BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

101/EXHIBIT proudly presents \;Ash and Oil\, a comprehensive solo show by gallery artist Ian Ingram. This exhibition marks the inaugural launch of the gallery&rsquo\;s new West Hollywood space. The opening will be held from 7-9pm on Saturday\, January 16th at 668 N La Pee r Drive\, located on the southeast corner of the Santa Monica Blvd and N La Peer Drive intersection. A full color 42-page catalog with essay by A. Mor et and process notes by the artist will accompany the exhibition.

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Featuring 12 works across three distinct series ranging from 2012-16\, this is the most comprehensive exhibition of the artist&rsquo\;s work to date. Bodies of work included are:

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- \ ;Evidence\, new oil on panel works\, 2014 &ndash\; 2016
-&nbs p\;Lost on the Pulpit\, charcoal on paper works\, 2013
-  \;Ignoring\, charcoal on paper works\, 2012

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\n< p>Since 2009\, the parameter of Ian Ingram&rsquo\;s artistic practice has b een large-scale self-portraits. As a nod to the classical systems of art ma king\, the self-portrait has provided the foundation for a focus that has l asted nearly seven years. Up until 2014\, Ingram worked exclusively in char coal and graphite on paper\, hence the show title&rsquo\;s reference to 'as h'. This era of production was synonymous with the artist&rsquo\;s previous representation by Barry Friedman\, Ltd. of New York City. In 2014\, Mr. Fr iedman retired and closed his eponymous gallery.

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To honor the tides of change and his newly formed relationship with 101/EXHIB IT\, Ingram turned exclusively to painting for the first time since his col legiate years\, hence the title&rsquo\;s 'oil'. With this update in his pro cess\, he also embraced an unprecedented level of experimentation. We now s ee not only oil on board\, but surface treatments including pokerwork\, wir e lacing\, wood carving\, gold leaf\, traditional Huichol beadwork\, unconv entional pigment techniques\, and torching\, all seamlessly incorporated in to the surfaces.

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Ingram&rsquo\;s works are particul arly insightful when considering his phenomenologically informed theories o f self-observation. Via the direct experience of approaching his likeness a s an object of deep study\, there is an inherently confrontational nature t o his pieces. Through magnified observation\, Ingram is uncovering evidence of origin. Having spent some 20\,000 plus hours in front of curved mirrors \, the viewer must concede an authority of expertise to the artist for bein g able to recognize the recurring patterns found within our skin. These pat terns in turn echo the architecture of our existence\, from the Fibonacci S equence to the DNA spiral\, thus becoming the formidable root of content an d composition for a highly accomplished draftsman and painter.

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To put it in another way\, Ian Ingram makes large-scale self-po rtraits that are honest and beautiful\, and if you sit in front of them for a moment\, you will be given the evidence that humans are all connected - that it is beauty\, rhythm\, and love that binds us - and that good art is a human birthright. Or\, as Wayne Allen Brenner of the Austin Chronicle has said\, "...for all the worthwhile and varied creations\, we are struggling . We are doing our best right now to resist grabbing you by your jacket's l apels (or T-shirt's collar) and shouting: 'Nevermind any of that! Ian Ingra m\, dude. Ian fucking Ingram!' "

DTEND:20160227 DTSTAMP:20160209T032606 DTSTART:20160116 GEO:34.082796;-118.3865132 LOCATION:101/EXHIBIT\,668 N. La Peer Drive \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Ash and Oil\, Ian Ingram UID:406082 END:VEVENT BEGIN:VEVENT DTEND:20160116T210000 DTSTAMP:20160209T032606 DTSTART:20160116T190000 GEO:34.082796;-118.3865132 LOCATION:101/EXHIBIT\,668 N. La Peer Drive \nLos Angeles\, CA 90069 SEQUENCE:0 SUMMARY:Ash and Oil\, Ian Ingram UID:406083 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Tel Aviv-based \;Elham Rokni \;debuts a solo exhibition of new works centered around \;The Wedding\, \;a video of her parents&rsquo\; wedding which took pla ce during the halcyon days before Iran&rsquo\;s popular revolution gave way to a religious fundamentalist regime. Struggling to remember the exact dat e of the event\, Rokni&rsquo\;s relatives inadvertently draw a picture of t he excitement\, confusion\, and eventual disappointment of those historic m onths. Rokni&rsquo\;s works in video installation and drawing use her perso nal history\, as a refugee from Iran who settled in Israel\, to explore col lective experiences of loss and displacement. Alternating between dreamscap e and documentary\, Rokni&rsquo\;s works investigate the disconnection betw een people&rsquo\;s hopes and expectations and their often tragic realities \, using art to describe the imaginative\, unconscious dimensions of experi ence.

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Elham Rokni received her BFA an d MFA from Bezalel Academy in Israel. She has participated in international film festivals and has received grants from the Israeli Ministry of Cultur e and Sport\, the Yehushua Rabinovich Tel Aviv Foundation for the Arts\, an d the Fund for Video Art and Experimental Cinema in Israel. Her works can b e found in various private collections. Rokni&rsquo\;s work will be present ed in two simultaneous solo exhibitions at 18th Street Arts Center and Shul amit Nazarian Gallery in winter 2016\, and her work Crossing the Dune will be included in the exhibition Islamic Art Now\, Part 2 and in the permanent collection at LACMA in 2016.

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Elh am Rokni is the 2016 Soraya Sarah Nazarian Middle Eastern Artist in Residen ce\, made possible by a grant from the \;Y &\; S Nazarian Foundation&nb sp\;and \;produced with support from Asylum Arts.

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Reception: February 20\, 6-8PM
Free and open to the public. Kindly RSVP

DTEND:20160312 DTSTAMP:20160209T032606 DTSTART:20160119 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:The Wedding\, Elham Rokni UID:409052 END:VEVENT BEGIN:VEVENT DTEND:20160220T200000 DTSTAMP:20160209T032606 DTSTART:20160220T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:The Wedding\, Elham Rokni UID:409053 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For his debut solo exhibition in Los Angeles\, Copenhagen-based artist \;Sø\;ren Hü\;ttel  \;looks at how modern and contemporary art appears in popular visi ons of the future from television of the 1980s and 1990s\, the artist&rsquo \;s formative years. Hü\;ttel mines images of paintings and sculptures that appeared in the sets of Star Trek: The Next Generation. These artworks reflect aesthetics that were already out of date within contemporary art b y the time the episodes originally aired\, but while  \;they all relate to mid 20th century modernism\, they are presented here as &ldquo\;futuris tic&rdquo\; 24th century contemporary art. Actual historical artists and ar tworks also appear in Star Trek: TNG\, including references to Salvador Dal i and Piet Mondrian. Through painting\, and installation\, Hü\;ttel cre ates &ldquo\;a cross-section of obscure bad art and pop culture&rdquo\; tha t combines his characteristic humor with a sharp critical edge.  \;The work is structured within a mock-academic context that reflects the televis ion program&rsquo\;s attempt to envision a fictional construction of the ar t history of the future.

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This exhibition funded by:

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Danish Arts Council

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Reception: February 20\, 6-8PM
Free and open to the publi c. Kindle RSVP \;

DTEND:20160304 DTSTAMP:20160209T032606 DTSTART:20160119 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Tomorrow is Yesterday\, Søren Hüttel UID:409054 END:VEVENT BEGIN:VEVENT DTEND:20160220T200000 DTSTAMP:20160209T032606 DTSTART:20160220T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Tomorrow is Yesterday\, Søren Hüttel UID:409055 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Vishal Jugdeo \;brings his signature experimental a pproach to video to the Artist Lab at 18th Street Arts Center. Drawing upon his recent explorations in narrative structure which combine documentary f ootage\, personal account and fictional story construction\, Jugdeo will us e the Artist Lab Residency as a starting point towards the development of a scripted web series\, made in collaboration with local performers. This pr oject builds on previous videos and installations that have taken televisio n formats such as a talk show or a family drama in unexpected directions\, as well as a recent body of work considering the artist&rsquo\;s research i nto his family&rsquo\;s migration from India to Guyana and later Canada.

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Recently Jugdeo has been looking more directly at scripte d television as a format with radical potential for the expression of compl ex subjective experience. Where as &lsquo\;the televisual&rsquo\; has alway s informed his work\, its apparatuses typically been explored with quotatio n marks\; as a set of conventions from which he has abstracted. For his cur rent project\, he is interested in exploring the the democratizing space of the internet as a way of moving outside of the rarified world of the exhib ition space. To that end\, over the course of three months\, the Artist Lab will be used as a writer&rsquo\;s room\, a pre-production studio\, and a s et\, while the artist develops a series of vignettes that will act as ancho rs for the larger project. Jugdeo&rsquo\;s ongoing investigation of migrati on and assimilation informed by queer and transnational perspectives\, aide d by an eye for the absurdity of human relationships\, will be translated i nto a more conventionally structured web series.

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Canadi an-born\, Los Angeles-based Vishal Jugdeo is the recipient of a 2015 Guggen heim Fellowship in support of his new body of work\, which develops from 20 12&rsquo\;s Goods Carrier\, filmed in the artist&rsquo\;s ancestral land of origin\, India\, and debuted at the Hammer Museum&rsquo\;s Made in L.A. 20 12\; as well as A Shaky Picture Has No Weight (2013)\, filmed in Jugdeo&rsq uo\;s parents&rsquo\; homeland of Guyana\, and debuted at Performa13. Traci ng the movement of Indians under British rule from the subcontinent to the Caribbean and South America during the nineteenth century\, Jugdeo&rsquo\;s work is a meditation on contrasts between exotic and familiar\, near and f ar\, intimate and estranged.

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Born in 1979 in Regina\, S askatchewan\, Canada\, Vishal Jugdeo graduated from Simon Fraser University \, Vancouver (BFA\, 2003) and the University of Los Angeles (MFA\, 2007). H e attended the Skowhegan School of Painting and Sculpture in 2005. Jugdeo h as exhibited at the Hammer Museum (Los Angeles)\, LAXART (Los Angeles)\, th e Orange County Museum of Art\, and the Witte de With Center for Contempora ry Art (Netherlands). He has received grants from Art Matters\, Artadia\, t he California Community Foundation\, and the Canada Council for the Arts. J ugdeo teaches in the Intermedia Department at the University of Southern Ca lifornia Roski School of Art and Design and is based in Los Angeles.

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Reception: February 20\, 6-8PM
Free and open to the public. Kindle RSVP

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Vishal Jugdeo \;brings his signature experimental approach to video to the Artist Lab at 18th Street Arts Center. Drawing upo n his recent explorations in narrative structure which combine documentary footage\, personal account and fictional story construction\, Jugdeo will u se the Artist Lab Residency as a starting point towards the development of a scripted web series\, made in collaboration with local performers. This p roject builds on previous videos and installations that have taken televisi on formats such as a talk show or a family drama in unexpected directions\, as well as a recent body of work considering the artist&rsquo\;s research into his family&rsquo\;s migration from India to Guyana and later Canada.\n

Recently Jugdeo has been looking more direc tly at scripted television as a format with radical potential for the expre ssion of complex subjective experience. Where as &lsquo\;the televisual&rsq uo\; has always informed his work\, its apparatuses typically been explored with quotation marks\; as a set of conventions from which he has abstracte d. For his current project\, he is interested in exploring the the democrat izing space of the internet as a way of moving outside of the rarified worl d of the exhibition space. To that end\, over the course of three months\, the Artist Lab will be used as a writer&rsquo\;s room\, a pre-production st udio\, and a set\, while the artist develops a series of vignettes that wil l act as anchors for the larger project. Jugdeo&rsquo\;s ongoing investigat ion of migration and assimilation informed by queer and transnational persp ectives\, aided by an eye for the absurdity of human relationships\, will b e translated into a more conventionally structured web series.

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Canadian-born\, Los Angeles-based Vishal Jugdeo is the recipient of a 2015 Guggenheim Fellowship in support of his new body of wo rk\, which develops from 2012&rsquo\;s Goods Carrier\, filmed in the artist &rsquo\;s ancestral land of origin\, India\, and debuted at the Hammer Muse um&rsquo\;s Made in L.A. 2012\; as well as A Shaky Picture Has No Weight (2 013)\, filmed in Jugdeo&rsquo\;s parents&rsquo\; homeland of Guyana\, and d ebuted at Performa13. Tracing the movement of Indians under British rule fr om the subcontinent to the Caribbean and South America during the nineteent h century\, Jugdeo&rsquo\;s work is a meditation on contrasts between exoti c and familiar\, near and far\, intimate and estranged.

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Born in 1979 in Regina\, Saskatchewan\, Canada\, Vishal Jugde o graduated from Simon Fraser University\, Vancouver (BFA\, 2003) and the U niversity of Los Angeles (MFA\, 2007). He attended the Skowhegan School of Painting and Sculpture in 2005. Jugdeo has exhibited at the Hammer Museum ( Los Angeles)\, LAXART (Los Angeles)\, the Orange County Museum of Art\, and the Witte de With Center for Contemporary Art (Netherlands). He has receiv ed grants from Art Matters\, Artadia\, the California Community Foundation\ , and the Canada Council for the Arts. Jugdeo teaches in the Intermedia Dep artment at the University of Southern California Roski School of Art and De sign and is based in Los Angeles.

DTEND:20160401 DTSTAMP:20160209T032606 DTSTART:20160119 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Exhibition & Residency: Vishal Jugdeo\, Vishal Jugdeo UID:409057 END:VEVENT BEGIN:VEVENT DTEND:20160220T200000 DTSTAMP:20160209T032606 DTSTART:20160220T180000 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Exhibition & Residency: Vishal Jugdeo\, Vishal Jugdeo UID:409058 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160313 DTSTAMP:20160209T032606 DTSTART:20160108 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:“Though I have all faith so as to remove mountains\, but have not L ove\, I am nothing" ‘Corinthians'\, Susan Cianciolo UID:405156 END:VEVENT BEGIN:VEVENT DTEND:20160108T210000 DTSTAMP:20160209T032606 DTSTART:20160108T190000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:“Though I have all faith so as to remove mountains\, but have not L ove\, I am nothing" ‘Corinthians'\, Susan Cianciolo UID:405157 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160403 DTSTAMP:20160209T032606 DTSTART:20160130 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Wrok Fmaily Freidns \, Seth Price UID:407380 END:VEVENT BEGIN:VEVENT DTEND:20160130T230000 DTSTAMP:20160209T032606 DTSTART:20160130T200000 GEO:34.04298;-118.227011 LOCATION:356 Mission\,356 South Mission Road \nLos Angeles\, CA 90033 SEQUENCE:0 SUMMARY:Wrok Fmaily Freidns \, Seth Price UID:407381 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Anat Ebgi is pleased to pres ent \;Double Blind\, the gallery&rsquo\;s second solo exhibiti on with Margo Wolowiec\, on view January 30 through \;March 12\, 2016. Wolowiec&rsquo\;s newest series of work expands upon her distinct woven pra ctice with three new freestanding sculptures grounded by a large double-pan eled wall work.
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In this bod y of work\, Wolowiec continues her examination of digitally sourced images while presenting the viewer with a conflicted field of doubles. An automate d algorithm triggered by various 'trending' hashtags yield colorful\, sugge stive imagery. The images are abstracted through the artist&rsquo\;s proces s of dye sublimation transfer onto polymer threads and weaving them togethe r on a handloom. Like a double blind procedure in which neither the subject s nor those administering the experiment know what is at stake\, Wolowiec&r squo\;s practice mixes chance and intention. The exhibition&rsquo\;s title also references the way visual stimuli are translated into meaningful infor mation\, distorted\, or forgotten. The proliferation of images and visual t rends in social media and net culture serve as a point of contestation for Wolowiec\, who sees social media platforms as conflicted systems that entan gle the personal and private with the corporate. Wolowiec manipulates the s ourced representations of femininity culled from individual profiles as wel l as from advertisements and magazines\, creating a strained duality betwee n the two.
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Wolowiec&rsquo\;s gridded compositions make use of the internet&rsquo\;s predominantly rectangular image format as well as weaving&rsquo\;s inherent checkered logic. The role of the artist&rsquo\;s hand in abstracting this grid\, while borrowing techniques from painting a nd photography\, represents a challenge to both. In both her wall works and her freestanding woven pieces\, distinct lines are blurred and images misa ligned. Woven fabric can be viewed from the front and the back\, while tran sparency in the weave allows both sides to merge into a whole. Images repea t from one work to the next in varying degrees of legibility\, akin to repe titive advertisements that have been absorbed into the subconscious realm. Subtle\, surprise elements woven into the fabric further contribute to the sculptural dimension of the freestanding works.
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The freest anding pieces in this exhibition mark a continued foray into the territory of sculpture\, pairing architectural steel with woven panels. Referencing t he dimensions of a doorframe\, these new works signify transition and multi ple dualities&mdash\;in/out\, seen/unseen&mdash\;indicating an exploration of the threshold as a space for transformation.
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Margo Wolowiec \;(b.1985) receive d her BFA from The School of the Art Institute of Chicago and MFA from Cali fornia College of the Arts\, San Francisco. Her work has been exhibited int ernationally in galleries and institutions including Lisa Cooley\, New York \, Jessica Silverman Gallery\, San Francisco\, Laura Bartlett Gallery\, Lon don\, and the Di Rosa Foundation\, Napa\, CA\, among others. Her work is in the collections of the Kadist Art Foundation\, San Francisco\, CA\, and th e Detroit Center for Photography\, Frame/s\, Digital Gallery of Lens Based Media. She has lectured at Maryland Institute College of the Arts\, Baltimo re\, and San Francisco State University\, San Francisco. Her work has been reviewed in \;Artforum\, \;the \;L.A. Times\, SFAQ  \;and \;Frieze\, amongst others. \;Wolowiec live s and works in New York. \;
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DTEND:20160312 DTSTAMP:20160209T032606 DTSTART:20160130 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Double Blind\, Margo Wolowiec UID:405158 END:VEVENT BEGIN:VEVENT DTEND:20160130T200000 DTSTAMP:20160209T032606 DTSTART:20160130T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Double Blind\, Margo Wolowiec UID:405159 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160407 DTSTAMP:20160209T032606 DTSTART:20160123 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:chickpea(ce) in HOLD UP\, Ken Ehrlich\, Daniel Joseph Martinez\, Jo hanna Breiding\, Cat Chui Phillip UID:409046 END:VEVENT BEGIN:VEVENT DTEND:20160123T170000 DTSTAMP:20160209T032606 DTSTART:20160123T140000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:chickpea(ce) in HOLD UP\, Johanna Breiding\, Ken Ehrlich\, Daniel J oseph Martinez\, Cat Chui Phillip UID:409047 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of tapestries ma de of fabric\, thread\, paint\, and ink\, which depict the rich landscape o f the West while mapping the fault lines throughout the region with vivid r ed lines. The artist\, who calls these works "mapestries\," descr ibes them as "safe art for above one's bed in case of temblors."

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Learn More About the Artist

DTEND:20160515 DTSTAMP:20160209T032606 DTSTART:20160124 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Mapestries\, Jessie Homer French UID:406198 END:VEVENT BEGIN:VEVENT DTEND:20160123T200000 DTSTAMP:20160209T032606 DTSTART:20160123T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Mapestries\, Jessie Homer French UID:406199 END:VEVENT BEGIN:VEVENT DESCRIPTION:

What Fuels Development? is an installation that serves as a set for a devised theater piece that explores the mechanics of displacement in an age of immense income inequal ity as well as the Los Angeles Skid Row community's fight to not be overwhelmed by a rapidly expanding\, alcohol-fueled entertainment district .

Developed by John Malpede of the Los Angeles Poverty Department (LAPD)\, the project builds upon the shared interests of the Armory and LAPD in connecti ng the experiences of people to the social\, economic\, and political force s that shape their lives. The exhibition will include the LAPD archive\, wh ich documents 30 years of LAPD&rsquo\;s work and originated in an exhibitio n at the Queens Museum\, New York\, in 2014. Pe rformances will take place on March 25\, 26\, 27 and April 1\, 2\, and 3. DTEND:20160515 DTSTAMP:20160209T032606 DTSTART:20160124 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Los Angeles Poverty Department: What Fuels Development? UID:406200 END:VEVENT BEGIN:VEVENT DTEND:20160123T200000 DTSTAMP:20160209T032606 DTSTART:20160123T180000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Los Angeles Poverty Department: What Fuels Development? UID:406201 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ASHES/ASHES is pleased to present feels like feels\, the fir st Los Angeles solo exhibition by New York&ndash\;based artist Ian Swanson. The exhibition will be on view January 23&ndash\;March 5\, 2016\, with an opening reception on Saturday\, January 23\, from 6&ndash\;9pm.

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Swa nson&rsquo\;s recent paintings approach portraiture by way of abstraction. Rather than coaxing the abstract out of figuration\, a tendency in recent b odily abstraction\, these take a murkier tack. In his ongoing series Ag ing (2014&ndash\;2016)\, there is no discrete composition\, no mark-ma king as brushed\, drawn\, or scratched. The lack of bristle or prod suggest s an aerosol or stylus\, a bypassing of the brush as an extension of the ha nd\, directing us towards the ethereal. An uncertainty sets in as to how th e paintings&rsquo\; surface scars of crusted graphite\, mica\, and pumice w ere formed&mdash\;their place in geologic time also indeterminable. A suite of portraits on black felt also alludes to the passage of time\, the cycle between sunset and sunrise\, again reaffirming our place in corporeal real ity &mdash\; from a single night to an æ\;on. \;

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Upon ente ring the gallery\, the viewer is confronted with Online Taxes\, Inc. (2014)\, a heavy steel adjustable door-jammer emblazoned with the titula r corporation&rsquo\;s name\, implying a possible prize giveaway from a bot tom-rate internet company. Nearby\, the ambiguity as to whether the figure in An Approach (2015) haunts or consoles the foreground figure is echoed by nearby sculptures\, each of which relies on a similar rebranding\ , and the questionable generosity they bring to mind. \;

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Swanso n&rsquo\;s paintings are staunchly monochromatic: black\, grey\, and white. Primary color accents &mdash\; red\, blue\, yellow &mdash\; and the corres ponding negative of the image float to the surface and recede below the ski n of the painting&rsquo\;s image. This lack of subjective decision-making e stablishes a narrow scope of control: Here is the hue\, here is the accent\ , here is the feel. Summoning proto-Expressionists and contemporary artists alike\, they provide a nuanced chain of continuity between current and pas t inflections of the human condition as expressed through painting. \;< /p>\n

Ian Swanson was born in Detroit\, MI. He received his BFA from Wayn e State University in Detroit and his MFA from the Pratt Institute in Brook lyn\, NY. Recent solo and collaborative exhibitions include /recent wor ks at Simone DeSousa\, Detroit (2012)\; studios pretty much an off ice rn at Welcome Screen\, London (2013)\; ego drift at WAKE\ , Detroit (2014)\; or or and at Free Paarking\, St. Louis (2014)\; Vital Shift in Central Observer at Bosi\, New York (2015)\; and < em>a native fear&hellip\;a featureless protagonist at D&rsquo\;Agostin o &\; Fiore\, New York (2015). He lives and works in Brooklyn\, NY.  \;

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feels like feels also marks the inauguration of the ASHES/ASHES outdoor project space LA/DW~PS. The running theme across artists&rsquo\; pr ojects will be that of xerophobia. Ian Swanson and Wendy Ross initiate the program with Raft (2016)\, a collaborative work comprised of two i dentical pairs of rebranded\, DIY rain barrels.

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Tony Hope&rsquo\;s permanent installation Untitled (Dawn) (2015) remains on view in t he gallery&rsquo\;s bathroom.

DTEND:20160305 DTSTAMP:20160209T032606 DTSTART:20160123 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:feels like feels\, Ian Swanson UID:407565 END:VEVENT BEGIN:VEVENT DTEND:20160123T210000 DTSTAMP:20160209T032606 DTSTART:20160123T180000 GEO:34.0595169;-118.2802317 LOCATION:ASHES/ASHES\,2404 Wilshire Boulevard 1A\nLos Angeles\, CA 90057 SEQUENCE:0 SUMMARY:feels like feels\, Ian Swanson UID:407566 END:VEVENT BEGIN:VEVENT DESCRIPTION:

bG Gallery presents its second annual group exhibi t of artists that have the ability to spark our imagination and create spec tacular worlds without the use of overt color. The limitless possibilities of myriad shades of gray\, and their particular application in ranges of co ntrast are the focus of this year's installment as well as a cast new artis ts not previously exhibited at the gallery.

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DTEND:20160221 DTSTAMP:20160209T032606 DTSTART:20160206 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Grayscale Wonderland II\, Yaron Dotan\, David Dumo\, Melissa Wilkin son\, Jeehye Shin\, Andrea Castillo\, Mary McGill\, Mick Phelan\, Daggi Wal lace\, Domenico Foschi\, Johnny Naked\, Pascaline Doucin-Dahlke\, Marion Wo od\, Allan Peach\, Harry Wilson\, Peta Orbach\, DOSSHAUS\, Robert Zagorski\ , Steve Paulsen\, Susan Moss\, Barbara Kolo\, Kim Kimbro\, Scott Horton\, T homas Wittaker Kidd\, NATHAN CARTWRIGHT\, Mike Saijo\, Dave Quick\, Geo Rho de\, Terry Marks Tarlow\, Huss Harden UID:409149 END:VEVENT BEGIN:VEVENT DTEND:20160206T210000 DTSTAMP:20160209T032606 DTSTART:20160206T180000 GEO:34.0279746;-118.4679684 LOCATION:bG BLEICHER/GORMAN\,Bergamot Station\, 2525 Michigan Ave space G8A \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Grayscale Wonderland II\, NATHAN CARTWRIGHT\, Andrea Castillo\, DOS SHAUS\, Yaron Dotan\, Pascaline Doucin-Dahlke\, David Dumo\, Domenico Fosch i\, Huss Harden\, Scott Horton\, Thomas Wittaker Kidd\, Kim Kimbro\, Barbar a Kolo\, Mary McGill\, Susan Moss\, Johnny Naked\, Peta Orbach\, Steve Paul sen\, Allan Peach\, Mick Phelan\, Dave Quick\, Geo Rhode\, Mike Saijo\, Jee hye Shin\, Terry Marks Tarlow\, Daggi Wallace\, Melissa Wilkinson\, Harry W ilson\, Marion Wood\, Robert Zagorski UID:409150 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Blum &\; Poe is pleased t o present \;Dansaekhwa and Minimalism\, the first survey of Ko rean monochromatic painting with American Minimalism.
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Cons isting of more than twenty-five paintings and sculptures dating from the 19 60s to the present\, this two-part exhibition focuses on the most represent ative artists of each movement: Carl Andre\, Chung Sang-hwa\, Ha Chonghyun\ , Robert Irwin\, Donald Judd\, Kwon Young-woo\, Lee Ufan\, Sol LeWitt\, Rob ert Mangold\, Agnes Martin\, Park Seobo\, Robert Ryman\, Richard Serra\, an d Yun Hyong-keun.
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Emerging in the 1960s and transforming K orean art through the 1980s\, Dansaekhwa literally means "monochrome painti ng\," but it is defined by the diverse array of methods employed as much as its minimal aesthetics. While Chung Sang-hwa created layered grids of crac ked and chipped paint\, Ha Chonghyun pushed viscous paint through the back of hemp\, smearing and scraping the residue across the surface. Kwon Young- woo scratched\, tore\, punctured and sliced \;hanji \;pape r\, whereas Lee Ufan steadily and repeatedly pulled his brush down the canv as until the paint faded to nothing. Park Seobo dragged pencils through wet oil paint in rhythmic waves\, while Yun Hyong-keun \;diluted paint wit h turpentine\, allowing it to wash over and bleed into the canvas.
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Like the Minimalists\, the Dansaekhwa artists shared a desire to e xplore the object through its most basic material properties. However\, the y made their work amid starkly different conditions --- enduring the materi al deprivations experienced in the decades after the Korean War and an oppr essive political climate in which civil liberties were suspended in the nam e of national security. Nonetheless\, they succeeded in overcoming these di fficulties and by the early 1980s Dansaekhwa had become the first Korean ar tistic movement to be recognized internationally. Still\, although the arti sts achieved renown in Seoul\, Tokyo\, and Paris\, it was not until recentl y that they gained exposure in the United States\, and thus the aesthetic a nd contextual similarities and differences with American Minimalism have ye t to be examined.
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This exhibition aims to highlight the su btle diversity of aesthetics and ideas explored in these two movements. Nei ther Dansaekhwa nor Minimalism was defined by a manifesto or a unified conc eptual approach. Artists from both movements have expressed differing persp ectives on the links between their practices and those of their immediate p eers. In turn\, the Korean artists variously acknowledge or disavow a relat ionship between Dansaekhwa and Minimalism. As the first major exhibition to bring these works together\, this survey is intended as a non-didactic sta rting point for broader critical discussion.
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Following the initial large-scale presentation in Los Angeles\, the second installment o f this exhibition\, in New York\, will present a more intimate focus on sma ller-scale works. The two-part exhibition will be accompanied by a fully il lustrated catalogue featuring original scholarship by leading authorities i n the fields of Dansaekhwa and American Minimalism.
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In Sep tember 2014\, Blum &\; Poe presented \;From All Sides: Tansaekhw a on Abstraction\, the first major overview of Korean monochromatic pa inting in North America. Curated by Joan Kee\, Associate Professor of Histo ry of Art at the University of Michigan\, and held at Blum &\; Poe in Lo s Angeles\, the exhibition laid the groundwork for further in-depth present ations of the featured artists. Subsequently\, in New York\, Blum &\; Po e presented the first US solo exhibition of Ha Chonghyun in November 2014\, followed by the first posthumous US solo exhibition of Yun Hyong-keun in N ovember 2015. The first North American solo exhibition of the late Kwon You ng-woo will be held at Blum &\; Poe\, New York\, in May 2016.
DTEND:20160312 DTSTAMP:20160209T032606 DTSTART:20160116 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Dansaekhwa and Minimalism\, Carl Andre\, Chung Sang-hwa\, Ha Chongh yun\, Robert Irwin\, Donald Judd\, Kwon Young-woo\, Lee Ufan\, Sol LeWitt\, Robert Mangold\, Agnes Martin\, Park Seobo\, Robert Ryman\, Richard Serra\ , Yun Hyong-keun UID:405161 END:VEVENT BEGIN:VEVENT DTEND:20160116T200000 DTSTAMP:20160209T032606 DTSTART:20160116T180000 GEO:34.0330882;-118.3750459 LOCATION:Blum & Poe\,2727 S. La Cienega Blvd \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Dansaekhwa and Minimalism\, Carl Andre\, Ha Chonghyun\, Yun Hyong-k eun\, Robert Irwin\, Donald Judd\, Sol LeWitt\, Robert Mangold\, Agnes Mart in\, Robert Ryman\, Chung Sang-hwa\, Park Seobo\, Richard Serra\, Lee Ufan\ , Kwon Young-woo UID:405162 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Red\, with its brilliant hue a nd broad cultural history\, has inspired artists' imaginations and seduced viewers for millennia. Artists and dyers for centuries strived to find the color source to rival the best reds of nature\, and to express the spirit\, symbolism and sustenance of life.

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Th eir quest ended in the Aztec marketplace of 16th-century Mexico\, where Spa nish explorers encountered the American cochineal bug. The Red that Col ored the World translates the cochineal story into three dimensions\, following the precious bug juice and its use in art from Mexico to Europe t o the U.S. and beyond. Highlighting 100 objects-textiles\, sculpture\, pain tings\, manuscripts\, decorative arts\, clothing and more- the exhibition e xplores the history of cochineal and the seductive visual nature of red. Th e objects reflect the unique international uses of color\, revealing its ro le in the creative process and the motivations of artists in their choice o f materials.

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This exhibition was orga nized by the Museum of International Folk Art\, Santa Fe\, New Mexico\, USA \, and made possible by the generous support of the National Endowment for the Humanities and circulating through GuestCurator Traveling Exhibitions.< /p> DTEND:20160221 DTSTAMP:20160209T032606 DTSTART:20151031 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:The Red that Colored the World UID:394553 END:VEVENT BEGIN:VEVENT DTEND:20151031T160000 DTSTAMP:20160209T032606 DTSTART:20151031T100000 GEO:33.7627867;-117.8677338 LOCATION:Bowers Museum\,2002 N. Main St. \nSanta Ana\, CA 97206 SEQUENCE:0 SUMMARY:The Red that Colored the World UID:394554 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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C.A.V.E. Gallery is pl eased to present \;Bones\, a new solo exhibition by South Afri can artist\, photographer and filmmaker\, Ralph Ziman. In Ziman's second so lo exhibition with the gallery\, \;Bones \;will feature a series of photographs and sculptures that directly respond to the current s tate of trophy hunting in South Africa and the resultant commercial exchang e that occurs between South Africa and America. \;

\n< div align="justify">C.A.V.E. Gallery will host a reception at 1108 Abbot Ki nney Boulevard on \;Saturday\, February 6th at 6:30 p.m.

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In this latest body of work\, Ziman seeks to confront the egregious killing of endangered animals for trophy and spo rt in South Africa. 'Canned hunts' - often hosted on South African reserves - involve visitors paying large sums of money to kill some of the world's most rare and precious animals. A culture of killing exists amongst the loc als as well\, with numerous species being used for medicine\, which is boug ht and sold at South African Voodoo marketplaces. Having witnessed many of these practices\, Ziman's work actively speaks out against the global value of profit over protection of endangered animals. \;

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While certain cases of Americans flaunting the killin g of lions\, rhinos and giraffes have outraged social media communities and churned out news stories\, the message is short-lived. In an effort to fur ther the awareness of the plight of these animals\, Ziman has created a hau nting series of photographs depicting the skeletons of South African animal s set against darkened skies and stark landscapes. The skeletons-resin cast s of eland\, wildebeest\, chimpanzee -are placed by Ziman in what would be their native South African habitat\, mere remnants of living beings\, their bones ceremoniously adorned in a death mask made of colorful beads. The ar tist's labor intensive process required the help of five men and over 80 po unds of beads to complete.

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These ci nematic photographs and sculptures\, are at once a haunting and beautiful j uxtaposition of bones and beadwork. Ziman's bold and powerful imagery for \; Bonesaims to challenge the status of trophy hunting in South Africa and bring awareness to a trade that profits from the unabashed kill ing of endangered animals.
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About the Artist
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\n< div align="justify">Ralph Ziman \;was born in Johannes burg\, South Africa in 1963. Ralph has directed over 400 videos for artists as diverse as Ozzy Osbourne\, Toni Braxton\, Rod Stewart\, Michael Jackson \, Shania Twain and Rick James. His work in film includes five features as a writer/director/producer including \;Hearts and Minds\, the first independent South African feature film to be completed after aparthei d\, which premiered at the Berlin and Montreal International Film Festivals \, and \;Jerusalem \;(Gangster's Paradise \;i n the US &\; UK)\, released to critical and box office acclaim and South Africa's official entry to the 2008 Academy Awards Foreign Language sectio n. \;

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Ziman's first solo show\,  \;Ghosts\, was hosted by C.A.V.E. Gallery in Venice\, Califor nia in 2014. It was followed by solo shows in Cape Town\, London and Tucson \, Arizona. Ziman's work has also shown in numerous group shows and museums and featured by CNN\, The BBC\, Huffington Post\, The Guardian and Juxtapo z. His public art includes several murals in Venice\, Cape Town\, Johannesb urg\, London and Los Angeles. Ziman lives and works in Venice\, California.
\n DTEND:20160305 DTSTAMP:20160209T032606 DTSTART:20160206 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:C.A.V.E. Gallery presents: Ralph Ziman "Bones"\, Ralph Ziman UID:407667 END:VEVENT BEGIN:VEVENT DTEND:20160206T203000 DTSTAMP:20160209T032606 DTSTART:20160206T183000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:C.A.V.E. Gallery presents: Ralph Ziman "Bones"\, Ralph Ziman UID:407668 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition exp lores &ldquo\;hard-edgedness&rdquo\; within a group of Los Angeles artists who have used\, and continue to use\, geometry and different levels of abst raction in a variety of media.

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Hard Edged presents over thirty visual artists of African descent who create paintings\, sculptures\, collages\, photographs\, videos\, and inst allations. These artists have ventured into the realm of abstraction with v ery different approaches\, from perceptual to conceptual\, from formal to b oundary-crossing\, yet all of them share a clear sense of composition\, uni ty of form\, bold shapes and\, often\, intense or solid color choices.  \;

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The exhibition draws w idely from local sources\, including CAAM&rsquo\;s permanent collection\, p rivate collectors\, galleries\, and the artists themselves. From CAAM&rsquo \;s permanent collection we present assemblages by masters David Hammons\, Noah Purifoy\, and John T. Riddle\, as well as paintings by Doyle Lane and Mathew Thomas. From private collectors we have borrowed sculptures by Melvi n Edwards and Senga Nengudi. \; Additional renowned artists in this gro up are Greg Pitts with his conceptual assemblages\; Enoch Mack\, with his s haped canvases\; Charles Dickson\, with his repurposed metal sculptures\; a nd Timothy Washington\, with his colorful collages made with magazine cut-o uts.

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Mid-career and emergi ng artists in the exhibition include April Bey\, Lavialle Campbell\, June E dmonds\, Kathy Foley-Meyer\, Kori Newkirk\, Duane Paul\, Karl Peyton\, Char la Puryear\, Lisa Soto\, Holly Tempo\, Devin Troy Strother and Lisa Diane W edgeworth. \;

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Hard Edg ed illustrates the rich interplay of tradition\, innovation\, and individua l talent among a group of Los Angeles artists for whom geometric abstractio n is their choice of expression when addressing such relevant issues as fem inism\, identity\, colonialism\, stereotypes\, family relations\, and socia l justice.

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Saturday\, Augu st 15\, 2015 \; \; \; 1:00 &ndash\; 2:00 pm Exhibition Walk-thr ough

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Saturday\, September 26\, 2015 \; 1:00 &ndash\; 3:30 pm Art Workshop with Charla Puryear

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Saturday\, October 17\, \ ; 1:00 &ndash\; 3:30 pm \; Art Workshop with April Bey

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DTEND:20160424 DTSTAMP:20160209T032606 DTSTART:20150813 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Hard Edged: Geometrical Abstraction and Beyond\, April Bey\, Lavial le Campbell\, June Edmonds\, Kathy Foley-Meyer\, Kori Newkirk\, Duane Paul\ , Karl Peyton\, Charla Puryear\, Lisa Soto\, Holly Tempo\, Devin Troy Strot her\, Lisa Diane Wedgeworth UID:390538 END:VEVENT BEGIN:VEVENT DTEND:20150815T140000 DTSTAMP:20160209T032606 DTSTART:20150815T120000 GEO:34.0154369;-118.2870861 LOCATION:California African American Museum\,600 State Drive Exposition Par k\nLos Angeles\, CA 90037 SEQUENCE:0 SUMMARY:Hard Edged: Geometrical Abstraction and Beyond\, April Bey\, Lavial le Campbell\, June Edmonds\, Kathy Foley-Meyer\, Kori Newkirk\, Duane Paul\ , Karl Peyton\, Charla Puryear\, Lisa Soto\, Devin Troy Strother\, Holly Te mpo\, Lisa Diane Wedgeworth UID:390539 END:VEVENT END:VCALENDAR