BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20160731 DTSTAMP:20160531T111810 DTSTART:20160521 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Magic Mountain\, Lutz Bacher UID:416903 END:VEVENT BEGIN:VEVENT DTEND:20160521T190000 DTSTAMP:20160531T111810 DTSTART:20160521T170000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Magic Mountain\, Lutz Bacher UID:416904 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present In termission.\, a solo exhibition of new work by New York based artist Natali e Frank. Cut wooden paintings and paper pulp paintings show glimpses of per verse private dramas and the theatrical spaces in which they are performed. In one painting\, two women interact over a vase that is cut away from the painting. The woman who is most fleshed out extrudes two fingers in instru ction\, a beckoning invitation. The second woman\, more abstracted and sewn up the side\, hovers. In the other paintings\, women perform: dancing on s tage and dancing in front of a fractured sky. In another painting\, a woman 's face peers into an intimate space of men at a bathhouse\, where a scale discrepancy leads the viewer to question who is on the outside and who is o n the inside.

Also included in the show are paper pulp paintings that punctuate the space\, populating the walls with portraits of women wh o howl\, wear disguises and play with dogs. These paintings\, made at Dieu Donné\;\, a New York paper-making atelier\, use pulp to simulate pain t in some areas\, while using the materiality of the paper to evoke areas o f decorative\, gestural abstraction. All were made by dripping\, spooning a nd brushing pulp paint\, which is made up of tiny particles of paper suspen ded in water\, and placed onto a cotton or linen\, wet\, paper base. \;

Presented on yellow walls\, Frank's new paintings in paper and on wood portray women who have created worlds of their own liking--full of voyeurism\, performance\, pets and the hot colors and exuberance of horror films.

\n
Exhibition walk-through with the artist:
Saturday\, A pril 30\, 5 - 6 PM

Opening reception:
\n
Saturday\, Apr il 30\, 6 - 8 PM
DTEND:20160604 DTSTAMP:20160531T111810 DTSTART:20160430 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Intermission. \, Natalie Frank UID:416897 END:VEVENT BEGIN:VEVENT DTEND:20160430T200000 DTSTAMP:20160531T111810 DTSTART:20160430T170000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Intermission. \, Natalie Frank UID:416898 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160604 DTSTAMP:20160531T111810 DTSTART:20160430 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Part 2\, Matt Lifson UID:416899 END:VEVENT BEGIN:VEVENT DTEND:20160430T200000 DTSTAMP:20160531T111810 DTSTART:20160430T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Part 2\, Matt Lifson UID:416900 END:VEVENT BEGIN:VEVENT DESCRIPTION:
In order to read what has ne ver been written\, look deeply onto a blank wall\, an obscured face or a gl impse of human form. Every perception is fertile with meaning&ndash\;even a perceived absence provokes a search for a hidden piece or illusory presenc e. Images of two hands\, hung closely apart\, will guide the eyes towards t he unseen arms of the body that binds them together. While a keyboard space bar inputs distances between characters\, this spacing also unifies words i n the structure of a sentence. Legibility is found in the perception of wha t is real\, what is present and what is possible.
\n
 \;
\n
Anat Ebg i is pleased to present \;Quote Unquote\, Amie Dicke&rsquo\;s second solo show at the gallery\, composed of photographic prints\, mixed m edia assemblages and raw color ink plates. In this new series of work\, Dic ke interrogates the language of visual culture through breaks\, spaces and intervals of absence. Each item used by the artist is a quotation of an exi sting structure\, an artifact of a previous visual or material identity cul led from print media\, archived photography or found studio materials. Dick e&rsquo\;s work interrogates these existing visual mediums through sandpape r abrasions\, selective framing\, cropping and other deviations.
\n \;\n
Expanding on her &ldquo\;corrected artwork&rdquo\; series\, Dicke&rs quo\;s new body of work introduces pairings between similar formal elements taken from varying sources and materials. A pair of crossed women&rsquo\;s legs and a boy's folded arms echo one another in two photographs\, yet are differentiated by each figure&rsquo\;s skin tone and background color&mdas h\;black and white become inverted notions. Another pairing shows two sets of hands gesturing at a quotation mark\, but are subtracted from the male f igure lurking invisibly between the frames. Dicke&rsquo\;s \;Split Self \;is composed of two images that remove the center of a femal e face\, yet\, through this removal\, open up her identity to an infinite n umber of possibilities. A further elaboration of the unwritten is explored in two mosaics of meticulously arranged crayons.
\n
 \;
\n
In rootin g her work between the threshold of presence and possibility\, Amie Dicke a ctively engages in the sequences and contingencies that structure visual la nguage and human perception.
\n
&nbs p\;
\n
Amie Dicke (b. 1978) lives an d works in Amsterdam\, Netherlands. She received her masters at the Willem de Kooning Academy of Fine Arts in Rotterdam. Dicke has shown international ly at galleries and institutions including the Gemeente Museum\, The Hague\ , Stigter van Doesburg and Castrum Peregrini\, Amsterdam\, Peres Projects\, Berlin and Hiromi Yoshii Gallery\, Tokyo. Her work is included in collecti ons including Gemeentemuseum The Hague\, Collection Rob Defares\, Direct Ar t Collection\, the Zabludowicz Collection\, Collection Rik Reinking\, Takas hi Murakami and the City Collection of Rotterdam through the Museum Boijman s van Beuningen. Upcoming exhibitions include her solo show \;Impor tant Souvnirs \;at Looiersgracht 60\, Amsterdam.
DTEND:20160604 DTSTAMP:20160531T111810 DTSTART:20160430 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Quote Unquote\, Amie Dicke UID:415353 END:VEVENT BEGIN:VEVENT DTEND:20160430T200000 DTSTAMP:20160531T111810 DTSTART:20160430T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Quote Unquote\, Amie Dicke UID:415354 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New Monuments \;is a series of three solo exhib itions exploring monumental absences in our cultural and built landscapes. Monuments have a long histories of evoking patriarchal power\; histories th at pose critical questions for the artists participating in the show as how to create sculpture (along with video and installation) that challenges ra ther than affirm long standing ideas of the monumental. \;Andy J. Brown \,Lowell Nickel \;and \;Benjy Russell \;each incorporate aspect s of the area surrounding Angels Gate Cultural Center into their work\, anc horing their conceptual inquiry in the specific landscape of San Pedro.&nbs p\;

DTEND:20160701 DTSTAMP:20160531T111810 DTSTART:20160501 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:New Monuments \, Lowell Nickel\, Benjy Russell\, Andy J. Brown\, Ed gar Frias\, James McCarthy UID:418891 END:VEVENT BEGIN:VEVENT DTEND:20160501T200000 DTSTAMP:20160531T111810 DTSTART:20160501T180000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:New Monuments \, Andy J. Brown\, Edgar Frias\, James McCarthy\, Low ell Nickel\, Benjy Russell UID:418892 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160625 DTSTAMP:20160531T111810 DTSTART:20160514 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:For Ammonis\, Who Died at 29\, in 610\, Timothy Hull UID:417883 END:VEVENT BEGIN:VEVENT DTEND:20160514T210000 DTSTAMP:20160531T111810 DTSTART:20160514T190000 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:For Ammonis\, Who Died at 29\, in 610\, Timothy Hull UID:417884 END:VEVENT BEGIN:VEVENT DESCRIPTION:

bG Gallery presents its first feature exhibit for artist Tho mas Whittaker Kidd. This new body of work is an extraordinary series of fan tastic scenarios based on autobiographical and actual events. Thomas Whitta ker Kidd tells enigmatic tales with bold strokes\, heavy paint and searing colors. Fantastic imagery hints at the real events behind the surreal scene s\, while the truth remains elusive.

DTEND:20160601 DTSTAMP:20160531T111810 DTSTART:20160514 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Fantastic Settings for Real Events\, Thomas Whittaker Kidd UID:418141 END:VEVENT BEGIN:VEVENT DTEND:20160514T210000 DTSTAMP:20160531T111810 DTSTART:20160514T180000 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Fantastic Settings for Real Events\, Thomas Whittaker Kidd UID:418142 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum \;&\; Poe is pleas ed to present an exhibition of new work by Los Angeles-based artist Julian Hoeber. The exhibition marks Hoeber&rsquo\;s \;sixth solo exhibition wi th the gallery\, and the second chapter of an expansive ongoing project tit led \;Going \;Nowhere. \;

\n

The work of the project centers around designing and imagining an airport terminal &ndash\; one from which there are no flights\, but rather  \;circuitous journeys through the structure itself. This imaginary ter minal functions as a machine for rumination and imagination &ndash\; an exp erience intended for the viewer\, but also directly mimicking the artist&rs quo\;s process and practice\, in and out of the studio.

\n

The title \;Going Nowhere \;carries the double meaning of both the failure to make progress\, as well as the insis tence on permanence. It also plays on the etymology of the word &lsquo\;uto pia\,&rsquo\; which literally \;translates as &lsquo\;nowhere.&rsquo\; The project is in \;part a rewriting of various bits and pieces of Mode rnist utopian endeavors\, some versions more sympathetic than others. With& nbsp\;Going Nowhere \;the artist envisions what it would be li ke to make a space that produces \;contemplation and even laziness\, wh ile simultaneously acting as an architectural metaphor for the radical pote ntial of introspection.

\n

The exhibitio n includes new sculptures comprised of fiberglass-reinforced gypsum-cement\ ; molds used for producing objects that are repurposed as sculptures in and of themselves\; structural wall reliefs of curious\, meticulous forms\; as well as \;works on paper. Many of the artworks in the exhibition are p art idea-development\, part model\, and part self-contained\, informing in greater detail what the form of the airport may be &mdash\; and solidifying the artist&rsquo\;s desire to imagine the building as generative of more t han just a product of its inhabitants.

\n

Developing a formal vocabulary which fuels Hoeber to produce an ever-evol ving environment that allows for this sort of return to the center of a str ucture (or to the center of the self)\, this newest body of work \;crib s from the ideas and forms of Gin Wong\, Janet Bennett\, and Charles D. Kra tka who worked for William Pereira on the design of the Los Angeles Interna tional Airport. As well\, the work explores and riffs off of the mathematic al architecture of Anne Tyng\, who worked closely with Louis I. Kahn and is seen as a precursor to contemporary computational architecture. Through po etics and metaphor\, Hoeber&rsquo\;s ongoing collaborative processes utiliz e the forms and materials to continuously sculpt negative space.

\n

Julian Hoeber \;(b. 1974\, Philadelphia\, P A) has a BA in Art History from Tufts University\, a BFA from the School of the Museum of Fine Arts\, Boston\, and an MFA from Art Center College of D esign\, Pasadena. His work is featured in public and private collections in ternationally including Dallas Museum of Art\; Deste Foundation Centre for Contemporary Art\, Athens\; Hammer Museum\, Los Angeles\; Museum of Contemp orary Art\, Los Angeles\; Museum of Modern Art\, New York\; Nasher Sculptur e Center\, Dallas\; Rosenblum Collection\, Paris\; Rubell Family Collection \, Miami\; Francis Young Tang Teaching Museum and Art Gallery\, Skidmore Co llege\, Saratoga Springs\, NY\; and the Western Bridge Museum\, Seattle.

DTEND:20160625 DTSTAMP:20160531T111810 DTSTART:20160513 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Julian Hoeber UID:417166 END:VEVENT BEGIN:VEVENT DTEND:20160513T200000 DTSTAMP:20160531T111810 DTSTART:20160513T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Julian Hoeber UID:417167 END:VEVENT BEGIN:VEVENT DESCRIPTION:

lum &\; Poe is pleased to p resent \;Black.\, an exhibition investigating the notion and f unction of monochromatic black painting by way of the work of three artists : Zhu Jinshi\, Quentin Morris\, and Kōji Enokura. Via three distinct impuls es\, the artists convey identity\, practice\, and methodology from the frin ge &ndash\; be it sociopolitical\, geographical\, or spiritual &ndash\; man ifested through a spectrum of scale\, timbre\, and texture\, as a platform for the black pigment palette. \;Black. is comprised of three rooms respectively presenting the work of three artists.

\n

In the first gallery\, the viewer is confronted with Zh u Jinshi&rsquo\;s staggering work titled \;Wall of Air\; ten c anvases adjoined to metal frames\, spanning over 65 feet in length. These p aintings are created through a highly physical process\, oil paint applied to canvas in a manner akin to pouring asphalt pavement for roadwork. The re ference to labor is never distant from the artist&rsquo\;s practice &ndash\ ; coming of age during the onset of the Cultural Revolution of China\, Zhu was assigned factory work as a youth and thereafter developed his painterly skills by apprenticeship and without formal academic training. Zhu has con sistently experienced the position of the outsider &ndash\; operating on th e sociopolitical fringe of oppressive Cultural Revolution era China by virt ue of being an experimental artist\; and in self-exile\, relocating from Be ijing to Berlin in 1986\, remaining in the West for the following twenty ye ars. The color black of this sprawling piece channels Eastern lexicons: Hea ven&rsquo\;s Color (I-Ching)\, Daoist color symbology\, and the artist desc ribes the color as one comprised of five others &ndash\; the antithesis of void and deprivation\, but rather a dynamic amalgam.  \;

\n

In a second room\, Philadelphia artist Quentin Morr is&rsquo\; black monochrome circle paintings float on charcoal walls &ndash \; unframed\, unstretched\, and affixed by only the crest of the canvas. Mo rris has been almost exclusively employing black paint and the form of the circle in his art practice for fifty years\, beginning as a student at the Pennsylvania Academy of the Fine Arts. These narrow aesthetic parameters se rve the artist as tools for prodding and navigating identity politics and s pirituality\; they function in the critical analysis and subversion of lade n Western connotations surrounding the color\, and engage signifiers centra l to Buddhist concepts of enlightenment\, transcendence\, and the void. Mor ris explains\, &ldquo\;I began exploring monochromatic painting ... exclusi vely black using a myriad of tonalities and textures to present black's int rinsically enigmatic beauty and infinite depth\, to refute all negative cul tural mythologies about the color\, and ultimately\, to create work that in nately expresses the all encompassing spirituality of life." Morris&rsquo\; process consists of the application of graphite\, powdered pigment\, crayo n\, spray-paint\, ink\, and acrylic to surfaces of canvas\, linen\, mylar\, or found paper as they lay flat on the studio floor. What results is a bod y of work with a plethora of subtle variations\, yielded from a half-centur y meditation on the color black.

\n

The work of Kōji Enokura is rooted in the existential anxiety that permeated Ja pan in the late 1960s and early 1970s. Amid a politically tense climate of antiwar protest and concerns about the environmental cost of Japan&rsquo\;s rapid postwar modernization\, artists focused on the elemental questions o f material and space. At this time\, Enokura was associated with Mono-ha\, a group of artists who explored the qualities of natural and industrial mat erials\, and the interdependent relationships among them and their surround ing space. Discoloring the floors and walls of galleries and outdoor sites with oil\, grease\, soil and mortar\, Enokura&rsquo\;s interventions were s ome of the most enigmatic examples of the Mono-ha practice. From the end of the 1970s\, he shifted these acts of staining onto cotton cloth\, which ar e displayed in the third gallery. The artist built up dense fields of smoot h black paint\, allowing it to bleed into unmarked sections of the canvas. The phenomenological relationship between the wall\, floor\, and everyday o bjects remains crucial to many of these works. In the \;Interventio n \;series\, the artist variously leaned wooden beams against the canvas or affixed bottles\, houseplants\, and electrical sockets to the sur face\; drenching each of them in paint. In the \;Figure A  \;series\, he pinned all-black cloths to the wall and let them fold out ont o the floor.

\n

Zhu Jinshi has been the subject of numerous solo exhibitions\, including at Blum &\; Poe\, New Y ork (2016) and Blum &\; Poe\, Los Angeles (2012). \;A retrospective of the artist&rsquo\;s work \;Performance in Paint \;curat ed by Melissa Chiu\, director of the Hirshhorn Museum and Sculpture Garden in Washington DC\, recently closed at the Inside-Out Museum\, Beijing. Othe r important solo shows include \;On the Road\, City of Prague Museum\, Czech Republic (2002)\; \;Tao of Rice Paper\, Museum of Vancouver\, Canada (1997)\; and \;Fangzhen\, DAAD Galerie\, Berlin (1990). \;Recent group exhibitions include \;Alone Toge ther\, Rubell Family Collection\, Miami (2012)\; \;Mind Space: Maximalism in Contrasts\, University of Pittsburgh\, Pennsylvania (20 11)\; and \;China Now &ndash\; Art in Times of Change\, ESSL M useum\, Vienna\, Austria (2006).

\n

Quen tin Morris has exhibited at numerous museums across the country and interna tionally\, including a retrospective of the artist&rsquo\;s work at the Pen nsylvania Academy of the Fine Arts\, Philadelphia in 2004. His work has bee n featured in group exhibitions at such institutions as the African America n Museum in Philadelphia (2006\, 2000)\; Arcadia University Art Gallery\, G lenside\, PA (2001)\; The Drawing Center\, New York\, NY (2002\, 1993)\; Em ory Museum of Art and Archeology\, Atlanta\, GA (1990)\; Moore College of A rt and Design\, Philadelphia\, PA (1991\, 1990\, 1988)\; Museu de Arte Cont emporâ\;nea\, Recife\, Brazil (1993)\; Pennsylvania Academy of the Fin e Arts (2010\, 2004\, 1975)\; Philadelphia Museum of Art (1999)\; and The S tudio Museum in Harlem\, New York\, NY (2009\, 2006\, 2004).  \;

\n< p style="text-align: justify\;">This will be the third exhibition at Blum & amp\; Poe to feature the work of Kōji Enokura\, including a solo exhibition in 2013\, and his inclusion in the monumental\, historical presentation of Mono-ha curated by Mika Yoshitake in 2012\, \;Requiem for the Sun: The Art of Mono-ha. \;The artist has had numerous solo e xhibitions at Japanese galleries and museums\, including the National Museu m of Art\, Osaka (1994)\, and the Museum of Contemporary Art\, Tokyo (2005) . Enokura&rsquo\;s work has also been included in landmark surveys\, such a s \;Prima Materia\, at the Punta della Dogana\, Venic e\, Italy (2013)\; \;Reconsidering Mono-ha\, National Museum o f Art\, Osaka (2005)\; \;Avanguardie Giapponese degli Anni 70\,&nbs p\;Galleria Comunale d&rsquo\;Arte Moderna di Bologna (1992)\, and Set agaya Art Museum\, Tokyo (1993)\; Venice Biennale (1978)\; Biennale of Sydn ey (1976)\; Paris Biennale (1971)\; and \;Tokyo Biennale &rsquo\;70 : Between Man and Matter\, Tokyo Metropolitan Art Museum (1970).

DTEND:20160625 DTSTAMP:20160531T111810 DTSTART:20160513 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Black.\, Zhu Jinshi\, Quentin Morris\, Kōji Enokura UID:417168 END:VEVENT BEGIN:VEVENT DTEND:20160513T200000 DTSTAMP:20160531T111810 DTSTART:20160513T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Black.\, Kōji Enokura\, Zhu Jinshi\, Quentin Morris UID:417169 END:VEVENT BEGIN:VEVENT DESCRIPTION:
C.A.V.E. GALLERY PRESENTS OUR
\n
\n

8 YEAR ANNIVERSARY EXHIBITION
\n

in conjunction with:
\nTHE ANNUAL VENICE ARTWALK\n
\n
PLUS: \;Venice Duck Brewery& nbsp\;Pop-Up Beer Tasting!
Beats by Resident DJ Bu$R1D3R
\n
Sunday May 22
\n11am - 6pm \;- at the gallery
\n
\n
Please join us to celebrate!

Exhibit ion is on view thru \;June 19\, 2016
\n
DTEND:20160619 DTSTAMP:20160531T111810 DTSTART:20160522 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:8 Year Anniversary Celebration! UID:419220 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition is an immersive\, multi-media installation cr eated by Surreal Box Cinema\, an artistic duo formed by Lynn Rossi (photogr apher/set designer) and Nichelle Evans (set designer/conceptual artists)\, which explores the African American revolutionary path from the Trans Atlan tic Middle Passage to the present day political Arena. The multi-media inst allations includes bright\, large-scale photographs as well as live models posing with props to provide a sharp and historical insight featuring pivot al moments such as the Underground Railroad and Civil Rights Movement. This exhibition is free and open to the public. \; CAAM is located at 600 S tate Drive\, Exposition Park\, Los Angeles\, 90017. For more information vi sit www.caamuseum.org or call (213) 744-7432

DTEND:20160626 DTSTAMP:20160531T111810 DTSTART:20160118 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Evolution of the Revolution UID:407018 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Overton Loyd is an artist and illustrator widely known for designing a v ariety of caricatures and album covers\, most notably for George Clinton an d the Parliament-Funkadelic collective. Rhythm of Vision: The Artistry of O verton Loyd is the first exhibition to reveal the full trajectory of Loyd&r squo\;s complex and varied practice in painting\, drawing\, illustration an d album cover design. The exhibition features more than fifty works and cel ebrates a career that now spans four decades.

\n
Exhibition Programs
\n

Saturday\, March 19\, 2016\, 1 PM &ndash\; 4:30 PM
&ldquo\;Beyond the Nose: A Look Into My Creative Eccentric Life&rdquo\; One-on-One with Overton Loyd &\; Reception
An interview with Overton Loyd\, as he shares his creative journey from dra wing caricatures at the Michigan State Fair to becoming a visual and multim edia artist\, designer and creative director for George Clinton and Parliam ent-Funkadelic. (Artist talk: 1 - 2:30PM) (Reception: 3 - 4:30PM)

\n

Sunday\, March 20\, 2016\, 3 PM &ndash\; 4:30 PM
Exhibition Walk-through w ith Overton Loyd
Loyd wil l walk visitors through the exhibition and share insight of the history beh ind several of his artworks. Visitors can also download an app and listen t o Loyd&rsquo\;s short narratives about a few of his artworks.

\n< p class="panel-p" style="text-align: justify\;">Saturday\, April 2\, 2016\, 2 PM &ndash\; 4 PM
Character Design Art Workshop
Inspired by Overton Loyd&r squo\;s character design techniques\, this workshop will guide participants in creating their own music-inspired characters. The workshop is led by gr affiti artists MAN ONE and writer/artist Gustavo Garcia Vaca. They collabor ated with Overton Loyd on their art group Unification Theory. Ages 10 yrs & amp\; up.

\n

Saturday\, April 16\, 2016\, 2 PM &nda sh\; 4 PM
&ldquo\ ;The History of Funk&rdquo\; Lecture &\; Talk Presented by Dr. Rickey Vi ncent
Author\, scholar\, educator and radio host Dr. Rickey Vincent will provide attendees with insi ght into the history\, culture and politics of funk music. He holds a Ph.D. in Ethnic Studies from UC Berkeley and is the author of \;Funk: Th e Music\, the People and the Rhythm of The One.

\n

Saturday\, May 28\, 2016\, 1 PM &ndash\; 4 PM
&ldquo\;A Day of Funk&rdquo\;
Kick back and enjoy the sounds of Fu nk being spun by a live DJ while experiencing the creative process as graff iti artists transform canvas into a street art masterpiece. The finished ar twork will be raffled off to a lucky audience member. Nosh on fare from tre ndy food trucks or nearby restaurants and take a moment to visit the curren t exhibitions on view at CAAM.

\n

Please RSVP @ 213 .744.2024 to attend one or more of the events\, lectures or workshops.

DTEND:20160918 DTSTAMP:20160531T111810 DTSTART:20160317 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Rhythm of Vision: The Artistry of Overton Loyd\, Overton Loyd UID:410433 END:VEVENT BEGIN:VEVENT DTEND:20160319T163000 DTSTAMP:20160531T111810 DTSTART:20160319T130000 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Rhythm of Vision: The Artistry of Overton Loyd\, Overton Loyd UID:412533 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Oh Snap! West Coast Hip Hop Photography \;prese nts a focused selection of photographs that explore one of the most influen tial musical genres and cultural movements of the last quarter century: Hip Hop. Centering on the unique style developed on the West Coast of the Unit ed States\, and particularly in California\, this exhibition highlights the dynamic array of Hip Hop artists that gained national prominence in the 19 90s\, including Ice Cube\, YoYo\, Tupac\, and E-40. \;Oh Snap!  \;features more than forty works by an array of renowned photographers : Michael Miller\, author of \;West Coast Hip Hop: A History in Pic tures(2011)\; creative industry professional Carl Posey\; Ernie Panicc ioli\, member of the Hip Hop Hall of Fame and considered Hip Hop royalty\; Estevan Oriol\, the internationally celebrated photographer and director\; and Paul Chan\, former photographer for Kronick Magazine. The first of its kind to be organized at CAAM\, this exhibition pays homage to the distinct flavor\, evolution\, and influence of West Coast Hip Hop music.

DTEND:20160918 DTSTAMP:20160531T111810 DTSTART:20160511 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Oh Snap! West Coast Hip Hop Photography UID:416381 END:VEVENT BEGIN:VEVENT DTEND:20160511T170000 DTSTAMP:20160531T111810 DTSTART:20160511T100000 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Oh Snap! West Coast Hip Hop Photography UID:416382 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is p roud to present Carl Cheng&rsquo\;s first solo exhibition at the gallery. F or more than five decades\, Carl Cheng (b\,. 1942) has produced pioneering works in a range of media\, exploring as \;critic Mark Johnstone writes \, &ldquo\;technology and nature as levers\, one applied to the other\, in order to discover and reveal the beautiful wonders of each.&rdquo\;

Carl Cheng began his studies in art and design at the Universi ty of California\, Los Angeles (UCLA) in 1958. There he worked with profess ors like Don Chipperfield\, who emphasized material exploration\, problem-s olving \;and cross-pollination. In 1964\, Cheng received a fellowship t o study at the Folkwang School of Art in Essen\, Germany. In Essen\, Cheng experienced a post-Bauhaus pedagogy that placed art and design in a context that \;included dance\, theater and music. Cheng's experience in Germa ny also gave him his first exposure to life outside Southern California\, a s well as a viewpoint on racial and cultural politics in the United States that has \;stayed with him his entire life. When Carl Cheng returned to UCLA in 1965\, he began graduate work in sculpture\, and also studied with Robert Heinecken\, who had only just established the photography departmen t at the \;school. At UCLA\, Carl Cheng worked alongside fellow student s like Pat O&rsquo\;Neill\, with whom he shared a studio and has often exhi bited. \;

In the mid-60&rsquo\;s Cheng began experimenting w ith fabricating plastic as a basis of making sculpture and photography. His &ldquo\;Landscape Essay&rdquo\; (1966) presents Malibu&rsquo\;s Point Mugu as an unstable and serial location. &ldquo\;V.H.&rdquo\; \;(1966) is a molded plastic and photographic sculptural film piece that critiques the t reatment of America&rsquo\;s veterans during the early years of the Vietnam War. In 1970\, Cheng was one of only a handful of Los Angeles-based \; artists to be included in curator Peter Bunnell&rsquo\;s landmark 1970 Muse um of Modern Art exhibition\, &ldquo\;Photography into Sculpture\,&rdquo\; described in its original wall text as &ldquo\;the first comprehensive surv ey of photographically formed \;images used in a sculptural or fully di mensional manner.&rdquo\; \;

Carl Cheng&rsquo\;s work could have easily been included in two other important shows of the period -- &ld quo\;Software&rdquo\; (Jewish Museum) and &ldquo\;Information&rdquo\; (Muse um of Modern Art) &mdash\; both of which appeared in New York the same  \;year as &ldquo\;Photography into Sculpture.&rdquo\; Cheng has long-questi oned the role of individuals in a mass media society driven by corporate in terests: his registered entity\, John Doe Co.\, which he established in 196 7\, has served \;as a means to engage with and at the same time critiqu e corporate culture. Cherry and Martin&rsquo\;s exhibition will include a r ange of ephemera related to John Doe Co. \;John Doe Co. \;promotion al images\, literature and product \;reports \;detail and advertise the various aspects of Cheng&rsquo\;s artworks and &lsquo\;nature machines &rsquo\; -&rsquo\; like &ldquo\;Table Model Specimen Viewer&rdquo\; (1970). They work to embed them in the absurdist visual discourse of \;America n consumerism\, which Cheng continues to question in his art of the present day.

John Doe Co. &rsquo\;nature machines' - several of which w ill be on view in the Cherry and Martin exhibition - serve\, as Cheng write s\, to &ldquo\;model nature\, its processes and effects for a future enviro nment that may be completely made by \;humans.&rdquo\; &ldquo\;Erosion Machine&rdquo\; (1969) is a microwave sized mechanism\, built from both han dmade and off-the-shelf materials\, that subjects a human-made rock (plaste r of paris) to constant water erosion. Cheng&rsquo\;s landmark \;solo 1 975 exhibition at Cal Tech&rsquo\;s Baxter Art Gallery\, &ldquo\;Erosions & amp\; Other Environmental Changes\,&rdquo\; included a selection of these n ature machines as well as an entropic environment complete with insects\, l ive plants and \;various &lsquo\;specimen&rsquo\; viewing and delivery devices.

Carl Cheng&rsquo\;s work takes a material and conceptua l approach that pushes the boundaries of traditional object making\, post-m inimalism\, systems art and environmental art. \;Cheng plays a unique r ole in the history of American contemporary art practice and the history of art in California. Cheng lives and works in Los Angeles.

\n

Carl Cheng&rsquo\;s work has appeared is su ch exhibitions as &ldquo\;The Photographic Object 1970&rdquo\; (2014\, Haus er and Wirth\, New York\, NY)\; &ldquo\;The Photographic Object 1970&rdquo\ ; (2013\, Le Consortium\, Dijon\, France)\; &ldquo\;Under the Big \;Bla ck Sun: California Art 1974-1981&rdquo\; (2013\, Museum of Contemporary Art \, Los Angeles\, CA)\; &ldquo\;Proof: Los Angeles Art and the Photography 1 960- 1980&rdquo\; (1992\, Laguna Art Museum\, Laguna Beach\, CA)\; &ldquo\; Photography into \;Sculpture&rdquo\; (1970\, Museum of Modern Art\, New York\, NY)\; and &ldquo\;Vision and Expression&rdquo\; (1969\, George East man Museum\, Rochester\, NY). Solo exhibitions included LIST Visual Arts Ce nter (Massachusetts Institute of \;Technology (Boston\, MA)\; Santa Bar bara Contemporary Arts Forum (Santa Barbara\, CA)\; Capp Street Projects (S an Francisco\, CA)\; and ASG Foundation Gallery (Nagoya\, Japan). Reviews o f Cheng&rsquo\;s work have \;appeared in the New York Times\, Los Angel es Times\, Art News\, Art in America\, Art Forum and other publications. Pu blications include &ldquo\;Carl Cheng/John Doe Co.: Twenty Five Year Survey &rdquo\; (1991\, Santa Barbara \;Contemporary Arts Forum\, Santa Barbar a\, CA)\; &ldquo\;Mr X-acto: Photographs by Carl Cheng and Pat O&rsquo\;Nei ll&rdquo\; (1998\, University of Nevada\, Reno\, NV)\; and &ldquo\;John Doe Co. Invites You to a New Exhibition of Products by Carl \;Cheng&rdquo\ ; (1970\, Esther Robles Gallery\, Los Angeles\, CA).

DTEND:20160730 DTSTAMP:20160531T111810 DTSTART:20160521 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Nature is Everything - Everything is Nature\, Carl Cheng UID:419168 END:VEVENT BEGIN:VEVENT DTEND:20160521T200000 DTSTAMP:20160531T111810 DTSTART:20160521T180000 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Nature is Everything - Everything is Nature\, Carl Cheng UID:419169 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is p roud to present the first West Coast solo exhibition of the work of America n photographer Kwame Brathwaite. Inspired in part by the writings of Marcus Garvey\, Kwame Brathwaite\, his older brother\, Elombe Brath\, and the Afr ican Jazz Arts Society and Studios (AJASS) popularized the phrase &ldquo\;B lack is Beautiful&rdquo\; in the late 50's and early 60&rsquo\;s. &ldquo\;B lack is Beautiful&rdquo\; is one of the most important political and cultur al ideas of the twentieth century. Brathwaite and Brath did their part to s pread this idea through Brathwaite&rsquo\;s writings and photographs and th e activities of the two organizations they helped co-found: AJASS and the G randassa Models.

\n

Kwame Brath waite&rsquo\;s photographs were specifically intended to shape the course o f American visual discourse. His photographs foreground how artistic and po litical vision can affect change in popular culture and how popular culture can affect change on culture at large. The subjects of Brathwaite&rsquo\;s carefully crafted photographs invoke the power of a range of objects\, suc h as books\, musical instruments and artworks. The dress and hairstyles of his subjects point to their sense of themselves\, while the environs of his subjects direct the viewer to a community of artist activists&mdash\;write rs\, painters\, playwrights\, fashion designers and musicians. Brathwaite&r squo\;s work demonstrates the power of photography as an essential cultural tool in the dissemination of new political ideas\, its power to stage visu al rhetoric and its ability make language visible.

\n

Kwame Brathwaite was born in Brooklyn in 1938. His parents we re born in Barbados. Brathwaite and his older brother\, Elombe Brath\, now deceased\, and his younger brother John\, were raised in a politically-cons cious and artistic household. By the late 1950's\, shortly after graduating from high school\, Brathwaite and Brath became active in the African Natio nalist Pioneer Movement (ANPM) led by Carlos Cooks. They were also involved in the early struggle in Southern Africa\, forming in 1961 their Bronx-bas ed South-West Africa Relief Committee to support Sam Nujoma&rsquo\;s South- West Africa People&rsquo\;s Organization (SWAPO) and later\, the People&rsq uo\;s Liberation Army of Namibia (PLAN). Parallel to these political activi ties the two brothers were regularly producing concerts&mdash\;a who&rsquo\ ;s-who of top Jazz figures of the time &ndash\;at such venues as Club 845 i n the Bronx and Small&rsquo\;s Paradise in Harlem. Brathwaite took on the r ole of photographing these concerts\, promoting them\, and organizing the c ultural activities that would often be held during the concerts\, such as a rt shows and African dance performances.

\n

The 1961 Garvey Day Celebration&rsquo\;s &ldquo\;The Miss Natural Stand ard of Beauty Contest\,&rdquo\; was a catalyzing moment for the brothers wh o saw clearly that the same models who eschewed make-up and wore their hair &lsquo\;natural&rsquo\; for the contest would\, by the following Sunday (w hen they came to pick up their prize money)\, have straightened their hair in order to feel comfortable going back to school\, work and their everyday lives. Brathwaite and the other members of AJASS felt that African America ns needed to feel comfortable in their own skins and to be proud to display their natural beauty. He and Brath led the charge to establish studio and office space next to the Apollo Theater for AJASS\, and started the Grandas sa Models (named after ANPM leader Carlos Cooks&rsquo\;s term for the Afric an continent\, &ldquo\;Grandassaland&rdquo\;).

\n

AJASS&rsquo\;s first fashion show\, &ldquo\;Naturally '62\,&rdquo \; headlined by Abbey Lincoln and Max Roach\, and initially planned as a on e-time event\, proved so popular that a second sold out show was held that same night to accommodate the crowd. When traveling to other cities for con certs\, AJASS members Abbey Lincoln and Max Roach helped spread the word an d make contacts with other progressive organizations that lead to &ldquo\;N aturally&rdquo\; show bookings in their respective cities. In February 1963 \, AJASS followed with shows at Robert&rsquo\;s Show Club in Chicago and Mr . Kelly&rsquo\;s in Detroit and continued to spread the &ldquo\;Black Is Be autiful&rdquo\; theme nationwide. \;

Brathwaite&rsquo\;s reg ular reporting and pictorials for leading black publications such as \; The Amsterdam News\, \;City Sun \;andThe Dail y Challenge \;beginning in the early 60's helped set the stage for the Black Arts Movement and the Black Power movement. By the 1970's\, Brat hwaite was one of the top concert photographers\, shaping the images of suc h public figures as Stevie Wonder\, Bob Marley\, James Brown and Muhammad A li. Brathwaite wrote about and photographed such landmark events as the &ld quo\;The Motown Revue&rdquo\; at the Apollo (1963)\; &ldquo\;WattStax &rsqu o\;72&rdquo\; (1972)\; The Jackson 5&rsquo\;s first trip to Africa (1974)\; and the &ldquo\;Festival in Zaire&rdquo\; (1974\, which accompanied the fa mous Foreman-Ali fight\, &ldquo\;The Rumble in the Jungle&rdquo\;).

\n

Elombe Brath died in 2014. He worked as a gr aphic artist at WABC-TV and served as a consultant for late television host Gil Noble&rsquo\;s groundbreaking WABC-TV show\, &ldquo\;Like It Is.&rdquo \; The Elombe Brath Foundation was established in 2014 to continue the lega cy of Elombe&rsquo\;s work.

\n

Throughou t the course of his career\, Kwame Brathwaite has photographed such interna tional figures as Nelson Mandela and Kwame Nkrumah&mdash\;his namesake&mdas h\;and he still maintains a relationship with a range of African political figures\, including Sam Nujoma\, the first president of Namibia.

\n

Due to the importance of Kwame&rsquo\;s work on political and cultural events\, he was invited to the inaugurations of Sam Nujoma and Nelson Mandela\, as well as the swearing-in of Namibian preside nt Hage Geinbog in 2015. \;Kwame Brathwaite lives and works in New York .

DTEND:20160730 DTSTAMP:20160531T111810 DTSTART:20160521 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Black is Beautiful: Empowerment Through the Lens of Kwame Brathwai te\, 1962 - 1975\, Kwame Brathwaite UID:419170 END:VEVENT BEGIN:VEVENT DTEND:20160521T200000 DTSTAMP:20160531T111810 DTSTART:20160521T180000 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Black is Beautiful: Empowerment Through the Lens of Kwame Brathwai te\, 1962 - 1975\, Kwame Brathwaite UID:419171 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n
China Ar t Objects Galleries is proud to present \;Reincarnation Clash\,&nbs p\;a solo exhibition by \;Rachelle Sawatsky. The exhibition will r un \;May 21st through July 9th 2016. Please join us for the opening rec eption on May 21st from \;6:00pm to 8:00pm. \;
\n
 \;
\n
\n
 \;
\n
\n
You guys are my an cestors now? \;
\n
My children? \;
\n
The cat says waking up\, \;
\n
incredulous.
\n
HOW TO DEAL WITH THE OTHERS. \;
\n
The plot doesn't answer her.
\n
Her recollection
\n
of facts is ease-less\,
\n
fickle. Putting away
\n
the clothes is a hassle.
\n
 \;
\n
Animal body reincarnation clash.
\n
The animal lover's guide to tragedy.& nbsp\;
\n
The emotional person's guide to plot. \;
\n
I believe it\,
\n
the story
\n
as a story.
\n
 \;\n
Plants grew up my blind side \;
\n
from th e wreckage that left me\, \;
\n
Julee Cruise \;
\n
and all others\,
\n
the lions with flowers\, the leopards\, the snakes\,
\n
intact. That was when their live s began.
\n
Her singing  \;
\n
didn't stop as if the TV soundtrack \;
\n
itself was indestructible. \;
\n
Tape recording \;
\n
black box \;
\n
in the air. \;
\n
Only the plane \;
\n
was smashed. \;
\n
DTEND:20160709 DTSTAMP:20160531T111810 DTSTART:20160521 GEO:34.0351575;-118.377008 LOCATION:China Art Objects Galleries\,6086 Comey Ave. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Reincarnation Clash\, Rachelle Sawatsky UID:418320 END:VEVENT BEGIN:VEVENT DTEND:20160521T200000 DTSTAMP:20160531T111810 DTSTART:20160521T180000 GEO:34.0351575;-118.377008 LOCATION:China Art Objects Galleries\,6086 Comey Ave. \nLos Angeles\, CA 90 034 SEQUENCE:0 SUMMARY:Reincarnation Clash\, Rachelle Sawatsky UID:418321 END:VEVENT END:VCALENDAR