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1301PE is pleased to announce its second solo exhibition wit h internationally acclaimed artist Jessica Stockholder. She will be present ing site-specific and freestanding works that engage with and activate the interior and exterior spaces of the gallery.

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With installations it’s the building\, the architecture\, or you might say it’s the place that I work on top of\; with the smaller pieces I work on top of or in relation to stuff that I collect.  —Jessica Stockholder

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 For twenty-fiv e years\, Jessica Stockholder has challenged our relationship to the world around us through making objects. Stockholder’s work transforms materials f rom our daily lives into painterly sculptural objects and installations. Fr om the large-scale installations of Color Jam in Chicago and Peer Out to See at the Palacio de Cristal\, Madrid\, to the intimate works of Sex in the Office and LIFT\, Stockholder captures o ur eye with an array of visual moments that coalesce into a singular compos ition.

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 Jessica Stockholder was born in Seattle\, Washington. She l ives and works in Chicago\, IL\, where she is the Chair of the Department o f Visual Arts at the University of Chicago. She has had recent solo museum exhibitions at Musée d'Art Moderne de Saint-Étienne Métropole\, Saint-Pries t-en-Jarez\, France\; Frac des Pays de la Loire\, Nantes\, France\; . Her w ork is represented in the permanent collections of the Whitney Museum of Ar t\, the Art Institue of Chicago\, the Los Angeles County Museum of Art\, Ku nstmuseum St. Gallen\, and the Stedelijk Museum in Amsterdam. Solo exhibiti ons include Dia Center for the Arts and P.S.1\, New York\, NY\; The Renaiss ance Society\, Chicago\, IL\; Power Plant\, Toronto\, ON\; Kunsthalle Brand ts Klaedefabrik\, Odense\, DK. Selected group exhibitions include SITE Sant a Fe and The Whitney Biennial.

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For more information please contact Isha Welsh or Brian Butler 323.938.5822.

DTEND:20130831 DTSTAMP:20140828T030824 DTSTART:20130710 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Lift\, Jessica Stockholder UID:282533 END:VEVENT BEGIN:VEVENT DTEND:20130710T200000 DTSTAMP:20140828T030824 DTSTART:20130710T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Lift\, Jessica Stockholder UID:282534 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Furthering his interest in film and filmmaking as subject matter\, \ ;Adrià\; Julià\; \;initiates a new project focusing on the relationship between the camera and the body for his Artis t Labs Residency and Exhibition at 18th Street Arts Center. During an initi al research phase\, Julià\; investigates the effects and changes that cameras produce in the bodies that operate them. Moving past a considerati on of the materiality and physicality of film as form\, the artist addresse s the somatic connection of filmmaking to the human figure. Working within layers of translation between the moving image\, industrial design\, and er gonomics\, Julià\;&rsquo\;s work analogizes the structure and functio n of commercially produced cameras and the biomechanical systems of the bod y.

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Adrià\; Julià\;\, born in Barcelona and based in Los Ange les\, is a multidisciplinary artist whose practice encompasses film\, video and photographic installations. Julià\;&rsquo\;s work has been prese nted in nearly two-dozen solo exhibitions and over forty group exhibitions worldwide. Recently projects include \;Love. Destiny. Heroes.\, \;at Dan Gunn in Berlin\, \;Notes on the Missing \;O h at Project Art Centre in Dublin\, \;We&rsquo\;re Everything to Ea ch Other \;at Lanchester Gallery Projects in Coventry\, UK\, and&n bsp\;Three Artists Walk into a Bar \;at De Appel Art Center in Amsterdam. Additionally\, Julià\; has shown at the Museo Tamayo in M exico City\, the Orange County Museum of Art in Newport Beach\, Insa Art Sp ace in Seoul and the Museo Nacional Centro de Arte Reina Sofia in Madrid. H e was included in the Lyon Bennial\, the 7a bienal do Mercosul in Porto Ale gre\, Brazil and Art Unlimited\, Basel\, Switzerland.

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&ldquo\;Cat on the Shoulder&rdqu o\;
Adrià\; Julià\;
opening reception: September 21\, 2013
6 &ndash\; 9p m

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As part of 18th Street Arts Center&rsquo\;s Artist Labs program\, Los Angeles based artist\, Adrià\; Julià\; presents a group of new works focusing on the relationship between the camera and th e body developed on site in the center&rsquo\;s Main Gallery. The exhibitio n &ldquo\;Cat on the Shoulder&rdquo\; represents the culmination of a two-m onth residency at 18th Street Arts Center and marks the beginning of a new body of work the artist will continue to develop and produce. Durin&ndash\; g an initial research phase\, Julià\; investigated the effects and ch anges that cameras produce in the bodies that operate them. Moving past a c onsideration of the materiality and physicality of film as form\, he addres ses the somatic connection of filmmaking to the human figure. Working withi n layers of translation between the moving image\, industrial design\, and ergonomics\, Julià\;&rsquo\;s work analogizes the structure and funct ion of commercially produced cameras and the biomechanical systems of the b ody.

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In an exhibition spanning film\, photography and sculpture\, Julia draws relationships between the corpus and camera\, registering the t ransitions of process and materiality\, thus linking the biological mechani sms of sight and vision to the inorganic mimicry of film and photography. F ollowing and tracing correlations between the function of the human eye and the camera\, Julià\;&rsquo\;s works call to mind how each records an d produces an image\, which our brain then responds to in order to construc t meaning and indices of reality. While referencing optometry and the mecha nics of vision\, Julià\; marks the translations of materialized photo graphic media\, thus questioning the nature of film&rsquo\;s ability to con tain content and to transcend the limitations of memory.

DTEND:20130920 DTSTAMP:20140828T030824 DTSTART:20130715 GEO:34.0232998;-118.477291 LOCATION:18th Street Arts Center\,1639 18th St. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Artist Labs Residency and Exhibition\, Adria Julia UID:285878 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Never Built: Los Angeles will explore the &ldquo\;what if&rdquo\; Los Angeles.  \;A thorough com pendium of projects that only saw the drawing board\, the exhibition asks: Why is Los Angeles a hotbed of great architects\, yet so lacking in urban i nnovation?

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Co-curated by Sam Lubell and Greg Goldin and designed by Clive Wilki nson Architects\, the show looks at visionary works that had the greatest p otential to reshape the city\, from buildings to master plans\, parks to fo llies and transportation proposals any of which could have transformed both the physical reality and the collective perception of the metropolis. The stories surrounding these projects shed light on a reluctant city whose ins titutions and infrastructure have often undermined inventive\, challenging urban schemes.

\n< p class="content_left" style="text-align: justify\;">Many of these schemes&mdash\;promoting a denser\, more vibrant c ity&mdash\;still have relevance today\, and many could inspire future proje cts. The projects beg the question: Why were they never built? \;

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The show will contain dozens of illustrations exploring the visceral (and sometimes misleading) power of architectural ideas conveyed through renderings\, blue prints\, models\, and the lost art of hand drawing. Through these images\, and accompanying narratives\, the city is interpreted in a new light\, with discarded projects understood as art. Never Built probes these sc hemes\, setting the stage for a renewed interest in visionary projects in L os Angeles. \;

DTEND:20131013 DTSTAMP:20140828T030824 DTSTART:20130728 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Never Built: Los Angeles UID:252493 END:VEVENT BEGIN:VEVENT DTEND:20130727T210000 DTSTAMP:20140828T030824 DTSTART:20130727T180000 GEO:34.0627232;-118.3605188 LOCATION:A + D Museum\,6032 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Never Built: Los Angeles UID:252494 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bernar Venet&rsquo\;s GRIB series is an extension of his wooden Indeterminate Lines\, which he began displaying as reliefs betwee n 1979 and 1983. The 1.5 inch steel plates used by Venet are torch-cut\, a technique\, which adds to the unpredictable nature of &ldquo\;scribbles&rdq uo\; and gives these works a rougher character that is less elegant and acc essible than their relief predecessors.

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Venet reflects\, &ldquo\;My work at the factory is a game of natural constraints between my intentions and the material itself. Each orients the other and is oriented in its turn. I propose directions but am at the same time directed by the steel bar that r esists\, and will not surrender to my will to dominate&hellip\; In this gam e of concessions I must leave its autonomy at the helm.

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The resul t is a testimony to the act of forming and to the inherent possibilities of the material that I do not transform beyond its natural characteristics. B y not changing its nature\, I do not manipulate its appearance\; that would involve creating artifices. In my sculpture\, I am intent on keeping the e nergy of the atomic mass and its relationship to gravity\, on respecting it s singularity\, its difference\, its identity.

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The constructivist arrangement of different forms and materials\, assembled so as to create & ldquo\;something else&rdquo\;\, is an approach that I reject. I am in favor of works that are literal and explicit\, devoid of artifice or ambiguity. My sculpture is the direct outcome of the manufacturing process. As I said earlier\, it is the &lsquo\;how&rsquo\; that defines the &lsquo\;what&rsquo \;.

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My sculptures are self-referential in the sense that they tell their own story\, the story of their elaboration. In this way they stand apart f rom the classical object that hides its sculptural identity and &lsquo\;spe aks of something else&rsquo\;.&rdquo\;1

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The GRIBs act as living drawings that become monumental through the act of physically transferring them from 2D drawings to 3D steel structures\, which are then mounted on t he wall. The movement of the hand in their creation is vital\, as the shape is entirely dictated by the short time in which Venet randomly puts pen to paper\, acknowledging the power of gesture itself as meaningful.

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Bernar Venet was born in 1941 in Chateau-Arnoux-Saint-Auban\, France. He li ves and works between New York and Hungary.

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O pening Concurrently at Ace Gallery Los Angeles &\; Beverly Hills
S aturday July 20\, 2013
Beverly Hills 6:00 PM - 8:00 PM
Los Ange les 8:00 PM- 10:00 PM

DTEND:20140125 DTSTAMP:20140828T030825 DTSTART:20130720 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:GRIBS\, Bernar Venet UID:282536 END:VEVENT BEGIN:VEVENT DTEND:20130720T200000 DTSTAMP:20140828T030825 DTSTART:20130720T180000 GEO:34.0669204;-118.3981876 LOCATION:Ace Gallery- Beverly Hills\,9430 Wilshire Blvd. \nBeverly Hills\, CA 90212 SEQUENCE:0 SUMMARY:GRIBS\, Bernar Venet UID:282537 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\; \;

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&ndash\; Bernar Venet

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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.

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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. \ ;

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< 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:20140828T030825 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:20140828T030825 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:

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 sinuous s hapes that dance above vivid spectrums of painterly color\, forming the lon g-necked busts and repetitions of faces that are pronounced as his intuitiv e portraiture.

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Raised in rural Western Massachusetts\, from a young age he grew up searching for and sometimes finding Indian adzes and arrowheads in farm fields and forests\, and he made use of a natural fountain found at the edge of the woods that spouted clay by sitting at its rim and forming shapes in his hands. Early artistic experiment found him repetitiously draw ing the white streak found in the hair of comic book scientist Reed Richard s of The Fantastic Four\, as well as scenes of Pac-Man chasing ghosts\, and the antennae found on Batman&rsquo\;s mask. Just before his early teens\, Frost began to enjoy spending time on summer visits with an older cousin wh o was an authority on antique glass bottles found in Northwestern Ohio. Tog ether they would go on expeditions armed with maps of former times from the library and dig farm fields and abandoned rural dumps for glass vessels. < br />

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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.

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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.

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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.

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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.

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

DTEND:20140125 DTSTAMP:20140828T030825 DTSTART:20130720 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:284238 END:VEVENT BEGIN:VEVENT DTEND:20130720T220000 DTSTAMP:20140828T030825 DTSTART:20130720T200000 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:284239 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present Brion Nuda Rosch's first solo exhibition in Los Angeles. The exhibition will feature Rosch's new body of work\, which a deptly combines sculpture\, painting and collage with a formal\, yet humoro us ease. As the artist states: "This is an exhibit of portraits. My head. M y shoulder. My arm. My knee. My dick. Bong rips at the community ceramics c enter and work tables turned to paintings."

Rosch lives and works in San Francisco\, and his prev ious solo exhibitions include DCKT Contemporary (New York)\, Eli Ridgway Ga llery (San Francisco)\, and Greg Kucera Gallery (Seattle)\, among others.

DTEND:20130817 DTSTAMP:20140828T030825 DTSTART:20130713 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Brion Nuda Rosch UID:283654 END:VEVENT BEGIN:VEVENT DTEND:20130713T200000 DTSTAMP:20140828T030825 DTSTART:20130713T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Brion Nuda Rosch UID:283657 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ACME. is pleased to present John Carpenter's latest work\, trailers_anemone\, an intera ctive installation that explores fluid\, undulating trails of light through time and space. On its own\, the trails define a constantly shifting space that is both meditative and calming\; however\, when stimulated\, the trai ls stir off with the viewer's movement. trailers_anemone relates to a recen t project called TRAILERS_LUPO\, which is a permanent interactive installat ion at Trattoria del Lupo in Las Vegas\, Nevada.

John Carpenter is an interactive digital artist and designer whose work explores natural systems and complex data and space s. Based in Los Angeles\, he works for Oblong Industries as a g-speak engin eer and is a visiting professor in the Multimedia Arts Department at Loyola Marymount University. John earned his MFA from the department of Design | Media Arts at UCLA (2009) and has recently exhibited work at the 84th Annua l Academy Awards\, ACME. Los Angeles and Young Projects.

DTEND:20130817 DTSTAMP:20140828T030825 DTSTART:20130713 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:trailers_anemone\, John Carpenter UID:283655 END:VEVENT BEGIN:VEVENT DTEND:20130713T200000 DTSTAMP:20140828T030825 DTSTART:20130713T180000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:trailers_anemone\, John Carpenter UID:283656 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"Intimate Science features artists who are engaged in non-disciplinary i nquiry\; they aren’t allied to the customs of any single field\, and theref ore have license to reach beyond conventions. This kind of practice hinges on up-close observation\, experiential learning\, and inventing new ways fo r the public to participate in the process."
-- Andrea Grover\, Curator\, Intimate Science

“In an interesting new development in the art world\, a generation of artists [is] now collecting data about t heir world using technological instruments but for cultural purposes. Share d tool-using leads to overlapping epistemologies and ontologies. These arti sts both make powerful art and help make science intimate\, sensual\, intui tive."
-- Roger Malina\, phys icist\, astronomer and executive editor of Leonardo Journal
Artists:
BCL (Tokyo)
Center for PostNatural History (Pittsburgh)
Markus Kayser (London)
Allison Kudla (Seattle)
Machine Project (Los Angeles)
Philip Ross (San Francisco)

Intimate Science is curated by Andrea Grover and organized by t he Miller Gallery at Carnegie Mellon University\, Pittsburgh.

A densely illustrated publication\, "New Art/Science Affinities" ( http://millergallery.cfa.cmu.edu/ nasabook )\, accompanies the exhibition. Co-authored by Andrea Grover\, Rég ine Debatty\, Claire Evans and Pablo Garcia\, and designed by Thumb\, the b ook features more than 60 international artists and collaboratives.

DTEND:20130818 DTSTAMP:20140828T030825 DTSTART:20130530 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:Intimate Science\, Markus Kayser\, Allison Kudla\, Philip Ross\, Ma chine Project\, BCL UID:275573 END:VEVENT BEGIN:VEVENT DTEND:20130530T210000 DTSTAMP:20140828T030825 DTSTART:20130530T190000 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:Intimate Science\, BCL\, Markus Kayser\, Allison Kudla\, Machine Pr oject\, Philip Ross UID:275574 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Anat Ebgi is pleased to present \;Mix ed Dealings \;by Reader. \; The exhi bition will open on \;August 3\, and will be on view until \;August 31. A reception for the artist will be held on \;Saturday August 3\, f rom \;3pm\, at the gallery located at 2660 S. La Cienega Blvd\, in Los Angeles.
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Traveling repeatedly throughout the US\, Rea der has quiet literally made a name for himself that is there for all to se e. \; Leaving a mass of public adornments for over a decade\, Reader ha s maintained an illusiveness and anonymous presence in a desolate grey zone between so called &ldquo\;street art&rdquo\; and graffiti. \; In recen t years\, Reader carried his oft-cryptic messages of literacy and inquiry i nto the gallery space at the encouragement of his longtime friend Elias Han sen.
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A scavenger and &ldquo\;relocator&rdquo\; of the discarded and overlooked\, Reader transforms untraceable detritus into the foundations of mixed media screen prints and sculptures. \; His worksp ace resembles a &ldquo\;byproduct chop-shop&rdquo\; more than it does a tra ditional artist&rsquo\;s studio.
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Characteristic of hi s work is the striking and recurrent use of text. \; Reader revives now nearly obsolete newspaper boxes and presents them in a context suggestive of ulterior purposes. The boxes themselves\, isolated from their natural en vironment\, appear to be salvaged by any available means. \; Scorched a nd mutilated they are newly employed by a rival enterprise. \; Metal sh eets accented with both vibrant and weathered hues are welded together in a patchwork reminiscent of color field painting.
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Both unavoidable and hidden amongst the layers\, Reader&rsquo\;s works are dealt through a range of materials. \; Some give clues to process and approa ch\, others leave open a wide scope of interpretation\, and all represent r eal work. That is the kind that is done outdoors and leaves one dirty.  \; As the show title alludes to\, \;Mixed Dealings \;is th e result of a multifaceted discipline and uncertain means. \; Reader ma y not be hacking at establishment\, as much as he is attempting to forge on e anew.
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Mixed Dealings \;is Reader&rsquo \;s second exhibition with the gallery. In 2012\, he collaborated with Elia s Hansen on the two-person exhibition\, \;We barely made it. P revious exhibitions include Lawrimore Projects\, Seattle\; Ditch Projects\, Portland\; White Box at the University of Oregon\, Portland\; and A Palazz o Gallery in Brescia\, Italy. His work has been reviewed in Juxtapose Magaz ine\, The Oregonian\, and the Los Angeles Times.
DTEND:20130831 DTSTAMP:20140828T030825 DTSTART:20130803 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Mixed Dealings\, the Reader UID:285597 END:VEVENT BEGIN:VEVENT DTEND:20130803T170000 DTSTAMP:20140828T030825 DTSTART:20130803T150000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Mixed Dealings\, the Reader UID:285598 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angels Gate Cultural Center presents our exhibition year entitled \; Into the Wilderness: The Journey Within. Over the course of the ne xt year\, artists and curators will engage the term "wilderness" from multi ple perspectives ranging from ecological to introspective. The exhibitions consider how our ideas of wilderness continue to define our contemporary li fe and contemplate how we can find new opportunities to re/define the trans ition between physical and imaginary geographies.

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Although\, on first im pression\, "wilderness" may call to mind places of intense experience in na ture far from civilization\, it reveals itself to be much more than a locat ion. Traditionally associated with a land of uncultivated\, abandoned and i nhospitable conditions or inhabited only by wild animals\,1  \;during the eighteenth and nineteenth centuries its meaning expanded subje ctively to include more Romantic and transcendental notions like "the refle ction of our own unexamined longings and desires" and "the best antidote to our human selves\," while mysteriously remaining the site of "something pr ofoundly Other."2 \;

Whether places considered wilderness are ultimately to be regar ded as wastelands or sacred spaces\, in either case it is not the places th emselves that define the nature of the wilderness experience. "Wilderness\, " regardless of where it is situated or whether it is described as frighten ing or divine\, is a cultural construct that is typically placed in opposit ion to "civilization\," located apart from the human world as something pur e and essentially natural\, to be preserved and protected both from the out rages of global industrial exploitation as well as the small defilements of daily life. \;

We d isagree. We consider that creating even the most high-minded dualism betwee n humans and nature sets up a dynamic that creates conflict and does not le ad to effective stewardship of the environment\, either locally or on a glo bal scale. We also believe that rather than being defined either as a physi cal or an imaginary location\, "wilderness" is more a state of mind that de fies location\, either geographical or imaginary-one in which social struct ure relaxes\, logic slips away and time and space collapse. This open state of mind\, or "wonder\," can be experienced in natural environments that in spire fear\, disorientation\, foreboding or other qualities of "sublime" la ndscape appreciated by the likes of Edmund Burke3-and it can als o unexpectedly arise in the midst of degraded urban grittiness or in an une xplored corner of a superficially unremarkable backyard. \;

Artists in our group discover natur al wonder in many places-from Antarctic icebergs to carcasses of dead birds . And just as we respect "wilderness" in all of its manifestations\, we bel ieve that biodiversity and sustainability can only be maintained if we huma ns give up trying to isolate "unspoiled" nature and instead seek a complete relationship with the natural world that includes responsibility and respe ct for the global interface of ecosystems\, be they planetary or microscopi c\, that we unavoidably impact. \;

Wilderness Mind: Dissolving Duality includes the work of fou rteen artists from the Southern California Women's Caucus for Art's Eco-Art Collective. As a group we embrace collaboration\; we have worked together to study and work as eco-artists since 2005. This proposed exhibition repre sents work that ranges from photography to non-representational painting\, performance\, and installation\; it spans a continuum of references to wate r from suburban irrigation systems to the arctic ice cap\; to wildlife\, in cluding Barr owls\, sea otters\, and golden trout from the Sierras\; and to locations from San Pedro Harbor to Mozambique. Within the frame of wildern ess\, the group's work articulates themes of degradation and emergence\, na tural cycles\, mystery\, concern for the environment\, and connected onenes s. We hope that the artistic diversity and interrelatedness of our work for this exhibition will give visitors an experience of our collaborative appr oach as an alternative to more traditional strategies of agency through dom ination\, and to the possibility for everyone to experience "wilderness" in any number of settings\, not just in uninhabited nature. Through the visua l messages communicated in our work as well as through workshops and progra ms offered to the community in conjunction with the exhibition\, our ultima te goal is to inspire visitors to participate in effective stewardship of t he environment. \;

< small>1 \;New Oxford American Dictionary\, Oxford University Press\, third edition. \;
2 \;Cronon\, William\, " The Trouble with Wilderness\; or\, Getting Back to the Wrong Nature\," Unco mmon Ground: Rethinking the Human Place in Nature\, New York: W.W. Norton & amp\; Co.\, 1995\, 69-90. \;
3 \;Burke\, Edmund\, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beau tiful\, 1857. \;


Deborah Thomas is an artist\, professor and independent curator wh o lives in Los Angeles\; she has also lived and worked as an artist in Gene va\, Switzerland and New York. With an undergraduate degree from the Univer sity of Michigan and an MA and ABD from the University of Pennsylvania\, Th omas currently teaches art history and contemporary art and theory at Pasad ena City College\, Glendale College and the Los Angeles Academy of Figurati ve Art. She is a longtime member of the Eco-Art Collective sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA) and one of the chairs of the Women's Caucus for Art (WCA) national Eco-art Caucus\; she also helped to organize "Elements\," an eco-art conference produced by the Pacific Region WCA chapters last year in Berkeley. Thomas' recent artw ork includes a series of conceptual installations and mixed media pieces us ing photographic images and found text\; her work on environmental themes t ypically explores place and the environment metaphorically and builds from a personal point of view using domestic objects. She has also developed and curated several recent exhibitions: Day of the Dead Planet\, Bringing the Past to Light: New Art from Old Images\, Intimate Geography: \;< br />
The Eco-Art Collective is a Los Angeles-based group of fourteen women artists that uses art to explore the many connections between creative and environmental practices through exhi bitions\, educational programs and public actions. The group was first orga nized in 2005 by artist/eco-activist Linda Lundell and is sponsored by the Southern California chapter of the Women's Caucus for Art (SCWCA)\, a natio nal organization dedicated to creating community through art\, education an d social activism. In April 2007\, they mounted their inaugural exhibition at Barnsdall Art Park in Los Angeles. Members subsequently showed together at the 2010 Blue Planet exhibition juried by Kim Abeles at SOMArts in San F rancisco and at the Day of the Dead Planet exhibition curated by Deborah Th omas at Avenue 50 Studio in Los Angeles. Individual members have exhibited their environmental work in Chicago\, Los Angeles\, New York\, San Francisc o and throughout the rest of the United as well as Asia and Europe. The col lective also engages the community through lectures\, installations and eve nts. Expedition artists Danielle Eubank and J. J. L'Heureux have lectured a t zoos and natural history museums across the country. San Pedro-based arti sts Annemarie Rawlinson and Hiroko Momii often intermix their meditative an d activist practices.

DTEND:20130817 DTSTAMP:20140828T030825 DTSTART:20120520 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Wilderness Mind: Dissolving Duality\, Carolyn Applegate\, Nicole An tebi\, Dori Atlantis\, Ulla Barr\, Marie Cenkner\, Danielle Eubank\, Ann Is olde\, Nancy Lissaman\, Meg Madison\, Hiroko Momii\, MaryLinda Moss\, Sandr a Mueller\, Annemarie Rawlinson\, Deborah Thomas\, France White\, Karen Fri mkess Wolff\, JEN ZEN (aka Jen Grey\, J.J.L'Heureux UID:218364 END:VEVENT BEGIN:VEVENT DTEND:20120520T170000 DTSTAMP:20140828T030825 DTSTART:20120520T120000 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Wilderness Mind: Dissolving Duality\, Nicole Antebi\, Carolyn Apple gate\, Dori Atlantis\, Ulla Barr\, Marie Cenkner\, Danielle Eubank\, Karen Frimkess Wolff\, JEN ZEN (aka Jen Grey\, Ann Isolde\, J.J.L'Heureux\, Nancy Lissaman\, Meg Madison\, Hiroko Momii\, MaryLinda Moss\, Sandra Mueller\, Annemarie Rawlinson\, Deborah Thomas\, France White UID:218365 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:20140828T030825 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:20140828T030825 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:

In 2007\, the local Audubon Society got word of an anonymous action taken by a resident of San Pedro. A nest box mysteriously appeared one day in Harbor Park along the 110 Freeway. In recent years\, Southern Ca lifornia's western bluebird population has been on the decline. Though it's not fully understood why\, it seems that urban growth and climate change m ay disturb the nesting process. Surprisingly\, bluebirds took to the anonym ously placed box\, depositing gem-like blue eggs. Now the Audubon Club has adopted the park project\, placing more boxes and hosting pairs of birds. < br />
Based on the story of the nesting box\, Out of the Blue i s a visual response by artists from San Pedro's Exceptional Children's Foun dation. Nestled along Gaffey Street\, the ECF studio is a professional work shop where adults with developmental disabilities come to create art. Like the migrating bluebirds\, the artists have found a place where they may exi st creatively\, undisturbed by the outside world. Here\, the act of art-mak ing\, with its intense focus on special objects\, characters\, and dream-in spired landscapes provides shelter for the spirit. Out of the blue\, anythi ng can happen\, but the creative life is our true home. 

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This proje ct was done in partnership with the Exceptional Children's Foundation. 

DTEND:20140110 DTSTAMP:20140828T030825 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:Out of the Blue\, Michele Martínez\, Guadalupe Carbajal\, Christoph er Dao\, Diana López\, Raymond McAdams\, Victor Prieto\, Ralph De la Roca\, Cesar Rodríguez\, Armando Saucedo\, Sarah Woo UID:276575 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over the next two years artwork will be selected on an ongoi ng basis that employ storytelling techniques to encourage dialogue on issue s relevant to the South Bay/Harbor community and/or shared history. The art works encourage us to think about our lives and how we communicate our stor y with each other. \;

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Miyo Hernandez

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Miyo Hernandez's narrative photogra phy is based in and around Los Angeles. The stories are presented in the fo rm of images and text\, which offer a momentary look into events that refle ct conflicts and experiences within her community. \;

BIOGRA PHY \;

Miyo Hernandez is a Los Angeles based artist whos e narrative work reflects life in the San Gabriel Valley and East Los Angel es. Other projects based in the Midwest and southern United States\, trace her own family history\, including her experiences as a biracial child and also the local histories of her birthplace in Indiana. Her work has been ex hibited in the United States and Europe. She received her BFA from the Cali fornia College of the Arts in Oakland\, CA in 1996\, and received her MFA i n photography from the California Institute of the Arts in 2000. She curren tly works as an adjunct professor in photography at the College of the Cany ons in Santa Clarita and Pasadena City College. In addition to photography\ , she also works in the medium of printmaking\, producing linocut\, woodcut \, and limited edition prints in collaboration with Self Help Graphics.&nbs p\;G o to artist's website \;

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Ann Le

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The series\, Thinking of You\, consists of hundreds of old family photos that the artist merged to create a visual "mash-up". The images were inspired by a recorded conversation bet ween the artist's mother and older sister when she was a little girl\; the conversation is about the family's emigration from Vietnam to Malaysia by b oat. As each image is lost within the collective whole\, a new image emerge s that is both specific to the artist and open to our own interpretation.&n bsp\;

BIOGRAPHY \;

Ann Le is a Southern C alifornia native and a recent MFA graduate at California State University L ong Beach with an emphasis in Photography and Mixed Media. She is intereste d in voyeurism and finds it pleasing to look in while others look away. Fas cinated by the ever-engaging memory in the midst of the present. She correl ates the artificial with her remembrances of family drama\, alongside with her ethnicity and culture. Sentiment is vital in her works as she pulls fro m her personal experiences to construct imposing art. \;Go to artist's website< /em>

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Karena Massengi ll

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Karena Massengill's work begins in her heart as emotions\, and as she start to build the concept becomes clearer. For many years she was involved with creating visual sounds. The idea of someone's e yes hearing\, and ears seeing\, fascinated her and is evidenced within her early work. \;

More recently socio political ideas manifeste d within communities and families have captivated her interest. Presently s he is also exploring these ideas within digital media as well as more tradi tional materials for sculpture\, drawing\, and painting. \;

She created the installation "Looking In\, Seeing Out" just after the 1992 Los Angeles riots. Within her neighborhood\, she saw burning buildings and angry desperate people. \;

The idea of the work evolved as s he began casting old and young people of all sorts of backgrounds and ethni cities. It intrigued her to see how people experienced the installation\, l argely dependent upon their own life perspective. Some viewed them as arms that were reaching out in desperation\, in need of help. Others saw them as wanting to grab and or take advantage of the viewer. \;

She has always wanted people to think and feel something when they experience her work and she is pleased with the timelessness of this artwork\, even th ough it was made over 20 years ago! \;

BIOGRAPHY&nbs p\;

Karena Massengill is an artist working with socio politi cal ideas expressed through the use of multi media including traditional ma terials used for casting and fabrication\, digital imaging\, drawing\, and painting. Massengill has an MFA in Sculpture from California State Universi ty at Fullerton\, BFA in Jewelry and MetalSmithing from Tyler School of Fin e Art\, Temple University in Philadelphia\, and a Bachelor of Education in Visual and Industrial Technology from the University of Toronto in Canada. She is an adjunct professor teaching Photoshop at Harbor College and is Dep artment Head of Digital and Visual Arts at Cabrillo High School in Long Bea ch. \;Go to artist's website \;

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< em> \;

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Dusty Tailor

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Dusty Tailor pulls inspiration from h is surroundings and interactions with animals and nature. Being raised in a family of immigrant farmers\, plants and produce goods find a place in his work as symbolic imagery of his upbringing and heritage. The work symboliz es the travels and exploration of his family's migration from central Mexic o to the Central Coast of California\, and personal exploration and interac tion with the environment around him. In this context\, the Humpback Whale\ , anatomical drawings of the fruit and flower from the Mission cactus are a direct representation of his migration\, exploration and heritage . \;

BIOGRAPHY \;

Dusty Tailor is a p rintmaker currently attending the School of Art-California State University \, Long Beach with a specific interest in lithography\, silkscreen\, and re lief printing. He finds a form of mysticism in printmaking\, nostalgia\, an d a world of perfect resonance from the moment of prepping to printing.&nbs p\;

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Xiaowen Zhu

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Terminal Island reflects a visual and psychological journey ins ide a recycling company\, where the world of materials ends and restarts. T hrough nuanced manipulation of documentary footage\, the artist is interest ed in presenting an alternative perception of time and space in a physicall y specific and yet philosophically ambiguous environment. \;

BIOGRAPHY \;

Xiaowen Zhu is a media art ist\, scholar and curator. Described as a visual poet\, social critic\, and aesthetic researcher. She uses video\, performance\, installation\, and we b as platforms to communicate the complicated experience of being an intern ational person and to wrestle with the notion of a disembodied identity. He r questions are often raised from her observation and reflection as a criti cal thinker and an active communicator. \;

Currently\, Xiaow en Zhu resides in San Pedro\, the port of Los Angeles\, for a yearlong arti st fellowship program. She received her MFA in Art Video from Syracuse Univ ersity\, USA and a BA in Film\, TV Production &\; Media Art from Tongji University\, China. During her undergraduate study\, she attended an exchan ge program in Academy of Art and Design Offenbach in Germany. \;
< br />Her work has been shown nationally and internationally at institutions such as: ZKM | Center for Art and Media (Karlsruhe\, Germany)\, V2 Institu te for the Unstable Media (Rotterdam\, the Netherlands)\, ISEA2011 (Istanbu l\, Turkey)\, Dumbo Arts Center (New York\, USA)\, Videonale (Berlin\, Germ any)\, Museum of Contemporary Photography (Chicago\, USA)\, Strozzina Art S pace (Florence\,Italy)\, Sainsbury Center for Visual Arts (Norwich\, UK)\, DOK Munich (Munich\, Germany)\, Everson Museum of Art (Syracuse\, USA)\, To ronto Urban Film Festival (Toronto\, Canada)\, Shanghai eArts Festival(Shan ghai\, China). \;Go to artist's website \;

DTEND:20131018 DTSTAMP:20140828T030825 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:Featured roundtable to Out of the Blue part I\, Miyo Hernandez\, An n Le\, Karena Massengill\, Dusty Tailor\, Xiaowen Zhu UID:276576 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angles Gallery is proud to announce our representation of four new artis ts and welcome them to the gallery program. Each of them will be having a o ne-person exhibition at the gallery in the coming year.  

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A group exhibi tion of works by these talented emerging and mid-career artists will open t o the public on Saturday\, June 29. The exhibition remains on view through August during regular gallery hours.

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Matt Lifson i s a graduate of Otis College of Art and Design\, MFA 2012\, and School of V isual Arts\, New York\, BFA 2008. His works have been exhibited at SecondGu est and Ana Cristea Gallery\, NY and CB1 Gallery\, Los Angeles. His first o ne person exhibition with the gallery will be in the fall.

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Brett Reichman holds a MFA degree from the University of California\, B erkeley\, and a BFA degree from Carnegie Mellon University. He has bee in o ne person and group exhibitions nationally\, including Gallery Paule Anglim \, San Francisco\; PPOW Gallery\, New York\; Rena Bransten Gallery\, San Fr ancisco\; Feature\, New York\; Orange County Museum of Art (solo)\; SFMoMA\ ; Portland Art Museum\, Portland\, Oregon\; Yerba Buena Center for the Arts \; Berkeley Art Museum\; and The Drawing Center. His works are in the colle ctions of SFMoMA\, OCMA\, PAM\, Berkeley Art Museum\, and the Oakland Museu m of California Art. His first one person show with the gallery will be in 2014.

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Tony de los Reyes graduated San Francisco Art Ins titute\, MFA and California State University\, Northridge\, BFA. A 2011 rec ipient of the prestigious C.O.L.A. award\, his works have been exhibited na tionally and internationally. Venues include New Britain Museum of American Art\; Grand Central Art Center\; Carl Berg Gallery\; DCKT Contemporary\; B en Maltz Gallery\, Otis College\; Weatherspoon Art Museum\; and Vincent Pri ce Museum. He was the recipient of the California Community Foundation Mid- Career Artist Fellowship in 2011. His first one person exhibition with the gallery will be in 2014.

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Taravat Talepasand earned her MFA at San Francisco Art Institute (2006) and BFA at Rhode Island school of Design (2001). Recipient of the Richard Diebenkorn Fellowship in 2010\, he r works are in the permanent collections of the de Young Museum and Orange County Museum of Art. Exhibitions include the 2010 California Biennial\, OC MA\; Yerba Buena Center for the Arts\; Morgan Lehman\, New York\; and Portl and Art Museum\, Portland\, Oregon. Her first one person exhibition with th e gallery will be in 2014.

DTEND:20130831 DTSTAMP:20140828T030825 DTSTART:20130629 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:New . . . Now . . . Next . . .\, Taravat Talepesand\, Tony de los R eyes\, Brett Reichman\, Matt Lifson UID:284064 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angles Gallery is proud to present the
West Coast premier of Ori Gersht's
video work\, Liquid Assets.  

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Additional wor ks on view from the series:

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 WHIT E NOISE

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LIQUIDATION 

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HIDE &\; SEEK

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Opening to the public on S aturday\, June 29. The exhibition remains on view through August during reg ular gallery hours.

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Ori G ersht was educated at Royal College of Art\, London (MA 1995) and University of Westminster (BA 1992). His works have been the subject of one person exhibitions at Museum of Fine Arts\, Boston\; Imperial War Museum\, London\; Santa Barbara Museum of Art\; J. Paul Getty Museum\; Hirschhorn M useum and Sculpture Garden\; Musee d'Art de Toulon\, France\; The Jewish Mu seum\, New York\; Yale Center for British Art\; and Tel Aviv Museum\, among other museums and galleries globally. Additional exhibition venues have in cluded Whitechapel Art Gallery\; Norton Simon Museum\; Guggenheim Museum\; National Art Museum\, Bejing\; Tate Modern\; and Tate Britain\, among other s.

DTEND:20130831 DTSTAMP:20140828T030825 DTSTART:20130629 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Liquid Assets + Selected Works\, Ori Gersht UID:284065 END:VEVENT END:VCALENDAR