as sociation\, but I suggest there is a deep\, if not immediately evident\, af finity between Gary Lang&rsquo\;s tondos\, composed of concentric circles o f varying colors and widths\, and the domes of Hagia Sophia\, built between 532 and 537\, for the Emperor Justinian\, and St. Peter&rsquo\;s\, designe d in 1505\, almost a millennium later\, by Bramante for Pope Julius II. The se heavenly domes are also composed of concentric circles\, each circle a s ort of halo or aura\, ceremonially circumambulating and mystically containi ng a center&mdash\;a sort of spiritual center\, for it is the &ldquo\;site& rdquo\; of transcendence.

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The dome was the heaven in which God mysteriously lived\, its harmonious st ructure suggesting his creative precision and deliberateness. Lang&rsquo\;s tondos continue the tradition of mystical architecture\, but in the medium of paint rather than stone\, and with an intensity and urgency that the mo re inwardly serene and balanced domes have no need of.

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Lang&rsquo\;s grand tondos breathe fresh spiri tual and symbolic life into the modernist icon\, rescuing it from abstract reduction and absurdum\, and adding a &ldquo\;conceptual&rdquo\; richness a nd depth to their perceptual assertiveness. One might go so far as to say t hat Lang&rsquo\;s tondos\, with their hypnotically repeated circles and vig orous colors\, some radiantly bright\, others imbued with shadow\, all dram atically interacting&mdash\;Baroque\, 2009 and Rock and Bang\, 2010\, as well as Imperial\, make the point clearly--are upd ated or modernized religious icons\, indeed\, altarpieces.

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The Materialization of Studio Thou ghts By Janet Koplos

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In this combination of word and substance\, Lang intuitively engages th e realm of concrete poetry.

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The &lsquo\;Word Pieces&rsquo\; can only be described as poetic\, yet the y avoid the labored and off-putting formality of language that strives to s ound poetic. Rather\, the economy and concision of the statements give them a Zen-like quality of reduction to essentials. And since at the same time they communicate feelings rather than flat observations\, they can at best have the power of an arrow to the heart.

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There is a rhythm to the texts\, but it&rsquo\;s not one of conventially poetic iambic pentameter or the like\; instead each word seems to be intoned. You can imagine a sonorous chant. Meanwhile the motion of t he letters on paper pulls and stops and throbs and recedes\, pulsing in for m and\, especially\, in Lang&rsquo\;s beloved polychrome. It&rsquo\;s a ric hly satisfying poetic and artistic invention: intellectually verbal\, impli citly aural\, seductively visual.

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Born in Los Angeles in 1950\, Lang attended the California I nstitute of the Arts. He received an MFA from Yale University in 1975\, and a Fulbright/Hayes Travel and Research Grant to live in Barcelona for two y ears prior to settling in New York City. Lang has had more than seventy sol o exhibitions in the United States\, Austria\, France\, Japan\, The Netherl ands\, and Spain. He now lives and works in Southern California.

DTEND:20140430 DTSTAMP:20140416T135432 DTSTART:20140327 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Circles/Words\, Gary Lang UID:324593 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140426 DTSTAMP:20140416T135432 DTSTART:20140303 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Solo Exhibition\, Bernar Venet UID:324595 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140426 DTSTAMP:20140416T135432 DTSTART:20140303 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Solo Exhibition\, Mary Corse UID:324596 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140426 DTSTAMP:20140416T135432 DTSTART:20140303 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Solo Exhibition\, Charles Fine UID:324600 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140426 DTSTAMP:20140416T135432 DTSTART:20140303 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Solo Exhibition\, Phil Frost UID:324601 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present a solo exhibition of new wo rk by Daniel Cummings. Never limited to one material\, the show will feature the artist's drawings\, large-scale paintings\, and a si te-specific sculptural work installed on the faç\;ade of the gallery building on Wilshire Blvd. Using simple\, gestural drawings as a starting p oint &ndash\; lyrical\, curvilinear sculptures and bold\, feverish painting s emerge. \;

Daniel Cummings (b.1980) lives and works in Los Angeleles. He received his BA from Bard College\, and his MFA from the University of California\, Los Angeles . This will be his third solo exhibition at ACME. Recent exhibitions includ e ACME.\, Los Angeles\, CA\; Inman Gallery\, Houston\, TX\; Cultural Arts C enter in Longview\, MO\; and the Santa Monica Museum of Art.

DTEND:20140419 DTSTAMP:20140416T135432 DTSTART:20140322 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Sculpture\, Paintings and Drawings\, Daniel Cummings UID:324516 END:VEVENT BEGIN:VEVENT DTEND:20140322T200000 DTSTAMP:20140416T135432 DTSTART:20140322T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Sculpture\, Paintings and Drawings\, Daniel Cummings UID:324517 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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 \; DTEND:20140504 DTSTAMP:20140416T135432 DTSTART:20140225 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:In the Spotlight\, Ray Eames UID:316947 END:VEVENT BEGIN:VEVENT DTEND:20140228T220000 DTSTAMP:20140416T135432 DTSTART:20140228T190000 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:In the Spotlight\, Ray Eames UID:316948 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A&\;R is pleased to present Miracle Hour 5112\, a selection of new paintings by Grant Barnhar t. The occasion marks the artist&rsquo\;s second solo exhibition i n Los Angeles.

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The genesis for this body of work occurred during a visit to a Navajo reservation in New Mexico. While there\, Barnhart absorbed Nav ajo culture\, its artifacts and mythology. Following his participation in a series of ceremonial sweat lodges\, Barnhart began to have vivid recurring dreams marked by a repeating portal image in the shape of a circl e pierced by a trifurcated form. The trip took place during a sabbatical fr om art making and marked the start of a creative renewal for the artist.

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The visions Barnhart experienced on the reservation would eventually take shape in the form of a series of opaque drawings comprised of oil stick on canvas. He discovered an affinity for this medium out of necessity as oil s ticks proved easy to transport while nomadically exploring the American Sou thwest. These works encompass the symbiotic relationship between life and d ecay and correspond to Barnhart&rsquo\;s interest in Navajo sand paintings. Employed to heal the sick\, these patterned compositions are completed in one sitting by a medicine man and subsequently destroyed following the comp letion of the ceremony.

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The oil stick drawings segued into Barnhart&rsqu o\;s most recent tarp paintings\, which are central to the exhibit. These w orks represent the mental and physical landscapes that lie beyond Barnhart& rsquo\;s &ldquo\;portal&rdquo\; compositions. Their muddled surfaces are in terspersed with feverish mark making and floating geometry to manifest a bi llowy cosmos. The two most monumental tarp paintings\, Where We Live and Miracle Hour\, function as palimpsests\, a journal of destr uction and creation that is both confiding and foreboding.

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Grant Barnhar t was born in Topeka\, Kansas in 1978. He lives and works in upstate New Yo rk.

DTEND:20140419 DTSTAMP:20140416T135432 DTSTART:20140322 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Miracle Hour 5112\, Grant Barnhart UID:327224 END:VEVENT BEGIN:VEVENT DTEND:20140322T200000 DTSTAMP:20140416T135432 DTSTART:20140322T180000 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Miracle Hour 5112\, Grant Barnhart UID:327225 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:20140416T135432 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:20140416T135432 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 END:VCALENDAR