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C.A.V.E. Gallery is pleased to present the much-anticip ated solo exhibition by collective DevNGosha. "In memory" is a series of new works where the artists explore the life cycle of memori es in peoples lives and how they change over time. Each piece is full of vi brant colors that represent the emotions that memories inspire. The work is an explosion of hues where the artists boldly challenge color theory and s uccessfully create work where color charges the senses.

< span style="font-size: small\;">A striking part of the collection includes chromatically layered \;skulls\, \;detailed in a graphic style juxt aposed by a compelling depth. The skulls symbolize how the meaning of memor ies have an evolving life until death. \;These pieces are complemented by a series of playful\, amorphic \;characters that represent the memor y. The memory is revealed through goggles that capture glimpses of recollec tions and emotions.

DTEND:20131015 DTSTAMP:20141221T191035 DTSTART:20130928 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:In Memory\, DevNGosha UID:297899 END:VEVENT BEGIN:VEVENT DTEND:20130928T213000 DTSTAMP:20141221T191035 DTSTART:20130928T183000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:In Memory\, DevNGosha UID:297900 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chicago based artist David "Netherland" van Alphen crea tes wonderfully obscure\, 70's charged collage works. \;Each piece is a clever\, eye-catching mash up of vintage advertising imagery and bold acry lic rainbows mounted on wood. \;Netherland does not resize\, photocopy or scan any of the images he uses. All images are cut directly from their o riginal source and collaged so that each piece is uniquepop art montage tha t is \;playfully nostalgic.

DTEND:20131015 DTSTAMP:20141221T191035 DTSTART:20130928 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Tight Curves\, David “Netherland” van Alphen UID:297901 END:VEVENT BEGIN:VEVENT DTEND:20130928T213000 DTSTAMP:20141221T191035 DTSTART:20130928T183000 GEO:33.9916683;-118.4704376 LOCATION:C.A.V.E. Gallery\,1108 Abbot Kinney Blvd. \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:Tight Curves\, David “Netherland” van Alphen UID:297902 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Overduin and Kite is pleased to present the gallery&rsq uo\;s first exhibition with New York based artist Maureen Gallace.

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Gallace&rsquo\;s intimate paintings are based on photographs ta ken by the artist in her native New England. Gallace achieves an unsettling balance between the personal and the nondescript in her images. The settin gs depicted are familiar representations of tranquil New England homes and landscapes\, but upon closer examination the focus shifts from subject to t he physical presence of paint as a descriptive mark.

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Gallace&rsquo\;s m aterialist treatment of the medium engages painting&rsquo\;s classic lexico n of color\, surface\, and form through the iconographies of traditional la ndscape painting.

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Applied with a wet-on-wet technique\, the visibility o f Gallace&rsquo\;s brushstrokes emphasize the medium&rsquo\;s physicality. Reductive blocks of color and shadow evoke naturalism\, however Gallace&rsq uo\;s palette is often restricted to a range of cool blues\, whites\, and g reens. Her serial compositions employ structural components\, such as the m id-horizon line\, open sky\, and the central subject as linguistic elements . She refines her subjects to their essential signs\, addressing the relati onship between observation and representation.

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&ldquo\;Par t of what makes Gallace&rsquo\;s work so odd and enthralling is that it com es as close as possible to being what it resolutely is not. This is a truly contemporary problem for art: the amazing\, awkward potential of the verna cular in the light of the indifference and availability of the ready-made . . . another difference from the quotidian vernacular is in Gallace&rsquo\; s handling of paint itself. No stroke is misplaced. The difference between the brushstroke going left to right or right to left matters\, even if it i s complicated to say how. Because she has stared at\, observed\, studied (b y taking snapshots)\, and spent time remembering the distortion of actual f og\, she is able to show the similar distortion techniques of paint and rep resentation\, which affect how nature is seen.&rdquo\;

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Bruce Hainley\, & ldquo\;Seen and not seen\,&rdquo\; Frieze

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Mauree n Gallace was born in Stamford\, CT and currently resides in New York City. Solo exhibitions have been organized by the Centro de Arte Contemporaneo i n Murcia\, Spain\; the Art Institute of Chicago\; 303 Gallery in New York\; Maureen Paley in London\; and the Dallas Museum of Art.

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Opening recepti on: Sunday \, September 15th \, 6 - 8 pm

DTEND:20131016 DTSTAMP:20141221T191035 DTSTART:20130915 GEO:34.0981241;-118.3359796 LOCATION:Overduin & Co.\,6693 Sunset Boulevard \nLos Angeles\, CA 90028 SEQUENCE:0 SUMMARY:Solo Exhibition\, Maureen Gallace UID:287055 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over the course of eight weeks\, an exhibition of video installations by Charles G. Miller (10/3 &ndash\; 10/17)\, Hong-An Truong &\; Dwayne Dixon (10/18 &ndash\; 10/31)\, Caule en Smith (11/1 &ndash\; 11/14)\, and Uriel Orlow (11/15 &ndash\; 12/6) will rotate in and out of the gallery in conversation with The Exhibition of a Necessary Incompleteness\, a constant ex hibition of photos\, text\, and videos by Joseph Redwood-Martinez and essay contributions by Ayala Levin\, Alexandru Balasescu\, and Demilit.

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Friday\, October 4th | 10:30am
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Breakfast reception a nd premiere of Charles G. Miller&rsquo\;s \;Hidden in Plain Sight: La Jolla/UTC Annex\, An-Edge City \;(2013) \;single-channel HD video.

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Screening followed by a conversation with Joseph Redwood-Martine z\, Charles G. Miller\, &\; DEMILIT (Javier Arbona &\; Nick Sowers).< /span>

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A conversation around urban rumors and anthropology/archaeology of the b uilt environment. \; Whether &ldquo\;decoding\,&rdquo\; &ldquo\;defamil iarizing\,&rdquo\; or &ldquo\;giving attention to the overlooked\,&rdquo\; their spatial practices converge at the messy locus of ethics in making vis ible and audible what is not permitted. \; Whether in San Diego-Tijuana \, Petra\, Phoenix\, Istanbul\, Oakland or Quito\, how are these questions of visibility navigated in different contexts? \; How might these obscu red forms of the built environment be represented?

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Hidden in Plain S ight: La Jolla/UTC Annex\, An-Edge City \;will be presented in the exhibition \;Timing is Eve rything \;from October 3 &ndash\; 17\, at the beginning of eac h hour.

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Joseph Redwood-Martinez is an artist \, writer\, and filmmaker from the United States. His writing has appeared in Frieze\, Modern Painters\, and The Huffington Post . A first book of poetry\, event statements\, was published in April 2 011 by Publication Studio. A forthcoming book of essays\, neo-provincialism \, will be released in 2014. He has shown work and curated programs in Swed en\, Germany\, Turkey\, the UK\, India\, and the United States. In 2011-201 2\, he was a curatorial fellow at SALT in Istanbul. His first feature-lengt h film\, One day\, everything will be free\, was released in 2013.

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Charles G. Miller is a multimedia artist and educator based in San Diego. His multi-format projects\, incorporating video\, photo graphy\, installation\, and intervention\, work to develop novel frameworks and methodologies for critically exploring\, representing\, and understand ing contemporary urban landscapes. He was a principal collaborator with The Periscope Project in San Diego (2010-13)\, and previously with campbaltimo re in Baltimore\, Maryland (2005-6). He earned an MFA from the University o f California\, San Diego in 2010. He has exhibited widely\, and initiated s ite-specific projects in Baltimore\, New York\, San Diego\, and Los Angeles .

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Bryan Finoki\, Nick Sowers\, and Javier Arbona founded DEMILIT in 2010 as part of a discussion on &ldquo\;Decoding Military Land scapes&rdquo\; at the Just Metropolis Conference (UC Berkeley). Since then\ , they have been searching for experimental ways of walking\, exploring\, l istening\, writing\, and recording. Demilit has produced events and pieces for the Marin Headlands Center for the Arts\, the Istanbul Design Biennial\ , The State\, The San José\; Biennial\, Other Cinema\, and Deutschlan dradio. Participating in Timing is Everything: Nick Sowers is an a rchitect interested in making space with sounds and solid matter\, and Javi er Arbona is a geographer.

DTEND:20131017 DTSTAMP:20141221T191035 DTSTART:20131003 GEO:32.855706;-117.237748 LOCATION:University Art Gallery\, UCSD\,9500 Gilman Drive\, 0327 Mandeville Center\nLa Jolla\, CA 92093 SEQUENCE:0 SUMMARY:Hidden in Plain Sight: La Jolla/UTC Annex\, An-Edge City\, Charles G. Miller UID:299485 END:VEVENT BEGIN:VEVENT DTEND:20131004T123000 DTSTAMP:20141221T191035 DTSTART:20131004T103000 GEO:32.855706;-117.237748 LOCATION:University Art Gallery\, UCSD\,9500 Gilman Drive\, 0327 Mandeville Center\nLa Jolla\, CA 92093 SEQUENCE:0 SUMMARY:Hidden in Plain Sight: La Jolla/UTC Annex\, An-Edge City\, Charles G. Miller UID:299486 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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Miyo Hernandez

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

BIOGRA PHY \;

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

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Ann Le

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

BIOGRAPHY \;

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

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Karena Massengi ll

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

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

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

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

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

BIOGRAPHY&nbs p\;

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

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< em> \;

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Dusty Tailor

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

BIOGRAPHY \;

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

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Xiaowen Zhu

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

BIOGRAPHY \;

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

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

DTEND:20131018 DTSTAMP:20141221T191035 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:

Koplin Del Rio is pleased to announce Robert Pr uitt&rsquo\;s second solo exhibition at the gallery\, Fantastic Sagas. Pruitt has a concurrent solo exhibition\, Wo men at The Studio Museum in Harlem\, NY through October 27th.

\n< p style="text-align: justify\;">Fantas tic Sagas\, is a comic book adventure project created by artist Robert Pruitt and writer Mat Johnson.

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Using Pruitt&rsquo\;s large scale figura tive artworks as a departure point\, Johnson has crafted a Sci Fi narrative  \;revolving around a black mat riarchal universe. The show will feature original hand drawn comic book&nbs p\;pages\, as well as a selection o f Pruitt&rsquo\;s signature large format drawings of key characters from th e \;comic book.

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Using the co mic book as a form to explore notions of power and validity\, Pruitt and Jo hnson hope to offer a \;work th at shifts the normative experience of reading comics from white and male to black and female.

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Fantastic Sagas presents a world of black fe male power under threat of annihilation. A strange alien force \;with the power to erase reality has invad ed the planet Earth. The two governing bodies of this matriarchal \;system must unify and share power to d efeat this invader and preserve their very existence. The reader is \;< /span>asked to join this battle\, in belie ving this world can exist\, they may prevent it from ultimate defeat or the  \;doom of simple fiction.

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A limited edition comic book publication is being produced and will be avail able for purchase during the \; exhibition. Please contact the gallery for more information.

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Mat Johnson is a Houston based award winning novelist\, comic book writer and faculty member at the University of Houston Creative Writing Program. He is the aut hor of novels\, Pym\, Drop and Hunting in Harlem\,the nonfiction novella Th e Great Negro Plot\, and the comic books Incognegro and Dark Rain.He is the recipient of the United States Artist James Baldwin Fellowship\, The Hurst on/Wright Legacy Award\, a Barnes &\; Nobles Discover Great New Writers selection\, and the John Dos Passos Prize for Literature.

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Robert Pruitt was born in 1975 in Houston Texas. He received his BFA from Texas Southern University \;and a Master of Fi ne Arts degree from the University of Texas at Austin. He is a founding mem ber of the \;artist collective Otabenga Jones &\; Associates. Pruitt creates sculpture\, drawing\, vide o\, and installation \;works ab out the dichotomy of the black experience in America\, and the impact of bl ack cultural production \;on th e global landscape. He has exhibited his work at\, The Fabric Workshop and Museum in  \;Philadelphia\, \;PA\, The Museum of Fine Arts\, Houston\, The Dallas Museum of Art\, The Studio Museum in Harlem\, and \;was a participating artist in the 2006 Whitney Biennial and the 2010 SITE Santa Fe Biennial which traveled \;to MoMA PS1 in New York. Pruitt is a recipient of the Artadia Artist Aw ard in 2004\, and a Louis Comfort \;Tiffany Foundation award in 2008. Pruitt&rsquo\;s work is in the colle ction of The Nasher Museum of Art at Duke \;University\, The Studio Museum of Harlem\, NY\, the Dallas Mus eum of Art in Dallas\, TX\, the University \;Museum of Texas Southern University in Houston and the Museum of Fine Arts in Houston TX. \;

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For further information or photos\, please contact the gallery at (310) 836-9055

DTEND:20131018 DTSTAMP:20141221T191035 DTSTART:20130914 GEO:34.0316947;-118.3771554 LOCATION:Koplin Del Rio Gallery\,6031 Washington Blvd. \nCulver City\, CA 9 0232 SEQUENCE:0 SUMMARY:Fantastic Sagas\, Robert Pruitt UID:290606 END:VEVENT BEGIN:VEVENT DTEND:20130914T190000 DTSTAMP:20141221T191035 DTSTART:20130914T170000 GEO:34.0316947;-118.3771554 LOCATION:Koplin Del Rio Gallery\,6031 Washington Blvd. \nCulver City\, CA 9 0232 SEQUENCE:0 SUMMARY:Fantastic Sagas\, Robert Pruitt UID:290607 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;On a Scale from Not Really OK to Really Not OK&rdquo\; addresses social anxiety and the mutually uncomfortable extremes that Jennifer Dalto n perceives our culture as vacillating between\, such as guilt vs. resentme nt\, fairness vs. loyalty\, validation vs. iconoclasm\, manic vs. depressiv e\, loser vs. pig. Viewers are invited to engage in these dialogues by inte racting with elements of the exhibition. This exhibition continues Dalton&r squo\;s explorations of social interaction and cultural values\, and her on going accumulation of aggregate findings that she reflects back to the view er.

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In each of her works Dalton measures self-worth and cultural value i n dichotomies\, paradoxes\, arbitrary hierarchies or sliding scales. In Dal ton&rsquo\;s view\, opposing values\, emotions and attributes exist not in balance but in constant asymmetrical flux. She has manufactured her own sub jective taxonomies to make sense of herself and the outside world and invit es viewers to participate and implicate themselves within the show by choos ing between opposing dichotomies in a variety of ways.

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Jennifer Dalton i s a visual artist living and working in Brooklyn\, New York. In her drawing s\, sculptures and installations she excavates\, organizes and evaluates cu ltural information according to her own personal criteria. Her subjects are often chosen in an attempt to test a hypothesis or to dissect a chip on he r own shoulder.

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Jennifer earned a BA in Fine Art from UCLA and an MFA fr om Pratt Institute in Brooklyn. She received a Pollock/Krasner Foundation g rant in 2002 and a Smack Mellon Studio Fellowship for 2005-2006. Her work h as been discussed in Artforum\, ArtNEWS\, Art + Auction\, Art in America\, Flash Art\, Modern Painters\, New York Magazine\, the New York Times\, and The Washington Post\, among other publications. Her work has most recently been exhibited at Ballroom Marfa\, Marfa\, TX\; Winkleman Gallery\, New Yor k\, NY\; Flag Art Foundation\, New York\, NY\; John Michael Kohler Arts Cen ter\, Sheboygan\, WI\; Museum Brandhorst\, Munich\, Germany\; and The Teach ing Gallery at Hudson Valley Community College\, Troy\, NY.

DTEND:20131019 DTSTAMP:20141221T191035 DTSTART:20130914 GEO:34.066589;-118.2382615 LOCATION:Charlie James Gallery\,969 Chung King Road \nLos Angeles\, CA 9001 2 SEQUENCE:0 SUMMARY:On a Scale from Not Really OK to Really Not OK\, Jennifer Dalton UID:290588 END:VEVENT BEGIN:VEVENT DTEND:20130914T220000 DTSTAMP:20141221T191035 DTSTART:20130914T190000 GEO:34.066589;-118.2382615 LOCATION:Charlie James Gallery\,969 Chung King Road \nLos Angeles\, CA 9001 2 SEQUENCE:0 SUMMARY:On a Scale from Not Really OK to Really Not OK\, Jennifer Dalton UID:290589 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Shire Gallery is pleased to present Paper\, a unique exhibition exploring the work of 10 arti sts who use paper as the specific medium. \; The artists are Joshua Ast er\, Claire Baker\, Barbara Berk\, Mieke Gelley\, Margaret Griffith\, Pamel a Jorden\, Timothy Nolan\, Gelah Penn\, Milenko Prvacki and Carol Sears. \;

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Paper is a ubiquitous mater ial\, used in the every day\, books\, magazines\, posters\, milk cartons\, candy wrap\, and more. The flexibility of this dynamic material is highligh ted through a range of artistic techniques\, drawing\, painting\, ink on pa per\, performance\, collage\, cutouts and mixed media assemblage. \;

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A highly interactive material\, pa per is uniquely responsive to each artist&rsquo\;s treatment of it\, and th e exhibition is a culmination of years of rich and varied interpretation of the medium\, where distinct voices find powerful\, memorable expression.

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AndrewShire Gallery is dedicated to the development and exhibi tion of innovative contemporary art works by international and local artist s. \; In addition to its Los Angeles location\, the gallery established an alternative space in Singapore in 2006. \; AndrewShire continues to push the international envelope while remaining an integral part of the lo cal community. \; The gallery is located at 3850 Wilshire Boulevard #10 7\, Los Angeles\, CA \; 90010. \; AndrewShire Gallery\, Singapore\, is located at 63 Hillview Avenue #10-13\, Lamb Soon Building\, Singapore\, 669569.

DTEND:20131019 DTSTAMP:20141221T191036 DTSTART:20130914 GEO:34.0821315;-118.3826225 LOCATION:CMay Gallery\,8687 Melrose Ave. Space B226\nWest Hollywood\, CA 90 069 SEQUENCE:0 SUMMARY:Paper\, Joshua Aster\, Claire Baker\, Barbara Berk\, Mieke Gelley\, Margaret Griffith\, Pamela Jorden\, Timothy Nolan\, Gelah Penn\, Milenko P rvacki\, Carol Sears UID:296287 END:VEVENT BEGIN:VEVENT DTEND:20130914T200000 DTSTAMP:20141221T191036 DTSTART:20130914T180000 GEO:34.0821315;-118.3826225 LOCATION:CMay Gallery\,8687 Melrose Ave. Space B226\nWest Hollywood\, CA 90 069 SEQUENCE:0 SUMMARY:Paper\, Joshua Aster\, Claire Baker\, Barbara Berk\, Mieke Gelley\, Margaret Griffith\, Pamela Jorden\, Timothy Nolan\, Gelah Penn\, Milenko P rvacki\, Carol Sears UID:296288 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;Couturier Gallery is pleased to anno unce the return of Cuban painter and sculptor Carlos Esté\;ve z for a solo show. \; The exhibition of new works\, Living Apart Together\, includes large paintings and intric ate sculptures exploring the human psyche vis-à\;-vis a complex artif icial world with metaphoric imagery and thoughtful witticism. \; The ex hibition runs from September 14 &ndash\; October 19\, 2013\, with an artist &rsquo\;s opening reception on Saturday\, September 14th\, 6-8pm.

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 \; \; \; \; \; \; \; \;&nbs p\; \; \; Carlos Esté\;vez is from the generation of Cuban ar tists and intellectuals who\, emerging in the 1990s\, developed a sense of connectedness to the world outside of Cuba where social\, political and geo graphic boundaries do not exist compared to the restricted freedoms on the island. \; Free to develop a symbolic language of his own\, Esté\ ;vez uses images from the physical world to convey his thoughts on isolatio n and solitude. \; Present are his trademark mechanical figures: hybrid s of man and nature\, combined with elements of music\, marionettes\, archi tecture and telephones. \; His interest in alchemy and the paradoxical nature of man are evident in this new series illustrating the divergences t hat derail us from our higher self. \; He writes:

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 \; \ ; \; \; \; \; \; \; \; \; \; \; &ld quo\;The history of human beings is a grand paradox. \; The development of technologies\, the &ldquo\;progress&rdquo\; and evolution is disproport ionate to the development of individual thought and spirituality. \;&nb sp\; He goes on to state that\, &ldquo\;&hellip\;the magic of art is in its capacity to communicate from the most remote spaces of the interior world of the artist to the most intricate places in the soul of the spectator.&rd quo\;

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The painting &ldquo\;Living Ap art Together&rdquo\; speaks to the interconnectedness that we all share\, in spite of the lost communication and isolation that &ldquo\;progr ess&rdquo\; has made in our lives. \; Known for his marionettes (both a s motif and sculpture) Esté\;vez presents a symphonic orchestra of 10 0 musicians literally embodying their instrument with limbs and heads forma lly seated around the &ldquo\;conductor&rdquo\; (which here is a moon) and described by Esté\;vez as &ldquo\;an allusion to consciousness and th ought around which gravitate the instruments.&rdquo\; \; Just as in mus ic\, such attunement with ourselves\, when focused on a universal theme\, h as the power to convey complex thoughts that resonate with the masses in a sublime way.

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 \; \; \; \; \;&nb sp\; \; \; \; \; \; Esté\;vez further investigate s the study of communication with a series of works featuring rotary dial p hones. \; In the sculpture &ldquo\;Balanced Approach&rdquo\; he combines an elaborate rigging of a metal weight scale with a plat ed phone base suggesting the value of weighing ones words. \; & ldquo\;Long Distance Relationships&rdquo\; is a large painting fea turing 14 telephones of different styles with human parts representing the modern phenomenon of isolation in a social media and device driven world.&n bsp\; He writes of this schism\, &ldquo\;My paintings attempt to represent this chaos: the absurdity of life\, the lack of communication\, the distanc e between humans.&rdquo\; \; It is this type of observation that motiva tes Esté\;vez to delve into his world of symbols and create a visual testimonial to the incongruities of life in a modern age. \;

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 \;Carlos Esté\;vez&rsquo\;s work may be found in n umerous museum and public collections including: Museo Nacional Palacio de Bellas Artes\, La Habana\, Cuba\; Bronx Museum\, New York\, USA\; Museum of Fine Art\, Boston\, MA\, USA\; Miami Art Museum\, Miami\, FL\, USA\; Arizo na State University Art Museum\, Arizona\, USA\; Lowe Art Museum\, UM\, Mia mi\, FL\, USA\; Drammens Museum for Kunst og Kulturhistorie\, Drammens\, No rway\; The Patricia &\; Phillip Frost Art Museum\, FIU\, Miami\, FL\, US A\;  \;Museum of Latin American Art\, Long Beach\, CA USA\; Bacardi Art Foundation\, Miami\, FL\, USA\; Fort. Lauderdale Art \; Museum\, Fort. Lauderdale\, USA\; Association d&rsquo\;Art de La Napoule\, France\; Acerb o Histó\;rico de la Academia de San Carlos\, DF. Mé\;xico\; Kun st Forum Ludwig\, Aachen\, Germany\; Colecció\;n Casa de las Am&eacut e\;ricas\, La Habana\, Cuba\; Center for Cuban Studies\, New York\, USA\; F undació\;n Arte Viva\, Rio de Janeiro\, Brazil\; OMI Foundation Collection\, New York\, USA\; The Farber Collection\, New York.

DTEND:20131019 DTSTAMP:20141221T191036 DTSTART:20130914 GEO:34.0754701;-118.3438827 LOCATION:Couturier Gallery\,166 N. La Brea Ave. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Carlos Estevez - Living Apart Together\, Carlos Estévez UID:288196 END:VEVENT BEGIN:VEVENT DTEND:20130914T200000 DTSTAMP:20141221T191036 DTSTART:20130914T180000 GEO:34.0754701;-118.3438827 LOCATION:Couturier Gallery\,166 N. La Brea Ave. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Carlos Estevez - Living Apart Together\, Carlos Estévez UID:288197 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Frank Lloyd Gallery is pleased to announce the opening of \;Tr anslucence\, a group exhibition featuring the work of \;< strong>Larry Bell\, Robert Irwin\, Craig Kauffman\, Helen Pashgian  \;and \;DeWain Valentine. Presenting a selection of historical pieces and recent works by these artists\, \;Transluc ence \;explores their subtly atmospheric qualities and emphasis on perceptual phenomena. \;

Much has been written about the in novative materials used by artists working in Southern California beginning in the 1960s. However\, a narrow focus on the semi-industrial processes us ed to produce these artworks overlooks the effects they were intended to ac hieve. Stephanie Hanor\, in her essay "The Material of Immateriality\," ins tead argues that the so-called Light and Space artists were "using material s as a means to an end\, rather than as an end in themselves."1 \;

This exhibit focuses on t ransparency and translucence. The works on display may have been technicall y challenging to produce\, but they are not merely examples of virtuoso cra ftsmanship in demanding mediums. To quote Philip Leider's turn on Marshall McLuhan's famous phrase\, "the medium is not the message."3 \; \;Rather\, the medium serves as a ve hicle to develop the message &ndash\; of nonphysicality\, perceptual ambigu ity\, and the subject/object relationship.

Larry Bell \;emerged in Los Angeles in the mid-1960s\, and is often include d in major exhibitions of Minimal Art. Throughout his career\, his work has focused on the complexities of intangible perceptual phenomena. For the ex hibition catalogue of \;A New Aesthetic \;at the Washingto n Gallery of Modern Art in 1967\, Barbara Rose wrote that she didn't know o f "any visual experiences that are analogous to the evanescent sensations o f examining a Bell. It is perhaps like trying to describe the taste of wate r\, which has a very real but ultimately elusive taste."3 \; \;Examples of his signature form\, the glass cube\, will be presented alongside work from his most recent series\ , the "Light Knots." Bell achieves complex visual effects through his use o f thin film deposition &ndash\; resulting in objects that absorb\, transmit \, and reflect light\, thus calling into question the nature of the physica l and visual spaces they inhabit.

Robert Irwin& nbsp\;is well known for his investigations into human perception and sensor y experience. Those efforts were described by Lawrence Weschler in 1982 as attempts to capture "the incidental\, the transitory\, the peripheral &ndas h\; that aspect of our experience that is both there and not there\, the ob ject and not the object of our sensations\, perceived but seldom attended t o."4 \; \;The 9-foot acr ylic column on display in this exhibition illustrates this tension\, acting out a sophisticated interplay between object and environment\, as it disap pears into the space it inhabits. Though the column is machined to a dazzli ng degree of optical purity\, its presence can be nearly imperceptible to t he viewer. It dissolves traditional boundaries between physical objects and their environments. It is an artwork that is not intended to be looked at\ , but rather experienced through the indirect perception of its effects on its environment.

In his statement for \;A New Aesthetic\ , \;Craig Kauffman \;took a firm position reg arding his chosen materials\, writing that: "I didn't start out with the id ea of an industrial aesthetic. I believe the artist's strength lies not pri marily in his intellect\, but in his sensibility turned into intelligence. I began working in plastic with an idea of form it is true\, but my princip al impetus was a passion for a kind of color\, a kind of light\, a sensual response to material."5 \;&n bsp\;Sensuous color characterizes Kauffman's practice\, and plastic allowed him to expand on and enhance this sensibility. \;Translucence  \;features both historical and contemporary examples of his work in ac rylic plastic. Suspended from the ceiling\, Kauffman's \;Untitled L oop \;from 1969 radiates luminous color\, casting reflections on t he surrounding walls. His more recent wall reliefs pulse with layers of iri descent paint\, applied in thin layers to achieve a glowing\, atmospheric q uality. \;

Helen Pashgian \;summed up h er position on material process for the Getty's video archives\, saying in 2010 that the materials associated with the 1960s "were all being used for a very simple end\, which dealt with perception. Light\, and space\, and pe rception."6 \; \; Her wo rk\, like that of many of her contemporaries\, used the new possibilities o ffered by industrial mediums to manipulate and explore visual and physical phenomena. Her practice constitutes an investigation into the interaction b etween light\, color\, and three-dimensional form. Like her historical sphe res\, Pashgian's recent pieces explore the perceptual relationship between color and structure\, blurring the borders between these principles. As the viewer moves around her work\, colors and shapes advance and recede within each piece\, creating an effect of instability. Qualities that are traditi onally considered to be inherent to an artwork are thus called into questio n.

DeWain Valentine's \;work deals with the intersection of physical mass and color. The translucency of his materials is critical to the visual effects he realizes\, allowing the color and str ucture of his sculptures to appear as one. His monumental sculptures\, rend ered in cast resin\, achieve the perception of pure color\, merging with it s environment. Produced on a human scale\, the works establish themselves a s an integral element of their setting\, rather than isolated objects. Thes e sculptures reflect and distort the light and environmental conditions of their surroundings\, causing them to "drift into and out of the viewer's pe rceptual field."7 \;< br />_____________________

1
 \;Stephanie Hanor\, "The Ma terial of Immaterialty\," in \;Phenomenal: California Light\, Space \, Surface\, \;ed. Robin Clark (Berkeley and Los Angeles: Universi ty of California Press\, 2011)\, 124.
2
 \;Philip Leider \, "Robert Irwin\," in \;Robert Irwin\, Kenneth Price\, \; exh. cat. (Los Angeles: Los Angeles County Museum of Art\, 1966). \;
3 \;Barbara Rose\, \;A New Aesthetic\, \ ;exh. cat. (Washington D.C.: Washington Gallery of Modern Art\, 1967)\, 13.
4 \;Lawrence Weschler\, \;Seeing is Forgetting the Name of the Thing One Sees\, \;(Berkeley: University of Calif ornia Press\, 1982)\, 113.
5 \;Craig Kauffman\, artist statement in Rose\, \;A New Aesthetic\, \;51.
6 \;Helen Pashgian\, "Helen Pashgian Speaks About Her Work\," \ ;Getty Archives \;video\, 3:20\, April 2010\, http://www.getty .edu/pacificstandardtime/explore-the-era/archives/v21/
7 \;Donna Conwell and Glenn Phillips\, "Duration Piece: Rethinking Sculptur e in Los Angeles\," in \;Pacific Standard Time\, \;ed. by Rebecca Peabody et al. (Los Angeles: The Getty Research Institute and the J . Paul Getty Museum\, 2011)\, 194.

DTEND:20131019 DTSTAMP:20141221T191036 DTSTART:20130907 GEO:34.0276049;-118.4678444 LOCATION:Frank Lloyd Gallery\,Bergamot Station 2525 Michigan Ave.\, B5B\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Translucence\, Larry Bell\, Robert Irwin\, Craig Kauffman\, Helen P ashgian\, DeWain Valentine UID:291124 END:VEVENT BEGIN:VEVENT DTEND:20130907T200000 DTSTAMP:20141221T191036 DTSTART:20130907T180000 GEO:34.0276049;-118.4678444 LOCATION:Frank Lloyd Gallery\,Bergamot Station 2525 Michigan Ave.\, B5B\nSa nta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Translucence\, Larry Bell\, Robert Irwin\, Craig Kauffman\, Helen P ashgian\, DeWain Valentine UID:291125 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20131019 DTSTAMP:20141221T191036 DTSTART:20130914 GEO:34.0663502;-118.2384334 LOCATION:Jancar Gallery\,961 Chung King Road \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:"La Gruta Azul" - (The Blue Grotto)\, Richard Newton UID:291805 END:VEVENT BEGIN:VEVENT DTEND:20130914T210000 DTSTAMP:20141221T191036 DTSTART:20130914T180000 GEO:34.0663502;-118.2384334 LOCATION:Jancar Gallery\,961 Chung King Road \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:"La Gruta Azul" - (The Blue Grotto)\, Richard Newton UID:291806 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jancar Jones is excited to announce an exhibit of new w ork by Joel Dean. The Mutant and the Melody is a participatory exhibition that explores the parallels betwe en different modes of cultural transmission.

The show takes its structure from the dichotomy of an ancient form of cultural inheritance\, the fable. It includes two pieces th at remain in flux for the full duration of the exhibition. Like the driving forces in the narrative of a fable\, the pieces work together to perform a story from which the audience can extract a pithy maxim about shared human consciousness. Historically fables present morals. \; The wording of a moral may differ between cultures\, and how a fable is recited may shift o ver time\, but the lessons presented in fables are universal. They reflect a cross-cultural consensus of the human experience.

The history of the fable is\, up until the indu strial revolution\, mostly an oral history. \; The fables we have today were arrived at over time through verbal re-duplication. They evolved in a manner analogous to the self-replication of a meme. Fables exist both as i mages and as stories\, but they also relay behaviors. They are one of the f irst user-generated structures for sociocultural imitation\, and can serve as a model for understanding the shifts in information hierarchies that are occurring throughout society as our globalized economy moves away from a p ackaged good media towards a conversational media.

To highlight this connection\, and to emphasize dialogue over dogma\, The Mutant and the Melody presents two maxim s that have recently been transformed into mantras through their extensive use on social networking websites. \; Neither maxim is the moral of the story. \; Instead\, they operate as a call and response\, working toge ther to frame a key paradox facing the content generation: it is impossible for an individual to exist in a state of pure spontaneity while also worki ng to document that existence.

Joel Dean (b. Atlanta\, GA 1986) received his BFA f rom The School of the Art Institute of Chicago in 2009. He studied at the Y ale Norfolk Summer School of Music and Art in 2008\, and attended the Ox-Bo w School of Art as a Fellow in the summer of 2009. Recent exhibitions inclu de Bodega in Philadelphia\, Et Al in San Francisco and Alderman Exhibitions in Chicago. He currently lives in Oakland\, CA where he co-directs a small artist-run project space called Important Projects. This is his first solo exhibition at the gallery.

DTEND:20131019 DTSTAMP:20141221T191036 DTSTART:20130914 GEO:34.0675714;-118.2352599 LOCATION:Jancar Jones Gallery\,1031 N. Broadway \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:The Mutant and the Melody \, Joel Dean UID:287053 END:VEVENT BEGIN:VEVENT DTEND:20130914T210000 DTSTAMP:20141221T191036 DTSTART:20130914T180000 GEO:34.0675714;-118.2352599 LOCATION:Jancar Jones Gallery\,1031 N. Broadway \nLos Angeles\, CA 90012 SEQUENCE:0 SUMMARY:The Mutant and the Melody \, Joel Dean UID:287054 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Clothed Ascension \;is focused on a clothing line designed by \;Roy Halston Frowick \;(1932&ndash\;1990).

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Known simply as H alston\, the fashion icon helped popularize the glitz and glamour behind St udio 54 in midtown Manhattan in the 1970s. In an unexpected midcareer move in the early 1980s\, Halston teamed with the department store J.C. Penney t o launch a collection. Departing from his designs for some of the world&rsq uo\;s leading fashion houses\, \;Halston III \;was unique for its blend of signature couture in a populist format. The collection was a visionary yet misguided business venture that ultimately flopped. With t he reassuring tagline &ldquo\;You&rsquo\;re looking smarter than ever\,&rdq uo\; \;Halston III \;made haute couture available to the m asses and promised social mobility. It was a prototype for the merchandisin g collaborations churned out today between celebrities and designers at the apex of their careers and mega-corporations.

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Chris Lipomi&rsquo\;s lat est exhibition focuses on the \;democratic approach to fashion develope d by \;Halston. For \;LA>\;<\;ART \;Lipomi presents an insp ired and artistically warped version of what Halston offered to the busines s-minded woman of the 1980s. This trip back in time recovers the polyester curtains\, teardrop perfume bottles\, \;advertisements made in collabor ation with Andy Warhol and \;a facsimile of a \;Halston III \;mail catalog. \;As the star who furnished disco-age styles\, th e project considers how Halston unwittingly marked the limits of decadence in the mainstream later in his career.

DTEND:20131019 DTSTAMP:20141221T191036 DTSTART:20130907 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Clothed Ascension\, Chris Lipomi UID:291816 END:VEVENT BEGIN:VEVENT DTEND:20130907T200000 DTSTAMP:20141221T191036 DTSTART:20130907T180000 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Clothed Ascension\, Chris Lipomi UID:291817 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For his exhibition at LA>\;<\;ART\, Jededia h Caesar continues to explore the shifting significations that we apply to organic material and manmade objects. For this\, Caesar&rsquo\;s i mprinted resin sculptures have been arrayed according to attributes and pla ced into taxonomic containers as though they were excavated artifacts being readied for preservation. Each combination of multiples references the fou nd and the petrified object. Though distinct\, each mirrors the other\, lik e a fossil uncovered in a dried seabed. Individual boxes\, too\, function a s artificial collections while they mimic geological fragments. In this sen se\, the particles are metaphors for California&rsquo\;s variegated landsca pe and terrain. The group is an analog or archive of the topography that Ca esar occasionally enters for inspiration\, and the figments of those places that he creates as installations in galleries. Each box presents an inimit able composition. The painterly quality of each comes from uncommon sources .

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These &ldquo\;non-sites&rdquo\; suggesting sorted piles or bund les of cargo\, do not construct so much as they accumulate objects. They in vestigate material qualities and privilege distance through ambiguous forms . In this new work\, the artist has been experimenting with materials such as spices. Materiality and process are paramount to Caesar&rsquo\;s practic e. He thinks of this as a collapse or entanglement between material and obj ect. The work masquerades as artifact\, conflating notions of time and sign ification. On his investigation into currency around the globe\, and how cu rrency marks ideals and identities of nations\, the artist remarks: &ldquo\ ;it is the authority of their form not their sovereignty that I am interest ed in.&rdquo\;

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Part of Caesar&rsquo\;s inspiration is Insulo de l a Rozoj\, a micronation built in 1967 on a platform in the Adriatic Sea\, w hich introduced the image of its planned currency on stamps without reachin g implementation. Using this as a point of departure\, Caesar envisions the pelagic currency lost in time and offers prototypes that could be utilized by future micronations.

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Los Angeles based artist Jeded iah Caesar received an MFA from the University of California Los Angeles in 2001 and a BFA from the School of the Museum of Fine Arts\, Boston in 1998 . Recent solo exhibitions include \;out where the stones grow like roses \;at Susanne Vielmetter Projects\, Los Angeles\; \;P latform 9 \;at the DeCordova Museum and Sculpture Park in Lincoln\ , MA\; \;Soft Structures \;at the Museum of Fine Arts\, Bo ston and \;/ ALBATROSS / BADGERS/ CHIMPS / DINO / EMPIRE / EXTENSOR / F ENCE / GOLDEN / GRANITE HILL / HEAVENS / INSIGNIFICANT / LARK / MR. TUX / O RANGE PEEL /PURPS / RAMPA / SWINGLES / THIN SPOT / UPSHOT / WHITE KNIGHT / YELLOW PAINT / ZIPPER / at D&rsquo\;Amelio Terras\, New York. \;Caesar& rsquo\;s work has been included in the Whitney Biennial\, Whitney Museum of American Art\, New York\, and in exhibitions at the Fundament Foundation\, Tilburg\, Netherlands\; the &ldquo\;California Biennial 2008&rdquo\;\, Ora nge County Museum of Art\, Newport Beach\, CA\, the Saatchi Gallery\, Londo n\, UK\; Dallas Contemporary\, Dallas\, TX\, University of California\, Los Angeles&rsquo\; Armand Hammer Museum\, Los Angeles\, New Museum of Contemp orary Art\, New York\; and Los Angeles Contemporary Exhibitions\, Los Angel es. Among others\, Caesar&rsquo\;s work is in the collection of the Saatchi Gallery in London\; the Los Angeles County Museum of Art\; and the New Mus eum in New York. Caesar previously produced the Gleaner Stone for LA>\;&l t\;ART&rsquo\;s Public Art Initiative in 2008.

DTEND:20131019 DTSTAMP:20141221T191036 DTSTART:20130907 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Rozoj\, Jedediah Ceasar UID:291818 END:VEVENT BEGIN:VEVENT DTEND:20130907T200000 DTSTAMP:20141221T191036 DTSTART:20130907T180000 GEO:34.034369;-118.376843 LOCATION:LAXART\,2640 S. La Cienega \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Rozoj\, Jedediah Ceasar UID:291819 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Leslie Sacks Fine Art\, Brentwood will soon present the exhibition\, \;Refined Eye\, Passionate Heart: African Art from the Leslie Sacks Collection. \; \;This exhibiti on \;will mark the publication of a 320 page\, hardbound catal ogue of the Leslie Sacks collection of African art\, soon to be released by international publishing house Skira for distribution in the United States and Europe. \; The exhibition will open on \;Saturday\, September 21\, with a reception from \;5:00-7:30 PM\, and will continue through&n bsp\;October 28\, 2013 \;at Leslie Sacks Fine Art in the Los Angeles co mmunity of Brentwood. \;

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The exhibition will feature approximately 60 of the pieces reproduced and disc ussed in the Skira publication\, which has taken nearly three years to comp lete. \; The 38 essays in this book were contributed by 20 noted schola rs in the field of African art\, including a Foreword by Karel Nel\, artist and professor at the University of the Witwatersrand\, Johannesburg\, Sout h Africa\, and an introductory essay by Frank Herreman\, former Director of Exhibitions at the Museum for African Art\, New York\, and Bruno Claessens \, Africanist and art historian. \; These writings alongside the hundre ds of color photographs by Donald Cole address subjects ranging from cultur al and historical analyses of the objects to issues of indigenous African a esthetics and the relationship of African art to modern and contemporary Eu ropean and American art of the 20th \;century. \;

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This exhibition (which will not offer African works for sale) will run from \;September 21 to October 28\, 20 13. \; These dates have been selected to coincide with the Fowler Museu m&rsquo\;s 50th \;anniversary celebration\, \;Fowler at 50\, \;previewing \;Saturday\, October 12\, 2013 \;at the Fowler Museum at the University of California\, Los Angeles. \; The  \;Fowler Museum \;is one of the foremost institutions engaged in t he study and exhibition of African art from around the world. \;

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Amanda Maples\, editor of \;Re fined Eye\, Passionate Heart: African Art from the Leslie Sacks Collection< /em>\, will present a talk on the works in the exhibition and the book at t he opening reception. \; The publication will be released to the genera l public in early 2014. \; A limited number of advance copies of the bo ok will be available for sale through Leslie Sacks Fine Art during the run of the exhibition.

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Opening reception:  \;Saturday\, September 21\, 2013\, 5:00 - 7:30 PM

\n

Talk with the Editor\, Amanda Maples\, begins at \; 6:00 PM

DTEND:20131019 DTSTAMP:20141221T191036 DTSTART:20130921 GEO:34.053513;-118.463152 LOCATION:Leslie Sacks Fine Art\,11640 San Vicente Blvd. \nLos Angeles\, CA 90049 SEQUENCE:0 SUMMARY:Refined Eye\, Passionate Heart: African Art from the Leslie Sacks C ollection UID:293819 END:VEVENT BEGIN:VEVENT DTEND:20130921T193000 DTSTAMP:20141221T191036 DTSTART:20130921T170000 GEO:34.053513;-118.463152 LOCATION:Leslie Sacks Fine Art\,11640 San Vicente Blvd. \nLos Angeles\, CA 90049 SEQUENCE:0 SUMMARY:Refined Eye\, Passionate Heart: African Art from the Leslie Sacks C ollection UID:293820 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Pete r Fetterman Gallery is pleased to present the first US exhibition of Genesis\, the new series from internationally acclaimed photographer Sebastião Salgado. The exhibition f eatures an intimate selection of large-scale black and white prints curated by Peter Fetterman\, one of Salgado's main dealers and supporters for over two decades after an early introduction by Henri Cartier-Bresson. 

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Genesis marks Salgado's most ambitious project to-date involving years of research and eight years of travel to thirty-two of the most isolated regions of the planet. Inspir ed by the re-forestation of his family farm in Brazil\, Salgado set out to re-discover the Earth's natural sanctuaries\, untamed wildlife and traditio nal cultures that remain undisturbed by the influence of modern society. Sa lgado explains\, "I had the privilege to see the most incredible things on the planet\, and discover that close to half of the planet is yet pristine [...] as the day of the Genesis." The result is an epic series of photograp hs that celebrate the purity of un-developed nature and inspire its preserv ation.

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The Genesis series has already received wide crit ical acclaim and is currently traveling to international museums including The Natural History Museum London\, The Royal Ontario Museum Toronto\, The Ara Pacis Museum in Rome\, Jardim Botanico Rio de Janeiro and more. To comp lement the exhibited prints\, the Genesis Collector's Edition book will be on view prior to its release later this summer and signed copies  of the tr ade edition book will be available for purchase. 

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Sebastião Salgado was born in Aimores\, B razil in 1944 and raised on a cattle farm before moving to Paris as an econ omist and beginning his career in photography. Salgado previously documente d the cultural  effects of global industrialization and urbanization as pub lished in the widely exhibited series Workers (1993) and Migrations (2000). He is a UNICEF Goodwill Ambassador and an honorary member of the Academy o f Arts and Sciences (USA) as well as the recipient of many prestigious awar ds: The Gold Medal Award for Photography from New York's National Arts Club \, the Hasselblad Award (1989)\, ICP Photographer of the Year (1986) and th e Royal Photographic Society's Centenary Medal of Honorary Fellowship (1993 ). He lives with his wife Lélia Wanick Salgado in Paris.

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DTEND:20131019 DTSTAMP:20141221T191036 DTSTART:20130629 GEO:34.0276049;-118.4678444 LOCATION:Peter Fetterman Gallery\,Bergamot Station #A-1 2525 Michigan Ave.\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Genesis\, Sebastião Salgado UID:280892 END:VEVENT BEGIN:VEVENT DTEND:20130629T190000 DTSTAMP:20141221T191036 DTSTART:20130629T160000 GEO:34.0276049;-118.4678444 LOCATION:Peter Fetterman Gallery\,Bergamot Station #A-1 2525 Michigan Ave.\ nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Genesis\, Sebastião Salgado UID:280893 END:VEVENT END:VCALENDAR