BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20150425 DTSTAMP:20150421T064006 DTSTART:20150321 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Not to Read\, Jorge Méndez Blake UID:374492 END:VEVENT BEGIN:VEVENT DTEND:20150321T200000 DTSTAMP:20150421T064006 DTSTART:20150321T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Not to Read\, Jorge Méndez Blake UID:374493 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150425 DTSTAMP:20150421T064006 DTSTART:20150318 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Finders\, Keepers\, Losers and Weepers\, Katy Fischer UID:376949 END:VEVENT BEGIN:VEVENT DTEND:20150318T210000 DTSTAMP:20150421T064006 DTSTART:20150318T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Finders\, Keepers\, Losers and Weepers\, Katy Fischer UID:376950 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150425 DTSTAMP:20150421T064006 DTSTART:20150318 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Slipping Control (West)\, Ben Vida UID:376951 END:VEVENT BEGIN:VEVENT DTEND:20150318T210000 DTSTAMP:20150421T064006 DTSTART:20150318T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Slipping Control (West)\, Ben Vida UID:376952 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150531 DTSTAMP:20150421T064006 DTSTART:20150410 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:The Loste Note\, Kerry Tribe UID:377825 END:VEVENT BEGIN:VEVENT DTEND:20150410T220000 DTSTAMP:20150421T064006 DTSTART:20150410T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:The Loste Note\, Kerry Tribe UID:377826 END:VEVENT BEGIN:VEVENT DESCRIPTION:

BEYOND GRAFFITI 2 is the final show at A+D Museum's Wilshire Boulevard location before its move to the Do wntown Arts District this summer. The exhibition bids a fond farewell to a beloved cultural landmark as the building will be demolished to make room f or the new purple line metro station.

The second run of Beyond G raffiti is an emotional response to the changing of our neighborhoods and t he loss of Los Angeles history. In light of our city's constant movement to ward modernization\, graffiti provides a dynamic medium to address this cul tural loss. Graffiti is more than just adding color or words to a wall - it is an expressive gesture vis a vis architecture\, design\, and the landsca pe of the city in which we live. We are defining the rich history of the ur ban art scene that pushes past the preconception of the spray can.

We invite you to celebrate with us the last days of this building with m usic\, art\, and conversation.

\n

\n< p style="text-align: justify\;"> \;

DTEND:20150423 DTSTAMP:20150421T064006 DTSTART:20150328 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Beyond Graffiti 2\, Aiseborn\, Atlas\, Axis\, Chaz\, Defer\, eder\, Eyeone\, Fishe\, Kofie\, KRUSH\, Swank\, Dense\, Dr.eye\, Keef Aura\, Kriz ia\, Jor JS Crew\, The Phantom Street Artist UID:380523 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

\n

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

\n

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

\n

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

\n

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

\n

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

DTEND:20150530 DTSTAMP:20150421T064006 DTSTART:20150418 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Happy Painting\, Neil Raitt UID:378469 END:VEVENT BEGIN:VEVENT DTEND:20150418T190000 DTSTAMP:20150421T064006 DTSTART:20150418T170000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Happy Painting\, Neil Raitt UID:378470 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 2013 -2015 exhibition year at Angels Gate Cultural Cente r marks the beginning of a larger concept that explores our local community ’s stories and personal narratives in the galleries. We hope to generate di alogue about how\, as a community\, we can share and communicate regardless of differing opinions and ideologies. The gallery will be turned into an e xperimental space where art and art-making become part of an ongoing conver sation about the community. Through partnerships with local non-profits\, a rtists\, storytellers and the community at large\, the galleries hope to ca pture a slice of Americana that is unique within our nation and particular to Los Angeles. Artist's work will rotate on an ongoing basis. 


DTEND:20150619 DTSTAMP:20150421T064006 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:20150421T064006 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:

Sink or Swim: Designing for a Sea Change explores the human sto ry of resilience\, from adaptation for survival to ambitious infrastructure planning\, in some of the richest and poorest of the world&rsquo\;s coasta l communities. Rather than showing pristine architectural photography\, the photographs present viewers with various human responses to changes in the ir landscapes due to sea level rise.  \;Sink or Swim aims to f oster critical dialogue through the provocative juxtaposition of diverse re sponses to a challenge shared by millions worldwide.

\n

Curated by architec ture writer and radio host Frances Anderton with the Annen berg Space for Photography\, Sink or Swim features newly commissio ned and archival works by photographers Iwan Baan\, Stephen Wilkes\ , Paula Bronstein\, Jonas Bendiksen and Monica Nouwens. This is the first exhibition for Annenberg Space for Photography to feature commissioned works. \; Through the work of this select group of architectural\, fine art and news photographers\, the exhibition casts an eye on both the problem of climate change in densely populated coastal regi ons and contemporary design as a means to navigate the changing landscapes.  \;

\n

&ldquo\;We were eager to organize an exhibition focusing on arc hitecture but adamant that we wanted it to tell the story from a human pers pective\,&rdquo\; says Wallis Annenberg\, Chairman of the Board\, President and CEO of the Annenberg Foundation. \; &ldquo\;We are delighted that these new works tell such powerful stories about resiliency\, climate chang e and architecture as well as engage with viewers on a humanistic level. &n bsp\;The exhibit&rsquo\;s capacity to foster dialogue that offers fresh per spectives on the environmental issues of our day -- and how communities are rising up to meet the challenges -- is very much keeping with the mission of the Photography Space and the Annenberg Foundation.&rdquo\;

\n

In the fa ce of increasing global attention on climate change and rebuilding in the w ake of Hurricane Katrina\, the Indian Ocean tsunami\, Superstorm Sandy\, an d the \;Tōhoku \;tsunami\, Sink or Swim is a timely examin ation of resiliency strategies in architecture and design.  \;Images ra nge from highly complex coastal flood-mitigation in the Netherlands\, contr oversial sea walls in Japan\, to innovative homes and community buildings b y leading architects including Pritzker prize-winners Thom Mayne\, Toyo Ito and Shigeru Ban.

\n

Anderton collaborate d with photographers experienced in capturing fragile built environments to determine the locations\, design projects and communities across the world that served as subjects for the commissioned works in the exhibition. &nbs p\;Sea walls\, floating schools and temporary disaster relief housing in di sparate ecological and social contexts provide concrete starting points for considering questions about nature\, culture and design at the heart of Sink or Swim.

\n

&ldquo\;It has been a privilege to dig into these e xtraordinary photographers&rsquo\; rich archives and also send them back ou t on assignment to create compelling new work that we look forward to shari ng with the public through the exhibition\,&rdquo\; says Anderton.\n

&ldqu o\;Photography is an ideal medium through which to explore climate change a nd the built environment because ultimately this is a human story and the p hotographs get to the emotional heart of that story. Through images of coas tal communities&mdash\;the devastating impact of climate change\, including super-storms and rising sea levels\, and also the varied and innovated des ign solutions&mdash\;Sink or Swim offers visitors the opportunity to engage with and enrich dialogue about all aspects of this predicament.&r dquo\;

\n

An original documentary film commissioned by the Annenberg Space for Photography and produced by award-winning director Steven Kochones and Arclight Productions will include interviews with the artists\, architects\ , historians and scientists engaged with climate resilient strategies for w aterfront communities. \;

\n

A collaboration between the Annenberg Spac e for Photography and the Annenberg Retreat at Sunnylands will offer visito rs to Sunnylands a preview of \;select prints from the Sink or Swim exhibition. \; The images will be on display beginning in October 2014 to coincide with a retreat at Sunnylands on the topic of rising sea l evels and ocean acidification. \; An exhibition catalogue will be publi shed by Sunnylands Press for release in December 2014.

\n

The Photo graphers
Following h is experience photographing the celebrated Makoko Floating School (designed by Kunlé\; Adeyemi for the Makoko community on the water near Lagos\ , Nigeria\,) Dutch photographer Iwan Baan was drawn to the lake village of Ganvie in Benin\, where residents have lived on the water for centuries. New work by Baan in the exhibition also includes photographs of the massive Deltaworks sea defenses\; the promenade at Scheveningen nea r The Hague in the Netherlands\, a flood-protection system interwoven with a tourist destination designed by Spanish firm De Solà\;-Morales\; an d the post-tsunami Home-For-All community buildings by Toyo Ito and other l eading architects in Japan.

\n

U.S.-based fine art photographer Ste phen Wilkes revisited communities he first encountered in the wake of Hurricane Katrina and Superstorm Sandy.  \;His images include strik ing aerial photographs that present a unique perspective on infrastructure improvements within the context of natural landscapes that remain susceptib le to flooding. Wilkes also created portraits of New Orleans area residents in the newly built homes\, intended to be models for resilience\, by the M ake It Right Foundation and Global Green in the Lower 9th Ward a nd Holy Cross neighborhoods of New Orleans. One of the first photographers to capture aerial images of the coastline damage following Hurricane Sandy\ , Wilkes documented Staten Island&rsquo\;s Oakwood Beach where homeowners h ave elected to sell their property to the state\, which plans to return the area to wetlands rather than rebuild.

\n

Veteran photojournalist P aula Bronstein traveled to Japan for Sink or Swim and cap tured the immense sea walls now being built off the tsunami-hit coast of Ja pan. She also captured daily life in the storage container structures desig ned by 2014 Pritzker Prize winner Shigeru Ban to house refugees following t he Tohuko earthquake and Tsunami.

\n

Dutch-born\, Los Angeles-based\, photo grapher Monica Nouwens turned her lens on California\, fin ding in the restored Malibu Lagoon a local example of wetlands restoration. She also captures a very human story of denial\, exemplified in a photogra ph of a California woman walking her dogs\, oblivious to a tsunami sign abo ve her head.

\n

Sink or Swim also features Norwegian Magnum Photos photographer Jonas Bendiksen&rsquo\;s documentation of Ba ngladesh coastal and delta communities\, where increasingly unpredictable a nd intense flooding has prompted innovative adaptations in a culture that h as dealt with seasonal flooding for centuries. Bendiksen spent two years ca pturing the low-tech structural and farming innovations in the challenging landscape\, as well as the floating schools project designed by Mohammed Re zwan for his nonprofit Shidulai Swanirvar Sangstha.

DTEND:20150503 DTSTAMP:20150421T064006 DTSTART:20141213 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:Sink or Swim: Designing for a Sea Change\, Iwan Baan\, Stephen Wilk es\, Paula Bronstein\, Jonas Bendiksen\, Monica Nouwens UID:356815 END:VEVENT BEGIN:VEVENT DTEND:20141213T193000 DTSTAMP:20150421T064006 DTSTART:20141213T110000 GEO:34.0588889;-118.4133333 LOCATION:Annenberg Space for Photography\,2000 Avenue of the Stars Century Plaza\nLos Angeles\, CA 90067 SEQUENCE:0 SUMMARY:Sink or Swim: Designing for a Sea Change\, Iwan Baan\, Jonas Bendik sen\, Paula Bronstein\, Monica Nouwens\, Stephen Wilkes UID:356816 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;WORLDVIEW&rdquo\; \;is the first solo exhibition of Martin Gantman&rsquo\;s photographs at Another Year in LA and is being held both as an online show and at our physical location in Eagle Rock.

\n

 \;In the 1954 Alfred Hitchcock classic\, \;Rear Window\, a wheelchair-bound photographer Jimmy Stewart\, spends his time lookin g out of his apartment window into a shared courtyard and the backs of the buildings that surround it. \; During the course of the movie\, he watc hes a cavalcade of human interaction including a murder that he is convince d has occurred but did not actually see happen.  \;Watching this movie turns the viewer also into a voyeur just like Stewart.

\n

The photogra phs in Martin Gantman&rsquo\;s WORLDVIEW exhibition feature a similar rever se voyeuristic point-of-view of looking at windows (both open and with curt ains drawn) from inside hoping to look out. \; And there are lots of th ose windows. \; So many different images that one\, simultaneously\, be gins to wonder about the inhabitants as much as their &ldquo\;world view&rd quo\;.

\n

 \;In the opening paragraph of his WORLDVIEW artist&rsqu o\;s statement\, Gantman asks the following questions: &ldquo\;What do you look at? What do you actually see? How do you choose to see? What is your v iew of the world outside?

\n

 \;Continuing Gantman shares\, &ldquo \;During the course of this project\, photographs were taken from within th e domiciles of various random residents. These images display not only what these viewers look at\, but also what they look through\, and what they se e while looking through.

\n

For more information: \; \; http:/ /anotheryearinla.com/2015_MartinGantman.htm

\n

 \;

DTEND:20150430 DTSTAMP:20150421T064006 DTSTART:20150401 GEO:34.132366;-118.224125 LOCATION:Another Year in LA\,4695 Marwood Drive \nLos Angeles\, CA 90065 SEQUENCE:0 SUMMARY:WORLDVIEW\, Martin Gantman UID:379769 END:VEVENT BEGIN:VEVENT DTEND:20150411T160000 DTSTAMP:20150421T064006 DTSTART:20150411T130000 GEO:34.132366;-118.224125 LOCATION:Another Year in LA\,4695 Marwood Drive \nLos Angeles\, CA 90065 SEQUENCE:0 SUMMARY:WORLDVIEW\, Martin Gantman UID:379770 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ASHES/ASHES \;is proud to present \ ;Michael Blake\, \;AA Bronson\, \ ;Derek Corns\,
Kris Harzinski &\; Will Hau ghery\, and \;Mateo Tannatt \;in \;UNTITLED / EVERYONE ALL AT ONCE TOGETHER
.

An open ing reception will be held on Saturday\, April 4th from 7 - 9pm.

In the meantime\, please enjoy a playlist especially curated to accompany the exhibition:

Side-AA

1. &ldquo\;Theme from SISTERS &rdquo\; - Wendy Carlos x My Life with the Thrill Kill Kult

2. & ldquo\;The Ballad of Vaginal Creme or Brad Davis&rdquo\; - Gustave or Jeann e Moreau

3. &ldquo\;Witchiepoo&rdquo\; - Paul Lynde (duet with M argaret Hamilton)

4. "Sissies from Hell" - Lavender Cowboy &\ ; The Three Teens

5. "A Load in the Loins" - Genet's Tommy Gun
6. &ldquo\;Scorpio Rising/Electra Descending&rdquo\; - Kenneth An ger vs. Christian Death \;

7. &rdquo\;Confessions of a Mask" - Douglas P. and the \;Whore of Babylon

8. &ldquo\;(When th e Cap Fits) Manpower&rdquo\; - The Boys from Smalltown

9. &ldquo \;C.U.M.M.U.N.I.T.Y.&rdquo\; - The Tears of Boys\, Goats\, and Things

10. &ldquo\;By the Time I Get to Sayville&rdquo\; - Rufus Wainwright ft. Chaka Kahn

11. &ldquo\;Having a Coke with Frank O&rsquo\;Har a&rdquo\; - Sal Mineo

12. &rdquo\;History is a Gay Uncle" - Sham an's Candy

DTEND:20150430 DTSTAMP:20150421T064006 DTSTART:20150330 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:UNTITLED/EVERYONE ALL AT ONCE TOGETHER\, Michael Blake\, AA Bronson \, Derek corns\, Kris Harzinski\, Will Haughery\, Mateo Tannatt UID:379788 END:VEVENT BEGIN:VEVENT DTEND:20150404T210000 DTSTAMP:20150421T064006 DTSTART:20150404T190000 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:UNTITLED/EVERYONE ALL AT ONCE TOGETHER\, Michael Blake\, AA Bronson \, Derek corns\, Kris Harzinski\, Will Haughery\, Mateo Tannatt UID:379789 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In conjunction with MOPLA (Month of Photography LA) bG Galle ry is excited to present a selection of historic and contemporary master ar tists exploring the conversation between inner subject and outer environmen t.

DTEND:20150426 DTSTAMP:20150421T064006 DTSTART:20150411 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:MOPLA: As Above So Below\, Susie Loucks\, Gwen Adler\, Tatiana Bott on\, Leonard Monje\, Patrick Nagatani\, Diane Arbus\, Berenice Abbott\, Nic k Veasey\, Moby\, Ryan Schude\, Dan Busta\, Scott Tansey\, Marco Gualtieri UID:377974 END:VEVENT BEGIN:VEVENT DTEND:20150411T200000 DTSTAMP:20150421T064006 DTSTART:20150411T180000 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:MOPLA: As Above So Below\, Berenice Abbott\, Gwen Adler\, Diane Arb us\, Tatiana Botton\, Dan Busta\, Marco Gualtieri\, Susie Loucks\, Moby\, L eonard Monje\, Patrick Nagatani\, Ryan Schude\, Scott Tansey\, Nick Veasey UID:378126 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

\n

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

\n

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

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

\n

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

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

DTEND:20150816 DTSTAMP:20150421T064006 DTSTART:20150313 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Where Ends Meet: A Retrospective of Works by Nancy Ravenhall Johnso n\, Nancy Ravenhall Johnson UID:375711 END:VEVENT BEGIN:VEVENT DTEND:20150313T160000 DTSTAMP:20150421T064006 DTSTART:20150313T100000 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:Where Ends Meet: A Retrospective of Works by Nancy Ravenhall Johnso n\, Nancy Ravenhall Johnson UID:375712 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

\n

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

DTEND:20150711 DTSTAMP:20150421T064006 DTSTART:20150411 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:China’s Modern Master\, Qi Baishi UID:372197 END:VEVENT BEGIN:VEVENT DTEND:20150411T160000 DTSTAMP:20150421T064006 DTSTART:20150411T100000 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:China’s Modern Master\, Qi Baishi UID:372198 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chad Hasegawa was born and raised in Honolulu. Enthralled with graffiti and the art of th e Mission School\, Hasegawa moved to San Francisco in 2000. He received a B FA in advertising from the Academy of Art University and worked for top age ncies\, including Venables Bell &\; Partners and Goodby Silverstein & \; Partners. He decided to leave advertising to concentrate on creating mur als on the streets\, and painting canvases for both commercial and non-prof it gallery exhibitions. \;

\n

Hasegawa quickly gained recognition for his bold and colorful lat ex paint brush strokes that pushed the boundaries of public art. His self-t aught painting technique and use of color boldly shapes an object so that i t is clearly visible when seen from a far. Up close\, the work can be viewe d as an elaborate color design-an almost mosaic pointillism of brick-like s hapes. \;

\n

Hasegaw a is influenced by Vincent Van Gogh and Keith Haring\, as well as Franz Kli ne and the New York School. These artists' work inspired him to discover se ek out a subject matter that fits with his unique style: the impressively l arge\, beautiful brown bear. In addition to their reputation of being fierc ely protective of their young\, bears are highly respected in many cultures and are considered to be ancestral spirits. Each of Hasegawa's bear painti ngs is created with the intent of being a protector - personally for himsel f and for everyone that comes across his work. \;

\n

"I call my most recent works of art painte r mache. This is because of the many random layers of paper and paint that are built up to create an abstract image\, such as the image of a bear. Gri zzly bears have an amazingly odd jointed body and their fur has many colors that create what we see as brown. I enjoy painting grizzlies and I really enjoy painting them big. Through my painting style\, the spirit of the griz zly allows me to drip\, spray and apply the paint heavily to the surface. T he image almost becomes sculptural because the mediums are so built up. Amo ngst the chaos of the painted body of the grizzly\, I also capture their sp irit by painting their eyes\, snout\, and mouth in a refined and realistic manner. With this type of modeling\, the bears seem to take on a life of it s own."

DTEND:20150503 DTSTAMP:20150421T064006 DTSTART:20150411 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:The Beach\, Chad Hasegawa UID:379584 END:VEVENT BEGIN:VEVENT DTEND:20150411T213000 DTSTAMP:20150421T064006 DTSTART:20150411T183000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:The Beach\, Chad Hasegawa UID:379585 END:VEVENT BEGIN:VEVENT DESCRIPTION:
C.A.V.E. Gallery is pleased to present \;"Restitution River"\, a solo exhibition showcasin g new works by \;Restitution Press \;\, AKA Ryan G raeff.  \;
\n

Rest itution Press returns to the gallery with another ambitious body of work - this time\, celebrating the historic bridges and river of Los Angeles. &nbs p\;

\n

Having recently c ompleted a large mural for the LAPD 77th Street Division\, Restitution Pres s continues to be non-stop\, pushing the boundaries of his trademark screen -print and paint process. Each unique work is immediately engaging - create d with multi-layered abstraction juxtaposed with crisp\, hand painted detai l. Many of the pieces incorporate photographs by Rebel Vandal and are full of iconic images filtered through the lens of Restitution Press. \;

\n

The work depicts a world inspired by a brilliantly chromatic urban landscape that reflects freedom and the quest for adventure and new opportunity.

DTEND:20150503 DTSTAMP:20150421T064006 DTSTART:20150411 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Restitution River\, Restitution Press UID:379586 END:VEVENT BEGIN:VEVENT DTEND:20150411T213000 DTSTAMP:20150421T064006 DTSTART:20150411T183000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Restitution River\, Restitution Press UID:379587 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Widely known in the California art community for his tenures as Director of the Watts Towers Arts Center and of the Los Angeles Municipal Art Gallery\, Mark Steven Greenfield has t irelessly supported the work of local visual artists for several decades. O ver the same period he also established a reputation for his own artistic p ractice\, both as a graphic designer and a fine artist.

\n

Lookin&rsquo\; Back in Front of Me displays a b ody of work that Greenfield himself has described as unapologetically didac tic as it is based on his research on literature\, cinema\, history\, and t he visual arts. The artist&rsquo\;s interests range from early investigatio ns of the Science of Creative Intelligence (his Cosmos series)--a meditative practice that stirred large abstract interpretations of the astr ophysical--to figurative work inspired by Sun Ra and Parliament Funkadelic (his Afrofuturistic works). Greenfield has also delved into the artistic re naissance of LA&rsquo\;s Crenshaw community (his Crenshaw&rsquo\;s Cons ciousness series)\, gang culture\, genealogy (his Iconography and Sunday&rsquo\;s Best pieces)\, and more recently\, African American st ereotypes (his Blackatcha\, Doo Dahz\, and Animalicious) and the re-contextualization of American appropriations of African spiritua l practices (Egunguns).

\n

Sunday\, September 28\, 2014\, 2pm

\n

WALK-THROUGH AND RECEPTION with artist Mark Steven Greenfield
and curator Mar Hollingsworth

L ight refreshments to follow. \;RSVP preferred 213.744.2024.

DTEND:20150705 DTSTAMP:20150421T064006 DTSTART:20140925 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Lookin’ Back in Front of Me: Selected Works of Mark Steven Greenfie ld\, 1974-2014\, Mark Steven Greenfield UID:355214 END:VEVENT BEGIN:VEVENT DTEND:20140928T160000 DTSTAMP:20150421T064006 DTSTART:20140928T140000 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Lookin’ Back in Front of Me: Selected Works of Mark Steven Greenfie ld\, 1974-2014\, Mark Steven Greenfield UID:355215 END:VEVENT END:VCALENDAR