BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20140802 DTSTAMP:20140802T043438 DTSTART:20140712 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Re/Production\, Fiona Connor\, Fiona Banner\, Superflex\, Pae White UID:345021 END:VEVENT BEGIN:VEVENT DTEND:20140712T200000 DTSTAMP:20140802T043438 DTSTART:20140712T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Re/Production\, Fiona Banner\, Fiona Connor\, Superflex\, Pae White UID:345022 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the latest iteration of 18th Street Arts Center&rsquo\;s Artist Lab series\, artist \;Miljohn Ruperto \;brings the Lab framework int o dialogue with science and philosophy. In collaboration with animator Aim& eacute\;e de Jongh and neuroscientist Rajan Bhattacharyya\, he will investi gate the speculative possibilities of mineral &ldquo\;deformities&rdquo\; i nspired by Georges Canguilhem&rsquo\;s text\, \;Knowledge of Life. The three come together to grapple with a particular assertion by Cang uilhem\, a philosopher of science\, that &ldquo\;there are no mineral monst ers\,&rdquo\; or rather that the scientific category of mineral is incompat ible with human notions of deformity. Ruperto&rsquo\;s exhibition \;Mineral Monsters \;delves into a space wherein humans are irrelev ant\, unable to project their own attributes onto or against the material w orld. His work then troubles that space by introducing visual aspects that trigger our implicit\, negative responses\, such that the neutral tenor of Canghuilhem&rsquo\;s position shifts to a more troubling\, oppositional one . Ruperto will use the Artist Lab as a working studio to untangle the relat ionship between science and philosophy and contemplate the ways in which ou r categorization of natural phenomena both shapes and hinders our broader c onceptualization of life. Working together with animator de Jongh\, Ruperto will create computer-generated visuals. These visual forms will be derived from conversations with Bhattacharyya and from his research based in concr ete scientific principles.

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Canguilhem\, a French philosopher and physici an\, served as a mentor to many scholars and philosophers\, notably Foucaul t and Derrida. \; His work often questions accepted science\, arguing t hat it serves to reduce organisms to neatly functioning and predictable mac hines when in fact biology is complex and subject to wide variation. Accord ing to Canguilhem\, all minerals exist in nature\, whether they contain mut ations or not\, and thus the idea that there exists typical and atypical va rieties of minerals is simply a human construction. Ruperto and his collabo rators use Canguilhem&rsquo\;s negation of human potential for influence ov er nature as the starting point for a meditation on the basic nature of hum ans to be governed by attraction and repulsion.

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Ruperto&rsquo\;s interes t in scientific philosophy and history is ongoing\, represented by his earl ier collaboration with artist Ulrik Heltoft\, \;Voynich Botanical S tudies\, exhibited at the Thomas Solomon Gallery in New York in 2013 a nd in the 2014 Whitney Biennial. \;Voynich Botanical Studies \; was inspired by a 16th \;century manuscript containing drawings of various species of plants whose historical existence cannot be corroborate d scientifically. Also displayed at the Whitney was an earlier collaborativ e animation created by Ruperto with de Jongh.

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Miljohn Ruperto&rsquo\ ;s Artist Lab Residency at 18th Street Arts Center and all associated event s have been made possible through the generous support of the \;Los Angeles County Arts Com mission \;and \;The Andy Warhol Foundation for the Visual Arts.

DTEND:20141003 DTSTAMP:20140802T043438 DTSTART:20140714 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Mineral Monsters\, Miljohn Ruperto UID:345455 END:VEVENT BEGIN:VEVENT DTEND:20140906T210000 DTSTAMP:20140802T043438 DTSTART:20140906T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Mineral Monsters\, Miljohn Ruperto UID:345456 END:VEVENT BEGIN:VEVENT DESCRIPTION:

18th Street Arts Center&rsquo\;s visiting artist \;Yukako Ando \; presents several site-specific installations in the Atrium Gallery that eng age with themes of urban daily life in Los Angeles. This exhibition documen ts Ando&rsquo\;s questions and impressions informed by the humor of America n &ldquo\;pop consumption culture&rdquo\; and by her interior responses. An do&rsquo\;s approach to her work is diaristic\, instinctive\, and personal. Ando uses daily necessities to create the important elements of her work a nd explore ideas of time and space\, drawing additional inspiration from th e city&rsquo\;s climate\, buildings\, and freeway connections. The works on exhibit reflect her experiences of Los Angeles collected from past visits and during her residency.

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Yukako Ando is a visual artist who focuses on the everyday phenomena from which the fundamental questions of life are con figured. Ando\, born in 1972 in Osaka\, Japan\, currently lives and works i n Dü\;sseldorf\, Germany. She graduated from the Department of Sculptur e of Kyoto Seika University in 1994 and earned her MA degree from Kunstakad emie Dü\;sseldorf in 2001. She has won numerous international scholarsh ips and prizes. Most notably she is a recent recipient of the Program for A rts Fellowship by the Japanese Department of Cultural Affairs who is the fu nder for her current residency at 18th Street Arts Center. Additionally\, s he is currently a 2014 Japan-United States Exchange Friendship Program in t he Art Fellow\, which is sponsored by the Art of Japan-United States Friend ship Commission.

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 \;Atrium Gallery programming is underwritten b y the \;Andy Warhol Foundation for the Visual Arts

DTEND:20140930 DTSTAMP:20140802T043438 DTSTART:20140714 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Priority Required\, Yukako Ando UID:345459 END:VEVENT BEGIN:VEVENT DTEND:20140906T210000 DTSTAMP:20140802T043438 DTSTART:20140906T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Priority Required\, Yukako Ando UID:345460 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of spatial interventions reflecting on the inquiry of scal e.

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Historically\, Los Angeles as a city has been a site of inspiration a nd exploration for architects and designers alike. The city has been develo ped around and defined by a variety of large-scale urban planning projects as well as medium and smaller sized residential and public work Including h ousing\, product design and technological Innovations\, through these vario us architecture and design projects\, the city has nurtured experimental pu rsuits and critical inquiry and today it continues to expand in the contemp oraneous city.

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Projects are currently being developed at various scales All over L.A. from miniscule to monumental and everything In-between. Small \, medium\, large\, extra-large Los Angeles takes Rem Koolhaas and Bruce Ma us seminal text as a departure point and more importantly as an organizing principle to examine the production and discourse of Architecture and desig n within today&rsquo\;s city of L.A. bringing coherence to the body of work of an emergent group of Los Angeles-based designers that span across disci plines from architecture and graphics to digital media and sound art\, to j ewelry\, landscape\, lighting\, product\, and textile design\; the show hig hlights the ways in which young Practitioners are currently thinking and ma king in los Angeles in addition to their impact on the present-day city and its future.

DTEND:20140831 DTSTAMP:20140802T043438 DTSTART:20140609 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Come In! S\,M\,L\,XLa UID:334727 END:VEVENT BEGIN:VEVENT DTEND:20140609T170000 DTSTAMP:20140802T043438 DTSTART:20140609T110000 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Come In! S\,M\,L\,XLa UID:334728 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140816 DTSTAMP:20140802T043438 DTSTART:20140714 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Survey: 1968 to Current\, Helen Pashgian UID:343154 END:VEVENT BEGIN:VEVENT DTEND:20140715T210000 DTSTAMP:20140802T043438 DTSTART:20140715T190000 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Survey: 1968 to Current\, Helen Pashgian UID:343155 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present an exhibition of recent works by Michael Hen ry Hayden\, Julian Rogers\, and Ross Sawyers. All three artists employ a st rong sense of light and shadow to subtly reveal and define the ambiguous sp aces within their works. Familiar objects are removed from their usual cont ext making them unrecognizable until closer inspection.

Michael Henry Hayden combines realistic painted illusions of light and shadow with real-life constructed relief sur faces to create trompe l'oeil facades of architectural and organic imagery. The imagery never comes fully into view\, but is revealed through familiar \, yet ambiguous patterns and textures. Hayden shows another clue to the vi ewer by constructing these illusions at real-life scale.

Julian Rogers' paintings depict still li fe arrangements of fruit on rocky outcroppings in diffused monochromatic fi elds of color. Although the paintings are rendered meticulously\, Rogers' s ubtle palette and unusual light sources creates a phenomenal\, optical effe ct where the still life scenes shimmer in and out of focus. Like Hayden\, R ogers paints his still life scenes at real-life scale.

< span style="font-size: small\;"> Ross Sawyers' photographs deeply hued\, my sterious spaces that are seductive and disorienting. Light seems to pierce\ , slice\, and cut through Sawyers' architectural spaces and surfaces. Sawye rs achieves this effect by photographing small-scale models that he has man ipulated and altered\, giving the viewer an ambiguous sense of scale.

DTEND:20140823 DTSTAMP:20140802T043438 DTSTART:20140719 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Suffuse / Diffuse\, Michael Henry Hayden\, Julian Rogers\, Ross Saw yers UID:345007 END:VEVENT BEGIN:VEVENT DTEND:20140719T200000 DTSTAMP:20140802T043438 DTSTART:20140719T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Suffuse / Diffuse\, Michael Henry Hayden\, Julian Rogers\, Ross Saw yers UID:345008 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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DTEND:20140820 DTSTAMP:20140802T043438 DTSTART:20140617 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:Folded\, Robert J. Lang UID:344067 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:20140802T043438 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:20140802T043438 DTSTART:20130512T180000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Gettin' Off the Ground: Contemporary Stories from an American Commu nity UID:276488 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

DTEND:20150109 DTSTAMP:20140802T043438 DTSTART:20140209 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Supporting Structures: A Community Arts Project\, Fausto Fernandez UID:318539 END:VEVENT BEGIN:VEVENT DTEND:20140209T160000 DTSTAMP:20140802T043438 DTSTART:20140209T140000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Supporting Structures: A Community Arts Project\, Fausto Fernandez UID:318540 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Judy Fiskin\, prominently featured in the 2014 Hammer Biennial exhibitio n\, "Made in L.A.\," will be represented by her exquisite photographs. Dimi nutive\, graphic and pure\, her serialized works ("Desert\," "Dingbat\," "P ortraits of Furniture\," "Military Architecture" among them) are the essenc e of a long-lost art. Simmering under the radar for many years\, Fiskin's p rofound influence on the medium has been acknowledged by museums around the world. Her photographs and films are held in the collections of the Nation al Gallery of Art\, Washington\; Stedelijk Museum\; LACMA\; MoCA Los Angele s\; SF MoMA\; J Paul Getty Museum\; and Bibliothé\;que Nationale\, Pa ris\, among others. A catalogue raisonné\; was produced by Getty Publ ications in 2011.

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Ori Gersht will be represented by a single image from his 2005 series \;Liquidation. Although geometrically larger i n scale than works by Judy Fiskin\, Gersht's \;Liquidationseri es illuminates his ability to draw ethereal images from seemingly benign la ndscapes without using digital technology. His most potent tool is the powe r of observation\, letting the camera capture what the eye might not see in a casual glance. The depth of time and space presented in this work take t he viewer into a deep well of history. Gersht has captured the beauty of th e landscape while drawing out the brutality of historical events long since past and now invisible to the naked eye.

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Soo Kim continues her interest in the materiality of photography with her new seriesBacklight\, which evolved out of her previous body of work\, \;Invisible Cities . Each print starts with a crease made by folding a straight line info rmed by a line found in the photograph: the side of a building\, a power li ne\, a lamp post. The print is flattened\, and additional folds are made in this fashion until the entire print is marked with creased fold lines thro ughout. The geometric spaces made by the fold lines are then cut out of the print\, alternating cut spaces and spaces left intact. The neon colored ba ck of the photograph bounces back into the empty spaces cut in the photogra ph. Though the back of the photograph is unseen as a surface\, it can be se en through the reverberation of the color reflecting off the wall\, and fil ling in the voids of the negative spaces in the composition.

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Matt Lifson 's new work aims to harness the suggestiveness of painting. A representatio nal painting on canvas is veiled with a field of gestural marks and color o n transparent synthetic silk fabric. Each painting is essentially two paint ings in one: the silk painting provides limited access to the photo-based p ainting beneath. The effect is a disjointed harmony that breaks up the imag e into multiple pictorial fragments\, suggesting apparitions and reflection s of unknown origins\, placing the "real" into an ethereal pictorial plane while complicating storytelling through the production of alternate narrati ves of a single image. \; \;

DTEND:20140830 DTSTAMP:20140802T043438 DTSTART:20140712 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Summer Show\, Judy Fiskin\, Soo Kim\, Ori Gersht\, Matt Lifson UID:346504 END:VEVENT BEGIN:VEVENT DTEND:20140712T200000 DTSTAMP:20140802T043438 DTSTART:20140712T180000 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Summer Show\, Judy Fiskin\, Ori Gersht\, Soo Kim\, Matt Lifson UID:346505 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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David Hend ren

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Echo's Drift

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 \;June 7th to July 19th\, 2014

\nOpening reception: Saturday June 7th 6-8pm\, 313 N. Fairfax Ave. West Holl ywood.  \;  \;  \;  \;  \; \;
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A nna Meliksetian and Michael Briggs in conjunction with Emma Gray's 5 Car Ga rage are pleased to present &ldquo\;Echo&rsquo\;s Drift&rdquo\;\, a two-spa ce show of new works by Los Angeles artist David Hendren.< /p>\n

David Hendren&rsquo\;s work embodies a process of hybrid forms in paintings\, sculptures and site-specific archi tectural-scale installations. Disparate subjects such as portraiture\, arch itectural language and geometric abstraction\, are layered using a variety of mediums and materials. For the concurrent shows at Five Car Garage and A nna Meliksetian | MJBriggs\, Hendren focuses on how reflection and repetiti on inform our sensory experience of built environments. The artist compares his abstract language to sound composition and acoustic phenomena. &ldquo\ ;Echo&rsquo\;s Drift&rdquo\; uses repetition and reflection to manifest the structure of an echo in physical space\, and does so in two radically dist inct exhibitions.

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The exhibition at 5 Car Garage embodies the concept of repetition through an expansive archite ctural installation and series of paintings. The installation is comprised of sculptural objects that\, through their composition and arrangement\, ex press an exploded machine. The composition of the paintings suggests a mech anical process of repeated gestures &ndash\; an exaggerated distortion &nda sh\; as if the works were audio feedback made manifest.

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In concert with 5 Car Garage\, the works at Anna Melikse tian | MJBriggs focus primarily on the idea of reflection. Here\, Hendren u ses it to convey the contemplative nature of self-reflection\, and to magni fy the relationship between the built environment and the fluid movements o f the body in reflective space. From the intricate mirroring sculptures to the burned wood panel paintings\, the simultaneous experience of outer and inner space underpins all the works in the show.

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David Hendren received his Masters of Fine Art from Cranbrook Academy of Art in 2008 and his Bachelor of Fine Art from th e School of the Art Institute of Chicago in 2001. He is the receipient of & nbsp\;the Toby Devan Lewis Fellowship\, the Cranbrook Art Museum Purchase A ward\, a Pollock-Krasner Grant\, and a Ruth and Harold Chenven Fellowship. Hendren&rsquo\;s work ranges from expansive architectural installations to sculpture\, painting and sound compositions\, and has been shown in Los Ang eles\, New York\, Chicago\, Detroit\, Lisbon and Berlin. In addition to his art practice\, he served as Exhibition Designer at the Field Museum in Chi cago and collaborates with architects\, musicians\, and other artists on a variety of projects.

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The exhibition is presented in two spa ces\, Anna Meliksetian | MJBriggs opening June 7th and \;5 Car Garage opening May 31st \; (info: \; www.emmagrayhq.com)

DTEND:20140802 DTSTAMP:20140802T043438 DTSTART:20140607 GEO:34.0766329;-118.3615838 LOCATION:Anna Meliksetian | MJBriggs\,313 N. Fairfax Avenue \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Echo's Drift\, David Hendren UID:334322 END:VEVENT BEGIN:VEVENT DTEND:20140607T200000 DTSTAMP:20140802T043438 DTSTART:20140607T180000 GEO:34.0766329;-118.3615838 LOCATION:Anna Meliksetian | MJBriggs\,313 N. Fairfax Avenue \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Echo's Drift\, David Hendren UID:334323 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Annenberg Space for Photog raphy today announced its next exhibition\, Country: Portraits of an Am erican Sound. \; This exhibit presents images of the pioneers\, po ets and icons of country music\, and will be offered free to the public May 31 through September 28\, 2014. \; Guest curators for this exhibit are Shannon Perich of the Smithsonian&rsquo\;s National Museu m of American History\, and Tim Davis and Michael McCall of the Country Mus ic Hall of Fame®\; and Museum.

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Country: Portraits of an American Sound uses historical and contempor ary photographs to explore how images shape the public identity of country music performers and of the genre itself.  \;Celebrated performers such as Johnny Cash\, Dolly Parton\, Keith Urban and Hank Williams&mdash\;as we ll as deejays\, fans\, executives and musicians&mdash\;are seen in the work s of photographers who documented multiple generations of this popular hist ory.

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The work of the featured photogr aphers spans from post-World War II America into the new century. \; Th e photographers include the late amateur photographer Elmer William s\; the late studio photographer Walden S. Fabry\ ; veteran Grand Ole Opry staff photographer Les Leverett\; the late Los Angeles-based photographer Leigh Wiener\; Bo ston-based documentary photographer Henry Horenstein\; ico nic entertainment photographers Henry Diltz\, Raea nne Rubenstein and Ethan Russell\; and contempora ry photographers David McClister and Michael Wilso n. Through their work&mdash\;a variety of documentary\, studio\, p romotional and fine art images&mdash\; guests visiting the Annenberg Space for Photography can see and experience the power of photography to portray American ideals that country music embodies.

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In addition to over 110 prints\, the exhibit will feature an origin al half-hour documentary commissioned by the Annenberg Space for Photograph y and produced by Arclight Productions. \; The film explores the image of country music and its 80 year evolution and highlights the role of photo graphy in documenting its history\, capturing its culture and portraying it s uniquely American sound. \; The film features photographers Henry Dil tz\, Henry Horenstein\, Les Leverett\, David McClister\, Raeanne Rubenstein \, Leigh Wiener and Michael Wilson.  \;Over a dozen country music artis ts also appear\, including Roy Clark\, Merle Haggard\, Lyle Lovett\, LeAnn Rimes\, Marty Stuart and Lee Ann Womack.

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Also on display will be country albums and film posters\, a slideshow o f digital images\, archival artifacts from musical instruments to stage cos tumes and a jukebox containing rare audio files.

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Woven throughout the Photography Space will be screens presenti ng short videos including one by Shannon Perich and The Biscuit Factory that gives an overview of the origin of country music\; a short film by Henry Horenstein about the legendary Texas music hall the Broken Spoke a nd additional archival videos.

DTEND:20140928 DTSTAMP:20140802T043438 DTSTART:20140531 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:Country: Portraits of an American Sound\, Elmer Williams\, Walden S . Fabry\, Les Leverett\, Leigh Wiener\, Henry Horenstein\, Henry Diltz\, Ra eanne Rubenstein\, Ethan Russell\, David McClister\, Michael Wilson UID:330724 END:VEVENT BEGIN:VEVENT DTEND:20140531T193000 DTSTAMP:20140802T043438 DTSTART:20140531T110000 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:Country: Portraits of an American Sound\, Henry Diltz\, Walden S. F abry\, Henry Horenstein\, Les Leverett\, David McClister\, Raeanne Rubenste in\, Ethan Russell\, Leigh Wiener\, Elmer Williams\, Michael Wilson UID:330725 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening Reception: Friday\, July 18\, 6pm - 8pm

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Scot t Benzel\, Patricia Ferná\;ndez\, Hailey Loman\, D'Ette Nogle\, Mungo Thomson

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Curated by Eric Kim

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&ldquo\;&hellip\; [I]ndivi dual experience is clearly inseparable from the culture in which it is cons tituted. This truth is in fact at the root of the most beautiful mysteries of life. Thus\, in our intermediations\, we can share with one another an i mmensely rich history of experience and reflection. Yet as individuals\, at the same time\, we may run the risk of losing a sense of personal identity \, and growing blank in the process&mdash\;like the postcard photographer's gaze as he captures his empty images.&rdquo\;  \;

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-Allan McCollum

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History is frequently a commod ity for consumption with which contemporary mythologies are created. \; Collections and their subsequent modes of presentation indicate the interr elatedness of makers and consumers of culture. \; Memories of events an d systems of cataloging collide with economic and political forces\, genera ting a common narrative that replaces truth with mythology. \;

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In the group exhibition \;And yes\, I even remember you.\,&nbs p\;artists employ various strategies to discern the innumerable narratives intersecting at the point where cultural history is created. \; Each ac ts as an interlocutor intervening in the exchange of ideas and memories\, w ithin respective contexts of shared culture. \;

DTEND:20140830 DTSTAMP:20140802T043438 DTSTART:20140718 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:And yes\, I even remember you.\, Mungo Thomas\, D'Ette Nogle\, Hail ey Loman\, PATRICIA FERNANDEZ\, Scott Benzel UID:346327 END:VEVENT BEGIN:VEVENT DTEND:20140718T200000 DTSTAMP:20140802T043438 DTSTART:20140718T180000 GEO:34.0831785;-118.3422911 LOCATION:Aran Cravey\,6918 Melrose Ave. \nLos Angeles\, CA 90038 SEQUENCE:0 SUMMARY:And yes\, I even remember you.\, Scott Benzel\, PATRICIA FERNANDEZ\ , Hailey Loman\, D'Ette Nogle\, Mungo Thomas UID:346328 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

DTEND:20141214 DTSTAMP:20140802T043438 DTSTART:20140713 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:The Fifth Wall\, Tom Friedman\, Evan Holloway\, Farrah Karapetian\, Alice Könitz\, Marco Rios\, Corinna Schnitt\, Artur Zmijewski UID:336642 END:VEVENT BEGIN:VEVENT DTEND:20140712T210000 DTSTAMP:20140802T043438 DTSTART:20140712T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:The Fifth Wall\, Tom Friedman\, Evan Holloway\, Farrah Karapetian\, Alice Könitz\, Marco Rios\, Corinna Schnitt\, Artur Zmijewski UID:336643 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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

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

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

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

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

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

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

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

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

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

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DTEND:20150130 DTSTAMP:20140802T043438 DTSTART:20140713 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:City of Hope\, City of Resistance: Research and Actions at the Urba n Level \, Martine Syms with photographer Cat Roif UID:336648 END:VEVENT BEGIN:VEVENT DTEND:20140712T210000 DTSTAMP:20140802T043438 DTSTART:20140712T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:City of Hope\, City of Resistance: Research and Actions at the Urba n Level \, Martine Syms with photographer Cat Roif UID:336649 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Armory Center for the Arts presents Expanding on an expansiv e subject\, an exhibition about contemporary painting that unfolds in nine parts over the course of a year. Expanding on an expansive subject launches with an exhibition by Margie Livingston\, entitled Paint as canvas\, in th e Armory&rsquo\;s Pasadena Art Alliance Gallery. A reception\, free and ope n to the public\, will take place on Saturday\, June 12 from 7-9pm. The sho w runs from Sunday\, July 13 through Sunday\, August 31\, 2014. Expanding o n an expansive subject has been organized by the Armory&rsquo\;s Gallery Ma nager / Assistant Curator Siné\;ad Finnerty-Pyne.

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In order to explore new meaning in a centuries-old artistic pursuit\, Expanding on an expansive subject features nine artists&rsquo\; investigations of painting& rsquo\;s range and potential as a cross-disciplinary medium and its relatio nships to the disciplines of sculpture and performance. The show asserts a unique model as a group exhibition displayed as individual solo projects in the Armory&rsquo\;s intimate Pasadena Art Alliance Gallery\, located on th e building&rsquo\;s second floor. Expanding on an expansive subject will op en with work by Margie Livingston\, followed by Analia Saban\, John Burtle\ , and others to be announced. Each of the nine parts of Expanding on an exp ansive subject will run for approximately six weeks.

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After a series of deaths and rebirths\, painting has emerged in recent decades in an expa nded form: as a medium\, material\, process\, object\, concept\, and discou rse. This exhibition examines nine artists&rsquo\; responses to the materia lity and fluidity of the ever-evolving practice of painting through an enga gement with multiple disciplines. The artists in Expanding on an expansive subject embrace contemporary painting&rsquo\;s lenient disciplinary boundar ies as they embrace a newfound freedom with the medium.

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Margie Livi ngston\, the first in the series of artists\, is a painter that engages in a conversation with painting and sculpture. In 2009\, she abandoned the can vas to create self-contained objects with pure paint. Her process involves the use of large quantities of acrylic paint poured onto her studio floor\; the paint eventually becomes building blocks to construct layered abstract sculptures called paint-objects. Through a gesture of expression and spont aneity in the spirit of action-painting and the poured paintings of Lynda B englis\, Livingston drizzles paints to create lines and patterns that are t hen cut\, folded\, smeared\, and assembled into multiple two and three-dime nsional forms.

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In her forthcoming project in Expanding on an expans ive subject\, Livingston will exhibit an intimate selection of recent paint -objects\, which both isolate and combine various elements of her laborious process. Her draped paintings\, for instance\, are created from a single l ayer of poured paint\, which is swathed like a coat over a hook. These scul ptures suggest various ideas\, from the corporal semblance of paint as skin that sags with the force of gravity over time\, to the drapery that has co vered flesh throughout the history of art. The fabric-like appearance also brings the conversation back to the canvas on which paintings are tradition ally made. Livingston asserts that by abandoning the canvas she is able to push the idea of painting as a &ldquo\;flexible&rdquo\; medium that can be expanded upon while still engaging with the traditions that have come befor e.

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Margie Livingston is a Seattle-based artist who earned her MFA i n Painting from the University of Washington\, Seattle (1999). Recent exhib itions include Twenty Gallons\, Los Angeles Contemporary Exhibitions\; Fres h Impressionism\, Seattle Art Museum\; Chamber Music\, Frye Art Museum\, Se attle\; and Splash! Liquid Energy Spattered\, at Carnegie Art Museum\, Oxna rd\, CA. Her artwork is in the collections of 4Culture\, Henry Art Gallery\ , and Seattle Art Museum\, all in Seattle\; Tacoma Art Museum and the Whatc om Museum in Bellingham\, WA\; and the Shenzhen Fine Art Institute in China . Livingston is represented in Los Angeles by Luis De Jesus Gallery and Gre g Kucera Gallery in Seattle.

DTEND:20140831 DTSTAMP:20140802T043438 DTSTART:20140713 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Expanding on an expanded subject\, Part 1: Margie Livingston\, Pain t as canvas\, Margie Livingston UID:343608 END:VEVENT BEGIN:VEVENT DTEND:20140712T210000 DTSTAMP:20140802T043438 DTSTART:20140712T190000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Expanding on an expanded subject\, Part 1: Margie Livingston\, Pain t as canvas\, Margie Livingston UID:343609 END:VEVENT END:VCALENDAR