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1301PE is pleased to announce its first solo exhibition with New York-based artist Blake Rayne.

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The painting doesn&rsquo\;t exist solely a s a material object but as a vehicle with which to articulate a conceptual idea&mdash\;a practice continually being shaped by linguistic\, institution al and physical relations and not defined by any static or ahistorical defi nition that might characterize painting as purely visual. &mdash\; Mar ina Cashdan

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Blake Rayne&rsquo\;s work has been \;pivotal in the resurgence of conceptual painting over the l ast twenty years. Rayne has used compositional systems as an \;organizi ng principle along with an inherent semantic play \;to create paintings . \;Employing diverse techniques\, Rayne weaves personal\, art historic al\, and formal narratives to explore the many contexts in which painting c an be seen and understood. The goal is to simultaneously establish a pictor ial order and to destroy it. \;

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& nbsp\;Blake Rayne was born in Lewes\, Delaware. He has had recent solo exhi bitions at Campoli Presti\, London\; Sutton Lane\, Paris and Miguel Abreu G allery\, New York. His work is represented in the permanent collections of the Museum of Modern Art\, New York and Fonds Regional d&rsquo\;Art Contemp orain\, France. Selected group exhibitions include Langen Foundation\, Thom as Dane Gallery\, Kunsthalle Bergen\, Metro Pictures\, Artists Space and Le Confort Moderne. Rayne holds a B.F.A from California Institute of the Arts (1992) and currently lives and works in New York.

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For more information please contact Carmel Ni or Brian Butler 323.938.5822.

DTEND:20131116 DTSTAMP:20141222T210022 DTSTART:20130928 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Blake Rayne UID:291794 END:VEVENT BEGIN:VEVENT DTEND:20130928T200000 DTSTAMP:20141222T210022 DTSTART:20130928T180000 GEO:34.0629923;-118.3632028 LOCATION:1301PE\,6150 Wilshire Boulevard \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Solo Exhibition\, Blake Rayne UID:291795 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:20141222T210022 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:20141222T210022 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:20141222T210022 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:20141222T210022 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:20140927 DTSTAMP:20141222T210022 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:20141222T210022 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:20141222T210022 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:20141222T210022 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 "Spill / Frame< /strong>\," a solo exhibition of new paintings\, drawings\, and sculpt ures by Los Angeles based artist\, Iva Gueorguieva. The exhibition will fea ture a new large-scale triptych painting titled "Man Hunt\," as well as thr ee additional paintings\, three sculptural wall reliefs\, and several works on paper. Whether working with painting\, drawing or sculpture\, Gueorguie va creates complex\, frenetic environments by interweaving precise line dra wings with strips of collage\, textured rubbings of pigment\, and large was hes of color.

By physica lly and metaphorically cutting and bringing together disparate items and id eas in her paintings\, drawings\, and sculptures\, Gueorguieva's works can be seen as assemblages of chaos and order\, personal concerns and global is sues. As the artist states\, "to some extent we all do it\, trying to make all this scattered matter fit." \;

Iva Gueorguieva (b. 1974\, Bulgaria) receiv ed an MFA from the Tyler School of Art in Philadelphia. Recent solo shows i nclude Susanne Vielmetter Los Angeles Projects\, LA\, CA\; Ameringer/ McEne ry/ Yohe\, New York\, NY\; Stefan Roepke Gallery\, Cologne\, Germany\; Brav in Lee Programs\, New York\, NY\; LUX Art Institute\, Encinitas\, CA\; Angl es Gallery\, Los Angeles\, CA\; Stichting Outline\, Amsterdam\, Netherlands \; Pomona Museum of Art\, Claremont\, CA. Notable group shows among others include Galerie Lelong\, New York\, NY\; the Contemporary Art Museum at USF \, Tampa\, FL\; Pasadena Museum of Art\, Pasadena\, CA\; Dunn and Brown Con temporary\, Dallas\, TX. Her work is included in many public and private co llections including the Los Angeles County Museum of Art\, the Minneapolis Institute of Art\, and The Museum of Contemporary Art\, Los Angeles. She is the recipient of the California Community Foundation mid-career fellowship for 2010 and the Pollock-Krasner Grant for 2006. Her work is represented b y ACME. in Los Angeles and Ameringer| McEnery | Yohe in New York.

The large metal sculptures were p roduced at Graphicstudio in Tampa\, FL. Gueorguieva would also like to than k Emette Rivera at Remadestudios for producing the wood and metal structure for "Head".

DTEND:20131012 DTSTAMP:20141222T210022 DTSTART:20130906 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Spill/Frame\, Iva Gueorguieva UID:289577 END:VEVENT BEGIN:VEVENT DTEND:20130906T210000 DTSTAMP:20141222T210022 DTSTART:20130906T190000 GEO:34.063188;-118.363265 LOCATION:ACME\,6150 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Spill/Frame\, Iva Gueorguieva UID:289578 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A&\;R is pleased to announce Ebony &\; Benghazi\, a solo exhibition of new drawings and sculptures by Eric Yahnker.  \;The exhibit deploys an unflinching comedic analysi s of the Western world's fixation on choice and its increasingly polarizing ramifications. Ransacking populist imagery to root out the suppressed arch itecture of social structures\, Yahnker shines a perverse light on the stal emate between red state/blue state ideologies and the walls erected to perp etually reinforce this imbalance.  \;Just as the fireman needs a dragon \, Yahnker foresees this entropic struggle as part of a futile\, but necess ary cycle that allows bored Americans to feel a sense of moral vigilance an d nationalism amidst perceived threats in a post-9/11 era. Utilizing virtuo sic renderings and slap dash assemblages\, Yahnker's crass parsing of dogma s bait the viewer into participating in a dead end game of moral Darwinism.  \;Often delineating unlikely connections with paired and contrasting images\, Yahnker's conceptual approach echoes Burger King's farcical slogan \, "Have it your way!"

E bony &\; Benghazi\, a 7" Stevie Wonder record aside an Associated Press photo of Hillary Clinton at the Benghazi hearings is an apt example of this visual gamesmanship.  \;Both Wonder and Clinton are featured in near i dentical poses\, with right fists in the air\, mouths agape\, sporting rect angular black-rimmed glass.  \;Only their respective facial expressions \, skin color\, and obvious context mark the differences between the two ph otos.  \;The title is a riff on Wonder's schmaltzy\, feel good\, 80's a nthem of unity\, \;Ebony &\; Ivory\, performed as a duet with Paul M cCartney.  \;Yahnker juxtaposes these images to expose two prevailing f ears galvanizing the conservative movement in this country: the dread of a successful two-term presidency under Barack Obama (Ebony)\, and the looming anxiety of a potential two-term presidency under Hillary Clinton (Benghazi ).  \;

The ongoing p erversion and polarization of the American political system and our society 's limited and entrenched views on a multitude of social constructs are con trasted throughout the exhibit.  \;For instance\, \;in \;the co lored pencil drawings \;Jugs of Steel (A Cold Day in Hell) \;and it s companion piece \;Woolly Woman\, \;gender is absurdly and explici tly implicated\, while our penchant for 'profiling' is revealed to be used as much to identify society's hoodlums as its heroes.  \;The first\, a monumental circular portrait of Christopher Reeves&rsquo\; stretching his i conic skintight Superman ensemble over ample breasts and nipples sharp enou gh to cut glass\, and the latter \;featuring Lynda Carter's Wonder Woma n revealing body hair more reminiscent of a Grecian plumber. Here one finds socialization at odds with biological predisposition\, and begs the questi on: what constitutes a modern-day hero?  \;And\, does this profiled 'he ro' epitomize a specific gender\, race\, class\, political stripe\, or supe r-sized cod piece?  \;Furthermore\, which superpowers should society al low its heroes to wield in order to save our mortal skin\, or do we subcons ciously handcuff them to proverbial kryptonite in order to maintain the sta tus quo?  \;

More of ten than not Yahnker is content to provoke the viewers into deciding on the ir own whether or not a work possesses subtext or is simply a one-liner. &n bsp\;Laughing is praise enough\, but lurking below this absurd and fictive plane is a determined artist seeking the truth\, even if it means telling a butt joke or two.

Eric Yahnker was born in Torrance\, California in 1976. He received his BFA from California Institute of the Arts\, Valencia\, CA. Recent exhibits include Virgin Birth n&rsquo\; Turf \; (solo)\, The Hole\, New York\, NY\, Part y Sub/Sub Party (solo)\, The Armory Show\, New York\, NY\, and Rogue Wave ( group)\, L.A. Louver\, Venice\, CA. He lives and works in Los Angeles.

DTEND:20131012 DTSTAMP:20141222T210022 DTSTART:20130906 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Ebony & Benghazi\, Eric Yahnker UID:288090 END:VEVENT BEGIN:VEVENT DTEND:20130906T210000 DTSTAMP:20141222T210022 DTSTART:20130906T190000 GEO:34.0631652;-118.3632433 LOCATION:AMBACH & RICE\,6148 Wilshire Blvd. \nLos Angeles\, CA 90048 SEQUENCE:0 SUMMARY:Ebony & Benghazi\, Eric Yahnker UID:288091 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anat Ebgi is pleased to announce \;PRIM A MATERIA\, an exhibition of new paintings by Jay Stu ckey. \; The show will open \;Saturday September 28 \; and run through November 9th. The opening reception will be held on \;Saturday September 28 from 5-7pm. This exhibition will inaugurate the newly expanded gallery space located at 2660 S La Cienega Blvd in Culv er City.

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For Jay Stuckey&rsquo\;s second exhibition\, t he artist delves deeper into dreams and archetypical imagery. The paintings utilize an aoristic approach -- an action without denoting whether complet ed\, begun\, or repeated -- composing a perpetual grand narrative harkening back to allegorical and historical painting.
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Launchi ng from Stuckey&rsquo\;s previous works\, the imagery in these new painting s gets pushed back\, capturing the outlines and textures of faded fragments of memory\, akin to the quality of dreams.  \;They also ask more from the viewer\, the images slowly boil up to the surface over a course of time \, rather than immediately. Layers of oil paint\, oil stick\, crayon\, and torn paper create a wall-like surface with scrawling figures of various siz es\, veering away from the traditional pictorial plane. \;
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By using dreams as subject matter\, Stuckey consequently taps int o the collective unconscious where the union of opposites manifest &ndash\; male and female\, love and war\, darkness and light. In the large scale pa inting \;Guardians of the Secret\, a smiling couple nestled in side a bus unaware\, or hiding from\, the dangerous and violent world outsi de the vehicle. These polarities are a reflection of our collective psychol ogical condition &ndash\; layered with complexities\, sometimes perverted\, vulnerable\, and humorous.
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Along with the union of o pposites is a conflation of time and space. In the painting \;Palla s Athena II\, the mythological goddess Athena shares the same canvas a s a contemporary blonde female figure smoking a cigarette. \; As in dre ams\, the constructs of time and space are irrelevant\, and the rules of lo gic are suspended. \;Stuckey&rsquo\;s process of synthesizing seemingly random symbols from the conscious and unconscious\, from the historical an d present\, reality and fiction\, strikes a familiar chord with the viewer.  \; \; \;
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Jay Stuckey\, b. 1968\, Washington D.C. He received his BFA from Brown University and an MFA from the School of the Art Institute of Chicago. His work is included in the MoCA permanent colle ction and various private collections. \; Solo and group exhibitions in clude The Company\, Post\, ACME and FoCA\, Los Angeles. The limited edition artist&rsquo\;s book\, \;Glad Day\, was published in 2011 and included texts by Linda Norden\, John Souza\, Rosanna Albertini\, and Judi th Vida-Spence. Stuckey lives and works in Los Angeles. \;
DTEND:20131109 DTSTAMP:20141222T210022 DTSTART:20130928 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Prima Materia\, Jay Stuckey UID:293256 END:VEVENT BEGIN:VEVENT DTEND:20130928T190000 DTSTAMP:20141222T210022 DTSTART:20130928T170000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Prima Materia\, Jay Stuckey UID:296700 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:20141222T210022 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:20141222T210022 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:20141222T210022 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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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:20141222T210022 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:

Picking up the Pieces: A Suicide Prevention Project  \;explores the difficult emotions and thoughts that accompany the subj ect of suicide and suicide prevention. The project is curated by artist\, S tacey Wexler in collaboration with residents from Harbor View House in San Pedro\, CA. Wexler and the participating residents transform two difficult subjects into an inspiring\,powerful and cohesive dialogue \;

Picking Up the Pieces \;is an ongoing community art project that utilizes the fundamental elements of a jigsaw puzzle originally consis ting of twenty-seven puzzle pieces. Each piece is an individual narration o f the experiences the residents of Harbor View House had with suicide and s uicide prevention. As a whole\, the project encompasses a range of emotions \, from the hopeless to the hopeful. Throughout the project's residency at Angels Gate Cultural Center (AGCC)\, the community will have the opportunit y to expand on the discussion that Wexler and the residents at Harbor View House started. Blank pieces of the puzzle will be made available by AGCC an d Wexler so that the audience may create artistic representations of their own experiences and thoughts on suicide and show what their hopes for suici de prevention look like. \;

BIOGRAPHY
Stacey Wexler has been working professionally in the arts for more than 3o years. She ea rned her MFA from Claremont Graduate University with an emphasis in Ceramic Sculpture and her BFA from The University of the Arts in Philadelphia. Add itionally\, she attended Art Center College of Design with a specialization in computer graphics. She is currently an adjunct assistant professor in t he Department of Art and Architecture at Los Angeles City College. Her own personal creative work has been exhibited nationally and in Germany\, Italy and Hungary. She was selected as a resident artist at the Hungarian Multi- Cultural Center in Budapest in 2011. Stacey Wexler has a studio in Downtown Los Angeles. \;

DTEND:20140110 DTSTAMP:20141222T210022 DTSTART:20130907 GEO:33.7360619;-118.2922461 LOCATION:Angels Gate Cultural Center\,3601 South Gaffey St.\, Box 1 \nSan P edro\, CA 90731 SEQUENCE:0 SUMMARY:Picking up the Pieces: a suicide prevention project UID:297067 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Angles Gallery is pleased to present DISPLACEMENTS\, featuring a new sel ection of works by Los Angeles artist Joseph Kohnke. This is the artist's f irst large-scale solo \;exhibit ion at Angles Gallery. The exhibiti on will be on view \;September 7th through October 26th \;witH a re ception for the artist on \;Saturday\, September 7th\, 6-8 PM.\n

Josep h Kohnke\, renowned for his remarkable capacity to animate mechanical objec ts and everyday materials\, continues to expand his investigation of the co mplex\, intimate relationship between machines and people. Materially humbl e\, conceptually brilliant installations that immediately engage the viewer in a literal dialogue with the inanimate. Relying on our innate perception of the uncanny\, Kohnke's work strives (and succeeds) to invoke an undenia ble sense of something that is not there. To say the works simply animate t he inanimate is so sell them short\; the work is not merely kinetic. The ar tist elevates behaviors\, implications\, and suggestions to poetic affect. It is his capacity to produce disturbing effects with familiar objects - th e sense of our mortal vulnerability - that touches the viewer so deeply.

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Kohnke's superb facility with materials belies the DIY resourcefulness fou nd throughout his practice. Using humble materials\, he pushes the conceptu al envelope in an ongoing dialogue fraught with sociopolitical implications \, yet deeply intimate and personal struggles. Mediating human qualities by technology\, Kohnke handily straddles allegory and illusion with sculpture s and installations that are highly interesting\, yet allusive and poetic. Human presence is all around the viewer\, but uncannily absent\, leaving us to ponder machines with a life of their own.

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Joseph Kohnke \;has exhibited nationally and internationally at venues including Tokyo National University\, Japan\; Stride Gallery\, Alberta\, Canada\; Gw anhoon Gallery\, Seoul\; and International Museum of Surgical Science\, Chi cago. Recipient of the Illinois Arts Council Fellowship (2007) and Artist a nd Residency\, Tokyo National University (2004)\, Kohnke received his BFA d egree from San Jose State University\, and MFA from The School of the Art I nstitute of Chicago. He lives and works in Pasadena\, California.

DTEND:20131026 DTSTAMP:20141222T210022 DTSTART:20130907 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Displacements\, Joseph Kohnke UID:291796 END:VEVENT BEGIN:VEVENT DTEND:20130907T200000 DTSTAMP:20141222T210022 DTSTART:20130907T180000 GEO:34.0331789;-118.374812 LOCATION:Angles Gallery\,2754 S. La Cienega Blvd. \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Displacements\, Joseph Kohnke UID:294725 END:VEVENT BEGIN:VEVENT DESCRIPTION:

IT&rsquo\;S ALL THE RAGE is the title of our first solo exhi bition with artist\, Osman Khan opens along with the other 14 galleries at the Pacific Design Center next week\, Wednesday\, September 18 from 5pm &nd ash\; 8pm.

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This exhibition deals with issues that center around Pak istani/Muslim identity... and the 'aesthetics' surrounding it. \; Khan was born in Pakistan\, raised in NYC and teaches at the School of Art &\ ; Design at the University of Michigan\, where his teaching focuses on comp utational and kinetic mediums. \;

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Khan describes the exhibition as &ldquo\;Between East and West seemingly lies&hellip\; conflict or maybe more accurately the conflicted.  \;The exhibition IT'S ALL THE RAGE si ts between reflection and action to address the concerns of newly emerging Muslim (and more specifically hyphenated Pakistani) identity and the politi cal\, cultural and aesthetic repercussions of this experience.  \;

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The title of the exhibition alludes to the overwrought and hostile sens ationalism of the September 2012 Newsweek Muslim Rage cover story and rebra nds its confrontational stance into the nuanced reality of the exhibition's double entendre pun\; 200 plus years of colonialism\, cold war manipulatio ns\, political double standards\, IMF strong-arming\, drone strikes\, media misrepresentations on the one hand have led to systemic suspicion and ange r at western interference\, fermenting internalized desires for the Muslim world to enter the modern world in its own terms\, it's our party and you a re not invited!

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The works presented reflect on the afflictions\, am biguity and aspirations currently at play\, embracing uncertainty and provi ding no resolution. It is the current condition. It's what is going on. It' s all the rage&hellip\;&rdquo\;

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For more info:

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http://anotheryearinla.com/Osman-Khan_Its_All_The_Rage_2013.htm#Pre ss

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https://www.facebook.com/pages/another-year-in-L A/96716406461

DTEND:20131101 DTSTAMP:20141222T210022 DTSTART:20130918 GEO:34.0660859;-118.2384242 LOCATION:Another Year in LA\,Chung King Road \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:IT'S ALL THE RAGE\, Osman Khan UID:296006 END:VEVENT BEGIN:VEVENT DTEND:20130918T200000 DTSTAMP:20141222T210022 DTSTART:20130918T170000 GEO:34.0660859;-118.2384242 LOCATION:Another Year in LA\,Chung King Road \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:IT'S ALL THE RAGE\, Osman Khan UID:296009 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Karen Lofgren’s site-responsive installation in the Armory’s s tairwell gallery invokes ideas about stability\, chance\, faith\, ritual\, risk\, and choice. Her minimal\, fetish-finished forms create an illusion o f support within an existing architectural framework.

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Artist Karen Lofgren Launches Architectural and Metaphysica l Inquiry in a Staircase at Armory Center for the Arts

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Armory C enter for the Arts is pleased to present Karen Lofgren: Stabilizers\, a temporary\, site-responsive installation by Los Angeles-based artist Karen Lofgren. The installation\, cited in the Armory’s central stairway\, opens on Wednesday\, July 10\, 2013. A reception\, free and open to the pub lic\, will take place on Saturday\, July 13\, from 7-9pm. Karen Lofgren: St abilizers has been organized for the Armory by Sinéad Finnerty-Pyne\, Galle ry Manager / Assistant Curator.

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Karen Lofgren’s sculptural work\, St abilizers\, calls attention to an unspoken sensation of uncertainty th at resides within\, and uses our vulnerability in architecture as a metapho r to address larger\, existential uncertainties. Entering the Armory’s stai rway\, the viewer is met by subtle\, ambiguous\, exquisitely finished shape s that resemble freshly poured liquid metal. Bracket-like in their referenc e and sensuous and minimal in their appearance\, the objects nestle into th e corners and edges of the walls\, guiding our attention to spaces that are rarely regarded and generally overlooked. They awaken our spatial awarenes s and invite our consideration of architectural infrastructure\, what we pr esume is there to protect us.

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In Lofgren’s playful yet cerebral approach to artmaking\, she uses soft organic forms as stand-ins for stalwart angul arity\, serving up a quiet yet pointed criticism of the authority of archit ectural infrastructure. The purposeful ambiguity that exists within Lofgren ’s work allows the viewer to call into question the difference between beli ef and illusion\, and expose what we presume is fixed. Her work references recent ideological points of view including feminism and self-actualization \, as well as early traditions such as medieval alchemy and ancient mytholo gy. In Lofgren’s work\, historical and philosophical content is transformed to create objects and environments that reflect and then dissolve the fami liar.

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About the Artist
Karen Lofgren is a Toronto- born and LA-based artist who completed her MFA at California Institute of t he Arts in Valencia. Recent solo projects in California include Believer at Machine Projects and Signs Point to Yes at Los Angeles Contemporary Exhibi tions\, both in Los Angeles\; Gold Flood at Pitzer Art Galleries in Claremo nt\; and Blood Sister at Royale Projects in Palm Springs. Lofgren’s work ha s been featured in Critic’s Picks of artforum.com\, LA Weekly\, and Los Ang eles Times\, as well as books\, catalogues\, and album covers\, and she has received awards from Canada Council and Durfee Foundation.

\n DTEND:20140731 DTSTAMP:20141222T210022 DTSTART:20130710 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Stabilizers\, Karen Lofgren UID:281634 END:VEVENT BEGIN:VEVENT DTEND:20130713T210000 DTSTAMP:20141222T210022 DTSTART:20130713T190000 GEO:34.1483586;-118.1490967 LOCATION:Armory Center for the Arts\,145 N. Raymond Ave. \nPasadena\, CA 91 103 SEQUENCE:0 SUMMARY:Stabilizers\, Karen Lofgren UID:281635 END:VEVENT BEGIN:VEVENT DESCRIPTION:

August 23 through October 24 at Artspace Warehouse: \;Suspended Moments

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New conceptual and narrative photographic art works by Los Angeles artist \;Marisa Howensti ne \;and vibrant photographs by Los Angeles artist \;Krista Marlene. New oil and mixed media artworks by German artist \;Bernhard Zimmer \;and abstrac t works by Los Angeles artist \;Amber Goldhamm er \;will also be featured\, among many others.

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Marisa Howenstine \;is a Los Angeles-based conceptua l photographer who specializes in psychological narrative. Her style is edg y\, provocative\, and often with a twist of humor. Her influences range fro m illustrators\, painters\, photographers\, film makers\, authors\, and lif e itself.

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Krista Marlene \;is a mult i-faceted artist who among other things has a gift for photography that del ivers powerful emotional connections. She has a modern romantic style that is conveyed through her great attention to detail. With her use of layers\, texture and vibrant settings she sets out to capture the essences of the t heme and delivers those messages on an emotionally engaging level.

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German artist \;Bernhard Zimmer's \;pow erfully colored images are relief-like structures that he built from many l ayers of paint. His focus is the visualization and reflection of the tensio n between order and chaos. In some artworks groups of letters and fragments of words are found. This interaction brings balance to the juxtaposing ele ments in his paintings.

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Los Angeles artist \;Amber Goldhammer \;paints with joyful vision\, transferring her innermost feelings onto the canvas. Amber's modern abstract art takes a spiritual path free from inhibition and filled with love. with a focus of acrylic on canvas\, Amber's artwork begins in a place of total surrender an d pure freedom. When the brush hits the canvas there is no thought\, no pho to to look at\, no figure to draw. Pure bliss ensues as what has been creat ed is truly unknown. The vision and emotion is left to the eyes of the beho lder.

DTEND:20131024 DTSTAMP:20141222T210022 DTSTART:20130823 GEO:34.0760122;-118.3501977 LOCATION:Artspace Warehouse\,7358 Beverly Boulevard \nLos Angeles\, CA 9003 6 SEQUENCE:0 SUMMARY:SUSPENDED MOMENTS\, Amber Goldhammer\, Bernhard Zimmer\, krista mar lene\, Marisa Howenstine UID:294776 END:VEVENT END:VCALENDAR