BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20140830 DTSTAMP:20140822T000617 DTSTART:20140809 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Group Exhibition\, Jan Albers\, John Baldessari\, Fiona Banner\, Fi ona Connor\, Kirsten Everberg\, Jorge Méndez Blake\, Liliana Moro\, Jorge P ardo\, Jessica Stockholder\, Superflex\, Kerry Tribe\, Rirkrit Tiravanija\, Paul Winstanley\, Pae White UID:350228 END:VEVENT BEGIN:VEVENT DTEND:20140809T200000 DTSTAMP:20140822T000617 DTSTART:20140809T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Group Exhibition\, Jan Albers\, John Baldessari\, Fiona Banner\, Jo rge Méndez Blake\, Fiona Connor\, Kirsten Everberg\, Liliana Moro\, Jorge P ardo\, Jessica Stockholder\, Superflex\, Rirkrit Tiravanija\, Kerry Tribe\, Pae White\, Paul Winstanley UID:350229 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:

Helen Pashgian&rsquo\;s ethere al art objects present tension between visual and cognitive perception. Ide ntified by her enigmatic refractory light sources\, which appear to transfo rm when the viewer moves around them\, Pashgian&rsquo\;s imprint on the his torical merit of the Light and Space movement is significant. Along with ot her artists working in Los Angeles in the late sixties such as James Turrel l\, Robert Irwin\, Mary Corse\, DeWain Valentine\, Larry Bell\, and Peter A lexander\, Pashgian has investigated the transformative properties of light for close to fifty years. This exhibition encompasses a choice collection of Pashgian&rsquo\;s exploratory works from 1966 to the present.

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Helen Pashgian began working with industrial ma terials in the 1960s\, using cast resin to examine light in solid form. Dur ing a residency at Caltech in 1970 &ndash\; 1971\, she began experimenting with larger forms including a 60&rdquo\; diameter disc\, which mysteriously vanished during her resident exhibition. With her subsequent mastery of ot her experimental\, industrial media\, Pashgian&rsquo\;s oeuvre expanded to include wall-mounted sculptures and free-standing columns.

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While meticulously constructed\, Pashgian&rsquo\;s ar twork shows no trace of the artist&rsquo\;s hand at work\; instead\, it con centrates on the final impression creating a tension between visual and cog nitive perception. With the understanding of the catalytic reactions perfor med by her materials and via painstaking sanding and polishing\, Pashgian a chieves surfaces that are immaculate enough to draw focus beyond physical m aterial toward the visual effects of light and color. In her own words: &ld quo\;I&rsquo\;m hoping that the presence of these pieces will slow the view er down\, and by moving around them\, will observe how they change. That&rs quo\;s the beauty of light.&rdquo\;1

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Pashgian&rsquo\;s recent series of eight-foot tall freestanding columns tak e the form of vertical doubleellipses. Every column acts as conjoined twins \, which elliptically fall in and out of each other. By making these sculpt ures large-scale\, Pashgian has created a multitude of angles with which to play with light. At times\, the columns are pure\, self-supporting\, lumin escent color\; in others there are varying elements that she has placed int o the columns that change as viewers engage them from different approaches. Mysterious as the construction is\, Pashgian has created tactile color wit h inner light sources emanating from the sculptures.

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Similar to her columns\, some of the wall pieces have varyi ng elements contained within\; however\, unlike her columns\, Pashgian&rsqu o\;s wall works appear to float. It isn&rsquo\;t immediately apparent how t hey are affixed to the wall. The enclosed elements not only appear to be sh adows\, but also cast shadows from within the pieces. As Kathleen Stuart Ho we put it\, &ldquo\;These interior elements at one moment capture a burst o f light\, then\, as one moves around the sculptures\, become solid forms th at seem to push against the diaphanous surface&hellip\; only to subside and dissolve into a ghostly presence.&rdquo\;2

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In contrast to her larger works\, Pashgian&rsquo\;s small\, twelve-i nch squares are filled with intriguing contradictions: each conveys a sense of movement despite being fixed\, each is small in size yet implies scale\ , each is predominately black yet colors come forth\, and each is flat yet sculptural in nature. There is a strong sense of movement within these smal ler works &ndash\; a blurring effect\, trails of light following larger sou rces &ndash\; but at the same time there is an uncanny stillness\, as if sh e has trapped light in a frame. In slight relief\, she has layered her boxe s\, condensing luminance and giving the impression of three- dimensions.

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Most recently\, Pashgian has created a large 5&rsquo\; resin disc. Identical in size to the disc that she created at Caltech in 1971\, the sculpture took three years to perfect. As a stunni ng example of her obsession with meticulous surface and light\, it is appar ent that the artist has planned every vantage point for the minimal\, ether eal sculpture.

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Her recent solo exhibi tion at LACMA was recently acquired for the museum&rsquo\;s permanent colle ction. Of the installation\, director Michael Govan noted: &ldquo\;The extr aordinary quality of light in Southern California has often been cited as a n inspiration for many of these artists ... Helen Pashgian: Light Invis ible affords LACMA&rsquo\;s public the opportunity to enter a light-ba sed environment created by an artist whose intelligence\, refined aesthetic \, and fastidiousness in making objects result in a remarkable immersive ex perience\, both physically and psychologically.&rdquo\;3

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Fellow Li ght and Space artist James Turrell added\, &ldquo\;Helen was the one who as a sculptor spiritualized the material world. You can sort of materialize t he spiritual\, but she was coming from the other direction\, and I thought that was really interesting and beautiful in her work.&rdquo\;1

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A pioneer and pre-eminent member of the Light an d Space movement\, Helen Pashgian  \;lives and works in Pasadena\, Cali fornia. She was recently included in Pacific Standard Time: Cross Curre nts in L.A. Painting and Sculpture\, 1950-1970 at The Getty Center\, t he related Pacific Standard Time exhibition Phenomenal: California Ligh t\, Space\, Surface at The Museum of Contemporary Art\, San Diego\, an d was the subject of a major solo exhibition\, Helen Pashgian: Light In visible\, at the Los Angeles County Museum of Art during the spring of 2014. In 2013\, she was a recipient of the MOCA Award to Distinguished Wom en in the Arts.

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1. Eliel\, Carol S. Helen Pashgian. Prest el Munich\, London\, New York: DelMonico Books\, 2014. Print.

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2. 2 Howe\, Kathleen Stewart. Helen Pashgian: Working in Light. Claremont\, CA: Pomona College Museum of Art\, 2010. Print.

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3. Vankin\, Deborah. &ldquo\; Artist Helen Pashgian Brings Her Love of Light to LACMA&rsquo\;s Space&rdqu o\;. Los Angeles Times\, 29 March 2014. Print.

DTEND:20140831 DTSTAMP:20140822T000617 DTSTART:20140714 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Survey: 1966 to Present\, Helen Pashgian UID:343154 END:VEVENT BEGIN:VEVENT DTEND:20140715T210000 DTSTAMP:20140822T000617 DTSTART:20140715T190000 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Survey: 1966 to Present\, 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:20140822T000617 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:20140822T000617 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:

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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:

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:20140822T000617 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:20140822T000617 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:

LAGUNA BEACH\, CA (July 14\, 2014) &ndash\; Artists Republic 4 Tomorrow is proud to be the first art gallery to showcase the works of C arlos Donjuan in a solo exhibition in California. A broad selection of Donj uan&rsquo\;s watercolor and acrylic paintings and drawings will be on view August 7-31\, 2014\, with a reception on Aug. 7\, Laguna Beach First Thursd ay Art Walk\, from 6 to 9pm. \;

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The works\, in watercolor and acrylic on Arches paper and Birch wood\, aim to define Donju an&rsquo\;s perception of illegal aliens\, a concept that has been with him since his childhood move from San Luis\, Mexico to Dallas\, Texas -- where he lives and works today\, now raising a son of his own. Donjuan states th at attempting to grasp the term &ldquo\;illegal alien&rdquo\; as a child wa s one of his first creative realizations: &ldquo\;I always wondered what ev eryone was talking about\, imaging weird creatures in my head&hellip\;I wan ted to meet one and to know what they looked like.&rdquo\; Revisiting his c hildhood curiosity\, he asks: what do illegal aliens look like? He paints m asked figures\, hybrid animal people\, pyramids and blob creatures that tog ether create a dialogue of about the journey they have embarked on in searc h of a better life. \; His choice of medium also comes from his early d ays as a painter: &ldquo\;I am big fan of watercolor and the layering proce ss that it involves. It&rsquo\;s a medium that was introduced to me as a ki d in high school and it just always stuck with me\, even after college.&rdq uo\;  \;

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Donjuan&rsquo\;s first California solo show comes at an exciting time when the artist is the midst of back-to-bac k banner years\, personally and professionally. In 2013\, he was featured i n a 6-page article in the April issue of Juxtapoz Magazine\, and his work a ppeared on the cover of New American Paintings as a featured artist and Art ist of the Year. &ldquo\;Carlos Daniel Donjuan&rsquo\;s paintings evince bo th the raw energy of his street art beginnings and the refinement of his ac ademic training. The combination is potent\,&rdquo\; wrote the magazine\, n oting Donjuan&rsquo\;s notable reach as an active graffiti artist and art p rofessor. His first public art project came to fruition last year\, a large mural on Dallas&rsquo\; Jefferson Viaduct\, made possible due to a large g rant awarded from the city. This year\, his work has really begun to travel the globe: first in February as a solo exhibition with Antonio Colombo Art e Contemporanea in Milan\, Italy\, and recently as part of the Cheech Marin Collection\, the largest private collection of Chicano Art in the world\, which last month exhibited in Bordeaux\, France. Donjuan&rsquo\;s rise and success in art hardly compares to his favorite personal achievement: &ldquo \;The birth of my son has been the biggest change in my life and career. I have never been so focused and \;driven as I have been since he became a part of my life. I have stayed busy in hopes that I can build something f or him.&rdquo\;

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Carlos Donjuan is among a curated p latform of ascending artists that Artists Republic 4 Tomorrow and Vans have committed in collaboration to bring to southern California in 2014. \;

DTEND:20140831 DTSTAMP:20140822T000617 DTSTART:20140807 GEO:33.5335279;-117.776796 LOCATION:AR4T Gallery\,1175 S. Coast Hwy. \nLaguna Beach\, CA 92651 SEQUENCE:0 SUMMARY:THE DAY YOU ARRIVED // CARLOS DONJUAN\, Carlos Donjuan UID:348290 END:VEVENT BEGIN:VEVENT DTEND:20140807T210000 DTSTAMP:20140822T000617 DTSTART:20140807T180000 GEO:33.5335279;-117.776796 LOCATION:AR4T Gallery\,1175 S. Coast Hwy. \nLaguna Beach\, CA 92651 SEQUENCE:0 SUMMARY:THE DAY YOU ARRIVED // CARLOS DONJUAN\, Carlos Donjuan UID:348291 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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:20140822T000617 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 BEGIN:VEVENT DESCRIPTION:

July 19 - September 5 at Artspace Warehouse: \;
Pop Momentum

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New art exhibition POP MOMENTUM opens July 19\, 2014 at A rtspace Warehouse. Featured artists include \;Joh nny Taylor\,Gerdine Duijsens\, \;Gerhard Voelkle\, \;Fran kie Alfonso\, and \;Ashleigh Sumner.

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Opening Reception Sat\, July 19\, 6:30 - 8:30pm.

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This exhibit ion showcases artists working with found images and the variety of construc ts they are able to employ to create a new visual framework. In some cases the usage is direct--the artist captures and manipulates an existing image to create it anew through their own interpretation and expression. In other s\, the image serves more as inspiration\, a path to visual representation. In all cases\, the final product relies on the idea of the image and the w ay we observe the everyday\, as much as the image itself.

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LA based art \;Johnny Taylor \;explores the visual miscellany we encounter each day without taking the time to really observe . Working in acrylic\, marker\, screen print\, and spray paint on canvas or wood\, Taylor finds inspiration in the imagery detritus of the urban lands cape: graffiti\, murals\, hand-painted signs\, graphic design\, vintage adv ertising\, store displays and package design. &ldquo\;I paint what I see. M y practice of building up the artwork in layers and then subsequently maski ng and tearing them away is informed by peeling abandoned billboards which reveal parts of images that came before. I am intrigued by the scraps of th eir history visible all at once.&rdquo\;

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G erdine Duijsens \;was born in Utrecht\, Netherlands\, where she stu died at the Art Academy and the Academy of Fine Arts in Belgium. Her artwor k is a synthesis between figurative and abstract art. Mostly it is abstract with figurative elements. It fits perfectly in the spirit of modern times where people are focused on the exterior of something or someone. As a resu lt\, the creative and imaginative power unfolds\, which is the most importa nt consideration for artist and viewer. Her enormous drive and energy is ap parent in all her paintings. &ldquo\;There are many opportunities in your l ife\, so you must have the courage to be open. You might not grab everythin g\, but if you do\, make it into something.&rdquo\;

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Gerhard Vö\;lkle&rsquo\;s \;works are visual experimen ts based on images he has collected over the years. Inspired by the volcani c rocks he found of the Spanish island of Lanzarote\, Vö\;lkle has crea ted a unique technique of painting with rust. In works made with this proce ss\, his deliberate marks mix with the uncontrollable natural oxidation\, w hich transforms the surface into an organic\, evolving entity. He often cre ates silhouettes of figures in dynamic poses\, wearing a mix of modern and traditional clothing. Vö\;lkle also makes metalworks of cutout figures and minimalist cubes&mdash\;their rusting surfaces symbolizing nature\, dec ay\, and the passing of time.

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Frankie Alfon so \;has a distinct and fresh voice in the art world. He creates hi s work using lively colors and spontaneous\, well-balanced composition. His work is best described as a style of automatic creation where he uses simp le lines to make complicated arrangements of balance and harmony. His style is a mix of cubism\, cartoon art\, graffiti and abstract expressionism.

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Through bold\, abstract expression\, \;As hleigh Sumner \;attempts to incorporate the implied visual of the d ensely populated\, urban landscape with the raw\, gritty texture of industr ial areas. The combination of these elements is intended to evoke a powerfu l sense of unrestrained vitality. She often creates her artworks with her o wn versions of found images she photographs on her trips to Europe. She als o applies acrylic paint in many layers and sometimes employs spray paint an d resin to give her artworks a unique finish.

DTEND:20140905 DTSTAMP:20140822T000617 DTSTART:20140719 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:Pop Momentum\, Gerhard Voelkle\, Johnny Taylor\, Frankie Alfonso\, Gerdine Duijens\, ASHLEIGH SUMNER UID:347042 END:VEVENT BEGIN:VEVENT DTEND:20140719T203000 DTSTAMP:20140822T000617 DTSTART:20140719T183000 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:Pop Momentum\, Frankie Alfonso\, Gerdine Duijens\, ASHLEIGH SUMNER\ , Johnny Taylor\, Gerhard Voelkle UID:347043 END:VEVENT END:VCALENDAR