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Wilding Cran Gallery is please d to announce \;Here Now: Six Works by 6 LA Artists\, \;a group exhibition featuring Kristin Calabrese\, \;Noah Davis\, Ian Pines \, Fran Siegel\, Ali Smith \;and Etienne Zack. \;

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Here Now: Six Works by 6 LA Artists \;will be on view March 21 - May 2\, 2015 and features  \;five large-scale paintings including new works by Noah Davis\, Etien ne Zack \;and a new mixed media sculpture by Fran Siegel.  \;The ex hibition is the gallery's first show dedicated to Los Angeles based \;a rtists and represents a \;wide variety of styles and impulses.

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Kristin Calabrese \;rece ived her MFA from UCLA in 1998\, she lives and works in Los Angeles. \; Her paintings are imbued with multiple layers of meaning. Intentionally an d intensely charged with psychological implications\, the canvases eerily r esonate on a subconscious level. \;Calabrese has exhibited with Gagosia n\, Leo Koenig\, Saatchi Gallery\, Susanne Vielmetter\, amongst others\, an d is represented by Brennan &\; Griffin in New York. Her work has been i ncluded in exhibitions at the Seattle Art Museum\, WA\, The Orange County M useum of Art\, Newport Beach\, CA\, and the San Francisco Art Institute\, C A. and is included in such prestigious collections as the Neuberger Berman\ , Saatchi\, and the Armand Hammer Museum. \;

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Noah Davis \;was born and raised in Seattl e.  \;He studied painting at Cooper Union and has lived and worked in L os Angeles since leaving school. His work \;explores the sadness and un certainty of everyday life and African American history. Based on vintage p hotographs\, art historical references\, and his vivid imagination he creat es \;psychological figurative paintings. \; He has an \;ongoing non-profit project titled Underground Museum.  \;His paintings are in the collections at the Studio Museum in Harlem\, The Rubell Family Collecti on in \;Miami\, SF MOMA\, and LACMA. \;

Ian Pine s \;received his BA in art from the University of California a t Santa Cruz in 2007 and his MFA in painting from UCLA in 2010. He has exhi bited his work at numerous venues throughout Los Angeles and the Southwest including Coagula Curatorial\, California State University at Long Beach\, the Manhattan Beach Art Center\, Eastside Internationational\, Creative ABQ \, and the Santa Fe Art Institute. \;

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Fran Siegel's \;sprawling spatial constructions a re depictions of time\, movement\, and change. \;Her drawings have rece ntly been acquired by LACMA\, the Museum of Contemporary Art\, Los Angeles\ , and the Yale University Art Gallery. She represented the United States in the IX International Biennial of Cuenca\, Ecuador. Other exhibits include the Center for Contemporary Art in Tel Aviv\, Muzeum Stzuki in Lodz\, Polan d\, and Nuova Icona in Venice\, Italy\, &ldquo\;Slash&rdquo\; at the Museum of Art and Design\, and \; Lesley Heller Workspace in New York. Siegel is now working with the Fowler Museum at UCLA on a \;Fowler in Foc us \;exhibition \;and has just been awarded a Fulbright to Bra zil for this project&rsquo\;s research. Siegel holds a Masters in Painting from Yale University School of Art and a Bachelor of Art in Art from Tyler in Philadelphia and Rome. She is currently a professor in The School of Art at California State University Long Beach. \;
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Ali Smith
 \;uses the canvas as an open space of exploration\ ; an empty landscape that serves as the starting point for investigation in to abstract terrains.  \;Smith weaves together fleeting \;thoughts\ , moments of time\, the fine lines between fact and fiction and subjective desires within her canvases\, which in turn present the hopeful attitude of the artist\, in the face of the realities of life and experience. \;Sm ith received her MFA from California State University\, Long Beach (CA)\, a nd has since had solo exhibitions in New York\, Houston and Los Angeles. Sh e has been included in numerous group shows\, including those at the Laguna Art Museum\, \;Irvine Fine Arts Center\, Center for the Arts\, Eagle R ock\, and Riverside Museum. \;Her work is included in the collections o f the Laguna Art Museum\, Frederick R. Weisman Foundation\, \;and Progr essive. \;Smith is represented by Mark Moore Gallery in Culver City and Mindy Solomon Gallery in Miami\, and was the recipient of the Hoff Award i n 2011 and the City of Long Beach Artist Grant in 2008.

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Etienne Zack \;is a Canadian artist based in Los Angeles. \;His work considers how our collective writing of history is shaped by \;a reflection of those who write it\, and is n o less a conscious construction than the architectures which he paints and sculpts. He \;studied at Emily Carr University of Art and Design in Van couver and Concordia University in Montreal. \;
Zack has been incl uded in numerous group exhibitions internationally and his work can also be found in corporate and private collections in the United States\, Europe\, Scandinavia\, Ireland\, the UK and across Canada. Solo exhibitions have be en mounted at the \;Montreal Museum of Contemporary Art\, \;Montrea l\, Canada\; Bergen Kunsthall\, Bergen\, Norway\; Thomas Dane Gallery\, Lon don\, England\; Marina-Miranda\, Madrid\, Spain\; Vision Machine\, Surrey A rt Gallery\, Surrey\, Canada\; Blackwood Gallery at the University of Toron to\, Mississauga\, Canada and Equinox Gallery\, Vancouver\, Canada. \;< /p> DTEND:20150502 DTSTAMP:20150330T134906 DTSTART:20150321 GEO:34.0315;-118.230365 LOCATION:Wilding Cran Gallery\,939 S. Santa Fe Ave. \nLos Angeles \, CA 900 21 SEQUENCE:0 SUMMARY:Here Now: Six Works by 6 LA Artists\, Kristin Calabrese\, Noah Davi s\, Ian Pines\, Fran Siegel\, Ali Smith\, Etienne Zack UID:378706 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cherry and Martin is p leased to present the first West Coast solo exhibition of German artist Fer dinand KRIWET (b. 1942). The exhibition will include KRIWET&rsquo\;s filmic works (sound-picture-collages)\, &ldquo\;Apollovision" (1969/2005) and "Ca mpaign" (1972-73/2005)\, as well as the hanging serigraphic piece\, &ldquo\ ;Text Dia&rdquo\; (1970).

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KR IWET is pioneer in modern media art. In 1961\, at the age of 19\, KRIWET pu blished his first book work\, &ldquo\;ROTOR\,&rdquo\; a text without capita lization or punctuation: his first foray into the idea that art is informat ion and information is art. Well aware of figures like Yves Klein and John Cage\, Kriwet was in communication with the important Dü\;sseldorf deal er Jean-Pierre Wilhelm and his Galerie 22. KRIWET took a space in a buildin g with Zero group artists Heinz Mack\, Otto Piene and Gü\;nther Uecker\ , and despite his youth\, throughout the 60s\, produced groundbreaking thea ter works\, sound pieces and performances. KRIWET also made moving image wo rks in conjunction with the Studio fü\;r Elektronische Musik (WDR\, Col ogne). These riotous happenings overlap\, time-wise\, with the activities o f figures like Marshall McLuhan and Umberto Eco\, and give some sense of KR IWET&rsquo\;s important\, if idiosyncratic\, presence in post-war Dü\;s seldorf. Continually interested in popular space\, by the end of the decade \, Kriwet took his activities to an even more public sphere\, participating in the design for the legendary club\, Creamcheese\, the heart of artistic and radical cultural activity in Dü\;sseldorf\, directly adjacent to a rtist Konrad Lueg&rsquo\;s new Konrad Fischer Galerie.

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The Cherry and Martin exhibition begins with KRIWET&rsquo \;s first trip to the United States\, where KRIWET completed his monumental Mixed Media Project about the Apollo flight to the moon (1969)\, which con sists of a radio text "APOLLO AMERIKA"\, a film "APOLLOVISION" and a book " APOLLO AMERIKA" published by Suhrkamp. The film version was shown nationwid e on German television that same year. This project reflects KRIWET&rsquo\; s deep interest in concrete poetry and his sense that the modern media land scape - experienced by the ordinary individual organically and through a ra nge of mass communications &mdash\; is a continuous text without a real beg inning or end. Describing the piece\, KRIWET writes at the time:

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&ldquo\;To realize my radio text I went to a Dü\;sseldorf travel agent and bought two plane tickets from Dü\;s seldorf to New York. I flew to New York with an assistant and three stereo reporter tape recorders. I rented a room there at the FIFTH AVENUE HOTEL. T wenty-Four Fifth Avenue New York\, N.Y. 10011 (rents payable in advance)&he llip\;On 21 July 1969\, the American Astronauts Edwin Aldrin\, Neil Armstro ng and Michael Collins orbited the moon as the first people-like-you-and-me with their &lsquo\;Apollo 11&rsquo\; spacecraft\, landed on it with the lu nar module or spider\, and then returned from there back to the &lsquo\;goo d earth.&rsquo\; The theme of my audio text is the electronic publication o f this project with telecommunications media\, and not the project itself i n its technical and scientific aspects and details.&rdquo\; \;(KRI WET\, 1969).

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In 1972\, KRIWET came ba ck to the United States to examine the 1972 primary season. The resulting w ork\, &rdquo\;Campaign" (1972-73/2005)\, records a remarkable cross-section of Americans &mdash\; Shirley Chisholm\, Patsy Mink\, Hubert Humphrey\, Eu gene McCarthy\, George Wallace and others &mdash\; battling in one of the D emocratic party&rsquo\;s most bitter primaries. George McGovern\, who ultim ately won the nomination\, then lost to Richard Nixon\, who had just recent ly invaded Cambodia\, and would soon resign as a result of the Watergate sc andal. KRIWET&rsquo\;s work brilliantly records the visual strength of imag es and graphs\, advertising and text\, and well as the emerging &rsquo\;sou ndbite&rsquo\;/&lsquo\;talking head&rsquo\; culture of American mass media\ , years before that idea had popular recognition.

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KRIWET&rsquo\;s work was the subject of a major 2011 retrospec tive co-organized by Kunsthalle Dü\;sseldorf (Dü\;sseldorf\, German y) and Galerie Im Taxispalais (Innsbruck\, Austria). Other recent solo exhi bitions include Fri-Art (2014\, Fribourg\, Switzerland)\; Museum Ludwig Dep artment of Prints and Graphics (2011\, Cologne)\; The Modern Institute (200 8\, Glasgow)\; and BQ(2013\, 2010\, 2008\, 2004\, Berlin). Cherry and Marti n&rsquo\;s exhibition reprises some aspects of KRIWET&rsquo\;s first solo e xhibition in the US\, curated by Astrid Wege in 2010 at the Goethe-Institut &rsquo\;s Ludlow 38 &ldquo\;Kunstverein&rdquo\; space in New York. KRIWET i s represented by BQ. He lives and works in Dresden. \;

DTEND:20150503 DTSTAMP:20150330T134906 DTSTART:20150402 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kriwet UID:378697 END:VEVENT BEGIN:VEVENT DTEND:20150402T190000 DTSTAMP:20150330T134906 DTSTART:20150402T160000 GEO:34.033513;-118.375451 LOCATION:Cherry and Martin - 2732\,2732 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Solo Exhibition\, Kriwet UID:378698 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present an exhibition of new paintings by Jennifer Faist. There will be a reception for the artist Saturday\, April 18\, 5 - 7 PM.

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Jennifer Faist creates perfectly smooth\, reflect ive paintings that draw viewers into their vibrant\, shimmering depths. Whi le the artist's meticulously crafted work recalls the practices of the Fini sh Fetish work of the 60's\, Faist curbs pure materiality and infuses her w ork with personal resonance.

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Aiming t o feminise the Minimalists that she admires\, Faist approaches her work wit h a dedication to material integrity that also holds an emotional core. All uding to nostalgia and memory\, the artist appropriates patterns from cloth ing with which she associates specific\, personal memories. The fabrics Fai st uses have been collected over many years\, and belong to her or people c lose to her.

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The artist renders her c hosen textile designs in fine detail and gradually envelopes the original f orm beneath layers of colored acrylic glazes. Each painting\, suspended in resin on thick wood supports\, becomes a relic of her past. Having just los t a parent to Alzheimer's disease\, she has a particular interest in the pr ocess and meaning of recollection.

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&l dquo\;Our closets are treasure troves of memories\,&rdquo\; Faist states\, &ldquo\;and\, as every garment is a reminder\, every painting of these fabr ic patterns serves as a memento. The trompe l'oeil patterns buried in the d epths of the paintings spark reflection on remnants of the past\, but also the shiny surfaces literally reflect fragments of their present surrounds a nd the viewers themselves.&rdquo\;

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Je nnifer Faist received her MFA from Claremont Graduate University. She lives and works in Los Angeles.

DTEND:20150329 DTSTAMP:20150330T134906 DTSTART:20150329 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Some Things Are Hard To Remember\; Some Things You'll Never Forget\ , Jennifer Faist UID:378695 END:VEVENT BEGIN:VEVENT DTEND:20150329T200000 DTSTAMP:20150330T134906 DTSTART:20150329T180000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Some Things Are Hard To Remember\; Some Things You'll Never Forget\ , Jennifer Faist UID:378696 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruth Bachofner Gallery is plea sed to present \;Beyond Words \;by Sharon Weiner. There wi ll be a reception for the artist Saturday\, April 18\, 5-7 PM

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Sharon Weiner&rsquo\;s abstract paintings emerge f rom a process of self-reflection and rigorous manipulation of paint. In her current series\, Weiner trains acrylic paint into painterly volumes that s eem suspended in various states of motion or metamorphosis. They are set in nebulous and vast\, inky spaces made up of layer upon layer of paint that is alternately brushed\, poured and airbrushed onto her canvases.

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The forms in Weiner&rsquo\;s work have a liken ess to ridged topographies\, cosmic bursts\, rushes of water or a dramatic microscopic fission\; they congeal and flare out in fluid\, directional dri ps that appear to cast a light from within. While much of the dynamism in h er work comes from the molten acrylic trills\, the fluidity does not go unc hecked. Weiner routinely harnesses the paint into structured\, even hard-li ned edges\, offering a contrast to the organic forces. The free-associative aspect of the work emerges not from a love of pure materiality\, but rathe r\, translates an internal dialogue. Instead of embodying specific emotions \, the artist gives a visual narrative of her process of accessing the inne r voice that prompts the imagery in the paintings.

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&ldquo\;I give visual form to what experiencing my life feels like &ndash\; indeed\, to what awareness itself\, an abstract concept\, fe els like\,&rdquo\; Weiner states. &ldquo\;This embodiment of sensation and thought has always been the purpose of abstract art. In particular\, I feel close to the transcendental tradition in postwar American abstraction\, fr om Mark Rothko to Ross Bleckner and Philip Taaffe. Through this practice\, I am able to manifest my regard for reality as a psychological rather than cultural dynamic. I see the artist&rsquo\;s role as restating the internal psychological object through a language of images that make that object rel evant to humanity.&rdquo\;

DTEND:20150530 DTSTAMP:20150330T134906 DTSTART:20150418 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beyond Words\, Sharon Weiner UID:378693 END:VEVENT BEGIN:VEVENT DTEND:20150418T190000 DTSTAMP:20150330T134906 DTSTART:20150418T170000 GEO:34.0276049;-118.4678444 LOCATION:Ruth Bachofner Gallery\,Bergamot Station 2525 Michigan Ave.\, G-2\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Beyond Words\, Sharon Weiner UID:378694 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150530 DTSTAMP:20150330T134906 DTSTART:20150331 GEO:34.035721;-118.23053 LOCATION:Ibid. Los Angeles\,675 S. Santa Fe Avenue \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Solo Exhibition\, David Adamo UID:378690 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lora Schlesinger Gallery is proud to present Robert Ginder&r squo\;s Apotheosis. The show opens April 11th and runs through May 23\, 2015. This will be our inaugural exhibition for our new ga llery space at Bergamot Station. The exhibition is Robert Ginder&rsquo\;s f ourth solo show with the gallery.

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Robert Ginder&rsq uo\;s paintings are a devotional meditation on the material world. The exhi bition Apotheosis focuses on the aggrandizement of conventional ob jects. Through the use of gold leaf and traditional painting techniques\, G inder creates venerable artifacts that elicit respect for subject matters t hat are ordinarily seen as mundane\, so that they can be examined in a diff erent light.

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His California suburban landscapes wit h golden skies are contemporary secular icons\, reminiscent of 14th century Italian Renaissance paintings. The houses become icons for pres ent day\, reflecting the roots of our culture and our concept of &ldquo\;ho me&rdquo\;. \; The images become universal in the concept of a &ldquo\; house&rdquo\; and the fulfillment of human needs and dreams. A modern scene painted on wood panel with oil paint and gold leaf\, brings the validity a nd veneration of an early sacred painting to a contemporary body of work th at is timely and timeless.

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Ginder&rsquo\;s still-li fe works heighten the traditional elements of a still-life painting\, to ac centuate the simplicity of each piece. \; The hyper-traditional imagery is presented in an unexpected larger-than-life scale\, pushing the subject &rsquo\;s inherent qualities. The effect makes the work contemporary by giv ing it a cinematic size and splendor.

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Robert Ginder lives and works in New York. His work has been exhibited internationally s ince 1984. In 2012\, he was included in the Belvedere Castle &\; Museum& rsquo\;s Gold Exhibition\, in Vienna\, Austria. In 1992\, he was t he recipient of the New York Foundations for the Arts Fellowship. His work can be found in the collection of the Fisher Museum of Art at USC\, Brookly n Museum and the La Jolla Museum of Contemporary Art. \; \;  \;

DTEND:20150523 DTSTAMP:20150330T134906 DTSTART:20150411 GEO:34.0279746;-118.4679684 LOCATION:Lora Schlesinger Gallery\,Bergamot Station B5b 2525 Michigan Ave. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Robert Ginder's "Apotheosis"\, Robert Ginder UID:378613 END:VEVENT BEGIN:VEVENT DTEND:20150411T190000 DTSTAMP:20150330T134906 DTSTART:20150411T170000 GEO:34.0279746;-118.4679684 LOCATION:Lora Schlesinger Gallery\,Bergamot Station B5b 2525 Michigan Ave. \nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Robert Ginder's "Apotheosis"\, Robert Ginder UID:378614 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Concurrently on view in the Thinkspace project room are new works by Erik Jones inColor/Full. \;Originally from St Petersburg Florida\, Jones currently lives and works in New York city. His technically complex mixed-media works combine the figurative with the geometric in seamless col lusion and concert. Jones' \;'hyperrealistic figuration is offset by ge ometric patterns and momentums that seem to live and breathe as symbiotic o rganisms. The figure is ensconced by these colorful geometric expanses\, as each"wears" \;the other and becomes virtually indivisible from its cou nterpart. Clothed by pattern and color\, the body is set within and against expressionistic modules of sculpted graphic space. In his new body of work \, Jones takes his penchant for spatial play and surreal composition to the next level in a series of Dimensional Paintings. These works invade the th ird dimension\, literally\, as surfaces peel from their supports\, images s lide from the walls\, and paint pools on the floor.
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Jones begins his works by compiling a figurative reference from several photographic images\, then designing harmonious geom etric fields by compositing form\, color and shape digitally. The compositi on is then projected and traced onto paper and materially executed with sev eral painstaking layers of watercolor\, ink\, pencil\, oil pastel and acryl ic. This expert combination of illustration and painting techniques account s for the depth and dimensionally of the work. The combination of graphic p atterning\, color blocking\, line and hyperreal figuration meld into an ent irely elevated visual plane of oppositional\, and yet entirely confluent an d continuous\, axes. The visual delight of these paintings resides in this inspired reconciliation. The Dimensional Paintings take this impulse to the next level by revealing some of the materiality and process that remains o therwise concealed in the high finish of the work. This intentional disclos ure of tension and process - a literal stripping and dismantling of planes - takes the paintings into a sculptural realm\, revealing the artifice and construction of their dynamic oppositions.  \;
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As the title of the exhibition suggests\, the w ork is \;full\; \;saturated to the point of rupture\, the paintings burst with color and movement\, and spill unapologetically into r eal space and time.
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DTEND:20150418 DTSTAMP:20150330T134906 DTSTART:20150328 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Color/Full \, Erik Jones UID:378593 END:VEVENT BEGIN:VEVENT DTEND:20150328T210000 DTSTAMP:20150330T134906 DTSTART:20150328T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:Color/Full \, Erik Jones UID:378594 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Thinkspace is pleased to present \ ;The Air is Thick \;featuring new works by Los Angeles based artis t Seth Armstrong. Armstrong's paintings self-consciously capture a sense of looking\, arresting moments with cinematic detail and voyeuristic curiosit y. Varying in scale\, the paintings offer views that are alternately intima te and vast\, moving expertly between the monumental and the minute. Laden with detail and suggestion\, each piece offers a moment in the trajectory o f a larger narrative\, and the viewer is compelled to realign the fractures of these inconclusive moments. Hanging the works on suggestion rather than on the overt\, Armstrong builds tension and excitement in every painting w ith the possibility and expectation of action. Surfeited with this palpable sense of permanent anticipation and arrest\, the air is indeed thick enoug h to cut. \; \;
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Originally from Los Angeles\, Armstrong studied painting in Northern Holland \;and completed a BFA at San Francisco's California Co llege of the Arts. His deft handling of oil paint clearly demonstrates a fa cility inspired by traditional painting techniques\, and a material aptitud e for the dense capture of light and color. The intense realism of his styl e is often tempered by a looser\, more painterly approach\, and by a styliz ed handling of light and dimension. With viscous luminosity and substantive flesh\, qualities achieved with a seamlessly clean application\, his works feel heavy with tactility and dense with tangible space and body. Armstron g's use of stark saturated contrasts is offset by a tendency towards styliz ed hyper-color\, creating both depth and edge that exceeds the muted tones of the real. These contrasts achieve a sense of brooding visual tension tha t manages to evoke both nostalgia and strangeness simultaneously.

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In The Air is Thick\, Armstrong continues to explor e themes that have consistently fascinated his output: the intrigue of illi cit looking\, and the fine line between intimacy and trespass. Just as cine ma manages to satisfy our innate love of voyeuristic access\, so too do the paintings offer us views onto private lives that both frustrate and satisf y. The suggestion of constant narrative pervades even the stillest and leas t active views\, as Armstrong reminds us of the secret recesses behind all closed doors and all quiet faces.

DTEND:20150418 DTSTAMP:20150330T134906 DTSTART:20150328 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:The Air is Thick \, Seth Armstrong UID:378591 END:VEVENT BEGIN:VEVENT DTEND:20150328T210000 DTSTAMP:20150330T134906 DTSTART:20150328T180000 GEO:34.031982;-118.37656 LOCATION:Thinkspace\,6009 Washington Blvd. \nCulver City\, CA 90232 SEQUENCE:0 SUMMARY:The Air is Thick \, Seth Armstrong UID:378592 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Come help raise awareness for the proposed Liberty Canyon La ndbridge! Through the art of Southern California photographers\, this group exhibit aims to show how many Los Angeles creatures (such as mountain lion s\, foxes\, coyotes\, deer\, and lizards) would benefit from a wildlife cro ssing by decreasing car accidents\, saving animals&rsquo\; lives\, and impr oving the genetic diversity of various species. Thanks to the dedicated wor k of groups such as the National Wildlife Federation\, CalTrans\, and the S anta Monica Mountains Fund the project has been granted $1 million from the State Coastal Conservancy\, but to be shovel ready by 2018 an additional $ 3 million is still necessary to complete engineering\, fund research\, and facilitate outreach\, education\, and advocacy for the campaign. In additio n to enjoying the wonderful art and learning about this nationally recogniz ed effort\, the $10 admission fee at the door includes wine\, hors d&rsquo\ ;oeuvres\, an entry to the raffle\, and complimentary valet in front of the gallery. All proceeds will be donated to the NWF. RSVP to rsvp@theg2galler y.com to attend.

DTEND:20150425 DTSTAMP:20150330T134906 DTSTART:20150425 GEO:33.990525;-118.46464 LOCATION:The G2 Gallery\,1503 Abbot Kinney Blvd \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Getting There: A Wildlife Crossing Over the 101\, Ron Azevedo\, bar ry rowan UID:378536 END:VEVENT BEGIN:VEVENT DTEND:20150425T210000 DTSTAMP:20150330T134906 DTSTART:20150425T183000 GEO:33.990525;-118.46464 LOCATION:The G2 Gallery\,1503 Abbot Kinney Blvd \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Getting There: A Wildlife Crossing Over the 101\, Ron Azevedo\, bar ry rowan UID:378537 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150801 DTSTAMP:20150330T134906 DTSTART:20150711 GEO:33.9179952;-118.3527258 LOCATION:Phantom Galleries LA -\,12619 Hawthorne Blvd. \nHawthorne\, CA 902 50 SEQUENCE:0 SUMMARY:Masks\, Jane Szabo UID:378520 END:VEVENT BEGIN:VEVENT DTEND:20150711T190000 DTSTAMP:20150330T134906 DTSTART:20150711T160000 GEO:33.9179952;-118.3527258 LOCATION:Phantom Galleries LA -\,12619 Hawthorne Blvd. \nHawthorne\, CA 902 50 SEQUENCE:0 SUMMARY:Masks\, Jane Szabo UID:378521 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150606 DTSTAMP:20150330T134906 DTSTART:20150425 GEO:34.0190877;-118.2317065 LOCATION:François Ghebaly Gallery\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anthony Lepore UID:378491 END:VEVENT BEGIN:VEVENT DTEND:20150425T220000 DTSTAMP:20150330T134906 DTSTART:20150425T190000 GEO:34.0190877;-118.2317065 LOCATION:François Ghebaly Gallery\,2245 E Washington Blvd. \nLos Angeles\, CA 90021 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anthony Lepore UID:378492 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Susanne Vielmetter Los Angeles Projects is pleased to announce our first solo exhibition with the Tyrolea n painter Markus Bacher in Galleries 3 and 4. This is the artists first sol o exhibition in the United States. Featuring Bachers new paintings\, made i n Los Angeles\, onetwo painting focuses on a physical process of juxtaposit ion that follows individual and multi-layered decisions.

Bachers paintings\, which seem at first to be completely abstract\, in fact teeter on the edge of representation\, abstraction\, and figuration\, blurring th e need for distinctions between these categories. In Bachers work a single gesture can evoke mountains\, a swirl of script\, movement and energy\; an effect like sfumato fills the pictorial space with a suggestive\, illuminat ed haze\; and tiny figures emerge with such subtlety that one might suspect \, at first\, that they were imagined.

"Words can kill paintings and defining through naming limits perception.

The paintings ex plain themselves as themselves like a not forgotten handwritten love letter where the texture and quality of the paper simply felt right. \;

For me part of the objective of painting is to reveal the time in
which we live and simultaneously engage in the disruption of that
pe rception. My emotions and subconscious inform and guide the continuing dial ogue."

--Markus Bacher\, 2015

Markus Bacher\, (b. 198 3\, Kitzbhel\, Austria) studied painting and tapestry at the University of Applied Arts in Vienna. He has had solo exhibitions at the Museum Stiegenha us\, Langenlois\, Austria\; the Galerie Goldener Engl\, Hall in Tirol\, Aus tria\; and Contemporary Fine Arts\, Berlin\, Germany. Group exhibitions inc lude the Biennale Giovani Monza\, Serrone della Villa Reale Monza\, Italy\; Tiroler Landesmuseum\, Ferdinandeum\, Innsbruck\, Austria\; Red Bull Hanga r-7\, Salzburg and the Essl Museum\, Klosterneuburg\, Austria.

DTEND:20150523 DTSTAMP:20150330T134907 DTSTART:20150411 GEO:34.0314527;-118.3761739 LOCATION:SUSANNE VIELMETTER LOS ANGELES PROJECTS\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:onetwo painting\, Markus Bacher UID:378489 END:VEVENT BEGIN:VEVENT DTEND:20150411T200000 DTSTAMP:20150330T134907 DTSTART:20150411T180000 GEO:34.0314527;-118.3761739 LOCATION:SUSANNE VIELMETTER LOS ANGELES PROJECTS\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:onetwo painting\, Markus Bacher UID:378490 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Susanne Vielmetter Los Angeles Projects is pleased to announce our 6th solo exhibition with Tam Van Tran in Galleries 1 and 2. Dense rows of precious ceramic bottles surround Trans chaotic new paintings that explore the natural world and oppositional forc es such as silence and noise\, order and rupture. \;

Trans r eturn to painting on canvas favors immediate gesture and the language of ab straction. Profoundly tactile\, these works employ markers\, brushwork\, st amping and collage. Partly inspired by the watercolors of John Marin\, Tran 's recent paintings are an orchestra of color\, shape and gesture that prod uce a visual cacophony. Like jazz\, the paintings are about improvisation a nd presence\, the act and the process of making the work. Instead of acquie scing to the hermeneutic impulse\, Tran invites the viewer for an encounter \, to consider if the mystery of the world is the visible\, not the invisib le." *

The petite ceramic vessels reference military and funerar y formations\, the family units of historical figures from Vietnam\, and th e number of characters in the English\, Vietnamese and Sanskrit alphabets. These fragile treasures speak of time and heritage in contrast to the paint ings\, which explode before our eyes. \;

If Trans paintings ask the viewer to allow her experience to remain in the realm of the visual and ineffable\, the ceramics become vessels for memory and content. This d uality is critical to Trans practice and the way his work is intertwined wi th his personal memories of childhood\, war\, emigration/ immigration and e veryday situations including a stroll on the beach. In Exodus\, viewers may meditate on the interaction of the past and present. How do memory and pre sence inform our experience? How do we hear the lessons of the past in the cacophony of the present? \;

*Oscar Wilde

Tam Van Trans work has been featured in solo museum exhibitions at the Blaffer Art Museum at the University of Houston\, TX\, and the Knoxville Museum of Art \, TN and recent gallery exhibitions at Ameringer | McEnery | Yohe\, New Yo rk\, NY\, and Anthony Meier Fine Art\, San Francisco\, CA. His work has bee n included in group exhibitions\, such as Pattern: Follow the Rules\, at th e Eli and Edythe Broad Art Museum\, Lansing\, MI\; east EX east\, Brand New Gallery\, Milan\, Italy\; the 2004 Whitney Biennial\, Whitney Museum of Am erican Art\, New York\, NY\; in Paul Clay at Salon 94\, New York\, NY\; Mus eum of Fine Art Houston\, Houston\, TX\; the Institute of Contemporary Art Boston\, MA\; the San Francisco Art Institute\, San Francisco\, CA\; Intern ational Paper\, UCLA Hammer Museum\, Los Angeles\, CA\; and in the Drawing Biennial at the Weatherspoon Art Gallery\, The University of North Carolina \, Greensboro\, NC. His work is in the collections of the Museum of Modern Art\, New York\, NY\; The Whitney Museum of American Art\, New York\, NY\; the Hirshhorn Museum and Sculpture Garden\, Washington\, DC\; the ICA Bosto n\, Boston\, MA\; the Cleveland Museum of Art\, Cleveland\, OH\; and the Mu seum of Fine Arts\, Houston\, TX\, among others.

DTEND:20150523 DTSTAMP:20150330T134907 DTSTART:20150411 GEO:34.0314527;-118.3761739 LOCATION:SUSANNE VIELMETTER LOS ANGELES PROJECTS\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Exodus\, Tam Van Tran UID:378485 END:VEVENT BEGIN:VEVENT DTEND:20150411T200000 DTSTAMP:20150330T134907 DTSTART:20150411T180000 GEO:34.0314527;-118.3761739 LOCATION:SUSANNE VIELMETTER LOS ANGELES PROJECTS\,6006 Washington Blvd \nCu lver City\, CA 90232 SEQUENCE:0 SUMMARY:Exodus\, Tam Van Tran UID:378486 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In this lecture-performance\, Hé\;ctor Bourges\, a member of the Mexico City-based artistic collect ive \;Teatro Ojo\, combines a series of gestures with images o f historical events that have influenced the Mexican national identity proj ect. Bourges explores a variety of staging forms and modes of performance ( such as \;nahualismo\, masks\, metamorphosis\, ventriloquism) to reveal common strategies of political powers.

\n

This lecture is part of a series of public programs leading to the upcoming project \;Palabras Ajenas \;at REDCAT\, a proposal that revisits Argentine artist \;Leó\;n Ferrari&rsquo\; s 1965 landmark piece of the same name. The research and curatorial line of this project includes a series of lectures and presentations that contextu alize Ferrari&rsquo\;s work historically and further investigate his proces ses and working method and related topics and issues.

DTEND:20150513T203000 DTSTAMP:20150330T134907 DTSTART:20150513T193000 GEO:34.0551542;-118.2506936 LOCATION:REDCAT\,631 West 2nd St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Desorganizar La Mimesis / Disorganizing Mimesis\, Héctor Bourges UID:378484 END:VEVENT BEGIN:VEVENT DESCRIPTION:

*The main concern of Falke Pis ano&rsquo\;s research-based practice is how\, where and through what proces ses an art object is produced and produces meaning. Starting from a primari ly sculptural practice\, Pisano looks at the expanded sites and moments whe n a work of art is conceptualized\, produced\, viewed\, discussed and repre sented. Her work includes lectures and presentations\, installations of dif ferent configurations of objects\, moving images of diagrams with voice-ove rs\, photographs and written word\, all of which create the multi-faceted a rtwork. Pisano&rsquo\;s commissioned project looks at mathematics as a cult ural construct\, and is conceived as a set for a film of ten chapters with &lsquo\;sets&rsquo\; of very different forms\, from a sculpture\, to a disp lay of \;objects on a table\, to a script for a lecture or a PowerPoint presentation. \;

DTEND:20150705 DTSTAMP:20150330T134907 DTSTART:20150509 GEO:34.0551542;-118.2506936 LOCATION:REDCAT\,631 West 2nd St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Solo Exhibition\, Falke Pisano UID:378482 END:VEVENT BEGIN:VEVENT DTEND:20150509T210000 DTSTAMP:20150330T134907 DTSTART:20150509T180000 GEO:34.0551542;-118.2506936 LOCATION:REDCAT\,631 West 2nd St. \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:Solo Exhibition\, Falke Pisano UID:378483 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150523 DTSTAMP:20150330T134907 DTSTART:20150418 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:Smiley Suicide\, Gyung Jin Shin UID:378480 END:VEVENT BEGIN:VEVENT DTEND:20150418T220000 DTSTAMP:20150330T134907 DTSTART:20150418T190000 GEO:34.019521;-118.231777 LOCATION:Night Gallery\,2276 East 16th Street \nLos Angeles \, CA 90021 SEQUENCE:0 SUMMARY:Smiley Suicide\, Gyung Jin Shin UID:378481 END:VEVENT END:VCALENDAR