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

On Saturday\, February 21\, 2015 from 5pm-8pm\, at 6 85 Venice Blvd.\, Venice\, CA (Old Venice Police Station)\, SPARC& rsquo\;s historic headquarters since 1977\, The Duró\;n Gallery at SP ARC will present A Short Essay on Chicano Photography\, showcasing works from the collection of Mary and Armando Duró\;n that will feat ure a survey exhibition on Chicano photography that has not been mounted in any venue large or small since in many years. One can argue that Chicano p hotographers took their cue from their quest to create their own reality ad mitting that it was not objective but reactionary to the few quite negative images that existed about Chicanos and their ancestors. The exhibit reveal s that the aesthetic and formal concerns were never ignored as Chicano phot ographers sought to make their mark on their terms. The works in this exhib ition will attempt to go beyond photojournalism and to demonstrate that aes thetic\, formal and social concerns were ever-present and together often fo rmed the resulting images by the artists.

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The Duró\;n Family Collection consists of hundreds of works\, together with an extensive libra ry of books\, catalogs and ephemera collected over 30 years. Armando Dur&oa cute\;n has spoken and written widely as a knowledgeable collector on Chica no art of Los Angeles. His unique perspective as a collector\, long-time fr iend of Chicano(a) artists and avid student on the subject is widely sought from Los Angeles\, to the Smithsonian\, from high school students to profe ssional appraisers. Duró\;n writes an occasional column for Brooklyn &\; Boyle newspaper\, &ldquo\;From the Living Room Couch&rdquo\; on Chicano art. \; Works fro m the collection are regularly shown throughout the country. The Mission of the Duró\;n Gallery is to present socially relevant and politically conscious art\, weather visual or performing\, especially for underserved a udiences\, by established and emerging artists\, artists&rsquo\; collective s and student projects.

DTEND:20150501 DTSTAMP:20150126T230318 DTSTART:20150221 GEO:33.9915148;-118.4586206 LOCATION:Social and Public Art Resource Center (SPARC)\,685 Venice Bl \nVen ice \, CA 90291 SEQUENCE:0 SUMMARY:A Short Essay on Chicano Photography\, Featuring Works from the Col lection of Mary and Armando Duron UID:371626 END:VEVENT BEGIN:VEVENT DTEND:20150221T200000 DTSTAMP:20150126T230318 DTSTART:20150221T170000 GEO:33.9915148;-118.4586206 LOCATION:Social and Public Art Resource Center (SPARC)\,685 Venice Bl \nVen ice \, CA 90291 SEQUENCE:0 SUMMARY:A Short Essay on Chicano Photography\, Featuring Works from the Col lection of Mary and Armando Duron UID:371627 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150321 DTSTAMP:20150126T230318 DTSTART:20150228 GEO:34.0834999;-118.3333886 LOCATION:Thomas Duncan Gallery\,6109 Melrose Avenue \nLos Angeles\, CA 9002 8 SEQUENCE:0 SUMMARY:Towers of Dub (Live Orbient 3.9.93)\, Olga Balema\, Tom Humphreys\, Win McCarthy\, Emanuel Röhss\, José Rojas\, J. Parker Valentine UID:371427 END:VEVENT BEGIN:VEVENT DTEND:20150228T200000 DTSTAMP:20150126T230318 DTSTART:20150228T180000 GEO:34.0834999;-118.3333886 LOCATION:Thomas Duncan Gallery\,6109 Melrose Avenue \nLos Angeles\, CA 9002 8 SEQUENCE:0 SUMMARY:Towers of Dub (Live Orbient 3.9.93)\, Olga Balema\, Tom Humphreys\, Win McCarthy\, Emanuel Röhss\, José Rojas\, J. Parker Valentine UID:371428 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150328 DTSTAMP:20150126T230318 DTSTART:20150228 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Compressional(s)\, Katy Cowan UID:371425 END:VEVENT BEGIN:VEVENT DTEND:20150228T190000 DTSTAMP:20150126T230318 DTSTART:20150228T160000 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Compressional(s)\, Katy Cowan UID:371426 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150328 DTSTAMP:20150126T230318 DTSTART:20150228 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Solo Exhibition\, Pat O'Neill UID:371423 END:VEVENT BEGIN:VEVENT DTEND:20150228T190000 DTSTAMP:20150126T230318 DTSTART:20150228T160000 GEO:34.0335725;-118.3758276 LOCATION:Cherry and Martin\,2712 S. La Cienega Blvd. \nLos Angeles\, CA 900 34 SEQUENCE:0 SUMMARY:Solo Exhibition\, Pat O'Neill UID:371424 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present a new exhibition of paintings by David Kapp. There will be & nbsp\;a reception for the artist\, Saturday\, February 28\, 4-6 PM  \;< /p>\n

David Kapp was born and raised in New York and has painted the city since the 1970's. Kapp&rsquo\;s paintings &n bsp\; extract the dramatic contrasts\, harmonies\, collisions and forms of urban architecture and movement.  \; Images of traffic\, buildings and pedestrians from skewed perspectives have become signature for the  \; artist. Kapp has revisited certain views and streetscapes\, yet these same subjects arrive in fresh ways  \; with each new series. His extreme per spectives and dramatic plays of light continually evolve in images  \; that have become tools for conveying the essence of the city\, rather than literal portraits of his  \; surroundings.  \;

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In his latest body of work\, Kapp brings a higher dose of geometry and an electric palette\, particularly with  \; collage studi es that recall the optimism of Matisse's cut-outs. In his paintings\, Kapp applies this same  \; precise cutting to paint\, where vertical views o f a jagged sky through towering highrises become highly  \; flattened\, hard-edge abstractions. In some pieces\, the context of the urban environm ent is barely  \; discernible within complex\, fractured geometries. Th ese works are accompanied by more painterly  \; approaches as well\, wh ere pedestrians\, traffic scenes and crosswalks brim with energy. While the  \; subjects are more recognizable in these paintings\, Kapp has pared down the scenes to favor a gridded  \; format with spare grounds. In a ll of his work\, Kapp's focus is always on the light\, which he sees of pri mary  \;importance\, the adhesive that binds the image together.  \ ;

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&ldquo\;Intentionality is not the p rimary component of the creative process\,&rdquo\; Kapp states. &ldquo\;Exp erimentation and  \; play are of equal importance. I don&rsquo\;t want only results but will achieve results through the process of  \; doing. Failure thus becomes an important part of the creative process. The proces s itself always indicates  \;a direction of interest. Habit is the bigg est enemy of creation. The subject of any painting is not the object:   \;the object is the relationship between parts\, forms and colors\, bound b y natural forces.&rdquo\;

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 \;Davi d Kapp has received two Awards from The American Academy of Arts and Letter s along with a  \; Rosenthal Foundation award. His work is in many publ ic and private collections including The  \; Metropolitan Museum of Art \, The National Academy of Design\, and The Mint Museum of Art. \;

DTEND:20150411 DTSTAMP:20150126T230318 DTSTART:20150228 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:New Work\, David Kapp UID:371421 END:VEVENT BEGIN:VEVENT DTEND:20150228T180000 DTSTAMP:20150126T230318 DTSTART:20150228T160000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:New Work\, David Kapp UID:371422 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present an exhibition of paintings by Tony Beauvy. There will be a r eception for the artist Saturday\, February 28\, 4-6 PM.

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Tony Beauvy is a Los Angeles-based painter who received his M.F.A. from UCLA. The exhibition brings together a series of abstract paintings that Beauvy approaches with an improvisational approach\, that in volve notions of figuration as well as formal approaches. The large scale o f the work creates environments in which viewers are enveloped by fibrous d rips of paint over successively layered fields.

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For Beauvy\, resolution is achieved in the undetermined spaces o f his paintings. He engages in scraping\, pouring\, and sanding which move the paintings toward a balance of refinement and roughness. The sense of ab andonment and dissolving within the flowing areas of paint embrace the unkn owable\, which is where Beauvy sees the paintings reaching their highest po tential. This interceding space\, where the image dematerializes\, yet hold s interest has the most possibility and interest for both viewers and the a rtist.

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&ldquo\;My paintings are born out of process and practice\, addition and subtraction\,&rdquo\; the artist states. I want to push the painting almost to its failure point &ndash\; t he point at which it is exhausted is where I find the most possibility. In my paintings\, a sense of place appears and disappears. A constant unearthi ng of surface creates a geography that is not concrete\, rather flexible.&r dquo\;

DTEND:20150411 DTSTAMP:20150126T230318 DTSTART:20150228 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:New Paintings\, Tony Beauvy UID:371419 END:VEVENT BEGIN:VEVENT DTEND:20150228T180000 DTSTAMP:20150126T230318 DTSTART:20150228T160000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:New Paintings\, Tony Beauvy UID:371420 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Please join us \;as Osca r Enberg \;discusses his latest exhibition and a related group of new w orks that will be shown at the \;Paramount Ranch \;fair.
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Please rsvp to: \;info@thomasduncangallery.com
DTEND:20150128T200000 DTSTAMP:20150126T230318 DTSTART:20150128T180000 GEO:34.0834999;-118.3333886 LOCATION:Thomas Duncan Gallery\,6109 Melrose Avenue \nLos Angeles\, CA 9002 8 SEQUENCE:0 SUMMARY:Artist Talk | Paramount Ranch Fair Preview\, Oscar Enberg UID:371412 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Patrick Painter\, Inc. is plea sed to present a solo exhibition featuring new work by Los \;Angeles pa inter John Sonsini. The exhibition will showcase new pieces in the artist&r squo\;s \;on-going dialogue with expressionistic portraiture.

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For Sonsini\, portraits are not only about wha t you see\, but what you don&rsquo\;t see. He \;favors models who occup y spaces far removed from high art. His penchant for hiring \;Hispanic day laborers to sit for him has given rise to a body of work that defies th e \;viewer&rsquo\;s understanding of portraiture. His subjects are ofte n placed against abstract\, \;pastel backgrounds\, setting the scene fo r the interesting play between masculinity \;and vulnerability. Though not overtly political\, Sonsini&rsquo\;s paintings invite us to look \; beyond the prototypical day laborer\, the impoverished immigrant\, or the&n bsp\;disenfranchised urban youth\, and ponder the unseen life they lead.&nb sp\;

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With their oversized shoes and h ands\, we are reminded that society characterizes \;these men by their work. Their clothing\, rendered in broad\, expressive strokes\, is \;of ten generic and vaguely uniform. Plain polo shirts\, blue jeans\, and beat up \;sneakers tell us that these are not men of leisure. Skateboards\, wallets\, belt buckles\, \;and hats give us glimpses into their world\, while boxes and luggage hint at a recent \;&ldquo\;move&rdquo\;. Howev er\, these accoutrements give us only part of the story\, and raise even&nb sp\;more questions. We are confronted with an underlying tension found in t he \;disconnect between how we define them and how they define themselv es. \;

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This is John Sonsini&rsquo \;s first exhibition with Patrick Painter\, Inc. Sonsini&rsquo\;s work is&n bsp\;currently on view in Los Angeles at the Museum of Contemporary Art\, a nd the Autry \;National Center of the American West. He has had recent exhibitions at Bentley \;Gallery in Phoenix\, AZ (2013) and Inman Galle ry in Houston\, Texas (2013). His work \;is included in major public co llections such as the Smithsonian American Art \;Museum in Washington\, D.C.\, and the Guggenheim Museum in New York \, and the \;San Francisc o Museum of Modern Art.

DTEND:20150221 DTSTAMP:20150126T230318 DTSTART:20150124 GEO:34.0276049;-118.4678444 LOCATION:Patrick Painter Inc.\,Bergamot Station 2525 Michigan Ave. # B2\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Solo Exhibition\, John Sonsini UID:371410 END:VEVENT BEGIN:VEVENT DTEND:20150124T200000 DTSTAMP:20150126T230318 DTSTART:20150124T180000 GEO:34.0276049;-118.4678444 LOCATION:Patrick Painter Inc.\,Bergamot Station 2525 Michigan Ave. # B2\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Solo Exhibition\, John Sonsini UID:371411 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Kordansky Gallery is ple ased to announce \;Illusions of Domesticity\, an exhibition of new work by Betty Woodman. The ex hibition will open on \;Saturday\, January 31\, 2015 \;at 5130 W. E dgewood Place and will continue on view through \;March 21\, 2015. An o pening reception will be held on \;January 31 from 6:00pm until 8:00pm.

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Legendary artist Betty Woodman is wi dely celebrated for her exuberant and vivid ceramic works that defy categor ization as painting\, sculpture\, or pottery. Her singular experimentation with the vase form\, as a contemplative and pictorial\, as well as function al object\, spans over fifty years---from producing utilitarian pots in the 1950s\, to collaborations with the Pattern and Decoration movement in the late 1970s and 1980s\, to her 2006 exhibition at New York's Metropolitan Mu seum of Art\, the institution's first (and only) for a living artist workin g in ceramics\, and its first (and only) retrospective for a living woman a rtist. In her recent mixed-media sculptures and installations\, Woodman rev isits the history of ceramics as a tradition of painted form\, generating s pectacular possibilities for the extension of painting into plastic space.< /p>\n

Illusions of Domesticity\, Woodman's first exhibition at David Kordansky Gallery and her first on the West Coast in nearly a decade\, fea tures an installation of new paintings and sculpture in glazed earthenware\ , unstretched canvas\, and wood. In these polychrome reliefs and freestandi ng forms\, she conjures the trappings of a bourgeois home as splendorous pe rceptual experiences. Woodman has long drawn inspiration from domestic Roma n wall paintings\, whose tromp l'oeil depictions of outdoor vistas accent l ived space with pictorial depth. Here she furthers and inverts those dynami cs\, elaborating sculptural objects with painted imagery\, but also vice ve rsa. Picturing\, if not mimicking rugs and tables\, pedestaled vessels\, an d room interiors\, the works elude expectations\, shifting both between mat erials and modes of representation.

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n each of a new series of still life paintings\, for example\, a depicted ta ble partially emerges from the picture plane as a shelf-like protrusion. At op these tables Woodman situates decorative dinnerware and pottery of her o wn making by placing these forms on the shelf and collaging others to the s urface of the painting in bas-relief. As painted background becomes sculptu ral base\, and image becomes object\, and back again\, the resulting pictur e appears at once continuous and discontinuous\, immediately present yet il lusory. The idiosyncrasies of a Cezanne-like perspective\, a vibrant palett e reminiscent of Gauguin\, and patterning in the spirit of Matisse further activates the painterly\, tactile sensations at play.

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These optics become increasingly bodily in Woodman's frees tanding works\, in particular her Aztec vases. She adorns each thrown\, tub ular pot---inspired by a four-sided pre Columbian stone sculpture---with fo ur wing-like slabs to create four distinct faces\, and upon each a unique p ainting composition. One can only apprehend the entire Cubist-like construc tion and its permutations by circling the work\, as Woodman keys each compo sition to the uniquely contoured forms it decorates and the paint's potenti al to alter perception of those surfaces\, edges\, and volumes. A fifth pai nting\, this one on canvas flat on the floor\, and overlaid with glazed ear thenware slab remnants\, completes each Aztec vase. With this relief painti ng\, Woodman provides a base for the vessel\, while establishing a fantasti cal mise-en-scè\;ne and\, like all of the works in \;Illusions of Domesticity\, a renewed picture of the pleasures of home life.

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Betty Woodman (b. 1930\, Norwalk\, Connecticut) lived\, worked\, and taug ht in Colorado for forty years\, and now divides her time between studios i n New York and Antella\, Italy. Besides numerous gallery exhibitions\, rece nt solo presentations of her work include: \;Places\, Spaces &\; Things\, Gardiner Museum\, T oronto (2011)\; \;Roman Fres co/Pleasures and Places\, \;American Academy in Rome (2010)\;&nb sp\;L'allegra vitalità\; d elle porcellane\, Museo Delle Porcellane\, Palazzo Pitti\, Giardino di Boboli\, Florence (2009)\; and \;Somewhere Between Denver and Naples\, Denver Art Museum (200 6). Her work has also recently been featured in group exhibitions including  \;Playing House\, Br ooklyn Museum (2012)\; \;Pos tmodernism: Style and Subversion\, 1970-1990\, Victoria and Albert M useum\, London (2011)\; \;S& egrave\;vres\, Porcelaines Contemporaines\, The Menshikov Palace\, T he Hermitage Museum\, St. Petersburg (2010)\; andDirt on Delight: Impulses that Form Clay\, Institut e of Contemporary Art\, Philadelphia\, and the Walker Art Center\, Minneapo lis (2009). Woodman's artworks are featured in over fifty public collection s including the Stedelijk Museum\, Amsterdam\; the Whitney Museum of Americ an Art\, New York\; the Los Angeles County Museum of Art\; and the National Gallery of Art\, Washington\, D.C. In fall 2015\, Museo Marino Marini\, Fl orence\, will present a major traveling exhibition of Woodman's work curate d by Vincenzo De Bellis.

DTEND:20150321 DTSTAMP:20150126T230318 DTSTART:20150131 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Illusions of Domesticity\, Betty Woodman UID:371408 END:VEVENT BEGIN:VEVENT DTEND:20150131T200000 DTSTAMP:20150126T230318 DTSTART:20150131T180000 GEO:34.0544257;-118.3432562 LOCATION:David Kordansky Gallery\,5130 W. Edgewood Place \nLos Angeles\, CA 90019 SEQUENCE:0 SUMMARY:Illusions of Domesticity\, Betty Woodman UID:371409 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Monte Vista Projects is pleased to present the most recent installment of Vinyl Potluck\, a project by Tom Norris. Vinyl Potluck is an ongoing series wh ich investigates our relationship with vinyl records and nostalgia. \;< /p>\n

Attendees are invited to br ing a vinyl record from their own collection and share with the group. The selection can be musical\, historical\, art-centered\, or otherwise persona lly meaningful. A crate of records will be provided for those participants without records from which they may choose a selection. This record may the n be kept by its selector\, starting a new thread of nostalgia associated w ith both the vinyl object and the Vinyl Potluck event.

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Vinyl Potluck

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a project by Tom Norris

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Bring a record\, play a few tracks

DTEND:20150201T180000 DTSTAMP:20150126T230318 DTSTART:20150201T140000 GEO:34.1102951;-118.1973971 LOCATION:Monte Vista\,5442 Monte Vista Street \nLos Angeles\, CA 90042 SEQUENCE:0 SUMMARY:Vinyl Potluck\, Tom Norris UID:371405 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Fahey/Klei n Gallery is pleased to announce the upcoming exhibition\, \;Malkovich\, Malkovich\, Malkovich: Homage to Photographic Masters\, a new photographic collaboration between Chicago photographer Sand ro Miller and actor John Malkovich. The exhibition opens to the public on&n bsp\;February 12th from 7-9pm\, and will run through \;March 21st\, 201 5. \;

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At the age of sixteen\, upon seeing the work of Irving Penn\, Sandro Miller knew he wa nted to become a photographer. Mostly self-taught\, Sandro relied on books published by many of the great artists canonized in photographic history. T hrough their pictures\, he learned the art of composition\, lighting and po rtraiture. More than 30 years later\, with clients from Forbes\, GQ and Esq uire\, to American Express\, Coca-Cola and BMW\, Sandro has secured his pla ce as one of the top advertising photographers worldwide. \;

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Sandro's success in commercial photography allows him to continue his personal projects\, which have inclu ded working in Cuba\, photographing American blues musicians\, various danc e troupes\, and extended endeavors with John Malkovich\, his long time frie nd and collaborator. Sandro first met \;Malkovich in the late 1990s\, w hile working on a job for Steppenwolf Theater. More than 16 years later\, S andro and John are still collaborating\, recently in their most elaborate p hotographic project yet\, \;Malkovich\, Malkovich\, Malkovi ch: Homage to Photographic Masters.  \;  \;

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 \;In 2013\, Sandro set ou t to complete an ambitious series honoring the men and women whose photogra phs helped shape his career. After selecting forty one images to emulate\, Sandro contacted Malkovich\, who instantly agreed to participate. When spea king about Malkovich\, Sandro states\, "John is the most brilliant\, prolif ic person I know. His genius is unparalleled. I can suggest a mood or an id ea and within moments\, he literally morphs into the character right in fro nt of my eyes. He is so trusting of my work and our process... I'm truly bl essed to have him as my friend and collaborator." \;

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Malkovich\, Malkovich\, Mal kovich: Homage to Photographic Masters \;honors the photo graphs that have inspired and impacted Sandro\, including Irving Penn's por trait of Truman Capote crouched in a corner\; Bert Stern's photographs of M arilyn Monroe\; Dorothea Lange's image of a migrant mother during the Great Depression\; Robert Mapplethorpe's self-portrait with gun\; Annie Leibovit z's image of John Lennon and Yoko Ono shot for Rolling Stone Magazine\; Dia ne Arbus' iconic photograph of a boy holding a toy hand grenade\; Richard A vedon's beekeeper\, among many others. \;

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Sandro and his studio spent a year fastidiously re searching each original photograph- studying every detail\, hunting down ou ttakes from the shoots\, and interviewing photographers. Each detail captur ed in the original photographs had to be painstakingly recreated in Sandro' s version. After a year of planning\, Miller and his team of set builders\, make-up experts and costume designers worked with Malkovich over six 15 ho ur days in Sandro's Chicago Studio. Each set was pre-lit and dressed\, wait ing for Malkovich to transition from one character to the next. \;

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John Malkovich is conside red to be one the greatest American actors of the 21st century. In \;Malkovich\, Malkovich\, Malkovich: Homage to Photographic Masters \, he demonstrates his chameleon-like proclivity\, morphing i nto Albert Einstein\, Alfred Hitchcock\, John Lennon and Andy Warhol. Throu gh his immense skill and Sandro's amazing photographic eye\, \;Malkovich\, Malkovich\, Malkovich: Homage to Photographic Masters \;pays homage to photographic history through the genius of a photographer and his muse.

DTEND:20150321 DTSTAMP:20150126T230318 DTSTART:20150212 GEO:34.0750041;-118.3436913 LOCATION:Fahey/Klein Gallery\,148 N. La Brea Ave. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Malkovich\, Malkovich\, Malkovich: Homage to Photographic Masters\, Sandro Miller UID:371403 END:VEVENT BEGIN:VEVENT DTEND:20150212T210000 DTSTAMP:20150126T230318 DTSTART:20150212T190000 GEO:34.0750041;-118.3436913 LOCATION:Fahey/Klein Gallery\,148 N. La Brea Ave. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Malkovich\, Malkovich\, Malkovich: Homage to Photographic Masters\, Sandro Miller UID:371404 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Los Angeles Premiere!

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Curat ors Jaimie Baron and Greg Cohen and filmmaker Maria Magnusson in person!

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The Festival of (In)appropriation returns to Filmforum with its seventh program of cutting-edge experimental found footage shorts. Whet her you call it collage\, compilation\, found footage\, dé\;tournemen t\, or recycled cinema\, the incorporation of previously shot materials int o new artworks is a practice that has generated novel juxtapositions of ele ments which have produced new meanings and ideas that may not have been int ended by the original makers\, that are\, in other words &ldquo\;inappropri ate.&rdquo\; Founded in 2009\, the Festival of (In)appropriation is a yearl y showcase of contemporary short audiovisual works that appropriate film or video footage and repurpose it in &ldquo\;inappropriate&rdquo\; and invent ive ways. This year&rsquo\;s show is curated by Jaimie Baron\, Greg Cohen\, and Lauren Berliner.

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This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission\ ; the Department of Cultural Affairs\, City of Los Angeles\; and the Mike K elley Foundation for the Arts. Additional support generously provided by Am erican Cinematheque. We also depend on our members\, ticket buyers\, and in dividual donors.

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DTEND:20150215T213000 DTSTAMP:20150126T230318 DTSTART:20150215T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:The Festival of (In)appropriation #7 UID:371351 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Filmforum welcomes back filmmaker Stephanie Barber for the L os Angeles premiere of her first feature film\, DAREDEVILS. \; A portra it of risk and language\, DAREDEVILS\, presents the experimental narrative of a writer as she interviews a well-known artist and feels the reverberati ons of their discussion throughout her day. Visually spare\, still and verb ose\, the video considers three formal handlings of language&mdash\;a dialo g\, two monologues and a song.

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&ldquo\;Here\, the excitement of ide as\, and of seeing\, functions like the rising and falling of serotonin lev els\, moments of ecstasy leading to inevitably painful ends. Moments bend w ithin that split second when happiness turns into melancholy on contact wit h the intellect.&rdquo\; -- From &ldquo\;Notes on Daredevils&rdquo\; by Rac hael Rakes\, in the Brooklyn Rail

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This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission\; the Department of Cultural Affairs\, City of Los Angeles\; an d the Mike Kelley Foundation for the Arts. Additional support generously pr ovided by American Cinematheque. We also depend on our members\, ticket buy ers\, and individual donors.

DTEND:20150208T213000 DTSTAMP:20150126T230318 DTSTART:20150208T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:Daredevils\, by Stephanie Barber\, stephanie barber UID:371350 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The experimental film world was blown away (&ldquo\;shocked& rdquo\; is not the right word\, really) by the news just this month that ac claimed and singular filmmaker Joe Gibbons had been arrested for robbing a pair of northeastern banks. \; Not only that\, but the only weapon he h ad employed in doing so was one with which he had extensive familiarity: a video camera\, almost certainly documenting the robberies for inclusion in an in-progress work. \; The New York Post\, in their condescending cove rage of Gibbons&rsquo\; apprehension (&ldquo\;Bank Robber Appears to be Scr ewball Former Professor&rdquo\;)\, referred to his &ldquo\;art&rdquo\; and his identity as a &ldquo\;visual artist&rdquo\; exactly like that - in quot e marks. \; Well\, to hell with the New York Post and to hell with the banks\, Joe Gibbons is not only an artist\, but a truly great artist\, one who has for decades blended autobiography and fantasy into a richly confess ional\, bitingly hilarious\, unparalleled first-person media/dream-fulfillm ent. \; The &ldquo\;Joe&rdquo\; in Gibbons&rsquo\; films is not simply Joe Gibbons\, and the already blurry distinction between his movie identity and real-guy Joe is smeared out of proportion and recognition the more of his work you see. \; He pushes deep\, carefully hidden buttons of shame \, hilarity\, discomfort\, and incredulity within us as his viewers/friends /victims/confidants\, unpacking his neuroses and pretensions like a weird-s melling\, slightly overstuffed carry-on bag being disallowed on the plane. Ultimately Joe Gibbons is the underworld king of the filmic first-person\; there are scant few pretenders to his throne - no one even wants to try or would know where to begin. (Mark Toscano)

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For this screening\, Filmforum is grateful to share Gibbons&rsquo\; semi(?)-autobiog raphical masterwork Confessions of a Sociopath (2001- ) and other items to be determined. \; Joe is currently in a New York jail cell\, b ut his honorarium for this program will be placed in a support fund being s et up by his friends while he&rsquo\;s temporarily indisposed.

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This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission\; the Depart ment of Cultural Affairs\, City of Los Angeles\; and the Mike Kelley Founda tion for the Arts. Additional support generously provided by American Cinem atheque. We also depend on our members\, ticket buyers\, and individual don ors.

DTEND:20150201T213000 DTSTAMP:20150126T230318 DTSTART:20150201T193000 GEO:34.101418;-118.336595 LOCATION:Spielberg Theatre at the Egyptian\,6712 Hollywood Blvd. \nLos Ange les\, CA 90028 SEQUENCE:0 SUMMARY:Joe Gibbons: Confessions of a Sociopath\, Joe Gibbons UID:371349 END:VEVENT BEGIN:VEVENT DESCRIPTION:

egen Projects is pleased to pr esent an exhibition of recent work by the London-based artist Anish Kapoor. One of the most influential sculptors of his generation\, Kapoor&rsquo\;s work combines the formal concerns of minimalism with conce rns for the material and psychical nature of both the object and the self. Known primarily for his large site-specific installations and objects that test the phenomenology of space\, this exhibition features significant new work that pushes his use of materials into exciting new territories. Kapoor has shown with Regen Projects since 1992 and this marks the artist&rsquo\; s fifth solo exhibition at the gallery. \;

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A series of monumental works feature organic\, terrestrial forms made from resin and earth. In contrast to their raw\, earthly matter\, a s eries of highly polished stainless steel sculptures reflect and refract an illusion of the world onto their mirrored surfaces and confound the viewers &rsquo\; relationship to the space around them. Similarly\, several monochr omatic voids appear to float on the gallery walls\, their concave interiors play with the viewers&rsquo\; perception of surface and depth and create t he illusion of infinite space reflected in their void like interiors. A tri o of amorphous wall sculptures entitled Keriah (I\, II\, III) refer to the Jewish mourning practice of clothes tearing. Visceral and raw\, their shape s hang on the wall as if in a perpetual state of decay. \;

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Taken as a whole these works give testament to K apoor&rsquo\;s unparallelled attempts at harnessing the expressive properti es of materials to push the limits of sculptural form.

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Ani sh Kapoor (b. 1954 Bombay\, India) lives and works in London\, Eng land. Recent major solo exhibitions include Sakıp Sabancı Museum\, Istanbul (2013)\; Martin Gropius Bau\, Berlin (2013)\; Museum of Contemporary Art\, Sydney (2012)\; Le Grand Palais\, Paris (2011)\; Mehboob Studios\, Mumbai and National Gallery of Modern Art\, New Delhi (2010)\; Royal Academy of Ar ts (2009) and the Turbine Hall\, Tate Modern\, London (2002). He has been t he recipient of numerous international awards\, including a Premio Duemila for his representation of Britain at the 44th Venice Biennale (1990)\, a Tu rner Prize (1991)\, a CBE (2003)\, a Padma Bhushan (2012)\, and a Knighthoo d (2013) for services to visual arts. This June Kapoor will be the subject of a solo show at the Châ\;teau de Versailles in France.  \;

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An opening reception for the artist will be held on Saturday\, January 31\, from 6:00 &ndash\; 8:00 pm.

DTEND:20150307 DTSTAMP:20150126T230318 DTSTART:20150131 GEO:34.090396;-118.337743 LOCATION:Regen Projects (Hollywood)\,6750 Santa Monica Boulevard \nLos Ange les\, CA 90038 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anish Kapoor UID:371275 END:VEVENT BEGIN:VEVENT DTEND:20150131T200000 DTSTAMP:20150126T230318 DTSTART:20150131T180000 GEO:34.090396;-118.337743 LOCATION:Regen Projects (Hollywood)\,6750 Santa Monica Boulevard \nLos Ange les\, CA 90038 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anish Kapoor UID:371276 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150727 DTSTAMP:20150126T230318 DTSTART:20150321 GEO:34.052871;-118.250842 LOCATION:MOCA (Museum of Contemporary Art) at Grand Ave.\,250 S. Grand Ave. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:M.A.A.D\, Kahlil Joseph UID:371273 END:VEVENT BEGIN:VEVENT DTEND:20150321T180000 DTSTAMP:20150126T230318 DTSTART:20150321T110000 GEO:34.052871;-118.250842 LOCATION:MOCA (Museum of Contemporary Art) at Grand Ave.\,250 S. Grand Ave. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:M.A.A.D\, Kahlil Joseph UID:371274 END:VEVENT END:VCALENDAR