BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20140802 DTSTAMP:20140723T080112 DTSTART:20140712 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Re/Production\, Fiona Connor\, Fiona Banner\, Superflex\, Pae White UID:345021 END:VEVENT BEGIN:VEVENT DTEND:20140712T200000 DTSTAMP:20140723T080112 DTSTART:20140712T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Re/Production\, Fiona Banner\, Fiona Connor\, Superflex\, Pae White UID:345022 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

\n

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.

\n

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.

\n

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:20140723T080112 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:20140723T080112 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.

\n

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.

\n

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

DTEND:20140930 DTSTAMP:20140723T080112 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:20140723T080112 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:

For \;Make the Living Look Dead\, Book Works invited a sele ction of artists it has previously worked with over the last 30 years to ma ke a new work on A4 paper as a contribution\, intervention or fictionalizat ion for its archive. Each work plays with notions of time and exposes the f ragility of coherence inherent in the archive. Contributions range from ori ginal discarded material to found objects or fabricated letters\, as well a s new work masquerading as past proposals or future projections of sequels\ , panegyrics or unfinished work.

\n

Participating artists are: An Endless S upply\, Steve Beard and Victoria Halford\, Pavel Bü\;chler\, Martin Joh n Callanan\, Brian Catling\, Adam Chodzko\, Jeremy Deller\, Mark Dion\, Gil es Eldridge\, Ruth Ewan\, Luca Frei\, Dora Garcí\;a\, Beatrice Gibson and Will Holder\, Liam Gillick\, Susan Hiller\, Karl Holmqvist\, Stewart H ome\, Hanne Lippard\, Jonathan Monk\, Bridget Penney\, Sarah Pierce\, Eliza beth Price\, Laure Prouvost\, Clunie Reid\, John Russell\, Slavs and Tatars \, NaoKo TakaHashi\, Nick Thurston\, Lynne Tillman\, Mark Titchner\, Alison Turnbull\, Eva Weinmayr\, and Neal White.

\n

This project will be shown al ongside recent publications commissioned by Book Works and a series of post er projects by: Fabienne Audé\;oud and John Russell\, Stewart Home\, Inventory\, Jonathan Monk.

\n

Live Events with HEAD Gallery\, Jarett Kobek\ , Maxi Kim and others to be announced.

\n

--

\n

About Book Works

Established in 19 84\, Book Works is an art commissioning organization specializing in artist s&rsquo\; books\, spoken word and printed matter. It is dedicated to suppor ting new work by emerging artists\, with projects initiated by invitation\, open submission\, and guest-curated projects. Book Works consists of a pub lishing and commissioning department\; and a studio specializing in binding \, box-making and multiples. Its activities include publishing\, a lecture and seminar program\, exhibitions\, the development of an on-line archive\, and artists&rsquo\; surgeries and workshops held by both the publishing de partment and the studio.

\n

Make the Living Look Dead \;was commissione d as part of the touring exhibition \;Again\, A Time Machine \;2010 -2012\, supported by Arts Council England Grants for the Arts\; The Henry M oore Foundation\; Iran Heritage Foundation\; Polish Cultural Institute\; Sh arjah Foundation - Sharjah Biennial 10\, 2011\; FLAMIN\; Institute Fran&cce dil\;aise du Royaume-Uni\; Culture Ireland\; and Mark Pawson.

\n< p style="text-align: justify\;">https://www.bookworks.org.uk/

DTEND:20140726 DTSTAMP:20140723T080112 DTSTART:20140607 GEO:34.0190925;-118.2316133 LOCATION:2nd Cannons\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Book Works: Make the Living Look Dead\, Mark Dion\, Jeremy Deller\, Adam Chodzko\, Brian Catling\, Martin John Callanan\, Pavel Büchler\, Vict oria Halford\, Steve Beard\, An Endless Supply\, Hanne Lippard\, Stewart Ho me\, Karl Holmqvist\, Susan Hiller\, Liam Gillick\, Dora Garcia\, Luca Frei \, Ruth Ewan\, Giles Eldridge\, Jonathan Monk\, Bridget Penney\, Sarah Pier ce\, Elizabeth Price\, Laure Prouvost\, Clunie Reid\, John Russell\, Slavs and Tatars\, NaoKo TakaHashi\, Nick Thurston\, Lynne Tillman\, Mark Titchne r\, Alison Turnbull\, Eva Weinmayr\, Neal White\, Beatrice Gibson\, Will Ho lder UID:341140 END:VEVENT BEGIN:VEVENT DTEND:20140607T180000 DTSTAMP:20140723T080112 DTSTART:20140607T150000 GEO:34.0190925;-118.2316133 LOCATION:2nd Cannons\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Book Works: Make the Living Look Dead\, Steve Beard\, Pavel Büchler \, Martin John Callanan\, Brian Catling\, Adam Chodzko\, Jeremy Deller\, Ma rk Dion\, Giles Eldridge\, Ruth Ewan\, Luca Frei\, Dora Garcia\, Beatrice G ibson\, Liam Gillick\, Victoria Halford\, Susan Hiller\, Will Holder\, Karl Holmqvist\, Stewart Home\, Hanne Lippard\, Jonathan Monk\, Bridget Penney\ , Sarah Pierce\, Elizabeth Price\, Laure Prouvost\, Clunie Reid\, John Russ ell\, An Endless Supply\, NaoKo TakaHashi\, Slavs and Tatars\, Nick Thursto n\, Lynne Tillman\, Mark Titchner\, Alison Turnbull\, Eva Weinmayr\, Neal W hite UID:341141 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

\n

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.

\n

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:20140723T080112 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:20140723T080112 DTSTART:20140609T110000 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Come In! S\,M\,L\,XLa UID:334728 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140816 DTSTAMP:20140723T080112 DTSTART:20140714 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Survey: 1968 to Current\, Helen Pashgian UID:343154 END:VEVENT BEGIN:VEVENT DTEND:20140715T210000 DTSTAMP:20140723T080112 DTSTART:20140715T190000 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:Survey: 1968 to Current\, Helen Pashgian UID:343155 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;My work s are often the result of an unexpected event. The impression of precarious equilibrium that this sculpture evokes is in fact the result of a group of arcs&rsquo\; accidental slippage.&rdquo\; \;

\n

 \;

\n

&ndash\; Bernar Venet

\n

 \;

\n

The revelation of the processes o f production in the work of art is clearly the governing principle behind t he series \; \;Indeterminate Lines \;that made their a ppearance in Bernar Venet&rsquo\;s work from 1979. &ldquo\;Indeterminate&rd quo\; because they are diametrically opposed to the mathematical determinat ion of their predecessors. \; More vague and less tangible\, they canno t be reduced to an equation: they nevertheless seek a form of physical cert ainty strong enough to silent the confusion of meanings and to demonstrate explicitly that their one truth and reality is that of a piece of work.&nbs p\; The obvious geometrical forms of previous pieces are here replaced by t he direct manipulation of a raw material.

\n

 \;

\n

Venet&rsquo\; s daily working process is a sort of satisfying game of natural constraints between his artistic intentions and the material itself. \; Each orien ts the other and is oriented in its turn. \;The artist proposes directi ons but at the same time he&rsquo\;s directed by the steel bar that resists . In this fascinating subtle game of concessions\, the artist must leave it s autonomy at the helm. The esthetical result is a compelling testimony to the act of forming and to the inherent possibilities of the material. \ ;

\n

 \;

\n

 \;

\n

< span style="font-size: small\;">*Opening Concurrently at Ace Gallery Los An geles &\; Beverly Hills
Saturday July 20\, 2013
Beverly Hill s 6:00 Pm - 8:00 PM
Los Angeles 8:00 Pm - 10:00 PM

DTEND:20140726 DTSTAMP:20140723T080112 DTSTART:20130720 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Indeterminate Lines and Arcs\, Bernar Venet UID:274326 END:VEVENT BEGIN:VEVENT DTEND:20130720T220000 DTSTAMP:20140723T080112 DTSTART:20130720T200000 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Indeterminate Lines and Arcs\, Bernar Venet UID:274327 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140726 DTSTAMP:20140723T080112 DTSTART:20140303 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Installation of Early Black Earth Tile Works and Selected Paintings \, Mary Corse UID:324596 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140726 DTSTAMP:20140723T080112 DTSTART:20140303 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:Solo Exhibition\, Charles Fine UID:324600 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New York based painter Phil Frost (b. 1973) has evolved a consistent\, i nstantly recognizable aesthetic synonymous with his name\, which he refers to as &ldquo\;intuitive perceptive portraiture.&rdquo\; This first exhibiti on of new work at Ace Gallery testifies to his relevance and extensive cult ural reach as a leading contemporary artist who is self taught. Frost&rsquo \;s title for the exhibition\, with its multiple meanings\, alludes to the ascetic life. Referring to the internal struggles involved in the act of pa inting\, it is often an unnerving personal journey involving intense discip line and patience in self-imposed isolation. Encoded in the pursuit\, there is no straying from a discipline in which he is immersed. As many artists and writers experience\, The Solace of the Sword references the st ruggle with solitary confinement required to create. Frost&rsquo\;s visual language melds layers of flat-white\, culturally indeterminate mask-like fo rms with bold typographical and fluid\, \; glyphic\, geometric\, and si nuous shapes that dance above vivid spectrums of painterly color\, forming the long-necked busts and repetitions of faces that are pronounced as his i ntuitive portraiture.

\n

Raised in rural Western Massachusetts\, from a you ng age he grew up searching for and sometimes finding Indian adzes and arro wheads in farm fields and forests\, and he made use of a natural fountain f ound at the edge of the woods that spouted clay by sitting at its rim and f orming shapes in his hands. Early artistic experiment found him repetitious ly drawing the white streak found in the hair of comic book scientist Reed Richards of The Fantastic Four\, as well as scenes of Pac-Man chasing ghost s\, and the antennae found on Batman&rsquo\;s mask. Just before his early t eens\, Frost began to enjoy spending time on summer visits with an older co usin who was an authority on antique glass bottles found in Northwestern Oh io. Together they would go on expeditions armed with maps of former times f rom the library and dig farm fields and abandoned rural dumps for glass ves sels.

\n

The unearthed treasures were impressed upon his mind and this arch aeological drive influenced him\, and would continue to. It was later revea led when he began making work imbued with collected and found objects\, as a way to present the actual passage of his life gesturally into the context of a painted visual passage&mdash\;a representation to articulate how the now inflects a lineage of experience in time and space that is formed both physically and intuitively from what is around him.

\n

In his adolescence F rost moved\, along with his younger sister and mother\, by whom he was sole ly raised\, to Cooperstown\, NY for just over two years. There\, an early f ascination with baseball and in particular the position of pitching and the arabesque-like gesture made by a swinging bat was deepened.

\n

His teenage years were spent in Albany\, NY and were consumed by skateboarding downtow n in the Capital District\, where various terrain included Ellsworth Kelly sculptures and the perfectly transitionally-formed marble quarter-pipes\, t he glass walls on the architecture of Wallace Harrison&rsquo\;s Egg\, and t he marble playground he designed known as The Nelson A. Rockefeller Empire State Plaza. His often taking off on excursions to New York City to skatebo ard with friends led to an awareness and depth of interest in graffiti and anonymous mark making. Eventually cracking both of his kneecaps and repeate dly breaking both wrists\, Frost was about to drop out of high school when a principal recommended an independent-study art class\, to make up extra c redit. With no teacher but the materials put in front of him\, Frost would figure out how best to stretch a canvas\, venture to find objects he could use as material in left over fire pits\, and decide that he wanted to be a painter on his own terms. At a yard sale he attended with his mother he sco red a 25-cent brown paper bag of oil paints along with a copy of David Sylv ester&rsquo\;s Interviews with Francis Bacon that led to his further convic tion. Captivated\, he read it intently and repeatedly. Also self taught\, B acon&rsquo\;s ethos resonated deeply and triggered in Frost\, at the age of eighteen\, an eager thirst for art-historical precedents\, including in pa rticular\, Alberto Giacometti\, whose fascination with heads\, busts and fi gures in space began the evolution and direction that has defined Frost&rsq uo\;s work today.

\n

At eighteen\, late in the summer of 1991\, Frost moved on his own to Long Island City\, Queens. Here\, he took union jobs\, labor ing in the night on the backs of trucks so that he could have his days free to persistently explore museums\, scour the streets for materials\, and ma ke his work in the tiny\, windowless basement studio that he inhabited. Sur rounded by many different ethnicities and without speaking or understanding any language other than English\, Frost found immense inspiration in closi ng his eyes on the subway and listening to the sound of multiple languages being spoken all at once\, recording fragments of words and charting with h is eyes closed a hybrid of language. Early work with typography found him k nocking out the negative space created by letterforms with white\, as a way to "pop\," or form random patterns of shape\, to react against color. Thes e fluid and sinuous patterns of white shapes that often dominate his work o f late came from a progressive evolution of the reduction of words that in the same way often form a nonsensical lingual chanting woven throughout the intricate layering in his painting.

\n

Phil Frost was born in Jamestown\, NY in 1973 and currently lives and works in the Upper Hudson Valley region of Upstate NY. \;

DTEND:20140726 DTSTAMP:20140723T080112 DTSTART:20140303 GEO:34.0621844;-118.3489078 LOCATION:Ace Gallery- Los Angeles\,5514 Wilshire Blvd. \nLos Angeles\, CA 9 0036 SEQUENCE:0 SUMMARY:The Solace of the Sword\, Phil Frost UID:324601 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:20140723T080112 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:20140723T080112 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:

**

\n

\n

 \;

DTEND:20140820 DTSTAMP:20140723T080112 DTSTART:20140617 GEO:34.168199;-118.185874 LOCATION:Alyce de Roulet Williamson Gallery\,Art Center College of Design 1 700 Lida St.\nPasadena\, CA 91103 SEQUENCE:0 SUMMARY:Folded\, Robert J. Lang UID:344067 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anat Ebgi is pleased to announce Duckrabbit \, an exhibition organized by Jason Bailer Losh\, opening Jun e 13 and on view until July 26\, 2014.

\n

Whenever someone other than the a rtist sees an artwork\, a duckrabbit is born. A lobed inkblot\, seen one wa y\, resembles a duck\; seen another\, a rabbit. The eye is an eye\, but the ears are also a beak. The artist draws a duck\; the viewer sees a rabbit. The present show is the public debut of rare and energetic creatures\, born in the solitude of the studio\, anxious to be seen. The present show is th e consummation of a long flirtation between intent and reception.

\n

Duckra bbits fill the damp warren of the gallery. As the viewer wades in\, ankle d eep in duckrabbits\, interpretations proliferate. Wherever you look\, behin d every rustle in the weeds\, out darts another aesthetic dilemma: duck or rabbit\; rabbit or duck. Sculptures read as inverted furniture\; photograph s confuse the optical and the physical\; paintings extrude the picture plan e into vertical still lifes. Plinths\, striations\, expressive lines\, pain terly marks\, texture\, polish\, highlights and shadows abound. The borders between sculpture and installation\, sight and touch\, art and object appr oach a feathery\, furry precision. These duckrabbit scenes\, meant to be re ad one way\, read another\, pivot around a core\, around an eye common to b oth duck and rabbit: the quality of being art.

DTEND:20140726 DTSTAMP:20140723T080112 DTSTART:20140613 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:DuckRabbit\, Matt Ager\, Martin Basher\, Armin Boehm\, Aline Cautis \, Andy Coolquitt\, Rick Hager\, Whitney Hubbs\, Nick Kramer\, Jason Bailer Losh\, Pernille With Madsen\, Emily Sudd\, Sigrid Sandström\, Melanie Schi ff\, B. Wurtz UID:338186 END:VEVENT BEGIN:VEVENT DTEND:20140613T200000 DTSTAMP:20140723T080112 DTSTART:20140613T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:DuckRabbit\, Matt Ager\, Martin Basher\, Armin Boehm\, Aline Cautis \, Andy Coolquitt\, Rick Hager\, Whitney Hubbs\, Nick Kramer\, Jason Bailer Losh\, Pernille With Madsen\, Sigrid Sandström\, Melanie Schiff\, Emily Su dd\, B. Wurtz UID:338187 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:20140723T080112 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:20140723T080112 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:20140723T080112 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:20140723T080112 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.

\n

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.

\n

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.

\n

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:20140723T080112 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:20140723T080112 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 END:VCALENDAR